The Edge - Issue 5 (March 2019)

EDITORIAL

Issue IssueFour Five January March 2019 Free

THE JAPANESE

HOUSE

INTERVIEW

CAPTAIN

MARVEL Celebrating the women putting the ‘her’ in ‘hero’.

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EDITORIAL

Issue Five Editor’s Note

The Team

March is the month of hope (for some kind of warmth, at some point, maybe?), and the fact that International Women’s Day is celebrated this month fuels this general hopefulness: celebrating women’s achievements and undying strength makes the ideal of gender equality more tangible than ever.

EDITOR

Issue 5 is our embodiment of this hope, having women in entertainment both at its heart and on its cover. On page 12 we take an in-depth look at a milestone of the Marvel Cinematic Universe, Captain Marvel. The first femalefronted Marvel film is set to have a major impact on how female superheroes are perceived worldwide. In a similar vein, making waves in the music industry is indie-pop singer-songwriter The Japanese House, with whom we had a chat ahead of the release of her debut album (p. 7).

She’s as real and unapologetic as they get - and if you listen to her unique music you’ll know exactly what I’m talking about (and she has a dog named Calvin!).

Ellie Brain

What is more, we celebrate all facets of women in entertainment in our Girl Power Guide, whether they’re under-the-radar musicians, upcoming actors and directors, fantastic live performers, or representing the reality of being a woman on popular TV shows (pp. 1421). Although it’s clearer than ever that “the future is female”, we also reflect on a few steps that are yet to be taken towards gender equality in entertainment on pages 23 and 26, while page 28 brings the discussion of the “f-word” at the forefront.

And to top off all this celebration, we’ve sprinkled this issue with a lot of extra entertainment goodness. From Foals’ anticipated comeback (p. 11) to speculations on the future of the MCU (p. 13), a Wombats gig review (p. 32), and everything in between, there’s plenty for you to be excited for in this issue... ... As well as the future. Spring 2019 brings the election of the next Editor of The Edge, followed by the rest of the committee (yes, already!). With all this coming up, as well as two more issues and a lot of exciting events, there’s never been a better time to get involved - we’re just a Facebook message or an email away!

Thea Hartman Editor 1

Thea Hartman

editor@theedgesusu.co.uk

DEPUTY EDITOR Sophie Jones

deputy-editor@theedgesusu.co.uk

News Editor news@theedgesusu.co.uk

Records EDITOR Sam Law

records@theedgesusu.co.uk

Film EDITOR

Alice O’Hare

film@theedgesusu.co.uk

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

Publicity officer

Amber-Louise Large

publicity@theedgesusu.co.uk

Head of design

Charlotte Morris

design@theedgesusu.co.uk

events officer Ben Dolbear

events@theedgesusu.co.uk

Online Manager Jack Nash

manager@theedgesusu.co.uk

LITERATURE EXECUTIVE Abi Cutler

culture@theedgesusu.co.uk

RECORDS EXECUTIVE Tom Brewster

records@theedgesusu.co.uk

VP Creative Industries Evie Reilly

vpdci@unionsouthampton.org

EDITORIAL

Contents

12 Editorial

01 Welcome to Issue Five 02 Contents

News

The 7 Interview: Japanese House Decline 26 The Of The Gaming Patriarchy

32 Review: The Wombats

@ O2 Academy Bournemouth

Culture 25 26 27 28

03 Newsbox 05 Nostalgic News

Records 07 08 09 11

Interview with The Japanese House The Miseducation of Lauryn Hill: 21 Years On Artist in Focus: Ariana Grande On Edge: Anticipating Foals - Everything Not Saved Will Be Lost

Film

12 On Edge: Anticipating Captain Marvel 13 Approaching the Endgame: Where Does the MCU Go from Here?

23 #MeToo: Trend or Triumph?

24 The Rise of the Netflix Original: Is Cinema Dying?

The Edge’s Girl Power Guide 15 17 19 21

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Female Artists Who May Not Be on Your Radar The Women to Watch Empowering Female Characters on TV Our Favourite Live Female Artists

How to Fix: Doctor Who The Decline Of The Gaming Patriarchy Culture Shock: Theatre’s Diversity Problem Hidden Gem: Feminists Don’t Wear Pink and Other Lies

Live 29 30 31 32

Live Act in Focus: Nina Nesbitt Live Act in Focus: The Runaways Review: Her’s @ Heartbreakers, Southampton Review: The Wombats @ O2 Academy Bournemouth

33 Listings

Follow Us! /theedgesusu @theedgesusu @theedgesusu Front cover image courtesy of Marvel Entertainment

THE NEWS

BOX

News in Brief

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The final season of Game of Thrones to premiere April 14th.

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Octavian announced as winner of BBC Sound of 2019.

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Foals’ Everything Not Saved Will Be Lost – Part 1 to be released March 8th.

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Captain Marvel set for release March 8th.

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Jersey Boys coming to Mayflower Southampton, 19th to 30th March.

NEWS

Romanticising Villains There has been a recent surge in the number of films and TV shows featuring an “attractive” male character who terrorises women but is excused because of his classic good looks. You – a Netflix hit – follows psychologically disturbed Joe, stalking a female with a style of self-narration that makes it appear that he only wants to keep her safe. Twitter blew up earlier this month, when a few romanticised his character and forgave his terrible actions because of his looks. The actor who played the protagonist, Gossip Girl’s Penn Badgley, was shocked by this twisted reaction to the show.

In a non-fictitious sense, with the imminent release of Extremely Wicked, Shockingly Evil and Vile (based on infamous serial killer, Ted Bundy), there is the danger of this romanticising happening again. However, maybe the casting of Zac Efron is purposeful; Ted Bundy was excused by many from his crimes because people couldn’t believe that someone so “attractive” could commit such despicable crimes. It’s safe to say that whilst there are numerous dangers with shows and films such as these, they do teach a valuable lesson – that romanticising villains is a dangerous game that is still prevalent in society today.

THE EDGE’S ENTERTAINMENT PICKS EDITOR - FOALS - EVERYTHING NOT SAVED WILL BE LOST PART 1, 08/03/19 VIA WARNER MUSIC “After four Foals-less years, Yannis Philippakis & co. are back with their first album of the two announced in 2019 (what a blessed year), and not to overhype it or anything, but we can expect a mix of groovy tunes delivered in true Foals fashion – blissfully.”

RECORDS EDITOR – THE JAPANESE HOUSE – GOOD AT FALLING, 01/03/19 VIA DIRTY HIT “After 4+ years of dreamy EPs and starry-eyed singles, we’ll finally have a debut full-length record from the absolutely absorbing Japanese House. You can be sure this one will be played on repeat for weeks to come as we softly sink into Amber Bain’s syncopated melodies.”

FILM EDITOR - US, DIR. BY JORDAN PEELE, 22/03/19 “Few filmmakers have made an impact like Jordan Peele. His first feature, Get Out, took the world by storm and absolutely should’ve won an Oscar. His next, Us, promises to be even more terrifying, and if the trailer is anything to go by, even more exciting.”

CULTURE EDITOR - SEKIRO: SHADOWS DIE TWICE, FROMSOFTWARE, 22/03/19 “The latest title by the creators of Dark Souls promises to meld their uniquely-terrifying brand of world building with the fascinating feudal-era Japan. With a premise based around a one-armed, resurrecting shinobi, FromSoftware will no doubt deliver another modern masterpiece.”.

LIVE EDITOR – EASY LIFE @ THE JOINERS, 23/03/2019 “After the release of the hugely popular singles ‘Pockets’ and ‘Nightmares’ plus an appearance on Later... with Jools Holland, I am hooked on this funky new 5-piece out of Leicester.”

Image courtesy of COTA Films

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NEWS

NOSTALGIC NEWS 5 YEARS AGO

5 YEARS AGO

Alice O’Hare

Ottilie Young

The Amazing Spider-Man 2 was released

Marc Webb’s The Amazing Spider-Man 2 was released five years ago, on the 31st March 2014.

Centred around the aftermath of Captain Stacy’s death, the film follows Peter Parker/Spider-Man (Andrew Garfield) as he attempts to deliver on his promise of protecting Gwen (Emma Stone) and the city of New York from threat. With two villains in the shape of Electro (Jamie Foxx) and Green Goblin (Dane DeHaan), the film is best remembered for its explosive action set-pieces and corresponding lively soundtrack.

As the second part of a never-completed second trilogy of Spider-Man films, The Amazing SpiderMan 2 has since been often criticised as having not been good enough to warrant a third film, whilst for many it signals the lost potential of Garfield’s Spidey and his potential face off with Green Goblin. One thing that cannot be disputed, however, is the emotional impact of the film given a shocking and pivotal death of a well-loved major character.

Divergent was released

Five years ago, the science-fiction movie Divergent based on the novel of the same name by Veronica Roth, was released. In a dystopian Chicago, Tris (Shailene Woodley) must decide whether to follow her heart, or listen to her family whilst keeping her secret from the Government. Their society is split into factions, where people are sorted at age 16 according to their talents, such as honesty or knowledge. The rare few are divergent and threaten the order.

As the movie unfolds, we see exactly how powerful these people can be. With a star-studded cast list, including Kate Winslet and Ashley Judd, the movie was expected to be a success. Despite being a box office hit, the film left critics in a state of disagreement. Five years on, the following two instalments in the series were released, however the fourth one was never made, due to the flop of the third. So, despite an intriguing storyline, Divergent wasn’t as victorious as it promised to be.

15 YEARS AGO

Eternal Sunshine of the Spotless Mind was released Faye Williamson

Cult favourite Eternal Sunshine of the Spotless Mind, was released on 19th March 2004 - 15 years ago. A sci-fimeets-rom-com mix brought together by the relationship between memory and romantic love, the film’s genre sounds like no easy matter to visually convey. Yet, for director Michel Gondry and screenwriter Charlie Kaufman, their surreal reality with all its messy contradictions is beautiful, reminding us that love makes little sense and sends us further from sanity than anything else.

Kate Winslet adopts the impulsive personality of Clementine Kruczynski, whose name is jokingly associated with the Huckleberry Hound lyric “Oh my darling Clementine”, whilst Jim Carrey plays the awkward character of Joel Barish. Carrey notes the role was especially important in his career. In a culture of information, feeling overwhelmed with choice of action and reaction is common. Eternal Sunshine of the Spotless Mind offers us, instead, the alternative: a life where erasure of such abundance of information is possible, but this escape is not without consequence.

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NEWS 25 YEARS AGO

45 YEARS AGO

Rob Tucker

Sophie Jones

Super Metroid was released

A quarter of a century ago (!) Nintendo released Super Metroid for the SNES, and, despite being slightly before my time, it’s clear to see why the game is considered one of the best ever made.

Heavily inspired by Aliens, Super Metroid is dripping with atmosphere, as our silent heroine Samus guns her way through planet Zebes, accompanied by moody graphics and an eerie scifi soundtrack.

The non-linear gameplay is a complete refinement of that of the 1986 original; indeed, with its focus on world exploration and puzzle-solving to acquire upgrades, Super Metroid’s influence on the Dead Space or Batman: Arkham series is clear.

And, in a time when games weren’t the cinematic experiences we’re used to today, Samus’ climactic battle against Mother Brain was instantly iconic.

Everyone may know Lara Croft, but Samus Aran is the original video-game heroine, and, 25 years on, Super Metroid remains one of her greatest outings.

Waterloo was released

Two years after Björn Ulvaeus, Benny Andersson, Agnetha Fältskog, and Anni-Frid Lyngstad became ‘ABBA’, everybody’s favourite Swedish fourpiece finally met their Waterloo 45 years ago on 4th March 1974, with the release of their second studio album. While Waterloo only peaked at 28 in the UK Charts, the album’s title track would go on to win ABBA the 1974 Eurovision Song Contest for Sweden, and hit the number one chart spot in several countries, including the U.K. ‘Waterloo’ now sees new-found fame on the Mamma Mia! Here We Go Again soundtrack, performed by Hugh Skinner and Lily James.

Another of Waterloo’s tracks may also be familiar to Mamma Mia! fans - ‘Honey, Honey’ begins the second side of the album, as well as the movie musical’s soundtrack. While Waterloo contains no ‘Dancing Queen’s or ‘Mamma Mia’s, it does contain some of ABBA’s weirdest and most wonderful.

50 YEARS AGO

Slaughterhouse Five was released Louise Chase

Written by Kurt Vonnegut, the science-fiction and anti-war novel Slaughterhouse Five was published 50 years ago on March 31st 1969. Following the life of Billy Pilgrim, readers travel through time - sometimes in World War Two, and occasionally, (for some reason) with aliens. The novel takes readers through twists and turns, as the narrative changes through place and location, each experience changes how Billy perceives the world around him, and we view how his philosophy changes and evolves.

The novel makes use of the author’s own anti-war stance, as well as Vonnegut’s own experiences during the bombing of Dresden during World War Two; even breaking the fourth wall to say that war isn’t something that should be hoped for. The repetition of “so it goes” after the announcement of death shows just how de-sensitised society is to violence. Slaughterhouse Five presents elements of PTSD and philosophical wondering. The novel promotes peace in times of war, and although controversial in some aspects, it leaves a mark on readers - a mark that has now lasted for 50 years.

Images courtesy of Sony Pictures, Lionsgate, Nintendo and Polar Music International

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RECORDS

AN INTERVIEW WITH

THE JAPANESE HOUSE

We’ve been talking about indie act The Japanese House a lot lately – from anticipating her debut album to featuring her on The List of 2019 – and it’s starting to look like this is going to be her year. On the morning of her show in Cologne, Germany, we had the pleasure of talking to Amber Bain over the phone about her experiences touring, creating, and anticipating Good At Falling. Here’s how it went:

How did you find the process of creating an album compared to creating an EP?

For me, because I care about each song individually so much, I don’t really understand how it would be any different, you know? In terms of mentally, recording just one song is no less meaningful, but I guess the main difference is that I’ve spent a lot more time immersed in it rather than regularly coming back to my life. Emotionally and mentally I feel the same about releasing any kind of music. I’m obsessed with it all.

Your lyrics tend to be quite truthful and you sometimes name names. Is that something that you aim to do and is it quite freeing to write like that?

Yes, it is quite freeing, I guess. With names, I’ve only ever done that twice I think, and when you say a name in a song it instantly, for me, contextualises it very specifically. I can remember exactly how I felt at that time because I’m talking about a very specific thing that happened. But the lyrics are quite blatant and blunt in comparison to the EPs.

Would you say the album was quite an introspective project, then?

Yes, definitely. It’s written by me about me. But at the same time I do think I make comments on the outside world. I feel like I reflect on the world and I make comments about those reflections rather than just looking at it. In ‘Maybe You’re The Reason’, for

example, there’s a lot of commentary on there that isn’t necessarily about me. When I’m talking about myself in the verses I sometimes feel like I’m just a metaphor for all of us, if that makes any sense.

You’ve done a lot of touring, do you have a favourite ever tour moment?

There’s been a lot of good tour moments, it’s hard to whittle it down to one. On this tour I had a really good day whilst we were in America. We found this lake in the middle of nowhere and had this picnic but we didn’t realise it was going to take three hours to get there. It felt like a real adventure. But my favourite part of touring at the moment is genuinely just playing the shows, which it definitely didn’t used to be. I used to fucking hate playing shows and now I really love it.

So did that just change with time or confidence?

I think it just came with losing pretty much everything else in my life that I cared about or that I had to go home for, you know, like my relationship. I don’t know, I’m being such a drama queen right now but sometimes I feel like I don’t really have anything else apart from my dad and my dog. And music.

(Amber’s dog is called Calvin, by the way, and he’s a German Shepherd. She told us “he’s amazing.”)

So are you excited to release the album?

Yeah, I’m feeling good. It’s a bit of a mixture of feelings but I’m very excited. I don’t really feel scared or anything. I kind of just want it to happen, I’ve been sitting on it for so long now that I just want to release it. I’m really excited though.

The Japanese House’s debut album, Good At Falling, is available from March 1st via Dirty Hit.

Amber-Louise Large Image courtesy of Primary Talent

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RECORDS

THE MISEDUCATION

OF LAURYN HILL

21 YEARS ON In the wake of the 61st Grammy Awards earlier this February, it’s hard not to look back 20 years to one of the most monumental Grammy wins in recent memory: The Miseducation of Lauryn Hill, the debut album from former Fugees member Lauryn Hill. It’s an album that might not be most familiar to the millennial generation, but 21 years since its release, its cultural impact still radiates among mainstream hip-hop and neo-soul today.

Before even discussing its effect on contemporary music, it’s important to make a brief mention of the record itself. The Miseducation of Lauryn Hill is, without doubt, an astonishing piece of work to listen to. Inspired by her pregnancy at the time, it’s an album containing themes of heartbreak, her relationships with Fugees members Wyclef Jean and Pras Michel, and her unborn child. From the beginning of ‘Lost Ones’ and the lines “It’s funny how money change a situation”, followed by backing horn stabs, Hill raps and sings with such ferocity and passion it’s clear that each song has been written from a personal standpoint as though she is opening her soul to us in its purest form.

As well as her beautifully crafted lyrics and earsweetening voice, the instrumentation that accompanies her is gorgeous. Funky trumpet lines punctuate ‘Doo Wop (That Thing)’, whilst understated drums keep a steady rhythm throughout so as to allow Hill’s message to take centre-stage. But it doesn’t end there: embellished backing vocals, groovy bass-lines, and silky acoustic guitar licks can be found in almost every track.

There’s no end of charisma and colourful production applied to this project, including a list of features which showcase the genre’s best. Mary J Blige and Carlos Santana are just two of the legendary guests who pop up on the album, but my personal favourite Image courtesy of Columbia Records and Ruffhouse Records

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Theo Smith is neo-soul singer D’Angelo on the duet ballad ‘Nothing Really Matters’. Both singers comment on love and how it can make the world seem irrelevant compared to a loving bond. It’s a combination that harnesses both artists’ strengths and is sung with such grace (“These buildings could drift out to sea / Some natural catastrophe”) that it’s very hard not to be drawn into the emotion of the track.

When thinking about its influence on modern music today, Miseducation’s thumbprints can be found without even realising it, especially when it comes to the subject of rapping and singing. Hill was arguably one of the original artists to bring hip-hop to the mainstream when she reached No. 1 on the US Billboard charts and No. 2 on the UK charts respectively, 10 years before Drake even released his first mixtape and 20 before he became a worldwide household name. He even sampled Hill’s vocals from ‘Ex-Factor’ on 2018 hit ‘Nice For What’, whilst Cardi B interpolates her lyrics in ‘Be Careful’. If you move towards the genre of neo-soul itself, the laid-back instrumentation heard during tracks like ‘Superstar’ or ‘Forgive Them Father’ can be recognised within modern hip-hop or singersongwriter hits. Notably, Loyle Carner and Tom Misch have recently put out strong records with clear inspiration from Hill, earning a Mercury Prize nomination and reaching the UK Top 10 respectively.

Lauryn Hill was one of the first modern hiphop artists to create an album told from the focal point of a woman’s perspective, which propelled her into superstardom in a short space of time.

Unfortunately, due to personal issues and a 10-year hiatus in general, she hasn’t made a sophomore record since – aside from a small live project known as MTV Unplugged No. 2.0. But with Miseducation, Lauryn Hill left us with one of the seminal hip-hop, soul, and R&B records of all time.

RECORDS

ARTIST IN FOCUS

ARIANA GRANDE It’s impossible to think of Ariana Grande and not immediately picture that iconic bouncy pony tail, and the latex bunny ears. Grande has certainly made her mark on the music industry as well as proven herself to be an iconic female inspiration. Grande never gave up on the thing she loved, and just look where that got her.

Having started her career performing in local productions and dabbling in Broadway, Grande was keen to get high on the ladder of success. Earning a spot on the Nickelodeon teen show Victorious as ditzy but lovable Cat Valentine, Grande was able to start focusing on her music career. The role enabled her to gain a fanbase, as well as contribute to the vocals on the show. When it was cancelled, Grande bounced right back and was signed by Republic Records. She was ready to ‘Break Free’ from her teen image, something that many felt might hold her back.

2013 saw the release of her first studio album, Yours Truly, which debuted at number one and from here she soared. Attracting the attention of many artists, on her following album releases, Grande made it clear that she had no ‘Problem’ collaborating with other stars, including Nicki Minaj, Calvin Harris and John Legend. One might even call her a ‘Dangerous Woman’ in the music business. She challenged stereotypes, proved her ability and ultimately earned her status as a female icon for all to look up to.

It’s impossible to ignore the devastating Manchester terrorist attack that occurred at the end of one of her shows in 2017. The attack, which claimed the lives of 22 people, truly shocked everyone, but whilst some may shrink away and cancel future arrangements, Grande showed the world her strength. Organising a huge benefit concert for the victims and their families, Ariana raised over £17m with the help of some of her fellow artists.

OTTILIE YOUNG

But the attack certainly impacted the tone of her 2018 album Sweetener, with hit singles like ‘No Tears Left to Cry’ and ‘God is a Woman’ showcasing her vulnerability as well as her strength. This new album reinvented Ariana’s image, whilst still maintaining her status as a female icon and inspiration.

Sadly, later that year, Grande’s ex, Mac Miller, was found dead from a drug overdose. This tragedy shocked fans and artists around the world, but perhaps more than anyone, Grande felt the pain. In the face of even more devastation, Grande was able to remain positive by paying tribute to him in ‘thank u, next’.

With a powerful public image, and a growing social media platform, Grande has definitely established herself in this industry. Her appearances on chat shows, such as the viral video of her playing Musical Impressions on Jimmy Kimmel Live, further propelled her fame, truly confirming her place in showbiz. In February, thank u, next increased her global success even further, something no one thought was possible.

Ariana Grande takes all the pain and the setbacks she experiences and uses them to make her stronger. Raised in a family that valued hard work, it has become clear that Grande wanted this status as a powerful and successful woman, and she most certainly got it. Along with her ‘7 rings’, otherwise known as awesome girl squad, she shows everyone, on pretty much a daily basis, that she is a ‘dangerous woman’ (in a good way) and that the future is most certainly female. Ariana, we all wish we could have ‘Just a Little Bit of Your Heart’ and as we play her fifth studio album on repeat, all that’s left to say is ‘thank u, next’.

Image courtesy of Republic Records

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RECORDS

ON EDGE: ANTICIPATING

FOALS

Everything Not Saved Will Be Lost Parts 1 & 2 After a four-year break, Foals return with two new studio albums in 2019. Their long-awaited Everything Not Saved Will Be Lost Part 1 will be released on March 8th, with Part 2 expected to follow in the autumn.

ability to combine the ever-changing messages in our society with timeless melodies and riffs makes them a truly unique group, as they have illustrated since the release of their debut album Antidotes in 2008.

‘Exits’, their first single from Part 1, was premiered as Annie Mac’s Hottest Record on Radio 1, giving fans a taste of what to expect from the new album. The band noted that whilst the first album has a more “groovy” sound, Part 2 will follow the rockier sound we heard on What Went Down. Foals is a band known for their mixing and experimentation with genres, and their new albums seem to be no exception. With familiar sounds from previous albums also making a comeback, this is what makes this project so highly anticipated.

We described the track as “a groovy combination of guitars, synths, and drums that will have you bobbing your head for just about every second of its slightly controversial almost six minutes.” This is what has made fans particularly excited to see the new albums played live during their huge world tour scheduled for this summer. After playing together as a band for over a decade, Foals’ live performances are, arguably, what makes them one of the most respected bands in rock music today.

This is the first music the band will be releasing since becoming a four-piece, and also their first selfproduced album. These changes mark a shift in the band’s dynamic, both in the studio and with live performances. However, they have insisted that this has only strengthened their writing process. When talking to Annie Mac, they emphasised the fact that these changes gave them the chance to have a new start as a band and begin in a fresh way. In essence, these two albums are coming from a brand new band in terms of the writing process, whilst also being rooted in Foals’ classic sound.

In an interview with NME, the band discussed the lyrical threads running through both albums.

Philippakis noted that “it’s not yin and yang or anything corny like that. You can also tell that it’s a band working in the same space over the same period of time. If you were to put it crudely, the first record is probably more keyboard-driven and has slightly more of a new wave feel to it. Then album two has more of the heavier rock frenetic energy.” They all agreed that both parts are companion pieces and act as two halves of a whole, as opposed to two completely separate works. Together, Part 1 and Part 2 will combine every aspect of Foals’ sound that their fans have come to love.

‘Exits’, at 5 minutes and 57 seconds long, has received high praise from fans and critics alike. Frontman Yannis Philippakis said that the inspiration behind ‘Exits’ is the current state of the world, describing the threat of climate change as being trapped in a labyrinth, the world essentially being “upside down”. The band’s

Everything Not Saved Will Be Lost Part 1 will be available from March 8th via Warner Music.

Amelia Yeomans Image courtesy of Warner Music UK

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FILM

ON EDGE: ANTICIPATING

CAPTAIN MARVEL

Marvel’s recent years have shown that its style and creativity can still deliver: Black Panther recently made history by being the first superhero film nominated for an Academy Award and having major success at the Screen Actors Guild Awards. Captain Marvel itself has other big shoes to fill; besides filling in some of the gaps for Avengers: Endgame, it may also be introducing some new villains and cast members for Marvel’s Phase Four.

The story will follow Brie Larson as the titular Captain as she comes to terms with the truth about her past, as well as the introduction of the Kree-Skrull War into the MCU. Among the cast is Jude Law as her mentor and MCU veterans Samuel L. Jackson as Nick Fury and Lee Pace as Ronan the Accuser, who was last seen in Guardians of the Galaxy. The trailer hints towards a somewhat distant past, questioning who to trust and who not to; after all, if Skrulls can disguise themselves as anyone, who can you trust? Is Captain Marvel’s declaration at the end of the second trailer hope for Avengers: Endgame? Will this explain where the Captain has been for the past 20 years before being called upon by Fury? We can hope so, and also hope that Captain Marvel is the beginning of a new wave of female-led superhero movies.

The movie itself follows the rise of the female superhero – Gal Gadot’s stint as Wonder Woman in the Patty Jenkins-directed 2017 DC movie shows female superhero movies can and, most importantly, will be both successful and powerful. This could be the beginning of Marvel acknowledging this, and the start of movies focusing on Black Widow, Pepper Potts, Gamora, to name but a few. Fans have been calling for a Black Widow origin film since Avengers Assemble in 2012, so perhaps this is Marvel testing the water to see how female-led films might be received? Will fans finally get their wish?

Let’s not forget the soundtrack either! Marvel films always seem to have such unique and captivating scores, each displaying the hero or villain’s personality in more than just words. From the samples found in the trailers, I am more than excited to hear the music style in Captain Marvel. The samples are suggestive of an ability to initially evoke a ’90s style, but also suggest something more than what it originally appears – almost like Carol herself, in a way.

Image courtesy of Marvel Entertainment

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Louise Chase

Following the heavy-hitting culmination of Phase Three that was Avengers: Infinity War, Marvel announced the arrival of a new hero: Carol Danvers, aka Captain Marvel. The Marvel Cinematic Universe is at the height of its popularity having gone from strength to strength in recent years, and the on-screen debut of such a wonderful character therefore couldn’t have come at a better time.

Captain Marvel is looking to be an enjoyable rollercoaster, mixing comedic timing with its tension and drama and carting onto the trend set by the Guardians movies and Thor: Ragnarok. It deserves its status as one of 2019’s most anticipated movies and it’s clear that the universe building this movie is set to undertake will have ramifications throughout the MCU for years afterwards.

Captain Marvel, directed by Anna Boden and Ryan Fleck, will be released in the UK on the 8th March (International Women’s Day) via Marvel Studios.

FILM

Approaching the Endgame: WHERE DOES THE MCU GO FROM HERE? It truly is a once-in-a-generation event. As April 25th steadily approaches, so too does the UK release of Avengers: Endgame, the concluding chapter in a cinematic vision that began over 10 years ago with Iron Man on April 24th 2008. Though we still have Captain Marvel coming up on March 8th, the latest upcoming Avengers title sees every hero we’ve come to know thus far, every narrative thread that’s been woven into 21 distinct films, all come to a pulsating climax as the remainder of Earth’s mightiest heroes try to undo Thanos’ blitz of destruction and devastation from last year’s Avengers: Infinity War. It’s sure to pack an emotional punch, but perhaps more intriguing than the film itself is the question that follows it: what now?

It’s a tricky situation. Key to the whole dramatic impact of Infinity War and Endgame is that some of the Marvel Cinematic Universe’s heavy hitters - notably Robert Downey Jr., Chris Evans, and Chris Hemsworth - are out of contract following April’s Avengers outing.

This leaves open the very real possibility that their characters will meet their end in Endgame, or otherwise go missing in action; fantastic for edge-of-your-seat tension during the big climax, but a headscratcher for producer Kevin Feige and co. at Marvel Studios. How do they draw people in when leading figures like Iron Man, Captain America and Thor aren’t around?

Well on the one hand, not everyone is leaving - not just yet. We already have the trailer for Spider-Man: Far From Home, confirming that Peter Parker, Nick Fury and Happy Hogan survive whatever happens in Endgame (and their disintegration from Infinity War). There’s also rumoured to be a Black Panther sequel in the works, as well as another Doctor Strange film and (finally) a solo Black Widow outing. So rest assured, many of the MCU’s familiar faces will remain post-Endgame to draw audiences into theatres.

But the culmination of 11 years of cinematic vision also presents a fantastic opportunity for Marvel Studios to change the MCU in a multitude of interesting

and surprising ways. Infinity War, Captain Marvel and Endgame present perhaps the closest we’ll ever get to a comic book-style “event” on the big screen a story told across multiple entries, involving most or all the characters of a universe and leaving far-reaching effects on the universe as a whole upon the conclusion of the story. In Thanos: Infinity Gauntlet, the comic book event that Infinity War and Endgame draw most of their inspiration from, things get weird, psychedelic and cosmic as the Avengers enter the Infinity Stones (don’t ask me how) to undo the damage Thanos has caused and disrupt the Infinity Gauntlet from within in an enticing final act that scatters our heroes and villains across the universe. I’m not saying this is going to happen in Endgame - it’s perhaps too cosmic for casual audiences to enjoy, and the Russo brothers will want to surprise even readers of that comic - but it sets a precedent for universe disruption that may well find its way to the big screen.

Whatever happens, don’t expect Marvel Studios to stop making movies just yet. Of course, they’re fantastic money-makers, but there’s also a whole host of characters and worlds from the comics that are still yet to be fully explored in cinemas. Could we see Miles Morales, Adam Warlock, Ms Marvel, the Eternals, or even the X-Men or Fantastic Four (following Disney’s Fox deal) coming into the MCU in Phase Four and beyond? Speaking to Variety, Feige explained how “there are other filmmakers who are working on things in development. But when and where and how and why, we haven’t discussed yet. But it is fair to say that we will continue making films after Endgame.” But whatever happens, the next few months seem set to act as the swan song for Iron Man, Captain America, Thor and more. We’re in the Endgame now.

Avengers: Endgame, directed by the Russo brothers, will be released in the UK on April 25th.

Sam Law Image courtesy of Marvel Entertainment

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S ’ E G D THE E

L R I G R E W O P GUIDE

GIRL

FANTASTIC FEMALE ARTISTS WHO MAY NOT BE ON YOUR RADAR

Whilst there’s no shortage of fantastic female artists in the limelight for you to listen to, the writers at The Edge have been considering those acts who may not be as well known as the Ariana Grandes or Lordes of the world but who deserve your attention just as much. With Women’s History Month taking place over March in the UK, now is the perfect chance to check out these wonderful women in music and play their albums on repeat.

Mahalia burst onto the scene in 2012, but her singing career is still upand-coming; with her honest vocals and breezy R&B vibe, her talent is undeniable. With an album – Diary of Me – and film release – Brotherhood – in 2016, Mahalia has since elevated her singing career even further, with a number of impressive releases in 2018.

MAHALIA

Particular mention should go to the singles ‘Sober’ and ‘I Wish I Missed My Ex’. These two perfectly demonstrate Mahalia’s range as an artist; they have completely contrasting production but are equally as impressive. ‘Sober’ has a soulful R&B feel, with personal lyrics that highlight the unique tone of her voice. On the other hand, ‘I Wish I Missed My Ex’ (originally intended as a “joke”) is the perfect track for summertime, with two producers working on the single to give it a lighthearted feel, yet still providing an occasionally emotional vibe. It is safe to say, whilst 2018 was an exciting year for Mahalia, 2019 is set to be her year.

In a BBC interview in 2018, Mitski Miyawaki described how she nearly gave up on music. Such was her talent for crafting irresistably volatile, punchy guitar riffs backed by deeply affecting, personal lyricsism that she had caught the attention of Iggy Pop, who called her “probably the most advanced American songwriter that I know.” It’s a sound that was developed by her upbringing – born in Japan to an American father and Japanese mother, Mitski grew up moving through no fewer than 13 countries before finally settling in New York, and it reflects in her music. Few tracks linger longer than three minutes, giving you just enough time to familiarise yourself with the melodies and themes before being whisked away to places new, a whirlwind tour of love, loneliness and cultural clashes that’s as enchanting and exciting as it is cathartic.

ELLIE BRAIN

MITSKI

But with new heights reached by 2014’s Bury Me At Makeout Creek and 2016’s aptly-titled Puberty 2, Mitski thought “maybe it would be best to quit music now that I’d gotten to the whole point of it, which is to be known by your personal saints.” Let’s be glad she didn’t. 2018’s Be The Cowboy was a magnum opus for the indie rocker, a 34-minute cascade of dance and rock (‘Geyser’, ‘Nobody’) intertwined with personal balladry (‘Washing Machine Heart’, ‘Two Slow Dancers’) that went on to be crowned Pitchfork’s album of the year. But perhaps Mitski can best be summed up in the two minutes of ‘Me and My Husband’, an unflinching look into the ennui of relationships and modern life, but one that somehow captivates and affects through a crescendo of instrumentation and utterly tender lyricism (“And I’m the idiot with the painted face / In the corner, taking up space / But when he walks in, I am loved, I am loved”) that leaves no doubt that Mitski is one of the most advanced American songwriters currently performing.

Images courtesy of Alice Fisher, Savanna Ruedy, Rubyworks Records, Def Jam and Universal Music

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SAM LAW

POWER Teyana Taylor has struggled to escape the role of that female singer on Kanye West’s GOOD Music label, which is a shame, because her body of solo work is small but strong. Her distinctive, husky vocals exude sexual energy and are captivating on her first album, VII; further back, she has some great features on GOOD Music’s compilation album, Cruel Summer, especially on the serene ‘Bliss’ with John Legend. Taylor just oozes cool, and her ability to easily switch between fierce raps and emotional melodies – highly reminiscent of Lauryn Hill – was further demonstrated on 2018’s K.T.S.E. Despite being the most overlooked of the five Westproduced ‘Wyoming Sessions’ albums (including Kanye’s ye, Kids See Ghosts with Kid Cudi, and Pusha T’s Daytona), it remains one of the strongest R&B projects of the year, with silky, seductive vocals on ‘3Way’ to bold, empowering verses on ‘Rose in Harlem’. Taylor may not yet be one of R&B’s heavy hitters, but she’s a real, underrated talent.

TEYANA TAYLOR

ROB TUCKER

WYVERN LINGO

Wyvern Lingo have been making music together since they were children, and the bond they share is evident in their incredible harmonies. Their sound is clearly influenced by ’90s R&B, with vocals reminiscent of En Vogue in anthems like ‘I Love You, Sadie’ or ‘Letter to Willow’. On the other hand, more stripped back tracks such as ‘Used’ and ‘Snow’ show off their versatility as a band. Their eponymous debut album was released in 2018 and was met with success in their native Ireland, having recently been nominated for the RTE Choice Music Prize for Irish Album of the Year. They have a long history of working with Hozier – band member Karen Cowley featured on ‘In A Week’ on his debut album, and as a band they have been the support act at his show on several occasions.

Whilst their studio tracks are impressive, it is when playing live that they flourish, and they are definitely one to look out for on festival lineups.

BECKY DAVIES

With 23 years of experience as a symphonic and gothic metal band, Within Temptation is not done creating epic anthems for the repressed teen angst that still resides in many of us. Led by Sharon den Adel, the Dutch band is about to release a seventh album, the first single of which, ‘The Reckoning’, was released in autumn 2018. The longevity and popularity of the band, which goes beyond its home country, is most likely due to Sharon den Adel’s eternal youth, radiating to the other members and their work; her immutable voice, the lyrical melody harmonising with heavy guitar and drums, delivers the simple poetry of their lyrics. The latter may often remain open to interpretation, but overall injects to the listener a will to fight against whatever might be silencing their true potential.

Within Temptation take their time bringing their fans the best album possible. Yet every five years or so, offering in the meantime incredible shows, they give several lives to their songs through orchestral arrangements or acoustic releases. A great soundtrack to any sci-fi/fantasy series, their work is to be devoured without restraint. ,

LEA SOLER

WIT HIN TEMP TAT ION 16

GIRL

THE WOMEN TO WATCH

There was a huge lack of women involved in this year’s awards season nominations. Despite some wonderful films involving women being released (look no further than You Were Never Really Here), men dominated once again. In light of this worrying omission, our writers have put together a list of women you really should be watching right now:

Greta Gerwig

Emmy and Double Golden Globe nominee Issa Rae has received a lot of attention for her work on HBO TV comedy Insecure - based partially on her own life - for both her acting and writing, being the lead writer and producer of the show, as well as starring in the show’s lead role. In the next couple of years, she is going to be thrust into the limelight further and move into the world of film, as she is set to star in romantic comedy The Lovebirds alongside Oscar nominee Kumail Nanjani, as well as Tracy Oliver’s (Girls Trip) new comedy Little - the trailer for which was released last month and is set to be released in April of this year. Given her self-aware comedy style, support for other women in creative industries (often giving a voice to black musicians on Insecure’s season soundtrack), and her campaigning in the media for further representation for black women in cinema and television, Issa Rae is certainly one to watch.

For many years Greta Gerwig’s role in the film industry involved acting with the occasional cowriting credit, but her debut occurred in 2017 when her impactful coming of age story Lady Bird hit our screens. Her attention to detail does not go unnoticed as Saoirse Ronan articulates that it was Gerwig’s direction that caused the film to appear reminiscent of a photo album. The reception of this film exhibits her capabilities as a filmmaker, as it received countless award nominations and high praise from critics. The fact that Lady Bird was in fact Gerwig’s first feature film illustrates how she has entered the world of directing with a bang and will provide other aspiring female directors with the inspiration they deserve. However, Gerwig’s talents were certainly overlooked particularly at the Academy Awards, as the prize for Best Director went to Guillermo del Toro for The Shape of Water.

This sparked debate around the treatment of female directors during awards season and this dispute has become all the more relevant this year. Nonetheless, Gerwig refuses to let this dishearten her aspirations as her adaptation of Little Women is anticipated to be released next year. Hopefully this next picture will display all the charm and engagement of Gerwig’s exceptional directorial reputation.

Eleanor Robinson

Charlotte Rawlings

Issa Rae

Images courtesy of Patrick Ecclesine, Mark Mahaney, Matthew Kristall and Rich Fury

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POWER

Brooklynn Prince With a standout and Critics’ Choice Awards-winning breakout performance as Moonee in Sean Baker’s incredible A24 indie-drama The Florida Project, Brooklynn Prince is the name that everyone should be watching. At just eight years old (and she was even younger when shooting Baker’s film), Prince demonstrated incredible maturity alongside a childish charm that would make her slot effortlessly into any role designed for a child, with one scene in particular - when she starts crying, we start crying - proving that her acting talents reach far, far beyond her years.

Saoirse Ronan Saoirse Ronan exemplifies the talents of the women in front of the camera and she is certainly one to continue to watch in the years to come. The American-Irish actress has been on our screens since 2003 and her time in the film industry began when she was just 13 years old. Her career has escalated in recent years with her appearances in award-winning pictures such as Brooklyn (John Crowley, 2015) and Lady Bird (Greta Gerwig, 2017), both of which encapsulated the traits of a strong female protagonist. Her performance in Lady Bird quite rightly won her a Golden Globe and her career has been taken to new heights ever since.

But apparently acting isn’t quite enough for Prince; oh no, she’s just started (with the help of the aforementioned Baker and cinematographer Ben Loeb) directing her first short film too. In an adorable Instagram post, she wrote that it is her ‘dream’ to ‘become one of the youngest directors of all time’. To have achieved that at eight years old is quite something, and if her directing skills are anything like her ability to act, Brooklynn Prince is going to become one of the biggest names in film before she’s even hit her teens.

The beauty in Ronan’s ability as an actress lies in her versatility, whether she’s playing a troubled teen from Northern California, or the strong-willed Queen of Scotland in her recent picture Mary Queen of Scots, she always succeeds in portraying unconventional characters with ease and dedication. Ronan is an admirable role model for young girls as she carries herself with confidence and her interest in working with up and coming female directors has allowed other women to make waves in a male-centric industry.

Saoirse Ronan is certainly making a huge name for herself; you might not be able to pronounce it, but you’ll have no trouble remembering it.

Alice O’Hare

Charlotte Rawlings

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GIRL

EMPOWERING FEMALE CHARACTERS

ON TV

International Women’s Day is coming up on March 8th, and with the imminent cinematic release of Captain Marvel, what better time is there to give a shout-out to the best female characters on television? From Buffy the Vampire Slayer, to the Khaleesi Daenerys Targaryen, to sassy superhero Jessica Jones, the small screen isn’t exactly short of them. With that in mind, here are our esteemed Edge writers on their favourite TV women!

Leslie Knope, Parks and Recreation

Ellie Brain

Parks and Recreation is not only loved for its fastpaced humour and Office-esque side-glances, but for its celebration of strong women. The main protagonist Leslie Knope, played by the incredible Amy Poehler, works tirelessly as deputy director of the Parks & Recreation department in her local government, but is determined to rise up in politics and make positive changes in her town of Pawnee and, eventually, the whole of America. Knope prioritises her female friends, works ridiculously hard, and constantly pushes for equality. She is the epitome of strength; empowering herself and others around her. Off-screen, Poehler co-created Amy Poehler’s Smart Girls, an organisation that aids young people by emphasising “intelligence and imagination”. Poehler is a humanitarian, serving as Ambassador for the Worldwide Orphans Foundation and winning Glamour’s Woman of the Year. There is no doubt, if Leslie Knope was a real person, her and Amy Poehler would be firm friends.

Sansa Stark, Game Of Thrones

Rob Tucker

Everyone knows that Westeros is home to some of the strongest women on TV. But whilst people usually talk about Cersei’s ruthlessness or Arya’s badassery, I want to draw attention to Sansa Stark, who has undoubtedly had one of the best arcs in the show. Back in Series 1, she was a bratty, naive girl who did little more than cry.

Since then, she’s been beaten, raped, and married to a sadist - twice! She’s even seen most of her family killed, and has still emerged as the regal, calculating Lady of Winterfell. This culminated with her finally outwitting Littlefinger in the last series, proving that, without ever wielding a sword, she’s learned to play the Game of Thrones as well as anyone. Sansa has become a worthy heir to Ned Stark and, once the final series is over, is more than likely to emerge as the rightful Queen in the North.

Images courtesy of NBC, HBO, Shaw Media, ABC and Casey Silver Productions

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POWER

Lagartha, Vikings

Louise Chase Lagartha from Vikings proves herself to be a tough cookie right from the show’s opening episode. She forges her own path throughout the series, with her trials and tribulations leaving an increasingly stronger, more formidable woman.

She does not do this alone, either. In later seasons she finds herself surrounded by her shield-maidens, and supports the women beneath her command. She’s not without flaws, though. Her brash temper has led her into trouble before, and will likely do again - something that an Earl will probably need to reign in a little in the future (perhaps a later character arc?). But every good character has their flaws, and this is just hers - a flaw that is likely for a warrior race like the Vikings. If anything, her temper makes her a more human character, and her diplomacy is to be admired all the same.

Meredith Grey, Grey’s Anatomy

Ottilie Young

Meredith Grey is a strong female doctor on the popular medical drama Grey’s Anatomy. Portrayed by Ellen Pompeo – an equally courageous woman, who constantly uses her platform to raise awareness of discrimination in society – Grey has faced many challenges in her life that have led her to becoming the powerful and talented person she is.

She has dealt with familial loss on many levels – losing her husband, mother and sister – as well her own inability to conceive. No drama would be complete without its fair share of disaster: she has survived a bomb, a gunman, a plane crash, and an explosion. Yet, she remains a rockstar in the hospital and a hands-on mum – and, with her veritable village of support from all of the doctors at the hospital, she really is capable of anything. Grey has shown us just what she’s made of, and is the success of a show which is now in its fifteenth series. Meredith Grey is the very definition of inspiring.

Every Female Character, Godless

Tash Williamson

This humdinger of a one-off western is just seven episodes long and tells the story of the women of the town of La Belle.

When 83 men in their town perish in a mining incident, the women take over. They have to fend off unwanted attention from a corporation seeking to take control of their mines, swindle them out of its fortunes, and integrate themselves into the lives of these women as their “saviours”; they have to defend their town from an evil band of outlaws; and they have to negotiate all this while dealing with their grief and their loss without the aid of a pastor. They may not always agree but they have each other’s backs against those who want to exploit what they’ve created. From Mary Agnes (Meritt Wever), who quite enjoys the freedom that a pair of trousers and a shotgun offers a woman, but who can be just as vulnerable to the pangs of love as the next person, to Mary Fletcher (Michelle Dockery) and her bravery and obstinacy through adversity and ostracism, they form a united front of compelling and clashing individuals.

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GIRL

CLOSER TO THE EDGE:

OUR FAVOURITE LIVE FEMALE ARTISTS

JORJA SMITH

JULIA CUMMING

HEATHER

BARON-GRACIE

With her recent Grammy nomination for Best New Artist, Jorja Smith has well and truly cemented herself as one of the most exciting artists currently in the music industry. After seeing her perform last year at O2 Academy Brixton, it is clear how well-deserved her success is, and how extensive her talent is - Smith’s debut album Lost & Found was a perfect reflection of her unique tone and vocal range. The concert was filled with other artists eager to support her growing career - Maverick Sabre, Loyal Carner, and Stormzy to bring the house down. Her performance was intimate given the size of the venue, but she kept complete control of the room.

Her standards for vocal perfection were high, and she had no problem in cutting off the band and restarting a song when she felt that it hadn’t started well. Most of Smith’s songs are personal and emotional, but at the gig she included an upbeat remix of one of her best known songs, ‘On My Mind’, demonstrating her versatility and ability to hold a crowd. There is no doubt Jorja Smith will continue to grow and evolve after the success of her debut studio album.

Ellie Brain The lead singer of Sunflower Bean may only be twenty-something, but Julia Cumming’s stage presence and raw vocal prowess go beyond her humble years. Her voice is timeless, simultaneously recalling memories in the listener of the classic rock of the likes of Fleetwood Mac and redefining the genre. Whether she’s reciting ‘Only A Moment’ in all its slowly-building glory or attacking the no holds barred numbers like ‘Come For Me’ or ‘King of the Dudes’, her vocals are effortlessly dynamic. On stage, it’s not just her voice and natural stage presence that capture a crowd. Her visually appealing and distinctive costumes mesmerise the audience whether she’s up on stage or moshing amongst them. In Julia Cumming, Sunflower Bean has a formidable front woman.

Tash Williamson Pale Waves’ lead singer and guitarist Heather Baron-Gracie is unabashedly herself on stage and the confidence that she emanates is infectious.

Together with her band she can get a whole crowd screaming their hearts out within one song and make even a supporting-act slot feel like a headlining performance. If you get to see Pale Waves live you’ll notice the sheer amount of energy that they give off and hear some awesome tracks that will have you feeling like a moody teenager all over again (or you know, the moody teenager you still are). What makes Pale Waves really stand out though is that you can tell they enjoy their own music. This might sound silly (surely every artist likes their own music?) but there’s a passion that goes into their artistry that makes them undoubtedly worthy of being on this list. As for Baron-Gracie? She is an exceptional leading lady who has more charisma than she does black lipstick - and that is saying something!

Amber-Louise Large Images courtesy of Colors, Cara Robbins and Dirty Hit

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FILM

#METOO

TREND OR TRIUMPH? ELEANOR ROBINSON

#MeToo has not gone away. However, you’d be forgiven for thinking that was the case, as it may appear that the rise of the movement has fallen into the past with the film industry barely acknowledging its presence in this year’s awards season in comparison to last year.

No longer simply a feminist movement, #MeToo has ballooned in the public media and as a result is now used as a representation for accountability - but the film industry is currently failing at holding the correct people accountable for their actions. The Golden Globes last year saw women dressing in black to support the movement, with the majority of awards shows that season featuring numerous speeches advocating the movement and guests bringing activists to the event to walk the red carpets. The nominations themselves seemed to reflect a shift in the industry, with women and people of colour appearing to be receiving at least a portion of the recognition they deserved.

Instead, the nominations for this year’s round of awards seem to be an example of one step forward and two steps back. Whilst the Golden Globes this year have shown improvement in some way - namely and interestingly in the television categories - they also have shown some massive failings in awareness and ability to recognise the filmic achievements of women. As well as the complete absence of women from the directing category, women were few and far between when it came to the nominations for both the two most coveted awards shows: the Globes and the Oscars. There has been success for women in the film industry this year, with women-led films dominating the box office, women being given major industry opportunities such as Anna Boden directing Captain Marvel and films led by women (such as Widows, Annihilation and Ocean’s

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8) all garnering widespread critical praise and, in some cases, huge box-office rewards.

However, all this success has been overshadowed by the praise given to undeserving, or at least, notas-deserving men. The elephant in the room, Bryan Singer, was notably absent from the awards show in which his film Bohemian Rhapsody won Best Motion Picture (Drama), the Globes. This can only be due to the repeated accusations for sexual assault on both adults and minors, a fact that has been in the public media for nearly three years. Singer was also fired from the production as he reportedly caused a hostile environment on set and failed to show up for work.

How is it possible, then, in a year when films such as Leave No Trace, Mary Queen of Scots and Can You Ever Forgive Me, as well as the impeccable You Were Never Really Here, all directed by women, are snubbed to give recognition to a critically mediocre Hollywood biopic made by an accused offender?

It is not just awards shows where men with a history of (and in some cases are proven to be) offenders of sexual misconduct and abuse are still being acknowledged and praised. Roman Polanski, Woody Allen, James Franco, Casey Affleck, James Gunn have all been accused of crimes ranging from admitting to raping a child (Polanski) to tweeting rape jokes (Gunn), yet are still continuing to work and receive praise. It’s all good giving women a pat on the back every now and then for their efforts, but with problematic men continuing to be recognised by the film industry, there is clearly a long way to go before a balance of accountability and equality is reached.

FILM

The Rise of the

netflix original IS CINEMA DYING? JACK NASH A few years ago, Netflix was nothing more than a postal movie delivery service, a million miles away from the streaming powerhouse that we now know and love. But has this growth of Netflix as a multimedia platform encroached on our cinematic viewing preferences?

With many new films being funded by Netflix and hence given exclusivity to stream on the platform, does this take away from the excitement of going to the cinema?

To me, a trip to the cinema is an event. Going to get a slushy and some popcorn before struggling to find your seat, only to discover it has been taken by another random person. The trailers, and the general ambience of the feeling of being able to have an experience instead of watching it on the sofa. However, some of the biggest releases of 2018 were exclusive to Netflix, even some award nominees such as Roma and The Ballad of Buster Scruggs and mega-hits like Bird Box. Would these have been more successful on the big screen? For Roma, the backing of the film by Netflix was a good move, as it opened up an example of non English-language, artistic filmmaking to an audience who probably wouldn’t have chosen to pay to see it. Bird Box on the other hand, may have been even more successful on the big screen. It has all of the features of a box office hit: big Image courtesy of Netflix

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name stars (Sandra Bullock and Sarah Paulson), a post apocalyptic nightmare, and enough suspense to kill a nervous hamster. Having already racked up at least 45 million views on Netflix, it would have been a goliath of the 2018 cinema scene to rival Bohemian Rhapsody.

So what is the appeal of Netflix over that of going to the cinema? Well, as the nights get colder, nothing beats snuggling up on the sofa with a hot chocolate in hand ready to watch the latest addition to the giant’s repertoire of original movies. Netflix has always tried to keep up with current trends, changing how we view and define film. Last year, Netflix released a feature length episode of dystopian hit series Black Mirror, with one simple catch: it’s interactive. Viewers played along on their devices, twisting and turning their own plotlines, which would never happen in the cinema.

But does the rate at which Netflix adds content impact on the decline of cinema? Not really, because the platform only releases a couple of new, original movies per month - the rest are releases from a couple of years ago. Therefore, if you are looking to view the latest releases, the cinematic experience is always the right way to go. The cinema will always be the choice of the film buff.

CULTURE

HOW TO FIX:

With Series 12 not airing until 2020, I expect showrunner Chris Chibnall will have plenty of time to ruminate on what didn’t work about the last series. Here’s three things he should do when the show comes back next year.

1) Consider the Doctor: The Thirteenth Doctor’s characterisation has been markedly weak, and almost non-existent. Despite a strong first impression in ‘The Woman Who Fell to Earth’, Thirteen is forced to spend most of Series 11 acting as a fusion of Tennant and Smith’s Doctors, with no unique characteristics of her own. The lack of character seems to sadly be affecting Whittaker’s performance, as it seemingly leaves her with nothing to do except make exaggerated gurning facial expressions. Suffice to say that Series 12 needs to give Thirteen some proper characterisation.

Perhaps give her a brutal, high-stakes story (the kind that this series was sorely missing) that will be able to really challenge her, and show us her true self (like Eccleston’s ‘Dalek’, or Tennant’s ‘The Waters of Mars’). Because I certainly don’t want to look back at Thirteen in ten years’ time, and only remember her as “the woman”.

2) Give Yaz something to do: Modern Doctor Who’s format just cannot allow for three companions in the same way that classic Who did. While Ryan and Graham were limited in their development, they at least had a purpose and character arc for the series. On the other hand, Yaz has no real reason for being part of the team. She spends most of the time standing in the background, making occasional remarks, looking in amazement at the Doctor, and giving Tumblr a reason to ship the two together.

If Chibnall isn’t planning on just ditching her in

Series 12, then at least give her something to do.

Much like Thirteen, put her in a difficult situation that will really test her. Perhaps use her status as a police officer to some effect (She’s a police officer, remember? Clearly the writers don’t.). There’s still potential for Yaz as a character, and I’m sure Mandip Gill will be grateful for the opportunity to really express her abilities as an actress.

3) Bring on the monsters: As much as I love perennial favourites such as the Daleks and Cybermen, I was glad to hear that Chibnall would not be bringing any previous villains into Series 11.

It would be great to allow the incoming writers to create their own iconic villains. Maybe one of them would have a Weeping Angel level of greatness in them.“Tim Shaw” was a typical first episode villain, and was executed reasonably well in ‘The Woman Who Fell to Earth, but the subsequent villains left a lot to be desired. The Remnants and Krasko were underwhelming antagonists; although freaky for arachnophobes such as myself, the giant spiders were fairly standard beasts; the P’ting was just stupid; and the Morax were derivative and boring.

This series’ Rogues’ Gallery was the worst in new Who, capped off with the finale bringing back “Tim Shaw”, who’s just laughable as a big bad. ‘Resolution’ made good use of the Daleks, so there is a possibility that Chibnall’s making steps in the right direction. I would like for the production team to stretch their boundaries and get creative with their villains from this point on. They should find interesting ways of reinvigorating old villains, and create new villains that are both interesting and scary.

Christian Wise Image courtesy of BBC Studios

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CULTURE

THE DECLINE OF THE GAMING PATRIARCHY We’ve come a long way since the release of Tomb Raider in 1996. The age of one-dimensional, oversexualised women in games has been and gone.

However, have we reached full gender equality in the video gaming industry, or is there still more work to be done?

The ‘90s brought us many video game triumphs, such as Zelda, Pokemon and Metal Gear Solid. All these games have one thing in common; a lack of female representation entirely, due to a reliance on male protagonists and the portrayal of female NPCs as damsels in distress.

Over the years, video games have relied less on the sexualisation and helplessness of female characters and more on gameplay, graphics and a strong character arc. There are so many examples of this sort of success. Most notably for me is the introduction of Ellie in The Last of Us, released back in 2013. Ellie represented something new in video game writing and characterisations; although the protagonist of The Last of Us is Joel, a male, Ellie still has a major impact on the game. She is a likeable character central to the coming-of-age storyline in a post apocalyptic world fighting for survival, showing the best of humanity even in the desolate times in which The Last of Us is set. There was no alternative to the use of a teenage girl in The Last of Us to give such vunerability and yet such strength, within a character which, more than five years on, is one of the reasons many players return to the game.

Ellie gives a female character such prominence in a mainstream game, going against stereotypes and providing depth to the narrative.

However, it’s not always supporting characters which give games gender diversity. In recent years, as the number of female gamers has increased, so have the number of games which give you the Image courtesy of Naughty Dog

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option of playing as a female protagonist. Pokemon employed this tactic in the early 2000s; however, it took a while for other developers to latch onto this simple change that makes a world of difference.

Probably the best example of this is Commander Shepherd, the main chaaracter in the Mass Effect franchise. At the beginning of the game, you decide whether to play as a male or female avatar. The amazing part is, unlike most video games which have subtle differences in the gameplay depending on the sex of the protagonist, the storylines and gameplay between male and female Shepherd are identical, which is perfect, as the sex of the main character shouldn’t impact the gaming experience.

The issues regarding women in gaming aren’t just planted in the games themselves. There are remarkable differences in the responses to male and female Twitch streamers by viewers. For those of you unaware of the video game streaming platform, viewers can make short comments while the gamer is streaming. According to a 2014 study

by Indiana University, female gamers streaming on Twitch were most likely to receive sexual and toxic comments, compared to that of males who received comments based on their gameplay success. This shows that there are deeper-rooted problems in the gaming community towards female representation.

The toxicity and straight up misogyny towards casual female gamers is scary. So how can game developers overcome this? Stricter punishments and bans for offensive players. The gaming industry may have tackled the portrayal of female characters in video games, but the repercussions of years of a male-dominated market have made life even more difficult for female gamers, and bring with it new challenges for developers to face in the coming years.

CULTURE

ABI CUTLER

CULTURE SHOCK:

THEATRE’S DIVERSITY PROBLEM Theatre has always had a complicated relationship with diversity. Can any production satisfy an audience by portraying men and women, black and white characters, characters from across the entire LGBTQ+ spectrum, all at once? The answer here is probably no, as specifically focussing on all of these groups couldn’t fit into two and a half hours. So how diverse is theatre really?

Back when Shakespeare was writing for the Globe, most female roles were played by men, for no other reason than because it was illegal to have women in the theatre. Of course, we have progressed massively in gender equality since then, and we now see cross-gender casting occurring for any number of reasons, especially in plays – and, in keeping with the trend, particularly with Shakespeare. In 2012, an all-male production of Twelfth Night starring Stephen Fry and Mark Rylance was awarded several five-star reviews for its brilliant ensemble work, and Donmar Warehouse’s all-female Shakespeare ‘trilogy’ of Julius Caesar in 2012, Henry IV in 2014 and The Tempest in 2016 was critically acclaimed as paving the way for gender-blind casting.

Turning to other writers, in 2017, an all-male production of Oscar Wilde’s The Importance of Being Earnest in Belfast was heavily criticised over its trailer, which allegedly aggravated the gay stereotype. Yet last year’s all-male tour of Gilbert and Sullivan’s Iolanthe - its setting adapted to its casting as a group of naughty school boys are transported to a magical world - saw a fantastic reception.

Notably, it is rare to see this sort of criticism for allfemale productions, for instance 2017’s all-female production of Posh, a play about the exclusive, menonly, Bullingdon club at the University of Oxford which became the source material for the 2014 film, The Riot Club.

Just over two weeks ago Brittney Johnson became the first black actress to play Glinda in the Broadway production of Wicked, the first time a black actress has played the character in any English-speaking production of the show. The Broadway production has been playing for over 15 years now, so this is a massive step in the right direction for colour-blind casting. But while the industry is making progress in this kind of casting, with more and more black actors being cast in roles where a character’s race is irrelevant, there are of course productions in which actors from racial minorities are intentionally cast.

The most obvious of these is Hamilton, Lin-Manuel Miranda’s global hit, in which the non-white casting of key historical figures from the American Revolution is colour-conscious rather than colourblind. The problem comes when a well-known historical figure like George Washington, who was a renowned slave-owner, is portrayed by a black actor: it asks the audience to forget history. Would it not be more representative to portray figures from the revolution who were actually black or from another racial minority, and focus on them?

As for the inclusion of LGBTQ+ roles, many gay and lesbian roles exist, but more could be done within the industry to represent the entire community.

Perhaps this is the next boundary to cross: more plays and musicals written including sexualities other than heterosexual and homosexual, and more productions casting transgender actors, which is something we see very little of. Diversity in theatre is always a tricky subject: should casting be gender/ colour-blind or conscious? Does the subject matter call for a change in casting? Should we just leave old work as it is and focus on making new work more inclusive? Theatre exists to represent the human experience in one way or another; ultimately, diversity in theatre should be utilised to represent everyone.

Image courtesy of Shakespear’s Globe

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CULTURE

Hidden Gem:

FEMINISTS DON’T WEAR PINK

and other lies

Without question, the last few years have seen a huge rise in support for the feminist movement across the world.

The election of President Trump to office, the accusations that have surfaced about Harvey Weinstein – and other men in Hollywood – as well as the continued lack of equal pay across several sectors of work, means that more women are endeavouring to find their voice, and use it. In 2019, I am certainly proud to be a woman, and a feminist.

Feminism has many negative connotations. People assume that everyone who claims to be a feminist is an extreme example of the word, burning their bras, wearing no make up, and shouting in the streets. But that’s simply not true the word itself means belief in gender equality. Being a feminist is nothing to be ashamed of; being a feminist makes you incredibly strong. In 2018, an incredible book was published by Penguin, entitled Feminists Don’t Wear Pink, and Other Lies. This book was curated and forwarded by Scarlett Curtis, an activist born into a talented family. She opens by discussing her own journey to realising she was a feminist – helped by understanding that she could still wear makeup whilst fighting for her rights. After discussing the stages of feminism, the floor is open.

By that I mean, the remaining chapters are all written by brave and powerful women discussing what “the F-Word means to them”.

Contributing authors include her close friend Saoirse Ronan, Adwoa Aboah and Skai Jackson. In fact, over 50 incredible women have come together to share their experiences and their journeys to fighting for women’s rights. Audition processes, school experiences, comparisons and ultimately journeys of discovery are all drawn upon by all kinds of women who want to share their stories to help others. This raw retelling of personal tales of discrimination, empowerment and adventure not only sheds further light on a topic gaining more attention by the day, but it can also serve as inspiration to young girls – and boys – across the globe, as they grow up in this new world. This better, more equal world.

The book came at exactly the right time, with the support of the charity Girl Up, an organisation championing women’s rights, with all of the money from sales going towards them. With humour and honesty at its core, this book is the perfect read. As International Women’s Day 2019 fast approaches, it is even more important for women to stand up and take control of their future. But they - we - cannot do it alone. Feminism isn’t just for girls, or mums, or history. Anyone can be a feminist, it is not a dirty word. Anyone can believe in gender equality, and anyone can fight for it. So, give this book a read and realise the truth behind the word, and together we can make this f-word acceptable to all.

Ottilie Young 28

Image courtesy of Scarlett Curtis

LIVE

LIVE ACT IN FOCUS

NINA NESBITT

Jed Wareham

Nina Nesbitt is much more than just a pretty-faced Scot, she also has a voice completely unparalleled to any.

and often encompasses her guitar abilities by bringing her guitar on stage for particular songs of hers.

Although she currently only has one album (at the time of writing), Peroxide, which was released back in 2014 when Nesbitt was just 19, she has enjoyed good commercial success with later singles such as ‘The Best You Had’ and ‘Loyal to Me’, as well as recent EP Colder.

Even with only the one album in her arsenal, she has a remarkably devoted and loving fan base who like to follow her on every show she plays. Her own singing is often overpowered by the sheer volume of her fans singing lyrics with her, which only helps to provide evidence for the aforementioned fact. Fellow Scot legend Lewis Capaldi recently took Nesbitt with him for his 2018 tour around the UK and Europe, but it’s not the first time a big name has shared a stage with her. She has also recently toured the US with Jake Bugg as well as playing shows with artists like Jesse McCartney and James Arthur.

Despite the mainstream success and having over 5 million monthly listeners on Spotify alone, the West Lothian singer likes keeping her live performances intimate. Centre of the stage with little to no backdrop is exactly where Nesbitt is in her prime. Even when she has a band playing on stage with her, she still entices the attention of all eyes and ears in the venue to her. Her voice is one that is instantly recognisable; something that is very impressive given her somewhat lack of musical releases, but this is why Nesbitt is so talented. Her charming vocals sound so elegant when performing slow tracks such as ‘Somebody Special’, but her voice also excels with more up-tempo tracks like ‘Loyal to Me’. Nesbitt is somewhat a Jack-of-all-trades when it comes to musical performances. She is more than capable of exploiting emotions with her slower and more delicate songs but she will have the audience wiping the tears away and bouncing along to the next upbeat and empowering anthem that she plays. Unlike some pop artists, Nesbitt is a true singer-songwriter

Nesbitt’s voice and songwriting talent sets her apart from the rest in the scene. She is no stranger to performing live and is arguably a singer best enjoyed live too. Seeing her perform live feels different; it triggers a set of emotions and happiness that you don’t often find from many performances. With the release of her second album, I am sure Nina Nesbitt will continue to enjoy mainstream success and I truly hope her album gets the high chart position she deserves.

If you find yourself with an opportunity to see this amazing woman live, do not pass up on it - you will most definitely regret it.

Catch Nina Nesbitt when she returns to the UK on tour in April.

Image courtesy of Universal Music Group

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LIVE

LIVE ACT IN FOCUS

THE RUNAWAYS Many may know who Joan Jett is; an icon, a symbol, a “queen” – she makes it look easy. Persistence paid off as she is now inducted to the Rock Hall of Fame, but she underwent rejection over 20 times before finally having ‘I Love Rock and Roll’ played on the airwaves. In the ‘70s, it was a battle that many female artists had faced and one that a teenaged Joan Jett went on to tackle with The Runaways.

Active from 1975-79, the band failed to be commercially successful in the US, but were popular elsewhere, specifically Japan. In those short four years, this all teenaged female band released three studio albums and one live, thus demonstrating female creativity and drive that the US was not ready for. Despite this, the band went on to tour America by opening for the likes of Cheap Trick, Van Halen, The Talking Heads and Tom Petty and the Heartbreakers… who were playing to sell out shows!

Characterised as hard rock, punk rock and glam punk, The Runaways were very much a part of the punk movement. Typically associated and established within the West Coast punk scene, they went on to network with mostly male punk bands such as The Ramones and The Dead Boys, as well as British punk bands such as The Sex Pistols and The Damned.

Although it was a male-dominated scene, The Runaways defied the odds as they had toured the world, made contacts with other bands to help establish Image courtesy of Gab Archive and Redferns

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their reputation, wrote their own songs and played their own instruments whilst establishing their great showwomanship. Punk is seen as a way to express one’s differences that others may not understand, but each member would pattern herself after her idol, therefore signifying to the audience a similarity by almost becoming that person: Currie on David Bowie, Jett on Suzi Quatro, Ford a cross between Jeff Beck and Ritchie Blackmore, West on Roger Taylor, and Fox on Gene Simmons. These idols of theirs created music and their persona as a form of an expression; now The Runaways will capture that spirit and preserve it for future generations to come.

They faced many obstacles on their way to fame but nonetheless, The Runaways became a symbol of female power. ‘Cherry Bomb’ is an unappreciated female anthem that not only captures female sexuality, but also the angst of all teenagers. In doing so, they were able to reach out to the marginalised punks, but also broaden their audience to females in general. The subject matters of their songs were unapologetic and liberating as the shift in gender attitudes continued to change thereafter.

Even today, The Runaways’ legacy is evident as more and more young women take to writing songs or compositions to break into the music scene. They faced adversity, but if The Runaways can do it, so can you.

Joanne Lisney

LIVE

Review:

HER’S

at Heartbreakers, Southampton There’s something magic about Her’s, and it’s not just the talent the Liverpool duo brings to the table. It’s something about their relationship – their openness and camaraderie with each other and the crowd – that makes them so downright loveable.

It was a case of the right band at the right place; the two-man group were the perfect gig for the cosy Heartbreakers. Chatty and energetic, the duo kept the sold-out venue loosey-goosey all night long, swaying and dancing flat out to their alluring dream pop.

We started with support from Paddy McCaddy, sans full band Happy 2000 and sans hair. His rough and ready acoustic set didn’t really fit with the dreamy outfit to come, but it didn’t matter. The Southampton local more than held his own on stage solo, but a commanding stage presence and voice seem par for the course with this young musician.

Sinking down to the floor back to back or banging out a slick bass solo crouching down with the crowd, Desperados fuelled hijinks were the welcome order of the night. Armed with their guitar and bass respectively, Stephen Fitzpatrick and Audun Laading fooled around with each other and the audience to create some sexy soundwaves.

Their 2018 debut album Invitation to Her’s comes alive with all the quirky characters that populate it.

Some of these made appearances over the course of the night and offered us a warm and slightly sweaty introduction. There was ‘Harvey’, a song about friendship dedicated to Jimmy Stewart’s invisible bunny of a best friend in the 1950 film of the same name, as well as ‘Mannie’s Smile’, which Fitzpatrick explained was written about his cat. But for all the positive vibes and goofy fun, there were some sallads too, as it were (their inspired abbreviation of a sad ballad), including the touching ‘You Don’t Know This Guy’. The phrase “you can’t have a rainbow, without a little rain” comes to mind. Their set was dynamic and uplifting, but it was heartfelt too. They’d planned the whole night out for us with a perfect melange from both their debut album and their 2017 collection Songs of Her’s.

‘Love on the Line (Call Now)’ and ‘If You Know What’s Right’ were ace, and they played all the hits too, ‘Cool With You’, ‘What Once Was’ and ‘Marcel’.

They ended the night with the invigorating and climactic ‘Boy Racer’. That was, not before Laading showed a bit of skin to give his calves a well needed airing. Bopping and sliding all over the shop, the energy and rhythm didn’t just come from their music, it oozed out of these lads and infected you where you stood. I won’t be needing an invitation to go back to Her’s again. I’ll be there.

Tash Williamson Image courtesy of NME

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LIVE

Review:

THE WOMBATS

at O2 Academy, Bournemouth It was a wet and slushy Tuesday night when we set out to see The Wombats in the glorious O2 Academy in Bournemouth. The upper circle and boxes in the heavens made you feel nice and snug down in standing below, and the room got cosier as more and more fans spilled into the venue.

Support band Blaenavon were met by an enthusiastic crowd. The Hampshire trio and their indie rock came alive on the stage, and we all appreciated lead singer Ben Gregory’s luscious shiny locks. Their music was euphoric, reflecting in the joy you could tell they were getting from the keen gig goers.

The Wombats themselves were faultless and their setlist immense, in terms of both size and quality, but they can’t put a foot wrong with a hoard of gems on every album they’ve produced, not least their latest, Beautiful People Will Ruin Your Life.

Their animated visuals were simple yet mesmerising as we bounced around the crowd, from the wombat -shaped ice cream scoops melting in cones for ‘Ice Cream’ to the hypnotic wombat of ‘Turn’. But when “The Wombats” popped up overhead in neon-like Japanese, huge balloons descended and confetti poured from the ceiling for ‘Tokyo (Vampires & Wolves)’, the revved-up crowd – warmed up with tunes like ‘1996’, ‘Techno Fan’ and ‘Kill the Director’ – found another gear. As did the performers, with a mad rendition of ‘Let’s Dance to Joy Division’.

Image courtesy of Sarah Louise Bennett

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Apart from a few lulls, the set had us compulsively dancing throughout and left us completely satisfied by the end – we’d had our fill and then some. Of course, lead singer Matthew Murphy – who was on point all night – did an acoustic version of ‘Lethal Combination’ which was just super-duper cute as everyone calmed down and waved their arms in the air. Ending on ‘Greek Tragedy’ proved a winner with the crowds too.

A shout-out also to bassist Tord Øverland Knudsen who was, as always, having a whale of a time on stage with an energy that he didn’t need to infect the crowd with – we had been showing symptoms from the off. Starting with the first song of the latest album, ‘Cheetah Tongue’, and the classic hit from their very first album, ‘Moving to New York’, is going to have that effect.

Not a second was wasted and the show was jampacked with as many of their greatest hits as they could possibly fit into an hour and a half. But far from relying on this impressive discography, the Liverpudlian three-piece gave a stellar performance.

The Wombats are certainly not going the way of the dodo any time soon. After over a decade in the game they remain the unrivalled British indie rock band.

Nicole Kalinowska & Tash Williamson

EDITORIAL

LISTINGS Live Music March 2nd – Skinny Lister @ The 1865, Southampton March 6th – Night Flight @ Heartbreakers, Southampton March 7th – Sea Girls @ The Wedgewood Rooms, Southampton March 8th – Kristin Hersh @ Engine Rooms, Southampton March 12th – Saint Agnes @ Heartbreakers, Southampton March 14th – James @ O2 Guildhall, Southampton March 15th – Pioneers @ Engine Rooms, Southampton March 16th – Plastic Mermaids @ The Joiners, Southampton March 21st – Neon Waltz @ Heartbreakers, Southampton March 24th – Sports Team @ The Joiners, Southampton March 27th – Dream State @ The Joiners, Southampton March 28th – Faber Whitehouse @ Heartbreakers, Southampton April 2nd – Clean Cut Kid @ The Joiners, Southampton

Theatre March 4th – 9th – Rain Man @ NST Campus March 9th – If All The World Were Paper @ NST City March 10th – If All The World Were Paper @ NST Campus March 12th – 16th – The Band @ Mayflower Theatre March 19th – 30th – Jersey Boys @ Mayflower Theatre March 28th – 30th – Class @ NST City Studio April 2nd – 6th – The Comedy About A Bank Robbery @ Mayflower Theatre

Comedy March 4th – An Evening with the Hairy Bikers @ Mayflower Theatre March 16th – Ardal O’Hanlon @ NST City March 17th – Shappi Khorsandi @ NST Campus March 29th – Seann Walsh @ NST City April 7th – Henning When @ Mayflower Theatre

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