Venue 398

ISSUE 398

ARTS | BOOKS | CREATIVE WRITING | FASHION | FILM | TV | MUSIC | WHAT’S ON

The King and I Review Cosy Reads for a Cold Winter The Chain: A Creative Writing Piece How to Synthesise Style Norwich Film Festival - An Overview What it’s like to be a Countdown Octochamp ReWork Norwich And Many More...

editorials

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from Venue’s co-editors

“Winter is the time for comfort, for good food and warmth, for the touch of a friendly hand and for a talk beside the fire: it is the time for home.”

Edith Sitwell’s poetry embodies everything I adore about this time of year.

I’m a homebody at heart, so feel the upmost joy as I return to my yearly festive traditions with my mum. Gingerbread lattes overflow our mugs filled with way too much whipped cream. We settle down for our annual watch of White Christmas as mulled wine simmers away on the stove. The box of Quality Street is always close by as we decorate the house.

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The King and I Review, Northern Ballet’s Beauty and the Beast, My Top Ten Shows of 2023 at Norwich Theatre Royal.

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Jólabókaflóð: Iceland’s Yule Book Flood, Cosy Reads for a Cold Winter, Book Review: Lessons in Chemistry, Rounding up the Reads of 2023, What Are Our Editors Currently Reading?

As the semester draws to an end, and we all feel a bit worse for wear, please set aside some time to unwind and find moments of comfort over this break.

creative writing

Tee and I do hope that you enjoy reading Venue’s final issue of 2023, a lot of hard work has gone on behind the scenes to bring you this issue! Have a lovely break and we shall see you in 2024 x

The Chain, Love is a Verb, I’ve Always Loved You, The Bride, Bertha, Static.

- Millie Smith-Clare @millie.s.c | she/her The hibernation season is supposed to be a time for unwinding, meeting up with friends and family, and enjoying the slower pace of the winter months. The reality is though, when you’re feeling overwhelmed with upcoming summative or dissertation deadlines, on top of the stresses of everyday life, it can be hard to fully embrace the festivities.

So, make sure to take time to soak up the little moments, to relax and take a break from it all. Also, don’t feel afraid to make use of the tools and help available to you. Extensions are there to give yourself the time to hand something in that you’re truly happy with!!

On to this issue, we have such a wonderful range of pieces on everything from 2023 book, theatre and film roundups, to an interview with Viraj Seelam (a UEA student who went on Countdown). And, while I wouldn’t usually spotlight my own articles, I have written one on the wacky outfits in Christmas music videos - a lot of fun to write with a glass of mulled wine in hand!

Good luck with everything, stay safe, and see you in 2024! x

- Tshequa Williams @lifeinateecup | she/her

fashion

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How to Synthesise Style, Winter Wonderland: Fashion’s Finest Offerings, Designer Spotlight: Molly Goddard, Looks of Christmases Past.

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Norwich Film Festival - An Overview, Saltburn: A Pretty Dissapointment, 2023 in Film.

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What it’s like to be a Countdown Octochamp, The Psychology of Matt Rife, Christmas TV! Is it any good?

music

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ReWork Norwich, The Measure of Ireland’s Dreams: A Tribute to Shane MacGowan, The Music of the Mountains: An Appalachian Revival.

what’s on

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Festive fun, New Year’s Celebrations, and a rundown of the best small businesses to shop from, both locally and online this December.

ISSUE 398 | TUESDAY 12TH DECEMBER 2023 FRONT COVER CREDIT: The Met (Public Domain)

our section editors arts editor: Lily Glenn @lilyglenn1 | she/her

“Hi! I’m a second year English Literature Student.

You’ll also find me as the Social Sec for the Creative Writing Society! I’m looking forward to reading your submissions”

arts editor: Sara Budzinska @_sarabudzinska_ | she/her

“I am a second year English Literature and Creative Writing student. As well as books, art and musicals, I love volleyball and swimming. I’m tremendously excited to work with some great writers and publish some amazing articles this year :))”

books editor: Sophie Handyside @maysbooks | they/them

“I’m Sophie May, a third year Literature and History student from the Southwest countryside. You will never find me without a coffee and a book! Contact me via Instagram (above) for recommendations, reviews, or a chat.”

creative writing editor: Will Muncer @will_writes_stuff | they/them “Hi I’m Will. I’m a third year Creative Writing and English Literature student who loves film, comics and audio dramas.

After uni, I’d love to break into the comics industry!”

fashion editor: Caitlin Bennett she/her

“I’m Caitlin, a first year Natural Sciences student. I am very passionate about writing and enjoy conveying meaningful, creative stories. In a previous life, I delivered several babies, having began my journey at UEA on the midwifery course. I am excited to work with you on all the Fashion articles and news this year!”

film editor: Ore Adeyoola @ore.adeyoola | she/her

“Hi! I’m Ore, this year’s film editor :) I’m a third year Media Studies student who loves all things pop culture read more of my writing on my Instagram (above).”

tv editor: Lucy Potter @lucyclairepotter | she/her

“I’m Lucy, and I study Broadcast and Multimedia Journalism.

I am also Head of Tech for Livewire1350, and a Publicity Secretary for UEA Ballet. Personally, I love writing about theatre, and of course TV - my favourite shows are Our Flag Means Death and Taskmaster!!”

music editor: Lily Taylor @lilypt27 | she/her

“I’m Lily and I’m a third year English Literature with Creative Writing Student. I’m a big music fan who is an avid gig-goer and loves playing guitar.”

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The King and I Review

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PHOTO CREDIT: PAMELA RAITH

By Millie Smith-Clare y love of musicals stemmed from rainy childhood Sundays dedicated to curling up to watch classical movie musicals with my mum. I fondly remember watching Gene Kelly swinging around the iconic lamppost as he sung out the title number in Singin’ in The Rain, and Doris Day’s Calamity Jane heartily singing Whip-crack-away.

The bright technicolour and delightful costumes provided me with the upmost comfort. With that all said, it might come as a slight surprise that I have never seen the 1956 Rodgers and Hammerstein film The King and I. After being kindly given press tickets from Norwich Theatre Royal to see the UK tour of The King and I, and the opportunity to bring a guest, I knew it was only right to bring along the person who had ignited my love of musicals.

As we shuffled down the aisle to our seats, I asked my mum to quickly fill me in on the basic premise. In the early 1860s, the widowed schoolteacher Anna arrives in Siam (Thailand) with her son at the request of the King of Siam to tutor his many children. At first, the King and Anna clash with their different cultural ideals, but they slowly grow a loving fondness and somewhat understanding toward one another (it turns out the plot is basically if The Sound of Music was slightly tweaked and set in Siam rather than Austria). With me filled in, the house lights went down and the orchestra

erupted into the beautiful overture, which was instantly identifiable as a classic Rodgers and Hammerstein piece.

The set was cleverly utilised to give the appearance of a large endless palace, with pillars and curtains framing the scenes.

The costumes were visually stunning, from Anna’s extravagant dresses with huge hoop skirts underneath, to traditional Siam dress.

At times, the material did feel slightly outdated, which I suppose is to be expected considering the musical was written in the early 1950s. However, the powerful performances of the actors managed to breathe new, modern life into the old material.

The dynamic between the alternate Anna, Maria Coyne, and Darren Lee as the King was brilliant to watch. The pair’s comedic timing bounced really well off one another, as they portrayed the characters’ stubbornness of not wanting to adapt to the other’s way of living.

The pair’s voices blended beautifully together during Shall We Dance – which breaks out into the iconic serotonin inducing ballroom dance sequence.

I was pleasantly surprised when I recognised a couple of the songs, such as Getting to Know You, which was a joyfully playful moment as Anna encouraged the King’s children to dance and sing along with her.

One of the standout moments for me was the abstract balletic play-within-theplay sequence, The Small House of Uncle Thomas, a story of slaves during the American Civil War. The piece is narrated

by Tuptim (Marienella Phillips), with the play acting as a narrative device for her sense of entrapment by the King. The sequence felt like a dream-like trance, as the stage was filled with beautifully traditional Siamese (Thai) garments, dance and music. The dancers moved with so much precision, notably Rachel WangHei as Eliza, it was captivating to watch.

As the orchestra reached the final note, and the stage lights cut to black, the silence was immediately broken with the rupture of applause. The actors rightfully deserved a standing ovation, as their performances were all so incredibly strong.

The King and I ran at Norwich Theatre Royal from 14-18 November, however, will be continuing its tour at Eastbourne and Salford, before opening on the West End at the Dominion Theatre beginning 20 January 2024.

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Northern Ballet’s Beauty and the Beast

PHOTO CREDIT: EMMA KAULDHAR

By Tshequa Williams

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oing to the ballet was something I used to do a lot as a child; my mum and I would make our way to Covent Garden and I’d sit in awe in the opera house, dreaming of dancing on a stage like that while eating my interval ice cream.

A few weeks ago, I had the pleasure of going to watch Northern Ballet’s emotional, beautiful, but amusing production of Beauty and the Beast at Norwich’s Theatre Royal – the perfect way to kick off the festive season.

Regrettably, I lost my passion for dancing when I became a teenager, but experiencing live ballet again brought me back, reigniting the love I had all over again.

A classic, well-known fairy tale like Beauty and the Beast is ideal for those new to watching ballet, leaning on prior knowledge of the story to help them follow the performance and to focus on the dance, costume and staging.

Northern Ballet’s production roots itself in the original French fairy tale from 1740 (Gabrielle-Suzanne Barbot de Villeneuve’s La Belle et la Bête), while adapting it for the modern day.

The ballet largely follows the original story of a wealthy widowed father of three girls: Beauty, who has a kind spirit, and her two vain, spoiled sisters. The father, a poor merchant, goes off to salvage goods from his trade ships which were damaged by a storm, asking his daughters if they’d like any gifts. His vain daughters ask for expensive clothes and jewellery, whereas Beauty asks for his safe return and a rose. On arrival at the ship, the father finds that the goods have been seized in order to repay his debts. Stranded on his journey home, he seeks shelter in the Beast’s castle. The ballet takes a modern twist, with the father getting into debt because of the vain sister’s shopping habits (seen comically with a flurry of shopping bags) and during a party, their house is repossessed by men in black, forcing them to live in a caravan in the woods.

In keeping with the original, the ballet conveys a wide array of emotions from the story. The thoughtful, precise choreography of Northern Ballet’s production was able to project a depth of emotion and tension, particularly with the Beast.

To portray an emotionally complex, animalistic character through ballet seems like a difficult feat, but as the Beast moved across the stage, each step effortlessly shifted the tone between angst, curiosity and infatuation. This was aided by very effective set design and lighting, using cracked mirrors, moving walls, and lighting techniques to complement the choreography. Every dancer, whether solo or in a duet, moved across the stage with flawless poise, accentuated by a clever choice of fabrics for each costume.

Before the curtain rose, a small speech was made about the demonstration to ‘Keep Northern Ballet Live’, a campaign from the Northern Ballet Sinfonia, who call on Arts Council England and Northern Ballet to “agree a realistic funding solution that protects union jobs and enables everyone to have access to live ballet that is genuinely live” [Musicians Union]. >

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> Northern Ballet’s orchestra have already faced cuts to their touring work, with the prospect of it being reduced further due to the colossal reduction of funding for the arts after the pandemic, the war in Ukraine, and the rising cost of living.

Beauty and the Beast ran at Norwich’s Theatre Royal from the 21-25 November.

Check out Northern Ballet’s website for other performances and Norwich Theatre Royal for more festive fun. Also, have a look at listings in local cinemas, as they often show livestreams of ballet.

PHOTO CREDIT: EMMA KAULDHAR

My Top Ten Shows of 2023 at Norwich Theatre Royal

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By Lucy Potter

nyone who knows me, knows that I am a big fan of the theatre. I rediscovered my love for it last year when I did some volunteering at Norwich Theatre with their press team. In 2023, I have seen 12 different productions at Norwich Theatre Royal, so I thought I should round off the year by ranking them.

This year, I have seen seven plays and five musicals. There were two shows that didn’t make the top ten, which were Julius Caesar and Noises Off. Both of these were great, and it was so difficult to decide on this list.

10. The Ocean at the End of the Lane This was so interesting to watch, and the huge puppets of the monsters were so cool. You can really never go wrong with a Neil Gaiman story.

9. The King and I The music was gorgeous, and the entire cast brought the story to life. All of the children stole the show in my opinion.

8. 2:22 A Ghost Story This was really cleverly put together, and I didn’t see the twist coming at all. The cast that I saw were amazing too.

7. The Full Monty It had such a good mixture of comedy and drama, and of course the final scene was just as iconic as I was hoping it would be!

6. The Mousetrap This is the classic whodunnit, and it absolutely lived up to its reputation. It was so captivating, and I loved the way the story unfolded.

5. The SpongeBob Musical This was such a funny musical, I was laughing and smiling throughout. I knew the songs beforehand, and it was so amazing to see it all brought to life on stage. This is one that I would definitely love to see again, just to catch all the little secrets I missed!

4. Blood Brothers I was a huge fan of this show before going to see it – the top four songs on my Spotify Wrapped this year are actually all from Blood Brothers. I had high expectations, but it certainly did not disappoint. It is so beautifully written, with the perfect balance of funny and solemn moments. The music is incredible too, so I’m very glad I got to see it live.

3. Quiz This is one that I took a bit of a risk on, but I’m so glad I saw it. It tells the story of “The Coughing Major” who allegedly cheated his way to winning Who Wants To Be a Millionaire?.

I knew the story before, but the way they told it from the perspective of the court case was so intriguing and it worked so well. The audience even gets their own quiz show buzzers so that they can vote on whether they think he was guilty or not.

It was such an innovative format and a show I won’t forget for a long time.

2. The Rocky Horror Show This was the most fun I’ve ever had at the theatre. The amount of audience participation was hilarious, and the music was just so catchy. It’s such a classic musical, you just can’t go wrong with it. Enough said.

1. The Land of Might-Have-Been This show was absolutely beautiful. It is a musical about the early life of Vera Brittain and her friends, scored by the music of Ivor Novello. I might be biased, as this show was on the week of my work placement at the theatre, which meant that I got to watch the show three times. Each character was perfectly cast, and the music brought a tear to my eye every night. This show was co-produced by Norwich Theatre, and I really hope that it will return in the future. joy of the final dance - performed after every production by a rambunctious, stomping, whirling cast.

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books editor: Sophie Handyside

Jólabókaflóð: Iceland’s Yule Book Flood The Tradition We Should Adopt this Christmas Christmas

By Amelie Rodger

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ólabókaflóð (pronounced “yola-boka-flot”) is the perfect Christmas tradition for any book lover.

Iceland’s ‘Yule book flood’ occurs every Christmas Eve: folk exchange books with one another, snuggle up by the fireside with a hot drink in hand and get stuck into their finds straightaway.

Jólabókaflóð dates back to World War Two, specifically 1944, when the first Journal of Books (or Bókatíðindi) was published.

Importing goods from abroad was expensive and as paper was cheap, books became not only a popular way for people to entertain themselves, but a go-to gift option at Christmas. At the time, Iceland didn’t have a population big enough to enable year-round publishing to survive. Instead, publishers released their new titles in the weeks leading up to Christmas. Hence the creation of the journal, listing all the country’s new books. The Bókatíðindi is alive and well to this day. It’s produced and distributed for free by the Iceland Publishers Association and every household in the country receives one; the perfect way to build-up excitement for the coming book flood.

All this reflects not only Iceland’s rich literary heritage, but also its national enthusiasm for reading. Compared with 73% of Americans, 93% of Icelanders read at least one book a year.

Iceland boasts more writers, books published, and books read per head than any other country: one in ten Icelanders will publish at least one book during their life.

PHOTO CREDIT: Credit PHOTO CREDIT: UNSPLASH

We can give old, beloved books a new lease of life and gift one another some calm and cosiness and much needed down time - a chance to actually digest our Christmas dinners!

It puts the UK to shame. According to the OECD, we now have the lowest rates of literacy of any developed nation.

Book reading in the UK has been steadily declining every year, with only 2 in 5 children saying they enjoyed reading in 2023. Now this may seem like the whining of a biased bookworm, but reading plays a fundamental part in our daily lives. The Reading Agency’s 2015 and 2018 reports found that reading significantly improves a child’s cognitive development, confidence levels and ability to empathise. As adults, regular pleasure-readers report less stress and depression than nonreaders, thanks to reading’s relaxing qualities. It’s also a great way to make friends: bonding over a shared love for a series that was a staple of your teen years and recommending new reads to fellow bookworms.

In an increasingly fast-paced world, it’s easy for Christmas to become a time of chaos and stress. I say we follow Iceland’s example - have book-themed Secret Santas amongst family and friends, or even in the workplace.

PHOTO CREDIT: UNSPLASH

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Cosy Reads for a Cold Winter

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s the cold thrall of winter truly gets its teeth stuck in, now is the time more than ever to curl up with a good book. Here are five books to get you through the dark and tide you over into the brighter months.

To start with, Neil Gaiman’s Ocean at the End of the Lane is a perfect cosy, small-scale magical realism novel for the holiday period. Adapted for stage in 2018, the story focuses on a young boy and his adventures involving the mysterious family of three women who live just down the lane. Whilst not strictly Christmassy, this book is a great dark fairytale to carry you through the winter.

A queer retelling of Sir Gawain and the Green Knight, Emily Tesh’s Silver in the Wood is a cosy romance ideal for the cold season. Full of rich sensory imagery and charming character dynamics, this novella is only a little over 100 pages, so makes for an excellent break from some of the longer recommendations on this list.

A Christmas Carol is a classic, of course. One hundred and eighty years old and still applicable to the modern day, the themes of finding joy in the dark times are ever needed at the end of the year. Spooky, nostalgic and hopeful, this novel sums up much of what is precious about the Christmas period to many, with a marvellous interplay between the whimsical and the existential, and not to

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By Harper Day Pope mention there’s a myriad of adaptations to enjoy after finishing.

Claire Keegan’s Small Things Like These is another short read to perhaps boost your reading goal over the finish line.

Soon to be adapted into a film starring Cilian Murphy, this novella functions as a concise family drama, centering around a coal merchant facing the harsh realities of his small town, and is set in the weeks leading up to Christmas.

The Secret History for more of a dark winter leaning. Featuring a protagonist’s midwinter stint in an abandoned violin factory, a body buried in the snow, and the dark machinations of a classics society, this book is perfect for a dark winter evening. With elements that will please fans of mystery, thriller, and dark academia settings, this modern classic contains Tartt’s signature witty prose and vivid character studies, as well as bleak setting.

Murder on the Orient Express by Agatha Christie features a snowed in train, so of course makes the list. Frequently touted as one of Christie’s best, it functions as a great puzzle-box of a book, with the primary setting acting almost as a cosy bottle episode.

I hope you enjoyed our recommendations, and have a lovely holiday!

PHOTO CREDIT: UNSPLASH

Book Review: Lessons in Chemistry

by Bonnie Garmus

here are three things I look for in a book: an engaging protagonist, insightful social commentary and a fun front cover. So, when I saw Lessons in Chemistry, I couldn’t resist.

In this case, you can judge a book by its cover - it truly reflects the witty story within, the tale of Elizabeth Zott, who tries to make it as a chemist in the 1960s, where its a radical act for a woman to express any interest in science, let alone attempt to climb to the top of her field. It’s both a tragedy and a comedy. The way heartbreakingly emotional plotlines are interwoven with ones which are absurd is incredibly skillful.

Don’t make my mistake by reading it on the train - you’ll be crying one moment (concerning your fellow passengers) and cackling aloud the next (definitely concerning your fellow passengers).

Initially, I was unsure about Zott’s flawless feminism - for someone born preWW2, to have such a progressive outlook seemed unrealistic.

And it is unrealistic, but I would argue that this isn’t a bad thing.

Many stories are unrealistic, that’s the point of fiction; it’s about imagining an alternate world.

And to step inside a world where, as early as the 60s, people who didn’t fit society’s expectations are given a platform and a voice is fascinating.

These themes led someone online to describe this novel as ‘women’s fiction’; I take issue with this.

Firstly, I don’t think readers should ever feel confined to read books with protagonists that reflect their own identity. Irrespective of this, a story

By Rebecca Mathieson about someone being themselves even while society attempts to force them to conform is one which everyone can benefit from, regardless of gender. I, for one, know I’ll need this confidence when my distant relatives are questioning my life choices over Christmas dinner, but I would also love to have this strength whenever I feel like an outsider, or judged, or as though I should be more ‘normal’.

I would recommend this book to: feminists, comedy fans, science enthusiasts and those who enjoy scaring their fellow train passengers. If this sounds like you, even if you’re looking forward to a break from lectures over the holidays, why not make an exception for some Lessons in Chemistry.

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Rounding up the Reads of 2023

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s years go, 2023 was pretty good for readers.

In literary fiction we received Zadie Smith’s The Fraud; R. F. Kuang’s scathing satire Yellowface; Salman Rushdie’s magical Victory City; Booker Prize winner Prophet Song, by Paul Lynch; and Pulitzer Prize winner Demon Copperhead by Barbara Kingsolver, an exploration of social issues in poverty-stricken Appalachia.

Rebecca Yaros’s fantasy adventure Fourth Wing took BookTok by storm. It might’ve fallen under bitter attack for its use of Gaelic, deemed flippant at best, but was praised for its representation of disability.

Shamefully, I cannot (yet) pretend to be a dabbler in the romance genre, but I’m told that the big names, Emily Henry and Ali Hazelwood, performed admirably this year - Henry’s Happy Place comfortably sitting at the top of Goodreads’ contemporary romance list.

Moving swiftly to non-fiction, historyheavyweight Mary Beard’s Emperor of Rome is an enthralling analysis of the myths surrounding the reality of the oftenmonstrous Roman rulers; music producer Rick Rubin’s The Creative Act (the cover reminiscent of both esotericism and corporate art) has been argued by some to be insufferable coffee-table clutter.

Celebrity autobiographies The Woman in Me (Britney Spears) and Down the Drain (Julia Fox) drew acclaim for their raw, honest narration. And who could forget Prince Harry’s memoir Spare.

By Will Hinch A certain anecdote regarding his grandmother and his ‘todger’ remains branded on my mind.

2023 was another great year for tiny (six full-time employees!) London-based publisher, Fitzcarraldo Editions, the UK publisher of Norwegian author Jon Fosse, who won the Nobel Prize in literature in October; Fitzcarraldo’s third win in five years. The inexorable spread of its effortlessly elegant white-or-blue covers onto the shelves of hipsters and intellectuals (pseudo- and otherwise) continues unabated.

With regards to adaptations, sobering historical drama Oppenheimer (Based on 2005 biography American Prometheus, don’t you know) garnered critical acclaim.

The Hunger Games prequel, The Ballad of Songbirds and Snakes satisfied audiences (and prompted much thirsty Snow-posting).

The same could not be said for Shadow and Bone season 2, which disappointed many.

Its writing in particular was denounced by fans in the worst way imaginable cringe.

The average participant in the annual Goodreads Reading Challenge is aiming to have read 43 books this year. Are we fetishising the numbers over the joy of the act itself? Or on the contrary, is the Challenge a great motivator?

Regardless of your thoughts on that, all that remains now is to look forward to 2024.

PHOTO CREDIT: UNSPLASH

What Are Our Editors Currently Reading?

Millie is Currently Reading: The Great Christmas Knit Off by Alexandra Brown If you know me, the title alone gives away that this is me in book form. During the countdown to Christmas, heartbroken Sybil escapes to the charming village, Tindledale. Stumbling across the village’s haberdashery set for closure, Sybil decides to help out. This is a warm hug in the form of a book, and I’d happly pack my bag to move to Tindledale in a heartbeat.

Tshequa is Currently Reading: Nightwood by Djuna Barnes

To be honest, it’s getting to that time of the semester where i dont have the time to read much outsde my course material and essay prep. For my Living Modernist module, I’ve just finished re-reading Nightwood by Djuna Barnes, a novel which explores sexuality, gender fluidity and identity through a lesbian love triangle, with a beautiful, experimental prose style. Nightwod was one of the earliest prominent books to depcit homosexality, quote a feat for a book published in 1936!

Sophie is Currently Reading: The Memory Police by Yoko Ogawa Devastingly beautiful, raw and surreal, this will be the book that puts me in a reading slump until the new year.

Described as an Orwellian tale of state surveillance, the Memory Police are a force that ensures nobody on the island remembers the objects that suddenly disappear. Ogawa holds the ability to create a haunting tale of memory loss, identity and agency with elegance, and I hope I will never forget the beauty of this book.

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creative writing editor: Will Muncer

The Chain

PHOTO CREDIT: UNSPLASH

By Jamie O’Neon

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t’s second year and I’m in the living room with my housemates.

We’ve covered up the window and closed the door, and in the darkness we’re giggling and scrambling over each other to hide and avoid being touched by an assigned tagger. I hunker down in a corner and hold my breath under a mound of pillows as the tagger prods my defences, only to miss me and pass on. I consider the fact that we’re all grown adults, and giggle some more.

My girlfriend and I are on a picnic lying on our backs. It’s my birthday, and we’re talking about what God has in plan for us. I’m a little annoyed the pomade I put in my hair isn’t holding, but she doesn’t mind at all. We lose ourselves in the blue sky, and bring each other back down for a moment to squeeze each other’s hands. I think about what it would be like to be a father.

‘Dziękuje bardzo - przepraszam, ja mowię po polsku złe…’ I manage to burble as I shake my uncle’s father-in-law’s hand.

Earlier I had found myself drinking shot after shot of his homemade spirits – I remember the lemon one the most, though it wasn’t my favourite. The moment I finished a glass I would look across the table at him with a nod and smile of approval, which naturally then meant he got up and came back around to pour me another. As we get ready to leave, he says something to me in Polish which

apparently is something along the lines of ‘You need to learn’. I bumble my way through a reply and we make our way to the cars. Days later it suddenly comes to me that he looks an awful lot like the actor Brian Cox. Another day I’m crouched down looking at my uncle’s daughter – now my goddaughter – through the lens of a Praktica film camera. I wish I could speak more Polish to her than just a few words. I keep fiddling with the focus, but thankfully she isn’t moving around too much in her cot. She looks right at the lens, right at me, and I snap a photo. Her eyes are deep and dark. I wind on some more film and hope it comes out well.

One evening when I’m down from university, I’m sat in the living room with my mum rewatching Agatha Christie’s Poirot. My dad drops in for a bit too. There’s a McVitie’s selection of crackers in front of us and a bunch of cheese. We agree that the older episodes are the best.

Near the end, I glance across at my mum and see that she’s fallen asleep in the usual way – sitting up, her head tilted back a little with her mouse slightly ajar in a subtle frown. It’s incredibly corpse-like.

We’re bound together in different ways, but the cords are there.

PHOTO CREDIT: UNSPLASH

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Love is a Verb By Rowena Kaye

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he syllable climbs up your throat.

You try to hide how it undulates over your tongue, but how could I ever miss the telling tug at your lips? It wants to escape. So why don’t you let it?

Such a stubborn beast, I’d worship your words, if only you dared to speak. Instead, I’m mapping lost stars in a strange sky.

Your answer unsaid, between always and never.

Forever. The syllable stills in your mouth. Silent. Screaming. Unspoken. You swallow it down and forget the words it was meant to form.

Such a stubborn beast. You’d let those leaves wither and burn our bridge just to pretend your forgotten words aren’t true.

But love is a verb. A tree you carved into the stone. Simple lines I trace with distant fingers. A scar you engraved on this sacred surface, and you do not speak.

I watch your syllables slip away and I can’t tell if you mean to let them go.

Not anymore. You swallow around its shape and its sound slides into your stomach.

Such a stubborn beast. Don’t turn me into one of your strangers; an old word abandoned on your bedroom floor.

But love is a verb. Torn envelopes, inky paper and my words read over and over on your unmade bed.

The syllable you hold in, solidified to a weight of rocks, some tangible thing I wish you’d share.

Such a stubborn beast. When a simple word could light these lanterns in the dark.

We stumble blind, with knees bruised.

But love is a verb. Though your syllable cannot escape, it flows to your fingers.

Through limbs and muscle. Ligament and bone.

Love is a verb.

And I feel your hand tighten in mine.

PHOTO CREDIT: UNSPLASH

“Don’t turn me into one of your strangers; an old word abandoned on your bedroom floor”

I’ve Always Loved You By Ellie Dharamraj

L

ying

in the dark, two hearts synchronised beating You tell me you loved me since our first meeting I respond to you that I’ve loved you my whole life You just laugh and roll over, thinking competition runs rife But when I was younger, I dreamt of Prince Charming To make me feel safe, calm and help with disarming In love songs and rom-com’s, I fell in love with this man Though I knew not of him and he knew not who I am I would dream of a man whose face I could not see When I was drowning or sinking he would always save me He didn’t have a name, nor a physical form Then I’d wake alone from the dream I was torn I wondered what he would think, how he’d feel and look like In what ways we’d be different, in what ways we’d be alike I wondered if he ever wondered about me How I think, how I feel, or the world that I see I loved him every night and I loved him every day With the kind of love that never goes

away Boyfriends came and went, but they were never this love His face in my dreams always hidden by water above I thought it would take longer for me to find you And one day, on the aisle when we both say ‘I do’ You will make a speech to our friends, eyes glistening and wet About how you have loved me since we first met But I have loved you ever since my childhood And If you asked me that question today, I would I’m not impatient or hasty, we have our whole lives And love like this only grows, strengthens and thrives It dances through this poem, for everyone to see You are rhyme A and I am rhyme B, I really have loved you forever, We are made like couplets, we belong together

PHOTO CREDIT: UNSPLASH

“Love like this only grows, strengthens and thrives”

creative writing The Bride

I

By Eve Colabella

knew I was her when I was taller felt a blood heat to see his falseness, inhaled the palace and hummed over the siren of his private telephone, the laughter of its ring.

I knew I was her

when I balled up my fists and carved crescents etched in girly pink, a permanent itching bouquet. (they later credit this as his own work) I knew I was her

when I saw the ripples of my chiffon spilling around me like a perfect smear of icing, a white gorge at the bottom of the staircase,

felt a reckless rising movement when lying still, roamed the empty pews and pictured them in flames.

I knew I was her

when they called me a child.

I hurled myself at the glass to get his attention.

My pain was transactional, and yet he wrote my vows,

fastened my belt.

Although I was alone in the car I knew she was with me, scarred hand in mine as we soared over the drop, two angels laughing.

I knew I was with her when we printed our names in the absence we left behind.

Not his work. Never his.

Our voices will fill the space that he cleared to throw us Away.

“My pain was transactional, and yet he wrote my vows”

Bertha

I

By Fiona Hill

watch myself, another Ms. Mason, born in the confines, Of an attic drenched in the coy scent of an evening, Growing balmy like the sinking of my skin, A cut comb honey seeping in. I find it still, By sallow sticky patches upon my fingertips,

I dream of madwomen owning mad lips, That cannot speak like the mouths of men, but kiss, In patterns marking ghosts upon the walls, In red, we look more like animals? If not ladies, If not waiting, if not pacing these floors, Ha! They only see hysteria through locked doors, Daylight brings the rectitude of windows, woods, The moors. I hardly hear a soul from- was it then?

Those weeks before that year. I let all the eyes, I’d ever felt.

Fall. But he gathered them in an honest spoken theft, Awake I count the times before I’ve been bereft, On stars that make their minds like spirits, The genesis of the unrest. I learn to spin, My way in darkness, escorted by that bitter twang, Of memory that weaves its name in every yell, And I am not surprised that mankind fell, As between each beat of breath he missed, The catalyst of a hundred sorrows I caught, Hives of them. Wore them like I couldn’t feel, My morphing shape, my form another, a fiction, To muffled cackles, the fireplace snaps out my eviction, Glory be a new age. The old ways fade in and out, Of view like sleep. I start to speak, his face, Pales at the silhouette of sin, resting, Within his arms, coiled as a serpent, Mere minutes before my living verged on fervent, Desire, so misplaced, moving then I played with fire...

That never caught the timbers of this lair, It left me honey-fingered, honey-lipped, He named me the madwoman in the attic.

(CORRECTION: In Issue 397, this brilliant poem was accidently printed with a few lines missing. We decided to re-publish it so that it is available to read in full, and we apologise to Fiona for this!)

11

Static

i

By Eve Attwood hear things i shouldn’t and think things i’d never want others to know.

i rehearse scenarios, play them out in my head in carousels of fury – the difference between what i have and what i want. i’m always shouting at people who can never hear me scream, forever arguing my side when it’s not fought for me. there’s just a tiredness that creeps in sometimes. i want strength in bundles, so i build myself up to never feel at all. i want safety, so i plot a garden, watch it grow to heights you can never reach me. i bite my lip so hard it bleeds, sitting on resentments that never cull. i’m prim and proper, play the part, walk the walk. i say the right things and nod along, nice enough but not too nice, ambitious but not enough to threaten, weak enough to be patronised. sitting on a storm, i wait to burn, watch the flames lick the untouched landscape. i’ve waited too long, said too little, let myself be swept away. i hear things i shouldn’t, and think things i’m tired of lying i don’t feel. i hear things i shouldn’t. i hear them, i hear them, i hear.

“i’m always shouting at people who can never hear me scream”

fashion

12

fashion editor: Caitlin Bennett

How to Synthesise Style

PHOTO CREDIT: UNSPLASH

By Tabitha Woolcott

A

s the year draws in, new beginnings and promises of self-improvement inevitably loom. If you’re facing decision fatigue, low confidence or a gigantic hoarder closet swallowing your room, one resolution you can start on at any time is the development of your own personal style.

But how does one go from a casual owner of clothes to the curator of a wardrobe, with a synthesised style that looks good, and feels good too?

It’ll make shopping simple and your cycling of garments far more sustainable, but it’s not exactly something you can trap effortlessly. The first step to finding your style is to take time and think. Have a look through your existing clothes – which ones do you return to the most, and why?

Is it the colour, texture, silhouette, or practicality? Then look outside your existing catalogue and consider which style eras and celebrities inspire you, and which elements you can see yourself adopting and adapting to your day-to-day needs. Get as specific as possible! It can help to track your thoughts in a visual format like a journal, your notes app, or a site like Notion where you can add images and links. Keeping your ideas organised will allow you to come back and refine them. The more you put into this process of deciding your needs and

desires, the more you’ll get out of it, and the easier it’ll be in the future when you want to keep fine-tuning.

New York-based stylist Allison Bornstein recommends reducing your style to three single words. I, a maximalist who draws from lots of eras, initially baulked at this: on closer reflection, I’ve found it to be an incredibly helpful tool for placing limits on my style (neutral, grungy, textured!). In a world full of exciting micro-trends, and an everexpanding glossary of sub-styles, it can feel stifling to put yourself into a single box. However, I’ve found you can have a synthesised look and still play dress up with different ideas – it’s about building a foundation of highquality basics, then mixing and matching with more unique, outlandish statement pieces. Accessories, or lack thereof, are also key!

Centre timelessness, and most importantly, yourself. We all feel different everyday, so allow yourself the freedom to project a variety of images based on your selffluctuations. Synthesising your style requires introspection: it can be an act of meditation.

Curating yourself is its own form of self-care, so put the time in – it’s absolutely worth it!

PHOTO CREDIT: UNSPLASH

fashion

13

Winter Wonderland: Fashion’s Finest Offerings By Jasmin Knock

W

ith Winter finally upon us, the fashion industries have officially adopted the trends for the upcoming A/W 2023 season, with the biggest seasonal trends being bold, bright and patterned.

A number of trends this year will be here to stay and have definitely stood out and marked themselves as all season staples, whilst others may only have a fleeting moment before being forgotten about.

The biggest trend that has been seen so far this season is bold and beautiful pops of red. Red has become this winter season’s statement colour, not just for the upcoming holiday season, but as a way to brighten the winter period that is usually dark and cold. Red this season has definitely given life into the A/W collections, moving them away from the neutral classics of ‘quiet luxury’ and bringing bold and fierce energy back into winter wardrobes. Whilst bright and bold red might not be a lasting trend, it

has definitely made its mark on A/W 2023 fashion.

Trend revival has definitely made a comeback in 2023, with noticeable patterns and prints having made their way back into fashion. The biggest print of the A/W 2023 season is leopard print, making its way back with the help of designs by Ganni and the Adidas x Wales Bonner collaboration. Leopard print has been somewhat of a secret staple and has never fully gone away as a trend since its major stint in the early 2000s. This season it can be seen everywhere, from shoes to coats to jeans and it is one that will be hopefully here to stay, with many calling it the ‘new neutral’.

One of the most interesting trends to have come out in 2023 is the addition of bows.

Bows this year have become a versatile trend, being added to hair and updos as an accessory, bows on the Ganni blouses, bows being added to Christmas trees in the latest home and lifestyle trend, and

we are now seeing them incorporated into runway collections such as Sandy Liang during New York Fashion Week. Bows happen to be one of the surprising trends of 2023 and have arguably impacted the fashion and creative industries the most out of any trend. It will be exciting to see how these are incorporated into upcoming collections showcased in February 2024.

Most importantly, it wouldn’t be an A/W season without the classic Christmas and holiday party fashion. Like previous years, this season will definitely see all the glitz and glam. Sequins, glitter and crystal beaded dresses will be flooding the industry in time for the Christmas period with noticeable dresses having already been seen from Bottega Veneta and Balenciaga in December’s edition of British Vogue. The glitz and glam trend is, and will always be, a staple at this time of year, with many wanting to stand out from the crowd just in time for New Years.

Designer Spotlight: Molly Goddard

M

any people believe that to be a successful designer, your ideas have to be groundbreaking and conceptual. Molly Goddard, however, disagrees. The London-based fashion designer struggled to find her style during her studies at Central Saint Martins, an art school in London.

As a result of this, Goddard failed her master’s degree.

“I think I failed because I was trying to do something that wasn’t me,” she told Riposte magazine.

It was a miserable time for Goddard, and in an attempt to cheer her up, her boyfriend encouraged her to hold a fashion party for her friends. Little did she know, the party would turn out to be hugely popular. Her designs became noticed, and she started taking orders. The party was also featured in many of the UK’s major papers the next day.

PHOTO CREDIT: UNSPLASH

Since then, Goddard has become well-known for her use of fabric manipulation and her feminine, voluminous looks. Whilst people have downplayed her dresses as “girly and frilly,” the excessive frilliness and her use of high collars makes her designs seem more subversive and less definitive of what femininity is. What makes Molly Goddard even more unique is that she doesn’t just

By Lily Taylor

design the outfits, but makes them too, something that is rare for a major label.

Goddard makes nearly all of her outfits in her studio, which is located near her childhood home in Ladbroke Grove.

Her intriguing approach to fashion has landed her many awards and nominations.

In 2016, Goddard won the Emerging Talent award at The Fashion Awards, and she was also shortlisted for the LVMH Prize in 2017. In 2018, Goddard also won the BFC/ Vogue Designer Fashion Fund, winning the BFC Fashion Trust grant in 2019. Vogue has referred to her style as being one of the progenitors of feminism in fashion.

However, Goddard’s achievements don’t finish there. Her label’s success in the United States has been largely attributed to pop star Rihanna, who has been wearing her designs on red carpets since 2016.

Her dresses have also featured in the BBC drama Killing Eve by Jodie Comer’s Villanelle, and in 2022, a Molly Goddard blouse was worn by Harry Styles on the cover of his third solo album, Harry’s House.

Despite setbacks, Molly Goddard has shown she has the skills to be one of the most successful fashion designers in the United Kingdom right now. You can discover more about her work at mollygoddard.com

fashion

14

Looks of Christmases Past

By Tshequa Williams

F

or me, there’s nothing more festive than listening to Christmas music while putting up decorations, wrapping gifts, or doing some festive baking. Sometimes I will put the videos on and feel all nostalgic to when I was younger and MTV would run back to back Christmas music videos back in the early 2000s. Nowadays, a lot of Christmas music videos are stop-motion animations, so we have to cast our minds back to the 80s, 90s and 00s to see the often wacky, but wonderful, outfits of Christmases past!

Here’s a rundown of looks in Christmas music videos!

Wham - Last Christmas Last Christmas’ music video has always been one of my favourites, and I think the choice of outfits give it such a cosy 80s feel. There’s an array of beautiful wool coats and cable knit jumpers, pops of primary colours, as well as abundant turtlenecks and denim. There is a moment when George Michael verges on being the fifth member of East 17, but we’ll get back to them in a while.

Mariah Carey - All I Want For Christmas Is You Mariah’s are some of the most well-loved outfits in Christmas music videos. Whether she’s frolicking around in a red snowsuit and white snow boots, twirling in a furtrimmed Mrs. Claus dress, or opening gifts in her red V-neck pyjamas, she’s got an outfit for every occasion; one for fun, one for practicality, and one for cosiness.

Elton John - Step Into Christmas While Elton’s outfit in Step Into Christmas feels a little festive thanks to his amazing boots with a platform heel covered in jewels, and red feather boa, his quilted satin suit is arguably quite toned down for his usual eccentric style.

Honestly, I think if you showed someone the video without the music it would be hard to tell that it was a Christmas video! I cannot forget to give a mention to Smithy’s tracksuit and Santa hat combo in the iconic scene from Gavin and Stacey’s 2019 Christmas special, as Smithy says “are you asking me to step in? are you asking me… TO STEP INTO CHRISTMAS…” – a classic British Christmas TV moment.

East 17 - Stay Another Day The boys from East 17 cycle through a number of monochromatic looks in the video for Stay Another Day, most memorably their white parka coats with giant fur hoods, and ski goggles, and their other looks are all black leather pieces.

Despite the slightly sketchy, very 90s, video editing, these outfits contrast well in the black and white video, and those hoods give a perfect outline for their heads to float through the sky.

Wizzard - I Wish It Could Be Christmas Everyday There’s a lot going on in this music video, which celebrates its 50th anniversary this year. The opening shot is snowman (with what looks like a hoover pipe for a mouth) who looks very out of it, and it descends into chaos from there. With Roy Wood’s questionable tartan leggings and Where’s Wally style hat, the saxophone player’s wizardly moon and star robe, and the drummer dressed most naturally as a traditional marching drummer, I think it will take us 50 more years to fully work it out!

film

15

film editor: Ore Adeyoola

Norwich Film Festival An Overview

Y

PHOTO CREDIT: UNSPLASH

By Issac Anif, Ellie Dean and Trixie De Guzman

ou might think that film festivals are extravagant and out of reach, like the Cannes Film Festival, where A-listers are paraded around in designer clothes for paparazzi, jewels shining, all glitz and glam. This may exist in other parts of the world, but film festivals are celebrated here in our city. The Norwich Film Festival brings together different genres, people, and, most importantly, new stories to the local area. The festival is a beautiful celebration of the hard work that goes into creating any art, especially film.

The Norwich Film Festival, or NFF, showcases independent local films as well as films from around the world, highlighting the strong film culture in East Anglia.

No matter what your interests are, there’s plenty to be enjoyed. The breadth of the festival’s curation can be accredited to a relatively small but mighty group, consisting of eleven people in the executive team. They have managed to create an extensive and global selection of quality films, bringing the wide world

of cinema to our doorstep.

Local film festivals serve as a reminder that filmmaking is accessible to everyone.

Despite the prevalence of big budget films, the Norwich Film Festival champions shorts. The budgetary limitations of short form filmmaking fosters creativity as a means of overcoming those hurdles.

Independent voices have the chance to share their efforts and become celebrated.

Festivals are a great opportunity for upand-coming filmmakers to gain recognition for their talents, acquire distribution, funding and even win awards. Whether you are an aspiring filmmaker or someone who is a fan of the medium, The Norwich Film Festival is an exciting commemoration of cinema.

have participated in The Norwich Film Festival, and this warm embrace speaks to how brilliant it is.

Even if you only attend one screening, The Norwich Film Festival is well worth a visit. It is a special festival, that embraces people and stories from all walks of life, understanding that the big screen provides endless opportunities to create and learn.

By Issac Anif

The Norwich Film Festival brings film lovers together all under one roof, reflecting Norfolk’s love of community events. The festival perfectly complements Norfolk’s love of independent art markets, where skills are shared by artists. NFF holds its own filmmaking workshops, including talks on pitching, festival strategies and writing comedy, providing inspiring and important expertise to aspiring filmmakers. Not only does NFF hold these brilliant screen skills sessions, but some directors have attended Q&A’s such as, Michael Winterbottom with Shoshana and Ella Glendening’s Is There Anybody Out There?

It

is

moving

to

see

how

many

people

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film

16 > Narrowing down my highlights from this year’s NFF is difficult. Despite feeling like I didn’t get to as many events as I wanted to (victimised by the inescapable FOMO of film festivals), the selection that I did attend were obvious testaments to the impressive quality and talent being exhibited across the entire season. ‘The Mixtape Vol.2’ had some particularly fantastic moments: the eight films selected featured widely different origins, tones, and subject matters, but all were spectacular in their own way. Many used intimate snapshots of interaction and everyday life to consult with bigger issues. Safe (dir. Debbie Howard) was particularly compelling, showcasing the all-too-real dilemmas of a woman’s latenight commute home. as was The Bond (dir.

Jahmil Eady). Others, like Dun Laoghaire (dir. William Lancaster) and That Workman’s Arm (dir. Simon London), impressed with their pragmatic humour and sensitivity.

A debut new category of shorts, ‘Life Finds A Way,’ was comparably impressive in standard but struggled at times to find its footing in curation. Many of the films were concerned with contemporary UK perspectives - some on living through climate change, like Desire Lines (dir.

Duncan Cowles) and Where the Sun Always Shines (dir. Rosie Baldwin); others with connection and relationships, like Bridge (dir. Tara Aghdashloo) and Birdnesting (dir. Theo Jessel). While none of these films were bad - Birdnesting was my favourite of the whole festival - this thematic insularity left the other two shorts, which told very different kinds of stories, feeling somewhat out of place.

Things Unheard Of (dir. Ramazan Kilic) and Samovar (dir. Lia Williams) were nevertheless welcome expansions on the theme, and it will be interesting to see how the category develops at next year’s festival.

The final NFF session I attended was the screening of Powell and Pressburger’s The Red Shoes (1948), presented in partnership with the BFI as part of their wider season of the two creatives’ canon of work.

Although I’d seen the film before, it was only ever on the screen of my (slightly busted) laptop, so experiencing it in the cinema was a real pleasure - technicolour visuals now taking full flight thanks to the 2006 restoration work championed by Martin Scorsese and Thelma Schoonmaker.

Although The Red Shoes may predate most films screened at NFF by about 80 years, the creative innovation at its heart ensures that it never once felt ‘old,’ and I’m not sure if it ever will.

- By Ellie Dean Friday the 17th of November marked the Awards Ceremony for the Norwich Film Festival. It was a night of celebration, collaboration and unity of filmmakers and film enthusiasts alike. The Awards Ceremony was held in one of the festival’s sponsors, NUA Duke Street, and it invited various people from across the country

and beyond to celebrate all the hard work put into each film and the festival itself.

The festival received over 140 film entries ranging from over 20 different countries and it was a pleasure seeing several film talents being brought over to Norwich. The Awards that were given out included Best Documentary Film, Best Animated Film, Best International Film and Best British Film.

The ones that stood out the most were the Best East Anglian Film and Best Student Film as the films nominated in these categories were produced and shot either locally or by rising aspiring filmmakers and it was definitely inspiring seeing all their hard work being recognised. The winners were announced by a spokesperson from various Patrons and Sponsors of the Film Festival such as both Norwich universities, UEA and NUA, and companies such as Meantime and Work in Norwich. It was a great way to mark the festival almost coming to an end after more than a full week of pure film appreciation and joy. All of the winners received a little trophy award and small cash prize as a congratulation and got to make a quick speech. The night then finished with a small after drinks party, for both the filmmakers who attended and the film festival’s huge team. The Norwich Film Festival is a wonderful annual event held in various venues around the city, and is a great social hub for people interested in filmmaking. It is definitely one that adds to the city’s unique charm and creative outlook.

PHOTO CREDIT: TRIXIE DE GUZMAN

- By Trixie De Guzuman

PHOTO CREDIT: TRIXIE DE GUZMAN

film

17 PHOTO CREDIT: UNSPLASH

Saltburn: A Pretty Disappointment

By Issac Anif The initial trailer of Saltburn, set in 2007, promised an “eat-the-rich” narrative mixed with British Call Me By Your Name, but unfortunately, the film failed to deliver. We follow Barry Keoghans, Oliver, as he begins his first year at Oxford University and falls under the wing of Jacob Elordi’s character, Felix, leading to his stay at Felix’s family estate. The combination of academia and the mid-2000s pop music makes for an appealing concept, but Emerald Fennell’s handling of the film ultimately falls short.

Saltburn doesn’t quite gel because of Fennell’s indulgence in cinematography, and pointless and predictable plot points. It looks great; I will give it that much; the scorching sun and neon lights are a treat to watch on the big screen, especially with the film’s 1:33:1

aspect ratio, enclosing the glamour in a square box. That isn’t enough, though; a film can only keep you so invested in visuals and Saltburn wavers in its third act, losing sight of character motivations and context. For instance, Oliver has this unwavering obsession with Felix, which is quickly established as an infatuation. At a significant turning point in the narrative, Fennell appears to take her hands off the wheel, letting anything go with Oliver’s longing to be close to Felix. This in and of itself isn’t a negative, but when taking the film to this darker place, she relies too heavily on her actors carrying the film and not building the story’s momentum.

Some of the actors in Saltburn are at the top of their game. With this being Barry Keoghan’s first leading role, he is

an engaging lead. He maintains the talk around his work as a character actor who seamlessly combines cynicism and comedy.

Keoghan snaking his way through the estate contrasts Elordi’s performance, which is warm and weirdly humble despite his riches. The relationship created between the leads is almost electric and leaves you wanting more from them, but Fennell doesn’t allow them to reach their full potential. In holding back Oliver and Felix’s relationship, Fennell hurts a film that could have contained a fascinating lens for exploring classism in the UK. Considering that Fennell filmed Saltburn in her own home and comes from a wealthy background, it isn’t surprising that her exploration of class is shallow, much like the rest of this disappointment.

2023 In Film

By Ore Adeyoola

2023 has been the year where I took my interest in film from a hobby to a lifestyle. I went to the cinema consistently, almost twice every week at some point, watching everything I could. It’s been such a great year for film fans, both casual and obsessive, and for the industry in general. 2023 has seen box office numbers reach their highest since the pandemic hit and crashed numbers to the point where many were wondering if the age of cinema was over. Even though numbers still haven’t reached pre-pandemic averages, 2023 saw many films that encouraged viewers to leave their homes

and proved why the cinema can be such a wonderful, communal experience. From the pretty and pink Barbie dress ups to the collective confusion and awe viewers experienced at the end of Spiderman: Across the Spider-Verse, even when attending films as a lone cinema member I felt connected to the audience for these ninety or so minutes.

A myriad of films were delayed due to the SAG-AFTRA strikes, but seeing the negotiation deals achieved by the union made everything worth it. Celebrities and part-time extras alike came together to

fight for better pay, protection against A.I, fair residual rates and more. After a long 118 days of striking, the Hollywood film scene has a more promising future than ever.

2024 is full of many highly anticipated films and an undoubtedly absolutely stacked Grammy nominations list, plenty of entertainment to keep us all coming back to the cinema for more.

tv

18

tv editor: Lucy Potter

What it’s like to be a Countdown Octochamp

V

By Lucy Potter

iraj Seelam is a second year Film and Television Production student here at UEA. Last month he appeared on our screens on Countdown, becoming an ‘Octochamp’ in the process. The show uses a ‘winner stays on’ format, with contestants being able to appear in a maximum of eight shows in a row. If a contestant wins all eight of their episodes, they become an Octochamp.

The top eight highest-scoring contestants in a series then compete in quarter and semi-finals, with the final to determine the winner. Viraj’s episodes aired from 8th-16th November, and he managed to beat all of the opponents he faced.

Originally from London, Viraj grew up watching Countdown. He said that he has

always played along at home, and that it was “always [his] dream to go on the show”.

His dream came true when his application to appear on the show was successful earlier this year. After an audition over the phone, Viraj went to the studios to film the first episodes in September. “Initially it was nerve-racking” he said, “because I’m really good at home, but how good am I going to be in the studio?” However, once he got into the studio and started playing, he became more comfortable: “it just became routine.”

Viraj put a lot of work in to prepare for his appearance on the show. He would train by playing an online version of Countdown against other people. He often

found himself playing against people who had been on the show, which he said was a “weird experience, seeing them on TV and then immediately playing them afterwards.”

On the website, he could practice the different rounds, for example he would do the conundrums “over and over again”.

“It was always my dream to go on the show” The eight episodes were recorded over two separate filming blocks, in September and October. During the second block, Viraj had to film the last five of his episodes in one day. Filming the episodes backto-back was “pretty tiring”, according to Viraj. His best-scoring game was his seventh game, which Viraj said is because it was filmed right after lunch. “I just kind of felt energised with a little pizza slice from Gregg’s,” he said.

For Viraj, it wasn’t too difficult to balance Countdown with Uni work, since the first episodes were filmed before term began. However, the second filming block was in Week Three of term, so it was harder to manage. “When I came back from filming, I was like ‘oh my god’,” he said, “I’ve got so much work to catch up on; my life’s still going on.”

PHOTO CREDIT: UNSPLASH

Initially, Viraj was trying to process the experience: “it was just getting back from that mindset of: I’ve just been on the quarter finals of the longest-running game show in the UK, to: right, I’ve got coursework and summatives.” >

tv

19 Although he didn’t sign an NDA, he was trusted to keep his success secret. He said he “had to hide it from everyone, apart from obviously [his] parents and a few close friends.” He had “so much memorabilia that [he] wanted to show off subtly”, such as his Countdown pen, and the elusive Countdown Teapot, which is awarded to anyone that wins at least one episode. Although he doesn’t use it to make tea, he has it on display: “as soon as I go back home for Christmas, I’m just going to give it to my parents to put on the mantel as a little trophy.”

> Becoming an Octochamp was not easy for Viraj. Some of the contestants “really gave me a run for my money,” he said, “especially the last one, who was on the show back in 2000, and he lost to the guy that became the series champion. So he came back for his revenge and he almost got me.” Viraj reflected on winning all of his episodes: “it’s crazy to say the least,” he said, “being an Octochamp is quite the achievement, and it’s something I’ll always hold in high esteem.”

After his win, Viraj returned to his hotel with his friend and “just ordered Deliveroo”. He tried to call his parents to tell them, but they had guests over, so “they had no idea until like two hours later”. He then called his sister to tell her about his success, although she couldn’t tell his parents yet either: “no one can know”. When his parents found out, they called him. “We were really happy,” he said, “and we kind of just celebrated over the phone”.

Viraj currently stands at second on the series leaderboard, and can only drop to as far as third place. Depending on his final position, his quarter-final episode will either air on December 15th or 16th.

The series 88 final will air on December 22nd, but nobody knows whether Viraj will make an appearance yet!

PHOTO CREDIT: UNSPLASH

The Psychology of Matt Rife

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By Ellie Dharamraj

A

*CONTENT WARNING: SEXUAL ASSAULT* merican Comic Matt Rife recently went viral on social media for telling a deeply offensive and sexist joke to open his new Netflix special: Natural Selection. This isn’t the first time that a comedian’s joke has caused understandable public outrage, but why has Matt Rife chosen to alienate the gender that he claims makes up “90%” of his audience?

To begin with; who is Matt Rife? Outside of being a stand-up comedian, he is most famously known for his recurring role on the sketch improv comedy and rap show ‘Wild’n Out’. It was on this show that his first controversial incident arose; fans of the show accused him of inappropriately touching mononymous actress Zendaya during an episode.

Matt Rife is also known for, (post plastic surgery), continually commenting and making flattering jokes regarding his appearance, very often referring to himself as ‘hot’. In an interview, he complained that he was “too attractive for stand-up”, implying that the audience finds his looks distracting, or that they come to his shows “for the wrong reasons.”

On multiple occasions he has complained that prior to his surgery no one paid attention to him; he claimed that he was on the verge of giving up on his career before he began to experience success.

Prior to this surgery, he estimated that he was making between 40-50k a year,

whereas last year alone he declared his income to be around 20 million dollars.

His perception that people only see his shows because they find him attractive can be seen clearly in some of the recent headlines for interviews he has given, such as: - The Tyranny of Hotness - Being a Hot Comic isn’t All Laughs

Contrary to Rife’s belief that people find him less funny now that he is attractive, a study at the University of Stirling found that attractive people rate higher on the ‘funniness’ scale than their counterparts, rejecting the traditional hypothesis that being funny could help boost the attractiveness of a person.

It must be noted that my opinions on the reasons he has behaved in the way he has are merely my own speculation. However, >

tv

20 PHOTO CREDIT: UNSPLASH

> Matt Rife had to pay for his face before people would start paying attention to him.

It strikes me that Rife makes so many jokes parading his beauty because he is insecure about it. Referring to them as “special needs”, it appears that he is blaming his female fans for his imposter syndrome and now attempts to alienate them; he is experiencing what so many women face daily under the pressure of the male gaze and is now retaliating in the poorest form. It appears that he has taken a complete 180-degree turn and is now attempting to divert his audience to a majority of men.

However, this carries the implication that he believes that the way he can connect to men is by pushing down women.

This is not uncommon. He has stated that his two biggest inspirations are Dave Chapelle and Ricky Gervais, both of whom have a majority male audience and have also opened their Netflix Specials with inappropriate, sexist humour.

Matt Rife is just another product of a sexist industry.

Christmas TV! Is it any good?

By Alfie Green

I

love a good Christmas day sitting in front of the TV, letting the world go by me, sipping some form of alcoholic drink. The thing is though, is Christmas tv actually any good?

Or is it just the festive (and drunk) feeling that makes it seem far better than it is.

This year, however unfestive it may be, Eastenders have been teasing a murder (shocker) since February, with one of six main female characters potentially being the killer. The fact that Eastenders could be the most dramatic Christmas TV event does potentially back up the idea that it isn’t actually a great time for TV.

If I look back at my favourite Christmas specials, I think of Doctor Who, Gavin and Stacey, and a plethora of Only Fools and Horses but in terms of recent years there hasn’t been much to shout about.

Only the revival of Gavin and Stacey in 2019 has any real claim to being a good new Christmas special. Doctor Who until this year has moved away to New Years day specials and it remains to be seen how good that will be, although I have high hopes.

The BBC’s commitment to playing films out throughout the festive time is a highpoint, with it being very easy to sit back and enjoy. The BBC’s schedule already has been released with children’s films like Toy Story 4 and Peter Rabbit 2: The Runaway, as well as more adult features like Belfast, the award winning Sir Kenneth Branagh film about the troubles in Ireland and House of Gucci starring Adam Driver.

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In conclusion, Christmas is generally okay on TV. But the retro stuff hits best, I think it’s just that nostalgia trip you get from those shows. Not much of the newer Christmas TV is good, except Doctor Who and EastEnders (we stan Phil Mitchell).

“If I look back at my favourite Christmas specials, I think of Doctor Who, Gavin and Stacey, and a plethora of Only Fools and Horses but in terms of recent years there hasn’t been much to shout about.”

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music editor: Lily Taylor

ReWork: Norwich’s New Music Night

PHOTO CREDIT: UNSPLASH

By Ella Hamlin

O

ne of the most attractive parts of this city is the creative scene that Norwich has to offer. From theatre to art exhibitions, from makers-markets to drag shows. The city is enriched with a gold mine of local music.

It took me a while to discover the local live music here in Norwich, but now that I have, I have made it a crucial part of my pay-day self-care ritual to purchase tickets and indulge in a night of live music to celebrate local artists. One of the events I try not to miss out on is ReWork Norwich.

Taking place every six weeks, ReWork is a new local music event located at The Puppet Theatre. The event was created by local musicians Kitty Perrin, Ben Rodwell, and Alexander Carson who all have their own experience within the Norwich music scene as musicians. Between the three of them, they select four of the best local artists from Norfolk to rework the top hits from some of the greatest artists of all time in their own unique style.

Each artist has a different style and genre that they inject into the classic hits that we’re all familiar with. So far, they have showcased the music of Fleetwood Mac, ABBA, Beyonce and most recently The Beatles. Not only do the selected local artists get the chance to rework the hits of the specific artist, but they’re also encouraged to perform two of their original songs, giving the audience a sample of their own work.

Kitty Perrin, one of the co-founders of the event, says that the purpose of ReWork is to showcase some of the amazing talent we are lucky enough to have in Norfolk. As well as this, they noticed that live music was often happening in the same event spaces, so they wanted to take the chance to establish The Puppet Theatre as a music venue as well as one of the only building-based puppet theatres in England. The venue is situated in a medieval church, a sight quite iconic to Norwich. Kitty says that they also set up ReWork as a way of introducing local artists to a new audience who might come to the show because they love the songs of the chosen artist, The Beatles for example, and will leave having discovered 4 new local artists.

Having been to three of the ReWork events, I can say it’s one of my favourite ways to spend an evening in the city, due to the buzzing atmosphere and the warm, intimate feeling that The Puppet Theatre gives. The event never fails to bring together a diverse audience of people who either know the local artists or the hits of the popular artist. It is a perfect opportunity to discover not only new talent, but also artists that you would not normally listen to in another circumstance. The range of sounds of each artists means that audiences are taken on a rollercoaster ride through genres, such as punk, rock, jazz and rap.

The next Rework event is coming up on

Friday 15th of December and will be a Christmas special. The lineup includes pop artist Alice Lily, hip hop artist Sleep’s Cousin, Midwest emo band SUDS, and indie-folk singer songwriter Phoebe Troup. This time round performers will each be reworking a Christmas hit and a Christmas carol, for example Joy to the World and All I Want for Christmas Is You, in their own style.

For ticket information and updates on future events follow @reworknorwich on Instagram.

PHOTO CREDIT: @reworknorwich

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The Measure of Ireland’s Dreams: A Tribute to Shane MacGowan

PHOTO CREDIT: UNSPLASH

By Lily Taylor

I

t was announced on the 30th of November that Shane MacGowan, lead singer of groundbreaking Celtic punk band the Pogues, had died aged 65. The Irish singer, known for his heavy use of drink and drugs throughout his career, had struggled with his health in the past decade. In 2015, a fall outside a Dublin studio left him wheelchair-bound for the rest of his life. In more recent years, he spent a large amount of time in hospital due to numerous infections.

MacGowan was born to Irish immigrants in Pembury, Kent in 1957. He was then raised in Tipperary, Ireland until the age of 6, when his family returned to Kent. On their return to England, MacGowan was educated at Holmwood House Prep School. He also attended Westminster Public School on a scholarship, however, was expelled in his second year due to drug possession.

Despite his expulsion, MacGowan had already been introduced to poets who would later inspire him, such as Hemingway, Joyce, Behan and Wilde. His father had encouraged his love for poetry and literature from an early age: the pair had even read the challenging Finnegan’s Wake together by the time MacGowan was eleven.

After his first stint in rehab aged seventeen, MacGowan discovered the London punk scene.

He became obsessed with bands such as the Sex Pistols and The Clash, who inspired him to pursue his own music projects.

His first band, the Nipple Erectors, saw MacGowan adopt the name Shane O’Hooligan.

The Nipple Erectors (often referred to as The Nips) released four rockabilly singles before they called it quits in 1980. After

this, MacGowan briefly pursued a project called New Republicans, before changing its name to Pogue Mahone (“kiss my arse” in Irish.) Following the self-release of their debut single, the band signed to Stiff Records. The release of their debut album saw them settle with the name “The Pogues.” Little did MacGowan know, this was the start of a manic musical adventure that would define not only his career, but for many, Ireland itself.

The Pogues debut album, Red Roses For Me, was released in 1984. Yet, it was their second album Rum Sodomy & The Lash that saw the band receive cultural and critical acclaim due to MacGowan’s impressive lyricism, particularly on tracks such as A Pair Of Brown Eyes. The Pogues tackled many themes in their songs, such as Irish nationalism and history, the Irish diaspora and the beauty found in London’s ugliness. They were credited by many for helping to dissipate some of the racism the Irish faced during the Troubles.

drinking was becoming a major issue as he was often drunk on stage, and he was kicked out of the band in 1990. Although he reunited with the band in the early 2000’s, MacGowan claimed that they “grew to hate each other again.” They would not release any further music.

Aside from his tumultuous life, Shane MacGowan will be remembered for giving people a voice when they couldn’t speak.

Rest in peace, Shane.

1987 saw two collaborations for the band, which secured their place in the music industry even further. The first collaboration of the year was with The Dubliners on their track The Irish Rover, and the second was on the Christmas classic Fairytale of New York with the late Kirsty MacColl. The two collaborations were hugely successful, with both songs reaching number one in the charts.

In 1988, The Pogues released their third album, If I Should Fall From Grace With God. Despite the album becoming their highest-charting album yet, MacGowan’s

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The Music of the Mountains: An Appalachian Revival

By Daisy Innes

K

entucky, Tennessee, West Virginia, Virginia – Central Appalachia. The music of this region has had a huge influence on American music with its origins spanning way back in the eighteenthcentury, from country to bluegrass, rock n’ roll to folk, the music of Appalachia has played a fundamental role in the development of so many distinctly American genres. Typically containing banjos, fiddles and storyfocused lyricism, Appalachian music holds elements of European folk music, Cherokee storytelling, and African American spirituals, all combined to create the sound of the mountains themselves.

Country music is rapidly on the rise globally, especially here in the UK, but I think that focus is primarily on the country-pop artists that can be played across radio stations without much dismay. But this means the artists who are keeping the Appalachian Mountain sound alive aren’t getting as much attention as they deserve. Recently, there seems to have been a significant rise in the number of artists that are embracing their Appalachian roots, writing stunningly poetic lyrics, and releasing some phenomenal albums – and a good deal of these are unsigned and

PHOTO CREDIT: UNSPLASH

PHOTO CREDIT: UNSPLASH

self-produced! There’s a new wave of country music on its way that steps back from over-production and values honest songwriting, and Appalachian music is a big part of that. I hope you give these artists a listen, as one of my favourite country radio stations says: ‘leave your boots and your preconceptions at the door’.

Charles Wesley Godwin hails from West Virginia, and he is proud of it. His most recent release is a beautiful embrace of the importance of Family Ties (my album of the year!). Godwin has one of the best voices in the country/folk genre right now, and his songwriting is heart-wrenching – some album highlights have to be All Again, Dance in Rain and Skyline Blues.

His cover of John Denver’s classic Take Me Home, Country Roads entirely captures his pride for Appalachia, and Miner Imperfections pays tribute to his coal mining father – an industry fundamental to the history and survival of Appalachia.

Endurance, from unsigned and selfproducer Josiah and the Bonnevilles, is perhaps the most rounded Appalachian album I’ve had the chance to fall in love with. This album perfectly captures what Appalachia is all about – endurance. Another Day at the Factory is a blue-collar anthem laced with poetic lyrics about the ups and downs of a life filled with hardwork. I really struggle to pick out a favourite track on this album, I think it has to be listened to in its entirety to properly appreciate its representation of everyday life in Appalachia, but Just One Break speaks on the struggles that we’ve all faced, in rural Tennessee or not. Basic Channels was a bit of a viral hit, but its place as the closing track on Endurance seems to give it a whole new dimension.

Tyler Childers is one of the bigger names in country/Appalachia music – whilst his music is distinctly different from the sounds we hear on country radio, Childers ensures his music is country – real country. “The stuff we used to call ‘good country’ is now getting called Americana. We’ve not fixed the problem of bad country” he told the Guardian in a 2019 interview. Childers has been releasing music for over a decade now, and his deep Kentucky heritage can be heard in all of his

releases. He writes about the good, the bad, and the beautiful that comes with an Appalachian identity. Be sure to watch the music video for his latest single In Your Love – a stunning love story of two male coalminers in 1950s Appalachia.

These three artists are a great place to start with the modernday Mountain Music that is bringing forgotten Appalachia to the attention of American music lovers. If you’re looking for a few more wonderful modern Appalachian country artists, here are a couple of great Spotify playlists: ‘appalachian country, indie bluegrass’ and ‘homegrown’.

“Country music is rapidly on the rise globally, especially here in the UK, but I think that focus is primarily on the country-pop artists that can be played across radio stations without much dismay.”

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w/c dec 25

Winter Wonderland Norwich - 1st December - 3rd January, NORFOLK SHOWGROUND Lots of festive fun including a funfair, a Christmas Tree Maze, and Ice Skating from £12 for students!

Sleeping Beauty: The Fairy’s Tale Pantomime - 9th December - 7th January, NORWICH THEATRE ROYAL The panto is a classic Christmas evening out! Tickets from £10.

IT’S CHRISTMASSSSSSSSSS!!!!

UEA Burlesque Society: Tinsel & Tassles - 12th December, NORWICH ARTS CENTRE The show has been “crafted to capture the magic of the holiday season, with breathtaking costumes, intricate choreography, and plenty of glitter and glam” - tickets available on the SU website!

Propaganda: Xmas Cracker! - 22nd December, THE WATERFRONT A night of indie/ alternative music, “magical surprises, and all the Christmassy feels”!

Meltdown Jingle Bell Rock! - 23rd December, THE WATERFRONT Come along for Christmas themed drinks, a snow machine, and prizes for the best xmas jumper!

Merry Christmas from the Venue and Concrete team :) What’s On: Christmas Day Edition 10am - Stockings are opened while the first bottle of bubbly is poured.

12pm - All gifted chocolate is gone 2pm - Christmas dinner is served!!

3pm - The grandparents gather at the telly to watch the Kings Speech 5pm - Dinner round 2 is served, sending everyone into a food coma 9:45pm - The Eastenders Christmas Special starts!

11pm - Fights break out over Monopoly after what feels like 10000 hours of playing 26th - 30th December - Crimbo Limbo begins, who knows what day it is?!

w/c jan 1 HAPPY NEW YEAR 2024!

what’s on

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NYD Hangover - 1st January After the whole night of partying, you might be feeling a bit rough today - just remeber that there’s not much a McDonalds breakfast (with an orange juice for the hangover) can’t solve!

where to shop small this christmas!

IN NORWICH: - ELM: a lovely little independent on Lower Goat Lane to find a gift for your plant loving, sock wearing, art collecting chum - ELM HILL CRAFT SHOP: the sweetest little shop nestled away on Elm Hill, is the perfect place to find a gift for the crafty ones you know in your life.

- LISA ANGEL: if you know somebody who loves jewellery or little trinkets, then Lisa Angel is a brilliant shop to visit.

- JARROLDS: for the foodie in your life head to the basement to find an assortment of beautifully packaged chocolates, chutneys, biscuits and sweets.

- THE BOOK HIVE: this is the place to track down a present for the bookworm in your life.

- OXFAM: if you’re late on buying Christmas cards why don’t you head to one of the local Oxfams to buy a selection of cards and give to a good cause.

- ETSY: If your’re looking to shop online, Etsy has pretty much everything.

Find personalised gifts, craft kits/ patterns, even handmade pottery, pin badges, gifts for pets, and much more!