The Edge - Issue 6 (May 2019)

EDITORIAL

FESTIVAL

GUIDE 2019

GAME OF THRONES The hit series has come to an end. But is the game really over?

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Issue Six May 2019 Free

EDITORIAL

Issue Six Editor’s Note

The Team

For lack of a badass Game of Thrones quote that doesn’t have the word ‘death’ in it, I’ll cross the street to Marvel: ‘We’re in the Endgame now.’ As Westeros prepares for its very last battle for the Iron Throne, we give you the last print issue of the academic year before The Edge’s throne passes on (peacefully) to a very talented new team.

EDITOR

Whether you’re reading this before or after the Thrones finale (God I hope Jon’s not dead, otherwise this cover is going to make me cry forever), it’s undeniable that the HBO hit series has been nothing short of a phenomenon, making TV history with every episode. But in an industry where remakes and spinoffs are inevitable, where is the world of ice and fire headed? We try and answer this question from both a TV and a literary perspective on pages 29 and 30.

Ellie Brain

Although it may be winter in our hearts right now (because of exams, I obviously know there are other things apart from Game of Thrones), we celebrate the arrival of Summer 2019 with our annual Festival Guide (p. 14). With a selection of previews and flashback reviews, our writers bring on the excitement for the festival season which is guaranteed to put you in a summery mood. As is the rest of the issue - we take summer very seriously here at The Edge, so we’ve got a wide range of summer songs (p. 7), summer films (p. 23), and summer TV episodes (p. 27) for you to add to your list.

As always, we have the usual entertainment goodness to top it all off. From an in-depth look at everyone’s favourite social media goof Lewis Capaldi ahead of his debut album (p. 9) to speculation about the future of Marvel (p. 26) and the upcoming live-action remake of The Lion King (p. 13), there’s plenty to look forward to in the next few months.

The same could be said for The Edge. A massive good luck to Jack Nash and his wonderful team who will be taking over in July - they have plenty of goodness in store for next year. The biggest thank you to this year’s committee and writers, whose dedication and talent have constantly taken The Edge to new heights, and to whom I will always be grateful. And finally, thank you all for joining us on this rollercoaster of a year - it has been an absolute pleasure.

Have a great summer!

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

29 Editorial

01 Welcome to Issue Six 02 Contents

News

03 Newsbox 05 Nostalgic News

Records 07 08 09 11 12

Closer to The Edge: Our Favourite Summer Songs What Makes a Summer Song?

Artist in Focus: Lewis Capaldi Hidden Gems: Working Out, Vacation, and Me An Introduction to Latin Music

Film 13 22 25 26

On Edge: Anticipating The Lion King Sun, Sea and Sitting Indoors Watching Movies Studio in Focus: Pixar Franchises in the Future: what can we look forward to in the post-Avengers era?

Festival Guide 2019

15 Festival Previews: July -August 17 Live Act in Focus: Hayley Kiyoko at Reading/ Leeds 2019 18 Acts to Look Forward to at South West Four 2019 19 Flashback Review: TRNSMT Festival 2017 21 Closer to the Edge: Our Top Festival Picks

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Makes a 8 What Summer Song?

Previews: 15 Festival July - August in the 26 Franchises Future: What Can We

Look Forward to in the Post-Avengers Era?

Culture

27 The Best Beach Episodes on TV 29 After Thrones: What’s Next for the World of Ice and Fire?

30 A Clash of Kings: George R. R. Martin and the Quandary of A Song of Ice and Fire 31 Treading the Boards: Big Name Actors in the Theatre 32 Save Room: Franchise Fatigue 33 Listings

Follow Us! /theedgesusu @theedgesusu @theedgesusu Front and back cover images courtesy of HBO.

THE NEWS

BOX

News in Brief

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Nuffield Southampton Theatres announces new play about The Hobbit pub.

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Stormzy, Kylie Minogue and The Killers to headline Glastonbury 2019.

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Streaming films still eligible for Oscars after vote at Academy.

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BTS become first Korean artists to top UK chart with latest album, Map Of The Soul: PERSONA.

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Star War IX: The Rise of Skywalker first trailer released, with cinematic release December 19th.

NEWS

Film streaming - the future of cinema?

After the Academy recently voted against changing their rules to make it more difficult for streamed films to win at the Oscars, it is apparent that the whole landscape of award season is changing. After Netflix’s heart-wrenching drama, Roma won three Academy Awards, more big names in Hollywood have been outspoken on who they believe should be eligible for receiving accolades. Steven Spielberg was one individual who strongly argued against streaming films.

There are arguments for and against allowing streamed films to be eligible for Oscars; they do still have to have a cinematic release – even if it’s limited – but their main platform will be on either Prime or Netflix.

The benefit of these streaming services is that the film is more widely available to all, not just those who have the time or money to go to the cinema. It also allows a more diverse range of cinema to be eligible for awards, not just the classic “Hollywood” type films that typically make the shortlists.

THE EDGE’S ENTERTAINMENT PICKS EDITOR - BIG LITTLE LIES, SEASON TWO, SKY ATLANTIC, 10/06/19 “After Season One took the world by storm, the Monterey Five are back this summer for more top-notch, edge-of-your-seat drama. If the quality of the first season is maintained - and chances are it will be, with a stellar cast including Nicole Kidman, Reese Witherspoon, and newly added Meryl Streep (!) - let’s just say we’re in for more HBO-inflicted TV bliss/heartbreak post Game of Thrones.”

RECORDS EDITOR – MARK RONSON – LATE NIGHT FEELINGS, SONY MUSIC ENTERTAINMENT, 21/06/19 “It’s been four years since we were “Uptown Funk’-ing out with Mark Ronson and co., and his next LP looks to be as melancholy as that record was carefree. Described as a collection of “sad bangers” by the DJ-turned-superproducer, Late Night Feelings sees Ronson yet again rally a star-studded cast of collaborators including Miley Cyrus, King Princess and Alicia Keys for what is set to be one of the biggest albums of the summer.”

FILM EDITOR - TOY STORY 4, DIR. BY JOSH COOLEY, 21/06/19 “Joined by new ‘toy’ Forky, the adventures of Woody and co. are far from being over. Few of us needed nor wanted another Toy Story sequel, but I’d be lying if I said I wasn’t excited for it anyway. After all, it’s Pixar, it’s bound to be great.”

CULTURE EDITOR - GOOD OMENS, AMAZON PRIME, 31/05/19 “The long-awaited adaptation of Neil Gaiman and Terry Pratchett’s hit novel is sure to set the hearts of all genre fans alight this summer. With an all-star cast led by David Tennant and Michael Sheen, I for one cannot wait for this show!”

LIVE EDITOR - CAMP BLOOD, NST CITY STUDIO, 21-22/05/19 “Inspired by 1980s slasher films, Camp Blood is playing at NST City Studio for a couple of nights in May and sees five friends return to an abandoned summer camp… I wouldn’t go to see this alone.”

Image courtesy of Netflix

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NEWS

NOSTALGIC NEWS 5 YEARS AGO

15 YEARS AGO

Ellis Murrell

Joe Williams

Ghost Stories was released

Shrek 2 was released

On the 16th May 2014, British indie rock band Coldplay released their sixth studio album, Ghost Stories. According to lead singer Chris Martin, the album was inspired by one of the darkest periods of his life - his split from ex-wife, Gwyneth Paltrow. The melancholy and sorrow that Martin experienced during this period is evident in each and every one of the record’s songs, a haunting track list that more than lives up to the promise of the album’s title.

With all the memes continually circulating online, it has become easy to forget how successful – both critically and commercially – the first two Shrek movies were in the early noughties. Shrek holds the esteemed honour of being the inaugural winner of the Academy Award for Best Animated Feature, but Shrek 2 is where the franchise peaked.

It is probably DreamWorks Animation’s finest and funniest work to date, still standing as their most profitable at the global box office.

With such classics as ‘Magic’, ‘Always in My Head’ and ‘A Sky Full of Stars’, the album debuted to enormous success, selling over 160,000 copies in the first week alone. However, perhaps due to the intimate nature of the album, Coldplay did not tour extensively as part of the promotion for the record, instead opting to appear only in a few smaller shows. Nevertheless, the album has gone down as one of Coldplay’s best, most experimental, and heart-wrenching works to date.

The sequel sees everyone’s favourite ogre thrown in the deep end into one of life’s most perilous situations: meeting the parents. Invited to the kingdom of Far Far Away to celebrate their marriage, Shrek and Fiona (and Donkey) have to navigate a hostile welcome when their hosts realise that they’re wilder than expected – and avoid the clutches of the Fairy Godmother, voiced deliciously in a star turn from Jennifer Saunders.

It’s a gem.

15 YEARS AGO Hot Fuss was released Vicky Greer

The Killers’ first album was released fifteen years ago on 15th June 2004. In other words, it’s been fifteen years since the joy of ‘Mr Brightside’ came into our lives. Hitting the charts in peak indie-rock 2004, Hot Fuss is both commercially and critically seen as one of the best in its genre, with the more popular tracks like ‘Mr Brightside’, ‘Somebody Told Me’ and ‘Smile Like You Mean It’ giving the band not just a brilliant debut record but also lasting success. And these tracks have a serious legacy, to the point that ‘Mr Brightside’ has appeared in the UK charts almost every year since its release, a part of our lives from the school disco to the club.

Hot Fuss was an undeniably strong debut from this indie-rock band. Even tracks with less commercial success, like ‘Andy, You’re A Star’ or ‘Glamorous Indie Rock & Roll’ are every bit as strong as Hot Fuss’ big hits. There’s no doubt that this first album was a fantastic start to The Killers’ lasting and well-deserved success.

Images courtesy of Clear Channel and Dreamworks Animation

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NEWS 20 YEARS AGO

Star Wars: Episode I - The Phantom Menace was released Rob Tucker

Two decades ago, the world held its breath for one of the most highly anticipated events in film history: the return of Star Wars, with Episode I: The Phantom Menace. The first entry in George Lucas’ new, prequel trilogy promised to tell the story behind the golden age of the Jedi, the birth of Luke Skywalker and how cinema’s most iconic villain, Darth Vader, came to be.

And then the film came out. With some terrible dialogue, worse characters and a boring focus on politics, Episode I was a disappointment for audiences, to say the least. But, for those of us who grew up with the prequels, it’ll always remain special.

It got a lot wrong, but The Phantom Menace expanded the Star Wars universe in a way that Disney’s current films have failed to do, whilst also containing - to this day - the best lightsaber battle in the franchise’s history. For all its faults, The Phantom Menace re-introduced Star Wars, 15 years after its conclusion, in a way we’d never seen it before.

30 YEARS AGO

Indiana Jones and the Last Crusade was released Louise Chase

The third movie in the franchise following the archaeologist played by Harrison Ford, Indiana Jones and the Last Crusade, was released 35 years ago in 1989.

The plot once again follows Indy, as he, along with father Henry Sr (Sean Connery) and Sallah (John Rhys-Davies) battle against the Nazis to find the infamous Holy Grail.

In Spielberg’s attempt to recapture the spirit of Raiders of the Lost Ark, the film takes its audience through some of the most iconic moments such as the Three Challenges and “No Ticket!” Scene.

If you ask anyone to name a famous archaeologist, Indiana Jones is likely to be their first response, and the influence of these movies are clear to see especially within the archaeology sector. Known as the “Indiana Jones Effect” the popularity of the franchise has led to a surge of people studying the subject at University and beyond. (As a archaeology student myself, I can add some weight in favour of this!) With an Academy Award for Best Sound Effects Editing under its belt, the third Indiana Jones film has cemented itself as an iconic movie of the 1980s.

50 YEARS AGO

The Very Hungry Caterpillar was released Jack Nash

There are a few books that everyone reads as a kid. We’re Going on a Bear Hunt, Elmer the Elephant and, of course, The Very Hungry Caterpillar by Eric Carle. The simple story of a caterpillar who eats more and more each day, before turning into a cocoon, only to emerge as a beautiful butterfly, captured my imagination as a child. And the strikingly bold colourful imagery to accompany such a magically simple story is breathtaking.

What’s amazing is that it’s relatable - going from eating one apple to binging junk food in a few days describes every time I try to go on a diet! Then he falls to sleep for ages, like me after eating my weight in cake! Unfortunately, I am not a caterpillar so I don’t turn into a butterfly (I just get fat) but it’s a lovely story and one that I’m sure will be told for generations to come.

Images courtesy of LucasFilms, Paramount Pictures and 20th Century Fox

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RECORDS

CLOSER TO THE EDGE:

OUR FAVOURITE SUMMER SONGS

Is there anything more joy-inducing than the perfect summer song? Something to truly take you back to lazy afternoons spent lounging by the beach and fun-filled road trips and adventures alike, we sure do love soundtracking our summers with upbeat, danceable tunes. Here are some of The Edge’s favourites.

CHILDISH GAMBINO - ‘FEELS LIKE SUMMER’ When it comes to the perfect summer song, you immediately think of something that’s uptempo and makes you want to dance - but what about Childish Gambino’s ‘Feels Like Summer’ and how it goes against the usual uptempo formula of summer songs? The slow but infectious record makes you want to lounge around in a pool with a cold drink in hand, simply letting the heat caress your face and all your worries fade away into the distance. I feel that this should be the song of the summer because it’s the ultimate relaxation song, and although summer is about having fun and doing activities, nothing beats just chilling around in the sun. The lyrics themselves promote the ‘relaxation agenda’ - ‘’Seven billion souls that move around the sun, rolling faster, faster not a chance to slow down’’ - we are constantly moving and stressing ourselves out and summer should be a time for us to press pause on our hectic day to day lives. ‘Feels Like Summer’ embodies this, hence why it should an all-time JASON LARYEA summer song!

BILL WITHERS - ‘LOVELY DAY’ When I think of summer, I think of hazy days surrounded by friends and loved ones.

Endless days that all seem to roll into one - no responsibilities, nothing to get home for. Bill Withers’ ‘Lovely Day’ encompasses everything I love about summer; the way it goes on and on in the best way. A groovy number with a catchy refrain, Withers’ relaxed tone always seems to capture my imagination, improving even the most monotonous day. The track holds the perfect balance of R&B, soul and funk. Whilst it is a love song, I don’t believe the lyrics only relate to romance - the song also seems to promote a positive relationship with life and making the most of each day. With the last “lovely day” at the end being sustained for a mind-boggling 18 seconds, it perfectly encapsulates how I feel about summer, dreaming for it to continue for as long as possible.

ELLIE BRAIN

VAMPIRE WEEKEND - ‘THIS LIFE’ Father of the Bride has barely been out yet (at the time of writing, it’s still a couple of weeks away), but already I can’t get this one out of my head when I look forward to summer. Vampire Weekend are masters at crafting catchy summer bops, from ‘A-Punk’ to ‘Holiday’ and ‘Unbelievers’, but with ‘This Life’ they’ve truly outdone themselves. Sure, the lyrics may be somewhat existential and a little upsetting if you dwell on them too long, but where ‘This Life’ truly flourishes is in the utterly danceable and upbeat instrumentation, which is up there with the grooviest they’ve ever produced. Not so much one for chilling by the beach like ‘Feels Like Summer’, ‘This Life’ is absolutely the song to soundtrack long summer road trips and pool parties alike, and I know that I’ll be hitting repeat on it throughout the summer months to come.

Images courtesy of Columbia Records and Glassnote Records

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SAM LAW

RECORDS

JASON LARYEA

WHAT MAKES A

SUMMER SONG? Summertime is the time most artists have their time to shine. In my opinion, summer should have its own separate Billboard chart, because summer is when artists tend to stamp their mark on pop culture. From Drake's 'One Dance' to Rihanna's 'Work' and Childish Gambino's 'Feels like Summer' - summertime is arguably the best season for music. Traditionally, the song of the summer is the song that spends the most time atop the Billboard Hot 100 or the Official UK Charts between May 1st and May 27th, so what does it take to have this position and be labelled a summer song?

Let's go back in time. Although most summer songs are usually uptempo and invoke feelings of happiness, confidence and just all around goodness, in 1998 'I'll be Missing You' by Puff Daddy and Faith Evans featuring 112 was the summer song of that year - an elegy to the death of well-respected rapper The Notorious B.I.G. This song went against the usual feel-good factor of what summer songs usually have, but seeing as the music industry had lost one of its most influential rappers, it worked as the song of the summer. Released within that May window, the world supported the message of 'I'll Be Missing You', which was essentially saying goodbye to a legend, inevitably leading to many plays and many purchases. With this in mind, a summer song that addresses what is happening in pop culture at that moment in time works just fine. In this case, 'I'll Be Missing You' made everyone deal with the death of Biggie much more easily, so a song that touches the hearts of people and also uplifts a legend is perfect for the summer.

On the other hand, the best - and usually most memorable - summer songs leave us with a dance craze Images courtesy of Cherry Tree and Matt Sayles

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that sticks in our minds over the summer. Take the summer smash 'Party Rock Anthem' by LMFAO: the phrase ''Everyday I'm Shufflin'' was definitely the most overplayed phrase of summer 2011, but yet we couldn't get enough - and we were all shuffling (some of us better than others, but shuffling nonetheless).

Another ingredient of the perfect summer song is catchy lyrics. Let's take Nelly's 'Hot in Here'. This song title itself coincides with the summer, whilst the chorus sticks in your head: “It's gettin' hot in here (so hot), so take off all your clothes / I am, gettin' so hot, I wanna take my clothes off ”. To this day, 'Hot in Here' gets played at every summer pool party and barbeque, and will arguably never go out of style. The same way that a knife and fork go in hand is the same way Nelly's 'Hot in Here' and summer go hand in hand; it is a summer essential.

Some other summer song essentials are hi-hats and some commanding horns - this particular instrument was introduced to us when Queen Bey herself released her first solo single 'Crazy In Love'. The legendary horn intro is recognizable anywhere, and although it was sampled from The Chi-Lites 'Are You My Woman', it's paired with Beyoncé whenever it’s played. The summer of 2003 belonged to Beyoncé as the horns and infectious hi-hats and unforgettable 'Uh-Oh' dance made 'Crazy in Love' the perfect summer song. It made people dance, it had catchy lyrics, and ultimately it made people feel good: all these elements make for the perfect summer song and Beyoncé, along with other artists before and after her, have made unforgettable summer songs using a similar formula.

RECORDS

ARTIST IN FOCUS

LEWIS CAPALDI Scotland has given us many great things over the years: Sir Chris Hoy, deep fried Mars bars and, of course, Lewis Capaldi. The Scottish 22-year-old has had a whirlwind couple of years. Since dropping his debut single 'Bruises' in early 2017, he has amassed over 300,000 followers on Twitter, and has become a household name. But how did he get to the notoriety that follows him today?

Since releasing 'Bruises' in March 2017, he was put on the list of BBC music's Sound of 2018, alongside Khalid and Billie Eilish. He was noticed by other celebs, and was asked by Rag'n'Bone Man to support him on his 2017 European tour. Following on from this, Capaldi went on to support more big name British artists, including Sam Smith, Niall Horan and Bastille. In between all the gigs and festivals, he also released his second EP Breach in November 2018. Breach contained his biggest hit to date in 'Someone You Loved'. Capaldi was also nominated for the Brits Critics' Choice Award, eventually losing out to Sam Fender. But what makes his music so enchanting?

His outstanding vocal tones, paired with the pithy emotions, ripple through each track. Take 'Someone You Loved' from his EP Breach. Although loss and heartbreak run through the lyrics ("And I tend to close my eyes when it hurts sometimes / I fall into your arms / I'll be safe in your sound 'til I come back around"), his voice amplifies all emotion in the words, hitting you harder than a bus going at 90 mph. This is why 'Someone You Loved' spent seven weeks at the top of the charts.

So when is he releasing his debut album? Luckily, we don't have long to wait. The album is expected to drop on 17th May 2019. It will contain all of his current content, such as 'Someone You Loved', 'Grace' and 'Bruises', and will be titled Divinely Uninspired to a Hellish Extent.

Capaldi stated when the album was announced that making the album was "an extremely good time that somehow managed to be extremely boring". This was due to Capaldi re-recording multiple tracks from the EPs for the album, but it looks to be potentially one of the biggest albums of the year, especially with such an unorthodox title.

His charm is not just restricted to his artistry, but also his social media presence. Capaldi doesn't glamourise anything; it's like looking at your mate's Twitter or Instagram accounts, with no filter selfies and brutally honest self-depreciating ‘Ask Me Anything’s. Even to this day, when he's so well known my mum knows about the infamous Lewis Capaldi, he keeps it real. And that's pretty damn commendable.

At age 22, Capaldi has sold out a UK tour (which is coming to Southampton in the autumn), had a #1 single, and is on the verge of releasing one of the most anticipated debut albums of 2019. Not bad, huh?

Divinely Uninspired to a Hellish Extent will be released 17th May 2019 via Virgin EMI. Capaldi will be touring the UK later this year on his debut headline tour.

Jack Nash Image courtesy of Universal Music and GMBH

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RECORDS TOM BREWSTER

WORKING OUT, VACATION, AND ME ‘Hidden Gems’ are my favourite things to write about – as nothing gives me quite the same joy as introducing someone else to music that’s important to me, sharing the excitement that takes place when hearing something unique and beautiful. The albums below are some of the first albums I ever saved to my Spotify, and even though my taste in music has changed a lot since then, these albums still hold a special place in my heart. I’m hoping that, perhaps, one of them might be a treasured addition to your own Spotify library.

Working Out was one of the first records I dared put on in my A-Level art class, and its universal acclaim from a group of notoriously picky art students is the finest signifier of quality I can muster. The debut album from the London-based Arthur Beatrice, Working Out has a pensive, minimalist atmosphere that recalls London Grammar and The XX in equal measure, and a hushed sophistication that suggests a talent and flair for songwriting unmatched by many other bands across their entire career, let alone a first try. It’s largely a pop album, but perhaps a pop album recorded in gallery, or an outmoded, dignified mansion. Delicately folded into each of these 11 tracks are plucked guitars, a steady rhythm section, and enough grand piano to fill all the concert halls between here and Venice. The binding core of the record, however, is the combined vocal talent of Ella Girardot and Orlando Leopard, whose voices glint like twinned strands of spun gold, complementing each other perfectly, serving as opposite ends of the vocal spectrum that play off of one another in the most gorgeous of fashions. Working Out is a record that strains for perfection – a contemplative and studied work that never quite managed to get exactly where it wanted to be.

Vacation is the sophomore album from Australia’s Big Scary – and is a strange work of art. Vacation is a half-

formed record, a messy progenitor of things to come and is aggressively unstylised and chaotic in its scattershot approach to music-making. It’s a vulnerable album – raw in its presentation and constantly oscillating between different sides of the emotional spectrum – the joyous clashes with the forlorn, the beautiful with the ugly, the angry with the calm. The patina of different states that daubs every inch of each track is plainly stated in the cover – splattered with scruffy patches of bold colour that represent the mishmash studio approach and juxtapositions of content that take place across its runtime. Radical shifts in tempo, style and flourish happen in the space between tracks – emblematic of a band finding their feet for the first time, trying on new sonic identities and seeing what suits them best. Vacation is a record that seems completely at ease with not having a concrete identity; it acts as a loose-fitting, shape-shifting auditory experience that stays as relatable and poignant now as it did when I first had the pleasure of listening to it.

Me is the debut record from Lorely Rodriguez, who performs under the name Empress Of. Empress ‘Of what?’, you may ask; to which there is only one answer.

Lorely Rodriguez is the Empress of bops. Me is packed, front to back, with some of the best synthpop hooks money can buy, each song latching onto the sections of the brain that just want to move. It recalls early Chvrches and Marie Davidson in equal measure, mixing them together into a dancefloor-ready swirl of analogue electronic goodness. But at the centre of the record is Rodriguez herself, sat calmly amongst her library of titanic synthpop bangers, quietly admitting her own personal foibles and insecurities. Me is the sound of getting lost in music – or rather allowing music to wash over the self and ebb away the doubts and struggles of being young, alive and ridiculous; Me is the sound of ‘danc[ing] yrself clean’.

Image courtesy of Sylvia Austin

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RECORDS

AN INTRODUCTION TO

LATIN MUSIC

Is there anything more relaxing than sipping a cool Corona in the sun soundtracked by sunkissed horns and syncopated timbale beats? It's an experience that us Brits aren't entirely used to - not least because of the usually dour weather on these isles, but also because of the stark lack of Latin music in our Spotify libraries.

But if the recent success of songs like 'Despacito' and Cardi B's 'I Like It Like That' remix are anything to go by, we are increasingly up for dipping our toes into one of the broadest, most emotional and most affecting musical genres around - and one that is perfectly suited for the summer ahead.

But where to start? The term "Latin music" casts a ridiculously wide net, encapsulating such disparate subgenres as bachata and bolero, salsa and in many people's eyes even more Hispanic genres like flamenco, so it can be difficult to know the best starting point - and don't expect the following list to be comprehensive by any means. At risk of leading you down a more-Hispanic path, however, I can think of no better starting place than RosalĂ­a's seminal 2018 album El Mal Querer. This is mainly due to its recognizability; lead single 'Malamente' received significant radio airtime following her fifth-placed finish in BBC's Sound of 2019 shortlist, and her feature on James Blake's 'Barefoot in the Park' produced one of the most beautiful moments of his already-beautiful Assume Form. Though far more flamenco than the later entrants in this list (especially so in her debut Los Ă ngeles) and far more pop-influenced, RosalĂ­a can carry her emotions in her voice like the rest of them, creating utterly irresistible melodies along the way. With much greater pop influences than more traditional salsa or bolero artists, El Mal Querer is perhaps the most accessible Hispanic album to get started on before diving into the acoustic gems that Latin music proper has to offer.

Of these gems, the high-tempo salsa hits are likely going to be what you'll want to lose yourself to first. They're fun, they're danceable, and the upbeat melodies are practically crafted to get you up off your feet partying. When it comes to these, just look for anyone signed by the Fania record label: from Willie Colon to Ruben Blades, Hector Lavoe to Celia Cruz, those signed by Fania never failed to make a tune that couldn't put a smile on your face. But if you're looking for specific examples of works, there can be no greater demonstration of salsa than Willie Colon & Ruben Blades' 1978 collaboration Siembra. Packed with exciting tropical melodies that keep you on your feet not to mention the instantly-recognisable 'Pedro Navaja' - Siembra represents everything to be loved about salsa.

If you want to dive a little bit deeper into Latin music heritage, but don't want to be overwhelmed by the sheer quantity of music on offer, a modern refresher of classic tunes could be straight up your street. In this case, there are no easier recommendations than Natalia Lafourcade's Musas Vol. 1 and Musas Vol. 2. Originally starting as a carefree Mexican popstar, Lafourcade gradually embraced her country's roots, eventually culminating in 2017's and 2018's odes to Latin America's musical history. Reworked to appeal to a modern audience, but with enough authenticity and heart to stand alongside the classics that inspired it, Musas is a rather wonderful collection of music that makes for essential listening.

But it's when the music slows down and the heart and character shine through that Latin music is at its most beautiful. Here we find bolero and Latin folk.

Buena Vista Social Club, a "superalbum" written and performed by a collection of Cuba's all-time greatest musicians at the twilights of their careers, packs enough feeling to practically transport you onto Havana's cobbled streets with a rum martini in hand. But I can think of no more delicately affecting record than Silvio Rodriguez's "Al Final de este Viaje...".

With just an acoustic guitar and his voice, Rodriguez enchants and enamors for 35 minutes, demonstrating in one album everything to be loved about Latin music, and music as a whole: the power to transport you away to places anew with sheer power of personality, and to make you fall in love with simple melodies and beats, constructed together to make something more, transcending language in the SAM LAW process.

Image courtesy of Universal and Sony Music

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FILM

ON EDGE: ANTICIPATING

These days, Disney films have a circle of life. After years of being heralded as a classic, they get transformed into a live action remake, and now it is the turn of a true icon: The Lion King.

The Lion King is, arguably, their most ambitious project yet, as it is the first remake that doesn't involve any human characters. As a result, it is technically more of a photorealistic computer animation in a similar way to the 2016 remake of The Jungle Book, rather than live action. Nonetheless, it follows a similar route to its predecessors, taking the original much-loved plot and giving it shinier visuals and a celebrity cast. It tells the story of Simba, the young lion cub who will one day succeed his father, Mufasa, to the throne. However, this is a story inspired by Shakespeare's Hamlet; therefore not plain sailing: Mufasa's younger brother, Scar, wants the throne for himself, and so we have a tale of loyalty, friendship and loss.

One of the most intriguing aspects of this remake is the cast, which is ridiculously star-studded. The original movie has received some criticism over the years for having a predominantly white cast despite being supposedly set in Kenya, but this time around The Lion King can be celebrated for its diversity, having a majority cast of actors of colour. James Earl Jones returns, once again taking on the role of Mufasa as he did so brilliantly in the original - but he is the only actor reprising their role. Simba will be played by none other than Donald Glover, who, aside from being known as Childish Gambino, has made a name for himself as a brilliant actor and director in his show Atlanta, alongside roles in movies like The Martian and Solo: A Star Wars Story.

BeyoncĂŠ will be playing Nala - this makes the prospect of 'Can You Feel The Love Tonight', which is sung by Simba and Nala, incredibly exciting. Billy Eichner and Seth Rogen will be joining in as Timon and Pumbaa respectively, and with Chiwetel Ejiofor as Scar, it seems inevitable that this will be one of the most talked about films of the year.

As far as the soundtrack is concerned, it seems that the iconic hits from the original will return.

As well as 'Can You Feel The Love Tonight', we can looked forward to revamped versions of 'The Circle of Life', 'Hakuna Matata' and 'I Just Can't Wait

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To Be King'. The masterminds from the original have reprised their music roles once again - this will be scored by Hans Zimmer, while Elton John and Tim Rice have also returned to add some new songs that will hopefully become as well-loved as the originals.

There are also rumours that BeyoncĂŠ has recorded a new song for the end credits, which has potential to be huge, not only in terms of chart success but also when it comes to award ceremonies.

There is an awful lot of pressure when it comes to reworking a movie that is so close to so many people's hearts, but it seems that no expense has been spared in trying to make this one a triumphant success.

Without giving away any spoilers (although, if you somehow haven't seen the original, you should) the prospect of having our hearts broken all over again - photorealistically, this time around - seems pretty exciting!

The Lion King, directed by Jon Favreau, will be released in the UK via Walt Disney Pictures on the 19th July 2019.

Becky Davies

Image courtesy of Walt Disney Pictures

FESTIVAL

GUIDE

2019

FESTIVAL

FESTIVAL PREVIEWS: JULY BRITISH SUMMER TIME, 12TH - 14TH JULY

JO LISNEY

As festival season is just around the corner, it’s time to look into a hidden gem: British Summer Time (BST) in Hyde Park. For a day festival in London, this is the coolest one yet. Each day is different with music genres for a diverse range of audiences.

On Saturday 13th July, the main act is Florence + The Machine. I have followed them since their EP A Lot of Love.

A Lot of Blood and their breakthrough album Lungs in 2009, so seeing them in the flesh 10 years after first hearing them will be the icing on the cake! Have your flower crowns at the ready and prepare to sing your heart out to tunes such as ‘Dog Days are Over’, ‘You’ve Got the Love’ and ‘Hunger’.

On the following day, Robbie Williams is headlining. I am excited to see him mainly for his showmanship as he is not only a talented vocalist, but a born performer too. However, I will admit that I am mostly excited for Feeder as I grew up with their music. Plus, they are constantly played on my house's Amazon Echo.

CITADEL, 14TH JULY

MILES FROST

Taking place the Sunday after the two-day Lovebox festival, which showcases artists from the worlds of house, techno, hip-hop, R&B and grime, Citadel has been called a more laid-back affair. But with Catfish and the Bottlemen headlining the one-dayer along with Bastille, who are sure to get the crowd singing along, I beg to differ. Arguably, there are some more relaxed artists fitting the bill this year as Bear’s Den and Matt Corby feature on the line-up, but Friendly Fires are sure to give us something to groove to whilst Fontaines D.C. will rock our socks off! The festival isn’t purely about music though, offering talks, debates and workshops from the fields of science, art and culture; some of London’s finest street food and a comedy special, for which the programme is yet to be announced.

TRUCK, 26TH - 28TH JULY

CAELAN HOUSE

Truck Festival, situated near the Oxfordshire village of Steventon, boasts to be the ‘Godfather of the small festival scene’ and prides itself on having a less-crowded and commercialised feel than bigger festivals such as Reading or Glastonbury. With a capacity of around 10,000 people and reasonably priced food and drinks, the festival has quite a relaxed feel and achieves its goal well, but the main selling point is the line-up.

The festival manages to attract big names, with acts such as The Vaccines, The Libertines and Catfish and the Bottlemen all headlining in recent years. In 2019, Wolf Alice, Two Door Cinema Club and a Foals homecoming set top the bill, with Lewis Capaldi, Johnny Marr, You Me At Six and many more joining them. There’s plenty more to do once the music at the main stage finishes, with the Palm City Tent keeping the party going into the early hours with the likes of My Nu Leng and Ocean Wisdom taking to the stage.

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GUIDE

FESTIVAL PREVIEWS: AUGUST GREEN MAN FESTIVAL, 15TH - 18TH AUGUST TOM BREWSTER Nestled in the Brecon Beacons, Green Man is a festival that cares deeply about its patrons. The lineup is one that has no borders – not catering to a specific crowd or up-and-coming trend but offering a plethora of options for music-lovers of any kind. Green Man is the kind of festival where wandering from one side of the festival to the other can provide a full spectra of musical expression – everything from the crystal-clear funk of Khruangbin to the punishing acid rock of the ludicrously named Pigs Pigs Pigs Pigs Pigs Pigs Pigs; the chest-pounding punk energy of IDLES to the cosmic, swirling jazz of The Comet Is Coming. There’s a studied curiosity that’s present in every crevice of Green Man’s lineup – and the curiosity extends to the festival grounds – where its diverse range of areas offer literature, comedy, workshops, yoga, aromatherapy and… pedal-powered cinema? Wonderful.

READING, 23RD - 25TH AUGUST

THEO SMITH

After the scathing reaction to last year's lineup which divided the festival crowd in half, Reading 2019 has had the major sense of a course correction, and one that was truly needed for the sake of the festival's future.

Out goes acts like Fall Out Boy and Kings of Leon and in comes acts like The 1975, Twenty One Pilots, and Post Malone, who drew in one of the biggest crowds last year despite being booked in the afternoon slot. In addition, there is the old vanguard in the form of Foo Fighters who are returning as top billing for the fourth time, as well as genre favs Bowling for Soup and Enter Shikari who always get strong crowds.

The recent trend of grime/hip-hop continues but with more acts at the top of the bill: Dave, Fredo, AJ Tracey, Juice WRLD, and Lil Baby have now been boosted up onto the Radio 1 Stage and the Main Stage. Along with this, rising stars like Billie Eilish, Hayley Kiyoko, and Joji have earned their spots on the Radio 1 Stage, whilst BBC Sound of 2019 winner Octavian gets a big break on the Radio 1Xtra Stage as Saturday night's headliner alongside the strange choice of former N-Dubz rapper Dappy for Friday's headliner.

VICTORIOUS FESTIVAL, 23RD - 25TH AUGUST MILES FROST Festivals-wise, August bank holiday weekend is classically known for GCSE kids getting drunk in fields at the Reading & Leeds festivals. Second to that it is stomping tech and electronica up at Creamfields. More recently however, the south-coast has received a share of the bank holiday weekend action with Portsmouth’s Victorious Festival offering a three-day event down at Southsea Common, a stone’s throw away from the sea. This ‘festival for music lovers’ offers a more relaxed alternative for the bank holiday weekend.

Founded in 2011, when it was named Victorious Vintage Festival, 35,000 people attended over a two-day period.

In 2017 the organisers extended the festival to include a first night party that was headlined by Madness with more than 120,000 people descending on Southsea over the three-day period. This year, more than that are expected to attend with Rudimental and New Order headlining Saturday/Sunday and Two Door Cinema Club taking over Friday night party duties.

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FESTIVAL

ARTIST IN FOCUS

HAYLEY KIYOKO

AT READING/LEEDS 2019 One does not go to a Hayley Kiyoko concert to see her sing - you go to see her perform. Hayley Kiyoko, or ‘Lesbian Jesus’ to her fans, is an Asian-American 28-year-old pop artist. Kiyoko had early success as an actress, gaining the most recognition from her roles on Disney Channel such as Stella Yamada in Lemonade Mouth (2011). Prior to the release of her debut album Expectations in March 2018, she released three solo extended plays. Kiyoko has toured with Panic! at the Disco, collaborated with Kehlani on the single ‘What I Need’, and was invited to perform with Taylor Swift.

In addition to all this success, Kiyoko is a vocal LGBT rights activist, pushing for better representation through her music which reflects her own experiences as a queer woman of colour. As the cherry on top of her ‘20GayTeen’, MTV awarded her with the Push Artist of the Year 2018 award.

It takes an influential artist to embark on an encore tour no more than 3 months after her first. I had the privilege of seeing Kiyoko perform on one of her two sold-out shows in London this February. Concertgoers waited outside O2 Forum Kentish Town hours in advance, wrapped in the pride flags they would later be waving in the crowd. The new 2,300 capacity venue is a muchneeded upgrade from her first European tour venue where the maximum capacity was 800. With a bigger venue comes a bigger show; a spectacle with dynamic lighting and brilliant backup dancers. Kiyoko not only sang and danced, but the audience was also treated to her multifaceted skills as a drummer and guitarist.

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HILARY IP

Truth be told, it was difficult to hear Kiyoko throughout the night. Her voice is soft with reasonable power but it was drowned out by the audience screaming in unison. But her energy is boundless as Kiyoko uses the chorus to showcase her team’s incredible choreography.

Backing vocals are rendered useless as the crowd has it covered, even mastering the tongue twister of a lyric that is "did you take him to the pier in Santa Monica forget to bring a jacket wrap up in him cause you wanted to" from 'Curious'.

Without a doubt, Kiyoko is one of pop’s sweetest and humblest performers. Constantly voicing her disbelief that she could be there and thanking the audience for supporting her. She shared anecdotes about songs such as this cheeky line about 'Sleepover', “Have you ever fallen in love with your best friend? I do it ALL THE TIME!”, and more heartfelt declarations of support to her LGBT fans.

Hayley Kiyoko is a sextuple threat: singer, dancer, drummer, guitarist, actor, and director. It’s a mystery that she wasn’t immediately signed to Hollywood Records like other Disney alumni. But perhaps we wouldn’t have the anthem that is 'Girls Like Girls' or be able to watch the music video over 100 million times?

Catch her at Reading Festival on Friday 23rd August or Leeds Festival on Saturday 24th August. We can't wait to see what she brings to the UK festival scene, but I'm sure it will exceed your Expectations.

Image courtesy of Atlanic Records

GUIDE

ACTS TO LOOK FORWARD TO AT

SOUTH WEST FOUR 2019

LAUREN PAYNE

After exams and deadlines have finished, festival season will shortly be upon us, and I’m particularly looking forward to my weekend at South West Four. The dance music festival, which takes over Clapham Common in August, is filled with a range of artists from a range of genres: drum and bass, techno, and most prominently EDM. This year’s headliners are Martin Garrix and Pendulum, however there are so many more artists to choose from.

I'm sure I'll be spending the day frantically trying to catch as many sets as possible.

MARTIN GARRIX

This one’s a given. South West Four is Garrix’s biggest headline set to date, and it’s sure to be a memorable production. His EDM hits, such as ‘Animals’ which reached UK number one when he was only 17(!), fit perfectly with the core values of the festival and are sure to keep the crowd energised. This will be a rare opportunity to see Garrix live in the UK, so I’m really excited to have the chance to experience his hits, and the showcasing of his remixing skills. I’m confident that he’ll follow in the footsteps of last years’ headliner Marshmello, with his raw DJ’ing skills and set production.

PENDULUM TRINITY

Following the sad news of the death of Prodigy singer Keith Flint, Pendulum were confirmed as the new evening headliners for Sunday. Trinity is their brand-new production, which will be exclusively debuted in August. The set includes the original Pendulum Trinity members; we’ll hear brand new music from their upcoming album and some of their most cherished electronic songs. This will be a brand-new chapter for Pendulum, and I cannot wait to be a part of the experience, which I’m sure will descend into chaos as they showcase their massive hits, such as 'Tarantula’.

R3HAB

R3hab is one of my personal favourites from last year's festival. He managed to incorporate classic dance hits with his own established songs, such as my own personal favourite ‘Lullaby’, creating one of the best atmospheres I’ve experienced at a festival. He has all-round high energy, which liberates the crowd the whole way through. I’m particularly excited to see if he has any new songs that he’ll incorporate this year, but I’m also excited to relive the experience of his last performance.

PLAN B

Plan B, also known as Ben Drew, is one of the main reasons I had to purchase tickets to this year's festival. Though he’s spent some time having a quieter presence in the music industry, the writer, producer and performer has spent years proving his musical versatility across a spectrum of musical styles. From tracks like 'She Said' to the newer hit 'Guess Again', Drew has shown that he has raw vocal talent but can also change his style with dance-influenced anthems. I’m sure that with a talent like his, the performance will be polished and effortlessly energetic.

STEEL BANGLEZ

Rap artist and producer Steel Banglez will be hosting a set on the Capital Xtra stage, with a collision of rap, hip-hop, grime and R&B. He’s risen to fame roughly over the past year or so, working with his fair share of big names, including J Hus, and I’m glad that he’s getting the recognition he deserves. One of his latest tracks ‘Bad’ has an impressive lineup, including Yungen and Mostack, and is a perfect example of his recognisable productions, which seem to smoothly come together.

Images courtesy of RCA Records, Warner Nusic and CYB3RPVNK

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FESTIVAL FLASHBACK REVIEW:

TRNSMT FESTIVAL 2017

You were never too far from a “here we, here we, here we f***ing go” when you were stood on Glasgow Green for the first ever TRNSMT festival. Held from the 7th-9th July 2017, TRNSMT was the new Scottish music festival to replace T in the Park, boasting headliners including Radiohead, Kasabian and Biffy Clyro.

DAY TWO - SATURDAY 8TH JULY 2017 The sun was shining as we made our way into the city centre before the day of festival-ing, having driven all the way up to Glasgow from Bath on an epic road trip to Dougal’s Airbnb. We stopped off for some breakfast and spoke to some eclectic locals during a rugby match and visited a very glamorous Spoons with an old-style cage elevator – not in use of course, with the sorts of heathens you get in Spoons. After visiting another local joint full of old men, The Old Ship Bank, we headed to the Green.

Circa Waves kicked off the festival for us, and what better way to – no festival is complete without this band providing effortless summer ‘T-Shirt Weather’ vibes, which they ended on, of course. They played a mixture of their older and newer stuff, providing us with that breezy indie rock and then the heavier elements of Different Creatures. Lead singer Kieran Shudall telling us “it’s gonna be ok” over and over again didn’t hurt either.

Grime artist Stormzy came next and all I can remember are ‘Shut Up’ feat Ed Sheeran’s vocals and ‘Big For Your Boots’, but his boundless energy on stage was infectious. Then, The Kooks provided effortless cool, with lead singer Luke Pritchard looking sharp and taking us through the classics ‘Always Where I Need To Be’, 'She Moves in her Own Way’, ‘Ooh La’, ‘Naïve’ and newer bangers like ‘Bad Habit’. Gorgeous singalongs followed with George Ezra's chilled-out set. He was lapping up the sunshine and the festival vibes with a great big grin on his face.

Pegging it between sets to the girls’ portaloos that were, of course, in the opposite direction to the Main Stage would be my only gripe of the weekend. We got back just in time for Catfish and vowed to wait it out for Biffy Clyro when the time came.

Bar Biffy, Catfish may have been the highlight of the festival for me. They could have quite easily topped the bill the way they packed out Glasgow Green around the stage. The crowd went mad and sang along to every song of the indie rockers's setlist, equally taken from their albums The Balcony and The Ride. Van McCann owned the stage and got up to hijinks with the rest of the band. He sang ‘Glasgow’ with the crowds which was pretty special, with whoops from the audience erupting every time Sauchiehall Street or Glasgow got a mention. Van didn’t need to have climbed onto the top of the speakers for their trademark finale ‘Tyrants’ – they were already leaving on a high.

Hanging back for Kasabian’s performance, ‘Fire’ still managed to spread to the peripheries of the sardinepacked audience after a set boasting all their many hits.

Begbie himself even made an appearance, with Robert Carlyle watching on from the side lines.

Depleted, we headed into the city centre, buzzing with festival goers, for a much-needed end-of-the-night takeaway. We passed the columns of the GoMA, the Glasgow City Chambers and wandered through George Square before finding Laquila – the place had it all. You know a takeaway is good when it boasts fish and chips, pizza, pasta and burgers on the sign, right? Well, the larger-than-our-face-pizzas and small talk with the locals were well worth the trek there and back across the river to our Airbnb.

Image courtesy of TRNSMT Festival

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GUIDE DAY THREE - SUNDAY 9TH JULY 2017 The heavens opened for day three (our day two) of the festival, giving Glasgow Green a whole new atmosphere that wasn’t unwanted after the heat of the day before.

Fuelled by Greggs sausage rolls, we headed back to Glasgow Green, stopping off at The Old Ship Bank again on the way, only to find that the festival goers had wiped out all the shot drinks they had – unless it was the old men who had downed all those Sourz.

Catching the tail end of indie-pop group Blossoms, which of course meant ‘Charlemagne’, we headed further into the crowds for Scottish rockers Twin Atlantic.

Lead singer Sam McTrusty strutted about the stage and clambered onto the barriers during their colourful set, complete with Sam’s striking red and white outfit, red streamers and raining confetti. Their high-energy performance was gearing us up for the rest of the night.

The weather only got worse for The 1975’s and Biffy’s sets, but they were perfect in the rain. A topless Matty Healy took us through The 1975’s pop hits that included ‘Somebody Else’, ‘Chocolate’, ‘The Sound’ and a beautiful rendition of ‘Loving Someone’. At one point, he got the crowds cheering for the Scottish bands playing that day, “Twin Atlantic”, he paused for applause, “Biffy Clyro”, he paused for an even bigger applause, before ending on “and your favourite band, The 1975!”. I still don’t know whether he was egging on the proud Scots or not.

After chatting with a couple of locals in the drinks queue on the Saturday about Biffy Clyro and hearing that Biffy were just “too Scottish” for them, it was comforting to hear the alternating chants of “here we, here we, here we f***ing go,” and “Biffy, Biffy, Biffy f***ing Clyro” from the loud and proud Scots as we stood waiting, wet and bedraggled, between sets.

Everyone was tired but spurred on by the anticipation of what was to come.

and Enemies’, ‘That Golden Rule’, ‘Re-Arrange’, ‘Medicine’, ‘Mountains’, ‘Many of Horror’ and a muchneeded four-song encore that included ‘Folding Stars’ and ‘Stingin’ Belle’ feat. that bagpipe solo. While songs like ‘Bubbles’ had everyone tearfully screaming at the top of their lungs, songs like ‘Who’s Got a Match?’ provided the mayhem, and by the end of it you were feeling nothing but euphoric.

Tired but exhilarated, we wandered back into the heart of the city to Glasgow’s O2 ABC for Twin Atlantic’s DJ set via the mural of The Big Yin, aka, Billy Connolly. All I remember is a lot of dancing, and when our feet were tired, and we were propped up on the curb outside the O2, an Uber was swiftly ordered to our location – we were propped up on Sauchiehall Street.

TRNSMT FESTIVAL RETURNS TO GLASGOW GREEN THIS YEAR FROM 12TH-14TH JULY.

TASH WILLIAMSON

Following the trend, a collectively bare-chested Biffy let rip with their visceral rock, one year on from their latest album release, Ellipsis. Fire, streamers, flashing light displays and fireworks punctuated songs while wet and sweaty madness reigned in the lyric-perfect crowds.

Mosh and rowing pits made an appearance throughout the set that featured songs including ‘Wolves of Winter’, ‘Biblical’, ‘Black Chandelier’, ‘Friends

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FESTIVAL

CLOSER TO THE EDGE:

OUR TOP FESTIVAL PICKS

If you’ve been trawling through festival line-ups and fallen down the rabbit hole, The Edge writers are here to pull you back out again and talk you through their top picks at this year’s festivals from the new-wave rockers to the indie resurrectors.

THE CURE @ GLASTONBURY

THE NEW-WAVE ROCKERS

Vicky Greer

We haven’t seen very many UK dates from The Cure for 2019, yet the band are going all out to headline Glastonbury Festival this year. But fear not, if you weren’t lucky enough to get tickets, you might be heading north to catch them at Glasgow Summer Sessions (though let’s not get into the stressful online queue for tickets). They have also announced a number of festival dates all over Europe.

But what they lack in quantity of shows, they will more than make up for in quality. The Cure are famous for their three-hour shows and lengthy setlists, from deep cuts to big hits spanning from start to finish of their 40-year discography.

Whether you managed to get your hands on tickets, or you’re staying home watching their Glastonbury set on TV, you’re guaranteed to be in for a good night with The Cure.

SLAVES @ TRUCK

THE DYNAMIC DUO

Miles Frost

Punk rock duo Slaves are going to be headlining the early bird headliner slot for Truck Festival 2019 and I must admit, I’m excited. With only 100 days to go 'till Truck fest these guys are my incentive for forking out the extra cashola for the early bird ticket.

Slaves are no strangers to the Truck Festival stage having played in 2015 and sub-headlined with The Libertines in 2017. The Kent two-piece consisting of lead singer/drummer Isaac Holman and guitarist Laurie Vincent released their third studio album, Acts of Fear and Love, last year which maintains their punk rocker ‘oomph’ whilst also having a more anthemic feel towards it. A perfect combination to kick things off in the idyllic Oxfordshire countryside.

Slaves will be assisted by Indoor Pets, Lady Bird and Self Help with more to be announced.

SPORTS TEAM @ VARIOUS FESTIVALS

THE INDIE RESURRECTORS

Tash Williamson

Sports Team are doing the rounds this summer, performing at the likes of The Great Escape, Truck/Y Not, Neverworld, Reading/Leeds, Tramlines and more throughout central Europe. They also just so happen to be your new favourite band. Not afraid to take the mick out of themselves, this cheeky sextet are providing a well-needed breath of fresh air for the indie genre.

Goodbye to indie music that takes itself too seriously and hello to lyrics like "I'll take your t-shirt and put it in the wash/ Then when you go out in public/ Your fabric will be f***ing soft", taken from their song 'Kutcher' which uses the premise of Ashton Kutcher's naughties show Punk'd as a metaphor for getting one over on your ex. They've even made an addition to the best road trip songs corpus and made driving on the motorway more enjoyable with their latest single 'M5', when "no one else is on it" that is, which is just as good to sing sat behind the wheel of a car as it will be in the midst of a festival crowd. With delicious lyrics you can't help but recite over and over again and live performances that provide pure and unadulterated joy and escapism from anything you've got going on in your life, Sports Team will be one of the highlights of your summer.

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FILM

SUN, SEA AND SITTING INDOORS

WATCHING MOVIES

Ahhhh, summer - sun, sea, ice cream, barbecues, festivals, there’s simply no time of year quite like it. And what better to do throughout the most glorious time of year than sit inside and watch a ton of films. Jokes aside, everyone has that one film they associate with the summer season, and our writers have put together their top picks.

SCOOBY-DOO, DIR. RAJA GOSNELL

Theo Smith

For some people, any mention of the first live-action Scooby-Doo movie is enough to trigger hatred and an association with the word 'trash'. However, for a 2002 movie about the mystery gang who go on a sunny vacation to a popular resort called 'Spooky Island' where a mystery needs to be solved, it ticks all the right boxes for a fun summer movie that the whole family can watch. The script by Marvel protege-to-be James Gunn is packed with gags ranging from slapstick to lost-in-translation that all ages can laugh at: Scooby's misunderstanding of the word 'sacrifice' and the mismatch of identities are personal highlights. The mystery gang are all incredibly likeable and charismatic, especially Matthew Lillard's Shaggy which is remarkably uncanny to the original voice of Casey Kasem, and although the film has plenty of flaws (including some questionable female representation) which wouldn't be enough to fill Scooby and Shaggy's appetites, its tightly fast paced plot, vibrant mise-en-scene and bristling energy is enough to warrant repeat viewings for scorching summer afternoons.

MOONRISE KINGDOM, DIR. WES ANDERSON

Charlotte Rawlings

Set in 1965, Moonrise Kingdom is an eccentric love story between two misfit youngsters, Sam and Suzy, who choose to run away together in a declaration of their affection. With the reminiscence of a Stand by Me adventure, their status as missing children has the local authorities searching for their whereabouts, encapsulating the parallels between the naïve fantasy of youth with the disheartening realities of adulthood.

Wes Anderson never falls short of injecting his pictures with his archetypal concoction of nostalgia, wit and oddities, which is precisely why this film holds such a special place in my heart. Although mise-en-scene has always played a fundamental role in Anderson’s work, this film especially utilises the scenic imagery of windswept beaches and serene meadows to invoke a summer love affair with its audience. This, in concurrence with its pure depiction of outdoor play, will make you want to return to a world of hand drawn maps and bike rides. Moonrise Kingdom is a profound homage to the summer of our childhood.

Images courtesy of Warner Bros and Focus Features

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FILM

THE BEACH, DIR. DANNY BOYLE

Liam Beazley

Back in 2000, Danny Boyle's cult escapist treasure The Beach met the brave turn of the new millennium with bleeding seas and the scolding Thai sunlight. Adapted from the sand gritted pages of Alex Garland's debut novel, The Beach follows Leonardo DiCaprio's lonely soul Richard who ventures into the unknown to discover a mythical untouched lagoon lost in the gulf of Thailand; a pilgrimage of pleasure which radiates a beauty and tropical heat that blisters. Though a cautionary tale of our pursuit of desire, westernisation of Eastern land, and the decaying effects of tourist culture, there is an inevitable blind rapture in the film's indulgence in the untouched wonder of its paradise. It is hard to feel the heat of the summer sun and not wonder where else more beautiful it might be shining, and there is no place more beautiful than here. The Beach offers a complete paradise which, even when that paradise collapses, still presents the dream that it may somewhere exist. It is a celluloid sun stroke that practically opens up the world to be experienced. All that there is left to ask is can you hear what I hear? It's calling you, my dear, out of reach... take me to The Beach.

MOANA, DIR. RON CLEMENTS AND JOHN MUSKER

Joe Williams

Moana’s vibrancy of colour is only matched by its vibrancy of spirit, making it perfect summer viewing for when the sun isn’t shining on the wide watery blue. The 2016 Disney creation of the ocean is something to behold, and to treasure, sorely needed in this age of rampant marine pollution. The animation is luscious, its Polynesian setting and culture treated with a deep respect through an engrossing mythology and songs that speak to the soul. Joyful and uplifting, Moana introduced the world to Dwayne “The Rock” Johnson’s singing voice with ‘You’re Welcome’ - penned by none other than Lin-Manuel Miranda. Johnson’s demigod Maui is the comic relief but newcomer Auli’i Cravalho is the heart as the titular protagonist. It offers up the usual Disney messages of endeavour and empowerment, but in a manner we had not yet seen represented in a studio film of this scale.

FERRIS BUELLER’S DAY OFF, DIR. JOHN HUGHES

Louise Chase

While it's not everyone's first thoughts when asked about a typical "summer movie", Ferris Bueller's Day Off is lovable and witty, and what everyone would want to do in a day (if they could get away bunking off school or work). The movie works its sibling rivalry into its dynamic plot and constantly plays with how the 'hero' manages to get away with his day off; at some point, every sibling has been either Jeanie or Ferris, but we'd stand by our sibling to the end. The movie didn't just affect those in the summer of 1986, with the infamous end credits scene parodied in the closing credits of 2016 movie Deadpool. The reaches of Ferris Bueller go a lot further than the screen - it's like Ferris is giving the audience their own trip around Chicago, and at one point, we've all wanted to have a day off with as much excitement.

Images courtesy of 20th Century Fox, Walt Disney Pictures and Paramount Pictures

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FILM

STUDIO IN FOCUS

PIXAR

Founded in 1986, Pixar is renowned for creating beloved animated films which viewers of all ages enjoy.

To date, the studio has produced 20 feature-length films, 21 theatrical short films and 33 other shorts. It began as Lucasfilm’s Computer Division in 1979, but it wasn’t until this group was purchased in 1986 by Steve Jobs that it was named Pixar. It was also in 1986 that Pixar and Disney began collaborating on animations, and 20 years later Disney went on to buy Pixar in 2006. From Toy Story to Incredibles 2, Pixar boasts an impressive history of ground-breaking animation and huge success.

Toy Story, released in 1995, was a huge success both at the box office and critically, with many critics noting the technical innovation in its animation. Toy Story remains a much-loved film amongst the generation who grew up with the film, and it was so successful that, following A Bug’s Life in 1998, Pixar released the sequel, Toy Story 2, in 1999. The fact that Pixar’s third is a sequel is testament to Toy Story’s success. The studio then branched out and created what would become classics for every child who grew up in the 2000s, including Monsters Inc. in 2001, Finding Nemo in 2003, and The Incredibles in 2004.

After the releases of Cars (2006), Ratatouille (2007), WALL-E (2008) and Up (2009), Pixar began to release a mix of original films and sequels (and a prequel, in the case of Monsters University) to their previous hits. In 2010, they released Toy

Story 3, followed by Cars 2 in 2011. In fact, in the decade since Up’s release, Pixar have only released four original animations (Brave, Inside Out, The Good Dinosaur and Coco), whilst releasing six sequels in the same time span, including Finding Dory and Incredibles 2. Whilst these films were highly anticipated and mostly very successful, it is a shame to see this decline in original stories being produced by the studio. Whether it is to protect their box office figures, profit off of nostalgia, or both, it appears Pixar is playing a similar game to Disney, whose string of live-action remakes currently seems to be the studio’s top priority. Toy Story 4’s upcoming release this year begs the question: how many sequels is too many? Toy Story 3 ended on a very satisfactory note, so it remains to be seen whether Toy Story 4 has a viable and entertaining story, or if it is solely a cash grab.

Nonetheless, Pixar has played a crucial role in the vast progress made in animation techniques over the past twenty years, earning a staggering 19 Academy Awards. Up and Toy Story 3 are also the second and third of three animations ever to be nominated for the Academy Award for Best Picture, following Beauty and the Beast. Though it is easy to be sceptical of the number of remakes and sequels currently being produced in the film industry, especially where Disney is concerned, Pixar unarguably have a successful track record with both original films and sequels. Indeed, though the fourth Toy Story instalment is nearly here, there is also an original film in the works entitled Onward, slated for a 2020 release, so perhaps there is hope for Pixar to continue writing brilliant new storylines. There is something special about a Pixar film that separates it from films produced by Disney alone these days; the timeless animation style, the heart-warming narratives and the endearing characters who remain with us forever. I hope that Pixar will continue growing in one direction: ‘To Infinity and Beyond’.

ABI CUTLER

Image courtesy of Walt Disney Studios

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FILM

ELEANOR ROBINSON

FRANCHISES IN THE FUTURE:

WHAT CAN WE LOOK FORWARD TO IN THE POST-AVENGERS ERA? With Avengers: Endgame signifying the end of a cinematic era for the Marvel franchise as we know it, there are plenty of new cinematic worlds ready to compete for the attention of audiences. Whether or not they can live up to the standard set by the globally successful superhero series will only be known in time, as they do indeed have a hard time ahead attempting to generate the same audience interest and sustained box office numbers as the Avengers franchise has succeeded in doing. Nevertheless, here are some of the upcoming franchise films to fill the Avengers shaped hole in your heart.

The X-Men cinematic universe has had a long and rocky past, with hits in the form of stylish Logan in 2017 and big misses such as The Last Stand, which has been pretty much ignored by every subsequent director within the franchise. However, Dark Phoenix (starring Sansa Stark herself, Sophie Turner) could be the refresher the series needs to rejuvenate audience interest in these longstanding characters. Focussing in on character Jean Grey (aka Phoenix) and her struggle to control her own power, this new solo film is one of many to come.

The film will be writer and producer Simon Kinberg’s directorial debut, and with a list of production credits including The Martian, Logan, Deadpool and Elysium, there is a lot of promise that Dark Phoenix could deliver what has been missing from the last few iterations of the X-Men universe: characters audiences care about.

Image courtesy of 20th Century Fox

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From one female lead to another (although we still have a while to wait for it) Bird of Prey (or more casually known as The Harley Quinn film) promises to showcase Harley Quinn as we wish we’d seen her in Suicide Squad. Relatively new filmmaker Cathy Yan is taking the reins, and from what we’ve seen of the film so far there is a lot to be excited about. DC in general seem to be making some exciting moves away from the doom and gloom of Justice League and Man of Steel, and into the more thematically diverse and creative films, as showcased with Aquaman and Shazam! most recently. Let’s hope this winning streak continues!

And finally, if you really can’t let Marvel go just yet, you don’t have to. With Spiderman: Far From Home on the horizon, Phase Four of the Marvel Cinematic Universe will only just be getting started. We can also expect a Black Widow solo film, alongside sequels for Black Panther and Doctor Strange. Furthermore, new heroes, including martial artist Shang-Chi, are rumoured to be joining this next generation of Marvel heroes.

With the big name characters such as Iron Man, Thor and Captain America presumed to be no longer with us after Endgame, room will be left for new, diverse characters to establish a place in the universe, as well as allow Marvel more creative freedom. If the animated masterpiece Spider-Man: Into the Spider-Verse signifies what is to come from Marvel, we shouldn’t expect them to keep quiet for long.

CULTURE

CLOSER TO THE EDGE:

THE BEST BEACH EPISODES ON TV Lovers of warm weather, rejoice, for Winter has come and gone and Summer is well on its way. So, what better way to celebrate the return of the sunshine than to sit inside and bingewatch your favourite TV programmes? The esteemed writers and editors of The Edge have got your back, with our picks for the Definitive™ list of the best ‘Beach Episodes’ on TV!

BROOKLYN NINE-NINE - 'BEACH HOUSE'

VICKY GREER

Disclaimer: ‘Beach House’ doesn’t technically take place in summer, but that’s just because Charles only got the house during the winter in his divorce. In any case, I’m still counting it as a beach episode. In this classic we see the world’s favourite NYPD precinct let loose on their detectives-only getaway. That is, until they are surprised by the arrival of Captain Holt. This episode takes all our favourites out of the precinct for a while, and even introduces a brand-new character: the enigmatic Six-Drink Amy. The best moment is undoubtedly Gina on the freezing beach, yelling her thanks to ‘Poseidon, great god of the sea’ (a scene we should all aim to re-enact this summer).

From Hitchcock and Scully trying to sell their underwater casino scheme, to Holt’s attempts to fit in with his tipsy subordinates, this makes for one of the greatest episodes of Brooklyn Nine-Nine that we've seen.

GAVIN & STACEY - ‘SEASON 3, EPISODE 5’

BECKY DAVIES

It seems hard to believe these days, but long before James Corden was driving celebrities around in a fancy car in Los Angeles, he was stuck in a rubber ring on Barry Island beach. In the penultimate episode of this cult classic comedy, Pam, Mick and Smithy head to Wales and try to make the most of the rare sunshine with a classic British day out: a day at the beach and then a barbecue in the garden. This episode has so many now iconic Gavin & Stacey moments, including Nessa describing the difference between Obama and Osama to Neil the baby, and a group singalong to The Smiths with Doris on the guitar (because nothing screams summer more than ‘There Is A Light That Never Goes Out’). After all these years, this is still a laugh-out-loud episode that makes you want to grab your suncream and head down to the beach café for a can of Irn-Bru. Images courtesy of Fremulon and Baby Cow Productions

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CULTURE

FRIENDS - ‘THE ONE AT THE BEACH’

ABI CUTLER

The finale of Friends’ third season - which, unsurprisingly given the title, takes place at the beach - is pretty underrated. Personally, this has never been one of my favourite episodes of the show; and yet so much happens.

Whilst the Friends are spending a weekend at a beach house, not only does Phoebe meet her real mother, but another important milestone of the Rachel and Ross saga takes place: will Ross choose between Rachel or his current, now-bald girlfriend Bonnie at the end of the episode? (Obviously he chooses Rachel, but we don’t find that out until Season Four, resulting in a huge cliff-hanger). Alongside all of this, we are introduced to the joys of ‘Strip Happy Days Game’, we see what Joey would look like as a mermaid, and Chandler tries to prove to Monica that he’d make a good boyfriend – she may not believe it now, but she will two seasons down the line. Clearly the writers believe that anything can happen when you leave your boring apartment for the beach, and whether this is one of your favourite episodes or not, it’ll leave you feeling ready to hit the beach yourself this summer (just ignore the part of the episode where it rains… a lot).

THE SINNER - SEASON 1, PART I

TASH WILLIAMSON

It all starts on a beach. There are families, teens and couples laughing, playing, eating, chilling out and listening to music on the sandy strip. Some are venturing into the water for a swim, including Cora Tannetti (Jessica Biel), while her husband Mason (played by Christopher Abbott, AKA the American Kit Harington) and young son hang back on the shore. And that’s about as much I can say without spoiling the most explosive first episode of a season that I’ve ever seen. If you watch Part I of The Sinner, you are guaranteed to watch it all. And that’s without telling you who else is in it - aside from the fabulous Jessica Biel - with 90s heartthrob Bill Pullman playing Detective Harry Ambrose. This Netflix crime drama is a real hidden gem, with a compelling storyline that just won’t let you quit and characters so deeply complex and intriguing that you can’t help but fall in love with them all. Don’t watch a trailer, don’t look it up online but after watching the episode, maybe hold off on going to the beach.

SPONGEBOB SQUAREPANTS - ‘RIPPED PANTS’

ELLIS MURRELL

Despite being set under the surface of the ocean, Spongebob has no shortage of episodes set in Bikini Bottom’s resident seaside, Goo Lagoon. However, there are none so iconic as ‘Ripped Pants’, an epic tragicomedy that plays out in three acts. When SpongeBob fails to attract the attention of any of his fellow beachgoers, and uber-Chad Larry the Lobster flexes him into oblivion, he accidentally stumbles upon a remarkable epiphany - the aweinspiring sight of him ripping his trunks in front of an audience. Quickly losing himself to the fame, SpongeBob becomes ‘the biggest loser on the beach’ when a prank about drowning is met with disgust. However, with the help of some fellow beach rejects, he yeets his way back to the top with a beautifully-bombastic ballad, ‘When I Ripped My Pants’. An inspiring tale of hubris, pain and redemption, this episode has been seared onto the minds of viewers just as powerfully as that one fish’s awful sunburn.

Images courtesy of Warner Bros Television, NBC Universal Television and Nickelodeon Animation Studios

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CULTURE

After Thrones:

What’s Next for the World of Ice and Fire?

On May 19th, the season finale of Game of Thrones will air on HBO, bringing to an end the most successful TV drama of the last decade. Over its eight seasons, Thrones has grown into a behemoth of a show, with episodes costing $10m or more and millions of fans worldwide tuning in to see what riveting twists showrunners D. Benioff and D.B. Weiss have planned next. It's been an immense money-maker for HBO - one that neither they nor the show's fans will enjoy saying goodbye to.

The question, then, is what, if anything, comes next?

We already know that HBO has thought about this problem. Game of Thrones is simply too big a franchise to let go of. Back in early 2017, we were told that there were as many as five ideas for Game of Thrones spin-offs, focusing on the history of Westeros and its characters, with A Song of Ice and Fire writer George R. R. Martin involved with two of them. Some of these ideas have fallen by the wayside, but recent reports indicate that we'll see at least one making its way to our screens just a few years following this year's epic Game of Thrones season finale.

According to George R. R. Martin - serving as a narrative adviser to producers at HBO - this will be The Long Night, telling the story of the Age of Heroes and the last coming of the White Walkers, at least 5,000 years before the events of Game of Thrones. "Westeros is a very different place," Martin told Entertainment Weekly of the upcoming series. "There’s no King’s Landing.

There’s no Iron Throne. There are no Targaryens — Valyria has hardly begun to rise yet with its dragons and the great empire that it built. We’re dealing with a different and older world, and hopefully that will be part of the fun of the series." World-building has long been one of Game of Thrones' strengths, with the world of ice and fire brought magnificently to life by the talents (and big budgets) of everyone at HBO. Already we have our first indication of who'll be working on the new series. Oscar-nominee Naomi Watts (Twin Peaks, Birdman) is set to star, alongside Josh Whitehouse (of Poldark fame) and Georgie Henley (The Chronicles of Narnia). Behind the camera, Jane Goldman (Kingsman, X-Men: Days of Future Past) will take over as showrunner, and there's said to be a bustling writers’ room ready to churn out the 8-10 scripts of the debut season as soon as the credits roll on Thrones' final episode.

Image courtesy of HBO

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But what we all want to know is what stories this new show will tell - and we can guess at its direction from interviews, press reports and the snippets of lore Martin littered throughout his books. Apparently focusing on the end of the Age of Heroes and the first coming of the White Walkers, we could well come across such mythical figures as Brandon the Builder and "the Prince that was Promised," Azor Ahai, as they seek to fend off the threats from the north. Ancient Thrones lore also tells of an unnamed "last hero" who ventured north to find the Children of the Forest and enlisted their aid to end the threat of the White Walkers - could we witness their perilous journey northwards to end the mythical "Long Night"? Considering such story possibilities - and the success of episodes such as 'Hardome' and 'Battle of the Bastards' - you can safely expect this one to be action-packed, and filled to the brim with horror. Thrones may have made its name with political intrigue, but its legacy will surely be sheer spectacle.

In any case, it's safe to say that, despite Season 8 coming to an end this May, we're not done yet with the world of Game of Thrones. With one prequel show well underway in pre-production and several others still being considered by HBO, it'll be a long while yet before we finally say goodbye to Westeros and the world of ice and fire.

Sam Law

CULTURE

A Clash of Kings:

George R. R. Martin and the Quandary of ‘A Song of Ice and Fire’ It's no secret, Game of Thrones has taken over the world slowly but surely in the past nine years, breaking records and raising the stakes for television to unprecedented heights. Behind the phenomenal series, however, lies one of the most complex literary universes I have ever set eyes on - George R.R. Martin's A Song of Ice and Fire series. With five books out (A Game of Thrones, A Clash of Kings, A Storm of Swords, A Feast for Crows, and A Dance with Dragons), and two to come at some point in the future (The Winds of Winter and A Dream of Spring), the series propelled Martin to worldwide fame and secured him a place as one of the greatest fantasy writers of our age. A lovely success story like many before it. However, the rise of what was once a mere TV adaptation has made this success story rather unique.

For the record, as a literature student I have always been a book purist, simply because the books are always better.

However, my relationship with Martin's universe has been quite complicated. After discovering and binging the first three seasons of the show, I read the first book right before the fourth season aired, and then the next couple of books before the fifth season aired, and then stopped reading the books because they're just too long for a student who already has to read at least a book a week (although I obviously kept watching the show). Regardless, the interconnectedness of the two made me appreciate them both for different reasons.

Although the books' descriptions of events are rather Tolkien-esque in their weight and length, they offer

astonishingly detailed insight into the world that the show has only been able to hint at. Every minor character, every place, every thought process contribute to the creation of the ASOIAF universe, and the fact that it can all be the product of a man's imagination is quite awe-inspiring. On the other hand, the TV series excels in depicting this universe with the gritty realism required by the writing. Indeed, the TV show doesn't always stick to the books (Lady Stoneheart who?). To be honest, I think that if it did, it would have been a lot more boring, since Martin's universe is way too complex for a TV series to be able to depict it in its entirety without losing audience interest. Regardless, it was a nerve-wracking experience to watch it completely fly from the books' nest from the end of Season 5 onwards, when creators David Benioff and D.B.Weiss finished A Dance with Dragons and entered uncharted territory.

Uncharted to the audience, anyway. Martin has been involved with the show even after its departure from the books, and everything that aired ever since is said to be 'original content with outline from The Winds of Winter and A Dream of Spring.'

Until Martin publishes the books, we can't know how much of what we've been seeing onscreen is his brainchild and how much is Benioff and Weiss'. But there could be a while until then. Martin has been quite the procrastinator (and nobody understands him better than us students, surely), and written pretty much anything else instead of The Winds of Winter, which he has now been working on for nine years. It's quite safe to say that he himself doesn't know how the sheer magnitude of Game of Thrones will impact his work, and frankly, it is quite difficult to deliver knowing that the final product will be constantly compared to one of the greatest TV shows in history.

Will the books still be of interest if we already know who ends up on the Iron Throne? To me, definitely.

Martin's writing is meant to be savoured, and the uniqueness of this world is meant to be absorbed and visualised without any distractions from Jon Snow's beautiful hair, CGI dragons, or children screaming on walls. Don't get me wrong, I love those distractions, but there is nothing quite like the charm of a good fantasy book, even if you already know the plot. And if Martin surprises us with some different plot choices, all the better - the fans can't get enough anyway.

Thea Hartman 30

CULTURE

ABI CUTLER

TREADING THE BOARDS:

BIG NAME ACTORS IN THE THEATRE There is something distinctly special about acting in the theatre when compared to television and film. In the theatre, especially one as big as the Theatre Royal Drury Lane, actors have a duty to perform to everybody, even those who paid £25 for the balcony seats. There are no Tom Hooper-style close-ups on the stage, so facial expressions must be visible from everywhere in the auditorium, without being so extreme as to break away from character. There is never a guarantee that microphones will be present as with screen acting, so actors must learn to project without damaging their vocal chords. These are just a few of the ways in which acting in the theatre is a fine art, and though acting in film and television should not be thought of as inferior, it is understandable why big names on screen often appear in the theatre in order to prove themselves as capable actors.

It is interesting to note that many actors who are well-known only in theatre circles often feel like they are beginning to ‘make it big’ when they are cast in a television series or film, even if the role they are cast in is Townsperson #5. On the other hand, it would be far more newsworthy for someone like Benedict Cumberbatch to make a return to the West End than it would be for him to appear in another Star Trek film.

I suppose this is because we tend to pigeon-hole actors into where we see them most. Whilst in the theatre we expect to see relatively unknown actors who spent three years training at a top drama school before competing tirelessly to make their way up to a main role against depressing odds. We expect to see famous television and film actors appearing in the latest dramas and blockbusters. I suspect that some big-name actors need only mention a vague interest in undertaking a theatre stint and they could pretty much walk onto a stage, but it most certainly isn’t the case the other way around.

I have no issue with well-trained actors who now happen to be film or television stars returning to their roots and performing in the theatre. Benedict Cumberbatch, for instance, trained at the London

Academy of Music and Dramatic Art (LAMDA), one of the leading drama schools in England. Even outside of the UK many major actors have their roots in the theatre; Hugh Jackman, having trained at the Western Academy of Performing Arts, spent his early career performing in the theatre. In Australia, Jackman starred in several shows including Melbourne’s production of Beauty and the Beast in 1996, in which he played Gaston, and in 1998 he came to London as Curly in the National Theatre’s production of Oklahoma!, for which he received an Olivier Award. The calibre of training that these actors have undertaken alongside many others really makes the difference. In 2016, Matthew Perry, of Friends fame, brought his play The End of Longing to the West End. I saw the production myself, and though everyone in the audience was there to see Perry, he was far outshone in terms of vocal technique by his fellow actors.

Is it fair that big-name actors should walk into theatrical roles, potentially over talented actors who are desperately trying to make a living doing what they love? Probably not. Is that the way theatre is and probably always will be? Unfortunately, yes. It is the nature of acting as a profession that only a select number will rise to fame and fortune; not everyone can be the next Sir Ian McKellen. Famous actors appearing in the theatre both works for them in improving or maintaining their acting skills, and it works for the producers of the shows they appear in, bringing in bigger audiences by plastering a big name on the posters. Most crucially, whilst I mostly prefer to see unknown yet talented actors on a stage over film and television stars, they definitely beat the dreadful mob of reality television ‘stars’ who are somehow enjoying an acting career despite not having a shred of talent.

Hopefully this trend of casting such ‘celebrities’ will soon die, but for legitimate actors, performing in the theatre should be a rite of passage. The best screen talent undoubtedly comes from those who are also able to tread the boards.

Image courtesy of The National Theatre

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CULTURE

TOM BREWSTER

SAVE ROOM: FRANCHISE FATIGUE It’s 2040. The ice caps have melted and society itself gently bobs on top of an endless ocean – an archipelago of city-states controlled by obscenely wealthy oligarchs is all that remains of humanity. Sitting in my rented Huma-Pod accommodation, I tuck into my McBurger Deluxe, enjoyed with a tasty cup of Soylent Huel whilst surfing The Internet II on my Apple iLife 19.

To fill the empty void that is my existence, I boot up my Netflix VRpod and browse their recent videogame acquisitions. In front of me are a plethora of choices – everything from Fifa 41 to Call of Duty: Black Ops 7, Assassin’s Creed: Hull to Mass Effect (2040) - not to be confused with Mass Effect (2007), of course. Ever the adventurous, I install Black Ops 7 – now a ‘free to play’ title. Upon booting the game my VR goggles flicker to life and I’m sucked into a futuristic battlefield – complete with ear-ringing explosions and littered with corpses. ‘Now THIS is a videogame’, I think to myself. ‘I can’t wait for the sequel’.

I understand creature comforts. As a veteran From Software fanboy, I was deliriously happy when I first booted up Sekiro: Shadows Die Twice and sunk into the familiar rhythm of resting at bonfires, killing bosses and screaming bloody murder at the TV screen as my pathetic, sluglike reflexes left me prey to yet another death at the hands of that ridiculous ape. But as much as Sekiro caters to veteran Soulsbourne fans, it does push to ever so gently iterate on the tried-and-tested in ways that are satisfying, necessary and engaging.

Sekiro is franchise gaming done right – a new idea within an existing form – a non-numbered sequel that has a unique artistic vision rather than a do-over of a once-bright spark that fades over time. Videogames, in general, are a medium that seems to lack the spark of the auteur, the individual vision and direction that shines through and gives an artistic orientation to a work rather than a financial one; but a select few seem to have mastered the art of the shapeshifting, metamorphic franchise, like Metal Gear Solid V, Sekiro and Breath of The Wild.

As much as these quasi-franchise titles renew my faith in a small capacity, they equally leave a particular Image courtesy of FromSoftware

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itch unscratched. These games are huge, and are desperate to sell, and selling means sticking to the tried and tested. As much as these games are huge variations within their own franchise, their variations are simple, iterative innovations and not bold steps in any particular direction. They take the profitable over the exciting, crafting their experiences to shift units rather than hit the nerve centres of any particular player. Hypnospace Outlaw probably beats out Sekiro: Shadows Die Twice for my favourite game this year as it feels a) completely unsellable and b) made specifically for me. Hypnospace Outlaw is a game about browsing a fictional internet, modelled from the clunky, nostalgiasoaked netscape of the early 2000s, where every page was littered with ferociously attention-seeking popups, low-resolution gifs of skateboarding skeletons and cursor trails that proudly snake across the screen like a smart simile at the end of a long sentence. Much of the game is spent marveling at the picture-perfect emulation of the dangerous, untested internet I spent much of my childhood trawling through – a weirdo art gallery of pixelized nostalgia that’s pockmarked with risqué sites, broken links and bizarre digital assertions of identity. It’s a completely fascinating experience and, dare I suggest, a pretty compelling case for games as art – but it exists as almost the complete opposite of what most people would consider a videogame.

The artistic freedom to make experiences like this comes hand-in-hand with being a small studio, and thus the monstrous organisations that churn out the latest hot new release simply can’t afford to take risks like this – even within their supposedly new IPs we see rehashes of the same old. Bound by the tight constraints of an ever-growing industry, gaming seems to be getting smaller and smaller in its scope for new ideas, and whilst the spark of indie seems never to go out (see: Untitled Goose Game), the spiral of similarity seems unending when God of War and Spiderman are somehow praised for being innovative, despite the fabric of their being remaining almost totally familiar.

The standards for creativity seem low in this behemoth of an industry; Roll on Borderlands 3.

EDITORIAL

LISTINGS Live Music May 13th – An Evening with Katherine Jenkins @ Mayflower Theatre May 13th – Halfnoise @ Heartbreakers May 15th – Blaenavon @ The 1865 May 17th – Jo Whiley’s 90’s Anthems @ Engine Rooms May 17th – W.H. Lung @ Heartbreakers May 19th – Samantha Fish @ The Brook May 20th – Wheatus @ Engine Rooms May 20th – Red Rum Club + October Drift @ The Joiners May 22nd – Foreign Beggars @ The Joiners May 25th – Glass Peaks @ Heartbreakers May 26th - Benjamin Zephaniah & The Revolutionary Minds @ The Brook May 31st – No Hot Ashes @ Heartbreakers June 1st – The Sugarhill Gang, Grandmaster Melle Mel & Scorpio Furious5 @ The 1865 June 2nd – Tuba Libres @ The Joiners June 5th – Danielle Nicole + Sugarman Sam @ The 1865

Theatre May 15th – 16th – Bluebird and Hypothermia @ NST City Studio May 21st – 22nd – Camp Blood @ NST City Studio May 23rd – 24th – Kings of Trebizond and Stitching @ NST City Studio May 24th – June 22nd – The Audience @ NST City May 28th – June 8th – The Bodyguard @ Mayflower Theatre June 11th – July 6th – Matilda The Musical @ Mayflower Theatre

Comedy May 19th – Julian Clary @ Mayflower Theatre May 22nd – The Guilty Feminist: Live @ Mayflower Theatre June 6th – Edinburgh Comedy Previews: Lois Mills and Adam Hess @ NST City Studio June 7th – John-Luke Roberts @ NST City Studio June 8th – Stewart Francis: Into the Punset @ O2 Guildhall June 8th – Edinburgh Comedy Previews: Saskia Preston and Sarah Kendall @ NST City Studio June 13th – Milton Jones: Work in Progress @ NST Campus

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