Why Anchovy is a shining example of what makes Melbourne a great restaurant town
A bright dish of prawns and papaya is accompanied by the prawniest prawn crackers you've ever had, a glory of crisp oceanic funk.
As always, Lee is a very fun wine conversationalist, and her list is uncommonly attuned to the menu. The house riesling, made in collaboration with Victorian winemaker Sierra Reed, is especially good – you can sense it was engineered for this restaurant and this food.
Anchovy is a profoundly human restaurant, for all kinds of reasons. Most of those reasons have to do with the creativity and deliciousness of the food and drink, and the genuine welcome you'll feel. It is a shining example of what makes Melbourne a great restaurant town, precisely because it is so imbued with the soul of its owners. It is not a slick machine – it is a deeply personal expression of place and culture and the sometimes messy but always fascinating intersection of passion and business.
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Sydney Morning Herald
11 hours ago
- Sydney Morning Herald
Why Anchovy is a shining example of what makes Melbourne a great restaurant town
There's an abalone sandwich that showcases Le's playfulness with Australiana, the bouncy abalone meat a sweet stand-in for fried fish on soft white bread, complimented by the deep umami of anchovy mayo. A bright dish of prawns and papaya is accompanied by the prawniest prawn crackers you've ever had, a glory of crisp oceanic funk. As always, Lee is a very fun wine conversationalist, and her list is uncommonly attuned to the menu. The house riesling, made in collaboration with Victorian winemaker Sierra Reed, is especially good – you can sense it was engineered for this restaurant and this food. Anchovy is a profoundly human restaurant, for all kinds of reasons. Most of those reasons have to do with the creativity and deliciousness of the food and drink, and the genuine welcome you'll feel. It is a shining example of what makes Melbourne a great restaurant town, precisely because it is so imbued with the soul of its owners. It is not a slick machine – it is a deeply personal expression of place and culture and the sometimes messy but always fascinating intersection of passion and business.
The Age
11 hours ago
- The Age
Why Anchovy is a shining example of what makes Melbourne a great restaurant town
There's an abalone sandwich that showcases Le's playfulness with Australiana, the bouncy abalone meat a sweet stand-in for fried fish on soft white bread, complimented by the deep umami of anchovy mayo. A bright dish of prawns and papaya is accompanied by the prawniest prawn crackers you've ever had, a glory of crisp oceanic funk. As always, Lee is a very fun wine conversationalist, and her list is uncommonly attuned to the menu. The house riesling, made in collaboration with Victorian winemaker Sierra Reed, is especially good – you can sense it was engineered for this restaurant and this food. Anchovy is a profoundly human restaurant, for all kinds of reasons. Most of those reasons have to do with the creativity and deliciousness of the food and drink, and the genuine welcome you'll feel. It is a shining example of what makes Melbourne a great restaurant town, precisely because it is so imbued with the soul of its owners. It is not a slick machine – it is a deeply personal expression of place and culture and the sometimes messy but always fascinating intersection of passion and business.
The Advertiser
a day ago
- The Advertiser
Andy Lee is happy to admit he's riding on Bluey's coat tails
Andy Lee is chirpy, chatty and excited, and for good reason. His new animation series, based on a 10-year-old book he never intended to publish, premieres on ABC iview next week. Do Not Watch This Show is based on his best-selling book series Do Not Open This Book and stars Wizz, a blue monster who refuses to accept that he is the star of a television show and is desperate for kids to switch it off. Wizz, voiced by Lee, goes to hilarious lengths to deter his audience, which only makes him more appealing. In each of the 12 episodes, the audience is desperate to know - why doesn't Wizz want us to watch the show? The all-star cast features Denise Scott, Joel Creasey, Kura Forrester and Dave Hughes, with art direction by the book's illustrator Heath McKenzie. The series also features cameos from Hamish Blake, Glenn Robbins, Carrie Bickmore, Tony Armstrong, Pete Smith, Broden Kelly, Jack Post, Rebecca Harding, Mick Molloy, Ben Fordham and Chrissie Swan. "I sound chirpy? I think I'm always chirpy, it's my natural disposition. I'm probably very annoying to work with," Lee says, laughing. "I'm so stoked to be able to finally talk about this, that's what's put an extra spring in my step today. "It's been a long time coming ... we started entertaining the idea of the animation in 2019, so that's six years of trying to get the project to where it is now. And now it's out in the world, it's really exciting." Lee wrote the original version of Do Not Open This Book on a plane for his nephew George, then aged one. That was 10 years ago. "It took me 40 minutes to write and it was meant to be a singular, private book for George, who we used to call Gee Wizz," Lee explains. "I didn't expect it to be an animation, I didn't expect it to be anything. And then my mate, who's a publisher, asked if he could publish it and I said no. We argued about it for a while and I eventually said yes and I'm glad I did, it's been such an adventure. "The illustrator sent me through a picture of what the character could look like, and I sent him back an egg with legs and arms, badly drawn on the back of a napkin or a card, I can't remember, but that scribble became the basis of the animation." Bringing Wizz to life through animation involved a lot of teamwork. It's based on the vision in Lee's own mind, however, he's not at all precious when it comes to suggestions. "I love having the time to ponder the process, the good ideas and the bad ideas, and we've had that with this project," he says. "I love working in teams, and what's great about this team is that I'll have something in my head and someone will go, 'What about this?' and I'll be, like, 'Yep, that's better!' "The reverse psychology of the title is our biggest asset, I reckon. If you're flicking through ABC iview and it says do not watch this show, hopefully it entices people to click on it." I tell Lee it reminds me of the 1980s Canadian sketch comedy series for children, You Can't Do That on Television, which I watched religiously as a child. "Yes! You are the first person to make the link," Lee replies, excitedly. "Everyone has been asking me in interviews what kids' show I watched the most, and I said You Can't Do That on Television and no one had heard of it, so I've just stopped talking about it. "But that was the show that I loved, because it was constantly looking at the camera and it was constantly saying 'you shouldn't be doing this', or 'we can't be doing this on television'. I loved the cheekiness and the vibe, and it lends itself to my program." We reminisce about the characters and the green slime and I mention that Grammy Award-winning singer and songwriter Alanis Morissette was a cast member. Lee quickly looks it up online ("She was! I'm looking at it now. Incredible, I had no idea it was her"). There are several clever elements underscoring Do Not Watch This Show, in addition to the reverse psychology of the title. One that Lee hadn't considered was the extent to which children are now wrapped in cotton wool compared to, say, the 1980s. "When we were first doing the development of the show, I was working with one of the big animation studios in the US, and their analysis was quite profound compared to what I was thinking," he says. "One thing they mentioned was that there's not many opportunities for children to take risks these days. We helicopter-parent more than we ever did, and for good reasons. "But to have an outlet for kids to take risks and to defy authority is a good thing. We're teaching kids that we don't want complete anarchy, but it is important that we have the courage to question things." The series is also educational, without children realising they are being educated. I liken it to hiding vegetables in their spaghetti bolognese, and Lee laughs. "That's a good way of putting it! I'm gonna borrow that, that's great." Lee is also open - and appreciative - about the way award-winning and internationally adored Australian animated series Bluey has blazed a trail for others in the industry. "People often ask me if I am taking on Bluey and I'm, like, absolutely not, but I'm keen to ride his coat tails because it's paved the way for people like me, particularly in the meetings I've had internationally over the last few years," he says. "The way that people talk about Australian children's television, it's very different these days because we've had that hero to point to. It's opened a lot more doors. And being able to keep the Australian accent is pretty incredible, and being able to portray an Australian identity and share Australian themes. Andy Lee is chirpy, chatty and excited, and for good reason. His new animation series, based on a 10-year-old book he never intended to publish, premieres on ABC iview next week. Do Not Watch This Show is based on his best-selling book series Do Not Open This Book and stars Wizz, a blue monster who refuses to accept that he is the star of a television show and is desperate for kids to switch it off. Wizz, voiced by Lee, goes to hilarious lengths to deter his audience, which only makes him more appealing. In each of the 12 episodes, the audience is desperate to know - why doesn't Wizz want us to watch the show? The all-star cast features Denise Scott, Joel Creasey, Kura Forrester and Dave Hughes, with art direction by the book's illustrator Heath McKenzie. The series also features cameos from Hamish Blake, Glenn Robbins, Carrie Bickmore, Tony Armstrong, Pete Smith, Broden Kelly, Jack Post, Rebecca Harding, Mick Molloy, Ben Fordham and Chrissie Swan. "I sound chirpy? I think I'm always chirpy, it's my natural disposition. I'm probably very annoying to work with," Lee says, laughing. "I'm so stoked to be able to finally talk about this, that's what's put an extra spring in my step today. "It's been a long time coming ... we started entertaining the idea of the animation in 2019, so that's six years of trying to get the project to where it is now. And now it's out in the world, it's really exciting." Lee wrote the original version of Do Not Open This Book on a plane for his nephew George, then aged one. That was 10 years ago. "It took me 40 minutes to write and it was meant to be a singular, private book for George, who we used to call Gee Wizz," Lee explains. "I didn't expect it to be an animation, I didn't expect it to be anything. And then my mate, who's a publisher, asked if he could publish it and I said no. We argued about it for a while and I eventually said yes and I'm glad I did, it's been such an adventure. "The illustrator sent me through a picture of what the character could look like, and I sent him back an egg with legs and arms, badly drawn on the back of a napkin or a card, I can't remember, but that scribble became the basis of the animation." Bringing Wizz to life through animation involved a lot of teamwork. It's based on the vision in Lee's own mind, however, he's not at all precious when it comes to suggestions. "I love having the time to ponder the process, the good ideas and the bad ideas, and we've had that with this project," he says. "I love working in teams, and what's great about this team is that I'll have something in my head and someone will go, 'What about this?' and I'll be, like, 'Yep, that's better!' "The reverse psychology of the title is our biggest asset, I reckon. If you're flicking through ABC iview and it says do not watch this show, hopefully it entices people to click on it." I tell Lee it reminds me of the 1980s Canadian sketch comedy series for children, You Can't Do That on Television, which I watched religiously as a child. "Yes! You are the first person to make the link," Lee replies, excitedly. "Everyone has been asking me in interviews what kids' show I watched the most, and I said You Can't Do That on Television and no one had heard of it, so I've just stopped talking about it. "But that was the show that I loved, because it was constantly looking at the camera and it was constantly saying 'you shouldn't be doing this', or 'we can't be doing this on television'. I loved the cheekiness and the vibe, and it lends itself to my program." We reminisce about the characters and the green slime and I mention that Grammy Award-winning singer and songwriter Alanis Morissette was a cast member. Lee quickly looks it up online ("She was! I'm looking at it now. Incredible, I had no idea it was her"). There are several clever elements underscoring Do Not Watch This Show, in addition to the reverse psychology of the title. One that Lee hadn't considered was the extent to which children are now wrapped in cotton wool compared to, say, the 1980s. "When we were first doing the development of the show, I was working with one of the big animation studios in the US, and their analysis was quite profound compared to what I was thinking," he says. "One thing they mentioned was that there's not many opportunities for children to take risks these days. We helicopter-parent more than we ever did, and for good reasons. "But to have an outlet for kids to take risks and to defy authority is a good thing. We're teaching kids that we don't want complete anarchy, but it is important that we have the courage to question things." The series is also educational, without children realising they are being educated. I liken it to hiding vegetables in their spaghetti bolognese, and Lee laughs. "That's a good way of putting it! I'm gonna borrow that, that's great." Lee is also open - and appreciative - about the way award-winning and internationally adored Australian animated series Bluey has blazed a trail for others in the industry. "People often ask me if I am taking on Bluey and I'm, like, absolutely not, but I'm keen to ride his coat tails because it's paved the way for people like me, particularly in the meetings I've had internationally over the last few years," he says. "The way that people talk about Australian children's television, it's very different these days because we've had that hero to point to. It's opened a lot more doors. And being able to keep the Australian accent is pretty incredible, and being able to portray an Australian identity and share Australian themes. Andy Lee is chirpy, chatty and excited, and for good reason. His new animation series, based on a 10-year-old book he never intended to publish, premieres on ABC iview next week. Do Not Watch This Show is based on his best-selling book series Do Not Open This Book and stars Wizz, a blue monster who refuses to accept that he is the star of a television show and is desperate for kids to switch it off. Wizz, voiced by Lee, goes to hilarious lengths to deter his audience, which only makes him more appealing. In each of the 12 episodes, the audience is desperate to know - why doesn't Wizz want us to watch the show? The all-star cast features Denise Scott, Joel Creasey, Kura Forrester and Dave Hughes, with art direction by the book's illustrator Heath McKenzie. The series also features cameos from Hamish Blake, Glenn Robbins, Carrie Bickmore, Tony Armstrong, Pete Smith, Broden Kelly, Jack Post, Rebecca Harding, Mick Molloy, Ben Fordham and Chrissie Swan. "I sound chirpy? I think I'm always chirpy, it's my natural disposition. I'm probably very annoying to work with," Lee says, laughing. "I'm so stoked to be able to finally talk about this, that's what's put an extra spring in my step today. "It's been a long time coming ... we started entertaining the idea of the animation in 2019, so that's six years of trying to get the project to where it is now. And now it's out in the world, it's really exciting." Lee wrote the original version of Do Not Open This Book on a plane for his nephew George, then aged one. That was 10 years ago. "It took me 40 minutes to write and it was meant to be a singular, private book for George, who we used to call Gee Wizz," Lee explains. "I didn't expect it to be an animation, I didn't expect it to be anything. And then my mate, who's a publisher, asked if he could publish it and I said no. We argued about it for a while and I eventually said yes and I'm glad I did, it's been such an adventure. "The illustrator sent me through a picture of what the character could look like, and I sent him back an egg with legs and arms, badly drawn on the back of a napkin or a card, I can't remember, but that scribble became the basis of the animation." Bringing Wizz to life through animation involved a lot of teamwork. It's based on the vision in Lee's own mind, however, he's not at all precious when it comes to suggestions. "I love having the time to ponder the process, the good ideas and the bad ideas, and we've had that with this project," he says. "I love working in teams, and what's great about this team is that I'll have something in my head and someone will go, 'What about this?' and I'll be, like, 'Yep, that's better!' "The reverse psychology of the title is our biggest asset, I reckon. If you're flicking through ABC iview and it says do not watch this show, hopefully it entices people to click on it." I tell Lee it reminds me of the 1980s Canadian sketch comedy series for children, You Can't Do That on Television, which I watched religiously as a child. "Yes! You are the first person to make the link," Lee replies, excitedly. "Everyone has been asking me in interviews what kids' show I watched the most, and I said You Can't Do That on Television and no one had heard of it, so I've just stopped talking about it. "But that was the show that I loved, because it was constantly looking at the camera and it was constantly saying 'you shouldn't be doing this', or 'we can't be doing this on television'. I loved the cheekiness and the vibe, and it lends itself to my program." We reminisce about the characters and the green slime and I mention that Grammy Award-winning singer and songwriter Alanis Morissette was a cast member. Lee quickly looks it up online ("She was! I'm looking at it now. Incredible, I had no idea it was her"). There are several clever elements underscoring Do Not Watch This Show, in addition to the reverse psychology of the title. One that Lee hadn't considered was the extent to which children are now wrapped in cotton wool compared to, say, the 1980s. "When we were first doing the development of the show, I was working with one of the big animation studios in the US, and their analysis was quite profound compared to what I was thinking," he says. "One thing they mentioned was that there's not many opportunities for children to take risks these days. We helicopter-parent more than we ever did, and for good reasons. "But to have an outlet for kids to take risks and to defy authority is a good thing. We're teaching kids that we don't want complete anarchy, but it is important that we have the courage to question things." The series is also educational, without children realising they are being educated. I liken it to hiding vegetables in their spaghetti bolognese, and Lee laughs. "That's a good way of putting it! I'm gonna borrow that, that's great." Lee is also open - and appreciative - about the way award-winning and internationally adored Australian animated series Bluey has blazed a trail for others in the industry. "People often ask me if I am taking on Bluey and I'm, like, absolutely not, but I'm keen to ride his coat tails because it's paved the way for people like me, particularly in the meetings I've had internationally over the last few years," he says. "The way that people talk about Australian children's television, it's very different these days because we've had that hero to point to. It's opened a lot more doors. And being able to keep the Australian accent is pretty incredible, and being able to portray an Australian identity and share Australian themes. Andy Lee is chirpy, chatty and excited, and for good reason. His new animation series, based on a 10-year-old book he never intended to publish, premieres on ABC iview next week. Do Not Watch This Show is based on his best-selling book series Do Not Open This Book and stars Wizz, a blue monster who refuses to accept that he is the star of a television show and is desperate for kids to switch it off. Wizz, voiced by Lee, goes to hilarious lengths to deter his audience, which only makes him more appealing. In each of the 12 episodes, the audience is desperate to know - why doesn't Wizz want us to watch the show? The all-star cast features Denise Scott, Joel Creasey, Kura Forrester and Dave Hughes, with art direction by the book's illustrator Heath McKenzie. The series also features cameos from Hamish Blake, Glenn Robbins, Carrie Bickmore, Tony Armstrong, Pete Smith, Broden Kelly, Jack Post, Rebecca Harding, Mick Molloy, Ben Fordham and Chrissie Swan. "I sound chirpy? I think I'm always chirpy, it's my natural disposition. I'm probably very annoying to work with," Lee says, laughing. "I'm so stoked to be able to finally talk about this, that's what's put an extra spring in my step today. "It's been a long time coming ... we started entertaining the idea of the animation in 2019, so that's six years of trying to get the project to where it is now. And now it's out in the world, it's really exciting." Lee wrote the original version of Do Not Open This Book on a plane for his nephew George, then aged one. That was 10 years ago. "It took me 40 minutes to write and it was meant to be a singular, private book for George, who we used to call Gee Wizz," Lee explains. "I didn't expect it to be an animation, I didn't expect it to be anything. And then my mate, who's a publisher, asked if he could publish it and I said no. We argued about it for a while and I eventually said yes and I'm glad I did, it's been such an adventure. "The illustrator sent me through a picture of what the character could look like, and I sent him back an egg with legs and arms, badly drawn on the back of a napkin or a card, I can't remember, but that scribble became the basis of the animation." Bringing Wizz to life through animation involved a lot of teamwork. It's based on the vision in Lee's own mind, however, he's not at all precious when it comes to suggestions. "I love having the time to ponder the process, the good ideas and the bad ideas, and we've had that with this project," he says. "I love working in teams, and what's great about this team is that I'll have something in my head and someone will go, 'What about this?' and I'll be, like, 'Yep, that's better!' "The reverse psychology of the title is our biggest asset, I reckon. If you're flicking through ABC iview and it says do not watch this show, hopefully it entices people to click on it." I tell Lee it reminds me of the 1980s Canadian sketch comedy series for children, You Can't Do That on Television, which I watched religiously as a child. "Yes! You are the first person to make the link," Lee replies, excitedly. "Everyone has been asking me in interviews what kids' show I watched the most, and I said You Can't Do That on Television and no one had heard of it, so I've just stopped talking about it. "But that was the show that I loved, because it was constantly looking at the camera and it was constantly saying 'you shouldn't be doing this', or 'we can't be doing this on television'. I loved the cheekiness and the vibe, and it lends itself to my program." We reminisce about the characters and the green slime and I mention that Grammy Award-winning singer and songwriter Alanis Morissette was a cast member. Lee quickly looks it up online ("She was! I'm looking at it now. Incredible, I had no idea it was her"). There are several clever elements underscoring Do Not Watch This Show, in addition to the reverse psychology of the title. One that Lee hadn't considered was the extent to which children are now wrapped in cotton wool compared to, say, the 1980s. "When we were first doing the development of the show, I was working with one of the big animation studios in the US, and their analysis was quite profound compared to what I was thinking," he says. "One thing they mentioned was that there's not many opportunities for children to take risks these days. We helicopter-parent more than we ever did, and for good reasons. "But to have an outlet for kids to take risks and to defy authority is a good thing. We're teaching kids that we don't want complete anarchy, but it is important that we have the courage to question things." The series is also educational, without children realising they are being educated. I liken it to hiding vegetables in their spaghetti bolognese, and Lee laughs. "That's a good way of putting it! I'm gonna borrow that, that's great." Lee is also open - and appreciative - about the way award-winning and internationally adored Australian animated series Bluey has blazed a trail for others in the industry. "People often ask me if I am taking on Bluey and I'm, like, absolutely not, but I'm keen to ride his coat tails because it's paved the way for people like me, particularly in the meetings I've had internationally over the last few years," he says. "The way that people talk about Australian children's television, it's very different these days because we've had that hero to point to. It's opened a lot more doors. And being able to keep the Australian accent is pretty incredible, and being able to portray an Australian identity and share Australian themes.
