The Edge - Issue 2 (October 2018)

Issue Two October 2018 Free

UNIVERSITY OF SOUTHAMPTON’S ENTERTAINMENT MAGAZINE

THREE DAYS GRACE

INTERVIEW

FANTASTIC BEASTS THE CRIMES OF GRINDELWALD Who will change the future? At least we can always count on J. K. Rowling to change the past.

EDITORIAL

Issue Two

Editor’s Note

The Team EDITOR

Happy Halloween! We get that what’s been happening around the world lately has been horrifying enough to last you for at least the next 1000 Halloweens, but we thought some of the original spooky spirit, mixed with some wizarding world darkness, as well as our regular entertainment goodness, might creep it less real.

Thea Hartman

editor@theedgesusu.co.uk

DEPUTY EDITOR Sophie Jones

deputy-editor@theedgesusu.co.uk

News Editor

The ever-controversial Fantastic Beasts: Crimes of Grindelwald is gracing the cover of this issue, and it’s one to look out for, whether you’re wondering what new storms J.K. Rowling is about to stir (p. 3), or you’re just excited to see more of Eddie Redmayne & co. (p. 11). And because we take every opportunity we can to write about Harry Potter, we get a little (or more) nostalgic on pages 23 and 28.

Ellie Brain

news@theedgesusu.co.uk

Records EDITOR Sam Law

records@theedgesusu.co.uk

Film EDITOR

Alice O’Hare

film@theedgesusu.co.uk

However, because we also love things that are more conventionally scary than Johnny Depp playing Grindelwald, we have put together The Edge’s Halloween Spooktacular (p. 14) - a collection of recommendations and suggestions for how to spice up (or spook up) your Halloween, whether that’s a house party or a simple night in. If you don’t fancy scaring your socks off, page 16 has a few tactics that might help you get through the horror film marathons mentally unscathed.

Actually, if the whole Halloween thing isn’t for you, there’s still entertainment goodness galore. You can find our interview with Neil Sanderson from rock band Three Days Grace on page 29. On page 13 we take a look at the explosion of spinoffs and sequels in the film industry, while page 26 gets nostalgic about the legendary Call of Duty Zombies mode. If I told you we didn’t try to make literally everything in this issue dark and brooding you’d say I’m lying, I know - but we didn’t!

This year couldn’t have started better for The Edge. Thank you to everyone who visited our stall during Freshers’ Week, attended our Welcome Meeting, and laughed with us at the Brooklyn Nine-Nine marathon. We can’t wait to showcase your amazing work in our next print issue. If you haven’t had the chance to get involved, it’s never too late!

Join The Edge Writers 2018-19 on Facebook, or message any of us. Trust me, we’ll take good scare of you.

Thea Hartman Editor 1

Culture EDITOR Ellis Murrell

culture@theedgesusu.co.uk

Live EDITOR

Natasha Williamson

live@theedgesusu.co.uk

Public Relations officer Nicole Kalinowska

liverecords-pr@theedgesusu.co.uk

Public Relations officer Pascal Ezeabasili

culturefilm-pr@theedgesusu.co.uk

Head of Relations

Amber Louise-Large

publicity@theedgesusu.co.uk

?

Head of Design

?

Head of events

?

Online Manager

Vacant

design@theedgesusu.co.uk Vacant

events@theedgesusu.co.uk Vacant

manager@theedgesusu.co.uk

VP Creative Industries Evie Reilly

vpdci@unionsouthampton.org With help from Tom Brewster (Records Executive), Abi Cutler (Literature Executive), Charlotte Morris, and Daniela del Valle

Contents 11

EDITORIAL

Review: 08 Album BROCKHAMPTON iridescence

Woman in Black: 11 The Stagecraft that Spooks

with 29 Interview Three Days Grace

Editorial

01 Welcome to Issue Two 02 Contents

News

03 Newsbox 05 Nostalgic News

Records

07 On Edge: Anticipating Childish Gambino’s New Album 08 Album Review: BROCKHAMPTON iridescence 09 Album Review: alt-J - REDUXER 10 Album Review: Black Honey - Black Honey

Film

11 On Edge: Anticipating Fantastic Beasts: The Crimes of Grindelwald 13 Spinoffs and Sequels: Is Hollywood out of ideas?

23 Closer to The Edge: Our Favourite Wizarding World Moments

The Edge’s Halloween Spooktacular 15 On Edge: Anticipating Suspiria 16 A Scaredy-Cat’s Guide to Surviving Horror Films 17 The Edge’s Spookiest Halloween Playlist 19 The Edge’s Favourite Halloween TV Moments 21 Queepy Eye: Our Go-to Music Themed Halloween Costumes

Culture 25 26 27 28

On Edge: Anticipating Daredevil Season 3 Call of Duty Zombies: 10 Years On The Woman in Black: Stagecraft that Spooks The Fantastic Beasts of the Harry Potter books

Live

29 Interview: Neil Sanderson from Three Days Grace 30 Flashback Review: Queen @ Live Aid at Wembley Stadium, London (1985) 31 Artist in Focus: Mac DeMarco 32 Preview: Mac Demarco @ O2 Guildhall Southampton 33 Listings

Follow Us! /theedgesusu @theedgesusu @theedgesusu Front cover image courtesy of Warner Bros. Entertainment

2

NEWS

THE

J.K Rowling: Angel or Snake?

NEWS

BOX

1

News in Brief Nuffield Southampton Theatres have nominated for three UK Theatre Awards.

been

2

Wolf Alice win Mercury Prize.

3

John Legend becomes first black man to achieve EGOT status.

4

Take That announce Southampton date as part of their 30th anniversary tour.

5

42nd Street West End performer becomes first to job share after having a baby.

With the recent controversy of Nagini’s casting in the upcoming Fantastic Beasts sequel, it seems that J.K Rowling has once again had to defend her work when it is criticised for lack of diversity. Whilst she explained Korean actress Claudia Kim’s role in the film was due to Nagini being based on “The Naga” which are “snakelike mythical creatures of Indonesian mythology”, many believe that the fact that the only Asian actor in the movie is playing a reptile is wrong.

Combined with this, fans have had further cause for complaint after Rowling confirmed Dumbledore’s homosexuality, but decided to not explicitly represent it in the Fantastic Beasts films. Whatever your opinion on these matters, one thing is for sure, diversity is now a constant factor in people’s minds – whether that be in film, television, or award categories – and pushing for fair representation will certainly help in the fight for equality.

THE EDGE’S ENTERTAINMENT PICKS EDITOR - BOHEMIAN RHAPSODY, DIR. BY BRYAN SINGER, 24/10/18 “Sometimes we need to be reminded that the best stories are inspired by real life. And this Queen biopic is ready to do that. With Rami Malek as the legendary Freddie Mercury, this film is set to tell the story of one of the greatest performers in the history of live music just how he deserves: royally.”

RECORDS EDITOR – MUSE – SIMULATION THEORY, WARNER BROS. RECORDS, 09/11/18 “The iconic rock trio are back with album number eight this November, returning to a more electronic sound after Drones’ more rocky outing. If the singles released so far are anything to go by, expect a full album of ‘80s-style futuristic delight and some banging tunes to match.”

FILM EDITOR - WILDLIFE, DIR. BY PAUL DANO, 09/11/18 “Paul Dano’s directorial debut looks as if he’s done it all before. A star-studded cast (Jake Gyllenhaal and Carey Mulligan) and a trailer that’s packed with tension – I cannot wait.”

CULTURE EDITOR - FALLOUT 76, BETHESDA GAME STUDIOS, 14/11/18 “With country roads that look this pretty, Bethesda’s latest apocalyptic RPG looks like this year’s game to beat.”

LIVE EDITOR – MONET X CHANGE @ THE 1865, 24/10/18 “Old sponges and soap suds herself Monet X Change from Season 10 of RuPaul’s Drag Race is coming to The 1865 on October 24th, and I have already booked my ticket and started to mentally prepare for the hilarious onslaught.”

Image courtesy of Warner Bros.

3

NEWS

NOSTALGIC NEWS 10 YEARS AGO

10 YEARS AGO

released Call of Duty: World at War was

Slumdog Millionaire was released

Ellie Brain

Sam Law

entry in the series, It may not have been the original all of Duty to the it may not even have exploded C dec pre essor Modern mainstream in the way its ll of Duty: World , Ca day Warfare did, but, to this franchise’s most y Dut of l Cal the at War remains . powerfully visceral entry to date of Duty 4: Modern The smash success of Call r 2 million copies in Warfare in 2007 - selling ove - left its successor e America in November alon that World at fact The fill. with big shoes to to a WWII setting, War would return the series critical success following the overwhelming setting, piled ary por tem con of Modern Warfare’s elopment team at further pressure on the dev engaging gameplay Treyarch Studios to deliver an t gameplay and tigh ring experience. But by offe oducing us to intr and , out ugh storytelling thro de, there’s no doubt the iconic Zombies game mo llenge and stands cha that World at War rose to the Duty franchise. of l Cal the of as one of the peaks

Slumdog Millionaire, adapted from the novel Q and A, is a 2008 film that won a multitude of awards, including a number of Oscars, Baftas , and Golden Globes. It tells the story of 18-yearold Jamal Malik from the Indian slums, who wins Who Wants to Be a Millionaire? and is then accused of cheating because of his lack of education and background. After this, through flashbacks, he recalls his life story, so he can prove how he knew all of the answers. The mixture of tragedy, comedy and heart-warming storytelling make this film a real classic.

Although it was the subject of controversy due to its portrayal of Indian society and the use of the term “Slumdog”, this has not stopped its popularity in the years that have followed. Many will still remember the iconic dance at the end of the movie – ‘Jai Ho!’ - where the whole cast dance together.

15 YEARS AGO

The Simpsons: Hit and Run was released Alice O’ Hare

The Simpsons: Hit & Run was released worldwide on Gamecube, Xbox and Playstation 2 15 years ago on the 31st October 2003. Developed by Radical Entertainment and published by Vivendi Universal Games, The Simpsons: Hit & Run was a Grand Theft Auto-style action adventure game set in the world of hit animated sitcom, The Simpsons.

Although it was first released on console, the game was a huge hit on all formats, selling over 3 million copies and becoming one of the most popular Playstation 2 games of all time. The game has since become somewhat of a cult phenomenon, with fans setting up online petitions for a modern-day sequel or a remastered version to be released. Given that the The Simpsons: Hit & Run is 15 years old, now would be an awfully good time for the developers and publishers to at least make it backwards compatible!

Images courtesy of Activision, Warner Bros., and Vivendi Universal Games

5

NEWS

20 YEARS AGO

e a Long Fat Boy Slim released You’ve Com Way Baby

35 YEARS AGO

The Colour of Magic was released

Liana Dent

Jack Nash

music of the ‘70s Everybody remembers the MJ and Queen ie, Bow and ‘80s. The likes of Although the hit. r afte hit out were pumping d in comparison, music from the ‘90s was blan scene comes to rave one subgenre of the ‘90s second studio ’s Slim oy Fatb mind: Big Beat. y Baby is a prime album You’ve Come a Long Wa Beat became.

Big example of how mainstream are still played The album contains tracks that and ‘Praise nk’ Ska today, such as ‘Rockafeller ch has had whi t, Bea Big You’. These are iconic of Aspects sic. mu se hou UK on a lasting impact tronic elec er oth of Big Beat can be heard in s in loop dom ran ly subgenres, such as seeming y Wa g Lon a e Com ’ve You dubstep. That is why from k wor finest Baby is such a key album, the the ‘90s electronic in es nam est bigg the of one scene - Fatboy Slim.

Every Terry Pratchett fan has an opin ion on the best place to enter the Discworld series, but this is where it all began - on 24th Novemb er, 1983, with The Colour of Magic.

The novel follows the travels of the cowardly wizard Rincewind, who finds himself a guide for Twoflower, the Discworld’s very first tourist, followed by his sentient Luggage.

Pratchett lovingly pulls apart tired fantasy trop es before piecing them back together to tell a truly brilliant story of semi-imaginary dragons, tavern fights, and insurance salesmen . Behind the ridiculousness of it all lies wick ed satire, sincere philosophy, and a genuinely emotional story, laying the foundations for the series to come.

Astute, original, and just so muc h fun to read, The Colour of Magic is the perfect beginning to a series which has had a lasting impact upon millions of fans, and und oubtedly changed the face of fantasy and British literature.

40 YEARS AGO Halloween was released Sam Law

This Halloween, don’t go for the same old jump-scare horror flicks you can pick up on Netflix on a whim. Instead, revisit the classic, and check out the original Halloween, written by the prolific John Carpenter.

The X-Rated slasher follows the deranged serial killer Michael Myers as he escapes a mental hospital to return on Halloween night to the town where, exactly 15 years previously, he had killed his sister, and follows his attempts to terrorise the village.

Beyond inspiring countless horror flicks, satires, and parodies alike in the decades following its release, Halloween would go on to build a franchise in its own right, spawning a confusing continuity of over seven sequels. But it is the original entry in the series which is generally considered one of the definitive horror films of all time. So, this Halloween, turn back the clock 40 years, and watch the original, terrifying hit that inspired all the rest.

Images courtesy of Skint/Astralwerks, Josh Kirby, and Compass International Pictures

6

RECORDS

On Edge: Anticipating Childish Gambino’s upcoming final album Lauren Payne

After dedicating the majority of his time to writing comedy drama Atlanta and acting in Star Wars movies, Donald Glover is still somehow finding time to work on a new Childish Gambino album. That being said, unfortunately this is thought to be his last work under his moniker. Though we do not know the possible title of his work, nor when this album will be released, it is rumoured to be at some point before the end of 2018: I’ve already bought my tickets for his upcoming tour, and am patiently waiting for the album to drop.

After seeing his headline performance at Lovebox Festival earlier this year, it seems pretty clear that Gambino is hoping to transition his music from rap to more psychedelic R&B soul funk music, much like his hits ‘Redbone’ and ‘Me and Your Muma’, so it seems likely that the album will take the same route. However, Gambino has never been one to stick to what is expected of him, as we know from his political statement in the form of music video ‘This is America’. It is more than likely that the recent single will feature on the new album, along with (hopefully!) a long awaited Chance the Rapper collaboration which was teased all the way back in February.

After reading a few interviews, it seems fairly clear that Glover is ending the musical chapter

of his life to focus on more projects in other areas in the entertainment industry. Though Gambino’s music, in my opinion, has been his greatest project, all I can hope for is that he gives this chapter a fitting ending: creating an album filled with articulate lyrics and discussing concepts that not many musical artists feel comfortable with. Gambino has been impressing audiences with his extraordinary ability to rap and sing ever since releasing his first album Camp in 2011, though his music has certainly changed over the years through 2013’s Because The Internet and 2016’s Awaken, My Love!. No two albums have the same sound, which makes his new work all the more exciting. Not only is Gambino a storyteller when writing fiction TV shows, but also through his contribution to hip-hop and music videos, and that’s why no matter what he puts his mind to, he seems to impress.

Though I’m disappointed, much like the rest of Gambino’s fans, with the news of this tour and album being his last, I am extremely excited to see what he produces in one of the most anticipated albums of 2018. And though he does intend to leave music behind, this won’t be the last we see of Glover, with his protagonist role as Simba in The Lion King and season three of Atlanta on the way in 2019.

Images courtesy of RCA Records

7

RECORDS

Review: BROCKHAMPTON - iridescence Ollie Webber One of the breakout acts from 2017, BROCKHAMPTON established themselves as one of music’s great up-and-coming talents. Conceptually, BROCKHAMPTON is more of a project than a band, currently consisting of 14 members including everything from rappers and producers to photographers. They burst onto the scene last year with the SATURATION trilogy, three albums released in a single year that showcased an incredible cocktail of musical genres and thoughtful lyricism that caught the attention of hip-hop fans worldwide.

2018 has been a much more challenging year for BROCKHAMPTON however, with founding member Ameer Vann accused of sexual misconduct and kicked from the band, mere weeks after signing a new record deal with RCA records. Their former fourth album was scrapped and work on a new project began. But even this seemed difficult with the album going through several delays and name changes as the group seemed to be struggling to move on. iridescence is the fourth album fans have been waiting for and the beginning of a new trilogy for the band, known as The Best Days of our Lives.

Rather fittingly, the album feels like a regeneration for the group, with both the name “iridescence” and the album artwork (of a pregnant woman) representing change and rebirth respectively. It is clear from start to finish this is a different BROCKHAMPTON, changed by recent events. The first track ‘NEW ORLEANS’ slams on the gas pedal with heavy beats and a distorted whirr that gives the song an unrelenting hook. Prominent member Joba is a highlight with a delicious verse around halfway that is the first of many brilliant contributions to the album. Another heart-pounding track comes with the lead single ‘J’OUVERT’ which bounces with energy and contains another great verse from Joba that far eclipses his offering on ‘HEAT’ from SATURATION with some serious intensity.

The last few tracks ultimately prove to be the emotional core of the album, with the 1-2-3 hit of ‘SAN MARCOS’, ‘TONYA’ and ‘FABRIC’ adding emotional lyrics that address the band’s recent difficulties head on.

‘SAN MARCOS’ is a personal favourite with its stripped-out guitar and orchestral elements as well as raw and meaningful verses that build to a frankly beautiful choir chorus of “I want more out of life than this/ I want more”. It’s the closest BROCKHAMPTON have ever come to tear-jerking and it works wonderfully.

As if that wasn’t enough, follow-up track ‘TONYA’ is another deeply powerful offering that references the film I, Tonya, itself a musing on how fame can be corrupted by personal tragedy. The track has another great offering from Joba as well as a nice verse from Merlyn towards the close before a well layered ending featuring utterings of “I don’t matter” from Matt Champion. It’s a refreshing example of a group facing their controversies head on, rather than brushing it under the carpet and is an example of what makes BROCKHAMPTON so different. iridescence may be a very different sounding album from the group, but it doesn’t compromise the ideals the band have instilled since SATURATION. At its core it is a solid production with deeply personal but relatable lyrics that elicit emotion in unpredictable ways.

It is a turning point in BROCKHAMPTON’s career for certain, but the group have more than proven they are still at the top of their game. iridescence is available now via RCA Records.

8

RECORDS

Review: alt-J - REDUXER I think it’s safe to say that British indie trio alt-J are one of the most deliberately confusing acts around in mainstream music right now. With their tracks featuring misguiding lyrics (who knew that ‘Taro’ documented the death of 1950s Vietnam war photographer Robert Capa?) and bewildering samples - ranging from Ely Cathedral’s choir and its heating system, to that infamous “DJ mode” someone would always set off on those keyboards in school music lessons - it’s clear that the band aren’t afraid of pushing the boat out that little bit further, to sometimes astonishing results.

So it was no surprise to see alt-J trying something entirely out of what you would assume is their comfort zone for their latest effort. With Reduxer, the trio have returned to last year’s utterly bizarre Relaxer and made it stranger still. A full-album remix, the core elements of each track remain - if chopped up and sautéed about like a stir-fry in the most bonkers restaurant in the world - with added lyrics and production introduced by a rotating carousel of guest features ranging from Little Simz and Danny Brown to Pusha-T and Rejjie Snow.

The result is as utterly indecipherable as you could imagine it would be. Given Relaxer was difficult to penetrate as it was, to see it remixed and reinterpreted only adds to the eccentricity of the track listing.

‘Pleader’ has gained a new sense of immediacy and vertigo through pounding bass drums and swirling electronic clicks introduced by Trooko and PJ Sin Suela, any haunting atmosphere brought by that Ely Cathedral now erased completely. Two separate remixes of ‘3WW’ differ from the original further still, the version featuring French rapper Lomepal sounding closer to the original but now feeling bolder

Sam Law

and more sanguine through the Frenchman’s assured delivery, the version featuring Little Simz accentuating a downright disturbing soundscape by its strippedback instrumentation and synthetic waveforms that reverberate throughout the background of the track.

Sometimes, this chaotic remixing of already ludicrous tunes serves only to improve them. Adding Twin Shadow and Pusha-T to ‘In Cold Blood’ maintains the meaning of the original - as utterly abberant and petrifying as it was, telling the tale of a particularly stabby pool party - whilst adding a power and urgency that the original lacked. Similarly, the Tuka-featuring ‘House Of The Rising Sun’ and Danny Brownfeaturing ‘Deadcrush’ install new majesty and gravitas to previously humble and chaotic tracks respectively through added instrumentation and verses.

So it’s a shame that as many tracks as they do simply go off the rails. Perhaps it was to be expected with so many guests bringing their interpretations to so many cryptically confusing songs that some would end up even more inaccessible than their original mixes. Rejjie Snow’s take on ‘Hit Me Like That Snare’, for example, plays more like those dreadful tunes you’d make on Garage Band as a 10-year-old at times, whilst the strange mix of haunting woodwind instrumentation with slick electronic beats in Terrence Martin and Goldlink’s remixing of ‘Last Year’ completely fails to take off. In the end it leaves Reduxer feeling even more confused and lost as its predecessor, with its scintillating highs matched equally by its nauseating lows.

REDUXER is available now via Infectious and BMG.

Image courtesy of Ian Cheek Press

9

RECORDS

Ben Kitto

Review: Black Honey - Black Honey

Black Honey’s tracks have been littering the sonic landscape in earnest since 2015, and the hoards of fans around the country that will have been steadily increasing in number during that time will have grown used to the sun-bleached, shimmering, sometimessweet-sometimes-sour stylings of tracks like ‘Corrine’ and ‘Cadillac’, which were among the first of the Brighton band’s songs to seduce the indie-rock world.

It’s testament to both their seemingly boundless knack for creating new music, and the ceaseless evolution they’ve embarked on as a group since their inception in 2014, then, that the vast majority of tracks on Black Honey’s self-titled debut album haven’t seen the light of the record store, and the few that have were mostly dropped as singles in the direct run-up to the album’s release.

Those fans will be pleased that what Izzy Phillips and co. have given us with Black Honey is a collection of songs that not only captures the sultry, enigmatic tunefulness of the band that first captured our attention three years ago, but elevates and transforms it into a statement of intent from one of the most innovative and self-assured indie bands working today.

Of those aforementioned singles, the stand-out has to be ‘Midnight’, which struts onto the scene as the album’s second track with the sort of synth-laden bassline which promises to be positively toothache inducing when seen live. Elsewhere, Phillips drizzles her lyrics over the top, as sugary-sweet and seductive as it gets, while the synth solo meanders away like it was ripped from the boss level of an ‘80s arcade game, and the whole thing is wrapped up with a hook so catchy it’ll be stuck in listeners’ ears for days after the final notes play.

It really is as good an example of how to write a tune that will get people humming in their bedrooms and moving in the stadium as you’re likely to come across, but it’s only one facet of an album that feels at home

wearing a number of different hats.

‘Just Calling’, for instance, is a taut, chugging, powerballad style number with a melancholy tinge, and represents the band at their most understated and introspective, with Phillips’ lyrics conveying the anxiety and wistfulness of a past love story perfectly. On the other hand, Black Honey’s penchant for melodrama has never been more evident. On closer ‘Wasting Time’, Phillips’ vocals soar above guitars which echo into the distance while drums pound ceremoniously as though accompanying a funeral march. It’s reminiscent of the Queen of Melodrama, Lana Del Rey, and perfectly conveys the sort of paradoxical mix of emotion and fun that Black Honey have honed so well.

That sense of fun and ridiculousness isn’t lost on the rest of the album, either. Bells chime, whips crack, and Phillips’ vocals pirouette with a slight tinge of autotune throughout on ‘Bad Friends’, while on ‘Into The Nightmare’, the looming bassline is contrasted with swelling, echoing pianos during the lead-up to the chorus.

Black Honey have been honing their identity since they started out back in 2014, and their debut album is another different iteration of the four-piece’s sound.

Still present are the American “Old West” style guitar twangs and the bubblegum sweetness and innocence of Phillips’ vocals, but it’s all supplemented here by the added time spent perfecting their craft, and the sense of assuredness that brings to proceedings. Black Honey fans may be surprised by how different this album appears to be at first glance to their earlier sound, but on further inspection, the Brighton four-piece couldn’t have done a much better job of announcing themselves to the world.

Black Honey is available now via Duly Noted records.

Image courtesy of Chuff Media

10

FILM

ON EDGE: ANTICIPATING

FANTASTIC BEASTS: The Crimes of Grindelwald A new trailer for the second instalment of the Fantastic Beasts was debuted at San Diego Comic Con over the summer, and there is plenty of material for Potterheads to get stuck into in these three minutes alone. Whereas the first film felt like a fun and gentle introduction to the series, this sequel seems to be a lot darker, and it includes many references to the Harry Potter series, which is very exciting indeed. Magizoologist Newt Scamander (Eddie Redmayne) and his creatures are back, but they appear to have some serious worldsaving to do.

Right off the bat, we see a young Newt (Joshua Shea) being taught Defence Against the Dark Arts by none other than Professor Dumbledore (Jude Law). This is intriguing for several reasons. Firstly, we know from the Harry Potter books that Dumbledore taught Transfiguration before becoming Headmaster of Hogwarts: is there a significant reason behind J.K. Rowling (who wrote the screenplay for both this film and its predecessor) making this decision? Secondly, we see the students in Dumbledore’s class learning how to cast ‘Riddikulus!’ against boggarts, reminiscent of Remus Lupin’s class in Harry Potter and the Prisoner of Azkaban; from this, we find out that Newt’s biggest fear is working in an office. Finally (and most importantly), we’re back at Hogwarts! Personally, seeing the students lead their daily lives in Hogwarts was my favourite thing about the Harry Potter books and films, and I am so excited to see that we are returning after so many years. How much we’ll see of this past Hogwarts is unclear, but I can’t wait to see more of everyone’s favourite magical castle.

Following this, there are many other points of interest within this trailer. We can see that Credence (Ezra Miller), a now-known Obscurus, is back and causing havoc once again, though whether this is in New York like the first film or in this film’s new location of Paris is unclear; certainly, the buildings in the background have a Parisian look about them. This time, he appears

to be accompanied by a ‘Maledictus’ (Claudia Kim).

According to Pottermore, a Maledictus is a witch or wizard afflicted by a blood curse which transforms them into an animal, though they are different from Animagi, who transform out of choice. The question is, who is this witch and what does she plan to use Credence for, if anything? As well as these two, we finally see Leta Lestrange (Zoë Kravitz), who we know from the first film was once a love interest of Newt’s, as well as having a very famous surname. It will be very interesting to see what her role in the film is, as well as how much she resembles her descendants in nature.

In addition to some new faces, we also see the return of Newt’s current love interest, Tina Goldstein (Katherine Waterston) and lovable baker Jacob Kowalski (Dan Fogler), and of course the eponymous villain Gellert Grindelwald (Johnny Depp), whom Newt seemingly has to face alone, according to Dumbledore. It appears that Depp will have a lot more screen-time in this if the trailer is anything to go by. Perhaps most excitingly of all, though, at the very end of the trailer we see none other than Nicolas Flamel (Brontis Jodorowsky), the famous alchemist behind the Philosopher’s Stone.

Immortal under the influence of the stone, he looks exceedingly aged and frail, with Jacob quipping that he doesn’t look a day over 375. His role in this is definitely one to eagerly anticipate.

There are so many aspects of this trailer I could pick apart, as The Crimes of Grindelwald looks to be not only a great sequel to the first Fantastic Beasts, but also packed full of more Harry Potter lore to dig our teeth into. And let’s be honest, it’s worth seeing for more adorable Niffler action alone.

Fantastic Beasts: The Crimes of Grindelwald, directed

by David Yates, will be released in the UK on November 16th.

Abi Cutler

Image courtesy of Warner Bros.

11

FILM

els: Spinoffs and Sequ Is Hollywood out

of Ideas?

Amber-Louise Large Hollywood appears to be stuck in time. Incredibles 2, Solo, the Jurassic World franchise… it feels like every film at the cinema this summer was a sequel, spinoff, or a remake. But why the sudden surge of nostalgia? And should we really be so pleased when, after numerous years, we see our favourite characters and franchises return to the screen?

I’m not so sure. Nevertheless, it’s easy to see why, in the current state of our society, people would want to retreat into a film that can transport them back to a simpler time. Cinema is after all the ultimate form of escapism.

Hence, films like Incredibles 2 perform excellently because they attract viewers who were children when The Incredibles was released (and who are keen to relive their childhood for an hour and a half) as well as new fans. It’s not difficult to create hype around such films either: a trailer featuring a couple of catchphrases and the reappearance of a character like Edna Mode in all her sassy glory is all that’s needed. Most of the time this is the case for sequels that rely on childhood nostalgia - they’re almost guaranteed to succeed commercially.

They are not, however, guaranteed to succeed critically; whilst fans will pay to see the film they might very well wish to forget the whole thing afterwards.

So the question is: what makes a sequel, spinoff, or reboot successful and what makes it a blip in a longloved franchise? It’s all about timing. If a film isn’t offering anything that speaks to society it’s not likely to be a success. Incredibles 2 modernised and reinvented its storyline by having Mrs Incredible go out to save the world whilst Mr Incredible stays home to look after the kids. This speaks to a society that is challenging the nuclear-family dynamic. It also excites new and old fans alike who relish in the idea that they can do anything, no matter their gender. Similarly, The Force Awakens was a good reboot which gained the franchise a whole new generations of fans; whilst hard-core fans of the original might dispute the merits of this film,

it was pretty awesome to see a female Jedi take centre stage.

On the other hand, films that don’t offer anything to society in terms of innovation or relevance tend to feel like exercises in attempting to shove the past into the present - always an awkward fit. This is how we end up with disappointments like Kong: Skull Island. Whilst Skull Island might have received some positive reviews it failed where the 2005 King Kong succeeded. In the 2005 remake of the 1933 original a real sense of spectacle was created through interesting cinematography and unique directing. Skull Island, on the other hand, felt like another addition to the sea of monster films released over the last decade and seemed more like an action film relying on cheap tricks than a reworking of the strangely enchanting original story.

Additionally, some films have simply had their day. The Predator, for example, just shouldn’t have been made.

All franchises must come to an end - dragging them out only detracts from their original value.

Whilst sequels and reboots seem to be dominating the cinema at the moment, Hollywood is not out of ideas.

I, Tonya, The Shape of Water, Isle of Dogs are all recent releases that show a level of daring and originality on behalf of directors. But audiences want to revisit characters and stories that they first saw when life was easier - the industry loves a bit of nostalgia and now it has found a whole category of film based on it. The spinoff and the sequel can be worthy pursuits when done thoughtfully and for the right reasons.

When executed poorly however, and when completely irrelevant to modern society, the result can only be a slightly embarrassing blip in the history of cinema that true fans of the original will attempt to forget. In these cases, directors should be looking towards making more films like Get Out and Three Billboards Outside Ebbing, Missouri. Hollywood should be focusing on creating rather than recreating.

Images courtesy of Walt Disney Studios, Universal Pictures, Warner Bros., and Paramount

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HALLOWEEN

On Edge: Anticipating Liam Beazley ‘Do you know anything about... witches?’ In 1977, a film laid its spellbinding curse on horror in a psychedelic foray of progressive rock, violent colour and a flood of fluorescent blood. That film was Dario Argento’s masterpiece Suspiria; an unshakable expressive nightmare which still haunts in excess of 40 years from its release. As we remain tangled in its barbed wire pit, 2018 sees the directoress rearing her ugly head from behind the sheet once again in the form of a more understated, but no less abrasive, re-imagining which hopes to have us hanging, broken and bleeding, from its stained glass ceiling.

Directed by Luca Guadagnino, the remake of Suspiria arguably couldn’t want for a better suitor. Off the back of two respective successes in the dramatically dense romantic thriller A Bigger Splash and sundrenched beauty Call Me By Your Name, Guadagnino has the chance to demonstrate his versatility in the trade off from Mediterranean marvels to the cold corridors of Suspiria’s Berlin dance academy.

But, he isn’t without great company. Suspiria will see Radiohead’s Thom Yorke produce his first film soundtrack. He’s got big shoes to fill. The original soundscape for Argento’s film offered one of the most audacious and intense horror soundtracks composed for the genre and Yorke has wisely taken a different route with a more quietly unsettling tone. It is already proving a master work in its own right: the release of the film’s title track ‘Suspirium’ alone evokes the sinister yet ethereal ballet at the heart of the film.

As an audio-visual marriage, Yorke’s melancholic tone balances perfectly with the images we’ve seen so far.

Those images are in the more than capable hands of Sayombhu Mukdeeprom who has already captured the eerie other-worldliness needed for Suspiria in

15

the haunting Thai masterpiece Uncle Boonmee Who Can Recall His Past Lives and shown a deft talent for pure aesthetic brilliance with Guadagnino in Call Me

By Your Name last year. The two elements appear to make for a dynamic blend. The walls visibly crawl with desperate paranoia while the vibrancy of the original is traded for a bleak yet slightly heightened realism that still allows the colour to pop, the deep reds of Dakota Johnson’s Susie Bannion leaving her aptly out of place among her greyer surroundings.

Johnson makes for ideal casting for the same reason; posing enough talent and magnetism to hold our gaze beneath the front of a vulnerable and timid face, her Susie already appears to match Jessica Harper’s original wallflower. Meanwhile, the ever sublime Tilda Swinton plays both the imposing Madame Blanc and Dr. Josef Klemperer in her most trans-formative and gender fluid roles since Orlando. If that doesn’t do it, then they have plenty of high-calibre back-up in the shape of a now significantly experienced Chloё Grace Moretz as well as the beautiful yet haunting presence of Mia Goth, making for a cast leagues above traditional horror remake fare.

With such talent in front of the camera and artistry behind it, Suspiria is an irresistible horror event.

Screams have echoed out from Venice and Toronto throughout the summer with some bellowing its praises as a classier improvement on the original, drawing staggering comparisons to the likes of The Shining, and it is hard to argue that it isn’t capable of such heights.

So, as Suspiria prepares to dance its dance for a second time, we can only hope that it is as bewitching as it was the first time around.

Suspiria (2018), directed by Luca Guadagnino, will be released in the UK on November 16th.

Image courtesy of Amazon Studios

SPOOKTACULAR

A Scaredy-Cat’s Guide to Surviving Horror Films Amber-Louise Large

There’s always that one person in the friendship group who thinks that a horror film marathon is a great idea and there’s always that one person who most certainly does not agree. I am the second person. I don’t want the shock-scare of some bloodied nun coming out of nowhere and I don’t want to spend an hour worrying about some girl who has decided to go off on her own when there’s an axe-murderer wandering about. Most of the time though, horror films end up being unavoidable; maybe it’s Halloween, maybe it’s anti-Valentine’s day… at some point in the year a horror marathon is likely to be suggested. I’ve had to find myself some tactics for dealing with horror-films over the years, and if, like me, you consider yourself a bit of a scaredy-cat then you might find they come in handy as well…

Tactic: Talking through the film and making light of it This one really depends on the kind of viewers your friends are. If they’re the type of people who like to really focus on films then I wouldn’t suggest it. If, however, they’re more casual viewers then this could be a great way to distract yourself. Poking fun at something will always make it seem less intimidating and if you’re chatting with your friends then you’re less likely to get drawn into the scary plot. Remember: the best way to deal with a boggart is to laugh at it.

Tactic: Paying more attention to your phone than you do to the film Again, you might want to test out the atmosphere in the room for this one. If everyone else is really into the film then they might not appreciate the glare of your phone constantly in their peripheral vision. Also, if your friends invite you over to do/watch something together they might not appreciate you giving them and the film no attention at all. If the atmosphere is pretty casual, though, you can always watch the film with your phone handy to distract yourself just at the points when things get a little too scary. This way you’re not completely ignoring your surroundings but you can avoid the truly horrifying scenes.

Tactic: Analysing the film This is my go-to tactic. In first year I took a module that required students to learn the basis of film analysis.

You don’t have to be a director to appreciate these different aspects of film-making and if you’re someone who likes films in general then it can be an enlightening experience to watch as a critic rather than as a general viewer. It detaches you from the experience; you’re less likely to be focusing on the jump-scares and psychological trickery when you’re appreciating the soundtrack, the costumes, and everything else that goes into a film. Granted, this might be more effective if you enjoy analysis but I’ve found that tricking myself into objectively watching something works a treat.

Tactic: Choosing the film Possibly the best way to make watching horror films easier when you hate them is to become actively involved in choosing the film. If you know that films about ghosts and hauntings scare you then choose something without ghosts. If you hate stories about people doing evil acts then go for something more fantastical. If you hate clowns then, please, stay away from IT. If all else fails you could always try to convince the group to watch something else entirely. Try sending subliminal messages to your friends in order to convince them to watch Mamma Mia instead. Hum ABBA tunes in the preceding days, slip quotes into conversation (“you know, I wish my lecturer would ‘Take a Chance on Me’, something like that) and maybe start wearing your more garish outfits. This tactic is not highly effective if I’m honest but, you know, it’s always worth a try. Take a chance.

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HALLOWEEN

The Edge’s

Spookiest

Halloween Playlist

Playlisting your Halloween party can be a tricky business. Of course you want some modern chart-toppers and all-time bangers to keep the party vibes flowing and your guests happy throughout the night - but this is also Halloween, the spookiest night of the year. What would it be without one or two seasonally scary tunes to blast out throughout the evening? But which spooky tunes to play? Here at The Edge we have you covered: our writers have been thinking about what songs you can’t get away with leaving out of your Halloween playlist, so you always have something spooky to play when the going needs to get that little bit more thrilling...

1

Michael Jackson

‘Thriller’

Ellie Brain

Halloween is all about theatre; crazy costumes, dramatic dancing, and all things spooky. Combine these elements and you won’t be able to help grooving to Michael Jackson’s iconic spooky song, ‘Thriller’, on Halloween night. The dance moves are always a fan favourite (and you’re definitely lying if you say you haven’t attempted the iconic dance sequence before). With a music video that spans almost 15 minutes, it is obvious why this is the Halloween classic that no one has been able to beat since. It would almost be insulting to refer to it as just a music video - a short film would be more appropriate - as the actual music doesn’t start until five minutes in. The reason that this will always be the best is because of its mixture of humour, horror and drama - not to mention Michael Jackson’s incredible vocals combined with Vincent Price’s creepy narration throughout. It is unsurprising that Thriller is still the biggest selling album of all time.

Image courtesy of Epic Records/Vestron Video

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SPOOKTACULAR

2

Ray Parker Jr.

‘Ghostbusters´

Thea Hartman

One of the most emblematic ‘80s songs and the iconic leading soundtrack of the eponymous film, Ray Parker Jr.’s timeless ‘Ghostbusters’ is an instant provider of a walk down memory lane. Or, even better, a funk down memory lane. The groovy ‘80s synths are more certain to get the best moves out of you than today’s certified ‘bangers’, while the repetitive exclamation is just inviting you to join in with the singing. And I absolutely wouldn’t blame you if you started to strut rhythmically just like in the video.

It’s contagious.

Maybe ‘spooky’ isn’t the exact word I would use to describe ‘Ghostbusters’, as the only goosebumps I get during this song are caused by everyone’s silliest moves. And I probably wouldn’t call them if I saw things running through my head, either. But if what you’re looking for is to have a blast at this year’s Halloween party while being perfectly in line with the theme, make sure to add ‘Ghostbusters’ to your playlist. It’ll look very good.

3

Andrew Gold & Friends

‘Spooky Scary Skeletons´

Ellis Murrell

Would Halloween really be complete without a good old dose of Andrew Gold’s bone-a fide classic? Amidst all your ‘Thriller’s and your ‘Monster Mash’es, spare a moment to give a listen to the silliest song about dancing skeletons you’ll ever have the pleasure of hearing. ‘Spooky Scary Skeletons’ sprung from Andrew Gold & Friends’ joyous Halloween Howlers back in 1996, and has truly taken this generation by storm. I dare you to try and find a Halloween-themed meme video that doesn’t pump this bad boy out at one point. But what makes it so essential, you ask? Like any good Halloween song, it revels in its own silliness, with ribcage-evoking bursts of piano and delightful sound effects to spook away repetition. Not to mention, it’s one of the most compelling reasons to get onto a dancefloor this Halloween, with an absolutely infectious rhythm that will warm you right down to your bones. Once you’ve heard it, your doom is sealed. This earworm will sneak from its sarcophagus - and just won’t leave you be!

4

MGMT

‘Little Dark Age´

Sam Law

When you think of MGMT, you probably think of summer indie-pop bangers ‘Kids’, ‘Electric Feel’ or ‘Time To Pretend’, and for good reason - those three hits practically defined the late-’00s radio waves.

But in early 2018, the duo returned, bringing a far darker and more psychedelic sound than many fans of those great indie anthems were probably used to. The standout of all of this was ‘Little Dark Age’, a darkly dizzying acid trip into some kind of gothic haunted house on a spaceship, and a bizarrely bewitching track if ever there was one. It’s impossible not to be reminded of Halloween when listening to this one, the combination of off-kilter synth and hypnotic vocals creating an eerily frightening atmosphere reminiscent of the scariest horror films; but at the same time, it’s catchy enough and just upbeat enough to get away with slipping into your Halloween party playlist, even if just for that one spookiest night of the year.

Images courtesy of Michael C. Cross, Columbia Pictures, and Columbia Records

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HALLOWEEN

Closer to the Edge:

The Best Halloween TV Moments The air is filled with the stench of fake blood. Hollowed-out pumpkins, the flickering wax of their insides illuminating the darkened streets like lanterns, sit on every front porch. Everybody you come across is dressed like a monster. This can only mean one thing: either you’ve walked out of a BMTH concert or it’s Halloween again. To celebrate this year’s dedicated day of spookiness our dedicated team of spooky scary Edge-y skeletons have pitched in to declare our love for our favourite Halloween-themed TV scenes. Without further ado, here are our picks!

That ‘70s Show: Psycho Parody Amber-Louise Large

A delight for any Hitchcock fan and just plain entertaining for everyone, ‘Too Old to Trick and Treat, Too Young to Die’ is packed full of deliberate overacting, close-ups of screaming characters and very unsubtle references. It’s an indulgent spoof of Hitchcock’s greatest movies and you can tell the cast and directors had great fun shooting it, making it all the more fun to watch. My favourite moment has to be the scene in which Kelso knocks over Laurie’s shampoo as she stabs him with a loofa for hogging the shower. In true Psycho style violins begin to screech as a close up reveals red water running over Kelso’s feet and down the plug hole.

Throughout the whole episode four different storylines reference, by my count, five Hitchcock films: The Birds, North by Northwest, Rear Window, Vertigo and Psycho. See if you can spot them all and any I might have missed!

The Simpsons: Treehouse of Horror Sam Law

When talking about classic Halloween TV, who can really forget about the granddaddy of them all? I’m talking, of course, about the fantastically funny yet frightful ‘Treehouse of Horror’ special episodes of long-running cartoon sitcom The Simpsons. First aired 28 years ago in the show’s second season, the special has become one of the show’s mainstays, with a new episode airing every year since.

There are so many classic ‘Treehouse of Horror’ scenes it’s impossible to list them all.

My personal favourite moment came in ‘Treehouse of Horror XIII’, as Homer found a uniquely magical hammock that created an army of clones, producing a hilariously unnerving ending. But from ‘The Shining’ to ‘Nightmare Cafeteria’, ‘Citizen Kang’ to ‘The Monkey’s Paw’ and ‘Nightmare on Evergreen Terrace’, there’s such a wide array of classic stories - some inspired from pop culture, some inspiring it - that it’s impossible not to rank the ‘Treehouses of Horror’ as some of the best Halloween TV around. (Oh, and never forget that moment Homer entered the ‘real world’!)

Images courtesy of 20th Century Fox

19

SPOOKTACULAR Stranger Things: ‘Trick or Treat, Freak’ Alice O’Hare

The entire concept of Stranger Things is pretty synonymous with Halloween, but no episode captures the Netflix Original’s love for all things spooky quite like ‘Trick or Treat, Freak’. Not only did Season 2 have a release date that coincided with everyone’s favourite Autumnal holiday, it also had its very own Halloween episode, and boy oh boy is it a good one. From the utterly wonderful Ghostbusters costumes of Mike, Will, Dustin and Lucas, to Eleven’s desperation to don a homemade ghost outfit and join all the other kids for a spot of trick-or-treating, ‘Trick or Treat, Freak’ vividly captures the joy of Halloween as a kid (and all the horrors that occur when you’re a little bit older - be honest, we’ve all been like Nancy at *that* party at least once in our lives). But neither Halloween, or Stranger Things for that matter, would be right without a real fright (or two), and the episode provides some real treats on that front. With Eleven’s frightening flashback, Mike’s monstrous moment and Dustin’s dustbin pal, ‘Trick or Treat, Freak’ provides many, many occasions that truly capture the essence of October 31st.

Brooklyn 99: The Halloween Heists

Sophie Jones

The now annual tradition of Halloween Heists began five years ago, in the beloved show’s first season. With so many memorable moments throughout the following four heists, and royal babies, handmaidens, and corgis galore, it’s hard to pick just one.

Perhaps it’s the triumphant moment in the first Halloween episode when Jake is the first to be pronounced an ‘amazing detective/genius’. Maybe, instead, it’s when Holt’s year-long plan comes to fruition in ‘Halloween II’, or when Gina proves her hoodie’s slogan that “Gina Knows Best”, and tricks the whole precinct with her fake front teeth in ‘Halloween IV’.

But, for me, the best Halloween moment is in ‘Halloween III’. After Holt and Jake refuse to trust her, Amy Santiago hatches her own plan, and proves herself the Queen of the Nine-Nine. After forcing them to run up 31 flights of stairs in a building with a functional lift, Santiago proclaims from the literal rooftop that: “I’m my own person, capable of making my own decisions, and I decided to humiliate you both.” And, as Jake proclaims soon after, “it was awesome.”

Images courtesy of Netflix and NBCUniversal

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HALLOWEEN

Queepy Eye:

Our Go-To Music Themed Halloween Costumes Spending so many hours walking around the fancy dress shop in The Marlands that you think you’re stuck in some sort of Time Warp? Take a load off and choose one of these absolute classics to see you through this Halloween. You’re welcome.

Michael Jackson Thea Hartman If you feel like you want to become one of the most prominent figures in the history of music performance this Halloween, then Michael Jackson is, well, exactly that. Not only the architect of his own music, but of every aspect of his performance, Michael Jackson’s outfits survive among the most iconic, and trust me, there’s not one Michael Jackson too many at any given Halloween party.

Sparkling, sleek, and in perfect harmony with his music and dance moves, the King of Pop’s costume is guaranteed to make you feel completely ready to take over the dance floor even if you’re not the most gifted moonwalker around (who could moonwalk on the floor in Jesters anyway?) Whether you go for a more badass vibe with the ‘Thriller’ jacket or the classic ‘Billie Jean’ black sequin affair, one article is enough to make you shine for the night.

Marilyn Manson Tash Williamson Bit of a funny choice because I don’t actually listen to his music (although I respect the hell out of him), but Marilyn Manson served as my costume a few years back. The reason behind his onstage look is the idea of fear being used as a social control, which he subverts because he says and does what he wants, like performing rock music. This leads to persecution and ridicule from people who blame him when they should stop passing the blame and start acting.

The make-up is actually pretty scary too, which is a plus at Halloween. It’s fun to do because you can afford to be a bit messy; there’s room to be creative; and it’s not too expensive – you can basically use any black clothing you own along with some basic make-up and a black wig or hairspray.

ABBA

Kate Briggs-Price If I could, I would represent the whole group and everyone in the Mamma Mia movie but since I am merely one person, I settle for becoming the fifth member of ABBA. I used to settle for sequinned flares and a mesh crop top, a balance between still being fashionable and mimicking ABBA’s signature look. But, since the release of Here We Go Again, I have been reminded of just how much satisfaction I get seeing people rock the full catsuit and Go-go boots. Thus, this year a flared metallic silver catsuit has been purchased which should complement my white Go-go boots perfectly. Some may say that this is too extra, however, I am bold enough to say that when ‘Waterloo’ or ‘Dancing Queen’ comes on I will forget all my worries and enjoy the ecstasy of fulfilling my ABBA fantasy to the max – so who wants to be my backing dancers?

Images courtesy of Epic Records/Vestron Video and Press Association

21

FILM

THE EDGE’S FAVOURITE

Wizarding World Moments

It’s almost time for Fantastic Beasts: The Crimes of Grindelwald and here at The Edge we couldn’t be more excited. It only seemed right, therefore, to take a look at where our long-standing loveaffair with all things magic began, so, without further ado, ‘accio!’ our favourite moments from Rowling’s cinematic wizarding world...

The Knight Bus - Harry Potter and the Prisoner of Azkaban (2004) Emily Fry The Knight Bus scene is quintessential Harry Potter - the very embodiment of the marvels and wonders that feature in Rowling’s universe. An unsuspecting Harry finds himself aboard the infamous Knight Bus – a bus that is summoned to help stranded witches and wizards. As the bus flies through traffic, narrowly swerving past and squeezing by obstacles on route, Harry is flung forward and backwards on-board. While passengers and luggage alike are thrown about the bus at the hands of the haphazard elderly driver’s manoeuvres, the running commentary and witticisms of the Shrunken Head, who is hung from the rear view mirror to assist the driver on his journey, make the scene an incredibly amusing one – especially as Harry is eventually seen to face plant into the back window of the bus.

Although this scene is a beloved fan favourite, and perhaps one of the film’s most memorable, it also subtly introduces the film’s darker undercurrents with talks of the elusive mass murder Sirius Black being at large shadowing the scene. Very cleverly, it is one that is immediately fun for audiences, but also sets the tone for the film, a tone that is much darker compared to Philosopher’s Stone and Chamber of Secrets, with lingering threats of real danger for Harry and his friends at Hogwarts.

The Graveyard Scene - Harry Potter and the Goblet of Fire (2005) Joe Williams Harry Potter is for kids, right? Right? Or so we all thought. Up to this point, besides a few isolated moments of peril, the series had been light and warm in tone, a cosy autumnal retreat into a magical land of whimsical craft and design. That all changed when, at the climax of Goblet of Fire, the malevolent Lord Voldemort was reborn. This scene sees Cedric, victim of happenstance, casually murdered before an ugly Volde-baby is transformed, through the help of a severed hand and the blood of our protagonist, into Ralph Fiennes - except he’s snake-like, pale, completely hairless and has mere slits where a nose should be. With his own KKK to boot, this inhuman symbol of pure evil needed a strong performer; Fiennes does not disappoint, his portrayal perfectly creepy and instantly terrifying. Reminiscent of Luke vs. Vader in Empire Strikes Back, the first direct confrontation between Harry and Voldemort is an exhilarating and horrifying sequence that birthed one of popular cinema’s most iconic villains. Shit just got real, with the films becoming much darker from here onward.

Images courtesy of Warner Bros.

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FILM Dumbledore vs. Voldemort - Harry Potter and the Order of the Phoenix (2007) Sam Law

Two of the wizarding world’s greatest sorcerers going hammer and tong (or should I say hammer and wand?) against each other, all put to screen with astonishing visual effects and terrific performances from Michael Gambon and Ralph Fiennes? SIGN ME UP. Honestly. The duel between Dumbledore and Voldemort at the end of Order of the Phoenix stands alone as one of the series’ finest moments, and not just for the visuals - although they’re still strong enough that no soundtrack is required to accentuate the on-screen action and punctuate it with moments of emotion. It’s also the first moment in the series that we get to see the true power of two wizards we’ve heard so many fantastical things about so far, as well as a thrilling climax to the film’s crescendo in the Ministry of Magic that places both wizards (as well as Harry Potter) in true peril more times than one. Magical stuff.

Felix Felicis Potion - Harry Potter and the Half-Blood Prince (2009) Tash Williamson It starts off like any other scheme in the series, with our favourite trio in a circle contemplating what they’re about to do. But instead of rehashing this classic schtick, director David Yates sets out to transform it. Harry takes his lucky Felix Felicis potion, which has much the same effect as taking a certain other substance, and off he goes to find Slughorn (Jim Broadbent) in completely the wrong place. Broadbent’s wheeler-dealer persona shines here, while not making his professor appear heartless. Mismatched with the slapstick nature of the scene, the atmospheric and beautiful grounds of Hogwarts and the dark rustic nature of Hagrid’s hut are the only features that remind you that this is HP6. But then the mood changes again, like at the end of a high, and it ends with Harry helping Slughorn produce the memory that he’d been after. That shot of Slughorn’s shaking hand and Harry’s there to steady it is so beautiful and such a reassurance for the ashamed Slughorn that you forget to work out whether Harry achieved this under the potion at all, or whether he simply won Slughorn over.

The Tent Scene - Harry Potter and the Deathly Hallows: Part 1 (2010) Theo Smith

Over six movies, we have grown to love our magical heroes and despite previous bickers such as Crookshanks, The Yule Ball, and Lavender Brown, they always make up for it in the end. Not this time...

Sitting in their damp tent as Harry and Hermione finally figure out a method that would destroy one of Voldemort’s horcruxes, but Ron’s growing concern for his family’s safety and jealousy of his two best friends’ relationship finally tips him over the edge. Up until this point, Harry Potter has mostly been about the magic and wand-waving trickery that continues to wonder us for generations. But it’s easy to forget that friendship is a key factor in the series, especially when it all falls apart. Harry shouts, “You think I don’t know how this feels?’ whilst Ron answers back in fury with ‘You don’t know how it feels! Your parents are dead, you have no family!’ - my favourite piece of dialogue in the whole series because of its brutal honesty. Every time I watch it, I always feel goosebumps and not because of the swelling music from Alexandre Desplat, but because you’re watching a friendship built over six years crumble before you. And that is why it packs more punch than any other moment.

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CULTURE

On Edge:

Anticipating Season 3 Daredevil is back, and oh boy was it an excruciating wait. We’ve witnessed every other Defenders’ Season 2 outing, but it’s finally time for the friendly neighbourhood devil to stretch his legs on 19th October. We’ve seen that he’s still on his feet, after the nasty accident at the end of the first season of The Defenders, but what kind of shape he’ll be in is anyone’s guess.

The ground-breaking series was the first Marvel show on Netflix to present the dark and gritty underbelly of the MCU. Whilst the superheroes of the movies had been, up until that point, facing more significant threats from faraway lands and worlds, Daredevil was on the ground in New York City, walking the beat and taking on the convenient local villains (who are also brilliant). By day, he’s Matthew Murdock (Charlie Cox), a blind lawyer, but he chucks on a mask at night to fight crime and right wrongs in ways that the law can’t, helped by some super senses and martial arts skills. His friends include freelance journalist Karen Page (Deborah Ann Woll) and best mate and fellow lawyer Foggy Nelson (Elden Henson), while his foes have ranged from ‘Kingpin’ Wilson Fisk (Vincent D’Onofrio) – who is set to return after a season on the periphery as puppet master – to the Yakuza and The Punisher (Jon Bernthal).

However, from the looks of the teasers, Daredevil may have had a bit of a tiff with his law-abiding half, who can’t get things done during the daylight

hours with the same flair and finality as the man without fear. Along with a new ominous and lawless aesthetic, we’ve got a new showrunner this season in Erik Oleson, who has come from the likes of The Man in the High Castle and Arrow. Then we’ve got actors Jay Ali and Wilson Bethel joining the cast and getting mixed up in this whole Daredevil and Kingpin business. It has been confirmed that Bethel will be playing Benjamin Poindexter, which is the alias of classic Daredevil villain Bullseye, the guy with nigh infallible aim, whether he’s shooting a gun or lethally throwing a satsuma.There have also been multiple references to a Sister Maggie, who will be played by Joanne Whalley and will nurse Matt back to health after the climactic scenes in The Defenders.

With such a strong cast and such a powerful storyline to come, having festered in the back of Murdock’s mind after Season 2’s debate that antihero-turnednice guy Frank Castle (The Punisher) could get more done than Matty ‘cos when he killed the bad guys stayed down and when Daredevil got involved they’d just get back up, we’re going to see quite a different side to our red horned friend. So long to the good old days of the Hell’s Kitchen “avocados” Nelson & Murdock when everything was a bit more simple (although it never really can be with a catholic lawyer turned crime-fighting superhero).

Season 3 of Daredevil is available to stream now on Netflix.

Tash Williamson

Images courtesy of Netflix and Marvel

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CULTURE

Call of Duty Zombies:

10 Years On Sam Law It’s 11:30pm. You’re on round 23 of ‘Der Reise’, friends frantically cheering or screaming down your headset as you fend off waves of the undead trying to reach a new high score. You’ve got school in the morning, but that doesn’t matter. Life is good.

Ten years ago, we were first introduced to Call of Duty’s wildly popular Zombies mode through the simple but hauntingly effective level ‘Nacht Der Untoten’ - “Night of the Undead” - unlocked after completing the main campaign of 2008’s Call of Duty: World at War. It was an accidental success, but one that still has legs in it: the upcoming Call of Duty: Black Ops 4 is set to feature the franchise’s eighth installment of the game mode since that original map.

Zombies only came about because of the success of the bonus level ‘Mile High Club’ unlocked at the end of the single-player campaign of World at War’s predecessor, a little-known game called Call of Duty 4: Modern Warfare. The developers behind World at War wanted a similarly enjoyable bonus level to be played after completing their main story. The original idea was to take control of a German soldier on D-Day, fighting off wave after wave of Allied troops until your bunker was overrun. A gritty and harrowing concept, to be sure, but one that lacked enough gameplay depth for the developers to truly love it. Over the following months, the idea evolved again - but the survival context stuck. What we came across, in the final game, was the basic first iteration of the Zombies game mode that would become a behemoth in its

own right. The idea is simple, and has been adapted into countless games before and since, from Gears of War to Halo. Fight off waves of increasingly difficult enemies, by yourself or with a group of friends, for as long as possible until they overwhelm you. But what Treyarch introduced in World at War had a special spark that set Zombies apart from any other “horde” mode in any other game franchise.

The horror is part of it. The elements of ‘Untoten’ - the fog, the zombies that continue to attack even when decapitated, the messages scratched onto the walls - made for an eerily terrifying atmosphere that only subsequent Zombies maps have been able to match. Zombies also features a clean simplicity to its gameplay: kill zombies, get points, spend those points on weapons, ammo and unlocking parts of the map. Rinse & repeat, and add complexity - like wonder-weapons, entertaining characters, hidden songs and those impossible-to-crack Easter Eggs to subsequent maps as the community learned ever more effective strategies for fighting off the undead.

But ultimately, Treyarch understood their audience.

They know how fist-pumpingly fun it is to mow down swathes upon swathes of zombies with your friends, and they designed their whole game mode around that. Because ultimately, that’s what Zombies is about: having a damn good time, with the added panic and pressure of working as a team and the added terror of fighting literal undead monsters at 11:30pm, your friends screaming down your headset, not caring that you have work at 9am the next morning, ‘cause you’ve got zombies to kill.

Images courtesy of Activision

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CULTURE

The Woman in Black: Stagecraft that Spooks Abi Cutler It is no secret that cinema and TV screens reign over the horror genre, and for good reason. The rapid development of film technology in the past couple of decades, combined with the use of clever editing and intense camera angles, have resulted in film after film managing to terrify us in any number of ways. Even in literature, authors like Stephen King prove that horror can also be found in the words of a page; the visual imagination required when reading can create a tense, disturbing sensation just the same.

However, theatre is not typically a medium we associate with horror and the ability to frighten audiences. Aside from the fact that musicals dominate the theatre scene right now (and it’s fairly difficult to make spontaneous singing seem scary), whilst we can see the story playing out in front of us, theatre lacks the special effects available in film and television - unless you’re watching Harry Potter and the Cursed Child.

Nonetheless, there have been a few productions which managed to unnerve their audiences, the most notable of these being The Woman in Black, which has been going strong in London’s West End for 30 years. But how does it do it?

Adapted by Stephen Mallatratt from Susan Hill’s 1983 novel, the production follows a lawyer, Arthur Kipps, who, believing his family to be cursed by the ghostly Woman in Black, enlists an actor to help him tell his story in an attempt to rid himself of his fear. As they delve deeper into the lawyer’s dark tale, mysterious happenings begin to occur. The genius of this play is

found in its simplicity; the cast consists of just two actors playing Kipps and The Actor. The Woman does make a few appearances but is not billed in the programme. Of course, the audience are not stupid, and realise that she is played by an actress, yet there is something fairly unsettling about seeing a silent figure appear on stage when you do not necessarily expect them (don’t sit in an aisle seat in the stalls unless you want the fright of your life).

This minimalist approach to the casting extends to the set as well. The standard proscenium arch layout contains a lifting backdrop, a few key props and not much else. This means that the horror of the show relies almost entirely on the actors and their reactions.

As an audience, we become so invested in the story they are telling that we scream and jump with them.

In addition to this, the production uses sound very heavily to create an immensely chilling atmosphere; the disconcerting moans and cries which came out of nowhere resulted in me sinking lower and lower into my seat as though that would somehow make it stop.

The Woman in Black is a prime example of how theatre can create pure magic, although not necessarily a sort I wish to experience all the time. It doesn’t require any fancy visual effects, but instead utilises exceptional acting and cunning stagecraft to create a piece of work more haunting than most modern horror films. If you’re looking for something different to scare you this Halloween, look no further than the Fortune Theatre; just don’t expect to sleep that night.

Image courtesy of Momentum Pictures

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CULTURE

The Fantastic Beasts of the Harry Potter Books Ellis Murrell

The Wizarding World of the Potter Cinematic Universe (PCU) is no stranger to magical monsters. Even before Newt Scamander stepped onto the scene, we had been treated to all sorts of ‘magizoological’ marvels - good, bad and ugly. There are too many fascinating creatures to list them all, but here are a few that are worthy of the spotlight.

Fluffy

The Philosopher’s Stone No list of Harry Potter beasts would be complete without the one that started it all. Fluffy, the three-headed Cerberus look-alike who was responsible for guarding a trapdoor in the Hogwarts grounds, was one of many dubious pets owned by groundskeeper Rubeus Hagrid. Despite his intimidating size and deadly slobber, Fluffy proved to be something of a pushover, being put to sleep by a calming lullaby. One of the least intimidating monsters on this list, it’s fair to say that this monster doggo was all bark and no bite.

The Basilisk

The Chamber of Secrets This mythical serpent was the pet of the original dark magic edgelord, Salazar Slytherin, who concealed it deep beneath the Hogwarts castle. In the novel, the basilisk is unleashed by a memory of Voldemort concealed within his old diary, who sets the beastie loose on the population of Muggle-born ‘mudbloods’. Able to kill anyone who stares at it directly with its paralyzing vision, the basilisk is only dispatched with the help of Dumbledore’s pet phoenix, Fawkes, and the legendary abilities of the Sword of Gryffindor. Even after death, the creature remains significant, as it is later revealed that its venomous fangs can destroy Voldemort’s horcruxes.

Buckbeak

The Prisoner of Azkaban Buckbeak the Hippogriff (that’s a half-eagle, half-horse for all you budding magizoologists out there) plays a central role in the third Potter book, where he is in the charge of Hagrid, and a case study for the newly-inaugurated ‘Care for Magical Creatures’ class. A proud and noble beast, Harry is able to earn its respect with a patient approach, whereas Draco Malfoy’s arrogance leads Buckbeak to break his arm. When this incident nearly costs the flying horse its life, Harry and Hermione spring into action with the aid of the overpowered Time-Turner device, freeing the hippogriff from its impending execution and allowing it to live out its life with Sirius Black.

The Hungarian Horntail

Images courtesy of Pottermore

The Goblet of Fire Things started to really heat up in the fourth Potter book - here be dragons. The first of Harry’s three Triwizard Tournament trials is a duel against one of Daenerys’ fire-breathing brood in order to claim a mysterious golden egg. However, owing to Harry’s typical bad luck, he’s pitted against one of the fiercest dragons of all, the Hungarian Horntail. This scaly behemoth won’t let Harry claim his prize without a fight, forcing him to resort to using his broomstick to meet the Horntail at its own level. Ultimately, our hero prevails over this fiery encounter, but not without a few burns to tell the tale.

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LIVE

An Interview With Neil Sanderson from Three Days Grace

Jo Lisney On a chilly 1st October, Canadian Rock band Three Days Grace and American rock band Bad Wolves hit The Pyramids Centre in Southsea for the first time.

Amongst the hustle and bustle of stage set-up, sound check, light tests and rehearsals, Three Days Grace’s drummer, Neil Sanderson, took some time out to talk to us.

We spoke about what was next for the band after touring Europe – which kicked off on 1st October in Southsea and finishes 3rd November in Russia. “We’re just really starting up now, so we’re going to be going really hard!” How exciting! He added: “and we’re going to keep going […] we love the UK festivals in summer, so I think we’re gonna try and maybe get back over here, [and] do some of those. I love Download, it’s so much fun.”

We headed back to Three Days Grace’s dressing room as it was a bit too hectic to hear. I shyly said hello to the others, who were sitting in and listening to me chat to Neil. Continuing, I wanted to discuss what the band meant to him as I had already mentioned how much it meant to me. “I mean, it’s my life ya’know? It’s amazing.

Whenever you work on something, it sorta becomes your purpose in a way. To see it as successful as it has been, has been really mind-blowing; it’s therapy ya’know? It’s a reason to wake up every day […] and to do it on this level is very gratifying when you get up on stage.” Since their latest album Outsider has been such a success, I asked how they set about writing this. “[After finishing] a big world tour, we weren’t very inspired

[…] so we escaped, way out to the Canadian woods, we stayed out there and just hung out.”

Getting more comfortable with Neil, I decided to ask more personal questions, to get to know him better.

Dead or alive, who would he love to tour with and why?

Without hesitation, Neil exclaimed “Tool!”. He went on to explain “they are my all-time favourite band […] I could definitely watch them every single night.”

With a fourteenth number 1 under their belt with ‘Infra-red’, success comes with staying true to yourself as “[you dig deep] into yourself and your heart. Write about something that is real to you, because what you put out there will be real to them.” He later added, “Having that connection to fans means that through our songs, they can hear moments of their lives in that – it’s a powerful thing.” Speaking of fans, “British fans are really energetic and really open-minded to different types of music, not that North America isn’t, but over here people welcome hearing something new and fresh. And the UK has always tended to be on the front lines of something new […] a lot of fresh stuff comes out of here that the rest of the world follows.”

For many, Three Days Grace marks a staple in people’s lives and encourages them to try music as their art. For those who are budding musicians, Neil advised “Just stay true to yourself and don’t write for other people.

[Also] learn some sort of recording programme. […] Having that makes it easier to start learning and creating.”

Image courtesy of RCA Records

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LIVE

Flashback Review:

at Live Aid, Wembley Stadium, London (1985)

Tash Williamson It’s 13th July 1985. It costs £5 for the event, plus a £20 donation. Freddie’s wearing a white tank top, tight light blue jeans and a belt and arm decoration in black leather and silver stud. Brian May’s hair is as big and beautiful as ever, and they’re followed onto the stage by John Deacon and Roger Taylor.

Freddie goes right over to the piano, already flashing the crowd a few cheeky faces to egg them on, and their 20-minute set starts in the only way it possibly could. A song us students pay our respects to on every other night out, but Freddie blows the recorded version out the water. We only get a short medley of ‘Bohemian Rhapsody’, but it really is bliss; with May’s guitar and Freddie’s awesome vocals. He can’t be sat for long though, and the short shorts wearing technician passes Freddie the mic and he’s off, strutting and dancing across the stage in time for ‘Radio Ga Ga’, holding the microphone up high with prowess and with a promise of what’s left to come. He flits between glancing skyward and staring down at the audience, who are eating out of the palm of his hand. He gets them to clap along, a whole stadium full, covered in tarpaulin and 72,000 bodies, using his punching fist to conduct his own voice and the hands of the crowd.

After a quick call and response with the audience between numbers, Freddie announces ‘Hammer to Fall’ and the full might of Queen sounds in response. Freddie rocks air guitar to Brian May’s playing, and the sun sets over the final verse.

Grinding on May in worship, the mic and stand are Freddie’s dance partner and partner in crime, and they don’t escape without a little fondling.

Freddie takes a swig of his drink and dedicates ‘A Crazy Little Thing Called Love’ to the audience, but he gets them to sing part of the chorus anyway. The thudding drum sets in after the final crescendo of ‘A Crazy Little Thing’ and everyone knows what’s coming; the crowd have compulsively started keeping to that three-beat institution. Freddie is doing his thing to the beat of the music like everyone else, just biding his time. He orders people to sing the chorus of ‘We Will Rock You’ like they have a choice, like it isn’t Freddie Mercury who’s asking.

Then it’s time for their last number, and as the piano melody of ‘We Are the Champions’ starts to mingle with the guitar, you know you’re in for a treat. Freddie’s voice rises and the whole crowd is swaying and then he pulls it back; a presentation of true power and control. He’s speaking to the audience with this song, and getting up for the final chorus. Belting them out from first song to last, he finishes as strong as he started, now the light’s gone and the set is over.

Catch the new music biopic about Queen and Freddie, Bohemian Rhapsody, out on 24th October.

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Artist

IN FOCUS

LIVE

Luke Paddison

“Jizz Jazz”, the words Mac DeMarco uses to describe his own style of music, should give you a good hint as to what the Canadian-born musician is actually like. Mac’s laidback, goofball style is present throughout his songs. This, coupled with simple yet meaningful lyrics, has led to Mac gaining a significant following since his debut in 2012, and has been going from strength to strength since.

Critics have tried to class his music into genres of blue wave, lo-fi, psychedelic and slacker rock.

The highlight of Mac’s records aren’t the lyrics, or the vibrato and geezer guitar effects, it’s Mac himself. You can’t help but feel you know Mac personally, as if he’s just that one crazy friend you have who’s always trying to light his farts on fire.

This is a man who is clearly doing what he loves, writing about the things he loves, whether that’s his family, dogs, or cigarettes.

Mac first started his career as part of punk-rock band Makeout Videotape, who enjoyed local success across his home country of Canada. Mac then went solo in 2012, signing with the label Captured Tracks, and releasing his first mini-LP titled Rock and Roll Night Club. The album was recorded entirely on four-track and impressed the new label so much they pushed the release of a full-length follow-up album. 2, released in the same year, received praise from critics and was given the accolade of Best New Music from Pitchfork. The album features some of Mac’s most enduring songs, such as ‘Ode to Viceroy’, with Mac describing his turbulent relationship with his favourite cigarette brand.

Following this, Mac then broke into the limelight with the release of Salad Days in 2014, and once again garnered critical praise, gaining a

Mac DeMarco

nomination for the Polaris Music Prize 2014.

Mac made his first talk show appearance playing ‘Let Her Go’ on Conan in 2015; a song about the need for complete honesty when making tough decisions in any relationship, whilst featuring a melancholic guitar melody which hammers the song home. Mac’s perhaps most famous song, ‘Chamber of Reflection’, is the most heavily produced record he has ever made. Featuring synths, keyboards, and even a hint of organ, it all comes together creating a psychedelic record in a style similar to something Tame Impala might produce. The accompanying tour to this album was documented in Mac’s very own Macumentary, Pepperoni Playboy, which follows Mac and his friends as they get up to the sort of antics which make him so lovable. Shortly after this, the second mini-LP Another One, was released. DeMarco comments on this album saying, “it’s just kind of like every angle of how somebody might feel if they’re having strange feelings in their chest.”

The most recent LP, This Old Dog, is a lot slower than his typical music, but features his vintage style all the same. The lead single, ‘Still Beating’, features soft guitar solos and Mac’s gift for writing accessible lyrics, as he sings about his enduring feelings for a girl he once loved. This brings us right back to the present day, with the release of the latest single, ‘Honey Moon’. The song is sung completely in Japanese and is a cover of a song by the musician Haroumi Hosono, who Mac has expressed his musical love for in the past. This change of tune for Mac could be hinting at the direction of future projects.

If you’re ever fortunate enough to see Mac perform live, you’re in for a real treat; crowd surfing, sing-alongs, and even Mac stripping down naked are all part of his onstage repertoire.

Images courtesy of Pitch Perfect PR

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LIVE

Preview: Mac DeMarco at the O2 Guildhall, Southampton Tom Brewster Over the past few years, Mac DeMarco has honed and perfected his own blend of indie rock that has captivated fans the world over – his sound sometimes frantic and energetic such as on his breakout 2, and otherwise mellow, gentle and introspective as on his latest effort, This Old Dog. Mac’s easy going style and wonky guitar tone are well-loved by many, and his success has spawned many imitators and parodies – but none of these acts have the one thing that truly sets Mac apart from his peers: his dangerously unstable and hilariously unprofessional live performances.

To attend a Mac DeMarco concert is to see his personality writ large across the stage – a glorious embodiment of who Mac is that extends beyond the music he creates. The best way to describe what goes on throughout a Mac concert is antics – a slow escalation of silliness that enraptures its confused audience. Such antics often include some more than lightly reworked covers – Mac choosing to often end sets with Vanessa Carlton’s ‘Making My Way Downtown’, or playing the opening riff to the Red Hot Chili Peppers’ ‘Can’t Stop’ over and over again as a screen proudly displaying Nintendo classic Mother 3 idles in the background. There are some particularly wonderful clips on YouTube

of Mac dragging doe-eyed fans onstage to play songs with him – or even hoisting his girlfriend Kiera onto his shoulders for a rendition of ‘Still Together’ that goes on far longer than it should (with yodelling in tow). Mac’s live sets are built on these antics – his fans driven to see him time and time again not only for the music, but to see what strange surprises he has in store next.

A love of Mac DeMarco’s music and stage presence has left me unabashedly hyped-up for his performance at Southampton Guildhall – on Halloween no less. The gig is listed as the ‘This Old Bat Halloween Spooktacular’ on the tour poster, and who knows what that might entail. Will we see Mac consume live bats à la Ozzie? Perhaps covers of ‘Thriller’ or ‘Ghostbusters’? Or maybe, just maybe, our expectations will be completely subverted, and Mac will play the first remotely “normal” gig of his career. Only time will tell, and this old dog can’t wait 2 see what’s freaking out the neighbourhood (I’m so sorry).

Mac DeMarco plays a sold-out gig at the O2 Guildhall on Halloween night (31st October).

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EDITORIAL

LISTINGS Live Music October 23rd- Say Sue Me @ The Joiners October 25th – The Rasmus @ Engine Rooms October 26th – Heather Peace @ The Brook October 26th – Mallory Knox @ The Joiners October 31st – Mac DeMarco @ O2 Guildhall October 31st – Shred Kelly w/ Kitty O’Neal @ The 1865 November 1st – Echo Town @ The Joiners November 1st – Holy Moly & The Crackers @ The 1865 November 1st – YAK @ Heartbreakers November 11th – The Shrives @ The Joiners November 12th – Seasick Steve @ O2 Guildhall November 13th – Blackberry Smoke @ O2 Guildhall November 15th– Tancred & Kississippi @ The Joiners November 16th– Jordan Allen @ Heartbreakers November 17th – BLOXX @ Heartbreakers November 21st– Hinds @ Engine Rooms

Theatre October 3rd – October 27th – Wicked @ Mayflower Theatre October 23rd – November 3rd – Don Carlos @ Main House, NST City October 30th – November 3rd – The Animals and Children Took To The Streets @ The Nuffield Theatre November 13th – November 17th – Six @ Nuffield Theatre November 13th – The Simon & Garfunkel Story @ Mayflower Theatre November 24th – War and Peace @ Mayflower Theatre

Comedy October 24th – Monét X Change @ The 1865 November 12th – Janson Manford @ Mayflower Theatre November 14th - 15th – Kevin Bridges @Mayflower Theatre November 18th– Sarah Millican @ Mayflower Theatre November 19th – Dara O’Brien @Mayflower Theatre November 23rd – Omid Djalili @ Nuffield Theatre

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EDITORIAL

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