EDITORIAL
Issue Three November/ December 2018 Free
THE
EDGE’S
CHRISTMAS
LIST
THE 1975 A brief inquiry into the indie-pop band’s career and newest release.
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EDITORIAL
Issue Three
Editor’s Note
It’s the first time in three years that the end of the year (and our cover) has not been completely absorbed by the Star Wars universe, which has left both the entertainment industry (and us) a little bit imbalanced, but it has also opened up a few possibilities. We turn our heads towards one of the hottest bands of the moment, indie-pop hybrids The 1975, just as they release their third album, A Brief Inquiry into Online Relationships. After the acclaim of their second album, The 1975 have gone completely off the beaten track. The opinions on their latest releases are rather divided, but you can find our Publicity Officer being rather excited about Matt Healy & co. on page 7. This issue is all about the hidden and the alternative. If you feel like exploring some of this year’s under the radar music, or are looking for some fresh films to watch in the upcoming month, you might want to take a look at our selections on pages 9 and 24. We also turn the spotlight on garage rockers King Nun (p. 31), the pantomime (p. 25), as well as the wonderful Emily Blunt (p. 13). Nobody can ignore Christmas, though. And because there’s nothing quite like Christmas entertainment, we have put together a Christmas List starting on page 14. Whether you’re in need of some Christmas TV to binge during the festive season (p. 19), or want to read about whom we’ve asked Santa to see live (p. 21), we’ve got you covered. However, our need for the alternative that has taken over this issue seeps into this List and encompasses the ongoing debate surrounding Christmas entertainment. If you feel like hearing the likes of ‘All I Want for Christmas is You’ on a loop for a whole month might make your head explode (I don’t blame you), but are still looking for some Christmas music, pages 15 and 16 are for you, while page 17 is all about those films which fill your heart with Christmas joy even if they don’t feature carols and Santa. All that is left to say is a massive thank you to all of our writers and readers for making 2018 an incredible year for The Edge. We’ll be back in January with more entertainment goodness. But until then, Merry Christmas!
Thea Hartman Editor 1
The Team EDITOR
Thea Hartman
editor@theedgesusu.co.uk
DEPUTY EDITOR Sophie Jones
deputy-editor@theedgesusu.co.uk
News Editor Ellie Brain
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
VP Creative Industries Evie Reilly
vpdci@unionsouthampton.org With help from Tom Brewster (Records Executive) and Abi Cutler (Literature Executive)
EDITORIAL
Contents 7
in Focus: Emily 13 Actor Blunt Best Snow 26 The Levels in Video Games
Native: Gig 29 Going Reviews
Editorial
01 Welcome to Issue Three 02 Contents
News
03 Newsbox 05 Nostalgic News
Records
07 Artist in Focus: The 1975 08 Album Review: Khalid - Suncity 09 The Edge’s Hidden Gems of 2018
Film
11 Doing Disney Justice: The Rise of the LiveAction Remake 13 Actor in Focus: Emily Blunt 23 Throwback Review: How the Grinch Stole Christmas 24 The Edge’s Alternative December Picks
The Edge’s Christmas List 15 Christmas Hits - And Why We Hate Them 16 An Alternative Christmas Playlist 17 The Edge’s Not-at-all-Christmassy ‘Christmas Films’ 18 The Eternal Appeal of the Christmas Movie 19 The Edge’s Favourite TV Christmas Binges 21 The Edge’s Live Music Christmas Wishes
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Culture 25 26 27 28
The Christmas Tradition of the Pantomime The Best Snow Levels in Video Games Musicals: The Immortal Cultural Phenomenon Three Poems to Read on Armistice Day
Live 29 Going Native: Gig Reviews: Muncie Girls, The Vryll Society, Stu Larsen and Natsuki Kurai, Wild Front 31 Live Act in Focus: King Nun 32 Preview: Bowling For Soup at O2 Guildhall Southampton 33 Listings
Follow Us! /theedgesusu @theedgesusu @theedgesusu Front cover image courtesy of Chuffmedia Back cover elements courtesy of Freepik
NEWS
THE
Remakes:
NEWS
BOX
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News in Brief
Rahul Mandal wins GBBO 2018, the second series of the show on Channel 4.
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Clueless is set to be remade for Generation Z, prompting some criticism.
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Bodyguard becomes the most watched BBC drama in a decade.
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Doctor Who honoured by a constellation that NASA has named after The Tardis.
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Man Booker Prize recipient is the first ever winner from Northern Ireland.
Good idea? As if!
With the recent news of Clueless being remade for the Generation Z audience, it has really got people talking about the mountain of remakes in the works at the moment. With live-action remakes for Disney, or ‘80s and ‘90s films being re-imagined for a “current” audience, it seems as though originality has plummeted in the film industry. Whilst it is interesting to see a different perspective on a movie, the trouble is when these ideas have been all been used up – where do they go from here? Hopefully, it will prompt some fresh ideas in the next few years. Especially when there are so many creative people in the film industry, it may be a case of greed desiring money over innovative art. Saying this, I am intrigued by Mary Poppins Returns, being released this month, and the much anticipated Aladdin live-action remake. Maybe it’s just a case of finding the right balance between remakes of classics, and original ideas.
THE EDGE’S ENTERTAINMENT PICKS
EDITOR - MARY POPPINS RETURNS, DIR. BY ROB MARSHALL, 21/12/18 “Mary Poppins Returns might just be the sequel we didn’t know we needed. With a stellar cast including Emily Blunt, LinManuel Miranda, Colin Firth, and Meryl Streep, the sequel to the 1964 Disney classic looks set to be the most wholesome film released this Christmas.” RECORDS EDITOR – CLEAN BANDIT – WHAT IS LOVE?, ATLANTIC RECORDS, 30/11/18 “The first album in four years from the ubiquitous pop group sees them loading on the hits with ‘Symphony’, ‘Rockabye’ and ‘I Miss You’ all set to feature alongisde an eclectic guest list including names like Charli XCX and Rita Ora. What’s not to like?” FILM EDITOR - SPIDER-MAN: INTO THE SPIDER-VERSE, DIR. BY BOB PERISCHETTI, PETER RAMSAY AND RODNEY ROTHMAN, 12/12/18 “As a huge Spidey fan, I couldn’t possibly recommend anything else this month. Get ready to see the SpiderVerse as you’ve never seen it before: in a raucous and animated dimension. Come for the big screen introduction of alternative Spider-Man Miles Morales, stay for the utterly ridiculous Spider-Ham.” CULTURE EDITOR - DOCTOR WHO SEASON 11 FINALE, BBC, 9/12/18 “What does Chris Chibnall have in store for us? Whether it’s a surprise Dalek/Cyberman appearance or something new, I for one can’t wait.” LIVE EDITOR – SUPREME QUEEN @ O2 GUILDHALL, 18/12/18 “Gone a bit Queen mad this month? If you want to celebrate the undisputed queens of rock and roll with a live musical that emulates a live Queen experience and soak it all in in the perfect venue – they will rock you!” Image courtesy of Paramount Pictures
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NEWS
NOSTALGIC NEWS 5 YEARS AGO
ased Beyoncé’s BEYONCÉ was rele Rob Tucker
ed, ‘visual album’ Five years ago, Beyoncé’s self-titl rnight, without any was quietly made available ove accompanied by a prior singles or marketing, and s strategy was, in Thi g. son music video for every CÉ also marked ON BEY but ted, itself, unpreceden g her most bein er, a new direction for the sing On this yet. k wor of e confident and creative piec races emb y full é onc Bey m, boldly feminist albu h as suc es ing them her sexuality, whilst address (in d hoo ther mo and female beauty standards e Blu d, chil first her to h birt the wake of giving ed vari re and mo Ivy); musically, it’s moodier ks, mixing elements wor s viou pre her of any than l. Whether it’s the of hip-hop, R&B, and sou e’ and ‘Partition’, the Lov In unk ‘Dr seductive hits less’ or the smooth swaggering ‘7/11’ and ‘***Flaw on ‘Superpower’ an Oce collaborations with Frank ply contained sim CÉ ON BEY , ne’ and Drake on ‘Mi remains the jewel some of her best songs ever, and in the queen’s crown.
10 YEARS AGO
Marley and Me was released
Ellie Brain
Marley and Me, based on a true story and memo ir written by John Grogan, was released 10 years ago on 25th December 2008. Starring Jennifer Anniston and Owen Wilson, it set the record for largest box office ever on Christmas Day. It’s hardly surprising to see why. It combines heartwarming tales of love and family life – joined together, rather messily and chaotically, with their golden Labrador, Marle y. This film will make you laugh, cry, and wonder how you can really feel so many emotions over a dog. This film is definitely one for dog lovers – but it doesn’t shy away from the more difficult topics either. Sensitive topics such as miscarriage are discussed and it isn’t a shallow movie that you will forget five minutes after you’ve watched it. I think the most powerful thing about the film, is how authentic it feels throughout; although it is fair to say that without the dog, the film wouldn’t be half as memorable.
15 YEARS AGO
Cheaper by the Dozen was released Otillie Young
Cheaper by the Dozen is a comedy film, starring Steve Martin and Bonnie Hunt. It tells the story of the Baker family, who try and control their chaotic lives and 12 children. The movie received poor reviews from critics when it was first released, but was a box office hit. I remember watching this movie on repeat, and I can honestly say I know ALL the words! The stars of the movie have had varying levels of success. Tom Welling and Hilary Duff have gone on to become household names, whilst the likes of Mike and Mark have slipped off the radar completely. But if you’re like me, and you want to cuddle up with a bowl of popcorn, a cuppa and pretend you are a kid again, then take a nostalgic trip and rewatch this film. Images courtesy of Parkwood Entertainment and 20th Century Fox
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NEWS
25 YEARS AGO
15 YEARS AGO
Schindler’s List was released
urn of the The Lord of the Rings: The Ret King was released
Ellis Murrell
Louise Chase
in the Lord of the The third and final instalment the King, turns of urn Rings movie trilogy, Ret owing on from Foll er. emb Dec 15 years old this the previous film, their victory at Helm’s Deep in Hobbits they two our heroes reunite with the . With war ago ents alm inst set out to rescue two forward and take underway, Aragorn must step up his birthright as King. vie give the piece So many of the effects in this mo asy setting, with a sense of realism despite its fant ced Perspective For and I the combined use of CG the audience. rals enth that ism bringing a real ed for 11 awards Return of the King was nominat the influence of et forg at the Oscars. We cannot re’s blending Sho ard How er; the soundtrack eith es, as well as vocal of the Shire and Rohan them It proved that high . pieces from some of the cast y. tack be fantasy didn’t have to
Steven Spielberg’s 1993 historical drama, Schindler’s List turns 25 this Decemb er. The drama, set during the events of the Second World War, charts the true-life story of Oskar Schindler, a factory owner who saved the lives of thousands of Jewish employees during the Holocaust, sparing them from Nazi prosecution. The film, which Spielberg shot in black and white, creating a ‘documentary feel’, stars Liam Neeson as Schindler, Ben Kingsley as Itzhak Stern and Ralph Fiennes as Amon Goth . Upon its release, the film was met with trem endous critical acclaim, winning Best Pictu re, Best Director and Best Adapted Screenpl ay in the 1994 Academy Awards. The film was also a smash hit commercial success. In the wake of the film’s production and success, Spielberg helped create the USC Shoah Foun dation, a visual archive recording the testi monies of hundreds of genocide survivors, ensu ring that the film had an enduring legacy beyo nd the silver screen.
40 YEARS AGO
Superman: The Movie was released
Vanessa Lee Also known as the “Man of Steel”, Superman: The Movie was first released on 15th December 1978. To celebrate its 40th anniversary, Fathom Events and Warner Brothers are planning to show Superman: The Movie at several screenings. Starring Christopher Reeve, the story features Kal-El, sent by his father to Earth in order to save the planet, Krypton. It was believed that by gaining powers from the Earth’s yellow sun, he could be the “champion of truth and justice”. Raised by the Kents, who realised the child’s unusual powers and ability, Clark Kent (Kal-El’s identity on planet Earth) grew up mild and shy, forbidden to use his powers. As he gradually explores his true identity, he embarks on his journey of life-saving. The climax of the film sees Kent saving the world from being conquered by the evil criminal genius, Lex Luthor. Images courtesy of Wingnut Films, Universal Pictures and Warner Bros.
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RECORDS
ARTIST IN FOCUS
THE 1975
“Give yourself a try,” sings Matt Healy, as he bounces around set with electric red hair. The lyric encapsulates everything that the band’s fanbase loves them for and the video, a mad mixture of indulgent self-expression and energy, encapsulates their eccentricity. This is an eccentricity that The 1975 have been unafraid of flaunting since their debut. However, it really became clear that the band would be following the beat of their own drum when the unusually long name of their second album was released: I Like It When You Sleep, For You Are So Beautiful Yet So Unaware of It. What an album it is. Jazz, soul, rock, pop, indie, alternative. One genre is not enough to explore the plethora of emotions that Matty sings about so they use them all. This album has heart; it proved (after their commercially successful but less varied first album) that The 1975 had the potential to do something truly different. In 2017 they won the Brit Award for Best British Group.
After I Like It When You Sleep, fans waited desperately for news on the next album. The band remained cryptic and stayed away from multimedia. Until, that is, Matty sent out the tweet that would finally set off The 1975’s ‘Music For Cars’ era: “1st June, The 1975”. The exact inscription (found at the back of a beat poetry book) that inspired the band’s name and the first teaser for their new music. The single ‘Give Yourself A Try’ was released to much anticipation on 1st June 2018 and was everything the fans had been waiting for, the best lyric surely being “I found a grey
hair in one of my zoots, like context in a modern debate I just took it out.” After ‘Give Yourself A Try’ the band released ‘Love It If We Made It’ followed by ‘TOOTIME’. However their fourth release, ‘Sincerity is Scary’, projects a more melancholic tone than the other three which are more upbeat. ‘Sincerity is Scary’ might be the most real though: it is a self-conscious reflection that tackles the fear of truth. We might expect this to be a running theme in the upcoming album entitled A Brief Inquiry into Online Relationships: online we can be someone else – there is no need to be sincere – so we can lose sight of who we are. But if The 1975 are anything, it’s sincere. The band never shies away from a topic and every song seems to be a search for something inside of the self. It’s no surprise that their origins trace back to a book of beat poetry; in particular a collection of Kerouac’s poems. It’s easy to see that The 1975 have taken inspiration from the poet known for his disjointed and spontaneous writing on topics such as religion, narcotic abuse, sex and jazz. Just listen to ‘If I Believe You’ from their second album. Together, Matty Healy, Adam Hann, Ross Macdonald and George Daniel are creating poetry in their music. Poetry is in the streets, after all. A Brief Inquiry into Online Relationships will be released on 30th November 2018 via Dirty Hit Records.
Amber-Louise Large
Image courtesy of Chuffmedia
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RECORDS
George Townsend
Khalid has managed to take some time out of making smash hits and focus on a new, more experimental project which has come in the form of the Suncity EP. After an incredible summer, with huge singles like ‘Love Lies’ and ‘Eastside’, Khalid is currently the third most played artist on Spotify by monthly listeners (behind Drake and Selena Gomez). Can the 20-year-old superstar live up to his incredible track record on this new release? The short answer is, in some ways. It should be noted that most of the tracks on Suncity don’t follow Khalid’s perfected pop song blueprint. This has resulted in some interesting songs which are a breath of fresh air from Khalid’s usual style, such as with the Daft Punkesque vocals in ‘Better’. You might think this would sound out of place next to Khalid’s characteristic airy vocals which we know and love, but I like the way it sounds and am always happy to see an artist branch out a little. Khalid also imitates The Weeknd’s echoey, ethereal style of singing on ‘Salem’s Interlude’ and ‘Motion’. These two artists have always been in the same lane, but now there is more overlap than ever; could we see them collaborate sometime soon? Named after the nickname of his home town of El Paso, Texas, Suncity features more cinematic transitions than we are used to seeing from Khalid. Almost every song ends with snippet from a recorded phone call, conversation or news story. In ‘9.13’ for example, we hear the mayor of El Paso presenting Khalid with the key to the city, and it’s nice to see the young star receiving recognition from the state for his talent. In ‘Salem’s Interlude’ we hear a phone call monologue from a female voice (potentially a mum or sister) talking about her outlook on life. As a result of these cinematic transitions, listening to the EP in sequential order sounds natural and coherent, adding to the experience.
Review: Khalid - Suncity EP However, in isolation, if one of these songs was on a playlist alone, these transitions can sound out of place. ‘Vertigo’ shows a lot more introspection than some of Khalid’s previous releases. It lacks the catchy chorus required for a commercially successful song, and features more personal lyrics like “I’ve been learning, I’ve been growing, but the worst is yet to come,” which could elude to some of the worries and concerns that come with young fame. ‘Better’ was released in mid-September well before the rest of the songs on this album, and it looks to be the most commercially successful song from the EP. It’s got a memorable chorus and is more what we are used to hearing from Khalid. Finally, the track ‘Suncity’ features the vocals of Empress Of, a Latin-American artist. The hispanic style of this song sounds a lot more natural coming from Khalid, a youth from a Texas border town, than some other artists like the Canadian Drake who appears to be jumping on the band wagon with his latest release ‘MIA’. Suncity EP is a good project from an outstanding artist. Whilst the EP was entertaining to listen to and I’ll be going back and listening to some songs again, particularly ‘Motion’, I can’t help but feel a little short changed. I think if Khalid was a little more daring, this project could’ve had more replay value. And more importantly, at only seven songs long, this is very light on content to say the least especially considering the inclusion of an interlude and an introduction. Suncity EP is available now via RCA records.
Image courtesy of RCA Records
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RECORDS
THE EDGE’S HIDDEN GEMS OF 2018
We may not quite yet be at the year’s end, but already we have been treated to all manner of musical delights. From Arctic Monkeys’ divisive Tranquility Base to BROCKHAMPTON’s reinvigorating iridescence, there has been plenty to recommend as we head into the season of end-of-year lists.
But occasionally, there’s that album that flies under the radar, crushed by our appetite for endless scrolling and the budgets of bigger artists. From delightful Mexican singer-songwriter records positively brimming with the kind of warmth you just want to pick up and hug, to emotionally touching art-pop albums that invite you onto a journey of self-discovery and affirmation, there were plenty of projects that fully deserve a listen before you go and check out the next most hyped LP. These are The Edge’s hidden gems of 2018.
TOM MISCH
GEOGRAPHY
Theo Smith
From creating computer beats in his bedroom, the rise of multi-instrumentalist Tom Misch has been startling in 2018. His little EPs 5 Day Mischon and Reverie – and mixtape Beat Tape 2 – have crafted a reputation for chilled household groovy beats influenced by jazz and R&B with sounds of D’Angelo and Lauryn Hill for an easy listening crowd. But his first full length debut album Geography is a culmination of the last two years and it’s proven to be one of 2018’s sleeper hits. His talent for creating vibrant, colourful instrumentation can be shown through tracks like ‘It Runs Through Me’ and ‘Disco Yes’ featuring funky basslines, snazzy synths all blended together to form a warm summery vibe. However, some of the more slower ballad tracks have proven to be as memorable as the heavy hitters: the song ‘Movie’ opens with a voiceover by his sister Polly Misch that reminisces Classical Hollywood and then proceeds to reflect a previous relationship as though it’s “fresh out a black and white movie”, which has been steadily growing on me after each returning listen.
JEFF ROSENSTOCK Tom Brewster
POST-
When thinking about what makes the cut for the best albums of the year, I cast my eyes back to the very beginning of 2018, to a bleary New Year’s morning. Waking up after a 14-hour shift that finished at approximately 4am, a creature that looked like a mix between Steve Buscemi and a crusty binliner stared back at me. What a sight to welcome me into what was sure to be another compelling year on the train with no driver (let alone a track) that is my life. Alongside this horrifying image came POST–, released on the 1st of January and ready to scoop any other disenfranchised new-year scrooges into its loving arms. In a similar fashion to the rest of Jeff Rosenstock’s discography, POST- takes a look at the state of the world and lets out a long, angry sigh. Starting with the absolutely glorious ‘USA’, Rosenstock belts out line after line of vitriolic rage towards the upsetting nature of Donald Trump being a person that really does exist, immediately following it with ‘Yr Throat’, a song with a solo that hits harder than Greta Van Fleet’s entire discography. Given its release at the very start of the year, it’s easy to overlook POST- or otherwise forget that yes, it was in fact released this year – but it’s an album that consistently renews my anger towards things that suck and, for that, I can only recommend it wholeheartedly.
Images courtesy of Chalk Press Agency and Polyvinyl
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RECORDS Jack Nash
TROYE SIVAN
BLOOM
Troye Sivan’s Bloom is a follow-up album to his 2015 album Blue Neighbourhood. While Blue Neighbourhood explored teenage crushes and wrestling with Sivan’s sexuality, Bloom focuses on the ideas of virginity, sex and young love, through the innocent ‘Seventeen’ (“Got something here to lose that I know you wanna take”) and the ecstatic titular track (“I’ve been saving this for you”). However, the whole album isn’t just about sex. Take ‘My! My! My!’, an upbeat pop track about falling in love for the first time, the issues it brings (“let’s stop running from us”) and how good it feels to be infatuated (“I die every night with you”; “living for your every move”). Contrast this positive outlook on first love with ‘The Good Side’, which is much more mellowed and downbeat, a song full of emotion about the demise of Sivan’s first heartbreak and the emotional baggage left behind with an ex (“left you with both of the rings”). The narrative of the track quickly moves to how Sivan has moved on and found someone better, but not out of spite for his ex, just through luck (“Found arms to fall right into, its not how it looks, it wasn’t the plan”). Alongside all the songs about sex and heartbreak, there are also just some amazing collaborations, such as ‘Dance to This’ with pop sensation Ariana Grande. A song about living in the moment, whether you’re having a night out or a quiet night in and being around people you love (“Under the kitchen lights, you still look like dynamite”), which gives a lighter side to the album.
NATALIA LAFOURCADE
MUSAS VOL. 2
Sam Law
Here I find myself in the rare situation of being too floored by an album to really know what to say about it. The follow-up to last year’s Musas Vol. 1, volume 2 takes what made that album in my mind the best of 2017 and refines & expands upon it, producing an even better album when one barely seemed possible. Hailing from Mexico City, Natalia Lafourcade is one of the greatest Latin folk singers currently performing. It may be easy to be put off by the fact that both volumes of Musas are sung entirely in Spanish, but the reward for sitting down and just listening to her music is two of the most heartwarming, touching and downright beautiful albums you could ever have the pleasure of hearing. So what of Vol. 2? While it may be missing stunning standout tracks in the vein of Vol. 1’s ‘Tu Si Sabes Quererme’ or ‘Soledad y el Mar’ (which I implore you listen to before anything else), Vol. 2 has a far greater sense of identity and unity than its predecessor, with fewer abrupt changes in tempo or genre and a smoother flow. As with Vol. 1, the record serves as a tribute to Mexico’s musical heritage, and the musical greats of Latin America in general. In doing so, the album acts as a perfect gateway to Latin music for those who have never explored bolero, bossa nova or Latin folk, whilst creating a strong musical direction for Lafourcade as she mixes traditional influences with her own contemporary style. But really, the main reason that Musas Vol. 2 is featured here is just because it’s so goddamn lovely. Every time I play this record I just want to pick it up and give it a hug, such are Lafourcade’s delightful vocals and her band’s perfect instrumentation. Even on the grimmest days as we head into winter, and even as the world seems ever more divided day by day, this album never fails to make me smile, and make me believe that there is love and unity to be found in the world. It truly is a wonder of captivating, luscious musical delight. Images courtesy of EMI Music and Sony Entertainment
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FILM
Doing Disney Justice: The Rise of the Live Action Remake Eleanor Robinson
Cinderella kicked it all off in 2015, and a steady stream of live action Disney classic remakes have swiftly followed. Bill Condon’s Beauty and the Beast featuring Harry Potter star Emma Watson – and Jon Favreau’s The Jungle Book have been relative success stories so far, both critically and at the box office, but will this last? With rumoured plans for remakes of classics such as Snow White, Fantasia and The Little Mermaid, how many of these modern interpretations of such beloved films will meet audience expectations? So far, there has been a multitude of responses to this new round of Disney favourites. Interestingly, the most popular appears to be Condon’s Beauty and the Beast, closely followed by Favreau’s Jungle Book. Both feature a large portion of CGI and motion captured characters voiced by famous faces, which some critics have pointed out is no less animation than their originals. The 2019 release of Tim Burton’s Dumbo will provide an interesting comparison to these two, featuring once again a predominantly CGI cast, but in conjunction with Burton’s highly popular and stylised directorial spin. The less popular of the three aforementioned works is Kenneth Branagh’s Cinderella, starring Lily James, Cate Blanchett and Richard Madden (of Game of Thrones fame). But despite having such a crowd-pleasing cast, fans had serious problems with the remake. One of Cinderella’s main issues was the lack of diversity within the role of Cinderella herself, her waist synched into impossible proportions, looking strikingly similar to her 1950’s counterpart which seems outdated in this decade. Perhaps the live action works featuring predominantly human casts will struggle to translate across generations, with the problems and themes of the past simply not being relevant anymore. Animals, on the other hand, seem
to have less of a struggle crossing decades. One of the main concerns and scandals surrounding these remakes is the possibility of the white-washing of lead characters in an already limited selection of roles for ethnic minorities. One of the most noticeable castings gaining attention in the media was for Mulan (expected 2020), with Chinese actress Liu Yifei landing the titular role. Similarly, the fact that Egyptian actor Mena Massoud landed the role of Aladdin for the remake expected in 2019 provides hope for the films, and for diverse leading roles in the future. Disappointingly, however, male domination of the directing role prevails, and Mulan is the only remake thus far to showcase a female director, Niki Caro. Arguably, the most highly anticipated film of the bunch is Favreau’s The Lion King, and from its diverse and popular cast (Beyoncé, Donald Glover, Chiwetel Ejiofor to name a few), to the overwhelmingly positive response to his Jungle Book teration, the film’s upcoming summer 2019 release is definitely one to look out for! Providing they are done right, these remakes could be a great step in the right direction towards diversifying Hollywood blockbusters and creating platforms for new technology to be showcased (something that will hopefully be seen in Andy Serkis’s Mowgli, the release for which was pushed back due to its proximity to Favreau’s version). While we wait, one can wish upon a star that the live action Disney remake will bring much-loved classics to a new generation where they can be resurrected for the future. Image courtesy of Walt Disney Pictures
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FILM
ACTOR IN FOCUS Emily Blunt
Fung Ying Cheng
From musicals such as Into the Woods and crime thrillers such as Sicario, Emily Blunt is without a doubt one of the most versatile actresses of her generation. With a resume sporting a diverse set of films, it’s no surprise she was chosen to star as the titular character in Mary Poppins Returns this December. But before she lands on the streets of London with a parasol and a spoonful of sugar, we’ll be taking a quick look at Blunt’s acting career from past to present. At a young age, Blunt had a stutter which eventually led her to stop speaking at the age of 12. She overcame her stutter when a teacher suggested she use a Northern accent in a school play where specialists failed. Following this, she would later study two years of drama studies at Hurtwood House where in 2000, she was chosen to perform at the Edinburgh Festival. In her theatrical debut as Tasmin in My Summer of Love, she received acclaim which led to her first British Independent Film Awards nomination and shared the Evening Standard British Film Award for Most Promising Newcomer with her co-star Natalie Press. In 2007, she would receive two Golden Globe Awards nominations, winning one for Best Supporting Actress in a Series, Miniseries or Television Film as Natalie for Gideon’s Daughter. Her second nomination was for her role as the catty and overworked Emily in The Devil Wears Prada. Although she did not win, it would arguably be the role that would serve as her breakout performance. Blunt continued to work in other films such as The Jane Austen Book Club and Sunshine Cleaning. In one of her most iconic roles, she starred as the eponymous character in The Young Victoria. As Queen Victoria, she provided the charm and the commanding screen presence that was required for
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such a role. As a result, she would receive a slew of acting nominations. In the past few years, Blunt has experimented with different genres with positive results. She has proven she can kick butt as the no-nonsense Rita in the criminally underrated Edge of Tomorrow. She provided a wilful grit in her action sequences that audiences had yet to see or expect from Blunt, allowing her to stand alongside veteran action star Tom Cruise with ease. Alongside beating up aliens, she showed off her singing abilities in the ensemble piece Into the Woods. Her most recent appearance was in the delightfully intense A Quiet Place where she delivered a carefully restrained performance, once again showcasing her intensive acting capabilities. Alongside her upcoming role in Mary Poppins Returns, she is also set to star in Disney’s adventure film Jungle Cruise alongside Dwayne Johnson and Jack Whitehall in 2020. Taking the reins from Julie Andrews, Blunt certainly has a challenge ahead of her. Although she does not sound like Julie Andrews, it’s safe to say she will deliver a solid performance as Mary Poppins. The role itself will really allow Blunt to showcase her talents as a musical performer even further than what she showed in Into the Woods. This marks a very exciting time for Blunt’s fans but also for those who are not too familiar with her as an actress. Maybe this is the performance where Emily Blunt will finally receive her first Oscar nomination – and if time really wants to repeat itself, win – like her predecessor. Regardless of where her version of Mary Poppins lands in the eyes of moviegoers, Blunt is sure to deliver a treat during the festive season. Mary Poppins Returns (2018), directed by Rob Marshall, is due to be released on 21st December by Walt Disney Pictures. Image courtesy of Brigitte Lacombe
CHRISTMAS
Christmas Hits AND WHY WE HATE THEM
Every year, as the days start getting colder and the nights start drawing in, I brace myself for the long, hard month of December. Then, like an omen foretelling the arrival of something far worse, they arrive: Christmas songs. The first note of Michael Bublé’s monotone voice on the radio; the first hint of a children’s choir in the backing vocals – like spotting the first soldier of an army on the horizon, these songs signal that Christmas is coming. Now, despite how it may seem, I don’t hate Christmas. There are lots of good things about it – mince pies, for instance. And It’s A Wonderful Life is always on TV! And…well, I’m sure there are other things. But Christmas songs are, surely, the most insufferable part of the holiday season. The upbeat rhythms, the sickly-sweet, “let’s all be friends” lyrics, the sleigh bells on every instrumental: it gets repetitive, fast. But I understand – for most people, Christmas music forms the soundtrack to one of the most special times of the year. We often associate certain songs with certain times or feelings; Christmas songs, then, naturally invoke a sense of happiness and nostalgia that accompany the holiday, which is reinforced by hearing them at the same time annually. The biggest problem with Christmas songs, however, is simply their over-saturation. Given that there’s
roughly a six week window of the year in which it’s acceptable to play them, most people want to ‘get good value’ out of Christmas songs. Plus, the average member of society isn’t a heartless bastard like me, so no one really wants to be branded as a ‘Scrooge’, and is thus socially compelled to embrace them. What this means is that every shop, pub, radio station – they all want to appear festive, making Christmas music pretty much unavoidable until January. There aren’t even a huge number of Christmas hits in existence, meaning that we end up hearing the same dozen or so songs multiple times a day, every day, for over a month. How can people not get sick of this repetition? Well, it turns out that they do: a 2017 study conducted by Soundtrack Your Brand asked 2,000 UK & US retail staff and customers for their thoughts on Christmas music, and revealed that 25% of customers actively disliked Christmas music, whilst 25% of staff said it actually made them feel “less festive”. A real cynic might say that retailers use Christmas music to trigger our festive feelings associated with it, thus influencing us to spend more. Wake up, people: don’t let the system play you. There’s also the question of whether we really care as much about Christmas music anymore; in the UK singles chart, a ‘Christmas hit’ hasn’t reached the number one spot at Christmas since Band Aid 20 in 2004. Perhaps, in this age of streaming, our ease of access to other types of music has something to do with it? Or because, let’s face it, people aren’t going out to buy the classic Christmas records anymore – we all own them already. Like it or not, it seems clear that Christmas music isn’t going anywhere. The only solution, really, is to embrace it and try to enjoy it (also known as Stockholm syndrome…) Or, like me, you could stay at home as much as possible, do your best impression of The Grinch and wish you could hibernate until the spring, when all this silliness is over. Merry Christmas.
Rob Tucker
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An Alternative Christmas Playlist Tom Brewster
Christmas is a strange time for lovers of alternative music as it’s never been particularly fashionable for any self-respecting indie artist to crank out a few Christmas hits for a quick buck. As much as I want to see Death Grips tackle ‘Silent Night’, it just won’t happen. No matter how many emails, Twitter messages and hastily put together ransom notes I send to MC Ride and the boys, the chances are rather slim and I’ve got to make peace with this fact. What a downer. Regardless of the hypothetical what-ifs and couldhave-beens, there are still a few festive corkers out there that’ll warm the hearts of even the most cynical indieheads. So, without further ado, here are three Christmassy tunes to warm you right up this December.
Fleet Foxes - ‘White Winter Hymnal’ Although more of a vaguely-defined autumn/winter 2ksomething banger, ‘White Winter Hymnal’ is perhaps Fleet Foxes at their festive peak. The track has been part of their live sets since forever, and continues to be a highlight of their discography to tempt people into the neo-folk worlds of Robin Pecknold & co. The rich imagery within the lyrics, of a “Pack all swaddled in their coats / with scarves of red tied round their throats / To keep their little heads / From falling in the snow” has been unpicked to death as to what exactly they mean – some suggesting a childhood memory, others a diving into gang culture. Regardless of its narrative, ‘White Winter Hymnal’ achieves exactly what Pecknold wants it to be – “a song to hum along to as you do the dishes”. Hearing this song in a warm kitchen with steamedup windows after an arduous Christmas dinner session is absolutely one of the cosiest, most wholesome Christmas experiences known to humankind. Studies show it cures Scrooge-ism with 100% effectiveness, and increases snug factor by 10; the musical equivalent of hot chocolate with a little Baileys to boot.
Los Campesinos! – ‘When Christmas Comes’ ‘When Christmas Comes’ is by far the best track from the joyous A Los Campesinos! Christmas EP, featuring aching strings, choral vocals a-la ‘Avocado, Baby’ and a rousing final chorus to top the whole thing off. The lyrics are rewarding as ever despite their festive wrapping paper, vividly depicting “LED avenues”, “plucking stars from out the sky” and taking part in an audition for “ass-end of horse in village pantomime”, whilst that classic brand of Los Campesinos! sadboy-ism is evoked vividly in the song’s tense pre-chorus. All of this melancholy is coated in a thick layer of festive instrumentation that hides those more troublesome thoughts to only those listening in. It’s classic Los Campesinos! in a festive wrapping, and for me, that’ll do just fine.
The Blue Nile – ‘Tinseltown in the Rain’
Image courtesy of Caroline Records
I’m fairly certain ‘Tinseltown in the Rain’ has absolutely nothing to do with Christmas aside from including the word ‘tinsel’ in the title, but nevertheless I will brazenly include it on this list due to a burning desire to write at least something about sophisti-pop legends The Blue Nile. Forming in 1984 and with just four quietly-released albums to their name, the band have carved out a truly unique uneasy pop niche. ‘Tinseltown in the Rain’ is the second track from their debut album A Walk Across the Rooftops – and is their most popular hit for good reason. Paul Buchanan’s powerful vocal performance wavers periodically as it reaches to hit high notes at the song’s peak – crying out “Do I love you? / Yes, I love you / Will we always be happy go lucky?” for no-one but himself. There’s a truly special atmosphere created across the track – managing to transmit feelings of isolation, hope and wonder through its layered instrumentation and desperate vocals.
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CHRISTMAS The Edge’s Favourite
Not-At-All-Christmassy
Christmas’ Films
We’ve all got that one film we associate with Christmas despite the fact it is most definitely not a Christmas movie. Maybe it has one tiny scene with a Christmas tree in. Or maybe it’s just always on TV over the festive period. Whatever the film, and whatever the reason, there’s just something about it that makes us want to whip out the fairy lights and a mince pie. Our writers discuss their favourites:
While You Were Sleeping, dir. by John Turtletaub Tash Williamson
Ok, so this film does take place in and around Christmas and NYE, but the holidays are only being sadistically used as a device to show us just how lonely our heroine Lucy (Sandra Bullock) really is. Lucy’s would-be Prince Charming Peter (Peter Gallagher) gets pushed off the tracks at the metro where she is working on Christmas day and ends up in a coma. But it’s not all bad, because he has this wonderfully crazy family moving around like a pack of animals at his bedside. Mistaken for Peter’s fiancée, Lucy gets brought into the family and that’s where she meets Jack (Bill Pullman). You see, it’s a rom-com at heart, as Lucy falls in love with the Callaghan family and romantically with Jack under the pretence that she’s their son’s and his brother’s fiancée, a man who she only ever loved superficially. It just makes you feel all warm and fuzzy inside when the world outside isn’t too warm or fuzzy.
Casablanca, dir. by Michael Curtiz Joe Williams
If you peruse the TV listings every time Christmas rolls around, Casablanca will always be in there somewhere. For what reason, besides from it being a bona fide classic? Yes, it may be set in December, though there’s no sleigh bells or Santa Claus. Simply put, the Bogart-Bergman romance resonates so much during the holidays because it’s a morality tale. Christmas is a time to cherish those we love, a time where we want nothing but peace on Earth. So, whether it be in fantasy worlds via Lord of the Rings or through other Hollywood classics like The Wizard of Oz, tales of good vs. evil will always be enjoyed at Christmas as we remember what we live and breathe for. Michael Curtiz’s film ultimately ends with love being sacrificed, for the greater good, in the war against the Nazis. In this case Rick and Ilsa’s union cannot be, but good will win. When it comes to a non-Christmassy Christmas movie with just the right sentiment: here’s looking at you, Casablanca.
Eyes Wide Shut, dir. by Stanley Kubrick Liam Beazley
A masked cult orgy may not be at the top of your Christmas list this year, but maybe you’re just pulling crackers with the wrong people. Marking his final contribution to cinema, Stanley Kubrick’s Eyes Wide Shut is as far from festive as things get. A slow and deliberate musing on fidelity and the expiration of lust and love, it is fair to say that the master’s last stroke of the brush is a bleak one fairly void of red and green glitter. Yet, set at the most wonderful time of the year, Eyes Wide Shut is littered with a Saint Nick aesthetic; Christmas trees provide cultist triangles, fairy lights are both integral to the art direction and visual reminders of betrayal of family, and the film even concludes in a hopeful sequence at Hamley’s. Though it may not be your traditional Christmas present, it is certainly wrapped like one.
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LIST
Abi Cutler
The Eternal Appeal of the Christmas Movie The Christmas movie is a mystical beast. Whereas you may watch your favourite regular films a handful of times in a year, once mid-November hits it suddenly becomes completely appropriate to watch our most cherished festive flicks more times than we can count. Seriously though, is it truly Christmas if you haven’t watched Elf at least five times in the space of a week? There are certain qualities of Christmas movies that make them timeless and beloved by everyone who isn’t a Scrooge, no matter how many times we have seen them. The first of these is undoubtedly the fact that they are all based around Christmas. As obvious as this may sound (of course a Christmas movie is set at Christmas), many of us associate the festive season with joyfulness, time spent with family and friends, and the warm, cosy feeling that accompanies drinking hot chocolate under a blanket by a roaring fire. When we see these associations depicted onscreen, it is impossible not to feel happy and content as we watch Love Actually for the third time this December. There is a real magical element to so many of these movies: the snow, the season and sometimes literal magic, with films like The Polar Express that revolve around Father Christmas himself. No matter where we are in our lives, we can always feel safe and at home watching a Christmas film. A second important quality of Christmas movies is that they all end happily. After getting through Halloween and the endless torrent of horror films
that appear in their masses year after year, it is nice to follow on from these movies with something completely different in tone (unless, like me, you are too much of a wuss to watch horror films and just get a head start on the Christmas ones instead). I can’t think of a single Christmas movie that doesn’t end well; whether its Buddy the Elf saving Christmas, Scrooge realising the error of his ways, or a young Thomas Sangster running after the love of his life in the airport even though they are literally children. Any conflict in a Christmas film is always resolved – and who doesn’t love a happy ending? Finally, and most crucially, many of our most treasured Christmas movies have become absolute classics. Some may only count as ‘classics’ in the Christmas film catalogue, but they have such an age-old appeal that they have stood the test of time. Forgettable Netflix Christmas specials come and go, sure, but there’s a reason why It’s A Wonderful Life and Miracle on 34th Street are still being watched over 70 years after their initial releases. Even films like The Muppet Christmas Carol, released back in 1992, make their way onto our screens year after year. They may not be Oscar-winning works of art (though several have been nominated, including It’s a Wonderful Life, Miracle on 34th Street and Home Alone), but so many Christmas films will likely outlive several award winners in our memories; there will always be a time and a place for them in this ‘Most Wonderful Time of the Year’.
Image courtesy of New Line Cinema
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CHRISTMAS
Closer to the Edge:
Our Favourite Christmas TV Binges It’s the Christmas holidays, and you’re desperately trying to distract yourself from impending New Year assignments. Well then, that means it’s time to crack out the TV boxsets! But which one do you pick? The Edge have got your back. Here are our picks for the best Christmas TV bingewatches!
Doctor Who Christmas Specials Jack Nash
Since the reboot of Doctor Who in 2005, there have been thirteen festive specials of the Sci-Fi phenomenon, putting a seasonal spin on the world of the TARDIS and the Cybermen. From a space age Titanic to a Victorian London invaded by sentient snowmen, the Christmas specials have something new to give each year, and that’s what makes them so binge-worthy. Most of the time, the specials have no real link to the main overarching storyline of Doctor Who as a whole, and therefore can be watched without watching their accompanying seasons. The festive twists reference different aspects of the winter season, such as a strong focus on family and many appearances from Saint Nick himself. With enough Christmas specials to make up an entire season of the show, and each episode being feature length (one whole hour instead of the usual 45 minutes), a Christmas binge of Doctor Who for the Sci-Fi lover is a must.
Friends Abi Cutler
I will start this with a disclaimer: I do, in fact, binge Friends on a loop all year round (no joke, I have it on pretty much every day). However, it does serve as a wonderful non Christmas-specific show to watch nonstop during the festive season. Firstly, there are some wonderful Christmas episodes throughout the ten series – is it really Christmas without the Holiday Armadillo? – and the idyllic image of New York in the snow, accompanied by Monica’s perfectly decorated tree, really puts you in a Christmassy mood. And yet, even the non-Christmas episodes are ideal for this time of year. I associate Friends with a lovely warm and cosy feeling, and there is something genuinely comforting about watching your favourite six friends who will always be there for you. Just one piece of advice - if it is warm and cosy you are after, please skip the infamous ‘We Were on a Break’ saga; no one needs that kind of negativity at Christmas.
Images courtesy of BBC and Warner Bros. Television
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LIST
Gavin and Stacey “Oh! Oh! Oh! Merry Christmas” Ellie Brain Gavin and Stacey is the perfect show to binge-watch at Christmas. Whilst the noughties fashion may not have aged particularly well (stop wearing belts over t-shirts), the jokes and classic catchphrases continue to bring a smile to the face of even the biggest Grinch in the family. Snuggled up on the sofa, watching the drama of the two colliding families, is so amusing to watch because it feels so authentically British. Whilst James Corden may have moved onto bigger and better things in America, no Brit can honestly say that they think of anything but the hilarious man-child, Smithy, that he plays in Gavin and Stacey. The Christmas episode in particular, saved in my household until the big day itself, encapsulates the drama that every British household secretly desires. The scene where Pete punches Dave may be one of the funniest moments in British television. So, if you’re worried that your Christmas may be drama-free this year, put on an episode of Gavin and Stacey and live vicariously through their antics.
The OffICE u.s. Thea Hartman
If you’re looking for something to binge-watch this Christmas that doesn’t feature the most cliché single-mumfinds-a-partner-whom-the-kids-adore-just-in-time-for-Christmas plot, The Office’s Christmas episodes might just be the perfect fit. Whether it’s ‘Moroccan Christmas’, ‘Christmas Party’, or ‘Benihana Christmas’, they all guarantee top notch quotes from Michael Scott, hilarious antics from Dwight, and, last but not least, the ongoing war between Phyllis and Angela over the leadership of the office’s most important institution the Party Planning Committee. The blackmailing, the offensive comments, the ‘interventions’, Kevin sitting on Michael’s lap... there is never a dull moment at Dunder and Mifflin Scranton, especially not at Christmas. The great thing about The Office’s Christmas episodes is their normality - they don’t completely erase life to accommodate Christmas. Even if they put on parties and have Secret Santa, they get on with their lives and learn valuable things about themselves and others - Michael learns that not every girl he meets is the one, Angela learns a little bit of humility, and Pam realises a well-thought present is better than an iPod. And after all, that’s what Christmas is about.
Images courtesy of Baby Cow Productions and NBC
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CHRISTMAS
Closer To The Edge:
Our Live Music Christmas Wishes Christmas is a time when people’s wishes come true, right? Especially when they’re laid bare for people to read under the flimsy pretence that it’s a Christmas special. The Edge writers throw caution to the wind and (hopefully) make their live music hopes and dreams come true.
Lindsey Stirling Louise Chase I’ve been a fan of Lindsey Stirling’s music for a while now, since I first heard ‘Elements’ in 2012 - a stunning piece from her first album that was released the same year. After gaining recognition on America’s Got Talent and reaching the quarterfinals, she has now released four studio albums, an autobiography, and was the runner-up on Dancing With the Stars’ 25th series in 2017. Her music has taken the traditional violin performance and added a more modern twist, with ‘Master of Tides’ not sounding out of place in a pirate movie, and ‘Crystallize’- her first on Youtube to pass 1 billion views - incorporating a slight dubstep backing. While she has performed in the UK before, I have not had the opportunity to attend, and if I had the chance to see her songs performed live I would jump at it. Her energy and enthusiasm for her career would definitely make a live performance awe-inspiring. There are some songs that must just sound amazing live, but if I had to pick one that I would love to hear: ‘The Arena’, from her 2016 album Brave Enough.
The Cure Vicky Greer As the season of Christmas wishes approaches, seeing a few more UK dates from The Cure comes at the top of my list. While fans rejoice to see their live return in an abundance of festivals next year, purchasing tickets becomes a battle of who can hold out the longest in an online queue, scrabbling for entry to the chosen festivals lucky enough to host such an iconic group. Not wanting to take for granted their triumphant return to the stage, I persevere, and with every city they announce I’ll keep on pricing flights.
Ben Kweller Tash Williamson So, I’ve already had one wish come true, with singer/songwriter Ben Kweller announcing a new album in early 2019, but do I feel a bit cheeky asking for two? Nah, because Dripping Springs, Texas, is far. I’ve already resigned myself to the fact that I’ll probably only be able to see him if I time a trip to the US with one of his tours, as you do. He’s found a way into the hearts of many an American back in his native land, but love for the singer in the UK is spread thin- I’ve only ever met one other person from England who even knows who he is. He made up one third of the supergroup called The Bens (Ben Kweller, Ben Folds and Ben Lee) that played together for a while over a decade ago, so if you like musical Bens, this one could be your cup of tea. If the snippets of new jams caught on home video are anything to go by, ‘Only A Day’ and ‘I See Stars’, the album will be treat enough. But having him do even one tour date in England would be a dream come true. Images courtesy of Icon Interactive, Primary Talent and The Noise Company
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FILM
Throwback Review
With Illumination Entertainment’s upcoming adaptation of The Grinch starring Benedict Cumberbatch having recently hit our screens in time for the festive season, Ron Howard’s wonderfully quirky telling of Dr Seuss’ How the Grinch Stole Christmas – released 18 years ago – seems like a fitting Christmas film to revisit. In the town of Whoville embedded inside a snowflake, the Whos are frantically preparing themselves for their favourite time of year, Christmas. Except, there’s someone who doesn’t share quite the same holiday cheer - in the depths of Mount Crumpit lives the mean one, Mr Grinch (Jim Carrey). He’s a green, hairy, abhorrent creature who loathes Christmas and all the Whos who thrive on it. Cindy Lou, a charming little girl, hopes to rediscover the true meaning of Christmas by reuniting the Grinch with the residents of Whoville. Through this disastrous reunion we unearth why he has such a disgust for Christmas and why his heart is two sizes too small. Consequently, the Grinch decides to get revenge by sneaking into the homes of Whoville, hoovering up their decorations, their festive food and what he thinks is most important: their presents. Throughout the narrative, audiences learn many Christmassy themed lessons such as kindness, love, forgiveness and all of that soppy stuff. The work of Dr Seuss has received many film adaptations over the years and they just keep on coming, illustrating the timeless nature of his work. However, How the Grinch Stole Christmas was actually the first feature length production to be released. Although its critical reception was poor, it proved very popular amongst families, winning ‘Favourite Movie’ at the Kids’ Choice Awards in 2001. This film gets better with age and as the years have rolled by we still see a bit of green on our TV sets during the run up to Christmas.
hilarity. This film is guaranteed to make children and grown-ups alike laugh; whether it’s his witty one-liners or goofy demeanour, there’s something for everyone. In this way, Howard fares to make the Grinch a lovable character who we ultimately have sympathy for. The Grinch is also arguably a highly relatable character for many in adult life, his bitterness and anger at the world being something all university students can definitely identify with! The aesthetics of the film certainly communicate the magical world of Dr Seuss with the creative magnitude of the set design and the distinctive costumes. The film won an Academy Award for Best Makeup and was nominated for many other awards regarding mise-enscene. How the Grinch Stole Christmas is undeniably a one of a kind. Its appearance styled like a children’s pop-up book come to life, accentuated by the fastpaced chaos of the camera movements. However, this may not be to some audience’s taste and the film sometimes has the tendency to overplay the special effects. If you’re looking for a relaxing story to cosy up by the fire to this may not be the one to choose. If you’re looking for a quirky Christmas adventure that will make you laugh and not pull too hard on the heart strings, it’s ideal. Fundamentally, How the Grinch Stole Christmas may be a bit rough around the edges but it encapsulates everything we love about a Christmas movie: it’s funny, it’s feel-good, it’s a bit cliché but most importantly, it’s a classic. How the Grinch Stole Christmas (2000), directed by Ron Howard, is distributed in the UK by Universal Pictures, certificate PG.
Charlotte Rawlings
Evidently one of the film’s biggest attractions is the unique and unmistakable talent of Jim Carrey, who portrays the Grinch in a perfect bundle of revulsion and Image courtesy of Universal Pictures
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FILM The Edge’s
Alternative Cinema Picks for December Although there is no doubt that the one thing at the front of our minds in December is Christmas, you’d be excused for wanting a break from turkey and tinsel at least once this month. If that’s the case, you’ve come to the right place, as our writers are on hand to provide their top cinema picks.
Sorry to Bother You
Having been lucky enough to catch an early screening of Boots Riley’s directorial debut at this year’s London Film Festival, I must admit I’m at a bit of an advantage in recommending it here. Set in an alternate California, the film chronicles the ins and outs of a bizarre telemarketing company where the top employees can become ‘power callers’ and thus uncover the business’ deepest and dirty secrets; yep, it’s certainly as strange (and wonderful) as its premise sounds. The superb cast, including Lakeith Stanfield, Tessa Thompson and Terry Crews, should alone be enough to get you straight to the cinema. And just wait until Armie Hammer’s cameo really gets going, making the final third of Sorry to Bother You possibly one of the most sensationally outrageous segments to ever grace our screens. If anything is going to distract you from the hellish task of Christmas shopping, it’s this raucous comedy.
Alice O’Hare
Release Date: 7th December 2018
Mortal Engines
At face value, Mortal Engines threatens to be another in the long line of post-apocalyptic teen dramas. Below that surface, however, is what could be a breath of fresh air for the genre. Following lead character Tom in a future where cities exist on wheels on a depleted earth, the film’s premise seems unique for the big screen and perfect for release during the season of festive entertainment. With Peter Jackson at the writing helm for this book adaptation and his Lord of the Rings collaborator Christian Rivers making his directorial debut, there’s some serious talent behind Mortal Engines. Most exciting of all is combination of stars Hugo Weaving and Robert Sheehan; something about this project must have caught their eye, suggesting that this adaptation could be everything fans of the successful book have been waiting for - let’s just hope Jackson and co. have kept faithful enough to the book to keep the fanboys at bay!
Release Date: 8th December 2018
Eleanor Robinson
Spider-Man: Into the Spider-Verse Spider-Man has been a constant feature of the pop culture landscape for the last fifty or so years. But the version we all know, Peter Parker, the plucky high schooler from Queens, isn’t the only Spider-Man. Spider-Man: Into the Spider-Verse promises to shine a light on the alternate takes on Spidey, some familiar, some far-out, that have graced the pages of Marvel Comics over the years. At its centre, Miles Morales, a teen much like Parker, struggling to juggle everyday life with superhero responsibilities, but with a notable difference – his half-Puerto Rican, half-African American heritage. With a stunningly fluid animation style, Phil Lord and Christopher Miller producing, and a voice cast that features Nicolas Cage as Spider-Man Noir and John Mulaney as SpiderHam (right?!?), it seems certain that Into the Spider-Verse will bring a unique and refreshing interpretation on the Spider-Man story.
Joe Williams
Release Date: 12th December 2018
Images courtesy of Universal Pictures and Sony Animation Pictures
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CULTURE
The Christmas Tradition of
THE PANTOMIME Abi Cutler
Whether you’re ready or not, Christmas is fast approaching, and accompanying the festive season comes a whole host of traditional activities to partake in. For me, as a true theatre fanatic, Christmas wouldn’t be Christmas without the annual pantomime - ‘oh no it wouldn’t!’ (Sorry.) This most glorious of festive traditions can be found in theatres up and down the country, filled to the brim with questionable ‘celebrities’ and massacred pop songs. Reading that description alone, you may ask, ‘Why, oh why would you ever want to go and see a pantomime then?’ The answer is quite simple: because I’m British. Pantomimes are one of the most British things we have ever produced as a nation, bewildering other countries as to why we endure this year after year. We have great fun watching a man dressed up in dubious drag, listening to cringe-worthy jokes regarding current affairs, and, of course, shouting such phrases as ‘it’s behind you’ and ‘oh yes, it is/ oh no it isn’t’ with boundless enthusiasm. Not to mention, the stories pantomimes are usually based on are classic fairy-tales, which for some reason we don’t mind seeing over and over, year upon year in a never-ending cycle. Nonetheless, there is an element of taste in the pantomime world, and the trick is working out which ones are the best. Having been to see the pantomime every year at the same theatre for nearly 19 years, with a couple at other theatres sprinkled in alongside for good measure, I consider myself to be something of an expert in this field. Allow me to be your guide as you journey into finding the right panto for you. Let’s start with the average pantomime, which can be found pretty much everywhere. Staged by companies which have been running pantomimes
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for years, these are typically found in local theatres, featuring a handful of famous faces combined with some recent drama school graduates, not forgetting the chorus of local children of course. In my opinion, these pantomimes are usually fairly tasteless, but this does not mean they are not worth going to. If you are looking for a cheery way to spend a couple of hours, these can be a good laugh. One rank higher, you have the pantomimes staged by regional theatres, using the same in-house production team year in year out. These tend to be a little classier than the previous breed, putting more detail into costumes and sets, avoiding celebrity castings in favour of trained actors (who, let’s face it, will deliver a better performance than that The X Factor contestant from ten years ago), and giving the audience a good old traditional panto. This is the kind of pantomime I make the pilgrimage to every year, in my case journeying to Salisbury, and I cannot recommend it enough. If you are looking for something a little less cringe-inducing, but still filled with all the key pantomime ingredients, then this is the type for you. If you wish to splash out and go somewhere even more high-class, then the London Palladium is your destination. With pantomimes dating as far back as 1911, the Palladium Pantomime returned in 2016, and for each of those three years since it has starred genuine celebrities and talented actors from the theatre world, and has gone above and beyond in the extravagance of their sets and costumes. This really is the pantomime that all others aspire to be. However, regardless of whether you are watching Julian Clary at the Palladium or Joe McElderry at your local theatre, any pantomime strives to deliver a feel-good performance, perfect for putting you in a Christmassy mood.
CULTURE
THE BEST SNOW LEVELS IN VIDEO GAMES Tom Brewster
Brrrr... did somebody leave the fridge open? The video game medium is far from estranged from the chilly and snowflake-y, but what are the best snow levels on offer? Well, let’s break them down!
The Legend of Zelda: Twilight Princess - Snowpeak Ruins Snowpeak Ruins is an anomaly not only within Twilight Princess but within the entirety of the Legend of Zelda series as a dungeon that takes on a completely domestic setting; a big, old mansion occupied by two yeti-creatures, Yeto and Yeta (great names there, Nintendo). To get to said mansion, Link must first wipe the floor with either Yeto or Yeta in a snowboarding race down a treacherous gorge – after which they kindly invite you in for some delicious soup. The best parts of this dungeon don’t come from traditional Legend of Zelda gameplay mechanics such as boss-bashing and rupee-hoovering, but instead from those cosy ‘soup moments’, where Link comes in from the biting cold to chat with his yeti hosts and have a nice warm mug of soup, restock, get cosy, and then attempt the next wing of the house. Wonderful.
Spelunky - Ice Caves
After a million and one procedurally generated comedic deaths, the player may eventually make it to the Ice Caves, a primary example of why many loathe snow levels. In the Ice Caves, the previously reliable floor that your foam-limbed protagonist could bounce off has been replaced by a bottomless pit, that, if fallen into, provides a one-way trip to the very beginning of the game all over again. To add to this, designer Derek Yu though it best to fill this level with all manner of creatures whose sole aim is to catapult you around the environment whenever they so feel like it. Mines, yetis and strange alien tech all have a habit of jettisoning your weakened self from one platform to another – inciting controller-breaking levels of rage within even the most avid of fans.
Frostpunk - The Whole Game
Frostpunk is a game that exists as possibly the most harrowing ‘snow level’ in any videogame, period. Set in an alternative-history UK in which the eruptions of Krakatoa and Tambora have caused a global volcanic winter, the player is tasked with shepherding a group of survivors into establishing what could vaguely be considered a ‘home’ within the endless swathes of snow. Cold is your worst enemy in Frostpunk, a ‘temperature overlay’ serving as your main indicator of how well you’re doing against the ever-advancing winter. What’s worse is that out of such bleak conditions come equally bleak decisions – oftentimes limited to ‘lesser of two evils’ scenarios in which order is prioritised over happiness. Towards the end of my playthrough of Frostpunk I found my military dictatorship ruthlessly rationing out meals packed out with sawdust after our hunters failed to return from the wasteland outside. “What have I become?” I thought to myself, as I switched off yet another house’s power, and enabled child labour in the coal mines to balance the books. Frostpunk is the longest, most brutal snow level in any game ever, and yet is all the more compelling for it. Images courtesy of Nintendo, Mossmouth LLC and 11 Bit Studio
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CULTURE
Musicals: The Immortal Cultural Phenomenon Ben Dolbear
In October I went to the Mayflower Theatre to see my favourite musical Wicked as part of its 2018 UK tour. When I first went to see this spellbinding performance as a child some years ago in London, the bursting bright colours and beautiful technical aesthetic of floating bubbles and flying broomsticks captured my stirring imagination. As I prepared to see the show for a second time, there was inevitably some underlying apprehension in me about whether, as an adult, I would now feel somewhat left out of the enchantment of witches, munchkins, and talking animals. I needed not be worried: of course Wicked is beautiful and heartwarming for a young audience member, but for us, it transforms into the most intensely political yet personal production in the history of musical theatre. It is a story of corruption and injustice in the dystopian land of Oz in which a lying despot rules with an iron fist. The crackdown on talking animals and the rights of munchkins is a modern allegory for oppression and inequality, and the isolation and bullying of the luminous green Elphaba is a metaphor of acceptance and diversity. In our time of ‘fake news’ the Wizard of Oz’s spreading of ‘alternative facts’ about the cause of the flying monkeys is more relevant than ever before. Other difficult issues tackled in the show include disability, sexuality, and race. But Wicked does not stand alone in the political venture which has kept musicals timelessly pertinent to audiences of all backgrounds. Modern Broadway musicals take on tough issues that are often taboo in more plainly political spheres - racial politics is the topic of Hamilton, suicide and male mental health is tackled head on in Dear Evan Hansen, acceptance of difference is explored in Shrek the Musical, fatal eroticism in Chicago has captured audiences for more than forty years, and historical racism is brought to our attention in the comparatively new Motown the Musical. The eternal poignancy of musical theatre, combined with the adaptability of its form, keep the flames of Broadway burning strong in theatres throughout the world. For example, in recent years there has been a shift towards musicals celebrating
the lives and talents of real-life musicians, see Tina: The Musical and Dolly Parton’s upcoming 9 to 5. Some have expressed concern at this shift towards celebrity culture in theatre, with appearances of Miranda Hart and Strictly’s Craig Revel Horwood as Miss Hannigan in Annie, and Love Island’s Amber Davies set to star in 9 to 5. Some have argued that this degrades the unique brand of talent required for musicals, but, whatever one’s opinion, this craze for celebrity is inevitably just a brief phase in the perpetual life of theatre, and we shouldn’t be worried. One concern that often keeps people from musicals is the claim that they are just not ‘realistic’. Without spending too long on this opinion, I would question the realism of having twenty cameras stuffed in your face when filming for television, or the realism of green screens and CGI used in film. To enjoy theatre, audiences must accept the alternate magical realism that has engaged spectators for centuries. Musicals have lived through world wars, genocides, economic crises, and revolutions (and musicals have been made about each of these topics), and not only do they provide a welcome escape from the harrowing realism that often cripples the positivity in our psychology, but offer us that aforementioned alternative, replacement reality: how can we question the depth of emotion as the tragic and fatal victim of the Vietnam War Kim sings ‘I’d Give My Life For You’ to her soon-to-be orphaned son in Miss Saigon? Who would question the reality of the heartbreak and mourning felt by Molly as she sings ‘Unchained Melody’ to her murdered husband in Ghost? Musicals have a staying power with foundations set deep in time and space. They have the unique ability to take us to the other side of the world and back again in a heartbeat, and can even take us out of our world. They can teach us about French civil wars or the American Revolution, the abolition of the slave trade or the strike of the newsboys at the dawn of the twentieth century. We should listen to musicals: they can change the world. Image courtesy of Wicked Productions
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CULTURE
THREE POEMS TO READ ON ARMISTICE DAY Amber-Louise Large
On November 11th we commemorate Armistice Day, remembering on “the eleventh hour of the eleventh day of the eleventh month” the peace that was finally made on the Western Front of the First World War in 1918. At 11am we take a moment of silence to remember the fallen, to mourn the waste of lives full of potential, and to ultimately contemplate the nature of war itself. In this vein, poetry offers the perfect opportunity for contemplation and reflection. Literature is enduring; it gives us a chance to remember. With that in mind, here are my choices for the best poems to read on Armistice Day.
ANTHEM FOR DOOMED YOUTH, WILFRED OWEN (1917)
What candles may be held to speed them all? Not in the hands of boys, but in their eyes Shall shine the holy glimmers of goodbyes. Written during the war, when Owen was hospital-bound with shell shock, Anthem For Doomed Youth explores the inhumane nature of warfare and its ability to make men view one another as nothing more than ‘cattle’. This poem is a eulogy for those who died needless deaths. It does not glorify war but glorifies life; it itself is a ‘candle’ held up for the lost ‘boys’.
THIS IS NO PETTY CASE OF RIGHT OR WRONG, EDWARD THOMAS (1915)
But with the best and meanest Englishmen I am one in crying, God save England, lest We lose what never slaves and cattle blessed. An interesting poem written by Thomas in the aftermath of an argument with his conventional patriot father, This Is No Petty Case Of Right Or Wrong presents a version of patriotism which values the fight for England’s freedom over the demonization of Germans. Thomas claims that war cannot be simplified in the way that politicians would have us believe it can.
AND DEATH SHALL HAVE NO DOMINION, DYLAN THOMAS (1933)
And death shall have no dominion. Dead man naked they shall be one With the man in the wind and the west moon Writing in between World War I and World War II, Dylan Thomas presents life as enduring beyond death. Therefore, our fallen soldiers are not ‘lost’ but have progressed beyond us. Regardless of differing views on the afterlife and religion, we can all agree that a kind of immortality can be granted through remembrance. Poetry, and literature in general, can help to ensure this.
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LIVE
Going Native: Gig Reviews
A bunch of new writers set out to discover the venues and live music that Southampton has to offer, from the iconic grassroots venue The Joiners to the industrial chamber of Engine Rooms. Muncie girls w/ The Hard Aches at The Joiners Robyn Sparkes
As a first timer at The Joiners and having never heard of the bands on the setlist, I headed out for the night with nothing but a love for indie rock and no idea what I was doing. Whilst Muncie Girls were practically a stone’s throw away from their hometown Exeter, their support act The Hard Aches had travelled all the way from Adelaide, Australia. It was the last night of their tour together and you could tell that all the members were a little bit exhausted and a little bit heartbroken. Listening to The Hard Aches was an experience in itself. Lead singer Ben had a charmingly powerful voice that got everyone chanting, singing and stomping along to all their best bits, especially when they played their greatest and most well-known song ‘I Get Like This’.
Before their set was through, the lead singer of Muncie Girls, Lande, was welcomed to the stage by Ben for a final collaboration between them with the duet ‘Happy’. It was the sort of heartfelt piece that you should only experience live. Lande Hekt’s writing brings together thoughts on politics, mental health, self-awareness and the discontent that comes from every tired young adult needing to feel a little more understood. Welcomed with a cheer, Muncie Girls jumped on stage performing their classics as well as introducing the audience to their latest album Fixed Ideals. A sterling set which brought us everything needed for a good night out – including bubbles that floated over the heads of the crowd during their song ‘Bubble Bath’.
The Vryll Society at Heartbreakers Jacob Braddock As someone who hadn’t listened to any of The Vryll Society’s music until a few days before the gig, I can say that I’m now a convert to their thoroughly intriguing and rather unique sound. The set at Heartbreakers was complemented by the band’s recognisable visual style; a frantic background of geometric shapes and patterns played out on screens behind them. The result was a high-quality audio-visual experience reminiscent of the genre at large, but with The Vryll Society’s own distinctive twist. One of the most impressive features of the performance was the tightness that the band seemed to have. It was clear that this was a group who not only had something special to bring to
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the table regarding their music but had put hours upon hours of practice and fine-tuning into bringing the full experience to a live audience. Ethereal vocals flowed together with mellifluous guitar. The highlight of their setlist, for me, was ‘Andrei Rublev’, a song to which it is impossible not to feel yourself drifting away into a more serene place – though mentions must also be given to ‘Course of the Satellite‘ and ‘Light at the Edge of the World’, both of which evoke the feeling of a mind sailing through the air. In addition to The Vryll Society, also featuring at Heartbreakers were The Peach Fuzz and BARBUDO and both were a great addition to the night. Overall, the night was well worth the price of being somewhat sleepy the following day.
LIVE Stu Larsen & Natsuki Kurai at The Brook Lakshmi Nair Creative duo Stu Larsen and Natsuki Kurai, gathering earnest fans as they perform across Japan, Australia, New Zealand, Germany and the UK, gave a stellar performance. The fairy-lit setting of The Brook struck me as a great venue for the gig, since it seemed to be playing up the acoustics. Before Stu and Natsuki, the animated Kelvin Jones performed, amongst others, his viral ‘Call You Home’, making the crowd sing along to his commendable vocals. Ben Dlugokecki, on the other hand, displayed his more sentimental side through his tracks, including single ‘Putting the Tracks in Front of the Train’, in his down to earth style with clean, yet catchy, singing. By the time the lead performers of the evening appeared, the audience had settled in to a nostalgic, serene mood. The rich blend of the harmonica and the guitar was something unusual and fulfilling, each smoothly balancing out the sound of the other.
The tracks that stood out were mainly from the albums Vagabond and Resolute. The songs hinged on themes as varied as separated lovers (‘Aeroplanes’ and ‘Ferry to Dublin’), finding new love (‘San Fransisco’), love for the guitar (‘Chicago Song’), and childhood and growing up (‘Going Back to Bowenville’). The lyrics were intimate, each telling their own story, and effortlessly transitioning from one to the other. The breezy and contemplative ‘By The River’ and the dynamic ‘Chicago Song’ stood out for their rich rendering while the harmonica accompaniment for ‘Going Back to Bowenville’ can only be termed as truly visceral. Kurai scored most on his performance of ‘Hajimari’. They had their witty one liners well-conditioned by street performances over the years. The genuine, mutual respect between them came across as endearing, and I definitely could see a lot of heads moving along to the tunes, with eyes glued to the stage.
Wild Front at Engine Rooms Lucy Barnes A dark night and slightly eerie location, for a student shamefully new to Engine Rooms, were ultimately no match for the crowd there to see Wild Front’s largest headline show yet. The show itself sold out just the day before to much excitement on the band’s social media. With previous acts at Reading and Leeds, as well as Southampton’s own local festival, Common People, the Southamptonbased band is definitely on the rise. Supporting acts Toreador and Collision put in fantastic and incredibly enthusiastic performances. The alternative rock, and then the indie pop/rock band were fantastic support choices, complementing Wild Front’s genre and music range excellently. By 9.30pm, with Collision having wound down, and the audience preparing for the arrival of the band du jour, the hall had become packed. Opening with their latest release ‘Make You Feel’
was a great choice to kick start their set, getting everyone even more enthused. The addition of some unexpectedly fantastic harmonising was definitely appreciated. Meanwhile, the somewhat bewilderingly large lamp that had been on stage all night now felt weirdly in place as the band continued their set, adding a homely vibe to an already intimate venue. Whilst their performance on-stage outside of playing songs could do with some improvement, coming off slightly stiff and awkward, the quartet clearly enjoyed performing just as much as the crowd enjoyed the performance. Wild Front also teased the crowd with a new song, ‘Confetti’, which has not yet been released. By the end of the night, Wild Front were ending the gig to loud cheering from a well-entertained crowd.
Read the full reviews on
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LIVE Live Act in Focus:
It takes a special band to upstage the act they are opening for, but the audience who paid to see Pale Waves this year were treated to exactly that. Though a solid live outfit themselves, the indie pop of Pale Waves was made to seem almost trite by comparison to their support act, the excitingly abrasive King Nun. Bringing to the stage the kind of lo-fi garage rock that would make Kurt Cobain blush, King Nun are an alternative London-based quartet that exuded a tangible charisma and sense of slapdash fun on stage that Pale Waves, or most other live acts, couldn’t quite match. I could think of no better act to warm up the audience. Led by the enthralling character Theo Polyzoides, the band ripped through a choice selection of melodic, guitar-driven rock with a unique sense of controlled chaos – wailing guitars and crashing drums, whilst Theo sings lyrics such as “Call it a surprise if I can’t see out the back of my head”. There’s a sense of authenticity that is desperately lacking in the guitar rock genre as of late, and King Nun could be the antidote. These are four proficient, talented musicians, making straightforward and undiluted rock music for the love of the genre.
My affinity for King Nun was only strengthened by the apparent nonchalance and breeziness that their set took on. Theo, upon finishing a song, turned to lead guitarist James Upton and said he had forgotten what song was next. Midstrum during their single ‘Hung Around’, Theo broke a string and delivered the rest of the song in increasingly risky places. Taking his shirt off, he danced around and jumped off amps, clearly having the time of his life. And this sort of indulgence was deeply infectious, worlds away from the very well-behaved and restrained stage presence of the headliners. It was as though the order of the acts had been mixed up. Perhaps King Nun, emerging in late 2016, are too “unpalatable” for the average listener to warrant more popularity and exposure. That said, the heavy rock genre has performed well above its station in recent years, with acts like Bring Me the Horizon being the flag-bearers. If anything, we as music consumers should be celebrating the carefree exuberance of the band, if not its anthemic and memorable tunes. With any luck, 2019 could be the year for a band that probably wouldn’t care if their year never came.
Bailey Williams
Image courtesy of Primary Target
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LIVE
Preview: Bowling For Soup at O2 Guildhall, Southampton Forget Santa, Bowling For Soup are coming to town! The quartet of pop-punk icons are bringing their ‘Almost Christmas’ tour to Southampton at the end of November, where they are set to play the O2 Guildhall. Originally from Texas, the band have been synonymous with the pop-punk genre since 2000, with the release of their first major album, Let’s Do It For Johnny. Further albums such as A Hangover You Don’t Deserve (2004) and The Great Burrito Extortion Case (2006) cemented the band as staples in the poppunk wave of the 2000s. Later albums include Fishin’ For Woos (2011) and Lunch. Drunk. Love. (2013), and they even released a Christmas album called Merry Flippin’ Christmas (Volumes 1 & 2) back in 2009. The band have played almost annually in the UK for the last decade, and have also performed multiple acoustic tours here over the years. Earlier this year, they brought the ‘Get Happy’ tour back to the UK for a nine-date return of their 2007 tour of the same name. They’ve had a variety of support acts over the years, including Army of Freshmen, Bloodhound Gang, The Dollyrots and Patent Pending, who are also set to support on this upcoming holiday jaunt in the UK. The only way a Bowling For Soup concert can be described is one huge pop-punk party. The four band members come on stage and instantly everybody in the audience has a permanent grin on their faces; one that doesn’t falter until long after the performance is over. Their repartee in between songs involves the audience with a familiarity that makes you feel like old friends, Image courtesy of Rage PR
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while still being utterly hilarious (for example, at a show in 2013 somebody in the audience gave them a blowup sheep, so you can imagine how that went down!) They play their songs with the same gusto as they did twenty years ago, while the audience screams the lyrics along with them, dancing and partying as though it was their last concert ever. It is such an experience to be part of a crowd that knows every word, because these songs made up a lot of our adolescences (try to tell me that ‘Girl All The Bad Guys Want’ wasn’t a staple of your teen years). Also, you honestly haven’t lived until you’ve sang along at the top of your voice to the Phineas and Ferb theme song (a Bowling For Soup original!) with a bunch of other twenty, thirty and even forty year olds. It truly is a bonding experience. As part of an eight-date tour to kick off the holiday season, Bowling For Soup is expected to bring a storm of Christmas cheer to Southampton, likely playing songs from their holiday album, as well as their biggest hits from the past two decades. Whether you’ll be dancing to their incredible cover of Mariah Carey’s ‘All I Want For Christmas Is You’ or one of their own classic songs, you’ll be sure to spend the whole concert willing it to never end. Bowling For Soup are coming to Southampton’s O2 Guildhall on November 30th as part of their ‘Almost Christmas’ tour.
Becky Dunwoodie
EDITORIAL
LISTINGS Live Music November 26th - Courteeners @ O2 Guildhall November 28th - PVMNTS @ Engine Rooms November 29th - Daddy Issues & Paws @ The Joiners November 30th - Bowling For Soup @ O2 Guildhall November 30th - My Baby @ The Brook December 1st - Submariner @ Heartbreakers December 6th - Juanita Stein @The Joiners December 8th - Jade Bird @ Engine Rooms December 11th - Blossoms @ O2 Guildhall December 14th - Reef @ Engine Rooms December 14th - The Manatees @ Heartbreakers December 15th - Boney M feat Maizie Williams and Odyssey @ O2 Guildhall December 15th - Sean McGowan @ The 1865 December 21st - Bel Esprit @ Heartbreakers
Theatre November 21st - December 8th - Shrek The Musical @ Mayflower Theatre November 20th - January 6th - Billionaire Boy @ NST City November 30th - Alphabet Soup & Girl in a Crisis @NST Campus December 11th - Fawlty Towers Christmas Special @ Mayflower Theatre December 13th- December 30th - Humbug! The Hedgehog Who Couldn’t Sleep @ NST City Studio December 15th - January 8th - Dick Whittington @ Mayflower Theatre December 18th - The Night Before Christmas @ Mayflower Theatre
Comedy November 29th - An Evening with Andy Hamilton @ NST Campus December 1st - An Evening with Aggers @ NST Campus December 7th - Funny Bizznez Comedy Show! (Marlon Davis, Maureen Younger, Ben Briggs, Michael Frankland) @ The Loft
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