Venue 389

In the three weeks since uni properly started, we’ve seen Ned Fulmer removed from the Try Guys, the release of the highly anticipated Don’t Worry Darling, Dream conducted his face reveal, Trisha Paytas gave birth to Malibu Barbie, and we mourned the death of the beloved drag queen Cherry Valentine.

We’ve also seen the release of the very controversial Blonde, Adam Levine cheated on his wife, Strictly Come Dancing returned to our screens, and let’s not forget the Married at First Sight cheating scandal.

It’s safe to say it’s been a pretty hectic month for us all, but our editors and our lovely writers have been working on some more amazing content. I’m so excited about this issue, as the new confidence in the editors is truly beginning to show.

It’s also great to properly introduce my two deputies, so without further ado, enjoy Venue, and say hello to Ray and Lily!

- Louise

A year ago, I decided to join Concrete just a way to get involved in writing more and I haven’t looked back since. We’ve got an incredibly exciting issue coming up, with so many talented writers.

I’m looking forward to getting a head start on writing more articles, getting to know our wonderful and wacky team and hopefully more of you. We have only just begun our journey but I’m excited to see where we go.

- Ray

It has already been an incredible honour to work as one of the editors of the Venue team, and I look forward to a wonderful year with Concrete, collaborating with our brilliant section editors and talented writers to create the most exciting Venue issues for our lovely readers.

I’m so thankful for how much Concrete has been a part of my UEA journey, and I am truly grateful for the opportunity to help carry Venue and Concrete’s legacy on further. We have some beautiful pieces in our second issue for you to explore, so have a read and enjoy!

d and enjoy!

- Lily

Front Cover Art by Libby Hargreaves & Unsplash

By Rosie Kyrin-White Arts editor

Scrounge is a harrowing political play, outing the trauma-inducing welfare processes in the UK that dehumanise and isolate disabled people. It is “a play written for non-disabled people”, showing the audience how “one disabled persons pain is indicative of societal issues”. Shocked

Editor: Rosie Kyrin-White

by the story and compelled to learn more, I managed to meet the Norwich-based playwright, Amie M Marie, and discuss her views on art, health, and politics.

A Scriptwriting and Performance graduate from UEA, Amie is disabled: “I was a very sick kid… always in and out of Great Ormond Street getting diagnosed with terminal conditions that never quite killed me. The most accurate diagnosis I have is EDS, a cartilage connected tissue disorder. Um, and yeah, confirmed dyslexia”, she adds wryly, a surprise given the eloquence or her powerful play. As a child, she was supported by “mumma bear” through “all the assessments and appointments”. However, in adulthood she is “under more scrutiny and suspicion”. Scrounge

explores this interrogation through staging brutal PIP assessments that are “pretty much verbatim”, either from Amie’s personal experiences as a patient or witness, or from whistleblower testimony. Although these PIP assessments have been recognised as “psychological torture” by the UN, our government refuses to acknowledge it. Furthermore, Amie states “there are NHS pain management courses that shame” disabled people “into shutting up”. On one occasion, a course leader suggested that participants should “pet dogs and cats” to cure their pain.

While we are all aware of our underfunded healthcare system, the gaslighting of disabled people is rarely discussed. Amie infers that such manipulation has been applied to other groups: “Even in the last five years, I’ve seen a massive rise in calling women or gender non-conforming people hysterical because it fits the budget to have ‘unhinged’ individuals who don’t

need treatment yet. And then some people are neglected for so long that they become too expensive for the budget.” Thus, the government shirks responsibility and leaves patients suffering.

Despite a lack of support and resources, Amie developed a relentless desire to achieve which blossomed at UEA: “I used to call myself a skills magpie. I wanted to everything…put up a stage, do the light, sound, and design. So, if something went wrong, I could be the one to fix it. But it comes from that need to control. To fix my life.”

Amie admits “the nature of being disabled is to be lonely. Maybe no one can fix you, and then you can’t meet your commitments. Capitalist society is itself lonely…we are discouraged from interacting with people who are desperate… and there’s no resources… there’s not really homeless shelters.”

Furthermore, the emphasis on heroism in British culture promotes the denial of self-help, placing extra strain on disabled people who must dehumanise themselves and “confess they are being har-

Photo Credits, Top Left to Right: Amie M Marie, Unsplash, Jane Hobson, Unsplash, Unsplash, Unsplash

Editor: Rosie Kyrin-White

assed through bureaucratic systems.” Therefore this “can’t be something that we solve as a disabled community. We need the help of others.”

While the situation may seem hopeless, there are ingenious methods that incite public action. When writing Scrounge, Amie was inspired by Theatre of the Oppressed, an artform created by playwright Augusto Boal where the audience is forced to partake in scenes of oppression. Participants can then apply their experiences to real life situations and advocate for change. Amie also mentions Antonin Artaud’s Theatre of Cruelty, where plays are sensorially shocking and difficult to endure. Amie recounts her old theatre teacher’s perfor-

mance about abortion: “There were no lines in the play, she just got everyone to dance, take shots with her, and then revealed a positive pregnancy test from under her skirt. At first she celebrated while people congratulated her but then, realising she didn’t want it, started sobbing uncontrollably. Wailing, she held a bucket filled with chopped tomatoes, scooping up the red mess to show the audience her mutilated child. The audience can’t look away. They’re trapped.”

Similarly, the ending of Scrounge is intentionally painful. “You come away and there’s no endings tied together. There’s no hope. Without the bows scripted there’s this yawning gap where the audi-

The Apt Philosophy of Kintsugi

By George Barsted Arts Writer

Kintsugi roughly translated from Japanese means “golden repair”. Practically, it’s the fine art of restoring broken pottery with delicate lacquers of gold, silver or platinum. But, the method doesn’t seek to hide the fractures; instead it highlights them. The practise dates back to the 16th Century. It’s incredibly precise with the lacquer derived from the Urushi tree, then dusted with precious metals and intricately brushed onto damaged edges.

16th Century Japanese pottery repair techniques may have little bearing on the state of the arts in Britain today. However, with many artists feeling the pinch as the budget for the arts is deflated by the government, can the theory of Kintsugi provide new ideas to struggling artists? Perhaps it can, proponents may point to Van Gogh’s Bedroom In Arles, a work born out of poverty from a great artist who died penniless. Surely this means that work born out of damage and destitution will be highly acclaimed amongst the critics and public. The trope of the starving artist being able to create their

ence is forced to make decisions out of horror. Do they clap? Do they just sit there?”. This starts conversation, sparking outrage and targeting theatre goers who have time, money, and can raise awareness. With a play so raw and violent, intended to appal viewers, forming the script was naturally challenging. After assisting a family member through a PIP assessment and being again left desperate, Amie needed a way of coping and started writing: “Even if this goes nowhere, I need this out of me. Art should be impactful, emotional, and true. But my God, I see why people don’t do it.”

Shortlised for the 2022 Norfolk Arts Award, not only is Scrounge going to be made into an audiobook this year, but by publishing it and sending it to multiple UK archives, Amie has formed a historical record of disabled mistreatment, a valuable resource for future generations that accounts for the hidden atrocities of the welfare system.

To contact Amie or stay up to date on her upcoming projects, you can follow her on Twitter (@Amiemariamarie) Facebook, or Linkedin.

Go to page 7 to see the review of the play.

best work is damaging and wide of the mark. Forcing creatives into poverty is not exactly a noble cause in the attempt to make them produce celebrated pieces.

With this being said, Kintsugi may provide a different way of viewing things. Arts Council England’s budget is roughly 30% of what it was in 2010. Innovative ways of looking at producing good

art is needed for those who can’t rely on nepotism or deep pockets. The philosophy of embracing imperfection can provide an outlet for a new look at art in Britain today. The clear and obvious answer is to increase the funding for the arts, allowing those with genuine talent the ability to express themselves without fear of falling into hardship. This however, is unlikely to take place with the government currently in charge. Embracing the imperfection in art is one solution, looking at broken or repurposed pieces as a story of their work, instead of as a cheap and lazy alternative to high value artwork. Kintsugi can also be interpreted into the old adage “Waste not, want not.” Which is sage advice for these trying times.

Photo Credits: Amie M Marie

“But, the method doesn’t seek to hide the fractures; instead it highlights them.“

Les Ballets Trockadero de Monte Carlo

by Louise Collins Venue Editor

When you think of ballet, you think of elegance and perfection. When you think of drag, you think of exaggeration and chaos. They’re two art forms, breathtaking and beautiful in their own right, but you would never think of putting them together. Only someone did, and the result? A masterpiece.

Les Ballets Trockadero de Monte Carlo (lovingly known as The Trocks) is a ballet company truly unlike any other. Founded in 1974, this company first performed in New York and later performed around the world, including Moscow’s Bolshoi Theatre - a huge deal for any company. For those of you unfamiliar with The Trocks, they’re an all-male ballet company, performing in drag. It’s a true mixture of comedy and style; they hold onto the classical versions, bringing Russian ballet to the west, but they add so many goofs and comedic moments to each performance.

We had a dancer moonwalk across the stage, the shortest male-presenting performer paired off with the two tallest female-presenting dancers. And I mustn’t forget the moment when the swans fought back to beat up the hunter mid-performance.

However, this company never stick to the same script. With a whole catalogue of performances under their belt, you could watch them for hours without getting bored. It truly is a wonderful thought that you’ll experience something new each time you see them.

In his Q&A at the end of the evening, Artistic Director, Tory Dobrin, who originally joined the company as a dancer in 1980, informed us that when creating the show, style and technique are the first thing the performers get right – which couldn’t be clearer to the audience. Despite the ‘mistakes’ and the falls, it’s clear to all that we’re watching some incredibly talented dancers. They know the routines inside and out, and then they add the comedy, with each performer bringing their own twist to the routine, with an emphasis on freedom of expression.

I really didn’t know what to expect going into the show, but I was counting down the minutes for them to come on stage. Even before the curtain came up, the performance had begun with an opening announcement leaving the audience in hysterics, introducing ‘Boris Dumbkopf’ and ‘Marina Plezegetovstageskaya’ - the dancers’ (often Russian) drag personaswhilst also lamenting the loss of ‘Natasha Notgoodenouph’.

And as soon as the curtain came up? My eyes were glued to the stage.

The entire time, I was torn between awe and amusement. What I had before me were some truly stunning dancers.

Male dancers were performing en point, lifting each other up, and wearing the most beautiful makeup, which I was told took them hours to put on.

They were all incredibly technical, and yet able to mess up, whether by tripping over each other, or not succeeding in the lifts, or being in the wrong position. Nothing was at all predictable – lighting cues gone wrong, music not playing, or one particular performer waving excitedly at the audience. I never knew what was coming next, but it was always magnificent. The amazing thing about the dancers of The Trocks is that they’ll never let you forget that they’re pros, but they also won’t let you forget they’re comics. Every time you stop taking them seriously, they come out with the most beautiful solo, moving you to tears. And then next thing you know, you’re doubled over, holding your sides and laughing out loud.

It’s clear to all that this ballet company dances beyond the gender binary. There are masculine moments, feminine moments, and moments completely indescribable.

With the beauty and skill of ballet, the comedy and art of drag, and the humour and audience recognition of panto, The Trocks are an utterly remarkable company. It’s a performance I simply can’t recommend enough.

Photo Credits: Jane Hobson

Books

Editor: daze Constantinides

By CLEM HAILES

Books Writer

Every able-bodied person should read this play. Every disabled person has already read this play as they have lived this experience. Amie M. Marie presents the horror story of how disabled people are treated in this country.

Though my disabilities are not relevant in discussing this play, it still resonated with me. It made me angry. As every able-bodied person has asked me: ‘What is wrong

with you?’ You are what is wrong with me. You view me as a scrounge, looking to get easy money and sit on my arse all day - emphasis on sitting on my arse because if any disabled person dares to stand or walk they are an undeserving scrounger.

Scrounge covers the story of Abby, debt-ridden and out of work, who applies to be a PIP (Personal Independence Payment) assessor, and Carol, a disabled person who is constantly in pain, yet perceives herself as a faker because that is what she has been taught to believe.

For those of you fortunate enough to never meet a PIP assessor: their job is to actively stop disabled people accessing benefits they need

to survive. PIP assessors are taught to manipulate disabled people into exposing themselves as ‘not really disabled’ to meet the specific target of causing 80% of claimants to be rejected. Eighty percent . If they meet this target, they receive commission. They economically benefit from the death of disabled people.

Through the voice of Dino, a mysterious and ominous presence that is reminiscent of Priestley’s Inspector , Marie states that each month eighty disabled people die from being denied benefits and declared fit for work. Abby is groomed into disregarding and actively threatening disabled people’s lives. She needs the money. It’s her or them. Their lives do not matter.

The play also references the ridiculous and insidious call-toarms by Nadine Dorris, MP, to report a blogger with arthritis for claiming benefits because if a disabled person can tweet, they can work. According to

the very lovely Nadine, I am not disabled as I am able to use a keyboard. According to Nadine, when I cannot move either of my hands and drink a glass of water, I am a scrounger in my own room, crying, looking for attention from no one.

Abby starts off in her interview optimistically suggesting to her employer: ‘You help them. That is what any worker wants to believe they are doing.’

She ends it with ‘This is my job. We do not help.’

She begins the play as ABBY, and ends as THE ASSESSOR. There is a particularly horrific moment where she asks CAROL, now referred to as the no longer human CLAIMANT, after she has attempted suicide: ‘if you’re really in that much pain, why didn’t you succeed? Why did you fail to kill yourself?’ Then promptly asks if she can use the bath. This play is based on real interactions with assessors.

When I was 15, I had to go to a tribunal and explain to a judge why I needed basic sup-

scrounge: an insight into the way our country kills disabled people

Photo Credits: Prakrita Rahman, Unsplash

port for my GCSEs. I had to stand up (minus points for not actually being disabled, people in wheelchairs who stand are frauds) and fight

Editor: daze Constantinides

back against a woman who told me I did not need any support because I accidentally, stupidly messed up and said I can sometimes do coursework without help.

The way we treat disabled people in this country is disgusting and deadly, and Scrounge is an incredibly painful and accurate picture of the utter disregard of disabled people’s lives and should ignite a

sense of outrage in our able-bodied counterparts. We are tired of fighting to be alive. We are tired of trying to take our own lives. As put by Dino:

‘You can’t make them care. They hate us, they utterly hate us. There’s no way to be a good enough disabled, a good enough disabled who is real and genuine and not a cheat.

If you are honest-

ly disabled, then why are you still alive?’

Aninterviewwith AmieM.Marie,the authorofScrounge,can befoundinArts,Page 4. Scroungeisavailableforpurchaseat Waterstonesfor£9.99.

Noirwich Crime Festival: CELEBRATING The Newest Crime Fiction of 2022 ON

OUR CAMPUS

Who doesn’t love a thrilling crime novel? Whether you’re a lover of Christie’s classics or devour modern day thrillers taking place over the internet, Norwich’s own rapidly growing crime fiction festival, Noirwich, explores every detail of the crime fiction genre through a wealth of writers. Jess Blissitt gives their exciting take on 2022’s lineup.

The Price of Paradise: Emma Bamford and Emma Styles

Emma Bamford, author of Deep Water, confesses that her story is rooted in truth, from her own sailing expeditions to the Indonesian ocean. She describes an uninhabited island and how the realisation of how little help she would get from the lack of civilisation hit her. This led her to a sequence of scary hypotheticals that fashioned the book she has now. Bamford spent several years sailing and wrote two travel memoirs on her experience. Praised by Lee Child, her latest thriller is due to be published next year.

With two short readings, Bamford describes her married couple who put their savings into a yacht, to reach a remote island. Bamford’s thorough nautical knowledge created a beautiful image of paradise, whilst Styles’ low Australian accent added a sense of tension and mystery to this glorious setting of her thriller. Styles reads from her debut book, No Country for Girls , an outback thriller featuring two girls on the run with a bag full of gold. Styles, after reading her extract, shares how these characters came from a writing exercise tasked by Tom Benn. With an overwhelming sense of characters, Styles felt obliged to write this ‘Thelma and Louise’ road trip spectacular!

With darker plots slowly bleeding into their writing, both

Styles and Bamford seemed surprised to discover their knack for crime writing and I look forward to what they’ll write next!

Crime Fiction Anthology Launch: UEA Creative Writing MA Students

Upon starting this event, Nathan Ashman remarked on how this master’s course would have been received, particularly starting right in the crux of a terrifying event in itself–the COVID-19 pandemic. Tom Benn reflects on the ‘post truth pandemic world’ and how it might have bled into the work of UEA’s very own crime writers.

Assum Alverez begins with a peculiar mix of historical politics and superficial ideas. Blending curses amongst the Castellan landscape, Alverez’ heroism and haughty language already exceed my expectations of these students. Next, Nina Vadishwa sneaks us into the Kenyan Police, where our protagonist is poorly blindfolded by ‘confused men-boys’ at the precipice of an interrogation. Julia Borden reminds us of the gnawing fear that we find in every nightclub in The Box, rooted in our harrowing reality of spiking and sexual assault.

“You can’t make them care. They hate us, they utterly hate us.”

Photo Credits: Unsplash

Books

Editor: daze Constantinides

Dan Higgins draws us into Prague to survey the apparent suicide of a communist politician–perfect for any noir fanatic to dote over detective watermarks. Mark King bring us back to England for eco-terrorism at the merge of Oxford and Cambridge’s infamous rivalries. After a short break, Kat Nathan sets us off in rural Oklahoma in 1936, where economic depression drives desperation. Her lilting accent builds a telling story for any Bonnie and Clyde lovers. Overall, each author’s extracts spoke volumes to the hope of post-pandemic literature at UEA.

Murder Most Modern: Scarlett Brade and Bella Mackie

Juliane Pachinco interviews writers Bella Mackie and Scarlett Brade over Zoom. Brade’s latest book The Hive is described as ‘disturbingly prescient’ by Pachinco and ‘a revenge thriller for the social media generation that we all desperately need’, according to Brade. Mackie reveals she read a lot of old-fashioned, genteel crime stories, fascinated by the unreliable narrator that only built with her obsession of true crime stories. Yet Mackie wants to step away from the sadistic side of true crime fascination that tends to trend amongst our bestsellers these days.

What held my interest was the support and genuine interest between Mackie and Brade–both exemplified true camaraderie for each other’s work.

A New Direction in Cosy Crime: Janice Hallett and Vaseem Khan

Vaseem Khan is the author of two award winning crime thrillers. His latest work, The Lost Man in Bombay, is the third novel in The Malabar House series, featuring India’s first female police detective. Khan is joined by Janice Hallett, discussing the idea of a ‘cosy’ crime. Hallett proposes this genre as ‘a situation where the horror is dialled down in favour of the puzzle’ whereupon Khan referred to the televised version of Agatha Christie’s Poirot, and his father’s love of the lack of violence. As Khan argues, it holds an ‘intellectual challenge’ while holding an implication of the scandalous material. Exploring this further, our panellists contemplated how that often plays into the British idea of ‘taboo’ and what goes on behind our perfectly polite customs.

Experimenting in Crime Fiction: Yelena Moskovich and Charlie Higson

Kicking off the second night of Noirwich with a bang, Yelena Moskovich presents a new kind of crime thriller–the experimental. In her latest book, our murderer struggles with his own motives behind killing the widowed neighbour, Aksana, of this small boy’s childhood home. Throughout, Moskovich often touches on the ideas surrounding death and departure, questioning the integral fragment of this potential ‘murder’, as if Aksana did not

die but walk through a portal into small town America. As a Jewish-Ukrainian immigrant, Moskovich sheds light on the metaphysical impression of immigration, stating that often ‘people expect anecdotes, explanations’ to the trauma that follows immigration. Although it may be centred and implied within her writing, Moskovich profoundly states it should not be the only focal point in her writing. Her latest book, A Door Behind a Door is available now at Waterstones.

After a short break, Charlie Higson’s interview offers many laughs and sober advice. Higson returns to the world of adult fiction with his novel Whatever Gets You Through the Night despite his notoriety as the author of the Young Bond series. His latest book, motivated by the Jeffrey Epstein cases, illuminates another element of crime fiction; the justification each villain holds. It just so happens this is often created with comedic cynicism and a great eight-hour Bond playlist. When asked what to look forward to in his novel, Higson responds “nasty things happen” with exact comedic timing.

Final thoughts...

Attending Noirwich Crime Festival was an absolute joy. Each of the authors brought something entirely different yet interesting to the table, both from well known names to up-and-coming stars from UEA. With such a diverse array of new crime fiction making its way onto bookshelves in 2022, let’s hope that next year’s Noirwich lives up to the extremely high standards set by this year’s writers.

All of the books mentioned in this article are available for purchase at Waterstones via the Noirwich website: https://noirwich.co.uk/online-shop

By JEss Blissitt Books Writer

Photo Credits: Prakrita Rahman

By louise collins venue editor

Grief is a funny thing. Sometimes you feel it, sometimes you don’t. It’s unpredictable. Uncertain.

You have this idea that grief is all consuming. That it sticks around as a constant for several months, years, and then poof. Gone. But it isn’t like that at all. Grief hits you at random moments in time. You’re sitting in the doctor’s office, being told that your partner has months to live. You start grieving

Editor: Clem Hailes

before they’re even dead. You break down into tears, the panic swelling around you. What will you do without them? But then, a few days later, you find yourself laughing again. You’re with your friends, out for drinks, and there’s tears rolling down your face. The good type.

Two weeks later, your partner’s at work and you can’t get out of bed. The sadness has drowned you. You’ll never feel happy again. It’s weird that you’re grieving them before they’re dead. But you are.

And then. It happens. Several months down the line, your partner takes their last breath as you hold their hand. They told you they loved you,

and their eyes shut forever. You’re smiling, softly. You stand there for a few minutes. A few hours. You’re not smiling anymore, but there are no tears either. Nurses come in and check on you. Look at you, waiting for the tears to come. But they don’t. They’re at peace now. There’s no more pain. That’s all you can think.

Their parents come in at some point, wailing. You hold them tight, comforting them both. They tell you that you’ll always be part of the family. They thank you for being with their child. You hug them harder, but still no tears.

When you get back to your house, your best friends are there. They hold your hands all night. They guide you to bed when you’ve drunk a little bit too much wine. But you fall straight asleep. Eyes dry.

But then comes the next

the wave of grief

day. You wake up and you feel like you’re drowning. The tears don’t stop coming. Your friends rush into your room, prompted by the wail you didn’t realise you’d let out. You can’t breathe. Can’t speak. Can’t even move to wipe your eyes. You’re just sat up, taking gasping breaths, whilst the grief consumes you.

For days, this is your life. Waking up with a moment of peace before reality sets in. You don’t leave the house. You can’t. Your friends have moved in with you at this point, scared to leave you alone in this state.

But eventually, you start to heal. You mourn your partner, cry at their funeral. But you manage to go back to work, back out for meals. Every so often, a wave hits you. Maybe you watch their favourite film and find yourself crying. Maybe you catch a whiff of their shampoo and your heart breaks. Because you see, grief is like a wave. It ebbs and flows, before breaking on the shore.

Photo Credits: Unsplash (all)

*

don’t even fix a price

By barnaby hill creative writer

There’s not much sex in the underworld. You don’t get to spend your life as a Wall Street banker and then get an eternity of pussy. Anyway, because there’s not much sex down here, no one thought to think out the logistics of it. So when you’ve got two skeletal figures like my girlfriend and myself, you can imagine the entanglement of ribs. It’s very uncomfortable.

I tell you this, because it was during one of these entangling encounters that I received one of the most important calls of my career.

“Charon, it’s happened. The old bird’s finally kicked the proverbial.”

I clutch the receiver to my clavicle, trying to unhook my other from her femur. “You’re shitting me,”

“No. They’re announcing it at 6, London time. That gives you 45 minutes. I’ll meet you at the gates,”

I know right now I should be shivering, all 209 of my bones chattering. I envision anxiety, getting kicks of the jitter through volcanic and tundra neighbourhoods, just to emulate feverish panic. When I see Baphomet, he’s drinking hemlock wine: “it’s a celebration, Charon, partake.” He proffers in his Etonian drawl.

“Baphomet.” I nod at him, we both know the predicament. He shifts, hooves grating on the cobblestones. “You haven’t decided where to put her, have you?”

I step onto the skiff, he says “c’est la vie,” “Fuck you.”

We don’t have many cases like this. There’s only been a smattering throughout history, Pontius Pilot, Mussolini, Savile. You know the sort. Really, our conundrum comes from humbleness - hell can no longer accommodate adequate horrors to rival those on earth. And thus, every so often, fate drops one of these bastards into our laps and we’re forced to admit that being damned for eternity isn’t punishment enough. So we send them back into the worlds they crreated.

* My pole plops softly into the water of the Dee, the air around a sonorous shade of blue. I might have one relished the icy condensation of the evening dew, or the crooked awe of the fire. Down here, I paddle silently, overlooked by the prolific blue or TV network vans, police condoning and helicopters overhead. The peaceful emergence into the waters of Up-There has always been my favourite part of the trip.

She appears at the shore; dumb, disoriented, as they always are. “I am Charon, ferryman of the river Styx. I am here to escort you on your final journey.”

She grips my extended fingers as she strips on board, her own hands already mottled with that living rigor mortis. She quite readily lies down among the lilies, a woman used to protocol, and from her dressing gown pocket finds a penny for each eye.

“You didn’t honestly think you’d be going to heaven, did you?”

“One doesn’t usually anticipate an afterlife of eternal damnation. You don’t mean to say… that, that place is the final destination?”

The darkness gave way to pitch, where the caverns that carve out our trajectory to the underworld could be somehow seen in indis-

cernible lights. We are entering other realms.

“Well,” I begin “i could send you onto hell, or onto reincarnation, a rebirth.”

The air turns more turgid, thicker with death. Best not to beat about the bush.“Well, that sounds really quite lovely-“ “No, no it doesn’t.”

She makes some powdery noise of indignation, and I relish that she would have thought she could return back to her cushty old life. Most people would rather not go back. Infernal heating is free after all.

“You’re surely not taking that leftist line that one’s done anything heinous?” She protests “ones worked every day of ones life. There was never a choice in such things.”

“The facts are all heinous. My question really is, can I rely on earth being so irredeemable so as to feel sure to send you there? They certainly don’t need any more of your lot.”

Water laps hungrily at the prow, the stench reaches where my nostrils would be, I can still feel it’s corrosive heat on my vomer.

Hell is approaching. My decision here would be much easier if my total absence of emotions hadn’t been relegated to perpetual disdain.

“How long til reincarnation?” She asks. She is reverting to a child in her decay. This bitch was hell-bent on reincarnation, she had no fucking clue. I grimace. Oh, she could go back, but this time as an actual human being.

“ you’re surely not taking that leftist line that one’s done anything heinous, are you?” She protests “ones worked every day of ones life. There was never a choice in such things.”

“I’m working with facts. The facts are all heinous, both in your own acts and your complicity. My question really is, can I rely on earth being so irredeemable so as to feel sure to send you there? They certainly don’t need any more of your lot.”

Water laps hungrily at the prow, the stench reaches where my nostrils would be, I can still feel it’s corrosive heat on my vomer. Hell is approaching. My decision here would be much easier if my total absence of emotions hadn’t been relegated to perpetual disdain.

“How long til reincarnation?” She asks. She is reverting to a child in her decay. A thunk tells me her foot had fallen off. This bitch was hell-bent on reincarnation, she had no fucking clue. I grimace. Oh, she could go back, but this time as an actual human being.

*

“No, this is not a resignation,” I tell them. Beelzebub looks on incredulously and Baphomet chews the cud, bored. “It’s an acknowledgement,”

“Of what?” Lucifer spits. He unpicks the semi-dried blood from his nails with the key that I covet. I brush my knuckles together in frustration.

“That in its purpose, hell has failed.”

They all stop, staring down their spine-wrought thrones. I continue, holding the box that I stowed those emotions away in millennia ago. “I’d rather choose to feel pain, hatred, ecstasy and love to at least delude myself that this eternity is worth it, when now all existence and non-existence is futile.”

They’re silent. Motionless, expressions drained and I wonder if I’d gone too far. Breached some barrier of pathos. The key clatters on the floor, Lucifer’s hand blaze (i cant find the symbol for he e), empty. Nobody cares about anything here anyway. I take the key up and I open this box.

Mourning our future memories

By libby hargreaves editor in chief

Standing over their tombstones, I remember our last day together;

JUNE, HOME

Of the eldest summer day. Her mother Sun, shining upon a favourite daughter.

She lends a hand to her siblings, One a curious young man, The other a bonnie little one. They set out the feast; A harvest of berries on a blanket hugging a bed of daisies.

They pull the corners tight, Wanting everything to be just right. Will He join the merriment of summer Or once again cast an autumn rain?

Sweet bonnie lets out a giggle, Her sister had become a one-woman pantomime. ‘He’s behind you’ she exclaims, The phrase once sparked joy, now only fear lingers.

The misplaced laughter awakens the man In the moon, from a trance not unlike a lovespell. The light fades, leaves fall.

I trace their names, moss just beginning to cover the stone.

Every step now crunches with guilt, A reminder of moments not savoured, As our future becomes a mere memory.

life cycles

By will muncer creative writer

You are a maggot. You were born into the corpse of a mafia boss named Eli Fugue. But you do not know that. All you know is the delicious taste of flesh and the feeling of community provided by the constant and total wriggling of your one hundred and twenty-six siblings. In a scarcer environment, you would be competitors, but you were fortunate. Your mother chose a good place to hatch you. Here, the flesh is abundant and you will be well fed until it is your turn to take the excruciating rite of passage that is your metamorphosis.

You are a bird. And today, you are a lucky bird. You found a large mass of writhing maggots and feasted on their twitching mass. You made a note of sorts to return there next time your stomach grows uncomfortable again. You are flying. If you were a more intelligent creature you might be basking in the freedom and joy inherent in this act. But you do not. For you are a bird and flying is simply what you do to move your slick, feathered body from one side of your world to the other. You see a funny-looking biped look up at you from the ground. From your perspective, it does not look much different from the maggots you ate earlier.

You are a human. But you knew that, didn’t you? You live in a house, which is the sort of cave that has central heating and WI-FI. It is a nice house and you are proud to live in it. You don’t think about all the other humans that don’t live in WI-FI caves that exist in your geographic vicinity. You see no reason why you should. You killed a bird today. You had no reason to. You didn’t need to eat it. You are a well-fed human with access to all the food you need. You killed it because you wanted to. You killed it because killing things makes you feel alive. Eventually, you will die. Your business partner of sixteen years will usurp you and take your position as the head of your crime family. Eventually, Eli Fugue, the cycle will start again. The cycle always wins.

Photo credit: Unsplash

Credits: Unsplash & Pixabay

By louise collins Venue editor

It’s that time of the year where people are frantically trying to figure out their Halloween costume. Whether you’re going to a house party or going to the club, getting the costume just right can be a stressful job. So, if you’re struggling to think of what to wear, don’t worry, you won’t be the only one! That’s why I’m here, to help out with your own Halloween horror. Sometimes, a good costume is full of items already in your closet. Halloween is scary enough without having to alter your bank balance.

Group costumes

These are always a good laugh, and you don’t even need to go out any buy anything specific for them at all! Grab a few of your friends and dress up as the Scooby Gang - even if you just wear the right colour clothes (with fun little twists of course) you’ll be easily recognised as the mystery solving team.

Or dig through your closet, maybe buy the odd wig, and go as the Spice Girls - each has their own distinct style, but most items aren’t that far out to mean you can’t use what you already own.

You can also make your costume simply by buying fake blood. You and your friends can don white t-shirts, and a comfy pair of jeans and cover yourselves in fake blood. If one of you doesn’t mind splashing out a little more, make them the

halloween on a budget

killer! All they’ll need is a funky mask or a fake weapon and they’re set!

If you decide you do want to spend a little money, why not reflect upon movies of the past few months and go as different Minions – but don’t forget your Gru!

Individual costumes

If you’re wanting to wear your own thing, that’s no worry!

Grab an old cream jumper & make an old house phone with some leftover cardboard. Bam, you’re Casey Becker from

Scream. Alternatively, grab your denim jacket, a grey t-shirt and some fake blood, and you can have your main character moment as Sidney Prescott.

If you love a bit of drama in life, and you’ve been following the Don’t Worry Darling discourse, find an all-blue fit, your shadiest sunglasses and a cocktail to channel Florence Pugh during the press conference. You could even find your own entourage with your friends wearing their very own ‘Miss Flo’ t-shirts.

Whatever you go for, whether you’re a big pop-culture fan, or you really love the spooky side, you don’t need splash the cash to find a great costume.

Photo

Editor: Tshequa Williams Fashion

London fashion week ss23: key moments

By Sienna Norris, Emily Erith & Tshequa Williams

After the death of Her Majesty Queen Elizabeth on September 8th, London Fashion Week ran with a more respectful tone, including a recommendation that events should not have gone ahead on the day of the funeral, and brands advised to cancel any non-essential events (such as parties). The Queen herself was known for her bright block-colour palette, always perfectly coordinated and composed. She attended London Fashion Week back in 2018, sitting front row next to Dame Anna Wintour for Richard Quinn’s SS18 show. The designer received The Queen Elizabeth II Award for British Design. Even with the circumstances, the showcases of British talent still went on – here are some of the highlights from the Spring/ Summer 2023 shows.

E R D E M ERDEM

The independent fashion house Erdem eerily dazzled on its recent London Fashion Week show. The catwalk, carefully positioned by founder Erdem Moralioglu MBE between the Grecian columns of the British Museum, illustrated his definitive ties between fashion and history. As many shows cancelled their presentations in the wake of Queen Elizabeth II’s death, Erdem decided to respectfully continue in tribute to the late Queen, with many Spring/ Summer looks dominated by the juxtaposition of light and darkness. As the country grapples with change, the show focused on transition and, with delicate floral prints appearing alongside formal monotoned black structured suits, and white delicate lace overlayed dramatic black gowns. Erdem views fashion as “a mirror of what is happening in the world”, well portrayed through the contrast of his pieces.

Erdem’s collections typically range from around £800-£4000+ per item, so be sure to shop the Erdem look for less next year as the high street responds to key trends, with corsetry, delicate lace, subtle to bold yellow shades, strong white borders, emerald gemstones, and the classic monochrome colourway all set to dominate the rails.

Erdem’s designs, despite their frequent use of traditional styles, are importantly inclusive with his Turkish heritage inspiring modest silhouettes from high necks, long maxi length skirts, and shirt styled long sleeves. The collection has also previously ranged from UK sizes 6 to 22, a diverse precedent set to continue, and one often neglected by other luxury fashion houses.

- Emily Erith -

B U R B E R RY BURBERRY

After having its original show postponed in light of Queen Elizabeth’s death, Burberry’s show took place on September 26th and was definitely worth the wait. Held in an industrial unit in South London and attended by an intimate union of celebs, Burberry has become one of the more talked about fashion events of London Fashion Week – and not just because of Kanye’s sock and flip-flop combo.

CCO of Burberry, Riccardo Tisci, announced shortly after the show that it was his last season and he will pass his baton over to Daniel Lee, a fact that makes this Burberry show all the more significant. Burberry’s classic beige trench coats and iconic check print were ever-present in the catwalk, but so was a glamorous gothic theme.

Naomi Campbell, Irina Shayk and Bella Hadid were some of the many models that walked the show, dressed in a combination of mesh, jewels and denim. Music was composed by Paul Mealor, a conductor at a church in Balmoral where the Queen passed. Tisci used the show to pay homage to British fashion, evident from the chic tributes to the Victorian era and hints of a classic sixties style. The fashion mogul stated that the show was a “bold reimagining of our heritage” here in the UK.

The Burberry show was unforgettable, and Tisci went out with a massive bang.

It’s been quite a few seasons since we’ve seen a show from Christopher Kane, but the Scottish designer’s return to the runway at Camden’s Roundhouse was certainly one to remember.

The show focused on the relationship between science, anatomy and nature, portrayed through structured corsets, bold floral prints on sheer fabrics, and silk draped to nod to the softness and fluidity of skin. Notably, the corsets and breast plates were constructed with a clear plastic material, fastened tightly to force the body into shapes and desired figures (such as a six-pack). The choice of a transparent material helped both expose and dissect the body, despite the traditional uses of corsets and harnesses – to control and protect.

On the more scientific side, some models featured cut out prints of anatomical parts, including muscular hands placed over the pelvic area. In an interview, Kane described how the anti-abortion movement in America inspired him to represent the discourse on “medical practices and women’s bodies” – how women’s bodies are controlled and dictated.

- Sienna Norris -

C H R I S TO P H E R K A N E CHRISTOPHER KANE

- Tshequa Williams - Williams

Photo Credit: Pixabay

Staying warm this autumn / winter

By tshequa williams Fashion Editor

A lot of people find autumn an awkward time for dressing. When you leave the house in the morning and the air is bitterly cold, within a few hours, the autumn sun cuts through the trees and makes your winter coat just that bit too hot. Personally, I love the autumn, and not just for the brush of golden over the trees and spooky season. Once you’ve nailed the art of layering, and got a few staples in your wardrobe, this time of year is perfect for curating beautiful outfits which are adaptable to whatever the British weather throws at us!

Layering Essentials

The only way to dress in such unpredictable weather is to strategically layer, allowing for full adaptability throughout the changing elements in a day. At a basic level, you’ll need to keep warm and dry, while still being able to remove layers when you’re indoors, or in the afternoon sun.

COATS/ OUTERWEAR

As one of the main visible elements of an autumn/ winter outfit, coats are the perfect way to make a statement while keeping you cosy. There are so many varieties for every weather and occasion, but there are a few which have the most versatility. A short puffer jacket is both cute and warm, while a longer overcoat keeps the wind out and can seamlessly fit many layers underneath. Having a rain mac or waterproof jacket is also vital alongside a sturdy umbrella.

STURDY FOOTWEAR

It’s no secret that England gets a LOT of rain over the colder months. There is nothing worse than getting soggy feet while wearing shoes made of materials like canvas – no matter how many other layers you have on, it will be hard to keep warm. Ensure you have a solid pair of waterproof shoes to carry you through the drizzlier days.

VESTS

Wearing a vest under your jumpers may feel like something your mum would’ve made you do as a child, but when the temperatures drop, they’re brilliant for adding a thin layer of hidden warmth.

ACCESSORIES

Gloves, thermal socks and scarves are all essentials not to forget. It sounds very basic, but they really do make a significant difference by blocking out the exposed areas which let the cold in.

Invest or Save?

When it comes to shopping your autumn wardrobe, any new purchases you make should be carefully considered alongside your existing wardrobe. As layering is key to keeping warm, it’s important to have

pieces that coordinate, and that will work under/ over other items. Outerwear items (coats, jackets and shoes) are often worth spending a bit more on. In the long run, better quality pieces will keep you warmer and drier, as well as hopefully last you across many winters. As a rule, the thinner the layer and the closer to your body it sits, the more you can get away with spending less. Thermal underlayers might be the exception, but there are still some reasonable options out there which will work just as effectively.

Staying Warm at Home

With the cost-of-living crisis hitting us all hard, having the heating on a lot over the winter is a luxury most won’t be able to afford. While you’re at home, layering is once again your best bet in retaining heat.

For a base layer you can wear around the house and to bed, pair fluffy socks and slippers with fleecy pyjamas. Most of us have a dressing gown, but if you’re looking to buy a new one, make sure that it’s not only thicker, but also hooded, oversized and longer in length. Extra length allows it to keep your legs warmer, and extra room will help if you need to add a sweatshirt underneath on those extra cold evenings. Not fashion related, but a reminder to check your windows for draughts. You can buy insulation strips for the frames – although they don’t cost a lot, they make such a difference!

Photo Credit: Unsplash

By Sienna Norris Music Writer

On September 25th, Rihanna posted a picture of her recognisable hand holding up an American football on all of her social media platforms, which could only mean one thing – she’s performing at the Super Bowl’s Halftime Show. It was confirmed by the biggest sporting event in America, moments later and the internet went crazy, which just goes to show the effect Rihanna’s musical absence has had on the world. Rihanna hasn’t had a live performance since the Grammy’s

back in 2018, and her last album ANTI was released two years before that, is this news hinting she’s finally releasing new music too? The singer has kept fans on their toes for the past six years with hints of new music that has never been released, but now it seems she’s finally making her musical comeback.

Born as Robyn Rihanna Fenty in Barbados during the late eighties, she busted onto the music scene with the song “Pon de Replay” in 2005 at age only aged 17 and has become one of the most predominant figures of the 21st century ever since. With a humbling background, Rihanna used music to escape, she grew up with the influences of Reggae and artists like Madonna and Janet Jackson, which can all be heard in her songs, eventually her love for making music led to her pursuing a career in it instead of finishing school.

Upon the release of her debut album Good Girl Gone Bad in 2007, she very quickly became known as the ‘Queen of Pop’ with songs like ‘Umbrella’ defining the late noughties. As her career progressed into the 2010s the release of LOUD produced hit after hit on the track list that blew her up even more. That album pretty much defined my pre-teen years, even though it took me a few years to figure out what ‘S&M’ actually meant, until then, my parents had to witness their 10-year-old singing “Sticks and stones may break my bones/ But chains and whips excite me” which mortifies me to this day.

Like many others, I myself have been anxiously anticipating new music from Rihanna since ANTI, another masterpiece album. Her songs appear on most, if not all, playlists because of her versatility, no matter what mood you’re in – her music can accommodate you. With her distinctive sound, her voice

can be recognised anywhere.

Speaking of her versatile nature, during her musical absence, the billionaire has turned to becoming a business mogul. Starting up her cosmetics brand Fenty Beauty back in 2017, now worth over $1 billion, as well as her lingerie brand Savage x Fenty, she has been nothing short of success during the last few years. One of the appeals of Rihanna, no matter if you see her as a CEO or singer, is that in everything she does, she prospers, which is why so many people are excited to see her perform at the halftime show, including me (although it will be from the comfort of my own bed). Considering the correlation of her iconic live performances, like her 2016 MTV VMA performance, the Super Bowl will no doubt emanate the same sensation.

Rihanna will perform at the Super Bowl’s Halftime Show on Sunday 12th February in Arizona. The Super Bowl also announced it will be sponsored by Apple instead of Pepsi from now on, so will RiRi follow in the footsteps of past Halftime performers like Beyonce and Lady Gaga?

I surely hope so!

How Super Bowl Headliner Rihanna Has Become the Symbol of a Generation

Photo Credits: Unsplash all

Editor:Tabi Fielding

OTHERWORLDS – The Pretty Reckless are coming to Norwich

The Pretty Reckless are set to hit the UK with their first full album tour since 2017 and its going to be brilliant. The band’s lead singer, Taylor Momsen rose to fame when starring as Cindy Lou Who in Dr.Seuss‘s How the Grinch Stole Christmas in 2000. Since then, she has found her place within the rock music scene and since 2009 has fronted rock band, The Pretty Reckless.

The band rose to fame when they broke the record for being the first female fronted rock band to have had five number one singles when their song, Death by Rock and

Roll hit the top of the mainstream rock chart. Momsen has a bold, fierce look when performing, she can’t be missed with her thickly drawn dark eyeliner contrasted with her bright blonde locks. The lyrics are strong and her image perfectly reflects this. Although they have described their genre as a mix of postgrunge and hard rock, they are not afraid to experiment and expand their stye. And that is what they have done.

Their new album OTHER WORLDS is set to bring acoustic renditions, featuring special guests such as Elvis

Inside Donda Academy

Costello, a flashback to Momsen’s Covid live-streamed performance of (What’s So Funny ‘Bout) Peace. The new album really is going to be a much softer, stripped back style than previous releases by the band.

Another rendition includes Soundgarden’s Halfway There. Momsen’s hauntingly beautiful mezzo-soprano vocals on this track are particularly powerful and make for a stunning tribute to the legendary Chris Cornell. The tracks in the album cover the theme of loss heavily, with the song Got So High referencing personal struggles Momsen

By tabi Fielding Music Editor

had had following the death of close friend, Kato Khandwala. Her raw emotions are conveyed in song beautifully.

It is no doubt we are in for a treat with Alan Johannes, the very talented multi-instrumentalist, producer and artist playing guitar in the track, The Keeper. The pairing of Momsen’s vocals and Johannes’s guitar makes for a soothing, dreamy combination. This album is the perfect way to transition back into heavy rock music post-pandemic. Be sure to grab a ticket as it’s going to be an album release you don’t want to miss!

By Tom Porteus Music writer

Visual Art, Film, Choir and Parkour.”

Imagine if you can’t graduate Donda because you can’t land a double backflip off a 16 ft wall in your parkour class.

Over the past two decades, Ye (formerly Kanye West) has cemented himself not only as a musical genius but also a creative visionary. Kanye’s projects go beyond just music and include that of fashion, technology, and architecture. His newest venture can be seen as the most impactful with Kanye entering the education sector with Donda Academy.

Named after West’s late mother, Donda Academy is a private school that is based in Simi Valley, California with the mission to “prepare students to become the next generation of leaders” through “an ethic of integrity and care.”

Although the school is not an accredited educational just, yet it has recently

applied for accreditation with the Western Association of Schools and Colleges meaning that graduating students will be able to attend university if it is approved.

West has said that the ultimate goal is plans for these schools to be nationwide and ultimately to open a college meaning that, Donda Academy will serve as a trial. The $15,000 a year school currently has just under 100 students enrolled and 16 full-time teachers. The website states under the ‘how we learn section’ that a student’s daily schedule includes “full school worship; core classes of language, arts, maths, science; lunch and recess; enrichment courses including World Language,

The classes also promise a 10:1 ratio, which cannot exceed 12 students per class to ensure that children get the full experience. According to some sources families are required to sign a nondisclosure agreement when their child enrols in the school. Tamar Andrews, a consultant for the Academy with two decades of experience in early-education programmes has described the NDAs as an “informal agreement.”

The Principle, Brianne Campbell, who also leads the choir programme has never held a formal position as an educator. The closest thing to a teaching position that she has appears to be running her own piano, guitar and singing tutoring business.

West is not the first celebrity to open their own private school. Will Smith and Jada Pinkett- Smith’s New Village Leadership Academy, which opened in 2008 and closed five years later. Only time will tell if West’s school will be a success but one thing is for sure that they certainly have a childhood like no other.

Photo Credits: Unsplash

Norwich’s Own Record Label: The Wilde Club

By Lily Boag

The Wilde Club changed the Norwich indie scene, hosting a wide variety of bands such as Nirvana, Muse, Oasis, Snow Patrol, Coldplay, amongst other acts. Founded by Barry Newman (Baz McHat) and booked and run by Oli Redmayne who joined in 1992, on 17th January 1989 the first gig was held at Norwich Arts Centre. It soon became the main venue for Wilde Club alongside occasional gigs held at The Waterfront and Fat Pauly’s. These venues became the beating heart of the Norwich music scene, offering the community the opportunity to attend live gigs from acts who were previously unable to play in Norwich due to the lack of an essential music hub.

After listening to bands play on John Peel’s radio show, Barry started running gigs so he could see the bands perform live. Volunteering at the Norwich Arts Centre, he soon discovered there were no indie bands that were getting booked, and so he decided to host gigs for the bands he liked, hoping for a successful turnout. Tracking promising local bands down for the booking using

demo tapes, and promoting the gigs alone for 3 years, Barry soon developed the Wilde Club until it became Norwich’s ultimate music hub, an important component of the city’s social structure.

Venue

Deputy Editor

were musicians drawn into Norwich by the opportunity to support national acts lured in by the Wilde Club and to perform at venues that were keen to allow local bands and performers to play, but helping launch the musical careers of local musicians and artists was the investment and support provided by the Wilde Club’s two record labels, Wilde Club Records and Jawbone. Soon, more and more musicians were drawn in with the hopes of receiving record company interest. With the profits made from gigs, Wilde Club began investing into record releases to help local bands reach wider audiences, releasing the first two EPs for Great Yarmouth alternative-rock band Catherine Wheel.

Booking new bands with the best sounds, Wilde Club brought in an eclectic mix of talent, with many bands going on to reach the top charts, while some reached the height of their success playing in Norwich, and other acts like the Stone Roses slipped away after being turned down by Barry. But not only

Reaching legendary status, The Wilde Club has left its mark on Norwich, infusing the city with its indie musical influence. It defined the city’s arts and entertainment culture and holds a chapter within the city’s rock and roll musical heritage.

“These venues became the beating heart of the Norwich music scene.”

Photo Credits: Unsplash

Re-released back onto the big screen, James Cameron’s epic sci-fi-fantasy blockbuster Avatar is currently being screened in cinemas for a limited showing that will take audiences back to the tropical rainforest world of Pandora in anticipation of the film’s upcoming 2023 sequel Avatar: The Way of Water. With the re-release, the 2009 original has quickly reclaimed its title as the number one grossing film of all time.

This strategic re-release also comes as a reminder of the child-like wonders and pleasurable joys that come from watching films in the cinema, whether that may be by wining and dining at the Curzon, putting your feet up in an Odeon, or venturing out to London for the immersive experience of an IMAX theatre, popcorn in your lap. Rewinding through cinematic history, for my love letter to the big screen, I’ll reflect on my top five cinema experiences - covering the films that simply can’t go without being seen on

Editor: Tom Porteus

pulls the audience back into history.

A Quiet Place

the big screen for those lights, camera, action moments.

Avatar

We can’t begin without deep diving into why Avatar was such a spectacular film for the box office in the first place. Launching the audience into the magnificent alien-word where the stunning cinematography and advanced CGI visual effects that were evermore impactful back when 3D screenings were at the height of popularity in cinemas.

1917

1917 is a first world war drama that follows two young soldiers who risk their lives after being tasked to deliver a critical message that will prevent another team of soldiers from being ambushed. Winning the academy award for best cinematography, single shot coverage follows the perilous journey of two soldiers as they cross enemy lines in what is filmed to look like one single continuous take which

In John Krasinski’s post-apocalyptic horror, a family fights for survival in silence, forced to communicate by sign language, after the world has been invaded by blind alien creatures that attack and hunt anything that makes a noise. Watching this epic showdown unfold on the big screen will leave you holding your breath and clinging onto the edge of your seat, especially while Emily Blunt’s character goes into labour whilst a creature hovers around the corner. Leaving the cinema, you’ll be frightened to speak a word after being immersed in a world where every sound could lead to imminent danger.

Gravity

A sci-fi survival thriller that follows a space mission gone-wrong after an engineer and astronaut are hit by high-speed debris, the lone

survivor must safely find their way back home. Starring Sandra Bullock and George Clooney, this heart-pounding space-disaster drama was technically dazzling, spinning the audience around into the deep abyss of 3D outer space.

The Secret Life of Walter Mitty

A romantic comedy about a daydreamer who finally embraces life, starring Ben Stiller, this heart-warming action-packed adventure will take you through epic locations from the concrete streets of New York City to the dramatic landscapes of Iceland. With stunning cinematography and a storyline that emphasises the importance of the perfect shot, this film is truly magnificent on the big screen.

By LilY Boag Venue Deputy Editor

My Big Screen Greats

“Films that simply Films that can’t go without can’t go without being seen on the seen on the big screen.” screen.”

Credit: Unsplash (all)

Don’t Worry Darling: Plethora of Plot holes

By Chloe Thompson Film writer

Following the tsunami of toxicity and tensions of the press tour for Olivia Wilde’s ‘Don’t Worry Darling’, buzz for the movie has been at an all-time high. Whether you fled to the cinema this week as a devoted Harry Styles fan, a thriller enthusiast or just curious after the seemingly never-ending scandals, the film finished number one in the box office and racked up a healthy $19.2 million. Not bad for Wilde’s first largescale productive movie. But is the movie any good?

Credit: Wikimedia Commons

The premise of the movie has potential to be a hybrid Truman Show/ Groundhog Day with Pinterest-worthy aesthetics and a picture-perfect cast but the messy plot holes holts the movie at a B+ grade. With a slow start and an abrupt ending, the movie feels as it should begin 30 minutes in and continue 30 minutes after the end credits roll.

The movie generates more questions than it answers, with a random plane crash being the main catalyst to the drama but never explains how or why a plane got into a perfectly constructed simulation.

But even the nuanced micro details are difficult to understand with ease, for example, why were the eggshells empty? It wasn’t until further reflection that I realised it had something to do with that terrifying scene of a long-haired, dispirited Jack devouring tuna out of a can.

The sensational Florence Pugh was a glorious distraction from the messy plot. Pugh secured her title as the Queen of psychological thrillers after starring in ‘Midsommar’ in 2019, and this film only confirms that her reign continues.

It is captivating watching her originate as a fun-loving housewife with a bouncy personality and even bouncier hair to then descend into a bundle of destruction and determination as the truth of the Victory Project unfolds.

The movie is set in a 1950s eutopia community of candy-colour and saturated perfection, but the audience comes to very quickly realise that not everything might be as it seems. Alice (Florence Pugh) is the housewife to breadwinner Jack (Harry Styles) and the couple seem almost disgustingly in love. The world building reveals that the wife’s role in this community is to be a housewife in the traditional sense, while the men head off to work each morning in their fancy cars to a very mysterious location to do an even more mysterious job. This whole community has been curated by Frank (Chris Pine) and he has named it the Victory Project.

While Pugh received enormous praise, the same cannot be said about Harry Styles’ debut into a lead acting role. While his scenes playing a charming husband came naturally to Styles, the sinister aspects of his character seemed too forced to be believable meaning he’s unlikely to be holding a shiny gold Oscar’s statue for his role as Jack Chambers any time soon.

However, this doesn’t mean that this movie is not a worthwhile watch. The Hollywood A-lister cast, multi-million-dollar budget and plentiful drama both in and around the film are just a few of the reasons why the film is worth a trip to the cinema.

Credit: Wikimedia Commons

Credit: Unsplash

The Brilliance of Bodies, Bodies, Bodies

By Louise Collins Venue Editor

For someone who loves the Scream series and has religiously watched horrors and slashers over the past few years, the announcement of Bodies, Bodies, Bodies, had me desperate for a trip to the cinema. Especially considering the cast included stars like Pete Davidson, Lee Pace, Rachel Sennott and Amandla Stenberg.

Editor: Tom Porteus

Credit: Unsplash

Set over the course of one night, with a cast of only eight, the film doesn’t seem like it would be something to write home about. But let me tell you, it was great. Starting off with Bee and her wealthy girlfriend Sophie, it appears to be a simple coming of age movie. They’re on their way to Sophie’s best friend’s mansion for a ‘hurricane party’. Upon arrival, however, tensions rise immediately, with characters being stand-offish with Sophie – who disappeared off the face of the earth after a trip to rehab – a friend having stormed out the night before, and an unknown older guy as one of their friends’ new boyfriend.

Like almost every horror, drugs and alcohol play their role. The twenty-somethings get high, and their safety instincts go out the window. From here, they decide to play Bodies, Bodies, Bodies – a murder in the dark game. After the first ‘death’, tensions rise between the men, and fights begin to break out, soon followed by a power cut. For some time, the festivities continue, until the first body is discovered.

Credit Unsplash

They all fall into hysterics, unable to call for help, and start turning against each other in the very expected fashion. As the night goes on, truths begin to come out, and tensions get even higher. You find yourself desperate to work out the killer, but this film will constantly keep you guessing.

By the end of the film, I was left somewhat speechless. I loved the film, but it was far from the ending I expected, but in such a brilliant way. It pokes fun at the rich Gen Z influencer type figure – the refusal to acknowledge their privilege, or their own toxic behaviour. Just when you’re starting to get anxious about the killer, ridiculous arguments start up, making you laugh at the absolute absurdity of it all.

The film itself is very woman-heavy with the soundtrack being predominantly female artists, and it doesn’t really focus that much on female suffering – at least compared to other slasher films of the past.

Bodies, Bodies, Bodies will certainly leave you speechless.

Blonde: Disturbing and Uncomfortable

BY Tom Porteus

Film

Editor

TW: mentions of rape, abortion, sexual assault

Andrew Dominik’s Blonde is a long slog of heartache and misery as Ana de Armas portrays the story of the life and death of one of, if not, the most famous women of all time. We follow a little girl called Norma Jeane as she grows up and morphs to become the screen legend that is Marilyn Monroe.

The portrait that this film paints of Monroe depicts a lost little girl, who repeatedly calls her lovers ‘Daddy’ and reacts to almost every new setback with the same tremulously teary pout. The film contains all the struggles of Jeane in graphic detail as she suffers mental and physical torment from all angles. The film includes disturbing depictions of sexual assault, child abuse and physical assault. It highlights the twisted and perverted nature of the movie business in the 1950’s in a time where movie bosses constantly undermined female actors as unintelligent and sexual objects.

What the film does offer is some beautiful cinematography and creative camera work. I particularly enjoyed the juxtaposition of the use of colour and black and white. Black and white is used in the scenes where she is putting on the façade of Marilyn Monroe where Jeane is trying to pretend to be someone she is not. Colour, however, is used when she interacts with her personal problems, that of which there are so many of. At the centre of the film is an amazing performance by Ana de Armas whose acting completely steals the show. Visually this movie is beautiful, but the content is quite the opposite. In fact, I would go as far as saying that it is closer to a horror film than a biopic. A horror film where childhood trauma is repeated, with a catalogue of realistic, grotesque cruelty of monstrous studio bosses, rapes and abortions, violent husbands, and loveless lovers. When scrolling through Netflix you may come across this and think maybe this is a biopic like Elvis or Bohemian Rhapsody - nothing can be further from the truth.

So, when you think about sitting down and watching this flick with your parents or significant other just be very aware about what you are getting yourself into.

Photo: Unsplash

By Ella jolliffe

TV

Writer

Those who have watched and devoured the TV adaptation of Salley Rooney’s Normal People will be well versed in the socialite phenomenon of Marianne Sheridan. Perhaps while cocooned in their compact university accommodation, which must now be labelled as ‘home’, the terrified Fresher escapes their daunting new reality with the story of two Irish Trinity students navigating the freedom

Editor: Millie Smith-Clare

which comes from leaving our beginnings. Marianne’s blasé social facade spills across the entire series. Her wardrobe choices burst with academic assuredness. In episode five, Marianne’s outfit to a party commands attention, a teal, velvet dress lies underneath a burgundy blazer screaming to viewers that she is someone to be taken seriously – people with blazers just do that. Her conversations with fellow characters spin around political discourses which many of us would remain mute in. She is the ideal. But who is the real?

For that, we must turn our eyes to Connell Waldron. Handsome, intensely private and incredibly unsure of himself, Connell seems to be more of an apt choice to represent the Fresher. We see him walk, unaccompanied, into vast lecture theatres. Minimum conversation with housemates. Awkward interactions with those who might fit the description of a BNOC. Connell and the Fresher both share the same experiences. They both relate. Both know the swamp that is homesickness; how that feeling seeps into everything you own and doesn’t seem to end. In episode four, we witness a phone call between Connell and his mother, Lorraine. He details his new life to her, his reading material, seminars and a few jokes about his course mates. The good bits. While hiding away under a mountain of fluffy

blankets, the Fresher can relate. A couple of missed calls, unopened texts from friends and family asking for all of their exciting tales, but with none to reply. The Fresher doesn’t yet have any hilarious anecdotes to share. Much like Connell Waldron, they’re trying on many new personalities and none of them seem to fit.

In episode five, we later see Connell being asked for advice on an essay which he received a, ‘literally impossibly high mark in’. He is recognised for his intelligence – his understated achievement is seemingly the route to some painfully craved validation. Episode five sees Connell Waldron and Marianne Sheridan make peace with each other and, for a while, themselves. It tells the Fresher there is hope. This ends, stability is around the corner.

Watching Salley Rooney’s Normal People is the ultimate preparation

tool for Freshers

Photo Credits: Unsplash

the national television awards are back!

By Lily boag Venue deputy editor

The National Television Awards – Britain’s leading television awards event and television’s biggest night of the year. The NTAs celebrate the greatest achievements and accomplishments in television, including the public’s most loved televised performances over the recent year. Hosted by comedian and television presenter Joel Dommett, this year’s ceremony, the 27th NTAs, is set to broadcast live on ITV at 8pm from Wembley’s OVO Arena on Thursday 13 October 2022. With the final round of voting now open, here are some of the top nominations for each category.

In ‘New Drama’, nominations include This Is Going To Hurt, the ‘painfully funny and heartbreakingly honest’ BBC drama starring Ben Wishaw based on Adam Kay’s best-selling non-fiction memoir. It depicts a doctor’s diary on the chaos and disorder of hospital life. Another popular nomination is Heartstopper, the hit Netflix series based on Nick and Charlie’s young queer love story in Alice Oseman’s webcomic and graphic novel. For their leading performance in the LGBTQ+ teen-drama Heartstopper, both Kit Connor

(Nick Nelson) and Joe Locke (Charlie Spring) have also been nominated for the ‘Rising Star’ award.

In ‘Returning Drama’, nominations include, Netflix Regency-romance Bridgerton, which returned in March to tell its second season love story, and Brummie historical crime-drama Peaky Blinders, which follows the notorious gang led by fierce crimeboss Tommy Shelby. For best ‘Drama Performance’ both Jonathan Bailey (Bridgerton) and Cillian Murphy (Peaky Blinders) have been nominated for their performances in their leading roles.

‘Comedy’ nominations include Channel 4’s Irish teen sit-com Derry Girls, a coming-of-age story of friendship that takes place during the political conflict of Ireland in the 1990’s, Netflix’s teen comedy-drama Sex Education which features Moordale’s friskiest students, and Ricky Gervais’ dark comedy-drama After Life, which follows Tony, a bereaved man, who takes on a devil-may-care attitude as he struggles to come to terms with his wife’s death.

For the ‘Authored Documentary’ category, nominations include, Tom Parker: Inside My Head, a feature-length documentary for Stand Up to Cancer following Tom Park-

er’s journey dealing with his brain tumour diagnosis, Julia Bradbury: Breast Cancer and Me which charts Julia’s breast cancer battle, and Paddy and Christine McGuiness: Our Family and Autism which follows Paddy and Christine as parents of children diagnosed with autism, who decide to meet parents, experts, and other people on the autism spectrum to learn more about the condition.

.In a brand-new category, TV’s goto specialists will be celebrated with the ‘Expert’ award. Nominated for his work on BBC nature documentary, The Green Planet, is Sir David Attenborough, as his latest documentary follows his travels exploring plant-life across the world, from tropic rainforests to frozen landscapes.

Other NTA categories include: ‘TV Presenter’, ‘Daytime’ ‘The Bruce Forsyth Entertainment Award’, ‘Factual Entertainment’, ‘Quiz Game Show’, ‘Talent Show’, ‘Talent Show Judge’, ‘Serial Drama’ and ‘Serial Drama Performance’. Tune in to ITV where the NTA winners will soon be announced.

Photo Credits: Unsplash

bundle up and watch buffy!

venue editor

By louise collins

Unlike many baby gays, I never watched Buffy the Vampire Slayer in my teen years. However, after the immense fangirling of one of my

Editor: Millie Smith-Clare

flatmates, and two friends to finally buddy-watch it with, I’ve found a new supernatural tv show to love –and this time, the women survive!

In all honesty, it’s not the best show ever made, but, man, is it fun!

My friends and I may only be a few episodes in to seasonone, where, admittedly, it’s still finding its feet, but we all love it. The special effects aren’t the best, and the acting is oftentimes a bit cringey, but it’s such an iconic show!

With Sarah Michelle Gellar playing the titular character, it’s hard not to be obsessed. She’s joined by her

own incredible Scooby Gang, with Alyson Hannigan as the adorable best friend, Willow, and Anthony Head playing Mr Giles, the all-knowing librarian/father figure to the young vampire slayer.

It’s an immensely cosy watch, especially now that it’s coming close to spooky season. So, why not wrap up in your comfiest blanket, with a bowl of soup or a mug of your favourite hot drink, and watch – or re-watch – this spectacularly action-packed show.

BBC Centenary: 100 Extraordinary Years of Broadcasting concrete deputy editor

By matthew stothard

The BBC was formed on 18 October 1922 by six wireless companies, with its first radio station, 2LO, launching in London on 14 November, featuring two news bulletins and the latest billiards scores. It may have been a humble beginning, but it marked the start of an organisation which would come to define much of 20th and early 21st century British culture.

After 14 years of radio broadcasts, the BBC launched the UK’s first regular television service, BBC Television, on 2 November 1936 at 3pm. The opening hour comprised of speeches, news and weather before half an hour of variety performances, including American duo Buck and Bubbles, who became the first black performers on television. The service then closed down until 9pm, when a documentary, Television Comes to London, was shown, which remarkably, given the scarcity of archive material from the early BBC, can still be viewed on their website. It featured a recording of a song from the variety show, aptly called ‘Television’, sung by Adele Dixon, which provides a rather entertaining listen in hindsight!

BBC Television took a break during World War Two (although radio broadcasts did continue), but from its return in 1946 the service really began to make its mark with the 1953 coronation of Queen Elizabeth II being watched by an estimated 20 million.

In 1964, BBC Two was launched, although its opening night went less smoothly than that of its older sibling, with power cuts at Television Centre meaning an evening of light entertainment was replaced by a news bulletin which was silent for the first few minutes. The first programme officially shown on BBC Two was pre-school show Play School the next morning, whilst that evening’s programmes opened with a candle being blown out, acknowledging the previous night’s events. The other BBC channels we know today followed in the late 90s and early 00s.

In the years since 1936 the BBC has shown a wide array of programmes, most a far cry from the launch day’s variety acts. Nevertheless, it has always stayed close to the aims of its first Director-General, Lord Reith to inform, educate and entertain, with its three longest running programmes (excluding news and events) that still air –Panorama, The Sky at Night and Blue Peter – clearly fulfilling that brief.

Those shows all began in the 1950s, but subsequent decades have brought more varied entertainment. The 60s saw the launch of BBC juggernaut Doctor Who, and enduring comedy series Dad’s Army

and Monty Python’s Flying Circus, as well as Points of View, beginning the corporation’s long tradition of airing criticisms of itself!

The 70s saw an innovation in children’s television with Newsround (which marked its 50th anniversary this year), as well as more sitcoms like Fawlty Towers and The Good Life, whilst in the 80s the BBC beat ITV to launch the UK’s first national breakfast show, as well as broadcasting the landmark concert Live Aid and Only Fools and Horses, voted earlier this year as the BBC’s best programme. The 90s brought Keeping Up Appearances (surprisingly announced as the BBC’s most exported programme in 2016), whilst the 21st century has already seen lots of great shows, Strictly Come Dancing, Pointless and Call the Midwife being just a few of the most successful.

The corporation will be celebrating the legacy of this extraordinary century of programming with documentaries and special episodes of shows like Doctor Who and Strictly Come Dancing, whilst next year will see them host the Eurovision Song Contest for a record ninth time, continuing the BBC’s reputation as one of the world’s most prominent and respected broadcasters.

Photo: Unsplash

Editor: Jess Clifford

Credits: Unsplash (all)

By jessica clifford

games editor

On September 6th 2022 Disney released its new Animal Crossing inspired game, Disney Dreamlight Valley. The game begins with your character waking up in a village with Merlin, the wizard, who informs you that village has been taken over by dark and twisting plant growths called night thorns that have caused villagers to flee, forget each other and many of the ones who stayed have gone missing entirely (including Minnie Mouse who is stuck in a literal different dimension). The game quite successfully merges Disney joy with a dark and compelling storyline that is addictive as you unlock the whole of the valley, rebuild and find out what has happened to all the

villagers (who are the Disney characters we all know and love!). The game is easily playable for long periods, and since it is only in early access, there is a lot more content to come, which I am sure will keep the game exciting for some time.

The main actions in the game are your character completing tasks for the villagers such as Goofy, Mickey, and some Pixar characters such as Wall-E and Toy Story. There are also classic villains such as Ursula and Mother Gothel. There are two currency systems in the game and you use them to access new parts of the Valley with your magic, and also to upgrade the valley with furniture and shops. You can place furniture anywhere in the Valley and even move the characters home to your heart’s content. In true 2022 game releases fashion, the game introduces a farming simulation function and crafting function, which if you saw the 2022 Nintendo Direct, it seems that every single game they announced had. However, in this game, it is not boresome as it is not an integral component of the game and the plants themselves grow very quickly.

The customisation of your character in-game is frankly incredible. With the ability to choose pronouns, and even set things such as vitiligo and scars, the game will most definitely allow all players to find themselves represented. The clothing options are up to date as well, allowing me to fit my character with mom jeans or a majestic princess-like ballgown. The mechanics in the game are great also, the valley itself is quite large and it provides fast travel, making the game a lot more enjoyable in comparison to something like Animal Crossing or Stardew Valley where you find that a lot of your time is spent running from one place to the next.

The game itself is a brilliant marketing tool for Disney, hitting me with a lot of nostalgia and the desire to rewatch Disney movies, it also has a monetary aspect with the game introducing a battle pass concept that allows you to purchase it for extra content within the game, yet I could not call the game simply a cash grab. The developers have done themselves serious justice by making the game really fun and something I would consider paying for which is definitely refreshing in terms of games from corporate entities and celebrities such as Kim Kardashian’s mobile game, which is a standard example of a cash grab app that uses an energy system

to make you stop playing and come back again multiple times throughout the day. Disney Dreamlight Valley too has an energy system, but this can be refilled using recipes that you can collect and make with Remy from Ratatouille or by simply fast travelling back to your home.

During my playthrough I only experienced two glitches, it crashed once and sometimes the doors do not work but these are quickly rectified and the game’s autosave features were extremely helpful in these scenarios. For an early access game, this is a great sign, especially since I have experienced fewer glitches in Disney Dreamlight Valley than I have in my two hours of Cyberpunk play-through.

I have been a fan of Animal Crossing since Wild World which was released in 2005 and I was most definitely involved in the hype of New Horizons when it was launched in March of 2020. However, I am shocked to say, that I believe this game is a projection of what Animal Crossing could have and perhaps should have been. With similar mechanics of resource spawning and town decoration, the Disney Dreamlight Valley ability to play consecutively for hours due to resources spawning every 10 minutes rather than each day, even though it is still a real-time game, makes it a lot more enjoyable. Similarly, things such as building openings (like Remy the Rat’s Parisian Restaurant) are instant rather than you having to wait the next day like in Animal Crossing. I have thoroughly enjoyed playing this game and I am sure I will for the foreseeable future. I would recommend the game and look forward to the upcoming full release!

Disney Dreamlight Valley Early Access- Is this game better than Animal Crossing?

Photo

Editor: Jess Clifford Gaming

G2 Esports has set a precedent for the industry by drawing the line on Misogyny and Discrimination

By jessica clifford games editor

Carlos Rodríguez has been CEO of G2 Esports since he created the company’s first Esports team for League of Legends in 2014. G2 have steadily climbed to the top of the Esports game, being one of the most successful League teams in the LEC (European Tournament) and frequently making it to the World Championships.

This was until September 17th when their bubble of success came crashing down as Carlos posted a video of him partying with the Internet’s favourite misogynist and self-proclaimed ‘nice guy’ Andrew Tate to celebrate a G2 win. Andrew Tate was banned from all social media last month for his “controversial” views of relationships with women and his overall toxic masculinity. Following immediate backlash from the post, Carlos tweeted back:

The quick turnaround by the G2 Esports board of directors in acting on Carlos’ wrongdoing in promoting and normalising figures such as Andrew Tate to his large audience who he has significant influence over has set a precedent in the industry for a new intolerance of discrimination and in particular, misogyny that moves away from the previously male-dominated industry rife with stereotypes.

He later deleted the tweet after even more backlash, including from other teams, G2 players themselves and many of the members of the newly formed women’s League of Legends team saying that they no longer felt safe. G2 Esports came out with a statement saying that Carlos had been placed on 6 weeks of suspension from his role with no pay and a couple of days later, when the G2 Valorant team was denied a coveted franchise spot in the North American league that they should have been given, they announced that he was stepping down from his role as CEO and would be selling his shares.

From now on this ruling sets a standard for other Esports corporations to act when there are similar situations and I believe that this is a great step forward for inclusivity and tolerance in Esports. Way to go G2.

Photo: Unsplash

Photo: Unsplash

“many of the members of the women’s League of Legends team [said] they no longer felt safe”

Editor: Jess Clifford Gaming

Community in World of Warcraft Classic versus the New Game: What makes an MMO worth playing?

By Samuel Kirk gaming writer

I was midway through dispatching a pack of demons when an unholy force gripped my character and pulled him several feet across the ground. Before I could react, I was stunned and afflicted with sapping spells that drained my health. The culprit, an Orcish Death Knight a couple of levels below me, dived into melee as I attempted a fruitless healing spell. In a couple of seconds, the demons that I had been fighting caught up with me, and I was dead. I watched as my assassin then turned and killed the mobs that I had weakened for him, before performing a short victory dance over my corpse.

As a fairly seasoned World of Warcraft Classic player, I was used to this. I took a deep, calming breath, walked my spirit back to my corpse, resurrected, and after a brief search, found my assailant and kicked him into the ground. And then I did it again. And again. Now that I wasn’t also fighting a pack of hungering voidwalkers, my level advantage meant that I could bully this little green monster as much as I wanted. But as I readied another celestial missile to teach him a lesson for the fourth time that day, an elven rogue appeared from the shadows behind me. He had brought a friend.

Trudging my recently freed spirit across the Hellfire Peninsula, I thought of a paladin who had invited me to a dungeon earlier that day, and sent him a message. He responded quickly with a supportive “lol” and charged in atop his holy steed to aid me. Before I knew it, he had his guildmates swooping in mounted on griffins, to meet who I assumed were the guildmates of my nemesis.

The battle raged for nearly two hours; raid groups were formed, buffs were granted and curse words and rally cries were hammered out across a hundred greasy keyboards. It was eventually broken up by a max level player, presumably called back from the newly rereleased expansion, who decimated our group in just a few spells.

None of this would have been possible without the tiresome, grindy restrictions that modern Wow (referred to as “retail”) has phased out as the game evolved. In retail I would have never even thought to message that paladin, as our dungeon group would have been automatically arranged via a queue system and teleported us in and out. I probably wouldn’t have fought that Death Knight in the first place, the monsters that we’re both trying to kill would be more plentiful, and even if I had, to set up camp outside his body would have been impossible. Retail Wow moves your characters across parallel versions of the game, to prevent overcrowding so everyone can have a go. Classic (for the most part) doesn’t. You all exist on the same server. If you want to kill a monster, you’ll have to fight everyone else for it first. If you want to do a dungeon, you must find a group and walk there. Who knows the stories that might come out of it.

I would attribute this “inconvenience” to the success of the classic relaunch. With the release of Wrath of the Lich King Classic, Blizzard is rolling back features that were introduced with the original launch, such as that dungeon finder system. By forcing players to interact with eachother in order to do a lot of the content that the game offers, it makes the game feel alive. Playing retail feels like I am an observer in someone else’s grand story. Playing classic means my own stories emerge, whenever I kill a foe or heal a friend, I feel like I am part of a world.

Photo: Unsplash

Anne Glia

Opening up and setting boundaries from anon

Q: ‘’I don’t know why but I have really have trouble opening up to people. It also results in me not setting boundaries with people and letting them know when I’m stressed. Equally, I worry that it puts a strain on friendships because I struggle to let my self be truly vulnerable round them without making it into a joke.’’

A: Hi! I completely get what you mean, I feel like there are two aspects to your issue that need unpacking. Firstly, finding it hard to open up to people is completely understandable and logical. This is because having a defence mechanism on an emotional standpoint is necessary for our emotional wellbeing. Because of this, it’s important that we do not resent or feel frustration that we can be closed off or find it difficult to open up, we do it as protection, and that’s okay!

However, I do feel that with your problem here perhaps it is the extent to which you find it so hard to opening up to others. Opening up to someone requires a huge amount of trust in the other person. This kind of trust doesn’t just come from nowhere as being vulnerable with someone can be really scary and daunting.

That’s why I’d focus first on be-

ing vulnerable with yourself before anybody else. A lot of our behaviours and our emotions towards others are a projection and reflection of ourselves. So I recommend doing some inner-work on really allowing yourself to be there for yourself.

This could look like writing down your worries and then underneath writing down your solutions, having a good sob, or talking out loud about things that upset you. Being there for yourself and feeling okay in your own vulnerability is key to then welcome others into that emotional space. Know that it is okay to not feel okay and work on validating all your emotions from the uncomfortable and sad ones to the better ones also! Find a personal outlet for how you feel and try and stay really present for yourself, this is all so vital to your own journey of navigating your feelings and realising that you are so valid in how you feel. Your feelings are not small, they are actually everything, and to treat yourself well you’ve got to understand the value of vulnerability!

Secondly, I feel that your lack of setting boundaries is the main issue here. Boundaries are equally as tough as they are paramount to maintaining healthy relationships. The one thing I’ve really realised about boundaries over the past year is that they are there for your benefit just as much as they are for the person you’re putting that boundary up for. This means that if you do not assert boundaries in

relationships, it is just as bad for the people around you as it is yourself.

Personally, I find this really useful as it makes me feel less bad about putting these boundaries up as I know I am doing something that benefits both me and the person I care about. For example, if you struggle to say I can’t talk to you about this right now to a friend who is constantly trauma dumping then that person will become emotionally dependant on you in a way that isn’t healthy for them either. In your case not letting your friends know that you are stressed will not help them as when we let those around us know how we feel they are then able to modify their behaviour in a way will help.

You do not owe anybody and explanation of your feelings and if you don’t feel comfortable enough yet to say why you’re feeling stressed, saying something along the lines of “Hey I’m feeling pretty stressed at the moment, I thought I should let you know.” Is perfectly reasonable.

Finally, thank you for your submission!

About Anne

Hi! I’m Alexandra and I’m this year’s Agony Aunt for Venue, Concrete’s Home of the Wonderful Senior Writer and I also study BA Sociology. My love for chatting combined with my “mum friend” nature is why I thought this role would be a good fit for me. For my role as Anne Glia, I’m aiming to provide a place where people at university can express the negativity of their experiences through placing an importance on the fact that every and all feelings are valid. I think students need to have their voices heard and expressed by other students to know that they are not alone, and most importantly it is okay to feel how they do.

Photo: Unsplash