CITY HUB August 2026

Some places aren’t found by accident. They’re remembered because of how they make you feel.

Tucked into the heart of Woodburn, Hemlock’s Books & Coffee is where good books, good coffee and genuine country hospitality meet. Sink into a comfortable lounge with something new to read. Savour an artisan coffee, roasted in small batches by Rainforest Roastery from beans sourced in Brazil, Papua New Guinea and Ethiopia—rich, bold, and roasted fresh to let every origin speak for itself: “The kind of coffee that will please the magic drinkers.” Or just catch up with a friend, in a room where conversation comes easy and everyone’s welcome.

Throughout the year, Hemlock’s Books & Coffee hosts book launches, author talks, workshops, live music and community gatherings.

This winter, warm up with one of our seasonal specials. Rich, indulgent, unapologetically decadent—the kind of drink that makes the drive worth it on its own.

Whether you’re in for a morning coffee, an afternoon with friends, or your next favourite book, you’ll find more than a café. You’ll find somewhere you want to come back to.

Take the drive. Discover Hemlock’s Books & Coffee

We think you’ll be glad you did.

How a queer arts venue turned into a firestorm (See p.8)

HUBARTS: KING ST CRAWL

The highlights & lowlights of 2026 (See p.20)

Published monthly and freely available throughout the Inner City.

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Arts Contributors: Angus Sharpe, Coffin Ed, Josh Kerwick, Naomi Lawrence

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PUBLICATION DATE: 30 JULY 2026

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HubNEWS

Memorial held for Collin Burling one year after death in custody

BY PATRICK LENTON

Acommunity memorial has been held in Waterloo to mark one year since the death of Collin Burling, who died while in NSW Police custody on 15 July, 2025.

The gathering took place on Wednesday 15 July, near the site where Burling died. Organisers said the event was held in memory of Burling and to support his friends, family and surviving partner, Taite Collins.

Socialist Alliance candidate Rachel Evans, who spoke at the memorial, said that group was there to “demand justice, restitution and compensation. And we want cops that kill poor people, jailed for their crime.”

“We won’t stop until we win justice, until police go to court for the death of Collin Burling, until we prioritise community not cops, and until we end the over-policing of our poorer communities.”

Burling, aged 45, died after an interaction with police at the Waterloo public housing complex. Collins, aged 44, witnessed the incident and recorded footage of the event. Media reports at the time included horrific video of the incident, and comparisons were drawn to the death of George Floyd in the United States.

An ambulance was called to the Pitt St apartment complex at 2:14am, where they found Collin Burling, 45, suffering an apparent mental health episode.

Paramedics made an “urgent request” to police, who attended the scene. Police said Burling was initially cooperative, but he suddenly became distressed, with police handcuffing him so he could be sedated.

Footage taken by Collins shows four police officers pinning Burling to the ground as he calls for help and tells police he is unable to breathe.

“I’m not a threat,” Burling says. “Help me.”

QUESTIONS REMAIN AROUND BURLING’S DEATH

Organisers of the memorial, Action for Public Housing, said questions remained about the circumstances surrounding Burling’s death.

“After twelve months, the people who loved Collin and his friends cry out in pain. Not in loss and grief alone but now in the torment of government bureaucracies and the criminal justice system,” the organisers said in a media release.

“For this year, the government and police have denied justice to Collin Burling’s lover Taite and his family. One year on and they have attempted to absolve themselves of accountability and worse, seek to impugn blame on the victim.”

HOW INDEPENDENT ARE ENQUIRIES INTO POLICE MISCONDUCT?

Organisers also raised questions about transparency and the accountability processes following the death, including investigations into police conduct, specifically those involving the Law Enforcement Conduct Commission, and the role of

emergency services who attended the incident.

“Who is accountable for the avoidable and unnecessary death of Collin Burling?” the release stated.

“How can Taite, Collin’s surviving partner and Collin’s family and friends be assured that those responsible for this death in custody are held accountable in a court of law?”

 We won’t stop until we win justice, until police go to court for the death of Collin Burling

“How independent and transparent are NSW Police enquiries into misconduct, such as those by the Law Enforcement Conduct Commission mentioned by Police Minister Yasmin Catley when asked about this case?” the release stated.

The memorial was organised by Taite Collins, Action for Public Housing and Pride in Protest.

Organisers said the gathering included calls for justice, accountability and restitution.

A separate rally calling for justice for Collin Burling and Jesse Deacon took place on 18 July at Sydney Town Hall.

Long-running battle over vision for Town Hall Square heats up

BY WILL THORPE

The long-running battle over the City of Sydney’s vision for a new square at Town Hall is heating up, after a Woolworths location launched a petition against its expected eviction.

The square is to encompass the half-block bounded by George, Park and Pitt streets. Save for the Woolworths building on the corner of George and Park streets, the City has acquired the ill-fated properties, which include the Hotel Coronation.

DOES NOT STACK UP, SAYS OPPOSED COUNCILLOR

Yvonne Weldon is a Labor councillor, who was an independent until this year. Weldon has established herself as the sole opponent of the project on the council. She told the City Hub that she remains concerned.

“In 2023, Council was advised that it wouldn’t be financially viable to commence the project until at least 2035. Yet just 18 months later, the Lord Mayor moved to bring the project forward.”

At the recent NSW Labor Party annual conference, a successful motion called on Labor councillors to oppose the plan. It was moved by the Shop, Distributive and Allied Employees Association, whose members staff the Woolworths and Big W stores slated to be evicted.

“Who is this project really about? I’ve gotten the sense it’s more about the Lord Mayor’s legacy than what’s in the public interest,” said Weldon.

“Right now, people are sleeping rough on the footpaths outside those very buildings. We should be prioritising supporting these people above all else.”

“I’m all for improving and expanding public spaces, but this just doesn’t stack up. Martin Place could be upgraded at a fraction of the cost.”

Lord Mayor Clover Moore

recently said that the project remains uncosted pending an architectural assessment, although $150 million has been allocated.

Weldon is also concerned about the loss of the only full-line supermarket in the city centre.

“Going forward with Town Hall Square is not in the public’s best interest.”

LORD MAYOR TOUTS CITYCHANGING VISION

Moore said that like other major cities, Sydney also needs “large, lively, welcoming civic spaces” for its growing population and large visitor numbers.

“With ample trees and seats, it will be a place to sit on a weekday lunch break, home to largescale events and gatherings like festivals, markets, celebrations and protests, and a meeting spot as iconic as the Town Hall steps.”

The City plans to upgrade the plaza between St. Andrew’s Cathedral and the Town Hall, with new pavement, furniture and lighting to be installed next year. Squares are also planned

at Circular Quay and Central Station.

As for the one at Town Hall, councillors have dreamed of it for more than four decades.

“So, while we have heard concerns from some specific vested interests in recent weeks, decades of planning, development and conversation leave me confident the community overwhelmingly supports this exciting project.”

 This is a once in a lifetime project, one of the biggest the City has ever undertaken

Moore noted that there was once opposition to the George Street light rail.

As for Woolworths, “commercial vacancy rates in the city centre are running at around 14 per cent.”

“Given the extensive notice, available alternative vacant sites, and the reported profitability

of this store, I am confident an enterprise as large and successful as Woolworths will find another home nearby. In fact, through this process, we have had ongoing engagement with Woolworths.” The Lord Mayor also noted that a larger supermarket exists at World Square.

Heritage concerns revolve around the demolition of the 1929-built Art Deco building housing Woolworths and the 1930-built Hotel Coronation next to it. The Coronation’s leaseholder is a vocal opponent, alongside advocacy group Business Sydney.

“The buildings in the footprint of the square have been designated as public open space in the Local Environment Plan since 2012, and the buildings on the site are not heritage listed items,” said Moore.

“This is a once in a lifetime project, one of the biggest the City has ever undertaken, so we’re making sure we have the very best on board to help us get it right.”

Police defend “approved manoeuvre” after arrest video goes public

BY PATRICK LENTON

ANSW Police officer’s actions during the arrest of a 21-year-old man at Cabramatta Train Station are being reviewed after mobile phone footage showing the incident was shared online.

The six-second video shows an officer restraining a man on the station platform and striking him several times while the man is on the ground.

NSW Police said the footage captured only part of the incident and that the officer was responding to a situation involving reports of a man threatening commuters with a knife.

attempting to intervene. Police allege the man then travelled to Cabramatta Station, where he was located and arrested following a foot chase.

NSW Police said the officer seen

from members of the public that he may have been carrying a knife.

NO KNIFE FOUND DURING SEARCH

Police said no knife was located during a search of the man. They also alleged the man assaulted officers during the arrest and while being taken for medical assessment at Liverpool Hospital.

The man has been charged with

CLIMATE FAILURE

multiple offences including assaultrelated matters, resisting police, and interfering with the safety of others.

NSW Police Minister Yasmin Catley said that police were reviewing body-worn camera footage and that the circumstances surrounding the arrest should be considered before further comment.

NSW Police said the incident would be examined, and described the footage as an “isolated moment”

NSW Police said the incident would be examined as part of the review process and described the publicly shared footage as an “isolated moment” of the broader response officers faced.

NSW GAS FRACKING BAN OVERTURNED

Our community deserves a safe climate and affordable, renewable energy that helps lower household bills.

Disappointingly, the NSW Labor Government has lifted the decade-long ban on gas exploration in NSW.

They have opened new areas for gas fracking and have slashed application fees for private mining companies from $50,000 to just $1,000.

This is deeply concerning and will undermine the urgent action we need to tackle the climate crisis.

New coal and gas will not deliver cheaper energy any time soon. These projects take years to come online, lock in more pollution, and put our climate targets at risk.

We’ve already seen renewable energy growth has helped lower household electricity bills. Focusing on new gas will undermine this progress and take NSW in the wrong direction.

The government should invest in more publicly owned renewables to help bring down bills, and strengthen energy securty.

I’ve called on the NSW Government to ban gas fracking in NSW and to invest in publicly owned renewables for a more affordable, sustainable future.

You can show your support by scanning and signing the petition below.

Yours sincerely,

Councillors move to protect Woollahra’s green space from housing

BY WILL THORPE

The Woollahra Council has moved to protect Woollahra’s urban forest in response to the Minns Government’s plans for a railway station and extensive new housing.

A motion passed by councillors resolves to ascertain the presence of any critical habits or threatened species, assess whether specific trees might be included in the municipal Significant Tree Register and explore other ways to protect the forest. It was tabled by Paddington Ward Residents First Councillor Harriet Price and passed 14–1, Liberal Alexander Andruska being the sole opponent.

Mayor Sarah Dixon, a Liberal, is from the Cooper Ward, which envelopes the suburb of Woollahra. She said that the government had released “nothing” on its rezoning plans for the suburb and neighbouring Edgecliff, despite its vision for 10,000 new dwellings.

“We are expecting some kind of plan to be shared with the community in a few months, and we’ll expect at least 28 days for the community to share their feedback.”

Dixon noted that the planned uplift “is going to be the largest increase in apartment dwellings we’ve seen in Woollahra, and it’s going to have a big impact on local roads, open space, trees and local services.”

She expressed hope that planning minister Paul Scully would have the same view on protecting the urban forest. “If we are faced with the removal of significant trees to make way for luxury apartments, it will be a devastating loss for current and future residents.”

“Throughout Sydney, we are lucky to have so many beautiful trees. It’s often the first thing visitors and tourists comment on. They are a defining characteristic of liveable

cities, and we can’t take them for granted. They’re fundamental to the air we breathe and choosing locations to call home.”

“Once they are gone, they’re lost forever.”

“BLATANT ATTEMPT” TO OPPOSE HOUSING

Scully was less than impressed with the motion, calling it “another blatant attempt from Woollahra councillors to stand in the way of much needed housing in a prime location.”

“Instead of leaving Woollahra trapped in time, like a museum, I’d encourage the councillors to start helping enable homes we need to support current and future generations. Perhaps their children or grandchildren can introduce the councillors to the Treehouse book series by Terry Denton and Andy Griffiths.” Scully said, in a tonguein-cheek jab at the councillors.

The population of Woollahra has declined by 11 per cent over the past half century, whilst the population of Greater Sydney ballooned by 74 per cent.

“Trees don’t require heritage protection because tree protection or removal is already clearly governed by the planning system.”

SUPPLY NOT THE ONLY ISSUE

Councillor Torsten of Residents

First also represents Cooper.

He raised the issue of the urban forest in a previous meeting.

 Nobody that I have spoken to is opposed to the Woollahra station being completed. They would just prefer it was done with this unique environment in mind

“Local residents are very concerned about the loss of such an important urban habitat in such a densely populated area. Nobody that I have spoken to is opposed to the Woollahra station

being completed. They would just prefer it was done with this unique environment in mind.”

“Currently, only one mature kauri tree is listed for heritage conservation purposes within the station precinct.”

“I'm sure that planning minister Scully would be delighted to see a wall of concrete and glass the full length of Edgecliff Road, but then again, he doesn't have to live here.”

Torsten said that “if Paul Scully is so concerned about the supply of housing, he would do well to address the one million vacant properties around Australia, the 8 per cent of properties owned by absent foreign investors, and the 1.2 million Australians who still use negative gearing to offset their tax liability.” These matters are largely Commonwealth responsibilities.

“Let's just admit the obvious: supply is not the only issue. If it was, then real estate prices wouldn't be falling across Sydney.”

The council has recently pursued an affordable housing levy.

New government crackdown on nitrous oxide sales

BY PATRICK LENTON

Starting in November, the NSW Government will introduce new restrictions on the sale of nitrous oxide products as part of a crackdown on recreational misuse of the gas.

The changes will ban the retail sale of nitrous oxide canisters and cylinders containing more than 10 grams, while limiting purchases of smaller bulbs to a maximum of 250 grams per customer each day. Sales to people under 18 will also be prohibited.

Further restrictions will prevent same-day delivery of nitrous oxide products, limit sales between 10pm and 5am and require retailers to keep products out of public view.

Nitrous oxide has legitimate uses in food production, medical

settings and some industrial applications. However, the NSW Government said increasing recreational use has been linked to serious health impacts.

RECREATIONAL USE IS ESCALATING

NSW Health Minister Ryan Park said the changes were designed to reduce access to products being misused while maintaining legitimate supply.

“The prevalence of nitrous oxide abuse — or "nangs" — is escalating in our community, and it is having a profound impact on the health of our young people,” Mr Park said.

“Our response is simple: restrict the retail and supply volume; restrict the age of consumers; and restrict the availability of when and how it can be sold,” he said.

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The new rules will include exemptions for businesses and organisations using nitrous oxide for approved purposes, including food and beverage production, medical treatment and some commercial applications.



The prevalence

of

nitrous oxide abuse —

or

"nangs" — is escalating in our community, and it is having a profound impact

The government said penalties will apply for breaches, with individuals facing fines of up to $2,200 per offence and corporations facing penalties of up to $11,000.

NSW Health will work with retailers, suppliers and healthcare providers ahead of the November implementation date to prepare for the new regulations.

The government said the measures were developed alongside health professionals, industry representatives and government agencies.

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How Divine Playhouse turned into one of Sydney's biggest culture wars

BY CHLOE SARGEANT

What began as the launch of a new LGBTQIA+ arts and nightlife space inside a long-deconsecrated former church in Sydney's CBD quickly escalated into protests, legal threats, cancelled events, political debate, community rallies and, ultimately, eviction.

CHURCH V STATE OF THE ARTS

The venue at 420 Kent Street has not functioned as a church since the 1930s. Over the decades it has also functioned as the Genesian Theatre and a community space before Heaps Gay transformed it into Divine Playhouse, a temporary home for queer arts and nightlife.

Originally titled Unholy Playhouse, organisers changed the name before opening after concerns were raised by members of the Christian community, hoping the change would ease tensions before the first event even took place. It wasn't enough.

Shortly after the venue opened, conservative Christian groups including radical men’s groups Fit for the Kingdom and the Prodigal Sons gathered outside, arguing performances mocked Christianity. Some also called for the withdrawal of a $100,000 Create NSW arts grant awarded to support the project.

The protests quickly gained traction online, with videos circulating on social media and pressure mounting on both the venue and its landlord. Supporters of Divine Playhouse argued the backlash ignored the fact the building had been deconsecrated for almost a century and had hosted countless non-religious uses over the decades.

Within days, the landlord issued Heaps Gay with a breach notice demanding the venue stop what it described as "offensive trade".

The notice argued the venue's activities had generated public outrage and protests that could

create safety concerns, warning the lease could be terminated if operations continued.

Divine Playhouse cancelled its scheduled events while exploring legal options. The closure left dozens of artists, performers and event organisers suddenly without a venue only days after opening.

broader campaign targeting LGBTQIA+ people and artistic expression. However, organisers postponed the demonstration, saying they wanted more time to organise and citing concerns about participant safety and what they believed would be insufficient police protection.

originating in an 1842 NSW law. It was historically intended to deal with industrial nuisances such as foul smells and waste – the provision has never previously been tested in court over questions of moral offence.

“It’s over. Our lease terminated, our artists cancelled, our venue being cleared out,” Dopper said in a statement.

“We believe this termination was unlawful and unjust. I am devastated. I am angry – for us, for our artists, for this city and its people.”

 We believe this termination was unlawful and unjust. I am devastated. I am angry – for us, for our artists, for this city and its people

The shutdown prompted an immediate response from Sydney's LGBTQIA+ community. Pride in Protest announced a snap rally outside the venue, describing the dispute as part of a

Artists, politicians and community organisations publicly backed Divine Playhouse, while petitions and fundraising campaigns attracted thousands of supporters.

EVICTION & WHAT COMES NEXT

The saga reached its biggest turning point when founder Kat Dopper announced the landlord had officially terminated the lease, giving the venue just three days to vacate.

The termination relied on the same "offensive trade" argument first raised in the breach notice — an archaic legal concept

While Divine Playhouse no longer has access to its Kent Street home, organisers say the project itself isn't over.

The team has begun searching for a new venue, continued fundraising for legal costs and cancelled artists, and held a larger public protest in Hyde Park.

It has become one of Sydney’s most closely watched cultural controversies of the year. What began as simply opening a queer arts venue has grown into a David v Goliath-style battle that’s raised difficult broader questions about artistic freedom, religious protest, landlord power, and who gets to shape Sydney's cultural life.

Councils join forces for longer trading hours on King Street

BY CHLOE SARGEANT

Anew joint proposal from City of Sydney and Inner West Council aims to create a consistent approach to late-night venues and live performances across the entire length of King Street, which is split between the two local government areas.

The move follows the introduction of Sydney’s first Special Entertainment Precinct on Enmore Road, with both councils agreeing last year to work together on clearer rules around trading hours and sound.

Lord Mayor of Sydney Clover Moore said the changes would help remove barriers for businesses in one of Sydney’s most beloved nightlife hubs.

“King Street is unusual as it

comes under a different council’s jurisdiction depending on which part of it you’re on, but we know people see it as one precinct,” Moore said.

 We want to spread the success of what we’ve done on Enmore Road along the complete length of King Street

“We did not want to see an approach where businesses on one side of the street could trade later and louder than their counterparts across the road.”

“The inner west is the beating heart of Sydney’s live music scene and King Street is one

of its main arteries. We want to spread the success of what we’ve done on Enmore Road along the complete length of King Street and breathe life and vibrancy back into this iconic strip,” said Inner West Deputy Mayor Chloe Smith.

Under the proposed changes, unlicensed shops and businesses along King Street could trade until 4am without needing a development application, while small bars, restaurants and takeaway businesses could stay open until 2am.

Small bars and restaurants hosting live music could trade until 4am, while larger venues could operate until 2am with live entertainment. Some businesses may also be able to apply for 24hour trading.

Outdoor dining would also be expanded, with venues operating outdoor areas until midnight on weekends and 11pm during the week.

The proposal will be sent to the NSW Government for gateway determination before opening for community feedback.

Leichhardt’s population slated to double under new housing plan

BY WILL THORPE

The Inner West Council’s housing plan envisions Leichhardt accommodating more than twice its current population, sparking pushback from locals and its state MP, who fears a loss of the suburb's character, overcrowding and a lack of affordable homes.

In September 2025, the council passed its ‘Fairer Future Plan’ to build housing, an alternative to the Minns Government’s model. It enables the construction of buildings with 6–11 storeys around numerous village centres and transport hubs. Passed 8–7 on party lines, the Labor majority was in favour whilst Greens, Liberal and independent councillors voted in opposition.

Leichhardt, a leafy suburb mostly of terraces and onestorey houses located five kilometres from the city centre, has a population of about 15,200 and a density of approximately 5,800 per square kilometre. Its population will surge to around 30,000, with density rising to approximately 13,500 per square kilometre.

Community group Leichhardt Matters says that this increase can only be achieved by mass demolition of existing homes.

Much of the suburb is currently zoned as general residential. Most of it will be classed as either low-density or medium-density residential under the scheme.

LOCALS NOT VALUED, SAYS MLA

Greens MLA for Balmain, Kobi Shetty, said that "plans to rezone large parts of Leichhardt are obviously a big concern in the community.”

“We know we get much better outcomes when communities are valued and consulted through the planning process, particularly where wholesale changes are slated across our neighbourhoods. Unfortunately, this hasn't happened here.”

"Labor, who control both the local council and the state government, are pushing ahead with their rezoning plans and trying to sell it as a way to make housing more affordable. But experts have warned this would actually increase land values, without any real impact on rental affordability in the Inner West. That would obviously be a disaster for so many young people looking to stay in the area.”

 Leichhardt has always taken on housing supply targets, but these new targets are simply unreasonable

Shetty added that the Minns Government cannot “seriously expect the private sector to solve our housing affordability crisis without making their own significant investment in more public and universal housing.”

“We’ve got some really great opportunities to do that right now by utilising vacant, publicly owned land in Bays West, Glebe Island and Blackwattle Bay. But instead, these places are also being handed over to the private market to let it rip."

BIGGEST HOUSING INCREASE IN NSW

John Stamolis was an independent councillor for the Balmain – Baludarri Ward from 2017 to 2024 and was on the Leichhardt Council before the present municipality was created. He recently featured on a panel of opponents to address current plans for the neighbourhood.

“Leichhardt is a suburb of 7,000 dwellings. It lies within the fifth most densely populated council of all 125 in New South Wales. The state government and Inner West Council will add 10,000 more dwellings.”

Speaking to the City Hub, Stamolis said that this is the biggest housing increase slated for any suburb in NSW, equivalent

to adding all of Pyrmont and Lilyfield.

“Leichhardt has always taken on housing supply targets, but these new targets are simply unreasonable. There are no plans to increase open space or other amenities as the population more than doubles.”

Stamolis lost at the last election. “No candidate suggested that they would put forward or support such a massive scale of development in the Inner West and especially in Leichhardt.”

He continued that “areas all over Australia must work together and take on their share” to resolve the housing crisis “in a way that is fair and balanced.”

“No single suburb can, or should, be expected to take on an unreasonable load.”

Stamolis accused the Labordominated council of “caving in” to a government of the same stripe.

City Hub contacted the Inner West Council and planning minister Paul Scully for comment, but did not receive a response by time of publishing.

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Will Labor back Greens plan to get rents under control?

Rents have never been higher, and it’s getting harder to find a place to call home. And once you do find a place, the stress of finding the money each fortnight to pay for essential things like food and transport as well as rent can be overwhelming.

As the NSW Greens spokesperson for Housing and Homelessness, ensuring everyone has access to affordable, secure housing – and isn’t under massive stress to simply have a place to call home – drives so much of our work in Parliament and the community.

Together we worked for over a decade to secure an end to unfair, no grounds evictions.

This was a huge step in the right direction - but in those ten years, a lack of proper safeguards for renters has only made the housing crisis worse.

For many years, I have been watching the cosy relationship between mega-rich investors, big developers and the major parties.

But we know that the private market won’t fix the housing crisis it created and is profiting from.

We have state and federal Labor governments right now – and still homelessness, housing stress and rents are on the rise.

We don’t want rents to be set by greedy landlords- that’s why the NSW Greens want laws passed to cap your rent.

Later this year, the NSW Parliament will debate my Greens bill that would introduce rent controls. We know that renters need this, we know the impact the rising cost of housing is placing on people – and we are not okay with the NSW Labor Government ignoring the pain people are feeling.

We're also working towards banning AirBnBs in the inner city, so that we can return thousands of homes back into the rental market and provide secure, long-term housing to people who need it.

These measures are necessary because the current system is failing renters. Property investors, developers and real estate agents have already proven that they will prioritise maximising profits even when it is to the detriment of tenants.

By introducing rent caps and banning AirBnBs, we can ensure renters aren’t suffering for the benefit of boosting profits of the big end of town.

Make sure the NSW Minns Labor Government can’t ignore the stress of renters – sign our rent caps petition using the QR code below or head to jennyleong.org/rent_caps_now

COFFIN ED’S NAKED CITY

OUR VERY 'AUSSIE' ABC

With her sudden popularity of a few months ago now seemingly on the wane, Pauline Hanson’s political promises just become more extreme.

One such One Nation vendettabait that demands close attention is her plan to close down SBS altogether and greatly reduce the ABC, retaining some of its rural services but turning what is left of its national output into a pay-toview subscriber system.

Like many of her wild threats, there is a complete lack of detail, but it is not hard to see why she is out to wield the axe.

Destroying multicultural broadcaster SBS falls exactly within her promotion of a monocultural society, often defined at her rallies by draping a good old Aussie flag around the neck and concluding with exalted cries of “Oi Oi Oi”. Like her t-shirts, the flags are probably printed in Bangladesh. More about that later, but here’s the real irony with One Nation’s threatened hatchet job on the ABC.

Pauline justifies it by saying the broadcaster is too left-leaning, has been unfairly critical of One Nation and therefore needs to be brought to its editorial knees. As a promoter of all things iconically Australian, she is blind to the fact that perhaps no organisation during the past fifty years has better defined this country than the ABC — through TV, radio and its strong web presence. Whether it is exposés of crime and corruption in numerous documentaries and programs like Four Corners — a current affairs perspective that is essential for any real democracy — or endless cultural, light entertainment, sporting content and music shows like Countdown and Rage, the ABC is absolutely everywhere. How many Aussie kids were raised on programs such as Play School and Mr Squiggle, not to mention the current hit series Bluey? Whilst ABC TV does run some foreign content,

it prioritises local productions, unlike the commercial channels who rely heavily on imported American dross, or the Australian franchise of the same. Good Lord, Hanson wants to rip off Mr Squiggle’s nose and drive it through the heart of our beloved Bluey, traumatising millions of kids around the country!

Her campaign speeches are often littered with references to those icons that she sees as quintessentially Aussie and will unite us all as “one” country. It’s like her mind is constantly rummaging through a tacky Australiana souvenir shop, always looking for an item or name to drop.

Often it comes back to bite her when she inadvertently pulls out a line from “True Blue” John Williamson, who wrote two open letters criticising her stance on immigration or a mention of Paul Hogan who declared her a racist and a pelican to boot — unfair to pelicans, of course.

The best Trump could do in

recruiting musical celebrities for his rallies and other MAGA events were The Village People and Kid Rock — not exactly your top-line acts. The One Nation propaganda crew would dearly love a classic Aussie singalong ditty for their campaign anthem and Slim Newton’s Redback On The Toilet Seat just ain’t gonna cut it.

Then again, a lot of the antiHanson lobbyists have suggested a reworking of Joe Dolce’ topforty hit Shaddap Your Face, with Hanson supporters feverishly belting it out, not quite realising they might be subconsciously telling their beloved leader to shut her big silly trap.

Until then, can they please explain what monoculturalism really means to us? Unless, of course, we are talking about North Korea. Whilst I await an answer, I'll be heading straight to Cabramatta for the best Bai Mai sandwich in town.

In the meantime, let’s treasure an organisation that is the heart and soul of the nation, along with

its little sibling, SBS. Unlike the attention-seeking shock jocks and extreme right-wing commentators who populate other media outlets, the ABC stands for a kind of common decency that all Australians should embrace. Sure it is by no means perfect, and always open to improvement, but if you’re looking for something that is “quintessentially” Australian, look no further.

As for Hanson and the battle cry of “Aussie, Aussie, Aussie, Oi Oi Oi!” that often concludes her rallies and meetings, couldn’t they have latched onto something more originally Australian? The “Ois” are largely derived from a 1960’s UK Rugby supporter chant, “Oggy Oggy Oggy”.

When ABC Radio broadcaster James Valentine died, a memorial was held, and James typified everything that was positive about the ABC with his good-natured, often quirky and humorous approach to current affairs and popular social issues. Long may that tradition continue!

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PUBLIC NOTICE

PROPOSED TERMINATION OF STRATA SCHEME NO. 16336 BEING PROPERTY SITUATED AT 30-32 Victoria Street, Potts Point NSW 2011

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 174 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 14 August 2026 to send particulars of the estate, interest or claim to:

Phillippa Russell Lawyer Suite 505, 350 George Street Sydney NSW 2000.

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, within 14 days of the date of this Notice, to send particulars of the estate, interest or claim to

Pigott Stinson Lawyers, Level 3, 10 Barrack Street, Sydney NSW 2000.

SNEAKERS & SEQUINS: THIS YEAR’S SYDNEY MARATHON CELEBRATES WITH AN LGBTQIA+ TWIST

BY CHLOE SARGEANT

There are plenty of ways to measure a city. You could do it in kilometres, which is what more than 35,000 people will be doing when the TCS Sydney Marathon takes over Sydney on 30 August. Or you could measure it by the places people instinctively gather when something worth celebrating happens. By that metric, Oxford Street has spent decades outpacing almost everywhere else in Sydney.

For a few hours on marathon morning, one of Sydney’s most iconic strips will trade its usual weekend rhythm for something altogether different. Taylor Square will become the marathon's official Pride Party, with rainbow flags, live music, drag performances and what organisers hope will be one of the loudest cheer squads anywhere on the course.

The Sydney Marathon has grown into something much bigger than a race over the past few years. Since becoming one of the Abbott World Marathon Majors, joining the likes of London, New York and Boston, it's become one of those rare events that genuinely belongs to the whole city, and you certainly don't need a race bib to be part of it. Some people chase personal bests, but others will plenty simply wander into the atmosphere and learn something new to love about their city, which is what Darlinghurst’s Rainbow Precinct is hoping for.

Sydney’s LGBTQIA+ community has weathered a bruising few months, not least through the ongoing Divine Playhouse saga (read about it on p.8), which has reignited conversations about how fragile queer spaces can still be.

This is a place where everyone belongs and where everyone is encouraged to express themselves

That doesn't mean Oxford Street has lost what makes it special, though. If anything, moments like this are reminders that the precinct is still very much alive, still drawing people together, still doing what it's always done best — making room for everyone, whether they're arriving in sneakers or sequins.

One of the clever things about the course is that runners pass along Oxford Street twice, meaning spectators can settle in without feeling like they're missing the action elsewhere. Rather than spending the morning darting around the city trying to catch another glimpse, people can claim a spot, order breakfast, wander into a local shop, linger over lunch, maybe stay for a cocktail later on, all while the race comes back to them. Businesses throughout the precinct are embracing the occasion with marathon-inspired food and drink specials, shopping offers, live entertainment and plenty of reasons to make a full day of it.

"Oxford Street has always been a

place where people come together to celebrate and connect. Running the Rainbow Precinct captures that same spirit, bringing colour, energy and community to one of the world's great marathons," Rainbow Precinct Manager Lorraine Lock tells City Hub Lock hopes visitors who arrive for the race leave having discovered something a little deeper about the neighbourhood.

"We hope people come for the race but stay to discover everything the Rainbow Precinct has to offer. Cheer on the runners, enjoy breakfast or lunch with friends, explore our incredible local businesses and experience the energy that makes this neighbourhood so special.

"Everyone is welcome here. This is a place where everyone belongs and where everyone is encouraged to express themselves."

The marathon stretches well beyond race day now, with a week-long festival, city-wide entertainment and national television coverage. But some parts of Sydney don't need much help putting on a show, and Oxford Street has been practising for decades. This August, it just happens to have 35,000 runners passing through it.

Cheer on thousands of runners as Sydney Marathon’s official Pride Party transforms Taylor Square and the Oxford Street Rainbow

Precinct into Sydney’s most vibrant spectator destination. The loudest, gayest cheer squad on the course.

Breakfasts · Drag · Shopping Food & Drink Specials · Brunches Long Lunches · Entertainment

Sunday 30 August From 7am All Day

HubARTS

HOMER RUN

Nolan's 'Odyssey' is a truly staggering work of cinema (See p.21)

DOUBT: A PARABLE

BY JOSH KERWICK

Pamela Rabe and Sam Reid are utterly brilliant in Sydney Theatre Company’s latest production of Doubt: A Parable, a thorny work from John Patrick Shanley adapted brilliantly by director Marion Potts.

Across its short runtime, Doubt judiciously deploys its brilliant actors and some particularly inspired stagecraft to address a complicated thematic framework— one that makes the show an essential watch for the world of Sydney theatre in 2026.

Set within a strict Catholic school in early 1960s New York, Doubt primarily tells the tale of Sister Aloysius (Rabe), the institution’s

gruff headmistress, and hotshot progressive priest Father Flynn (Reid). Aloysius suspects the father of inappropriate behaviour with the school’s only Black student, Donald Muller.

Flynn obviously denies the allegations, attempting to explain himself as a supportive force for the boy. Alas, Aloysius is unswayed by his pleading, despite the pushback of Sister James (Shannen Alyce Quan) and the boy’s mother, Mrs Muller (Zindzi Okenyo). Is Aloysius right to doubt Flynn? And is she as sure of herself as she claims?

Writer John Patrick Shanley goes to great lengths to make the point-of-view character, Sister

BY NAOMI LAWRENCE

Fiercely intimate and defiantly spirited, ThirtySix at Qtopia Sydney was a celebration of trans joy, elegy for lives cut too short and a hopeful meditation on forging a better future.

Co-written by acclaimed British playwright and trans theatre icon Jo Clifford, alongside Australian writerperformer Bayley Turner, the one-woman show opens with a sobering statistic — founded by straights obviously deeply invested in the minority — that hangs over the entire evening: many trans women never make it to 35.

But rather than lecture on identity or drown in despair, Thirty-Six turns that number into a tender, funny and unwavering provocation, doubling as a ritual of remembrance and reflection on survival, legacy and possibility.

As Turner prepares for the night ahead, she leisurely

Aloysius, borderline antagonistic throughout the opening section of Doubt, especially when compared to the relentlessly affable Father Flynn, which makes the allegations she levels against him all the more complicated. Is she sceptical of his charisma, or does she have genuine cause for concern?

To avoid spoiling any major elements of this brilliant play, the fact that Aloysius does have cause for genuine doubt about Flynn makes the whole thing that much more complicated. Reid is frighteningly charismatic as the father, and it is not difficult to see

THIRTY-SIX

applies her beat amid a table of colourful birthday cards, and the evening slowly takes on the weight of what feels like a farewell.

It is a party for those still here, a wake for those who never got the chance to grow old, and a reckoning with everything left unsaid, from family conversations that never happened to the women who paved the way.

Threaded throughout are recorded reflections from Clifford herself, whose own journey to womanhood echoes Turner's across generations, expanding one woman's memoir into a worthwhile intergenerational conversation.

While there are no big emotional peaks, the hour moves instead with a steady, confiding pulse, like a friend talking you through her evening.

The production gives those emotions a striking visual language. A table becomes

something closer to an altar, black helium balloons hover like ghosts, and distorted projections shift between text, imagery and live footage of Turner, blurring memory with the present.

At its heart, Thirty-Six is about more than simply transitioning, it is refusing to wait for life to begin. While rooted in the experiences of trans women, its message reaches further: the courage to become yourself, to take up space and to imagine a future is something everyone can understand.

In a time when trans lives are constantly surveyed, bashed and too often reduced to statistics and debate, this production brings the focus back to the people behind them.

why those around him are drawn into his orbit.

Doubt: A Parable leaves no bitter taste in the mouth. Instead, it provokes and prods the limits of our personal moral frameworks with its difficult and multifaceted subject matter, which is made all the better by a truly outstanding cast and crew.

Despite its name, there’s absolutely no doubt that it is worth seeing this electric, thought-provoking show.

Doubt: A Parable is playing now at the Roslyn Packer Theatre.

SYDNEY CONTEMPORARY EXPANDS FOR 10TH EDITION WITH MAJOR PUBLIC ART ACROSS SYDNEY

SYDNEY FRINGE FESTIVAL UNVEILS 2026 PROGRAM FEATURING OVER 2000 ARTISTS

BY PATRICK LENTON

Sydney Fringe Festival has announced its 2026 program, featuring more than 350 events and over 2,000 artists across 64 venues from August to October.

The program includes theatre, comedy, music, dance, cabaret, circus, immersive performances and family events, alongside new initiatives aimed at supporting independent artists and the broader creative sector.

The festival will open with Fringe Ignite! on Saturday 29 August, a free street party transforming Darlinghurst’s Stanley Street with live music, comedy, circus, dance, roaming performers and food.

Parliamentary Secretary for Transport Dr Marjorie O’Neill said the event would provide an accessible way for audiences to experience the festival.

“By supporting free street parties at this iconic event, we're making sure everyone can join in the fun, no matter their budget,” Dr O’Neill said.

New initiatives introduced in 2026 include the Fringe Reviewer Lab, developed in partnership with ArtsHub to support emerging arts critics; the KXT Pipeline Award, providing a funded pathway for new Australian theatre; and the Artist Development Lab, connecting independent artists with industry leaders and other professional networks.

The program features performances by Copa on The Rocks, presented by CINCiN at The Rocks; Luke Casserly’s Distillation at Vaucluse House; and The Return of the Godz by Head First Acrobats at Fool’s Paradise at The Entertainment Quarter.

Returning events include comedian Jennifer Wong’s FEAST at Hurstville Entertainment Centre, featuring a Malaysian home-style dinner prepared by Sarah Tiong, as well as a new FEAST: Chaat Show Edition exploring Indian home cooking with Gunjan Aylawadi, Depinder Chhibber and Suraj Kolarkar.

Sydney Fringe’s First Nations program, Yalgali, will continue in 2026 with works including Toni Janke’s Inheritance, Elaine Crombie’s Grief, Love and Lead Balloons, and the contemporary dance production Sitting Ganaay

Sydney Fringe CEO Patrick Kennedy explained that “Sydney Fringe has always been about saying yes. Yes to bold ideas, independent artists and the kind of work that doesn't fit anywhere else.”

Minister for Jobs and Tourism

Steve Kamper said the festival would bring a diverse range of experiences to Sydney audiences.

Tickets for all events at the Sydney Fringe are on sale now.

BY CHLOE SARGEANT

Sydney Contemporary has unveiled its largestever program of installations, performances and public artworks ahead of its milestone 10th edition.

Returning to Carriageworks from 3–6 September, the contemporary art fair will showcase work by more than 500 artists representing 33 countries.

This year it will also spill well beyond its usual walls, with major public artworks set to appear at Sydney Fish Market and Barangaroo alongside the ambitious program inside Carriageworks.

Curated by Director of UNSW Galleries José Da Silva, the expanded program features 15 large-scale projects spanning sculpture, textiles, photography, painting, performance, kinetic works and immersive installations.

"This program invites us to think beyond the scale of the gallery and encounter works that transform how we experience space," Da Silva said.

"I've gathered together artists working across vastly different materials and ideas, but all are interested in how contemporary art can create moments of wonder, reflection and participation."

Among the headline works is Kamilaroi artist Reko Rennie's ALWAYS (2026), a striking new installation that will transform Sydney Fish Market with his

unmistakable geometric style. At Barangaroo's Pier Pavilion, Joan Ross will present a large-scale video installation confronting Australia's colonial history.

Inside Carriageworks, visitors can expect The Huxleys' exuberant new performance Radical Joy and a sculptural café takeover by Mike Hewson, to monumental bronze works by acclaimed South African artist William Kentridge and a meditative pavilion by South Korea’s Youngwook Choi.

Other highlights include Grace Lillian Lee's collaborative kinetic sculpture inspired by Torres Strait ceremonial traditions, Alex Seton's marble puffer jacket sculpture, and new glass works by emerging Sydney artist Louis Grant, exploring queer embodiment and connection.

"This year's program of installations and public interventions is our biggest yet,” said Sydney Contemporary Fair Director Zoe Paulsen. “For our 10th edition, we wanted visitors to feel that ambition the moment they arrive, whether that's at Carriageworks or out in the city."

"Supporting artists, backing galleries, and strengthening Australia's contemporary art sector are what this Fair has always been about, and this edition is a chance to recognise that and build on it for the next ten years," said Sydney Contemporary founder and co-owner Tim Etchells.

MASTERFUL OPENING NIGHT FOR 'MONDAY NIGHT CONFESSIONS'

BY ANGUS SHARPE

Easing open the heavy Church Street Studios door on June 29, I slipped in from the quiet streets of Camperdown to face a stream of warm chatter. Happy voices spilled down the steep stairs and beckoned me up. They led me past an array of instruments — piano keys, trombones, kick drums — wedged into gaps, strapped to the walls, and dangling from the ceiling.

I dropped into a fold-out chair before a golden, glowing stage. A red drum kit sat shining, teasingly at the fore. And as the room steadily filled, I felt curiosity and anticipation mount in the growing audience for what was soon to come.

Presented in blocks of two month-long ‘seasons’ since 2022, every Monday, Church Street Studios’ Monday Night Confessions series has hosted two performances of some of Australia’s most innovative and interesting jazz.

Whether a local project formed only the night before, or a longstanding international act, never will a musician on this small stage disappoint in the proficiency of their craft.

Tonight, launching the third season of 2026 — which will run every Monday until August 31 — the artists slated to perform were no different.

A FULL HOUSE IN THE INNER WEST FOR KING ST CRAWL 2026

BY ANGUS SHARPE

Sydney’s inner west devolved into its enormous, raucous annual street party on July 12: King St Crawl. 250+ artists lit up 54 official venues along King St, Enmore Rd, and Victoria Rd, and we witnessed Sydney’s profound hunger for accessible music.

BODY TYPE –ENMORE THEATRE

Playing the Enmore should be a career highlight for local artists. Today is awkward: a sparse audience in an enormous auditorium.

First, it was Hayley Chan — percussionist in local Sydney five-piece Monstrous — who took her place behind the glowing drum set. Without her hip-hop project’s bass, keys, saxophone and guitar behind her, tonight — supporting the release of her album Desert Meditations — Chan was playing solo.

Thirty minutes of solo drums may sound somewhat daunting, but in the right hands, a drum set can be one of the most evocative and interesting instruments.

Then Sydney/Newcastle saxophonist Michael Avgenicos took the stage with his new four-piece Eudaemons (Good Demons). With compositions from their upcoming self-titled album, Eudaemons’ music ranged between free-flowing improvisation — often from Peter Koopman’s dancing guitar — and quick, catchy, structured refrains helmed by Avgenicos’ exquisite saxophone.

With double bassist Max Alduca joyfully dancing in the background and Tim Geldens running his sticks over his kit like wind over water, the hour-long set was a pleasure to witness. Combined, the two performances — though wildly different — perfectly captured the essence of Monday Night Confessions

2026’s Crawl did come with a small pitfall. Typically funded by government grants and sponsorships, it’s always been billed as a day of free music. This year, event organisers decided to release a $50 ticket granting priority access.

With limitless amounts of free music on the streets, introducing a paid feature to a free event is one I sincerely hope is revised.

These three moments best captured the 2026 King St Crawl:

ITCHY AND THE NITS –FACTORY THEATRE

Garage punk is tried and trusted, and these three women do it very well. It is raw, joyful energy – Itchy and the Nits were extremely happy to be playing music with their friends, and the audience equally happy to listen to it. A perfect beginning to a night full of music.

Powerful Sydney four-piece rock project Body Type is well deserving of such a stage. But being the only ticketed venue around 53 free stages, the capitalism could be almost felt lurking. No matter how hard Body Type played, their energy never had a chance against the entry fee.

INNER WEST HOP –PLEASURE CLUB

At 8pm, the entirety of Newtown, Enmore, and Marrickville is rampant with people. The concept of the Inner West Hop is simple – an open stage, where musicians are invited to come together and jam. For 45 minutes, bass, keys, and drums dip and dive in free jazz, and vocalists emerge from the audience to lay down rapid fire freestyle bars or extraordinary vocals.

Yasmina Sadiki paused at one point, looking out at the energetic room. “Guys, we just played Enmore Theatre, and no one was there, so this feels really special because… Full house!”

The audience erupted – it is a perfect summation of the day.

THE ODYSSEY

BY JOSH KERWICK

Combining awe-inspiring imagery with a surprisingly personal, mournful thematic framework, Christopher Nolan’s The Odyssey is a truly staggering work of cinema. Though absolutely the large-scale filmic rendition of Homer’s work that it's always deserved, Nolan’s Odyssey is also undeniably the work of its accomplished director working in a mode few directors ever function in, particularly in its astonishing final hour.

Matt Damon leads the mammoth cast as a sensational Odysseus, the mythological Greek legend known for his cunning, trying to return home after the Trojan War. As you likely already know, the King of Ithaca’s voyage home will not be so simple.

Meanwhile, his wife Penelope (a fantastic Anne Hathaway) and son Telemachus (Tom Holland in an already-underrated turn) attempt to fend off the aggressive suitors for Penelope’s hand in marriage – particularly de facto leader Antinous (a wonderfully snivelling Robert Pattinson).

The most impressive element of this adaptation is how it manages to be both an extremely faithful translation of the original Homeric poem, and a version that only its director could tell.

For one, the Greek gods play a less active role in this Odyssey, with only Athena manifesting as anything more. Although some will undoubtedly bemoan the more “grounded” feel of Nolan’s film, I found it a fascinating choice that makes the more

fantastical elements feel truly eldritch.

Indeed, many of the most iconic setpieces of the poem are straight-up horrific in Nolan’s hands, as Odysseus and his men struggle in a world beyond their understanding. The battle with the cyclops is a masterclass in tension, Scylla and Charybdis are rendered in a terrifyingly abstract manner, and the sorceress Circe moulds Odysseus' crew into pigs in a properly disturbing body horror sequence.

It all culminates in the final hour, which is perhaps the most brilliant work Christopher Nolan has ever done. The Trojan War flashback features The Odyssey’s most unsettling depiction of warfare. This scene brilliantly utilises Zendaya's Athena in a jaw-dropping moment that transforms the film and solidifies its most important, timely theme – the consequences of letting human decency erode.

The Odyssey is in cinemas now.

THE WIZARD OF THE KREMLIN

BY NAOMI LAWRENCE

The Wizard of the Kremlin explores the making of modern Russia and the spin doctor who propped it up, but finds itself trapped with lifeless execution.

Directed by Olivier Assayas and adapted from Guiliano da Empoli’s novel, The Wizard of the Kremlin traces Russia’s postSoviet transformation through Vladimir Baranov (Paul Dano), a fictional government strategist who helps manufacture the imposing myth of Vladimir Putin (Jude Law).

Painfully relevant in an era of rampant misinformation, the material is rich with enthralling themes of power, corruption, and propaganda, not to mention its stacked cast.

Yet somehow, it's a gruelling watch. The film straddles political thriller, historical drama and satire, and still never quite settles into a rhythm.

The story unfolds in flashbacks, framed by a 2019 interview with Baranov, the disgraced Kremlin strategist recounting his journey from idealistic creative to architect of a new Russian reality.

Those early chapters of Baranov’s recount are genuinely alive. Post-Soviet Russia crackles with chaotic artistic energy, before slowly draining into something colder and more sterile as Vadim's idealism gets eaten alive by the machine he's building.

Faithful to its source to the point of self-sabotage, it often feels more like history being recited rather than experienced. Major political turning points rush by with barely a breath, while conversations with little to no momentum linger. There's no denying the screenplay has its moments. Some exchanges crackle with sharp insight into censorship, how easily artistic ambition can curdle,

and how propaganda doesn't thrive through force alone.

However the most distracting cherry on top is an inconsistent approach to accents.

Despite his limited screentime, Law's Putin leaves the strongest impression. Controlled and imposing, he magnetically embodies Putin’s carefully cultivated machismo, capturing the cold confidence of a man who believes they were born for power.

Dano delivers another intelligent, quietly measured performance, but he's boxed in by writing.

While political junkies and history obsessives will find plenty to chew on, for those seeking a genuinely gripping political character study, Alli Abbasi's The Apprentice remains the modern standard.

1/2

The Wizard of the Kremlin is in cinemas now.

EVIL DEAD BURN

BY JOSH KERWICK

Loosely following on from Evil Dead Rise, this film picks up with a new set of characters, anchored by Alice (Souhelia Yacub). A French immigrant running a business with her abusive husband Will (George Pullar), the two have a fight that leads him to speed off and hit a Deadite, and his death swiftly follows. As Alice joins Will’s weird family for the funeral, people begin to act strangely and the scourge of the Deadites spreads.

Let me say this: I am not inherently opposed to an Evil Dead movie having themes or subtext. What I take issue with is how Burn clumsily splices together genuinely upsetting themes – in this case, domestic abuse and familial trauma –with shoddy attempts at the entertaining genre fare that we expect from Evil Dead.

French director Sébastien

Vaniček has obviously been inspired by French extremity films that deal in relentless cruelty, and this just does not suit Evil Dead at all. The first two major Deadite sequences in this film feature the killing of a dog and a genuinely upsetting “fight” (that

honestly feels like real domestic abuse) which feels totally off, made worse by the fact it’s near-impossible to get invested in the film’s astonishingly dumb, unlikeable characters.

The bleakness of these scenes makes Burn’s attempts to feel “fun” later that much more

hollow. Tried-and-true series techniques feel like cheap parlour tricks because Burn so rarely attempts to even feel remotely like an Evil Dead film.

Instead, it feels as though Vaniček wanted to make a French extremity film, and the only way to do that was by attaching it to a recognisable IP while throwing in some half-hearted franchise references. Is that true? What I do know is that Evil Dead Burn is officially the new low point of the franchise and an absolutely shocking misfire.

For much of the film I found myself baffled and intensely disappointed by its surface level shocks and catastrophic misunderstanding of this series; I was only too happy for it to be over. My final verdict: decidedly not groovy!

Evil Dead Burn is in cinemas now.