Venue Issue 388

Hey everyone, and welcome to Venue!

I’m Louise, the new editor of this amazing arts insert. Two years ago, I didn’t really know what Concrete was - I’d been wrapped up in my life as a fresher, or at a standstill when Covid hit the world. But, at the end of second year, after much encouragment from graduates and current students alike, I thought, heck, why not give it a go? I applied for Books Editor, and in my third year, I finally found my place at UEA. My section became my baby, and I made some friends for life whilst working within this amazing collective. When applying for my MA, I knew I didn’t want to leave Venue, so here I am!

Throughout summer, I’ve been getting to know the Venue team; their voices, their interests, their ideas, and I am incredibly excited to share with you all the amazing work they have been doing. Alongside this new team, we have a whole new design for this magazine – a real attempt at bringing the ‘arts’ to the ‘arts magazine’, as well as channelling UEA by mirroring the Ziggs in our layout. We want to showcase the artistic side of students here – so keep an eye on our socials if you want to have any work featured here.

Over the past few years, Arts and Humanities subjects have taken a major hit. There’s a harmful rhetoric which suggests the arts subjects don’t matter as much as STEM ones. Of course, we at Venue dispute that idea. Without the arts, we would have no Netflix, no theater or ballet, no books, no paintings. We would have no music, we would have no creativity. Here at Venue, we want to remind you why the arts matter so much.

So, alongside my deputies, Lily and Ray, I would like to welcome you to the New Venue. Enjoy!

From left to right: Jess, Alexandra, Tabi, Clem, Rosie, Louise, Millie.

Photo: Prak rita R ahmanPrakrita Rahman

Front Cover Art by Badriya Abdulah

By Louise Collins

Venue editor

Regrettably, I’m not someone who is well-tuned into art, or incredibly familiar with artists of past and present. But there’s one collection for me which always stands out, which al-ways exudes great comfort.

The Van Gogh Arles Sunflowers series will always bring me peace. This

version of his Sunflowers collection comes after his first Paris set - a series detailing dead and dying flowers. The Arles collection, however, shows the flower in full beauty, full life.

Whether it’s when I’m stressed about starting university, or moving into a new house, I find this art collection relaxing. For a while, the fourth version was my phone’s lock screen. Whenever I needed a little burst of happiness, all I would need to do was look down at my phone for a second.

Since then, sunflowers have become a big part of my life. They resemble happiness, new beginnings, and solace for me. All sparked because of Van Gogh’s work.

It has come to the point where many of my friends see

anything related to sunflowers and think of me – and it helps that my wardrobe and accessories are starting to resemble a sunflower field. My phone case is covered in sunflowers, my birthday cards are guaranteed to have sunflowers on them. And at least one of my birthday presents will be related to the beautiful flower.

mind for twelve years.

Sunflowers may not be his most iconic pieces - that award probably has to go to Starry Night or one of his self portraits - but they were considered innovative in their own right. Newly invented pigments meant that new colours were available, allowing Van Gogh to experiment more with a larger variety of yellow shades. His use of the significantly larger yellow spectrum was iconic, with it being the most prominent colour in each of his paintings.

Of course, Van Gogh lived an incredibly sad life, struggling with illnesses people didn’t yet know enough about, but his paintings bring a lot of joy, and a lot of peace to so many people. For me, the Arles Sunflowers represents new beginnings, a new chance to find happiness.

I remember watching the Doctor Who Van Gogh episode in 2010 and my life being altered. Seeing Van Gogh’s character finding his work in the museum, and getting the backstory of his life, made me drawn to his work. It was an incredibly moving episode, one which has stayed in my

Photo Credits: Unsplash, Unsplash, Unsplash, Unsplash, Unsplash, Unsplash

the sunflowers of van gogh

“For me, the Arles Sunflowers represents new beginnings, a new chance to find happiness.”

Visions of ancient egypt, sainsbury centre review

By Rosie KyrinWhite Arts editor

The shrouded mystery of Ancient Egypt has captured imaginations worldwide.

Embedded in modern consciousness, it is often associated with the seductive gaze of Elizabeth Taylor’s Cleopatra, the foreboding curse of Tutankhamen, or even nostalgic Scooby Doo cartoons. Of course, these are popularised Western constructs, built on colonial bias and media sensationalism. Addressing this, Visions of Ancient Egypt is an innovative exhibition which dissects European responses to Egyptian culture to detangle fantasy from reality. It contains 200 works from across the globe spanning two millennia. These include contemporary Egyptian artworks, carefully sourced from private collections. This eclectic range presents a new “refresh-ing narrative” of Ancient Egypt (Benjamin Hinson, one of the exhibition curators), leaving the viewer informed, inspired, and hungry to revisit the iconic period.

The first room is dedicated to historical reinterpretations of Queen Cleopatra. Although Macedonian Greek, she is synonymous with the opulence and power of the Egyptian Empire. In the centre, a marble bust by Eugenio Lombardi (1890s) commands the eye. Here Cleopatra is porcelain white with Aryan features. A serpent encircles her upper arm, perhaps a Christian symbol of the Fall.

Placed behind this classical inter-pretation is Chris Ofili’s oil painting Cleopatra (1992), a joyous, colourful contrast to the sculpture. A regal, black Queen addresses the viewer head on- Ofili subverts colonial whitewashing by conjuring a powerful African figurehead. Nearby, a series entitled I want to look like Cleopatra (Esmeralda Kosmatopoulos, 2020) uses prints of genuine Egyptian coins showing Cleopatra’s profile annotated with facial surgery procedures. The authentic Cleopatra becomes the “corrected” Hollywood version. This play-ful critique of Western beauty standards is both witty and hard-hitting, a surprising gem in the exhibition.

amid to reference the size of St Paul’s Cathedral, placing the cathedral within the pyramid outline. In context, the drawing has architectural logic and shows admiration but at first glance the comparison between the two structures seems comical. From a modern perspective, the sketch commodifies the wondrous ancient pyramid as a mere measuring tool for Renaissance design. The grandeur of Ancient Egypt is also shown in Edward Poynter’s painting Israel in Egypt (1867). This dramatic panorama reimagines the Exodus story of Israelite enslavement. The breathtaking yet turbulent scene brims with detailthe Temple from Philae, the Pylon Gateway from Edfu, the Obelisk from Heliopolis, and the Great Pyramid of Giza are brought together despite being built miles and centuries apart. However, this archeological inaccuracy creates a monumental display of Egyptian innovation, a glorified structural timeline. The crowds of people in the foreground suggest the biblical epics of 20th century cinema.

Sallam’s hypnotic whisper over-lays clips from Georges Méliès 1899 film Robbing Cleopatra’s Tomb. She lovingly humanises the mummy, calling it her “dear ancient ancestor” (who became “a bait to hold our voyeuristic gaze”). In her mixed-media assemblage, The Fourth Pyramid Belongs to Her (201618), Sallam again projects her personal grief onto Egypt’s collective ancestry. She presents her dead grandmother as an Ancient Egyptian, showing her headless body as a pharaoh’s statue printed on a large fabric strip. Sallam conceives a narrative which unites Egyptians with their ancient past, removed from western discourses which dilute and distort their culture.

Photo: Rosie Kyrin-White

There are also surprises in the room “Imperial Visions” which focuses on colonial aspirations in North Africa. A drawing by Sir John Soane (1806-19) uses the Great Pyr-

Although these Western representations are historically informative, the contemporary Egyptian pieces are defiantly original. Multi-disciplinary artist Sara Sallam (b.1991) showcases two thought-provoking works. Her film, You Died Again On Screen (2018-20) is a poetic retelling of the mummy myth.

While at times Visions of Ancient Egypt can seem too critical of European responses, it is important to understand this civilisation’s inevitable influence on our world. It feels wrong to chastise previous generations for their fascination, even though many were likely influenced by colonial objectives of the time. In the words of executive director Jago Cooper: Ancient Egypt’s “art, architecture and treasures are the first port of call for anyone seeking inspiration and a deeper cultural understanding of the great stories of humanity”.

Photo: Rosie KyrinWhite of Israel of Egypt

Editor: Rosie Kyrin-White Arts

the tensions of protest art

By George Barsted Arts Writer

Peace Before Pieces, a mural painted in Melbourne by Peter Seaton, has been painted over after community backlash to its message. The piece featured both a Ukrainian and Russian soldier embracing one another. Its creator says it advocated for a “peaceful resolution” between the two countries but admitted the work may have been “clumsy”. The Ukrainian Ambassador to Australia said it was “utterly offensive to all Ukrainians” and called for it to be re-moved. It raised questions over the ability of protest art to be both provocative and political, and the very role of protest art itself.

Protest art has a long history with images of raised fists and slogans on picket signs but more recently protest art has been used by influential figures to insincerely jump on social causes. David Guetta was deservedly criticised

for his attempts to remember George Floyd and support the Black Lives Matter movement with a cringe-inducing shoutout and beat drop. It’s instances like this, where art advocates justice merely for cheap points and record sales, that portray acts of protest in a bad light. Such work devalues genuine societal struggle and is cheap, lazy, and insincere.

Picasso caused a stir in 1937 with the reveal of Guernica, a huge imposing oil painting featuring gored horses, screaming women, and a dead baby. It highlighted the horrific aftermath of the bombing of the Basque Town of Guernica, raised massive awareness of the Spanish Civil War, and helped to raise funds for war relief. In the case of Guernica, it highlights a struggle and grabs public attention through visceral, cubist techniques. The message is clear from the art and there is detailed, nuanced symbolism in the piece. Compare this to the obtuse and simplistic imagery of Peace Before Pieces and it

a brief history of norwich frescoes by eleanor radford arts writer

When walking around Norwich Cathedral, it is easy for your eyes to be drawn to the bright lights created by the stain glass windows or the curious animal statues dotted around. However, when in the left wing of the church, the winding staircase will lead you to some-thing that could have been almost lost to both time and change. In the Treasury of the Diocese, the walls and ceiling are covered with frescoes. From a technique of mural painting executed upon freshly laid lime plaster, frescoes have been around since 35003200 BC. Becoming big in churches in the late medieval period and the Renaissance, frescoes started to appear in Europe. The frescoes we find

in Norwich cathedral today are medieval and pre-reformation. During the reformation carried out in Henry VIII’s reign, they were white-washed over and covered up. However, through the passage of time, the paintings of bible characters and their stories have been revealed to us again. This was part of the Catholic tradition of iconography, to help bring the stories to life. The covering up of these frescoes, and the change to a protestant church, would have had a massive impact on the Catholic church goers of this time.

One my favourite frescos is the Birth of the Baptist (1490) by Domenico Ghirlandaio. Found in Tornabuoni Chapel, Florence, this fresco shows the birth of St John the Baptist, surrounded by his mother Elisabeth and visitors. As the fresco is situated in Italy, a Catholic country, it has never been under a deformation process like the covering up of the Norwich frescoes. However, frescoes are not just found in churches.

highlights the difference in the quality of attempts at protest art.

In her book, A Brief History of Protest Art, curator Aindrea Emelife describes the problems facing protest art and points to issues presented by it. She says “Art really grasps its power when it becomes part of the public debate, rather than just a form of decoration”. This describes best what protest art should be, something driving the debate instead of treating acts of protest as the latest trend to be capitalised on.

Frescoes can be found all over the world, in public buildings, museums, and restaurants. They also don’t have to be religious, they can tell stories of families or scenes from stories. The damage that has been caused to the Norwich cathedral frescoes was due to social changes in Britain, it can also be seen that their uncovering is due to societal changes. In recent years we can see this when covering up other works of art, such as street art or murals. For example, the dismantling of the Edward Colston statue in Bristol and its replacement with a statue of a Black Lives Matter protester, titled A Surge of Power (Jen Reid). This shows changing views to social issues.

Photo: Evan Gadsby

By Daze Constantinides Books Editor

What draws you to a book when you pick it up? Despite the phrase ‘don’t judge a book by its cover’ being etched into our brains from infancy, a book cover can be an insightful taste of what literary endeavour on which you might embark. Is the cover artist familiar? What does it depict? Do you consider what the critics or book awards are saying?

None of us are strangers to book covers proudly emblazoned with accolades for prizes. I am reminded of a childhood trip to Waterstones, using the

Editor: Constantinides

shortlist of the Blue Peter book awards to make my decision. Which is why I, amongst many other avid readers nationwide, was shocked to learn of its abrupt end in July, following in the footsteps of the Costa Book Awards. These two awards were titans across the UK, their foundations golden tickets for new writers to make a name for themselves in a saturated industry, now snatched away without so much as a goodbye. With a prize of £60,000 not only supplementing the promised prestige and publicity but also keeping them afloat so they could direct their time into writing, Costa helped writers to make their debut or rise higher into fame. UEA’s own Kazuo Ishiguro arguably saw his writing career boosted into success when he won in 1986.

Similarly, I recall Philip Pull-

man, who thanks his 2001 title as making an enormous difference to his reputation and sales. Although a competition, the Costa Book Awards did not feed into snobbery, instead promoting a sense of literary equality often lacked across England. Each year boasted a diverse panel of authors from all walks of life who discussed various categories, taking into consideration new authors, poetry and children’s fiction. There was a chance for all kinds of writers—yet it went further than this. The idea that any genre, any author could win, diversified the literary palate of the average British reader. I call to the attention of the reader Mary Wollstonecraft, who was 120 years dead before Claire Tomalin brought back her relevancy through a biography about the gothic authoress. This lead tremendous success, helping a then- modern seventies audience to bring older literature onto their bookshelves. This likely would not have been possible without her award of ‘Best First Novel’ in 1974.

Much similar is to be said about the Blue Peter Book Awards.

On top of the reaped benefits akin to its adult counterpart, Blue Peter held the additional advantage of letting children vote for the winners. Letting young minds have their say cannot be understated; it let children learn that their voice is important, letting them see their opinion in action, counting towards something they enjoyed.

In the later years, Blue Peter even opened a forum on CBBC, letting children discuss their choices and the winners. The award gave children a space to nuance their taste and opinions on fiction—now taken away. Unlike Costa, Blue Peter remains somewhat transparent in their decision to close the awards, stating that their now limited resources post-pandemic are “better focused giving disadvantaged families the opportunity to reap the life-changing benefits of reading”. This somewhat softens the blow, considering the BookTrust (the old managers of this award) has always aimed to establish reading habits amongst kids. However, this undercuts the fact the Blue Peter Book Awards was

Photo Credits: from

Editor: daze Constantinides Books

letting children discuss their choices and the winners. The award gave children a space to nuance their taste and opinions on fiction—now taken away. Unlike Costa, Blue Peter remains somewhat transparent in their decision to close the awards, stating that their now limited resources post-pandemic are “better focused giving disadvantaged families the opportunity to reap the life-changing benefits of reading”. This somewhat softens the blow, considering the BookTrust (the old managers of this award) has always aimed to establish reading habits amongst kids. However, this undercuts the fact the Blue Peter Book Awards was accessible to children from all backgrounds, making it a

highly effective means of disadvantaged children to engage in their literature. Sadly, even less was said about the loss of Costa Book Awards; they did not even give fans of the show a reason, leaving us to only speculate.

It’s no secret that the pandemic has affected the economy of even the biggest corporations, and many were quick to assume that losing the Costa Book Awards was due to dwindling sales within the corporation. However, this is simply not the case. In fact, Costa boasted nearly a 16% rise in first-quarter revenues compared to last year. Money appears to not be a factor, but the sad reality is that we may never know the true reasoning behind their fade into ob-

scurity. Despite vague promises for aiding more disparaged families and thanks for the long runs, the nature of these corporate-owned awards is fickle.

One season of poor sales, one decision books are against the brand, and we lose a nation-loved celebration of English literature. There is always the faint call of hope that another corporation could keep the momentum of these ceremonies going. However, one look at the Nestlé Smarties Book Prize remaining dead after 15 years, or the Desmond Elliott Prize pausing their awards from lack of funding, proves that the future for British Book Awards is looking bleak.

The Importance Of Alice oseman’s universe

not the person who knows the latest slang. I was the last person in my primary school to learn Gangnam Style Yet I read Loveless by Alice Oseman in the summer of 2021, almost a whole year before Heartstopper came

graphic novel series of the same name, to launch her writing, rightful-

because of something unusual–Alice Oseman gets teenagers right.

As an asexual English student who is also heavily involved in drama, I was basically contractually obliged to love Loveless. Ace representation is slim to none in the media (apart from Todd in Bojack Horseman) so it really touched me to see a girl like

I loved it even more because the

sections of the book that were text conversations read like me talking to my friends. Similarly, as an ex- closeted rugby player, my brother cried at Heartstopper. Being a genuinely tender gay love story devoid of the prevalence of death in queer stories) made the show a hit, but Nick Nelson taking an Am I Gay? quiz made it relatable. Solitaire (focusing on Tori Spring after the events of Heartstopper) and Radio Silence emotively touch on mental health and abusive families, but the characters also love podcasts and go to Pizza Express with their sixth form friends.

I Was Born For This exploring boyband fandom and parasocial relationships, out a niche for themself in exploring both the big themes and the

little moments of what it is like to be a teenager now. I personally am thrilled that she is finally getting the recognition that she deserves (and for once that I was a fan before it was cool).

By Niamh Duncan Arts Writer

Source: Unsplash

Books

Editor: daze Constantinides

What does it mean to be a student in the city of literature?

The National Centre for Writing led the successful bid for Norwich to become England’s first UNESCO City of Literature in 2012. A decade later, the beautiful city of Norwich celebrates its tenth year status ranking among a prestigious worldwide literary network. Officially declared The City of Stories in 2018, Norwich has been changing lives for hundreds of years. Rich in literary heritage, it boasts significant achievements and today it continues to grow into a vibrant creative-cultural literary hub that nurtures contemporary writers and encourages the community to share their love for reading and writing.

A place of ideas, a city that values language and the power of words, Norwich is a home for writers and readers of all kinds. Round every street corner is a beloved bookshop, in every quirky café a writer sits with pen in hand. But while we may be proud of our city’s UNESCO status, we may also question–what does it really mean to be a student in a city of literature? More importantly, what continues to make Norwich the city of literature it is today?

Paving the way were the historic written influences who came before us. Writing The Revelations of Divine Love in 1395, Julian of Norwich became the first woman to write a book in English. Devising the sonnet

form used by Shakespeare in the 16th century, the Earl of Surrey wrote the first blank verse poem. Settling in Norwich in the 17th century, Thomas Browne was a cited author in the Oxford English Dictionary who influenced the works of Samuel Johnson, the Romantic poets, Edgar Allan Poe, and Virginia Woolf.

Enriching the city is the incredible bookshop scene, retailing bestsellers, vintage jewels and independent releases. From the stunning Book Hive tucked into the curves of the lanes, Dormouse Bookshop sitting on the cobbled Elm Hill, or the antiquarian Tombland Bookshop in the 15th century beamed building opposite the cathedral, to the wide collections in Jarrold’s Book Department and Waterstones, Norwich is a book lover’s paradise! If that’s not enough, Norwich is also home to the Norfolk & Norwich Millennium Library as well as various writing organisations such as National Centre for Writing and The British Centre for Literary Translation.

With the University of East Anglia’s prestigious Creative Writing Masters being the first course of its kind established in 1970, it comes at no surprise that many aspiring writers have studied here, including Booker winners Ian McEwan and Anne Enwright and Nobel Prize winner Kazuo Ishiguro. The UNESCO City of Literature also attracts visiting professors such as Margaret Atwood, Ali Smith and Ian Rankin. Norwich is clearly a

city of writers; there are multiple literary festivals and live events taking place over the year including crime-writing festival Noirwich, UEA Live, and the Norfolk and Norwich Festival’s City of Literature events.

Being the city of literature creates a rooted shared identity for everyone who loves living in this city–not only because it develops international connections, partnerships, projects, and opportunities for the community, but its rich heritage continues to inspire generations through encouraging interest in the written arts.

Putting Norwich on the world’s literary map for ten years, let’s hope it continues to do so for ten more.

By Lily Boag Deputy Venue Editor

Source: Unsplash

By

mariam jallow creatve Writer

My brother died when he was young, years younger than he was now, before we lived in this house. He lay in a lonely, unmarked grave between the buttress roots of a giant silk cotton tree. I would have thought the simple mound a natural formation, another root bursting through the soil, had I not seen my father bury him. His grave lies within view of the ramshackle house my parents built with wood from the forest he died in.

How fortunate he was, I thought, to have been laid to rest where he passed, in familiar ground, without the confines of cement and stone. And how fortunate we were that he was within reach, a short walk and prayer away, I told my father. To agree, Pa would solemnly gaze out the window to peer at the root-bound lump he called son, only unlike Mama, he could never look away. At least not easily. Most days it was as if my brother stood before him, held his face in his hands and just stared, and stared, and stared, until the kettle whistled, or a harsh wind blew through the house. When Pa was finished looking through the window, he would turn to the floorboards or wall panels and repeat the ritual until he found

whatever it was he was looking for. He did this every day without fail. I wondered if he was doing that thing grieving parents did, where they’d find a scuff mark left behind by their rambunctious toddler or pass the field they taught them to ride a bike in, and get taken to a point in time where they still existed. But my brother has only lived here in death, in a tree, in a forest and in grief as a ghost.

I always thought it strange that we had his body, but not his image. No photographs lined the house, no gravestone, and no epitaphs. Just my father gazing out the window, my mother and her silence and this ramshackle house that bowed and bent with every gust of wind. On the worser days, where the gusts turned into storms and rain seeped in between the panels of wood, the silk cotton tree was still visible through fog and forest. The longer the storms went on, the larger

the tree seemed and the closer my brother came toward us. In the wet haze, a buttress root would sprout from his mound, and the branches of the tree screwed up into his image, rough bark dimpling into an expression of anguish. The branches would bow with the wind and the house, and made a whipping sound over and over again, that cried, “there is no suffering like my suffering! Father, mother, why have you forsaken me, why have you forgotten me?”

When lightning struck the tree, light blinded all through the forest and the house, and his phantom would enter and remained here till daybreak. Everywhere smelled of damp, and nature and a thick melancholy. I wondered if he was trying to escape his arbored grave, and whether ever since the day of his death the trees had done to him what my father had done to them, whether he’d been taken from us, in exchange for this house.

In the mornings after a storm, as my father looked at the wooden floor, his sorrowful eyes paired with shoulders weighed by guilt.

Lost: a Woodland Night

By matthew stothard Concrete Deputy editor

Tonight I will step out. A path I may try to lose, but it won’t stop me. Fears will only break you if you let them, and I will not tonight.

***

Do not silence yourself. Follow your heart, for it beats in time with the birds. In the mirror you clung onto the branches – now let them snap and taste the fall.

Walk forwards, slowly – at your own pace, yet you must push. Wind circles in a halo – or is it confusion, you can seldom tell, I know.

Tomorrow cannot be waited for. Tomorrow is now and it is time to lose yourself here. In this place, in this moment where the world is itself, it is time to be you. Take the path as you will but take it all the same. Venturing in is the hardest part. You are here now –try and embrace the feeling.

***

The leaves have fallen from the trees – an obvious fact but an observation nonetheless and it appears I am being observant now. Anyone can get lost in the woods, but to truly lose yourself to them – now that is a different story…

A New Type of Forest

By louise collins Venue Editor

Branches crack beneath my feet and trees blend around me. I run, my body a blur in my surroundings. Blood fills my ears, blocking out the sounds of the forest. I can still hear that screech. That screech echoing in my head. The screech which turned my blood cold, prickled my skin, the screech which had me running before I could even process

what was going on.

I was by the creek, taking photos for my portfolio, minding my own business. I must have sat in that very same position a hundred times. But never before have I had that experience.

Never before has the forest revealed its true self to me.

I bolted from the creek as soon as I heard that noise. My camera would have been forgotten had it not been safely around my neck. Now it’s battering a bruise into my chest. But that is the least of my worries: I don’t know where I am. I’ve been in this forest so many times, but I’ve never come this deep in. Regrettably, the noise came from my exit. So, of course, I had to come further in.

I had to lose myself in here.

I stop. I catch my breath. I know I’ve put some distance between myself and the noise. I know I need to find my bearings before I continue. My vision is still blurred, unable to focus in my breathless body. So, as I look around with my impaired vision, everything looks different. Wrong.

The trees are arching towards me. They are moving. Dancing. There’s no wind, but the long, untouched grass is swaying. It takes me a second to realise that I can feel it brushing against my legs. I blink, my vision getting clearer, and I realise, oh, it’s actually moving. The noises of the forest have come back to me, and the birds are chirping again, and the insects are buzzing.

As the blood stops pounding in my head, the noises of the forest get louder. They’re singing, I realise. There’s no buzzing, no chirping. Instead, I can hear a hundred tiny voices. It’s beautiful.

A branch snaps behind me, and I whirl around to see what’s there. Oh my God...

their streaked wings flying from tree to tree. The breeze blows through the trees, causing the leaves to stir. As the birds quieten, sounds travel from deeper within the woods. A stream gurgles as it trickles along its bed, bubbling over rocks and stones. Down below, small animals scurry under the feathered leaves of the ferns, inspecting the mushrooms within the nooks of the trees and the overnight litterfall of leaves, seeds, and berries. Minibeasts gather around loose, damp bark, wriggling inside and underneath the rotting logs. Two red squirrels stuff the pouches of their cheeks with nut kernels and scamper across the leafy ground in a weaving run. A blackbird swoops through the trees to feed its chicks. A hedgehog scuffles as she forages.

Creative Writing

I am getting better

Sometimes there are demons In the living room

Masquerading as a lidl bag for life But they fade into sleep And don’t trail my sheep Safe in their pen

Sometimes I can’t breathe Because I have so many things To do But I used to drink in the kitchen at 3am Because I had nothing to do

Sometimes I break a curtain rail And feel scared for my life I don’t like feeling scared But sometimes it keeps me alive

My forest is dark, scary Too loud and too bright But now I know my way around these woods

And always carry my light

i am getting better in

Within the underbrush of the woodland that edges the west side of a meadow, where the rich undergrowth sprouts through and around the bent and curling roots of an oak tree, a small creature stirs within its burrow. Nestled within a dense scrub of woodland shrubs and tall grass adorned with colourful wildflowers, its head pokes out from an underground tunnel shielded by the tree roots. Grazing its white whiskers along the ground, it gazes out into the woods. As a gentle breeze carries through the underbrush, it tilts its snout to draw in the woodland.

Sweeping through the trees, the scent of musk carries from a herd of deer treading through the nearby meadow. Sitting on the bed of the woodland floor, the sharp trace of pine lingers from a cluster of needles plucked from their branches. Closer by, the air is pungent with aromas that permeate from the trees, such as the subtle damp smell of fungi that imparts from the spreading oakmoss. A honey perfume from the summer buds and young leaves swirls within the air like an elixir. The drifting sweetness of morning dew settles over, crisping the woodland foliage.

Glinting like two small, black beads, the creature’s glittering eyes peak out from the shrubs. Gazing upwards, the dense woods is an entanglement of trees. Bark disappears into the sky. Between the crevices, insects conceal themselves. Moths and beetles feast on peeling and rotting bark, chewing, nibbling, and gnawing. Delicate spider silk dangles from

the twigs. Crickets chirrup from the tree tops. Spotted caterpillars eat holes in the leaves. Tunnelling into the roots, bugs bore into the tree tissue and ants search for sticky honeydew. Above, spiring tree trunks lead to a canopy of tree crowns - where glowing leaves every shade of green flicker and flutter. Seeping through, spots of sunlight fall, leaving warm pools of golden light sitting on the woodland bed.

Pulling forward its rounded ears, the creature listens to the chirping and twittering birds perched in the trees as they perform their melodic birdsongs. Woodpigeons coo and purr. As the skylarks warble and the meadow pipits pipe, little, plump, brown birds flit their streaked wings flying from tree to tree.

The breeze blows through the trees, causing the leaves to stir. As the birds quieten, sounds travel from deeper within the woods. A stream gurgles as it trickles along its bed, bubbling over rocks and stones. Down below, small animals scurry under the feathered leaves of the ferns, inspecting the mushrooms within the nooks of the trees and the overnight litterfall of leaves, seeds, and berries.

Minibeasts gather around loose, damp bark, wriggling inside and underneath the rotting logs. Two red squirrels stuff the pouches of their cheeks with nut kernels and scamper across the leafy ground in a weaving run. A blackbird swoops through the trees to feed its chicks. A hedgehog scuffles as she forages.

Editor: Tshequa WilliamsFashion

Photo Credits:

By Libby Hargreaves

Editor-in-Chief

Our fashion habits are changing with an increasingly eco-conscious consumer demographic, but fashion retailers are struggling to keep up.

Creating a colour palette of green, brown and cream for your marketing campaign doesn’t guarantee sustainability - ASOS , George and Boohoo seem to disagree.

The Competition and Markets Authority (CMA) is currently investigating these brands, explaining if they “find these companies are using misleading eco claims, [they] won’t hesitate to take enforcement action - through the courts, if necessary.”

More broadly, they have also indicated a move towards truly

eco-friendly fashion by holding corporations accountable: “this is just the start of our work in this sector and all fashion companies should take note: look at your own practices and make sure they are in line with the law.”

3,700 items, advertised as a “onestop home for all the environmentally conscious clothing, accessories and living items at ASOS .” Asda responded with a statement, “We know how important it is that our customers can trust the claims we make about our products, which is why we ensure the statements we make can be supported by industry accreditations.”

This may suggest more needs to be done to keep these accreditations in line with customer expectations and create a measurable mark of su stainability: x% of water saved by buying an eco-product, for example.

To help consumers navigate the murky waters of green advertising, the website greenwash.com has evaluated factors including brand’s sustainability and recycling potential in order to categorise them.

For ASOS, the Unisex Suit Blazer was branded ‘approach with caution’, whilst the supposed ‘Responsible Edit’ Polyester Fleece Varsity Jacket is a ‘fake news fleece’ according to greenwash.com.

Part of the investigation is set to examine the language in the advertising of clothing, specifically ASOS ’ ‘Responsible Edit’, Boohoo’s ‘Ready for the Future’ line and ‘George for Good’ by Asda

Often this can be vague, and the categories used to label products as sustainable may be too low to have a tangible impact, or at least significantly lower than consumer expectations.

Despite initially saying they would cooperate with the investigation, ASOS has now taken down their ‘Responsible Edit’ in a move they are calling “proactive”.

The range featured around

There are options out there for sustainable shoppers. Bamboo, cotton and linen are amongst some of the most sustainable clothing fabrics which are already widely in use - however, these often also come with a higher price tag, and therefore exclude a majority of consumers.

The CEO of eco-conscious delivery brand parcelLab highlighted missed commercial opportunities: “brands are missing a trick in not doing the basics” such as “investing in the technology that can enable a more sustainable retail experience and ensuring consumers are always provided accurate information to make sustainable choices is a must.”

“a move towards more eco-friendly fashion, by holding coporations

“bamboo, cotton and linen are amongst some of the most sustainable clothing fabrics”

Photo: Unsplash

Editor: Tshequa WilliamsFashion 15

Lucy and Yak Store to Open in Norwich

By Lily Boag Venue deputy editor

From vibrant colours to limited edition prints, Lucy and Yak are the dungaree specialists. They are an independent ethical fashion brand selling stylish and sustainable dungarees, jeans and t-shirts, alongside other items and accessories. The UK company has become famous for their comfy and cosy organic clothing.

Yak use organic and recycled materials throughout a majority of their ranges. They take full responsibility for the lifecycle of their products, even implementing the use of renewable energy within their supply chain and using biodegradable seeded swing tags.

Growing beyond their online presence, they hit the streets with the opening of their flagship Brighton store in 2019. Three years later, you’ll be excited to know, the yaks are coming to Norwich. Snapping up the large vacancy in the back of the Inns (formerly Castle Fine Art), the store’s opening is highly anticipated among the Norwich student scene, being one of only three Lucy and Yak stores in the country alongside their new store in Bristol.

Known for pushing the importance of conscious clothing, Lucy and Yak is the forward-thinking eco fashion brand Norwich students have been waiting for. The brand was founded by Lucy Greenwood and her partner Chris Renwick, two rebellious northerners who left their 9-5 jobs five years ago to travel the world. The couple began selling handmade pouches made from second-hand clothing on the beaches of New Zealand.

Arriving back in the UK, they switched to selling vintage clothing on Depop while living out of their Volkswagen campervan named Yak. Now, constantly working to reduce their carbon footprint and environmental impact, Lucy and

By Louise Collins

Venue editor

In this ever-growing online world, there comes the pressure to always look great, to always look new and to always keep up with the latest trends. This is especially true when you arrive at a new place with the ability to ‘reinvent’ yourself (if you so wish). With Freshers events, there are an abundance of activities, fairs and nights out, many of which are themed. The expectation to wear something different every night is there, even if it goes unspoken.

You have the Welcome Party, the GLOW Party, Damn Good ‘Jurassic Park-ty’, and so many more. Not to mention the society events, the flat nights out, or something as simple as going to class. The worry about outfit repeating can be intense – but it absolutely shouldn’t be!

As a (not so) experienced MA student, I have been through this. Back in 2019, I attended the Welcome Party, the Glow Party, a Jungle Party, my first A-List and a Foam Party. With each of these came a different outfit. For two of them, I wore outfits I had owned for years, but for the other three came new outfits. Regrettably,

A people focused company, Lucy and Yak steer away from gendering their clothes, offering unisex dungarees and a wide, selective range of shapes, styles, and sizes to suit and include all types of beautiful bodies. Providing comfortable and practical dungarees that come with a plethora of pockets, why not join the comfort movement this autumn? Keep your eyes peeled for the grand opening of the Norwich Yaks, as the store plans to launch this September or October.

they’ve been worn very little since; the dress I wore for the Glow Party was ruined beyond repair and had to get thrown out after only one use.

So, what’s my advice?

Don’t be afraid to re-wear and restyle. If you’ve got some old clothes that you no longer want, why not wear them to the Glow Party? Chances are, the clothes will get stained anyway. Why buy brand new clothes just for that? All you’re doing is burning a hole in your wallet and contributing to the fast-fashion environmental disaster.

Re-wearing and restyling can also save you so much money. Find some clothes that you really love, that feel like you, and wear those clothes with pride. Recreating the iconic Jurassic Park looks are so easy – whether by styling an old button down with your comfiest shorts to look like Laura Dern or sporting an all-black ensemble to channel Jeff Goldblum, you don’t need to go out and buy a dinosaur costume or recreate the looks exactly. Just dive into your wardrobe (or those of your parents if they allow it) and I’m sure you’ll find something there.

When it comes to the everyday, wearing something more than once is not an issue. You might have perfected a full ensemble, so go ahead and rock that whenever you want to feel like an icon, or you can

mix and match your items. No matter what you decide, whether your wardrobe is filled with complete outfits or just individual pieces, don’t feel the pressure to go out and buy a whole new wardrobe. So what if you’ve worn that skirt on every Instagram pic of yours in the last two months? It’s a gorgeous skirt! Who cares if your shirt makes you recognisable from across the building? That just means you have personality!

Coming from someone who’s been through this – save yourself some money, and don’t be afraid to be an outfit repeater.

“famous for their comfy and cosy organic clothing”

“they take full responsibility for the lifecycle of their products“

Fresher Pressure: The Importance of Re-wearing and Restyling

“save yourself money and don’t be afraid to be an outfit repeater”

Photo:s: Unsplash

Editor: Tshequa WilliamsFashion

V&A: Fashioning Masculinities: The Art of Menswear

By Tshequa Williams fashion editor

Through an exploration of the changes in menswear through time, this exhibition uniquely focuses on the perception of the male figure, and how the definition of masculinity is constantly evolving. As well as the influence of time and global relations, the exhibition explores menswear historically from both a practical, idealist and expressionist perspective, coming together with today’s greatest fashion moments (such as the tuxedo gown worn by Billy Porter at the Oscars in 2019). Each thread maps onto the future of menswear and masculinity, deconstructing the origins of traditional ‘masculine’ traits, and looking ahead to a world where gender is not constrained by binaries and societal stereotypes.

to explore gender fluidity. It begins with Tiresias, a figure from Greek mythology who “transformed from male to female and back again […] provid[ing] inspiration for artists and designers centring the queer body” (reads the caption), which is then paired with contemporary binders and photography representing the blurring of a traditional masculine identity.

It then moves on to look at the waves of flamboyancy in European fashion – everything from 16th century armour designs to large lace collars and cuffs. Each display is adorned by capes with intricate beading and patterns inspired by Europe’s colonial presence in Asia. For example, the buta print, or as we know it – ‘paisley’, was popular in Europe in the 1800s and had a resurgence during the 1960s but is now used (among many other patterns) by contemporary designers as a way of reclaiming the history and culture lost in colonisation. Much like the recent obsession for ‘millennial pink’, it was not uncommon to see 18th century men dressed in bright pink suits with silk, ribbons and shining embellishments.

Finally, the exhibition shifts to the intricate art of tailoring and suits – a common symbol of masculinity, and a uniform for the rise of capitalism, dominated by crisp lines and a sea of black. It made a point to recognise the power of the design, having been used by many to simultaneously define, question and subvert masculinity. It includes work by Del LaGrace Volcano of drag kings in suits and bowler hats in a smoky Paris bar, as well as makeup and suits worn by the late David Bowie which disrupt traditional ideals of masculinity. Moving through the post-war rebellious street-style movements, it lands in the future of gender non-conformity, neutrality and continuous redefinition of what it means to be masculine and feminine.

Beginning with a traditional view of masculinity, it draws from Greek gods, Roman heroes, and iconic renaissance sculpture – all depicting the origins of masculinity as something defined by physical strength, youth and a sculpted physique. While impressive pieces of art, the statues of Apollo, Hercules and Hermes have influenced the (often unhealthy) obsession with diet and exercise culture, beginning the idealisation of hyper-masculinity. This section, aptly named ‘Undressed’, also begins

The exhibition is only on for a short while, so if you’re in London it is well worth a visit. If you do miss out, check out the V&A’s other current exhibition Africa Fashion, open until the 16th April 2023. The highly significant exhibition showcases African fashion, which has traditionally been overshadowed by the generally Eurocentric view of fashion (review pending).

The exhibition runs until the 6th November 2022 at the Victoria and Albert Museum, London.

Photo Credits: Tshequa Williams

“looking ahead to a world where gender is not constrained by binaries and social stereotypes.”

“18th century men dressed in bright pink suits with silk, ribbon and shining embellishments.”

“moving through the post-war rebellious street-style, it lands on the future of gender nonconformity”

By Tabi

Fielding music editor

Freshers’ week was undoubtedly the most exciting part of starting University for many students.

A week-long period that is solely for socialising and having a good time. Before I started at UEA back in 2019, I hadn’t had any expectations for the events of the week itself but I knew I was in store for LOT of fun. Previously I had been heavily influenced by my par-

ents’ music, in particular I had inherited my dad’s classic rock music taste. Listening to him recalling stories when he was at university in the 1970’s stuck in my head. He managed to get into a Led Zeppelin gig in London and had the best time of his life. I knew it was my chance to make equally as amazing memories.

anticipation was high and atmosphere buzzing with energy. The LCR had a lot to offer during my freshers’ week. Ranging from glow partiesto jungle themed club nights.

If gigs are something you want to go to or experience in your first year, make sure you get yourself to the LCR. A unique selling point for UEA, not many other universities have a nightclub/music venue on campus. Like most memorable events in life, music played a key role in my transition into the university lifestyle. From personal music playing through headphones when anxiety hits, to collectively enjoying club anthems. It offers a comfort like no other.

With wristbands allowing access to all events of the week, the

The LCR on campus to offer throughout the year. So, if you think Fresher’s week is the where the fun ends, you’d be wrong. Since the start of uni, I’ve seen acts such as Mahalia, Scouting or Girls and The Fratelli’s all at the LCR. Even if it’s an act you haven’t heard of before, chances are it will be a good night and your money will have been well spent!

Music also plays a vital role in nourishing the creation of memories that will forever be associated with this time. Being thrown into an environment with so many people from different backgrounds, comfort can be found in mutual tastes in music. For many it may even be a chance to develop new tastes in music, or discover new genres.

If you are a student starting at UEA or University this year, I’d encourage you to make the most of the events put on for you and create amazing memories.

Freshers’ week - how music builds friendships at uni

Photo Credits: Unsplash, Unsplash, Unsplash, Unsplash

“the anticipation was high and the atmosphere buzzing with energy”

“if you think Fresher’s week is where the fun ends, you’d be wrong!”

tiktok - where music gets personal

By Matthew stothard Concrete Deputy Editor

Like it or not, TikTok has changed the music industry. Songs, past or present, can now achieve worldwide success by becoming viral sounds.

Some could argue that going for virality stifles creativity. Yet, if you dig a little deeper, and stick with the artists you discover, TikTok scrolling can be a rewarding method of expanding your musical horizons.

Perhaps the best example of this for me personally is Em Beihold, who’s song Numb Little Bug went viral on TikTok earlier this year, reaching number 25 on the UK charts.

This was the song through which I first discovered her, but it was the follow up Too Precious that really hooked me in and fully convinced me of the benefits of using TikTok to discover new music. The song focuses on the experience of an introverted, sober lifestyle, and I think hearing it was the first time I’d really listened to a song and thought ‘is this about me?’ I felt the same way with Beihold’s next single, 12345 which encapsulates the experience of anxiety so well, and puts it to a thumping piano beat for good measure! Beihold’s music is so special to me because it taps into themes I can relate to, away from the mainstream

love, heartbreak and parties, and I would never have discovered it without TikTok.

Another benefit of TikTok is you can find smaller artists you never would have known about otherwise and follow the growth of their careers, like Elizabeth Gerardi.

I would certainly recommend Gerardi if you like Taylor Swift, but to be honest I would recommend her to anyonwe because the melodies and instrumentation of her songs are so sonically satisfying, particularly Greater Than Gatsby and Miss Rhode Island

She has a very strong ‘American Dream’, Great Gatsby aesthetic (a few of her songs are based on the novel), so as opposed to Beihold who’s songs are relatable to me lyrically, Gerardi’s create an airy, almost dreamy atmosphere.

I would never have discovered Gerardi without TikTok, and the ability for smaller, independent artists to promote themselves is one of its greatest strengths.

TikTok’s biggest musical success story has got to be Sam Ryder, who came 2nd for the United Kingdom at this year’s Eurovision Song Contest, having been discovered through the covers he started making on the platform during lockdown. His astounding performance of Space Man and his positive attitude towards the contest finally proved to the UK what the rest of Europe knew all along, that it’s not ‘all political,’ and it has served him wonders, taking him to the Platinum Jubilee concert, and more recently per-

forming with Queen and the Foo Fighters and collaborating with Sigala and David Guetta. This rise to stardom all started with TikTok, proving the platform does have the capability to propel a music career. These examples are just the tip of the musical iceberg! If you like musical theatre style songs, I recommend Maggie Jean Martin or Melina KB, whilst if you prefer something funny Jazz Emu creates comedy gold! For something jazzy Stacey Ryan is worth checking out, or for something funkier W.I.T.C.H. by Devon Cole is a such a clever song (and also a great example of TikTok’s unique opportunities for collaboration, since it began as a duet with John Mark Nelson).

It is this range of genres and musical experiences which makes TikTok so exciting as a platform for music.

So, next time you want to find a new artist, why not have a scroll through your FYP!

“I think hearing it was the first time I’d really listened to a song and thought ‘is this about me?’”

m.i.a - “popular” music video rejects instagram culture

By tabi fielding

Music Editor

Most people know M.I.A for her legendary track, Paper Planes. In her latest music video, British pop veteran M.I.A gives viewers a refreshing social commentary with her second single “ Popular”. M.I.A, whose real name is Mathangi Arulpragasam, uses this song as a teaser of her upcoming album MATA. With this being her sixth studio album release, the video strikingly pushes back against the current fake Instagram/social media climate.

Co-produced by Diplo, the fast pace tempo of the song mimics that of the seemly endless posts on social media. Repeated use of the phrase “love me like I love me”, emphasises the self-worth nature of social media, suggesting both positive and negative effects of the mantra like lyric.

The video visuals show M.I.A train-

ing her freakishly life-like robot, called M.A.I, to move more dynamically in time with the song. The robot is manipulated to alter her appearances for social media. There is constant practice of being camera ready for TikTok dancing and roller-skating clips, twerks for more likes, peace signs and generic posing to lengthen the leg and extend the butt. The thirst for perfection is unquenched.

The robot has to be perfect to get likes and you see the heart symbol numbers rising with each pose – unattainable for majority of us mere mortals but easy enough to manipulate and present a forgery to the world which others will watch, try to emulate and fail miserably; their inadequacy setting into motion the feelings of insecurity which is based upon lies.

The robot continues to be ‘nourished’ by social media and the pressures of fitting in and conforming and of course, “popular”. Interestingly at one point, M.A.I (the robot) reaches out to perfect M.I.A’s hair – a profound moment when a fake automaton is able to gauge imperfection

in the reality of her own image.

She is brushed aside and a realisation that this life is worthless, shallow and self- damaging becomes apparent along with the need for it to stop…

At the end of the video this ‘world’, is epitomised in the form of the robot M.A.I, is shot and destroyed with an innocuous plastic water pistol. It is not unmissed that the emoji of a real gun has long since been replaced with a plastic replica fun-type toy.

So really, the reality of the robots demise is as far from the truth as social media can be? It is interesting to me that the robot has been killed by an artificial weapon yet the essence of its death was due to the natural force of water. That is definitely a part to think about deeply.

With no set release date as of yet for the full album, the music video has sparked excitement and anticipation for what is yet to come from the artist.

Photo: Unsplash

By Will muncer film writer

Jordan Peele’s third film follows a horse wrangler (Daniel Kuluuya) and his sister (Keke Palmer) who, after the mysterious death of their father, become determined to photograph what may be a real-life UFO. Peele once again proves himself a skilled filmmaker, deftly handling IMAX cameras to really capture the beautiful Californian vistas the film is primarily shot in. Also, he exhibits tasteful restraint with the use of CGI and it’s often somewhat ambiguous

when it’s been utilised and when he’s used practical effects on set. The sound design and music are atmospheric and invoke the science fiction soundscapes of Denis Villeneuve’s most expansive films.

On a thematic level, the film plays with the modern obsession with capturing everything, especially the horrific. The siblings and other characters get pulled into danger, and even certain death, simply for the privilege of capturing the “impossible shot”.

This complex theme feels very modern and is extremely relevant in the age of viral videos and social media, where everyone is attempting to capitalise on the hypothetical benefits of fame. The film’s preoccupation with this

theme often makes for a fascinating narrative, but occasionally makes the characters feel unrealistic.

The design of the film is detailed and rewards a close eye. For example, one may miss an important character detail if they neglect to notice the jumper he wears in the final scenes. Some of the most effective horror in the entire film is the former child star’s flashbacks to an unrelated but thematically related event with a dangerous animal. This character, played by Steven Yuen, is one of the more interesting psychological case studies in the film and ultimately becomes a tragic figure upon the circumstances of his death.

Keke Palmer gave the most convincing and unique performance, playing the most outspoken character. We can see from the first scene that she has long term ambitions beyond the horse ranch but is very loyal to her brother and family business. The main issue I had with

the film was that the pacing felt strange at times, drawing out the suspense almost past breaking point and then hitting the audience with a protracted finale. While in certain genres this would be less of a problem, horror requires pitch perfect pacing throughout for the film to continue the emotional hold on the audience it so heavily relies on. Also, the director seemed to privilege plot over character with the characters often seeming subservient to the plot rather than interesting. The characters simply accept the impossible with a profoundly unlikely credulousness.

The film does have a unique vision of alien life. One that invokes both Close Encounters of the Third Kind and the more recent Arrival, which should be commended and celebrated for its innovation. Overall, the film is detailed, thematically complex, and technically brilliant. However, it’s strange pacing and failure to juggle character and theme, compared to Peele’s triumphant debut and sophomore efforts, may make this his least successful film to date.

Nope, It doesn’t flow like the others Jordan

Photo Credits: Unsplash, Unsplash, Unsplash, Wikimedia Commons, Wikimedia Commons

Editor: PorteusFilm

We Are in Fact worrying, Darling

By Chloe Thompson Film writer

very core of the plot, so when Pugh approached Wilde to explain her discomfort about working with Labeouf, this was when things began to go south. Labeouf is known in the industry for facing problematic allegations about his violent past and Pugh was not willing to work so intimately with the actor knowing this. Wilde, while confidently claiming she had a “no a-hole policy” on the set of her movies, replaced Labeouf with Harry Styles.

Anyone with access to the internet in the last fortnight has probably heard of the chaos surrounding Olivia Wilde’s directed movie Don’t Worry Darling Back in 2020, it was announced that Wilde would get her second big directing break with the highly anticipated psychological thriller. The movie follows a 1950s housewife and her husband existing in a utopian world where the glitz and glamour hides unsettling secrets.

In August 2022, when promotion for the movie began, Wilde took part in an interview with Variety and claimed that Labeouf was fired from the movie because of his “combative energy” which was not appreciated on set. Labeouf fired back, explaining that that wasn’t quite the truth as he leaked emails and videos of Wilde that painted a very different narrative. He claimed he quit because the actors were not given adequate time to rehearse, and that this was the main catalyst for leaving the production. In a video sent to Labeouf, Wilde begged him to return to the movie, stating that this would be a “wake up call for Miss Flo”, as she demanded her to commit to starring in the movie alongside Labouef.

The chaos surrounding the film is seemingly more Oscar-worthy than the film itself with reviews slamming everything except ‘Miss Flo’s’ immaculate acting. The film is set to release on September 23rd, so head to the cinema to see if all this worrying is worth it.

The casting of the film went almost too swimmingly when she cast up-andcoming sensation Florence Pugh as her female lead and Shia Labeouf, a personal favourite of Wilde’s, as the male lead. A consistency throughout the film is the sexual nature that appears to be at the

Pugh, obviously upset, refused to promote the movie, and claimed that the narrative had been “reduced to its sex scenes”. She refused to attend the press conference for the movie but attended the red-carpet event hours later. The evening was tense, with the feuding women avoiding each other. Styles and Wilde have also reportedly been dating since they met on set, but even the alleged love birds avoided each other throughout the night. Co-stars Chris Pine, Gemma Chan and Nick Kroll babysat the bickering co-stars throughout the day which led to some hilarious content. Chris Pine, a veteran in the acting world, endured Styles describing the film as “feeling like a movie”, while later he became part of a ‘spit-gate’.

The night ended with Styles sharing a kiss with Nick Kroll, and Pugh walking out 3 minutes into the 4-minute stand-

Credit: Wikimedia Commons

ing ovation, ignoring director Wilde the entire time.

Credit: Wikimedia Commons

Credit: Wikimedia Commons

Credit: Wikimedia Commons

Where the Crawdads Sing Review: A Drama Mystery that lacks thrills

By Tom Porteus Film Editor

I’m a sucker for much of the movie process and finding the ideal way to deliver the full moment of the scene. In this film, the music is a solid tool used to amplify and make the scene pop out a little more than simply talking. The soft piano touches, use of the track to show off the joy of the moment, and even some other instruments, all help raise the bar of the scene’s essence and bring with it that solid bam factor that most viewers enjoy seeing in their film, breaking past that awkward silence.

A good movie knows how to build or find the right place to shoot, and Crawdad’s location is very welcoming to a good drama/mystery film. Even during the building scenes, there is a nice natural feeling to most of the pieces they picked to again make me feel I was in a store, or at the town centre. When the light needed to be adjusted, it did well not to overwhelm, but also not leave us in the dark at the same time. I’ve never read the book, but my guess is that Owens did switch back and forth between the trial and the past on a regular basis. This style is always intriguing to me, and I always love seeing how they use the past to influence the present in a movie.

This is more so about the characters, but Owens’ writing was adapted well to show the emotions of this little community during this trying time. Crawdads got a lot of emotional punches to throw in this film, hitting those drama switches with unwavering hesitation that will make fans of the soap opera style of theatrics cry, as it did for several members in my showing. I did find myself relating to aspects of the characters and found most of their development and presentation balanced to the added spice the studio throws on to assist. Regardless, I welcomed the emotion they presented and included in this movie.

Hands down, the acting was the biggest plus for me for this film. Where the Crawdads’ cast is sensational and really is one of the biggest pillars, I feel, to help establish the characters. Edgar-Jones had a great performance and played the

‘Marsh Girl’ role so well, finding again, elements of hurt, strength, and hope that kept within the lines of equilibrium I like to see. Did she go into the soap opera moments and have a few political lines? Sure, but they did not feel as forced and again were part of, but not the whole, argument of her character. I really enjoyed her being the point that crossed them all and she did a splendid job of holding the torch.

To no surprise, the action lover does like things to be a little more pushed, if possible, when the movie does not maximize other elements. Owens’ work in this film adaptation feels a little drawn out on certain elements that only need to be drawn out occasionally for me. Another element, even if written in the book, was how the characters don’t feel quite balanced in use for the film adaptation. Without reading the book, I can’t tell if this matches the quality of the acclaimed novel. But in this film, more time was needed to include and introduce all of the characters.

It’s a movie portrayed as one girl’s struggle to survive in the marsh and prove her innocence. That sounds like a movie with edge and thrills that requires some intensity, close calls, and high stakes. I did not really feel any of

that in this movie, even during her travels in the marsh and the dangers it held. This movie felt, again, like a Sparks movie and did little to up the ante or the danger of Kya’s survival. Because of this, the selling point of the trailers was grossly overdone, and it became the romance drama I always expected it to be. Finally, the crime element is missing for me in this film, or more so the journey that made it worth including in this work. I wanted to see the pieces of the crime come together as her life continued to unfold.

Where the Crawdads Sing is by far a beautiful movie in terms of style, vision, and cinematic work – everything that I love seeing in a film. It’s got solid romantic portrayal, a very good cast of characters, and some fantastic writing to make come alive, alongside actors who do their jobs well. I feel many will like this movie, but without reading the book, I can’t say that the expectations will be met. Based on my experience, this is a movie deemed to be watched at home instead of at the cinema.

Credit: Wikimedia Commons

By chloe thompson

TV Writer

The falling of the once green leaves and the smell of a pumpkin spiced latte from Starbucks only means one thing for me and that is to return to Stars Hallow to reacquaint myself with the Gilmore Girls. The shows overwhelming sense of cosiness and familiarity makes the transition from t-shirt weather to two pairs of socks, and a runny nose, just that little bit easier. But why is it we always run back

to familiarity in our TV shows?

As creatures of habit, it makes sense that we return to the same sets, the same characters, and the same storylines over and over. Re-watching a TV show that you can recite word for word requires little attention, but creates immense levels of enjoyment. When the busyness of life came to a halt in March 2020, this seemed like a perfect time to watch those TV shows that you never quite got round to watching. However, once the Tiger King phase of lockdown came to an end and months inside the house droned on endlessly, it’s no wonder we returned to Central

Perk for a catch-up with six very familiar Friends. Lockdown also cast a light on the fact that streaming sites such as Netflix and Amazon Prime are the future. While this is perfect for a 10-hour binge of TV, it takes away the excitement of waiting in anticipation every week for a new episode. Early this year, the phenomenon Euphoria was drip fed weekly to an eager audience, which fuelled fan discussions and theories on which way the series was headed. It was the most excitement I had felt watching a TV show since I was using my detective skills to try and figure out who ‘A’ was in Pretty Little Liars. My excitement and engagement with a TV show had direct links with receiving one episode weekly, rather than all at once. It also aids the consolidation of these TV shows becoming a comfort to

me, I have returned to Rosewood multiple times since my teenage years to re-discover who ‘A’ is. While there is comfort in watching a whole season in one day, there is also comfort in being consumed weekly in a TV show, both offering a peaceful escape from everyday life.

As university students gallop towards adulthood, passing warning signs indicating the “energy crisis” or the “cost of living crisis”, or just anything to do with a crisis, it’s no wonder we crawl back into the depths of our childhood to seek refuge. What better way to do that than to return to the brightly coloured animations of SpongeBob SquarePants, The Simpsons or Futurama? When you’re alone in halls, eating a Pot Noodle for the fourth night in a row, and the oh-so familiar clouds with the bright yellow letters of The Simpsons opening credits light up your room, you’re transported to a place that is pure comfort and serenity.

upcoming tv shows

By millie smith-clare TV editor

As the long summer nights draw to a close, and the cool evenings of autumn beckon, what better way to spend them than curling up to watch a new program? So grab a blanket, and your favourite hot beverage, as I give you the rundown for upcoming weekly TV network shows this autumn.

Frozen Planet II - 8 September BBC One

National treasure Sir David Attenborough will be returning to our screens, narrating a breath-taking six-episode follow-up of the original 2011 Frozen Planet series.

The Great British Bake Off13 September Channel Four

It’s that time of year when the much-loved British staple returns to our screens. From the Hollywood Handshake, and stunning Showstoppers to Noel Fielding’s wonderful array of jumpers, this show has it all.

RuPaul’s Drag Race UK – 22 September BBCThree

Buckle up for iconic looks, and all the drama, as Drag Race UK is returning for Series Four. The series will run for 10 weeks, as the queens lip-sync for their life, competing to become the UK’s next drag superstar.

StrictlyComeDancing–24 September BBC One

Get ready for the glitz and glam, Strictly is once again gracing our screens. With the line-up announced, we are ready to clap and critique from the comfort of our sofas.

the great british bake off

By Louise Collins Venue editor

As you’re reading this now, The Great British Bake Off has returned to our screens, but, reader, as I am writing this, I am excitedly anticipating seeing that tent once more.

Of course, we’ll all be incredibly stressed on behalf of the contestants, who have inevitably been forced to do chocolate week during the hottest summer in years. I can already tell which of the new contestants will bake their way into my heart, but, before we get too far into this season, let’s look back on some of the most iconic moments of the show.

Firstly, from the celebrity Bake Off, we have James Acaster’s, ‘started making it, had a breakdown. Bon Appetit!’, which became one of the most meme-able moments of the show.

Many friendships have been created throughout the summers. When Helena entered in her goth get-up, and determination to bring Halloween into each week, her and Noel became the most wonderful spooky buddies. Lizzie and Freya from Season 12 became best friends, road tripping together and wearing matching outfits. After uni student, Henry, who was known for always wearing ties, got kicked out, the remaining contestants sported their own ties to

show their love for him. Now for the scandals. We have the many innuendos, including the classic ‘soggy bottom’, the references to the stiffness of peaks, and the importance of a steady hand. Of course, there’s ‘Bingate’ in 2014, where we all watched as Diane ‘accidentally’

removed Iain’s Baked Alaska from the freezer, following which, he gave up and threw it in the bin. Since then, ‘Bingate’ has been brought up every season, with #justiceforiain being a consistent hashtag. Beating this, however, we have Prue Leith herself leaking the results on her first year as judge. In 2017, Prue misjudged the time difference whilst on holiday, believing the winner had already been announced. What a way to end her first year as judge!

So, you can bet I’ll be watching this show every week with a steaming cup of tea, and my twitter feed on hand, waiting for the very next Bake Off scandal.

Photo: Unsplash

The pilot episode

By victoria coleman TV Writer

Exciting beginnings of potentially addictive shows, filled with many new introductions, interactions, and storylines. Now, that’s a lot of pressure. So, what makes for a successful pilot episode?

As a film student, one thing I’ve learnt is that there are two key elements which make for success – a range of characters and obstacles.

Friends is often discussed as a perfect example of a pilot episode (which it is), however, my counter-example includes a popular con-

trasting series, Grey’s Anatomy.

With its 19th season coming soon to our screens, there’s no doubt that this series has a following like no other. So, let’s take a look at its pilot episode.

The protagonist, Meredith, has her equilibrium disrupted as her work/life balance becomes intertwined:

Her one-night-stand mystery man appears in the form of her superior on the first day of her highstakes internship at Seattle Grace Hospital. The toll of her mother’s health, Ellis Grey (world renowned general surgeon), becomes an undisclosed emotional challenge for her. The pressure of the internship.

The pilot’s characterisation of the interns forced to work together

in a team, is admirable. The interns share the need to succeed at their roles – however, their approach, differs greatly:

Meredith: Smart, observing, determined.

Christina: Feisty, competitive, passionate.

George: Sweet, nervous, friendly.

Izzy: Energetic, dedicated, resilient.

So, if you’re a fan of outstanding pilot episodes, or simply want another tv show to be hooked on, I’d wholeheartedly recommend giving Grey’s Anatomy a watch.

BBC News Channel to be replaced by ‘global’ rolling news service

By Badriya Abdullah

concrete deputy editor

Earlier this year, Tim Davie, the Director-General of the BBC announced plans to lead the broadcasting company into a “digital first” age. The current model of funding, primarily through the licence fee, will be coming to an end on 31 December 2027. With the addition of the licence fee freeze, which will remain until 1 April 2024, the BBC faces the problem of where to direct their funding in line with their goals. The proposed changes are most likely the start of a BBC which may look very different to what we know today.

The Director General set out plans to streamline broadcasting avenues, and making cuts to existing services in a push to deliver on more online content. Within his speech, Davie stated that, we are not just cutting money everywhere, but making choices where to invest”. The primary goal is to move “decisively to a digital-first BBC”. The aims include, increasing

BBC iPlayer reach from around 50% of BBC viewers a week, to 75%. This will reallocate money every year into content that delivers on the platform.

There was also emphasis placed on making news and current affairs as important to iPlayer as it is on broadcast.

One of the biggest points of controversy is the decision to merge sister channels BBC News and BBC World News into one channel, which will be named BBC News. Currently, the BBC News channel is responsible for broadcasting news primarily concerning the UK, whereas the BBC World News channel is not broadcasted in the UK and offers news with a global perspective of the world. The proposed merge has set out plans for the new channel to give a global rolling 24-hour news service. Changes are already taking place at an editorial level as leadership of the News Channel in the UK and the international World News have been brought together. The aim is to start the new channel in April 2023. These plans would also reduce

the number of staff within the BBC and around 1000 roles are said to be lost within the next few years.

Around The BBC also plans to end the dedicated TV bulletins from Oxford and Cambridge, instead merging them with existing programmes South Today and Look East based here in Norwich.

The plans have come under fire by BBC staff members and the National Union of Journalists. NUJ has condemned the potential loss of 143 journalism roles and 19 presenter positions due to the merger, and has called on Ofcom to have a public consultation on the change.

Placing an emphasis on more digital content and splitting attention between world-based and UK based news may cause the BBC as we know it today to drastically change. With them coming in less than a year, there’s limited time for people to take action. The BBC emphasises that these changes will be an improvement, but only time will tell if the British public will support them.

By jessica clifford games editor

Not enough is being done to combat toxicity in MOBAs and that is a fact. Games such as League of Legends and CSGO have attempted to rectify some of these problems but they are flawed and not far reaching enough for casual gamers to be impacted. Toxicity is a big problem in MOBAs, often presenting as racism,

homophobia, sexism (i often hide my gender to other players as a female gamer in order to attract as little attention as possible), alongside intentional losing of the game which is detrimental to their teammates rank within the game and also ruins the fun overall.

Champions Queue is a concept for League of Legends that was first introduced in China to reduce toxic players and griefers in professional and serious players’ games. It is a separate pool of players for games that is invite only and extremely strict on harassment, griefing, intentional feeding and bullying. Unlike the regular game, once you are banned from the Cham-

pions Queue, it is permanent. This system however therefore only works for the top %1 of players. It was recently started in North American servers and there are talks of one in Europe, which is great since it is fit for its purpose, it keeps games super serious and enjoyable, but only for those lucky few, leaving the toxic players for the rest of us to deal with. The Champions Queue ignores the root of the problem and is therefore ignoring the problems of the masses.

CSGO has a good solution to this, but it is far from perfect. Trust Matchmaking is a mechanism where you pay £10 to (supposedly) only play against other players who have this membership and are therefore trusted to not be toxic. If you are toxic in a game, you are banned and your access to this badge is removed. In theory this is

a good idea but many people are allowed back after being banned and it is no problem at all to simply create a new account.

MOBAs overall have made a start to combat toxicity but in order to help the majority of players they need to implement much more. The concept of the CSGO system is along the right lines but does not fix the problem. There need to be more mechanisms in place to catch toxic players from creating new accounts once banned and more of a hierarchy in place to protect genuine players from bots and those who violate terms of conditions and the rules of the game. As a casual League of Legends player, I often get upset due to being harassed by other players, surprisingly mostly on my own team and often before the game has even started, making me not want to play. If companies like Riot Games want to maintain their players and entice new players to join, then this is an imperative problem to solve.

Photo Credits: Unsplash, Unsplash, Unsplash, Unsplash

sexism, homophobia and racism with no face - The reality of online video games and what needs to be done to compact toxicity

Norwich anime and gaming Convention - Review

By jessica clifford games editor

The Norwich Anime and Gaming Convention was held on the 6th and 7th of August at the University of East Anglia in the LCR, Hive, and the bars below. Spanning two days, the event had a full itinerary of events including performances, cosplay competitions, karaoke and ending the days with themed club nights which are a special touch that other conventions do not offer. There were things to do for all ages and they had VR headsets to play with (watching someone play BeatSaber without being able to see what they are seeing will always be very entertaining to me) and a board game area where me and my friend played The Game of Life multiple times until I accepted that I was not going to win.

I was lucky enough to get a press pass to the event which allowed me to take photos and meet some of the staff. The event was definitely leaning towards the more anime orientated but this is actually similar to the London Comic-Con which I attended in May, indicating that this is the new trend. As a gaming fan, this was a bit disappointing for me but I did manage to find a Kirby key ring and an Animal Crossing poster (more than I found at the aforementioned event in London, which was significantly larger). The anime merchandising was from a wide variety of shows, not just the most popular ones in the West and the shopping options were varied as well. There was a mix of retailers selling mass produced anime merch, to independent artists selling earrings, key rings, prints, and even Pokemon themed cookies.

After seeing nearly everyone do so, we decided to buy one of the mystery bags for £20. They were all themed after a specific anime and you could pick. Now I am going to be completely honest, I know absolutely nothing about anime, so my friend chose for me and we got a Hatsune Miku mystery bag, who is a very popular animated pop star from Japan who is actually performing at the O2 Arena soon. In the bag we got a wallet and three figures (two were the same and one was damaged), so it is safe to say we were a bit disappointed and I hope that other people had better luck. My friend started to use the Miku wallet ironically but it is now over a month later

and it is still in use so I am happy it has found some use! The staff were a bit disorganised but it didn’t take away from the event.

Overall the event was a nice experience and for the cheap entry price (compared to other conventions) it was a good day out. The shopping options were great and I was happy to find things that I liked and I spoke to some cool artists. I was disappointed with the lack of gaming things since it was an anime and gaming convention but this seems to be the trend at the moment with anime at an all time high in popularity. The twist of the Con turning into a club night is very cool and unique and I am sure weebs and casual anime fans alike had a great day.

Photo: Jessica Clifford Clifford

Photo: Jessica Clifford

Editor: Jess Clifford

Gaming News

This month’s gaming news is here! Huge news in the female eSports scene as Nip have made an all female CSGO team and G2 have made an all female League of Legends team within close succession, marking what is looking like what is about to become big leaps within eSports for women’s teams which are lacking massively in the male dominated field.

Rogue have won the LEC (European League of Legends Championships) in Malmö beating out favourites G2 and Fanatic for their first LEC title. After three times in the final, Rogue performed an absolute cleansweep of G2 to secure their win.

The Champions Tournament for Valorant is due to start soon on the 31st August until 18th September. This is the games’ second ever world championship and this time it is being held in Istanbul. There are three teams from Europe, three from North America, two from Brazil, one from Korea, one from Japan and one from the East Asian region, looking like a very exciting tournament. The tournament can be watched on Twitch and the official Riot Games YouTube.

GamesCon’s Opening Night Live event broadcasted updates and announcements for more than thirty games. Most notably, the new Harry Potter universe game Hogwarts Legacy had a new trailer released and a release date of February 10th 2023, Gearbox announced New Tales from the Borderlands which follows on from the 2015 release Tales from the Borderlands, and the announcement of new game Lords of the Fallen. Also announced was a huge new update for Genshin Impact and a trailer for GoatSimulator 3.

Photo Credits: Unsplash

Stray - new game review

By jessica clifford games editor

Stray is a highly acclaimed Indie game that was released in July of 2022 after some delays by BlueTwelve Studios. Set in a dystopian, cyberpunk world, you play as a cat that is trying to find it’s way back to its equally cute cat friends after it finds itself trapped in a giant walled city where humans no longer exist. Throughout the game you work with different robots to make your way through the different parts of the city, finding clues and memories and getting scratches. It is a single player, third-person game available on Windows and PlayStation but not Xbox and Mac OS.

I finished this game in one day as I found myself immersed in the beautiful story which is peppered with tense moments of combat throughout. The storyline itself is post-apocalyptic and attention keeping with its slow reveal of the reality of what has happened to the city and its inhabitants and your adventure to escape to the outside. The gameplay consists of exploring and puzzles which were really fun and inventive. The characters were well made and really felt like they fit into the landscape, and I am definitely emotionally attached to some of them! I honestly believe that the concept of Stray would make a great TV show or film and I am most definitely hoping for a sequel. I genuinely could not get enough. The game is easily re-playable too, with hidden Easter eggs in the game and some difficult achievements to get (I am currently stuck making my way through them trying to 100% the game).

The controls themselves were smooth and the game is supportive in moving around the cat, having particular spaces be the only places you can jump to and the inability to fall off of things (apart from when you fall into the walled city in the first instance of the game). When thinking about what I disliked about this game, honestly, all I could come up with was the potential of adding on different difficulties, incorporating the ability to free roam and fall off of pipes and beams as some players will enjoy the added challenge.

Overall this game is incredible. I cannot think of any cons about it and at only £24.99, I would recommend anyone to get it. It is a great game for all ages and offers characters with touching character development, a breathtaking cyberpunk world to explore and the ability to meow at people as often as you want (even receiving an achievement when you do this one hundred times). The only thing that could make it better is if it was longer and I could potentially customize my cat. Other than that, BlueTwelve have smashed it out of the park, especially for an indie company, and I look forward to any new releases from them and my fingers are most definitely crossed for a sequel.

Anne Glia

the isolation of university as a commuter from anon

Q.‘’I am worried about my social life at uni. As a commuter, I’m worried about feeling like a bit of an outcast because I’m not living in campus accommodation or in the city and I’m concerned about feeling lonely and struggling to build friendships. I am not attending the parties for Welcome Week because of transport issues and because I’m not a party animal generally, so I feel like I am going in blind and I’m worried that everyone will have already settled in and made new friends when I’m still struggling to find my feet.’’

A.Discovering how to navigate university friendships can be extremely daunting and tough. From experience, even though I was living on campus in first year, I still remember my hands shaking from the anxiety of the social aspect of uni. Not to invalidate your feelings of anxiety towards friendships but remind yourself that it is extremely normal to feel the way you do, I don’t know one person who felt completely confident at the beginning. You will not be alone in how you feel, try to take comfort in that if you can! In terms of feeling isolated due to not living on campus, whilst totally understandable, does not mean it is impossible for you to create meaningful friendships with others. University life has so much more to offer than just finding friends through accommodation. So, my advice to you would be to take a minute and reflect on yourself as a person. What do you like to do? Are you sporty? Into any kind of hobbies?

And if you’re not sure, heading to the SU website and browsing the huge range of activities offered here would be a great place to work out what interests you.

I also think it’s important to remind yourself that even though party culture is deeply ingrained into university life, there are many others who do not partake in that kind of vibe, so there will be other people who feel the same there also! University is a place to express yourself, your likes and your dislikes are perfectly okay to come to light. Because of these broad ranges of opportunities, there are many ways in which once you discover your niche, others will be on the same page as you and this is an ideal place for friendships to begin. Try not to put pressure on yourself to partake in drinking and going out if it’s not for you, as the people who will be there are unlikely to be the kind of people who you would get on with anyway.

The other aspect to your issue of feeling like you will still be struggling whilst other people will have already settled in is unfair of you to bring that kind of pressure to yourself. Constantly comparing yourself to others as well as making positive assumptions about them and negative assumptions about yourself will inevitably make you feel worse. I believe it’s valuable to acknowledge that for starters, what people appear to be feeling or saying

is not always reality. I know a lot of friendship groups from first year that seemed like they had found their platonic soulmates, but the more the year went on, the more the friendship groups became increasingly problematic. It’s very easy to think that the grass is greener on the other side, but not at all realistic or fair to yourself to have that kind of mindset. Reality is that everyone’s friendships will most likely change or evolve in ways nobody saw coming, especially the friendships made during freshers.

So, if you do feel like you’re behind, remember that firstly, it’s not a race, and developing quality friendships over quantity is so much more beneficial. New friends do not automatically mean match made in heaven friends. Ideally, I would take a moment for some deep reflection in the kind of friends you want and the type of person you are, to go down the best path of your search for friendships. This may include trying out different kinds of hobbies/clubs on the SU website.

About Anne

Finally, good luck! And I hope you have a great time at UEA!

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