Venue 317

Editorial

Editors: concrete.venue@uea.ac.uk Ana Dukakis Joe Fitzsimmons Arts: concrete.arts@uea.ac.uk Brett Mottram Creative Writing: concrete.creativewriting@uea.ac.uk Jay Stonestreet Fashion: concrete.fashion@uea.ac.uk Lizz Gowens Leah Omonya Film: concrete.film@uea.ac.uk George Barker Melissa Haggar Gaming & Technology: concrete.gamingtech@uea.ac.uk Tom Bedford

Issue #317 17th November

On the evening of Friday 13th November, armed terrorists carried out a series of coordinated attacks in the centre of Paris. Beginning by detonating bombs outside the Stade de France, gunmen then proceeded to open fire on civilians in heavily populated areas, including concert attendees at the Bataclan theatre. Current estimates state that 129 people were killed, and over 350 were injured.

The shock at these horrific and abhorrent acts has been felt around the world. Venue offers its condolences to the people of France, and we send our prayers to the victims of this tragedy, and to their loved ones. We cannot begin to imagine the pain that they must feel at this time.

In this issue, we have featured a review of the Eagles of Death Metal concert at UEA that took place on November 1st. We were in the process of preparing this review for print, when news of the events broke. The Eagles of Death Metal were performing at the Bataclan theatre when the shootings took place. We therefore had to make a decision on whether to withdraw this article from print out of respect to victims of the attacks, or commit to publishing the article as originally planned.

After much consideration, we have decided to include the article. Despite the connection between this performance and the events in Paris, we believe that to not print this article, thereby censoring our own small experience of this music, is to validate these extremists’ beliefs that this culture should not be celebrated.

We want to stress that in this instance, we in no way wish to trivialise the lives and losses of those involved, nor the complex circumstances of these events in order to circulate the creative works of UEA students. Nor do we claim to fully understand the wider implications of these attacks, nor the massive cultural response that needs to be made in the face of these events.

We hope that, despite any personal beliefs you may have on this subject, you will be able to understand our reasons for this decision. We do not claim that this decision is the only appropriate one to make in this situation, but it is the one we have made.

Music: concrete.music@uea.ac.uk Freya Gibson Daniel Jeakins Televison: concrete.television@uea.ac.uk Hannah Ford

Art and Design: concrete.artdesign@uea.ac.uk Dougie Dodds Cover Art : Dougie Dodds

3

Music

Ash Interview

Venue Chats to the Irish Guitar-Heroes

Westley Barnes Venue spoke to former Glastonbury headliners Ash ahead of their highly anticipated performance at the Waterfront on 12 th December.

Ash, for a generation of Grunge and Britpop hungry mid ‘90s teens, represented all the innocence and promise of indie rock after the sorrowful demise of Kurt Cobain. Here were three fresh-faced and geek culture obsessed sixth formers from Northern Ireland whose envy-fuelling knack for melodic guitar fuzz and unlikely meteoric success delighted and confounded in equal measure.

Making their Top of the Pops debut with ‘Girl From Mars’ (the song is now used by NASA as their “on hold” tone) two weeks after sitting their A-Levels in August ’95, the boys were barely acnefree before topping the UK charts with their classic 1996 debut album 1977 (named for the year of Singer/Guitarist Tim Wheeler’s birth and the band’s favourite movie Star Wars). Even more impressive/ frustrating is the fact that their seven track EP Trailer was released two years previously in ’94, and featured songs and playing advanced to a level of most road-hardened bands at an age when most lads nowadays hear a guitar solo for the first time.

The shining example for every provincial garage rock band who dreamed of appearing on a still music-featuring MTV in the late ‘90s and early noughties, Ash have soldiered through more periods of commercial dips in interest than many a lesser band, and are back to storm UK venues promoting their sixth studio album Kablammo!, featuring what should

prove to be a memorable stop-off at The Waterfront on 12 th December. Speaking to me on a reflective Monday morning after an action-packed Halloween weekend with his kids (even indie teen rockers must face up to domesticity, it seems) drummer Rick McMurray sounds excited to get back touring.

After a quick chuckle over the blatantly obvious choice of an Irish interviewer for a mutually understandable Irish musician, Rick launches into his thoughts on the band’s upcoming schedule: “We’re really looking forward to this tour. What we normally do is release an album and get on the road as quickly as we can, but as we’ve been doing a lot of festival shows this summer it’s been quite stop and start this time around, but we’re just back from an American tour and it seems that the Kablammo! material is sitting really well with our more familiar pieces, and it’s a good feeling for us to be able to get away with that at this stage in our careers”.

The band haven’t really done an album tour per se for a decade. I mention this to Rick who concurs “we haven’t done an album since 2007 (Twilight of the Innocents) which we stated would be our last. We kind of predicted, going by the state of album sales at that time the death of the long player a little prematurely. It seemed frustrating to us that the music business in general was just sticking its head in the sand over this, so we took it upon ourselves to say “if the industry isn’t going to change we’re just going to try a different tactic ourselves. We took a bit of a risk, it was a great thing to do, but it seems in the intervening years the album has seen a bit of resurgence, which also is great news for us, especially in terms of the

resurgence of vinyl, something that as a band we’ve always been into putting out.

We even released all the A-Z singles on Vinyl. There was definitely a pressure to live up to that quality of albums we’d done previously, like we were thinking “if we’re going to return to this format, it needs to be right up there with 1977 and Free All Angels.”

Referring to the band’s third album, their second UK number 1, Free All Angels was a triumph for Ash, having effectively made the album with their own money, after their record label was apparently disinterested with their initial attempts. “We handed them the demo of ‘Shining Light’ and they effectively said “well, that’s shit, no thanks, we won’t be funding any more of that”. So we decided to take whatever money we had left to make it with a producer who believed in us and who didn’t expect upfront payment.

It really was a make or break record for us, as our second album (1998’s Nu-Clear Sounds) got criticised in the press for being too heavy, it really was the difficult second album for us. Luckily after a lot of hard work and kind support Free All Angels became what is.”

The album hit the top spot in April 2001 the same week Janet Jackson’s All For You failed to. I asked Rick whether the notorious story about him calling Jackson’s record company Sony and singing the chorus of Outkast’s ‘Miss Jackson’ was true-which he heartily confirms. “It was a case of me having a few celebratory drinks and getting a text from our manager saying “her label pumped millions into getting her a number 1 and we’ve effectively done it on the cheap, go on, ring them and let them know!” The story

of triumph over record label adversity is a humble lesson for any band, its news quite aptly best delivered with the hallowed tones of Southern Rap. We spend the rest of the interview discussing on tour habits – no drugs, just mastering the art of playlists and knowing your fellow band members boundaries. Rick mentions ‘Ween’ as a mainstay on the band’s touring iPod, and I mention Pure Guava as a keeper - he responds “all you need is some singalong funny shit to get you through a tour. That and knowing when not to chill together and not”. Discussing an upcoming European tour with long time friends effortlessly humourous New York postpunkers , We Are Scientists - Rick says “that’s something that’s going to be great.

Going on tour with guys you’ve known for a long time breaks the monotony of being in the same band for this many years, and we’re doing a co-headline thing where we both play forty minute sets and then do a supergroup thing where all members of both bands just get up and rock out. We’ve been rehearsing plenty for that set, but the Scientist lads are saying they’re just going to fly over and see what happens - which knowing them, should be interesting!”

If you like to hear the sounds of melodically youthful nostalgia played at an exceptional volume, head down to see Ash at The Waterfront on 12 th December. I leave Rick saying I’ll be the loud drunk lad in the front singing along, and he says he’ll catch up with me over a beer. Northern hospitality.

Even if we’re in for a cold one, the Ash boys will bring the sounds of summer.

Illustration: Ana Dukakis

4

Music Pop Showdown - One Direction Vs Biebs The Two Pop Giants go Head-to-Head

Gabrielea Garcia-Huff If you’ve been on social media at all in the last month, you’re likely aware of the album releases from two of pop music’s biggest artists. 13 th November is a big day for Justin Bieber and One Direction, as they both attempt to experiment with new sounds in the hopes of garnering fresh audiences and remaining relevant in the eyes of the young fans that have supported them to stardom thus far.

It goes without saying that there has been a bit of a stir surrounding this release date, with Bieber using Snapchat to comment on One Direction’s decision to release their album on the same day as his. However, members of the band kept it civil, assuring us that the situation was pure coincidence and there was no need for any drama between the artists.

The build up for the release of Bieber’s single ‘What Do You Mean’ on 28 th August included a massive thirty-day countdown and the assistance of several celebrities, who used their Instagram

accounts to help promote his comeback.

With obvious influences from Skrillex, who he collaborated with earlier this year, this single introduced a new sound for Bieber. He strays from his typical pop based structure, relying on synth beats and taking a more simplistic approach.

The song found international radio popularity as well as a club audience, making it a successful lead single for the upcoming album. More singles followed, with the release of “Sorry” and “Love Yourself ”, which was co-written by lyrical mastermind, Ed Sheeran.

The album, entitled Purpose, has more than just musical buzz surrounding it, with many fans speculating about the allusions to Bieber’s relationship with Selena Gomez.

With his seemingly reinvented sound and constant attention in the media, Bieber has fully grasped this opportunity to change his somewhat negative and rebellious image. If the commercial success of these singles is any indication of how the album will be received,

Justin Bieber has no reason to worry about a little healthy competition with fellow pop superstars, One Direction.

With their fifth studio album, and the first without powerhouse Zayn Malik, One Direction has a lot to prove with the release of Made in the A.M. On 31 st July, they released their first single for the album, ‘Drag Me Down’, which immediately established a more mature sound for the band and assured fans that they were fully capable of succeeding without Malik. The song gives a nod to the passionate dedication of their fans through the years. With comparisons being made to The Police and other pop-rock influences, One Direction endeavors once again to remove themselves from their previous niche audience and appeal to a more mature and universal fan base.

Of course, they will always have their hoards of screaming teenagers supporting them until the very end, but this album has the potential to

establish them as more than just a boy band. More singles have followed, including “Perfect” and “Infinity”, with recognisable themes of female praise and unrequited love.

However, their incorporation of rock and folk soundstruly showcases the musical talent that propelled them through the X-Factor and to their status as billion-dollar boy band. With an upcoming hiatus, this album gives One Direction the opportunity to create something worth coming back to.

Both Justin Bieber and One Direction have had polarizing effects on audiences in the past; it is important for their music to develop with their audience.

With the release of Purpose and Made in the A.M., both artists have the prospect to do just that. Whether you love them or hate them, there is no doubt that both albums will find commercial success.

The real question is, who will sustain this stardom and create for themselves an image beyond that of teen pop idol?

Leftfield Review

Leftfield Give an Unforgettable Performance at the LCR Ciaran Wright After a 16 year wait, Leftfield’s new album Alternative Light Source, released in June this year, has brought progressive house back to the forefront of electronic music. Although the last album release before this one was in 1999 with Rhythm and Stealth, with the band now functioning as a one man band - Neil Barnes - following Paul Daley’s departure, it is heartening to find upon listening that Leftfield’s music is still brilliant and exciting.

Yet it wasn’t only the musical element that got me excited for this gig; their notorious live sets encompass a wide range of visual episodes, acting as an equaliser for the Leftfield experience.

Perfectly balanced and equally hypnotic, they demonstrate an awareness and understanding of performance, whilst still maintaining that trademark “sod it” mentality of the 90s.

The opening of the gig mesmerised the mix of nostalgic forty year-old Norwich locals and pumped up students scattered over the LCR floor. Rays of white light shifted from shape to shape, creating a sunrise that awoke the audience. It was fitting that they chose to warm up the crowd with one of their new songs: ‘Bad Radio’. Its emphatic drumbeat was absolitely perfect for setting the tone of the gig.

the extent of their musical knowledge.

The time signature changes depending on which element you focus on, and listening to it live in the LCR made this so much clearer. The differing signatures from the kick of the drum to the pounding of the bass meant people were finding their own grooves and completely owning it.

This fed straight into arguably their best song of the new album and new single: ‘Universal Everything’. The sevenand-a-half-minute epic sent half the audience into a trance-inducing state, while the other half bounced around like it was still the 90s. To be fair, there was no escaping the sounds or the flashing lights, which only served to further cement their quality.

The introduction of Earl Sixteen towards the middle of the set allowed Leftfield to properly engage with the audience.

Notorious for his reggae, Earl brought with him a sense of atmosphere and mystery. His lingering movements sent the audience straight back into hypnosis.

Earl orchestrated the crowd like some kind of preacher, hovering down low to settle the tempo, then turning rapidly and jumping up to the white lit sun around him when things got intense.

Then came their notable ‘6/8 War’ track which, when seen live, really highlights

‘Shaker Obsession’, a proper progressive house track, highlighted the best of what

the new and improved Leftfield had to offer. Up to this point they had teased those who knew them from their early work with what was to come.

In their encore they were rewarded, with songs from their critically acclaimed Leftism. ‘Song of Life’, an original 7-minute epic encompassed everything Leftfield are about, bass heavy, jungle, trance, dub, techno; a fusion of musical genres.

Neither the crowd nor the bright lights stopped during the encore, and demonstrated to all of those who weren’t around in the 90s what they had missed.

Deafening and emphatic, their final song ‘Phat Planet’ awoke a fierce ovation from the exhausted and exercised crowd. The ending of the chaos brought with it a sense of relief, but I couldn’t help but feel saddened by the fact that I might never get to witness Leftfield, in all their deafening greatness, again.

5

Music The Hoosiers Interview The Hoosiers Talk About Their Newest Album, Dream Venues, and Potential Future Plans Alice Mortimer Album number four, The Secret Service came out early October. How was the writing and recording process this time around?

“It was good, much easier. There was only three of us and we set really small periods of time to do it all. We only did 10 days in the studio altogether so we were much better prepared and we knew exactly what we were going to do in the studio. Whereas the previous album, ‘The News from Nowhere’, was sprawling out, a day here a day there, it went on forever. This way we got to be more concise.”

How have you found the reaction to the new album so far?

“Judging by the live performances, it’s been really good. We did ‘Up To No Good’, which is our current single, as part of our encore. Fans are really happy with it as far as we can see.

I haven’t actually read that many reviews, I know there’s been a couple of good reviews online.”

So, you very recently finished your UK tour, how did it go?

We’re gutted you didn’t come to Norwich!

“Ah, we played Lowestoft! Is that near you? That’s the closest we got. We haven’t played Norwich in a few years actually, that’s on the wish list! But no, it was really good fun. We were on a tour bus, which we haven’t done in a while, it was great for the team spirit. We’re all still really good mates, you know, we all just get on really well.

Gig-wise we’re playing the smaller venues now, but the atmosphere is really really exciting and really really cool. And hot and sweaty.

And we really get to connect with the fans.”

Is there a particular venue you’ve always wanted to play?

I feel as though although your music has changed, it still sounds like The Hoosiers. How do you feel your music has evolved since you first began playing together? And does this seem like a natural progression?

“We definitely ticked off a few places with the big festivals a few years ago. But venue wise, I don’t know, it would be good to play Wembley, I mean, the O2! But that’s a dream a couple of years away I reckon, we’re not quite there yet! But if we’re not there, the venues we are playing are actually really really great, it’s more fun than the bigger venues, I’d say”.

“Exactly what you just said. It’s natural. It’s not a real conscious “oh now we’re going to get a bit darker” or “we’re now going to do this or that”, our music tastes change and it all just kind of infuses into it really.

“Everyone says that afterwards. A lot of fans come and see us after the show and say “ah it’s great to see you up so close”, and there’s actually a bit where we jump into the audience and get an acoustic out and kind of walk amongst the people. And it’s really cool, you know, we wouldn’t be able to do that in the bigger venues.

Never go to a stadium, I went to see Coldplay at one and it was so rubbish!”

From a lyrical point of view, I think we all still feel strongly about the kind of things that make us tick. As in, not just your standard boy-girl love song, but something with a bit of an edge, something a bit different, and that hasn’t really changed.

The willingness to write good, interesting songs is still there, but the sonics just kind of move and change as the years go by really.”

The Trick to Life was the soundtrack to my early teens, many-a-night blasting ‘Goodbye Mr A’ in my bedroom!

Do you find at your gigs that there’s a high demand for these old classics?

Do you have a main inspiration at the moment? Or are there any bands new on the scene that you’re into?

“Well as it happens we’ve been doing more songs from album number one than we have been with any other album tour, mixed in with obviously the new album.

It wasn’t a conscious decision.

But we just kind of mixed up our set list and it’s just gone out that way”.

“We’ve had a few people, like yourself, who have come up to us and said “ahh your album was the first album I ever bought”. So we’ve got like a new generation almost of people who have never seen us before, but, you know, it’s still as ‘fan-tastic’ as the guys who supported us seven years ago.”

“We don’t listen to much new music really. Big Star? They’re not new but they’re new to us. But also, one of my more favourite bands of recent years is Passion Pit. They’re actually nothing like the stuff that we do but I get a kick out of listening to it and it excites me about music, so then I’ll go a write a tune. Tame Impala does a similar thing for me.”

We do listen to new music, of course we do, but we’re not listening to Radio 1 that much these days.

You’ve spoken previously as a band about the dangers of major labels, do you guys feel you were treated unfairly after ‘The Trick to Life’ came out?

“It was pretty surprising actually that it all kind of came to such an abrupt end. I think it was unfair.

Up until then our label were fantastic. But we lost the main supporter, the guy that signed the band, he moved on. And this often happens with bands.

If you lose the personal touch, the human being who invested in you, then you just become a number in a big company. So what happened to us wasn’t that unusual, it’s just the way it goes I guess.

But in a way it’s opened up a whole new world for us of communicating with our fans and being much more in control of what we write and how we release it. So, yeah, no regrets!”

Obviously the music industry is a competitive market, if you were to give any advice for newcomers on how to stay themselves musically in such an environment, what would it be?

“Try and work fast, keep moving and keep changing, keep pushing yourself. And don’t get settled on, you know, three songs. Keep yourself excited, because no-one will get behind you if you’re not excited. People are going to smell a rat, they’ll be able to tell. So I guess not to get too complacent and to just keep pushing yourself.

My vague advice!”

Lastly, what’s next for you as a band?

“The plan is to sit down and make a plan! So get everyone together, sit down with our agent and look at what’s coming up. Not next year but the year after will be ten years since ‘The Trick to Life’. So we’re thinking we might maybe do something around that time.

We might do a little EP. But who knows, we’re not quite sure yet, but we’re heading there!”

Illustrations: Ana Dukakis

6

Music

Alice Mortimer & Muse Giacolone

largely made up of guest vocalists, it’s nice to hear Disclosure completely on their own with vocals from one half of the duo, Howard Lawrence. A lot of Disclosure’s music sounds the same, and ‘Jaded’ is no different (it’s not difficult to listen out for the catchy synth and excessive use of hi-hat) – but it will most probably get you moving your hips.

Disclosure continue to provide consistency.

Don’t know what people want to listen to at pre-drinks? You can’t go far wrong with this track. And if you can’t go wrong with ‘Jaded’, you can’t go wrong with the entire album.

The Libertines – Gunga Din

The 1975 – Love Me

The Libertines don’t seem to have changed their sound much since making a comeback, which just goes to show how timeless they are as an indie-punk rock band, even after a huge 11 year absence. Their third album Anthems For Doomed Youth was released back in September, along with their come back single ‘Gunga Din’. Significantly less boisterous than the ‘What A Waster’ days, but they’re still the unruly Libs of a decade ago. If you want a slightly (ever so slightly) tamer version of the old school Libs, but nevertheless with a crescendo of shouty swearing at the end for you to angry power-walk to, give ‘Gunga Din’ a listen.

The indie-pop group are back, and definitely in better spirits. Their new track ‘Love Me’ still sounds like The 1975 (they have yet to have lost their exaggerated British accent), but it seems a bit more as though they’re up for some fun, rather than being the soundtrack to the life of a hormonal teenager, which seemed to be the case with classics ‘The City’ and ‘Sex’. It’s more pop than we’re used to, with the use of quirky keyboard riffs, but this is a new sound of theirs I really love. If you’re wanting to lift your mood with some fun indie-pop, go back to The 1975.

Disclosure - Jaded

Dutch electro band “Lust for Youth” is making their first great show of musical talent in their debut album International released in June 2014. Causing sensation in many parts of

This track from the duo’s new album release (Caracal) is a joy to listen to! With an album

Lust for Youth- Armida

the world, they successfully mix soft feminine voices with loud, sometimes dark percussions and synths reminiscent of the 80s New Wave scene. Though their sound is closer to dance music, this tune in particular has something slightly melancholic and ethereal to it. Enjoy it on your way to lectures in the morning, I find it to be great motivation to begin the day.

Cigarettes After Sex – Affection An ambient pop collective based in Brooklyn, ‘Cigarettes after Sex’ has arguably become one of the most under-rated bands in the last few years. Their first EP entitled Firefighter, released in 2012, has not been justifiably showcased but is a bewitching collection of songs nevertheless. The iconic voice of the lead singer, very feminine and delicate merges perfectly with the sometimes harsh and vulgar, love-related lyrics. High-pitched, rapid electronic guitars with a slow bass and consistent percussions, this track is soporific and honest.

Gardens and Villa – Maximize Results A less recent band from California, ‘Gardens and Villa’ remains timeless. Their innovative synthpop is especially present in the track ‘Maximize Results’, a quick-paced, nervous but entrancing song. From their newest album Music for Dogs released in 2015, this track moves insanely swiftly, escalating with the height of the singer’s voice into an almost alarmingly loud screech. It’s also the mass

of unusual rhythmic clapping that makes ‘Maximize Results’ a song embedded in movement and rush. Most definitely a song to let loose and get angry to.

Splashh – Pure Blue Indie rock band from East London, ‘Splashh’ returns with their newest single ‘Pure Blue’ in 2015, an ode to their loud, statement guitars and heavy drums. Sasha Carlson’s (lead vocalist) teenage voice resonates very well with the band’s signature percussions. The laidback garage-pop is being renewed with systematic electronics, making their overall sound crisper and cleaner than their previous, dreamier, more hazy music. This is a track for enjoying the end of midterms or essay drafting: a true celebratory anthem.

Jon Hopkins – Open Eye Signal An amazing electronic tune from Jon Hopkins’ 2013 album Immunity, that intertwines a slow progressive intro into a loud, heavy and constant beat that can just as much be enjoyed at a party as during a study session. The lack of vocals emphasises the vast, spread out track this is, and shows off Hopkins’ true musical talent. A manifest to a newfound rebirth of electronic music, ‘Open Eye Signal’ uses a sharp contrast between soft background noise-sounds and particularly strange, squarish samples at the forefront to deliver the electro track of the decade.

Eagles of Death Metal which were not in the bands favour and left the audience only hearing bass for most of Feverist’s set.

stir the crowd further by confessing his love for members of the audience or even taking requests.

On Sunday 1st November, The Eagles of Death Metal played a show at the LCR in Norwich.

The following review was written before the tragic events in Paris on Friday 13th. After consideration, Venue has decided to publish this piece in its entirety; we have explained our reasoning in our regular editorial column on page three.

White Miles are the second band on, and they are quick to make it clear that they are more suited towards supporting a band like Eagles Of Death Metal. The two-piece, consisting of guitarist and singer Edina Rekic, and drummer Hansjörg Loferer, create a phenomenal sound rooted in blues and stoner rock. Edina immediately catches the crowd’s attention, running round the stage wearing very little, but thankfully the music makes this feel less like a gimmick or a talking a point, and more like a punk rock/ feminist statement. The band plays several fast songs blended together with impromptu jams, which makes the set feel very intimate and in the moment, which is something that feels very rare for bands who have reached the point of doing national tours.

The night starts with Feverist, an Indie band from London who have clearly been influenced by the Strokes yet show touches of Radiohead. The duel vocals between the frontman and the drummer make the harmonies stand out amongst the sometimes punk, sometimes atmospheric tones of the band. The only fault you could find with this set was the frustrating sound levels,

Jesse Hughes of Eagles of Death Metal is arguably one of the most charismatic people in music at this moment in time. He strolls on to the stage wearing a golden cape, not starting until he has whipped the crowd into a frenzy just by waving his hands up and down. He twirls his trademark moustache before starting the show. The band plays 14 songs before the encore, with Jesse occasionally stopping to

The band are clearly enjoying the tour, which is in support of the well received new album Zipper Down. This doesn’t stop the band from playing older songs such as, one of the set highlights - ‘I Want You So Hard’ (The Boys Bad News). Other highlights of the show include ‘Complexity’, the most recent single that the band has released, the crowd knew every word. As well as, Jesse’s fantastic one-man version of ‘Brown Sugar’ by the Rolling Stones in the encore by request. The band are clearly incredibly talented and the addition of Dave Catching as the live guitarist has made the band one of the best touring groups you could see. A perfect example of this was the spontaneous guitar battle that he and Jesse engaged in which captivated the crowd and showcased the band members’ impressive talents.

Dominic Clarke

The setlist consisted mostly of fan favourites, and by all means if you don’t like 70s/80s rock then this show certainly isn’t for you. This, however, is far from a negative thing, as the band do what they do so well. The posturing, solos, jokes and acting like stereotypical rock stars is still entertaining so I will always give Eagles of Death Metal a resounding yes.

QOTSA

7

Fashion Winter Accessories Look Warm, Stay Chic

Melissa Haggar We all need to wrap up warm when the cold weather hits. But what if you want to look fashionable whilst keeping warm? There are plenty of options out there, so we’re here to give you a complete round-up on all things accessories. Hats, scarves, gloves, socks: prepare yourself for a blizzard of suggestions.

Hats Cossack If you’re feeling brave, and want to keep your head fully covered this winter, then might we recommend the Cossack? Popular in the fauxfur variety, this nifty little head-piece is both functional and affordable, and gives your winter style a bit of an edge.

Fluffy Beanie A true classic, the beanie is a staple piece for any wardrobe. If you’re looking to jazz yours up, then set your sights on one with a fluffy pom-pom, or a jewelled design. They’re great at keeping your head nice and toasty, and can cover up bad hair days. It’s a win-win situation here.

Gloves Faux-Leather gloves A personal favourite, the faux-leather gloves offer serious style and warmth. Usually in black, these match with almost anything. If you want to channel your own detective aesthetic, then these are a must have; Hercule Poirot eat your heart out! For a more edgy biker look, opt for the fingerless faux-leather gloves. If you’re looking for a completely wintery look, then check out faux-fur trimmed gloves for that completely fabulous faux look.

Knitted Fliptop gloves If all the above aren’t really doing it for you, then try a pair of knitted fliptop gloves. More

commonly known as ‘the fingerless gloves with attachable mittens’, the fliptop glove is a god send. Easily able to switch from mitten to fingerless glove (which is extra handy when texting), they offer a level of practicality that the others just can’t manage. Plus, the knitted fabric means they are sure to keep you extra warm.

Scarves Check print scarf Checks and winter go together like peanut butter and jelly. You just can’t have one without the other (well you can, but it won’t be nearly as good). There are very few things better than the check print scarf, which completes almost any look.

Crochet knit scarf So, let’s say you want something so warm that it looks like your darling old grandma could have whipped it up on one of her evening knitting sessions. Why not opt for the crochet knit scarf; fully endorsed by grandmas round the country.

There you have it: a complete guide to winter accessories. Whichever you pick, you’re sure to look right on trend while battling the cold winter weather!

Illustrations: Ana Dukakis

Winter Skincare

A Quick Guide to Keeping Your Skin Glowing Over the Harsher Months Roseneathe Machube With winter fast approaching one of the many concerns for people is how to care for their skin during the harsh weather. Common issues include dry skin, chapped lips and rough "scaly" skin to name a few.

Usually the best way to avoid many of these skin problems is to start preparing your winter skincare routine in the summer or autumn. This ensures your skin remains moisturised, beautiful, and healthy throughout the cold.

However, for those who may not have started, it’s never too late. We have a few tips and tricks to combat all the awful and sometimes embarrassing skin problems that come along with the festive months.

There are only a few common factors when it comes to taking care of your skin: • Washing your face with a good cleanser.

• Moisturising at least twice a day.

• Washing any clothes/bedding that come into contact with your face on a regular basis.

• Having a morning/night routine where you use the same products. When you find a product that works stick to it. Avoiding changing as this can cause breakouts.

• Keeping hydrated.

• Removing your make up every night.

The first step in taking care of your skin, particularly the face, is to identify which listed skin type you are. This

may be a bit challenging considering some people may have one skin type for their face and another for type for their body; therefore you'll have to take more time in caring for your skin. However, even if it is more tricky, it is essential that you do so, as all skin types require different care and treatment.

1. Normal skin type This is otherwise known as a skin type belonging to those who do not suffer from oily or dry skin. This is possibly the easiest routine to find, as you will just need to use a normal skin face wash as required and a basic moisturiser for day and night.

2. Combination skin type Combination skin type essentially means that you have a mixture of dry and oily skin in different areas of your face. Particular problems areas are the T-zone (i.e. across your forehead, nose, and chin in a ‘T’ shape). In these areas you may have enlarged pores and be more prone to breakouts. You'll need to use a scrub, and you may like to use a facemask every now and then to help reduce the size of the pores and to avoid excessive oil buildup.

Finding a good daily moisturiser is essential.

3. Oily skin Many people think this is one of the hardest skin categories to cater for, and that they must not moisturise in order to avoid the dreaded shine. This is totally untrue,

and moisturising twice a day is still necessary. Just try and ensure that the product you choose is neither too rich, nor full of oil; a basic high-street brand is perfectly adequate.

Oily skin can also cause problems when applying makeup and staying fresh during the day without having to cake on excess powder to cover the problem areas.

Invest in a good primer to apply before foundation, as well as translucent powder to apply generously once facial makeup is complete. If the problem persists then try using blotting paper when needed – this should also help prevent breakouts.

4. Dry skin With dry skin moisturising is key. Twice a day is great and focus on using richer and creamier formulas. As your skin loves moisture, you are lucky enough to not have to shy away from oils. Coconut and jojoba are some of the best as they can be easily absorbed into the skin, and jojoba oil is similar to the sebum that your skin naturally produces. A common myth is that people with dry skin should avoid washing their skin, but this is actually untrue. I suggest instead opting for more gentle cleansers and cleansing milks. You can even just rinse your skin with water on days that you don’t wear makeup; after all it can only benefit your skin to keep it in regular contact with water. Clearer pores allow your moisturiser of choice to really penetrate the skin.

8

Fashion No Shave November - What are the Trends?

A Woman’s Look Into the Foreign World of Facial Hair Styles

Tanya Nyenwa

The facial hair trend continues to grow, reaching popularity in 2013 and still showing no signs of decline.

Now we are in the midst of ‘No Shave November’ (also known as ‘Movember’), and with winter approaching, beards are just as popular as ever. When it comes to growing facial hair, the way you style your ‘tache is pivotal to your overall look. So, get comfortable, as we discuss the beard phenomena and look at the different ways you can style your beard.

What is all this ‘beard buzz’ about? Charles Darwin provided an evolutionary explanation of our fascination with beards in his work The Descent of Man, suggesting it was the process of sexual selection that may have led to beards. He concluded that there is evidence to suggest that the majority of females find men with beards more attractive.

Evolutionary psychology explanation connotes that beards signal sexual maturity and male dominance. Moreover, clean shaven faces are less dominant than bearded. Ultimately, our love for beards is one that is biologically innate; they are sexy, they have always been.

Beards can be a sign of male dominance, power and ‘swag’. After asking 12 bearded students what made them decide to grow a beard, one young man stated: “I feel manlier when I grow out my beard; I used to feel so boy-ish without it, like a baby!”. Similarly, Dr

Commentary: Lizz Gowens and Leah Omonya

Withey, who is launching a project titled ‘Do Beards Matter’, suggests this fashion trend has remained in its prime because of this ‘crisis of masculinity’ that men of the contemporary society face. The ability to grow facial hair is a way to reassert masculinity, a way to “display his manhood without getting thrown in jail for indecent exposure!”.

If you are considering growing out your beard or are already sporting a conscientiously groomed beard, you may be wondering what the latest styles are. Thankfully, I have gathered the top 5 most striking facial hair styles, so get ready to be inspired.

1) ‘The Goatee’ While some may think this style is a no-no, the animalinspired beard illuminates masculinity and style. From Abraham Lincoln to Johnny Depp, this style has found its way in and out of trends. The goatee extenuates all heights and enhances facial structures.

2) ‘The Full beard’ This is considered a classic style; however, it’s important to keep in mind that achieving this look can be very difficult. Sadly, not everyone has the ability to grow one. The full beard has a very distinctive shape; it starts at the cheek line and everything is left to grow naturally.

If you’ve been keeping up with the Kardashians, you

4) ‘Short Stubble’ This is arguably one of the most popular and simple sorts of facial hair. It can be achieved by growing facial hair for a few days after shaving.

5) ‘Top-knot & Beard’ Last but certainly not least, this has to be the most stylish look of our generation. Combined with the ‘Garibaldi’ beard, the top-knot (also known as the ‘man bun’) has been followed by half of the nation. From long blonde straight hair to curly dark hair, the topknot has been rocked by those of different backgrounds and cultures.

Name: Sean Year: Second Studying: American History

Phoebe is keeping her outfit simple with her monochrome jeans and top. This outfit looks neat and put-together, with her olive bomber jacket’s orange lining and her trainer’s green patterns adding a fun pop of colour to the ensemble.

Shops at: Jacket - Missy Empire Shoes - Adidas Jeans - Topshop Top - Zara

Leah Omonya

3) ‘Garibaldi beard’ Also known as the statement beard, this type of beard is best suited to those who are looking for a slightly more unkempt style. It is a wide and full beard with a rounded bottom and an integrated moustache. While the moustache has to be kept neat, the beard can be allowed to grow naturally and so requires less upkeep.

This style offers a vintage and authentic look, and can be seen sported by many including George Clooney, Jake Gyllenhaal and Robert Pattinson.

Campus Catwalk

Name: Phoebe Year: Second Studying: History & Politics

Editors’ favourite: The bomber jacket. It is a versatile piece that gives any outfit a casual vibe.

will notice Scott Disick’s ultimate transformation after adopting this style, proving that facial hair is indeed the way forward.

Leah Omonya

Name: Willow Year: First Studying: Medicine

The focal point of Sean’s outfit is clearly his suede jacket, in all its reminiscent 70s glory.

He has paired it with black denim jeans and a fun sweatshirt, and the suede jacket adds a funky thrify feel to the comfortable look.

We love Willow’s outfit.

It is filled top to bottom with wardrobe staples, from her leather jacket to her turtleneck long sleeve top right down to her black boots. Her skirt does a great job of breaking up the otherwise all black look with a fun contrasting pattern and texture.

Shops at: Jacket - Gift Jeans - H&M Sweatshirt - Vintage Stall

Shops at: Jacket - Topshop Skirt - River Island Boots - Boohoo

Editors’ favourite: It has to be the suede jacket. Not only are they on trend this season they are just a warm fun layer to play around with.

Editors’ favourite: Her eye catching skirt is what drew our attention to Willow’s outfit. It can be worn on a night out, to classes, and every event in between.

Leah Omonya

9

Arts

Rogues' Gallery: A Literary Villains' Hall of Shame The Best of the Baddies in Books

Emily Vause & Muse Giacalone

Alec D’Urberville D’Urbervilles)

(Tess

of

the

“I was born bad, and I have lived bad, and I shall die bad, in all probability.”

Alec D’Urberville may have been one of the earliest depictions of the charismatic villain archetype; he’s charming, confident, and more than a little evil. Tess is one of the most tragic novels ever written. Which is only made worse upon the reality that none of that tragedy would have happened if Alec had not raped Tess and started a chain of events that eventually leads to her death at the end of the novel.

Count Dracula (Dracula) “…his eyes blazed with a sort of demoniac fury, and he suddenly made a grab at my throat.”

When thinking of literary villains, Count Dracula is one of the first to come to mind. One of the very first literary vampires, Dracula started a craze that is still around today. The idea of vampires is romanticised nowadays but there is no trace of that in Dracula.

The Count is undoubtedly monstrous, preying on the vulnerable and innocent to make them “children of the night”.

One theory about Dracula’s villainous nature states that Stoker based him on Oscar Wilde; Dracular’s corruption of the innocent through vampirism reflectingWilde’s corruption of Stoker through their alleged affair. This farfetched theory definitely sheds new light on the novel, not to mention Stoker’s peculiar imagination.

Heathcliff (Wuthering Heights) “Is Mr. Heathcliff a man? If so, is he mad? And if not, is he a devil?”

Heathcliff is definitely a controversial choice for a villain given how romanticised his character is by the readership of the novel. Many see Heathcliff as misunderstood or romantic but in doing so they are almost certainly forgetting about his horrendous actions within the novel. Heathcliff abuses his wife, refuses to get treatment for his dying son and forces his true love’s

daughter into marriage with his ill son in order to get the estate when his son dies. Yes, definitely misunderstood…

Victor Frankenstein (Frankenstein) “I, not in deed, but in effect, was the true murderer.”

The question of who the real monster is in Frankenstein is one that haunted many of us throughout A-Level; is it Victor or the Creature? The answer for me is simple, Victor abandoned his Creature and left him to deal with the ‘barbarity of man’ alone, and anyone who is familiar with the Gothic knows that mankind does not take kindly to anyone different to ourselves. Even Victor realises that everything that has happened is his own fault, his thirst for knowledge led him to aspire higher than man should and at the time of Frankenstein publication Victor’s aims would be seen as sinful and clearly villainous. These days, scientific aspiration is admired; it is Victor’s horrific treatment of the creature that earns him the title of villain: it was “misery” that made the Creature “malicious”.

The Marquis (Bloody Chamber) “There is a striking resemblance between the act of love and the ministrations of a torturer” The Marquis is one of the cruellest characters you could ever come across, unsurprisingly as he is based on the Marquis de Sade, the creator of sadomasochism. The Bloody Chamber is a retelling of the story of Blue Beard so it is apparent from the start that it will not be a happy tale but the Marquis’ cruelty surpasses even that of Blue Beard. His torture and execution of his wives, and attempted murder of his newest wife upon her discovery of the bodies portray a brutality unrivalled by any other literary villain.

Count Olaf (A Series of Unfortunate Events) Count Olaf is the malicious antagonist of “A Series of Unfortunate Events,” raining down upon the Baudelaire Orphans with treacherous ferocity.

Not only does he seek to kill the three children to aquire their fortune, but also employs the most vicious and insidious ways to ensnare them, mainly through his abilities as an actor, (and a terrible one, at that). He goes from attempting to run them over on train tracks, to pushing them off a cliff, to marry Violet Baudelaire, his thirteen-year-old distant cousin.

Olaf ’s pernicious evilness resides in the fact that he will employ any means necessary to achieve his even more capricious ends. In essence, the deeds done, and the goal to be met are both equally horrid. Also just as cruel, is the side of him that is permanently inauthentic, that actor’s demon in him that renders him two-faced in every sense possible.

Inspector Javert (Les Misérables) Nothing beats the sly obsessive mind of Inspector Javert in Les Misérables, with his constant, delirious desire for Jean Valjean’s capture at his hands. He hunts his former prisoner down with a twisted ingeniousness, accosting Valjean’s daughter Cosette and her lover, Marius, as well, attaining of all of his emotional affiliations to destroy him from within first. In essence, the contradiction is that he would be willing to give up his life (and indeed he does) to find and capture Valjean and take from him his life. It is as if he depended on Valjean and was insanely jealous of his goodness, success and mostly importantly, of the love he has received.

Yet, in Javert’s final act of suicide in the river Seine of Paris, there is a final selfquestioning : is he so cruel after all ?

It may be that Javert was so taken by Valjean’s kindness of heart that he made himself the villain out of deception, almost as a last resort to make his existence an active one. We are easily struck by this act into feleling empathy : perhaps he was simply so bored that Valjean gave him something worthwhile to do, something to live, and then, in consequence, to die for.

Fagin (Oliver Twist) Dickens’ Oliver Twist gives us one of the

most ambiguous characters in Victorian England : Fagin, the thieving leader of the Artful Dodger’s gang of street kids.

An old, ugly, and avaricious rogue, Fagin uses the poor children of London’s streets as his pawns to rob the wealthy.

It is mostly his limited material care for his “workers” that is to be reproached, as they live in wretched mattresses of straw and are fed very little. Still, Fagin is less gluttonous with his emotions, for he does show some form of affection for these boys and does give them the basic necessities for survival in the somewhat merciless city of 19th century London.

In one of the final scenes between Oliver and the imprisoned Fagin, there is a burst of emotion and evident love as a crying Oliver says his adieux to the man that essentially saved him from the street. Although the world Fagin offered the boy was poor, criminal, and violent, there remained a sense of affection and care in his welcoming of Oliver into his family of thieves.

Margot (Laughter in the Dark) A lesser-known villain and certainly one of less “apparent” cruelty, Margot Peters in Nabokov’s Laughter in the Dark, tears the novel’s protagonist to bits with a gold-digger’s slow and cunning workings. She flatters and seduces a man twice her age, not only with her looks but with her words, promising this and that, appealing to him because she is all-knowing : indeed, it is her awareness of her prey’s internal troubles, with the monotony of his daily family life, that allows her to twist him into her toy.

It can be argued, though, that the common worker Margot, has been conditioned to act so maliciously towards Albert, the middle-aged art critic that gives himself up to her.

A mere 17-year-old girl from a poor background with grand aspirations of being an actress: this melting pot of ambition and financial gain lead her to a ruthlessly climb the social ladder, not refraining from stepping over Albert.

Still, there remains something beautiful in the image we have of Margot and of her dreams, as haunting as her means of attaining them are.

10

Takeaway Art

Arts

A sneak preview into an exciting new Norwich-based subscription service. Forget nuts and berries - get some art!

Joe Fitzsimmons NUA Alumni, Alina Sandu, recently sat down with Venue to talk about her new business Takeaway Art, which seeks to change the way people connect with artists and their work, and provide a financial boom to the Norwich art scene. Joining her is local artist Charli Vince, who will be supplying the art to subscribers in December.

Joe: Great to have you both here. Alina, so this is your company. When did you start this?

Alina: I started this last month. October was the first one, and we’ve had one edition so far.

In the box we include a bit of biographical detail and contact information of the artist.

The idea is to get people to know more about them. So all the pieces we have sent out are all slightly different and unique in their own way.

J: So are these made to order based on your subscriber numbers, or are these pre-made pieces that are then collected once you have chosen the artist?

A: They are sort of made to order for Takeaway Art. Jo is not selling them anywhere else yet.

Charli: It’s exclusive.

J: In terms of your inspiration for this, you see in the market a lot of subscription box services, selling everything from food to toys. Was it those businesses that helped shaped your idea?

A: Yes. My favourite subscription service was one set up to provide customers with socks. I started researching subscription box services just when I was looking for Christmas presents last year, and there was so many of them, but in Britain non specifically for art.

J: Why do you think it hasn’t taken off in the UK yet?

A: There’s quite a lot of work involved. Art doesn’t really come cheap, but you want your subscription price to be fairly low so people will keep paying every month. So, you have to find the right artists for it, which I think we are really lucky in Norwich as we do have a lot of good artists and a good community of people who help each there out. Then you have to make sure the art is ready on time, which could take a varying amount of time depending on how many you are making. I think there is quite a big risk involved as it is a new market and you don’t know if people are going to like it.

J: Charli, do you find the Norwich art scene after leaving the NUA community has helped you sell your work at all?

C: It has been better since leaving. NUA was great, but everyone was so busy with their own university projects that no one focussed enough on the commercial stuff, and getting into the career and business side of it. So once I left uni I met up with a lot of collectives of illustrators.

They would get the more commercial aspect of it, as they had already graduated and had been doing it for a while.

J: Do you think that as an illustration student, there should be a place in the degree to teach you how to market and sell your work to prepare you for after university?

C: Definitely. A friend and I founded the enterprise society for NUA because there wasn’t enough business focus and entrepreneurial focus for the university so we wanted to tell people ‘you’re work is lovely, but you need to find a way to earn money from it, otherwise you’ll be living in a box.’ We had to convince a load of arts students and teach them how to write CV’s, which was really hard to do.

J: So, Alina, what extent do you work with your artists? To what extent do you tell them you want a certain theme every month, or do you just contact the artists every month and say, “I want you to supply me with some art.”

A: It depends on the artists a lot. The artist I’m working with for November is just starting out as an illustrator. He used to be a tattoo artist, had to retire from that due to medical reason, and is now looking for new ways to use his skills. He doesn’t have much of the experience needed for sourcing logistical things.

many formats. It would be easier logistically to go with a print every month, but I’m looking at the long term value of the art more. I want to know people will continue subscribing, and they will not be competing for the same space in their homes for the same style of art.

Having said that, once someone has subscribed for nine months, if they wish to return one of their pieces they have had for a while, we will replace it with something else. Tastes change and fashion changes, I’m happy to give repeat subscribers a bonus. I haven’t done it yet at these early stages, but that is part of the plan.

J: That poses the question, how you expect the customers to really treat the product that you are selling? Does that make the art a novelty or are you selling them a purchase experience of this art that they then can repeat?

A: Yes. I am very much trying to sell the artist, letting the customer get to know this one artist, support their work, help them get to the next level, find out about what inspires them, and to keep doing that every month.

experience, where you have the position to take these artists you encounter and market their products to the customers prior to them seeing the artist?

A: I use Twitter, Facebook and Instagram a lot to let people know who the artist is before the month. I am a curator, I like that title. I would say the customers are the ultimate patrons as they are the ones funding it. Social media is essential for me to let them know about the art before they get the work. They get to know the style, the inspiration for the piece. They get glimpses, but never the actual thing before the moment where they open the box.

N.B. This is an excerpt from the interview.

Read the full discussion on http://www. concrete-online.co.uk Takeaway Art is a Norwich based subscription service that ships across the UK. You can subscribe for as little as £25 a month to get new art delivered to your door every month. Sign up now at https:// takeawayart.co.uk/

J: My final question, how do you deal with the mystery aspect of it? If you’re selling the artist, you really create a initial disconnection between the customer and the artist with you as an in-between person.

Do you see yourself as a sort of patron or curator, to this art

C: Knowing what printers to go to, what sort of materials you need, that takes a lot of trial and error. I’ve been to some crap printers before.

A: In that sense, I’m helping him a little bit.

For Charli, I approached her saying, “I really like some of these pieces that you’ve done, can you create something similar for me?”

J: So, one major problem with the subscription service is that you need people to be committed upfront. Do you see the problem in that without the upfront subscription artist you can’t fund the artist you want to pay? Comparing it to other services which are very centered around consumables, do you see a problem of customers only using Takeaway Art as a short term novelty or gift?

A: One of the things I came across when doing my initial research is that people only have a finite amount of space for art, which is why I’m looking at getting different types of art in to their homes. Different styles, that cover so

Joe Fitzsimmons

11

Creative Writing We’re now over halfway through the autumn semester. Firework night has been and gone, Christmas decorations are sprouting sporadically, and the nights are drawing in a little more every day. For this issue, our writers are talking about ephiphanies in many new and intriguing ways; whether in terms of a metaphorical burst of inspiration, a pang of strong emotion, or otherwise... - Jay Stonestreet, Creative Writing editor

Indices light leafs the tree’s candle, while stars dangle from every face the moon has shown, somewhere itself amidst swirling planets of jellyfish zodiacal encyclopedias light up the resystematic universe, shower tentacle tailed meteor flickers

raindrops caught in time’s flux, pale blue shadowdust, whispers of what is missed a child’s language, left out in the watery black night to unbound a cosmos, speckle clad in pearlescent clams, amid the curdled phosphorescence of our silver river’s straw wintered way a depth met both beyond and beneath darkness that keeps her lost and dotting the restless chaos of the cryptic stars, touching a profile in the constellations she can know longer reach or see in word’s drawing memory but find somewhere, above the ebb of fatherless moonlight all the letters written back Carlo Saio

idk i’ll—i’ll commit seppuku & post it on facebook, get tons of likes because fuck the world, fuck the tumblr sprig-hearts that cause jolting hums of sex & acceptance & acne & sadness, & i will go to social media heaven, leap from the earth, from my shackle vessel, like out of the bed, then off with alarm! off with the hip gift of the future tense given by a boy who cut his dick & stabbed his mother from freudian love under a bout of psychosis, rabid as a dog, as a bad lover with open arms, who loves people like a playboy & a gameboy with almond eyes that remind you of the sea, which makes your heart palpitate into babooms babooms, causing you to kick that boy who spat your heart in the face & the forced birth of toadfaced bitches & butterfaced fetish lovers alike. upon my death, with my teared-up face, my mind exists like a sigh, a slow release of relief as i try to regain a heart of kid that sees the whirring world to be gained, not a black void of tweets & nude pics, because fuck tragedy in disembowelments, fuck sad fucked-up minds. i want to reset like a curl-crowned baby, raisin-skinned & dead-alive in his mother’s womb, writing i don’t know to everyone. idk. i decay.

Julianne Canlas

Ink

Someone once told me that inspiration doesn’t exist. It’s just another word for laziness. Or fear. Nothing scares a writer more than a blank page. A white, pristine, challenging world of possibilities. And words. All kinds of words. All the words in the world.

Unknown feelings. Stomaches. Broken things. Broken people.

Don’t wait for inspiration, someone once told me. Face it. Face the blank page, accept the challenge. Hold a pen, experience that moment. When the ink begins heating up. Like a bomb ready to explode. Feel the heat.

Overwhelming. You’re holding pure, incandescent power.

A relief.

At some point all the words trapped in your mind will find their way through the body to reach the ink, with which they’ll blend. And they’ll become one, silky thing.

After that, finally, the explosion. The moment. That moment. When you know you’ve won. You defeated the blank page. You probably won’t fear it anymore.

Benedetta Mancusi

12

Creative Writing Lung's Cathedral The rain fell down and the day rolled forward, a twin of yesterdays. Nothing ever happened that hadn’t already. After a while even the people stagnated and ceased. The air was a heavy, greasy, soup.

Oh my, you happened. You were like the organ and the choir. Suddenly an all consuming chorus filled the vast empty. Stone walls. Clear and solid. So different from the soft and dusty suburbia, that collapsed into a pillow and smothered everything. The sound of my church reverberated through the heavy air. Blew the clear blue wind into my chest and through my eyes until they watered.

A great pillar ascended higher than stone should, to a place designed to be a heaven. Like a rib of belief, it was firm against the empty. It held air against the suffocating dust and refused to collapse. There was space for me, in the bend of its shadows. I looked out and watched the dust, sunlit yellow, whirl, in a soft, forever falling cloud.

But now the dust is turbid and I walked out in softened streets, the only thing awake as the rain crashed down. It swept away the yellow dust of my stagnation and I could open my eyes to the movement swirling around me like a hurricane of people, all rushing towards you in a river of motion. I pick up my creaking legs and shove them like I used to. Toe after toe scratches the ground. I begin to pump again. The dynamo of this dusty place, an engine turned over into action.

Pump. Move. Breathe.

You’ll be okay.

Emma Wallington

Sparkling Tadpoles: The first week of November The first crack of the heavens and everyone loses everyone.

Searching up we see sparkling tadpoles wail as they are eaten by the air.

Embers are dashed against the rippling sky until its surface becomes a broken pond, its shining shards are swallowed and then regurgitated.

‘I like this. This makes me very happy.’

You say in-between the shots and flares that turn the cathedral into a silhouette and entwine all of us below.

Illustration: Ana Dukakis

Jenny Moroney

13

Television Battle of the Animated Which Animated TV Show is Best? There’s Only One Way to Find Out: FIGHT!

Spongebob Squarepants Melissa Haggar

Futurama Charlie Levenson

A yellow sponge. A large pineapple. An underwater crustacean. Three seemingly unrelated things that only become related if you’ve ever watched the nautical adventure show, Spongebob Squarepants.

The Nickelodeon TV show, created by Stephen Hillenberg, has been airing episodes since 1999 and is still going strong, no doubt due to its nonsensical, creative characters and episode plots.

lunacy, but the show manages to tie the characters together for meaningful journeys of self-discovery as well as silliness, often pitting them against Plankton, a tiny green copepod who owns rival restaurant the Chum Bucket. Plankton is known for his attempts to steal the Krabby Patty secret formula (Mr. Krab’s prized possession), and it is usually up to Spongebob to stop him, with the help of his friends.

Due to the show’s underwater setting in Bikini Bottom, Spongebob Squarepants features a variety of marine life characters, including the title character, a yellow sponge who wears (unsurprisingly) square pants and works as a fry cook at the Krusty Krab. Spongebob works for Mr. Krab, a greedy and money-obsessed figure who happens to have a whale for a daughter (no, I’m serious, her name is Pearl). If I haven’t lost you by theispoint, there’s more.

Spongebob happens to live next to his best friend, Patrick (a dopey pink starfish), and Squidward (a grumpy and sarcastic green squid), whom he works with. Other main characters include Sandy, a squirrel who dons an astronaut suit in order to live underwater in a glass bubble, and Gary, Spongebob’s pet snail who does little else apart from meow. This all sounds like

In this world, jelly-fishing is a notable sport, boating school is deadly and impossible to pass. King Neptune is liable to pop up at any point, and senior citizens Mermaid Man and Barnacle Boy shuffle around being ineffective. These all show the vast levels of imagination and wonder that go into making the series. But seriously, who wouldn’t want to live in Bikini Bottom? You could have the chance to get involved with catchy sing songs about fire and destruction (in the aptly named, F.U.N.), rescue your pet snail from cannibalistic old ladies, and even attempt to save your city from a giant worm. The opportunities are endless.

Spongebob Squarepants’ imagination, heart, wit and sheer bizarreness is what makes it an unmissable animated show that is adored by all ages.

When you hear the name ‘Matt Groening’, it is without a shadow of a doubt the first thing you think of is The Simpsons.

In fairness, it is a classic, seen as the ‘crème de la crème’ of animated television. But I’m here to talk about why Matt Groening’s Futurama – his lesser known creation – is my favourite animated show, and why exactly it is so great.

forget this and bring it up in beautiful, poignant scenes, dotted throughout the series. These scenes are truly heart-breaking, ranging from a montage of Fry’s dog (back in the year 2000) waiting desperately, and alone, for him to come back, or a more recent episode where all Fry has dreamed of since coming to the future is to just have one last moment with his mum.

Both have The Simpsons and Futurama have the classic Groening structure of starting with one arbitrary storyline and finishing on a completely separate one. Both have loveable idiots in the likes of Fry and Homer, the comparisons go on. Yet, what makes me feel such love and elation towards Futurama is the show’s ability to incorporate not just humour, but truly heart-breaking, touching moments that make you relate to the characters in such a fantastic way. Futurama, at its core, is a comedy, yet it has some of the most touching scenes I’ve ever seen in animated television.

Futurama not only has the brilliant wit and satire The Simpsons has, but it has character development that is so enticing. You feel as if you are part of the crew, and become truly immersed in the wacky world of Futurama, thanks to the brilliant world-building by the writers – a future that is not too far-fetched, but funny and stupid enough to laugh about and conceive as possible.

One often tends to forget the bleak premise of the show: a sad, lonely young man in a dead-end job accidentally gets frozen and wakes up one thousand years in the future – everyone he knew and loved are long dead.

However, the writers of the show never

On a final note, there has never been such beautifully subtle character development in an animated show, one that makes you feel so attached to the characters that you don’t even realise until you reflect upon this marvellous piece of animated television. This creates one of the most perfect, emotional endings a TV show has ever had – an ending that is without a doubt a huge payoff to the emotional attachment you will invest in this show and its characters.

Illustration: Kirsty Mcalpine

14

Television

Rise of the Female Cop The once male-dominated genre of the Cop Show is getting an overhaul with - hurrah! - female leads Lucinda Swain Once an 80s’ TV staple featuring the stereotypical male cop with an alcohol problem, the cop drama has had a revival in recent years. While the boys in blue have previously always taken all the glory in crime drama, their female counterparts are now gaining more recognition, both for their equally captivating performances, and effectiveness at getting the bad guy. Female sleuths have effectively transformed the genre, creating a whole new era in fictional detective work.

For generations, protagonists as diverse as Poirot, Sherlock Holmes, Morse, Frost, and Magnum took centre stage, with little recognition of female detectives. There were of course some female crime fighters, such as Agent Julie Barnes in The Mod Squad, which ran from 1968 to 1973, or the perennial Miss Marple, but they hardly stood the test of time compared to their male counterparts. Now, however, it is another story, with many lead detective roles being filled by women. The previously clichéd token ‘good-looking, often tough talking’ female cop, trying to make it in a

man’s world has evolved into today’s more complex, interesting female leads. Recent and notable examples include: Olivia Colman’s DS Ellie Miller in Broadchurch, Gillian Anderson’s DSI Stella Gibson in The Fall, Stana Katic’s Captain Kate Beckett in Castle, Lesley Sharp and Suranne Jones’s DCs in Scott & Bailey, and Vicky McClure’s DC Kate Fleming and Keeley Hawes’ DI Lindsay Denton in Line of Duty, to name but a few.

This idea of the ‘female lead detective’ had been referred to in the past as ‘an escapist fantasy for men’. Today, however, femaleled crime dramas attract not only large numbers of women as viewers, but could also be written and directed by them. Other clichés have been mostly overcome such as the attire of the female cops, with their overly sexualised outfits not fit for real-life police work. With tight pencil skirts and stilettos, it seemed unbelievable that these characters would be taken seriously, so much so that Sophie Gråbøl, who plays Sarah Lund in the incredibly successful Danish drama The Killing told the Guardian that she ‘chose to

wear her own sweater in the series, to show that her character didn’t need to use her sexuality to get what she wanted; she was so sure of herself, she didn’t even have to wear a suit’. Her part in the drama challenged stereotypical views on femininity. Lund was all woman, but on her own terms.

Actress Helen Mirren played the determined and brilliant Jane Tennison in the long running show Prime Suspect. Her iconic character took TV by storm, with worldwide critical acclaim. She effectively, with her writers, transformed the crime series genre. Not only did the series bring light to feminism and other critical social issues, Prime Suspect left an indelible impression that women were just as capable as any man.

Another example is Kate Beckett, the lead female detective in the ABC crime drama Castle. She’s the embodiment of a hero (in stilettos) whether, she’s saving her father from alcoholism, saving her partner and love interest Richard Castle from all number of life-threatening situations, or

even saving New York City itself. The most outstanding quality she possesses, though, is the ability to be her own hero. She stands up for her beliefs when no-one else agrees and follows her intuition. In a society where so many dramas still feature men saving women from dangers, both physically and emotionally, Beckett stands apart. Her power to save herself matters enormously.

Strong female leads are becoming ever more prevalent in other TV dramas and genres also. We see strong females such as Daenerys Targaryen (Game of Thrones), a natural born leader who inspires her followers, Selina Meyer running for President of the United States (Veep), and Peggy Olson (Mad Men) completely shattering the glass ceiling that had kept women from rising to the upper rungs of the corporate ladder. It looks as if these lead women of crime dramas are going to last, and will continue to inspire other TV show genres to let the ladies have their turn on centre stage. They display traits previously reserved for male roles, but their characters’ developments are moving boundaries.

Illustration: Ana Dukakis

15

Television

"Doctor, Doctor, how do we end all wars?"

Doctor Who goes political in its most recent two-parter, The Zygon Invasion / The Zygon Inversion

Denise Koblenz Zygons, Osgood, sonic glasses, and evil Clara: we’ve had another jam packed Doctor Who episode, and to summarise the whole of this two-parter I’d need a bigger word count. However, as you’re reading this I’m pretty sure you’ve seen it already and know what I’m talking about when explaining why this episode was a good one.

First of all: Evil Clara. What viewers might not have realised until the end of The Zygon Invasion is that we actually did not see a lot of Clara herself, but Bonny, her evil Zygontwin. Jenna Colman did an amazing job playing the villain and it was refreshing to see her taking on a different role. Bonny was a fun character to watch, and by the end of The Zygon Inversion you actually started

to sympathise with her. In the meantime, there is Clara – locked in a pod for most of the episode, playing a more passive role.

Although some die-hard Clara fans might not agree, It was a nice change to have Clara not as the main focus and to see the Doctor interacting with Osgood instead. Whether a human or Zygon twin it doesn’t matter; the fact is, Osgood is a great character and it’s nice to see her finally getting the chance to work with the Doctor to save the world.

The dynamic between Osgood and the Doctor was fun and exciting. After admiring the Doctor for years and finding no fault, she actually starts to outwit and tease him; we found that she’s on our side, describing these sonic glasses as “pointless […] like a

visual hearing aid”, and at times she even seemed to be one step ahead of the Doctor.

Throughout the episode we can find moral lessons which are commonly taught in the Doctor Who universe, such as ‘don’t generalise’ and ‘don’t solve violence with violence’, but the most important one comes towards the end in the one scene every social media platform was talking about: The Doctor’s Speech! Capaldi was on top form and proved something people might not have realised before: Peter Capaldi is a great actor and there is a reason he was chosen to play the Doctor.

His speech had viewers on the edge of their seats and listening to every word. I don’t know about you, but I got goosebumps as the Doctor was desperately trying to stop

Bonny and Kate from starting a war, having promised himself that “no one else will ever have to live like this. No one else will ever have to feel this pain. Not on my watch.”

We saw the darker side of the Doctor, and another glimpse of the emotional trauma the time war caused him.

So, aside from the monsters and cringy nicknames (Doctor Disco?), this episode taught the viewers about seeing people as individuals, not to generalise, to forgive and – most importantly – not to solve a problem with violence, like a child having a temper tantrum. It is an important lesson, especially in our time with one crisis after another; a lesson I think everyone should keep in mind.

Illustration: Lucinda Swain

16

Gaming & Technology MCM Comic Con: London In Colour Our Roving Reporter Gives Us Coverage of England’s Biggest Comic Event Robin Evans A couple of weeks back, I made the three hour journey, at five in the morning and on minimal sleep, down to London’s ExCel centre for the Saturday of Comic Con. I was ready for bed by three in the afternoon, and on the verge of death by six, but despite this, it was a fantastic experience.

The second thing I noticed upon arrival was the open-plan layout – a massive improvement on the cramped experience I had two years back – with wider aisles between stalls and more space left clear for attendees to actually sit down and relax. With a record number of 130,000+ visitors over the three-day event, these adjustments were almost certainly vital for the smooth running of the weekend.

I mention that this was the second thing I noticed at Comic Con; the first was the inordinate number of people cosplaying as either Harley Quinn or The Joker. Sporting a Bravest Warriors cosplay, I felt like a child that had turned up at a pirate themed party dressed as an avocado because my mum had missed the memo. On the plus side, there were four people who were excited enough about my costume to want a photograph, which trumped my initial prediction of zero.

the writers’ panel, and with affirmation that Doctor Who will continue to run for the foreseeable future, I should probably start before it becomes an incomprehensible task.

Contrary to what seems like most other fans, however, I am rather unimpressed by the concept of a female Doctor, an idea confirmed possible by head writer Steven Moffat in response to a fan question. While I honestly love exciting female lead characters, I can’t imagine the Doctor as anything but male.

The aspect of Comic Con I usually find myself most excited about are the recent and/or upcoming games being showcased, and I took this opportunity to try out a few, including Tales of Zestiria, Assassin’s Creed Syndicate (I thoroughly enjoyed the time I spent on this, though I may be biased as the AC franchise is one of my favourites), and Finn and Jake Investigations, which, for some reason, I found alarmingly confusing. I am going to

blame sleep deprivation rather than genuine ineptitude, for the sake of my own pride. The booth for Dark Souls III was also tempting, but the queues to play were immense.

Another important feature is the artists’ corner, where small-time artists can show off their comics, portraits or just doodles. This is great as it gives a platform for those artists who could usually only get their work seen on the internet, and allows them to monitise their work. However, it is a bit awkward ,walking past stalls where you can see no-one is going, where the artist stares at you with forlorn eyes begging you to approach, and yet you must keep on walking.

My favourite aspect of Comic Con has got to be the atmosphere created by being surrounded by people who are just as overexcited about the things they love. From the moment we stepped off the train at the ExCel Centre,

the crowd was buzzing and spirits were unanimously high. Even at Victoria Station you notice people who are dressed up for something, and the further along the river you get, the higher the cosplayer to civilian ratio is, climaxing at the Centre, where most people are dressed up. This slow-boiled approach to the event lets you build up your excitement slowly.

Every year MCM events get bigger and better, and for only £20 for a normal day ticket it’s absolutely something worth checking or not, whether or not you are interested in comics.

Fun FactMCM stands for Movies, Comics, Media and the first ever London Comic Con organised by MCM was in 2002.

Attending on the Saturday, the busiest of the three days, came with both its advantages and its drawbacks. Boasting a lively atmosphere and the most exciting (read: people I’d actually heard of ) guests and panels, the sparky charm about the day was infectious.

The lengthy queue to get in, while dull and unpleasant, was made somewhat bearable by games of ‘Is That A Wig Or Just A Dreadful Haircut?’ and ‘Is This A Costume Or Just Bad Dress Sense?’ subtly executed between my friends and I, and all was well until the doors were opened and the crowd decided to start clapping. They’re just as bad as the people who clap when the plane lands.

As is tradition with Comic Con, almost everything available to purchase was rather tempting but far too expensive for a student budget; at some point in the afternoon I caught myself clutching at straws for a reason to own a box of Pokémon gym badge replicas.

I distinctly recall seeing a snack I used to buy at the corner shop for pennies going for almost ten quid – I really should have stocked up back then because I’d probably be able to pay off my student loans with the profit.

While a little too pressed for time to attend any of the panel talks in person, I caught up with the Sherlock and Doctor Who ones online a couple days after the event. Despite being rather behind on Doctor Who – I’m pretty sure I’m still in 2012 with that show – I felt compelled to catch up after watching

Flickr- Big-ashb

18

Gaming & Technology Assassin's Creed And The Real Revolution Assassin’s Creed Syndicate And Ubisoft’s Gender Conflict Melissa Haggar In a virtual land far, far away, assassins stealthily move through shadows, stab Templars in the street and swan dive into rather precarious looking barrels of hay.

Assassin’s Creed is known for its distinctive main characters such as Ezio or Connor, who often clash with members of the Templar Order, in the ultimate struggle for power and control of whichever respective time-period game-players find themselves in.

involved in some controversy surrounding comments made about women requiring “double the animation”, suggesting that, despite many other developers managing it, females are generally more difficult to animate. Whether Assassin’s Creed Syndicate is a response to this criticism is unclear, but it still marks a change in standing for its female characters and more importantly, the female audience and game-players of Assassin’s Creed.

Evie Frye, twin of Jacob Frye, is thank -fully a well-rounded addition to the franchise as the first playable female assassin in the main series. She is quick, witty and calculating, and instead of feeling like an add-on, she is her own person and has a distinctive personality and likeability. While she may only be able to be played for around 40% of the game’s main mission, you can switch to her in any of the interactive world tasks and side-missions.

However, something which Assassin’s Creed has struggled with since its conception is the inclusion of playable female characters.

Now that’s not to say there hasn’t been a few, but these have always been relegated to the non-main series, the most notable being Aveline in Assassin’s Creed III: Liberation and Shao Jun in Assassin’s Creed Chronicles: China. You’d be lucky even to see a female Templar or lowly female henchman that you can actually interact with in the openworld of the game (yes, same three Templar guys in Unity, we’re talking about you).

Syndicate also features distinguishable female enemies, from the main story’s Lucy Thorne and Pearl Attaway to the gang district’s Lilla Graves and Bloody Nora, as well as general attackable female blighters on the street, there is an actual sense of female equality that was lacking from previous additions. Women can also be the villains and enemies as well as the protagonists, and Syndicate features some of the most charismatic and deliciously deadly female characters that have ever graced the game.

While it remains to be seen whether Assassin’s Creed will continue this inclusion in its later series, this is an important step for female inclusion in video games, long overdue for such a notable series.

Fun FactDespite the series being known for including famous historical figures, until Assassin's Creed III, only two famous females were included, one of which was an antagonist.

However, Assassin’s Creed Syndicate doesn’t just feature a historical revolution- it suggests a revolution of gender representation in the series. It’s worth mentioning that Assassin’s Creed has struggled with its PR surrounding female characters, after being Ana Dukakis

Tales of Zestiria Review Beckoning A New JRPG Revolution On The PC

Vincent Gaffney-Batton Tales of Zestiria is the newest instalment in Bandai-Namco’s Tales series of games. An evil called Malevolence has spread across the world, corrupting mankind and nature. The only one who can stop it is the Shepherd: a hero with the power to see spirits of nature (called Seraphim or ‘Seraphs’) who will guide humanity through their darkest times.

Unfortunately for humanity this Shepherd has been up on a mountain, hunting goats and exploring ruins. You play as Sorey, the young Shepherd raised by Seraphim, on his quest to vanquish the Lord of Calamity from whom the Malevolence grows.

Now, with the grandiose exposition out of the way, the honest truth about the overall storyline is that it’s rather mediocre. Go here, do that, kill this boss; it’s nothing

revolutionary and it’s been done better in other games. Standard fare for an RPG. However, what the story may lack, the world itself makes up for with gorgeous environments befitting the first Tales for the next generation. What got me through the slow pace of the beginning and the handholding tutorials was just getting to explore the world around me – gazing off into the distance at the stunning medieval city of Ladylake, or the rolling hills high above the clouds in Elysium. In addition, the dungeons, while simplistic, offer an interesting way to pace the player and develop character plots.

While it is true that the overall story is nothing to be amazed by, the plots revolving around your party I found to be quite entertaining,

particularly some of the characters who later join you. While they could easily be cast off as stereotypical two-dimensional characters, I feel they’ve got more to offer, through the realistic perspectives and opinions, as well as certain situations and the quirks that appear through cut scenes and the traditional Tales skits (bonus side conversations between characters) which helps endear their personalities.

I would consider this a very accessible game to all levels of player. There’s a normal difficulty setting for the standard playing experience, and then there’s hard, “evil”, and “chaos” for players far better than I. There is also a simple mode for those who just want to see the story and experience the characters and their world. The combat may

be easy at first, but when it comes to bosses, the fights can offer a genuine challenge.

The customisation system for equipment is also very developed, if a little intimidating, offering a huge combination of skills and bonuses which players can take advantage of with some thought.

For some time now, JRPGs have been rather underrepresented on Steam with regards to big releases compared to other genres.

Over the past year Square Enix have been making steps to port the Final Fantasy classics to PC but Tales of Zestiria is the first traditional JRPG to be released on PC alongside consoles. I for one am hoping this is a sign of good things to come, having enjoyed my time with the game – despite its shortcomings.

19

Film

Lionsgate.

Gabriela Garcia-Huff Adapted from Irish novelist Colm Tóibín’s prize-winning novel, Brooklyn elegantly reproduces the traditional immigrant story in a manner that is far from the standard cinema narrative. This is immediately recognisable in the introduction of a female as the protagonist, whereas the immigrant’s journey is typically told from the male perspective.

Eilis, played by veteran actress Saoirse Ronan, travels from her quiet, structured hometown in Ireland to the chaotic and extravagant city of Brooklyn, New York. The dichotomy of the two cities is paralleled in Eilis’ search to find her own place in the world, her ultimate struggle being her ability to find a balance between the passive and agreeable Irish girl she once was, and the poised and ambitious woman she has now become. This coming of age is further exemplified in Eilis’ love life, as she encounters men that represent everything she must choose between in her journey to find happiness. Tony played by newcomer Emory Cohen, is an everso-charming Italian who woos Eilis with his humor and self-assuredness, finally establishing Brooklyn as home for her. All is well until tragedy forces her to return to Ireland, where she is reconnected with the soft spoken and caring Jim portrayed by Domhnall Gleeson,

Brooklyn who reminds her of the home she left behind.

In the end, as is the case with all love triangles, Eilis must make the life defining decision to either remain in Ireland and marry Jim, with his security and caring heart, or return to Brooklyn, back to the exciting unknown, and create an entirely new life with Tony.

Saoirse Ronan is an absolute dream throughout the entire film. First debuting in 2007’s Atonement, Ronan has taken on various roles as a young protagonist. Ranging from the dystopic hero to the trained assassin, Ronan has established herself as a well-rounded young performer. However, her subtle yet emotional performance in Brooklyn solidifies her future as a serious and noteworthy adult actress. Emory Cohen, on the other hand, is relatively new to the big screen. Yet, he puts forward an equally as impressive performance, packed with potential and the ability to mobilise audiences with pure charm and likeability. Like Ronan, Cohen’s counterpart, Domhnall Gleeson, is a relatively seasoned actor, with a résumé including a role in the Harry Potter franchise and an upcoming part in the highly anticipated Star Wars reprisal. Together, these three create an enticing dynamic that reaches beyond the conventional love triangle. It removes

itself from the traditional good boy/bad boy opposition, giving each character their likeable and appealing attributes. Each character is also developed on the basis of individual personalities rather than their relationships with each other. This is especially the case with Eilis, whose character goes beyond typical female media constructions and takes on the role of the empowered individual with the ability to define her own existence.

If you’re looking for a typical romance narrative, akin to Nicholas Sparks, Brooklyn may not be the film for you. However, if you find yourself seeking something with an understated charm and bittersweet sentiments, it will happily guide you to a satisfying conclusion. Its characters are complex and well developed, with the special bonus authenticity of having Irish actors playing the title Irish roles. Tóibín’s love of Ireland is obvious in the novel, and director John Crowley is more than successful in relaying this on screen. Each scene, whether in Ireland or Brooklyn, is vividly constructed and portrays a colourful vision of 1950s lifestyle. There are moments of unexpected humour complimented by moments of sincere grief that all together make the film a pleasure to watch.

+Beautiful screenplay

Yes

+Subtly

poignant

+Excellent

performances by newcomer Cohen

An elegant and heartwarming period drama, with stunning performances, Brooklyn leaves the audience in a pure state of satisfaction.

20

Film He Named Me Malala Rosie Trott It would be difficult to make a boring film about Malala Yousafzai. He Named Me Malala is a documentary about a Pakistani girl, shot by the Taliban for campaigning for education. The film is carried not only by Malala’s story, but by her vibrant personality which shines throughout. The documentary manages to strike a balance, conveying the severity of Malala’s story whilst also allowing for light-hearted moments showing her youth and personality. When you hear Malala speak, there’s no doubt the words are hers, and the documentary feels, at its core, authentic.

At the heart of the film is Malala’s relationship with her father. It’s clear that her passion comes from him, and through her upbringing, it’s easy to see how he influenced her, but still emphasises that her choices

Flirk - Southbank Centre

were hers and no one else’s. What is less clear is the relationship and personality of Malala’s mother, who is largely absent from the film, despite Malala’s emphasis on her mother’s strength and involvement.

This seems to be because her mother is traditional and doesn’t want to be shown on camera, which is a valid reason; however it does create a gap in He Named Me Malala’s narrative. The film also falters due to odd choices in chronology, with some parts of Malala’s life appearing to have been randomly selected, rather than linearly shown. This is slightly jarring, but due to the story’s compelling nature, doesn’t take away from the overall film.

Some have said that the film does not focus enough on Malala’s suffering, as it is touched upon, but never fully explained.

However, this is less of a shortcoming and more of Malala’s intentional choice. Malala has stated that she wants the film to be “not a movie but a movement”. This is perhaps the reason that she feels it is less important to talk about her suffering, because how does that help? Instead she talks about the importance of education and what needs to be done. This is what is shown as the most extraordinary aspect of Malala, not only her courage, but her deep knowledge of what is important, what really matters and what should be at the forefront of every world leader’s agenda: peace, forgiveness and education.

Above all, the documentary feels like a needed call to action, as well as a heartwarming and informative account of this incredible young woman’s life.

+Inspiring

Yes

+Heartfelt and informative

-Confusing narrative

A documentary about an amazing teenager, with a story that highlights the importance of speaking up.

Burnt Rob Klim Burnt has all the right ingredients, but director John Wells leaves the oven on too long. The protagonist Adam Jones (Bradley Cooper), spends the film on the rocky road to recovery after having fallen from a haute Parisian kitchen, to a million oyster cracking long penance at a Louisiana gumbo joint, followed by the lead attempting to attain glory at a restaurant in London.

Screenwriter Steven Knight produces work of a calibre well below standards set in Eastern Promises, and so too fails to create a character as dimensional as those Cooper played in his roles in American Hustle and American Sniper. Furthermore, Cooper’s own embarrassing attempt at a French accent very much detracts from the sense of immersion, and sense of connection with such a presupposed cultured character.

The film’s chef consultant, Gordon Ramsey, certainly infused his own fiery essence into the film, with the kitchen being portrayed as a hellish environment, effectively conveyed through swirling camera movements. However, Ramsey failed to effectively transfer his own sense of passion onto Cooper, who comes across as more of an overdone crème brulee.

Consequently, the audience is left to turn to Sienna Miller for a substantial morsel of character. She delivers as Helene, Adam’s chef de partie, and through her talent, perseverance, and likeability, she manages to effectively work with acerbic Adam, bringing out the underlying vulnerability beneath his rough crust.

Furthermore, drawing parallels to the vastly more successful Chef of last year,

the film also fails as a celebration of the scrumptious. Instead, Wells and Knight focus on Adam’s obsessive-compulsive mind without paying enough attention to the culinary theme. The food rarely gets its just-deserts, with dishes of mouthwatering pasta, fruit de la mer, and a variety of sauces looking truly fantastic, but not being shown enough. Unfortunately the audience never has time to properly digest Adam’s culinary skills. An example would be the joke of Adam’s distaste at using “food condoms” to contain sauces, yet providing little insight into his own approach.

No

Burnt, in summary, fails in its principle goal of immersing the audience into the world of fine dining. There is too much of a focus on the unlikeable lead, Adam, leaving the audience starved of enough insight into the world of culinary delights.

A wasted opportunity for Bradley Cooper. Nothing here to satisfy even the smallest of appetites.

-Stale -Tasteless - Bradley Cooper

-

Gordon Ramsey

21

Film Kill Your Friends Connor Jordan Kill Your Friends is a black comedy that’s slipped under the radar as we slowly drown in a tide of films trying to grab an Academy Award. To miss it would be a wasted opportunity to see one of the more unique films of 2015.

The film follows talent scout Steven Stelfox (Nicholas Hoult) as he tries to find the next big artist in the middle of the Britpop revolution. However things take a darker turn as Steven realises that to get by in this cut throat industry he may have to literally cut a few throats.

Kill Your Friends’ commentary on the money-obsessed music production industry is just as much the selling point

of the film as it’s lack of morality or consequences. Director Owen Harris is no stranger to dark humor, having directed episodes of Misfits and Black Mirror, and so has created a movie that feels like a British American Psycho; he may prove to be a director worth following.

You may be first apprehensive about Nicholas Hoult’s involvement in the film, as his performance comes across as a bit wooden at the start. However, as soon as the plot gets moving, it becomes obvious that Hoult is exceptional, as he subtly presents the rage that his character tries so hard to hide from his co-workers. A few other familiar faces pop in the film including Craig Roberts (Submarine) and

James Cordon (Gavin & Stacey), though none feature prominently enough in the story to be worthy of much critique.

However, the film does suffer from some pacing issues midway through, focussing too much on Steven Stelfox’s declining career, instead increasing the pace and filling in the time with a bit more of Stelfox’s calculating nature, and his methods to bring down the people around him.

Whilst Kill Your Friends is not the perfect movie, it is still able to combine a wickedly funny plot with a level of industry critique, proving to be a pleasure (if maybe a somewhat guilty one) to experience.

Yes

+Great

Industry commentary +Dark -Slow at times Kill Your Friends' wicked sense of humour and dark story will no doubt make it a cult classic.

A Bit of Schadenfreude The Best in Dark Comedy

Alex Morrison Dr. Strangelove

Team America: World Police

When you think of nuclear war and potential annihilation of the planet, you would think the subject would exclusively be dealt with gravity, right? Not if you’re Stanley Kubrick, who deftly skewers the Cold War with a biting satirical edge. Peter Sellers is amazing in multiple roles, including the former Nazi title character and the President of the United States, whilst the decision to have George C. Scott play his role as a jingoistic general completely straight, pays off in spades. Throw in dark tensions about an impending war between the US and the USSR, classic lines (“You can’t fight here, this is the War Room!”) and classic imagery (Slim Pickens riding a nuclear bomb), and you have a contender for Kubrick’s best film.

Satirising the War on Terror, overly political celebrities and Jerry Bruckheimer action movies, the creators of South Park bring their usual dark wit and cynicism to a movie involving puppets. Like in South Park, this film crosses the line multiple times with great hilarity, featuring graphic puppet sex scenes, musical numbers about everybody having AIDS, Other notable features include the fervent patriotism of America, a highly effeminate Kim-Jong Il as the villain, and hilarious caricatures of everyone and everything, particularly politicians. Also, Matt Damon.

The Big Lebowski

In Bruges

The Coen Brothers are masters of dark comedy, and Lebowski demonstrates their aptitude.

A neo-noir parody, we follow The Dude, the ultimate slacker, as he gets caught up in a curious adventure concerning the disappearance of the daughter of a wealthy socialite who shares the same name as him. Featuring John Goodman as crazed Vietnam veteran Walter, bowling being taken ridiculously seriously (to the point where guns are drawn), White Russians, ear biting, and John Turturro as a Latino pederast bowler named Jesus, this may be the most bizarre film in the Coen’s oeuvre, and it’s all the better for it.

This film about two hired assasins botching their job and hiding out in Bruges is ripe for black comedy, with Martin McDonagh delivering a deep and hilarious character study. One of the most wonderfully profane movies ever, it features some of the greatest explicit insults of all time. Colin Farrell brings a deep and moving portrayal to his character, conflicted about his career as an assasin, whilst also being rude towards dwarves, in some wonderfully crossing-the-line humour.

It’s tragic, shocking and hilarious, and brings a new perspective to the vioent comedy genre.

Altitude Film.

22

Film Let Them Eat Brains The Zombie Movie Craze

Lucinda Swain What is it about zombie movies that appeals to such large audiences, with their decaying, groaning bodies shuffling on through generations of cinematic history? The ‘zombie’ is a longstanding movie genre. Zombies go by many names: zWeds, walkers, roamers, lurkers, biters, Z’s. One thing that doesn’t change though, is their appetite for human flesh. Just what is appealing about watching walkers chew people’s faces off, and from where did this cultural obsession with these rotting flesh-eaters come from?

With the breakdown of civil society de rigeur in most zombie pandemic imaginings, it’s easy to see it as a representation of the increasingly complex place the world is becoming. For writers, the zombie genre is pretty much a blank canvas upon which they can effectively project our inner fears of the unfathomable.

Scientific advancement, whether biological

modification, space exploration or atomic weapons production, can cause a great deal of unease. The genre’s popularity is often spiked in the aftermath of war, natural disasters or terrorism. Zombies, however, are a threat that is easy to rationalise. You know where you stand with zombies; as author Donna Lynn Hope puts it: “At least with zombies I know my enemy and I know what to do: aim and shoot.

It’s not so easy with people”. The resurgence of the zombie horror genre has been spearheaded by the hugely popular TV series The Walking Dead and with movies such as the Resident Evil franchise, World War Z and Shaun of the Dead leading the way.

Despite the oversaturration of the genre, here are some upcoming zombie flicks that you should keep an eye out for: Maggie will see Arnold Schwarzenegger play the father to a teenage girl (Abigail Breslin) who’s infected with the zombie

virus, whilst Welcome to Essex is a low-budget film in which a group of survivors attempt to make it to a safe haven on the coast of Essex. Pride and Prejudice and Zombies, a must-see for Jane Austen fans, starring Lena Headey, Lily James, Douglas Booth, and Doctor Who’s Matt Smith looks set to take a bite out of the box office.

Scouts vs. Zombies; pretty much self-explanatory, and in Cooties, we will see Elijah Wood tackling zombie hordes of primary school children. Matt Smith makes another appearance starring in the movie Patient Zero, where he has the ability to speak to zombies as he searches for the cure.

Other recently announced films include The Forest of Hands and Teeth with Maisie Williams playing the lead, and I Kill Zombies.

The fact that there are many new zombie movies on the horizon proves that the genre is not yet exhausted and that this global phenomenon still has legs, (although not necessarily a prerequisite

of many of its protagonists, these, of all acting gigs, are a case where a bit-part, really could mean that.) The genre may be alluding to how consumerism is stealing our humanity, or might just be a way for audiences to vicariously experience life stripped down to its ‘essentials’.

But no-one can question the success of ‘the zombie’ and its ability to get us sitting on the edge of our seats. After all, the zombie is a very personal threat; anyone could be infected, your friends or loved ones, and nowhere is safe.

Although, for my part I think you could do worse than stay indoors with a picnic hamper and a good book. Most zombies, I observe, have trouble with the wares of Messrs Chubb and Yale – or a simple latch would suffice: keep your doors locked! If you are disturbed by hordes of slavering undead hammering at your door, do not go out and interact. As my mum used to say of bullies: ‘If you ignore them, they’ll go away and pick on someone else’.

Illustration: Ana Dukakis

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