VOL. XXV, Issue 4, OTwo by The University Observer

THE FRESH PRINCESSES OF ALFONSO FILMS

Volume XXV, Issue 4 21st November 2018

THATâ&#x20AC;&#x2122;S SO SEOUL: TAKING HIGH FASHION TO THE STREETS ALUMNI CORNER: SCARS FROM THE FRONT LINE CHRISTMAS MARKETS AROUND THE WORLD

OTWO VOL. XXV ISSUE 4 CONTRIBUTORS

EDITOR Brían Donnelly DEPUTY EDITOR Dylan O’Neill ART & DESIGN EDITOR Fiachra Johnston OTWO CO-EDITORS Clara Brannigan Tara Hanneffy ARTS & LITERATURE EDITOR Heather Reynolds GAMES EDITOR Ash Gomez FILM & TV EDITOR Emma Kiely MUSIC EDITOR Aoife Mawn FOOD & DRINK EDITOR Shivani Shukla FASHION EDITOR Shane Cullen ONLINE OTWO CO-EDITORS Adam Lawler Ash Gomez CHIEF OF ILLUSTRATIONS Freya Williams CHIEF OF PHOTOGRAPHY Alex Fagan CONTRIBUTORS Adam Hilario Gavan Reilly Shruti Shukla Aela O’Flynn Andrea Andres Oisin McCorry Fiachra Johnston Paurush Kumar Anne-Marie Lyons Sinead Dunphy Sarah O’Byrne Cormac Lehnen Rebecca Sibley Romane Baland Emma Reidy Beulah Ezeugo Rory Clarke Anna Blackburn APOLOGIES Robbie Murphy, not credited for his Issue 3 article, ‘Rage against the Dying of the Light: The Acting Comeback’ THE OTWO TEAM WANT TO WISH YOU A VERY MERRY CHRISTMAS AND A HAPPY NEW YEAR!

LETTER FROM THE

CONTENTS

EDITORS

Arts & Literature 5-7 Games 8-9 Film & Tv 10-13 A Chat With... 14-16 Music 17-20 Food 21 Fashion 22-25 Travel 26 APERTURE 28

Hello all! Ok, before we say anything else: is this REALLY the last issue of the semester?? We can’t believe that we’re on Issue 4 already. That means that you won’t see our beautiful faces (*cough*) until 2019! (insert your preferred sad face here, we can’t use emojis in this letter). Anyway, never fear people, because we have a cracker of a final issue of 2018 for you all! We couldn’t ignore the upcoming festive season, hence the stunning photo shoot styled by our very own Fashion Editor Shane and shot by the very talented Chief of Photography Alex, who we feel deserves a shoutout! Check that out for some festive inspiration for post exam celebrations! Ok, we’ve mentioned it once, now we’ll mention it twice - there’s some real festive treats dotted among the different sections. Check out a countdown of the top Christmas songs in the Music section, and there’s a great guide to the best non-alcoholic drinks for celebrating this December in the Food and Drink section. What does everyone want this Christmas anyway? Clara wants world peace and Tara wants Stacey Dooley to win Strictly Come Dancing. And a new set of crochet hooks. Seriously, that gal can’t even pretend to be cool. Thoughts on the Fantastic Beasts franchise? Is it a ‘yasssssss I love HP’ or should Rowling have let sleeping dogs lie? Check out the review of the latest film in the series to help you decide. While you’re there, there’s a whole host of great stuff such as Spotlight and Blast from the Past so you’re sure to find something that tickles your fancy. News broke recently that Marvel legend Stan Lee had passed away - an article in the Arts and Literature section discusses the political role of comics. There’s the usual review as well as two great articles in the Games section, one of which asks why it is that gaming sequels work so well. Clara sat down to speak to the Dublin-based film trio Alfonso Films, where they share their successes in the film industry so far. They chat about women and the film industry and how Bumble’s female film force has given them a platform. Finally, for our Fatal Fourway this month, we asked people to recount their worst UCD exam experiences. The result? We learned that there are some VERY unfortunate people on The University Observer team. Check it out and learn from their mistakes people. There’s still time. Anywho, that’s all for now. Enjoy, and we’ll see you next year! (sob)

- Tara & Clara xoxo

Soapbox:

University meme pages are trash. Don’t @ me. Adam Hilario

Mystic Mittens Aquarius January 20 - February 18

On the 1st day of Mystic Mittens: we think it’s now officially acceptable to wear a tracksuit.

Pisces February 19 - March 20

On the 2nd day of Mystic Mittens: we see you going to the UCDSU Christmas Day with no assignments done. Mystic Mittens is judging.

Aries March 21 - April 19

On the 3rd day of Mystic Mittens: you will need a glass of prosecco Aries.

Taurus April 20 - May 20

On the 4th day of Mystic Mittens: you might think you’re having a stroke, but it’s just the Red Bull.

Gemini May 21 - June 20

On the 5th day of Mystic Mittens: you will receive 5 gold (onion) rings.

Cancer June 21 - July 22

On the 6th day of Mystic Mittens: you will be tempted to reveal your secret Santa. Don’t be THAT guy.

Leo July 23 - August 22

On the 7th day of Mystic Mittens: chocolate is always a good idea.

Virgo August 23 - September 22

On the 8th day of Mystic Mittens: you should avail of the SU’s free condom service.

Libra September 23 - October 22 On the 9th day of Mystic Mittens: tinsel doesn’t count as a Christmas party outfit, soz.

Scorpio October 23 - November 21 On the 10th day of Mystic Mittens: we regret to inform you, you will not be receiving any lords-a-leaping.

Sagittarius November 22 - December 21

On the 11th day of Mystic Mittens: we see you scabbing off the societies’ Musgraves haul, bring your own lunch.

Capricorn December 22 - January 19

On the 12th day of Mystic Mittens: all Mystic Mittens wants for Christmas is youuuuuuuuuuuuuuuuuuu. Ooohhooh.

The problem arises due to the fact that in the contemporary meme-based social economy, the market for university centric memes has become inundated with Facebook and Instagram meme accounts based in a sizeable portion of universities globally, causing the value per meme to depreciate. As a result, pages are forced to produce substandard memes in order to stay relevant, an act which has colloquially described as “s**tposting.” Traditionally, art, and I use the term “art” loosely, operates in a laissez-faire system, from which new pages can emerge naturally, with the consent of the consumer through follows and likes, without interference from established bodies. This further compounds the issue and is aided by the low barrier of entry into the meme-economy. The means of production and distribution can be carried out by anybody. This is advocating for an oligarchy on memes, in which production is restricted to the most popular pages from each university, but only to point out that it becomes increasingly difficult to find quality content from the increasing “normie memes” that are prevalent amongst these communities. Thus, in an effort to stand out in a flooded economy, rather than taking the risk of diversifying their assets by developing some semblance of a nuanced critique, pages will bank on memes that were successful in the past until the proverbial cow has been milked dry, yet still expect milk. This results in lazy and uninspired memes of a begrudged administrator laser eyes, or a common dogma touted by the student class put in alternating case above a warped image of Spongebob Squarepants at the risk of creating disillusionment among their audience and showcasing an aptitude for photoshop over an understanding of the student. Alternatively, pages will often genericise their assets to reach a broader, and therefore more profitable, audience to the point where they no longer serve the original students they were created for, alienating their audience and relegating their own page to redundancy. When legitimate creativity lacks, pages take the nationalistic approach of targeting the “out group” (i.e. another university’s student body) instead of providing a legitimate satirical critique of the issues plaguing the student body in an effort to rile up their base. This is inherently problematic because it implies that a demographic of peoples that attend a university are somehow inferior, assuming their intellectual prowess, or lack thereof, prevents them from attending the original poster’s university rather than taking into account potential socio-economic factors that contribute to a student’s reason for not attending. There is no solution to the impending crisis when this meme bubble eventually bursts other than to perhaps slow down.

OTwo

Alumni Corner: Scars from the front line Gavan Reilly

The funny thing is that I never actually joined the University Observer with the intention of becoming a journalist – at least not a ‘proper’ journalist anyway. I originally got involved because it was a way of getting hold of some free CDs (ask your parents) if you volunteered to write a review of a new album for these pages. Pretty quickly one thing led to another: having started doing album reviews I graduated to doing music features, then to Features in the paper itself, and eventually to the News pages. A year on Erasmus in Germany threw a spanner in the works from getting even more involved, though the editors at the time kindly gave me a column in Otwo to let me stay around in some way. When I came home, I set up the paper’s website (the same one that’s still active to this day, with nearly ten years of content on it, which I’m still pretty proud about), and eventually became Deputy Editor for 2009–2010. There are three things that come to mind when people mention my time in the Observer and on Otwo. The first is the memory of walking around campus and seeing people reading the paper, with the pages open on something you’ve written yourself. It probably sounds egomaniacal but in journalism there’s little that compares to watching someone notice your work. In a world before retweets and Instagram likes, seeing people read your newspaper was the greatest instant fulfilment you could get. What’s more, writing news pieces of real value, pointing out real flaws in how fellow students were treated, was very fulfilling. The second thing I remember is the sheer exhaustion. Production weekends on the Observer basically involved showing up on Friday morning, and leaving (sometimes) only to go home for four or five hours’ sleep. True story: one time the bags under my eyes became so profound, I developed a small scar from it. The third thing is the friendship. Like everything in UCD, you get out what you put in. The Observer was not only a great place to learn the trade of journalism (I got head-hunted from there to become the first ever employee at TheJournal.ie, from there to Today FM, and from there to TV3/Virgin Media) but also to meet like-minded people and spend full weekends doing meaningful work I still love. The scar was totally worth it.

What’s hot, what’s not

Hot

Ariana Grande - Whatever you think of her, you can’t

Exam Season - Whether you’re doing exams, essays, or both, this is the worst point of the semester. Make sure to take care of yourself: take breaks, drink water, and read Otwo (we don’t make the rules).

Chestnuts, open fires & Costa Christmas drinks - Yep, it’s that time of year again, and we’re ready

Littering - We’re all adults here at UCD so there is no excuse

deny that she’s one strong woman. Despite all that she’s suffered, she soldiers on. We love some girl power! Thank u, next.

to get festive! Bring on the sparkles, TV specials and chocolate!

UCD SVP - They recently undertook their 10th annual

‘homeless sleepout’ week to raise money and awareness. Big love to them!

Not

for leaving your Moojoo cartons, empty sandwich containers and other assortments of rubbish on the tables outside of the SU shop. Be considerate of others and the people who will have to clean up your mess!

The impending Black Friday mania - Seriously

people. Get over yourselves. You do realise that most stores aren’t reducing things any further than they normally would, and that you’re just buying (literally) into a consumerist sham that’s a direct product of the capitalist farce that Christmas has become? Shame on you.

ADAPTING REALITY

Prioritising truth in the depiction of minorities

Shivani Shukla In a world claiming to have entered the age of post-modernism, with its construction of the myths of ‘posts’ (post-racism, postfeminism etc.), the concept of truth is highly diluted and easily doubtable. Thus, it is important to understand the necessity of truth in the depiction of minorities, taking into consideration awareness on the part of the reader to engage with and recognize the circumstances of enunciation. The writer is not participating in the idea of speaking for the minorities by taking up the space belonging to them; instead, the writer is focused on being identified as an ally and a supporter. They seek to recognize the damaging potential of narratives constructed by an outsider, based on knowledge stemming from a dominantconsumptive practice of knowing and engage in a critique of such processes that seek to dehumanize marginalized communities, by reducing them to slurs and stereotypes, fixing them in static identities constructed as the other. Escaping such rigid positionalities that reduce experiences to stereotypes has been challenging. There is a harrowing reality of the constant project of elimination and assimilation that threatens the existence of marginalized communities in different structures functioning in the world. The cinema being produced today fails to acknowledge its responsibility towards the representation of different lived experiences and thus continues to disappoint the world claiming to have entered an age of “posts”. Popular shows and movies habitually employ stereotypical representation, stock characterization, appropriation of experiences and masked racialized narratives. The modern

classic adaptation of the novel The Handmaid’s Tale by Margaret Atwood entered into an array of debates due to its “colour-blind casting”, which turned out to be insignificant when the narrative erased any scope for a discussion around race. Unsurprisingly, a multitude of work, whether consciously or unconsciously, glosses over significant racial narratives of trauma and atrocities. Truth is a word and a concept that is subjective and a construction of the dominant class. It takes into account the knowledge manufactured by dominant modes of production. In the depiction of the marginalized minority communities, one needs to distance oneself from the already established harmful notions of reality and history, that showcase a perspective other than that of the subject matter. Taking this into account, writers, researches, and curious enthusiasts should focus on the histories and biographies being produced by the communities that they wish to talk about. The resulting work would facilitate the critique and dismantling of the presupposed narratives while giving the readers the agency of a different perspective, exposing them to the truth of the communities that have been subjected to misrepresentation in cinema, theatre, art and everyday life. An approach that functions on the ability of the writer’s engagement with the grass-root problems and lived experiences of minorities would also construct a productive space enabling the process of their re-imagination and reexistence. Bell Hooks, in her work Black Looks: Race and Representation brings in the concept of

the “Oppositional Gaze”. The oppositional gaze allows you to negate the impact of misrepresentations, and to engage with the production of images that do not betray the possibility of their truthful representation, instead solidifying it, thus giving more power to Hooks’ declaration in her work, “not only will I stare. I want my look to change reality.” For people engaged in the production of knowledge through representation of minorities, there is a dire need for introspective self-policing of content, for the development of ideas and depictions to be separated from their internalized individual experiences. Grounding themselves in feelings of love and respect, they must cultivate a constant awareness of suffering and separatism, without occupying the space of minority communities. The creator, be they artistic or academic, must take into account the desires of the community they seek to represent, to create art for. One should not violate the community’s desire to be unknowable and opaque; the tendencies to relate, know, empathize or sympathize, should be kept in check in the absence of the community’s consent to be represented, to be depicted by someone who can only imagine and not know. Representations of the minority communities must be conscious of the ultimate goal of the evolution of the world as a safe, equal and humane environment, which facilitates the thriving of the bodies caught in the “zone of non-being”. There is a dire need to support the evolution through prioritizing not the established truth but the lived experiences and the voices of the communities wish to be represented.

OTwo - Arts & Literature

Poetry

Rich, Old Men Shruti Shukla

Rich, old men are coming to town, Big bellied and mouth upturned with a frown, Hair white like ice that they wish would magically turn brown, Their bottoms so full of gold, the density would make them drown. The priests shall run now, sniffing bottoms to show them the way to heaven and away from hell, If Gold rusts, what can iron do? On such thoughts they never dwell, The asses of priests’ overflowing with gold, When will the virtuous of the town become a little bold? Rich old man, falling for thick women in red stockings and gaudy nose rings, Sitting with their cocks hard with excitement, unaware of the knife the town woman brings to cut the strings, The lights go out and the gloves come off, One life is not enough, all you can do is scoff. Not easy to forget those curves, oh! The rich old men are hungry again, Put your garters on, go to the bedroom he calls his church, go get fucked again, The rich old men are burping now, In front of their Christ, the rich old men bow. They might get the fruits of their prayers every night, But one priest says, “In the next life, for food and for life they shall fight.” “God is dead.” cried the sceptic, The rich old men laughed and threw a shoe at the man they knew to be the most pathetic. Illustration: Feya Williams

The best that monologues have to offer Aela O’Flynn asks whether monologues are a great insight into the mind of a character, or just a melodramatic rant.

All the world may be a stage, but if you stroll through the student centre talking to yourself, you might get some strange looks. However, turn to the hallowed halls of the theatre or the printed pages of a book and a lone character speaking in monologue can evoke a range of emotions far wider than simply concern for your mental state. Need evidence? Look no further than the three examples below - all brilliant, but each profoundly different from the next. Macbeth - Lady Macbeth, Act 5 Scene 1 You couldn’t possibly talk about monologues without including ‘the Bard’ himself. Though often regarded as the Shakespeare’s most evil woman, Lady Macbeth wrestles with the internal psychological consequences of the heinous acts she has committed. She becomes obsessed with a permanent blood stain on her hand, a stain that does not exist. In utter distress, she compulsively wrings her hands until she can only wail with despair. This monologue is so striking because it manages to evoke sympathy for Lady Macbeth, despite her utter lack of redeeming qualities and the truly terrible things that she has done. We cannot help but feel her pain, her fear, and her crippling guilt.

“Out, damned spot! out, I say!--One: two: why, then, ‘tis time to do’t.--Hell is murky!-Fie, my lord, fie! a soldier, and afeard? What need we fear who knows it, when none can call our power to account?--Yet who would have thought the old manto have had so much blood in him.” - Lady Macbeth, Act 5, Scene 1

The Importance of Being Earnest - Cecily, Act 2 Perhaps Wilde’s best known play, ‘Earnest’ is littered with witty, and often slightly absurd monologues. The protagonist, Jack Worthing, attempts to ingratiate himself with the upper echelons of society by creating an imaginary brother called Earnest whom he impersonates in town in the presence of high society. In this scene, Jack’s best friend decides that he too should impersonate Earnest, hoping to win the affections of Jack’s young and beautiful ward, Cecily. Once he informs her of his feelings, however, she informs him that they have been engaged since three months before they met. The scene becomes a satirical portrayal of a young girl in love with the idea of being in love. Inches - ‘Any Given Sunday’ In dire need of motivation? Inches recounts the tale of a once hugely successful American football team, who find themselves in a spiral of losses that threatens both the team as a whole and the career of each and every player. Winning is habit, after all. Their coach speaks to the team before their final playoff game about the minute details, the “inches” that make the difference between winning and losing, “between living and dying”. Both the content and delivery here are utterly genius. The resignation in the room is palpable at the beginning of the scene. “Inch by inch”, Pacino ignites the passion of his team. He reminds them that every decision, every pass, every inch that they make on the field could be the one that makes the difference. Delivered by Al Pacino, keep this one for study week, for before a big match, or just for your next 9am. These three examples, though barely scratching the surface, demonstrate the incredible diversity of monologues. Don’t stop here - there is an overwhelming number worth reading from plays, books and movies; Hamlet, Ulysses, Wuthering Heights and Pulp Fiction, to name but a few. Maybe talking to yourself isn’t as crazy as we thought.

OTwo - Arts & Literature

The freedom comic books deserve, and the freedom it needs right now Heather Reynolds gives a brief overview on the history of comic books and their political nature. Comics, like the majority of artistic mediums, have a history entrenched in the politics of the time in which they were written. From early satirical cartoons, to the major comic houses of DC and Marvel today, politics and political commentary have been a key aspect to a lot of people’s understanding of the medium. However, when it comes to the comic book industry, this political undertone has been absent for the majority of the mid to late twentieth century, only returning in the early 2000s. The giants of the comic industry all originate in the early twentieth century, with Detective Comics and Action Comics at the helm. The earliest ‘Superhero’ comics, the ones by which we have come to create the modern standards for what a comic book is and what it entails, held a wide scope for what they dealt with, while still retaining a universal appeal. Captain America, an iconic and staple character for Marvel Comics, made his debut in 1941. This debut was incredibly politically charged. While it remained targeted at all ages, Captain America was first and foremost a direct response by two Jewish-American comic book writers to what was happening in Europe, before America had joined the war. Jack Kirby and Joe Simon were both children of immigrants and were witnessing how their community overseas was being treated during World War II. They created Captain America to represent how they felt America should be reacting, how their America would react to the threat of fascism, even before it had reached American shores.

In its early days, this was easily done by comic creators, and both political messages and challenges to authority were often central in the overall narrative in these major stories. However, this changed, as most media credited primarily in the U.S. did, during the era of McCarthyism. There were no legal censors put in place in the comic book industry, unlike other forms of print media, as in 1954 the industry elected to self-police and subsequently selfcensor what work was distributed. This was done by the creation of the Comic Code Authority, a governing body which screened all comic books which went to print. Unlike other governing bodies at the time, they did not have the authority to prevent the printing of any book which did not align itself with the code. This code forbade a surprising amount of seemingly innocuous things, such as including the words “horror” and “terror” in the titles of work. However, the majority of comic distributors and stores would not stock any comics which did not carry the authorities seal until the late twentieth century, with a few exceptions being made for major titles. This narrowed the scope for emerging writers to engage with political climates, to assess systems and structures through narratives and provide new perspectives, or represent new groups. Any boundaries that were pushed and any risks that were made were done by established writers with a large backing, who were reasonably assured that their work would be sold without the Comic Code Authority seal. What was addressed in mainstream fare had to be done in allegory,

particularly with long running series such as Marvel Comic’s X-Men, who have represented pretty much every minority group at some stage since their conception.

“Captain America was first and foremost a direct response by two Jewish- American comic book writers to what was happening in Europe.”

This continued until around the 1990s, ending in Marvel withdrawing from the Comic Code Authority in 2001, with DC and Archie Comics following suit in 2011. The Code still exists, but is now entirely defunct as both comic creators and comic sellers no longer acknowledge it. This move coincided with a liberalisation of the type of stories depicted by major retailers, with both Marvel and DC running several titles with LGBTQ+ leads, something which was explicitly forbidden by the code. It also allows for criticism of individuals who hold power, such as judges, police officers and elected officials, who previously could not be “presented in such a way as to create disrespect for established authority”, allowing for titles such as Ms Marvel (2017) that critique the powers that be, returning mainstream comics to their origin as an artistic field with the power to examine and pursue politics just like any other.

WHY

VIDEO GAME

Photo: BagoGames

SEQUELS

WORK While Film Sequels Don’t Adam Hilario

investigates the critical acclaim of video game sequels versus the public disdain for film sequels.

Since about 1993, with the release of Super Mario Bros, cinema and video games have shared an inexplicable mutual fascination with each other. With games attempting to become more cinematic and Hollywood attempting to bank on the ever-growing popularity of video games, it seems that comparisons between the two mediums are inevitable. Thus, our expectations of the two also diverge. While we expect the same from either medium, the results, especially when it comes to serialisation, could not be more different. The bottom line: while film sequels generally make less money and are critically panned, video game sequels tend to not only be relatively more commercially successful but are often viewed more favourably through time than their film counterparts. To say that all film sequels are lesser is clearly an inapt generalisation. The most famous exception is The Empire Strikes Back, often cited by fans as the best in the Star Wars franchise. Additionally, with book adaptations like Harry Potter, each iteration of the series grosses more in box office revenue than its predecessor, and arguably increases in quality, at the very least from a special effects standpoint. However as Ralph Waldo Emerson said: “consistency is the hobgoblin of little minds” and these exceptions do not make the rule. The generalisation of substandard sequels

points toward films like Jurassic World: Fallen Kingdom, Grease 2, and any Home Alone that didn’t star Macaulay Culkin. These are the movies that were sold to studios before they ever had a script and the rights are unsurprisingly sold to studio executives and businessmen first, rather than artists. Writers will be hired to make a movie that is similar enough to the original, so it will make money, but not different enough to warrant its existence in the first place. This results in movies that more than deserve its rotten tomato. What is it about video games as a medium that makes its sequels successful? You’d be lying to yourself if you thought game studios were not in it for the money just as much as film studios are. But where games and movies differ is that video games, at their core, are just that: games. Just as France will compete in the 2022 World Cup, despite having won this year’s cup, the player will replay a game even if the gameplay is the same, if only for a few minor narrative differences in where it takes place or who the main characters are. People play games because they have fun playing them. Furthermore, the increasing focus on narrative in popular gaming might even be an asset to the success of game sequels than a hindrance, because it provides enough of a barrier to prevent endless replay but also entices the player enough to buy the sequel. Players want

to continue the story, but still enjoy the game mechanics that motivated them to play the original. It’s also worth noting that the success of a video game sequel is in part dictated by hardware constraints and aided by the rising popularity of video games among consumers. In many cases, it is simply more convenient for a consumer to play a sequel. If a player in the current day with current hardware wants to jump into a franchise, it makes more sense from both a financial and logistical point to buy the most recent game in the series than to find a console from two generations ago to play the first game in the series. Even if they were to do so, the quality of graphics in games have increased exponentially in the last couple of years, never-mind the 40+ years of video game history. This differs from film where film dating back to the Silent Era is easily accessible and, depending on which film student you ask, is of arguably higher quality, To put it simply, video game technology has progressed to the point where playing the original is not only not worth playing for a general audience, but oftentimes the sequel is frankly a better gameplay experience. It is only the serious payers that will find it worth playing an older game whether it be for professional or enthusiastic reasons.

OTwo - Games Photo: BagoGames

Deltarune review: a parallel universe of Undertale Oisín McCorry Developer: Toby Fox Platforms: PC Release Date: Full Game TBC Note: This is a review of the first chapter of Toby Fox’s next title, released as a free demo. The full game is set to be released at future date.

“Smash Bros.” is the perfect franchise With Super Smash Bros. Ultimate coming out this December, Smash is the perfect franchise. Super Smash Bros. has introduced an incredible range of characters who duke it out in a series of unique stages with constantly-changing items at their disposal. Players are spoiled for choice with the sheer amount of characters from both Nintendo and third-party franchises such as Castlevania, Final Fantasy, and Street Fighter. This makes Smash the perfect franchise to allow your imagination to run wild with eccentric matchups. Any game that allows Donkey Kong and Pikachu to go head-to-head is an instant classic. The creative team and creator of Smash, Masahiro Sakurai, is what helped Smash become a perfect franchise. The fruits of their labour are obvious from the polished stages to the creative move-sets they give each character, even characters that would never survive a fighting game. Unthinkable characters like Isabelle from Animal Crossing and the Wii Fit Trainer are somehow slotted into a ragtag cast of characters and are some of the most beloved. Super Smash Bros. has some obscure characters. Ever heard of Shulk from Xenoblade Chronicles? Now you know, through Smash. No idea who Marth from the Fire Emblem series

“Smash saved some series from the depths of forgotten, virtually unknown franchises and put unfamiliar series in the limelight.” is? It’s okay, Smash has piqued your interest now. Smash has saved some series’ from the depths of forgotten, virtually unknown franchises and put unfamiliar series’ in the

Andrea Andres looks into why

limelight. A prime example is Pit from the Kid Icarus series. The first game was released to Nintendo Entertainment in 1986. Its sequel Kid Icarus: Of Myths and Monsters was released in 1991 on Game Boy. After 1991, the franchise went into radio silence. Pit was introduced once again in Super Smash Bros. Brawl (2008) with a major redesign for the modern era. Kid Icarus: Uprising was then created as the third instalment to the series, and garnered positive reviews. No other franchise can introduce unfamiliar franchises to a wider audience like Smash can. Another testament to the creativity of the game is its gameplay. Most fighting games require you to deplete an opponent’s health bar. In Smash, players have a damage meter and inflicting attacks causes the damage meter to rise and once it is high enough you can launch your opponents out of the screen. This makes the gameplay more complex. You must think about combos to build up damage against your opponents, and you have to devise strategies as to how to get back to the stage if you are knocked off. It is an original concept within its genre and no other fighting game has come up with an idea as unique. Smash has room for everyone; whether you’re a casual, all-item, Final Smash kind of player; or a hardcore, no items, Fox only, Final Destination kind of guy. It has cultivated and sustained a competitive community ever since Melee. It is a widely played game in many tournaments such as EVO with its own top players. Smash, with its diverse cast, ability to rescue unknown franchises, unique gameplay, and accommodation for all skill levels, is a magnum opus. A franchise couldn’t get anymore perfect than Smash.

Deltarune marks the second entry in Toby Fox’s 8-bit RPG series, released three years after Undertale. It takes place in an alternate timeline to the original game, with many of the same characters appearing in different roles. The story itself parallels much of Undertale’s plot. However, Deltarune appears to be geared towards people who have played, or at least have watched a playthrough of, Undertale itself. Without knowledge of the first game, many of the references will go over a new player’s head. Deltarune’s gameplay is similar enough to that of Undertale to be recognised as a sequel, yet simultaneously keeps the formula fresh by adding new mechanics, most notably the extra party members. Each member has its own set of moves to use in combat, though no

“Deltarune’s gameplay is similar enough to that of Undertale to be recognised as a sequel, yet simultaneously keeps the formula fresh by adding new mechanics.” character is entirely locked into a pacifist or violent playstyle. In short, it allows for fun, engaging gameplay and a dynamic way to play the game itself. As with the previous entry in the series, Toby Fox does a fantastic job of weaving music into the progression of the plot. Clever alterations to familiar themes heard early in the game help to give a sense of progression to the plot. In a nutshell: While it may be quite short, Deltarune does a great job of building hype for the next few instalments, set to release in the future. In a nutshell: While it may be quite short, Deltarune does a great job of building hype for the next few instalments, set to release in the future.

OTwo - Film & TV

Ralph Breaks the Internet - Disney’s monopoly leaves you with a toothache.

Fantastic Beasts: The Crimes of Grindelwald An entertaining sequel, but nothing more

Ash Gomez

Heather Reynolds

Fantastic Beasts: The Crimes of Grindelwald is a typical franchise sequel. It is largely inoffensive, and carries on well from the original, expanding on the plot threads left hanging at the end of the first film which was released in 2016. It also adds enough new characters and threads that it does not feel like a rehash of what we have already seen. This integration of fresh aspects feels clumsy at the start, however by the end they are all either wrapped up, or left resolved enough that the promised three following features are necessary additions, without the feeling that there was more to be said. That being said, the multitude of plot elements meant that a lot of the storylines went unexplored. Leta Lestrange in particular, played beautifully by Zoe Kravitz, is an incredibly complex character with a heartbreaking story. However, due to the lack of time dedicated to her tale, it loses a lot of its impact. This is a common thread in all of the storylines explored; they are all underwhelming due to the sheer volume of content the film holds. Every culmination felt like just another moment, as, particularly in the second half, every five minutes something large and impactful occurred. This also meant that plot twists within the film were not given the time needed to be foreshadowed correctly, making the majority of them easy to guess. However, there were a lot of strong aspects to the film. The visuals are beautiful, and the special effects were spectacular, when the screen was bright enough to make them out. Also, there was a great deal of strength in the film’s humour. There was a multitude of laugh out loud moments that really did make the film a lot more enjoyable than it would have been otherwise, especially in the first half. Overall, it was an average, if not over-complicated, second part of a five-part franchise. Definitely watchable, particularly if you enjoyed the first, however not very strong as a stand-alone piece. In a nutshell: Although the film is entertaining, fans of the first movie may be left wanting more.

Directed By: Rich Moore, Phil Johnston Starring: John C. Reilly, Sarah Silvermann, Jane Lynch and Taraji P. Henson

Directed By: David Yates Starring: Eddie Redmayne, Jude Law, Katherine Waterston and Zoë Kravitz

In a nutshell: A bright, entertaining film that like all sequels, could be better.

OTwo - Film & TV

Dark chapters on screen: Honouring victims of the Holocaust With cinema being a main vehicle for people to understand history and real-life events being a major source for screenwriters and movie producers,

Anne-Marie Lyons discusses the most poignant depictions of the holocaust in cinema. The world news has often been a source of inspiration for screenwriters across the globe, whether it be a terrorist attack or the death of a leading figure, there is always a film to help the public understand and educate them on world history. The Holocaust is a popular example of this. However, many filmmakers struggle to produce movies that depict one of the world’s greatest tragedies in an acceptable manner. How do you make a film about such incomprehensible events? Some of the world’s greatest directors (for example Roman Polanski) have found such a delicate subject matter hard to replicate in a respectful way on screen. Schindler’s List is an infamous film that explores the atrocity that was the Holocaust. Steven Spielberg’s unflinching masterpiece tells the story of Oskar Schindler, a Nazi businessman who shielded over 1,000 of his Jewish employees from the wrath of the Third Reich. The epic vision trails Polish Jews as they’re evacuated from their homes, forced into ghettos and eventually concentration camps. Shot in black and white so as to show a world drained of any colour or sense of life, Schindler’s List is punctuated by an iconic shot of a single girl in a red coat, which begins Schindler’s transformation from opportunist to hero. Spielberg was hesitant to take on such a film in the beginning, as he was unsure if he was ready to make a film about the Holocaust, being Jewish himself. The epic historical period drama is often listed among the greatest films ever made, with ‘Rotten Tomatoes’ reporting that the film “blends the abject horror of the Holocaust with Steven Spielberg’s signature tender humanism to create the director’s dramatic masterpiece”. Films similar to Schindler’s List, for example Europa Europa and In Darkness are all targeted towards a more mature audience and act as brutal reminders of how cruel and callous that part of history truly was. As hard as it is to portray such horrific events to an adult audience, filmmakers struggle more so when it comes to Holocaust films for teens and children. Few directors have attempted to do so, however the few that have, have created masterpieces in their own right. Films such as The Boy in the Striped Pyjamas make for difficult viewing, however still effectively depict the realities of the Holocaust to children. The story follows a German boy named Bruno who befriends a Jewish boy in a concentration camp, named Shmuel. The intended audience of the film would be preadolescent to adolescents. This audience can relate to Bruno, who is becoming more aware of the world surrounding him. Although adults may find some historical novelty in seeing the aspects of the Holocaust through the eyes of the child, the targeted audience is able to understand and relate to Bruno. They also are able to learn about the atrocities that occurred through the eyes of someone their age - they are able to fully

comprehend and sympathise with characters like Bruno and Shmuel, as they see reflections of themselves in these characters. Films like The Diary of Anne Frank also attempt to teach children about this period of history through the characters within the story. The Holocaust is an extremely disturbing part of the world’s history. As much as we wish to ignore it, it is vital that we remember the appalling and gruesome treatment so many people received at that time. Former Israeli ambassador to the UN, Dan Gillerman said, “as the generation of Holocaust survivors and liberators dwindles, the torch of remembrance, of bearing witness, and of education must continue forward.” Films like Sophie’s Choice, Life is Beautiful, Judgement at Nuremberg and The Pianist all have touched on the harrowing

subject matter of the Holocaust and depicted it in a respectful and accepting way. These films are ageless and will allow generation after generation to be educated and not forget this event in history. Films about the Holocaust are often tear jerkers that stand the test of time for their honest and harrowing human portrayal of life under oppression and serve as a brutal reminder for how quickly freedom can be taken away.

“Films about the Holocaust are of ten tear jerkers that stand the test of time for their honest and harrowing human portrayal of life under oppression”

OTwo - Film & TV

Spotlight: Florence Pugh - From Shakespeare to Gerwig

Emma Kiely is here to predict another young star ready to take the acting world by storm.

There’s always a constant stream of new faces on your screens from all over the world. Pretty, constantly smiling faces yearning for a chance in Hollywood. Despite being in this evergrowing sea of young talent, there’s something about twenty-three-year-old Florence Pugh from Oxford. She stands out with her strong facial features and a voice that would give Sir Ian McKellen a run for his money, even when in the company of some of the industry’s finest. Pugh first drew my attention when she starred as the thieving webcam girl in the first season of Marcella. Her ease throughout her sexual scenes and strength in character as a young girl who has been navigating her way through London on her own made for a perfect accessory to an ongoing murder case. Pugh then joined the stellar cast of BBC’s 2018 adaptation King Lear as Cordelia, opposite Sir Anthony Hopkins, Emma Thompson and Jim Broadbent, to name a few. You would think that a young actress would be swallowed by the colossal talent of her co-stars but that couldn’t be further from the truth. She perfectly enveloped the character of Cordelia

with her strong-willed, head-up demeanor coinciding with her delicate love and devotion to her father, and she and Hopkins were a perfect match. You can now see Pugh in the BBC adaptation of John le Carré’s The Little Drummer Girl. Her scenes with Michael Shannon and Alexander Skarsgård are full of intense chemistry and because of her outstanding features and her electric presence, you can’t keep your eyes off her. Watching her, you can’t help but be reminded of Kate Winslet in her more recent years. A radiating presence but with an understated, cool demeanor. Yet, only in her early twenties she’s able to capture the maturity of an experienced actress in her late thirties and her acting feels light-years ahead of Winslet’s in Titanic, despite being the same age. She is set to star opposite Meryl Streep, Timothée Chalamet and Saoirse Ronan in Greta Gerwig’s Little Women next year which will, no doubt, catapult her to worldwide recognition.

Blast from the past: Paris, Texas

Fiachra Johnston remembers a film that is both a visual and audible journey that draws the audience right into the seat of the protagonist. Many films attempt to bring you on a journey, to see the characters evolve or devolve and become someone different by the end of two or three hours. Very few films, however, succeed in immersing the viewer in the journey itself: having them feel as though they are trudging through the blistering desert, or in the backseat of a sedan at night, as if they were the protagonist themselves. This is where Wim Wenders’ 1984 film Paris, Texas succeeds tremendously. Featuring iconic actor Harry Dean Stanton, Paris, Texas deals with themes of loss and recovery, as amnesiac Travis is found in the desert and brought to his brother (Dean Stockwell) and estranged son, now living in his care. The film then delves into the past of Travis, as he attempts to unravel the last four broken years of his life. This is Stanton’s greatest role. There is a weariness that Travis attempts to hide but is very easily let out, especially in the presence of his son Hunter, both of whom are incredibly wary of each other, not knowing why. Yet despite Stanton’s spectacular performance, it is the cinematography and editing that allow the viewer to experience Travis’ world as if it were their own. Scenes of high contrast, both in light and colour, mixed with an emphasis on mid-to-close up shots, highlight specific elements the director wants you to focus on. It is a film of contrasting absolutes and striking imagery, viewed through the eyes of a broken

man. It would be a tragedy not to mention the soundtrack as well. Scored by Ry Cooder and often sampling Blind Willie Johnson’s ‘Dark Was the Night, Cold Was the Ground’, the music is nearly entirely composed of slide guitar and ambient noise, and the vast loneliness it exudes is positively chilling, and will stay with you as long as the film will. Paris, Texas is one of those films that you can’t seem to get out of your head after seeing it. Those opening guitar chords, the bright lights of the desert, and the final monologue are somehow impossible to forget.

“The music is nearly entirely composed of slide guitar and ambient noise, and the vast loneliness it exudes is positively chilling, and will stay with you as long as the film will.”

Should violence in cinema end up on the cutting room floor? With violence playing a major role in cinema in recent years, we should let it slide, or see it as a major problem. These days, it seems like every second film being released is bursting with violence. With fresh news articles popping up everyday about shootings and bombings, cinema has become obsessed with incorporating elements of the dark side of life. Films feel they need to depict violence with sensational and explicit appeal. The genre such movies primarily cater to is the ‘cop-gangster drama’ which follows a particular formula. Recently, actor Jim Carrey dissociated himself from the movie Kick Ass 2, a movie he starred in, because of the high amount of explicit violence it contained. Perhaps one of the main reasons for violence in films is because audiences nowadays have become more inclined to watch action and killing sequences because they are now termed as ‘entertainment’. Apart from this, the loud background score that such movies offer generally go on to impact the minds of the viewer because of the kind of entreating shock such scenes have to offer. One of the greatest filmmakers of all time, Quentin Tarantino, may have made films that have attained ‘cult’ status over the years. He has been a prominent icon known for depicting on-screen violence in perhaps almost every scene of his films and surprisingly, he himself is not a big a fan of violence. He was once asked about this in an interview with The Atlantic, to which he replied, “violence is just one of many things you can do in movies. People ask me, ‘Where does all this violence come from in your movies?’ I say, ‘Where does all this dancing come from in Stanley Donen movies?’ If you ask me how I feel about violence in real life, well, I have a lot of feelings about it. It’s one of the worst aspects of America. In movies, violence is cool. I like it.” Tarantino’s films are known because of his ability to blend traumatic and violent scenes with comedy sequences as in some of his works like Pulp Fiction, Reservoir Dogs etc. Tarantino’s combination of comedy and violence make his films an easier viewing experience and add to the entertaining appeal of his films, making his

Paurush Kumar ponders whether

work some of the prime examples of violence in cinema. Apart from Tarantino, the iconic director Alfred Hitchcock has also been known for his violent scenes in his voyeuristic suspense films. The brutal shower sequence in Psycho (1960), the attempted murder in Dial M for Murder (1954) or the bread knife sequence in Blackmail (1929) are very uncomfortable as well as shocking from a film-goer’s perspective. Specifically, in Dial M for Murder, the decent suspense thriller was going well until the brutal killing sequence came up and the entire atmosphere of suspense created by it was all gone and could not be further worked upon, as the audience lost interest in watching the film. Apart from the brutal killing scenes in his movies, Hitchcock is more widely criticized for the sexual intimacy his films offer. One such director whose violence has been criticized is the Indian film director Anurag Kashyap. Even though his films are usually raw and rustic, they are widely criticised for the brutality his action sequences have to offer whilst progressing the story forward. The violence in his movies like Gangs of WasseypurPart 1&2 (2012) are testament enough that the kind of violence he has to offer is quite similar to that of Tarantino’s style of execution. But the difference is that he dwells on his violence sequences with extreme melodrama which makes the viewer highly uncomfortable during the cinematic viewing. The background score also adds to the eeriness of his movies. Violence in films has a potentially negative effect on society. The negativity, the sadness, the gunshots, knife stab sequences and blood visuals usually leave the audience shaken and frightened and may have a long lasting effect on our minds, therefore making their cinematic experience extremely unsettling. This kind of violence in films may have an effect on the minds of the people and it is high time that we as a society stop promoting violence in cinema as ‘entertaining’.

Photo: BagoGames

The Fresh Princesses of Alfonso Films

I am greeted by three charismatic women Jo, Emma and Claire, who meet me in the Library Bar in the Central hotel. We all order Americanos (well, Claire opts for a green tea) and we settle down for a chat by the fire. Together the trio aims to bring scripts and ideas together no matter the budget and so far, this has been a success. They begin by telling me a little about themselves and how they met each other. Emma speaks first of how “Jo and I met in college in DCU and we both had moved to London. After two years in London, we moved back to Dublin. We were trying to get involved in the film industry. One day I went to a mixer for women in film.” Claire chimes in “someone introduced Emma and I, as they had reckoned we had gone to the Gaeltacht together.” Time passed and perhaps the stars had aligned, as they separately made their way to another mixer for a short film scheme. Emma recalls, “I spotted Claire in the foyer, I introduced her to Jo and we all got chatting.” The mixer involved trying to put together a team with a writer, director and producer. Claire remembers “I was like ‘oh’ because Emma was there as a writer, I was there as a director and Jo was there as a producer but also had a script.” Emma pitched her script to Claire and she pitched to Emma, ultimately deciding that they were both happy to stop the networking, as Emma said “it was all a bit much.” The girls sat in the back of the room in a dark corner and began to chat. Emma explains that “Jo said she would come on to produce and then we applied for funding with that script and we didn’t get it, but we made the script anyway.” Jo recounts what was said to them at the mixer that day “I just remember them saying this really snotty thing on the day: ‘If you don’t get picked, don’t worry, it’s so inspiring seeing people make scripts that were rejected anyway, because it proves that they really want this.’” The girls all share a moment of disdain with each other and then begin to laugh. Claire agrees that “they did say something like that, and I remember thinking at the time this is good and we were glad that we had met each other.” When asked about the beginning of their working relationship, Emma shares one of their first projects as a trio. “We shot a music video for Darren Morgan on a beach in Arklow.” Darren was a friend of Emma and Jo, so they decided to try something together, just to start out. “The point was to try and get something together and see how it felt and if we

“Their debut short film SPENT (2017) is currently appearing in festivals across the world and has been gaining traction.”

Clara Brannigan chats with the women behind the Dublin filmmaking trio Alfonso Films about networking, Bumble’s top five female force and the role the Fresh Prince of Bel-Air played in their formation.

could work together”. Claire adds “it was like an exercise for Alfonso”. The story behind the name ‘Alfonso’ begins to unfold reluctantly, as they each protest the story behind it is silly. Claire takes the plunge and begins the explanation “you know one of those situations when you’re looking around a room putting two words together, like ‘tablefilms, lampfilms, it was like that.’” The two girls look to Jo and wait for her to explain. “Well the Fresh Prince of Bel-Air was on in the background, we’d been there for two hours, thinking this isn’t important, let’s just pick a name, no one knows us or is looking at us anyway. I saw the guy who plays Carlton and his name is Alfonso and that was it, it became Alfonso films.” From here on out the trio became official. The trio managed to win some funding for their film SPENT. They reminisce on how it felt when they found out they hadn’t been rejected. Emma says “I remember we were at my house and we hadn’t been rejected and Claire and I were freaking out.” They couldn’t believe they were going to receive funding of €40,000. Claire shares that the film may not have been made if she hadn’t said they were being ridiculous, Jo asked “what will we do with 40K? lets do it on three!” Claire reveals the lesson the girls made from this film that “if you can do as much as you can yourself, you can save money. I edited, Emma had written it and Jo produced it and we didn’t pay ourselves.” They didn’t cut any corners regarding production value, but they managed to make it for €4,000, leaving money for future projects. Their debut short film SPENT (2017) is currently appearing in festivals across the world and has been gaining traction. Their latest film, PAT, has been selected as one of Bumble’s five short films for the first ever Female Film Force. Emma begins to talk about the journey to the top five. “We had to download Bumble and through this, we applied for funding. You applied with very little information, just

OTwo - A Chat With...

the company name, who you were and a tagline.” The aim was to swipe and match with people in an attempt to match with the scheme. From there everything began to move quickly for the trio. They were asked would they re-pitch the lead character as female. Jo humorously adds “Emma had a bumble bee in her bonnet over this, but we didn’t want

The trio draws inspiration from women such as Kate McCullough, the Irish female director, who has succeeded in climbing the ladder in the film industry, and has been honoured at the Sundance Film Festival.” it to stand in the way of a chance of winning.” So, PAT was re-pitched as female and the trio were flown to London to pitch with the final ten. They got to meet the likes of Edith Bowmen, Ophelia Lovibond, Nicholas Pinnock, the head of Women, TV and Film UK and the editor of Grazia magazine. Emma recalls that they were “elated and terrified, the head of Bumble was there too, it was very disarming.” When they got back to Ireland, they received a phone call to tell them that “they were in”. Claire exclaims “It all just happened so fast, so we had to get our act together and now we are editing it.” They share some of their experiences around making their short film PAT with the highs and lows of the process. They shot the movie in Dingle in the midst of storm Callum. Emma reflects “we had to keep putting the props like the phone box back in the van because of the rain. We had issues, but everything was handled well.” Claire adds that Jo “definitely dealt with more of the stress on the outside as the

producer.” The trio also share some of their highlights of the shoot, as they graciously speak about the crew. “They knew they were making a short film and they weren’t there for the money, they were there because they love making films. When they were told they were going to have to shoot unexpectedly tomorrow morning for a few hours, no one was getting their noses bent out of shape because of it.” The conversation turns to the competitive nature of the film industry and how it has been a male-dominated sphere. Claire reflects, “it’s funny while directing PAT people kept saying to me, ‘oh that’s really unusual’, which is mad because I didn’t realise there are so few female directors.” They have noticed that the producer role is still female dominated, Jo states “it is probably the department that women get wedged into, because it’s organizational.” The trio draws inspiration from women such as Kate McCullough, the Irish female director, who has succeeded in climbing the ladder in the film industry, and has been honoured at the Sundance Film Festival. Emma agrees “I think we’re coming in at a good time. The landscape is changing, so we are benefitting from other women’s real struggle coming up against difficult situations in the film industry.” They all agree they have seen a shift in the industry even since they started out a few years ago, with the help of campaigns like the #MeToo movement. Jo nudges Claire “remember you said something really good the other day, you said ‘you need to flood the industry with women to make it even, it shouldn’t be let’s make a crew of all women but let’s make a crew of people who support everyone.’” Their hopes for the future are ambitious but not out of reach as they hope to take the leap and make a feature film. Their hard work and dedication paired with competition and opportunities like Bumble’s female film force is a recipe for greatness, Alfonso Films is something worth talking about. PAT’s release date is not set in stone, but keep your eyes peeled around January and make sure not to miss this fierce female trio making waves in the Irish film industry.

OTwo - Music

ALBUM REVIEWS

Tom Odell

John Legend

Jubilee Road

A Legendary Christmas

English singer and songwriter Tom Odell’s new album, Jubilee Road deserves to be on the top of your weekend playlist. His signature style of mixing instrumental brilliance and variable pitches is preserved in this new track-list and showcases the versatility of his voice. From melancholy jazz tunes such as ‘You’re Gonna Break My Heart Tonight’, to the soothing lullaby-like lyrics in ‘Jubilee Road’ and uplifting upbeats of ‘China Dolls’, this album has songs for varied tastes. ‘Half as Good as You’ is my personal favourite, with its undercurrent of sadness and emptiness after a person you love is gone. The duet with Alice Merton sees a perfect merging of two beautiful voices. ‘Go Tell Her Now’ is a wonderful rendition of the feeling of courage it takes to tell a person you love them. The album’s title track, ‘Jubilee Road’, is indeed the star of the album. The song incites nostalgia in the listener with its detailed wordings and Odell’s intonation of each memory, as if they were your own. My heart is stuck on the impassioned piano anthems. Each song has beautiful chords on the piano and the sets can be an album in themselves. The singer’s emotional singing carries you up and down, and through sadness and loneliness, hope and encouragement, with every sonorous note resonating his emotions. The entire mood of the album is almost as if the singer penned his exact thoughts, with soul-stirring lyrics and piano sets. This album is perfect for a day in by yourself.

John Legend’s accessible and palatable brand of jazz made a Christmas album an inevitable step in his ever expanding career. This year, Legend has gifted fans with the cheesy but suitably named A Legendary Christmas. With 8 covers and 6 original songs, the album makes the perfect soundtrack for any festive occasion. Managing to escape the gimmicky feel of many Christmas albums, Legend showcases his musical aptitude and vocal charm on every track. No attempt has been made to modernise or make pop hits out of the classics like ‘Have Yourself a Merry Little Christmas’. These simple, elegant jazz covers are hard to find in any way disagreeable. On his cover of Marvin Gaye’s ‘Purple Snowflakes’, Legend’s vocals are irresistibly dreamy and smooth. ‘By Christmas Eve’ harkens to Bing Crosby’s ‘I’ll Be Home for Christmas’ as he promises “just tell the kids I’m coming, I swear that I’ll be running… I’ll be home by Christmas Eve”. The album closes in grand fashion, with the swinging fun of ‘Merry Merry Christmas’. Its catchy, simplistic chorus and upbeat instrumental break, make this the perfect song for dancing around your kitchen after a few too many mulled wines. In a sea of celebrity Christmas albums, Legend’s offering sticks out for its quality and cohesion. The album is chock-full of sing-along favourites and with that, you can’t really go wrong. Will A Legendary Christmas introduce any new classics into the festive catalogue? Probably not. But will your mam love this album? Definitely.

Shivani Shukla

Sinead Dunphy

This Month in… 2002 Sarah O’Byrne On 2nd December, Peter Garrett leaves Australian rock band Midnight Oil. Garrett chose to leave the band so that he could focus on his political career. Remaining members Rob Hirst, Jim Moginie, Martin Rotsey and Bones Hillman continued to release music together but under a new name. On 3rd December, Mariah Carey releases her ninth studio album Charmbracelet. This was her first album released after her critically panned film and soundtrack, Glitter. Charmbracelet received mixed reviews, earning two out of five stars from Rolling Stone.

On December 29th, a Creed concert in Chicago angers fans when lead singer Scott Stapp forgets multiple lyrics, takes a lengthy leave of absence in the middle of the show and lies down on the stage for part of the performance. The band’s manager issued an apology which included the statement: “We hope that you can take some solace in the fact that you definitely experienced the most unique of all Creed shows and may have become part of the unusual world of rock ‘n’ roll history!” This performance caused four fans to sue the band for reimbursement for their tickets, and asked the judge to consider a class action suit that could have cost the group upwards of $2 million.

On 6th December, following their Vancouver riot in November, another riot broke out over a cancelled Guns N’ Roses concert. This brawl occurred in Philadelphia, after Axl Rose failed to show up yet again. The band cancels the remaining dates of what would have been their first tour in nine years without explanation.

On 31st December, American rock band Phish end their twoyear hiatus with a New Year’s Eve concert at Madison Square Garden in New York City. The band also recorded their tenth studio album, Round Room, in just four days and released it on 10th December.

OTwo - Music

Comeback Tours: Enjoy it in the moment or wait until they’re dead? Cormac Lehnen casts an eye over the rise of the ‘comeback’ tour, as well as looking at the future of holographic tours.

A wave of some of our favourite artists have recently announced their comeback tours, and are set to play Irish dates in 2019. Fleetwood Mac, Bon Jovi, The Cure and the Spice Girls are just some of the acts who will be returning to the delight of their fans. But as exciting as the return of such acts may be, many have become familiar with the disappointment of missing out on tickets. Nowadays it seems everyone is hunting for concert tickets, but no one is getting them as fans look to secondary resale sites in bids of desperation. Have you any dreams you’d like to sell for say... €700? That’s the price some Fleetwood Mac tickets are being sold for on resale sites. Ticket touts have increasingly become somewhat of a plague within the concert industry, leeching on genuine musiclover’s pockets. The recently approved Private Members Bill proposed by Fianna Fáil’s Stephen Donnelly and Fine Gael’s Noel Rock seeks to amend this issue by banning the extortionate resale of tickets for entertainment events and also cracking down on the use of bot software swiping up excess number of tickets. Here’s hoping Stephen and Noel get their much desired Spice Girl tickets eventually! Along with a love for their music, the sellout popularity of these comeback tours speaks to a nostalgic captivation with the past, and the fact that there are fans spending ridiculous amounts of money for resale tickets also bears testament to this fascination. Perhaps the fear of never getting another chance to see some older acts plays a part. The older these bands and artists get, the more desperate fans seem to become; could this be the last chance they ever get to see Keith Richards before he finally

succumbs to death? But in some cases, the death of the artist might not be the be-all and the end-all. If you had the chance to go back in time and see any band or musician perform in person, who would you choose? Without sounding too morbid, if you’ve ever felt some generational dysphoria and wished that you could go back in time and see a deceased artist perform, there may still be hope. Indeed, the future of concerts may soon lend from music history as holographic imagery now makes it possible for audiences to watch music legends of the past perform seemingly in the flesh – giving new meaning to the comeback tour trope. The question of whether these holographic concerts are a technological marvel or macabre display divides opinion and also raises an important question on the control an artist has over the continuation of their own legacy, and maybe even life, after they’re gone. Mitch Winehouse, Amy Winehouse’s father says of his daughter: “We’re keeping her legacy alive, her legacy is not just music now, her legacy is something else”. Her holographic return to the stage “is something that we’re all going to have to get used to” he adds, to the disgust of many of her fans. Set to launch late next year, a 3D projection of the late singer will perform digitally remastered versions of her biggest hits, accompanied by a live band and backing vocalists. These beyond-the-grave performances are not necessarily new as departed icons such as Tupac at Coachella in 2012 and Michael Jackson at the 2014 Billboard Music Awards have caused their share of controversy. Base Hologram, the company which will also roll

out Amy’s ‘comeback’ tour, has already begun the U.S leg of “Pretty Woman” singer, Roy

“The older these bands and artists get, the more desperate fans seem to become; could this be the last chance they ever get to see Keith Richards before he finally succumbs to death?” Orbison’s hologram tour which is set to reach Ireland in late April of next year. The late Prince even publicly declared his disdain for holographic performances saying that they are “the most demonic thing imaginable” adding “if I was meant to jam with Duke Ellington, we would have lived in the same age.” So don’t start getting excited thinking you might be in with a chance of catching ‘Purple Rain’ or ‘Raspberry Beret’ live at some point in the future. Ethics aside, a hologram can ultimately never replace the authenticity of a live performance, something that real-life artists can offer through comeback tours. Although it can afford people the opportunity to appreciate the music of their favourite acts in a unique, if not strange, way, the lack of real crowd engagement could leave fans with a feeling of disconnect. Considering this, it becomes a personal decision; is it worth it? Maybe we can just make do without watching Freddie Mercury at Live Aid for the hundredth time.

Gig guide Rebecca Sibley KOJAQUE 6 DECEMBER THE ACADEMY

Kojaque burst onto the scene in 2015 with a Radiohead-esque music video of him rapping with his face submerged in water while dressed in a bucket hat and Hawaiian shirt. Questionable health and safety (and fashion) choices aside, Kojaque is one of Ireland’s most important hip hop artists. His brutally vulnerable lyrics paint a picture of what it’s like to be young, disillusioned and badly paid in a bleak but poignant rendering of Northside Dublin. With his caustic lyrics and sleek jazzy beats, Kojaque is one of Dublin’s foremost rising stars and one not to be missed this December. Tickets from €17.50 Check it out if you like: Tyler, The Creator, MF Doom, Tom Misch

SPIES

Forgotten classics

Sleater-Kinney - Dig Me Out Sinead Dunphy Sleater-Kinney are a definitive band of the late 90s. Often they’re lumped in with the ‘riot grrrl’ scene that served as a backdrop for their formation. However, Sleater-Kinney have always been musically inquisitive and unafraid to break moulds; not to be boxed in to any one scene or genre. Their album Dig Me Out is perhaps their most critically acclaimed. Released in 1997, it sold well for an underground indie-punk record and became a critical darling. It placed 13th in the Rolling Stone’s 2016 list of the greatest punk albums of all time. Nevertheless, in popular discourse on great 1990s records, Dig Me Out is largely forgotten in the shadows of

“‘Dig Me Out’ was a turning point for the band as it launched them into a new phase of their career, garnering media and critical attention and cementing their place in every rock critic’s musical lexicon.”

Nirvana, Pearl Jam, Soundgarden, Oasis and Radiohead. Dig Me Out was a turning point for the band as it launched them into a new phase of their career, garnering media and critical attention and cementing their place in every rock critic’s musical lexicon. Yet, they still remained underground heroes. Dig Me Out is the band’s 3rd album and the first appearance of drummer Janet Weiss, whose musical intelligence and muscular, primal drumming

style helped to shape the band’s sound into what it is known for today. The record is their most melodic to date and is certainly one of their most personal records. From the infectiously raucous and deceptively simple ‘Little Babies’ to indieballad ‘Jenny’ with its ambiguous, haunting lyrics, Dig Me Out is reflective and emotive, but doesn’t deliver its message to you on a platter. The exception to this, is perhaps ‘One More Hour’, a painfully vulnerable break up song written by Tucker following her break-up with bandmate Carrie Brownstein. In Brownstein’s autobiography Hunger Makes Me a Modern Girl, she described how the recording process of Dig Me Out was an uncomfortable but cathartic experience for them both. The song also contains one of Brownstein’s best guitar riffs to date, the kind that sticks in your head for the rest of the day. While other Sleater-Kinney records are laden with social and political commentary, this one deals mostly with love and loss. The back and forth dialogue between Tucker and Brownstein’s guitars and lively vocals teamed with the noticeable absence of bass guitar made them stand out in a year of rock dominated by masculine solo vocals and heavy bass riffs (think Foo Fighters’ Colour and the Shape or Deftones’ Around the Fur). The punchy dynamic that Sleater-Kinney perfected on Dig Me Out has influenced countless bands that came after like Grass Widow, Yeah Yeah Yeahs and The Kills. Yet, when asked about seminal or definitive 90s albums, rock critics aside, most people have completely overlooked this classic album.

14 DECEMBER BUTTON FACTORY

Dublin-based indie pop quintet Spies have long been criminally underappreciated. While their previous releases have allowed them to cultivate a small but loyal following, the upcoming release of Constancy, their first album in three years, should earn them their well-deserved place in Ireland’s indie scene. Following a hiatus, they spent time writing and experimenting with their sound, Spies have returned this year with a handful of energetic singles that glow with shiny harmonies and warm synths. Catch them at Button Factory on the 14th December for an evening of upbeat electronicinspired indie pop that will drive away the winter blues. Tickets from €15 Check it out if you like: Saint Motel, Bleachers, The Wombats

SIR THE BAPTIST 16 DECEMBER THE ACADEMY Choirboy - turned - hip-hop - artist - turned philanthropist Sir The Baptist’s brand of soulful gospel-influenced R&B is as socially conscious as it is catchy. Drawing on his religious upbringing for his lyrical content as well as musical influences like Stevie Wonder and Aretha Franklin, this Chicago-based rapper melds R&B with addictive gospel hooks that appeal equally to the religious and the secular. Sir The Baptist’s stage name is a play on John the Baptist, stylising himself as a voice in the wilderness like his biblical namesake. His philanthropy, tackling of difficult issues such as domestic abuse and HIV/AIDS, and his founding a charity and an urban church show that this artist is affecting real change on his humanitarian mission. If you’re a fan of uplifting and socially conscious hip hop, head to Academy on December 16th for Sir The Baptist’s Irish debut. Tickets from €17.50 Check it out if you like: Kanye West, Aretha Franklin, J. Cole

Rockin’ Around The Tree: The best Christmas songs of all time Anne-Marie Lyons takes us through the ten best Christmas songs to get you in the festive spirit.

Tis’ the season to be jolly and blast Christmas music to annoy all the Grinches in your life! Whether your go-to is the classic ‘Fairytale of New York’ or the underrated Coldplay ‘Christmas Lights’, Christmas music is sure to warm even the hardest of hearts. Here’s a definitive list of the top ten best Christmas songs to do just that.

The Pogues ft. Kirsty MacColl - Fairytale of New York

No other Christmas song quite brings the joy that the first few chords of this classic does. The Pogues and Kirsty MacColl tell the story of a couple who have fallen on hard times, and the loss of their youth and their ruined dreams. Although not the most joyous of Christmas songs, over twenty-five years after its release it still remains the Christmas song of this generation.

Mariah Carey - All I Want for Christmas is You

The skinny legend herself released this instant hit way back in 1994. The bell-chimes and uptempo beat caused The New Yorker to proclaim this song “one of the few worthy modern additions to the holiday canon”. A Christmas standard that continues to define the season, ‘All I Want for Christmas is You’ is sure to be on your Spotify playlist this Christmas.

Wham! - Last Christmas

A song that was played continuously after the passing of Wham!’s front-man George Michael on Christmas Day in 2016, this heart-breaking track looks on the brighter side of life after a break-up. Wham! released this classic back in 1984 and donated all royalties to the Ethiopian Famine. However, the British duo missed out

on the coveted Christmas Number One spot thanks to Bob Geldof.

Band Aid - Do They Know it’s Christmas?

Geldof, alongside Midge Ure (not mature) penned this classic in 1984, in reaction to the Ethiopian famine occurring at the time. He put together the super-group Band Aid, containing mainly British and Irish musical acts of the time. With such publicity, the song took the Number One Christmas spot and is recognised as one of the greatest Christmas songs of all time. Geldof has produced three other versions of the song, all of which enjoyed chart success.

Justin Bieber - Mistletoe

In 2011, Justin Bieber decided to cash in on his heartthrob image and release a Christmas album, Under the Mistletoe. Although many saw the album as a joke, the lead single went on to become an instant hit. Critics across the world even complimented Bieber on his ability to create an all-year round festive track, “the subtle wintry holiday chimes in the backing track make it obvious this is a seasonal release, but it will not be jarring when included on a standard pop playlist”.

Coldplay - Christmas Lights

This is an underrated Christmas song that not many include in their Christmas playlist. However, this mid-tempo number is perfect to get you in the mood for the festive season. The song charts the argumentative relationship of a husband and wife and how when the Christmas lights surround them their anger subsides and they’re filled with that contagious holiday spirit.

Eartha Kitt - Santa Baby

This tongue-in-cheek Christmas song has been

knocking around since 1953, in which a woman recites her extravagant Christmas list to Santa Claus. The song has had many variations, most notably by Kylie Minogue, and is sure to get you in the festive spirit.

Matt Terry - When Christmas Comes Around

This is often an unheard of Christmas single, but one of the greatest. Penned by Ed Sheeran and sung by the 2016 champion of The X Factor, Matt Terry, the song had success written all over it. However, the song about lost love failed to make an impact on the charts, but deserves to be listened to this Christmas season.

John Lennon and Yoko Ono - Happy Xmas (War is Over) The original Beatles member released this Christmas classic in 1971 to great acclaim. The song was released in protest of the Vietnam War and has since become a Christmas standard, frequently covered by other artists, most notably Celine Dion.

Bing Crosby - White Christmas

This song, originally written by Irving Berlin in 1942, reminisces about an old-fashioned Christmas setting. The version sung by Bing Crosby has resonated globally since its release. The song went on to appear in two of Crosby’s films: Holiday Inn and White Christmas. The song had an unlikely connection to World War II: “In the song’s melancholic yearning for Christmas past, listeners heard the expression of their own nostalgia for peacetime”. Indeed, this astonished Berlin, and many others, and this song of peace and love soon became a most unlikely war anthem.

OTwo - Food

Pâte à choux et Crême patissière au chocolat

Method: PASTRY: 1 - In a pot, put in butter, water and a pinch of salt. When

This recipe is suitable for the upcoming festive season. This French pastry will be a hit at your Christmas party. There’s something about this dessert that fits perfectly with the party spirit, whether it’s the bitesized portion or the oozing ‘crème au chocolat’, who’s to say!

it boils, take it off heat and add the flour. Stir well, put it back on the heat to dry out the mix. Make sure there is no mixture on the sides of the pot. Next, take it off the heat and add eggs one by one, mixing every time with a wooden spoon. 2 - Heat the oven at 180°C. 3 - Put small heaping’s of dough on a tray. 4 - Bake for 20 minutes, until golden. They will puff up, but be careful not to open the oven in the first 20 minutes, or they will deflate.

Ingredients:

FILLING: 1 - Heat milk and chocolate in a pot.

Romane Baland

PASTRY - 100g of butter - One pinch of salt - 125g of flour - 4 eggs FILLING - 400 ml milk - 60g flour or corn starch - 60g sugar - 2 eggs and 1 egg yolk - 60g of baking chocolate (or other flavouring of choice)

2 - In a bowl, mix the eggs and sugar. Then, add the flour and mix. When the milk reaches boiling, pour it carefully on the eggs while stirring. Put in all contents in the pot and heat gently, stirring constantly. It will thicken after a few minutes. Do not put it in when it’s too hot or the egg yolks will cook and make a clump. 3 - When the consistency thickens, take off the heat and wait for it to cool down. 4 - You can then open the choux pastries and fill them with the cream. Pro tip: This recipe is not only for sweets, you can make the same and add cheese on top, this is called gougères in France and it’s good as an appetizer.

An ICE surprise

With Christmas parties already decked up, Shivani Shukla explores what wonders lie in the no-alcohol land. The festive season is upon us, and with it comes stage, thus having the same taste.” lavish mocktails, complete with garnishes. As parties and gatherings where people are Non-alcoholic beers go through the same an added benefit, you will come home ecstatic more often than not, drinking alcohol. There process as alcoholic beers, big brand names like at all the money you saved up by saying no to are some of us who are averse to downing Heineken and Erdinger have created alcoholthe alcohol. There is no need to depend on red ten helpings of mulled wine. Fret not friends, free versions that taste as good. Guinness is bull any longer! this is a brief guide for those of you who are also a competitor with its new lager, labelled For those of us who are keen to throw a party looking for alternatives to the booze-fest that Open Gate Pure Brew for all the true stout on a budget, going without alcohol on the Christmas can be. aficionados. There is a non-alcoholic brand for drinks can be a real deal-breaker. There are Extensive investigation of a few stores gin lovers too, for the same price as alcoholicgazillion ideas on Pinterest for no-tipple mixes, revealed that there are indeed quite a few gin. Previous attempts at alcohol free options and my personal favourites involve coconut non-alcoholic options available on the shelf have been deemed cripplingly unsuccessful in and elderflower tonic water. Make your guests of stores like Higgins, O’Brien’s and Dunnes, the past. The taste and quality of each of the a virgin pina colada and rest easy as you send stocking a range of gin and prosecco to good- above-mentioned options now compete with them off in their cars, alcohol-free. old ale, wines and beers. Some of alcohol- alcoholic drinks. With a steady rise in such beverages, you are devoid wines available are Eisberg and Carl If you are going out with friends and family, definitely in on the trend of drinking mindfully. Jung, for a price slightly lesser than full-blood most bars are happy to serve you cocktails sans If you can’t follow through on the alcohol wines, at €6.50. The friendly purveyor at the alcohol. This is tried and tested, and you Sabbath during Christmas, these options Higgins Off-Licence in Clonskeagh stated that will never be disappointed. Sam’s on Dawson can certainly come in handy when new-year “these wines go through the same process as St. and Fitzsimmons on Temple Bar are my resolutions for dry January are to be followed. normal wines and are de-alcoholised at the last favourites, and the bartenders there whip out

Glitter & Gold Dress to impress this season with a collection of partywear essentials It’s that time of the year again where we welcome sparkling champagne (well, prosecco at least), magical lights and Mariah Carey being added to every playlist on Spotify. This issue of OTwo we’re inspired by all things festive, compiling outfits perfect for any party or occasion. Whether it’s for a dinner party with family, the end of semester drinks with friends or just want a nice Instagram post, Otwo fashion has you covered. This issue’s photoshoot was created with a helping hand from Dublin’s Siopaella, who specialise in pre-loved designer handbags, vintage pieces and their very own Siopaedit collection.

- Shane Cullen, Fashion Editor

Photographer: Alex Fagan Assisted By: Odin O’Sullivan Stylist: Shane Cullen Models: Aoife Ruttledge, Sofia Dragacevac

Clothing kindly sponsored by: Siopaella, 8 Cecilia St, Temple Bar, Dublin 2.

OTwo - Fashion

Photo: BagoGames

The Enninful edition: One year on

Emma O’Regan-Reidy.

British Vogue is gearing up to celebrate not only the holidays this season but also its first anniversary of Edward Enninful as Editorin-Chief. The magazine has teamed up with British clothing brand, Reserved, to launch a New Year’s Eve Party Collection, to produce a number of slinky, scintillating dresses and sharp suits. Curated by Vogue editors Dena Giannini and Holly Roberts, the ten-piece collection alludes to Studio 54 and the gaudy glamour of the 80s translated into the sleekness of 2018. The capsule collection has been promoted with dynamic images created by Argentinian artist, Daiana Ruiz, illustrating the energy behind each piece. This first ever clothing collection by the publication emphasises the metamorphosis of the brand under Enninful’s direction. This collection coincides with the anniversary of the magazine’s editor.

The fashion world had been anxiously anticipating Enninful’s future endeavours since his appointment. At age 18, Enninful was appointed as editor of i-D magazine, the youngest in history to be nominated to such a position at an international fashion publication. Enninful’s appointment to his current role is undeniably just as significant. TV presenter/ entrepreneur, Darren Kennedy, observes that “it’s a massive statement of intent from a publishing house like Vogue to put a black, gay man at the helm of a powerful female title.” Enninful has exceeded everyone’s expectations. Enninful’s predecessor, Alexandra Shulman, was notably criticised for her lack of diversity: there was no black model on the magazine’s cover from Naomi Campbell in 2002 to Jordan Dunn in 2014. His first cover broke this pattern of exclusion, choosing model/activist Adwoa Aboah to grace his first cover. Not only did he include the most popular model of the moment, but instead of saturating her in 2018 trends, he alluded to British Vogue’s heritage. By combining her cool, contemporary image with old glam elements through her peacockblue eyeshadow and silk head scarf, Enninful succinctly created a fresh cover while also acknowledging the magazine’s wide history. In celebration of his year with the publication, four new covers are being released featuring Primrose Archer, Saffron Vadher, Stella Tennant, and Adut Akech Bior. On their Instagram account beneath each cover, British Vogue stated that these are to celebrate “both past and present models shaping the industry today and undoubtedly this next chapter of #NewVogue.” The feats Enninful has completed in his first year at British Vogue are indicative of this new chapter in the publication’s history. We look forward to seeing him at the head of this “#NewVogue”.

The secret’s out from the ruffled feathers of Victoria’s Secret

Shane Cullen reviews the feathers and faux-pas at this year’s Victoria’s Secret show. Feather wings, A-list models and pop music performances: it can only be the return of the annual Victoria’s Secret Fashion Show. The American lingerie and sleepwear giant brought the show back to New York’s Pier 94, after spending the past few years in London, Paris and Shanghai with the aim to make the brand a global name. From their first show in 1995, Victoria’s Secret have gone from strength to strength, bagging some of the best models in the industry to model for them. This year, however, there was a lot left to be desired. The Victoria’s Secret catwalk welcomed both new and returning Angels to the show this year, all gracing the stage in the Victoria’s Secret runway range. New faces to the spectacle this year included Winnie Harlow and AustralianSudanese model, Duckie Thot. Harlow has been making waves in the fashion world over the last four years, such as modelling for Vogue Italia and London Fashion Week. Thot already has impressive credentials to her name, such as being a model for Yeezy and modelling at Rihanna’s Fenty X Puma show in 2017. While the models may have made an impressive list of names, the same couldn’t be

said for the performers. This year the budget stretched as far as The Chainsmokers and Bebe Rexha, a far cry from Lady Gaga performing in ten-inch heels just two years ago. Swedish model Elsa Hosk was given the honour of modelling the Victoria’s Secret “Fantasy Bra”, a handmade piece created from Swarovski diamonds worth over $1 million. Executive producer for the show Ed Razek told the media that 2018’s show would be the “most ambitious yet”. Following the diverse range of models at Rihanna’s Savage X Fenty show back in September, all eyes were on the Victoria’s Secret show if they would follow in her footsteps. Despite selling underwear for bigger sizes, Victoria’s Secret did not include plus size models in their runway segments. Before the show got underway, Razek announced that there were no plans to feature plus size or transgender models anytime soon. Following up his statement, Razek added that Victoria’s Secret was a “speciality brand”. It is unclear if Razek was aware that similar speciality brands have catered to representing plus size models in lingerie on the runway, with major success. If

Victoria’s Secret want to be “ambitious”, taking a leaf out of their peer’s book might be a good start.

That’s so Seoul: Taking high fashion to the streets

OTwo - Fashion

Beulah Ezeugo reviews the futuristic fashion at Seoul Fashion Week.

Last month, the Seoul Design Foundation held their biannual fashion week featuring top South Korean designers. The event managed to prove that the West doesn’t dominate fashion any longer. Seoul, a city famous for K-Pop and K-Beauty is now beginning to change the narrative when it comes to high-end fashion. Although fashion capitals Paris, New York, London and Milan dominate, they still often fall victim to stagnation and repetition. In Seoul, you can expect the unexpected. The city has become recognised as a fashion giant in South-East Asia and international recognition is quickly beginning to follow. The fashion scene intermingles streetwear with high fashion, meaning that the everyday person can equally inspire and be inspired by what they see on the

“The city has become recognised as a fashion giant in South-East Asia and international recognition is quickly beginning to follow.” runway. Although streetwear is an integral part of Korean fashion, this year’s designers dabbled with international trends and classical androgynous designs, with some even

incorporating political and social commentary into the mix. Gee Choon-Hee of Miss Gee Collection brought political commentary to her catwalk. Her models wore oversized t-shirts and sweaters adorned with bright red and blue slogans reading “#Speak,” and “#WithYou”, which were all in support of the #MeToo movement. Designer Myoungsin Lee opted for sophisticated box cut blazers, tailored dresses, and coats in pastel and earthy hues, all in an effort to introduce corporate wear that can empower as well as impress. Discussing the ideas behind her collection, Lee told Vogue, “I want to make clothes that make women feel confident. Working in fashion, I haven’t felt discrimination, but when I speak to women in professions outside, I often do; I wanted to make a uniform for them.” The attendees also managed to showcase their unique street style fashionistas from ages eight to eighty posed for photographs in Balenciaga sneakers, Supreme hoodies and Louis Vuitton bags, decorated with a few vintage pieces throughout. The unconventionality and enthusiasm seen in the street style alone make it clear that fashion in Seoul is quickly evolving. This year’s show leaves no doubt that Seoul is quickly establishing itself as one of the most prominent fashion capitals in the world.

Fashion Flashback: 2008 – The Blair Waldorf effect

Clara Brannigan

It’s 2008. If you turn on the music channel, there’s a woman with peroxide hair and huge bangs sitting on an inflatable whale, it’s Lady Gaga. It was an unforgettable year for pop culture, giving us Twilight, Katy Perry and Metro Station. It had a major influence on fashion trends during this year, with the rise of neon, tiny waistcoats and cropped leggings (worn together). The ‘looks’ from 2008 are something to look back at fondly, but never to be repeated. Fashion had a chaotic time, the ‘out-out’ style was miniskirts, white tank tops and a spray tan to pair with it. Not even celebrities came out unscathed, as many made their debut on the red carpet in short prom dresses, the more ruffles the better. It was the year of the headpieces. Pixie Lott had everyone convinced that boho braided headbands worn around the forehead, with moussed hair, looked gorgeous. The release of Gossip Girl had

“The ‘looks’ from 2008 are something to look back at fondly, but never to be repeated. Fashion had a chaotic time, the ‘out-out’ style was miniskirts, white tank tops and a spray tan to pair with it.” everyone rushing to Claire’s to buy preppy hairbands with bows. Perhaps this could be deemed the Blair Waldorf effect. What a wild time it was for the hosiery industry, The Saturdays left the world inspired with coloured tights, in electric colours in their ‘Up’ music video. Pairing black tights with high waisted shorts was considered the epitome of ‘trendy’. To accessorize this look all you needed to add was a pair of fake nerd glasses that you had picked up from the latest 3D film and you were set. Some may call 2008 cringy, others may call it people living their best lives, in their bolero.

OTwo - Travel

Christmas markets around the world Anna Blackburn takes a look at popular Christmas markets around the world and some a little closer to home.

The smell of pine and hot chocolate greet your nose as the carollers jingle their bells and take a deep breath before their voices turn into the sound of angels singing from above. As far as the eye can see, stalls lined with garland trimming fill the stone streets. Everyone is cold and bundled, but smiling. The snow on the ground makes it feel like you’re shopping in the North Pole. Workers proudly display their craft and are always trying to get you to buy more than you need or can ever afford. One of the most popular Christmas markets in the world is in Tivoli Gardens in Copenhagen, Denmark. From the 17th November to 31st December, the old Station building and Wheelbury Gardens are lit up

“One of the most popular Christmas markets in the world is in Tivoli Gardens in Copenhagen, Denmark.”

with thousands of twinkling fairy lights. The lights and music begin on the 13th December when the Lucia children’s parade walks through the market, but until then there are over 60 stalls to ponder and you can try Danish donuts, wine, caramelised onions and more. If the artist in you is longing for a show, multiple performances are put on including “the Nutcracker” and more in the Valley concert hall. Before you leave though, make sure to stop by the Honey Cake Castle. The “Honningkageslottet” has free admission and you can decorate your own honey cake heart. Christmas markets are just as popular in the US. The Chriskindlmarkt in the Chicago Loop has many traditional German pastries, that pair well with a cup of Glühwein (hot spiced wine) that comes in a souvenir cup that’s decorated in a new design each year. Walking into the Daley Plaza from the 16th of November to the 20th of December is a magical feeling. High school choirs from the suburbs sing at each entrance while the elves collecting money for the Salvation Army ring their bells to each song. If you’re bringing children make sure to meet Christkind, the angel who wears a gold crown and delivers toys, much like Santa Claus. It is a dazzling experience watching the hand-blown ornaments being made as well as the woodcarver making toys. After the market spend the rest of the day in the city ice-skating in Maggie Daley Park or read the story

displayed in the windows at Macy’s. If you are the type of person who likes to go off the beaten track, especially at Christmas, the Striezelmarkt in Dresden, Germany is sure to catch your eye. The market is named in honour of traditional Christmas bread “Stollen” or, in German, “Striezel”. A giant loaf of Striezel is paraded through the streets followed by a ceremonial slicing of the bread. In 1434, Prince Friedrich II made a proclamation permitting open markets in Germany. Initially, the market only sold meats but today you can find a wide variety of items from candle arches, pottery, and Herrnhut stars to blueprints and Räuchermänner (smoking men). This year Dresden celebrates its 584th Striezelmarkt with stalls of traditional treats which include gingerbread and Pflaumentoffel, a chimney sweep shaped treat made with prunes that is said to bring good luck to anyone who eats one. While this market is the most popular, it is also surrounded by eleven other Christmas markets each with individual themes, so spend your holiday getting to explore and discover the uniqueness of each one. If you’re planning to stay at home this Christmas, there is still lots to explore here in Ireland. While there are several Christmas markets here in Dublin, the Galway Christmas Market are a lovely little holiday getaway. From the 16th of November to 22nd of December, Eyre Square is filled with people and lights. Here you can enjoy live music, puppet shows, storytelling, school choir performances, carolling, and carnival games. First year UCD

“While there are several Christmas markets here in Dublin, the Galway Christmas Market are a lovely little holiday getaway.”

student, Luke Connelly shared his experience about Galway’s Christmas Market: “the narrow streets give you a feeling of intimacy when walking through Eyre Square and there’s a real sense of homes hearth. The food is good and the city feels alive whether it’s raining, hailing or snowing.” Christmas markets around the world are popular because they give off a true sense of happiness and bring out a child-like wonder in all of us, so if you’re looking for something to do this holiday season, stop by a Christmas market and enjoy the many beauties of Christmas.

OTwo

Fatal Fourway YOUR WORST EXAM EXPERIENCES

Tara Hanneffy - OTwo Co-Editor: I consider myself to be a pretty fortunate person most

of the time, but there are moments where I find myself internally yelling “WHY ME?!”. A cold December day back in 2014 was one of those times. I was a young first year, and was therefore facing my first ever set of exams in UCD. That was terrifying enough, and to make it worse, my exam on this particular day was for a module that I’d blindly picked as an elective, and wasn’t very confident in. On the day of the exam, I was sitting in Newman, studying away. I was so absorbed that I completely lost track of the time, and managed miss every single one of the free buses to the RDS. Bear in mind that I was completely new to UCD and so I hadn’t a CLUE how to get to the RDS by myself. Not to mention the fact that I was already late. I don’t know how I got there. I think my brain refuses to relive the horror of running as fast as my panicked legs would carry me, all the way to Ballsbridge. Thankfully, the exam went well. If it hadn’t, I think the trauma would have forced me to drop out.

Shivani Shukla - Food and Drink Editor: Contrary to a normal human, I have never

had exam anxiety. It is almost humorous to me (nasty, I know) when people are all panicky and lose their functionality during exams, and there I am observing them instead of focusing on conditions for Pareto optimality. However, this carefree stance changed during the period before my Econometrics exam last year. For the two days leading up to it, I couldn’t stop envisioning myself frozen in the exam hall, tabula rasa. The night before the dreaded day, I had a fidgety sleep. I woke up, walked to the bus stop with my housemate in the dark and rain for the 9am exam, reached the RDS, and then the moment of reckoning arrived. Maybe it was premonition but I looked up to the roof and there it was, a black bat, just hangin’. I, like anyone, was super spooked, but chose to ignore it. As it happens, I froze after seeing the first question. Suddenly the bat flew down, batted its wings into my eyes and all went black. That’s when I woke up. For those of you who are curious, there was no bat on the RDS roof that day, but I did freeze for the first ten minutes thinking about the sinister symbolism of the tenebrous brute. It changed me.

Rory Clarke - Sports Editor: This isn’t a story about my first exam in UCD. No, I was no

rookie. Superior and snooty fourth years, read no further. Once upon a time -my second UCD exam- my energy was low, I had the need for sugar high. I kept to my faithful trick: orange juice. Essentially Haribo but without the-hushed tone-crinkling of wrappers that draws the ire of angry and unfulfilled PhD invigilators. Unfortunately exam jitters, prompted by an unanswerable question (what is the delegation doctrine really?) caused me to lose all control of my hands. In an out of body experience like no other, I watched the bottle tip, teasingly, onto my frantic scrawls. Desperate not to shatter the illusion of a well put together college student, I walked, at a dignified pace, towards the bathroom to try and rescue my exam. I reached into my pocket to produce my UCard, my pass to the holy land of tissue paper. Alas it wasn’t to be. It was then that the guardian of the golden gates saw the phone emerge in my unknowing hand. It was at this moment that I discovered I would be paying €50 for the privilege of handing in a booklet of sticky constitutional law. Where was my keep cup when I needed it most? Argh!

Fiachra Johnston - Art and Design Editor: I swear, Lady Luck had a field day with me

for this one. It’s May, and I’ve decided to head home to my parents in Offaly, planning to head back up the day before my very last undergrad exam to be ready for a 9am paper on War & Peace in Roman Literature (spicy, I know). Just before I hit the hay at about 1AM on the 11th, I decide to check my online timetable; less of a hunch that something might be wrong and more of a “wouldn’t it be funny if my exam wasn’t on the 13th like I thought?” vibe. My exam was not on the 13th. It was on the 12th. In eight hours. Cue twenty minutes of having a panic attack, an awkward conversation with my sleeping dad about needing to catch a bus at 5AM and perhaps the most stressful three hour journey to Dublin and taxi to the RDS of my life. Sleep deprived, shell-shocked, and out of breath, I arrive at 9.30am, seconds before they stop letting latecomers in. I sit my paper, leave the hall, and promptly fall asleep on my friend’s couch for the rest of the day. So after all that, someone please tell me: How did I manage an A- on that paper? Illustrations: Freya Williams & Emma O’Regan-Reidy

APERTURE #4: “WHAM, BAM, PANORAM(A)”

Tara Hanneffy

Spring Mitchell Dylan O’Neill

Conor Cosgrove

Rory Clarke

Laurence Childs Kate McBrearty

Aoibh McGills

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Eoin Dalton