A famous Aussie pub at the centre of Netflix's true crime series Last Stop Larrimah hits the market
An infamous Aussie pub at the centre of an eight-year-old outback mystery and a Netflix series that gripped the world has hit the market.
The Larrimah Hotel in the Northern Territory is for sale for the first time since the popular two-part series was released in 2023.
The show delved into the disappearance of Paddy Moriarty who was one of town's 12 residents and a regular at the pub when he went missing.
The Irish-born 70-year-old was last seen with his red kelpie cross Kellie leaving the Pink Panther Hotel in Larrimah on December 16, 2017.
Publican Steve Baldwin bought the pub from Barry Sharpe in 2018 not long after Mr Moriarty went missing.
The hotel is located about 500km south of Darwin in the middle of the Northern Territory along the Stuart Highway and is a popular stopover for travellers and tourists keen to know more about the town where Mr Moriarty disappeared.
Real estate agent Warren Andrews is selling the property listed for $795,00 saying, 'You have to see it to believe it'.
He describes the hotel as everything you would expect and want in a 'true blue Aussie bush pub.'
'From the pink panthers, the giant draught stubble, to the resident emus and crocodiles, this pub is steeped in history and mystique,' he said.
Mr Baldwin told NewsWire there was more to the pub's history than the tale about one of its most regular punters disappearing.
'The pub will be 100 years old in five years, it was created during the war by the military and played a big part,' he said.
'We're at the end of the railway line from Darwin, where a lot of troops would come from down from, then go south to Alice Springs and then to Mount Isa and end up back here on the train.
'They built an airstrip here after the bombing in Darwin.
'There were nearly 10,000 people here which is huge, now there is eight.'
Mr Baldwin said three of its residents had died since Last Stop Larrimah first aired on Netflix.
'They were all geriatrics,' he said.
'According to Carl, who was in the Netflix show and lived across the road, he reckons there was no beer on tap here for about 30 years,' he said.
'There were taps in the cool room when I got here that weren't being used so we opened the place up and rebuilt the bar.'
Mr Baldwin said it was hard to quantify how many visitors passed through the hotel each year but more and more people stopped to find out more about the mysterious town.
He said a new gas plant in the Beetaloo Basin was due to start soon which would bring more workers to the region.
The pub also comes with two crocodiles called Sneaky Sam and Agro that live out the back of the hotel and are fed by Mr Baldwin.
'We say we are selling the crocs and we'll chuck in the pub,' he said.
When asked how much a crocodile was worth, Mr Baldwin replied, '$795,000.'
'I just want to slow down a bit and retire,' he said.
'It's a good opportunity for a low level entry into a good business that has lots of opportunity going forward.
'You don't often get a 100-year-old building here in the tropics, or in the Territory, or one at the centre of a Netflix series, and he still hasn't been found.
'There was a reward of $250,000 to find out what happened to Paddy Moriarty, and in the budget last week the treasurer upped it to $500,000.
'I don't know it will ever be solved, and the old publican has died.
'Fran still lives here, she's 81 years old now, she'll stand on the balcony or come in here and say, 'He's leaving, don't go missing now'.'
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
7NEWS
2 hours ago
- 7NEWS
Why do we obsess over serial killers but tune out war crimes?
It is often said that an average person unknowingly walks past 36 murderers in their lifetime — a chilling statistic that fuels Reddit threads, true crime podcasts, and Netflix documentaries. From the likes of Ted Bundy and Jeffrey Dahmer, society has developed a near-obsessive fascination with serial killers. But while these individual criminals captivate millions, mass atrocities and war crimes — such as Israel's devastating war in Gaza, the civil war in Syria, the ethnic cleansing of the Rohingya in Myanmar, the mass internment of Uyghur Muslims in China, or the ongoing violence in Sudan's Darfur region — often receive far less emotional engagement from the public. So why does a single killer enthrall us more than state-sanctioned violence that claims thousands of lives? University of Sydney criminologist Helen Easton the says the answer lies in cultural proximity and perceived relatability, not just of the killer but of the victims too. 'Part of our culture' 'We tend to be fascinated by serial killers who are part of our culture,' Easton told It feels close to home because victims of serial killings are people who live in the same cities and cultures as us. 'There's this idea of proximity, they feel close to us. They might look like us, live where we live, or share our language.' Easton said victims of serial killers — particularly when perceived as 'random' or middle-class — generate public empathy. In contrast, victims of war crimes in distant or less culturally familiar regions often do not. 'There's a subconscious way we categorise people's value. In the case of the Rwandan genocide or violence in parts of Africa, there's often a language and cultural barrier that distances us,' she said. Easton said with Palestine and Israel, the engagement is higher because of Israel's connection with the western world and strong ties with the US but, even then, it lacks the sense of sensationalised focus we see with serial killers. Even fewer people know or are interested in learning about what's going on in Sudan. But serial killers such as Bundy and Dahmer — whose crimes sprees rocked suburban America in the 1970s — continue to fascinate even years after their deaths and captivate the public through documentaries, books, and movies. Bundy kidnapped, raped and killed dozens of young females — many of them students he abducted from their homes., college campuses or from public places by pretending he needed help — across Washington, Colorado, Idaho, Oregon, Utah and Florida from 1974 to 1978. Serial killer and sex offender Dahmer — known as the Milwaukee Cannibal — killed and dismembered 17 young males from 1978 to 1991, with many of his horrendous crimes taking place inside his suburban home. The enduring interest in both those cases compares with UK serial killer Steve Wright, whose five victims in 2006 were sex workers. Easton's own research into Wright, who was convicted in 2008, underscores this selective attention — saying in many cases, it is the worth of the victim rather than the brutality of the crimes that shapes public interest. 'He fits the definition of a serial killer but there was no morbid fascination,' Easton said. 'That tells us something, we care about who the victim is. Prostituted women are seen as vulnerable and society often blames them for their victimisation.' This phenomenon also extends to how justice is pursued. Serial killers, who often lack social or political power, are easier targets for legal accountability. War criminals, on the other hand, are frequently shielded by political and economic interests. 'Serial killers tend not to be powerful people,' Easton explains. 'War criminals often are, and that structural power protects them. While a serial killer may have power over their victims, they don't have power in the broader sociopolitical system.' Psychological fatigue is also something to consider, Easton says. The scale and horror of genocide and war can be emotionally overwhelming, causing many people to disengage. In contrast, serial killers offer narratives that are both terrifying and digestible — and sometimes hit close to home. 'We get fatigued hearing about war and genocide, it's so horrific that I think that we can't grasp it,' Easton said. 'Serial killers are close to us, they're culturally similar to us, physically, perhaps in the same countries, but they're also distant enough from us for us to be interested in them. The chance of being killed by a serial killer is very low.' Despite the disturbing nature of serial killings, many reports on them are packaged for entertainment — from bingeable documentaries to Halloween costumes. Meanwhile, ongoing conflicts involving mass suffering are frequently reduced to headlines or statistics or buried in global news cycles. These media trends reveal deeper truths about our collective empathy and its limitations.
The Advertiser
3 hours ago
- The Advertiser
Iconic Australian migrant story returns to the stage
Stephen Nicolazzo felt like throwing away his culture as a kid but is now using it to bring an Aussie classic to the national stage. Born of Melina Marchetta's iconic 1992 book and award-winning film starring Pia Miranda, Looking for Alibrandi the stage show has embarked on a first national tour. The story follows feisty protagonist Josie Alibrandi as she navigates her final year at a prestigious Catholic girls' school in Sydney. Along the way she finds her father, falls in love and grapples with her identity as a third-generation Italian growing up in Australia. It's an experience Nicolazzo shared as the grandson of Italian migrants. In primary school, the now 38-year-old was embarrassed to pronounce Italian words his classmates struggled with. "You want to throw away your culture and your ethnicity when you're younger because of all of the pressures of being discriminated against," he told AAP. "That's a really strange feeling because you lock away a part of yourself as a result of the pressures of expectation." The lived experience of young Australians from Italian cultures has improved over the past 30 years. "But there are many other migrants who have come to this country since the book was written," Nicolazzo said. "They're experiencing the same discrimination and tensions that Josie faced." The production highlights important issues of acceptance and tolerance, and is relatable to a wide audience. Nicolazzo points to the story's universal recognition of concepts like having to deal with over-bearing family members or being spoken to in a certain way. "The people that watch it are sobbing and laughing because there's a familiarity to it that goes beyond nostalgia," he said. The show first graced Sydney and Melbourne stages in 2022 and has since undergone script changes to enrich one of Jose's love interests, John Barton. "The audience is getting the best version of the show, which is five years in the making," Nicolazzo said. Three new cast members have also joined the fold, including 23-year-old graduate Riley Warner, who plays Josie's knockabout boyfriend Jacob Cootes. The rising star is debuting in his first stage show, having met Nicolazzo as a student. "There's something about him that feels like a national audience needs to see him right away," Nicolazzo said. The show next appears in Sydney on June 11 before heading across NSW, Victoria and South Australia. Nicolazzo hopes audience members take one key message from his production. "It's about finding freedom from the shackles of a culture that doesn't want you to be a part of It," he said. "That's a hard thing to do but we can only do it by making art and talking to people." Stephen Nicolazzo felt like throwing away his culture as a kid but is now using it to bring an Aussie classic to the national stage. Born of Melina Marchetta's iconic 1992 book and award-winning film starring Pia Miranda, Looking for Alibrandi the stage show has embarked on a first national tour. The story follows feisty protagonist Josie Alibrandi as she navigates her final year at a prestigious Catholic girls' school in Sydney. Along the way she finds her father, falls in love and grapples with her identity as a third-generation Italian growing up in Australia. It's an experience Nicolazzo shared as the grandson of Italian migrants. In primary school, the now 38-year-old was embarrassed to pronounce Italian words his classmates struggled with. "You want to throw away your culture and your ethnicity when you're younger because of all of the pressures of being discriminated against," he told AAP. "That's a really strange feeling because you lock away a part of yourself as a result of the pressures of expectation." The lived experience of young Australians from Italian cultures has improved over the past 30 years. "But there are many other migrants who have come to this country since the book was written," Nicolazzo said. "They're experiencing the same discrimination and tensions that Josie faced." The production highlights important issues of acceptance and tolerance, and is relatable to a wide audience. Nicolazzo points to the story's universal recognition of concepts like having to deal with over-bearing family members or being spoken to in a certain way. "The people that watch it are sobbing and laughing because there's a familiarity to it that goes beyond nostalgia," he said. The show first graced Sydney and Melbourne stages in 2022 and has since undergone script changes to enrich one of Jose's love interests, John Barton. "The audience is getting the best version of the show, which is five years in the making," Nicolazzo said. Three new cast members have also joined the fold, including 23-year-old graduate Riley Warner, who plays Josie's knockabout boyfriend Jacob Cootes. The rising star is debuting in his first stage show, having met Nicolazzo as a student. "There's something about him that feels like a national audience needs to see him right away," Nicolazzo said. The show next appears in Sydney on June 11 before heading across NSW, Victoria and South Australia. Nicolazzo hopes audience members take one key message from his production. "It's about finding freedom from the shackles of a culture that doesn't want you to be a part of It," he said. "That's a hard thing to do but we can only do it by making art and talking to people." Stephen Nicolazzo felt like throwing away his culture as a kid but is now using it to bring an Aussie classic to the national stage. Born of Melina Marchetta's iconic 1992 book and award-winning film starring Pia Miranda, Looking for Alibrandi the stage show has embarked on a first national tour. The story follows feisty protagonist Josie Alibrandi as she navigates her final year at a prestigious Catholic girls' school in Sydney. Along the way she finds her father, falls in love and grapples with her identity as a third-generation Italian growing up in Australia. It's an experience Nicolazzo shared as the grandson of Italian migrants. In primary school, the now 38-year-old was embarrassed to pronounce Italian words his classmates struggled with. "You want to throw away your culture and your ethnicity when you're younger because of all of the pressures of being discriminated against," he told AAP. "That's a really strange feeling because you lock away a part of yourself as a result of the pressures of expectation." The lived experience of young Australians from Italian cultures has improved over the past 30 years. "But there are many other migrants who have come to this country since the book was written," Nicolazzo said. "They're experiencing the same discrimination and tensions that Josie faced." The production highlights important issues of acceptance and tolerance, and is relatable to a wide audience. Nicolazzo points to the story's universal recognition of concepts like having to deal with over-bearing family members or being spoken to in a certain way. "The people that watch it are sobbing and laughing because there's a familiarity to it that goes beyond nostalgia," he said. The show first graced Sydney and Melbourne stages in 2022 and has since undergone script changes to enrich one of Jose's love interests, John Barton. "The audience is getting the best version of the show, which is five years in the making," Nicolazzo said. Three new cast members have also joined the fold, including 23-year-old graduate Riley Warner, who plays Josie's knockabout boyfriend Jacob Cootes. The rising star is debuting in his first stage show, having met Nicolazzo as a student. "There's something about him that feels like a national audience needs to see him right away," Nicolazzo said. The show next appears in Sydney on June 11 before heading across NSW, Victoria and South Australia. Nicolazzo hopes audience members take one key message from his production. "It's about finding freedom from the shackles of a culture that doesn't want you to be a part of It," he said. "That's a hard thing to do but we can only do it by making art and talking to people." Stephen Nicolazzo felt like throwing away his culture as a kid but is now using it to bring an Aussie classic to the national stage. Born of Melina Marchetta's iconic 1992 book and award-winning film starring Pia Miranda, Looking for Alibrandi the stage show has embarked on a first national tour. The story follows feisty protagonist Josie Alibrandi as she navigates her final year at a prestigious Catholic girls' school in Sydney. Along the way she finds her father, falls in love and grapples with her identity as a third-generation Italian growing up in Australia. It's an experience Nicolazzo shared as the grandson of Italian migrants. In primary school, the now 38-year-old was embarrassed to pronounce Italian words his classmates struggled with. "You want to throw away your culture and your ethnicity when you're younger because of all of the pressures of being discriminated against," he told AAP. "That's a really strange feeling because you lock away a part of yourself as a result of the pressures of expectation." The lived experience of young Australians from Italian cultures has improved over the past 30 years. "But there are many other migrants who have come to this country since the book was written," Nicolazzo said. "They're experiencing the same discrimination and tensions that Josie faced." The production highlights important issues of acceptance and tolerance, and is relatable to a wide audience. Nicolazzo points to the story's universal recognition of concepts like having to deal with over-bearing family members or being spoken to in a certain way. "The people that watch it are sobbing and laughing because there's a familiarity to it that goes beyond nostalgia," he said. The show first graced Sydney and Melbourne stages in 2022 and has since undergone script changes to enrich one of Jose's love interests, John Barton. "The audience is getting the best version of the show, which is five years in the making," Nicolazzo said. Three new cast members have also joined the fold, including 23-year-old graduate Riley Warner, who plays Josie's knockabout boyfriend Jacob Cootes. The rising star is debuting in his first stage show, having met Nicolazzo as a student. "There's something about him that feels like a national audience needs to see him right away," Nicolazzo said. The show next appears in Sydney on June 11 before heading across NSW, Victoria and South Australia. Nicolazzo hopes audience members take one key message from his production. "It's about finding freedom from the shackles of a culture that doesn't want you to be a part of It," he said. "That's a hard thing to do but we can only do it by making art and talking to people."
Perth Now
6 hours ago
- Perth Now
Iconic Australian migrant story returns to the stage
Stephen Nicolazzo felt like throwing away his culture as a kid but is now using it to bring an Aussie classic to the national stage. Born of Melina Marchetta's iconic 1992 book and award-winning film starring Pia Miranda, Looking for Alibrandi the stage show has embarked on a first national tour. The story follows feisty protagonist Josie Alibrandi as she navigates her final year at a prestigious Catholic girls' school in Sydney. Along the way she finds her father, falls in love and grapples with her identity as a third-generation Italian growing up in Australia. It's an experience Nicolazzo shared as the grandson of Italian migrants. In primary school, the now 38-year-old was embarrassed to pronounce Italian words his classmates struggled with. "You want to throw away your culture and your ethnicity when you're younger because of all of the pressures of being discriminated against," he told AAP. "That's a really strange feeling because you lock away a part of yourself as a result of the pressures of expectation." The lived experience of young Australians from Italian cultures has improved over the past 30 years. "But there are many other migrants who have come to this country since the book was written," Nicolazzo said. "They're experiencing the same discrimination and tensions that Josie faced." The production highlights important issues of acceptance and tolerance, and is relatable to a wide audience. Nicolazzo points to the story's universal recognition of concepts like having to deal with over-bearing family members or being spoken to in a certain way. "The people that watch it are sobbing and laughing because there's a familiarity to it that goes beyond nostalgia," he said. The show first graced Sydney and Melbourne stages in 2022 and has since undergone script changes to enrich one of Jose's love interests, John Barton. "The audience is getting the best version of the show, which is five years in the making," Nicolazzo said. Three new cast members have also joined the fold, including 23-year-old graduate Riley Warner, who plays Josie's knockabout boyfriend Jacob Cootes. The rising star is debuting in his first stage show, having met Nicolazzo as a student. "There's something about him that feels like a national audience needs to see him right away," Nicolazzo said. The show next appears in Sydney on June 11 before heading across NSW, Victoria and South Australia. Nicolazzo hopes audience members take one key message from his production. "It's about finding freedom from the shackles of a culture that doesn't want you to be a part of It," he said. "That's a hard thing to do but we can only do it by making art and talking to people."
