The Founder February 2023

A Mass of Shootings

DANIEL PEPIN | FEATURES EDITOR

Gun violence is on the rise in America. In particular: mass shootings. A mass shooting is a difficult term to define and there is no universally acknowledged definition, however the nonprofit Gun Violence Archive (GVA) terms it as “four or more people being killed or injured in one location at roughly the same time”. This January has suffered a new record of mass shootings. According to GVA, there has been 52 mass shootings in the 31 days of January 2023. That is nearly two per day. The previous record was established only last year at 34 mass shootings in January 2022. This is a frighteningly significant increase which indicates an upward trend in gun related violence in America in recent years.

Many of these shootings have taken place in residential areas. Towards the end of January there was a spate of attacks in California taking place in petrol stations, parks, and tree nurseries.

GVA notes that no shootings have taken place in schools or places of worship. Understanding what causes these shootings and why America has, unfortunately, become synonymous with gun crime is a heavy and complex discussion.

Some blame America’s infamous gun laws, as the FBI has seen an increase of 65 percent in gun ownership since 2019, according to the BBC. However, California has some of the strictest gun laws in the country. Others such as Jaclyn Schildkraut, the interim executive director of the Regional Gun Violence Research Consortium at the non-partisan Rockefeller Institute of Government tells the BBC that the rise of life stressors are undoubtedly a factor especially at times of uncertainty, such as the pandemic

Continued on p.5

Game-Film Adaptations, Pedro Pascal, and Hollywood’s DaddyElect of P.21

Babylon is EnergyP.18

The Dark Side of European Politics P.4

Source:@al_drago on Instagram. Image from the March For Our Lives rally in 2022

Renewed calls for police reform following the death of Tyre Nichols

The Founder

Board

2022 - 2023

Editor in Chief/Deputy Editor

Ali Krausova/Chloe Boulton

editor@thefounder.co.uk/deputyeditor@thefounder.co.uk

Managing Editor Devesh Sood

managingeditor@thefounder.co.uk

Publishing & Creative Designer

Alisa Khodyryeva

designer@thefounder.co.uk

News Editor

Robyn Spink news@thefounder.co.uk

Features Editor

Daniel Pepin features@thefounder.co.uk

Illustrator Tabitha Turner illustrator@thefounder.co.uk

Arts Editor Lily Birch arts@thefounder.co.uk

On10 January 2023, Tyre Nichols passed away following a severe beating from police which resulted in extensive internal bleeding, kidney failure, and cardiac arrest. Three days prior, Nichols was pulled over for alleged reckless driving. It was reported that his attempts to run away prompted violence from the police officers at the scene. While it was initially unclear what happened during the confrontation, body camera footage revealed the violence inflicted upon Nichols during his arrest. Five of the officers involved in Tyre Nichols’ death have been arrested and charged with second degree murder. Information has been unveiled which shows two of the officers have histories of police violence, being previously reprimanded for failing to file reports around using force while making arrests.

The incident, as part of a wider epidemic of police brutality, has further pressed Congress to pass the George Floyd Justice in Policing Act, a law which would ban chokeholds, no-knock police raids, and create a national registry for officers disciplined for serious misconduct. Without enough Republican votes to pass it, the law has currently been stalled by the Congress. Vice President of the United States Kamala Karris has urged that “we should not delay and we will not be denied, it is non-negotiable”. However, with slow progress, and President Joe Biden being criticised for his excessive caution, protests have formed, rallying for drastic and swift changes.

Tyre Nichols’ funeral took place on 1 February 2023, and while his body is laid to rest, his legacy lives on as a reminder of the racial inequalities in the criminal justice system.

Opinon and Debate Editor

Joel Davies opinion@thefounder.co.uk

Lifestyle Editor

Molly Ainley lifestyle@thefounder.co.uk

Sports Editor

Iman Ahmed sportseditor@thefounder.co.uk

Literary Review Editor

Viktoria Praczko literaryreview@thefounder.co.uk

Music Editor

Anna Armelin music@thefounder.co.uk

Film Editor

Jethro Robathan film@thefounder.co.uk

The Founder is the independent student newspaper of Royal Holloway, University of London. This means we are not affiliated to the student union or the college. We pride ourselves on our investigative journalism and aim to keep our readers up to date with news on and off campus. The views expressed in this publication are those of the author and not necessarily those of the Editor, particularly of opinion and debate pieces. Every effort has been made to contact the holders of copyright for any material used in this issue, and to ensure the accuracy of its stories.

To book ad space in The Founder, contact our managing editor at managingeditor@thefounder.co.uk.

NEVE WATSON | CONTENT WRITER

Source: Image from protests in Memphis. The Guardian

Biggest NHS strike in history takes place

ROBYN SPINK | NEWS EDITOR

On6 February 2023, tens of thousands of NHS workers in England and Wales will take industrial strike action over pay and conditions, making it the biggest NHS strike in history. Taking place at 73 NHS trusts, this includes nurses in England, and GMB union ambulance staff in England and Wales.

A nursing union leader has led calls on Rishi Sunak to intervene to negotiate a pay deal. The Royal College of Nursing’s Director for England, Patricia Marquis, has voiced her disappointment that the prime minister has made “no direct contact” in response to the strikes, and although there has been communication from the secretary of state for health, “those have not really brought us any solutions”.

Nursing strikes continue onto 2 February, with physiotherapists striking on 9 February.

Concerns surrounding the impact that strikes will have on the NHS backlog of treatment have been highlighted, including from the health secretary, Steve Barclay, who has warned that industrial action will “undoubtedly have an impact on patients and cause delays to NHS services”.

US shoots down Chinese ‘spy balloon’

ROBYN SPINK | NEWS EDITOR

28January saw a high-altitude balloon from China entering United States airspace, promoting geopolitical tensions between the two superpowers. The balloon was flying over the coast of South Carolina and was believed to have been monitoring military sites. US Secretary of State Antony Blinken was due to visit China; however, the trip was cancelled due to the “irresponsible act”, with US officials suggesting the balloon was released on purpose to interfere with Mr Blinken’s visit to China.

Chinese authorities have rejected claims that it was used for surveillance of sensitive military sites and insisted it was a weather ship that drifted astray. However, suggestions that the balloon was used for meteorological purposes have been rejected by US officials due to it having propellers, indicating it could not have blown off course, and that China wanted to gain intelligence.

The balloon was shot down by an F-22 Raptor, and US Navy divers searched the Atlantic for wreckage for it to be analysed.

This event has undoubtedly caused diplomatic tensions, with the Chinese Foreign Ministry referring to the shooting as an “overreaction” that has “seriously violated international conventions”.

Source: The Guardian. Image of nurses protesting

Source: @northernprovisions on Instagram. Image of a close up of the ‘spy balloon’

The Dark Side of European Politics

ALICIA PRYOR | CONTENT WRITER

The treatment of refugees at European borders is appalling and over time has only gotten. In Calais, in Northern France, refugees have been subjected by French officials to degrading treatment in hopes of deterring their entry. Calais’ geographical location that makes it one of the easier places for asylum seekers to arrive in Europe, leading to an unsteady increase. French police have routinely conducted mass evictions; prevented access to essential items; and have seized people’s belongings including tents and sleeping bags. This has left thousands of migrants, often including children, extremely vulnerable. Due to the Russo-Ukraine War being of more immediate concern to the European Union, Ukrainian refugees have received a high recognition rate and have been granted temporary protections. Refugees from other parts of the world, predominantly from the Middle East and North Africa, have not received the same level of attention or treatment from the EU. Instead, they have been met with harassment, abuse, and cruelty. There is an immediate need for the EU to adopt a different, more humane approach.

Asylum seekers have risked their lives crossing land and sea, with thousands dying or going missing during the journey. Yet, they continue to face an unprecedented amount of physical and psychological abuse by European officials when they arrive in Europe and have often been pushed back by border controls through illegal means.

There is often no protection provided for unaccompanied minors, and many of these practices violate human rights protocols. The case of Northern France is not unique, as enforcement agencies such as the Croatian Police Force, the Hellenic Coast Guards, and Frontex (the European Border and Coast Guard Agency) have received millions in funding from the EU in recent years to militarise the borders of member states with the purpose of obstructing and repelling refugees. European member states have been allowed, and even encouraged, to use violence in handling the influx of refugees. Worse still, member state governments like Latvia, Poland, and Lithuania are seeking to make migrant pushbacks legal in their judicial systems. The European Commission has failed to take any action against these efforts.

This is a situation that needs to be urgently dealt with through a strengthening of EU policy that will provide rapid protection status to refugees seeking asylum from their country of origin. There also needs to be a system that will ensure the fair and safe treatment of refugees at EU borders, and that protected asylum options are available to refugees. The refugee problem in Calais is not unique. The influx of refugees will not stop. The EU needs to ensure that no single member state is unfairly burdened with disproportionate amounts of refugees, but also that refugees’ protection policies and regulations are securely applied and enforced all throughout Europe.

Source: Time

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Schildkraut also says that “toxic masculinity” is a part of the problem; a topic which has seen its own issues recently with the increase of bizarre hypermasculine “Alpha” and “Sigma” males on social media, such as Andrew Tate. All these factors point to innate institutional problems that America is incapable of dealing with.

There have been numerous panicked studies and surveys conducted in recent days due to the sudden spike in gun violence. But it cannot go unnoticed the staggering lack of support on social media. The very same social media that cannot stay away from cause or campaign to fight. In comparison to the academic research, the people’s platform has been relatively radio silent. 85 people have been shot to death, with 205 injured. That is 290 families irreversibly and tragically changed forever. 85 people gunned down mercilessly. 85 mothers who will never get to say “I love you” to their child again. 85 families who will forever have an empty seat at the dinner table. 85 people gone. And the world does not seem to care very much.

Maybe it is due to other, larger scale catastrophes dominating the headlines such as the Russian invasion of Ukraine, or the UK’s energy crisis. Or perhaps, the world has simply gotten used to seeing that notification pop up on their phone: “three dead in mass shooting in Chicago”. This violent and agonizing crime has become so common in America that it is no longer shocking in the way it should be. It is not the world’s fault for becoming so desensitized to something that happens twice a day.

The Met’s Issues with Corruption

Laura Bloomfield | Content Writer

Thenews has been inundated with stories about the Metropolitan Police Force and their officers’ crimes. Particularly regarding Met police officer, David Carrick, who has recently admitted to 49 offences, including 24 counts of rape. Carrick abused his power as an armed Met police officer to put fear into his victims.

The Met has apologised after it was revealed that Carrick had come to their attention over 9 incidents between 2000 and 2021, including rape allegations. No action was taken, and Carrick was promoted in 2009 to become a member of an armed unit: the Parliamentary and Diplomatic Protection command, who guarded embassies, Downing Street, and the Houses of Parliament.

The fact that Carrick was able to continue working as a police officer, and even be promoted, with the Met knowing there were allegations against him is incredibly disturbing. Adding to this is the horrifying fact that, in 2022, nearly 15,000 allegations were made against Met Police officers and staff.

These allegations include harassment, racism, sexism, homophobia, sexual assault, and excessive use of force. Six in ten allegations referred to the Met’s “delivery of duties and service”; the Met said the “vast majority” of the complaints related to low-level conduct. We are supposed to trust the police: they are meant to be figures of safety, not ones of danger.

The Prime Minister, Rishi Sunak, said: “All police forces across the country have been told to check all of their serving officers and staff against national police databases to identify and root out anyone who shouldn’t be serving”.

The current guidelines for checking police applicants were set in 2006. The process requires background checks that look at, for example, past convictions, behaviour of family and friends, or financial problems. In 2019, Her Majesty’s Inspectorate for Constabulary, Fire and Rescue Services gave all forces in England, Wales and Northern Ireland July 2020 as a -

- deadline to retrospectively vet all of their offices and staff to the 2006 guidelines.

In 2021, the BBC’s File on Four programme revealed that a quarter of forces had not met the deadline. In 2023, the Home Office has still not revealed how many background checks are missing.

Setting the deadline for old police officers to be vetted was good but diminished by the fact that they have not been completed. We do not know how many police officers have not been checked, meaning we do not know how many officers could have allegations against them. Also, surely these checks should have been done as soon as the new process was set in 2006?

The Met has an issue with corruption that needs to be fixed. The Met, and the government, need to prioritise people’s safety, and focus on changing the environment of the UK’s police forces to remove the corruption because trust in the police has been lost.

Source: Metro UK. Image of two police officers

The Right to be Made Silent

KATHERINA HOI | CONTENT WRITER

Imet a policeman once that compared the force to a brotherhood, an adult fraternity. They have each other’s backs. What he might not have meant to imply is also that they protect each other if necessary: they turn shields outward and close rank. He did not see this implication, but he does not have to look for implied meanings the way that women do.

The arrest of Metropolitan Police’s serial rapist David Carrick has truly exposed the repulsive and predatory nature of the police’s abuse of power.

In December 2022, Carrick pleaded guilty to his first 43 charges and on January 16th, he pleaded guilty to another 6 rape charges. He is one of the UK’s worst sexual offenders. His victims were allegedly sexually humiliated, locked in cupboards, branded as “slaves”, and even urinated on. The Metropolitan Police had had 9 chances to stop Carrick but missed every single one. This is not the first time the Metropolitan Police have missed such allegations either. It actually happens all too frequently.

From 2018 to 2021, 1,319 police officers from 41 different UK police forces were accused of domestic violence. 80% of these officers kept their jobs after the allegations, with only a tiny fraction of them facing any disciplinary actions like dismissal or suspension, according to journalist Vikram Dodd. The Metropolitan Police received 398 reports in this time frame with only 9 dismissals of the serving officers. That is less than 0.2%. This is the same police force that saw their one of their own kidnap, torture, and murder Sarah Everard. The same police force that, in 2022, had their WhatsApp groupchats exposed for joking about sexual violence against women. Anonymous female police officers told Dodd that it was part of the culture; that they either play the game, stay quiet, or leave. This is the reality of the brotherhood. And the conviction rate of police domestic abusers is 3.4% compared to 6.3% in the general population.

Carrick allegedly told his victims that they could trust him because he was part of the police. The badge created a false sense of security that allowed him full control. This same badge and brotherhood let him go without consequence for 17 years as he allegedly asked his victims, “who are they going to believe?”. People want to trust and believe that the police have been properly vetted. If you cannot trust the police, who can you trust? That is the question that thousands of women ask now. To the cynic, the answer is no one. To the realist, it seems the answer is the same.

Source: Picture taken of protest signs at Sarah Everard’s Virgil. Credit: Tim Dennel, 2021, Flickr.com

Truss versus the truth

JOEL DAVIES | OPINION AND DEBATE EDITOR

OnSunday 5th February 2023, the Sunday Times shocked the British political sphere by featuring an interview with former prime minister Liz Truss, claiming that she had been brought down by a “powerful economic establishment” that was positioned against her premiership and her ideology. This came as a shock to much of the UK, which is still grappling with the economic fallout of the 40 days Liz Truss spent in Downing Street, during which she managed to catastrophically damage currency rates, send mortgage rates spiralling, and give the opposition Labour Party their highest polling numbers in years.

Truss is seemingly trying to salvage her reputation as a politician after her time in office, which left her and many of her senior cabinet members disgraced or publicly humiliated. However, by spinning the narrative that a shadowy, dogmatic establishment force brought down her government, Truss is taking a page straight from the authoritarian playbook. This kind of political tactic has been used for centuries, from Cold War paranoia, to Britain’s recent trend to blaming the “bureaucrats in Brussels” for its economic shortcomings. The narrative of a “deep state” force, and a “liberal establishment” trying to take down alternative policy is especially prevalent during the populist wave most of the world is riding, epitomised most strikingly by Donald Trump.

These theories, as with many inane conspiracy theories, seem to have been experiencing a resurgence in the digital age. Fast moving information with little possibility of fact-checking creates a perfect environment for falsehood to flourish, and these kinds of conspiratorial claims that are impossible to prove or disprove thrive thanks to this. In many spaces online, outright lies have become indistinguishable from the truth, and worrying trends are emerging regarding what even constitutes “the truth” in our modern age.

Unfortunately, these kinds of outlandish conspiracies have much more sinister roots than it may appear. Claims of an ideological hegemony at the top of the world, a deep state, an illuminati, and various other tropes often rely on antisemitic stereotypes to reinforce their claims. The dangers of this are clearly exhibited in Hungary, where prime minister Viktor Orbán has repeatedly peddled what Politico has termed “unpunished antiSemitism”. This is mainly through his repeated characterisation of billionaire George Soros as a powerful political actor in opposition to Orbán’s populist positions, and the demonisation of Jewish groups in his political campaigns. The idea of a small, established group of individuals holding back Hungary’s economic potential for their own self-interest is very reminiscent of the claims Truss makes in her essay. This is not to say that Liz Truss was being antisemitic in her claims, far from it, but it is important to recognise the very real dangers of stoking up this type of inane rhetoric, especially since it has historically been used to persecute specific minority groups.

The audacity of the claims Truss makes, combined with the very limited timeframe since she left office, leave it clear that the British public will not recognise this as truth. To successfully convince the country of her claims would be an incredible feat of gaslighting on a national level. However, this is a worrying trend: for a former British prime minister to take such careless actions, toying with the truth to salvage her own reputation. There is hope, of course, that as a society we will become more resilient to these types of media manipulations, and hope that the UK will remember that rather than being brought down a shadowy, all-powerful nemesis, Liz Truss faced her biggest loss opposite a lettuce.

Source: Getty Images. Liz Truss with supporters in 2022

Struggling to get back into reading?

NAJYAH RAHMAN | CONTENT WRITER

If you ever wonder why you may read far less now than you did in primary school, you are not alone. Often, we reminisce about the adventures that kept us reading for hours into the night, and the need to move straight to the next. So, why is it so hard to read that way now, when it was once so easy?

Life brings so many pressures, especially when you are a student, but reading for enjoyment should not be one of them! Here are a few suggestions that could help you get through that ‘to be-read’ list:

1) Try something new

When you first decided to read more, did you reach straight for a paperback? There are many different options out there, aside from the standard physical novel. Comic books, for example, are a great way to get back into reading. Try them and see how quickly you become immersed in a universe propelled by the combined force of words and image. Audiobooks are a great companion for those without time to sit and read (plus you can literally speed them up). Magazines can provide bursts of inspiration, and newspapers are excellent for keeping informed. Whichever fits you, they all qualify as reading.

2) Do not be afraid to quit

Quite simply, if you are not enjoying a book, put it down. If you are having to force yourself to do get through a book, you will not want to read in your spare time. When you put down a book you do not like, you are a step closer to discovering ones you do. You may feel obliged to read what is popular, but they are not for everyone. You will enjoy reading much more when you listen to your own mind.

3) Revisit old favourites

A lot of people have “comfort films”, but what about comfort books? Rereading a book, or even just a passage, has the benefit of you already knowing that you will enjoy it. Like an old friend, they feel comforting and safe. The excitement of reliving those fun moments is a greatly known cure for reading slumps. Plus, there is always a chance of uncovering fresh perspectives that you missed the first time around.

Ultimately, reading for pleasure is a great habit to build and maintain. The advantages are plentiful, and undeniable. If reading more is a goal for you, then you truly are doing yourself a huge favour. Remember, it is a huge accomplishment if you can pick up a book at all, and a great step forward. On a final note, if you are ever in need of a few recommendations, why not check out our brilliantly honest and thoughtful literary reviews?

Happy reading!

Source: Tabitha Turner Illustrator.

Hidden gems in this little area

MOLLY AINLEY | CONTENT WRITER

Thereare a lot of places to eat around Egham, yet I often find myself looking for something new. Finding restaurants, cafés, and places to get a delivery from can be hard, and often involves taking a few losses along the way. In this list I have complied some places that often get overlooked, or are hidden in plain sight, but should absolutely be given a chance:

1. The Kings Arms (Egham)

This is a restaurant-meetssophisticated-bar, there is an upkeep of quality met with causality. There is something for everyone, from a sticky toffee pudding to a classic English breakfast, all the way to martinis.

There is space for large groups and events, making it perfect for graduation meals, birthdays, and society gatherings. The Kings Arms has only been open in Egham for three years, and although it is tucked away from the high street, it is well worth a visit.

2. Everyman Cinema (Egham)

Okay, a wild card, I know but hear me out. With a modern, Hollywoodinspired aesthetic, Everyman is more than just a cinema.

The service is faster than a busy restaurant, and they offer a different energy. It seems that the restaurant is mistaken for being exclusively for those watching a film, but it is for everyone. They offer easy classics at a high quality, providing everything a student could want.

This is more for take-away, but still deserves the mention. Even UberEats has limits to its expansive list of options. The Greek Souvlaki in Staines offers something slightly different, at a reasonable price. The portions are generous, and the wait times are typically far less than those in chain restaurants. They are an unfairly overlooked take-away, but if you truly desire the dine-in experience there is Real Greek, in Windsor.

4.

This is a café in Staines which provides a sense of community like no-where else. The café is mainly run by volunteers, and they often have events such as open mic nights, clothing sales, and childrenfriendly sessions for families. As well as this, they are ethical and staff members are incredibly sweet. Being exceptionally affordable, The Talking Tree is the most budget friendly café I know. It is such a warm and homely space to exist in.

5. Genevieve's Gallery (Englefield)

Another wild card but this gallery has its own pottery café. I visited a few weeks ago and painted pottery while drinking my juice; as I separated myself from the university panic, I realised this is the escape students need. The café is certainly one to know about as we enter exam season, they offer calmness in a sea of stress. The staff are so lovely and helpful, and I could not recommend it more. They also have animals in the garden, need I say more?

3. The Greek Souvlaki (Staines)

The Talking Tree (Staines)

Source: @thekingsarms__egham on Instagram. Image of The Kings Arms

Why overthinking may be ruining your relationship

CHLOE PLUMMER | CONTENT WRITER

Okay, we have all done it: jump from one piece of flimsy evidence to the idea that “they don't love me anymore”, or “that's it, they're going to call it quits”. With relationships, whether platonic or romantic, this cycle of inner self-sabotage needs to stop. It could be holding your relationship back, or even worse: be the reason for a split. Chances are, you have been overthinking since you entered your teenage years, maybe even before. So, here are some tell-tell signs of serial overthinking and why keeping the nagging voice in your head at bay could save your relationships.

The dreaded “what if?”

Now this can be hard to face, but your brain can really be detrimental to your relationship. If you catch yourself thinking, “what if” your partner is lying about their location, “what if” they are too good for me, or “what if” we break up tomorrow, you really should stop for several reasons. Firstly, if you are constantly questioning your significant other, slowly it will wear you down. Not only is it a negative aspect in the relationship, but it is also inevitable that trust will be lost. It could lead to you starting to feel uncomfortable in a relationship and missing the fun parts. This needs to be emphasised as well: relationships are meant to be fun, exciting, and (sometimes) carefree. If you are putting imagined barriers between yourself and others, the excitement will take a back seat, and you may be left in a relationship with you and your brain. Overthinking can in fact determine your reality, if you are manifested to that belief, it could lead to the loss of people in your life. Instead of living in a questioning phase, give yourself the answers by evidencing and reframing your thoughts. Make sure you conclude your thoughts on one side, whether it be for or against. For instance, “no, my partner doesn’t hate me as he bought me flowers today”, or “yes, my brother hates me because he explicitly told me”. Evidence will be the tonic to your overthinking, which is hard to hear but will become an easy routine to stop the spiral of negative thoughts.

Not living in the present.

This one I think we have all been guilty of: the number of hours that people spend thinking about past moments and how we could have changed what happened is astounding. For instance, an interaction with a friend that may have seemed slightly awkward, or tense can lead to overthinking the flaws in the relationship and believing it to be near its end. Suffering in silence in the worst thing for overthinkers to do. Worrying will blow the situation out of proportion and not allow you to live in the present. To be your most authentic self, living in the present is imperative. People will be grateful if you take things as they come, not catastrophising over every silent pause, or cancelling plans. Looking too much to the future can also really damage a relationship. Take a romantic relationship for instance, pouring ideas of marriage, children, and a clear future into the early stages of relationships can provoke anxiety. Of course, it is fun, and sometimes necessary, to talk about the future, but remember nothing is set in stone. Therefore, overthinking the future can truly ruin the present day. Living in the moment, if anything, will probably guarantee a happier future together. So next time you find your thoughts dragging your back to the past or pulling you prematurely into the future, ground yourself. Realise that for right now, you are in the place you are meant to be; you have managed to get to this place, and that, with time and mindfulness, you may realise that the present moments are fulfilling. Make it an incentive and a positive thing to live in the moment.

Relationship for one, please

If you feel like you are in a relationship with yourself when you are around a loved one, this is a major sign of overthinking. Sometimes, when our thoughts have created a version of someone in our heads, it will become hard to see that person as anything else than what insecurities you project onto them. This can lead you to isolating yourself from the reality of connecting with people. Overthinking can detach you from meaningful interactions. Do not leave things silent or unsaid. Speak out loud exactly what you are thinking to your loved ones. Let your mind speak for itself This is such an easy and quick way to put any negative feelings to rest. This could go one of two ways, either your significant other will validate your feelings leading to resolution, or more probably, your loved one will explain to you that this thought has come with zero evidence, and you can have an appropriate discussion. You have nothing to lose with communication. Let honesty be your best friend.

Closing Thoughts

So, whether throughout this article you have realised that you may be guilty of overthinking relationships, or you have found some key tips to stop the relentless voices in your head ruining reality. Just remember this is a process, the act of overthinking will never truly disappear from your brain. Recognising that these thoughts are lacking in evidence is sometimes the hardest part and admitting to yourself that you are catastrophising relationships can seem impossible. But conscious conversations with loved ones, finding evidence for and against your thoughts, and not suffering in silence, will help you stop overthinking and ruining relationships.

Source: https://unsplash.com/photos/CCjgYjUudxE. Image of two hands

The 1975: At Their Very Best Review

LILY BIRCH | ARTS EDITOR

To me, spending money on experiences makes me feel as though I have truly paid for something meaningful and valuable, as opposed to paying for something material I might only use once. I find concerts are the best way to listen to my favourite music whilst being surrounded by people with a shared interest. With concert tickets being sometimes expensive, as well as increasingly difficult to get, artists have to make their show worthwhile in order to be successful on a tour. One of the artists who I have loved for a long time now, who have continuously put on a wild and engaging performance, is The 1975. They are currently on their international tour titled: The 1975: At Their Very Best. Through their expansive 20-year history of being a band, they have always been hyperfocused on the experience of their live show, and how the aesthetic of their staging complements the music. With the box being a symbol of the band and previously being integrated into the staging by being lit up in neon lights or being huge hanging props, it was somewhat expected that they would do something similar to before.

However, their new tour appears to be more of a theatrical show than expected. The show features songs from their newest album Being Funny in a Foreign Language and some of their greatest hits; hence the title, At Their Very Best The staging for the whole show is the interior of a retro house, with doorways, sofas and lamps planted around the set, and even a streetlamp on the side which is turned off and on at different points in the show.

The first part of the show contains many conceptual interludes from lead singer Matty Healy, with him eating raw steak, climbing through a television playing videos of himself performing, and also breaking the fourth wall with the audience many times. The band themselves frequently use the word “meta” to describe their feelings of the shows, with live footage of them performing being shown on 20 televisions scattered round the set of the house, and Healy having control of when the stagehands should start and stop moving, as if he himself could pause time. The show within the show is directed by Healy, with him playing the role of a messy frustrated artist, then transforming in the second half, into a rockstar in his prime.

The 1975 shows are always incredibly intricate and original, which makes them even more deserving of their incredible success. This is a concert like no other, a show that you truly do feel a part of. It is over-the-top, if at times disturbing, but it does not take away from the incredible setlist. We are certainly seeing them At Their Very Best

SVCCY - Dystopian Constructions

LILY BIRCH | ARTS EDITOR

In the basement of the FLANNELS store on Oxford Street, is a huge room, bare except for the expansive television screens covering every surrounding wall. On these wraparound screens is where public art gallery W1 Curates is showing their newest exhibition and investigation: Dystopian Constructions W1 Curates specialises in exhibitions showcasing high tech and digital art, and to make art more accessible, they are choosing to take the art out of the traditional gallery space and instead putting it on display in London for the public to enjoy.

The exhibition Dystopian Constructs is created by Italian “phygital” artist SVCCY, who creates distinctive digital images and animations that combine surrealist elements with a naturalistic environment. Their work is introspective and obscure, with thoughtprovoking constructions that urge the viewer to unlock and understand the links between modernity and antiquity.

Dystopian Constructs is a clever combination of one of the most traditional forms of art, the sculpture, with some of the most modernist architectural homes and buildings, merging the past and the future versions of art together. The extremely vibrant animations of aspects of the sculpture and the surrealist environments consume the room entirely, and viewers are immersed into this dystopian architecture fantasy. SVCCYs investigation drives two paths: “statue houses” and “dystopian environments”. The first few animations show the rise of “statue house”, this digital home, expanding on the new modernist human living spaces, with the glorious designs from the past being rendered in as decoration. Yet, in “dystopian environments”, the last few animations tell a different story, where the human statues are engulfed in the untamed environment. The faces are covered or faceless which symbolises the loss of identity in this new age of technology and ultraconsumerism.

Source: @the1975 on Instagram. Image from The 1975’s Brighton show

The dystopian elements are surrounding, with investigations into different outcomes of what our society and art could look like if we continue the way we are heading. The immersive nature of the exhibition radiates a dreamlike feeling, where these constructions are so strangely uncanny.

To accompany SVCCYS animations, they also compose their own experimental music, leaving nothing to chance with their images and precisely matching each location to its own slow eerie sound. This contrast from the traditional gallery space to a new immersive and unique setting is perfect for the introduction of “phygital” art in the real world, and for those interested in place that technology has in the world of art: this is the most idiosyncratic exhibition for you.

Dystopian Constructs runs from January 23, 2023, until February 13, 2023, at W1 Curates on Oxford Street, London.

Louis Vuitton SS23: Ready-to Wear Collection review

CHLOE PLUMMER | CONTENT WRITER

If you are looking for a masterclass in the rethinking of fashion, it can be found at the recent SS23 Louis Vuitton show. Amongst the bustling Cour Carrée, in an iconic supersized rose inspired venue, the show expressed a real reconceptualising of textures, silhouettes, and dimensions, to create an eccentric and high fashion collection of looks. The supersizing did not stop at the impressive catwalk, each model was adorned with oversized clutches, garments or the classic Louis Vuitton luggage tag which had been translated into a stunning handbag.

Opening the show, designer Ghesquière impeccably set the tone for the collection to unfold. As the model stomped down the steep runway, it is explicit that proportions have been manipulated in the look. The large, industrialised zippers on both the bodice and skirt are certainly a vocal point of the look, contrasted with the softer textures of pleats which are visually pleasing on the skirt. This look is an amalgamation of bold statements and femininity which, along with the natural makeup, works perfectly.

Ghesquière continued the theme of contrast throughout the show. In Look 19, there are certainly some conscious design choices concerning textures and patterns. Black lace tights and patent boots featured in many looks throughout the show, pushing the message of dangerous femininity, a certain darkness of beauty which is prevalent in this look more specifically. The stunning use of blue tulle on the hem of both the sleeves and the skirt adds a childlike playfulness to this garment, however the choice of the exposed bralette and overlaid gothic lace details represents the multifaceted references which inspired the collection. The bold black makeup and colourful earrings successfully speak to the breaking of boundaries in gender stereotypes, silhouette, and fashion more broadly.

Source: Lily Birch. Image of Dystopian Constructs at W1 Curates

Source: Photo by Francois Durand/Getty Images. Louis Vuitton SS23

Living Life as a Transaction: Christie Malry’s Own Double-Entry by B. S. Johnson

SEB GARDINER | CONTENT WRITER

In2014, Jonathan Coe published the biography of the avant-garde novelist B. S. Johnson, four decades after the author's untimely death in 1973. The biography focuses on the passion and commitment of the author, someone devoted to honesty and truth in their experimental writing. The biography is titled Like a Fiery Elephant, after a comment made to Johnson about him by one of his students when he was a teacher.

Christie Malry’s Own DoubleEntry is the sixth of Johnson’s major works. The character Malry, a man who confesses that he is driven by money and sex and is open with the reader about how simply he leads his life. He is determined to learn how money works, how it is gained, controlled, used, and stolen, and so he takes a job at a bank. It is here that he formulates the idea of a double-entry; every time he is treated unfairly, having done no wrong himself, he will enact proportional revenge upon society. He is initially inconvenienced by having to walk on the other side of the road due to building works, so every day that he must do this he scratches a line into a wall nearby, a way of repaying society for causing him trouble. We get to know Malry as a character who believes he is owed a perfect life.

The novel is filled with metafiction, the characters apparently aware that they are not real. Malry’s mother acknowledges that she only exists because he is telling a story, and Johnson often jumps in with his own notes. At the end of the novel, Johnson writes himself in as a character and appears to Malry, apologising that he will not be able to continue the story anymore, just as Johnson was approaching the end of his life outside of this fictional world. Malry tells Johnson not to assume that a short novel is a bad one—just as Johnson told his agent the day before he died, “I shall be much more famous once I’m dead”.

Although Malry is a simple man and Johnson a “fiery elephant”, the two both end up facing the transactional inequality of the working world. Christie Malry’s Own Double-Entry was the last work Johnson lived to see publish, released only months before his suicide. At 186 pages long, it is a short reflection on the problems of transactional living; money is not gained in a fair way, nor does life treat you fairly—a lesson that Malry comes to learn himself.

The Great American Writer: Saul Bellow’s A Silver Dish

RILEY MOORE | CONTENT WRITER

Saul Bellow is the great American writer. Above Faulkner, above Nabokov, above Updike, Bellow sits beautifully, convincingly, above suspicion. No American writer is as decorated as Bellow. He won three National Book Awards. He won the Pulitzer Prize. He won the Nobel Prize for Literature. Generally, writing is not viewed as a competitive endeavour. But if it was: Bellow is the winner. Where to begin? Begin with A Silver Dish, Bellow’s finest short story. Published in 1978 in The New Yorker, A Silver Dish follows Woody Selbst, a Chicago businessman mourning the death of his father, Morris.

Bellow’s short stories are like novels, they include everything imaginable: death, life, hope, worry, heartbreak, anxiety, awkward family relations, and money troubles. He manages to do what Nietzsche hoped. That is, to say in a paragraph what would take others a whole book. Bellow is a great compiler of experience, leaving nothing untouched. It is intensely human, yet idiosyncratic, and juggles nostalgia, guilt, and regret powerfully, masterfully, oscillating seamlessly from Woody’s unfortunate childhood during the Great Depression to his experienced, rugged adulthood as a carpenter and caretaker.

Source: @sunlitcaverarebooks. Image of Christie Malry’s Own Double-Entry

A Silver Dish would be considered a classic, due its well-coordinated plot, but it is Bellow’s prose which solidifies it as such. Woody, for instance, recalls when his father abandons his family. He comes to Woody in the backyard. It was hot outside. Bellow writes that, “when [Pop] took off his fedora the skin of his head was marked with a deep ring and the sweat was sprinkled over his scalp—more drops than hairs”. Bellow lives in detail, but his detail is of a moral kind. Indeed, Bellow once traced the origins of his want to write. He wrote that all that appeared was a “blind and obstinate” impulse that expressed itself in “bursts of foolishness”. He evidently tamed this foolishness into a true art, for A Silver Dish handles universal, deeply human problems.

Woody buries Pop, and reddens with emotion. He is forced to remind himself that Pop, who had been so overbearing and abusive, yet somehow touching and understandable, is truly gone. “First Thursday in the grave,” Woody would whisper to himself, and, soon after, “First Saturday; he’s got to be getting used to it”. Bellow is able to properly weave the narrative such that the reader does not explicitly notice when they have been transported to a different portion of Woody’s history. Indeed, in less than 50-pages, Bellow tracks 50-years of Woody’s life. Part of his talent is his ability to do this seamlessly. It is like a Persian rug. The stitches are somewhere—but where? He does not abruptly drag the reader through time with underdeveloped characters. Characters, in fact, may be inaccurate.

A Silver Dish is about people. People one would meet in life, who have honest struggles, and have felt the turbulence of hard experiences. Bellow’s fiction transcends the imaginary, and his short story is the perfect introduction to his corpus. It is the perfect introduction to anything.

Ice – Reality often has something of an Unknown Quality

HARRISON PITTS | CONTENT WRITER

Anna

Kavan’s Ice is a feverish foray into a world on the edge of extinction, told through the splintering mind of a nameless man whose waking life is oft interrupted by violent existential nightmares not constrained to the world of sleep. The man is haunted from the outset by an inexplicable yet all-consuming preoccupation with a beautiful, fragile, and equally elusive woman from his past. The novel revolves around him dropping all comforts of his previous life to chase her around a globe crumbling under both political and environmental crises. Custody, for that is certainly all anyone aspires of her, is fought between three men (or two? One?), our nameless seeker, her uncaring husband, and the ice-eyed warden, a warlord of an Eastern state facing the brunt of a poorly understood conflict. Contrastingly, the woman, without a name as everyone and everything else is, seems barely human, a trophy to be claimed by starkly similar, abusive, and domineering men.

The narrator’s deteriorating mental state leaves him both prone to hallucinations, and insecure regarding his identity. He is shown to alternate between detailing simple aspects of his journey and vivid descriptions of fierce battles and surreal events happening to the woman (including him discovering her frozen corpse moments before she steps through the doorway). Often, novels intended to read as a “fever dream”, appear poorly edited and lacking in a coherent structure. Ice, however, is constituted of loosely gathered shadows and an ephemeral stability that reads like a nightmare, depicting a journey of claustrophobia of both a fractured world and mind.

Kavan’s transitions are abrupt, creating perplexing changes from present to dream to past to hallucination in an ever-repeating cycle of confusion. By blurring the boundary between reality and the fantasies of a failing mind, Kavan forms a labyrinthine narrative of dead ends and misdirection.

Kavan’s work is an artful examination of abuse and conflict, commenting on the roles of gender, politics, and our small place in the world. She examines destruction and human suffering ranging from the personal pain inflicted between the protagonist and his obsession, the ever-looming threat of international war, to the inevitable encroaching frozen apocalypse of the word entire. Startingly precognisant of our current social and environmental anxieties, Kavan taps into the existential terror of our seemingly ever shrinking capacity as individuals in the face of the overwhelming might of higher powers to decide our fate. Seemingly loosely autobiographical, Kavan speaks with an entirely unique voice and tempo, thoroughly succeeding in making the equal parts obscure and terrifying story a deeply memorable one.

Source: @vintagetribune on Instagram. Image of Saul Bellow

Source: unsplash. Image of an ice wall

All That She Can See by Carrie Hope Fletcher

EMILIE WILLIAMS | CONTENT WRITER

If you had the ability to heal people with your passions and hobbies, would you? That is exactly what the character Cherry decides to do in Carrie Hope Fletcher’s All That She Can See. Gifted with the ability to secretly see what other people need, Cherry opens a bakery and infuses her tasty treats with the cure for emotional ailments. Once she cures the local people of their pain and struggles, she moves to another city and sets up shop there. However, one day, Cherry finds out that she is not the only one with this ability and her prized bakery comes under threat. Will Cherry be able to continue healing people with her creations, or will a certain someone get in her way?

Fletcher’s novels capture the essence of fairy tales and romantic legends, and All That She Can See does not disappoint. The premise of healing with food is not a new idea, but Fletcher’s descriptive power brings it to life through her descriptions. The magical realism of the novel takes something such as mental health and shows it from a different perspective. Cherry’s character shows through her attentive and caring nature that it is the small and mundane parts of life that make all the difference.

Many reviews of All That She Can See comment that the novel is “unrealistic” and “weird” due to its imaginative characters and (albeit sometimes trivial) storyline. A fairer critique of the book would be to suggest that the target audience is not someone who is looking for a complicated plot or sociopolitical commentary. The novel is light-hearted, fun, whimsical and an easy read. It does not require too much critical thinking, which I think is what makes it such an enjoyable novel. It is perfect for someone wanting to get out of a reading slump, wanting to try something new, or for younger readers wanting to read magical realism.

If you are an avid reader of YA romance novels, then All That She Can See is a perfect addition to your ‘to be read’ list. Fletcher has written many more spellbinding books that might spark your interest such as When The Curtain Falls and On the Other Side. You can also visit Fletcher’s YouTube channel, @CarrieHopeFletcher, where you can find interesting behind the scenes videos of her writing process.

The Man I Never Met by Elle Cook

ANNIKA SWANSBURY | CONTENT WRITER

In the hunt for something a little less academic to read after finishing a slew of essays and assignments, The Man I Never Met by Elle Cook slid gently into place. It is the perfect easy read for when you need an injection of warm, sweet romance to make the February chill a little more bearable.

This is a sappy, entirely predictable romance novel with just enough twists to keep a reader interested through the almost-400 pages. It is full of characters you could very easily find in a Richard Curtis movie: the sassy and gorgeous best friend, the quirky, older neighbour, and the underwhelming love interest destined to fail before the final emotional climax.

Cook’s main couple are charming and ooze just the kind of palpable chemistry needed of a leading lady and her perfect man. You spend the novel waiting for and willing the inevitable moment they reunite, something that comes pages before the end and leaves you wondering what their life becomes after you close the book.

Cook’s protagonist, Hannah starts the novel stuck in the grey monotonous carousel of London corporate life, with a dead-end job in marketing, little to no love life, nothing out of the ordinary until a strange unknown number calls her.

Source: @molliemeliared. Image of All That She Can See

Source: @lornacookauthor on Instagram.

Picking up and answering is the moment her life changes, as on the other end is Davey, an American who simply dialled the wrong number in pursuit of a job interview. Unknowingly, this sets them both on a path they could never have imagined. Fate brings them tantalisingly close after a month of texting, calling, and video chats, only to force them apart for the main chunk of the story. It is a heart-breaking separation but happens so early in the book you cannot help but assume you will read through pages of longing before eventually reaching the reconciliation prompted again by fate. When Hannah mentions her love of James Ivory’s film adaptation of the novel A Room with a View, and especially the climactic scene in which Helena Bonham Carter finds herself in a Tuscan poppy field, the novel practically writes its own ending. Through a series of well-timed events that lead to Hannah attending a wedding in the same town that Davey is working in the kitchen of an Italian restaurant, we finally get our picture-perfect happy ending.

The Man I Never Met is a book to break up the grey skies with chapters set in Thailand, full of cocktails, golden temples, street food, and idealised visions of a London Christmas time. Cook cycles through a two-year period showing us a perfect snowy December, a brisk springtime on the Kent coast, the deep, warm summertime of Tuscany, and humid heat of Bangkok. In just under 400 pages, you get a simple escape from reality and are carried to a world where handsome strangers fall in love with you over the phone and everything works out perfectly in the end, wrapped up neatly like all good cheesy romances should be.

Zadie Smith’s Intimations: The perfect pandemic book, years too soon

CHLOE BOULTON | DEPUTY EDITOR

Asa rule, I do not want to consume lockdownrelated media. I think this is something I share with a lot of people. I do not want to read books about it or watch films about it. I can feel myself cringe when I hear it mentioned on television, knowing it has leaked over into fictional worlds. Admittedly, I was not immune to the hype around Bo Burnham’s Inside, and found it was one of my favourite things I had seen in 2020. It was, though, the singular exception to the rule, and I expect that the first time I watched it will continue to remain the only time.

It was in a second-hand bookshop that I picked up Zadie Smith’s Intimations, surprising myself in doing so. I was curious; on one hand I wondered if enough time had passed since the first lockdown for this to read almost like fiction, on the other I wanted, in a way, to be right in my view: no one wants to read about 2020. Upon its release, the essay collection had received mostly rave reviews from critics and readers more broadly, and was one of the few pieces of pandemic-literature to break through the noise; so why would someone get rid of it? It did not take more than a week of the book sitting on my shelf before I decided to find out.

Intimations is a slim book of six essays written in the early months of 2020; in fact, the foreword is dated to May of that year. I misjudged it. This is not a just a pandemic book. It is a window into the interior of a person better equipped than most to write about those first few months of that year.

Smith’s writing in this collection is not done sparingly. She is precise, and each essay is obviously carefully constructed down to every word. She captures time-specific emotions and is able to transport readers back to the very moments she writes about. There is a lot of ground covered too in the small amount of pages Smith works with here. Womanhood, American exceptionalism, privilege, writing, time and what to do with it, race, class, and community. This collection could not come from anyone other than Smith; her intelligence and empathy shine through in each essay, and she articulates clearly and accessibly the nuances of her thoughts. It was, in short, a moving and thoughtprovoking read that I would gladly revisit.

As I read Intimations, I could not help but think that the time was just not right. Perhaps if I had read it as soon as it was published, I would say otherwise. Or maybe, if I were to have left the book on my shelf for another few years. Knowing how it all ends, having seen what came after the events Smith writes about, I find the collection to feel incomplete.

Intimations is the perfect book for the time it is about, perhaps even the only one we really need, just not yet.

Source: @findmillie__reading on Instagram

M3GAN (2023)

ASHTON KESSLER | CONTENT WRITER

Despite being a film about a murderous doll, M3GAN ’s story brings the Frankensteinhorrors of motherhood into the forefront with a technological twist. After the death of her parents, Cady (Violet McGraw) moves in with her aunt, Gemma (Allison Williams), a robotic engineer who works for a high-tech toy company. Using her prototype for a new toy, Gemma introduces Cady to M3GAN (an abbreviation of ‘Model 3 Generative Android’), a humanoid robot. Cady and M3GAN bond immediately which lets Gemma resume her career plans, which includes introducing M3GAN to her company for future production. However, M3GAN takes her job of protecting Cady a little too seriously and that leads to murdering anyone who gets in her way.

The underlying moral question of M3GAN is how much is too much when it comes to relying on technology? Parental anxieties are a strong theme throughout the film, together with the idea of offloading parental responsibilities and emotional labour to technology. While this usually means iPads and YouTube, Gerard Johnstone’s film takes that to include murderous robots. Gemma is a career woman who makes toys for children but does not understand how to interact with them. Her idea of being a parent to a troubled child is providing her with a robotic friend-replacement.

While Gemma’s intention is to protect and provide, she ultimately prevents Cady from processing any pain or grief associated with her parents’ death. There are also parallels to Mary Shelley’s Frankenstein as Gemma’s creation becomes murderous and out of control like that within the novel. Further, both artistic pieces are given the namesake of each narrative’s respective monster. Gemma is forced to choose between her creation, M3GAN and her living child, Cady.

The film is strongest when it focuses on the moments of connection between Cady and Gemma as they navigate their collective losses. Both Violet McGraw and Allison Williams bring much needed grounding performances to the absurdity of the plot. Williams plays Gemma as an individual caught between her personal and professional lives, while McGraw is sympathetic as her filling of the traumatised child trope. While the film’s main storyline is not wholly original, M3GAN manages to hit the right notes of comedy and horror to produce a ridiculously campy parable about the dangers of technology and the concept of motherhood.

Source: @backstagecast on Instagram.

Babylon is Energy

DEVESH SOOD | MANAGING EDITOR

Critics called it indigestible, exasperating, illdisciplined, and bloated. Yet, I loved Babylon (2023), a film that has polarised critics, and divided audiences. Damien Chazelle proves to be one of the most exciting filmmakers to watch today; Whiplash (2014) being a phenomenal debut and La La Land (2021) a quintessential “building block” to my love of cinema today. After learning of his imminent return to the music-orientated films following his deviation of 2018’s First Man, I was left squirming with excitement. As someone who loves when directors are willing to “swingto-the-fences”, the sporadic and nonsensical nature of Babylon left me stunned in a way few other films have. An angry, hate-induced portrayal of the landscape of Hollywood throughout a major era of change.

From its first moments, Babylon does not disappoint. Much has been said about the explosive elephant, but being witness to the unfiltered chaos that is the opening party scene must be one of the most exciting cinematic sequences I have seen yet. For this film, Chazelle deviated from his past tradition of beginning the editing process with the final scene and instead began here, citing it as the biggest challenge. Editor Tom Cross stated that they were looking to set the tone with this opening scene, stressing the importance of it being “loud, reckless, and dangerous”. They achieved this with flying colours. There is no wasted space, nor is there a second to breathe, the film simply sprints and keeps its speed for the next 40 minutes. The camera rarely stills, and leaves you entrapped and engrossed into this world. This visual energy continues throughout the film, particularly with the beautifully chaotic sets; ones where dead bodies are treated as common occurrence and, ultimately, to the growing maliciousness of the under-belly of the Hollywood system that is revealed towards the end of the picture.

However, more so than most cinematic releases, Babylon would simply not work without the music. This area has been incredibly important in previous Chazelle works, and his ongoing collaboration with composer Justin Hurwitz blossoms in Babylon Voodoo Mama provides the heartbeat of this film, a soundtrack which still swirls around my head weeks later.

Babylon is first and foremost a tragedy. Set during a time of great change in the movie-making sphere, the shift between silent films to “talkies”, the role of every player within the industry is challenged and nobody is safe. It is a tale of the pain that goes into making a certain type of storytelling, only to be disregarded and branded irrelevant once a new and more technologically advanced system comes into play. The disregard and abandonment of talent left to rot away as demands shift seems to be potently timeless. In my eyes, the years of the COVID pandemic and the ‘foretelling’ of the end of cinema compelled Chazelle to tell this story; a narrative which tracks a massive change in Hollywood, perhaps with an ulterior aim of being somewhat therapeutic.

One can argue that Babylon doesn't have anything to say, but I disagree wholeheartedly. The quiet reception throughout award-nomination season is not entirely surprising, though it does feel like a film that audiences will re-discover in ten years’ time. It will be one of those instances where it is a shock to learn that Babylon was not a Best Winner, or even a nominee. Running on pure adrenaline, it refuses to wait for its audience to catch up. I cannot promise that everyone will love Chazelle’s latest instalment, nor can I promise that everyone will be able to remember it. However, I absolutely hope everyone at least gives Babylon a chance, because there really is nothing else quite like it.

Source: @babylonmovie on Instagram

The Fabelmans

CHARLIE THIRKETTLE | CONTENT WRITER

It is safe to say Steven Spielberg's The Fabelmans strikes a particular nerve, particularly as a full-time film student. The 2022/23 film slate has bought us a selection of great pictures showcasing the beautiful art of filmmaking, not least Damien Chazelle's magnum opus Babylon (2023), which depicts the “Golden Age” of 1920s Hollywood. Sam Mendes presented us with Empire of Light (2023), a beautiful story detailing the power of love and cinema. And, of course, Steven Spielberg released his semi-autobiographical love letter to the silver screen with The Fabelmans (2023).

Set across late 1950s and early 60s USA, Spielberg’s film follows Sammy Fabelman, an aspiring filmmaker who is navigating his childhood and teenage years, as well as his wildly dysfunctional family. Sammy, based on Spielberg himself and played by Gabriel LaBelle, discovers filmmaking when he goes to the cinema as a young boy to watch The Greatest Show on Earth

From that moment on the wide eye, Sammy sees his future and becomes instantly captivated by the magic of film. He struggles with the balance of emotions over which he loves more: family or film. As Sammy develops as a character, the scales begin to tip.

Alongside the main story, The Fabelmans delves deep into the complexity of growing up as a Jew in America. Throughout his life, Spielberg himself has said he had to hide his “Jewishness” due to growing up in predominantly Christian areas, to not be a target of antisemitism.

However, now older, and more open about the matter, The Fabelmans feel like a true acknowledgement of his past and his relationship with Judaism. The film’s spotlighting on Jewish traditions and language gives audiences a unique look into a world rarely shown on screen.

Complementing the film's outstanding plot is the casting, which includes both established Hollywood performers and fresh up-and-coming talent. Incredible performance from Michelle Williams brings pure agony to the screen. Her Oscar-nominated portrayal of Mitsy is as much a pleasure to watch as it is painful, as beautiful as it is tragic.

The relationship between William's character and her on-screen son Sammy is natural and realistic, leaving a warmth inside the hearts of any mothers and sons watching. Alongside Williams, Paul Dano steals the show with his performance of Burt Fabelman. As a computer engineer, Burt is the antagonist to Sammy. A loving father at heart, Dano flawlessly delivers the character of a stubborn dad. He is the consistent reminder to both Sammy, and the audience, that filmmaking is ‘just a hobby’.

As the 20th collaboration between Spielberg and Polish cinematographer Janusz Kamiński, The Fabelmans naturally looks stunning. Shot on 35mm film, the picture carries the same look and aesthetic of the films that a young Sammy shows his family and peers. A vintage, nostalgic timbre transcends through the screen taking us right back to the warm summers in post-War Arizona. The role of a good film is to entertain the audience, to present worlds and stories that take us from our mundane lives and transport us to a realm of pure imagination. But if a film leaves you with the desire to create, it has exceeded its role. Upon leaving the cinema I left inspired, it struck the nerve that made me fall in love with film, the same itch a young Sammy had to scratch after leaving the cinema for the first time.

The Fabelmans is a beautifully crafted masterpiece; a coming-of-age story soaked with the memoirs of Spielberg’s own life which makes for a story well worth telling. Whether it be Spielberg's swan song or not, The Fabelmans will live as a moving artefact to possibly one of the greatest filmmakers to ever do it.

Source: @cinegrafia_ on Instagram

Barry in Britain: A Hidden Gem Worth Finding

BEN AUDLEY | CONTENT WRITER

Seasonfour of Barry, Bill Hader’s critically acclaimed dark comedy series, has now finished filming. Whilst an official release date is yet to be announced it surely will not be far away. Despite the imminence of the next batch of episodes, and the array of awards that the show has already won, there seems to be little anticipation or noise for the next series instalment in the UK. It seems worthwhile, then, to review the series so far, and to consider why the show has failed to gain the audience it deserves in Britain.

Season one of Barry, whilst critically acclaimed, is something of a chore to get through. Perhaps this is just a British sensibility. The show is after all a comedy, particularly in its first season, and the differences between American and British senses of humour are welldocumented. For whatever reason, much of Barry’s first outing falls flat. There are flashes of the brilliance that would come to define the show, but the season largely leaves a lot to be desired due to lazy stereotypes and two-dimensional characters, which are frustratingly prevalent. This is not to say that the first season should be skipped: it is simply a word of warning for any first-time viewers, and a promise of improvement.

The fifth episode of season two, ronny/ lily, marks a real turning point in the show. Seasons two and three add deftness to the comedy, and Hader dials up the cinematic qualities in his direction. The show also leans more into its drama. Those stereotypes hanging over from the first season are dealt with head on, making for some of the most interesting and well-rounded characters on modern TV. The tone is better balanced too, with humour woven into character interactions and the overarching themes of the show, rather than being haphazardly thrown in. Any viewer that makes their way through the first season is handsomely rewarded by what follows.

The show is not only technically brilliant, but also deeply original and modern. Barry is a fascinating reflection on shows such as Breaking Bad and The Sopranos, where the male lead is drawn to violence and power. In Barry, this trope is inverted. Barry himself wants to escape his violent nature, not tap into it. Moreover, the depth and development of both the female characters and the compelling queer subplot is admirable, particularly from the second season onwards. It is a wonder how Hader and co-creator Alec Berg create such compelling characters and story with only half-hour episodes.

So, why is no one talking about Barry?

It is principally HBO’s exclusive partnership with Sky that has limited the impact of Barry within the UK. The show is only available to stream via packages available with Sky or Now TV subscriptions, or to buy on Prime. If the show were available on more popular services such as Netflix or Disney+, it would stand a better chance at being receptive of the same public attention which the likes of The Boys or Ted Lasso have received. As it stands, Barry’s fourth season looks set to be just as compelling as its last and, sadly, just as underappreciated.

Source: @miraestapeliya on Instagram

Game-Film Adaptations, Pedro Pascal, and Hollywood’s Daddy-Elect

JETHRO ROBATHAN | FILM EDITOR

HBO’s latest addition to its roster is a serial adaptation of the critically acclaimed action-survival game The Last of Us, developed by Naughty Dog Studios. Like many, I have been lured in by the hype surrounding Pedro Pascal, who plays the lead role in the series. Quite gladly, it is worth adding, if the quality of the opening episodes are anything to go by. This is not the first Naughty Dog entry to be adapted, with star-studded blockbuster Uncharted (2022) breaking box office expectations and securing its place as fifthhighest grossing video-game film of all time. Not that revenue is the best measure of its overall quality, as Uncharted has as much substance as any other high-octane, narratively lacking film. That is: it has little to none. Game adaptations certainly are in vogue at the moment, as production companies and streaming platforms turn to pop culture staples in a move to mine untapped fanbases; Netflix’s The Witcher (2019-current) and Paramount+’s Halo (2022) are just a few recent examples. But how well do games play out on the silver and smallscreens? Like alal other forms of cinema, it is a question that largely depends on if due process is paid to script development and narrative integrity. Despite their financial success, pictures such as Uncharted or, to go back further, Warcraft (2016) suffer from overreliance on VFX and a flimsy screenplay.

The Witcher admittedly challenged the assumption that video-game films were ultimately exercises in ‘render-splendor’, with greater attention paid to both the central storytelling and character casting. Henry Cavill, a self-proclaimed nerd who has long been an active fan of The Witcher games and other pillars of the fantasy genre, is arguably the motor which keeps the Netflix adaption running once our visual appetite is sated. The same can be said for Pedro Pascal, the casting choice for central protagonist Joel in The Last of Us

Joel bears many parallels to the rampantly popular Mandalorian from the eponymous Disney+ series; both Joel and Mando are tragically lonely and traumatized figures tasked with the protection of a chosen individual. More specifically, a pitifully helpless and younger individual such as Ellie, a teenage girl who is the counterpart to Mando’s Grogu, or Baby Yoda. HBO keenly have latched onto the key ingredient, namely pairing Pascal with a vulnerable sidekick, which has made The Mandalorian so successful. Pascal himself, alongside Neil Druckmann (co-president of Naughty Dog and mastermind behind The Last of Us), has recognised the similarities in his two most recently recognizable roles.

Terming it a fortunate incident of “double-dipping”, Pascal does note key differences between the two roles: Mandalorian is helmeted and dealing with a mute alien whereas Joel has facial freedoms and is accompanied by a teenage girl. That said, the fundamental overlap is undeniable. Both protagonists are forged by the trauma of being helpless to prevent the death of loved ones and both predictably have their frigid, stoic exteriors peeled away by inevitable bonding with children who embody vulnerability and require parental role models. Further, both Mando and Joel operate within adjacent occupations, that is as bounty hunter and smuggler respectively. Usually there would be a risk of observing, perhaps prematurely, the risk of Pascal being pigeonholed into this victimcum-protector trope. Yet his filmography offers an expansive and diverse repertoire of roles which dissuades this stance. One need look no further than his lead role in Netflix exclusive series Narcos or role in The Unbearable Weight of Massive Talent (2022), a box-office flop which is deceptively enjoyable.

What does this all mean? Well, naturally it is evident that our favourite Chilean-American actor has become, quite endearingly, Hollywood’s Daddy-elect and I cannot deny being on board with it.

Source: @thelastofus on Instagram

Miley’s Breakup TikTok Anthem: Flowers

ANNA ARMELIN | CONTENT WRITER

Miley Cyrus can buy herself flowers, she can write her name in the sand, she can take herself dancing, and she can hold her own hand. This is the message of the pop star’s latest single, Flowers. Not only has Cyrus’ new breakup anthem broken records with its popularity, but its success has been fuelled by conspiracies on TikTok about the meaning behind its lyrics. The song has smashed Spotify’s one-week streaming record, and topped charts around the world including in the UK, Australia, Canada, and China. The song, reportedly about Cyrus’ divorce from Australian actor Liam Hemsworth, has become an anthem for women becoming stronger after heartbreak. Cyrus even released it on her ex-husband’s birthday, spawning countless headlines, TikToks, and memes about Hemsworth’s rumoured shortcomings.

Miley Cyrus has been praised by her fellow female artists, in the spirit of breakup hits and their power to enable women to speak to their female audiences about the pain of heartbreak. Gloria Gaynor, whose 1978 breakup anthem I Will Survive cemented her status as a musical icon, has shared and commented on Cyrus’ hit.

“I’m in Nashville working on new music and just heard Flowers for the first time,” Gaynor has said. “Your song carries the torch of empowerment and encourages everyone to find the strength in themselves to persevere and thrive. Well done, Miley!”

Not only is Miley’s hit single a great show of how female musicians are using their music to action their empowerment, but it also highlights the power of TikTok in promoting artists at a larger scale than ever before. TikTok has become an essential promotion tool for music artists and their record labels. Songs that trend on the platform often end up charting on the Billboard 100 or Spotify Viral 50.

Additionally, 67% of the app’s users are more likely to seek out songs on music-streaming services after hearing them on TikTok, according to a November 2021 study conducted for TikTok by the music-analytics company MRC Data.

We can see how Miley’s single has been accelerated by the TikTok-created hype around it, the conspiracies about her breakup, speculations about the release date and its meaning. But ultimately, its success comes from the sheer fact that it is a strong, empowering breakup song.

Laurie Anderson: Pioneer of Avant-Garde

ESTELLE ALLEN | CONTENT WRITER

Laurie

Anderson is a multi-talented artist who has made a significant impact on the music world through her unique and avant-garde style. Born in Illinois in 1947, Anderson started her career as a performance artist and later became known for her innovative use of technology in music, storytelling, and film. She has been a pioneer in the world of avant-garde music and has inspired many musicians to explore new and unconventional forms of expression. Anderson’s music is a fusion of various styles and genres, including electronic, rock, classical, and world music. Her use of electronic instruments, such as the violin, tape loops, and synthesizers, has been instrumental in creating her distinctive sound. Her music is often described as atmospheric and experimental, with a strong emphasis on storytelling. One of Anderson’s most famous works is her 1982 album Big Science which was her first major release and marked a turning point in her career.

The album, which was produced in collaboration with producer Brian Eno, features songs that are a combination of spoken word, electronics, and orchestral elements.

Her live performances are renowned for their innovative use of technology and their interactive nature, and they often feature a combination of music, video, and storytelling. Her work has been described as challenging, thought-provoking, and always pushing the boundaries of traditional art forms. Anderson’s influence on the music world is undeniable; she has inspired countless musicians to explore new and unconventional forms of expression, and she has helped to establish avant-garde music as a respected genre. Her work continues to be celebrated, and her legacy will undoubtedly inspire future generations of artists.

Source: The Guardian

The album’s lead single, O Superman was a surprise hit in the UK, reaching number two on the charts.

In addition to her work as a musician, Anderson has also made a name for herself as a performance artist, filmmaker, and writer.

Laurie Anderson is a true genius and giant of the avant-garde music world, and her innovative and ground-breaking work has had a profound impact on the music industry. Whether you are a fan of her music, her live performances, or her other artistic endeavours, there is no denying she is a truly unique and talented artist who deserves recognition for her contributions to the world of music.

Source: @mileycyrus on Instagram

Djokovic wins Australian Open despite challenges

ALADA STODDART | CONTENT WRITER

Novak Djokovic has won his 10th Australian Open. The final match saw the Serbian take on Greece’s Stefanos Tsitsipas and come away with the trophy after the third set. This is Djokovic’s 22nd Grand Slam, which sees him move into a tied top spot with Rafael Nadal, who also holds 22 of the titles.

While the Serbian player was always a favourite to take victory at the tournament, the road to lifting the trophy has not been a smooth one.

Other players complained of having verbal abuse thrown at them during matches. Russian Athlete, Andrey Rublev, complained to the umpire of his match about spectators, who were holding up the Ukrainian flag, saying “bad things” (CNN) to him. The player has previously been vocal about his opposition to the Russian war on Ukraine and made it clear to the umpire in his protestations that “it’s not about the flag” (CNN).

The Return of Jon Jones

Doesdistance make the heart grow fonder? It could be true for Jon Jones. At last, the UFC legend, considered to be one of the sport’s great of all time, will now make a return as part of a heavyweight championship main event in March, after a three-year break.

Suffering from a hamstring injury early in the competition and facing questions about the behaviour of his father, Srdjan Djokovic, who was photographed recently with Putin supporters, means that there have been some challenging hurdles to overcome. The toll that these distractions have taken on the player were made obvious by the relief and emotion that flooded from him upon winning the Australian Open. A tearful Djokovic named this win the “biggest victory” of his life (BBC Sport)

This year’s tournament was rife with controversy involving other players, too. Andy Murray’s angry protests at being forbidden to go to the bathroom made headlines midway through the Open, as the chairumpire refused to give permission for the Brit to take a break and relieve himself.

The grand slam winner, Djokovic, too was furious about “drunk” fans “provoking” (New York Post) him during his own match against Enzo Couacaud.

This year’s Australian Open was not without its drama and controversy, but it has been a brilliant sporting show, and Djokovic’s ultimate victory captured the imagination of viewers as the titan of the sport put on a performance to be remembered.

The American professional mixed martial artist has competed in the UFC’s Light Heavyweight division and has made his mark forever. He is a former two-time UFC Light Heavyweight Champion for over four years between 2011 to 2015, and again between 2018 to 2020. But his reign does not end there. He is the youngest UFC champion at age 23, holding a record number of UFC triumphs within his division including most wins, most title defences, as well as holding the longest win streak. However, between 2015 to 2017, Jones lost many of his titles due to disciplinary action. After experiencing a number of controversies, Jones then voluntarily vacated his titles in 2020. Three years later, the fighter is now making his highly anticipated return to the sport, but this time in the Heavyweight division. So, who will the former Light Heavyweight king come face to face with at his UFC 285 debut? This has been a highly pondered question.

When the heavyweight champion, Francis Ngannou, would not agree to a new longterm contract this January, meaning he would not be able to fight Jones, confusion seeped in about who the American would fight. Now, it has finalised that it will be none other than Ciryl Gane, the former French UFC Heavyweight Champion. A matchup in which many fans did not dream of, it will still be a clash of the icons within the UFC heaviest weight class. But many have hesitations for Jones’ return. Though arguably considered as one of the greatest of the UFC sport, many are concerned with whether he can handle such a match. Doubts have stemmed due his significant bulking, changing of his gym, and whether his techniques would match that of Gane’s skilful ones; all of which could affect his performance, and his chances to win.

Nonetheless, despite the concerns and fears, this match is one of major appeal within UFC, with both fighters being the sports best athletes; but more consciously the fight being one which Jones’ fans have long waited for. And if this match comes to favour Jones, it will truly seal his title as the definitive greatest of all time.

Source: Flickr

IMAN AHMED | SPORTS EDITOR

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