Fuse Issue 79

Fuse.

Great female literary heroes PlayStation’s 20th birthday The fall of Justin Bieber BME cinema

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Friday February 20 2015

Short Fuse.

Comments and rants on entertainment news.

Zelda wouldn’t quite be as legendary on TV.

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nother year goes by and yet another attempt is made to adapt a popular videogame franchise for

TV. While The Legend of Zelda did find itself lumbered with an embarrassing 13-part animated series back in 1989, the prospect hadn’t been seriously discussed for a quarter of a century, until recently when reports of Netflix considering an adaptation surfaced.

Describing it as misguided would be diplomatic. There have been precisely zero occasions on which a videogame property has been successfully adapted into a TV show, and only a few the other way around - and nearly all of them have been done by Telltale.

The major part of Zelda’s appeal is its exploration - the player is encouraged to venture as far as possible until they hit an obstacle, at which point they head in another direction until they find the means

of solving it.

Stripping out that element of personal discovery which gives every player a different experience of the game would tear the soul out of it.

“Zelda is not exactly Dickens”

The same holds true for adaptations of videogames for film or TV more broadly. The video game is surely the natural evolution of the film, it takes the audiovisual treat which films can use as a method of storytelling, and adds the extra dimension of player autonomy to proceedings.

In nearly all cases, removing that element, no matter what extra leeway in terms of presentation might be gained in doing so, reduces the quality and enjoyability of a story.

Even games which have tried a lesser approach, attempting to disguise the game as an “interactive storytelling experience” (looking at you, David Cage) have found that to hold up, the property needs an incredibly strong story and very good writers.

By all accounts, Zelda’s story is not exactly Dickens. Even in the strongest games in the series for narrative - along the lines of Wind Waker or Minish Cap - the gameplay was the main feature.

To boil down Zelda to its basic elements then rebuild it for TV would turn it into an unrecognisable series. If Netflix and Nintendo want to make “Game of Thrones for a family audience”, as they put it, they are very welcome to do so but there is no reason they should put one of their longest running franchises to the sword in order to do so.

Robin Wilde

Fifty Shades of BDSM mis-representation.

Check out our review of Fifty Shades of Grey on p.15

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t is no breaking news that the widely anticipated Fifty Shades of Grey film and book have divided opinion across the globe (sadly, it really has reached wide audiences).

Many say the BDSM (Bondage, Domination and Sado-masochism) relationship between naïve college graduate Anastasia (Ana) and the typical dream man and S&M lover Christian Grey, is the most ‘intriguing’ part of the story. I say different.

After watching the film, I was left

In Case You Missed It A quick look at some of the entertainment stories from the past fortnight which were too interesting, funny or downright bizarre to overlook.

pretty disappointed with the lack of the passion that can be found in the book, and mildly degraded at how it is centred around Ana going through physical pain to please a man.

You’ve only got to google the BDSM community’s reaction to Fifty Shades to find even more morally wrong with it. They feel angered at how it casually associates sex with violence without any of the communication that they consider essential.

Consent is pretty damn important

in any relationship, let alone one of this kind, and it never seems to happen in the film. Ana is already getting beaten in the bedroom before signing the ‘legal’ contract, all through fear of losing him.

Is consent really an emotional bargain? Christian’s desire to cause pain because of his very tortured childhood is also apparently a load of crap according to the BDSM community; another piece of her shockingly awful prose that EL James needs to tweak.

You have probably come across the Marvel Studios announced last week that it’s adding another big name to its already ridiculously huge line-up of superheroes.

Spider-Man will finally take his rightful place among the Avengers, with yet another actor taking on the role for a film in 2017.

Here’s hoping we eventually get a movie about his porcine equivalent, Spider-Ham (alias Peter Porker).

#50dollarsnot50shades hashtag on Twitter, started by feminists around the world, pretty angry at the way that Fifty Shades eroticises sexual violence.

I didn’t understand how people were getting so offended until I saw the film myself, where everything that Ana said or did was one more step backwards to a world where a woman’s aim is to please her man through any domain he chooses.

This kind of submissive sex does not give both men and women the

right message; it is one thing to explore power dynamics within a relationship, it’s another to use power to control and stalk your partner (he follows her to Georgia for goodness’ sake). Oh, and like every normal boyfriend, he also demands a specific diet and exercise regime of her.

Both the book and film blur the lines between healthy and harmful sex and instead glorify sexual abuse as true love.

Ellena Rowlin To celebrate the 60th anniversary of the Eurovision Song Contest, Australia has been invited to participate in this year’s competition in Vienna on May 23. Though it’s only designed to be a one-off appearance, organisers have not ruled out inviting Australia to compete in future contests. All we know is, if the Australian entry this year isn’t a Men At Work reunion we’ll be seriously disappointed.

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Friday February 20 2015

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ime flies like an arrow, as Groucho Marx once said, and fruit flies like a banana.

It seems like no time at all since we were breaking up for Christmas, but a blink of an eye later and all that chocolate and turkey is nothing more than a memory. Seriously, though, how the hell is it the middle of February already?

There are only two short months before our AGM (that’s Annual General Meeting for all you Muggles), when you lovely readers will have the chance to stand as candidates for next year’s Forge Press editorial

team. If you haven’t thought about becoming an editor before, you totally should. It’s a fantastic opportunity to learn new skills and work with a brilliant bunch of people.

Don’t kick us out the door just yet, though. Between now and April there’s still a hell of a lot of stuff to cover, including the Students’ Union elections, this year’s Varsity and much more besides.

And there’s also two months’ worth of culture news and reviews you can only get from Fuse!

This fortnight we’re jumping on the controversy bandwagon. Good

scandals, it seems, are like buses: you wait for one, and then three turn up at once.

Music are obsessed with musical bad boys at the moment; not content to write about Kanye West’s repeated stage invasions (see below), they’ve elected to try and figure out what exactly went wrong with Justin Bieber as well. Screen, meanwhile, are celebrating some of the biggest and best names in BME cinema in the wake of the #OscarSoWhite controversy. Arts celebrate the announcement of the upcoming sequel to To Kill a Mock-

ingbird by picking their favourite female literary heroes, and Games are throwing a birthday party for 20 years of the PlayStation.

Oh, and before we forget, there’s a film you should all totally watch.

It’s about a young, introverted woman who meets a man named Grey, and is introduced to a world of BDSM she never knew existed.

It’s called Secretary, and it’s the film Fifty Shades of Grey wishes it could be.

Phil Bayles & Kate Lovatt

Will Harper Lee’s Go Set A Watchman be the Phantom Menace of Novels?

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he sequelto the 88-year-old Harper Lee’s classic novel, To Kill a Mockingbird, is supposed to be available to buy in the bookshops from summer this year.

According to the Independent, Go Set A Watchman is the “most unexpected sequel in the history of publishing.” Indeed, Mockingbird is considered the most prized novel of the 20th Century (following Ulysses, The Great Gatsby, 1984, and a few others) and the shy author has been for years “the literary world’s most famous one-hit wonder.”

British booksellers can’t wait for July 14 to see storefronts crowded with readers expecting the 2015 bestseller.

But is it a good idea to release a sequel to a classic novel so long after its publication? It is difficult to answer this question, but many considerations will help to better

understand this book and its future release.

First of all, Go Set a Watchman was written before To Kill a Mockingbird, but rejected by Lee’s publishers and never launched. Its characters are the same 20 years later, as the grown-up Scout (the protagonist of the Mockingbird, a feisty child heroine living her childhood in the 1930s) comes back from Manhattan, to her father’s house.

Harper Lee has always been the most reluctant celebrity writer, refusing to talk about Mockingbird in her (very rare) interviews, and shying away from all publicity. Since she’s 88 and now living in assisted accommodation, conspiracy theories have begun to fly about the announcement of Watchman.

Ms Lee had apparently assumed it was lost to the world. The manuscript, however, was recently unearthed by her lawyer Tonya

Carter. But then, tales of intrigue and false claims have been frequently told about Ms Lee as she’s got older.

Lee’s publishers say they didn’t speak to her directly about the book but have reassured everyone that Lee is in good health and the decision to publish Watchman was hers alone.

Although 55 years have passed since the first book and the numerous claims of swindle, it will be interesting to read Watchman and finally discover the future of Scout.

To Kill a Mockingbird incorporated various adult subjects, such as racism, rape and legal consumption, but the sequel will go “so many steps above and beyond all that… from a grown-up perspective,” HarperCollins public relations director Jennifer McDonnell said.

Chiara Vignati

Yeezus Christ, not again...

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f President Obama called you a jackass, because, say, you interrupted Taylor Swift’s acceptance speech at the VMA awards, most people would reevaluate their actions. Kanye West, however, isn’t most people.

At this year’s 57th annual Grammy Awards, West felt it fitting to echo his infamous “I’mma let you finish…” incident of 2009, by walking onstage in protest when Beck won Album of the Year instead of Beyoncé.

Not one to hide from the spotlight, Kanye West later ranted about the flawed nature of the Grammys on E!, saying he believed that the music industry “smack[s] people in their face after they deliver monumental feats of music.” The rapper also controversially called upon Beck to “respect artistry” and concede his award to Beyonce.

Some may attempt to defend West’s stunt at the Grammy’s, arguing that it’s ‘just Kanye being Anyone who thought that the original Doom wasn’t quite hipster enough is in for a treat, as clever modder Linguica has introduced a selfie stick and several Instagram filters into the game’s code. Bizarrely, this isn’t unique to Doom: a recent update to World of Warcraft allowed users to take selfies and even upload them directly to Twitter. We should start using the hashtag #YOQO (You Only Quest Once).

Kanye’, but should anyone defend this seemingly self-delusional rapper, when he provides such ample ammunition for his many critics without any guilt or remorse?

“If Kanye West is a musical god, atheism is an appealing option” It is clear to see that West, by all means, isn’t like ‘most people.’ Most people simply wouldn’t be allowed to interrupt both the VMA awards and the Grammy awards, for as Simon Cowell shrewdly suggested “Why don’t you A) not invite him? or B) just tie him down to a chair or something?”

Those who can condone his behaviour have a tolerance that Jesus, and indeed Yeezus, would be proud of. For we must remember that West, in a remarkable feat of self-delusion, has declared that he is “on a mission from God.” Because naturally, if God were to send a prophet to talk to humanity, the intermediate would be likely to convey God’s distaste for Beck’s album ‘Morning Phase’, rather than, let’s say the Ukrainian crisis, or global warming.

In his recent album, Kanye West has taken his unrivalled self-belief to an unprecedented level with the modestly titled track “I am God”, as well as his appearance in Rolling Stone magazine posing as Jesus with a crown of thorns.

If Kanye West is our modern day musical God, atheism is quickly becoming an appealing option.

Laura Mullan

Booksellers like Waterstones and Foyles have reported a dramatic rise in the number of kids’ colouring books being sold over the past year, but it turns out the grownups have been buying them for themselves. The trend apparently started in France, where many people insist that colouring in is a great way to stay relaxed. No wonder all the Geography students we know always look so mellow.

Editorial.

This week’s PlayStation cover was drawn and painted by our very own Sophie Maxwell

Friday February 20 2015

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If you haven’t thought about the PlayStation in a few years, maybe dig it out of the attic or cellar and set it up for­a couple of hours with Crash Bandicoot or Spyro the Dragon and you’ll be five years old again.

The Sony PlayStation enjoyed its 20th birthday late last year, with Sony manufacturing a very limited edition version of the PS4 to commemorate the launch, which quickly began selling for thousands of dollars. But the journey of the PlayStation has been long and winding, with plenty of odd turns along the way.

Here are some of the most fascinating facts about one of gaming’s most successful brands.

The PlayStation began as a joint project between Nintendo, Sony, and Philips to develop a CD add­on device for Nintendo’s SNES. After the project fell apart, both Sony and Philips got the license to use what had been developed for their own purposes. Sony went with the best­selling console ever until that point, while Philips came up with the CD­i, known only for three truly awful Zelda games.

The last PlayStation game wasn’t released until the end of 2004, when FIFA 2005 came out. This was only two years before the PS3 was launched. The console didn’t stop being manufactured until 2006.

The PlayStation was the most successful console ever at the time, and the first system to sell over 100 million units. It outsold its next biggest competitor, the Nintendo 64, three times over.

The PlayStation controller originally had no analog sticks, and they weren’t added until the Dual Analog controller was released in 1997, followed by the DualShock (which added rumble support) in 1998. The first game released which required the use of dual analog sticks (rather than just making them an option) was Ape Escape, released in 1999.

962 million PlayStation games were manufactured during the console’s lifespan­ about nine for every console sold in that time. This remains the second highest number of games sold for a console, just ahead of the Nintendo DS and Wii, and only beaten by its successor, the PlayStation 2.

Despite the amount of fun generated with it, the processor in the PlayStation is remarkably weak at about 33MHz. Computers were regularly reaching three times its power by halfway through the console’s life, and a modern smartphone is at least a couple of hundred times more powerful.

The PlayStation’s CD­reading capability was a big part of what ensured its dominance over the cartridge­based Nintendo 64. While Nintendo’s system had virtually no loading times, it could also only store roughly a tenth of the data, making games which used lots of pre­rendered video, like the best­selling Final Fantasy VII, unable to be run on it.

The shapes that make up the PlayStation buttons were chosen for very good reasons. The circle and cross are designed to represent “yes” and “no” respectively, while the square represents a map or menu and the triangle is there to bring to mind a field of view or camera angle as represented from above. Those four rather practical symbols quickly became emblematic of the brand, and have endured ever since.

WOULD YOU

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IT?

As Justin Bieber gets even more hate for allegedly failing to show up to his community service due to a sprained ankle, Music editor Rebecca Stubbs takes a look at Bieber’s downfall from fresh-faced YouTube sensation to an unruly star with a knack for getting into trouble.

It’s no secret that pop stars of our technology-dominated age obtain a role model position the moment thousands of kids begin blasting their hits from their phones at lunch break. Justin Beiber’s entire existence is showcased to the the entire world. Along with other stars, he has been hastily idolised by impressionable fans, and, lets not deny it, has become insufferable to the rest of the population.

Obviously this is extreme, many modern pop stars go about their (often fleeting) careers without inviting enough of a negative reception to incite a massive hate following. But there are some, like Bieber, who seem to rile society up enough that we end up questioning their music sales. It would appear that there are just some pop stars whose sole purpose is to provide a metaphorical punch bag for a public who simply love to hate on celebrities. Cue Bieber, who transformed himself from metaphorical punch bag into a physical one, when Orlando Bloom punched him in the face last year. Yes, even calm and collected Bloom just couldn’t face another verse of Baby. So just how and when did ‘Bieber Fever’ begin to sound less like a party and more like an illness? And is Justin Bieber deserving of all the hate relentlessly heading his way?

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THE FALL OF JUSTIN BIEBER 2007

2008

2009/10

This was the year Bieber first tasted fame after Usher discovered him on YouTube and snapped him up straight away for his record label.

Bieber’s debut album My World went platinum instantly and the world saw the emergence of hardcore Beliebers.

Biebs was probably in his prime during these years. People were blasting ‘One Time’ and ‘Somebody To Love’ as though music had never been better (even I may have foot-tapped along to it- albeit half heartedly).

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2012

2011

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Throughout 2012 Bieber got pretty familiar with the police after various incidents. In May he got into a scrap with a photographer after a date with his girlfriend Selena Gomez and in July was called out for swearing on a flight to New Zealand.

In the same month he was accused of driving at speeds of over 80mph when he called 911 to complain about being chased by paparazzi.

Cue the beginning of Beiber’s downfall. At the beginning of the year he was accused of being father to a 4-month-old baby by Mariah Yeater (although this was later proven to be false).

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2013 Not-so-innocent Justin was caught on video in January, smoking what appeared to be marijuana and, needless to say, parents of Beliebers freaked!

In March a fame-blinded Beiber thought it was OK to arrive on stage at a London show two hours late. The show was on a school night and kids actually had to leave before they’d even got a glimpse of him. After his extortionate concert ticket prices, its safe to say this did not go down well.

In April, a lot of Anne Frank fans were left fuming after Bieber visited the Anne Frank House in Amsterdam and left a message in the guestbook that read he hoped “she would have been a Belieber” if she was alive. I think that speaks for itself.

In July the singer was once again all over the internet after he allegedly spat on fans outside his hotel.

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2014 In January Bieber landed himself in trouble when he was caught egging his neighbours house in California. As a result of this escapade, he has to complete a course of anger management classes and serve some community service (which he has still not completed just to his aforementioned foot injury).

Later in July, Orlando Bloom famously threw a punch at an unexpecting Bieber in Ibiza. The reason remains unconfirmed however Bieber has apparently been flirting with Blooms ex wife Miranda Kerr. Witnesses including Leonardo DiCaprio apparently clapped as they stood by!

Beiber once tweeted: ‘I understand it is part of the job to be judged...but judge me on the facts, judge me on the music”. And the guy has a point. Since when was the music industry dominated by stars life choices and mistakes? Why should it be? In light of this, it is important to take a moment to honor Justin’s request and judge him on the facts and, crucially, on his music.

So I tried, really tried, to find some hint of lyrical genius within his multiple albums. I scoured YouTube for a riff that didn’t make my ears start to hurt after a couple of listens. Alas, I failed to find evidence of either. Just maybe, when it comes to the downfall of Justin Bieber, it’s OK to hold his silly lifestyle choices against him, because when you assess his music, his credibility as an artist is desperately struggling too.

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Above: Director Ava DuVernay and cinematographer Bradford Young on the set of Selma

Source: image.net

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Above: Henry G. Sanders and Kaycee Moore in Killer of Sheep (1977)

Above: Gabourey Sidibe as Queenie in American Horror Story (2013)

his year the powers-that-be in the world of cinema have decreed that the best films of the past 12 months are the highly publicised and widely critically acclaimed films whose names I will refrain from repeating here: this refusal of mine constitutes a small yet significant resistance to the overtly white brushstrokes in which this year’s awards ceremonies have been painted.

My purpose in writing this piece is to draw attention not to these institutions of white dominance, but to the cinema of the BME community, which has been in the last year so definitively and conclusively ignored by the Academy.

Cinema is a unique and crucial part of our 21st century culture, because of its universality, and its ability to paint individual stories.

To see through another’s eyes is a valuable gift, and one we ignore at our peril. Cinema challenges our everyday realities with its presentation of stories unavailable to us via other means. It shows us places we have never seen and lives we may never lead. It tells stories that sometimes cannot be told in any other way.

Today, conflicts across the world have suppressed the creative outlets of millions of people. In these cases, cinema is able to convey dissidence, resistance and strength against the status quo. Documentarians of conflict are often faced with severe consequences, like Iran’s Jafar Panahi.

Panahi’s 2011 documentary This Is Not A Film constituted the result of a 20-year ban on filmmaking imposed on him by the Iranian government, who perceive his work as a threat to the regime. While under house arrest, Panahi used his smartphone to record portions of his cancelled project, creating a picture of life inside a creatively starved modern Iran. The message this independent film conveys is an ominous one: is mainstream cinema telling us

the stories we need to hear?

Panahi’s good fortune in successfully smuggling the film out of Iran inside a cake is surely a unique event. Across the world, many people like him are faced with the negative consequences of creative resistance. It is these stories we need to share, and those of the oppressed minorities worldwide.

The story behind This Is Not A Film is bittersweet, and it is all too easy to congratulate ourselves on being part of the liberal western world that rewarded Panahi’s efforts with critical esteem. But this nodding of privileged heads does not reflect the freedom and opportunity we in the developed west possess.

The real power of modern cinema resides in the distribution companies, their money-spinning franchises and the machinery of Hollywood stardom, of which the Academy is a major part. And just for a little perspective, a recent study carried out by the LA Times recorded that of the mysterious Academy members, the average age is 63, and 94 per cent are white.

It’s no certainty that white voters will vote for films portraying the lives of white people, but it seems sadly that this has been the case, at least with regard to this year’s film awards. There has been no shortage of BME films in the last few years: here’s a selection of titles that have fallen under the radar.

In 2009, Lee Daniels premiered his film Precious at the Cannes Film Festival, where it received a 15-minute standing ovation. Speaking to the New York Times about the event, Daniels admitted, “I didn’t want to exploit black people. And I wasn’t sure I wanted white French people to see our world.”

Since President Obama’s election in January 2009, the comfortable concept that we are living in a ‘post-racial’ climate has been increasingly prevalent. This uncertified claim protects our prejudices from attention and creates an

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Above: David Oyelowo and Carmen Ejogo in Selma (2014)

Source: image.net

Words: Sophie Maxwell illusion of irrelevance surrounding racial discourse in media and culture. Films like Precious provide the evidence we need to understand that the notion of the ‘post-racial’ is far from being a reality.

Daniels’s untrained star, Gabourey Sidibe, went on to feature prominently in the third season of FX’s American Horror Story.

The anthology series has attracted large viewing numbers for the channel and its third season, Coven, explores both historical and contemporary racial tensions in New Orleans.

The series follows the exploits of students enrolled in a school for young witches. Behind the fantasy lies a serious examination of racism and ghetto culture in a city known for its outsider narratives. The tensions between white and black communities are emphasised and explored alongside an historical narrative that recalls the suffering of black slaves in American history.

Across the pond, BME cinema is no less relevant. In 2013, Destiny Ekaragha directed Gone Too Far!, an adaptation of Bola Agbaje’s 2007 play of the same name. The film follows one day in the lives of two estranged brothers who struggle to accept one another while roaming a South London council estate. Iku has recently returned from Nigeria, bringing with him an alien set of clothes and a thick Yoruba accent, placing him firmly outside the norms of his brother Yemi’s social circle. The brothers’ mutual misunderstandings raise questions about ethnicity, society and ancestry that are woven deeply into modern life in the city of London.

This year, Ava DuVernay’s Selma has been at the centre of controversy regarding the white domination of the Academy Awards nominations. The Academy’s decisions have only made the film’s subject matter more relevant: Martin Luther King, Jr’s ‘dream’ can and should be a reality, and not only in the sphere

of the visual arts. Selma tells a story of prejudice, discrimination and a battle for human rights that is not historical so much as it is current.

Racial tensions in America are as prominent in the media as they have ever been, in the wake of continuing conflicts between people of colour and white authorities. Obama may be at the helm of the country’s politics, but his role goes significantly beyond being a symbol of modern liberal ideology. Nobody can bring Eric Garner back.

We need cinema to keep telling us the realities of life without the sanitisation of government machines. We need cinema to free these stories, and to share them, and to promote the values that so many have died for and will keep dying for. We need to realise that dream of equality and we need to do it now.

Above: Gabourey Sidibe in Precious (2009) Titles to look out for: Bamboozled (2000) Beneath Clouds (2002) Borderline (1930) The Butler (2013) City of God (2002) Do The Right Thing (1989) Gone Too Far! (2013) Killer of Sheep (1977) Lilting (2013) The Maid (2009) Maria Full of Grace (2004) Mercutio’s Dreaming: The Killing of a Chinese Actor (2011) Pariah (2011) Persepolis (2007) Precious (2009) Pressure (1976) Samson & Delilah (2009) Selma (2014) She, a Chinese (2009) Sin Nombre (2009) This Is Not A Film (2011) Twilight City (1989) Yellow Fever (1998) 12 Years A Slave (2012) 3 Mile Radius (2011)

Above: Jafar Panahi in This Is Not a FIlm (2011)

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Friday February 20 2014

Woman is th

Gone are the days of waiting around for Mr Darcy - mode independent. Jo Gallacher takes a look at five great wome

“She is a master of manipulation “Her wonderful mind proves that and the torment she creates is the tradition of heroic men and uncomfortable and immoral” passive women is truly over”

Amy Elliott-Dunne - Gone Girl

Hermione Granger - Harry Potter series

An interesting choice to begin the list, given the fact that we can quite confidently agree that Amy is in fact absolutely bonkers. After finding out about her husband Nick’s affair with another woman, Amy plots an extraordinary plan in order to frame her husband for her fake disappearance and murder. This involves cutting herself with a kitchen knife in order to collect blood, stealing a pregnant woman’s pee to fake her own pregnancy, and writing a series of made up defamatory diary entries about her husband. Amy is not a typical feminist role model - she is a master of manipulation and the torment she creates is uncomfortable and immoral. Yet, there’s definitely still the Spice Girl mantra of ‘Girl Power’ ringing through the pages of Gone Girl. Amy (with her many, many flaws) is a strong antihero who is entirely in control of the sequence of events, and thus manages to embody a strong literary female character.

Loved and respected worldwide, Hermione is the embodiment of everything a young girl should aspire to be. She is academically excellent, brave, independent and strong willed. Hermione is used within the Harry Potter series to prove that the age old tradition of heroic men and passive women is well and truly over. Not even the magical world of Hogwarts can escape the fact that a lot of the powerful characters in the plot are men - Dumbledore, Lord Voldemort, Harry Potter - yet Hermione offers an alternative mind whose impressive intelligence becomes a necessary component in the narrative. It is easy to become infuriated by her insufferable know-it-all nature (guaranteed she would be the one who had already thought of her dissertation idea), but her quick problem-solving and wonderful mind makes her arguably the most capable character within the books. 10 points to girl power!

“At the age of just make bea

Katniss Everdeen -

Ever since the death of her father at a of the family. With her mother battlin care for, Katniss transgresses familial the family: hunting, foraging, and sel At the age of 16 I could only just m she infamously volunteers to be enter say the least. The entire trilogy posit character rather than her being a p for her prince to come. She is an ind is regularly depended upon by other even the faintest whisper of a feminin are just as capable as men when it co like Katniss please!

Friday February 20 2014

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he New Book

ern female literary characters are brave, empowered and en in literature, and considers why they’re so important.

16 I could only ans on toast”

- The Hunger Games

a young age, Katniss has taken charge ng depression and a younger sister to norms to become the breadwinner of lling excess food on the black market. make beans on toast. Not to mention red into the games - a brave move to tively focuses on Katniss’s actions and passive plot device patiently waiting dependent and fierce competitor, who rs throughout the story. Katniss rejects ne stereotype, and proves that women omes to competition. More role models

“Simply by virtue of being female she plays a positive social role”

“Scout demonstrates that not every woman ought to behave in a sweet, sugary and typically ‘feminine’ nature”

Piper Kerman - Orange is the New Black: My Time in a Woman’s Prison

Scout - To Kill a Mockingbird

After you have finished marathoning Orange is the New Black on Netflix while eating copious amounts of pringles (yes, that sentence is unfortunately anecdotal) you may want to look into the memoirs the series is based on.

Here you will find not Piper Chapman, but Piper Kerman, the real life woman who served 13 months in a female prison for drug smuggling and money laundering. During her time inside, Piper endures a hunger strike due to accidentally insulting the chef, a total loss of privacy and dignity as well as rigorous cleanliness standards which leads to prisoners sleeping on top of an already-made bed in order to be first in the dinner queue. Of course Piper is not an innocent victim, but her strength and mental determination within the book shines through the pages to make her an admirable and strong literary character, as well as human being. The book highlights the female inmate’s different experiences of the American justice system due to socioeconomics, and sometimes even race. She, like Amy Dunne, is one of few characters who can be seen as a subtle expression of feminist values. While she is not flying the flag directly in the face of the patriarchy and men in general, simply by virtue of being female she plays a positive social role. It is clear from Piper that men and women can share equally even in the gloomiest of life’s paths.

Jean Louise Finch, commonly known as Scout, quite rightly deserves a place in the top five female literary characters. When the novel begins Scout is aged five, yet she is already redefining what it is to be female. Scout gets into fights, prefers to play with boys and would favour a pair of denim dungarees any time over a flouncy dress. Her tomboy nature, whether conscious or not, questions gender norms and stereotypes, and helps to demonstrate that there isn’t just one way for a woman to behave. At such a young age, Scout demonstrates that not every woman ought to behave in a sweet, sugary and typically ‘feminine’ nature. She offers an alternative to gender norms and expectations, something I’m sure we can all get on board with.

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Friday February 20 2015

Fuse Games.

Harold

Moon Spider

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harming, silly, and downright difficult, Harold provides a fresh take on side scrolling runners. This game will punish you relentlessly for the slightest mistake, but you will keep crawling back for more.

The player takes on the role of Gabe, a young angel who is tasked with helping the titular Harold race his way to victory. There is, however, one problem: Harold is the

Grim Fandango: Remastered Double Fine Productions

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game like Grim Fandango would never get made today. It’s too full of the kind of mad, utterly original ideas that sound impossible to pull off on paper.

Now, more than 15 years after its release, Tim Schafer’s cult classic has been re-released with a shiny new coat of paint. Despite a few creaking joints here and there, all in all it’s aged like a fine wine.

In the Land of the Dead, grim reapers working for the Department of Death usher people over to the other side and help them on their way to paradise in the Ninth Underworld.

When a saintly woman named Mercedes is denied the after(life) care she deserves, low-level bureaucrat Manny Calavera sets out on a four-year journey to find her and uncovers a sinister plot.

The facelift is surprisingly minimal. Character models have been cleaned up (a simple button press to toggle between filters reveals how much) and Peter McConnell’s excellent jazz score has been completely rerecorded, yet this is essentially the same game. But really, why would you change anything?

With its inspired half-noir, halfAztec aesthetic, few games today can boast a world that feels as richly drawn as The Land of the Dead. The script is still whip-smart, packed with un-

slowest, goofiest, clumsiest excuse for an athlete that the world, or indeed heaven, has ever seen. As his guardian angel, you really have your work cut out.

As you watch over Harold, you must help him across obstacles by moving platforms, flinging him across gaps, and ‘encouraging’ him to run faster by shooting him with the occasional bolt of lightning.

Yet your heavenly powers don’t end there. You are able to ‘interfere’ with Harold’s opponents, moving platforms out from under their feet, and even setting crocodiles on them. I had no idea that celestial

mischief could be so fun.

This game also oozes polish. From the smooth animations to the brilliant voice acting, this indie game is much more refined than many recent full priced releases *cough* Assassin’s Creed *cough*.

forgettable quotes and characters.

Every room is filled with tiny details that make the world feel (ironically) alive, which means running back and forth trying to figure out what to do next feels like a treat rather than a chore.

Unfortunately, running back and forth is something that happens a lot. Young whippersnappers who’ve been brought up on Telltale series like The Walking Dead or The Wolf Among Us will find Grim Fandango to be an unforgiving game. Like

most 90s adventure games, it works on a train of logic that usually only comes with taking hard drugs. Finally solving a thorny problem is undeniably satisfying, but the puzzles too often sit on the wrong side of obtuse.

An optional tutorial would have been ideal for newcomers, especially since Double Fine Productions went to the trouble of sorting out the clunky old-school controls.

Still, the market may be oversaturated with games that get an HD update six months after they’re released, but Grim Fandango: Remastered is the best kind of remake. It’s the perfect chance to revisit a classic piece of gaming history.

‘Fresh, creative, beautiful and infuriating’ Harold also has a lovely handdrawn art style reminiscent of the

Phil Bayles

Rayman games, which perfectly captures every goofy detail of poor old Harold as he blunders around. Bursting with colour, and supported by a brilliant soundtrack, this game is a joy to behold.

But don’t let the bright colours and whimsical humour mislead you into thinking that this game will be a relaxing experience. Harold is as hard as nails. The intentionally tricky controls coupled with the speed of the race make it extremely difficult to keep Harold from falling into spikey pits, while you’re messing with his opponents to ensure that he doesn’t come stone dead last. It’s

stressful being an angel.

Yet, the satisfaction I felt after beating each level made all the anguish worth it. Plus after each race, the player is rewarded with cut scenes that build an intriguing story around Gabe’s rivalry with another guardian angel. Spot on mechanics, charming art style, and a compelling story? I’m sold. Harold is fresh, creative, beautiful and infuriating.

Yet another absolute gem from an indie developer.

CULT CORNER

humour. As there’s eight love interests to choose from, you’ll be sure to find something that tickles your fancy. It’s reminiscent of Ouran High School Host Club¸ but the androgyny is swapped with pigogyny…

Yet, what is even more disturbing than all of the above is the fact that there’s plenty of darker undertones to Hatoful Boyfriend. Whether it’s the militant ‘Hawk’ political party, which wants to eradicate the human race in a Nazi-esque manner, or the omnious ‘Bad Boys Love’ ending, which incorporates a lot of blood, the game can be astonishingly creepy. Games like this are why I have trust issues.

If you’re a fan of the Telltale format, but need an even more surreal storyline than zombie killing or wolves disguised as detectives, this one’s for you. Hatoful Boyfriend is a testament to how far gaming narratives have stretched the boundaries of the dystopia. In the same way as Papers, Please, it’s also testament to you, the player, as to how easily you can immerse yourself in absolutely ridiculous situations.

Hatoful Boyfriend shows the ability of gaming to take you deeper into the depths of your desires and/or nightmares than Fifty Shades of Grey ever could.

Hatoful boyfriend Mediatonic

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eeling the Valentine’s Day lull? Why not reinvigorate your love life with some pigeon passion? Hatoful Boyfriend is a masterpiece of anthropomorphism, allowing you to live the life of a teenage human, situated in a dystopian future where all your other classmates are an advanced species of fowl.

‘Games like this are why I have trust issues’ From the moment teacher Kazuaki proclaims ‘Good morning everybirdie!’, you will find yourself gripped, and uncomfortably flattered as each male literally coos over you. The quaint music and simplicity of the simulation add to the game’s charm and delightful

Matthew Reynolds

Samantha Fielding

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Friday February 20 2015

Fuse Arts.

Blasted Studio

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n stage, the middleaged Ian and young Cate enter an unassuming, upmarket hotel room. The first instance of full nudity occurs a mere 15 minutes in, but if I listed Blasted’s most graphic moments, that scene would barely make the top 10.

Two decades ago, the play’s premiere drew fierce criticism for perceived gratuity; the Daily Mail memorably described it as a “disgusting feast of filth”. Others called for the return of the censor.

Built on a crux of war, violence, sex and abuse, Blasted needs virtually every trigger warning.

“It will cling to you after you’ve left the theatre” Some conclude that the play (Sarah Kane’s first of five to be written before she took her own life) seeks to shock for its own sake – a problem often seen to afflict the early work of playwrights, eager to show us all how unfair the world is and what terrible people we can be.

How should one review a play which parades the worst humanity has to offer over the course of less than 2 hours?

It truly does feel like morals disappear in the space between the audience and the stage. The acting is undeniably strong; a must for a play that hangs on its characters as

BOOK CORNER talon

Julie Kagawa

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t’s easy to understand why young adult literature is popular with a lot of authors. After the runaway success of series like The Hunger Games and pretty much everything John Green has ever committed to paper, it seems like a fast way of getting recognition and some money.

The tragedy of Talon is how potentially great the idea is. A young adult fantasy novel about a world in which dragons hide among us, endlessly pursued by an ancient order of dragonslayers descended from St George, had a very real possibility of being awesome.

Yet there are so many missed opportunities that its poor quality has, if anything, made worse.

The two protagonists, Ember

much as this one. Martin Marquez gives a standout performance as foul-mouthed journalist Ian. At its halfway point, Blasted leaves naturalistic theatre behind.

By the final scene, the hotel room, once pristine and pedestrian, has been utterly transformed into a hellish, expressionist space, littered with flowers, wood, bricks and blood. It becomes a gnarled warzone, reflecting the broken minds and bodies of the characters.

The technical execution of the play is particularly praiseworthy.

Explosions and staged violence feel entirely genuine; with the audience tensing visibly every time a gun is brandished.

Wilson’s production does justice to the difficult source material, and is a worthy adaptation of Kane’s work. With IS, the Ukraine crisis and a dozen other wars in the news, Blasted remains as relevant to the real world as it ever was.

This is an intense, deeply uncomfortable production. It has not lost any of its impact in the decades since it was written, and will undoubtedly continue to polarise opinion. Regardless of what you think of Blasted, it will cling to you after you’ve left the theatre, and will purge any shred of optimism from your mind.

You will want to look away. Go see it anyway.

Joshua Hackett More reviews online Read more reviews online at Forge Today

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and Garret, begin their tales on different sides of this ancient war, and the initial presumption is that this is some sort of split narrative, with the moral claims of each party being left for the reader to decide - the dragons might be a dangerous force trying to infiltrate and destroy humanity, or they might be a persecuted species forced into hiding to survive.

But it all falls apart just a few chapters in when the protagonists meet. From there it’s a fairly tedious teen drama which reads like a cross between the Alex Rider books and that one episode of The Simpsons where they go on vacation and Lisa makes friends with the cool kids on the beach.

The book’s approach to storytelling is odd, offering up important plot points - like the existence of the Order of St George - as quick asides very early on, squandering any element of surprise or clever introduction that might have otherwise existed.

Kagawa feels the need to remind the reader endlessly of the situation

The sound of music Lyceum

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he Lyceum was alive with the sound of music last week, when the much-loved musical arrived in Sheffield.

The logistics of having countless sets simply descending from the rafters proved every bit as impressive as the songs, which of course still stand up today.

Beginning with the Nuns of Nonnberg singing their ‘Latin Preludium’, the show neatly changes gears, switching from solemnity to the restless Maria singing the title tune.

The rapid set changes, distracting only in their genius, add a special something to the show. They give those familiar only with the film adaptation some of the lushness of the mountains of Austria, so beautifully captured in the 1965 movie.

Fortunately, we see more of the

through Ember complaining about “her dragon” and having to train.

Without the basic element of trust in the reader, the story is repetitive and dull. Most of the attempted dramatic moments are signposted in neon lights from miles off.

It would be churlish not to give the book the benefit of the doubt. It is undoubtedly for teenagers, so university students and older will find little of much worth in it. Those who enjoyed the adventures of Katniss Everdeen or Bella Swan, though, might be a little more receptive.

It’s a sad reflection of where we are that everything in the young adult genre (with the admirable exception of John Green) seems to take the form of some sort of saga. With more books planned (and “Book Two Coming Soon” proclaimed on the back cover), it seems that no matter how tedious the book, we are not done with Talon, and this series is going to keep dragon on.

Robin Wilde

nuns. Mother Abbess’ soaring voice makes her stand out even among this excellent cast. The show’s most enjoyable moments come with the ensemble numbers, where voices young and old blend brilliantly.

“Wonderful” The von Trapp children were excellently performed on the night.

From Arts Educational graduate Grace Chapman, playing Liesl, to the youngster playing five-year-old Gretl, there was nothing sickly in their sweetness.

It is only unfortunate that their father could not match them. Steven Houghton was more Captain Darling than Captain von Trapp in his portrayal of the family patriarch.

While his vocal talents are undeniable, he had none of the presence or poise the character should have, his authority coming across as a pretence he couldn’t maintain.

The pacing of the second act, too, feels as unsteady as a cow on the Alps. The first half indulges in the development of Maria and the von Trapps. As a result, the second half must frantically race through the meat of the story. Though a set change from the von Trapp house to the Salzburg competition is clever, it is almost necessary given the weighting of the story.

Still this is a musical which has enthralled audiences for almost 60 years. They come not for a history lesson, but for the musical numbers, the love story, and the infinite comfort of love’s triumph over hatred.

With its wonderful singers and masterful stage design, this production has everything necessary to maintain the enduring popularity of this classic – there will be no so long, farewell, auf wiedersehen or goodbye to The Sound of Music just yet.

Jack Collier

Friday February 20 2015

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Fuse.Albums. music Fuse father john misty

I LOVE YOU, HONEY BEAR

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he second record released under the pseudonym Father John Misty marks another significant change in course in ex-Fleet Fox Josh Tillman’s musical career.

In I Love You, Honeybear, Tillman takes a step away from the neopsychadelia of 2012’s mushroomfuelled Fear Fun. Although Honeybear is a concept album largely about his wife, the sheer volume of debauchery and excess disqualify it from any list of romantic love albums.

On the surface, Honeybear plays like a modern take on the classic folk singer-songwriter, Harvest-influenced style (with the exception of the symbolically electronic ‘True Affection’). However, this acts merely as a backdrop to Tillman’s strikingly explicit, brutally cynical lyricism,

Francois and the atlas mountains L’HOMME TRANQUILLE

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his is a coming-of-age, American sweetheart, gap year soundtrack. Picture Mumm-Ra, interrail ticket in pocket, on a Mediterranean hilltop with a selfie stick.

The newly released EP L’Homme Tranquille certainly dares to stray away from what the charts deem to be popular culture, with the world music vibes of Ayan Filé launching the listener into a place which is far from a supermarket CD aisle.

A quick look at the band’s website and the whacky and arty section titled “Watercolours Journal” will make sure you know for certain that this is no normal conveyor belt indie band.

Granted, the chirpy and vibrant ‘Jeans’ would not be out of place in a 500 Days of Summer soundtrack, but only if the film had a happier ending which proved that love was truly real and constant for everybody around the world. So maybe not. ‘Volcan’ sounds like a slightly merry nighttime walk through quiet

European streets thanks to its disparate rhythms backed by a cuddly and cosy guitar sound.

The closing track ‘Dessine’ carries on in this vain, but ramps up the dimmer switch again to reveal bright and happy harmonies which leave you contented yet hungry for more.

The whole record is laced with an African sound, but this comes as no surprise considering the EP was recorded on a trip to the continent.

Frontman and show-piece Francois Marry took inspiration from in Ethiopia, Burkina Faso, Senegal and Benin. All the while he was jamming with local musicians and recording what eventually became this EP. A statement on the Domino record label’s website says: “the track is about a European traveller dreaming about an African journey.

Well now, thanks to L’Homme Tranquille, we can dream too.

Matthew Drew

DUTCH UNCLES O SHUDDER

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utch Uncles are part of the London record label, Memphis Industries, which continues to demonstrate its innovative appeal to bands, who create music which defies the simple categorisation of typical genres.

O Shudder marks the fourth studio album from the indie-pop outfit, who are set to begin touring the UK this month as part of their ‘In ‘n’ Out Store-Tour’.

Dutch Uncles are pretty much creating their own niche genre somewhere between 80s synth

which is undoubtedly the album’s centerpiece.

Orchestral arrangements of tracks such as ‘The Night Josh Tillman Came To Our Apt.’ and ‘When You’re Smiling and Astride Me’ create a country-blues sway that dominates the first half of the album.

Atop these, Tillman unashamedly covers topics from his frustration with white girls’ singing habits to his own incestuous sexual fantasies.

The atmospheric story of an overintoxicated girl in ‘Strange Encounter’ provides the perfect build-up to the climactic ‘The Ideal Husband’, a song that booms with the vigour of an Arcade Fire hit.

Although Tillman’s self-awareness is evident throughout the record, ‘Strange Encounter’ and ‘The Ideal Husband’ feel more apologetic and confessional than the rest.

The final three songs are scaled down in arrangement and tempo.

Tillman offers a contemptuous social commentary in ‘Bored in the USA’ through his unique personal perspective (“How many people rise pop and indie rock.

If you know Dutch Uncles already then O Shudder will fit seamlessly with their previous albums, continuing with the unusual and distinctive vocals of Duncan Wallis and the catchy synth beat.

Wallis’s vocals are a little bit like Marmite. Sometimes, like in ‘Decided Knowledge’ and ‘Accelerate’ the vocals work really well with the synth aspects of the tracks producing some very catchy choruses that, after even one listen you are singing along with.

These tracks also feature some very cool Depeche Mode era back-up vocals which compliment Wallis’s vocals really well, adding harmony and rhythm.

But the penultimate track, ‘Tidal

and say/My brain’s so awfully glad to be here/For yet another mindless day?”). This use of bleak existentialism epitomises the black humour demonstrated lyrically throughout the album.

The true brilliance of this record is Josh Tillman’s combination of flavours; the sweetness of his folk-rock arrangements pairs beautifully with the bitter taste of his barefaced cynicism.

Jacob Steiner

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Weight’, might seem a little too heavy even for hard-core fans.

Towards the end of O Shudder the up-tempo synth beat becomes more sombre as the band discuss serious topics such as divorce, social media, doubt and angst. Indeed the album seems like the band’s personal lament for lost youth as they head into the unknown territory of entering their late twenties.

Yet the entire album is enjoyable thanks to the memorable mix of electronic synthesisers and instruments like the harp and marimba.

Ashleigh Howard

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Friday February 20 2015

liveFusemusic.

Gigs.

JULIO BASHMORE AT THE TUESDAY CLUB Foundry, Studio and Fusion February 10

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ristol-born electro dance music DJ Julio Bashmore was heavily anticipated at the Tuesday Club after his incredible performance at Parklife Festival last summer, and he definitely did not disappoint.

The University Of Sheffield’s popular club night never fails to attract a buzzing crowd and this time was no exception.

Gig goers were hit immediately with positive, enthusiastic vibes that radiated from the venue.

A crowd made up mostly of students fuelled by post-exam relief

(and maybe just a little bit of alcohol) had donned their trendiest get ups (mostly consisting of sports jackets, Nikes, and top knots) and were ready to party hard. And party hard they did.

Despite the venue increasing in heat as the night progressed, the crowd’s enthusiasm did not waver.

When he took to the stage, Bashmore was greeted by an energetic audience that appeared not to need to break for a breather.

The highlight of the evening was the well-known ‘Au Seve’, which filled the bouncing venue with a hard, pulsing beat and a resonating bass.

As with most DJ sets, the songs are sometimes indistinguishable and it is more the consistent base, max

volume and addictive lighting that draw the crowds in.

However, when people recognized the beat of Bashmore’s popular ‘Battle for Middle You’, it was clear that he is not just any old DJ, but a credible artist with a very strong following.

Despite the fact that the venue was so packed full that it was at times difficult to even move at times, let alone do something resembling a dance, Bashmore provided the people of Sheffield with a night of incredible electronic music and an unforgettable atmosphere.

Emma Rigby

Photography - Flickr

T Photography: Hugh Francis

LUNAR PRESENTS: TOM TRAGO, ELIAS MAZIAN & MORE Plug February 13

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unar’s third instalment brings bigger artists at a bigger venue, but still a very intimate feel to the night.

And that’s what makes Lunar so special – maintaining authenticity with their brand of disco, house and techno, despite their steady progress upwards establishing themselves as one of Sheffield’s big nights out.

Plug makes for a nice change from Fez, which has been Lunar’s home for their previous two nights, featuring artists such as Voyeur and Dan Shake. This time round, their phenomenal booking involves Amsterdam nightclub Trouw’s residents, Tom Trago supported by Elias Mazian, both from the Voyage Direct label. This booking is a resounding success for trio of University of Sheffield students running the night; Ellie Ball, Leo Burrell and Jed Dixon. The three have only paved themselves a way to bigger and better things in the future.

The ‘Neutral’ room in Plug is where the night takes place and the room may not be packed to

RIDDIMTION PRESENTS: BOB MARLEY’S 70TH BIRTHDAY CELEBRATIONS Yellow Arch Studios February 7

capacity, but the crowd manages to fill the space out, which reminds me a lot of what the clubs in Amsterdam are like.

There’s something really personal and intimate about the entire night, being in a smaller room and having Tom Trago and Elias Mazian join the crowd between their sets, chatting and hugging anyone who approaches them.

Both play blinding sets featuring an array of disco, house and techno tracks including two of my personal favourites, Percussions’ ‘KHLHI’ and Dense & Pika’s ‘Colt’. At one point, Tom Trago climbs up onto the table that his decks are on, getting the crowd fired up, which goes to show just how engaging of a DJ he is.

A personal highlight of the night is Leroy (Leo Burrell) going backto-back with Tom Trago, before taking over the decks and returning to Lunar’s roots in disco.

Even though this third edition of Lunar may have been smaller compared to the previous two events, this has still been the best one so far, and with every event, Lunar just keep impressing. They’re not done with Sheffield just yet… they’re only getting started!

Niki Kesharaju

o the music world, what would have been Bob Marley’s 70th birthday is a something of a big deal. Various tributes, documentaries and reflections upon the (tragically short) life of the reggae pioneer have swamped us over the last few weeks.

The Steel City is no exception.

Taking place in the newly (and impressively) revamped Yellow Arch Studios, Riddimtion and Dubcentral’s own ode to Marley featured Jungle Lion, an eight piece Ska band, that (according to event organisers) served as backing to “some of Sheffield’s finest vocalists”.

With no shortage of classic material to go at, the audience were

treated to renditions of ‘Could You Be Loved’, ‘Three Little Birds’, and ‘No Woman No Cry’.

And while such sentimentality is often frowned upon, you would have had to be pretty damn cynical to have been unmoved by a sweet cover of Marley’s seminal ‘Redemption Song’, with it’s gorgeous, and ultimately timelesss refrain “So won’t you help to sing/ These songs of freedom/ ‘Cos all I ever had/Redemption songs”.

With Riddimtion and Dubcentral DJs keeping the roots vibe strong into the early hours, the rammed studios showed no immediate signs of calming down (the event perhaps slightly overselling venue capacity).

The celebrations served as proof that Marley’s musical message shines on bright and clear, bringing an optimism that the man himself would surely be proud of.

Rachel Bell Photography: Calvin Merry

Friday February 20 2015

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Fuse Screen.

Fuse. screen lOVE IS STRANGE Dir: Ira Sachs

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rarity in mainstream cinema, Love Is Strange is both believable and charming. It tells the story of George (Alfred Molina) and Ben (John Lithgow) who have married after 39 years of non-marital bliss.

However, circumstances unfold which mean they must live apart for the first time in four decades.

After Ira Sachs’s beautifully filmed first scene of the couple preparing for their wedding, the film temporarily loses its way. The atmosphere comes across as a clumsy pastiche of Woody Allen’s suburbanite odysseys.

But the film returns to form as George faces his sacking with an intangibly human restraint and grace. You admire these characters: they react to adversity in ways we hope, yet doubt, would come to

SMALL SCREEN bETTER cALL sAUL Dir: Vince Gilligan Netflix

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his second episode starts with the last minutes of the first: looking for money thanks to the ‘fake incident’, brothers Lars and Carl get into a lot of trouble when they find themselves in Tuco’s house. Only our protagonist James can help solve this very dangerous situation.

James McGill/Saul Goodman (Bob Odenkirk) teaches us a lesson: being a lawyer is all about your speech skills. It doesn’t matter if you’re a penniless attorney in New Mexico, what matters is how quickly and successfully you can change the opinions of a man who’s pointing a gun to your head.

CULT CORNER before sunrise Dir: Richard Linklater 1995

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aving just won this year’s Baftas for best director and best film with Boyhood, it seems Richard Linklater is at long last getting the recognition he so richly deserves. With further wins anticipated at the upcoming Oscars ceremony, there has never been a better time to delve into his back catalogue and feast on the delights therein.

Enter Before Sunrise, the first of Linklater’s Before trilogy and his first film with longtime co-collaborator Ethan Hawke. The premise of the film is simple: two twenty-something strangers Celine and Jesse (played

by Julie Delpy and Ethan Hawke)

us as readily.

Sachs’s naturalistic eye grants the story room to develop in a realistic and genuine way: both Molina and Lithgow fit into their roles with remarkable ease, as if they had been together themselves.

They are laudably assisted by the supporting cast, from George’s gay cop friends, to Ben’s fractured family. We see tensions arising with their new housemates: George’s charitable landlords are younger and more interested in parties than classical music, and Ben’s nephew is never at home, leaving his wife to look after both Ben and her son.

Special mention must go to Charlie Tahan as Ben’s nephew, Joey. His role was arguably the most challenging, demanding multiple gear shifts throughout the film, beginning as the quiet young family member before blossoming into a young man finding his feet in an unfamiliar world. Tahan achieves this with sincere authenticity, and it is his silent, defiant

content in the face of sadness that ultimately lifts the film’s conclusion with a buoyancy and vitality simultaneously spiritual and deeply human.

Sachs succeeds in using the film’s soundtrack to great effect.

Consisting entirely of Chopin, it is used both as a nod to George’s piano lessons and as an accompaniment to the multiple long scenes shot without dialogue. A test for any soundtrack is how much it detracts from the film’s action, and in this instance so well used is the music that it is unnoticeable until moments of importance. Its gentle consistency perfectly mirrors the understated atmosphere of the film. George, criticising a concert, notes that “when the piece is that romantic, there’s no need to embellish”.

As for Tuco, he’s charismatic and he’s a wizard with words. He’s not only very good at understanding people, he’s also a master at adapting to them and converting them to his way of thinking.

Odenkirk shows that he can carry a TV show on his own. He’s aware that this is his moment and he isn’t going to mess up. Playing the same character in two different shows is a hard challenge, but so far it doesn’t seem difficult for him. He gives his James/Saul a wide range of emotions without making him repetitive and boring.

This episode is completely different from the first one; while in the former, the rhythm was slow but not boring, the episode, ‘Mijo’, is thrilling and violent. It removes any last doubts about the quality of this show. Everyone can watch it, whether you’ve seen Breaking Bad or not.

Vince Gilligan and Paul Gourd play on the shadow of Breaking Bad using the character of Tuco.

Fans will welcome him as an old friend; new viewers are intrigued by him.

The writing and directing is of a very high quality level. The storyline for this season is only just beginning but it seems to be intriguing and unexpected. You can try to figure out what’s going on, but you’re likely to be surprised.

‘Mijo’ gives the whole show a strong foundation in terms of quality, suspense, writing and acting. Gilligan and Gould are not afraid of trying something new and pushing the boat out.

At this point, to ruin such potential, you’d have to be an idiot (or anyone but the Breaking Bad creators.)

meet on a train through Europe and resolve to spend a single night together in Vienna. What ensues is a fascinating exploration of love.

The unities of time, place, and action are very much at play.

Beside a few fleeting encounters with the denizens of Vienna, the film is focused exclusively on our two protagonists and their burgeoning relationship. As such, the film hinges on the performances of Delpy and Hawke who really seem to know something of their characters. The chemistry between the two is a joy to watch.

Linklater’s naturalistic dialogue is used to full effect here and the actors perform it perfectly. The lines are so well attuned to the characters that it creates truly believable conversation, with thoughtful pauses and embarrassed flourishes. Interestingly, the film rarely uses a soundtrack. The lack

of musical prompts gives the viewer a sense of acting as witness to an extraordinary moment.

Before Sunrise is full of meditations on the notion of love, romance and the aspirations of youth. It feels thoughtful instead of clichéd, avoiding easy emotional platitudes. The two characters are aware of the tawdry conflicts and disappointments that can build up in relationships. The characters seem to question whether love is durable or whether it can only survive as a fleeting moment, a theme that is carried further in the sequels Before Sunset and Before Midnight.

Ultimately Before Sunrise is a charming portrait of those rare, serendipitous moments of profound human connection, and manages to capture the idea of love in a way rarely achieved in cinema.

Valeria Vigilante

Thomas H Sexton

In Love Is Strange, we have an ordinary domestic story made gently extraordinary by the dignity and commitment of profound love. Through the trials the couple face, we cannot help but agree with the title’s message. By the conclusion of the film however, the encompassing power of this same love leaves the audience refreshed with a cautious hopefulness.

A beautiful and perfect antidote to the Fifty Shades debacle this Valentine’s season.

David Taylor

Friday February 20 2015

Selma

Dir: Ava DuVernay

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hen the black citizens of Selma, Alabama are refused the right to vote, the Civil Rights movement hatch a plan.

Spearheaded by Martin Luther King Jr (David Oyelowo), they converge on the town to organise a protest march that will shift race relations in America forever.

“Ava Du Vernay composes her film thoughtfully and frankly, with slowlytracking cameras and soft lighting” 50 years after the Civil Rights movement permanently reshaped history for black Americans, Hollywood rarely casts its gaze upon such a vital period of Western history without the rosy tint of white guilt.

calculated diction he gets down to a tee, is defiant and strong as much as he is tired and weak, giving a truthful and nuanced portrayal that this central historical figure has long deserved.

Selma tells the story of a seminal moment in a fight for basic human rights and, for once, it tells it from the perspective of the black people who fought, lived and died for those rights, rather than the sympathetic eyes of a weepy white protagonist.

Oyelowo’s King is the lead in his own story, fighting against the inherent and institutional racism of 60s America without the help of white people.

President Lyndon Johnson (Tom Wilkinson) shrugs off the voting issue in favour of his apparent bigger picture, while the appalling Governor George Wallace (Tim Roth) defiantly keeps up the walls of prejudice to satisfy his own selfish ends.

This leaves King and his contemporaries to demolish the wall themselves, hammering home a message Hollywood has long denied (aided by The Help and its ilk).

White America did not hand black people the rights they sought; they were won by the bloody-minded, obstinate stubbornness of those who refused to give in to pandering and compromise.

Oyelowo stands at the centre of the tale. His performance is a perfectly-measured, lovinglycrafted and honestly-told tribute to a great but flawed man.

His King, whose considered,

“Hollywood rarely casts its gaze upon such a vital period of Western history without the rosy tint of white guilt” Around him is a stellar ensemble; Carmen Ejogo as his long-suffering, powerhouse wife Coretta, Oprah Winfrey as fiery, unyielding Annie Lee Cooper, rapper Common as a quietly powerful James Bevel, and relative newcomer Keith Stanfield as the defiant Jimmie Lee Jackson, whose death at the hands of police brutality is the catalyst for the Selma protests.

Director Ava Du Vernay

The Interview

Dir: Evan Goldberg

R Fifty shades of grey Dir: Sam Taylor-Johnson

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his film is a huge scam, a project masterfully built around well-paid advertisements and gratuitous sensationalism. Fifty Shades of Grey is a scam because we were led to believe it was a movie about sex.

Fans thought it was a liberating piece of erotic entertainment.

Critics thought it went beyond the limits of decency, trespassing the thin line that divides genuine eroticism and sexual abuse.

This first chapter of the franchise is none of this. It is a simple, boring, unbelievably trivial love story.

Anastasia Steele (Dakota Johnson) fills for her sick journalist friend and conducts a brief interview with Christian Grey (Jamie Dornan), a millionaire businessman, bachelor, and boredto-death spoilt brat. Anastasia is a femme fatale disguised as a clumsy virgin. In their first, charmless meeting, Anastasia’s awkwardness enchants Christian.

From this moment on the handsome, successful young man starts his hunt for the average ingenue The very ordinary courtship of the man has an awfully peculiar end: to make Anastasia his submissive, his sexual slave or, in other words, to beat her for the sake of sexual pleasure.

The shallow romance between the two is consumated among extravagant gifts, expensive hotel rooms and luxury cars. Sadly, these are the only excesses you will witness in this new-millennium

version of a sexist fairytale.

We have been lured by the promise of glam sex, BDSM practices and explicit graphic sex, but what we get is just laying-inbed sex with rare, shy, unsuccessful attempts at being outrageous.

Unfortunately this is not the worst part of it. Created by a woman (E L James), directed by a woman (Sam Taylor-Johnson) and starring a woman, the biggest unanswered question of the film is how can it be so dull and uninspiring for our entire gender?

Crafted poorly on every level, Fifty Shades stars a cast with little talent. Jamie Dornan and his fake American accent (we all regret the loss of Charlie Hunnam and his fake American accent) acts more with his perfectly shaped abs than with his paralyzed, pretty face.

Dakota Johnson, in her ruinous attempt at looking sensual, looks just plain weird, constantly biting her lower lip.

The result is a disaster. Far from being provocative or original, the movie is Hollywood’s umpteenth attempt to steal the fame of a controversial (but still not even decent) source material, and to squeeze money out of a mediocre brand.

Too concentrated on its own glamorous aesthetic, Fifty Shades is an empty promise in an ugly package that leaves most of its excited audience unsatisfied, exhausted and metaphorically on their knees, begging to stop the trilogy now.

Mariaclaudia Carella

ecently we discovered that terroristic hacks and death threats are the best way to promote a movie. The Interview is the (un)fortunate victim of a cyber-attack which targeted Sony last December.

The sabotage, allegedly conducted by North Korea, has resulted in a late, smaller-proportioned release of the movie in independent theatres, but at the same time amplified interest towards Franco and Rogen’s film on the web.

Dave Skylark (James Franco) and Aaron Rapoport (Seth Rogen) work for an entertainment channel and are respectively the TV host and the producer of the trashy talk show Skylark Tonight.

In an attempt to boost his pathetic career in the business of celeb gossip, Aaron pursues the idea of interviewing the most wanted and dangerous man on earth, North Korean supreme leader Kim Jong-un.

When the Korean propaganda service grants them the interview, the CIA reaches the two idiots to give them a suicidal mission: kill Kim on North Korean soil. The two American heroes can’t ignore the call of duty and embark on a comic adventure full of trash talk, pop culture references and gratuitous violence.

“As always, censorship of content has made the content itself more interesting” The Interview is a ranting action comedy with a zany sense of humour, full of the standard trademarks of a James Franco/ Seth Rogen production, in addition to: Franco’s trademark narcissism, and all the Gucci ads you can take.

The movie, which succeeds as fun brainless entertainment, is a not too bright satire. Despite the

15 composes her film thoughtfully and frankly, with slowly-tracking cameras and soft lighting. She unflinchingly portrays the most brutal material, including several sequences of white police officers brutalising black protesters as they flee.

Du Vernay’s soundtrack selections are impeccable, a heartfelt mixture of blues and gospel, all channeling the melancholy spirit of Black America in the 60s, as well as the troubled path it has taken since.

Selma is a crucial addition to historical cinema, epitomising a vital stage in America’s past without the sheen of white apology to mask the harshest details.

It covers themes still shockingly relevant today -such as racism in law enforcement and politics - while crafting a well-made, beautifullyacted, riveting cinematic tale. It is essential viewing for all.

Rhys Handley

Follow us on Twitter @ForgeScreen More reviews online Read more reviews online at Forge Today

DOT COM

poor pretense of political insight, The Interview makes an effort to explore issues as broad as the American hero-complex and the Korean propagandist dictatorship.

Criticism and accusation of deception and “honey potting” are thrown by both sides, although the message is always contradictory and the style exaggerated and absurd.

Overall, The Interview is an average, harmless comedy that likes to indulge in political denigration with void, hysterical stereotypes.

As always, censorship of content has made the content itself more interesting and the product of Franco and Rogen’s inspired bromance is today more topical and worthy of attention than ever.

“Haters gonna hate” says Skylark. The irony is that in this case hatred backfired and freedom of expression is safe again, saved by the most improbable of the heroes.

Mariaclaudia Carella

Fuse Listings.

Photo: Joshua Hackett

All the events in Sheffield that you don’t want to miss in the next fortnight.

Screen.

Games.

Film Unit Special Screening: Fire in the Blood (February 24, SU Auditoruim, 7:30pm) Film Unit teams up with Friends of Médecins Sans Frontières to present a free screening of this 2013 documentary about the fight against Western pharmaceutical companies who blocked access to Aids drugs in many parts of the world.

Film Unit Special Screening: Philomena (March 5, SU Auditorium, 7:30pm) Celebrate International Women’s Day with this special screening of Stephen Frears’ powerful Oscar and Bafta-nominated drama. Journalist Martin Sixsmith (Steve Coogan) meets Philomena Lee (Judi Dench), an Irish woman who was forced to give up her infant son 50 years ago.

Game Releases February 20 American Truck Simulator (PC) Kirby and the Rainbow Curse (WiiU) The Order: 1886 (PS4) February 24 DragonBall XenoVerse (PS3, PS4, Xbox 360, Xbox One) Dynasty Warriors 8: Empires (PC, PS3, PS4, Xbox One) There Came an Echo (PC, PS4, Xbox One) March 3 Screamride (Xbox 360, Xbox One) Mario vs Donkey Kong: Tipping Stars (3DS, WiiU)

Coming soon to the University of Sheffield’s independent cinema...

Friday February 20: Cutter’s Way Saturday February 21: The Imitation Game Sunday February 22: What We Do In The Shadows Friday February 27: Northern Soul Saturday February 28: The Hobbit - The Battle of the Five Armies Sunday March 1: Mr Turner For more info on future releases or to volunteer go to filmunit.org.uk

Tickets: £2.50 each

SLUGSoc LAN 47: GameBlast 2015 (February 20, the Ridge) The University’s online gaming society returns with another LAN marathon, in which gamers play everything from Call of Duty to Minecraft for 24 hours straight! This year’s marathon will be part of GameBlast 2015, a charity event which raises funds to help transform the lives of disabled gamers. SLUGsoc will be live streaming the event through their Twitch channel, where you’ll also be able to donate money to the cause.

Arts.

Music.

Word Life vs Octopus (February 20, Theatre Deli on the Moor, 7:30pm) Perfect for anyone looking for a chance to show off their writing skills, Word Life is an open mic night for prose writers and poets alike. Featuring performances from the likes of Charlotte Ansell, Andy Cook, and Steve Scott, as well as a live music set from Sheffield based performer Louis Romegoux.

Fleabag (February 24-25, the Studio, 7:45pm) “Today I am going to be a new person. No more slutty pizzas. No more porny wanks. Lots more lovely threesomes. GO.” Following sell-out shows in Edinburgh, Phoebe Waller-Bridge is taking her award-winning play on a UK tour. Described as “sucker-punch funny”, this one promises to be unforgettable.

Top Hat (February 24 - March 7, the Lyceum) If you’re blue and you don’t know where to go to, why don’t you go to the Lyceum to see Top Hat? The multi OIivier Award winner comes to Sheffield, bringing the glamour of Fred Astaire and Ginger Rogers and some of the greatest music of Irving Berlin’s career.

Play It By Ear (February 27, The Montgomery Theatre Studio, 7:30pm) Local improv comedy troupe The Antics bring you a night of on-the-spot comedy that promises to be crammed with audience participation. As well as performing all across the city, The Antics have graced festivals like Y Not and the Edinburgh Fringe.

Manchester International Tattoo Show (February 28 - March 1, Manchester Central) If you fancy getting out of Sheffield this weekend we recommend taking a trip to Manchester, where one of the UK’s most well-loved tattoo festivals is now celebrating its 14th year. There’ll be tons of artists from all over the world, as well as entertainment like henna, tarot reading and live music.

Live Gigs Conan - 20/2, Corporation Crosswaters - 21/2, O2 Academy Blossoms - 21/2, the Harley The Maccabes - 21/2, Leadmill Akurat - 22/2, O2 Academy The Cribs - 22/2, Leadmill Katherine Jenkins - 23/2, City Hall Dry the River - 23/2, Leadmill NO POLICY - 25/2, the Harley Souljam - 26/2, the Harley

Ingested - 27/2, Corporation The Sights - 27/2, O2 Academy Slow Club - 28/2, Leadmill The Script - 28/2, Motorpoint Arena PBR Street Gang - 28/2, the Harley The Seventy - 28/2, O2 Academy We Are Carnivores - 28/2, Corporation Neon Waltz - 3/3, the Rocking Chair Zun Zun Egui - 5/3, the Harley Wednesday 13 - 5/3, Corporation

Album Releases Axis Of: The Mid Brae Inn - 23/2 Diamond Rugs: Cosmetics - 23/2 Future Brown: Future Brown - 23/2 MisterWives: Our Own House - 23/2 The Pop Group: Citizen Zombie - 23/2 Radical Dads: Universal Coolers - 23/2 Sam Prekop: The Republic - 23/2 Sea Change: Breakage - 23/2 Screaming Females: Rose Mountain - 23/2 Spectres: Dying - 23/2 Torche: Restarter - 23/2 Travis Bretzer: Waxing Romantic - 23/2

Andrew Combs: All These Dreams - 2/3 Ata Kak: Obaa Sima - 2/3 Clarence Clarity: No Now - 2/3 Eula: Wool Sucking - 2/3 Ghostpoet: Shedding Skin - 2/3 Jeff Rosenstock: We Cool? - 2/3 Karin Park: Apocalypse Pop - 2/3 Moon Duo: Shadow of the Sun - 2/3 Noel Gallagher’s High Flying Birds: Chasing Yesterday - 2/3 Purity Ring: Another Eternity - 2/3 Vessels: Dilate - 2/3

Life at the University of Sheffield is about so much more than lectures and seminars. Which is why the Union created the Give it a Go programme; an easy way to try everything from archery to chocolate tasting. Joining an event couldn’t be easier. Once you pick an event you like, buy a ticket from the Union Box Office (or online at sheffieldsu.com/events), then turn up on the day! Be prepared to try something new and make friends! Oh, and don’t forget to bring a bottle of water.

Holistic Face Massage Stephenson Activities Room Friday February 20 5-7pm £3.50 Holisitc massage is great for improving skin tone and reducing tension. Come along with a friend, and get a massage as well as learning how to give one.

Tour of Parliament Meet outside Bar One Monday February 23 6:30am £30 Give Parliament a go in the run-up to this year’s general election. Walk the halls of Westminster, sit in on a live debate, and even chat to Sheffield MP Paul Blomfield.

Global Food Crawl SU Welcome Desk Thursday February 26 6pm £10 West Street and Division Street feature restaurants for every corner of the world, from pizza and sushi to curry and hotdogs. Come along, and see how much you can stuff in your face!

K-POP Dance No. 66 Tuesday February 24 4-6pm £3 Have you ever wanted to make the most watched video in YouTube history? Learn a choreographed K-Pop dance and you too could break the Internet! Seriously, bring water to this one.

Shakespeare’s Houses Meet outside Bar One Sunday March 1 8:30am £27 Take a visit to three of Shakespeare’s homes in Stratford-Upon-Avon: his birthplace; Croft’s Hall, the home of his daughter Susanna; and Harvard House.