Issue Seven The fateful day has arrived; my last editorial as Editor of The Edge. We all knew this day would come and it is going to be extremely hard to let go of a magazine that has been a major part of my life for the past three years. Well, lucky for you, and to save the weepy mess this editorial could have been, I’m still around next year! Not as Editor, but as the new Vice President Democracy and Creative Industries on SUSU’s sabbatical team. This means I will act as Editor in Chief of the magazine and still get to oversee the wonderful work The Edge has done, and will continue to do in the future. As the exam period looms, we thought we would sabotage your efforts to revise by theming this magazine on the rise of internet binging! Over the last few years streaming television online has become the primary viewing medium for millions of people. Editors Barnaby and Rebecca explore the rise of this revolutionised way of consuming television. Also for more of your procrastination needs we now have a lovely Instagram account, follow us on @theedgesusu. This last month has been an enthralling one here at The Edge with some fantastic achievements to boast about as well as exciting things coming up in the future. First of all the SUSU Media Awards took place and many wins for The Edge meant it was definitely a night to remember. I’m not ashamed to admit that a few tears were shed. Only two days later we gained national recognition, winning the title of Best Design at the Student Publication Awards in Nottingham. I am immensely proud of the redesign this year and felt so proud seeing our Head of Design Claire taking home the trophy. It is sad that this is my last editorial for The Edge but I am truly excited to see what the future holds for the magazine, and, because we’re so generous, we are creating a Festivals edition for you to enjoy during the exam period! I hope that next year’s committee will nurture and cherish the opportunities that arise through being a part of student journalism and that they go on to achieve great things. Signing off for the last time, Megan Downing Editor
Editor Megan Downing
editor@theedgesusu.co.uk Deputy Editor Howell Davies deputy-editor@ theedgesusu.co.uk
Film Editor Barnaby Walter film@theedgesusu. co.uk
News Editor Hannah Mylrea news@theedgesusu. co.uk
Head of Relations Kirstie Carter relations@ theedgesusu.co.uk
Records Editor Jan Kobal records@ theedgesusu.co.uk
Culture Editor Rebecca James culture@theedgesusu. co.uk
Online Manager manager@ theedgesusu.co.uk
Head of Publicity Bronwyn Scotland publicity@ theedgesusu.co.uk
Features Editor Cat Olley features@ theedgesusu.co.uk
Live Editor Grace Pattle live@theedgesusu. co.uk
Head of Design Claire Joines design@theedgesusu. co.uk
Editor In Chief David Martin vpcdci@susu.org
02 |Editorial
The Edge | editor@theedgesusu.co.uk
Film
Contents Welcome to Issue Seven
p. 2
Records Album Reviews Lily Allen - Sheezus Jamie xx - Girl/Sleepsound Iggy Azalea - The New Classic Damon Albarn - Everyday Robots Mac Demarco - Salad Days Single Reviews MNEK - ‘Every Little Word’ Swans - ‘A Little God in My Hand’ tUnE-yArDs - ‘Wait A Minute’
Cinema Reviews Benny and Jolene BFI Flare: Lilting BFI Flare: G.B.F BFI Flare: Sarah Prefers to Run Fading Gigolo Archive & Comment Comment: American Beauty
p. 17 p. 18 p. 18 p. 19 p. 20 p. 21
Culture p. 4 p. 5 p. 5 p. 6 p. 9 p. 7 p. 7 p. 7
Review: Fargo: Season One. Episode One p. 22 Preview: Clarence Darrow at The Old Vic p. 23 Review: The Crucible at the Hub p. 24 Netflix Special Flashback: American Horror Story p. 25
Live
Features ‘Just one more episode!’: The Rise of Binge Watching p. 10 They did WHAT to my favourite book?! p. 12 Interview: Of Mice & Men p. 15 Revision? Don’t you mean Television?! p. 16
Review: Junk Department’s Big Top Festival (03/05/2014) p. 26 Preview: Blissfields 2014 p. 27 Review: Childhood at Lennons (01/05/2014) p. 28 Preview: Somerley Tea Party p. 29 Listings p. 31
Edge| |culture@theedgesusu.co.uk editor@theedgesusu.co.uk TheThe Edge
Culture ||01 Editorial 03
“B
een here before, so I’m prepared / not gonna lie though, I’m kinda scared.” The title track opening her third album acts as a succinct introduction to the life of Lily Allen in 2014, five years on from the release of It’s Not Me, It’s You. She’s weary, she knows it’s going to be messy (Let’s face it, it already is), but she rather ambitiously and egotistically attempts to rise above her fellow female popstars, as the self-proclaimed ‘Sheezus’. While the album has so far failed to produce the chart pop-smashers of Katy Perry and Beyoncé, Sheezus presents a stark dichotomy between a contemporary social commentary on women in the media, and the personal trials and tribulations of being a mother and a wife. The title track mostly focuses on the former, but also references her family: “Don’t let my kids watch me when I get in the ring.” Underneath the generous helping of transparent lyrics, an undercurrent of tick-tocking “ha-ha’s” add pace and slickness to the track, creating the
04 | Records
image of a glossy and untouchable woman of power. This illustrious character projected in ‘Sheezus’ has not been the ruler of the album campaign though, and the singles she dismissed on Twitter as “docile pop rubbish” are the weaker tracks on the album. Appearing near the beginning of the record, they have nothing of the Allen-charm which fans have come to expect from her music. With nondescript and impersonal subject matter, the magic is lost among the deflated chirps of ‘Air Balloon’ and the soft, tired crooning of ‘Our Time’. Thankfully, once these tracks are out of the way, the majority of the album is pumped full of trademark cheek, on life as a female, a wife, a mother, and a pop star. While the title track enters with much bravado, the majority of the album peels away this caricature to reveal a more personal side, including unfathomably catchy celebrations of the sexual prowess of her husband, in ‘L8 CMMR’, and the 90’s inspired
The Edge | records@theedgesusu.co.uk
slow-jam of fetishism ‘Close Your Eyes’ in which she menacingly promises to “yank” his “chain.” Yikes. The final hit of the album is one which shone the brightest on first listen. ‘Hard Out Here’ is an expletive-infested, writhing masterpiece of vocoder’d layers and buzzing synths proving that expressing an opinion, however vehemently, can still sound incredible. Lily Allen’s personality runs through the very veins of this album, so Sheezus is certainly a Marmite record. That said, it’s difficult to not fall for the coalescence of various genres into one overall product; from the country twang of ‘As Long As I Got You’ to the plucky afropop vibe of ‘Life For Me’. While some of the pessimistic pragmatism of her previous two albums is lost, Sheezus is a deeply personal, insightful, and empowering record which makes her return to music more than worthwhile. Words by Howell Davies
Iggy Azalea
Jamie XX Girl/Sleep Sound
label: XL Recordings
I
t’s been three years since Jamie xx released his last solo EP Far Nearer/Beat For. His latest offering, the highly anticipated Girl/Sleepsound goes to show that the age old mantra of “good things come to those who wait” rings true. This EP is Jamie xx at his best. He has left the steel drums behind that were prominent in ‘Far Nearer,’ in favour of focussing upon his iconic slightly off beat loops. The first track ‘Sleepsound’ maintains the characteristic hushed tones of his previous musical offerings. Jamie xx has the ability to transport the listener. It becomes apparent why he has chosen to call this track ‘Sleepsound’, as I found myself drifting off to sleep after multiple listens. Jamie’s talent as a producer is demonstrated in his ability to mask complexity with apparent simplicity. To the untrained ear ‘Sleepsound’ is a simple, and pleasantly repetitive track but upon further listens, the complex layering is revealed. James Blake debuted the second track on the EP, ‘Girl’, on his Radio 1 show. It’s slick, subtle and undeniably cool. Once again Jamie uses his standard slightly off beat loops and hushed tones. There is something strangely euphoric about this track; it has an ethereal quality to the production. This track perfectly compliments and balances the slightly more sombre tones of ‘Sleepsound’. Girl/Sleepsound really is a gem of an EP. Jamie xx is a wonderfully talented producer who clearly takes time and effort over each of his musical endeavours. He has carved himself an identity as a producer in his own right, separate from his work with The (superb) xx. The links between his two musical endeavours are tangible but not overwhelmingly obvious. Jamie xx once again has created a beautiful EP. It seems like this man can literally do no wrong. Words by Grace Pattle
The New Classic label: island
T
he New Classic is relatively unimpressive. Azalea has lost any vague relation to Australia, and has created yet more manufactured American bullshit rap music. The lyrics themselves revolve around her money, power, and blonde ambition; an unoriginal take from a rapper I thought would attempt to break the stereotypical mould of female chart toppers. The album opens with ‘Walk The Line’, a poor intro. With the first verse slurred in her fake Miami accent, the line ‘never forgot my roots’ seems ironic. ‘100’ is the first collaboration on the album, and one of my favourite tracks, containing the soulful vocals of WatchTheDuck. This redeems Azalea to an extent, creating a muscial originality not seen in the rest of the album. However, Iggy’s verses are less than impressive, again reminding the listener of her wealth, high class, and also how desired, but unattainable, she is. Thanks Iggy, we nearly forgot. Numerous well known tracks follow, such as ‘Work’, ‘Change Your Life’ and ‘Fancy’, as well as ‘New Bitch’; a song I can’t listen to without wanting to smash up my laptop. She doesn’t appear in control of the songs, instead they are governed by the poorly produced backing tracks. Whether this was Iggy’s own artistic direction, or (more likely) that of the record label’s is unclear. The popularity of Iggy Azalea is undeniable, with her fame and chart success clear. However, her lyrical quality is below average and unoriginal; she raps about her power and control, she doesn’t appear to either possess or exert it. This leads me to question, is her fame about her music, or is it once again her body, appearance, and infamy that drives the record and ticket sales? Words by Annabelle Asker
The Edge | records@theedgesusu.co.uk
Records | 05
Damon Albarn Everyday Robots label: Parlophone
F
rontman of 90s Britpop pioneers Blur, and musical mastermind behind the virtual hip-hop group Gorillaz, Damon Albarn has undoubtedly made quite an imprint on British music during his time in the industry. Yet, through all this time, he has never released a full solo album— until Everyday Robots. Albarn has many years of experience in the music industry, but nearly all of it has been in the form of collaborations with other artists: with Everyday Robots he proves that he’s got more than the required experience to still come out with some incredible music, without his usual band of collaborators. The opener, title-track and first single ‘Everyday Robots’, is elegant and haunting. Slightly discordant strings and mechanical drums set the pace as Albarn paints a powerful visual image of the “everyday robots” in question: the human race. The track flawlessly depicts the automated routine of a day-to-day commute, and it’s beautiful. The instrumental backing is repetitive, but rather than becoming boring or grating, it only serves to add to the image of the daily grind of the commute. It is a stunning opening track, and sets a high standard for the rest of the album to follow. It doesn’t disappoint. The third track, ‘Lonely Press Play’, is minimalism done to perfection: there’s not a single element that doesn’t absolutely justify its presence. Albarn’s past work is faintly audible here (this could almost be a B-side from one of the later Gorillaz albums) but it’s distinct enough to not feel like a copy. It is a bit fullersounding than ‘Everyday Robots’ and the second track, ‘Hostiles’, with strings and percussion both taking more established, prominent roles. However, it still feels pared-back and simple enough to fit in with the rest of the album so far. The relaxed tempo of the first three tracks picks up in ‘Mr Tembo’, the
06 | Records
The Edge | records@theedgesusu.co.uk
fourth—a chirpy ukulele and an allround African influence makes this track the busiest and most cheerful so far. There’s a lot more going on, but again, nothing feels unnecessary, and the build in both mood and complexity has been a gradual affair throughout the first few tracks, so nothing about ‘Mr Tembo’ feels out of place. Track seven, ‘You & Me’ revives the haunting melancholy of the title track in a meandering seven-minute song, complete with steel pan solo and some gorgeous multitracked vocals after the three-minute-mark. It’s a slight departure from the style of the tracks preceding it, but it is faultlessly executed, and at this point any similarity to Albarn’s previous endeavours has faded completely—he’s found a new sound, which really sets this track apart. It would be incredibly easy to find equally complimentary things to say about every single other track on this album: several times already I’ve described individual tracks on Everyday Robots as having nothing superfluous, and every element being able to justify its place, and the same holds true for the album as a whole. It’s nigh-on impossible to pick out the best tracks, because everything fits perfectly in its place on the album. The album is beautifully minimal and stripped back. It feels very natural and acoustic, but Albarn has not been afraid to make use of more modern electronic sounds here and there: these blend perfectly, adding to each track without ever becoming a focal point. Everyday Robots is laced with quiet intelligence, each individual track, as well as the album as a whole all feeling perfectly balanced and well thought out. Albarn’s long-standing tenure in the British music industry has resulted in a sound far more mature than one would expect from a debut solo album, and it would be difficult to find any flaws in this record whatsoever. Words by Joe Buckingham
Singles
MNEK // Every Little Word
Swans // a little god in my hands
“D
S
The early-90s inspired house beat provides a hearty dose of prosthetic funk with gurgling synths and soulful, sultry vocals. The bustling chorus of melismas and jerky beats becomes more frantic with each play, switching key and exploiting a ridiculously hefty vocal range. MNEK’s supreme voice, ear for production, and sheer skill of musical expression infuse to create a superb combination. Wrought with sexual frustration but lost in a sea of blissful electro pop, ‘Every Little Word’ epitomises youthful yearning in a fabulously feel-good way.
A cool, fuzzed bass and a hypnotic drum beat creates this sleazy atmosphere. Michael Gira’s nasal and slightly off-key vocals really add to this disjointed ensemble. The track attempts to maintain some kind of normality but quickly descends into this psychotic dream. Although the bass line and drums are repetitive, they really explore and experiment with it, with piano riffs, creepy backing vocals and horrifying outbursts of feedback. Don’t put this song on before bed unless you want nightmares. This intriguing single shows huge promise for the album.
Words by Howell Davies
Words by Aniruddh Ojha
o you fuck to this shit?” a warped voice antagonistically growls in the shadows of ‘Every Little Word”s chorus. Well, yes, you probably do. MNEK‘s first solo major label outing oozes sex appeal and is sure to seduce any pop fans who are yet to discover this 19-year-old musical prodigy.
wans, known for their almost excessively long musical adventures, have released the first single to be taken from new album To Be Kind. ‘A Little God In My Hands’ is an accessible 7-minute track that gives new listeners an insight into their weird world of experimental rock.
The Edge | records@theedgesusu.co.uk
Tune-yards // Wait for a minute
T
here’s definitely a whiff of R’n’B about ‘Wait for a Minute’, particularly in Garbus’ soulful vocals and the stellar percussion placed at the song’s forefront. There’s an unnerving tone simmering underneath, as the track messes with your sense of spatial awareness; shifting from a wide and broad echo to a very low and intimate murmur. The unconventional chorus vocals and rhythm seems jarring in comparison to the otherwise perfectly in-sync verses. It really shows that the Californian duo are not playing by the rules of accepted listener comfort zones. It’s a clever tactic, one that makes tUnE-yArDs stand out from the crowd. With an outro scarily reminiscent of a demented broken record, ‘Wait for a Minute’, is effective at being bizarre, but memorable in that respect.
Words by Alex Meehan
Records | 07
I
first had an experience with the music of Mac D e M a r c o when he was a rather odd fellow from Montreal, slinging seemingly surreptitious lyrics in a hushed and mellow croon, back when he was preparing to release his first EP, Rock And Roll Nightclub. During this stage his music was always accompanied by a guitar that only ever seemed to consist of two strings, a drum set that apparently refused to be set up properly, and an air of sinister struggle. One truly got the sense that this was a man who was scraping the barrel for everything he could get, all while developing a sound that would later evolve into a beautiful trademark style. I forgot about the fellow for a while until, seemingly out of nowhere, he releases his first full LP simply called 2. The LP was a complete game changer, gone were the muddled instruments, lyricisms, general melancholia and despair. We instead received a leaner, less intense, but infinitely more developed and penetrating album. An album that covered topics ranging from aspirations of success, to having to write a song about how news of his onstage antics were getting back to his
hometown and freaking out his neighborhood (namely his mother). With Salad Days, DeMarco is back and better than ever, his sophomore full length is an album that is incredibly produced, beautifully intricate, and full of lovely little surprises. Having now essentially made it, playing festivals and generally living the incredible life of a musician in form, his songs cover topics such as having to cope with being away from his sweetheart (see the trio of songs: ‘Let Her Go’, ‘Goodbye Weekend’, ‘Let My Baby Stay’), being alone in different and new settings (‘Chamber of Reflection’). Perhaps the biggest theme of this album is the feeling of deterioration that is linked with constant touring and attention (‘Passing Out Pieces’ is a perfect example). Not only has the 23 year old matured lyrically and in terms of production, he has developed instrumentally as well. Where a rather staunch set
up of guitarbass-drums previously made up essentially the entirety of his timbre closet, he now regularly experiments with analog synthesizers on several songs, making them the centre piece on certain occasions, as with ‘Chamber of Reflection’ and ‘Passing Out Pieces’. Needless to say, in true Mac DeMarco fashion, the synthesizers are fed through what I can only assume to be fifty chorus modulation pedals as well; I wonder if he’ll eventually just stick his master tracks through a chorus pedal. Gone are the labels of “glamwannabe”, “being overtly influenced by Steely Dan”, “the new Kurt Vile”, or being “too lewd”. Mac DeMarco has forged an unmistakable style, a style that I hope is here to stay and be further built upon. His talent is faultless and his ability to construct such casually exciting music on his own is remarkable. This LP deserves to be listened to as Spring rolls around; flings will blossom and wither, but Mac DeMarco is here to stay. Words by Jan Kobal Label: Captured Tracks
The Edge | records@theedgesusu.co.uk
Records | 09
“Just one more episode...”
THE RISE OF BINGE WATCHING
10 | Features
The Edge | features@theedgesusu.co.uk
W
ith the rise of online streaming websites like Amazon Prime Instant Video and Netflix, binge viewing has come to the forefront of media attention, in terms of how we consume media - television in particular - in the modern age. With that in mind, it seems fitting that we should look at the rise of binge watching in light of students’ behaviour. Though some people like to make out that binge viewing is an entirely new Netflix-invented phenomenon, it has been going on for years, from the advent of video cassettes to the DVD box set. Sky+ and other digital recorders with the series-link function also paved the way for people to stack up multiple episodes and watch them in one go. However, it is striking how ever-present and prevalent binge viewing has become. While it’s far from a new pastime, Netflix and various other platforms have helped to democratise the process. Before the creation of these platforms, an individual would have to spend vast amounts of money on overpriced box sets, or have a costly Sky subscription and the foresight to know what was going to interest you and when, so that you could set your recording. Now, all you need is a Netflix subscription, an open mind and time to kill. This means that you can try out the first episode of a show on a whim, without having to pay for
the whole box set.
the Edinburgh Television Festival he argued that: ‘the success of the Netflix model - releasing the entire season of House of Cards at once - proved one thing: the audience wants the control. They want the freedom. If they want to binge like they’ve been doing on House of Cards and lots of other shows, we should let them binge’. Spacey’s desire for the control to be placed in the hands of the audience parallels the need amongst many of us to know what happens next, right now.
Many have used the rise of Netflix originals and online streaming The rise of binge viewing is easy to suggest that there has been an to understand. The phrase ‘just irrevocable change in the television one more episode...’ is an apt industry, suggesting it will result reflector of the easy temptation to in the end of normal broadcast watch one more television show television. This is erroneous another forty minutes watching is however, as the extreme majority of easy to justify in your own mind, the public still watch television as it while a two hour long film can is broadcast. ITV’s hit Broadchurch feel like too much. Netflix’s ‘your and the BBC’s Line of Duty have next episode starts in 15 seconds’ proved that delayed gratification feature means you don’t even have is still very high on the public’s to touch your iPad or computer agenda, and in some cases results in mouse, obviously encouraging massive viewing figures, as peoples’ this kind of watching. Netflix has desire for the space to wonder and moved beyond providing shows As Spacey points out, the transfer question what happens next still from other broadcasters in one of television shows’ past series to creates ‘the water cooler moment’. big bulk, and has started to create online providers has led to bigger In fact, one of the biggest TV shows its own content. The success of audiences for the currently airing in the world, Game of Thrones, has House of Cards, and Orange is the series. Spacey points to Breaking achieved continued success without New Black is linked to this being made available on rise of binging, because one of the main streaming both were released all platforms, although it at once for audiences to "Online streaming gives audiences should be noted that consume as they like. SkyGo, Sky’s on demand more control over the way they service frequently makes Netflix has attracted big name directors like David watch, which encourages the impetus the whole box set available Fincher and Eli Roth, on demand for individuals on quality storymaking, rather than to download all at once to adding to the credibility that the platform has their computer or Sky box. big single moment viewing figures" garnered. New Google Chromecast now makes it The rise of binge viewing easy to stream your Netflix - and the platforms which account to your television, so you Bad as the ultimate example of this. cater to this desire - places the don’t even have to get a pricy Smart ‘Breaking Bad was a slow starter impetus upon the viewer. While TV to watch your content on a big ratings wise’, Spacey notes. That there is a broad audience for screen. However, there are doubts is, until the whole back catalogue television on demand, people still as to whether this can currently of episodes became available on want to engage beyond the show, offer the same levels of picture Netflix. He calls it a teaching perhaps to talk to a friend the day quality as, say, a Blu-ray box set of moment for networks - ‘a lesson in after an episode has been broadcast Sherlock. patience’ - where a show can take about what Frank did, or how time to attract a larger audience. much Walt has changed since the From this then comes the inevitable This alone seems like a lesson first episode. Online streaming question of whether the rise of network executives - who are very platforms allow those who may Netflix, and its associated rise of quick to cancel shows if they do not have missed the train the first time binge viewing on a more obvious provide expected numbers - need around, to jump in and engage with stage has changed the way that we to learn. This suggests that a greater material they would previously consume media. Kevin Spacey, star connection with online streaming have missed out on. of House of Cards, one of the first platforms can only add to to the original shows to come from an successes of network television. Words by Rebecca James and exclusive online platform, certainly Learning from each other can only Barnaby Walter thinks that it should spur network bring better quality television to the executives to think about television audiences. Photo belongs to Netflix in a different way. In a speech at The Edge | features@theedgesusu.co.uk
Features | 11
The Hunger Games (2012) Novel By: Suzanne Collins Screenplay by: Gary Ross
The Cat in The Hat (2003)
Although it does stand alone as a great film, The Hunger Games, unfortunately, doesn't live up to the expectations of its print version.
Novel by: Dr. Seuss Screenplay by: Alec Berg
The book relies heavily on Katniss’ internal monologue to paint a picture of fear at the constant risk of death. The pacey, emotive language Suzanne Collins uses makes her novel the thrilling page-turner it is, but in the film, we get large lulls of silence and artistically ambiguous flashbacks of exploding rooms and blurry pigs.
Director Bo Welch's 2003 adaptation of children's book The Cat in the Hat is completely bizarre. Redeemed only maybe by its design, the 'kids' movie debases Dr. Seuss' original depiction of innocence and playfulness by featuring crass humour and sexual innuendo aplenty.
I was consistently explaining to my friends why Katniss was distant to her mother, why her relationship with Peeta was so complicated; Katniss’ internal struggle does not translate well onto the screen and the viewer misses out on many things that make the book so engaging and shocking.
While films like Toy Story are made for youngsters but also contain genuinely good humour for adults, The Cat in the Hat doesn't seem to be sure who its been made for. This perhaps wouldn't be such a problem if the film was actually funny, but instead all the jokes fall flat, apart from maybe one kitchen sequence.
How much better is the story when you know the servants have had their tongues cut out or that the killer dogs are mutated versions of the other tributes? It’s a good film, but it doesn't do justice to the awesomeness of the book.
The movie takes the source material's joyful surrealism and turns it into something crude and charmless, sure to eternally anger the fans of Dr Seuss' work. I would normally argue that risky humour should be respected, but probably not when it's aimed and marketed towards children.
Words by Andy Haywood
Words by Jack Dillon
12 | Features
The Edge | features@theedgesusu.co.uk
THE KITE RUNNER (2007) Novel by: Khaled Hosseini Screenplay by: David Benioff
MANSFIELD PARK (1999) Novel by: Jane Austen Screenplay by: Patricia Rozema
Mansfield Park, written by Jane Austen, features the story of ten year old heroine Fanny Price, from an underprivileged family who is sent to live at her uncle’s wealthy estate. The 1999 Miramax film adaptation may suit general audiences with its modern twist on the period drama, but for Austen fans, it’s shockingly bad. Not only is Fanny’s moral, timid character turned into an unruly tomboy who refers to herself as a ‘wild beast,’ but most of the other characters are underdeveloped. There’s no real groundwork for the Crawford’s manipulative actions, and Edmund as the loving hero is pretty flat. Ironically, Mansfield Park is the tamest of Austen’s works, yet has been called the ‘steamiest’ Austen adaptation, and no wonder - director Patricia Rozema makes unnecessary references to lesbianism in Mary and Fanny’s innocent friendship, and there’s even a crude glimpse of a sex scene! Whilst this might be entertaining, I feel it demeans her novel – so if you are a loyal Austen fan like me, steer clear. Words by Eva Pemberton
The narrative unfolds against the backdrop of Afghanistan's turbulent history, and it is clear from Husseini's depiction of his beloved country's fall into oppression that there is still, for him, a heart-wrenching sense of loss. Lacking the narration of protagonist Amir, the 2007 adaptation Afghanistan is far less a homeland remembered fondly and more an exotic spectacle. Husseini presents a nostalgic and fond recollection of childhood in Afghanistan as he introduces the reader to the complexity of protagonist Amir's relationship with his father Baba and best friend Hassan. The adaptation, however, breezes quickly over this, meaning that the fated 'alley scene', upon which Amir's emotional turmoil rests, is introduced before the viewer has had time to truly invest in Husseini's characters. The severity of Amir's guilt and betrayal is lost, and this is hardly helped by the stiff performances from Amir and Hassan's child actors. Words by Chris Evans
NEMESIS (2009) Novel by: Agatha Christie Screenplay by: Stephen Churchett Believe it or not, this film – part of ITV’s Agatha Christie’s Marple series – was directed by Nicolas Winding Refn, the director of Drive and Only God Forgives. It is probably the very worst Christie adaptation ever made and completely changes the plot of the original novel. A quietly disturbing, carefully plotted crime story becomes an over-the-top, off-the-wall bonkers mess that falls apart in its hysterical final act. The cast is terrific – Dan Stevens, Richard E. Grant, Amanda Burton – but even they can’t save it from Stephen Churchett’s awful screenplay. Words by Barnaby Walter
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Features | 13
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Interview:
Of Mice & Men C
ongratulations on selling out your European tour. Why did you decide to start it off in Southampton? Aaron Pauley: Well, we always think it’s nicer to start off the tour somewhere a bit off the beaten path in a slightly smaller venue. If the venue is a bit smaller it makes it easier to iron out all the wrinkles and still play a great show. The crowds get crazy into it here as well; there are people outside who arrived at midnight last night! You recently released your new album Restoring Force, were you pleased with the critical reception it got? AP: I think for us, we always believed that if it meant enough to us and we took the time to really make something of quality, then if worst comes to worst and our fans didn’t like it then other people would. In that respect the album was something of a leap of faith for us. In the end though, both the fans and critics responded really well to it, and we were very happy with that. Why did you decide to move away from the traditional metalcore sound for the latest album? Austin Carlisle: We didn’t consciously make a decision to sound different on the new record, we just recorded the album that we
wanted to hear. We wanted to make something that was uniquely Of Mice & Men without being grouped together with a bunch of other genres and bands. We just want to have our own sound, which sounds like us. AP: We’re older now as well, and it gets kind of boring to be writing and playing the same kind of music all the time. It starts feeling very formulaic and we all wanted to challenge ourselves and write something that was more hard rock, with influences from the bands we loved when we were teenagers.
"WE JUST RECORDED THE ALBUM THAT WE WANTED TO HEAR" ‘Space Enough To Grow’ is really different to all the other songs on the album and it’s far quieter and slower. Would you ever play it live? AC: We may do it on this very tour, wait and see! It’s my favourite song on the album actually, I listen to it a lot, probably about three times a week, right before I go to bed. And, I don’t feel bad about doing that, because I don’t sing on it! [laughs] I would say I’m probably Aaron’s fifth or sixth biggest fan! Are you looking forward to playing an absolutely sold out
European tour? AC: Yeah, it’s going to be incredible. We’re so stoked that the only way people can see us in Europe this summer if they don’t already have tickets is to go to Reading and Leeds festival. We’re really excited that the tour sold out so quickly and of course we’re excited to play such a huge festival! Have you ever had an overly intense or scary fan experience? AP: Yes, we definitely have, on numerous occasions. But, I feel like, a lot of the time they don’t really realise that they’re being over intense, so we don’t really judge anyone for it or make fun of them. It’s just nice that people care so much about what we do. How would you describe your music to someone who’s never heard it before? AC: I would just say to them: ‘Turn it up, bang your head and you’ll find out for yourself!’ AP: Yeah, I don’t think there’s a word to describe our music. I always find it hard to describe music anyway, but if we had to put a category on it, probably American hard rock is the closest. Words by Elinor Day
The Edge | features@theedgesusu.co.uk
Features | 15
revision? more like
TELEVISION
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xams are around the corner and it’s a time where us students begin to utterly freak out and philosophically question the the concept of ‘time’ and just how quick it’s going. Either that or we feel strangely calm and collected, only to then question that calmness and become the former: it’s a vicious cycle. But do not fear! It’s proven that revision breaks will improve memory and increase productivity, so why not watch an episode from one of the best TV shows around? Below are the top five TV picks that are available online to rescue you after a hefty revision session.
Made in Chelsea For light entertainment, Made in Chelsea is pretty much ideal to escape the seriousness of exams and to indulge yourself within intangible posh antics and drama. Whether that be the heir of McVitie’s dating the majority of the Chelsea population, or others moaning about the existence of the sleeping bag. Not neccessarily to be seen as a competitor to the above TV shows, Made in Chelsea is easy to catch up on and good for a quick five minute revision break.
American Horror Story The first two seasons of this American horror series are available to watch on Netflix, and they’re definitely worth the revision break. It is described as an ‘anthology series’ where each season is seen as a mini-series with a new location and characters. The first season is entitled Murder House and involves a family moving into a new home, haunted by the deceased. The following two seasons are named Asylum and Coven, respectively. If anything, the TV show will make you thankful for the situation that you are in as opposed to the murderous ones that the characters onscreen find 16 | Features
themselves in. Drowning in revision cards with highlighter as face paint sounds better than being haunted by the creepy Tate. Trust me.
Orange is the New Black Based in a women’s prison, Orange is the New Black is another Netflix original series. With the trailer for the second season recently released, it’s a perfect time to get into this dramacomedy. The American show stars Taylor Schilling (slash Katy Perry, slash Emily Blunt) as a woman who is charged for 14 months in prison for a drug crime she committed back in her youthful, rebellious stage. Thrown into a varietal prison which consists of the female equivalent of a Quality Street tin, chaos endures. Perfect for the quick revision break.
Game of Thrones Possibly one of the most talked about TV programmes ever, Game of Thrones is the perfect show to release yourself from the mundane life of a revising student to the fantastical world that literary genius George R. The Edge |features@theedgesusu.co.uk
R. Martin has created. Based on the fictional continents of Westeros and Essos, the TV series tells the story of seven families that fight the battle for the Iron Throne of the Seven Kingdoms. Not recommended for a quick revision break – Game of Thrones is cliffhanger and shocking deaths galore – it’s ideal as an end-ofday reward, whether that be for the gripping plot lines or to just admire the aesthetically flawless Daenerys Targaryen, portrayed by Emilia Clarke.
House of Cards Do I need to say anything more than ‘Kevin Spacey’ (a.k.a. the Zeus of acting?) This Netflix original political drama series tells the story of Frank Underwood (Spacey), who gets passed over for appointment of Secretary of State, and so seeks revenge on all those that have betrayed him. He does this with the help of his equally conniving wife, portrayed by Robin Wright (Jenny from Forrest Gump!). This power couple are tantalising, enigmatic, slightly evil but incredibly endearing all at once. Like Game of Thrones, House of Cards is addictive, through both its plot and impeccable acting. Words by Lewis Taplin
Director: Jamie Adams. Studio: Verve Pictures. Out: June 6
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enny and Jolene is a sweet, low budget picture from filmmaker Jamie Adams. It was a relatively small project – it only took five days to shoot – though it does star some recognizable – if not exactly well-known – faces, such as Craig Roberts (Submarine) and Charlotte Ritchie (Fresh Meat).
Instead of running like a straight narrative comedy drama, a mock-documentary style is adopted – a tactic that could have been the film’s downfall (nothing is as awkward as unfunny awkwardness) - but Adams intelligently harnesses the observational aspect to often hilarious effect.
where Jolene teases Benny about potentially being gay, though this passes by without becoming too unfortunate. Indeed, the film is clearly not homophobic, as it refreshingly portrays two lesbian mums without mining the subject for lazy comedy (one of them is played by Dolly Wells, from Doll & Em).
The premise is simple. Benny and Jolene are an indie-folk duo searching for success. They are hampered with an enthusiastic, though often ineffectual management team and don’t seem sure within themselves as to what they want from their music or each other.
The comedy ranges from the casually embarrassing (like a record-signing that becomes a non-event due to lack of interest) to occasionally raunchy (such as an extended sex-scene set-piece that seems to be channelling Judd Apatow). There is perhaps a moment of ill-judged humour between the two leads
Overall, this might feel like a somewhat slight offering, but nevertheless offers a substantial amount of charm thanks to the excellent chemistry between Roberts and Ritchie’s characters.
The | film@theedgesusu.co.uk TheEdge Edge | film@theedgesusu.co.uk
Words by Barnaby Walter
Film | 17 Films
BFI FLARE FILM FESTIVAL
G.B.F. Directed by Darren Stein Studio Peccadillo Released Out Now
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.B.F stands for ‘Gay Best Friend’, a pseudo-tolerant, repulsive term that some people use to describe their friends whilst boasting about how so amazingly cool they are. It is a loathsome phrase that continues to ‘otherise’ gay people and prevent assimilation into mainstream culture and society. Darren Stein’s high school comedy decides to take this predicament to the teen
high-school comedy genre. The resulting film does throw some light on how those who purport to be advancing equality actually restrict its progress through labelling others. Nobody could go as far as accusing this film of being nasty or bigoted as its heart is clearly in the right place. The central performance by Michael J. Willett is very
endearing and watchable. The final few minutes rightly mention that many gay people don’t want to be accessories to straight girls. But there is something about this movie that so desperately tries to seem up-to-the-minute and topical when really, watching it in 2014, it already feels tired and dated. Words by Barnaby Walter
Lilting Directed by Jon S. Baird Studio Artificial Eye Released August 20
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ong Khaou’s Lilting is an earnestly heartfelt film about finding common ground in the face of tragedy. It follows June (Cheng Pei-Pei), a Cambodian Chinese woman living in London, coming to terms with the sudden death of her son Kai (Andrew Leung). Unaware of her son’s homosexuality, Kai’s boyfriend Richard (Ben Whishaw) takes it upon himself to attempt to cross the linguistic
18 | Film
and cultural divide to inform June of his relationship with her son. It is a strikingly intimate film about facing the barriers that form through grief and loss. Without a doubt, the beating heart of the film is the performance of Ben Whishaw. He presents an achingly vulnerable portrait of a man who has been crippled by the death of his lover. There is a real sense of loss about his character,
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which adds such emotional weight to the film. Lilting reaches out to the audience through its relatable themes of grief, love and alienation and finds common ground with us. It is a beautifully tender, subtle portrait of the emotional, cultural and physical voids that bloom when faced with loss. Words by Chris Pate
Sarah Prefers to run Director: Chloé Robichaud. Studio: Entertainment One. Out: TBC.
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here are very few films - I can think of a mere handfulthat successfully deal with that feeling of total alienation that occurs during the period of late teen development. Films that attempt to grapple with the existential angst that involves questions of identity, purpose and control all seem to collapse into stereotypes and before long you’re watching something akin to an episode of Skins. In short, to succeed in this genre, a film needs to be sensitive. It needs to make a real effort to understand the young people it portrays on screen. It needs, to be blunt, to follow the example of Sarah Prefers to Run. “I can’t control everything,” explains Sarah Lepage (played flawlessly by Sophie Desmarais) “but there are some things I can. Like running, that’s all me.” The new film from French-Canadian director Chloé Robichaud is a
beautiful, gentle and incredibly subtle mediation on obsession, control and sexual awakening. Sarah is twenty years old and has just been offered a place on the middle-distance running team at the prestigious McGill University in Montreal. Without the financial support of her mother and to make ends meet, she partakes (quite literally) in a marriage of convenience with eligible bachelor Antoine Breton (Jéan-Sebastien Courchesne) to qualify for extra bursaries. However Sarah soon discovers that she is not as compatible with heterosexual married life as she thought and the only safe constant in her life is running. Sarah Prefers to Run is, in effect, a character study. It’s wonderful to watch a film with a gay lead that doesn’t centralise the sexuality of the characters in the plot. The film is not about ‘coming out’, it’s
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far more subtle than that. It is, in fact, a pre-coming out film. We watch Sarah wrestle with a myriad of sexual feelings; some of these come to fruition, others that don’t. In the context of the film, Sarah’s sexual preference is almost a subplot- as ambiguous to the audience as it is to Sarah herself. In this sense, the script is very carefully written. Perceptive audience members may recognise similarities between Sarah Prefers to Run and Darren Aronofsky’s The Wrestler (2008). Both films present sport as an escape from emotional, existential turmoil. However Sarah Prefers to Run supersedes Aronofsky’s effort by presenting a beautifully relatable, human story. This is a film for anyone who has felt alone whilst growing up. Words by Chris Pate
Film | 19
Fading Gigolo
Director: John Turturro. Studio: Curzon Film World. Out: 23 May.
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oo often, films use their genre to convey off-putting social rules that seem to have been ripped out of the last century. Fading Gigolo is one of them. Murray, played by Woody Allen (or rather Woody Allen playing himself under the name of Murray), talks his friend Fioravente (John Turturro) into selling love services to women. Supposedly the answer to the closure of Murray’s family business, a bookshop opened two generations before, the money made by Fioravente quickly disappears from the overall film narration, creating nothing but unhealthy situations. The film presents Fioravente as a modern Prince Charming, a saviour of the poor and vulnerable ladies he encounters. It completely refutes the idea of a man selling himself but also the notion that women can buy time with a man
20 | Film
for the only purpose of seeking the enjoyment offered by such trades. Women in Fading Gigolo are either in serious need of affection, or nymphomaniac clichés and dangerous man-eaters. Whilst the film is supposed to depict a male prostitute, the narration actually reverses the situation and stigmatises women as objects of desire. Is it normal to find a woman in high heels and underwear, eating chocolate on a sofa after her little ‘session’, whilst the man is already dressed in his day-to-day clothes? Worst, during the film’s only sex scene, (a ménage à trois) Fioravente is asked by the ‘cougars’ if they should do it for free, as if it was the women offering their services to him, as a gift. There are also problems with another character, Avigal, played by the French actor and singer Vanessa Paradis. She is a Jewish widow in deep mourning who
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has cut herself out of love of any kind. Probably the worst figure in the film, she is the embodiment of the mother; the pure lady. She seeks the services of Fioravente as a ‘therapy’ and actually spends time with the man rather than asking for intimate encounters. She is presented as the heroine of the film, the only one who respects herself by not falling for the man, and directly reinforces the misogynous categorisation of women into being either ‘virgins’ or ‘whores’. Fading Gigolo has poor taste too when it comes to talking about Jewish and African American communities. Woody Allen is used as an excuse to tackle the matters of sex, love and community affiliations, without Allen’s usual wit and reflexion. Words by Virginie Robe
~ This article contains spoilers ~
T
he narrative of American Beauty represents what is under the surface of the American Dream. It strips away the falsities by delving deeper and heading behind the closed doors of those white-picketfenced suburban American homes. For Kevin S pacey this role was one of his most important. Lester Burnham is a tired journalist, bored of his mundane married life to over-ambitious realtor Carolyn. Lester typifies the reality of thousands of frustrated American men who experience a mid-life crisis, radically changing themselves beyond any recognition for their families. The struggle to maintain the thrill of youth - buying a new car, crushing on your daughter’s friend and smoking weed - yet, unknowingly affecting the lives of those around you, is encapsulated in Spacey’s Burnham through his characteristic, provocative wit. Not only does American Beauty strip away the veil of the American Dream, it also addresses the suppression of homosexuality. Lester Burnham is at the centre of a microcosm of homophobia, and struggles with identity, motifs of which underline the entire movie. The Burnhams’ next door neighbours, the Fitts family, are directly affected by Lester’s crisis. Colonol Fitts’ character suppresses his own homosexuality to the extent that he represents the drastic homophobia prevalent in
the military. His character reflects the struggles of many young men suppressing homosexuality on the inside, so much so that they then express extreme homophobia on the surface. Colonel Fitts’ homophobia begins with his confrontational attitude to his neighbours, the Jims. Seemingly confused by their ‘partnership’, he later persecutes them for being ‘faggots that rub it in your face’. Instead of confronting the suppression of his own homosexuality, he takes his tensions out on those around him. He violently beats his son Ricky for supposedly having gay sex, and murders Lester Burnham for rejecting his homosexual advances.
"IN ORDER TO BE SUCCESSFUL, ONE MUST PROJECT AN IMAGE OF SUCCESS AT ALL TIMES"
It is these moments that shock the viewer into addressing what occurs behind closed doors. The upkeep of a perfect family image is the aim for Lester’s wife Carolyn, yet her unhappiness with Lester leads to adultery and murderous intent. When the movie ends, every character releases this tension of trying to cover up what is wrong and be somebody else. For some characters, their tensions come to blow through the release of pent up aggression. Carolyn plans to kill The Edge | film@theedgesusu.co.uk
Lester but only comes to realise that someone has got there first, shocking her into questioning her murderous intent. Instead of addressing his homosexuality, Colonel Fitts shoots Lester in the film’s epic final moments. However, for some of the characters, the ending demonstrates coming of age and an understanding of the farce of being perfect. For example, Jane, Lester’s daughter, finally finds love and happiness away from teenage angst and struggles with body image. Angela realises that there is more to life than sex and looking good when she confronts her virginity. And Lester, despite his death, is brought back to reality in his encounter with Angela. In one of the film’s most poignant scenes, Angela asks him how he is. Lester replies with ‘it’s been a long time since anybody asked me that. I’m great.’ This sums up his realisation of ‘gratitude for every single moment of [his] stupid little life’, as Lester, the narrator, says in the closing lines of the movie. American Beauty tears apart the farce of the American dream and addresses some deep concerns about repressed homosexuality and body image. With Spacey’s stunning portrayal of Lester Burnham alongside an amazing cast and superb direction from Sam Mendes, American Beauty teaches a lesson that a lot of people don’t want to learn. Words by Megan Downing
Film | 21
Fargo - S1/E1 ~ This article contains spoilers ~
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he TV adaptation of the Coen Brothers’ classic movie Fargo has arrived at our screens, opening with a variation of the same lie that opened the film: ‘This is based on a true story. The events depicted took place in Minnesota in 2006’. This leaves us with an immediate question: will the series live up to the movie? The answer seems to be a resounding and unequivocal yes. While it may not quite reach the heights of the original, often referred to as the Coens’ masterpiece, it carries the tone over in a form fit for television, and establishes its own kind of originality. The U.S. series stars Billy Bob Thornton and our own Martin Freeman, two actors who bounce off each other brilliantly and promise great chemistry throughout the series. Both constantly engage and amuse as we see relentless drifter Lorne Malvo (Thornton) influence Lester Nygaard (Freeman), a middle-aged loser in the vein of Walter White from early episodes of Breaking Bad. We join Lester as he encounters the high school bully from his past, Sam Hess, a meeting of man versus mouse that lands Lester in hospital. Here he meets his polar opposite Malvo, a man who lives by no rules, and takes it upon himself to educate Lester in his philosophy. What unfolds is an intriguing exploration into what it means to be masculine, something that is simplified to its bare components by Malvo – ‘Your problem is you spent your whole life thinking there are rules. 22 | Culture
There aren’t. We used to be gorillas’. Creator and writer Noah Hawley – known best for being a writer on Bones – successfully makes the viewer sympathise with Lester throughout most of the episode. We see Nygaard on his daily routine at a job going nowhere, to his life at home with annoying and over-critical wife Pearl. Previous comparisons made to Walter White soon end by the final minutes of the episode however. While we were trepidatiously rooting for Walt’s change of character at the end of the Breaking Bad pilot, the actions that Lester carries out during the final events of ‘The Crocodile’s Dilemma’ are so extreme, that the viewer’s sympathy runs out, and we have no idea what to think. This twist in circumstances proves for a far more eventful first episode than we would expect, and sets this drama apart from any of the other new series that have started this year (with the exception of maybe True Detective). As
we witness
Lester’s descent into a darker place morally, all awhile we see Malvo indulge himself in his already pitchblack morals. After mysteriously entering Bemidji, Thornton proves a magnetic on-screen presence as we see Malvo manipulate the people around him, seemingly for his own amusement. This leads to a fantastic yet tense exchange between Malvo and Deputy Gus Grimly (Colin Hanks), one of the best scenes of the episode. However, with this focus on male characters I was worried throughout most of the hour that we wouldn’t see a strong enough female figure to counteract all the macho bravado. Thankfully my worries were addressed, as a turn in events sets up Deputy Molly Solverson (Allison Tolman) as the one who will be investigating what has been occurring around the town since Malvo appeared. It’s safe to say that Hawley has created a show that will carry on to expand on the dark and comedic world that the Coens touched upon in a triumphant fashion, eighteen years after the original was released. Beautifully shot – Lester wearing his bright orange parka stands out over a snow-white Minnesota backdrop – and well-acted, the next nine episodes should prove to be great television, as mysteries surrounding Malvo are unraveled, and the characters of Lester and Molly are further explored. 9/10 – A great and eventful first episode, setting up even more to come in a promising new series. Worthy of the name Fargo. Words by Jack Dillon
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Preview:
Clarence Darrow at The Old Vic, London
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evin Spacey marks his ten year anniversary as the artistic director of London’s The Old Vic theatre this year, and to commemorate the occasion he is returning to the role of pioneering lawyer, Clarence Darrow. Spacey will be performing Rintel’s one man tour-de-force, Clarence Darrow, from May 28th until June 15th. The frenzy to get tickets when they went on sale in early April was intense. Phone lines were stacked up, making it impossible to get through and an online queue of 3,000+ meant tickets were hard to get hold of. After the recent popularity of the Netflix original series House of Cards, in which Spacey plays the cut-throat Frank Underwood, this is hardly surprising. Following the critically acclaimed Old Vic production of Inherit the Wind and the PBSfilm Darrow, Spacey will be returning to the role of Darrow, going solo on the stage. Thea Sharrock directs him in the one man show in which the larger than life Darrow, with his legendary wit, relives some of his pivotal experiences, including the infamous Scopes ‘Monkey’ and ‘Thrill Killers’ trials which established his reputation as a courtroom giant and civil rights hero. The Old Vic released a second batch of tickets due to the insane demand on the original sale day, giving more people the opportunity to witness Spacey at his best. For more details of tickets and the creative team behind the production, head to The Old Vic’s website. Words by Megan Downing
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Culture | 23
THE CRUCIBLE AT THE hub theatre
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roken Arrow’s debut is moving, powerful, and without fault.
Director Lucy Hughes makes the bold claim in her director’s note for The Crucible that her cast is made up of ‘some of the most hardworking and talented untrained actors in the country’. This cast, comprised of Southampton students and graduates, performed above and beyond Hughes’ claim, and made Broken Arrow’s debut production a phenomenon that is not to be missed, totally raising the bar for what we can expect from local amateur productions. The play opens with a powerful additional scene, devised by Hughes, that shows the young girls of the village and Tituba, a slave and suspected practitioner of witchcraft, dancing in the woods, the events that later cause the village community to be shattered by rumour and manipulation.
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A standout performance was Jeremy McCabe’s portrayal of Reverend Parris. McCabe shows total discipline and control of his performance throughout the show, and every movement he makes, from striding across the stage to a barely noticeable twitch of the jaw, was entirely justified, leading to a commendable and complex portrayal of the villainous Reverend. The tragic hero of the story, John Proctor (Alexander Curtis) and his wife, Elizabeth (Sarah Divall) are perfectly cast, and their on-stage chemistry is what makes their tragedy so compelling to watch. Curtis shows a confident authority and is a hugely enjoyable leading presence on stage, as well as mastering the delivery of some of Miller’s more ‘poetic’ dialogue, – “Now the crazy little children are jangling the keys of the kingdom,” – with great precision and sensitivity. Every emotion portrayed was unquestionably convincing, the The Edge | culture@theedgesusu.co.uk
highlight being the final moments of the second act in which Elizabeth Proctor is accused and chained up. Curtis’ raw anger followed by a sickeningly well-executed sad stillness made this the most powerful scene of the performance, and a large number of the audience were stunned into silent tears. Divall gave a convincing performance without falter or any shadow of pretence, and was equally as watchable as Curtis. The production as a whole was well within the realm of professional standards, every moment smooth and well-rehearsed, and Hughes has obviously had a clear vision of what she wants to achieve with The Crucible from the start. The thunderous applause and standing ovation can only be a sign of great things to come from Broken Arrow Productions. Words by Caitlin Hobbs
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ith the exception of The Walking Dead, in recent years decent horror TV series have been very hard to come by. The joy of Netflix meant that I could delve into the box set of American Horror Story and not worry about whether it would be good or not. After all, I could just stop watching if it was awful. I’m therefore pleased to say that I did manage to get through the entire first series. Anyone who has watched even a small number of horror movies will know the formula of the ‘haunted house’ genre, and it is this formula that Murder House sticks to. It has all the standard tricks of the genre; jump scares,
anticipation, and dark corridors. What is unique about Murder House however is that unlike the aformentioned horror flicks, this has longevity and therefore the ability to tell a much more intricately woven story. This is not to say it is wholly successful at doing so. Indeed at times, the episodes feel very repetitive and there is not much progression in the overall arc. Towards the end of the series, the speed suddenly picks up. A conclusion is reached, and it’s not that world-shattering: Most of the audience will have guessed what happens at the end. What is unique about Murder House which absolutely cannot be accomplished in a sub 2 hour film is the character progression, and this is where the series really shines. In particular, Tate Langdon (Evan Peters) plays an extremely tortured character who is central to the main plot of the series. He develops a crush on Violet (Taissa Farmiga) and this becomes more and more disturbing as the series progresses. We learn aspects of his back story in almost every episode and this helps keep interest. Larry Harvey (Denis O’Hare) plays a character with horrendous facial disfigurement, and is somewhat of an enigma throughout, lending a sinister air and constant threat to proceedings. Kate Mara, in a role which propelled her towards stardom in The Edge | culture@theedgesusu.co.uk
House of Cards, plays the extremely sinister and ominous Hayden McClaine, whose affair with Dr. Ben Harmon (Dylan McDermott) creates some great tension between him and his wife Vivien (Connie Britton). The plot line to American Horror Story is fairly strong, and the basis of the haunted house arises from the many deaths which have occurred there, with the dead trapped in limbo and haunting the residents. Numerous episodes focus on different tragic events which have occurred in the house and this means that many tell a self contained story which also contributes to the overall series arc. One particularly memorable episode guest-starred Zachary Quinto and Teddy Sears as the gay couple Chad and Patrick who were brutally murdered by a man dressed in a black latex bondage suit. They inject some light hearted fun into the episode through their bickering and reappear later in the series. Those who enjoy the horror genre will lap up American Horror Story, but its tropes are somewhat stereotypical and repetitive, especially as they reoccur numerous times throughout the series. This is not to say it is uninteresting, far from it. But considering the story arc could have probably been completed in half the episodes, it feels quite drawn out at times. Words by Joe Gibson
Culture | 25
Junk Department's
Big TOp
(03/05/2014)
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he first thing that shocks about Big Top is the scale. The titular Big Top was enormous and housed a stage production to rival those you’d expect from a long-running established festival. With the addition of fairground attractions, the site certainly evoked the carnivalesque theme Southampton based organisers Junk Department sought to achieve. The sun was shining on Stoneham park; festival go-ers arrived en masse to soak up the sun and music. Whilst many fans began their day enjoying the site and basking in the sun, others ventured inside the Big Top early on as Laura Jones’ techno beats began to draw in the crowds. Following Laura’s set, Dyed Soundorom displayed a stylish composure on the decks, making his set appear effortless. Having honed his skills at his residency at DC 10 in Ibiza, playing the likes of London’s South West Four and BPM in Mexico, it was apparent that Dyed was truly at home at Big Top as he appeared utterly unfazed by the mass of fans that had congregated to witness him mix. Paying a visit to the Future Garden tent proved a real treat. The Southampton locals, renowned for putting on some of the most creative nights around in unique venues, had taken the time to make
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their appearance at Big Top just as special. A wall of record sleeves covered the front of the team’s booth, whilst tiny disco balls shone above the crowd. Best of all was the huge golden Future Garden logo hanging behind the DJs like a giant medallion, completing the tent’s ‘discotheque’ look with a touch of bling. It was great to see these already iconic initials adorning not only the tent, but as facepaint on the group’s devoted fan base, in and amongst the crowd, packing out the tent. Catching the Future Garden DJ set was a must for any avid disco fan, as it was impossible not to dance to the infectious funk being played. Those lucky enough to have access to the VIP area were in for a treat as Junk Department laid on a suitably special experience. Housed inside a lavishly decorated tent with a luxurious and exotic Moroccan theme, the tent’s comfy chill out spaces provided an ideal location to relax and enjoy exclusive DJ sets. The tent later became a party in its own right, as Flashmob took to the decks for a special set. Once darkness had fallen Big Top truly came into its element. Under the cover of darkness the once busy park became utterly deserted as the crowds took to the main tent for the night’s headline acts. The lighting rig cast its beams into the depths
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of the cavernous Big Top, searching amongst the moving sea of festival goers. Albeit a delayed set, Maya Jane Coles immediately ignited the crowd with her signature deep house sound. Headliner Jamie Jones was greeted with enormous energy from the crowd as he arrived for his headline slot. This continued throughout as fans passionately celebrated every mix and transition. The Hot Creations label owner put on a diverse set that was embellished further with the full force of Junk’s stage production, unleashing CO2 and fire jets on cue as the crowd erupted into motion whenever Jones delivered the next beat or groove. Coupled with this were atmospheric 3D graphics on the LED stage displays, making the headline set a truly immersive experience. The one day festival was a testament to Junk Department’s reputation as a brand. The ability to bring together such a crowd of like-minded music fans and deliver such a high quality experience on its first venture into festival territory is no small feat. The event as a whole was a wellexecuted innovation Words By Chris Evans
Preview
Bliss Fields 2014 Music Blissfields offers a wide variety of music to suit every taste. This year The Larch stage will be added to the festival playing host to ‘all things acoustic by day but all things eclectic at night’ (Blissfields website). Visit this area to listen to funk, jazz, soul and much more. The Blisscoteque is famous for turning a double decker bus into a fully functioning disco! A team of DJs will be playing dance music from a range of eras and cocktails will be served (IN the bus!) into the early hours of the morning. The Hidden Hedge will return to the festival this year. Mixing creepy decorations (think props from your favourite sci fi films!) with a huge fire pit, lighting displays and music from a range of DJs, the Hedge is the
place to be if you want to dance into the early hours! Head to the Hedge if you’re interested in deep bass and dub. In previous years, the Main Stage has held performances from Mumford and Sons, Jake Bugg, Bastille and Sam Smith. Following the first instalment of the line up a few weeks ago, it’s been confirmed that the Main Stage will play host to some of the UK’s rising music stars. This year, Blissfields welcomes Chloe Howl, Luke Sital Singh, and Nick Mulvey. Further acts will be announced in the next few weeks. Make sure you buy a Thursday pass to enjoy the festival’s first evening of music and the chance to see talented unsigned bands from along the South Coast. Blissfields will be held from the 4th – 5th of July 2014 at Vicarage Farm near Winchester, Hampshire.
Arts and Crafts
Fields of Bliss Spa
As any Blissfields attendee knows, the festival isn’t just about the music. Guests are invited to try something new at one of the craft stalls. At last year’s event, visitors had the chance to make their own jewellery, fashion themselves a flower garland, help out a blacksmith or create something totally unique at the pottery area. The popular crafts area returns to the festival this year situated next to the garden area so you can relax after your efforts. You might discover a talent you never knew you had.
This year welcomes the Fields of Bliss Spa in association with Bathing Under the Sky. Festival goers have the chance to enjoy the UK’s only double decker bus complete with wood fired hot tubs! The spa is expected to be very popular and guests are advised to book hot tubs in advance on Bathing Under The Sky’s website. Words by Laura Cox
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Childhood at Lennons (01/05/2014)
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s soon as the opening chords of ‘Blue Velvet’ emerged from behind the incense cloud billowing around the stage, the audience found themselves taken far away from the cold May evening and off into the beach-side retreat where Childhood’s musical influences reside. Throughout their 50 minute set, it felt like we were already enjoying the summer break and it’s only as the aptly named ‘Solemn Skies’ rolled in, that we found ourselves mournfully coming back to the Southampton reality that awaits us. During those 50 minutes we were treated to a delightfully lofi, kaleidoscopic romp through Childhood’s catalogue thus far. And it’s when listening to it all in quick succession live that you can tell that their album is going to be the Summer 2014 soundtrack. ‘You Could Be Different’ seems to have all the elements of a crowd-pleaser: a catchy hook that drags you in, singalong-able vocals and the momentum 28 | Live
to make people want to move. ‘Mount Chiliad’ is about as sunkissed as it is relaxing-- a reoccurring theme in Childhood’s feel good sound. Though there’s no doubt that the ‘Pinballs’ is a song of multiple faces, it doesn’t yet seem familiar enough for the crowd to really get it yet. Whilst the psychedelic jam unfolded to allow some of Childhood’s more interesting concepts came to light, the crowd’s attention wavered. And as it slowed into the third softer section, where Ben Romans-Hopcrafts’ vocals waver between smooth and smokey to a little strained (likely a consequence of it being the final tour date), the audience didn’t seem to know whether it was another track or not, torn between being static and wanting to clap. ‘Bond Girls’ had more of a frantic indie-pop feel about it. The crowd started dancing around with a little more fire under their feet, as the distortion heavy riffs swirled like a maelstrom in which the vocals were The Edge | live@theedgesusu.co.uk
the anchor point. It did become glaringly obvious in amongst the other tracks that this was some of the earlier material; it was simplistic in nature and far more formulaic when compared to the likes of ‘Sweet Preacher’ and latest single ‘Falls Away’. Speaking of ‘Falls Away’, there is little doubt that it was the standout track of the evening. The lo-fi tinged surf guitars flowed melodically around one another-- spiraling out from the audience’s grasp. Romans-Hopcraft’s vocals weren’t quite as prominent as perhaps you’d like, sometimes completely washed away by the rest of the music, but his rich, whispered falsetto was something of a wonder when it had its time to shine. It was most certainly a solemn moment when the crescendo of ‘Solemn Skies’ came as this marked the end of the show. It is safe to say that Childhood brought summer to Southampton. Words By Natt Day
Preview
(31/05/2014)
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014 sees the arrival of an exciting new addition to the roster of festivals on the south coast: The Somerley Tea Party is a boutique underground music festival within the grounds of Old Somerley House, on the outskirts of the New Forest. Eats Everything, Simian Mobile Disco, Paul Woolford, Ten Walls, DJ Hazard and Special Request are among the acts topping the bill across three stages throughout the day, making it an electronic music event not to be missed. The festival's organisers passionately explain how, "STP aims to be a highly unique and intimate experience incorporating
its beautiful surroundings to create a bohemian, corporate-free playground for likeminded party people." Festival goers can certainly expect to get what they're promised, as the truly unique setting in the grounds of Old Somerley House looks to be inspiring, and the dynamic line-up of familiar and underground names alike is sure to excite. Being a new festival, it is a little hard to envision how the space will be utilised, but the stage titles, the 'Old Somerley Arena', 'Dog Kennel Woods', and 'The Dome' along with site photos certainly offer a tantalising hint at what could potentially be a rare festival experience unlike
any other. It is very exciting to see such an innovative new festival come to the local area, and this is reflected by support from resident Southampton promotions company DBP in hosting the Tea Party's main stage. The efforts made to encourage a local audience is also noticeable through the provision of affordably priced travel schemes from Southampton and Bournemouth directly to and from the festival site. The Somerley Tea Party takes place on Saturday 31st May. Words by Chris Evans
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Hot job opportunities. Graduate Recruitment Fair Wednesday 11 June 2014 11.00am–3.30pm Garden Court, Building 40 Highfield Campus Part of Career Destinations’ Employability Festival 2014, 9–13 June 2014. Open to all students/graduates of any discipline. Exhibitors include those seeking second year students who are looking to get ahead for the 2014/15 recruitment cycle as well as recent graduates looking for roles commencing in autumn 2014.
www.southampton.ac.uk/careers/fairs
12th May Tonight at 8.30 @ Nuffield Theatre (Until 24th May) Let It Be @ Mayflower Theatre (Until 17th May) Born Of Osiris @ Joiners 13th May The Grand Budapest Hotel @ Union Films Ezra Furman @ Joiners The Clark Tracey Quintet @ The Talking Heads Andrew Cronshaw and Sans @ Turner Sims Concert Hall 14th May The Railway Man @ Union Films Pure Love @ Joiners The Brew @ The Brook Rose Road benefit gig @ The Talking Heads 15th May King King @ The Brook Last Vegas @ The Talking Heads Mr Scruff @ The Old Fire Station, Bournemouth City of London Sinfonia @ Turner Sims Concert Hall 16th May Dub Pistols @ The Cellar Don Williams @ BIC Windsor Hall 17th May SOUL 45 @ The Bridge Bo Ningen @ Joiners Kathryn Tickell And The Side @ Turner Sims Concert Hall 18th May Veronica Mars @ Union Films Austentatious @ Nuffield Theatre Red City Radio @ Joiners Hue and Cry @ The Brook Wolf Alice @ Wedgewood Rooms, Portsmouth
Listings 19th May Catfish & The Bottlemen @ Joiners Foxes @ Wedgewood Rooms, Portsmouth
20th May That’ll Be The Day @ Mayflower Theatre Courtney Barnett @ Joiners Jim Goodwin @ Wedgewood Rooms, Portsmouth 21st May Inside Llewyn Davis @ Union Films The Ghost Inside @ The Talking Heads
26th May Crocodiles @ The Cellar
27th May Southampton University Performance Recitals @ The Talking Heads (Until 29th May) ‘Tis Pity She’s A Whore @ Nuffield Theatre (Until 31st May) 28th May McBusted @ BIC Windsor Hall (Until 29th May) Slam Dunk: Ska Punk Tour @ Wedgewood Rooms, Portsmouth
22nd May Big Ups @ Joiners Albert Hammond Band @ The Brook Stan’s Blues Jam @ The Talking Heads Jungle @ The Old Fire Station, Bournemouth
29th May Alpines @ Joiners
23rd May Warehouse Party feat. Danny Byrd @ The Mo’club The Seekers @ BIC Windsor Hall
31st May Somerley Tea Party @ Old Somerley Estate Captain America: The Winter Soldier (3D) @ Union Films Damon Albarn @ Wedgewood Rooms, Portsmouth
24th May Warehouse Party feat. Ricky Ahmed & Miguel Campbell @ The Mo’club The Mouse Outfit @ RoXX Michael Bolton @ BIC Windsor Hall 25th May Muppets Most Wanted @ Union Films Rich Hall - Tour 2014 @ Nuffield Theatre Reggae Sunday - All day Caribbean festival @ Orange Rooms Southampton The Move @ The Brook That’ll Be The Day @ Bournemouth Pavilion Theatre
30th May The Fortunes @ The Brook Graham Parker & The Rumour @ O2 Academy Bournemouth
1st June Captain America: The Winter Soldier (2D) @ Union Films 2nd June One Man, Two Guvnors @ Mayflower Theatre (Until 7th June) 3rd June Catch 22 @ Nuffield Theatre (Until 7th June) Southampton University Performance Recitals @ The Talking Heads (Until 4th May)
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4th June Little Mix @ BIC Windsor Hall 5th June The Pizza Underground @ Joiners SOTONIGHT Graduation Boat Party @ Blue Funnel Cruises 6th June End of exams Warehouse Party feat. Amine Edge + Dance & MistaJam @ The Mo’club 7th June SUSO Summer Concerts @ Turner Sims Concert Hall Broken Links @ Joiners 9th June SUSU Graduation Ball 2014 @ Oceana Southampton Jason Manford: First World 10th June Dirty Dancing @ Mayflower Theatre (Until 28th June) 11th June Oliver! @ Nuffield Theatre (Until 14th June) 12th June Itchy Feet @ RoXX Joanne Shaw Taylor @ The Brook Jurassic Mark Presents… @ The Talking Heads Carnaby Street - The Concert @ Bournemouth Pavilion Theatre 13th June John Coghlan’s Quo @ The Brook Carnival of Carnage @ The Mo’club Little Barrie @ The Cellar High Focus Records Showcase @ RoXX Mary Jane @ The Talking Heads
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