TN2 Summer Issue 20/21

SUMMER ISSUE 2020/21 TN2MAGAZINE.IE

ART/ FASHION/ FILM/ FOOD/ GAMES/ LITERATURE/ MUSIC/ SEX/ THEATRE/ TV/ ALT.

THIS ISSUE’S ART TEAM:

Ciarán

Cover Artist Lola Fleming

Butler

Featured Artists Lola Fleming, Keegan Adrulis, Ren O’Hare, Ciarán Butler & Andrés Murillo Featured Photographer Andrés Murillo

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Editor-in-Chief Ursula Dale Deputy Editors Sophia McDonald, Sam Hayes Online Editor Connor Howlett Social Media Manager Ciara Connolly

CONTENTS Letter from the Editor Art & Design What Jean-Michel Basquiat’s ‘Defacement’ (1983) Means Today Fashion Fashion History 101: Sybil Connolly Harajuku - A Fashion Epicentre For All

Art Oona Kauppi Catherine Byrne Fashion Gelsey Beavers-Damron, Ciarán Butler, Millie Brennan Film Connor Howlett, Savvy Hanna, James McCleary Food Dearbháil Kent Grace Gageby Games Seán Clerkin Literature Shane Murphy Fiachra Kelleher Music Sophia McDonald, Ben Pantrey, Hannah Quearney Sex Alice Payne Chloé Mant Theatre Larissa Brigatti Lucamatteo Rossi Television Ciara Connolly Gillian Doyle ALT. Clare Maunder, Aditi Kapoor, Gráinne Sexton

Games A Eulogy for E3 When Does Gender in a Video Game Actually Matter?

Literature Is Nicole Flattery the New Lorrie Moore?

Coronavirus Paintings // Frieda Hughes in Lockdown

Layout Ursula Dale, Sophia McDonald, Sam Hayes, Caroline O’Connor

TV What I Learned From My Experience as a TV Background Actor Groundhog Day: The Trope that Comes Up Again and Again and Again

Head of Illustrations Lola Fleming Head of Photography Andrés Murillo

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Film Film Club 1: Fruitvale Station Dating Amber // Review

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Food A Beginner’s Guide to Foraging

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Music Fetch the Bolt Cutters - Fiona Apple //Review Long Live Vinyl - The Resurgence of Records

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Sex Clued-up about Contraception?

The Performative Nature of Dating

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Theatre The Theatricality of the Plague

Theatre. Online.

ALT. The Transphobia of J.K Rowling The Stark Realities of the Publishing World The Death of Mainstream Media?

Morning Routines: Coffee Memes: A Cultural Currency

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“Royal Yellow Time”, Featured Photogrraphy by Andrés Murillo,

Letter from the Editor: In a moment defined by the collapse of what is normal, to be addressing TN2’s readers for the first time as Editor-in-Chief feels appropriately surreal. This magazine has been a formative cultural project for so many and, for myself, a developmental cornerstone of my time at Trinity. I therefore graciously accept the responsibility of this position as I speak from the inaugural pages of our first ever Summer Issue or, as it has become known amongst our team, Issue 0.

This issue aims to take responsible ownership of the privilege and the platform we have by invoking necessary social and political discussions.

Interspersed with our weightier pieces are some spotlights on moments of fashion history, discussions on managing lockdown through a cultural lens, and the welcomed sagacity of our Sex Desk.

Equally exciting is the ‘online print’ début of our newest section, ALT. (standing for Alternative). The aim of ALT. is to bridge our commentary on the artistic and entertaining with the political; forming this team and reading their first instalments of cultural commentary has been a wonderful and educative experience. Our new staff members – writers and artists alike – have undoubtedly enriched the pages of TN2, and I stand in eager anticipation for their upcoming work this coming year. I would also like to praise the efforts of our talented, longer-standing team members whose vision and experience form the foundation for TN2 as we see it today.

This issue will be a pioneering one in several respects as our team has attempted to channel the uncertainty which was, and is, still abundant during the earlier stages of a pandemic into something personal and creative. It has been a joyous experience for me and, I hope, for all the accomplished creators I am privileged to work with in my new role.

Art can always be found in times of social anxiety, and we hope to offer some such artistic solace to our readership.

Stay safe.

Sincerely,

Ursula

www.tn2magazine.ie 1

Art & Design

What Jean-Michel Basquiat’s ‘Defacement’ (1983) Means Today In September of 1983, a 25-year-old man by the name of Michael Stewart died at the hands of a police officer in New York’s East Village. Stewart was a student at Pratt Institute, an artist, and Black. Jean-Michel Basquiat, also an artist, also Black, and physically resembling the dead man, heard the news. ‘[Stewart] could have been me’, he repeated. Basquiat painted ‘Defacement’ or ‘The Death of Michael Stewart’ soon after. It is a work that radiates anger and fear. It pleads for a renewed faith in humanity. George Floyd’s death in May of this year retains the echo of Stewart’s. As the world collectively remembers victims of racial violence, cultural outlets turn the spotlight onto artists of colour. But what did it mean to be a Black artist in 1983, and what does it mean 37 years later?

Neo-expressionist artist Jean-Michel Basquiat’s style is most easily described as ‘raw’. The paint is applied impulsively, as though the artist’s emotions could not be contained. This is the case for ‘Defacement’ as well. Splashes of pink make up the face of the policeman. His uniform is electric blue and his club is bright orange. He bares his teeth as he prepares to hit the Black figure. The Black figure, formed only from a few brushstrokes, stands between the first policeman and his colleague.

‘Defacement’ has no finished background, but it is complete. All that needs to be said is there. Within the larger context of Basquiat’s work, The Guardian has dubbed ‘Defacement’ his ‘most personal’ work, undoubtedly because it relates to the artist’s identity as a Black man. The fact that both Stewart and Basquiat are linked by Suzanne Malouk, whom both had dated, re-emphasises the personal connection of the piece. ‘Defacement’ hits the viewer like a tsunami - the lines of the painting feel like marks etched onto the skin.

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Authority and empowerment are two recurring themes in Basquiat’s works. From the beginning of his career, masquerading as graffiti artist ‘Samo’, Basquiat had an activist vein. ‘Irony of a Negro Policeman’ and ‘La Hara’ both convey disgust towards the abuse of power in the police force. ‘Defacement’ relates very blatantly to the same issue. It is a look into the artist’s mind.

It expresses the kind of trauma that affects many young African-American people today. There is a lack of support available to them. There is unfounded prejudice against them, that can be a death sentence. There is a fear of being arrested or injured by police. Authority and empowerment remain just as relevant as they were in 1983. Until racism and overt violence towards people of colour ends, much of contemporary Black art will continue to have this at its core. And this injustice, linked so closely to Basquiat’s identity, naturally affected the content of his work.

Yet, it has been said that Basquiat did not want to be defined, as an artist, by his Blackness. Throughout his career, the label of the ‘Black artist’ both advanced and slowed his success. His art was described as ‘primitive’, which is inherently racist. ‘Primitive’ eventually became ‘sophisticated’ when rich buyers requested works tailored to the colour scheme of their living rooms. During an interview in his studio, which was in art dealer Annina Nosei’s basement, Basquiat was asked about the rumor that he was imprisoned there. He seemed embarrassed to answer this. ‘If I were white, I would be an “artist-inresidence,”’ he said. Basquiat did not reject his Black identity, as is evident from his works. However, he was acutely aware of the implications of this label in the art world. Basquiat’s work is often categorized under great, contemporary African-American art, rather than the broader category of great art, which he would have preferred. It is true that the colour of an artist’s skin should not be their defining feature - their art should be. On the other hand, reclaiming this label establishes Black art in the white-dominated canon of art history.

Michael Stewart’s death inspired Basquiat’s ‘Defacement’, the same way George Floyd is inspiring art all around the world by artists like Banksy and Nathaniel Mary Quinn. Among Basquiat’s contemporaries were Keith Haring and Andy Warhol, both of whom created works with the same subject, but Basquiat prevails due to his identity as a Black man. However, at the time, he was reluctant to be commercially labelled a ‘Black artist’. ‘Black art’ was attached to unsavory preconceptions that he (understandably) wanted to avoid. ‘Defacement’ and other works broaching the subject of police brutality have induced empathy, that has produced change in the art world and beyond. Inclusivity and non-judgement have been highlighted.

Perhaps, Basquiat would have embraced the label of the ‘Black artist’ had he lived until today.

WORDS BY OONA KAUPPI ART BY KEEGAN ADRULIS

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Fashion

Fashion History 101

Sybil Connolly: The Waterford woman who put Irish fabrics on an international stage There are many things that us Irish are known for around the world. From winning the Eurovision umpteen times to drinking Guinness like it’s water, it’s fair to say that the world has shaped its own version of what a stereotypical Irish person is like.

However, one thing that we are not renowned for worldwide is our contribution to the global fashion industry. Despite our rich history of being skilled in certain areas of creativity such as art and poetry, when it comes to fashion there is no doubt that Ireland is typically overshadowed by other European countries like Italy or France, who have both earned their stripes as fashion capitals of the world.

But of course, like anything, there are always exceptions to the rule. Enter Sybil Connolly.

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Connolly, a dark-haired beauty who grew up in Waterford in the 1930s, is owed a huge debt by the Irish fashion industry for bringing Irish fabrics to the attention of the public. Beginning as a young, half-qualified dressmaker working in Richard and Allen’s department store on Grafton Street, Connolly’s journey to success was one of both extreme luck and extreme talent.

For the first thirteen years of her career Connolly worked diligently and quietly in the backrooms of Richard and Allen, until the firm’s head designer abruptly resigned from his position in 1952 and left Connolly to take the reins.

Unlike other designers of her era who favoured fabrics imported from abroad, Connolly decided to use her first collection with Richard and Allen as an excuse to showcase the quality and noteworthiness of native Irish materials. This was an extremely bold move on Connolly’s behalf, as it was seen as fashionable and more refined to import fabrics from fashion houses in cities like Paris or Milan.

However, Connolly’s risk definitely paid off. Her brave use of native Irish fabrics was praised warmly by both critics and the public alike and, as a result, Connolly was subsequently given the opportunity to launch her very own clothing label in the U.S. From there, Connolly’s career went from strength to strength. As a glamorous young woman taking the fashion world by storm, her rise to fame gathered a lot of interest from the public. In 1954, a feature in Housewife magazine wrote: “this fairytale person has looks. Short curling dark hair. Eyes the brown of peat...And a model figure too.”

Despite the rocketing success of Connolly’s career and the lack of financial constraints that she enjoyed as a world-renowned designer, Connolly continued to incorporate Irish materials in her designs. She was a particular fan of using Irish linen, which was then pleated, and used in both dresses and skirts alike. This material was extremely popular with Connolly’s audience, as it could be packed away in wardrobes and shoved into boxes without needing to be ironed afterwards.

Another Irish material that Sybil Connolly was responsible for bringing into the limelight was Donegal tweed. Now a booming industry in Ireland, Donegal tweed has been around for centuries but only really found its place on the map when Connolly started using it in her designs. Enamoured by the potential of such a durable fabric, Connolly took traditional Donegal tweed and updated the material by styling it in new cuts and beautifully rich colours. Thanks to Connolly, in the 1950s tailored suits made of Donegal tweed were in vogue across the globe and, as a result, business boomed for the many small, family-run woollen mills dotted across the country.

As Connolly’s fame continued to increase, she (unsurprisingly) began to attract some seriously high-profile clients.

Throughout her career, Connolly dressed some of the most iconic figures of the twentieth century, notably Julie Andrews and Elizabeth Taylor. In 1970, First Lady Jacqueline Kennedy posed for an official White House portrait wearing one of Connolly’s pleated linen creations.

Today, the mark that Sybil Connolly left on the global fashion industry can still be felt. It is because of her work with Irish fabrics that Ireland has earned itself a good reputation as a producer of beautiful natural materials, and as a result Irish fabrics have been included in some of the most unforgettable designs the world has seen to date. In 1981, Princess Diana’s iconic wedding dress featured Carrickmacross lace from county Monaghan. This same lace was also used in the elegant dress that Kate Middleton wore on her wedding day back in 2011.

Years on from her death, the debt that the Irish fashion industry owes to Sybil Connolly still cannot be repaid. As the Waterford woman who put Irish materials on the map, Sybil Connolly, we salute you.

WORDS BY MILLIE BRENNAN

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Fashion

Harajuku - A Fashion Epicentre For All When trying to figure out what to write for my first ever piece in print, my mind went to a couple of different places. How we as a society should come together to ban flip flops from being worn anywhere but a beach? Being the flighty Libra that I am, I eventually settled on a place that holds a special place in my heart: Harajuku.

Where do I even begin? Harajuku is a fashion wonderland, and whether you love or hate the trends that have emerged from the area, experiencing Harajuku fashion is like being in another dimension.

Well, to be honest, that’s just Japan as a whole. Travelling in Japan is incomparable to being anywhere else in the world - and I swear that on Gaga’s Chromatica. Everything is just better. No rotten people pushing on the bus. Each train station has their own unique theme song that plays when you get on and off - get on YouTube and have a listen!. There are ‘smart toilets’ that play music so no one else can hear you doing your business (and a built-in bidet, how chic!).

One of my favourite places in the world without a doubt is Harajuku. The vibes? Immaculate. The coffee? Amazing. Oh, and the fashion (which is 100% why you’re reading this, duh, fashion section)? EVERYTHING. Harajuku is an area located in the Shibuya district, and although its is not that big, has made its mark on the world! Tokyo is a fashionable place by any standards, but Harajuku is the place. Over 37 million people live in Tokyo alone, so style differs, but streetwear is immensely popular, as well as business casual. Harajuku is more high-fashion/contemporary, ala McQueen! Still in a city as big as Tokyo, who knows what you’ll find!

Harajuku is interesting as it actually began as a small town where, after the war, U.S military servicemen went to shop and to use what services were available back then! Harajuku JR (JR is short for ‘Japanese Rail’ - there are SO many train companies, hence the very confusing maps!) station was built shortly after and the district eventually began gaining more and more popularity when it became pedestrianised. Harajuku and the surrounding areas became the hot spot for artists, fashion kids and performers to hang out (Funny story, I actually sang Cindy Lauper’s ‘Girls just wanna have fun’ with a man doing karaoke at the entrance to Yogi Park opposite Harajuku on my last trip -- it was the greatest collaboration since Gaga and Beyonce).

Now, here’s the real tea of how it became known for wild fashion trends. In the 1980s, Tokyo’s street performers and fashion elite had to find a new hangout spot when Ototesando, located right beside Harajuku, was closed due to traffic. Harajuku was deemed the new ‘it’ spot for this group. The huge Hokoten (meaning ‘Walker’s Paradise’, due to the closure of streets specifically for pedestrians to mingle) scene in the 90s further boosted Harajuku as the new spot. Shoichi Aoki, a renowned photographer, started to photograph the wild, crazy and high fashion looks he would see being worn around Harajuku for his magazine FRUiTs. This magazine became an instant hit for showcasing the region’s amazing outfits.

While the opening of traffic to Harajuku may have eliminated the idea of Hokoten there, the fashion culture of Harajuku is still present and alive. Since traffic opened up the area, there was less space for people to mingle and generally just chill, without having to spend a fortune on a cafe or shopping. Hokoten is still done in other areas of Tokyo such as Ginza and Shibuya.

The fashion there is beyond anything else I’ve seen. The account @tokyofashion on Instagram is dedicated to Japanese street fashion, shot primarily around Harajuku and highlights the style walking the streets. They photograph anyone with good style, ranging from high school students all the way to influencers and full-time workers.

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Harajuku is interesting, as like fashion itself, it has its own trends. ‘Harajuku Decora’ is one of the most well-known worldwide. Most of us know that infamous Coco Chanel quote: “Before you leave the house, look in the mirror and take at least one thing off.” Decora is the opposite. This style is all about colour and accessorizing to the MAX. The style was immensely popular around 2010, but the popularity weaned after a couple of years. The style is still around, and many shops around Takashita street cater for those obsessed with Decora.

Lolita is also huge, a style that centres around classical Rococo and Victorian dresses - particularly in pastel and light colours.

The overall effect is angelic and regal. Goth Lolita uses the opposite colour palette, with black and dark greys being the star of the show. Goth Lolita for many is about mystery and, to me, a sense of edge.

One of the latest trends to take over the streets of Harajuku is ‘Yami-Kawaii’ which literally translates to ‘Cute Darkness’. The style is a commentary on mental illness, using a juxtaposition of cute clothes with a more serious theme to help bring the topic of mental health to the forefront.

Even the food is a trend there. Harajuku crepes are a must when in the area. Cheesecake and ice-cream in a crepe? GIMME NOW! The huge rainbow cotton candy trend that flooded Instagram also came from the streets of Harajuku. I think the extreme elements that make Harajuku ‘Harajuku’ spread even to the food. The food goes to the extreme, more so than usual. Instagramming yourself in a trendy outfit eating or drinking a trendy food item is the ‘new normal’ and Harajuku is no exception. Look at cronuts or even Scrumdiddly's ice cream, it’s a culture present everywhere.

Takashita street is the most popular street in Harajuku, with literally EVERYTHING. There’s stores just for accessories, unreal vintage shops (fully stocked with incredible pieces at really great prices), big chain shops like WEGO (a nicer but pricier Urban Outfitters) and of course multiple spots to get some snacks.

Harajuku is fashion and fashion is Harajuku. Everything about it is constantly changing, but so are the people. It’s a place of community, youth, energy and joy. If you want fashion, look no further than Harajuku and the rabbit hole to wonderland awaits!

WORDS BY CIARÁN BUTLER

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Film The idea behind this Film Club is to pick a film that I think deserves more attention, and set my deputies and another TN2er the homework of watching it. They’ll then share their viewing experiences alongside mine. Ideally, we’ll all love my exquisite taste for cinema, and you’ll have four people recommending a film to you instead of just one. Or maybe you’ll never trust one of my reviews again.

WORDS BY CONNOR HOWLETT (FILM EDITOR)

Although I’ve written very briefly about our first film, Fruitvale Station (Ryan Coogler, 2013), in TN2 before, I picked it for

Film Club as I believe it to be a criminally underseen masterpiece that continues to have great significance. Ryan Coogler’s feature début is a film that is sensitive, vital and ultimately devastating. As this is a film based on a true and very public tragedy, we do discuss the plot in depth.

The plot takes place over the final day that Oscar Grant (Michael B. Jordan) spent alive in Oakland, California. Oscar is an ex-con attempting to build his life back together; at various times we see him trying to raise his daughter, Tatiana (Ariana Neal), be an attentive boyfriend and be a good son. In spite of the temptations he faces to earn quick money by selling dope, he chooses to work towards a legitimate means of income and maintain his integrity as a reformed and better person. He chooses life with those he loves. That is, until white police officers make that choice inconsequential. In reality, it doesn’t matter that Oscar chooses to become better and actively works on making this happen, because his life is cut short by a racist system of oppression. He was my age (22) when he was killed by the police.

It is a difficult film to watch. It is a film that has left me paralysed with emotion and shock every time I have watched it – and I have watched it at least 10 times. This is a film that opens with the real-life mobile phone footage of a real-life murder of an unarmed Black man by a police officer who had sworn to protect and serve the citizen he has just killed. He was my age when he was killed by the police.

While Fruitvale Station feels like an effortlessly human portrayal of a man’s final hours, the film is masterfully constructed to achieve this. Notably and importantly, Oscar is not characterised as flawless, but human. Oscar and his girlfriend, Sophina (Melonie Diaz) are introduced discussing his infidelity after the title credits. Whilst his indiscretions may frustrate and hurt, you never dislike Oscar. This is significant, because these complications of character illustrate a portrait of complex humanity.

Protagonists without flaws are not real people. They do not breathe and move and impact the way that Oscar does by showing his vulnerabilities. In spite of his missteps, he is a charming and affectionate man. He loves his daughter, and is a doting son, grandson and brother. He was my age when he was killed by the police.

Rachel Morrison’s cinematography is intimate and revealing of the tough decisions Oscar has to make throughout his day, eventually replaced by lingering shots of spaces that have been left by the characters in the build-up to the tragedy. As the final incident at Fruitvale Station begins to take place, the intimacy of the framing shifts into scrutiny and claustrophobia, evoking the cruel distress and oppressive atmosphere of the scene. Several tight shots of one police officer’s knee pressing down on Oscar’s neck are chillingly evocative of the murder of George Floyd by a policeman using the same supposed ‘method of restraint’. The film closes on a shot of Tatiana, and shows that, even if it doesn’t take their individual life, racist acts of police brutality and the threat thereof cast a seemingly unrelenting oppressive shadow on Black communities. Oscar Grant was my age when he was killed by the police, and Fruitvale Station taught me about this profound tragic injustice.

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WORDS BY SAVVY HANNA (DEPUTY FILM EDITOR) Director Ryan Coogler does not let you forget that this is a true story. The narrative of Fruitvale Station is bookended by footage of real events, opening with footage of Oscar Grant being detained by police at the Fruitvale BART station moments before he is shot, and closing with footage of people outside the same station four years later, celebrating Grant’s life. As we move into watching a dramatised version of the last day of Oscar Grant, portrayed by Michael B. Jordan, the film continues to prove its realism by using genuine locations around Oakland, the hometown of both Grant and Coogler.

Coogler’s familiarity with the area allows him to create a sense of home and community in every location throughout the film, which makes the shooting scene all the more brutal. When Grant gets shot in the back by a police officer at Fruitvale Station, it feels as though he has been murdered in his own home, surrounded by his own family. After an hour of Grant going about his day — hanging with friends, playing with his daughter, celebrating his mother’s birthday — we are brought back to the opening scene of Grant and his friends detained by police, but instead of distant, shaky cellphone footage, we are at the centre of the action. We hear Grant struggle to catch his breath, we see the blood drip from this mouth, we watch a close-up of his face as the sound of a gunshot rings out through the station.

While Michael B. Jordan does an excellent job bringing the audience on a journey through Grant’s last day alive, the emotional final third of the film after the shooting is driven by Octavia Spencer’s performance as Grant’s mother, Wanda Johnson. Sitting in a hospital waiting room with Grant’s friends and girlfriend, she manages to stay strong and look after them. As she finally breaks down while viewing her dead son’s body through a window, not allowed to give him a final hug goodbye, we feel the true impact of the police officer’s bullet.

Fruitvale Station tells an all-too-familiar story. Oscar Grant was not the first or the last Black person to die at the hands of those meant to protect them. This film reminds us that it is not only important to say their name, but to also remember their story. To remember that they were a real person, and that a real life has been taken.

WORDS BY URSULA DALE (EDITOR-IN-CHIEF) The most striking element of Fruitvale Station is its tender tonality in its approach to such an essentially violent issue. The tone of the violence in its beginning resurfaces as a form of violent sadness in the film’s final moments, the conclusive shot being a real-life recording of Grant’s daughter Tatiana at a protest for justice for her father. This moment successfully—and tragically—breaches the distance between the dramatised depiction of paternal love we are consistently shown and the stark reality of its loss. Her face, angled away from the frame and shielded in part by hair, is a genuine emotional offer of just a fraction of the loss viewers will have experienced in their brief glimpse into (a performed version of) Grant’s life.

Animals are often a barometer for emotional response in cinema, serving to posit a figure’s emotional empathy and sincerity or, too often for my tastes, a character’s cruelty. Here, Michael B. Jordan offers a compellingly natural portrait of a sensitive and affectionate human being, a Black man whose moments of anger and aggression are humanistically rendered as instincts to protect or to be loved. In one the film’s most recognisable moments, we see Grant tenderly carrying a wounded dog in his arms. This moment of kindness and humility is an act of vastly greater dignity than the treatment received by ‘protectors of the community’ towards Grant himself, which we see actualised in the film’s opening and dramatised again in the film’s moves towards its conclusive act. Fruitvale Station is a response to brutal and ubiquitous violence against Black communities in America, and yet violence is made to feel intensely incongruous in a film so wholly tender in its approach to this man’s life.

While race became a defining factor in the death of Oscar Grant, Fruitvale Station is far from reductive in its approach to how it affected his lived experiences. A grainy, almost nostalgic aesthetic in many of the shots visually bolsters the atmosphere of the film, which doesn’t seek to glamourise Grant’s experiences, but also not to criminalise or worsen them in its depiction. As a wonderful and loving father, his relationship with his daughter becomes a focal point in his onscreen characterisation, and it is a warm moment between him and Tatiana that is instrumentalised as a transition between final shots of his unsuccessful surgery and his death. This familial scene, warm and fuzzy in a way befitting the film’s continued aesthetic charm, offers the final image of Oscar as a loving father. He is carrying his daughter on his back in a moment which speaks to the film’s broader message of his ability to elevate those around him, both in and outside of his community.

Words spoken by Grant’s mother when he is in hospital seem to define the uplifting approach the film has in its attempt at visualising the Black experience in America: “We gotta lift him up...Let’s keep him lifted up.”

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Film WORDS BY JAMES MCCLEARY (DEPUTY FILM EDITOR) I went into Fruitvale Station with conflicted expectations. On the one hand, Coogler’s work on Black Panther (2018) resulted in some of the very best superhero cinema of all time, and I was extremely curious to see what he could do without a monstrous budget and its complementary whispering executives. On the other hand however, Creed (2015) had wholly failed to impress me, having lacked the uniqueness necessary to overcome my lifelong disinterest in generic boxing movies.

In its opening movements, I was disappointed to find that Fruitvale Station was gradually leaning towards the latter category.

Though Michael B. Jordan’s performance as Oscar was impeccably multi-faceted and real, the events of his day in the lead-up to the titular incident had a distractingly stale aura. It all felt far too familiar, as if Coogler were simply ticking boxes in an effort to construct the most perfunctory calm before the storm. Some of these instances, such as the sequence wherein Oscar witnesses the death of a dog in the street, bordered on cliché, and all without that necessary hint of self-awareness.

But as the story closed in on its titular tragedy, the timeline began to slow down in accordance, allowing for longer and more intimate reincarnations of the scenes in the film’s first half, now tinted by the cover of darkness and the connotations of what I knew was still to come. With the simplest of alterations to the cinematographic style and the rhythm of each edit, Coogler had somehow managed to transform the monotony into a palpable sense of dread. I was enthralled consistently throughout the film’s final forty minutes, and by the time its titular, terrible tragedy finally took centre-stage, I was paralysed by its icy cold grit. It takes a bold filmmaker to root the camera firmly by Jordan’s side as he bleeds out and to sustain that image for what feels like eternity, capturing every beat and emotion of a life being drained away. These are images that will stick with me for some time, and more than made up for the mediocre drama of the film’s halcyon preamble.

Despite its briefness, Fruitvale Station demanded more of my time than either of Coogler’s lengthier pictures, as I spent days puzzling over the dichotomy of its inelegant overarching design and shockingly raw finale. This is obviously a topical film, and its ultimate tragedy has only become even more resonant as it continues to hold relevance today, seven years later. It is, at heart, a spiritual eulogy for those who have died at the mercy of American police officers, and in truth it matters little how roughly constructed the film may be when this endpoint so flawlessly taps into a crisis that has endured for generations. If cinema can be defined by perfect moments within muddled mechanisms, and I for one believe that it absolutely can, then Fruitvale Station is certainly a film worth your time.

Fruitvale Station is available to stream on Netflix.

ART BY LOLA FLEMING, REN O’HARE, & CIARÁN BUTLER

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// RE REVI VIEW EW

Irish films, irrespective of their quality, often depict our unique culture in a way that’s engagingly relatable to us and charmingly unfamiliar to overseas viewers. Dating Amber (David Freyne, 2020) is one such film, except that it takes its premise and roots it in a conservative subculture -- one that remains ingrained in Ireland. Thanks to lovely performances and inspired direction, Dating Amber delivers a heart-warming and admirably faithful look at what it really meant to be gay in Ireland in the ‘90s.

Off the bat, it must be said: Fionn O’Shea and Lola Petticrew are fantastic in this film. Their relationship is the heart of the entire film, as they hatch a scheme to hide their true sexuality from their schoolmates by pretending to be a couple. The film’s plot hinges on real platonic chemistry between its leads, and it’s to the benefit of Freyne’s beautiful screenplay that Eddie (O’Shea) and Amber’s (Petticrew) friendship is so believable. What makes the film’s stirring narrative resonate even more is that O’Shea and Petticrew are real-life besties and members of the LGBTQ community themselves. Supporting players like Sharon Horgan as Eddie’s forward-thinking mother and Barry Ward as his stern military father, add insight into the adult’s perspective, but it really is Eddie and Amber’s film.

Freyne’s delicate hand at depicting Ireland during more ignorant times could only come from a place of first-hand experience.

Semi-autobiographical in nature, Freyne doesn’t shy away from showing the passive homophobia heard in secondary school yards. The film draws attention to those who throw around homophobic slurs as generic insults, offering unique insight into how some people’s intolerance comes from a place of misunderstanding homosexuality – a result of the strict confines of the archaic Catholic school curriculum. In highlighting this vicious cycle of offensive ignorance, Freyne accurately recreates the discomfort of being a closeted homosexual in such a toxic environment. Yet, the film also stretches beyond its theme of showcasing the realities of life as a closeted gay teen. It soars too as a study on the weight of societal expectations on young people, with Eddie struggling to come to terms with the pressure his father places on him to follow family tradition and join the army.

Playing into that theme is the film’s setting, with many scenes shot in and around the picturesque Curragh and its famous military barracks. This locale, in contrast to the surroundings of Dublin, provides some emotional heft to Eddie and Amber’s city-escape later on in the film. Seeing their reaction to the more liberal, gay-friendly atmosphere of the city further contextualises the narrative to its pre-marriage equality world.

By the time the credits rolled, I really was in awe. Dating Amber’s message of how important empathy can be in shaping one’s confidence in their own identity is not only effectively conveyed, but powerfully emphasised. Thanks to top-notch performances from its talented young cast and its realistic depiction of life for gay people in the ‘90s, Dating Amber succeeds as both a PSA on the importance of platonic love and a reminder of how far we’ve come as a country – as well as how far we have left to go. If not for the reasons I’ve listed above, watch this film to see Fionn O’Shea playing a much nicer guy than he was in Normal People (2020).

WORDS BY LUKE BRADLEY

11

Food

A Beginner’s Guide to Foraging Foraging can seem a daunting prospect, even for an experienced gardener or home cook. The fear of

collecting and eating something potentially poisonous or nibbled by rats is a common deterrent.

However, with a keen eye and careful identification, foraging is a sustainable, safe and enjoyable way to dine. While you might grow herbs in window boxes or in your garden, plants you might not have intentionally cultivated can also be transformed into delicious meals.

Dandelions:

The likelihood is that if you have a garden, you also have dandelions. The jagged leaves can be picked, washed and dried carefully, and made into a healthy salad. Drizzle the dandelions with a simple dressing of olive oil, lemon juice and salt and pepper, and they are ready to be eaten.

You can also mix the dandelions with other leaves, such as shredded cos or romaine or fresh spinach leaves. For a more richly textured salad, add chopped and toasted almonds, pine nuts or sunflower seeds. Dandelion leaves have a slightly tangy taste, similar to rocket, but without the peppery fragrance.

Elderflower:

Elderflower is easily identifiable by its creamy white colour and sweet, heady scent. Be careful not to confuse it with cowbane, which is poisonous, and has small white flowers which grow in a radial pattern. Cowbane grows from the ground, while elderflower is found in hedgerows. Elderflower can be made into cordial very easily. Make sure you wash your elderflower carefully, and remove any stray insects. Combine 200g of caster sugar with half a litre of water in a saucepan and bring to the boil, adding the zest and juice of a lemon. Remove from the heat, and add in seven or eight heads of elderflower. Allow the mixture to infuse overnight, and then strain through muslin. Store the cordial in a sterilized bottle, and add it to fizzy water, gin and tonic, or a cocktail of your choosing.

Samphire:

Found by the sea, samphire is a juicy marine vegetable with a texture similar to a succulent cactus.

It can be steamed, and served with butter and lemon juice as an accompaniment to fish. It has a gritty string in the centre of each frond, and therefore the flesh is usually bitten off, and the centre filtered through the teeth and discarded. Ensure you clean it well before steaming to remove any sand or grit.

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Sorrel:

While sorrel is grown as a domestic herb, it also grows wild. It has elongated, large green leaves.

Any fans of Greek food will know its flavour from spanakopita, where it is combined with spinach and chard and encased in pastry. Sorrel has a unique, sharp taste which makes it an excellent accompaniment to fish, when cooked into a sauce (e.g. added to melted butter and garlic).

Sorrel is also delicious in soup, where it can be wilted alongside nettles for an iron-rich meal.

Wild Garlic:

Wild garlic is an excellent plant to cook with. Fragrant, vibrant, and with more of a kick than regular garlic, this plant can be found in deciduous woodlands throughout Britain and Ireland.

The leaves can be added to a salad, or used to make pesto in the place of basil. Simply blend a handful of leaves with two tablespoon of parmesan, a handful of toasted walnuts, a glug of olive oil, a squirt of lemon juice, and season to taste. Delicious served with pasta, or just on a piece of toast.

Blackberries:

As Seamus Heaney’s poem tells us, “In late August, given heavy rain and sun/ for a full week the blackberries would ripen.” Found in hedgerows, blackberries can be eaten by themselves, cooked into jam, or baked into muffins or a blackberry crumble.

Remember to always err on the side of caution when foraging. There are plenty of books and online resources on foraging and accurately identifying edible plants but, when in doubt, leave it out!

WORDS BY GRACE GAGEBY

13

Games

A Eulogy for E3

WORDS BY SEÁN CLERKIN

Dearly beloved, we are gathered here today to mourn the passing of E3. Canceled this year by the COVID-19 pandemic, the renowned annual conference for all things games has left this world and taken its place in the pantheon of conferences from yesteryear. My friends, E3 did not die solely by the hands of the pandemic, but rather by its steady decline in relevancy as heavy-hitting publishers abandoned it like a sinking ship, opting to hold their own independent press shows. E3 2021, though still scheduled to take place, is unlikely to go ahead as we know it. But we’re not here for a post-mortem, friends.

We’re not here to grieve the death of E3, but to celebrate it’s nearly 30-year life. So let us reminisce on the thrilling highs and cringeworthy lows of the Electronic Entertainment Expo.

Early days

E3 was conceived as an event for publishers in the games industry to showcase their upcoming games to the press, and for their staff to network with their peers. Prior to E3, the closest equivalent event was the Consumer Electronics Show, which is an exhibition event for everything from TVs to refrigerators, and still takes place every January. Tired of sharing the spotlight with an unrelated sector, game publishers banded together to hold the first E3 in 1995.

At the very first annual event, Sony introduced a new product to the industry. The PlayStation was set to launch that holiday season, and would compete with consoles from Nintendo and Sega. Sony’s press briefing from the first E3 is remembered for one jaw-dropping mic-drop moment. Gaming enthusiasts wondered how Sony would fare in a competitive market, especially since Sega had just released a brand new console for a reasonable asking price of $399. When asked to take the stage, Sony executive Steve Race said one word, “$299” and promptly walked off. Race had announced that Sony’ would viciously undercut Sega’s offering, signifying that the company was not pulling any punches as a new player in the console market.

The Highs

Arguably, no company understood the art of the light-hearted, humourous E3 showcase better than Nintendo. In 2004, we were introduced to Reggie Fils-Aime, an executive at Nintendo whose first public words for the company were “My name is Reggie. I’m about kicking ass, I’m about taking names and we’re about making games”. Reggie went on to become a beloved personality among Nintendo fans. In 2015, the Nintendo showcase was hosted by muppet versions of Reggie, Shigeru Miyamoto and the late Satoru Iwata, and was chock-full of references and inside jokes about Nintendo’s past E3 moments.

In 2014, Nintendo announced the arrival of Mii avatars in Super Smash Bros, with a bizarrely over-produced vignette of Reggie and Iwata brutalizing each other in hand-to-hand combat. In any given year, it was impossible to watch Nintendo’s E3 showcase without cracking a smile.

Another way to make an impression at E3 was not to charm your audience, but to leave them excited beyond a reasonable level for upcoming games. Whenever I am asked why I write about video games instead of a more mainstream medium, or why the medium is not just about glorified toys (both questions represent an antiquated view of the games industry, but I digress), I bring up a video on YouTube showcasing live fan reactions to the announcement of the Final Fantasy VII remake at Sony’s E3 conference in 2015. A re-imagining of the seminal 1997 RPG was rumoured for nearly ten years, leaving fans in an extended state of limbo. Over the course of the two-minute trailer you can watch grown adults reduce to tears and ecstatic cries of joy. Even if you’ve never played a Final Fantasy game, the second-hand excitement is palpable. Moments like this are what made E3 special. You’ll rarely see anyone get as excited about anything as the fans in this video did about the remake’s announcement. It’s this awe-inspiring passion that makes the medium special.

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The Lows

For every memorable E3 moment, there was at least one more that made you wonder why you stayed up until 3am Irish time to tune in. As an example, Ubisoft’s 2011 conference was hosted by hired talent Aaron Priceman. To say his hosting style didn’t gel with the audience would be an understatement. Every line and gesture on the stage was cartoonishly energetic, leading the internet to christen him “Mr. Caffeine”.

A YouTube search for “E3 cringe” reveals an astonishing quantity of dance numbers and musical performances throughout the years. From punk rocker Andrew W.K struggling to rile up a dead crowd at Bethesda’s 2018 show to Ubisoft’s annual choreographed performance revealing yet another Just Dance game, these were the moments to switch over to another stream or grab a cup of coffee while the hosts pretended to be excited. No such occasion is etched into our collective memory more than the Wii Music reveal from Nintendo’s 2008 show, deemed “abhorrent” by a former editor of this magazine. In it, Shigeru Miyamoto, the designer and creator of Mario and one of the most respected auteurs in the industry, led a band of executives in shaking Wii remotes to the tune of the Super Mario theme. Try as they might to make the action look impressive, their efforts proved futile.

Despite its reputation for an abundance of cringe-inducing moments, E3 grew to have its own identity. The much anticipated conferences and even their off-moments became part of the event’s DNA. One publisher, Devolver Digital, took this widely accepted fact in its stride by starting an annual satirical conference in 2017.

The show proved to be a head-scratchingly wonderful piece of performance art with its sharp commentary on the state of the games industry. Covering the first event for this magazine, our writer Nathan Patterson said that “Devolver’s conference was the ultimate parody of E3, ridiculing its grandiose announcements, overconfidence, and its repeated insistence that the ‘future’ of gaming is on display.”

The Twilight Years

After recovering from historically low attendance during the financial crash years, E3 had struggled to maintain its initial purpose in the past decade. Though it was intended to be an industry and press event, the ever intensifying annual spotlight and the increasing popularity of live-streamed content meant E3 became a more public affair than ever. In 2017, the show floor was opened to the public for the first time amid backlash from developers, publishers and members of the press. Around the same time, major publishers left the event to host their own press conferences elsewhere. One by one, E3 lost the presence of Microsoft, Sony, EA and others on the show floor. It was at this point that E3’s death knell sounded. Its cancellation this year and the subsequent online alternative press conferences proved that E3 was an expense most publishers could do without.

E3 lived a full life. Like many of us, our beloved conference had a starry-eyed childhood, an awkward adolescence and a peaceful decline into quiet retirement. But mourn not, my friends. As the quote goes, “Dust you are and unto dust you shall return”. As E3 heads to the great convention centre in the sky, its memory lives on in the minds of gamers around the world. Whatever the future of the summertime games industry conference looks like, we can be sure that every time an event host delivers an awkward joke, every time a new game announcement sets the world on fire with excitement, every time a technical issue causes a demo to crash on stage, fond memories of E3 will come flooding back for all of us.

15

Games

When Does Gender in a Video Game Actually Matter?

WORDS BY SAM HAYES

Recently I was playing a game called A Fold Apart. It is a romance game, but what was striking to me about the game was its

use of gender. Choosing one’s gender in a game is not a novel feature by any means, however A Fold Apart is slightly unusual in that it is not a game about creating a character or defining the avatar’s personality. The game’s two central actors are entirely pre-determined characters, the gender of which being one of the few decisions the player gets to make. This shows A Fold Apart employing a narrative device that is not available to other mediums, and it left me asking, when is gender of a character, or the sexual orientation of a character, relevant to a story, and if it is not, should designers let players define it themselves?

For context A Fold Apart is a game about two lovers, one of whom must move far away for work. The game chronicles their conversations via text message and their inner thoughts. The story is not an unfamiliar one, but it is differentiated by your ability to pick the gender of either character. Either both can be men, both women, or a man and a woman. What’s more, if you choose the straight pair either character can be either a man or a woman. This choice has very little effect if any on the narrative from what I can discern. This raises the question, why give the player the choice in that case? Personally, I think the choice was made to give the player the ability to tailor the story to be more individually resonant. If you are a man in a relationship with a man, it may be easier to relate this story to your own, equally if you are a woman who moved away from a partner for work reasons, you may like to see the game reflect that. So, is this the future of video game storytelling? Will all characters have a selectable gender and sexual orientation in the future? Well, it may be more complicated than that.

One possible caveat with this approach is players being pushed to play as a character to whom they feel they cannot directly relate. i.e a man playing as a woman. There is evidence to suggest that this is not the case, however, often players do not sit down with a game to play as themselves. A study conducted by the psychology department of Middlesex University found that in the first Dragon Age game 30% of men played as a woman and 10% of women played as a man. While not practiced by the majority of players, there are a sizable number of players that play as a different gender, and for various reasons.

Whether a safe space to experiment with how one presents gender-wise or an exercise in empathy, there are numerous reasons a player may not wish to play as the gender they identify as. That being said, this is not a practice engaged in by the majority of players. Furthermore, there is a clear disparity between the proportions of people choosing to play as the opposite gender in games. A possible reason for women playing as men may be what has been dubbed the “Lara phenomenon” after Tomb Raider heroine Lara Croft. In a 2007 paper on the Lara phenomenon, researchers Jeroen Jansz and Raynel G. Martis noted that: “The massive popularity of female protagonist Lara Croft ever since the release of the first Tomb Raider game in 1996 seems to have paved the way for a woman who contrasts the dominant stereotype”.

The majority of older video games featured men in the role of protagonists and many depicted kidnapped women as the central actor’s driving motivation, such as many entries in the long-running Super Mario series. While strides have been made to account for and ameliorate historical gender balance of video game protagonists may lead more players to play as women as a point of novelty, since many of the games they play may feature male protagonists.

A classic game that leaned into this expectation was 1986’s Metroid. The English language game manual said of protagonist Samus Aran “He is the greatest of all the space hunters”. This pronoun is also used in the Japanese version of the manual, which as noted in a 2013 blog post by Clyde Mandeline, rarely uses pronouns once the identity of the person has been discerned. As such, the use of this pronoun was very intentional. This is significant because Samus wears a robotic suit for the majority of the game only revealing after the game that she was a woman the entire time. The developers knew that players would assume the person in the robot suit was a man and that the revelation would be surprising, since the idea of a woman protagonist in a game was not the norm. While Samus has gone on to be seen as a strong female character, I will not unconditionally congratulate Metroid as the game did feature a mechanic whereby the more quickly the presumed male heterosexual player completes the game within a certain time limit, Samus will appear in a skimpier outfit. This sexualization of Samus persisted through many entries in the series undercutting the game’s feminist themes.

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In spite of this, many fans of the game do still see Samus as representing empowerment. The character’s importance came to the forefront when 2010’s Metroid Other M, among other criticisms, was seen as stripping agency from Samus. Samus took orders from the male commander Adam Malkovich. This disappointment would have been nowhere near as prevalent if Samus’ womanhood were not a powerful artistic statement in 1986. I bring this up to show that a certain character’s gender identity informs how they are interpreted in a given cultural context. The same goes for sexual orientation, 2013’s Gone Home is an archaeological narrative game where the point of view character Katie learns of her sister Sam’s conflict with her parents while Katie has been away at college. This conflict stems from the parents not supporting Sam’s relationship with her girlfriend Lonnie. Gone Home’s coming out narrative simply would not make any sense if the player could choose Sam’s sexual orientation. Though it should be noted that the player’s position in the story as an onlooker means the player had no agency in the story to begin with, with the player assuming the role of a Lockwood rather than a Heathcliff.

For my final point, I must return to A Fold Apart. The reason the game can so easily implement gender choice is due to the game’s simple art style and lack of voice acting. The cost of implementing this feature is much greater for games that strive for complex, photorealistic graphics. This cost would only be compounded by having to hire multiple voice actors. This is not to say that it is impossible; games such as Assassin’s Creed Odyssey offer this choice and photorealistic graphics, and an important aspect of the Mass Effect games is the player’s ability to roleplay as different gendered versions of a single character with whatever sexual orientation the player wishes. It is understandable that many studios may want to make the choice for the player however, especially with the ballooning budgets of blockbuster games.

I do think there is scope for more games to allow the player to choose the gender and sexual orientation of their character, but designers still have many reasons to make that choice for themselves, either for cost or narrative-related reasons.

17

Literature

I

Is Nicole Flattery the new Lorrie Moore?

t’s been a year since Nicole Flattery’s debut collection of short stories, Show Them A Good Time, was reviewed in this magazine. This review was one of the few that didn’t compare Flattery to Lorrie Moore and, indeed, “the next Lorrie Moore” or “90s Moore” look set to become the tags by which her style is referred to – even if, as a young female graduate of English Studies at Trinity, her subject matter will inevitably be compared to Sally Rooney’s. The epigraph for Flattery’s debut is from Moore’s story “Four Calling Birds, Three French Hens”.

Comparisons to Moore, along with the detail from Alice Maher’s Yggdrasil on Fergal Condon’s brilliant yellow cover design for Flattery’s book, indicate that this promising young writer has been given our collective blessing to take up the mantle of the next female virtuoso – a much beloved artistic talent whose work is not only technically accomplished but really engages its audience.

Faber & Faber published Moore’s Collected Stories in 2009, a collection that begins with four new stories – which were later included in Bark (2014) – before diving into her back catalogue.

The technical accomplishment of these newer stories is a propitious step forward in Moore’s writing, and offers a tantalising glimpse into what Flattery’s obvious talent might develop into.

Both writers are frequently praised for their humour. But while Flattery and “90s Moore” derive most of their comedy from details that are either incidental to or don’t quite fit into the dramatic framework of their stories, 21st Century Moore, particularly in “Debarking”, allows the eccentricity of fully developed external characters to bring comedy into the fold of the story’s dramatic arc. Incidentally, Moore’s comedy is real comedy – laugh out loud – not just the half-funny stuff we pretend is good enough because it appears in a work of literary fiction.

I don’t find Flattery as funny as Moore, in fact I don’t think she’s trying to be. At the same time, the attention Flattery pays to the trickiness of narration is, for me, the most striking and exciting aspect of her work, and not something I notice Moore engaging with much. Flattery opens up fascinating gaps between a close third person narrator and the psychology of the character they’re supposed to be telling us about. Where Moore’s characters negotiate professional, familial, and romantic relationships, Flattery’s protagonists dominate their stories almost to the exclusion of everyone else. “Abortion, A Love Story” is her only story with more than one character who’s more than a shade, and I think it’s her best (it’s also by far the longest, which bodes well for Flattery’s upcoming novel).

When reviewing books, we tend to compare younger writers to older ones because that’s the only thing that means anything, really. Adjectives are too subjective – what’s “enthralling” to me might not be to you, and whether something is “provocative” is largely a matter of taste. Properly engaging with a writer’s work is tantamount to a good review. Book reviews also serve, however, to tell us whether we might be interested in buying the book; to this end, saying something like “Nicole Flattery is the next Lorrie Moore” or “Claire Keegan is the spiritual successor to John McGahern” is of much more use, despite the inevitable inaccuracies.

Moore might be the best short story writer working in the US today; Flattery is a talented, exciting Irish prospect. You should be reading them both.

WORDS BY FIACHRA KELLEHER 18

Coronavirus Paintings // Frieda Hughes in Lockdown

It seemed that on a global level, with each country’s eventual lockdown, many were inspired to launch

themselves into creative productivity. Painting or writing became an avenue for many to direct fears and frustrations through at this time, but Frieda Hughes does this for a living. As both a therapist and an artist, Hughes encourages her clients to express themselves through painting and sketching, to literally and figuratively draw out their emotions and study them. From 24 May, Hughes has recorded and uploaded this process to YouTube.

Hughes began posting videos online eight months ago and has since developed a modest following. Her uploads are generally posted sporadically and vary in length, from an eight second video of her pet owl doing a trick, to a recorded poetry reading almost an hour long. They are all barely edited, nothing but the awkward starting and stopping of the video recorder snipped out. But since late May the uploads have been more regular. Hughes posts weekly updates of what she calls her“coronavirus paintings” in a series titled ‘Painting with Purpose’. Hughes says the aim of this series is to use painted colour and shapes to show how she feels in a literal way, it is the process by which she paints most of her works and one she recommends to her therapy clients because it presents an avenue for alternative self-expression.

For Hughes, colour and feeling are linked via a sensory and emotional overlap, possibly a form of synaesthesia.

Blue means happiness, yellow and orange are friends, brown is commitment and lethargy. In this series, Hughes is embarking on a deliberate lockdown project, using her talent to create three unique paintings to reflect her experience going into lockdown, during lockdown and her expectations after restrictions in Wales ease. The project is thematically structured like Dante’s Divine Comedy, the journey through hell.

From a creative standpoint the process is fascinating to watch. The spontaneity at the beginning of the painting maturing into an abstract vision is artistically inspiring and exciting. Moreso, watching someone in the moments of creation and raw expression is exceptional. It becomes clear that the value of the therapy is the segmentation of feeling and qualifying of emotion. One must ask themselves “what do I feel” and “what does that look like” without fear of self-contradiction or the need to engineer linguistic clarity. There is no struggle to be understood.

While at the beginning, the painting starts vague and the emotions seem difficult to draw out, eventually Hughes emotionally fastens herself to the canvas and the paints are something of a conductor for the feelings which become increasingly easy to access. In a sense, the process becomes like mining, difficult and blind at first but when she strikes gold, (or blue, purple or black) it is revelatory and fruitful. The emotions, no matter how dark or difficult, become almost secondary to the painting, they are evoked in service of the painting. It frees her of the weight of her emotions.

This smooth and steady outpouring of emotion is magnetically attractive to watch. Hughes talks for the entire length of the videos casually and confidently about how she is feeling while she moves the brush across the canvas. As a passive viewer, I found myself listening earnestly and in solidarity with her feelings. In her frustrations and fears, Hughes echoes the thoughts that many of us are experiencing: the trapped oppression of isolation, the desperation for clarity and eventual resignation that it will not come, and most pressingly, the gratitude and recognition that to stay home and observe the pandemic as an artist is to stay safe and is, as such, a privilege.

WORDS BY SHANE MURPHY

1919

Music

Fetch the Boltcutters // Review Apple impresses with a bold, homemade album.

This year featured the release of Fiona Apple’s

long-awaited album, Fetch the Bolt Cutters. Each new album from Apple brings with it a frenzy of excitement from fans and critics alike, and Apple has succeeded in meeting her listeners’ high expectations. On this exceptional album, she is unafraid to engage with current issues and embrace a new percussive sound. Inventive as ever, Apple has impressed me yet again with the boldness of her music and commitment to creating a record within the confines of her own home. We are only halfway through 2020, but Fetch the Bolt Cutters has already asserted itself as a frontrunner for album of the year.

Fetch the Bolt Cutters explores Apple’s complicated relationships with other women, as she engages with topics such as gender inequality, female empowerment, and solidarity amongst women.

In the opening of ‘Ladies’, Apple impersonates the condescending tone a man may use in the course of mansplaining. Later, the song calls for solidarity between women, especially in the case of infidelity: “Nobody can replace anybody else / So it would be a shame to make it a competition.”

On ‘Shameika,’ Apple discusses how one of her tougher classmates empowered her by saying she “had potential.” It is clear from Apple’s reverence that this experience had a profound effect on her confidence, and the song serves to emphasise the importance of female empowerment. On ‘Under the Table,’ Apple refuses to be silenced by others, making it clear that she will voice her opinions whenever she wants to: “I would beg to disagree but begging disagrees with me … Kick me under the table all you want / I won’t shut up.” As the Me Too movement continues to expand and examples of patriarchal abuse are brought to light, it is vital that voices like Apple’s are heard and amplified. Apple addresses such abuse on ‘For Her,’ alluding to a man’s transgressive behaviour in a chirpy chant before sharply exposing his most heinous crime. Fetch the Bolt Cutters is Apple’s most brutally honest album yet, and no subject is taboo.

Despite the difficult subject matter of Fetch the Bolt Cutters, Apple creates a sense of levity throughout the album. Whimsical notes are especially noticeable on ‘Rack of His,’ as Apple humorously turns the tables on female objectification: “Check out that rack of his / Look at that row of guitar necks / Lined up like eager fillies / Outstretched like legs of Rockettes.” The dark tone of the album is offset by some of the later tracks, which are reminiscent of Apple’s previous work. The gentle chorus on ‘Cosmonauts’ harkens back to the softer melodies of Apple’s debut album Tidal, providing a fleeting moment of sweetness on the record. The fluctuating vocal delivery and unusual imagery on ‘Heavy Balloon’ are reminiscent of Apple’s experimental sound on her third album Extraordinary Machine. Although the heavy percussion on Fetch the Bolt Cutters is a large departure from her earlier sound, these songs are a welcome callback to her older music.

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Fiona Apple performing at I Am The Highway: A Tribute to Chris Cornell at The Forum in Janurary 2019 Kevin Mazur /Getty Images for The Chris Cornell Esate

Fetch the Bolt Cutters is an album that can be easily appreciated given the current Covid-19 global health crisis.

The desire to escape from captivity can be found throughout Apple’s lyrics: “Fetch the bolt cutters / I’ve been in here too long.” Recorded in Apple’s home studio, the album incorporates an array of everyday sounds. Apple can be heard banging together household objects in the background, and even her dog’s barking is included. Apple’s use of the software Garageband to produce the album, as well as the spontaneity of its long and unedited takes, lends a homegrown feeling to Fetch the Bolt Cutters. Although rough around the edges, the DIY nature of the album is a refreshing change of pace from the polished production of Apple’s past releases. It gives the listener the opportunity to reflect on their time stuck at home and what they could possibly achieve in that space.

Fetch the Bolt Cutters is an outstanding accomplishment for Apple. Her daring lyrics and commitment to a new sound allow the album to stand out from the crowd, and it will be no surprise to me if it sweeps at next year’s awards season. Given her lengthy writing and recording process, it will probably be a long wait for the next album from her. I am eager to see what direction Apple will take with her next musical offering, and if she will be able to surpass the masterpiece that she has crafted this time around.

“Although rough around the edges, the DIY nature of the album is a refreshing change of pace from the polished production of Apple’s past releases.”

Rating: •••••

WORDS BY RORY CODD

21

Music

Long Live Vinyl:

The Resurgence of Records Why has vinyl remained at the centre of music while the desire for tapes and CDs has withered away? Because they are substantial yet incredibly delicate.

There’s just something about vinyl that’s so sleek and sexy.

It’s a classy way to play music. I imagine myself as a brown leather jacket and sunglasses-wearing, slightly detached feminist from the ‘70s when I whip out the turntable. When Lana Del Rey sang: “And my jazz collection’s rare, I can play most anything, I’m a Brooklyn baby, I’m a Brooklyn baby” I felt that. When I’m playing a record from my substantial Miles Davis collection, I feel like I am one with Jazz. I think to myself (from my humble abode in the lush meadows of Kildare): “I really am a Brooklyn baby”. I am the jazz and the jazz is me.

Playing the ‘Smooth Jazz’ playlist on Spotify isn’t cool enough anymore. Back to basics is in, people want to get back to their roots, and since many are not comfortable abandoning the luxuries they have become accustomed to, buying and playing vinyl is a simple and relatively affordable way to produce a similar feeling to “finding yourself ” in Bali.

It takes one back to the dark ages when all was unknown and distant. People crave freedom from being constantly aware of everything happening in the online world, and playing vinyl is the absolute minimum effort with a relatively good return.

Why has vinyl remained at the centre of music while the desire for tapes and CDs has withered away? Because they are substantial yet incredibly delicate. They must be cared for and thus you must cherish them. CDs and tapes are much more durable but why spend upwards of €30 on a piece of plastic that arguably gives you the same reward as listening to it for free online? There is something sacred about putting on a record. It is an experience in and of itself. The care and delicacy that must be practiced whilst placing a record down to play is a soothing and meditative practice. The processes of selecting a record from your collection. Slipping it out of its sleeve, glossy and mouth-wateringly beautiful. Delicately holding it and placing it gently on the record player. Switching the player on and watching, mesmerised, as the record begins slowly spinning. Then, concentrating intently, releasing the needle and watching as it lowers itself gently onto the record with a soft thump and it begins. Eyes closed, mind clear, rotating slowly to the beautiful music ebbing and flowing through the room.

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Vinyl is about the experience as much as it is about the music itself.

A vinyl record is more than just a disk that carries music; it inspires nostalgia. It can encourage an emotional connection through its tangibility and delicacy. The concept of an album has somewhat been destroyed by Spotify playlists and the ability to skip or shuffle songs.

Records can inspire nostalgia for the age when it was all about the album, when you knew the track number of your favourite song and flipping the record was a honed skill. Research, however, has shown that nostalgia plays only a part in the resurgence of vinyl. A large portion of those purchasing vinyl records are young people who never had the experience of watching a turntable in their childhood. These youthful music fans may see vinyl as a way to try to experience what life was like before the internet era, or as a way to escape from the constant buzz of social media for a short time. Both younger and older hardcore music buffs are also enticed by the unique audio quality of vinyl.

The analogue sound from a turntable has a specific warmth and quality that cannot be achieved with digital sound. I myself listen solely to vinyl as my ears have become so finely tuned that I can no longer stand the mediocrity of digital music.

The slight difference in sound quality comes at a high price, however, not just financially but environmentally too. As vinyl becomes increasingly popular and its production continuously grows in volume, so does the negative ecological impact it causes. Vinyl is made from PVC; a toxic non-biodegradable plastic. Is there a way to make records we love without contributing to the demise of our ecosystem?

Recent innovations have helped to reduce the environmental impact somewhat. A Canadian tech startup Vyril created a steamless press which reduces the amount of water used in production, and could feasibly run on reusable energy alone. The use of green power, recyclable packaging and carbon-neutral distribution also help reduce the (rather extensive) carbon footprint of vinyl production.

From a consumer point of view, purchasing second-hand vinyl does no further harm to the environment and is probably cheaper too! When comparing vinyl versus streaming in terms of environmental damage, it is easy to view streaming as a shining light of ecological purity- no plastic, no packaging, no production costs! What’s not to love? In reality, a physical album has a higher upfront cost of production but has a lower carbon footprint over time, only requiring energy to spin the record and amplify the sound, while streaming has a low upfront cost but over time builds up costs through global file transmission, storage in energy-intensive server farms and various other costs. Because of this, it is difficult to say which has the greater impact. Long live vinyl indeed! Whether it’s buried intact in a landfill long after the human race has destroyed planet Earth or it sits in a dusty cabinet when we inevitably move to Mars, it will live on forever. The world is slowly realising the beauty of vinyl but will we live long enough to see it take the music throne? Probably not, but a girl can dream.

WORDS BY LAOISE LYNCH 23

Sex

Clued-up about contraception?

I

n both this, and next quarter’s issue, we at the Sex Desk will be providing you with an overview of the forms of contraception currently available in Ireland. We will break down the effectiveness, costs, and risks associated with these forms. Our aim is to help you find your own, ideal way to practice safe sex. In the first eight months of 2019, the HSE’s unplanned pregnancy helpline received 9,319 calls. In 2016, 86% of all STIs notified were among people under 30. By using contraceptive methods correctly, you can protect yourself against these risks and, potentially, enjoy sex even more.

The facts presented are provided by the following, reputable sources: The HSE, The NHS, Planned Parenthood. The first part of this overview analyses barrier methods of contraception. Next quarter’s overview will analyse hormonal methods of contraception.

Risks for barrier contraception (Penis /Vaginal condoms): - Do not use out-of-date condoms. Condoms have a use-by date on the packaging.

- Condoms should not be stored in overly hot or cold environments.

- Condoms should be kept away from sharp or rough surfaces.

- Do not keep condoms in your pocket, car, or bathroom for long periods of time (over 1 month), because excessive heat and moisture can damage them over time.

- Oil-based products can damage latex and polyisoprene condoms.

- Many condoms contain latex. Do not use a latex condom if you or your partner have a latex allergy.

- Do not use penis and vaginal condoms at the same time, the resultant increase in friction increases the likelihood of condom tears.

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Penis Condom: Contraceptive Method: Barrier What is it? A penis condom is a sheath-shaped barrier device made from very thin latex, polyisoprene or polyurethane. A penis condom is designed to stop semen coming into contact with a sexual partner.

When used correctly every time: 98% effective What this means for me: 2 out of 100 people will become pregnant in one year when penis condoms are used correctly as contraception.

Application: Hand washing before and after sex is encouraged.

Check that the condom has no tears or perforations.

To protect against pregnancy - must be placed on penis before each instance of genital to genial contact.

To protect against STIs - must be placed on penis before any sexual contact.

Each condom can only be used once.

Once a condom has come into contact with a penis, it may contain traces of ejaculate.

Detailed application information can be found on the NHS and Planned Parenthood websites.

Average Cost: For name brand condoms: €1.00-€1.50 per condom. (IRE) £0.80-£1.25 p/c (UK). $0.35-$0.75 p/c (USA). ₹17-₹25 p/c (IND).

Penis condoms are available for free from House Six, College Health Service, HSE centres, and from the Goshh Ireland website.

More information on the next page.

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Sex

Vaginal Condom: Contraceptive Method: Barrier What is it? A vaginal condom is a barrier device made from soft, thin synthetic latex or latex. A female condom is worn inside the vagina to prevent semen getting to the womb.

WARNING: VAGINAL CONDOMS DO NOT PROTECT AGAINST ORAL SEX STI RISKS. For information on protection against STI risks associated with vaginal/anal oral sex, see our dental dam information below.

When used correctly every time: 95% effective What this means for me: 5 out of 100 people will become pregnant in one year when vaginal condoms are used correctly as contraception.

Application: Hand washing before and after sex is encouraged.

Check that the condom has no tears or perforations.

A vaginal condom must be placed inside the vagina prior to any contact with the penis.

Each condom can only be used once.

Detailed application information can be found at the NHS and Sexual Wellbeing Ireland websites.

Average Cost*: £1.75-£5.00 per condom (UK). $3.00-$7.50 p/c (USA). ₹75-100 p/c (IND). *Note: MUCH harder to purchase in Ireland than a penis condom.

Available for purchase at Safe Sex Ireland’s website.

Sperm can sometimes accidentally get into the vagina during sex, even when using a vaginal condom.

This may happen if: - the vaginal condom gets pushed too far into the vagina - the penis accidentally enters between the side of the vagina and the condom - the condom gets damaged by sharp fingernails, jewellery, etc.

If this happens, consider using emergency contraception and taking an STI test.

Coronavirus CoNtraception: The correct usage of contraception is more important than ever as the world responds to the Covid-19 pandemic.

Preventing the spread of bodily fluids helps to prevent the spread of infection. Visit the Mayo Clinic website’s section on Corona Virus for more information.

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Dental Dam: Protective Method: Barrier Dental dams aren’t technically a form of contraception, as they don’t protect against pregnancy.

However, they’re still incredibly useful; dental dams are designed to be used in vaginal / anal / oral sex to prevent the transmission of STIs. What is it? A dental dam is a thin square (typically 15 x 15 cm) made from soft, thin synthetic latex or latex. A dental dam is worn over the vulva to prevent the exchange of sexual fluids.

Application: The partner that is performing oral sex should wash their hands before sex. Check that the condom has no tears or perforations. They should hold the dental dam against the vulva or anus of the receiving partner. They should wash their hands again after sex.

You can choose to apply lubricant to the vulva or anus before using the dam. If you do choose to use a lubricant, you must remember that oil-based lubricants and lotions will degrade the latex and decrease the dam’s effectiveness.

Choose a water or silicone-based lubricant. Like condoms, dental dams must be applied correctly every time in order to work effectively.

Scan the QR code below to watch an application video from Brown University. This video also addresses how dental dams can be used to make oral sex more enjoyable for both parties.

Risks: - Do not use out-of-date dental dams. Dental dams have a use-by date on the packaging.

- Dental dams should not be stored in overly hot or cold environments.

- Dental dams should be kept away from sharp or rough surfaces.

- Do not keep dental dams in your pocket, car, or bathroom for long periods of time (over 1 month), because excessive heat and moisture can damage them over time.

- Oil-based products can damage latex and polyisoprene dental dams.

- Many dental dams contain latex. Make sure you do not use a latex dental dam if you or your partner have a latex allergy.

For more information visit the NHS website.

WORDS BY ALICE PAYNE

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Sex

S

The performative nature of dating

ometimes, when we go on dates we might not feel ourselves. While discomfort and awkwardness maygohand in hand with new romantic situations, this is a different type of uncomfortable. There are times when I have left dates feeling so drained of all my energy from putting on a ‘performance’ of what I perceive to be the best version of myself that I wonder why I do this and whether it’s a common feeling.

A good way to explain exactly what is meant by the ‘performative role’ in dating is by using dating apps as an example. On Tinder, Bumble, Hinge (or whatever your preferred dating app is), you present the best version of yourself. It’s very instinctual to do this, but perhaps it’s less blatant when you do it in person. Obviously, it’s no crime to try and come across as your best self, and we’re certainly all guilty of it, but in a way, maybe it’s sad that we feel the need to do this. It seems to reflect that our usual self is something we should try and change.

Doing this is also counterproductive. On the less extreme side of this performance, we may have people making slight exaggerations of their achievements to sound impressive and, on the other end, there might be full-blown lying, both leading to trouble down the way.

Personally, I know I’m guilty of the former. I’ve pretended to like music I didn’t like or know, and I’ve played up aspects of my personality that really aren’t that dominant, and every time I’ve caught myself doing it, afterwards I always ask myself: ‘why?’ Thankfully, I’ve grown from this but on reflection, why was there ever a need for it in the first place? It stemmed from a place that wasn’t genuine and above all else, it was tiring.

Aside from the falsity that this perpetuates, it also can shred away your self esteem and the faith that you have in yourself. The reasons why we do this vary. First of all, we may be doing it for the other person; when we change aspects of ourselves to seem more desirable, it comes from a place of insecurity within ourselves. But the nature of what we are changing does often depend on the other person. When it includes feigning interest in things that the other person likes that we don’t, it is partly for their benefit. Maybe we feel that if we do not like this one thing that they enjoy, they will lose interest. Of course, this may be true. Sometimes there are fundamental parts of a person’s interests that just need to be reciprocated, but we shouldn’t see not enjoying this as a flaw. Instead, this is merely a natural difference in interests. On the other hand, if you feel you need to have absolutely everything in common with a person to gain their validation, it might be time to step away from dating to allow self-reflection.

You need to realise that it is not just similar interests that make a relationship, it’s so much more than that.

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Sometimes we do this more for ourselves. While there is insecurity at the root of both reasons, sometimes people may just completely reinvent their characters independent of what the other person likes/dislikes.

They do this because they intrinsically do not think they are good enough. This is terribly sad, and while it’s okay to want to work on yourself, to constantly put yourself down as not enough will only ever make you unhappy. Changing yourself is a dangerous trope that often arises in film and television, usually played for laughs. As previously mentioned, self improvement is in no way a bad thing, but there is a fine line between self-reflection and self-hate. I am in no way an Amy Schumer fan, but I Feel Pretty (2018) is a film that examines this to some extent. While it focuses mainly on the body image of the main character, it does begin a conversation around self-acceptance that isn’t always a prominent theme in many romantic films.

Societal pressures can also play a part in this performance piece. Although this issue affects all genders, there are specific aspects which affect mostly women. While the culture is certainly changing, there is a historical view that women are to be quiet and reserved. Women who are loud and outgoing can be seen as and have been traditionally depicted as unapproachable. This can lead to women altering the way they act to be seen as more attractive. This misogynist take has been deeply ingrained in society and has even lead to women tearing down other women and gives way to what is informally known as a ‘pick me’ culture, where women completely change their views, behaviours and personality to become more desirable to men.

You are enough, and there should be no need for you to attempt to be anyone other than yourself, especially when it comes to new relationships. Putting on an act or constantly trying to be your ‘best self ’ isn’t sustainable. We all have flaws and undesirable traits, and if you’re going to have any sort of relationship with someone, they will come to recognise these as part of you. While you should never be intentionally hurtful to someone, there is no use in pretending that you are absolved of all your negative qualities. It is better to accept and work on negative characteristics, rather than just pretending they do not exist.

Perhaps there is a degree of overanalysis to this. Trying to present yourself a certain way isn’t always a bad thing and there can be unhealthy consequences to reading into our behaviours too deeply. It could be argued that getting to know someone includes the bad as well as the good and that discovering flaws is a natural byproduct of intimacy. This doesn’t mean that they were trying to conceal these traits in the first place. However, it does become a problem when a person becomes so unsure of themselves that they are actively trying to cover their perceived flaws, which may actually just be normal, human traits.

WORDS BY CHLOE MANT

29

Theatre

The Theatricality of the Plague There is a direct correspondence between the theatre and the plague, St Augustine argues in The City of

God. While the plague kills without destroying the organs, the theatre makes changes in the mind and the body of the individuals but without killing. We are all currently exposed to the power of this change; theatre is the tool to observe how these changes are produced and in what they consist of. To observe these changes, it is necessary to extend our experience of theatre beyond the limits of entertainment and representation. I shall present two examples of theatrical moments that have happened during this pandemic that shows theatre’s power to make a difference: the Urbi et Orbi which is the blessing by the pope and the ongoing protests in the US and in the rest of the world. However, I would like to start from plagues from the past through the study of manuscripts.

Emma Hardiman in her article ‘Medieval Materiality: the Multisensory Performance in Late-Medieval Manuscripts’ points out the theatricality in the use of manuscripts during plagues of the Middle Ages. She analyses pages of manuscripts whose illuminated images are peculiarly deteriorated because of their being repeatedly touched and kissed while praying. Through the haptic experience of these manuscripts, the readers could experience God who was believed to live in those pages which were treated as though they were alive. Indeed, once they were alive, given they are made of organic materials — for example, the pages are made of calfskin — they became alive again by absorbing the readers’ prayers who survived until nowadays in the marks they left on the surface of the manuscripts. This power of the manuscript was valued during the Black Death during the 14th Century since believers kept praying not only for being saved by having direct contact with God but also for surviving in the form of marks left on the surface of the manuscript.

Even during the ongoing pandemic, the Catholic church has given us a powerful example of its theatricality. It is 27th March 2020, the pope is alone on the rainy St Peter’s Square, walking slowly towards the Basilica where he will celebrate Ubi et Orbi – a blessing to the city of Rome and the whole world. While the Pope walks over the stairs to reach the parvis, we hear chants from the wide-open Basilica overlooking the Square which gives the impression of having transformed into a huge musical instrument. There is a moment of silence, the Pope starts the blessing and is followed by an acapella excerpt from the Gospel by Saint Mark which resonates across the empty Square.

Miracle of the Cross at the Bridge of S. Lorenzo - Giovanni Bellini

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After speaking again, the Pope turns towards the main door of the Basilica on whose left-side there is the icon called Salus Populi Romani which is traditionally attributed to Luke the Evangelist, and on the right, there is the Crocifisso di San Marcello, a wooden 14th-century crucifix, which is believed to be miraculous since it is the one which was carried in a public procession throughout Rome to calm down the plague in the 16th Century. The power and significance of this ceremony cannot be overstated.

After the celebration, an article by the Italian newspaper Il Messaggero announced that the priceless crucifix was damaged because of lack of proper protection from the rain, leading to indignation across social media. One of the main critiques was that even nowadays the church thinks to solve a problem through prayers and hope, threatening, by the way, the artistic heritage—leaving a wooden 14th century crucifix under the rain was seen as a threat for the artistic heritage, for example.

I think that the Urbi et Orbi overcame any dichotomy between faith and science since the power of this moment consisted exactly in reminding each one of us that we are all humans independently from any other contingent factor. For a moment, it was unimportant to expose the crucifix to such risk because a statue and an image — even if not any statues and images — may have an active power over reality. Manuscripts were given life by dint of prayers, just as much the pouring rain endowed the fragile wood of the crucifix with life.

One of the consequences of the choice to expose the crucifix to the rain was to unravel once again a conflict between science and faith, the rational and the spiritual. The Western thought is shaped through the logic of dialectics where there is always a thesis and an antithesis. If theatre, in the first place, highlights these conflicts to the point of making them explode, on the other hand, I believe it has the power of thinking beyond them. I would like to quote the following excerpt from “The Theatre and the Plague” in The Theatre and its Double by Antonin Artaud (page 20) which explains further this connection between the theatre and the plague.

The plague takes dormant images, latent disorder and suddenly carries them to the point of the most extreme gestures. […] Theatre restores all our dormant conflicts and their powers, giving these powers names we acknowledge as signs. Theatre is like the plague […] because it is a revelation, urging forwards the exteriorization of a latent undercurrent of cruelty through which all the perversity of which the mind is capable, whether in a person or a nation, becomes localized.

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Theatre

According to national trends in police killings in the US in the past seven years more than one thousand people have been killed each year and black victims’ rate is three times higher than victims of other ethnicities.

I suggest that given such a huge problem the most important factor among the others that triggered the protests was exactly the power of the pandemic which brought this conflict to life, making it active and visible to the world.

Before 25 May 2020, the conflict was only latent since it was known and discussed but it has not generated such a reaction until the current global circumstances. Now that the conflict has been finally unravelled it has released cruelty. However, considering that protesting is essential, violence is counterproductive since it makes the dialectic of power even stronger.

Such power is the biopolitical power that the state exercises over the bodies of the citizens and violently abuses minorities.

Many other countries have joined the protests because these kinds of conflicts are common worldwide. I would like to make another example of an analogous event among the many other possible only because took place very recently on 31st May 2020 may not be as well known: a unarmed autistic Palestinian man was shot in Jerusalem by the Israeli police because he was wrongly suspected of carrying a weapon. This kind of violence happens daily and if we want it to stop it, it is not enough to affirm that all black lives matter, we should instead affirm that there is a black Palestinian minorated life inside each one of us and the theatre is what can help us to become-minority, overcoming our privileges and these conflicts which will otherwise keep growing stronger.

Pope Francis venerating the crucifix during the prayer on the steps of St Peter’s Basilica, 27 March 2020 (Vatican Media)

WORDS BY LUCAMATTEO ROSSI

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Theatre. Online.

Theatre. Online. [Pause.]

The pandemic circumstances left many artists wondering about ‘what is theatre?’ ‘Is this the death of theatre?’, ‘what is the difference between theatre and film when theatre is strictly brought into the online realm?’, ‘what is the societal role of theatre?’, ‘is theatre meeting its duty?’

A few days or weeks after lockdown started in Ireland, theatre-makers began to explore different online apps, such as Zoom, Instagram, YouTube to present performances. For example, The Abbey Theatre produced Dear Ireland, a programme in which writers and performers portrayed what it is to live in Lockdown Ireland, in a room with a camera. Other theatre companies have been leading workshops, theatre panels, and making archived productions open to public access, for example, PAN PAN, Dead Centre, Smashing Times and others have been quite active in sharing their own theatrical contribution to the current times.

As the reader may see, there are both complications and possible solutions to some philosophical arguments with regards to what constitutes a theatrical performance. First, the questions such as, ‘what does theatre become when it embraces online framings?’ Perhaps theatre-makers do not have the same technology as filmmakers in this scenario. How is theatre framed? One of the possible arguments to cover this question is the idea of performer-audience relationship. Theatre goers and students know that there is a phenomenological difference when experiencing a performance in a particular time and space—the conventional theatre institution for example, or site-specific performances. It is obvious that the physical connection or relationship between audience members and performers is completely lost during lockdown. However, there is still a mutual aspect that most online performances offer: time. The idea of time here is to demonstrate that when an online performance is live there is still a sense that everything is happening ‘right here, right now’. And that is, after all, one of the differences that I have thought of and the virtual space being somewhat ‘specific’ in itself. An example of a theatre company that is constantly performing live in different time zones is GlassMask Theatre—Rex Ryan and Stephen Jones have performed HOWIE THE ROOKIE live in the Sydney, and Dublin time zones (among others). Perhaps the ‘liveness’ of an event offers a different commitment to both performer and spectator: the performer has a higher risk of failure, the spectator does not have the control of time, pauses, etc.

An advantage of (online) theatre is accessibility. Most online performances that I have seen so far were free to attend. So there is a favorable aspect in which theatre/performances and cultural acquisition became somewhat democratic as more people are able to attend and gain cultural knowledge in contrast to quite inaccessible tickets/locations—the notion of classification of art and its audience members by Pierre Bourdieu is, perhaps, blurred under these conditions. Again, nothing is to be generalized in this short article considering, for instance, that not everyone has the means to pay for the internet or to have technological devices. Many theatre houses around the world are also availing archived performances for free, such as The Garnier Opera House in Paris.

Is theatre going to expand in online framing once the world is free? Are audience members accepting online performances as ‘theatre’ as an exception, and would it still be (online) theatre if we were not in pandemic scenarios? Theatre is striving to survive, but is there going to be a hybridization of theatre-film?

As Sarah Jane Scaife (Professor of Drama, Trinity College Dublin) mentioned during the Smashing Times panel recently, maybe the future of theatre will be site-specific.

Maybe theatre will go back to its origins, in a way, and go back to streets, the open space. Open. To all.

[Pause. No curtains.]

WORDS BY LARISSA BRIGATTI

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TV

Extra! Extra! Read All About It: What I Learned From My Experience as a TV Background Actor With all of the Normal People hype around the country and beyond in recent weeks, dropping the fact that I was

‘technically’ in the show into conversations has been a fun exercise in subtle flexing. While I didn’t get to rub shoulders with Connell and Marianne (although I was in close proximity to Gareth, played by Sebastian de Souza, at one point), my experience as a TV extra was an exciting side-quest during my summer last year, and one I’d definitely recommend once large crowds can gather again.

The application process was quite straightforward, and a very spur-of-the-moment decision on my part. I happened to see an advertisement looking for Trinity students on Facebook one day, and having never even heard of the book before, filled out a form and hoped for the best. When I was asked to submit a headshot, no doubt intended to be a professional photo with a muted background, I simply attached my pixelated profile picture taken in a crowded museum the previous year. Despite my less-than-stellar application, I was accepted, so if a lack of experience and expertise in the industry is holding you back, let this be a lesson that they will more than likely accept anyone that applies. However, the one stipulation in getting involved in a project like this is that you must be available at very short notice, and for an extended period of time. Luckily for me, I was hopelessly unemployed, so this wasn’t a problem.

Upon arriving on set, I was struck by the level of attention to detail that went into preparing the extras for filming. For such a relatively insignificant group of people, we were given the star treatment; braids, gold eyeliner, purple eyeshadow (not all on the same person- that might have been overkill); the works. These touches would more than likely never be picked up by the camera’s lens, but on the off chance that they were, we were camera-ready, fully-realised individuals.

Once hair and makeup was complete, it was on to wardrobe. We were each asked to bring an array of clothes suitable for the occasion. You would think we, as Trinity students from various courses, would know what a typical Trinity student would wear - but we were wrong. As we were lined up in our finest waiting to be critiqued, the whole process began to feel like an amateur version of Project Runway. The majority of people underwent several costume changes before their looks were locked in, with some even being forced to resort to swapping clothes with a fellow extra. I was one of the last in the queue for approval, and after hearing many others getting ‘read to filth,’ as RuPaul would say, I was happy just receiving a few minor tweaks. With cardigans and jackets in tow to help change up our looks for each new scene, we set off from the extra’s base camp in the Atrium to set, or in this case, the Arts Block.

Before we began, yet another layer of detail was added; accessories. Necklaces, earrings and even rings were handed out to complete the illusion of an eclectic group of college students with their own unique styles. I was given a clear pair of glasses after being told they really suited me, which was rather ironic, as I normally wear prescription ones, but didn’t think they were fashionable enough for television. Clearly, the costume department had a keen eye for this sort of thing.

Our group mainly served as filler in the lecture halls, filing in and out repeatedly to accommodate multiple takes of tiny scenes of characters chatting post-lecture, and establishing shots of them attending class. This was such a time-consuming process for the cast and crew - all for about 30 seconds of footage. In between takes I found myself admiring their dedication, and suddenly realised the scale of the effort that goes into producing the content that I watch. I never ceased to be amazed at the scope of the production, as each extra was given their own cues to get up from their seat and move at different paces. It almost made me feel like the protagonist, albeit in my own little story. One of the most fascinating aspects of this experience was getting to witness an acclaimed director like Lenny Abrahamson in action first-hand. Whenever he would walk by, I would remember his previous work with actors I admire like Brie Larson and Michael Fassbender, and become starstruck.

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The strong work ethic of the entire cast and crew was clear as they tackled any problems that arose head on, most notably the tourists - the bane of all Trinity inhabitants’ existence. During scenes filmed near the Perch they decided not to block the area from visitors, presumably to keep the natural flow of people intact. The large cameras and frequent cries of ‘action’ did not seem to deter many tourists from walking right into shots, blocking cameras and asking extras what was going on. Assistants on set tried to subtly usher them away while we carried on, but usually the damage was already done. From my point of view, it was an amusing hindrance, but I knew how frustrating it must have been for the crew trying to do their jobs. It made me shudder at the thought of helpless crews trying to film around the public in more crowded areas, like the populous streets of New York, and made me all the more appreciative of the many facets of TV production.

Oddly enough, even though I’m a major film and TV buff, my favourite part of the experience was actually my fellow extras.

The many cogs that needed to be in motion to orchestrate any one scene of the show meant that we spent much of our time sitting around awaiting instructions. During this down-time I met a whole host of lovely people, and before long we were sitting together in the fake lecture halls and gathering outside for our fake lunch breaks, inadvertently adding yet another layer of detail and realism to the show. I was a naïve first-timer to the world of background TV work, but during the experience I met some veterans of the craft who fondly recounted their time as extras on Game of Thrones, proudly wearing their tales of hours spent in the freezing cold mud like a badge of honour. It seemed miles away from our relaxed days wandering around our own college and made me want to explore the world of minor TV appearances, the breadth of genres meaning there is no universal extra experience.

WORDS BY CIARA CONNOLLY

These observations may not be news to those of you who are involved in making short films and such, but as a humble lay-person, I found it so interesting to witness the many moving parts that go into a professional TV show, and earn some money along the way. While I didn’t visibly make it onto the big screen, the memories (and the money) were payment enough. Fading into the background is an incredible way to see what goes into making a TV show, so if it’s something you think you would be interested in, I highly recommend keeping an eye on social media for any upcoming opportunities in the future - your breakout starring role may be closer than you think.

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TV

Groundhog Day –

The Trope That Comes Up Again and Again and Again

When was the last time you did something truly selfless? Even if you’re sacrificing something for another person, you

could still be motivated by wanting them to like you, or for them to think that you’re a good person. What if you knew that whatever you did, nobody would remember it tomorrow? Would you still act in the interest of other people? Or purely for yourself? This is the premise of the film Groundhog Day. Phil Connors is an inconsiderate jerk, but after reliving the same day over and over again, he learns to care about others. As specific as this premise sounds, it has actually become a common trope, seen in Buffy the Vampire Slayer, Doctor Who, and even The Fresh Prince of Bel Air. My two favourite examples of this trope in TV are the episode ‘Mystery Spot’ from season three of Supernatural, and the show Russian Doll, both of which utilise it in entirely different ways.

Supernatural has not been a good show for a very long time, but those first five seasons told a compelling story with interesting characters. As some backstory for those of you who aren’t Supernatural apologists, protagonists Dean and Sam are monster hunters.

Up to this episode, the brothers have been ignoring the fact that Dean has less than a year to live after making a deal with a demon. Over the course of the time loop, instead of following in Phil’s footsteps and becoming compassionate, he needs to be taught his own limitations. As satisfying as the final time loop in Groundhog Day is, where Phil has touched the lives of everyone in town knowing that they won’t remember it tomorrow, that conclusion of his arc would be ridiculous in a single episode forty minute. One of the best parts of a TV show is watching somebody grow and progress over time. Going from a nightmare to a saint over the course of forty minutes would not be emotionally impactful. Instead, it would be painfully saccharine and the kind of unrealistic that’s intolerable, even on a show where the King of Hell complains about stains on his rug. Instead of this foundational change, a trickster god has taken it upon himself to ‘help’ Sam deal with his feelings regarding his brother’s upcoming demise - by making him watch as his brother dies again and again and again. Groundhog Day is better for the lack of an explanation, but in an on-going universe in which the unexplainable happens all the time, not explaining the loop just feels lazy.

It’s a running joke now that the brother’s keep trading their lives back and forth for each other, but this episode came at a time in the show when the idea of Sam losing his brother still had impact. Though it’s funny to watch Dean die by a poisoned taco or from falling in the shower, the best Supernatural episodes combined humour with emotional weight. The final twist in the format is that once Sam makes it to a new day, his brother dies again, and he spends the next six months (and next five minutes of screentime) mourning and trying to find a way to go back in time. There are a lot of differences between Mystery Spot and Groundhog Day. One is forty minutes long and a small part of an overarching narrative, set in a world where the paranormal is everyday, and whose tone is regularly quite dark. The other is more than twice that length and comprises both the beginning and end of its’ characters’ stories, set in our own world with a mostly comedic tone. Still, by adapting the trope to fit the medium and story, it can work.

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Russian Doll plays with the trope over a whole series. The protagonists, Nadia and Alan, are both struggling with different things, but they get stuck in the same time loop before they’re aware that the other exists. At over three hours in total, this is a great way to keep the viewer interested in a trope they might already be familiar with. The two meet when they both get stuck in a rapidly dropping lift and realise how calm the other is. Nadia has a similar arc to Phil in that she must overcome her self-serving nature, though we learn more about how she became this person, while Alan is incredibly insecure. The more we see the two react, the more similar they reveal themselves to be. They both focus far too much on themselves because they don’t want to get hurt. For Nadia, this fear manifests itself most clearly in her love life, as she spends time with married men and obvious jerks, cutting off relationships when things become serious. Alan, on the other hand, has been dating the same woman for nearly ten years, but he’s not happy either. She’s been cheating on him and putting off breaking up with him because she’s afraid of what he’d do without her. When he is introduced we see that he has been going through the motions in his loop, changing very little. With his influence, Nadia learns to act for others, and with her he learns to act, full stop. There’s something very powerful about taking this trope in which a character learns to care about others and adding a second party who will also remember everything that’s happened. They both have someone who can point out their patterns and ask more of them. At the same time, they both have somebody whose feelings need to be considered, as shared memories now exist between them. Phil is alone in a way that they, together, aren’t, and this makes sense for the overarching story being told. As much as Russian Doll is about redemption and positive growth, it also takes great pains to establish the weight that the past will always carry.

One thing the show addresses that Supernatural and Groundhog Day don’t really touch on is the loops they have left as a consequence. Nadia has to grapple with the fact that her aunt has mourned her again and again. This fits with the story being told, where there is more of a focus on how Nadia and Alan became the people they are, compared to Phil in the original film, for whom this is not a concern. Nadia’s complex relationship with her mother growing up does not mean that her actions have any less impact on others, just as jumping to another reality and reliving the same day doesn’t make her loved ones left behind in the previous realities grieve any less. As concerned as Russian Doll is with forgiveness and redemption, the writers also stress that these things don’t mean a clean slate. Nadia and Alan’s pasts, while helping to explain their actions, don’t excuse them, and while it’s clear that they’re good people, we aren’t asked to forget their mistakes. This makes the ending all the more satisfying, as we know the work they’ve had to undertake to face the final loop.

The Groundhog Day trope is ultimately about growth, which is why we keep seeing it again and again on TV. We can all relate to making mistakes and striving to be better, but we also know how easy it is to fall into old habits. The idea that we could have the space to fail again and again without anyone remembering until we get it right is comforting, while the premise of living the same day over and over again has the potential for incredibly dark complexity. At the end of the day, this trope reminds us of the impact our actions have on other people, and that while it’s hard, that we should always strive to be better people, and be selfless.When was the last time you did something truly selfless?

WORDS BY GILLIAN DOYLE 37

ALT.

The Transphobia of J.K. Rowling

WORDS AND ART BY REN O’HARE

J

K Rowling’s ‘Gender critical’ i.e. transphobic rant on Twitter, and subsequent essay was both upsetting and unsurprising. I will not be quoting her essay here as I do not want to give her destructive narrative more of a platform. However, the gist of her argument is anti-trans bigotry disguised as feminism, with the concern for the safety and wellbeing for cis women at its core.

As both a fan of Harry Potter since childhood and a genderqueer femme, her essay has been on my mind a lot. It is notable and particularly poignant that she made these statements both during Pride month and the largest civil rights movement the world has ever seen. Rowling has not spoken any support for Black Lives #Matter, or the murder pandemic on Black Trans Lives. Her voice is actively malicious in its ignorance of how important she and her platform is. Perhaps she sees her voice as only one opinion in the room, but when you have written one of the world’s most popular book series, your voice is inevitably held in higher regard than the general population. Her statements are particularly damaging as she hides behind a supposedly intellectual argument, communicating that her viewpoint is the 'rational conclusion' coming from deep thinking; she attempts to hide the discrepancies in her writing behind a pseudo-intellectual tone. Her essay appeals to many cis women’s valid fears of sexual danger from men, in order to validate violence and exclusion to trans and nonbinary individuals. Yet the existence of trans and genderqueer people is not in opposition to the fight for feminism, women’s liberation or in ending sexual violence, as her essay suggests. To quote transfeminine writer Alok Vaid-Menon (ALOK), “trans people are leading the way for everyone (once again)... when we see trans people living freely, saying I don't care about society's norms, I don't care about gender norms, I just want to be me, (cis) people are threatened by that, because they have had to repress their own true self...So we (trans people) aren’t just doing this for ourselves, we’re doing this for everyone.” Trans people have historically been a part of the feminist movement and continue to be a necessary voices that need amplification. As ALOK also noted in a podcast with iWeigh, the definition of ‘woman’ must be expanded. TERF feminism understands trans women as something other than women, and considers the way that they (white, middle class, straight, cis women) “experience patriarchy is taken as the only way of experiencing patriarchy”. And so trans experience is seen in opposition to a cis women’s experience, and so is something to be feared. Yet feminism that only seeks to liberate and advance cis women is misguided feminism.

Hiram Harrington, who is a trans man, pointed out to me the transcoding that is prevalent in the Harry Potter books’ villain, Lord Voldemort. To quote them, “I don’t think the transcoding of Voldemort was a conscious decision, queer-coding villains is often subconscious conditioning based on the traits we’re taught to fear from an early age.

It’s incorrect to say Voldemort is a trans character, obviously, but it’s very interesting that a character that epitomises evilness possesses a certain range of qualities that are also possessed by transgender people. All children see is: man becomes something that doesn’t look like a man any more = scary. Having androgynous features = scary. Adopting a new name/title = so scary it can’t be spoken aloud. Obviously, Voldemort is bad because he behaves evilly, but because JK Rowling associates typically trans qualities with villainy, it speaks to how her anti-transness subconsciously pervades her work.”

The stories of Harry Potter are something I still take comfort in, and though I would love to separate the art from the artist, I agree with Hiram, who says that “separation of art and artist when it comes to JK Rowling’s transphobia is unfortunately not possible.” Instead, I have taken to reading queer fanfiction rather than the original works. As I have found myself in perhaps not the unique position of finding what was once a safe place from the world tarnished by active transphobia, it no longer functions as a point of escapism for me. In a world where queer people exist in plentiful amounts with varying experiences, it becomes an act of violence to exclude us from narratives. Cisgender should not be the default; we aren’t on the periphery, and shouldn’t only be included when it goes hand in hand with the presentation of evil. Our inclusion is one which calls for a wider inclusion of human experience and Rowling’s statements have made it impossible for me to look up to her, even if her creation still has some place in my heart. It’s just in a more complicated place.

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The Stark Realities of the Publishing World

I

n June of this year, Reni Eddo-Lodge became the first Black British woman to top the UK book charts. Amid worldwide protests against systemic racism and police brutality following the murders of George Floyd, Breonna Taylor, Ahmaud Aubery, and countless others, Lodge’s long-awaited achievement, while exciting, reveals the book and publishing industries to be no less exempt from conversation regarding the grounded presence of institutional racism within modern society.

Much of recent discussion surrounding systemic racism within these industries pertains to a blatant lack of racial diversity within the workforce, as well as many of the stark realities that Black and other BIPOC authors face. In 2019, a survey conducted by Lee and Low Books calculating the level of diversity within the publishing industry measured the overall workforce to be between 70-80% white. Ranging from student interns to the executive level, the study confirmed a longstanding speculation that publishing houses, throughout the US and the UK, are both dominated by and catered towards white, cisgendered women. Public outrage towards these publishing houses has additionally culminated online in the form of a hashtag, #PublishingPaidMe, in which BIPOC authors disclose the amount of their advances to highlight stark financial disparities between white authors and authors of colour.

Despite these controversies, the publishing industry has benefited from the recent resurgence of the Black Lives Matter movement, acting as an outlet for self-education on topics of race. Lodge’s book in question, Why I’m No Longer Talking to White People About Race, is one of many on a trending ‘anti-racist reading list’, of which selected works are topping book charts in both the US and the UK. In lieu of Lodge’s achievement, Robin DiAngelo’s White Fragility (written by a white woman, explaining white America’s aversion to discussing race and acknowledging privilege), has steadily remained at the top of Amazon’s best-selling list for weeks. Even in the general public’s attempt to move away from internalized racism, the publishing industry is unable to do so without exemplifying the ways in which it perpetuates such policies. While reading a book is less of an end-all cure to systemic racism and more of an educational tool, elevating Black voices and raising awareness for the wide scope of Black literature is an encouraged yet long-overdue step for an industry that evidently holds the power to promote cultural change.

WORDS BY MADELINE HEARN

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ALT.

The Death of Mainstream Media?

WORDS BY GRÁINNE SEXTON

Thomas Jefferson, the former president and Founding Father of the United States, viewed

newspapers as so fundamental to the success of democracy that they were the only alternative to social upheaval. Terming newspapers a ‘formidable censor of the public functionaries’, he argued that broadsheets have the power to ‘produce reform peaceably, which must otherwise be done by revolution’. Indeed, mainstream media outlets - radio, television, and newspapers - have long perceived themselves as cornerstones of social and political progress. By platforming considerate debate and careful discussion, the mainstream media is a traditional champion of free speech and civil reform.

However, in a decidedly tumultuous political climate – one in which civil rights protests have been reignited across the globe and world leaders such as Donald Trump have manipulated the Coronavirus crisis to perpetuate a political agenda – have mainstream media outlets remained a viable source of news and information? Or are they increasingly vulnerable to bias and imbalance?

During a period in which so many of us have been cooped up at home with only our phones or laptops for company, has the embeddedness of social media - a quickfire, 24/7, highly subjective source of information - within all our lives catalysed the permanent decline of the mainstream media? Are we currently witnessing the inauguration of a new era defined by constant communication across platforms such as Twitter, Facebook and Instagram?

It would seem so. A recent rally by the Trump campaign was partially usurped by a coordinated effort from teenage Tik-Tok users, many of whom used social media in an attempt to damage the electoral chances of the current United States president. A video depicting the graphic murder of George Floyd catalysed global anti-racism protests and a renewed emphasis on the necessity of examining white privilege. In Ireland, the Direct Provision system – a concrete example of systemic racism, the dismantlement of which is often platformed only by activists – has become enmeshed in the consciousness of the general public due to a wave of posts from Irish influencers.

Traditional media outlets aim to offer detailed scrutiny and attentive analysis of pressing political issues. They do so every few hours in a methodical, regular fashion, one which oftentimes seems behind-the-times and clunky in comparison to the nonstop nature of social media. Mainstream media reporters painstakingly research a news item before presenting it and attempt to appear ethical and unbiased in outlook. As admirable as journalistic integrity is, however, it has begun to falter against the tide of personal opinion, endless updates and entertaining debate stirred up by Twitter, Facebook, Instagram and Tik-Tok. Over the past decade, social media platforms have ascended to become viable competitors to the mainstream media. As a result, traditional newspapers, radio and television stations have sometimes sought to become bombastic and sensationalist in outlook. Behind every platform - whether in print or online - lie real people with real opinions and strong political and personal agendas. Social media, as a concept, is liable to be rife with subjective ‘hot takes’ and, yet, by becoming a foil to mainstream outlets, it has brought into sharp focus the imbalances and biases embedded within traditional media forms. TV stations in the United States recently refused to censor the faces of Black Lives Matters protestors, The Guardian has been called out for failing to platform transgender voices, Irish fashion magazines have run articles about combatting racism yet seem unwilling to actively platform Black models.

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Writing for the Washington Post in 2018, Douglas McLennan pointed out the tendency of newspapers to title themselves ‘mirrors’: The Mirror, The Daily Mirror, The Hometown Mirror etc. Within this observation is a profound truth – the role of the mainstream media in reflecting the successes and failures of modern society. When we consider the mirror analogy in the context of social media, the metaphor distorts and reshapes. At times, social media offers us a clearer reflection than any traditional newspaper or TV station, one which catalyses calls to action and sparks change or reform. Simultaneously, it sometimes shows attempts by users to create fragmentation and rupture, to provoke fury and hate, and to twist vital truths into harmful rhetoric intended to mislead. In order to overcome the challenges posed by social media, it is necessary for mainstream outlets to adapt and find creative ways to showcase the opinions of ordinary people. If traditional media outlets can reinvent themselves to offer unclouded and unbiased images of real lives, real issues and pressing social problems, then they may well manage to halt their own decline.

Jefferson perceived newspapers as important instruments in the process of preventing violent revolution. Modern-day social media, however, can create revolutionaries, both those who press for good and those who seek to divide. Traditional outlets for information – radio, television, newspapers – still play a vital role in the defence of democratic values. In order to survive and flourish, however, the mainstream media must attune itself ever more to the voice of the everyday person. By becoming truly representative – the clearest mirror – traditional media will prove a formidable competitor to the constant clamour of online platforms.

Morning Routines: Coffee Lockdown has stripped me not only of my routines, but also my mornings. With no pressure

to stand up and start existing at any particular time, it’s so easy to waste away in my increasingly uncomfortable bed, waiting for the day to end, so the next one could begin. I started to miss the days I’d get up at seven a.m to be in college for nine. I missed coffee, buses, and feeling like a human being.

While returning to the bus was not an option, coffee felt like something I could latch on to.

I could be a coffee person who woke up for their coffee. It might even get me to wake up before two p.m. I ordered a drip set and nice beans and waited. I watched YouTube videos about how to get the “perfect pour” and what type of bean grinder I should be using. Posh men on the internet explained to me that once I started grinding my own beans, I would never go back.

The reality of my new filter coffee based morning routine is both more obnoxious and less exciting than it sounds. It is, however, methodical and satisfying. I fill the kettle, I grind the beans, I wet the filter paper, I preheat the mug. There is a specific way that the people on YouTube tell me to pour the water in; I never do it right. I need steady hands for it, which I don’t have. But it feels nice to try.

But my coffee pouring skill doesn’t really matter at the end of the day. Without fail, one mug of coffee comes out every morning. I don’t remember if it tastes as good as coffee from cafes. It takes five minutes, and it’s barely a routine. But it is the only one I have, it gets me up in the morning, and it tastes wonderful.

WORDS BY SOPHIE FURLONG TIGHE ART BY ANDRÉS MURILLO 41

ALT.

Memes: A Cultural Currency Few things provide as fertile a fodder for the distinctly atonal Millennial humour as uncertainty. Granted,

theseare unprecedented times, but memes and internet culture at large provide more than a merely reductive escapist coping mechanism for cultural disarray. The ‘inside’ humour which characterised these shared images has become positively outward looking, and outward affecting, too.

To give an expansive definition of the meme seems defunct. In a gleeful enactment of nominative determinism, the term has come unstuck from its coinage by Richard Dawkins, here summarised as a form of imitation.

Put simply, a meme is an empty vector for cultural ideas. Where these ideas arise from and which survive the natural selection of the internet is another question altogether. Brian Feldman, writing for NYMag, puts it succinctly: ‘Memes are frameworks, they’re skeletons. They often contain jokes, but they are not, in and of themselves, funny’. Humour is produced through the partnership of inherited ‘memetic’ frameworks and cultural context. Ensuing laughter is not so much a form of escapism, it seems, than a wilful blindness to its parental current affairs. The external world is compressed into a surreal stream of content whose purpose is to entertain: Corona virus has been assimilated into a montage of nihilistic images and videos soundtracked to Cardi B shrieking ‘coronavirus’ and a B-plot of the 2016 US elections saw a bizarre series of events where Republican and Democrat internet fiends fought for supremacy over the political leaning of Pepe the frog. Memes are animated by the speed and flow of information - their lifespan is rapid, and their proliferation exponential. Life shapes art and art shapes life.

A level of self-awareness has pervaded online meme communities. KnowYourMeme, a database for memes and other transient internet phenomena, doubles up as a news platform, and a thread in its ‘serious topic’ forum poses the question of whether capitalism will last forever. Reality is not eclipsed by the moulding of current affairs into content, but rather informed by that very process. Stripping away the preconceived notion that memes supposedly exist within a vacuum reveals the exchange of memes as a viable communicative channel between younger generations, a channel brimming with raw and honest opinions of the everyday individual in an internet realm marked by the lack of a gatekeeper. This untapped potential is ripe for harvest and has not gone unnoticed; it is being slowly cornered by the spawning of companies like Meme 2020, a collective of Instagram heavyweights with a combined audience of 60 million. Mike Bloomberg’s campaign in the 2020 Democrat primaries paired up with none other than Meme 2020 in an attempt to appeal to younger voters. And what better way to smuggle political messages than through the unsuspecting channel of a humour distinguished by irreverence and anti-establishmentism. A modern day Trojan horse, if you will.

There is, however, something distinctly unsavoury and sleazy about a meme packaged up and sent from a corporate suit. It seems intolerantwith the very fibre of a meme as a product of individual anti-establishment thought, whose authenticity derives directly from its lack of corporate affiliation. Let’s keep one eye on the ‘natural selection’ of the all-seeing algorithm.

WORDS BY CLARE MAUNDER

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