From Tokyo backstreets to quiet coastal towns and off-grid cabins, top executives reveal where they holiday and why stepping away makes the grind worthwhile.
5 min
Months of running between meetings and breaking down the working week into 30-minute increments to get through a long list of tasks takes its toll on the most astute business leader.
So, Kanebridge News asked corporate high-flyers where they holiday and how they value their time, which revealed a fascinating insight into not just what makes them tick.
Many told stories of time away from the hustle, spent exploring the dark corners of Tokyo, the beaches of Bali and off-grid tiny homes with loved ones.
They agreed that taking a well-earned break from rigid scheduling and being ruled by a calendar in a high-pressure environment makes the hustle worthwhile.
High-profile Sydney leadership trainer Karlie Cremin leaves the city behind for a break by the beach with her husband and three children, all under 10 years of age.
Having school-aged kids means she’s tethered to the school holiday period for her breaks, but the CEO of leadership program firm Crestcom makes the most of it, driving north of Sydney to the Central Coast for a two-week break at the end of each year at Pearl Beach.
“We love the area because no one goes there, and yet it’s magical. It’s this little oasis away from the traffic jams, which gives us something to look forward to.”
The family hires the same house every year, located within walking distance of the local beach, where they hang out during the day.
“The kids arrive at the holiday house and know where everything is and how to get around. They love the familiarity of hiring the same house every year.”
Karlie loves a bite at nearby eatery Bells at Killcare while in town, which is booked in advance.
“There’s nothing much at Pearl Beach, which is how we like it. Mostly, we barbecue out back, serve salads, and keep it really simple. We enjoy not having complicated dinners when we’re on a break,” Cremin says.
While she would love to completely switch off, the reality is that she does need to be available for work.
“There are some tasks that only I can do in the organisation, but I tend to handle those things that pop up once the kids are in bed, so it doesn’t interfere with family time.”
Running the largest global franchise pool service brand as it continues on a strong growth trajectory is a big job for Nic Brill, who stepped into the global CEO role late last year. (SUBS 2025)
He admits that leading a service business of scale requires clear thinking, good judgement and sustained energy.
“I’m at my best when I’ve had time to step back and reset, so I view downtime as a strategic necessity.”
The company works hard to create environments that elevate people’s quality of life at home.
“We also take a few international breaks throughout the year. For me, the ideal holiday is somewhere warm, relaxed and close to the water.”
“Time is one of those things you can’t manufacture, so I’m very deliberate about how I use it. When I’m taking a break, I try to protect it so I can be present with my family and properly recharge. At the same time, I lead a large franchise network, and I’m always mindful of my responsibility to our people.
Small townships dotted along the northern NSW coastline has become a favourite, where he goes to switch off, spend time with family.
“I’m happiest when the days are simple – time by the pool or ocean, good meals and a chance to slow down and reconnect.
“I also like to keep active, whether that’s swimming, getting out for a run or exploring somewhere new,” Brill says.
The founder of Australia’s largest privately owned flexible workspace operations has spent more than a decade building his business.
Founded in response to the growing number of freelancers and entrepreneurs requiring workspace following the global financial crisis, the pioneering business model has been built on sweat equity.
But when he’s away from the daily grind, Brad likes to book flights to somewhere in Asia, which has emerged as a favourite holiday spot for him and his family. Malaysia, Thailand and Bali are popular spots.
He also recalls a great holiday in Tokyo’s Shinjuku Golden Gai, a collection of mismatched, tumbledown bars lining a darkened corner of the city.
While adventure holidays were a favourite in years gone by, that’s not so much the case these days as a family man. He often spends time trying local cuisine, wandering through retail areas and seeing the local sights, which are his favourite.
Holidays across Australia are also a favourite. “When I’m away, the out of office is on, and the team know that if they need me, they need to call or text me. I’m not contactable on email when I’m on a break, which means I’m not buried in my inbox while I’m away. Keeping yourself off the emails or Slack or whatever it is gives you that distance from work that enables you to take a good break.”
He also likes to take a break by himself occasionally to recharge. “I try to take all my leave each year, because it helps me be better when I’m at work.”
Brad has taken a few breaks at an Unyoked Cabin, an off-the-grid cabin in a remote area, both alone and with his daughter.
Quick little nature getaways that mean you’re completely disconnected are the best. And I never finish a holiday without having booked your next one,” he admits.
Spending his working days at the helm of a Perth-based wealth management and financial planning firm is where Justin Gilmour belongs.
But when he’s on a break, he prefers to get in the car rather than a plane, driving to the regional area of Yallingup in the southwest of Western Australia in the Margaret River region.
He loves to slow down and enjoy warm, sunny days and gentle coastal breezes when relaxing. “The beaches in the south-west are world-class, offering pristine sands and crystal clear waters that rival any international destination. For me, there’s simply nowhere better to unwind and recharge than this spectacular corner of the country.”
His break is spent with his wife and kids, but he admits half of Perth heads up to Yallingup as well.
“We’re always bumping into people (and even clients) that we know. But spending time in Yallingup allows me to slow down and enjoy the simple pleasure of life with my family.”
He prefers not to stay in touch with the office too much while he’s down there, using the time to reset and recharge, but does chat to clients when he bumps into them.
“I think it’s important to have that period of clear headspace and take a step back and look at the bigger picture, both in terms of my personal life and for the business. A daily swim is certainly a must when I’m down there.”
Margot Robbie and Jacob Elordi star in an adaptation of the classic novel that respects the romance’s slow burn.
A resurgence in high-end travel to Egypt is being driven by museum openings, private river journeys and renewed long-term investment along the Nile.
Margot Robbie and Jacob Elordi star in an adaptation of the classic novel that respects the romance’s slow burn.
3 minThe most 2026 element of the latest screen adaptation of 1847’s hottest novel, “Wuthering Heights,” is the scene in which Heathcliff repeatedly asks the young lady he’s undressing, “Do you want me to stop?” even as she writhes with lust, indicating an affirmative response is unlikely.
Previously understood as a notorious brute even by 19th-century standards, Heathcliff now exhibits signs of having earned perfect grades in today’s campus training modules.
There’s also a reference to septicemia, which is writer-director Emerald Fennell’s perhaps too-technical stab at explaining the nonspecific Victorian disease that afflicts one character.
Mostly, however, Ms. Fennell has done an admirable job of not modernising a dark and moody romance. If most of today’s filmmakers crave hearing, “This is not your mother’s (fill in the blank)” when adapting classic material, this pretty much is your mother’s “Wuthering Heights,” or at least one she will recognise.
Catherine Earnshaw, played with great soapy gusto by Margot Robbie, is still the same judgment-impaired social-climbing drama queen as ever, and Ms. Fennell frequently associates her with a rich, decadent red—the colour of the bordello—to suggest that she has unwisely traded her body for riches.
Ms. Fennell, who won an Oscar for writing the feminist parable “Promising Young Woman,” doesn’t bother suggesting that Catherine is a victim of society’s impossible expectations for women, which allows her to focus on the core story without intrusive mutters of disapproval for 19th-century mores.
The plot is a template for every Harlequin romance about a woman caught between a sexy beast and a languid but wealthy wimp.
Catherine, who lives with her frequently drunken father (Martin Clunes) on a struggling Yorkshire estate called Wuthering Heights, grows up with a wild, apparently orphaned boy adopted by her father after being found hapless in the street.
The boy at first doesn’t even talk, and seems to have no name, so Catherine calls him Heathcliff. As an adult, he is played by Jacob Elordi , an excellent match for Ms. Robbie, both in comeliness and star power.
The pair grow up best friends and even sleep in the same bed. The desperate attraction between them is evident to both, but Catherine has her sights set on a higher-status mate than this mere stable boy.
After much figurative and literal peering over the walls of the posh neighbouring estate, Thrushcross Grange, she twists an ankle and becomes a six-week houseguest of the gentleman who owns it, the wealthy Edgar Linton (Shazad Latif). He lives with his ward, Isabella (Alison Oliver). Heathcliff, in agony, moves away without notice while Catherine marries Edgar.
Ms. Fennell has greatly streamlined the complicated plot of Emily Brontë’s novel, eliminating the framing device, the supernatural element, several peripheral figures and a second generation of characters.
Other adaptations have made similar excisions, and yet the latest version is luxuriantly long, fully half an hour longer than the much-loved 1939 film by William Wyler that starred Merle Oberon, Laurence Olivier and David Niven.
Ms. Fennell is a millennial who might have been expected to make the material slick, hip or at least fast; she has done none of that.
The story is a slow burn, as it should be, an extended sonata of moaning winds, crackling storms, smouldering glances and heaving bosoms. When you’ve got two actors as luminous as Ms. Robbie and Mr. Elordi, you don’t need them to say clever things, and they don’t.
Having simplified matters, Ms. Fennell sloughs off the psychological depth of the novel and instead lavishes attention on the heavy breathing and the decor, exhibiting much interest in the ornate mansion in which the Linton family lives (one room is set aside for ribbons only) and the costumes and accessories with which Ms. Robbie is gloriously draped.
Catherine essentially becomes a character in a Sofia Coppola movie who grows increasingly trapped and anguished in proportion to her cosseting. A slate of songs by Charli XCX captures Catherine’s tragic self-absorption without seeming jarringly modern.
The movie is very much aimed at female viewers, and Heathcliff (whose bare-chested form Ms. Fennell’s camera adoringly takes in) is less robustly drawn than in some previous iterations, driven mainly by carnal lust rather than a more all-encompassing rage.
Olivier’s demonic anger at the world came through clearly, whereas Mr. Elordi’s Heathcliff seems as though he’d be content to simply peel away Catherine from Edgar. And though Nelly (Hong Chau), Catherine’s maid and confidante, plays an essential role in developments, her character remains a bit frustratingly hazy.
Still, in the wake of adaptations such as 2012’s “Anna Karenina,” with Keira Knightley , and 2013’s “The Great Gatsby,” with Leonardo DiCaprio, that were all sizzle and flash, “Wuthering Heights” is a worthy throwback.
Deeply felt longing is its own kind of sizzle.
