Venue 399

ISSUE 399

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

The Beauty of Burlesque The Love Letters of Tove Jansson Romance: A Creative Writing Piece Style and Sexuality An Argument for Sex in Films How The Traitors Mastered Reality TV The Last Dinner Party Serve a Delicious Slice of Humanity And Many More...

editorials

arts

from Venue’s co-editors

This time of year is always a tricky one; we’re all tired, rundown from the mass of summative submissions, and the days still hold that winter chill.

However, the shortest month of the year is when the first hopeful signs of spring begin to creep in. The days get noticeably lighter, and snowdrops and crocuses begin to line the campus paths. Bunches of tulips and daffodils swarm the flower displays in supermarkets, awaiting to be put on a windowsill to bring some much needed colour into your space.

With Valentine’s Day being celebrated on 14th February, this month can also be brightened by spending time with the ones you love. Whether romantic, platonic or familial love, make sure to take the time this February to appreciate those who make your days positively brighter, much like the arrival of spring.

As Tee is about to say below, it’s Concrete’s annual Sex Survey issue, with Venue focusing on all things love, sex and relationships. We have some really wonderful articles, which we do hope you enjoy reading x

- Millie Smith-Clare @millie.s.c | she/her Welcome back everyone, I hope this semester is treating you well so far! For the first issue back, Concrete is running its annual Sex Survey, which means some of the articles in Venue are along the theme of sex and relationships, as well as all the other things we know and love. Some favourites of mine include a wonderful interview with local artist James Kessell, the wonderful creative writing responses to the prompt Strange Romance, and Millie’s endearing article on the creator of Moomin and queer love.

Although we’re already heading to the middle of February, it’s okay to feel like you need to restart again, new beginnings are not just for January!

Each day can be the start of something new, however small - the world’s always changing to fit with this moment. I like to look to the seasons when I feel like I need to start a fresh, it’s so easy to fall out of sync with the natural ebb of life. Remember: Spring is on the way, the snowdrops will be in bloom, and life begins again.

Enjoy the read, and we will see you in Issue *400* !!! :0

- Tshequa Williams @lifeinateecup | she/her

3

The Creative Condition: In Conversation with James Kessell - Part One, The Beauty of Burlesque, Giselle: A True Suspension of Reality.

books

6

The Love Letters of Tove Jansson, Sex, Smut and Spice, Book Review: The Leviathan by Rosie Andrews, New Year, New ... Goodreads Challenge?, What Are Our Editors Currently Reading?

creative writing

9

Rose from a Ghost, Romance, Narcissus, Red Flags, Down to Earth.

(This issue’s Creative Writing prompt was ‘Strange Romance’ in spirit of Concrete’s Sex Survey)

fashion

12

Style and Sexuality, Awards Season: Who Owned the Red Carpet, Don’t Wear Them Style Them, A Ballad of Corsets and Fascinators: Tales of Fashion Eras.

film

15

Let’s Talk About Sex: An Argument for Sex in Film, You Need to Watch Yorgos Lanthimos’ Poor Things, Films to Look Forward to in 2024, Girls With Guns: Eileen’s Women in Psychological Thrillers

tv

18

How The Traitors mastered reality TV, Love Beyond Life in Ghosts, Review: The Curse, What Are The Concrete Editors’ Favourite On-Screen Relationships?

music

21

The Noughties in Norwich Puppet Theatre, Prelude to Ecstasy: The Last Dinner Party Serve a Delicious Slice of Humanity, Sex Positive Artists

what’s on

24

Find all the details on Valentine’s events, a ‘Wellbeing Dog Walk’, and things happening in Norwich - Plus some last minute Valentine’s date ideas!

ISSUE 399 | TUESDAY 13TH FEBRUARY 2024 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.”

arts

3 arts editors: Sara Budzinska & Lily Glenn

The Creative Condition – In Conversation with James Kessell: PART ONE

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By Rosie Kyrin-White

orwich-based artist and designer James Kessell produces multidisciplinary work ranging from intimate charcoal portraits to data projection installations. Sitting across from Rebecca Warren’s Jean in the sunlit, glass-walled Sainsbury Centre Cafe, James confronts self-defining questions and offers insight into surviving as a creative.

Which artists your work?

have

directly

influenced

My first thought is my father, James Everett Kessell, a painter and fine artist who had his studio in our small home. I remember lying [in his studio], tracing the lines of the painting in front of me with my finger, absorbing the colours and the smell of paint.

Tacita Dean is amazing. I love the breadth of her work, the scale and inventiveness of it. She moves between media and disciplines while staying on top of them all. There is real humanity to what she does - it’s work on another level.

When I first started seriously getting back into drawing, I also referred to Frank Auerbach. I admire the looseness of his drawings. He would spend weeks working on a drawing, rubbing it all off at the end of each day to start it again the next, until he found that point of recognition.

I think artists are looking for this, when the work starts to create itself

PHOTO CREDIT: JAMES KESSEL LEFT - James painting aged 2, RIGHT - Self-Portrait (After Surgery) (2023)

and you suddenly recognise something you hadn’t set out to make.

Which themes are you most drawn to?

One of the themes I’m drawn to - it comes from my own personal experience - is loss. I can pinpoint it to certain events in my life, such as the Aberfan disaster in South Wales. All of my mother’s family lived in the village. Two of my cousins died in the school where the coal tip fell. That sudden awareness, at a very young age, that loss doesn’t just take but leaves behind a huge tangle of feelings - especially after I also lost my father at sixteen - affected me quite deeply.

I don’t mean to say that all of my work is motivated in a depressing way. But I think a lot of art is about the sadder side of the human condition. It’s harder to make work about joyfulness, easier to write songs in a minor key.

Are there any viewer reactions that you felt vindicated your work?

There are people who have cried in front of the work - not that I’m setting out to make people cry! But it demonstrates a deep resonance. For instance, a sitter from the Saints project came in to see the near-finished portrait and wept. He said, “I feel like you’ve caught my story.” I could see in his face that he’s had a difficult life, full of suffering.

For my work to overcome him was quite a profound moment. Part of my motivation

is to understand my subjects, to have empathetic insight. If I can get that into my work and it draws a response, that’s what I’m aiming for. I want to connect people with themselves.

Describe your artistic process.

My process is about exploration. I avoid restricting myself to predetermined expectations and leave plenty of scope for accidents to happen. Having my Norwich studio space is a huge part of the process. It is the context, a big part of the machinery that facilitates my art a tool. It has allowed my work to become more material instead of digital. I love the physicality of my charcoal work and the way it surprises me. I like that it’s a difficult medium, a very dirty medium that forces physical exploration. I lose myself in it - time in the studio just vanishes. There’s no better feeling than being in that flow, regardless of whether you feel the end result is any good. While there is pleasure in the process, it’s also incredibly hard. I’ve heard artists talk about how lonely it is. I get that, but I like the loneliness! I’m happy to invest my time. Sometimes that investment is rewarded, and that good feeling is worth it.

James Kessell can be found at jameskessell.co.uk and @kessell. studio on Instagram. Stay tuned for PART TWO in Issue 400!

arts

4

The Beauty of Burlesque

By Ella Hamlin

W go on.

hen I think of burlesque, I think of feathers, glitter, red lipstick, lights, the Moulin Rouge, women with white teeth, men waiting to be wowed. I think of headpieces, rhinestones, nudity, and eye contact. The list could

Burlesque has been around since the mid-1800s, potentially even earlier. A group of dancers known as the Burlesque Blondes took to America to entertain audiences, often dressing as men or wearing skirts that rose above their knees. Not only were their costumes seen as scandalous, but their performances were too; usually playing with both comedy and gender. As you’d expect, this shocked Victorian audiences yet also popularized the group more than they ever dreamed. Burlesque continued to challenge sexual stereotypes, evolving from the traditional British style to one that was more risqué - like the style of burlesque that we encounter today.

I first joined the Burlesque Society around three years ago, at the start of my first year here at UEA. I was so keen to get back into performing arts after having left the world of musical theatre a few years prior. I knew I missed being on stage, but I didn’t necessarily feel ready to delve back into the intensity of theatre which I was very familiar with after spending eight years in amateur dramatics. I didn’t know what exactly would satisfy the yearning I felt for performance, but I decided to give burlesque a try. It was something new to me and I was eager to try new things at the start of uni.

I soon realized that the society not only gave me a ticket into performing again, but it also gave me the opportunity to express myself and my sexuality in a way that I had never been able to before.

PHOTO CREDIT: UNSPLASH

Being in a burlesque show for the first time is a feeling I’ll never forget. I remember shivering from nerves, not knowing whether to laugh or scream, and grappling with whether going on stage in my bra and pants would be something I’d regret immediately. I could hear the words of my past PSHE teachers in my mind, lecturing me that I couldn’t take it back once it was done. But my body was pumped with endorphins and adrenaline, and I was so ready to take ownership of my body and express myself in this artistic way. I can hardly recall the details of my first performance now, but as soon as it ended, I knew I wanted to feel that way again and again. So, I did more shows.

As I previously mentioned, performing burlesque has given me access to my own sexual and gender expression in a way that I didn’t know was possible. I can craft my routines and present myself in whatever way I want, without feeling the presence of judgmental eyes. I’ve been able to play around with my femininity and queerness all on my own terms. The roar from the audience only encourages me to experiment with this expression. I can shape and reveal my body in whatever way I’d like, taking on a persona or being more myself than ever. The society grants everyone a platform to express their own individuality, and it has been beautiful to witness many unique performers come and go throughout the years.

Since becoming a burlesque performer 3 years ago, I now think of a lot more than just glitz and glam. I think of body confidence, ownership, sexuality, sensuality, gender expression, acceptance, and a massively supportive community.

PHOTO CREDIT: UNSPLASH

UEA Burlesque’s next show, Cheeks and Chocolate, will be on the 20th February at Norwich Arts Centre.

More details can be found on Instagram @ueaburlesquesoc

arts

5

Giselle: A true suspension of reality

W

By Annabel Knill

henever I see a ballet, the tapping of the pointe shoes upon the stage will never not enthral me. This was no different with the haunting tale of innocence and betrayal, heartache and redemption that is the ballet of Giselle.

Mary Skeaping’s production of Giselle, performed by the National Ballet, follows the story of a young peasant girl, Giselle, who falls in love with Albrecht, a prince hiding his identity and his engagement to another. Upon discovering this,

Giselle falls into madness, signified on stage through her undone hair and crazed, languid dance which possesses her, until with the crescendo of the music she drops dead of a broken heart.

The first act has less dance in comparison to the second, instead, it is dedicated to storytelling through mime. Not a

word is spoken throughout the entirety of the ballet, yet the performers’ actions are loud enough to be heard with perfect clarity. It is in this first act that Junior

Soloist, Vsevolod Maievskyi, playing the role of Albrecht, stood out. The height of his jumps, the accuracy and speed of his pirouette was perfectly contrasted by the elegance and length of his movements, illustrating his skill and power.

With the next rise of the curtain, the second act creates a haunting juxtaposition to the vibrant hues of the idyllic village in the first act. The darkened moonlit scenery, combined with the flowing, warping fog upon the stage, creates an eerily supernatural suspense which filled me with both excitement and wonder. I instantly knew this was going to be my favourite act!

I was not disappointed as the story continued to unfold.

Vengeful spirits of betrayed brides, known as the Wills, welcome Giselle into their spirit world as they entice and

trap men into dancing themselves to death. At first the audience see only flashes of dusty whites and pale blues against the dark greens of the forest scenery, as the veiled Wills dart and glide about the stage. Until, with a crash of thunderous light, the audience, just like the helpless men upon the stage, become victims to the Wills. It is through this fairy-like, yet villainous dance that the Wills demonstrate their true skill as a company. Creating grid like patterns, seamlessly flowing in and out of each other like the rise and fall of waves, the Wills become beautifully damning femme fatales. Unable to take their eyes off the elegance of the Wills the men slowly get picked off, their dancing becoming increasingly allegro.

Overflowing and encircling, the Wills dominate the space until no man is left standing. Giselle, now part of the Wills, strives to save Albrecht from their clutches but thus damns the pair to never meet again.

What truly aided the intensity of the feverish dance was also Adolphe Adame’s English National Ballet Philharmonics.

Tucked away out of sight, the live orchestra can be overlooked but the ballet would not be complete without their harmonies.

Through their underpinning of the construction of emotions and dramatics of each scene, the orchestra further aided in the storytelling, transporting the audience into a timeless world. With startling accuracy, both music and dance flow in tandem. Every crash of the drums or strike of a violin was accompanied in unison by a creating an intense imagery of the ballerinas not just dancing to the music but creating it with each Arabesque or Grande Jeté.

Overall, Giselle was a true suspension of reality as both dancer and music perfectly complemented each other, immersing the audience and myself into an otherworldly place of a haunting tragedy.

PHOTO CREDIT: UNSPLASH

books

6

books editor: Sophie Handyside

The Love Letters of Tove Jansson

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PHOTO CREDIT: Credit

By Millie Smith-Clare verything I do, everything new that I see – there’s a parallel reflection: I shall show this to Tuulikki. Waiting is a sheer pleasure when it’s for you – and the calm awareness that all I have to do is add together a number of days, and we’ll see each other again. (Tove Jansson in a 1956 letter to Tuulikki Pietilä) With February marking both Valentine’s Day and LGBTQ+ History Month, it seems a poignant time to delve into the queer love letters of Tove Jansson, the renowned author for her creation of the beloved Moomin series. Jansson’s loveable and quirky family of little white trolls with large snouts, who live adventurous lives in the picturesque Moominvalley, were instantly enticing for readers around the globe.

In 1957, Jansson published one of her darker Moomin stories, Moominland Midwinter. The novel handles the themes of isolation and loneliness through the eyes of a child – a great departure from the familiar eccentric characters flying on clouds, and enjoying picnics on the terrace in the summertime. With Moomintroll waking up early from his winter hibernation, and without the comfort of family or friends, he has to navigate the harsh landscape of Moominvalley alone. Whilst venturing in frightened solitude, Moomintroll meets the calming presence Too-Ticky, who helps him cope with the unfamiliar ways of the world, “All things are so very

PHOTO CREDITS: WIKIMEDIA COMMONS

uncertain, and that’s exactly what makes me feel reassured”. This warm-hearted character, acting as a beacon of light for Moomintroll during the harsh winter, was based on Tove’s own guiding presence, the artist and engraver Tuulikki Pietilä (Tooti).

The pair met beside a gramophone, both assigned with the task of looking after the music during an Artists’ Guild Christmas Party in Helsinki in 1955. After hitting it off at the party, the pair began to develop a romance which would last a lifetime. Their relationship blossomed during the course of the following spring, with Tove writing in one of her first letters in 1956 to Tooti,

“I’m so unused to being happy that I haven’t really come to terms with what it involves. Suddenly my arms are heaped full of new opportunities, new harmony, new expectations. I feel like a garden that’s finally been watered, so my flowers can bloom.”

During a time in which homosexuality was illegal in Finland until 1971, reading Tove’s letters to Tuulikki is incredibly moving to read, “You see, I love you as if bewitched, yet at the same time with profound calm, and I’m not afraid of anything life has in store for us.”

Tuulikki and Tove moved into connected apartments, and their love had to remain hidden in their letters and behind closed doors.

Many of Tooti and Tove’s summers were spent on their remote tiny island, Klovharun.

Described as “a rock in the middle of nowhere” by Jansson’s niece, Klovharun had no running water or electricity and was roughly 6,000 square metres. Yet for Jansson and Pietilä, it was their paradise, away from the prying eyes of society. Almost 30 long summers were spent in the small cottage they had built on the rocky island, with Tove and Tooti writing, painting and fishing from May to September in complete artistic harmony.

The frequented summers and adventures at Klovharun were something straight out Jansson’s Moomin series. Tuulikki and Tove lived together for forty-five years until Tove’s death in 2001.

Although both now gone, the beauty of their love remains both in Moomintroll’s reassurance from Too-Ticky during the harsh winter, and in Tove’s letters bursting with complete adoration for her beloved Tooti.

books

7

Sex, Smut, and Spice

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o think there was a time when literature stripped itself of all things sex, lust, and the erotic sound of love seems far from the reality we know. When D.H Lawrence published Lady Chatterley’s Lover it was quickly removed due to its inappropriate nature. As a society, we have never shied away from erotica, in the 70s and 80s women turned to erotic fiction as a more socially covert mode of accessing porn.

Thus it is no wonder that the internet now has steamy corners dedicated to providing readers with the content they need. Now, readers can find a route of fun escapism, exciting butterflies, and gasping moments in smutty books that have taken social media by the tits.

Sarah J. Maas is a best-selling author with a speciality in writing fantasy fiction that does not shy away from the erotic; her most successful series being A Court of Thorns and Roses. A reader of this series shall find passages of wild and wonderful ‘faerie porn’ that has acquired a loyal fandom. Fans of Maas’s books have been known to attend costume balls, conventions, and sell merchandise all linked to the recordbreaking series. Maas’s fanbase is an enthusiastic community that wants to provide a judgement-free space that can connect people across the globe. They are certainly a group that lives and dies on chemistry and connection.

Meanwhile, the social media platform, TikTok, has seen a dramatic increase in creators promoting their sex tales with a range that varies from alternative endings to Jane Austen’s Pride and Prejudice,

By Ella Jolliffe right through to skin-tingling narrations of a queer relationship. It seems that ‘SmutTok’ may have created a passage for the new romance novel. One avid reader, @bookishhill posted: ‘I don’t know how to tell you guys this, but we are all extremely horny’ in a TikTok video.

She is far from an exaggeration. TikTok users will find the ‘SmutTok’ hashtag to have over four billion views. A particularly popular book is Taylor Jenkins Reid’s The Seven Husbands of Evelyn Hugo, it follows the life and story of a fictional old Hollywood star (Hugo) who gives an interview to an unknown journalist, Monique Grant. As the story unravels, it becomes clear that Hugo’s true love has been an actress she starred alongside as a young woman, Celia St. James.

Young people’s sexual identity no longer has to be defined by the painfully awkward science lessons that one is subjected to in their adolescence. There is now a large expanse of liberating narratives that have the ability to inform and contribute to our sex lives.

However this does not come without at least one hitch, sometimes these stories can stray into unrealistic expectations of ourselves and those who we’re attracted to. The objectification of characters within these stories lead some readers to become concerned by the ethical implications they leave behind.

However, there has always been a sticky dynamic between society and its’ sex drive - perhaps we are all in need of a few hours alone with an erotic novel.

PHOTO CREDIT: UNSPLASH

Book Review: The Leviathan by Rosie Andrews

F

or The Leviathan, think north Norfolk, witches, war, and mystery.

This book was a truly entertaining, enigmatic, and original read, and with every page, you’re immersed in a story from four hundred years ago with a familiar twist.

The story is set in the local countryside, and Andrews often name-drops the places I’ve loved visiting as a child, which gives the book a folklore feel, making the spooky seem somewhat close to home.

For your future reading list, I would definitely recommend seeing what literature is written about your most loved places, as this personal note made it an even bigger joy to read.

In terms of narration, the novel is detailed enough to illustrate, while leaving space for the imagination to take hold. The story flows beautifully and adopts the classic trope of multiple timelines, with certain chapters glancing into the future and narrating the characters as elderly. These scenes are written skilfully - as Andrews begins to drop clues to the truth, and you are beginning to come to conclusions in the main timeline, the flash-forwards give more information to the reader. It gives you that excited moment bookworms savour when you grin into the pages.

Another surprising element of this book, which is profoundly constructed, is the protagonist’s backstory and his regrets of the past. After making an

By Caitlin Bennett

enemy and harbouring guilt from the past, the protagonist heals these wounds in the main timeline of the story, giving the novel a surprising coming-of-age feeling. The development of this character definitely grows, and you see them change by the end of the book.

The Leviathan comes highly recommended for good reasons; however, the only criticism would be the ending, which didn’t fulfil the emotional and romantic expectations, and felt slightly unresolved.

books

8

New Year, New...Goodreads Challenge?

By Eve Colabella

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ast year, I read 37 books. I know this because, like many other readers, I track my reading goal on Goodreads.

The Goodreads reading challenge (for those who don’t know) is where you set yourself a target on the Goodreads app for the number of books you would like to finish by the end of the year. My goal for last year was 30 books, and I, being the overachiever that I am, felt a deep satisfaction that I surpassed this (not to mention the surges of pride experienced whenever Goodreads told me I was ahead of schedule). However, whilst setting my goal for this year, a question surfaced in my mind: why am I doing this?

With the rise of book influencers on social media, particularly on Booktok, we’re frequently presented with recaps of people’s monthly reads, reams of book recommendations, and tips on how to maximise the amount of time we spend reading. The emergence of this new online reading community is, on the one hand, a great way to encourage reading in a digital generation. However, it has also created a cultural demand to read as much as you can in as little time as possible.

The constant reminder that “you should be reading more!” and that you’re not productive if you’re not reading enough is shifting our perception of what reading is for.

within a deadline. Reading should not be a chore, and with this growing societal pressure to consume as many books as possible, we are moving further away from what reading is: a personal, imaginative experience. When a book is reduced to a number that you can brag about online, how much have you gained from reading that book? Shouldn’t we focus more on the quality and diversity of what we’re reading, rather than the quantity? For example, the Storygraph genre challenge that exists to “encourage you to read outside of your comfort zone?”

I like to set myself a reasonable, lowpressure goal that encourages me to keep reading through the mounting stack of unread books on my shelf (and gives me an excuse to buy more). I then feel a sense of accomplishment whilst reading without having to rush through each book. This is what works for me. Whether you decide to set a reading goal or not, the most important thing is that you are actually enjoying the books you read.

You are not defined by the amount you read. Don’t let Goodreads make you If you’ve ever studied English, I’m sure think otherwise. you’re familiar with the loss of enjoyment PHOTO CREDIT: UNSPLASH

experienced after being set a book to read

What Are Our Editors Currently Reading?

Millie is Currently Reading: Mary: or, The Birth of Frakenstein by Anne Eekhout For Christmas I was kindly gifted a big old hefty pile of books. With Frankenstein being one of my favourite classics, I was instantly sold by Eekhout’s atmospherically Gothic reimagining of the birth of Frankenstein (and the beautiful cover!). As a great storm rages outside, Mary Shelley is challenged by her friend Lord Byron to write a ghost story, which unleashes something fierce within.

Tshequa is Currently Reading: The Fragments of Sappho

Last semester I read After Sappho by Selby Wynn Schwartz, and have fallen down a rabbit hole of reading Sappho’s poetry fragments. Sappho was an ancient Greek poet, writing lyric poetry about powerful love, passion and longing, although much of her work is lost. It’s a canon event for any Greek-mythology-obsessed literature student to have a Sappho phase, but it’s no wonder why, as her words are just beautiful.

Sophie is Currently Reading: Giovanni’s Room by James Baldwin As preseidnt of UEA’s Literature Society, we are holding a group read-along of Giovanni’s Room, one of my favourite books of all time. Set against the backdrop of 1950s Paris, the young protagonist, David, meets enigmatic Italian barman Giovanni.

Over the course of a three month affair, exploring themes of self-denial, expression, and the search for ‘home’, Baldwin captures the struggle for identity in this poingant tragedy.

creative writing

9

creative writing editor: Will Muncer

Rose from a Ghost PHOTO CREDIT: UNSPLASH

By Willow Larson

I

think the ghost haunting my house is in love with me.

I’ve always lived in this house. It belonged to my parents and my mother’s parents before them. It’s an old house.

Victorian, I think. Made from brick and wood by builder’s hands when the world was powered by steam and enslaving your fellow human beings.

By the time I was born it rattled and creaked like a sickly old man. But it was home and laughter brushed away the cobwebs and filled the dark corners.

The only time I had ever lived anywhere else was when I went away to university.

By the time I was back they had both passed away. Car accident. A drunk driver. So it goes.

And just like that I ended up living alone in an old Victorian house. I could never part with the place. That would seem too much like betraying their memory.

When I was a child, I had thought the house was haunted. The way the wood groaned as it shifted on the foundations. It sounded too much like a person for something not to be living in the walls. My father was a kind man but a rational one too. He tried comforting me by explaining ghosts and goblins were not real. But my mother had lived in the house all her life and knew as well as I did there was something

there with us.

One day when I was alone in the kitchen, not long after they died, I thought I heard the sound of scratching coming from the bathroom. I rushed upstairs and flung open the door. But when I stepped inside there was no one there. I almost turned away when something caught my eye.

Scraped into the mirror was a message, YOU ARE NOT ALONE. I almost screamed. But I did not. The presence I felt all around me was not a malevolent one. If anything, it felt familiar. It wasn’t my parents; of that I was certain. Was this the spirit I had always felt beside me when I was a child?

I tried to shake myself free of these unsettling thoughts but you see the spirit was not done with me quite yet. Sleep was uneasy that night. I felt her eyes on me.

A single red rose was on my pillow when I awoke. It was pale, drained of all its life but someone had removed the thorns.

I don’t feel as scared as I know I should be. And I find myself wondering what sort of flower would please a ghost.

PHOTO CREDIT: UNSPLASH

“When I was a child, I had thought the house was haunted”

creative writing

10

Romance By Alya Lumnack

S

amual sat staring straight ahead, trying to not let his anxiety show.

Fingers skittered a beat on the table. He uncurled the hand, forcing it flat. The other twisted knots in his locks. He untangled the mess and steadied the hand besides the other. Samual wasn’t doing well hiding his nerves.

He’d never speed dated on an intergalactic scale. His family and friends’d be pissed if they knew he was here.

They’d tried setting him up with other humans. But they’d accidentally set him up with a person he’d dated a few years back. He put an end to their insistence on matchmaking. He never cared about the species thing. There were no laws against it. In fact, many actively encouraged it.

As long as it was consensual, legal, and sentient, no one cared. Except the species loyalists. And he didn’t agree with them.

A bell ringing brought his attention to the others as they approached him and the rest of the seated group. His first date sat in front of him.

He had dated other species before. Never openly because those closest to him would reject him. In the end it wasn’t enough for his partners. They left him. He was heartbroken. He understood though. No one wanted to be a secret.

With each new date, he tried to get his head in the mood for dating. But the judgements from his family kept echoing in his skull.

Maybe he shouldn’t have done this. All of them were friendly, aside from the one who got too friendly with a stray tentacle up his skirt, but he felt no connection.

Until the green eyes stared at him. The shocking colour caught his attention. The endearing, nervous smile drew him in.

‘Hi Samual! I’m Xerixia. I’ll be your date for the next five minutes.’ They said in a soft lilting English, reading his name tag.

Samual blinked in surprise; his translator had been needed for all his interactions.

Humans were new to the wider galaxy.

Narcissus By Michael Baker

I

think, and I honestly can’t believe I’m saying this, but I really do think that mirrors have been unkind to me. It’s not their fault, I suppose; the laws of light dictate that reflection is rejection: everything in the world is every single colour except the one you see it as, the one that’s reflected back to your eyes. Rubies are everything but red. Mirrors, therefore, only show you the things they didn’t want to keep for themselves – the discarded pieces of face, stamped ‘received’ then returned to sender.

It shouldn’t come as a surprise that I’ve always avoided mirrors. Even train windows or puddles can be a problem.

It’s just painful. I don’t care for the way my eyes seem to catch the shadows, or the way my nose points just slightly to the right. Even my ears are uneven.

Sometimes, always late at night and only when there’s no one there to see, I can catch the most fleeting touch of something a little pretty in me, but it doesn’t show up on camera, and it’s always gone by morning.

But I see it now. I see it in his slow, dreamy breathing. In the way that he scratches our adorable little nose against his pillow. I want to bite him.

I trace a finger across his skin with a

‘Hi Xerixia! I’m Samual.’ He said in excitement. Turning red at his redundancy.

Xerixia chuckled, green eyes flashed a spectrum of colours before settling to blue. They swept colour changing hair from their equally changing skin and started talking.

They never stopped, leaving before the event ended. Samual’s nerves quit when Xerixia took his hand. They’d found each other and he wasn’t letting go.

“Green eyes flashed a spectrum of colours before settling to blue”

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delicacy I didn’t know I had before him.

The curve of his shoulder is like nothing I’ve ever seen before, like the buttress of a cathedral, like the flow of honey down a strawberry.

Not everyone was happy when we first came out. Unnatural, they called it. Arrogant.

Self-obsessed.

Disgusting.

“Doubles aren’t people”, they said. They were vatgrown copies, designed to take care of all the little things you couldn’t get to in a day – tools for school runs and eye tests. In the worst cases, they were organ donors. Walking blood banks. You weren’t supposed to love them.

But how couldn’t I? We laugh at the same jokes. We read the same books. He knows how I like to be kissed, how I like to be touched. He knows when to talk, and when to listen. He’s perfect.

I watched him sleep for a long while.

When he woke up, his big blue eyes became mirrors.

And I do not turn away.

“You were’t supposed to love them. But how couldn’t I?”

creative writing

11

Red Flags By Becky Mathieson

I

s it a red flag if my boyfriend says he has an almost irrepressible urge to kill me?

It’s because he’s a vampire.

Not because he’s weird or anything.

I feel bad complaining, he’s a really great guy And as everyone says, nobody’s perfect!

Although most people’s imperfections are things like leaving dirty plates in the sink Rather than having an innate desire to drain you of your blood.

And then there’s the age gap I never thought I’d mind dating someone a bit older than me But five hundred years? It feels slightly problematic I mean, even Leonardo DiCaprio doesn’t date women centuries younger than him.

And when he suggested that he bite me so we can live together for eternity I felt like that was a bit too much of a big step for me right now Because what if we break up, and I’m left as an immortal, cursed to watch everyone I love die?

I don’t know, maybe it’s just me having a fear of commitment?

So I’m not sure I’ve always been one to self-sabotage Maybe these are red flags Or maybe I’m just making a big deal out of nothing?

“Maybe it’s just me having a fear of commitment?”

Down to Earth By Sam Hallam Arthur and Dina are having a picnic on a cliffside in California 1987. They appear to be in their mid-to-late-twenties.

They’re sat on a chequered blanket with a wicker picnic basket and lemonade. They appear as an almost deliberately typical couple.

back then, and yes to a cupcake please.

sorry for each other.

He gets her a cupcake out of the basket and hands it to her.

Arthur: You really wanted to say piss there.

Arthur: then.

Dina: Shut up.

Arthur: Lovely sunset.

Dina: Thank you. What do you mean?

Arthur goes follows.

Dina: Yeah, reminds me of Sardinia, 1684.

Arthur: We hated each other. Shame as well. Lovely scenery.

Arthur: Well you wanna push me off for old time’s sake?

Dina: Too bad you kept whining.

Dina: Sure.

Dina: Three hundred and three years.

Arthur: You pushed me off a cliff!

Arthur: Want a coffee from purgatory?

Arthur: No for us?

Dina: Because you kept whining!

Dina: Nah they always make it lukewarm.

Dina: Oh! One thousand, nine hundred and thirty-eight years give or take.

Arthur pulls Dina into his lap.

Arthur: Ok. See you there.

Arthur: And here I thought your lot were patient.

She pushes him off the cliff.

Arthur: I guess with the sea an’ everything.

How long’s it been since then?

Arthur: Wow… Dina: Obviously that’s not exact. We rarely ever arrive and leave somewhere exactly as a year starts or ends. And I haven’t accounted for leap years cause I was counting in three hundred and sixty fives. Also we were only in some places for a matter of hours.

Arthur: Ahh the Jurassic period.

Dina: Why did you run in an Allosaurus’ mouth?

Arthur: I knew I’d come back. Just wanted to see what it was like... wouldn’t recommend.

(chuckles)

Bit

like

Sardinia

Dina

Arthur: So did you! Because of me you had to leave your home.

Dina: You died and were told to be suck it up and be happy being alone in Heaven.

No wonder you tried to leave.

Dina: (pushing him off) P- get lost! It wasn’t charm we just started feeling

enjoyed

edge.

Dina: I know but still. You had your reasons.

Dina: Course I did. We hated each other

you

cliff

Arthur: Well you knew God would bring me back.

that.

Arthur: Guessing Cupcake?

the

Dina: I’m an Angel not a Saint. (pause).

I am sorry about that.

Arthur: (putting his chin on her shoulder).

So what we were nasty to each other, only took a hundred years for you to realise my irresistible charm.

Dina: I remember the screams.

to

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fashion

12

fashion editor: Caitlin Bennett

Style and Sexuality

S

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By Tabitha Woolcott tyle is often the first thing we take note of when we’re meeting someone, whether it’s over coffee or during inebriated eye-contact on the dance floor. It’s an icebreaker, an enhancer of outer looks and inner personality; it might check a box within your ‘type’.

hanky code, partakers could communicate their exact sexual preferences without speaking a word. Queerness was relegated to secrecy and subculture; like all subcultures, fashion was once again the ultimate identifier, allowing members to determine who was safe – or sexually compatible – with just a glance.

People dress to express themselves, to communicate their ties to career, tribe and community – style often acts as the ultimate identifier.

Today, we’re moving closer than ever to a country where it’s safe to be out and proud.

When you’re dating, you might look for someone who dresses a certain way because it means your lifestyles are compatible.

When you’re queer, this is especially, historically true.

It’s no secret that queer sexuality and fashion have long been tangibly linked. Through the ages of criminalised homosexuality and almost universally normalised homophobia which kept queer people restricted to the closet, queerness had to be communicated through symbols and suggestion. This was done through the subversion of gendered fashions: 19th century lesbians like Anne Lister wore black and incorporated men’s jackets, gay men plucked their eyebrows, wore finelaced shoes and cross-dressed within safe spaces. Colour was also used as a symbol.

Violets were adopted by the community for their origins in Sappho’s verse, each stripe of Gilbert Baker’s 1978 pride flag was saddled with meaning, and through

Simultaneously, other aspects of queer culture are being accepted and adopted more widely: for example, the disregard of stereotypically gendered fashion.

While it’s no longer a survival tactic, the concept of ‘queer style’ lives on – however, it’s a much broader and more flexible term, and ranges between individuals thanks to the rise of personal style. Still, the most discernible common root of modern-day queer ‘identifiers’, from Doc Martens to dyed hair, remains the subversion of traditional fashion.

Some feel that the mainstream adoption of many traditionally queer aesthetics (butches’ carabiners clipped to cargoes, for example) makes it harder to present as visibly gay; as a femme lesbian, I often share this sentiment. But it could also be said that any style on a queer body is a queer style, and that it isn’t our clothes alone that communicate who we are – the person wearing them imbues them with meaning, overall.

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fashion

13

Awards Season: Who Owned the Red Carpet

I

f there is one thing to be said about this award season, is… that’s a lot of red, off the carpet too.

And if we mention red, my mind is instantly drawn to Barry Keoghan - fully dressed and not loitering around drain holes. His Golden Globe outfit included a red checkered Louis Vuitton tuxedo paired with pearly accents, notably the traditional bowtie was replaced with a pearl necklace and another nod to his Saltburn character, a Tiffany & Co brooch in the shape of an antelope.

Overall, a refreshing and exciting look that I hope signifies the revolution against men only wearing black suit and ties.

Other honourable mentions at the Emmy’s include Camille Morrone in a 90’s sleek, jewellery-less, candy-apple red gown, Christina Applegate who adorned a red velvet dress, so good I could eat it, paired with a cool staple shoe, Doc

W

Martens. Suki Waterhouse, turned up wearing a vibrant Valentino gown with side cut outs and an oversized bow, all drawing fantastic attention to her pregnant belly – mother was indeed mothering. However, it’s Liv Hewson who takes the cake with what British Vogue call their ‘genderless suiting’. We saw them adorn a tuxedo tailcoat with cropped jacket and dramatic wide legged trousers accented by the delicate, floor draping tailcoat ends. Hewson also swapped out the what-have-been white tuxedo shirt for skin, showing off the edges of their top surgery scar and an oyster tattoo front and centre on their sternum. Simple, yet packs a punch.

Others, not so great.

Aubrey Plaza’s Emmy dress, that resembled that of a post-it note sparked a lot of trolling online (do we still use that word?!), many writing their own witty remark onto the dress. My personal

By Lizzie Bray

favourite includes the homage to the break-up-note from one of the many exflames of Carrie Bradshaw, ‘I’m Sorry. I Can’t. Don’t Hate Me.’ In reality, the awards season carpet is an extension of the theatricality we see on screen, more depth than a post-it note hopefully, and I couldn’t resist but to address some Taylor-lore about Swift’s Golden Globes look. Is her shimmering green Gucci dress an easter egg? Is Reputation TV coming?

As we exit these wintery months and look forward to more sun in spring, we can expect to see this influx of red turn into shades of cool blushes and purples paired with pistachio greens… pastels, for spring.

Ground-breaking. Although If I could predict anything, I’d want to know what did Kylie say to Selena? The old Timmy can’t come to the phone right now?

Don’t Wear Them, Style Them

ith spring fast approaching, many will be feeling the need to switch out pieces in their wardrobes to get ready for brighter and more colourful days. However, this doesn’t mean that you need to go out and buy new clothes specifically for Spring!

One of the best ways that you can prepare for the changing seasons is learning how to make pieces in your wardrobe last longer and how to style them to get the most wear all year round.

Spring is one of the easier seasons to dress for as it is about layering lighter pieces to remain warm but also bringing in bright colours and pastels as we move towards summer. Learning how to style outfits has become extremely popular over the last few years, moving away from quick trends to timeless long-lasting styles.

Some of the best styling pieces we will see in the upcoming Spring season are colourful, and most importantly practical, jackets over the top of neutral outfits, or bright colourful bags and accessories for a pop of colour. Some of the best and easiest styling pieces for spring are trench coats, lighter jumpers and relaxed shirts, all of which are perfect layering pieces all year round and are versatile for creating a large number of outfits for any occasion, day or night. Even though we

By Jasmin Knock

value color at this time of year, neutral outfits should not be seen as plain and boring, with the right styling they can be bold and beautiful.

Personally, one of the best ways I have found to make pieces in my wardrobe last longer is by making sure to not overwash delicate items like knitwear and always making sure to follow washing instructions given on the care labels.

Whilst it might sound self-explanatory to follow care labels, many items that end up in landfills are because they have been washed incorrectly and are no longer fit for purpose. Knitwear, especially materials like wool, are delicate but with the right care remain timeless classics that will last multiple seasons.

Being critical of pieces before you buy will also help make sure the items in your wardrobes become classics rather than a trendy one-time wear that will be ‘out of fashion’ come the end of spring or summer.

Another way in which you can make clothes last longer is by being more critical and thoughtful of the clothes that you buy. One of the biggest flaws of spring and summer wear is that as we get into the warmer months, clothes tend to become airier and lighter but will contain materials that are not fit to last such as light polyesters. Whilst not everyone will have the budget to make more sustainable purchases, trying to buy clothes made of materials such as 100% cotton will give them a better chance of lasting more than one season and will be more costeffective long-term!

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fashion

14

A Ballad of Corsets and Fascinators: Tales of Fashion Eras

By Caitlin Bennett

O

nce upon a time, when there was no such thing as crop tops and booty shorts, fashion revolved around the most modest of clothes in order to make oneself more attractive to a potential suitor at court, or show off one’s wealth to the masses.

One flawed decision or false move could leave your family’s reputation ruined and your chances of marrying advantageously, very slim.

Let us glance back to times when personal expression was not as free as it is today, to when society and rules of propriety were powerful influences to style and fashion.

In the eighteenth century, fashion became much more of a playground for designers, beginning to take its place in artistry.

It was the height of bodices and corsets, with a colour palette of pastels and light colours.

When it came to what was worn below the

waist, the bigger the better - blossoming gowns with a large circumference. This extended to accessories, with extravagant bonnets and experimental collar designs.

There was a rise in less formal wear in the nineteenth century – think the tracksuit sets of their day! Corsets were not a thing of the past, but were designed to be much more wearable and comfortable.

Women began to dress more practically, adopting jackets and binning their lace bonnets.

However, it is crucial to note that the early part of the century was the Regency era, when the Bridgerton’s would still be gossiping behind closed doors about hastened marriages and growing waistlines.

In the twentieth century, we see a quicker pace to fashion with the rise in industry, marketing and commercialisation.

Influencing factors included the rise in technology, the ability to print easier, cheaper and bigger which allowed for advancements in advertising, as well as the radio and television being used for marketing. Another great influence in the UK were the World Wars, impacting fashion

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trends as the country put a stop to lavish luxuries to crack down on the use of resources, making sure everything possible was being put towards the war efforts.

So what can we learn from the tales of the fashion past?

We learn that freedom of expression is a crucial element of self-identity and personality, and that our society needs to continue to work to be the most inclusive and flexible place it can, and to allow to the choices of individuals, that historically not everyone was able to make.

film

15

film editor: Ore Adeyoola

Let’s Talk About Sex: An Argument for Sex in Film

F

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By Micah Petyt

or as long as there have been movies, there have been sex scenes. Whilst many early pre-20th century moviegoers considered kissing to be obscene, it was only a matter of time before filmmakers found a liking to pornography, erotica, and overall raunchiness.

And yet, such scenes have been criticized, condemned, and censored by even the most casual watcher, with many crowds saying that movies today contain too much sex. So, this begs the question: should there be sex on the screen?

In Western culture, loss of virginity is considered to be a core pillar of the coming-of-age narrative. Whether or not this notion is valid, however, is another issue. Still, when used appropriately, sex scenes can work as an effective, cringeworthy, and often relatable reflection of adolescent and young-adult angst. Take Lady Bird, Booksmart, or Edge of Seventeen (1998, a personal favorite of mine). In all three cases, sex is shown in a less-than-rose-tinted light.

It’s gross, it’s awkward, and it honestly kind of sucks, and that’s why it makes for good

cinema. These characters have no idea what they’re doing, and are just as lost as many of the people watching it.

This awkwardness allows for a sense of relief for many viewers experiencing the most uncomfortable period of their young lives, by showing them that there’s no need to rush, because sex isn’t all that it’s cracked out to be.

However, in traditional romance, whilst a fade-toblack could do the trick, and it often does, sex scenes can be just as (if not more) effective. If so, why should one option necessarily replace the other? Take Pretty Woman, or Brokeback Mountain, or Maurice, or the cinematic masterpiece that is Red, White & Royal Blue. Could any of those movies have done without on-screen sex? Most definitely, yet these scenes reinforce character dynamics and serve to further the main couple’s relationship, and sometimes that is more than enough of a reason to put it in.

Nevertheless, sex scenes in cinema can, and often do, have flaws, particularly when sex scenes are used for the

sake of sex, and little else.

Whilst many controversies can be discussed regarding Luca Guadagigno’s Call Me By Your Name, I would regard the infamous ‘peach scene’ as the most prominent example of this.

Though Timothée Chalamet’s Elio using a peach for masturbatory purposes could be considered a representation of Elio’s exploration of his sexuality, it can be argued that the entire rest of the movie serves the same purpose.

Thus here, Elio’s odd sexual experiments are just that: odd and hopefully-unrealistic sexual experiments.

Additionally, in Abdellatif Kechiche’s Blue is the Warmest Color, the long, drawn-out scenes of graphic lesbian sex filmed by a heterosexual male director do little to further the plot or the relationship, instead relying on lingering pornographic shots to appeal to male fantasies. Not only is there an evident lack of queer input on the filming process, but the lack of an intimacy coordinator (which was unfortunately normalized at the time) led to grueling and uncomfortable work conditions for both of the main actresses,

whilst undeniably contributing to a disturbingly successful misrepresentation of lesbian relationships.

So, are sex scenes necessary?

No, not exactly. However, is anything? Sex is part of life, like kissing, or violence, or crime. It’s as real and human as any other interaction, and should be displayed as such.

Whilst some directors may use such scenes in excess, that’s not an excuse for it to be altogether wiped from our entertainment, no matter how uncomfortable it may be to watch them with your parents.

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film

16

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You Need to Watch Yorgos Lanthimos’ Poor Things

I

By Issac Arif f you need a push to watch Yorgos Lanthimos’ Poor Things, you need to know that a Frankensteinian Emma Stone works in a brothel with penisshaped windows; and if that isn’t enough to entice you, then this film probably isn’t for you. It is audacious, hilarious and one of the most beautiful sagas of liberation in recent years, even with all the penis windows.

Bella Baxter (Emma Stone) is given a second chance at life by whom she calls God (Willam Dafoe). We see her stumble around as an adult toddler, shouting “Baa!” and transforming into a new woman who says, “Ideas are banging around in Bella’s head and heart like lights in a storm”.

Bella takes the audience on a journey through defiance of society, and she learns to exist against the grain completely; her exposure to the world of sex and literature gives way to that freedom.

Stone has described Bella’s mind as inspiring, and in many ways, she is. Her new brain gives a clean slate without harmful societal expectations and rules.

She still faces the horrors of the world, but she learns through exposure to choose

a life for herself, not for the men who want her to be locked away through protection, marriage or sex.

The slimy and weirdly charming Duncan Wedderburn (Mark Ruffalo) whisks Bella through the beginnings of her sexual awakening, in a relationship which births Bella’s excitement and eventual neutrality towards sex. It’s both funny and disturbing, with Jerskin Fendrix’s ringing score reminding you of their power imbalance. Bella encounters more hurtful men through her travels, defying them at every turn. It could have easily concluded in a nihilist manner, but instead, Poor Things is an ode to those who live for themselves, their hunger to learn and do good by those who deserve it.

Yorgos Lanthimos is not known for inspiring stories by any means; his last collaboration with Emma Stone, The Favourite (2018), was a very gay and very ruthless battle for the affection of a royal, and before that, The Killing of a Sacred Deer (2017) was a shocking look at Grecian mythology. But Poor Things seems like the film he was waiting to make; he doesn’t sacrifice any of his weirder tendencies because of the bigger budget.

If anything, it has allowed an entirely new Lanthimos world to emerge, one that is as glorious as Bella Baxter herself.

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Films to Look Forward to in 2024

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By Lizzie Kings

f the current cinematic landscape is anything to go by, we can expect the upcoming films of 2024 to be star-studded, sensationally camp and above all else, sexy. This year, there’s something for everyone.

For comedy fans, follow Margaret Qualley and Geraldine Viswanathan in Drive-Away Dolls, a road-trip-comedy featuring Jamie, a lesbian suffering with post-break-up-blues, and her friend Marian as they get tangled up in criminal affairs. Coming to cinemas 15th March. The trailer fulfils a desire to see realistic queer relationships portrayed in Hollywood.

The 19th April release of Love Lies, starring Kirsten Stewart and Katy M. O’Brian, this romantic-crime-thriller follows gym manager Lou who falls for bodybuilder Jackie, but things take a dangerous turn when their budding love sparks violence, throwing them into the sticky operations of Lou’s criminal family.

The sexy drama continues firstly on 26th April with the sports film Challengers. The film features the tennis throuple of Zendaya, Josh O’Connor and Mike Faist. Need I say more? We all felt the rain on our skin when we saw the 2023 hit, Anybody But You and now we must pass the baton to the Netflix special, A Family Affair (17th November), which stars Joey King, Zac Efron (yay!), and Nicole Kidman (double yay!). No one else can speak the words on your lips and these words are – the romcom renaissance is coming!

The highly anticipated Joker: Folie à Deux, a musical featuring Lady Gaga’s interpretation of Harley Quinn, releases later in the year on 4th October. The theatrics continue with Wicked (27th November), starring Cynthia Erivo and Ariana Grande.

However, with the tabloid drama of Grande’s affair with co-star Ethan Slater, I question whether this will leave a stain on the performance. Overall, 2024 is sure to be an exciting year for film!

film

17 PHOTO CREDIT: UNSPLASH

Girls with Guns: Eileen’s Women in Psychological Thrillers

By Lamorna Peake

T

here is something so tragically seductive about a cigarette. The intoxication of the smoke, the euphoric image of relaxation as it fills someone’s lungs, yet all the while knowing it will eventually destroy them. Pair that with a glamorous, old-Hollywood-style blonde played by Anne Hathaway and it’s understandable why Thomasin McKenzie’s Eileen becomes so obsessed with her.

William Oldroyd signed off 2023 with his female psychological thriller adaptation, Eileen, a twisted thrilling romance turned crime story that gave a promising plot a rather disappointing ending. However, what makes this film so alluring, is the central relationship between Eileen and Rebecca – the very image of Eileen’s desires, and how their relationship changes as the narrative unfolds.

Unfortunately, Eileen is a character devastated by infatuation; she lives an extremely dull life caring for her alcoholic father whilst working as a prison secretary. Her craving for excitement is clear from the very beginning when we watch her fixation with a couple having sex in their car, and later publicly masturbates to the thought of a prison guard. This film does not shy away from female sexual desire, but Eileen often achieves her pleasures in perversive ways. However, for all her attempts at finding pleasure, nothing feels quite so good as Rebecca. Eileen soon becomes obsessed with her style, mannerisms, personality, mimicking her in every way, and the root of this desire soon comes into question: Is it that she is falling in love with Rebecca, or the thought of becoming Rebecca?

Eileen certainly carries similarities to Todd Haynes iconic Carol, however, is nowhere near as openly queer. Whilst there is a definite romance between Eileen and Rebecca, her unreliability as a protagonist makes it harder and harder to discover either of their true intentions towards one another. Anne Hathway’s captivating performance as Rebecca inflicts the noir femmefatale, using her sex appeal as a weapon. This theme of strong women taking advantage over others, especially men, is common for the female protagonist within this genre, and we expect her, initially, to be Eileen’s downfall. So naturally, it is a shock when we discover Eileen to be the more vicious of the two, yet some part of us always expected the worst from her.

Her dark thoughts and obsession with danger make Eileen a rather unlikeable character, yet simultaneously paints a diverse picture of the female psyche, inviting us into the thoughts of women who would do anything to escape their monotonous lives.

With a rather ambiguous ending, Eileen leaves you with many questions, and a romance that is both destructive yet gripping.

The film battles between the depth of female desire and the consequences of giving in. Eileen’s superb acting, dark sensuality, lust, and violence allow for an intriguing premise, though the short runtime and vague resolution leaves an element of frustration, a craving for something more to feast on, yet ultimately left unsatisfied, rather like Eileen herself.

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tv

18

tv editor: Lucy Potter

How The Traitors Mastered Reality TV

By Lucy Potter

S

*SPOILER WARNING* eries Two of The Traitors dominated most of January for me and millions of others. The show sees 22 strangers arrive at a castle in the Scottish Highlands, before host Claudia Winkleman chooses her ‘Traitors’. In this series, she chose three Traitors, with the remaining 19 players being the Faithful. Throughout the series, the players work together in missions to add money to the prize pot. The Traitors meet each night to decide which Faithful they will murder, while the Faithful must work out who the Traitors are. Each day ends with a ‘Round Table’ discussion, in which the players argue and question each other to try and find a Traitor. They then vote on who to banish, and the banished player reveals whether they were a Traitor or a Faithful. In the final episode, the players decide whether they want to end the game.

If they are all Faithful, then they share the prize pot, however if there is at least one Traitor still in the game, they take all of the money. All of this makes for a surprisingly intense show, which I didn’t expect to find myself so heavily invested in.

Until about halfway in the series, the ‘main’ Traitor was Paul. He definitely saw himself as the leader of the group, and earnt the trust of his fellow players. In episode three’s mission, he was voted the most popular member of the group, which was definitely useful for removing any

suspicion that people had. He manipulated the Faithful in the Round Tables, most notably by utilising his real emotions to make himself seem even more innocent.

Paul was the ultimate panto villain; he knew how to play the game. For the first half of the series, he was truly the gamemaster, and he had all the other players exactly where he wanted them.

Paul’s fatal mistake came when the Traitors had to choose four players to put in the castle dungeon, with one of them being murdered the following night.

In what Paul thought to be a genius move, they chose to put two Traitors and two Faithful in the dungeon. In the next day’s mission, Andrew (at the time a Faithful) was chosen to be saved from the dungeon, leaving the two Traitors with Faithful Meg at risk of murder. This plan could have very easily been unravelled, because if Meg was then banished then the Traitors had no-one to murder that night.

Luckily for Paul, his fellow Traitor Ash was banished instead, and Paul spent the evening pretending that he was worried about being murdered. The next morning, many players were convinced that Meg was a Traitor and that Paul would be murdered overnight. However, when Paul turned up to breakfast instead, suspicion was only raised by one or two players. Somehow Paul was still flying under everyone’s radar, despite his dungeon plan failing entirely. His acting skills couldn’t save him for much longer though, as he was banished four episodes later. Paul’s banishment resulted in one of the best

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moments of the series, as he marked the end of his time in the castle with perhaps the most iconic bow in TV history.

“Paul was the ultimate panto villain.”

One of the only players to ever suspect Paul was Jaz. He was easily the smartest Faithful in the game. He always seemed to have the Traitors sussed out, and he had worked out their plans throughout the game. His biggest flaw lied in the other players. None of the others trusted him as much as they trusted Paul, so Jaz felt he could never stand up against Paul.

It was only once other players started looking towards Paul that he could give his evidence. Dubbed ‘Jazatha Christie’ by fans of the show, his detective skills got him surprisingly far in the show, getting down to the final three. It seemed he had done just enough to win, but he failed to break the bond between Mollie and Harry in the final. Despite this, Jaz will certainly go down in history as one of the best Faithful players.

Which brings us to the final two: Mollie and Harry. As the youngest two players in the competition, they bonded very quickly at the start. Mollie trusted Harry almost immediately, and often brought up how she would want to be in the final with Harry so they could ‘share the money’. Harry, being a Traitor, knew that he would have to betray her if they both made it to the final. As they made it closer to the final, and their friendship grew stronger, it >

tv PHOTO CREDIT: UNSPLASH

19 > was clear that this decision was weighing very heavily on Harry’s conscience. Both players did make it to the final (mainly because Harry never chose to murder Mollie), and they were both in the final three alongside Jaz. Harry and Mollie both chose to end the game, as Mollie believed that Harry and Jaz were both Faithful. Jaz instead voted for the game to continue, as he rightly believed that Harry was a Traitor. This was followed by such intense television as we saw Mollie battling with her conscience. She first wrote Harry’s name on her board, before changing it to Jaz. This resulted in the final scenes where Harry had to break Mollie’s heart by revealing that he was a Traitor, therefore taking the entire prize pot for himself. This raised many questions among fans, mostly asking why Mollie would vote Jaz out when he wanted to vote again. If Jaz was a Traitor, surely he would want to end the game so he can take the money, much like Harry did. Mollie later explained that deep down she probably did know Jaz was right,

Love Beyond Life in Ghosts By Ellie Taylor

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but she didn’t want to believe that Harry was a Traitor.

Ultimately, The Traitors was one of the most intense, emotional TV shows I’ve ever seen. I could (and probably will) write for much longer about all of the cast, as they all made it so incredibly entertaining. I haven’t even touched upon the whole Ross/Diane scenario, or Jonny’s banishment which is still so upsetting.

The way that the narrative was set up for Paul to be the supreme Traitor, only for him to fall within a few episodes was so perfectly curated. Claudia is such a good host as well, she brings just the right energy to the show. Usually I’m not a fan of reality shows at all, but The Traitors just seemed to be different.

The competitors are actually interesting people, and the missions bring an enjoyable variation to each episode. I’m already looking forward to Series Three, but for now I’ll just carry on watching TikToks about the most iconic moments of the show.

PHOTO CREDIT: UNSPLASH

*SPOILER WARNING*

023 saw the end of the four-year running BBC comedy series Ghosts.

The show was written, directed and performed for all five of its series by the ensemble most well known for being the original CBBC Horrible Histories cast. Covering a number of characters between the six of them Mathew Baynton, Simon Farnaby, Martha HoweDouglas, Jim Howick, Laurence Rickard and Ben Willbond tell the story of Alison (played by Charlotte Ritchie) and Mike Cooper (Kiell Smith-Bynoe) after they unexpectedly inherit the stately home named ‘Button House’ following the death of a distant relative. After an injury, Alison acquires the ability to see and interact with the numerous squabbling ghosts that inhabit her new home.

The first series humorously covers the struggles of co-habiting with people that can walk through walls and which only one of you can see. Not only this, but with new roommates that come from eras that span thousands of years, finding common ground becomes somewhat of a pressing issue as they all learn to ‘live’ stuck together.

Yet, despite the initial ‘Gorilla War’ throughout the series, each one becomes accustomed to the other, learning their likes and dislikes, the ‘faults’ in their own characters and of the others - and this all culminates in an incredibly heartwarming story, which, whilst offering laughs, also picks out what makes us human, making viewers look both inward and outward to see the connections between themselves and those around them.

Amongst other episodes which show the comedy in the mundane when living with ghosts, each of the ghouls have their own personal episodes. Many of them tell their own death stories when they feel comfortable enough to, which again adds to the feeling of togetherness that this show promotes. With each of them having to build the courage to tell their story it is unfortunately no surprise that the final story to be told is that of the captain. Played by Ben Willbond, The Captain is first introduced to us as a head-strong, authoritarian character which goes along well with his pristine World War II British Captain’s uniform.

We get our first glimpse of the Captain’s backstory in the Series Two episode Redding Weddy, in which he loses his right-hand man to conscription to the Northern African front. The solemn and intimate tone of this episode implies a forbidden romance between the two – onesided or reciprocated we don’t know, but nothing explicit enough for viewers to be certain. However, in the final series episode Carpe Diem, we witness his death story, as he succumbs to a heart attack at a military party being held at what became ‘Button House’. But as he laid, falling out of consciousness, his righthand man, Lieutenant Havers came through the crowd, gifting him the swagger stick that the captain had been seen clutching for the five previous series.

This act alone is enough to solidify the bond which the two shared, however what was unusual about the Captain is that his name was never revealed, until

that moment. Havers called him by his first name in the moments before he died and having never been called ‘James’ by anyone else in the series to that point, it becomes an incredibly intimate moment, which by sharing, he in turn reveals his sexuality to the surrounding ghosts and is of course supported.

Even in just a small introduction into one of the ghosts’ stories it’s clear how deeply the writers have considered the impact of different events on people’s lives, and how long they can be carried for. The intertwining of stories between ghosts is even more touching and I highly recommend you to watch and see for yourself.

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Review: The Curse By Isaac Arif

C

alling a piece of media underrated has become vapid as of late, and it is a saying I personally avoid. Still, if I were to say any television show is underrated, I would say The Curse, which is criminally so.

The Curse is an uncomfortable fable about gentrification, white saviours and exploitation in reality television. It gets under the skin, moulding itself into a blend of satire and surrealism by its triumphant finale.

We follow the newly-wedded couple Asher (Nathan Fielder) and Whitney Seigel (Emma Stone) as they attempt to make a reality show, following them create an eco-living community in the New Mexico town of Espanola. Ethical issues quickly arise, and tension builds as Asher’s TV producer friend, Dougie (Benny Safdie), gets more involved in the couple’s life. The Curse in question occurs in the first episode, Land of Enchantment, when Asher is ‘cursed’ by a young girl. From here, we see the couple flicker between disarray and quiet chaos, crumbling under the pressure they’ve created for themselves.

Nathan Fielder stars, writes and even directs several episodes; with this in mind, The Curse acts as a self-reflective piece. In his previous shows, Nathan for You and The Rehearsal, Fielder is known

for experimenting with fact and fiction, where he plays exaggerated versions of himself that are sometimes awkward or uncomfortable. Now, he has taken his television persona to new heights. Asher Seigel is in some ways reminiscent of Fielder’s previously constructed image, a slightly monotone Jewish man working in reality television. But Asher is more sinister and a character to laugh at rather than with. He is a clown. As an audience member, the distaste for Asher’s ‘cringe’ jokes, intense personality and actions could put viewers off the show, which it did for many, earning itself a 40% audience score on Rotten Tomatoes weeks before the show reached its conclusion.

You may be distrustful of my review with this percentage in mind, but I think The Curse has been misunderstood by many, and I think we should give it a second chance.

“These characters demonstrate that peoplepleasing is a punishment for yourself and others.”

Asher acts as the worst incarnation of Nathan Fielder. It is a thoughtful and fine-tuned performance that twists further and further in each episode.

With Fielder’s prior self-inserts in mind, The Curse is his most vulnerable

and self-critical television show yet, making it a great example of nihilistic self-reflection. The decline in audience numbers is devastating because Asher’s character development reaches its peak in the finale. The show gradually unfolds its concepts and culminates in a mind-bending ending, which is hard to discuss without spoiling, so I won’t. Just know that you certainly cannot predict how this show ends, don’t waste your time trying.

The Curse mostly deals with issues of gentrification and the failures of white liberals. Asher and Whitney don’t act with care towards the community they are intruding on, and conduct themselves as though owning indigenous land and selling it to rich people from other places is somehow ethical if you smile enough.

These characters demonstrate that peoplepleasing is a punishment for yourself and others. It stops us from genuinely considering our actions and listening to others, a topic not many TV shows have explored in such a nuanced way. Whilst it is made abundantly clear that Asher and Whitney are wrong, they still feel painfully real and maybe that is why The Curse is one of the most haunting programmes as of late. Nathan Fielder has turned a mirror onto a performative society, unveiling how selfish we can be in the face of generational trauma.

What Are The Concrete Editors’ Favourite On-Screen Relationships?

Sophie Handyside, Books Editor Sally Rooney has a knack for creating the most insufferable, flawed, frustrating characters and coupling them up; I can’t get enough. When I watched Normal People for the first time in 2021, I was between saying goodbye to my youth in the middle of nowhere and moving to a city five hours away. I dreamed of becoming Marianne, gaining both her confidence and fashion sense, but wound up as Connell. The pair in school are almost bad for each other, the power dynamics and secrecy are painful, Connell’s dismissal of Marianne is unforgiving, and they are awful communicators at university. Yet, I reach the final episode and mourn what they had. As Marianne cups his cheek and the tears roll, “We have done so much good for one another”, she reflects how the relationship shaped them into the people they became. “I’ll go”, “And I’ll stay, and we’ll be okay”, isn’t the heartbreaking ending many claim it to be, but comforting, as both Marianne and Connell are finally communicating their unconditional love. Is it saying goodbye or see you later?

Ellie Dharamraj, Social Media Manager Hal and Lois. They have toxic moments and they are each individually flawed, but some of the best moments from tv relationships come from Malcom in the Middle. They aren’t a perfect couple and they do fight but they resolve situations in a healthy manner; they list what they love about each other until they realise that whatever they were arguing about wasn’t as important as their love for each other! They show a healthy sex life and a relationship where two people are so unbelievably in love and obsessed with each other. It’s so rare to see a tv couple who actually like each other let alone love each other.

Cordelia Gulbekian Faram, Travel Editor When I was trying to think of my favourite relationship on TV, my first thought was Jim and Pam from The Office. Maybe it’s because I’m rewatching it currently, but since the first time I watched it, I’ve always loved their relationship. It’s real and difficult, and we see their journey throughout the show; they are in other relationships but still wanting each other and keep missing their chances. All the way through you are rooting for them to be together, and when they finally are, their relationship makes sense. My favourite thing is that their relationship is based around their shared humour, that’s how their friendship began and it is always what brings them together.

Eve Attwood, Concrete Co-Editor-in-Chief One of my favourite relationships on screen is between Isak and Even in the original Norwegian version of Skam. This is a TV show set in Norway which focuses on a different character each season, much in the way Skins UK does. This was one of the first shows I watched as a teenager that showed a same-sex couple, how they struggled with embracing their sexuality, their fears about what others would think of them, and the true happiness they felt together. One of the characters in the relationship - Even - struggles with bipolar, and though he is hesitant at first to tell Isak, his honesty only makes their relationship grow stronger. I think of it as the show that helped me come to terms with my own queerness, and that encouraged me not to necessarily put a label on that, but to just love whoever I wanted to love.

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music editor: Lily Taylor

The Noughties in Norwich Puppet Theatre

PHOTO CREDIT: UNSPLASH

By Ella Hamlin

T

he perfect start to the month: taking a trip down the sentimental path and experiencing a night featuring the best music of the noughties. More specifically, noughties girl bands. ReWork returned to The Norwich Puppet Theatre once again to showcase the music of local Norfolk artists. This time round the audience was lucky enough to hear music from Santa Rita, A.N.G. and Macie Nyah, as well as an opening set from the house band.

including some audience participation to accompany her single Alone Forever which was the complete opposite to how the title sounds - a catchy dance party anthem with relatable lyrics.

Regarded as “the horniest songs of all time”, the artists were all given some of the top hits that defined the first years of the millennium. The house band took to the stage with a cover of Just a little bit by Liberty X. The cover was slow, sultry and featured a seamless blend of harmonies between Alexander Carson, Kitty Perrin and Milly Hurst.

A.N.G. took to the stage bursting with charisma. She is the perfect entertainer, as well as a hip-hop artist. Regularly presenting on BBC Norfolk, her radio presenting personality shone through her music and commentary before each song.

She was mesmerising to watch and sung with an effortless energy. Her cover of Beep by The Pussycat Dolls was slickly executed with a personal touch of audience participation yet again. She added her sharp attitude to the rhythm of the song.

She is a rap artist who immensely supports and represents the R’n’B women of East Anglia, and I felt very lucky to be able to see her perform that evening.

Next up, Macie Nyah took to the stage in all her pink glory. Coming over from Great Yarmouth, Macie is a pop bubble gum pink icon. She covered the Sugababes classic Too Lost in You, notoriously known for its feature in Love, Actually – as Macie reminisced. The song was reworked into a fast paced, dance bop; immaculately capturing Macie’s upbeat style. She created an intimate atmosphere with her performance, inviting audience members to join her closer to the stage – which was a commonality between all the acts. Macie Nyah knew how to hold your attention,

Finally, Santa Rita closed the night with a captivating folk-rock performance.

Only having released their debut single in 2023, Santa Rita performed with smooth vocals, organic harmonies and an intriguing collision of instrumental sounds. Their cover of Hole in The Head

by Sugababes was deep and passionate, a complete contrast to the pop original.

They had that timeless 70’s American rock band charm to them that was incredible to hear live. They were the perfect finale to the dreamy journey of listening to the array of genres at ReWork.

PHOTO CREDIT: UNSPLASH

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Prelude to Ecstasy: The Last Dinner Party Serve a Delicious Slice of Humanity

By Libby Hargreaves

T

he Last Dinner Party (TLDP) are the new Wolf Alice; if you knew them before their debut album, you’ve reached a new level of Cool™ and unlocked the right to look down on mere chart-following mortals.

The band consists of the original trio: Abigail, the lead vocalist who has captured the hearts of many; Lizzie, on vocals, guitar and flute, plus Georgia on bass. Later, they recruited Emily - now lead guitarist, as well as a talented mandolin and flute player of a conservatoire background, and Aurora, on keyboards, synth, organ, and piano her Guildhall talent encompasses their debut album in orchestral beauty from start to finish. Their varied backgrounds create an eclectic sound which lures listeners into their “debauched dinner party”.

I’m quite proud to admit I’m one of the cool ones when it comes to TLDP. I was lucky enough to see them open for The Rolling Stones in July 2022, at Hyde Park, whilst they were still under their old name - The Dinner Party. They were the best opening act I’ve seen to this day, taking the stage as an unknown name but commanding such an overwhelming presence that captivated the audience. I immediately took out my phone to follow them, so when they announced their debut album Prelude to Ecstasy, you might say I was ecstatic.

The album, which dropped on Friday 2nd, has been described as both baroque-pop and alt-rock but in reality refuses to conform to any pre-defined genre. Fans across the country waited in anticipation after BBC Radio 1 named them their Sound

of 2024 - an award which has previously heralded the likes of Adele and HAIM. Now, they’ve hit it big with Nothing Matters at number 22 in the Official Charts and we’ll find out next week how far the rest of the album can go.

Despite their growing popularity, I still feel as if they’re my little secret.

This intimacy is encouraged through the band’s official Discord server, The Parlour, which hosted an online listening party. The first reactions of fans were amazing; one commented “I understand what teenage girls in the 60s felt when they went through Beatlemania now”, whilst another exclaimed “TAKE ME TO CHURCH ABIGAIL”.

UEA will be able to experience the full divine effect of TLDP when they come to the LCR in September, with tickets sure to be in high demand. Their performance is set to be a theatrical marvel, as brave and authentic as the album itself.

The orchestral piece which opens Prelude to Ecstasy encapsulates this authenticity in a daring move for such a highly anticipated contemporary album.

It paid off. This track is one my friends and I keep coming back to when discussing the album, praying to one another that the band’s heightened publicity doesn’t strip them of such touches in their future work, as has been the fate of so many great alt artists. The humanity in those notes transgresses not only our expectations but also gender, sexuality and culture - yet each of those themes are curiously delved into in the songs to come.

A vast emotional spectrum is covered between the first two lyrical tracks on the album; Burn Alive is an emotional piece that presents Abigail’s grief for her father as a commodity, whilst Caesar on a TV Screen is a more upbeat ode to the innate human lust for more, and a criticism of gendered power. This feminist message is one they master, and my main takeaway from the album which simultaneously captures vulnerable femininity, gendered otherness and queer strength. The Feminine Urge, Beautiful Boy and fan-favourite Portrait of a Dead Girl produce eloquent poetry where most of us could only scream. The lyrics hold intimate “confessions directly from diary pages” and empowering storytelling which is wholly embodied by the band members. It feels like a privilege to have TLDP to lean on, and Ecstasy to escape into, when the patriarchal world we live in gets too much.

As the Misogyny in Music inquiry uncovers the depth of sexist exploitation in the music industry, it feels significant to have an all-female and non-binary band become so successful without succumbing to sexualized pop tropes. They present how they want through their clothes, their makeup, their stage presence and their music - and they are unashamed to live authentically. This authenticity lives in Aurora as she mourns the loss of her mother tongue in Gjuda; it lives in Sinner, a huge new sapphic anthem, and it lives in the melancholic reflection of Mirror, the album’s last hurrah. TLDP question their whole identity in their farewell to listeners, concluding with enigmatic instrumentals to rouse us one last time as we exit their dinner party.

PHOTO CREDIT: UNSPLASH

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Sex Positive Artists

By Lizzie Kings

PHOTO CREDIT: UNSPLASH

The album is everything from soulfully sultry to dancefloor drama - her name is Dita, and she will be your mistress tonight.

Whilst Erotica is not as statistically popular as her other hits, it’s still an incredibly iconic moment in sex-pop history. Her influence can be seen in today’s artists, LoveGame by Lady Gaga, that one Sam Smith performance at the BRITS (burned into my memory forever), Katy Perry’s I Kissed a Girl, and even WAP by Cardi B and Megan Thee Stallion.

These songs can have a positive impact on, not only confidence, but the exposure to sexuality. Perhaps WAP isn’t going to be specifically detrimental to the longstanding history of sexual positivity, but the point is all the same;

O

ur first category… songs about sex (positivity)! We have the cheesy throwbacks of Let’s Talk About Sex by Salt-N-Peppa, I’ll Make Love to You by Boyz II Men, and Feels Like the First Time by Foreigner or all the above covered by the Barden Bella’s and Treblemakers – I know you know.

Songs about sex have always been created and will always be listened to. You don’t need me to point out, however, that most popular music is riddled with problematic images of women as sex objects. Blurred Lines by Robin Thicke thankfully had its ten minutes of fame in 2013 and has rightfully been shunned to the land of bad pop songs where they go to die.

The restrictions of genre do not limit artists to displaying a positive attitude about women’s bodies and sex.

Even rap and hip-hop, which has a bad reputation for objectifying women, has some consensual gems like I’ll Call B4 I Cum by Outkast, Loungin by LL Cool J, and Fantasy by Ludacris.

Although, no one can quite sing about sex like the Queen of Pop, Madonna. What with her cone shaped bra’s and 1992 ‘coffee table’ book, she is known as a leading sexual icon of the postmodern era. She promoted safe sex at the height of the AIDS crisis and consistently supported female and LGBT individuality, not only regarding sex. Her album Erotica, released in 1992 (amidst the HIV/AIDS epidemic), touches upon taboo themes like S&M and homophobia. Where Life Begins includes lyrics such as, ‘That’s where my love is / Colonel Sanders says it best / ‘Finger good, licking good.’

a world without Katy Perry’s cherry Chapstick isn’t one I’d like to live in.

Sex positivity amongst feminists in music cannot be mentioned without the impact of punk. There’s a riot grrrl in all of us and sometimes I need a little angst in my life. A band like Bikini Kill sets the tone with Rebel Girl for contemporary artists like BoyGenius and specifically, Just A Girl by No Doubt, and Fucked My Way Up to The Top by Lana

Del Ray. The explicit lyrics paired with an audacious female perspective are the foundation for these fan favourites.

Female desire is an important message to convey in music because it is quite literally what makes the world go round.

However, the complexity of sexuality is what the culture of sex positivity should start to lean into. Sex positivity at its core is a shameless exploration, yet stigma is still very much alive and breathing and I sometimes ask myself, Is there such a thing as ‘too much’?

Breaking through the stigma of sex in music is uncomfortable and it constantly flirts between the line of creative necessity and lyrical pornography. I attended the 2018 Jay-Z and Beyonce tour and during a deliciously saucy rendition of Feeling Myself, my mother turned to me and aghast, asked ‘did she just say she’s feeling herself?’. Yes. Yes, she did. Even though boomers have lived through the “let’s get physical” era of Olivia Newton John, another unfortunate victim of a Glee-ification, there will always be a shock factor. And well, I suppose we’ve got to be thankful for every aerobic-themed-body-talking lyric that highlights the positivity of sex.

PHOTO CREDIT: UNSPLASH

w/c feb 12

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w/c march 4

Journal Decoration and Writing 15th February, 7:30-9:15pm, UNIO (For more information and to book onto any of these events please email residentiallife.advisers@ uea.ac.uk)

UEA Burlesque Society Chocolate and Cheeks – 20th February, NORWICH ARTS CENTRE Come along to UEA Burlesque Society’s Valentine’s show for a full evening of talented performers! Doors open 7pm, with the show starting at 7:30pm. Get seated tickets on the Norwich Arts Centre website, or standing tickets on the UEA SU website.

(Ticket Prices: £7.50)

The Wizard of Oz – 27th February3rd March, NORWICH THEATRE ROYAL (Ticket Prices: £10 – £58)

Navigate Norfolk: Blickling Estate Day Trip – 9th March, 11am-4pm, (MEET AT THE MEGA BUS STOP ON CAMPUS!) ‘Come and enjoy the beautiful coastal scenery that Norfolk has to offer with this day trip. Enjoy a leisurely spring walk around the lovely estate of Blickling!’

(Ticket Prices: £5 on the SU website)

Propaganda Valentine’s Party 16th February, 10:30pm-3am, THE WATERFRONT Liquid Gender Exhibition – Beginning 17th February, SAINSBURY CENTRE ‘In an exploration of the relationship between gender expression and identity, with a focus on pre-colonial traditions, the Sainsbury Centre will present works by a myriad of internationally acclaimed artists, including new work, UK premieres and new acquisitions.’

(This exhibition is part of Sainsbury Centre’s 2024 What is Truth? Season)

Swiftogeddon: The Taylor Swift Club Night – 23rd February, 8pm1am, EPIC STUDIOS ‘A night dedicated to Taylor Swift: non-stop Swifty all night: deep cuts, extended mixes, fan favourites and all the hits!’

(Ticket Prices: £10 on the SU website)

Clutter City Night and Day Market – 2nd March, 4pm-9pm, 3rd March 11am-4pm, NORWICH ARTS CENTRE Clutter City Market is back for a night and a day market! With a bunch of carefully curated stalls featuring local makers, artists, illustrators and designers, you can choose whether you fancy the Night Market for upbeat vibes with a DJ, or the Day Market for chilled vibes and cake!

Wellbeing Dog Walk – 28th February, 2pm-3pm, (MEET AT UEA SECURITY LODGE!) ‘Take a break and get outside, stretch your legs and let a friendly dog keep you company. Groups will meet at the UEA security lodge and walk around Earlham Park, to give the dogs and themselves some welldeserved exercise and fresh air.’

(Ticket Prices: £1 on the SU website) Spectrum LGBT+ History Month – 29th February, 10pm-2am, BLUE BAR (Ticket Prices: £4 on the SU website)

City Food Trail Storybook Edition - the whole month of March, NORWICH

‘Book worms and foodies will want to get involved in Norwich’s Storybook City Food Trail, running until 31 March. This fun family event, coordinating with World Book Day, celebrates Norwich as the City of Stories and its status as a UNESCO City of Literature since 2012. Over 40 eateries in the city will be offering fiction-themed dishes: think Bruce Bogtrotter’s chocolate cake from Figbar and Wuthering Bites from Grosvenor Fish Bar. Make a George’s Marvellous Medicine colour-changing cocktail from The Last!’

last minute Valentine’s date ideas (if you’ve forgotten to book a table :/ )

what’s on

PHOTO CREDIT: MILLIE SMITH-CLARE

- Go for a (probably cold but cute) walk - bring a flask of hot chocolate and some snacks and bond in nature - Get lunch from the market and have a wander around the lanes - Cook or bake together, even if it’s just a box cake, it’s fun to do!

- Grab some art supplies and have a chilled crafting session together - Drive out to the coast and watch the sunset/ stargaze