Venue 377

VENUE 377

• The rise (and return) of Among Us• • Interview with işıl Eğrikavuk • • uea’s gail and kitty perrin• • post-lockdown cinema• ANd much more...

sections

senior editors EDITOR - LEIA BUTLER DEPUTY EDITOR JAKE WALKER-CHARLES

leia.butler@uea.ac.uk

J.Walker-Charles@uea.ac.uk

ARTS

04-06

BEA PRUTTON

DEPUTY EDITOR ROO PITT R.Pitt@uea.ac.uk

BOOKS

07-09

ALLY FOWLER

B.Prutton@uea.ac.uk

Ally.Fowler@uea.ac.uk

Our arts section is where you’ll find pieces about the art and theatre world. Featuring reviews, previews, and investigative pieces, the arts section will keep you up to date on important events in the arts world. This section also covers debate pieces about bigger issues in the current arts climate.

The brand new books section will cover everything in the world of Literature! From reviews, interviews and exploration pieces, the books section aims to share coverage of a diverse range of books and authors from different cultures, viewpoints and voices. Feel free to pitch any ideas to the section editor!

creative writing

fashion

10-12

14-16

HAMILTON BROWN

IMOGEN CARTER DE JONG

Hamilton.Brown@uea.ac.uk

I.Carter-De-Jong@uea.ac.uk

In the creating writing section, you’ll find original creative pieces of prose, poetry, script and visual imagery created by writers. Each published piece of writing has been carefully selected by the section editor and will considered in a competition for the best creative piece at the end of December.

Fashion is one of Venue’s most fun sections! Expect to see personal pieces from writers about their perspective on fashion and its ever-evolving world. You’ll see pieces related to makeup, styling, and clothing. Fashion also explores bigger issues in the fashion world and how they might affect the community.

music

gaming

17-19

JACK OXFORD

20-22

JAMES WARD

J.Oxford@uea.ac.uk

James.Ward@uea.ac.uk

The music section is the place to go for anything music related- recent album releases, interesting features, interviews, and favourite tracks from our writers. The music section aims to cover music from lots of different cultures and backgrounds. There is lots of pitching potential in this section also, so pitch away!

Our gaming section is where you can read all about the latest releases, reviews of games, and interviews with different people in the gaming community and industry. The sections covers pieces about different console and PC games, mobile games, and even traditional board games and playground games!

Film

Television

24-26

NIAMH BROOK

27-29

NERISSE APPLEBY

N.Brook@uea.ac.uk

N.Appleby@uea.ac.uk

The film section is the place to go if you want to read all about the film world including reviews, rewatch pieces and coverage of film award shows. This year the film section will explore the film industry with a more investigative lens, looking at all aspects of the film world.

In our television section you’ll read pieces related to TV programmes, adverts, trailers and much more! In the section this year, we aim to cover a wide range TV shows and TV related content. This is another section that welcomes pitches and do contact the section editor if you’d like to write for this section!

First page phtoto credits: Top left (pixabay) Top right (artwork by Işıl Eğrikavuk) Bottom left (roo pitt) bottom right (unsplash)

sections

Whatâ&#x20AC;&#x2122;s to come in... books

creative writing

The best bookshops of Norwich

please mind the gap

Fashion

Television

Learning to heal: tattoos and me

How streaming redefined television

credits: Top left (leia butler) Top right (unsplash) Bottom left (imogen carter de jong) bottom right (netlix)

Whatâ&#x20AC;&#x2122;s to come in...

ARTS

Campus lights up for Wonderglow With not much for students to do after the ‘rule of six’ took much-anticipated events away, UEA’s Wonderglow festival gave a thought-provoking and otherworldly alternative to staying indoors with housemates. Walking through the campus, a place I have walked through countless times, the lights and neon glows distorted this familiarity into an ethereal place I found hard to recognise.

“I felt light years away, transported to an alien landscape”

I encountered a wooden shack with a sign that read, “Does Capitalism work for you?” One button for “no”. One button for “yes”. I concluded that because I have never lived in a non-capitalist country, it is impossible to assess any impact that noncapitalist systems have had on my life. I hit both, but the ‘no’s’ have it. Finally, I arrived at a giant, illuminated, revolving planet held suspended in the Sainsbury’s Centre. With a lack of borders,

Cast onto the Music Building, a projection that looked like a contorting Rorschach test danced along the wall to ambient boding whispers. The shapes moved too quickly to comprehend. What it did reflect for me though, was the spontaneous chaos of the world, that changes too rapidly for us to catch. On my way to the lake, I was greeted by neon octopuses and glow worms held in motion by a transparent frame. I felt light years away, transported to an alien landscape with glowing sea creatures gliding languidly through the air.

it was difficult to distinguish the globe’s countries, and I thought about how strange and unnatural borders are. I stared at the undivided and unlabelled chunks of land. This one stood out as a raw look at life’s stage, spinning constantly as if performing just for us.

Jim Gell

Photo : Jim Gell

Major Philip Guston retrospective cancelled due to KKK imagery Philip Guston’s first retrospective in 15 years has been postponed yet again. The event, which was supposed to commence on June 7, has now been postponed until 2024 amidst heightened racial tensions, as well as the current global health crisis. Guston’s portfolio contains multiple paintings of Ku Klux Klan figures, including a painting of himself in a hooded Klux robe. Critics have said that Guston painted the figures as a way of revealing America’s failures rather than him endorsing white supremacy. Musa Mayer, the artist’s daughter and head of the Guston Foundation, criticised the decision to postpone the retrospec-

tive. “Not only had he violated the canon of what a noted abstract artist should be painting at a time of particularly doctrinaire art criticism, but he dared to hold up a mirror to white America, exposing the banality of evil and the systemic racism we are still struggling to confront today,” said Mayer. Her criticism also garnered support from many on social media. The postponed show contains 125 paintings and was intended to be exhibited in four museums: The National Gallery of Art in Washington DC, the Museum of Fine Arts in Houston, the Tate Museum in London and the Museum of Fine Arts, Boston.

According to an email written by 7 representatives of the four museums, the show is currently being completely rethought. “As issues of race and social injustice have become increasingly part of public dialogue over the last several months, it became apparent we needed to rethink our interpretation of these works.” They also noted, “We feel it necessary to reframe our programming and, in this case, step back, and bring in additional perspectives and voices to shape how we present Guston’s work to our public. That process will take time.”

Lauren Bramwell

EDITOR: Bea Prutton

ARTS

First ever Indigenous winner of Archibald Prize receives $100,000 Vincent Namatjira, an Indigenous artist, has won Australia’s 2020 Archibald Prize, an annual award for portraiture painted by a resident of Australasia. It comes with a cash prize of $100,000. Namatjira’s winning painting, entitled ‘Stand Strong for Who You Are’, features retired Australian footballer, Adam Goodes, as “a proud Aboriginal man who stands strong for his people”. In the portrait, Goodes clasps hands with the artist himself. Part of the criteria for the award requires that the subject “be known to the artist, aware of the artist’s intention and [have had] at least one live sitting with the artist.” Namatjira’s works of art often tackle social and political issues, and he has an interest in people and their stories. Namatjira and Goodes met in 2018, and the inspiration for the portrait came from Goodes’ 2019 documentary ‘The Final Quarter’, which portrays the ex-footballer’s anti-racism activism. From 1,086 entries, Namatjira was selected as the winner. During the virtual

ceremony he said, “It only took 99 years. I’m so proud to be the first but I also have to acknowledge all the Indigenous finalists and Indigenous sitters for this year and past years.” The Archibald Prize is one of Australia’s most high-profile art awards, so Namatjira’s win is hugely significant for the Indigenous art community. His piece, along with works by other finalists, will be on show at the Art Gallery of New South Wales and will tour New South Wales and Victoria next year. Namatjira hopes this win will inspire other Indigenous artists to pursue their dreams and encourage them not to give up when

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hardships arise. This is a positive step in the arts world, and another step towards recognising and appreciating art from all communities.

Nerisse Appleby

Photo: AGNSW

Emily Ratajkowski and image rights Emily Ratajkowski is no stranger to posting provocative images on social media, but what becomes alarmingly apparent in her essay ‘Buying Myself Back’ for New York Magazine is that her image has not always belonged to her. The essay details Emily’s painful fight to secure the rights to her own self-image, while having her privacy violated by those around her. Emily mediates, heartrendingly, on “all these men” - photographers, paparazzi, ex-boyfriends - debating who owned her image. The essay focuses largely on photographer Jonathan Leder and the alleged events that followed a 2012 shoot at his home in Woodstock. Emily’s agent, a woman who had “full control” of the model’s career, had set up the unpaid shoot, in which she was encouraged to drink alcohol and dress up

Cre

ato

in lingerie, and subsequently remove all her clothing. Leder snapped Polaroids,

“our arts Society puts women like emily at risk, robbing models of the right to protect their own image” which he kept in a filing cabinet Emily likens to a “morgue”. As I read Emily’s essay, I couldn’t stop thinking about the compliant women she had relied on for protection: the makeup artist, a woman who transformed Emily into Leder’s various visions; and the agent, blindly sending her to his home.

EDITOR: Bea Prutton

Leder had allegedly sexually assaulted Emily during the shoot, an event she desperately tried to forget. Years later, however, Leder illegally produced a book of the Polaroids, claiming the model had signed a release for the images. Emily took to Twitter, calling the book a violation. “You could always keep your clothes on and then you won’t be bothered by these things,” a woman responded. A pang of guilt stung my chest. I had naively said similar things. I was unknowingly another compliant woman. Our arts society puts women like Emily at risk, robbing models of the right to protect their own image and succouring those who seek to capitalise on them. Why, I ask, does our society revere provocative art but chastise provocative women?

Bea Prutton

ARTS

Interview with Işıl Eğrikavuk

Photo : Işıl Eğrikavuk “[Living] in Germany, I started to hear this comment ‘But you don’t look Turkish’ often. What does a Turkish person look like? What is a Turkish woman supposed to look like? What are the stereotypes people attribute to others based on their kinships, passport and nationalities?” Isıl Egrikavuk is a Turkish contemporary artist and scholar. Her work addresses the social issues women face in Turkey. She was recently interviewed by Artsy regarding violence towards Turkish women, and her firsthand experiences of censorship. Her work is extremely important in the current socio-political climate of Turkey, and namely in addressing the issue of femicide. My research on Isıl Egrikavuk began with finding her work ‘BUT YOU DON’T’ and alongside it a razorsharp rebuttal on perceptions of Turkish women held by anyone but themselves. The accuracy of the text made me exhale with a mix of admiration and weariness. She described a struggle with identity that is universally imposed on ethnic minorities living in the West by the systems around them. I began by asking, “How has your occupation as an artist shaped your sense of identity?” “Being an artist has allowed me to find my senses, yet it also [allows] me to not make sense of everything in life. It showed me there are multiple

ways of living, existing and being. I felt quite liberated in looking at everything from upside down, playing with the many systems and structures we are taught to live in. It taught me not to take everything for granted and the value of my imagination as my currency. Those values became my identity, not things written in my passport or ID.” “Does living and working in the West make you feel more liberated or do you feel like you have to justify the choices you make based on your identity as a Turkish woman?” “I don’t really have a concept of

Photo: Işıl Eğrikavuk nationality, or the idea of being part of a nation. I am surrounded by people who believe in it, but for me I am a human, who happens to be born

somewhere and now lives somewhere else. I am currently in Germany because I teach at the University of Arts in Berlin. I have to say, I find it quite problematic how a lot of women, or members of lgbtqia+, orWikimedia artists or intellectuals from Photo: Commons other geographies are represented in Western media, as they are often pictured in the frame of a victim who found freedom once they migrated to somewhere else. This narrative, which was quite popular in the 90’s is not true anymore. Yes, in terms of politics, human rights or gender issues a lot of countries are problematic and still need to make a lot of progress, but there are also a lot of people in those countries who resist and fight. So going back to your question, my answer is no. What liberates me in life is being an artist, and saying what I wanna say through art, and that does not depend on where I am at.” “What do you think the future holds for women in Turkey? Is there hope?” “Yes, definitely. As I am answering you, I am talking to some 20 other women artists in Istanbul on Whatsapp. We are collaboratively painting and designing two murals in the city as a protest against violence against women and lgbtqia+. People are still struggling, it takes time and very often it’s challenging, but nothing lasts forever. We just need to do what we can, even in small steps.”

Elif Soyler

EDITOR: Bea Prutton

BOOKS

is poetry inaccessible? I think that poetry is the freest form of writing of them all. It doesn’t have to be bound by rules and it doesn’t have to do anything but what the writer wants it to. Alongside this, poetry can also be entirely up to interpretation, with the meaning set by the reader. For me, that is what makes poetry extremely accessible to all. The writer is free, but so is the reader. Poetry is completely subjective, and I’d argue its form gives it a lot of openness. With poetry, you can do anything with language, form, rhythm and as a reader, you can take each word in any way and play around with the interpretation. Though this may make specific meaning harder to understand, it’s the mystery and the uncertainty that makes me love poetry so much. Everyone reads it differently and it means poetry is such a unique experience.

leia butler

Photo: pIXABAY Poets write for poets. It is a cycle as old as the Romantics and one which continues unto today. At some point, poetry became not just an art but an institution; a verifiably elitist one, its gateways bared with a need-

to-know knowledge of form, structure, meter. Unlike the popular appeal of paperback fiction, the essence of poetry – its entire character and life – survives off the qualities which set the medium apart and that are intrinsic to the way it communicates meaning. There is a reason why the shelves of poetry remain so bare: the summer romance with elitism was never broken. Although professionals and amateurs alike have attempted to correct course, when students of Creative Writing are encouraged to write within this selfperpetuating framework, the prospect of opening up poetry appears a lost and confused cause. So, the cycle continues – and undergraduates write for undergraduates for now.

Tristan pollitt

the handy students’ guide to the bookshops of norwich Norwich (a certified UNESCO City of Literature) is full to the brim with bookshops, so if you’re feeling overwhelmed on where to get your literary fix, here’s a handy guide. My personal favourite Norwich bookshop is City Bookshop on Davey Street, as it contains an abundance of bargains. Most of their brand-new classics will only set you back £4 - I rarely buy new books for environmental reasons, but

sometimes it’s nice to inhale that brandnew book smell. Frequenting The Book Hive is a rite of passage for any LDC student at UEA, and a popular choice among Norwich-abiding bibliophiles, and it is easy to see why. One of Norwich’s many independent bookstores, it’s packed with obscure finds and adored classics. They also have an adorable children’s section, and you are

never too old for the occasional kid’s book. I feel apprehensive about including a chain, considering Norwich is packed full of independents, but Waterstones in Castle Meadow is one of my favourite places ever. The Cafe inside is so spacious that it’s the perfect space for both studying and wasting away a few hours by engrossing yourself in a good novel. Even though I usually buy second-hand, Waterstone’s is ideal for a rare treat. An option for used books is The Amnesty Bookshop on Unthank Road. The books are cheap, the staff are friendly, and sales go to Amnesty International – what’s not to love? They also sell a range of environmentally friendly gifts – from candles to chocolates to socks, which I adore. Tombland Bookshop is one of Norwich’s hidden gems. It feels as if you have stumbled into an immensely old library. I rarely buy anything in there because the books are quite old, usually collector’s editions, and a tad pricey, but I get enough satisfaction just by looking.

Anastasia christodoulou Photo: Anastasia christodoulou

EDITOR: ally fowler

books

do youtubers deserve a space in the literary world? In recent years, there has been an influx of books released by YouTube celebrities. These are unique in that we as an audience already have a privileged insight into their day-to-day lives (or a probably highly edited equivalent). So how is it that this newly-cornered marketplace has met so much demand? In 2014 one of the pioneering YouTubers, Zoe Sugg (known online as beauty guru Zoella) reached the top of the bestseller list immediately with her foray into fiction, Girl Online, and it quickly became the “fastest selling debut in history” according to Vice. But naturally, this expansion of creation from the online realm to that of publishing has met its fair share of criticism; it cannot be avoided that the vast majority of these YouTuber books are not very well received. Girl Online, for example, was called “as sugary as a frosted cupcake” by The Telegraph. It certainly lends to the view that these quasi-celebrities are venturing into the literary industry primarily to expand their revenue rather than their creative efforts. But can you blame them? The reality is that we live in an era subsumed by celebrity culture – it’s everywhere you look. Reality TV is soaring in popularity,

we are becoming addicted to watching and monitoring people that we don’t know on social media – it can come as no real surprise that there is an increased demand for further insight into the lives and endeavours of those we’re preoccupied with on the internet. In this sense, is it even fair to blame YouTubers for giving in to popular demand and churning out these fairly shallow and cliché books? The idea that the success of this corner of the literary industry is due to the individual being ‘deserving’ of their space in it is a tricky one. Naturally, once the demand for books of a certain nature is realised, more pressure can be placed on the publishing houses themselves for offering these contracts to meet audience consumption. Another potential angle in response to this relatively new phenomenon considers that, while these books may conceivably be pulling focus from more traditionally serious genres, they can’t realistically be understood to be impinging upon them. You do not generally see, for example, authors of wishy-washy self-help or ‘party planning’ books criticising YouTubers for putting them out of business. In terms of this new market elbowing out texts of more quality – such as

well-thought-out mysteries, satires, horrors etc., it is fairly safe to assume that there would be a clear divergence in terms of target audiences. In conversations surrounding whether these books are directing focus away from more worthy alternative contenders, it is important to note that, contrarily, they could be introducing and promoting literature to a new generation – young kids and teens who might otherwise rarely choose a physical book over their iPhone. And they are, to their credit, promoting it in all its diversity – alongside the fictional Girl Online is Joe Sugg’s graphic novel, Username: Evie, Lilly Singh’s self-help/guidance book, How to be a Bawse, and Gabbie Hanna’s Adultolescence, a collection of poetry. Arguably, in this case, outcome trumps intention. You would hope that this inundation of YouTubers into the literary industry springs entirely from genuine creative expression and interest, but even if not (and it’s probably not), these texts can optimistically be viewed as gateways into further explorations of literature for what may otherwise be more online-oriented generations.

eLEANOR BURLEIGH

Photo: unsplash

EDITOR: Ally Fowler

BOOKS

What makes a book to film adaptation (un)successful? The worst day of my life was when I went to see Percy Jackson & the Olympians: The Lightning Thief. It was not good. The sequel, Sea of Monsters? Even worse. It was an abomination. It took the narrative of 5 books, merged them together, and crafted 106 minutes of pure audio-visual torture (that’s right, even the credits were awful). The real issue is what every bad film adaptation seems to do: they never grasp the heart behind the book. I think the undeniable greatest book adaptation ever (not best film based on a book) is The Lord of the Rings. It’s a long, extensive novel with a huge amount of

exposition, detail, and description. There are huge sections just describing where the characters are. The film captures these by making the world absolutely beautiful. Peter Jackson doesn’t utilise any real “fish out of water”, audience-insert characters to explain the world. The world just exists, and the audience is immersed in it. It’s amazing. That’s how the best film adaptations work, they understand how the novel works and try to maximise what works about it. That isn’t to say novel-to-film adaptations should just copy the books entirely - that would be a failure in itself.

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What it means is that filmmakers have to look at the book and decide what makes it work in a narrative, thematical sense, and then convert that into film. The Shining is an infamous example of a film completely changing the book, but still achieving excellence, despite the author hating it. The Shining took the concept, characters, and setting, but Kubrick changed the inherent theme to turn it into a truly iconic film. Would it work if he’d copied King’s book entirely? Possibly. But Stanley Kubrick knows more about films than Stephen King, so I back him.

Photo: Unsplash The real thing that makes both of these adaptations work is that they find soul in the story. The Lord of the Rings talks about friendship, goodness, working together, and the film captures it entirely. The Shining is about a man’s insanity destroying him and while it’s entirely different to the book, it’s still something deeper which affects audiences. Both films find that soul and imbue it within the work. There’ll never be a flawless way to adapt any book to any film perfectly. It’s likely a dangerous thing to say in the Books section, but I prefer films to books. I think

films are harder to make. There are more things going on, acting, cinematography, sound design, music, etc. A book, while not an easy thing to write, especially not easy to write brilliantly, is a single person (or a few at most) crafting a singular work, using only words. A film just has more to get right, and it’s a lot more difficult to do so. And to be fair, most of the time with film adaptations, especially with ones like Percy Jackson in that 2010s YA novel adaptation explosion, it’s not a filmmaker who loves a book - it’s one paid to direct a film, while a studio tells

EDITOR: ally fowler

them what to do. At the end of the day, all a filmmaker can do when adapting a book is try to find the soul of the piece, and try to imbue a narrative with that. They can’t be stuck on every single detail or trying to make hardcore book lovers happy about every detail. The best adaptations are never going to be one-to-one exact replicas of the book. But if they can capture the soul of the piece, they can make a separate but equally brilliant work of art.

matt branston

ours

creative writing

i’m yours

home

i think i’m falling in love

do i greet you with a

not drowning in an abyss

yellow

but ascending into heaven, waiting by cupid’s gate closed an instant - waiting for love to come greet it.

blue or pink kiss? soft arms and warm embraces, you taste like home. dirty blonde hair

it feels like a dream falling in love with you thinking i don’t deserve it fate hidden in the crevice of my ear whispering the instructions to this love: a different formula hidden ingredients

half toned with no great success (it’s the thought that counts) blue eyes melting with specks of gold, your snug gaze planting a kiss on my happiness.

methodical potion making, created this infatuation i’m addicted to. you’re mine, you’re mine, you’re mine.

Charlotte Bouilloux photo: Findpix

EDITOR: hamilton brown

creative writing

I once tried to eat a wasp’s nest I Once Tried to Eat a Wasp’s Nest I once tried to eat a wasp’s nest. The punt at the bottom reminded me of how, the bigger the indent on the bottle of wine, the better it tastes.

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It had looked quite appetising; I’d skipped lunch earlier. Biting into it was like cracking open the world’s worst Kinder Surprise. The wasps were more delicate than I’d expected. I pressed them against the roof of my mouth, and they squashed like caviar. I bit the wings off and ate them separately. They cracked and dissolved on my tongue. I scraped the rubbery dregs off with my front teeth and spat them out so I could rub them between my fingers.

work Doctors are engineers who work with red oil; Undertakers run hotels where the guests aren’t that fussy; Archaeologists are patient thieves; Tobacco Venders are patient assassins; Regular assassins are the bellboys for the undertakers; Magicians are honest conmen; Chefs are the vet’s version of an undertaker.

Daniel Thomas

EDITOR: HAMILTON BROWN

photo: pixino

creative writing

Please mind the gap LUKE: Mother, how far is it till we arrive? MARY: I... MARY is interrupted by a manic laugh from SAMUEL, a few rows behind them. He is talking to JOHN. They are both dirty and scruffily dressed. MARY sniffs as she looks about her, and pulls LUKE closer to her. MARY: I don’t know. It’s not like I’ve been here before, thank God. The train carries on, softly gliding on the tracks. SAMUEL laughs hysterically again as he walks down the train with JOHN. He swigs large amounts at a time from a glass bottle in a brown paper bag. SAMUEL: Don’t be ridiculous, John. It’s not like I killed a man! JOHN: You did cheat on her five times though, Samuel... [He sorts through a carrier bag full of phones] Look here, this one doesn’t even have a password! SAMUEL: What an idiot – and it’s eight. Eight if you include the three she doesn’t know about! [He laughs gruffly] MARY: [Hisses] We shouldn’t be here! We shouldn’t be on this train, with these people. SAMUEL suddenly jumps up at a nearby passenger, and snaps his teeth at her. The train jolts to a halt, and a raspy voice blares out of a speaker. ANNOUNCER: You have reached your destination. Do not leave any personal possessions behind. Depart up the stairs on your immediate left on exiting the train. MARY: Come on. [She hastily grabs LUKE’s hand and scurries off the train] People rush about everywhere in the terminal, bumping into each other and cursing. There is a large coffee shop, a book shop and a small newspaper stand. LUKE: Where are we? MARY: [sniffs] I don’t know. LUKE looks around for a few seconds before his eyes widen. He walks closer to the coffee shop, MARY never straying far behind. When he reaches it, LUKE presses his face against the glass of the pastry cabinet. LUKE: I want the chocolate one, and the custard one, and oh, look there – at that raspberry one! I want them all! MARY: [sharply] No! We have to be on our way. As they walk on, they see rows of people forming seven queues. Above each are the headings: Lies; Sexual Immorality; Theft; Drunkenness; Gluttony; Revenge; Murder, all leading to glowing doors of different colours. HECATE waits at the back of the queues with a clipboard. HECATE: Luke to queue five; Mary to queue seven. MARY sighs and walks away silently from LUKE, going towards the glowing red door marked MURDER. She doesn’t look back. Blackout.

photo: pixabay

Leia Butler

EDITOR: hamilton brown

need some help settling in? link up with a buddy today at

uea.su/buddy

fashion

Levi’s 501s: A love letter to an iconic item Dear 501s, You are my perfect jeans. Years of my life have been spent in Topshop changing rooms longing for my legs to be thinner, so I could finally fit into a pair of Joni jeans. The year was 2013, every cool girl had them and I simply could not get them to fit. This led to years of not only an unhealthy relationship with jeans, but my body too. It wasn’t until last year I discovered you, after a couple of glasses of prosecco with my mum. She showed me a picture of her in

Paris in the late 80s; my age and donning a tweed jacket and a pair of Levis 501s. She looked amazing. The jacket she was wearing she had

photo: unsplash

given me just a few weeks prior and I knew I needed a pair of these jeans. The next day, I was the proud owner of my own pair of 501s. A truly classic jean, you not only flatter every outfit, making me feel confident as you radiate your relaxed vibe, but you also link me to my mum. I feel close to her, even when she’s miles away, knowing that her classic sense of style has been passed on to me. So thank you, 501s, may your effortless, denim glory reign on forever.

Niamh brook

marc jacobs and the commercialisation of queer identity Marc Jacobs recently launched the collection “Heaven”, a selfprofessed “ode to otherness” which is a representation and celebration of polysexuality through fashion. Polysexuality meaning encompassing many different kinds of sexuality. Speaking of the collection in question, Marc Jacobs states: “Heaven draws upon the origins of the Marc Jacobs impulse: subversion, teenage daydreams, alienation nation, queer youth, toxic shock valley girls, candy ravers, apocalypse sugar, psychedelic fantasia, girls who are boys and boys who are girls, those who are neither, negative space” and more. He goes on to say: “Heaven centers the D.I.Y. spirit that connects subcultures around the world and recontextualizes them for a new generation”. My immediate response to the collection’s intention is mixed. Recent years have seen scores of pop stars drop the odd gender neutral pronoun in a song, or dabble in cross-dressing, knowing their album sales will immediately go up, and at times this appears just plain disingenuous. Marc Jacobs’ attempt at commercialisation of the “D.I.Y spirit”,

which is embedded in queer fashion’s history, seems ironic considering he’s marketing pre-made designer clothes. Queer fashion has become highly

photo: unsplash

commercial, with its capacity to embody the alternative. Marc Jacobs’ likening queerness with “otherness” is nothing new, and in some ways actually works to uphold the very heteronormate worldview that it’s trying to distance from. These signifiers of “gay” and “queer” originate from notions of strangeness

and immorality. Historically, this has been artistic dynamite for scores of queer creatives that have gone on to make powerful impacts in modern art and pop culture. But whether this is true of Marc Jacobs’ latest venture is another question. I understand the value in Marc Jacobs continuing the work of reclaiming these words and re-envisioning the queer experience, and applaud it. Marc Jacobs is a fashion icon and himself identifies as a gay man, so there’s no doubt this collection is stemming from an authentic place. This being said, there are also scores of smaller queer-owned brands that are worth considering supporting. Here’s a list of just a few of them: Saul Nash (instagram: @saul.nash) is a menswear brand with a remit of bridging the gap between luxury and sportswear, and notable queer fashion designers include: Ella Boucht (@ellaboucht), Daniel Fletcher (@ danielwfletcher) and Jawara Alleyne (@ jawaraalleyne).

jake walker-charles

EDITOR: imogen carter de jong

fashion 15 can consumerism ever be a guilt-free experience? photo: unsplash

For some, lockdown meant less shopping, but for others, it only added fuel to the ‘shopping obsession’ fire. With hours on end with nothing to do, it was easy to have ‘a quick look at comfy at home clothes’ which turned into hours of online shopping, lots of money spent, and lots and lots of boxes and packaging. In an essay for Vogue, Bella Mackie explored the difference between shopping for the sake of it, versus the utter feeling of joy she got from seeking out special pieces and useful items from smaller sellers and independent businesses. Lots of us may have started lockdown off with lots of random, unnecessary purchases, but by the end of lockdown, how many of us ended up thinking about shopping differently? For me, it started off as exactly how Bella described shopping for the sake of it. There is a really addictive, pervasive side of shopping. Buzzfeed’s website even has a dedicated shopping section, featuring pages and pages of articles which promote and encourage online

shopping. Ads pop up on every single app or website you use, so that when you go online, shopping opportunities will tempt you from every direction. Online, you can find your size instantly; you can filter searches and get exactly what you want. You don’t even really have to search: it comes to you. Mainly, shopping is so addictive because it ignites the investigative, impulsive and most materialistic parts of you. You have the challenges of distinguishing good from bad, the battles of instantly falling in love, and the journey of rifling through sales (which there were a ton of during lockdown). All of those elements are exciting; they engage your brain and this was what people were looking for in a time where nothing else was happening. People had no work, and shopping online provided the stimulant in their brain that they craved. In lockdown, where the same old routine meant days felt like years, having a package arrive was something different, something you could look forward to.

But then, it hit me. The boxes were piling up and so was my guilt. I am primarily a charity shop girl: the bargains are unbelievable, the money goes to a good cause, and it is far better for the environment. Almost none of that applies when shopping online. But when lockdown shut down the country, the charity shops went with it. And the longer lockdown went on, the more I desperately wanted to get back to the charity shops. Bella is right. You can spend hours mindlessly scrolling through those Buzzfeed shopping articles, scrolling through ASOS or any online retailer, but you won’t get the same joy as when you give back as much as you get. When you support smaller independent businesses, or charity shops, you get a different feeling. I think it heightens all the things people love about shopping. You still have the hunt, the love, and the joy of spending money, but it all goes to someone who relies on it. It’s still the same shopping, but guilt-free!

leia butler

editor: imogen carter de jong

fashion

learning to heal: tattoos and me I have always found it hard to describe my relationship to my tattoos. For a long time, though they were carved into me, embedded deeply in my skin to adorn my body for evermore, I struggled to articulate how it felt on a personal level to be decorated by ink in this way. I felt that they had changed something within me, but exactly what I couldn’t put my finger on. The marks on my arms were mine: on me, and yet of me - superficial and yet inextricable. My chosen designs and the weeks of careful aftercare were encased in what felt like the very layers of my being. But it was hard to put into words how remarkable this process felt without sounding utterly ridiculous. It does, after all, probably sound rather lofty to refer to drawings etched into my arms in this way, or to suggest there is some kind of hidden, remarkable feeling within it all.

Photo: pxhere For it is not as if I am even covered in them; large sections of my arms are still virginal, with patches of skin yet to be penetrated by a tattoo gun. But though the handful of them I do have seem nothing but superficial - mere embellishments on my body, akin to jewellery or accessories - they have irreversibly altered me, and in turn, my relationship with myself. They have even, it seems, altered my brain chemicals: pre-tattoos, I never dreamed about them; post becoming inked, my slumbers are regularly interrupted by nightmarish visions in which I am struggling to wrest myself free from a tattoo artist doing a terrible job. Or I am haunted by grotesque, incomprehensibly large back tattoos that I cannot remember acquiring but that will not budge however much I try to scrub, a la Lady Macbeth (out damned tattoo!). I suppose the irreversible change

I felt in my relationship to my body lies with the fact that tattoos seem to possess an almost mystical power to transform, beyond the purely superficial alteration they offer. Though on my body externally, they catalysed an internal shift within me. They carried me away from a previous incarnation of myself, and helped me to rekindle some self-confidence. Like many teenagers, I wrestled with a dislike for the skin I was in for much of my hormonal pubescent years. The usual teen-angst and self-scrutiny was certainly not helped by my emotionally abusive father policing my appearance. In the years since - since I have cut off contact from my father and have retrieved an ounce or two of self-worth a lingering sense of shame has persisted. Despite therapy, supportive friends and family, a loving partner and a helping hand from medications, there remained a degree of guilt attached to taking an interest in how I looked; how I adorned m y s e l f with clothes and jewellery, or how I painted myself with cosmetics. I did not have a lot of choice about my appearance under my father’s scrutinous gaze. His manipulation and coercive control meant that I could not physically exist in the way I wanted to. I went to great pains - and spent obscene amounts of money on make-up remover wipes - to hide the evidence of my transgressive mascara-wearing at school. I was not allowed to wear skinny jeans, open or heeled shoes, short skirts or low-cut dresses. And I certainly wasn’t allowed to explore the realm of personal grooming. Shaving was out of the question, as was any kind of skincare. I could not be seen to be taking any interest in the way I looked, for it would be deemed ‘suspicious’, regarded as a slippery slope towards the unbearable: condoms and birth control - not things a teenage daugh-

ter raging with hormones should, according to my father, have on her mind. In becoming tattooed, my flesh became dramatically more conspicuous. As it did so, much of the guilt and shame I carried with me simply disappeared. The tattoos had stamped it out; scribbling both literally and metaphorically over old scars, and making new ones, this time ones that it was exciting to watch heal. Each day of carefully applied cocoa butter to the new tattoo was a day further and further away from the skin I had associated with shame. I had forced myself to recognise my potential, my body a canvas to scrawl across, devise and design. I was writing over the pain by writing on my own body, and helping myself to heal by watching very different wounds, of my own infliction, heal. When I lifted myself off the tattoo artist’s chair after two long hours the first

time I had a piece done, it was astonishing to look in the mirror and see an assembly of black marks crawling up my arm. It was as if I had taken possession of my arm by making something of the skin of it, transforming it via a design entirely of my choosing. Looking down at myself in the days and weeks afterwards, catching flashes of my arm in windows and mirrors, I was reminded of the choice that was made, the price that was paid, and the process that was endured for it to exist in that way. Years later and half my arms covered, my body is joyfully, playfully and confidently announcing itself to the world. The skin I am in is no longer a site of shame and painful memory, but one which proudly proclaims its autonomy.

imogen carter de jong

editoR: imogen carter de jong

music

Best recent singles

• Travis Scott feat. Young Thug & M.I.A. – FRANCHISE• “FRANCHISE” by Travis Scott, Young Thug and M.I.A is a stand-out track. These artists, who have approximately fourteen US top 10 hits between them, have all been known to push stylistic boundaries. Their unique vocal performances give the song depth and dimension,

•

Sinead

whilst still remaining sonically complementary. The accompanying video, which was directed by Scott, also has great replay value. Personally, I was pulled to the song because of the M.I.A feature. Her verse, which appears towards the end of the track, marks a definite

O’Brien

Sinead O’ Brien recently released her fiercest music to date. Opening the EP is the most texturally explorative track: “Most Modern Painting.” It toys with glassy guitar, hissing hi-hats and modulated synth-pads. Not only is it a wonderfully sonically layered single, it’s a masterclass in lyrical agility: “Quiet

Most

change of pace which divided fans. However, music that takes time to sink in is usually the music that gets remembered, and the song looks set to become another chart hit for the trio.

JAKE WALKER-CHARLES

Modern

whipping winds, whispering things, as she passes, long summer grasses, blow curses to the wind” is one of the most satisfying lines; it rings out against an increasingly stretched modulated synth and frantic guitar. The build resolves with O’ Brien repeating “Drowning in Blessings”

Painting

•

against a whirl of guitar and bass. O’ Brien is one of the most exciting new Irish artists, with her intense vocal delivery backed by coolly biting guitar. She’s definitely one to watch.

CALLUM GRAY

IDLES – Ultra Mono - “A scathing look at the world” The day I started writing this review my girlfriend passed out in the bathroom, half-drowned in toilet water and ended up in A&E for a brain scan; yet after one listen to IDLES third album Ultra Mono, it became clear that I’m not nearly as stressed out as frontman Joe Talbot. IDLES work has flirted with activism before, but Ultra Mono is a thoroughly political album, the unashamed lyrics tearing into an endless list of social inequalities. The songs are powerful, although some of the ideas do fall short. The command, “don’t read The Sun” and addressing policeman as “gammon” in “Model Village” feel eye-rollingly obvious, even for a lefty student. Listening to the album as a whole can feel like a marathon, with Talbot’s slurring vocals and the rehashing of points akin to listening to a drunken rant in a smoking area. Even if you agree with it, it feels a bit awkward, forced

Review

photo: rUSSELL Oliver/IDLES to smile and nod while you eye up the exit. Despite this, the points repeated by Talbot remain clear, candid, and absolutely true. Lines like “consent, consent, consent” and “black is beautiful” refuse to be ignored or misinterpreted, and the repetition across the album certainly conveys where IDLES stand on these issues. There are some attempts to inject

light-heartedness and they often work well. The description of “Conor McGregor with a samurai sword on roller blades” is IDLES at their best, although it does feel wrong to laugh following the earnest descriptions of racism in protest song “Grounds;” a testament to the evocative ways that Talbot addresses these issues. Ultra Mono’s focus on politics is sure to cause some sour faces amongst apolitical fans, and the repetition of political statements can feel a bit heavy-handed, but it’s pretty apparent that IDLES don’t care. A first listen to the entire album can feel like sensory overload, but it might be one of the most honest and frank political albums ever created. If IDLES aimed to offer a scathing look at the world around us, they hit the nail on the head.

Dan Clark

EDITOR: jack oxford

music

Radiohead’s Kid A turns 20: A retrospective

photo: wikimedia commons Kid A is often cited as one of the greatest albums ever made. A paragon of experimental music, the album builds on the off-piste style of OK Computer to become what many, including myself, would argue is the band’s strangest album, not only sonically but structurally too. Its inspirations range from Talking Heads and R.E.M to Aphex Twin, but it’s an album that could only have been made by Radiohead. Before its release, critics were hoping for more of OK Computer’s powerful, guitar-focused rock riffs, but instead they were offered an album that dismissed the commercial and embraced muffled vocals, electronic instrumentation, and looping song structures. For these reasons, its release could be considered a critical failure, but in the years following, it has become essential to the Radiohead discography. The unique sonic landscape of Kid A was heavily inspired by the ambient electronic music of artists like Aphex Twin, whom Yorke listened to heavily following a mental breakdown from supporting OK Computer. If we take Kid A as a grouping of this ambient style and the band’s earlier work, we see that it is an entirely natural progression for Radiohead

to make. The commercialisation of their previous album and the extensive touring schedule provoked the production of an experimental album that allowed them to bend their definition as artists. Let’s take a look at some of the tracks on the album and discuss what made it such a divisive release. Kid A’s opening track is “Everything in its Right Place.” The first notes show a distinct change in style from OK Computer’s “Airbag,” which opened with distorted guitars. ‘Everything in its Right Place’ is a perfect opener to set the tone of the album; however, it is also where a listener might first voice disdain. Its claustrophobic sound diverges from OK Computer’s melancholy but endless horizons, with instruments in flux and tightly packed. The lyrics are particularly weird and repetitive, featuring lines like “Yesterday I woke up sucking on a lemon” and “There are two colours in my head/ What is that you tried to say.” This song-writing style was inspired by Talking Heads, with Thom Yorke writing random snippets and sequencing them together rather arbitrarily. It gives the song, and the album, a dreamlike quality with a lot of room for interpretation. “How to Disappear Completely”

is a representation of Yorke feeling disconnected. It is often cited as one of Radiohead’s most depressing songs. The instruments blend in a display of gothic existentialism, as Yorke dissociates, murmuring: “That there, that’s not me.” According to Yorke, it was written about a dream he had about floating around Dublin, with this initial line coming from advice that R.E.M frontman Michael Stipe gave him to deal with tour stress. The haunting vocals accompanied by strings create a sense of the ethereal, as if drifting alone on an endless void. No songs on OK Computer come close to replicating this sound, showing how Yorke’s mental state at the time inspired Kid A’s unique out-of-body imitation. It can be seen from these two songs that Kid A has a certain strange beauty that is difficult to describe. Its recapturing of dream and dissociation is a powerful one and allows for an intimate relationship between the listener and Yorke himself, as his lyricism tells of a conflicting mental landscape that is translated into the ethereality of Kid A’s claustrophobic dreamworld.

James Ward EDITOR: jack oxford

music

A chat with Gail: Interview from Wild Fields Zaynab Abigail, stage name “Gail”, is a singer-songwriter and UEA student. Her debut EP Sweet Nothings was released the 25th of September. This interview was conducted before her amazing performance at the Wild Fields festival on Saturday 12th of September. So, how do you feel about performing again? It’s the first time in like, seven months, I did a couple of gigs at the start of the year, one at the Birdcage and one at the Louis Marchesi– a lot smaller– this is like a cute small stage as well, but, obviously being at a festival is so crazy for my first gig back. How did lockdown affect your creation process? So I was doing an EP at the start of the year, and I sort of couldn’t

Content

photo: roo pitt finish doing that for a while as my friend who produces for me– we do it at his house as he has a studio and I couldn’t go there because of lockdown. But I figured out ways around it– I could do some of it at home. And I started writing loads of lyrics about self-isolation! What can you tell me about your new EP?

It’s… basically about love? I suppose? And heartbreak, and all the different phases of that experience– I guess being really in love, then things ending when you don’t really care, and then… you care a bit too much, just all sorts of stuff to do with that. I suppose it’s on the same energy as ‘Gold Beemer.’ What have you been listening to recently? I really love Rina Sawayama and her album that came out this year… So good. The best pop album this year. I also really like Dua Lipa, Future Nostalgia… I mostly go through phases of listening to the same thirty songs for like a month. (laughs)

Jack Oxford

kitty perrin: “I want audiences to connect” Kitty Perrin is a third year UEA student studying History and Politics. She works as a radio presenter for BBC Introducing and is a singer-songwriter. How do you handle the nerves of performing? I’ve been playing shows since I was 11 and the way of dealing with nerves for me was always to like really look at people and try and gauge photo: roo pitt how they are feeling. Because always been really important for me I feel like if you are looking directly at people, they will usually to be a female musician and champion smile at you because they want to be female musicians. If I start working with a team... then I am hoping that nice. What is it like being a woman in everyone I work with industry wise the industry? will be female. Especially I think There is a massive gender having a female manager is super inequality in the music industry. important to me, only a female There was a recent report that only manager would understand how 3% of producers are female. It has difficult it is to be a female in the

editor: Jack Oxford

industry. What do you hope audiences take away from your music? I hope that they have a nice time... and that I make people smile. I write quite a lot of personal things as well so I’d like audiences to feel like they know me a bit when they’ve left a show. I also write quite a lot of songs about bigger issues and that is very important to me. I’m gay, so I’ve written a lot of songs about that before and I want audiences to connect with that. I always hope I’ll play a song about a girl and there will be like a 12-year-old girl in the audience who is like “that means a lot to me that I’m watching a singer that is singing about women.”

leia butler

gaming

What have you been playing this week? Imagine Takeshi’s Castle meets Total Wipeout but with enough people to fill a lecture theatre. That’s Fall Guys: Ultimate Knockout. And it’s ludicrous fun. You play as a colourful little bean person (that you can put in outfits! Mine is dressed like a dinosaur!) taking part in “shows”: a series of different games and challenges, whittling the competition down from 60 contestants to one champion. What’s brilliant about the game is that each of the levels are so distinct,

and they change depending on how far through the rounds you are. Not just that but while there is a bit of a knack to it, there’s always an element of luck, meaning that even if it’s your first game, you feel like you’re this close to getting a win, and even if you’ve played it loads you feel this close to losing at any moment. Speaking of losing, be prepared to do that a lot. I was the grand winner once during my first night of playing and I

peaked early. But I keep coming back because of every nail-biting “Oh I was so close!” or “Did you see that? I just made it!” leads to a celebration with ferocity and vigour. For a game that’s only £15, you get so much for your money’s worth, especially because you can play with friends, watching their character after you’ve been eliminated or vice versa, and part of the fun is the social “Come on! You can do it!” that the game inspires.

Alex Viney

photo: Pixabay

photo: Wikimedia

A lot of people would describe Fire Emblem as anime chess, and this isn’t too far from the truth: there’s certainly a grid and the ‘pieces’ (units) you control all move in different ways; reducing it to chess is an oversimplification though, of course. Fire Emblem for the GBA was the first title released in the West and is also the first of the series I played, although I’d hardly say it’s my favourite. So why have I been playing it this week? Compared to other JRPGs–it’s debatable whether Fire Emblem is a JRPG, but that could be a whole other

photo: Wikimedia

photo: Intelligent Systems Co., ltd. article– Fire Emblem’s gameplay is far more dynamic. You are given a wide cast rather than a small group like in Dragon Quest, and players are forced to assess a character’s usefulness in any given situation. For example, a flying unit is good on maps with mountains as they can ferry other units across them. Paladins are very versatile as they can wield many different weapons and move very far.

Magic users can attack from 1 or 2 squares away but are usually weak defensively, whilst archers can usually only attack from 2 squares but are strong against fliers. Even now players are still finding new ways to challenge themselves in Fire Emblem for the GBA, and I’m no different. With self-imposed challenges providing a new gameplay experience, I imagine I’ll be playing it for weeks to come as well.

Jack oxford

EDITOR: james ward

gaming

Xbox game pass vs ps now

photo: wikimedia

photo: iconscout The age-old battle of the giants, Sony versus Microsoft, has risen once again. The latest announcement from Xbox that EA Play will be joining the Xbox Game Pass has reignited this battle, this time over who is running the better subscription service for their games. On the face, both appear to offer value for money. Although Sony had to slash its prices in response to Microsoft, now both operate similar pricing strategies, though Xbox Game Pass Ultimate comes out the most expensive at £10.99/month. Each titan tackles streaming differently: PS Now allows users with a stable-enough internet connection to stream games onto their consoles/PCs and play a number of games without the need for hard-drive space. There is no similar console/PC streaming for Microsoft’s service; however, Xbox

Game Pass Ultimate allows players to stream their favourite games onto their Android mobile devices and pick up where they left off on their consoles, including their console exclusive titles such as Gears 5. The titles available on Xbox’s Game pass can vary month to month and appear to have a higher turnover than PS Now, giving PS Now a slightly larger library at times and a safer bet for those wanting to keep hold of their favourite titles from the services. However, now that EA Play is available for the Xbox Game Pass Ultimate it’s likely this will appeal to those seeking to access some of the largest AAA games on the market. Seeing as both services are available to PC gamers there will be some competition between the two. If I had to choose though, I would likely choose the Xbox Game Pass Ultimate, as it appears

EDITOR: james ward

to offer the best value in terms of access to additional services, the ability to play on the go through their Project xCloud service, and Microsoft’s partnership with EA Play which is due to launch on the 10th of November 2020. Of course, the bulk of subscribers for each of these services are likely to come from loyal console gamers who chose their favourite brand long ago. However, with the release of the nextgen consoles imminent, these may well be factors to consider when deciding which console to purchase. It is evident, as with most entertainment industries now, that subscription services will play a key part in the future of gaming but only time will tell how Sony and Microsoft develop their respective services to capitalise on this.

Roo pitt

gaming

The Meteoric Rise (And Return) Of among us A few weeks ago, I had no idea what Among Us was. Now, I struggle to tear myself away from it. Among Us has recently shot up in popularity, especially amongst Twitch streamers, despite launching for the first time in 2018. There is a lot to love about this game, and it’s not hard to understand why it has become so popular. Quick premise: ten players aim to prepare a spaceship for launch by completing tasks and minigames to get it ready, with at least one person on the ship instead being the Impostor, who has to try and stop this from happening. My favourite aspect of the game is the deception and the lies if you are playing as the Impostor. Even if I am

not the Impostor, it’s occasionally fun to cause a bit of trouble. Without sounding like I have a few screws loose, I get a thrill from outsmarting people and lying my way to the end, doing whatever I need to do to not get caught. As the Impostor your aim is to kill the other players and sabotage their tasks to stop them from winning. Being the smartest in the room is a great feeling. It caters amazingly to big groups of people wanting to play together, even groups of strangers. Matches of up to ten people take place with anywhere between one and three players acting as the Impostor, so lots of your friends can jump into the same game and have hours of fun. UEA societies are even picking up

the idea for socials, which I must admit is a genius idea. Another great part of the game is that it avoids repetitiveness. Each game is different because the tasks change and the players have unique strategies. This is what makes it so addictive and ultimately very popular, because if you lose or die, I guarantee you’ll be saying “one more game” for as many hours as it takes for you to win. Even worse, if you are outsmarted and the target of someone’s lies, you will jump back into another game with a personal vendetta or a point to prove. Essentially, you need to play Among Us. It’s pretty sus if you don’t.

Sam Hewitson

Microsoft acquires zenimax media Microsoft has acquired ZeniMax Media, the parent company of Bethesda Softworks, for a huge $7.5 billion. This is massive news for the next generation of consoles, and signals a large shift occurring in the gaming industry as a whole. ZeniMax Media is the parent company of well-known companies like Bethesda Softworks (Fallout, The Elder Scrolls), id Software (Doom, Rage), Arkane Studios (Dishonored, Prey), and MachineGames (Wolfenstein). All of these gaming companies work on large franchises with loyal followings, which now Microsoft own the rights to. This could see Xbox return as the home of the role-playing game.

Bethesda have had a close relationship with Microsoft since bringing The Elder Scrolls: Morrowind to the Xbox in 2002, something which continued with its sequel, Oblivion, being designed for the Xbox 360 then later ported to the PS3. So while their relationship is not something new, it has never been so close, and I am excited to see how this develops over the next generation. There is however the issue of The Elder Scrolls VI, which some now think may not be coming to the PS5, although I think it would be a poor business decision on their part if this becomes the case. This also would go against Microsoft’s inclusive practices such as offering cross-play for

Minecraft. As a loyal PlayStation player, this is the first time that I, somewhat guiltily, have considered moving to Xbox. Bethesda’s releases are some of my favourite franchises, and although they have fallen out of public favour in recent years, mostly with Fallout 76 and the Creation Club, I believe Microsoft’s acquisition of ZeniMax Media will help restore public opinion. I also couldn’t bear to go without The Elder Scrolls VI if it does become an Xbox exclusive. Regardless, this news is some of the biggest the industry has seen in recent years, and it will be interesting to see how it affects the upcoming generation.

James Ward

EDITOR: james ward

CELEBRATING EXCELLENCE 1ST - 31ST OCTOBER

UEA.SU/BLACKHISTORYMONTH

FILM

The devil all the Time and the R patz Renaissance

“Almost Like A brutal, gothic love actually” Gothic drama, The Devil all the Time has become quite the talking point on social

narrative. It must be noted that seeing Tom

repulsive with Patinson keeping the fviewer on their toes as he grows more and

media over the past few weeks. Based on the 2011 book, the film follows multiple characters all residing in the small

Holland, famous for his boyish, spiderman charm, playing a darker, more violent character was fascinating. Whilst his

more repulsive throughout the duration of the film. The Devil all the Time marks a strange

American town, Knockemstiff. I’m going to be honest with you, I wasn’t sure what to expect when watching

performance is not groundbreaking per say, it’s good to see him experiment in his career and

time in Pattinson’s career. As much of a meme as he is now a respected actor, we now live in the age of the R-Patz

this film. With such a large cast, I was unsure how the film was going to work,

push himself further away from his usual persona.

renaissance. After the huge success of the Twilight

giving each character enough time on screen so that you are able to fully engage with them. In order to explain how it works, I’m going to use quite a strange

Now, I can’t discuss The Devil all the Time without discussing Robert Patinson’s exceptional performance as Knockemstiff’s new pastor.

franchise, from the preferring character

Pattinson seemingly dropped face of mainstream cinema, to focus his talents on indie dramas instead. However,

metaphor here, but just hear me out, the film plays almost like a brutal, gothic Love

villain some

12 years after we were first introduced to Edward Cullen, we are now seeing

Actually. Each character relates to each other in one way or another and through a series of vignettes, we are able to engage and

s o r t s , Patinson’s Te a g a r d e n is as alluring

Patinson in more and more mainstream films and finally getting the recognition he deserves. Now, I’m not being biased because I was in love with him when I was

understand their individual stories. The film toys with a lot of themes,

nine, Pattinson is a truly exceptional actor and I look for ward to seeing what is next

but none perhaps as prevalent as faith. Throughout the entirety of the film we see characters battle with their faith and trust in God and it is this faith that ultimately

for him. Overall, The Devil all the Time is an interesting look into the complexities of faith and life. Whilst not the best, not

causes the horrific acts we see them

the most ground breaking film I have

commit. This underlying theme is what links every character and creates a sense of cohesion to the sometimes bonkers

Review 4/5

ever seen, it is definitely worth a watch, especially to catch Pattinson’s exceptional performance.

Niamh Brook

Photo: Wikimedia Commons

a Year Without MArvel: a Blessing or Following recent news that Marvel Studios’ ‘Black Widow’ has now been Photo: unsplash postponed for a 2021 release, meaning no new releases from the studios for the remainder of the year, it must be asked – will they be missedx? Do they indeed form an essential part of the film industry or are they simply, as Martin Scorsese famously labelled them, “amusement park films”? While it could be argued that they are not great feats of artistic expresEndgame’ suggests that the demand sion, superhero films do make up a for the genre is not by any means dwinjaw-dropping percentage of yearly box dling. And indeed, is it any wonder that, office revenue, and the huge success of especially in these highly unusual times, recent productions such as ‘Avengers:

a curse?

we seek the solace of complex and interwoven cinematic universes such as Marvel, in which apparently regular people possess the abilities to fight evil and ensure the triumph of good? I would argue, absolutely not. Superhero films represent a kind of ultimate escapism – and one into which we can escape not alone, with legions of fellow fans. Not everything has to be a great artistic feat – sometimes it is enough to simply mean something to many people.

ElEanor Burleigh

EDITOR: NIAMH BROOK

FILM

Mulan: A lacklustre remake Subscribers of Disney+ and even the most casual of Disney fans will no doubt know that the Mulan live-action remake has finally premiered onto the streaming service, six months after it was originally meant to open in cinemas. The film has come under fire by fans and critics alike because of its long production and release period, hindering how well the film has been received both financially and critically. With the £20 fee that is required for subscribers to view the film with the new ‘Premier Access’ feature, fans have been left disappointed. But is the film worth the price tag? Or is it just another shameless cash grab remake of a beloved story? The removal of certain elements from the original Mulan movie do not hinder the

experience of Mulan’s story, but in their removal, we are welcomed with shallow replacements that offer similar themes and controversies. Additionally, the lack of diversity in the production team must be noted as the promise that this film will feel more eastern than western isn’t fully realised in the film as much of the behind-the-scenes talent are White creatives.

Still interested in endeavouring with your wish to watch the film? Do so with an adaptable mindset as director Niki Caro has separated this story from its predecessor by manipulating how Mulan is successful at being a man. However, the introduction of Gong Li’s Xianniang is a welcome one as she allows a different perspective on the gender arguments throughout and is a refreshing anti-hero. Without the familiar rhythm of certain story beats like the iconic ‘I’ll Make a Man Out of You’ song, this remake struggles to seem worthy of an extra expenditure when it’s more enjoyable predecessor is free to the Disney+ subscriber.

Review

2/5

Patrick Coe

Photo: DISNEY

Enola Holmes review : an action packed mystery Review

Enola Holmes, based on a series of books of the same name, starring Stranger Things’ Millie Bobby Brown, has been released.

4/5

stories, is suing Netflix claiming copyright infringement and trademark violations. The 10 newest stories

The film follows the character of Enola Holmes,

that they own are where Sherlock Holmes

set in 1884, in a world on the brink of change. We get action-packed scenes mixed in with historical references

becomes “warmer” and displays more emotions in previous stories. There is evidence of the

such as clothing and setting as well as famous Sherlock

character Holmes

Photo: netflix

Sherlock showing

Holmes references. The film was very well done and the use of breaking the fourth wall I found was effective, keeping us the audience

for you”. This is said quite a few times throughout the film, showing the audience that we can choose our own ways in life

more emotion that we have previously seen in previous Sherlock Holmes movies. However, Netflix and other parties haven’t

engaged and making us feel a part of her decisions and a part of the scene.

and that we have the possibility to achieve our dreams and goals.

commented on the matter. I would fully recommend the film to

I feel there is a lesson to be learned from the film. It is a quote from Enola’s mother, ‘There are two paths you can take, Enola. Yours, or the path others choose

A lawsuit has been filed against the depiction of Sherlock Holmes in the movie. The Conan Doyle Estate, which owns the copyright to the last 10 Sherlock Holmes

those who enjoy an adventure or mystery film. It fully delivers a positive message about individuality, equality, and freedom.

EDITOR: NIAMH BROOK

CaItlin Telford

26 FILM Post-Lockdown Cinema: an experience like no other “It’s among the best things known to Humanity” Photo: unsplash

I am very fond of films. They are my favourite things in the world. I once watched 509 films in one year. I own an Odeon limitless card and for a long period, I had seen every single film that came out. This is my way of showing I care about cinema. And cinemas. The worst part of lockdown for me was that I couldn’t go to the cinema and even after they re-opened, I still wasn’t entirely trusting. But I made the trip back for Tenet, the highly anticipated Christopher Nolan film. This isn’t a review of that film, but I did enjoy it, and I honestly felt safe. I had multiple seats between me and the other audience members. I wore two masks for some reason. It was great. Everyone who said (even pre-coronavirus) that the cinema experience was dying were just categorically wrong. There’s nothing quite like watching a film in a cinema. People complain about kids being loud or people on their phone, and it’s all ridiculous. Those things are the stuff of sitcom cliché, I go to literally 40+ films

per year in the cinema and those issues never arise. The cinema experience is just better. And nothing explained it better than seeing Apocalypse Now in IMAX. I feel like not much needs to be said about how amazing Apocalypse Now is, it’s considered one of the greatest films ever made, but when you’re actually in a cinema watching it, everything great is amplified. When the helicopters rain gunfire onto a village with a 70ft screen and Ride of the Valkyries is blasting loud as a rock concert, it’s incomparable, it’s a complete extravagance, gorging yourself on audio-visual mayhem. And there are countless moments in the film like this, where the marriage of a massive screen, incredible sound, and even just the vibe of an audience all appreciating the moment makes for an experience unlike any other. It’s easy for someone who went out and bought a projector and a sound bar at Currys/PC World to say they’ve got a home cinema experience. And I think

it’s good, most of the films I watch are on a TV, wearing headphones, and it’s fine. But if you want an experience, if you want to watch a film and actually appreciate it, you have to watch it on a cinema screen. It’s among the best things known to humanity. Whether it’s paying £60 and risking £100 parking fine to go to London for a day to watch the Dark Knight in 70mm on the BFI IMAX, or waking up at 10AM to go to the Loughborough Cineworld’s smallest screen for Teen Titans Go where you’re the only one not with a parent, it’s still incredible. It’s always worth it. It’s not just “a distraction”, not just “a place to put down your phone”, it’s not ruined or boring or “all remakes and sequels”, it is the silver screen. It is sensational, it is wonderful, it is pure magic in light and sound. There’s nothing like it. And if people don’t keep going, it’ll die. And there’s nothing sadder than that.

Matt BRanSton

EDITOR: NIAMH BROOK

How Streaming redefined television

Photo: Netflix Streaming services are the new way to watch television. Streaming services such as Netflix, Amazon Prime and Disney+ have become so popular due to the fact you are able to binge watch most series. Therefore, people are able to continue watching the series without having to wait a week for the next episode. Additionally, streaming services offer a range of genres of tv shows at any time. Live television has scheduled shows at certain times, so audiences are restricted to what they are able to watch during the day and evening. With a streaming service, we have complete freedom. Furthermore, we are able to access tv shows of different languages and shows featuring more diverse casting are being brought to the spotlight. We are able to access older shows that may not be accessible on television, thus enabling nostalgic elements. For example, ‘Friends’ and ‘Only Fools and Horses’ are long running tv shows which we are now able to access and binge on Netflix. The cancellation of Disney Channel

nerisse appleby

means that Disney+ will likely start getting more audiences buying subscriptions. Since Disney has now removed their films and shows off of other services, this will entice people into buying a subscription. Shows such as ‘Hannah Montana’, and ‘Wizards of Waverly Place’, will no longer be available to view on TV which will affect younger audiences who tune into Disney Channel, therefore, parents may be enticed to another streaming service subscription. Disney+ also benefits from older audiences who may love the Disney classics, Marvel, Star Wars etc. In addition to new streaming services, VPNs are also available where audiences are not able to tune into other countries’ streaming services. For example, having a VPN allows some audiences to tune into American Netflix, as other countries will have different varieties of genres and different languages allowing audiences to choose what they tune into. Streaming services seem to be a cheaper option for audiences as well. Instead of paying for a tv licence of £157.50, streaming services look a

lot more appealing in terms of cost. However, services such as BBC iPlayer and ITV Hub require a TV licence to be able to use their catch-up service. So, depending on if audiences would want to watch more soap operas, streaming services such as Netflix and so on, can offer a cheaper alternative for television. Personally, I use streaming services more than watching scheduled television. This is due to the fact that I am able to watch on-the-go, as long as I have an internet connection. I’m able to watch as many episodes as I wish; I’m sure everyone can relate to watching a series in a day or within the week. With streaming services, we are often able to binge the whole series, which I think is what appeals to me; we don’t have to wait every week for the next episode. However, I feel there comes a time when you run out of things to watch once you have binged all the series and watched most films, so you can end up watching the same shows over and over. It’s certainly beneficial to have more than one streaming service that offers different content.

Caitlin Telford

science-fiction

THE BEST OF...

There is a simple reason that ‘Doctor Who’ is the best sciencefiction programme: the core concept is genius. By introducing space and time travel and only having a few core characters, it becomes a show of infinite possibility, which can reach into all genres of television. You want emotional drama? ‘Doctor Who’ can do that. You want comedy? ‘Doctor Who’ can do that too (and is all the better for it when it does). It grants a writer huge freedom, often allowing them to create their best work. What really makes it stand out against other sci-fi shows though, is that whilst they are often dark and dystopian, ‘Doctor Who’ is hopeful. It prides itself on teaching compassion, empathy, and basic human kindness. In its world, nobody, not even the Doctor, is perfect, but anyone has the capacity to be nice, a message which will surely never lose its value.

Content

Photo: Netflix

MATTHEW STOTHARD

ANIMATION

Water, Earth, Fire, Air. Not so long ago, the greatest thing I thought could be on TV was Nickelodeon’s ‘Avatar: The Last Airbender’. For children, it’s an animation filled with bright colour, fantastic voice acting and goofy music about secret tunnels. When you grow up, however, it’s a homage to East Asian history, complex philosophies and characters who develop into a masterful set of beloved favourites you care for. Very few animated shows (especially those created for younger ages) can boast half of the complexities and enjoyment Avatar is able to create in its three volumes. In popular formats it keeps fragments of favourite scenes acted out on sites like TikTok, a sequel series that ended just a few years ago, and a new Netflix adaptation in the works. Nostalgia has shown how important ‘the Last Airbender’ was to many kids of the 2000s. Perhaps Nickelodeon studios’ greatest show. Period.

horror

“I thought for so long that time was like a line, that our moments were laid out like dominoes, and that they... fell, one into another...But I was wrong. It’s not like that at all. Our moments fall around us like rain. Or... snow. Or confetti.” One of the main character’s final lines, summarises Michael Flanagan’s vision for the first season of the horror anthology series, ‘The Haunting of Hill House’. With a Rotten Tomatoes ranking of 93%, this show explores the lives—past and present—of the Crains, a family haunted by a tragic past (in more ways than one). I consider it to be a technical masterpiece, as the show carries us back and forth through time in smooth transitions and disturbingly good sequences. A perfect balance of jump scares, eerie scenes and in-depth characterisation makes ‘The Haunting of Hill House’ one of my favourite series of all time.

FIN LITTLE

COMEDY

Photo: Nickelodeon

MARIAM JALLOW

‘I’m Alan Partridge’ has a really funny central character in my opinion, which is its strength. I like to think there’s an Alan Partridge in us all somewhere! One of the many things that made ‘Only Fools and Horses’ legendary is the way it captured the zeitgeist, the feeling of the time: a young and upwardly mobile era. ‘The Vicar of Dibley’ has some really funny lines, a character who didn’t fit in (by being a woman vicar) and running jokes. I think the entertainment value of ‘Would I Lie to You?’ is that it has an element of jeopardy: this means that the contestants keep you watching it to find out if their stories are true or false. I think the strength of ‘Gavin and Stacey’ was the warmth of the show and the likability of the characters.

LAURENCE SCOTT

EDITOR: Nerisse appleby

Why Feel-Good Shows Still Matter Opening your browser and clicking onto an online streaming service such as Netflix or Amazon Prime, you’d be forgiven for initially thinking that the age of the light-hearted, ‘feel-good’ show was over. Apparently abounding are the dystopias, the sci-fi fantasies, and gritty dramas – but all is not as it appears. In fact, during the lockdown period, and continuing into the largely confusing and isolating present, I have witnessed a resurgence in popularity of a kind of ‘comfort watching.’ The shows I’m referring to generally follow a familiar template – often traditionally occurring in everyday settings, such as a work or living space (‘The Office’, ‘New Girl’ etc.) and following groups of friends or colleagues who regularly bunch together for zany bonding adventures. The vast majority of such shows depict a kind of ‘found family’ dynamic between the characters – their appeal

during their airtime centred around instilling a hopefulness in watchers. This was partly due to the relatability of the characters – you might identify with moody millennial April from ‘Parks and Recreation,’ or maybe the slightly Type-A Amy from ‘Brooklyn Nine-Nine’, but regardless, it is comforting to watch characters who are depicted with flaws and a range of personalities be accepted into warm familial relationships. What’s great about the ‘feel-good’ show format is that it is by no means exhaustible. NBC’s recent philosophical comedy ‘The Good Place’ managed to replicate this familiar warmth in a setting of the afterlife – it also introduced a new angle, the examination of the close relationships it depicted; the question central to the show was ‘what do we owe to each other?’ So, though you may have to dig a little deeper than your Netflix explore

Photo: NBC

page, these feel-good shows are still there, and they do still matter – and, as indicated by ‘Schitt’s Creek’s’ sweeping Emmy win the other day, they are not going anywhere soon.

eleanor burleigh

The crown: anticipation for season four I first stumbled across ‘The Crown’ in late 2016. Now, I’m going to be honest with you, initially I wasn’t really fussed about watching the show upon its release. However, 16-year-old Niamh was madly in love with one of the show’s main stars, Matt Smith. So, on a whim, I gave it a go and I was so surprised to find I couldn’t get enough of it and had finished the season within days. ‘The Crown’ is a drama somewhat in a league of its own, being one of the most expensive shows ever produced. The grandeur of the show works as a sharp juxtaposition to the intensely intimate and personal stories that you find deep within the narrative. What also makes ‘The Crown’ a joy to watch is its clear focus to humanise our royal family. The show takes time to ensure we see them telling jokes,

bickering, and enjoying life – a stark leap from the small waves and polite

Photo: Netflix smiles we have grown accustomed to when we think of the royal family. What also works well for ‘The Crown’ is its structure. Each season of the show

EDITOR: Nerisse appleby

spans a decade of the Queens reign. After two seasons, the actors are replaced in order to physically match the ages of the characters. The fourth and newest season of the show is perhaps the shows most anticipated yet. Releasing this November, the drama will most definitely be ramped up with the introduction of two famous ladies to the show’s catalogue: Margaret Thatcher and Lady Diana Spencer. Knowing the history that surrounds these women makes for perhaps one of the juiciest seasons of the show yet. So, bring on November, I cannot wait to see how Oliva Coleman’s Elizabeth reacts to these new figures in her life, I imagine it is something not to be missed.

Niamh Brook

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black history month Dear Venue, how can I be an ally? (Or: being an ally when BLM has stopped trending) One necessary good that came from 2020 was the increased awareness and visibility of the Black Lives Matter movement. There were scores and scores of people buying books, educating themselves, and pledging to do the work of antiracism. Layla F Saad, author of Me and White Supremacy, was amongst the anti-racism writers who soared to the top of bestseller lists in the U.K. and across the pond. In July, she spoke about her concerns about the potential fleetingness of people’s dedication to anti-racism. In her TIME article, she states: “it’s easy to say ‘I’m going to try to do the work.’ It’s an entirely different thing to do it. And to do it when the hype is over, the news cycle has moved on, and you’re not being rewarded for being so brave for saying Black Lives Matter”. The awareness of the murder of George Floyd came from social media circulation. This was in many ways a social media led phenomenon as it is impossible to

deny what you can see right in front of you. There is, however, then the issue is that the vast majority of the allyship activism taking place was also social media based. I read Saad’s Me and White Supremacy over the summer. Truthfully, I too only became aware of this book on account of global trending of the BLM movement. My main take-away from the book, is that it is no good to post a black square in solidarity when “Blackout Tuesday” is trending and not take that individual time to selfreflect: how have I been complicit in a system of white supremacy? When did I stay silent? Anti-racism isn’t a trend, it’s a lifestyle. The kind of intense and continued selfexamination that Saad guides her readers through won’t make an attractive and aesthetic Instagram caption, but its where nonsuperficial anti-racism work begins.

Jake walker-charles

At concrete we are allies for the black community and we are always looking to share your story and make your voice be heard

Stretch your

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