journey to the end of the line


by Jarryd Worland 


Studying at uni has afforded me the luxury of working-class travel on Melbourne’s suburban rail network. Growing up within arm’s reach of both school and the shops (thanks to access to a personal taxi service: my parents), I’ve never had to rely on public transport. There were only a few exceptions – occasional trips to the city for Dad’s Christmas work parties, or visiting the aquarium, zoo or museum with my family.

Due to Swinburne University’s Hawthorn campus surrounding Glenferrie Station and living on the wrong end of the Monash Freeway, ‘train-ing’ to uni every day seemed like the obvious choice – especially with a concession Myki. As of January 2022, my round-trip to uni consists of two 90-minute walks followed by the bus and train, costing just $4.60. Early on, I discovered a second advantage: if I’m already paying under $5 every day to go to uni, why don’t I use my Myki to explore Greater Melbourne for, essentially, free?

Over my six years at Swinburne, I’ve grasped the opportunity to take a train towards the end of every electrified line, just to explore and see what’s there. From the forested Hurstbridge and Belgrave stations to beachside Sandringham and Williamstown stations, Melbourne’s diverse landscape and towns are readily accessible by public transport with each line hosting its own distinct charms. It was always a pleasure to take an afternoon to explore and see what was there.

In my most recent adventure, I spent a cool, summer day travelling to the end of all 15 electrified train lines in Melbourne – within 24 hours. I followed a planned route that had me span Metro Trains, SmartBuses, local buses, trams, and even a V/Line train, accompanied with a little bit of walking (and some running!).

With my recently acquired knowledge of each end-of-line station, I have put together some ideas for your next cheap, daily excursion:

Hurstbridge Station

The leafy, Northern suburb of Hurstbrdige. It’s a quiet place filled with farmland and a park that has a Veteran’s monument. You can find a shopping strip along the main street selling refreshments, but I would call this the ideal space to read a book – or the latest edition of swine magazine!

journey to the end of the line    journey to the end of the line

Lilydale Station

Lilydale Station has recently been rebuilt as part of the Level Crossing Removal Project, and it stands out from the surrounds. The old station building is currently being refurbished as part of the new station forecourt. In the meantime, you can check out the local shops that surround Maroondah Highway, or if you’re feeling adventurous, go on a long walk along the rail trails and creek trails that take you to the surrounding Yarra Valley destinations like Healesville, Coldstream, and the Dandenong Ranges.

journey to the end of the line    journey to the end of the line

Sandringham Station

They don’t make beaches like these ones: a small trot down from the cliff face to the water, before you reach what feels like a secluded space for a swim. Even if you’re not a fan of sand, you can walk or cycle along the coastal shared path connecting Webb Dock into the city, all the way down to Parkdale. Just make sure to keep an eye on the path while you’re fawning over the view!

journey to the end of the line   journey to the end of the line

Williamstown Station

A station home to the serenity of the shores of Port Phillip Bay, you can smell the salty sea breeze and feel the cool winds from the nearby ocean. While it’s not the best place for a swim, watching the view on the grass of Point Gellibrand Coastal Heritage Park is ideal for meditation and relaxation. You’re welcome to bring along a picnic basket or take a short walk to the nearby botanical gardens and embrace the Australian past time of fish and chips by the sea, watching the ships go by.

journey to the end of the line

Glen Waverley Station

The heart of multi-cultural shopping and cuisine, at least for an end-of-line station! You won’t be disappointed by the countless options for food and drink. To top it off, The Glen Shopping Centre is nearby for your shopping needs, and on the other side, Village Cinemas Century City for your screen entertainment.

journey to the end of the line  journey to the end of the line

Have you got a favourite destination, a train ride away? Or, perhaps you are inspired to find your own spot on Melbourne’s train network? If you’re feeling adventurous, why not take the challenge up yourself and see how far you can go in 24 hours? Or, go and check out the regional destinations Victoria has to offer via V/Line.

Follow Jarryd Worland on Instagram @_pokekid_ or Twitter @JarrydWorland for more adventures.



Photography by Jarryd Worland. Feature image by Pat Whelen on unsplash.

remembering Richard Mercer’s ‘Love Song Dedications’

by Yvonne Aoll


Can you believe it’s been eight years since Richard Mercer last hosted Love Song Dedications?

For well over a decade, Australia’s ‘Love God’, Richard Mercer, dominated late-night radio with his honey-toned voice, endearing personality, and memorable love songs. Night after night, Mercer’s fans would call Mix FM’s love-line where he would listen to them, masterfully engaging in their love stories, before playing a befitting power ballad dedicated to their loved ones (or broken hearts). For most listeners, Mercer was a faceless, friendly radio voice who comforted them to sleep almost every single weeknight.

Whether it was teenage puppy love, the angst of love gone wrong, or yearning for the elusive, romantic happily ever after, listeners knew they could count on Mercer to coax them through their love stories. Dedications were sent to lovers near and far: some travelling overseas, others serving prison sentences, and some just on their way home from work. The love messages were sent by engaged couples, married partners, estranged lovers, the ones who got away, and everything in between. There would be messages for birthdays, engagements, anniversaries, apologies, reassurances, and sometimes, just to simply say, “I love you.” With his soothing voice, infectious laughter and palpable empathy, Mercer’s presence on the airwaves felt like a night balm for the soul, no matter the kind of day you’d had earlier.

For me, Love Song Dedications was great company en route to various work locations and as I made it through many a night shift. The broadcast accompanied me as I took buses to Greensborough, trains to St. Albans and trams to the St. Kilda Esplanade. From Thornbury to Brighton to Kew, Mercer smoothly and swiftly got me through the shifts, and before I knew it, it would be daybreak… the night had passed in a flash thanks to (as the popular radio tagline went), Love Song Dedications with Richard Mercer.

In 2013, after more than fifteen years of touching many lives, the radio legend hung up the love-line for the last time. Mercer’s last dedication was a message from his real-life partner, Sheryn, followed by the song, “How do I?” by Trisha Yearwood.

We’ll always remember Love Song Dedications, not only for reminding us to celebrate love, but also for playing us love songs by some of the greatest musicians of all time including: Keith Urban, Michael Bublé, K-Ci & JoJo, Emeli Sandé, Gabrielle, Jason Mraz, Seal, Lionel Richie, Mariah Carey, Celine Dion and Tracy Chapman among many, many others.

Wherever you are Richard, thank you for sharing your remarkable talent with us. Australia misses you.





Image by Budgeron Bach on Pexels.


contemporary communication: reviewing ngv triennial


by Miao-Chia Chen

The NGV Triennial 2020 presented a series of contemporary design and artwork collections, featuring a stunning visual experience and thought-provoking views by multiple artists and designers. Various recent projects demonstrate the creative process and outcomes based on both our history and our modern technical advancements. This exhibition review will introduce and analyse some of the art and design works exhibited in the NGV Triennial.

efik Anadol, Quantum Memories, 2020, multimedia artwork.

Refik Anadol, Quantum Memories, 2020, multimedia artwork.


Greeting art-goers as they arrived on the ground floor of the NGV, this large-scale multimedia artwork visualises a 3-dimensional animation formed by artificial intelligence (AI) and quantum computing. The media artist, Refik Anadol, explores the possibilities of creating artwork with the latest technologies. Different from traditional painting, it seems to announce to the whole world just how exciting the future potential for art and design can be.





Celine Bendixen, Cloud Formations, 2020, textile

Celine Bendixen, Cloud Formations, 2020, textile

Jim Shaw, Capitol Viscera Appliances Mural, 2011, acrylic paint.

Jim Shaw, Capitol Viscera Appliances Mural, 2011, acrylic paint.








The cloud formation by Celine Bendixen practices the blending of design, science, and art craft. It was handmade from textile to capture a skyscape based on the natural phenomena of clouds. Furthermore, one of the paintings exhibited in the same room, Capitol Viscera Appliances Mural, by Jim Shaw, is one of the most iconic US pop culture art pieces. His work presents the vision of a dreamlike cloud in the aftermath of the second world war.

The clouds were displayed in a room with a range of the NGV’s 19th and 20th-century collection. However, the 21st-century artwork did not feel out of place. Rather, the peaceful power of nature emanating from the clouds draws the audience to the countless wonders in the world around us.



Daniel Arsham, Falling Clock, 2020, fibreglass, plaster, paint.

Daniel Arsham, Falling Clock, 2020, fibreglass, plaster, paint.


Another iconic artwork in NGV Triennial is the Falling Clock, which was displayed under the Hidden Figures 2020 series. The artist, Daniel Arsham, used plaster to sculpt the form of draped fabric, presenting the design principle of movement. Arsham’s work mainly focuses on his idea of archaeology. He explores the fictional possibilities and imagines how everyday objects, such as a clock, may look in the future.




Crystallisation – Bioplastics, plants, mineral-based materials.

Most products nowadays have been designed for product standardisation and mass manufacturing. As awareness of environmental sustainability grows, more and more designers are devoted to eco-friendly or renewable materials. The reasons for these projects are to rethink our reality and define the possibility to protect nature.

Erez Nevi Pana, Crystalline, 2020, salt, clay.

Erez Nevi Pana, Crystalline, 2020, salt, clay.


The components in Crystalline, 2020, by Erez Nevi Pana, were made in Israel’s Dead Sea area. The piece examines the metamorphosis of raw material to practice the growth of crystal and natural processes. The project not only aims to interpret the need for restoration of the Dead Sea area, but also the possibility of introducing salt-based architecture for housing, tourism, and public works.



Alice Potts, Dance Biodegradable Personal Protective Equipment (DBPPE) post COVID facemasks, 2020, bioplastic (fibres from sweat crystals, algae, food waste, etc.).

Alice Potts, Dance Biodegradable Personal Protective Equipment (DBPPE) post COVID facemasks, 2020, bioplastic (fibres from sweat crystals, algae, food waste, etc.).

Another item on display in this series, is a set of biodegradable personal protective equipment masks, designed by Alice Potts. She emphasises the dramatic increase of single-use plastic waste globally, especially that of medical equipment during the ongoing COVID–19 pandemic. Therefore, here comes the design Dance Biodegradable Personal Protective Equipment (DBPPE) post COVID facemasks. The bioplastic masks were 3D-printed using filament, mainly made from food waste and dyed by her local flowers in London. Her design was used in 2020 as a support for the PPE shortages in the United Kingdom.



Elliot Bastianon, Chair from the Growth Sites Series, 2018, blue crystal, steel, copper sulphate.

Elliot Bastianon, Chair from the Growth Sites Series, 2018, blue crystal, steel, copper sulphate.


Furthermore, the series of conceptual objects in the room is the furniture modelled by Australian designer, Elliot Bastianon. During his making process, the steel pieces were submerged in a copper sulphate bath to make the blue crystals adhere. His design encourages people to rethink the intersection between our human-centred society and the systems of our environment.

It is clear these critical design works are not for long-term practical use. However, they do successfully open a conversation for sustainable design development. This demonstrates to the public how designers around the world are experimenting in finding ways for a more sustainable future.



Historical Collection

Stuart Haygarth, Optical (Tinted), 2009 designed; 2018 manufactured, prescription spectacle lenses, micro cable, electrical components.

Stuart Haygarth, Optical (Tinted), 2009 designed; 2018 manufactured, prescription spectacle lenses, micro cable, electrical components.

Stuart Haygarth, Optical (Tinted), 2009 designed; 2018 manufactured, prescription spectacle lenses, micro cable, electrical components.

The large crystal-like chandelier, Optical (Tinted) 2009, is composed of more than 4500 recycled prescription spectacle lenses. It illuminates the surrounding areas from the core with the refraction of light by the layers. It is astonishing that it can be mass manufactured and the details of the product itself were considered.


Jonathan Ben-Tovim, An ode to the airbag, 2019, driver airbags, steel, fan, LEDs, timber.

Jonathan Ben-Tovim, An ode to the airbag, 2019, driver airbags, steel, fan, LEDs, timber.

Jonathan Ben-Tovim, An ode to the airbag, 2019, driver airbags, steel, fan, LEDs, timber.

An ode to the airbag 2019, is a standing lamp that consists of several airbags. Ben-Tovim intends to highlight the Takata airbag tragedy in 2016. The airbag is widely used as a lifesaving technology and can be found in most new cars throughout the world. The design acts as a reminder of the interconnectedness and fragility of design and manufacturing. Additionally, the airbag reveals not only the best but also the worst aspects of the production chain.

Rive Roshan, Amsterdam (design studio), Ruben de la Rive Box (designer), Golnar Roshan (designer), Colour dial table, sunrise light, 2020, colour print, laminated glass.

Rive Roshan, Amsterdam (design studio), Ruben de la Rive Box (designer), Golnar Roshan (designer), Colour dial table, sunrise light, 2020, colour print, laminated glass.

Rive Roshan, Amsterdam (design studio), Ruben de la Rive Box (designer), Golnar Roshan (designer), Colour dial table, sunrise light, 2020, colour print, laminated glass.

Lastly, the design, Colour dial table, sunrise light 2020, displayed as part of a broad range of projects, is a circular glass table with hues of colour on the glass surface. Its intent is to use the glass as a lens and create the changing of lights during the daytime. The designers use the forms and coloured glass to interact with its environment. In terms of functionality, the work is considered at the intersection between art and design.



It is fascinating to see how artists and designers communicate to their viewers through their works. People use their pieces to raise discussions, inspire others, and continue writing human’s history. I am personally thankful to NGV for providing this great opportunity to learn from these outstanding works in a combination of contemporary art and design.


photography by Miao-Chia Chen

restoring hope: reviewing cultivated


by Miller Keys and Eilish Jackson


Showcasing what it takes to create a circular economy within the furniture industry, Cultivated is a captivating exhibition that restores hope to its visitors. Located in Cult Design’s Melbourne showroom, the exhibition displays a number of restored pieces, as well as items from local designers, and a short film exposing the wasteful practices that drive the manufacturing industry.

As part of Melbourne’s Design Week 2021, Cultivated is true to this year’s theme: ‘Design the world you want’, and the three pillars that uphold this: Care, Community, and Climate. From the moment one enters the exhibition, you get a sense of the true appreciation the Cult team have for their products, those who design them and those who create them.

Cult’s showroom creates the ideal backdrop for the exhibition. Located on Melbourne’s iconic Elizabeth street, the building features original brick walls and large glass windows. Every detail of the building’s interior has been meticulously designed, from stair railings to the curtains, which only adds to the experience and reinforces the notion that good design must be appreciated and cared for.

The 1955 Series 7 Chair designed by Arne Jacobsen is an integral element of Cult’s circular design process. At the beginning of the exhibition, the chair is displayed in various stages of its life cycle. The resurrection by the Cultivated  studio, including sanding, painting, and even upholstering to create something seemingly new is shown, while explaining the process on banners hanging behind them. Importantly, these chairs were not just made for the exhibition: each chair was acquired by the Cultivated initiative after a long life in service from many locations throughout Australia. Several have found new homes for continued service post-cultivation.

The exhibition’s layout invites visitors to walk through each step taken to restore pieces of furniture. Guests view the before and after of a few classic items, before settling in on a quintessential Series 7 chair for a short film featuring several Australian designers and creators. They speak of their experiences with waste in the industry and how they are working to change it. Although the film leaves very few questions unanswered, the Cult staff are eager to inform and interact with their visitors and they are evidently proud of the work they have done to create change in such a conservative area.

Cult brand manager, Joshua Ellis, was especially excited to explain how many of the fabrics are made from the same material as plastic bottles, polyester, and was proud to announce that they have partnered with a textile factory being built on the Australia’s Gold Coast, which intends to use both recycled textiles and plastic bottles to create new upholstery materials. Ellis explains the recycling process and how the materials might be used, which certainly gives a greater understanding and appreciation of the work that goes into creating each piece upon visiting the showroom. What stood out about this, however, was that the factory will not be opened for another 12 to 24 months and Cult have already started saving fabrics to send to them, which testifies to the fact that this project is not just a concept or scraps of hope for a better world – these people are making it happen.

After visiting the ground floor, visitors are encouraged to make their way through two levels of showrooms, which display only the best of furniture design (along with the biggest of price tags). While these products are a showcase for grand design of sustainable products, they also demonstrate that ideas like Cultivated don’t come cheap. Many of the products cost well into the thousands and sometimes even tens-of-thousands of dollars, which clearly isn’t within the average home decorator’s budget. This highlights that although Cult is doing important work, until more “wallet friendly” businesses start implementing similar processes, people are not likely to jump on this bandwagon too casually. After visiting Cultivated, it is difficult to see how these processes could be made cheaper before becoming mainstream, and even then, this runs the risk of devaluing the exceptional craftsmanship involved. This is information that was omitted from the exhibition, as Cult’s demographic are very clearly people with large wallets and a strong appreciation for good design. It will take some time to overcome this issue, and that is time that is simply unavailable.

The final stop is the third floor which has been arranged into a studio apartment. Complete with a kitchen and bathroom, the room has been created using only items from Cult’s Nau collection. The apartment is an exciting look into the future of Australian residential spaces, utilising furnishings which are not only Australian designed and made with the best materials, but are designed for longevity, styled to individual taste, and can be repaired many a time so as not to contribute to landfill. Although beautifully arranged and a dream for those with a keen eye for design, this only raised more questions about how it could be made available to those who do not have the money to spend in these situations.

Not only does Cultivated showcase the ways in which furniture and lighting can be restored for longevity, it also invites people to discover new, more environmentally sustainable material options and how these new materials can be used across multiple settings. It is incredibly important to showcase the hard work of people like those at Cult, who are finding innovative ways to change the way people think about  products, while simultaneously taking action in regards to sustainability practices. Although some might see the challenges that arise out of this new way of doing, the exhibition answers more questions than it raises. Cultivated is for both novices and experts alike, who will walk away with a renewed sense of hope for the world.


Photo by Miller Keys and Eilish Jackson

fungi furniture: reviewing studio flek


By Ben Wood

Waste is one of the most significant challenges of our time. Australia produces approximately 540kg of household waste per person, per year. Melbourne alone can fill the Eureka Tower 50 times annually. Although some of this material is recycled, the vast majority is stockpiled in warehouses where it remains unsorted and continues to grow.

Fortunately, design is an industry that flourishes when presented with a challenge. A single material has the power to capture the imagination of a designer and inspire them to develop new, innovative products. Recently, the design scene has embraced the challenge of repurposing various forms of waste generated from daily life and business. We have seen the likes of iron residue and algae repurposed into striking new products for consumers to enjoy. The industry is on a mission to turn our waste into something of value, and challenge our current perception of the life cycle of a product.

For this year’s Melbourne Design Week, Brickworks Showroom teamed up with the Gold Coast creative studio, Studio Flek, to produce an exhibition of biodegradable, home-grown furniture. The founder and head designer at Studio Flek, Chris Miller, partnered with Balter Brewing Co. on the Gold Coast to develop their latest range of bar stools. Not, however, from the traditional materials you might expect. Chris and his team are repurposing the beer hops that remain after the brewing process to grow bar stools, using mushroom spores as a binding agent. In an almost poetic cycle, Chris is creating bar stools that are made from beer themselves, and will hopefully seat visitors in the Balter Brewery one day.

According to Chris, who I was lucky enough to speak to on the opening night of the exhibition, the bar stools will be entirely compostable. Spent hops and mash grain are bound together by mycelium, the root structure of mushrooms, to create a composite material that is 100% biodegradable. Previous testing has found that mycelium has a compressive strength greater than standard brick, whilst maintaining a light and spongy texture, similar to that of high-density foam. In addition to these incredible qualities, the mycelium is also cheap to create, fire-proof, and sound-proof. When I asked whether he believed it was commercially viable, Chris mentioned that there were already a number of studios in the United States and Europe finding commercial uses for the material, including acoustic panelling and insulation within buildings, or as a substitute for foam or plastic in packaging. Chris explained to me that there are a number of benefits of designing with materials perceived as waste. They are low cost, sometimes even negative, as businesses will pay you to take them off their hands. The potential properties are currently unknown and destined to shift and improve with new technology and production methods.

The need to design products with a considered, cyclical life cycle is incredibly important.

Chris also spoke about the Japanese concept of Wabi-Sabi as a key influence for his explorations, where imperfection and aging are embraced as natural parts of the life of a product. His stools are able to be broken down and used for a secondary purpose when their primary function has been fulfilled. While these ideas of cyclic design are not new, it has taken until now for them to be adopted into the mainstream consciousness.

Exhibitions like this one, supported by the NGV and Melbourne Design Week, play a huge role in integrating and normalising these ideas, into new designs and materials. Neurasthenic research shows that we perceive design and art differently if it is labelled and displayed in a gallery or show, as opposed to a store, or even a studio. The recognition from an external ‘trusted’ body alters our perception of a product’s validity, especially if the show is world renowned. A product is unconsciously assumed to be vetted and tested in order to have made it to the stage. This phenomenon has the power to lead individuals within the wider design community to take the leap of faith and invest in these emerging technologies, helping them to become more mainstream. When knowledge is shared, it becomes a tool for entire communities of designers and innovators to push the possibilities of an idea, technology or material.

I for one, am incredibly thankful that Melbourne Design Week chose the theme, ‘Design the world you want’. In a time where resources are precious, it is a holistic theme that asks a very pertinent question. Designers can no longer be seemingly thoughtless in their production and encouragement of a consumer-based society. My hope is that we can all play our part in shifting this narrative of waste towards a circular resource economy before it’s too late.

Photo by Ben Wood

remembering great melbourne tv dramas


By Yvonne Aoll

Over the years, Melbourne has proven its worth in salt when it comes to top-notch TV production. Much to the relish of millions of viewers nationwide, the ‘most liveable city,’ has given viewers Down Under superior, memorable TV dramas that were worth running home for.

Showcasing the best of Melbourne’s architecture, transportation, parks and beaches, these shows not only showed off Aussie lingo and local slang, but also the city’s famous vibrant culture.

So, looking for something delicious to binge-watch? Here are some great TV drama suggestions that were set and filmed in Melbourne:

  1. Winners & Losers 

Nominated for several Logie Awards, Winners and Losers was not only spectacular, but it was also enjoyable, memorable and relatable.

Created by Bevan Lee, the TV drama followed four best friends as they transformed from being high school losers to adult life winners. The show starred Melanie Vallejo, Melissa Bergland, Virginia Gay and Zoe Tuckwell-Smith as Sophie, Jenny, Frances and Bec, respectively.

The show’s writing, acting, directing, and producing was so skilful that it made it easy for viewers to get attached to the characters and story-lines. And what about those catchy soundtracks the show used on almost every episode…? They were so shazam-able.

Release Date: March 22, 2011

Seasons: 5 (2011-2016)

Genre: Comedy, Drama


  1. Offspring

Named Australia’s favourite drama of the decade, Offspring was a fun and flavourful TV comedy-drama that captivated audiences around the nation.

Airing on Channel 10 and later picked up by streaming giant Netflix, Offspring followed the life of a 30-something-year-old Melbourne obstetrician who was struggling to juggle the professional, romantic and (chaotic) family aspects of her life.

Asher Keddie, the star of the show, (and who was brilliantly cast as a co-star in Nicole Kidman’s now-airing, Nine Perfect Strangers miniseries) acted as the eccentric and endearing Nina Proudman. However, it wasn’t just Nina’s character that enthralled audiences, it was also her style that made fans go wild.

So many became taken with Nina’s Fitzroy home and her fashion sense, that there were even websites created for viewers to discuss Nina’s attire on the episode of the week. Where could they get those boots she had on, that scarf she wore, the jewellery they saw? It was an obsession, understandably so.

Keddie’s fellow cast members included, among others, Kat Stewart, Deborah Mailman, Mathew Le Nevez and Eddie Perfect as Billie, Cherie, Patrick and Mick.

Release Date: August 15, 2010

Seasons: 7 (2010-2017)

Genre: Comedy, Drama


  1. House Husbands

Setting a ratings record for Channel Nine, House Husbands was a unique, about-time, comedy-drama that depicted the lives of four men who were in charge of their households and families.

Starring Rhys Muldoon, Gary Sweet, Gyton Grantley and Firass Dirani, as Mark, Lewis, Kane, and Justin, the show took viewers through the challenges of modern-day fatherhood and highlighted the four stars’ efforts in trying to attain the often evasive work-life balance.

Included to make the show a much fuller experience to enjoy, were co-stars, Julia Morris, Natalie Saleeba, Anna McGahan & Edwina Royce as Gemma, Natalie, Lucy and Stella.  

Julia Morris­–one of Australia’s most famous comedians–impressively showed off her fine acting chops on the show. While Natalie Saleeba, with all that sass and flair she has in her, shone.

Whether you’re looking for a light-hearted drama to watch, a family-based show to binge or just some good fun Aussie TV to get into, this stellar Ellie Beaumont and Drew Proffitt production could be the one to go for.

Release Date: September 2, 2012

Seasons: 5 (2012-2017)

Genre: Drama


  1. Sisters

‘Why wasn’t it renewed? When is it coming back?’ If there’s a show that lovers of Australian TV drama want answers about, it’s Sisters.

An excellent ‘dramedy’ (part drama, part comedy), Channel 10’s Sisters focused on Julia, an only child who finds out that her father, a pioneering fertility doctor and Nobel Prize winner, used his own sperm for IVF treatments. The result? She may have hundreds of siblings out there somewhere. Everything unravels from this discovery before it’s established that Julia has two siblings, Roxy and Edie–as far as they know. The three sisters go on to navigate this new reality in their own messy yet interesting ways.

Controversial, extreme,  different, funny,  this MA15+ show was almost indescribably great. Starring Maria Angelico, Lucy Durack and Antonia Prebble as Julia, Roxy and Edie, the show left viewers wanting more, long after the weekly episodes had aired.

Created by Jonathan Gavin and Imogen Banks, Sisters ended up inspiring a US-based spin-off, Almost Family. 

But will Aussie fans ever see a Season 2 of Sisters? We can only hope.

Release Date: October 25, 2017

Seasons: 1 (2017- )

Genre: Comedy, Drama


Photo by Andres Ayrton from Pexels