Curated by Hoor Al Qasimi, the free 2026 Biennale transforms Sydney with immersive, thought-provoking experiences More on Sydney CBD Returning from 14 March, the 25th Biennale of Sydney — Rememory — is set to be a bold, thought-provoking celebration of contemporary art. PHOENIX LIGHTS ON WHITE BAY POWER STATION. Photo: Jordan Munns Curated by internationally acclaimed Hoor Al Qasimi, the festival draws inspiration from Nobel-winning author Toni Morrison’s concept of rememory, inviting audiences to explore how memory, history and identity intertwine and shape our understanding of belonging. Free to the public across five key sites — White Bay Power Station, the Art Gallery of New South Wales, the Chau Chak Wing Museum, Campbelltown Arts Centre and Penrith Regional Gallery — the Biennale’s reach reflects a commitment to accessibility and engagement across Sydney and Western Sydney. Sydney Biennale's 2026 Program This year’s program features dozens of artists and collectives from 37 countries, presenting works that range from immersive installations to site-specific projects addressing memory, migration, resilience and overlooked histories. Highlights include Nikesha Breeze’s immersive Living Histories, Nancy Yukuwal McDinny’s monumental mural amplifying First Nations voices, Cannupa Hanska Luger’s sound installations, Tuan Andrew Nguyen’s film works and Dread Scott’s photographic explorations. WHITE BAY POWER STATION, Upper Boiler House Installation. Photo: Jordan Munns The Biennale experience extends beyond the galleries. Opening night sees the concert Lights On at White Bay Power Station, while Art After Dark evenings, Family Days, artist talks and food markets bring Rememory’s themes into social, communal spaces. Whether you’re drawn to monumental new artworks, performances that spark conversation, or interactive programs for all ages, the 2026 Biennale of Sydney promises a compelling encounter with art that challenges, inspires and lingers long after the exhibition ends. 25th Biennale of Sydney - Rememory 14 March - 14 June - White Bay Power Station

How Sydney Street Choir is using music, community and compassion to transform lives across Sydney and beyond. More on Sydney CBD On any given week in Sydney, you might hear something extraordinary drifting out of a community hall in Redfern, a space in Liverpool, or even the walls of Dillwynia Women’s Prison. It’s not just a choir rehearsal — it’s a lifeline set to music. History of Sydney Street Choir For more than two decades, the Sydney Street Choir has been transforming lives through song. Founded in 2001 by acclaimed performer and social advocate Jonathon Welch AO, the choir is now the longest-running program of its kind in Australia. But longevity is only part of the story. What truly sets this choir apart is the power of its purpose. This is not your typical community ensemble. Many members have experienced homelessness, mental health challenges, domestic violence, or deep social isolation. Here, they find something that can’t be handed out in a care package: connection, confidence and a sense of belonging. Rehearsals are as much about friendship as they are about harmonies. Performances are celebrations of resilience. And perform they do — often. The choir maintains a busy schedule, appearing at community gatherings, corporate events and festivals, sometimes dozens of times a year. Their voices have travelled well beyond Sydney too, with tours to regional NSW, Melbourne, Tasmania and the Northern Territory. Along the way, they’ve shared stages with big names including Dami Im, Deni Hines, Angry Anderson and Leo Sayer. More than a music group Music is the heartbeat, but support runs deeper. Behind the scenes, a dedicated social welfare program helps members navigate real-life challenges — from housing insecurity and financial hardship to employment pathways and counselling. Individualised support and referrals to specialist services ensure that no one is left to struggle alone. The choir becomes a kind of extended family, offering stability in lives that may have known very little of it. Today, more than 100 members sing with the Sydney Street Choir each week across its three programs. While the choir itself has been active since 2001, the Sydney Street Choir Foundation was established in 2010 to provide the administrative and financial backbone that keeps everything running. Managed by a small volunteer board, the registered charity focuses on one clear mission: using music and community to benefit people experiencing disadvantage. The impact of the choir has resonated far beyond its own members. Corporate organisations have embraced the Sydney Street Choir’s volunteering workshops as a powerful team-building experience. Instead of trust falls and PowerPoints, employees raise their voices together, discovering empathy, vulnerability and joy in the process. Companies like AMP, Sydney Water, PwC and Macquarie have all taken part, finding that singing side by side can break down barriers in ways few boardroom exercises can. Young people are part of the picture too. The choir’s high school workshop program, designed for students aged 14 to 18, focuses on self-esteem, self-expression and helping teenagers find their voice in a supportive, non-judgmental environment. It also opens conversations about mental health and homelessness, building understanding alongside musical skills. Through every rehearsal, workshop and performance, the Sydney Street Choir proves one simple truth: when people sing together, they don’t just make music — they build community, dignity and hope. Learn more and donate at sydneystreetchoir.org.au

From public outrage to architectural icon, how Sydney’s tallest building reshaped the harbour More on Sydney CBD It was reviled, mocked, and protested against before it even had a girder in place, but now Crown Sydney stands as an iconic harbourside landmark. A monolith of glass, steel and concrete, tapering towards the top with an elegant twist, Crown Sydney has dominated the city skyline since 2020, claiming the title of Sydney’s tallest building. At 271 metres tall, it can be seen from the outermost suburbs of Greater Sydney, easily distinguished due to its separation from the main cluster of CBD skyscrapers.  Controversial Construction Crown Sydney To say its construction was controversial is an understatement; not since the plans for the Sydney Opera House were unveiled had the city been so vocal and divided about a new building. Like the now world famous “sea shells” on Bennelong Point, Crown Sydney drew attention because of its design and its conspicuous location on the Sydney Harbour shoreline.  The building itself is a serious feat of engineering and design. Conceived by London-based architecture firm, WilkinsonEyre, the tower’s sculptural form is inspired by three overlapping flower petals. The structure rotates a full 60 degrees from base to crown, a complex twist achieved through parametric modelling and realised in a shimmering skin of around 7,000 uniquely shaped glass panels. The effect is dramatic: a constantly shifting reflection of harbour, sky, and city. The building’s orientation and curved façade were carefully designed to maximise sightlines to the Sydney Harbour Bridge and Sydney Opera House, giving residents and guests some of the most prized panoramas in the country. The tower’s interior is as impressive and opulent as its exterior suggests. The lower podium levels house hospitality venues and the casino floor. Above that, between levels 6 and 32, sits a 349-room ultra-luxury hotel marketed with “six-star” flair. Higher still are just 82 private residences, followed by exclusive penthouses, sky villas, and upper service levels. Near the top, a public observation deck offers Sydneysiders and visitors a rare chance to see the harbour from roughly 250 metres above sea level — a perspective once reserved for helicopter passengers. History of Sydney's Tallest Building The history of Crown Sydney is folded into the history of the Barangaroo precinct. Once industrial wharves, the land was reclaimed in the mid-20th century before being earmarked as part of the massive Barangaroo urban renewal project. Early proposals for a hotel tower on the headland were rejected after public backlash. The project resurfaced in 2012 when the NSW Government entered negotiations with Crown Resorts for a luxury casino resort, pushing the plan through an unsolicited proposals process that drew scrutiny from the start. Those who opposed the tower argued that it privatised land intended as public open space. They questioned transparency in the approval process and expressed concern about broader social impact of expanding high-end gambling in the city. Just before its grand opening, in 2020, a public inquiry examined Crown’s suitability to hold a casino licence, uncovering serious compliance failures at other venues. As a result, the glittering new casino floor sat idle when the building opened in December 2020. Crown was later deemed unsuitable to operate the licence, underwent major reforms, and was eventually acquired by global investment firm Blackstone. After regulatory changes and oversight conditions, the casino finally opened in 2022, with its licence fully restored in 2024. While opinions still vary, Crown Sydney has now secured its place in the city’s story and skyline.

Meet The Tropfest Alumni Who Conquered Film and Television. More on Sydney CBD Tropfest loves calling itself a launchpad. The proof, however, isn’t in the slogan. It’s in the staggering roster of faces and names who cut their teeth there before conquering screens everywhere as stars of Tropfest.  For three decades, this festival has operated as a chaotic, vibrant proving ground. Some entrants won trophies. Many just showed up with a camera and a wild idea. What unites them is what happened afterwards: proper careers. Film and TV Luminaries Scroll through old finalist lists now, and it reads like a contemporary who’s who. Joel Edgerton. Rebel Wilson. Sam Worthington. Mia Wasikowska. Murray Bartlett. These are global names today, but at Tropfest they arrived as nervous unknowns with seven minutes to make an impression. Consider the trajectory. Joel Edgerton screened Monkeys  at Tropfest long before he embodied Tom Buchanan in The Great Gatsby or gave one of the most profound performances of the past year in Train Dreams , which is now streaming on Netflix amid growing award season whispers.  Joel’s brother Nash took a parallel path behind the camera, with his short Deadline  preceding his creation of the brilliantly gritty series Mr Inbetween .  Murray Bartlett submitted Muffled Love  years before winning an Emmy for his unravelling resort manager in The White Lotus , a role that catapulted him to HBO’s The Last of Us . Then there’s Rebel Wilson. Her short Bargain!  offered early flashes of the comedic timing that would define Pitch Perfect . Sam Worthington appeared in  A Matter For Life  before becoming the face of Avatar .  The connection isn’t magic. It’s timing. Tropfest captured these artists at a raw moment, offering not just validation but something more tangible: proof of a live audience connection. Behind the Lens, Where Legacies Form The festival’s impact isn’t confined to the spotlight. Some of its most profound work happens in the director’s chair or the producer’s office. Bruna Papandrea screened Paris Texas  at Tropfest. She later became the prolific force behind  Big Little Lies  and Nine Perfect Strangers . Director Robert Connolly presented Rust Bucket  before helming The Dry, a landmark in recent Australian commercial cinema. Justin Kurzel ( Nitram ), Abe Forsythe ( Wolf Like Me ), and Genevieve Clay-Smith of Bus Stop Films all screened early work on the Tropfest platform. Their paths highlight the festival’s quieter function. It doesn’t just spotlight performance. It reveals foundational craft. The industry is always watching, taking note. The Next Wave of Tropfest Stars Are Always Waiting Organisers are wise not to play fortune teller. There’s no official list of “next big things.” Instead, they build infrastructure.  This year, the festival introduces the CommBank Tropfest Emerging Filmmakers Fund, a $100,000 pool meant to fuel careers, not just congratulate them. The rules remain deceptively simple: seven minutes, and include the Signature Item, which this year is an hourglass . The context, however, has exploded. Today’s finalists premiere simultaneously to a sprawling Sydney park audience and a global online viewership. The exposure is immediate, terrifying, and public. Some careers will pivot from that night. Others will simply ignite. History suggests a pattern. Today’s unknown becomes tomorrow’s footnote, then a headline, then something lasting. Not because the festival predicts it, but because it provides the chaotic, beautiful conditions for it to happen. The launchpad is open . The fuel is creativity. The trajectory, as ever, is anyone’s guess.

From Surry Hills To The World: The Accidental Empire Of Tropfest It started with a spring roll. Let's be specific. A film whimsically titled, Surry Hills: 902 Spring Roll , which its creator, John Polson, once dismissed as pretty average. That humble, almost apologetic beginning in 1993 is the wonderfully unglamorous seed from which Tropfest, now branded as the globe’s largest short film festival, accidentally sprouted. Picture the scene. Two hundred people crammed into the Tropicana Caffé in Darlinghurst. No red carpet, no media wall, certainly no whisper of future grandeur. Just a filmmaker showing his work and a crowd that showed up. A happy accident, absolutely. But that chaotic, uncurated energy? It became the festival’s defining signature for the next three decades. What happened next feels like a local legend now. That modest screening ignited something potent. It lit a fuse under a generation of storytellers ravenous for a platform without gatekeepers or astronomical budgets. Tropfest became that platform. It grew not like a cultivated rose, but like a stubborn weed, pushing through every crack in the established film industry’s pavement. From those 200 seats, it ballooned. It spilled out of cafes and into parks, drawing thousands, then tens of thousands. At its peak, live audiences nudged 100,000 souls gathered under the stars. Honestly, how many homegrown cultural inventions ever reach that scale? The Quirky Engine Of Creativity Tropfest’s secret weapon, and a huge part of its charm, is the gloriously odd Tropfest Signature Item .  Each year, every entered film must include a specific, seemingly random object. A balloon. A key. A Kiss. For 2026, it’s the ‘Hourglass’. On the surface, it’s a gimmick, sure. But scratch deeper, and you find a creative hand grenade tossed into filmmakers’ laps. It forces invention. This arbitrary object becomes the essential puzzle piece around which an entire narrative must be built.  The beautiful part? It’s the great equaliser. A hefty budget can’t buy your way out of the constraint. Everyone, from the kid with an iPhone to the team with a professional rig, wrestles with the same peculiar puzzle. Meaning that the democratisation of creativity is stitched right into the festival’s DNA. The Rollercoaster & The Return We can’t gloss over the nap the festival took. After 29 main events in Sydney and years of global expansion, Tropfest went quiet. The 2020 hiatus wasn't a planned intermission. It just stopped. For a generation of filmmakers and audiences, its absence felt disorienting. A fixed point on the summer cultural calendar had vanished. Parks felt emptier. Short films lost their biggest, loudest public stage. In the fast-moving world of arts and culture, a six-year silence is an eternity. Many reasonably wondered if the party was over for good. The comeback story, therefore, grips almost as hard as the origin tale. The 2026 edition isn’t merely a revival. It’s a full reinvention. This marks the festival’s official transition into a not-for-profit Foundation. That’s a significant pivot. The goalposts have been moved from staging one magnificent annual show to building a permanent, enduring structure for nurturing talent. The new board reads like a who’s who of Australian cultural leadership, with Sarah Murdoch as chair alongside figures like Bryan Brown and Polson himself. Tropfest is set to relaunch on February 22 in Centennial Park, with sixteen finalist films premiering live and streaming globally on YouTube . Plus, in a quintessential Tropfest coup, the jury will be headed by Academy Award nominee Margot Robbie. "Tropfest has long been an important launchpad for filmmakers," Robbie said, highlighting its role as a place where creativity meets tangible opportunity.  Polson’s own rallying cry echoes the festival’s scrappy spirit: "You don't need a big budget or anyone's permission. If you've been sitting on an idea, this is your sign." A Stage For The World While Tropfest’s heart beats firmly in Sydney, its ambitions have always been telescopic. It never just waited for the world to come to it. It packed its bags. Over the years, Tropfest has staged satellite events from New York to Shanghai, Johannesburg to Tokyo. This global seeding reinforced its reputation while constantly scouting for fresh, international talent. And then it embraced the digital age, supercharging its reach. The live event in Centennial Park remains the beating heart, but the festival’s YouTube channel pumps that content to millions worldwide. A film that premieres in Sydney at dusk can be dissected in Stockholm by breakfast. That’s one heck of a journey from a Darlinghurst café. The consistent ability to attract cinematic royalty underscores Tropfest’s industry credibility. Margot Robbie follows in the footsteps of Nicole Kidman, Cate Blanchett, Baz Luhrmann, and even Samuel L. Jackson. Their involvement was never mere star power for its own sake. It acted as a powerful validation, signalling to the industry that this was a serious incubator, a place where the next generation could be spotted. So what has Tropfest actually built? Perhaps without fully intending to, it created a viable infrastructure for emerging Australian filmmakers. Short films often exist in a weird limbo, struggling for audiences outside niche circles. Tropfest gave them a real stage, a firm deadline, and a massive audience that genuinely cared. It normalised short filmmaking as a legitimate, crowd-pleasing art form. It fostered careers, sure. But more than that, it created a recurring cultural moment where thousands of people would willingly gather in a park just to watch seven-minute stories. Its history is messy, gloriously unpredictable, and profoundly human. It’s a story about what happens when you give people one crazy rule, a tight time limit, and a stage. You get a spring roll that somehow ended up feeding the world.

Why Tropfest 2026 Is Sydney's Free Cultural Event You Can't Afford to Miss Forget hushed theatres and polite applause. Tropfest, returning on Feb 22 to Centennial Park after six quiet years, runs on a very different wavelength. Think thousands spread across picnic rugs as the sun sets, food trucks buzzing and a giant screen glowing beneath the Moreton Bay figs. This is cinema as a shared public experience - and its return has been long awaited. On screen: 16 finalist short films, seven minutes each, watched once, together. Selected from hundreds, each must feature this year’s creative twist - the hourglass . The films premiere simultaneously to the park crowd and a global YouTube audience, creating an energy no traditional cinema can match. Why Sydney Needs Tropfest Sydney’s cultural calendar is packed, let’s be honest. But how many events feel genuinely, collectively owned by the people? Tropfest fills that specific, gnawing gap. Its accessibility is radical in its simplicity: no tickets, no dress code, no prerequisite film degree. You just show up. Families plant kids on blankets. Film students scribble notes. Friends share bottles of wine as the sky darkens. The Nuts, Bolts, & Must-Do’s of the Night Rule number one? Arrive early. Prime real estate vanishes faster than an ice cream in the summer sun. Be prepared - the festival isn’t a passive viewing experience. Past events have pulsed with live bands, roaming performers, and impromptu gatherings. Practicalities matter. Bring layers; February evenings are fickle.  A Foundation for the Future This comeback chapter is structurally different. Tropfest now operates as a not-for-profit Foundation, a shift from a yearly event to a sustained talent incubator. The board, chaired by Sarah Murdoch and including heavyweights like Bryan Brown, signals serious, long-term intent. “It's a true privilege to welcome Margot Robbie home to lead the Tropfest Jury in 2026,” founder John Polson said, framing her involvement as reflective of the festival's renewed ambition. Tangible support accompanies the spotlight. The new CommBank Tropfest Emerging Filmmakers Fund  offers a $100,000 prize pool. For filmmakers typically funding projects on maxed-out credit cards, that isn’t just prize money; it’s a lifeline to the next project, a real chance to build momentum. The Unscripted Highlights You Can't Plan Predicting which seven-minute gem will shatter the audience is impossible. That’s the point. But certain moments are guaranteed. Watch the crowd. This isn’t a polite theatre crowd. It’s a vocal, reactive beast that erupts in laughter, collective gasps ripple, applause builds or stutters in real time. You’re viscerally part of a shared response. The winner’s announcement, after all sixteen films have unspooled, crackles with invested tension. By then, you’re committed. You have fierce opinions. You’re debating strangers. And the unofficial after-party, that buzzing exodus from the park as thousands dissect what they’ve just witnessed, is where the community feeling truly solidifies. The conversation spills out, lasting longer than the credits. In a cultural landscape increasingly locked behind paywalls and memberships, Tropfest’s free entry is its most powerful statement. It allows pure, uncommitted curiosity. It lets people stumble into a world they might love. It creates a gloriously mixed demographic of students, families, and retirees, all sharing the same patch of grass. That democratic spirit is the festival’s bedrock. So mark the date. February 22. Centennial Park.  Come for the free films, sure. But stay for the reminder of what happens when a city gathers not for commerce or sport, but simply for the shared, unpredictable thrill of a story told well. In our often fragmented Sydney, that’s not just an event. It’s a minor miracle.

The SmartStep Stroke Study is designed for people who experienced a stroke more than six months ago and continue to face challenges with balance and mobility. The study may be particularly suited to those who prefer exercising in the comfort of their own home. Stroke is one of the leading causes of long-term physical disability worldwide. Many stroke survivors experience ongoing balance and mobility difficulties, as well as functional dependency, due to impaired lower limb strength, control and coordination. While traditional rehabilitation approaches can help improve these symptoms, they can be difficult to maintain over time. SmartStep is a home-based exer-game program that combines balance training with interactive gameplay using a step mat. The program features a series of games designed to encourage quick and accurate stepping, addressing both the physical and cognitive aspects of stroke rehabilitation. Researchers at NeuRA have previously conducted extensive studies of the SmartStep program with older adults and people living with other neurological conditions, including Parkinson’s disease and multiple sclerosis. These studies have shown the program to be enjoyable and capable of improving cognition, balance and stepping reaction time. Building on this evidence, the current study aims to investigate whether the SmartStep program can improve balance and mobility in community-dwelling stroke survivors. Eligible participants will have the opportunity to use the SmartStep program at home for four months, with guidance to complete approximately 120 minutes of gameplay each week at progressively increasing levels of difficulty. Participants will also attend the Falls, Balance and Injury Research Centre at NeuRA for assessments of balance, mobility, cognition, brain activity, quality of life and fear of falling at the beginning and end of the trial. The SmartStep Stroke program is a research trial approved by the University of New South Wales Ethics Committee and is funded by the Stroke Foundation. For more information or to participate, contact the SmartStep Stroke Team: T: 02 9399 1067 E: smartstepstroke@neura.edu.au W: neura.edu.au/project/smart-step-stroke

Understanding bull sharks in Sydney Harbour and what swimmers need to know. By Alec Smart On Sunday 18 January 2026, a 12-year-old boy sustained fatal injuries after he was horrifically mauled by a shark in Sydney Harbour, west of Nielsen Park, Vaucluse. The beach alongside where he was swimming is named, not ironically, Shark Beach, and it features a netted swimming enclosure that is popular in summer. However, the boy, Nico Antic, was swimming outside of the netted area with a group of friends who were jumping off a rock. Bull Shark. Photo: ume-y, Flickr Although the incident took place around 4.20pm, when sharks are less likely to attack (dawn and dusk are statistically higher), the water was reportedly turbid following days of heavy rain – which favours the ambush predator. (In the 48 hours after the Vaucluse tragedy, there were several more non-fatal shark attacks in NSW, including two on Sydney’s Lower Northern Beaches.) Several swimmers have been attacked by sharks within Sydney Harbour in recent years, including a woman who was bitten on the leg whilst swimming near a wharf at Elizabeth Bay in January 2024. Sydney Harbour is a habitat for a large variety of sharks, especially during the warmer months of the year, including the three species of sharks most responsible for fatal attacks on humans: whites, tigers and bulls. Bull-headed biters Bull sharks (Carcharhinus leucas), widely considered one of the most aggressive, territorial, and dangerous shark species in the world, the adults range in size from 2.0 – 3.2 metres. They tend to occupy shallower waters (less than five metres) but usually near steep drop-offs where they can linger in the depths and ambush prey swimming overhead. Most of the attacks - and all of the fatalities - that resulted from deadly encounters with the dorsal finned predators within Sydney Harbour waters are credited to bull sharks. Anchor point for a dismantled shark net at Edwards Beach, Balmoral, in place from 1935-2008. Photo: Alec Smart The numerous coves around the Middle Head peninsula, from Mosman to Balmoral, and inland along Middle Harbour to Bantry Bay and under the Roseville Bridge, are among the most popular cruising zones for the more dangerous bull sharks. A section of water between Kirribilli on the North Shore, and Garden Island and the Opera House to the south is also a ‘Bermuda Triangle’ of high bull shark activity. Although larger sharks travel north during the cooler months, several of the mangrove-lined stretches of rivers that flow into Sydney’s four main ports – Pittwater, Port Jackson, Botany Bay and Port Hacking - are popular breeding grounds for the bulls. Freshwater lurkers Bull sharks breed in brackish (low salt) waters such as estuaries and further upstream where tidal seawater meets freshwater flowing down from creeks. Females give birth to litters of between 1 and 13 young, which remain in estuaries for up to five years. These low-salinity environments, especially mangroves, effectively become bull shark nurseries because they offer high protection for the developing pups from predators, especially other sharks that prefer saltier waters. Which is why bull sharks are often found in the upper reaches of Parramatta and Lane Cove rivers and Middle Harbour Creek, where tigers and white sharks seldom venture. Swimming area with damaged shark net close to Roseville Bridge in Middle Harbour Creek. Photo: Alec Smart Bull sharks are unique because, unlike most species of shark, they’ve evolved to survive in both salt and fresh water, due to unique kidney and rectal gland functions that regulate salt and water balance. This process, called osmoregulation, makes them euryhaline (tolerant of varying salinities). In most sharks, a significant reduction in water salinity would cause swelling and bursting of vital organs, but the bull shark’s ability to retain vital salts enables them to travel far up tidal rivers and into freshwater creeks and lakes to hunt and breed. However, their adaptability increases the potential for dangerous attacks on humans, who favour freshwater swimming in warmer countries, where they are less likely to encounter sharks. Attacks in Sydney Harbour Although the first recorded shark attack fatality was off the coast of Sydney in 1791, according to the Australian Shark Incident Database, there have been 64 recorded shark bites around Sydney Harbour between 1807 (Cockle Bay, in which the victim survived) and 2025. The first documented fatality in the harbour was in Woolloomooloo Bay in 1840. Aggressive shark interactions are divided between ‘unprovoked’ and ‘provoked’ attacks. Unprovoked is defined as “where a shark is in its natural habitat and has made a determined attempt to bite a human where that person is not engaged in provocative activities.” Provoked is defined as relating to “circumstances where the person attracts or initiates physical contact with a shark (accidentally or on purpose) or was fishing for, stabbing, feeding, netting, or handling a shark, or where the shark was attracted to the victim by activities such as fishing, spearfishing (where a fish has already been speared), and cleaning of captured fish.” Bull Shark. Photo: Albert Kok Wikimedia 53 of the recorded attacks in Sydney Harbour have been identified as bull sharks, 28 of those were fatal. In fact, all of the fatal attacks around the harbour and the rivers that feed into it were attributed to bull sharks, except for one in Sirius Cove in 1919, when the species wasn’t identified. (These statistics don’t include drowning victims eaten by opportunistic sharks, such as the Dunbar Disaster of 1857, when the remains of 97 of the 121 passengers and crew that perished were never found. Only 24 bodies were recovered, with reports noting that many victims were severely mutilated by sharks in the days following the wreck.) Middle Harbour has a documented history of deadly shark attacks, with several fatalities occurring in the mid 20th century, mainly around Bantry Bay, Sugarloaf Bay and the Roseville Bridge. Middle Harbour is classified as a ‘drowned valley’, which consists of varying depths. Although it has an average depth of 13 metres, there are deep channels and holes that plummet to a reported 37 metres – ideal locations for large predators to lurk undetected. The first recorded fatality in Middle Harbour was 1907, followed by a tragic attack in 1916 when a Castlecrag man was bitten on the arm and succumbed to his wounds in shallow water off Sugarloaf Point. There were two more fatal attacks in 1942 in Bantry Bay, followed by Sugarloaf Bay in 1955, and beneath Roseville Bridge in 1960. Prior to the 2026 tragedy off Vaucluse, the last fatal attack was in 1963, in the mouth of Middle Harbour. Shark warning sign, Manly Beach, Sydney. Photo: Alec Smart Tagging According to SharkSmart, the NSW Government shark awareness website overseen by researchers from the Department of Primary Industries (DPI), very little was known about eastern Australian bull sharks until the DPI started tagging them with electronic monitors in Sydney Harbour in 2009. Around 90 bull sharks have since been tagged in Sydney Harbour and their movements are recorded, especially if they approach beaches with high human activity. There they alert electronic sensers and life savers will often clear the water of swimmers and surfers until the shark has left the area. SharkSmart has found: • Tagged bull sharks have often been detected in the Great Barrier Reef in Queensland during winter and spring before migrating south to Sydney Harbour for the summer and autumn, travelling a distance of 1800km. • Bull Sharks are present when seawater temperatures average 20 degrees or warmer; when the water cools below 19 degrees they swim north again. Life saver installs a sign after a tagged bull shark triggers an alert at Sydney's Manly Beach. Photo: Alec Smart Safety Tips for Swimmers • Avoid murky or turbid water, as it provides camouflage for ambushing sharks. • Avoid swimming after rain, especially near river mouths, as it attracts sharks seeking drowned creatures washed downstream. • Swim during daylight hours and avoid dawn, dusk, and overnight, when sharks are hunting. • Check water temperature (above 20°C means more bull sharks) and use apps/websites such as Dorsal Watch for reports of recent shark sightings or electronic tag monitoring. • Swim in netted enclosures: North Shore: Greenwich Baths, Maccallum Pool (Cremorne Point), Clifton Gardens (Chowder Bay, Mosman), Balmoral Baths, Northbridge Baths (Sailors Bay, Middle Harbour), Clontarf Reserve Baths, Forty Baskets Beach (Balgowlah), Fairlight Beach Rockpool, Manly Cove (Manly), and Little Manly Cove (Manly). South Shore: Dawn Fraser Baths (Balmain), Marrinawi Cove (Barangaroo), Murray Rose Pool (Double Bay), Shark Beach (Vaucluse), and Camp Cove Beach (Watson’s Bay). Lads leap into the netted tidal pool in Watson's Bay, Sydney Harbour. Photo: Alec Smart To keep up to date with the latest incidents, or to make a sighting report below: Shark Incident Database https://taronga.org.au/conservation-and-science/australian-shark-incident-database SharkSmart https://www.sharksmart.nsw.gov.au/ Dorsal Watch https://www.dorsalwatch.com/report/ Harbour beaches and swimming enclosures around Sydney’s North Shore https://www.northshoremums.com.au/harbour-beaches-swimming-enclosures-sydney/ Swimmers vacate the water after a tagged bull shark triggers an alert at Manly Beach. Photo: Alec Smart ======================================

We meet the ‘long-lifers’ - dogs who’ve spent months (and years) waiting for their forever homes - at Monika’s Doggie Rescue. Hidden among the bushland of Ingleside, just 25 minutes from Mosman, Monika’s Doggie Rescue is one of Sydney’s few no-kill shelters. For more than 25 years, it has provided a safe haven for thousands of stray and abandoned dogs. While many go on to find loving homes, some wait patiently, their second chance taking longer to arrive. Founded by animal welfare advocate Monika Biernacki, the rescue is guided by a simple but powerful belief: every dog deserves safety, care and hope — no matter how long it takes. Among those still waiting are bonded pairs whose deep connections make them especially deserving of a home. Howie and Bernie — Maxwell Smart and Agent 99 Bernadette and Howard, better known as Bernie and Howie — arrived together from a local pound and have been inseparable ever since. Both have English Staffy in their genes, with Dachshund and Shar Pei influences giving them their distinctive appearances. At Monika’s, pairing dogs often helps rebuild confidence, and Bernie and Howie’s bond is particularly heart-warming. Regular dog-walking volunteers John and Rhianne describe them as a joy to spend time with. “While Howard may be smaller in stature, he makes up for it in cheekiness and bravado,” they say. “Bernie has a fondness for puddles, a strong sense of adventure and a very soft spot for Howard, regularly checking in on him.” Their dynamic has earned them a fitting nickname. “They’re like the Maxwell Smart and Agent 99 of Monika’s,” the volunteers explain. “Howard is the charming but slightly clueless secret agent, while Bernie is the calm, rational brains behind the operation.” Friendly and people-focused, the pair eagerly seek human company — something staff notice every morning as they enthusiastically line up for breakfast. Easy-going, energetic and affectionate, they love treats but will happily walk without much persuasion. Both dogs thrive in lively family environments and are wonderful with children. Chin and Kay — The Snuggle Pack While Staffy crosses make up a large part of the DoggieRescue population, Huskies and Husky mixes also feature prominently. Many arrived together after being rescued from a hoarding situation, having had little exposure to routine, home life or human interaction. Among them are Chinook and Kayuh — known simply as Chin and Kay — a bonded pair who grew even closer after the third member of their group was adopted. Chin is a white female Siberian Husky cross, around six years old. Kay is a grey-and-cream male, approximately eight. The group’s early experiences left many of the dogs unsure of the world, but Chin and Kay have made steady, encouraging progress. They are learning to trust again and have discovered the pleasures of affection — particularly when treats are involved. Kay is a little shy but walks calmly on a loose lead, shows no reactivity to cars or other dogs, and clearly draws confidence from walking alongside Chin. Adopters with some rescue experience would be well placed to support their continued development. Michelle, Lead Kennel Hand — affectionately known as the “mother of all Huskies” — describes them as one of the shelter’s most bonded pairs. “They’re likely siblings and almost identical apart from their colouring,” she says. “You’ll often find them sitting with their paws entwined or playfully wrestling. Chinook is slightly more confident, Kayuh a little shyer, but both are incredibly affectionate and love to snuggle.” Chin and Kay have been waiting for their forever home since late 2021. For those considering adoption, bonded pairs like these offer something rare: companionship already built, trust already earned, and love ready to be shared. Sometimes, the dogs who have waited the longest are the ones with the most to give. To register your interest or book a meet and greet contact: Monika's Doggie Rescue Address: 2 McCowan Road, Ingleside NSW 2101 Phone: (02) 9486 3133

Real Housewives meets Dick Tracy - Murder In Mosman is a corny crime thriller about vanity, greed, and the danger of badly kept secrets.  Released in September 2025 and apparently only available on Amazon, Murder In Mosman  is a self-published, 86-page novella by unknown writer, Billie Harrow.  There is no bio on the author and all Google searches come up blank, so the name is possibly a pseudonym.  Set in Mosman, the plot revolves around the murder of Marcus Thornleigh, a high-end property developer who is discovered in his office with fatal head injuries inflicted in a seemingly frenzied attack.  The list of possible suspects is long thanks to Thornleigh’s involvement in a high-rise project that threatens the aesthetics of the neighbourhood and the water views for some influential and unimpressed residents.  Detective Inspector Chen is assigned to the case. Gradually, what Chen uncovers is a series of illicit dealings, dark conspiracies and mobster level financial fraud. And it seems that before the Detective Inspector made these discoveries, the murder victim, Thornleigh, had also become aware of them, and he was taking notes — and photos.  Among those under suspicion are a real estate agent with quite the portfolio; an ageless councillor with big ambitions; a work-at-home cosmetic surgeon who is expert in covering blemishes; and several insular, elitist country-club types who find the whole thing an inconvenience.  DI Chen is the narrator of the story. We never learn Chen’s gender but we certainly get a good idea of Chen’s opinion of the people of Mosman. From the get-go, Chen scoffs at the wealth and lifestyle of the locals. It is relentless and, for the reader, irritating.  Virtually every description, whether of a person, car, house, or activity, is given with a palpable sense of disdain and a simplistic assumption of wealth and privilege. The word “expensive” appears 41 times in a story that is just over 80 pages long.  The images of affluence and the attitudes described belong in a 1980s American mini-series about oil-rich families. They are horribly cliched and would not ring true for Mosman locals.  The writing style is imitative of a 1940s American crime paperback and feels at odds with the suburban Sydney setting. Some of the elements in the story also suggest that old American movies and crime shows represent the level of research done by the author. For example, there is reference to a chalk-outline around a body — something that isn’t done in Australia and is no longer done in most places around the world.  Characters voices all tend to sound the same. They all have the same acerbic humour and cocky cynicism - even the young, Eastern European au pair sounds like Detective Inspector Chen. Harrow has the qualities of a good writer, but indulges a little too much in similes and fails to find authenticity in story-telling or character development.  Murder In Mosman  is a quick, easy read, and, for those less bothered by the above-mentioned grievances, may be a fun page-turner.  You can get your copy here : www.amazon.com.au/Murder-Mosman-Billie-Harrow

2026 - A year of navigating change in a complex Mosman property market. If there’s one thing we know for certain, it’s that change waits for no one. Since COVID-19, every year has tested buyers, sellers, and investors alike: interest rates rise, living costs soar, global events ripple through local economies, and policy shifts. In this environment, predicting where the property market will go has never been more challenging. 2026 promises more of the same - but it also offers opportunity for those who understand the forces at play. From government-driven planning changes and low supply in sought-after suburbs, to intergenerational spending habits, the market is a complex web of influences. To navigate 2026 successfully, you need to understand the interplay between these forces and think of it as a carefully balanced ecosystem.— and act strategically when opportunity arises. In the following report, we break down the key macro and micro factors shaping the property market this year, from local LMR disruption to buyer reactivity, providing insight into what’s likely to influence prices, supply, and opportunities in the months ahead. 1. Local LMR disruption State Government LMR planning changes introduced last year have materially altered local market dynamics. Increasing numbers of owners are banding together to sell to developers, resulting in a growing volume of properties tied up in option agreements. This has reduced available supply. At the same time, uncertainty around future development has prompted some neighbouring owners to sell prematurely, often accepting below-market prices. 2. Interest rates Interest rates remain one of the most influential drivers of property values. Any further increases are likely to slow activity, as borrowing capacity continues to constrain buyer budgets. This is particularly evident in established areas such as the Lower North Shore, where vendors often choose not to sell rather than adjust expectations. Younger buyers are most affected, although government initiatives such as low-deposit schemes provide some support. Property markets are typically driven from the bottom up. Increased apartment activity can trigger a flow-on effect, with apartment owners upgrading to townhouses, semis and freestanding homes. For this cycle to gain momentum, however, it relies on motivated, upwardly mobile Millennials. Whether this occurs remains uncertain, as lifestyle and experience spending continues to compete with home ownership. 3. Cost-of-living pressures Beyond mortgage repayments, broader household expenses play a critical role in market activity. When budgets are tight, mobility declines—regardless of long-term intentions. 4. Baby Boomers Baby Boomers have been a significant influence over the past 10–15 years. Through both investment activity and downsizing, they have shaped supply and pricing across multiple segments. Having benefited from extended periods of capital growth, this cohort is generally less price sensitive and more pragmatic in negotiations. 5. Upwardly mobile families By contrast, families who have purchased more recently tend to be highly price sensitive. Transaction costs—particularly stamp duty—often determine whether an upgrade is viable. As a result, properties are frequently listed and then withdrawn if expectations are not met, contributing to persistently low turnover in many established suburbs. 6. Buyer reactivity Every property market includes a segment of buyers who respond more to headlines than housing data. In Australia, the amplification of global news through social media and 24-hour commentary has increased hesitation during periods of uncertainty. The practical outcome is a quieter market rather than a weaker one. Reduced urgency and lower transaction volumes can mask underlying demand, which often re-emerges once sentiment stabilises. With so many forces shaping the market, navigating 2026 requires more than luck. It requires experience and a clear strategy . If you’re considering buying or selling in 2026 contact Adam Vernon on 0430 824 123

Barely two months after a house in Mosman LGA broke the North Shore property price record, a new $50M has done it again.  By Rita Bratovich A sprawling three-story Mosman property with views across to North and South heads and down to Balmoral Beach, sold for an unprecedented $50 million in October last year and has smashed the North Shore property record. The luxury home at 3 Kirkoswald Avenue was designed by esteemed Sydney architect, Susan Rothwell. It was purchased by the Balnaves philanthropic family in 2001 for what now seems like a bargain price of $6,525,000.  During their tenure, Diane and Neil Balnaves had the home significantly renovated with input by architect, Rothwell. The 2235 square-metre block is situated on the prestigious cliff-top locale known as the “golden triangle” bordered by Burran Ave, Hopetoun Ave, and Kirkoswald St.  The Palladian-inspired residence offers six bedrooms and seven bathrooms, centred around a striking atrium with a water feature. The elevated parcel affords the home sweeping views across Sydney Harbour and out through the heads to the ocean. Interior living spaces flow seamlessly to harbour-facing terraces overlooking a 20-metre infinity pool and spa, framed by gardens designed by Will Dangar. Additional features include a gym, extensive wine cellar, butler’s pantry, steam room, automated gates and private au pair accommodation with separate access, alongside multiple Jetmaster fireplaces and travertine bathrooms appointed with Zucchetti tapware. The Kirkoswald St mansion was sold by local prestige agents, Michael Coombs and Adrian Bridges of Atlas Lower North Shore. The identity of the new owner/s has not been disclosed but is rumoured to be an Aussie expat who is coming home.  The previous record for the North Shore was held for only two months by a house on McLean Crescent (separated from the “golden triangle” by Rosherville Reserve). It sold in August 2025 for $43.5 million.  The 1035 square metre block was purchased in 2010 for $5.5 million — a tidy profit.  Both the McLean Crescent and Kirkoswald Street houses were sold off-market. It shows that buyers are not only willing to pay premium prices for homes in the area, but that there are hungry potential buyers just waiting for properties to become available.