Venue 360

GUS EDGAR-CHAN Venue Co-Editor Our second issue of Venue has made it to print, after two long and stressful weeks, plenty of coffee, and - okay, okay, I won’t lie.

While our Venue team have been busy laying up, I’ve been away from the offices working in London.

So if you’re wondering why this edition is looking particularly pristine, then you have Sophie to thank (and if it’s looking more shabby than usual, you can blame me for not being there to help out). Hopefully, with the help of our freshers-focused issue, UEA’s new, budding first years have settled into the funky Norwich groove. What’s next? Well, our Film section boasts an agenda about gender, our Creative Writing section is all about discovery, and Saoirse has written a lovely guide on what you can get up to in Norwich.

A Facebook comment cited one of my articles last year as a ‘good loo read’. We hope this edition can inspire the same high praise. So sit back, relax, and enjoy! (And for the love of God, try the sudoku!)

Johanne Elster Hanson

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Shelby Cooke

Gabriela Williams

Nick Mason

Jordan Hunniset

Jodie Bailey

Rebecca McDonnell

Rabbit by Fay Austen Icons courtesy of Vecteezy

A revolutionary theatrical portrayal: Othello at Shakespeare’s Globe You know you’re in for a treat when anticipating to see the award-winning actor Mark Rylance on stage (though Rylance’s preferred term for experiencing a Shakespeare play is ‘to hear’). Our excitement was sky high as we attended Claire van Kampen’s production of Othello at Shakespeare’s Globe on Saturday 29 September.

As an actor who was also the first Artistic Director of the Globe in the mid 1990’s, Rylance understands better than anyone the spirit of the company and its values. He offered a spectacular performance, sliding seamlessly into the scheming character of Iago - one of Shakespeare’s most notorious rogues. He has a unique ability to make the audience gape at his character’s deceitful and devious nature, and moments later dance along with him during the end-of-the-play the jig.

The jig reminds you as a member of the audience that the Globe is an experience in itself. One of the perks of the way the theatre is set is that you can stand so close to the stage as to even be able to lean on it if you wish to. The Globe is in its nature very aware of the role that technical elements have on a play. The position of the stage itself, the lighting and even the costumes that actors wear are not mere technicalities in theatre, but a fundamental aspect of how the audience experiences the play and the extent to which one is able to interact with the characters.

The Head of Higher Education & Research at Shakespeare’s Globe, Dr Farah Karim-Cooper recently told The Telegraph that “Using the same lighting and stage design as you do for white actors puts actors of colour at a disadvantage.

There is a danger with traditionally dark, tragic, stage settings, that actors of colour merge into the background.” It is not enough to give a diverse cast the same options if those options are not equal in the opportunities they create for the actors to give their best performance. In regards to this, this staging of Othello was a major success for the Globe. Particularly striking was Emilia’s character, played by the spellbinding Sheila Atim.

Atim was dressed in a functional tunic-sleeved

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Image: Melina Spanoudi

amber pantsuit, enabling her to truly become the vivacious character that speaks her mind and uses body language to convey her frustration at the men who seem to always be in some kind of trouble. Perhaps this is not how Shakespeare would have done it.

According to Karim-Cooper, characters in Shakespearean tragedies often wear dark and, in the case of the female characters, often extremely tight costumes. But this attire would simply not work with Emilia’s character, and the ability of the producers to recognize and cater to this fact had a defining effect on the way her character took the centre stage. Atim was not alone in challenging the typical portrayal of her character in a subtle yet extremely effective manner. André Holland impressed with the subtle and reserved way in which he portrayed the progressive deterioration of Othello’s character into jealousy-induced madness. For the audience, this interpretation of the role leaves you wondering what was the intention behind this diversion from the traditional portrayal of Othello’s neurotic decline? In what ways does this speak to themes of race and racial stereotypes that are explored in the play?

In a lecture published in 1998, the British- Ghanaian actor Hugh Quarshie stated: “Of all the parts in the canon, perhaps Othello is the one which should most definitely not be played by a black actor.” In saying this, Quarshie was suggesting that casting a black actor to play this role risks a potential validation of the racial stereotypes that can be found in the play.

The truth is that it is neither right nor in any sense helpful to have a white actor take on the role of a black character in the world of theatre, which, despite some progress being made, still lags behind in diversity and opportunities. André Holland’s performance itself is perhaps a solution to this dilemma: through his acting, Holland constructs an identity for Othello which dismantles any potential compliance with these stereotypes in a revolutionary theatrical portrayal of one of Shakespeare’s most well-known characters.

Melina Spanoudi

Review of Rambert - Life is a Dream Life is a Dream follows a different format than the shows Rambert usually bring on tour; instead of a myriad of pieces performed separately between intervals, this production focused on something like a full-length play, drawing on a range of influences.

The dance show is primarily based upon the play Life is a Dream, written by Pedro Calderón de la Barca circa 1635. De la Barca`s play is about a man who, having faced incarnation throughout his life, is finally released for a single day.

Rambert’s production team have taken this further to show that whilst incarcerated one’s creative ability might thrive within the silence.

Here, in the Norwich Theatre Royal, we watch the man choreographing and directing the company of dancers whilst sat at his desk, like a puppet master with his strings. The costumes

were beautifully tailored to the performance and blended well with the sets and stage design. The lighting allowed the dancers’ movements to be tracked across the stage as they moved in and out of the light for added effect.

Alongside the lighting effects was an abundance of incredibly detailed projections that added layers of detail onto the performance, particularly when the main character was dreaming of the outside world.

The strong company of dancers were accompanied by an outstanding live orchestra, masterfully conducted by Paul Hoskins.

Overall the performance was engaging, as to be expected from Rambert. It was certainly a performance designed to stretch the boundaries of contemporary dance and provided an insight into a very different genre.

Concrete Book Review

Roo Pitt

Things to Make or Break by May-Lan Tan Though it’s incredibly frustrating, I’ve always adored ‘snapshot’ stories, which only reveal a small piece of a bigger – but ultimately nonexistence – picture; the rest is up to us, the readers, to conjure up. In Things to Make and Break, MayLan Tan takes this notion of ‘snapshotting’ to a whole new level; glimpses of lives, loves and losses are scattered across the pages and woven into each of the characters. Her writing is beautifully adorned and painfully blunt. Her exceptional ability to adopt a variety of voices and tones makes it no wonder that Tan also works as a ghostwriter.

An overarching feeling of fragility, obscurity and imminence permeates each tale. Many of the stories detail a short space of time or a single event, expanding it as far as is possible, until there’s nothing. The time is past, the event is over. A couple’s therapist, who they see because one of them had been meeting a female dominatrix, advises they stay in a hotel. The love affair between an actress and her stunt double dissolves after the latter sustains an injury on set.

Two children play hide and seek, though one has learnt a disturbingly different set of rules. A retail Image: Public Domain Pictures

worker, responding to an ad in Time Out, meets a couple and agrees to an unlikely proposition. The reader is constantly dipped in and out of stories, catching only a quick flash of the differing realities present in each. It’s odd because these aren’t stories where much ‘happens’, although the collection is laced with some critical moments, such as when a sex worker takes up a client’s proposal without knowing the specifics of it, or when a character realises that his twin has been sleeping with his girlfriend. Yet, even without much plot, Tan’s writing managed to rouse the strongest of emotions in me, from nauseating dread to cat-like curiosity. I wouldn’t go as far as to say you’re ever left with a cliff-hanger, it’s more like an abrupt end to an intense scene that you’d expect an aftermath to. But Tan provides nothing of the sort. It’s time for the next frame; the next story. Snap.

The blurb describes the stories as ‘hallucinatory’ – I don’t think there’s a better way to sum them up. Some of them pervade the dark corners of reality, others orbit the very edge of it. If you like mysterious, eerie tales with ambiguous endings, this is the collection for you.

Holly Purdam

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This Is How We Bite Our Tongue Michael Elmgreen from Denmark and Ingar Dragset from Norway have been an artistic (and at one point, romantic) duo since 1995.

Through installations, sculptures and public performances, they explore current themes with their characteristic mixture of inventive honesty and biting humour. Their new exhibition in London features everything from a Christlike figure suggestively strapped up at a glossy crucifix, to real shots of whisky offered up at an old wooden writing desk. (I declined).

Another installation at Whitechapel that I recognised was Modern Moses. Conveniently placed at the top of a staircase, the artwork features a 24-hour cash machine with an abandoned baby sleeping peacefully underneath it, as though at the foot of an altar. The juxtaposing of values is a striking and recurring feature of Elmgreen & Dragset`s work; in another room we see a large poster reading “CAPITALISM WILL COLLAPSE FROM WITHIN” that has slid down on one side to reveal an inbuilt coded safe.

This Is How We Bite Our Tongue at the Whitechapel Gallery in London is the Scandinavian duo’s first survey exhibition in the UK. This does not mean that they have not made themselves seen and heard in England before; in 2011 they were given a spot on the fourth plinth on Trafalgar Square and got into an argument with then-mayor Boris Johnson, who feared they would call their sculpture of a young boy on a rocking horse an “anti-war memorial.” The sculpture of the playing child was actually meant to serve as an antidote to the looming war heroes on Trafalgar Square – “although Nelson is a little camp, too, when you see him close up,” Dragset told The Guardian.

The Scandinavian duo also has an on-going project exploring ways to profile oneself and be remembered. The second room of the exhibition is full of ‘self-portraits’ but no actual pictures – instead various exhibition wall labels have been enlarged and are presented as self-portraits.

Another installation features two rectangular white shapes – marks left on the wall by pictures that have hung there for years and then been removed. It is called Portrait of the Artists, and the absence of any self-image provides a humorous yet thoughtful comment on the recent selfie culture.

The exhibition at Whitechapel Gallery features various pieces from the duo’s more than 20 year long career, including one new commission; the ground floor of the gallery has been rebuilt and so the first installation of the exhibition is a vast, empty and abandoned swimming pool. This is the fictional Whitechapel Pool, meant to have been built in 1901 to serve as a public amenity.

The pool is dry and full of dirt, white and turquoise paint is coming off the walls in large flakes.

The project of the democratic civic space has clearly failed and the result is eerie. This is not the first time that Elmgreen & Dragset have used swimming pools in their art. When I went to see their 2014 exhibition Biography in Oslo, one of the major installations featured a man floating face down in the crisp, turquoise water of a private indoor pool. He was clad in a shirt and tie and had seemingly drowned in his own wealth.

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Photo: Geograph.co.uk

Sexuality is another major theme dealt with in their art; the installation Gay Marriage – two urinals united through twisted drainpipes – is perhaps the most famous example of this. When the artists sculpted an effeminate merman, to be placed at the seaside in Elsinore, Denmark, the reactions were many.

To transform the statue based on H. C. Andersen’s story into an image of gay beauty was seen as somewhat insulting, even to the seemingly liberal Danes. It is therefore no surprise that the duo is preoccupied with marginalised voices – another on-going project is their various sculptures of housemaids, complete with black and white outfits and matching subdued postures. They keep cropping up in all their exhibitions; the one in Whitechapel was visibly pregnant. Elmgreen & Dragset’s art bites its tongue, but speaks volumes.

Johanne Elster Hanson

expectation vs reality FIRST YEAR

Freshers is difficult. And it is even harder when you have Week 1 to tackle simultaneously. Who knows when the best nights to go out are, how to complete the introductory work on a wicked hangover, and how to embark on a new and improved social life?

Having cooked very little at home (the odd omelette here and there, perhaps even a stir fry), I was very worried about what my concoctions were going to turn out like.

However, I found myself cooking a great deal in first week. Whether that was becaue of the inevitable hangover, or feeling like I didn’t have much to do in first week, but the meals just kept coming. One think I have definitely learnt is that halloumi is going to play a big part in my life this year.

Sweet potato, humus, and bread also feature.

phot o: ma rgue

rite

| flick

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But the nights out a very much similar to how I thought they were going to be.

Too much alcohol, and whole lot of peer pressure, equal a recipe for disaster.

However, one thing that this has taught me, is to be selective. I think, going forward, my nights out will be few and far between. The best kind of memories, and the funniest nights, are when they are spontaneous, and an event that I have been looking forward to. Enjoying the company of friends, on campus, at home, on a night out, is what I truly look forward to.

Saoirse Smith-Hogan

Image: HIELKE BOORSMMA FLICKR

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American (M)animals American Animals has been compared by Stuart Kilmartin to Fight Club, but (as Kilmartin himself notes) David Fincher’s film is far less damning of its protagonists, criticizing their hyper-masculine violence, yes, but offsetting that with a clear enemy in consumer capitalism. In American Animals, the lonely thieves are never valorised.

We pity them, we see aspects of ourselves within them, but never aspire to be them.

However critical Fight Club is, it fetishizes certain “masculine” values: strength, brotherhood, stoicism. We have all met someone who aspires towards Tyler Durden (Brad Pitt): they corner you in bars, rattling off complaints about the modern age and the system and the growing femininity of men, Chunk Palahniuk’s original book under their Miquel C, Wikimedia

On September 9th, famed ornithologist Hubert Strorman left Portsmouth’s No6 Cinema in a right huff and started ranting in the street. The rant was so vitriolic, loud and sexist that The Portsmouth View actually reported on it.

The film was American Animals, a true story of a group of college kids who attempt to steal several rare books, including The Birds of America. Several weeks later, Strorman took to Twitter to issue a non-apology and further criticize Barry Layton’s heist film for not having enough sex appeal and, most importantly, not actually being about birds.

Strorman’s reaction may not be that of any majority, but it does illustrate how successfully American Animals deconstructs the modern male psyche. Its quartet of white male leads are looking for something to make them “special”, to break out of their comfortable lives by pulling off a heist.

They are the bored, entitled males of the 21st century, ruled by the pressure to be great, to become “something more”, to achieve. At one point, budding artist Spenser (Barry Keoghan) laments that, while Van Gogh and other artists had some great pain, he has no such obstacle to fuel his work. But when everything in society is built around you, what else can you be but mediocre.

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arm. You wonder to yourself, “Isn’t the first rule of Fight Club not to talk about Fight Club?”. One can only speculate as to whether Mr. Strorman takes Fight Club as a parody or a rallying cry of hypermasculinity, but the latter seems more probable.

Not only does “American Animals” escape this valorisation, but it also changes its view of what toxic masculinity is. Its characters aren’t ripped (save maybe the ever-exercising Chas (Blake Jenner)); they aren’t freakish exaggerations of men. Instead, their masculine failings come from a constant desire to be above others, their belief that they have inherited the Earth and that they are owed greatness. Durden tells us “you are not a beautiful and unique snowflake”, but the robbers in American Animals are the toxic males of Generation Snowflake.

They also have no direction. When Warren (Evan Peters) rails against the monotony of the modern “system”, Layton frames him more like a Fight Club fan straight out of sixth form than Tyler Durden himself. We are not compelled by his rhetoric.

He is a ridiculous (and relatable) nobody, who believes the world revolves around him.

He is like an angry Y-list celebrity ornithologist, rambling incoherently about how it just isn’t fair anymore.

To read this ful article, visit Concrete Online.

Adam Maric-Cleaver

CMBYN: A critique of hypermasculinity Taxi Driver and Fight Club are two of the usual suspects up for discussion when considering films that comment on mascuinity and its poisonous effect on the male pscyhe.

Though each of them satirises and warns against toxic masculinity, they fail to show how the rejection of masculine ideals can lead to greater happiness. One such film that does so is Luca Guadagnino’s Call Me By Your Name.

The film follows the teenage son of a University Professor, Elio (Timotheé Chalamet), and the Professor’s slightly older graduate student, Oliver (Armie Hammer). When Oliver is invited to the Professor’s home in northern Italy for a summer, Elio is faced with questions regarding his sexuality, as he begins to form an intense sexual relationship with Oliver. Despite the romance, a deeper message is seen within the film, which comments on how adherence to traditional heteronormative romance and masculinity can be harmful. At the film’s beginning, Oliver appears to be a hypermasculine idol.

He’s handsome, charismatic, carefree and lives life to the fullest. This is highlighted by his rabid consumption of whatever life offers – drinking entire glasses of orange juice in one gulp, d a n c i n g wildly with

numerous partners and seizing opportunities. At first it seems that Elio wants to be like Oliver, he copies some of his mannerisms, such as openly wearing a star of David necklace despite his mother (Amira Casar) referring to their family as “Jews of discretion”, and joining in activities like swimming and scenic walks. Elio’s initial attempt to copy Oliver is arguably a misinterpretation of his feelings. This might be a traditional masculine response, which masks the fact that Elio is attracted to Oliver and is therefore gay. It is through his sexual relationship with Oliver that Elio seems to open up and freely enjoy life. When he has sex with Marzia (Esther Garrel), he enjoys it, but he uses it as a source of pride and braggs about it to Oliver. However, the lack of a real romantic connection with her means he misses out on the happiness that is traditionally associated with a first love. On the other hand, when he embraces his identity and first has sex with Oliver he experiences true ecstacy It

seems that when Elio conforms to traditional heteronormative ideas of romance, taking the masculine ideal of finding a beautiful girl and sleeping with her, he is not fulfilled. It is only through rejecting the societytaught patriarchal scripts that he is able to satisfy his romantic and sexual needs.

This is further supported by the monologue Elio’s father (Michael Stuhlbarg) gives him at the end of the film, which highlights the fact that men and boys are told to repress their emotions, to reject sadness and heartbreak in order to portray the stylised stoicism shown off by masculine icons like Sean Connery or Steve McQueen. “We rip out so much of ourselves to be cured of things faster than we should that we go bankrupt by the age of 30 and have less to offer each time we start with someone new.” It is of no use being masculine in the traditional sense. A new modern masculinity is needed, where a man can be a man but still love, lose, win, fail, be broken, and pick himself up. He is able to improve himself through acknowledging his past, and hopefully building upon it. Elio Perlman, one of the most wonderfully portrayed characters in modern cinema, is less of a hypermasculine man’s man, and instead is who all men should aspire to be, even if just for the chance of a beautiful summer with true love.

To read this full article, visit ConcreteOnline.

Topher McCulloch, Flickr

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REVIEW: The Wife

As the adage goes, and as memorably sung by The Eurythmics in Sisters Are Doin’ It for Themselves, “Behind every great man is a great woman.”

Björn Runge’s The Wife, adapted

by Jane Anderson from Meg Wolitzer’s novel, deconstructs that cliché and transforms the archetype of the loyal wife of a male genius into a believable, fundamentally human character.

Joseph Castleman (Jonathan Pryce) receives a phone call informing him that he’s to be awarded the Nobel Prize in Literature and his wife Joan (Glenn Close) listens in. Her face portrays a kaleidoscope of emotion, from pride to loss, and yet retains a mask of unknowability. Glenn Close has built her career upon playing strong-minded women, from Fatal Attraction’s Alex Forrest, and the Marquise de Merteuil in Dangerous Liaisons to Patty Hewes in TV series Damages, but her performance as Joan may well finally win her a long-

Venue’s F-Rated

A recent invention from Holly Tarquini of the Bath Film Festival, the F-Rating rates films based on the female contribution to the film’s production.

To be triple F-Rated (a high honour), a film must feature substantial female leads, be directed and written by a woman.

Lady Bird (dir. Greta Gerwig) A truthful look at a mother-daughter relationship

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deserved Academy Award. Pryce is excellent as the narcissistic author, but this is unmistakably Close’s opportunity to shine.

With sardonic humour and intelligence the film places the sidelined Joan centre stage as the Castlemans are flown to Stockholm and swept up in the pomp of the Nobel ceremony.

Joan must endure a series of humiliations, from being relegated to shopping trips and beauty treatments, to picking Joe’s clothes up off the floor and being repeatedly introduced as Mrs Castleman… the wife. She lowers her head as she sees him eyeing up an attractive young female photographer, but she isn’t the submissive, longsuffering cliché. “Don’t paint me as a victim,” she says with a tight-lipped smile to probing journalist Nathaniel Bone (Christian Slater), “I am much more interesting than that.”

We soon learn from a series of flashbacks that Joan’s talent as a young writer surpassed that of her husband, but the ingrained during the testing time of the teen years. It’s a massively challenging but important relationship in a woman’s life that is so often overlooked in other coming of age dramas. – Evlyn Forsyth-Muris Cléo from 5 to 7 (dir. Agnès Varda) Agnès Varda, the mother of French New Wave, wrote and directed this innovative feminist classic. Following singer Cléo in real time as she waits for the results of a life-changing medical test, it’s a stunning portrait of a woman struggling with her identity. – Laura Venning Obvious Child (dir. Gillian Robe-

sexism of publishing confined promising young women to pouring men’s coffee.

“Without my wife I am nothing,” Joe announces proudly, as if expecting another award for his humility, while Joan looks on, silenced and ignored. As tensions simmer and their struggling writer son David (Max Irons) brings a revelation to light, decades of Joan’s repressed rage come rising to the surface.

She will not be silenced any longer. A compelling and adult drama, it’s a fascinating study of how patriarchy entraps and suppresses the female creative voice in order to uphold the myth of the untouchable male genius. And yet Joe and Joan - their names mirroring each other beautifully - can’t be so easily cast as villain and victim.

“My wife doesn’t write,” says Joe with a self-satisfied smile. But in Glenn Close’s extraordinarily subtle performance pages upon pages of unwritten words seem to come bursting out.

Laura Venning spierre) A real, honest and touching experience of a taboo subject – abortion – without demonising any of the lead characters. It stays with you long after watching it and makes abortion feel like something that your neighbour goes through. – Evlyn Forsyth-Muris Fish Tank (dir. Andrea Arnold) Arnold captures the complexities and intensity of comingof-age as a young girl in a working-class estate, and dramatizes the female psyche by exploring the relationship of three women at three different stages of life. - Shelby Cooke

Animal print: trashy or trendy?

Of course, people of all ages and genders can wear whatever they want, especially if it is being worn ironically.

Animal print has been a popular choice of clothing since our ancestors wore the pelts as a means of protection during the cold winter months of the prehistoric age.

Since then their use as a necessity has evolved into a use to show possible mates in night clubs that you drink only coconut rum and will dance to anything by Nicki Minaj.

The real question of this article is can animal print ever really be considered classy? The short answer, No.

In my humble opinion animal print can only be worn by a member of the cheetah girls, because if they wore anything else it would frankly be brand treachery.

I personally believe that if someone entered the office in full zebra print looking for a job I would give it to them, not only for their boldness, but also because as I work in a zoo, they would make good fodder in the lion enclosure.

Unless you are Shania Twain in the 1997 hit “That Don’t Impress

Me Much”, full head to toe animal print should be avoided, on a side note, it should be reported that if anyone want to get me on a night out, all they need to do is play the first seven notes of Shania Twain’s “Man, I Fell Like a Woman”, and I will be out the door before she sings “let’s go girls”.

The idea that animal print is sexy but stem from an ancestral instinct that drives us to find a mate who can kill predators easily, so in a way, when women wear animal print they are using it as a statement of feminism, this is what I hope is going through the minds of all who wear the supposedly “sexy” clothing.

I for one, would like the encourage all readers to steer away from Animal print clothing in the future.

Ted Clark

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Chanel’s global office moves to London Chanel is known for its iconic fashion choices on worldwide catwalks and its dedicated stylists, such as Lagerfeld.

However, the luxury fashion brand rarely surprises us in the way that it has recently.

It surprised the business as well as the fashion community that they are moving their global office to London.

Many businesses have recently looked at moving their global offices to Ireland and other EU member countries because of the risk associated with the outcome of a Brexit no-deal for the UK. Chanel’s choice in city, therefore, offers us a glimmer of hope - at least one global brand believes that the UK will still be able to maintain its trading platforms after we leave the EU in March 2019.

Chanel makes a considerable profit each year from trading across all continents, but most predominantly in Asia and Europe. This causes us to question the effect that trade tariffs and border control will have upon the materials used to create such stunning outfits, alongside the travel of wardrobe assistants to other fashion weeks in European cities such as Paris and Milan.

According to the BBC’s Dharshini David, “[t]he fashion industry contributed over £32bn to the UK industry in 2017, according to the British Fashion Council. That’s an increase of 5.4% on 2016, making it one of the fastest growing sectors of the economy.” (BBC) It is clear that keeping the

Celine goes South

fashion industry’s largest companies within the UK’s borders is vital to the consumer market, and that the economy needs as much support from bold companies such as Chanel as it can get to help it stabilise as we enter a period of increased uncertainty.

Chanel has described their bold move as being driven by a need for a simpler “business structure”. Is this going to start a trend of simplifying business structures in other business sectors if this move pays off?

Or will this be a catastrophic mistake for Chanel and the luxury fashion industry? One thing is for sure, businesses and fashionistas alike will be watching the world’s stage to see what happens next.

Gabriela Williams

Celine was the brand for every woman, but now it seems it’s for one kind of woman. The woman who only wears monochrome because she hates the world - I’m sure it’s a look we’ve all worn, perhaps on a Monday morning. But it’s not Celine. The old is gone. Tradition no longer holds cultural capital.

I listened to the ex-Creative Director of Celine, Phoebe Philo, at Vogue festival; she was eloquent and sure of herself. Her collections reflected that.

Slimane, however, is not. She seems to have torn the brand apart to make a statement, and not a good one.

You’d have to try really hard to hide from the Heidi Slimane beef on Twitter, let alone the rest of the internet.

No one liked the new Celine collection and it showed. Titles like “Mamma Mia, here we go again” critiqued the repetitive nature of her collections.

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I would wear the new Celine. I like boyish suits and razor sharp lapels. But if I wanted that look I’d go to Saint Laurent, Comme des Garcons and then to Topshop, as I can actually afford to shop there.

Jokes aside, Celine was for a refined woman and it seems she’s entering a mid-life crisis. A crisis the fashion world has no tolerance for.

David Maloy

‘What’s In My bag?’

The Youtube trend we love to hate

“Let people have their fun”

“Indulges our nosiness”

‘‘What’s in my bag?’ videos aren’t hurting anyone, are they? Let people have their fun! While I don’t often watch them myself, I can easily understand their popularity.

Watching ‘What’s in my handbag?’ videos on YouTube are not useful. Every Woman’s handbag is a personal space, tailored exactly to the individual’s needs. More simply put, you do not need someone to tell you to put a notebook and expensive lip balm in your handbag.

Not only are watchers able to get recommendations for products from their favourite vloggers, but it also offers a little bit of insight into their lives. If you’re a fan of a particular vlogger, it lets you get to know them just that little bit better and can possibly help you organise your own bag (and life) a bit more as well! These YouTube videos also include different sub-categories, such as ‘What’s in my travel bag?’.

While writing this I had a video by Zoella about what she takes in her carry-on luggage playing in the background, and I actually found it pretty useful – I came away with a book recommendation and a reminder to buy a spare camera battery!

Surely they can’t be that bad for us.

Isabelle Siddle

Okay, maybe that is a slight exaggeration. While these videos aren’t particularly useful in terms of practicality, they allow us to indulge our nosiness and curiosity about other people’s lives.

Seeing what is in someone else’s handbag is like peeping into their life. So while these videos aren’t useful, they do satisfy our nosy tendencies.

However, one thing I particularly don’t like about these videos is that it’s just a way for vloggers to advertise expensive ‘must have’ products to young girls. Which doesn’t sit well with me.

Mia Riana Shah

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SO WHAT EXACTLY IS...

PUB AND PADDLE

The most innovative and exciting idea to come out of the Norwich activity scene, pub and paddle hs something for everyone. Whether you are looking for a date idea or something to do with a friend, pub and paddle offer a two-person rowing boat, with the idea being for the both of you to row down the Norfolk Broads. You are given a map, with the location of different pubs dotted along the route for you to stop at for a drink. Fun for everyone!

URBAN JUNGLE

A lunch time destination with a twist. Ever been dragged around garden centres as a child by your parents? Forced to take an interest in the plants and the fish? urban jungle offers this, but in a way that feels most enjoyable. Not only do they offer a range of food and drinks, but one is free to enjoy these treats on little sofas dotted in and around the plants and trees. Moreover, you can enjoy a little look-around on what’s to offer outside, from orchids and daffodils to wisteria and some very, very, large rooted trees. Urban Jungle will completely change your perception on the ‘garden centre’ experience.

PLANTATION GARDENS

A perfect thing to do on a sunny day! The plantation gardens, quite like urban jungle, is home to an array of plants and flowers. When you first enter, in which you may be asked to make a donation, you are greeted with a towering palm tree, an old antique fountain and beautiful lawns. Picnics, day drinks and outdoor film experiences are recommended and enforced, for an effortlessly enjoyable time in a beautiful location.

SEA PALLING SEALS

Who doesn’t love the sea side? Sea Palling, a moment’s drive away from the heart of norwich, is a sandy resort for everyone’s needs. The fresh sea air is perfect for clearing one’s head from the hardships of university, whilst the seals that dot themselves along the shore create a more memorable experience.

Seals are rare creatures, and seeing them, happy and healthy, in the UK, is an exciting time. Additionally, just down the road, is Horsey Windpump, which is a National Trust property, and allows you to give back to the local community.

EATON PARK CRAZY GOLF

The best activity when you don’t know what to, and when you want somethin easy and fun to be getting along with. Not only does Eaton Park offer sports facilities, chilling facilities and potential food facilities, it also offers a crazy golf extravaganza. 18 holes of pure joy. Pirate island, located on the outskirts of Norwich City Centre, contains plastic animals and moving bridges and also a driving range, to practice your swing.

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THERE TO DO IN NORWICH? A NOTE FROM GUS..

I wouldn’t be lying if I told you that UEA was, in fact, my fourth choice of Uni. Manchester didn’t want me, and I didn’t get the grades for both UCL and King’s College (nor for Norwich, but luckily UEA also stands for University of Easy Access). I also wouldn’t be lying if I told you that, more than two years later, I’m exceptionally happy that I find myself at UEA. Away from the hullabaloo (and extortionate rental prices) of city life, UEA is a middle-of-nowhere paradise. A very middle class, white one at that (and I’m only one and a half of those things).

You can choose to relax with open mics, bar crawls and the siren call of a Thursday night at Loft, or you can choose to get down to business - Norwich doesn’t have the frantic, demanding pace of a major city, nor is it so slow-going that festering is your only option. Sure, The Tab voted it as one of the UK’s most boring universities that one time - but a night at Gonzos or some wheelbarrow-centric fun in the square would set them straight.

UEA also boasts - and I promise this isn’t just chest-puffing (though that’s definitely part of it) - an incredible student newspaper in Concrete (and a, ahem, just as amazing arts magazine in Venue).

For an English student with aspirations of becoming a journalist, the awards our newspaper has garnered and its starry reputation certainly persuaded me that UEA was a, concrete option, and I’m not just saying that because it has the word ‘concrete’ in it.

And the sight of those great grey pyramids is enough to make anyone weak in the knees - the Ziggurats, whether you like their ugly, blocky structure that looks like a lego brick experiment gone wrong, or are sane enough to realise ‘wait, won’t that get really hot in the summer?’, are undeniably immense. A quick pre-results tour around campus (the Zigs stood out, and not just because they literally stand out, while Paston and the Village made as much of an impression as Browne House) and I knew I wanted to live in those charming, hulking monstrosities. Heck, combined with the lake and the (false) promise of languishing in the sun every day of summative season, UEA was propelled from a stat-padding fourth choice to a ‘fine, I guess I’ll make it my insurance’ choice. Never mind the fact that a glitch in the system meant I didn’t land anywhere in halls, and so my zesty Ziggurat-dreaming was for naught. Never mind that. The Ziggs were still there, and I could live there in spirit at least (and through many, many Norfolk Terrace parties).

UEA also had the advantage of being in Norwich, a plummy town plucked straight out of Hot Fuzz (minus the secret union of murderers, I hope.) It boasts crummy castle walls, cathedrals out of the wazoo, and enough trendy free-range start-ups to make an avid Guardian reader blush. Norwich is essentially my home town, Canterbury, except much bigger and much more no-parents-ier. It’s the perfect stepping stone from sleepy countryside to that bustling city life I slagged off a few paragraphs ago. And, with my future career path as film journalist in-training inevitably sending me straight to London, it’s that city life I’ll need to finally become accustomed to. For now, Norwich is the swan song of my youth.

Which is all well and good - slightly sentimental, perhaps - but if I went to UEA just because of Ziggs, Concrete and a gaggle of poorly-maintained castle walls, then I’m as easily pleased as anyone happy that they’re living in Browne House (okay, okay I’ll stop with the Browne House jokes). There’s so much more on offer: an incredible Creative Writing course, an abundance of open mic nights, 3 (three!) separate cinemas! A scrumptious marketplace, more rabbits than humans, at least two interesting societies to take part in! (Sure, you’ll go for five or more different societies, but trust me: by the end of the year, two is your maximum.) A friendly, welcoming community, the SU shop, okay maybe not the SU shop! And have I mentioned Concrete?

What I’m trying to say is: ‘Why I went to UEA’ is such a broad, difficult question to answer because there are so many reasons. I probably share some with you. Or maybe you came to UEA because of the (relatively) cheap rent. Or the absence of the outside world. Or because, if a nuclear attack were to strike, it’s not like the dictator behind the red button would think ‘let’s aim for Norwich, that would really send a message’. No? Just me? Well, whatever your reason, welcome to UEA! Let’s hope you made a good choice. I know I did.

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UEA’s own: Space is Big Grungy, punky and honest to a t, UEA rockers Space is Big have spent 2018 turning heads in the Norwich punk scene. Fronted

by Minty Taylor and completed

by Ed Brown, Henry Opina and Harry Surman, the band draws inspiration from hand-on-heart staples such as Green Day and Mom Jeans. Their frenetic energy is always on display, blaring out like Against Me and Frank Turner’s loud baby. Their mission statement for their EP, Five Mores Minutes, is to play smart, yet accessible, poppunk. The EP is available from Off With Their Records, whilst singles Thunderbolt and Norman Ground are available to stream.

FFO: Frank Turner, Against Me, Green Day Essential tracks: Norman Ground, Thunderbolt.

Nick Mason

Spaice is Big: image credit, Megan Goddard

IDLES: This Snowflake is an Avalanche Following their critically acclaimed debut album Brutalism, the Bristol-based quintet IDLES have supported big names such as the Maccabees and Foo Fighters. But it was their most recent release, Joy as an Act of Resistance, that threw them headfirst into mass popularity.

What is it about this new album that has caught the attention of the many? When considering the current state of affairs in Britain and abroad, we might not be surprised by their success. The album reinvigorates the revolutionary political fervour of punk music rooted in the previous generation, yet maintains a firm grasp on the contemporary scene. For example, writing of “blue passports” in songs like Great and Dan-

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ny Nedelko seems to serve to highlight the reality of today’s political climate. But there is more to IDLES than that. What distinguishes IDLES from pure lefty political punk is their call for, to quote the title, ‘Joy as an Act of Resistance’. Despite the loud heavy riffs and jagged vocals, this album asks us to look inwards, rather than spouting an anarchic “f*uck the system” message, which is strongly associated with punk music. They are questioning the individual and their attitudes.

Samaritans breaks down the dominant structures of masculinity, which will hopefully not only inspire our generation to do away with the ancient pre-existing ideals of manhood, but taking into account the band’s

popularity with over 40s – also that of our parents’. Maybe this is why we do see our fathers cry.

The song is paradoxical, as it is angrily shouted in the most stereotypically aggressive male fashion, but that’s the point; expertly demonstrating, in practice, how emotion makes you far from weak.

The band seem to perfectly encapsulate the identity crises so prevalent in this day and age - from the individual self-love featured in Television, to the acceptance of others. “Positivity punk”, as Rolling Stone so tactfully coined them, is what modern music needs - something that makes you stop and think about yourself, others and, most importantly, unity.

Zoe Dodge

I just had a change of sound Music is forever evolving.

Therefore, it would be foolish to expect artists and bands to stick to one specific style throughout a career that has the capability to last for years.

However, it is important to try and understand the motive behind a bands’ shift in sound. Is it because they are truly interested in exploring areas in which they weren’t previously involved? Or is it a much more cynical marketing ploy enforced by the labels in order to sell more records?

The 1975 have always been known to keep us guessing when it comes to their music

and their newest releases are no different. While Love It If We Made It is not too dissimilar from their previous singles, TOOTIMETOOTIMETOOTIME incorporates a club-like beat alongside lyrics which are much less thought-provoking than the band’s previous releases. Could this track be an indicator that they’re willing to conform to recent, successful music trends that make the charts?

Upon the release of Tranquillity Base Hotel & Casino earlier this year, Arctic Monkeys were both criticised and praised for the album, which couldn’t sound more different from their previous ones. It could be argued that Arctic Monkeys are chameleons when it comes to music, able to successfully execute a wide array of genres without losing the touch that has made them so successful over a long period of time.

They have not stuck to a single musical formula throughout their career and are yet to see any negative effects of doing so. Can it really be that much of a bad thing? Bands such as

Fall Out Boy and Panic! At the Disco have repeatedly been called out for abandoning their ‘emo’ influences in favour of a more pop-like sound.

Should these bands really be defined as ‘sell-outs’, or are they just responsibly following current music trends considering that the pop-punk genre is not as popular as it was in the 2000s?

If Fall Out Boy had released Infinity on High in 2018, it arguably would not have been as commercially successful as it was when it was originally released in 2007, given most people’s lack of interest in that type of pop-punk today. An artist should be able to adapt their sound without being accused of being involved in a marketing plot aimed at selling records; it has been shown that such a change can be the result of a genuine evolution, and not for any ulterior motive.

Emma-Louise Beattie

The Treatment: rock n’ roll isn’t dead Huddled outside Waterfront on a Sunday night are a ragtag band of people. From younger fans of the revived hard rock of recent years, to those who saw the original wave of British metal, all are eagerly anticipating tonight’s gig.

Opening are Tequila Mockingbird, a refreshing all-female trio who combine classic rock sensibilities with modernised melodies and elements. Riffs are glued together with strong bridges and underlie catchy melodies and sweet harmonies, taking

classic rock as a starting point and playing with it.

Airrace follow, taking a more traditional approach to songcraft. The band hark back to the brand of 80s rock championed by Slade; artificial keyboards, guitar solos, powerful lead vocals and a massive grin. There’s a cheesy, fun quality to the band that is rarely seen in modern music, and with a fairly sizeable set for a coheadline slot, the band has certainly given value for money on tickets tonight.

Airrace don’t reinvent the

RIP

wheel, but it’s clear that that isn’t what they intend to do.

In a world where many bands are made up of broody 20-somethings trying to make it clear just how serious they are, it’s a relief to see a band made up of various ages just having a great time and being honest and open about what they are. The Treatment step loudly onto stage with squealing guitars, pounding drums and bass and soaring vocals.

Got to www.concrete-online. co.uk for the full article.

Nick Mason

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Pale Waves: a refreshing indie debut After falling in love with Pale Waves’ track The Tide earlier this year, I was eagerly anticipating their debut album and expecting big things. With a female lead Pale Waves offers something refreshing to the indie scene.

of being regarded as a reason to dislike the new track (if you’re put off by the link to a mainstream DJ), this just goes to show that Pale Waves provide an upbeat sound, cutting through the mostly melancholic indie crowd.

You can’t help but be intoxicated by lead singer Heather Baron-Gracie’s voice and the band’s mix of indie pop and indie rock, which is similar to The 1975. Despite having a lot to live up to, Pale Waves debut album, My Mine Makes Noises, does not disappoint.

Eighteen isn’t the only banger however, standing out is There’s a Honey and Television Romance, and rising above them all is my personal pick Came in Close. The songs on the album run into one another, perfect for listening to as background music whilst working or for the commute onto campus. The album covers the typical themes like romance and heartbreak as most indie albums do, buts it’s refreshing to listen to songs that also cover other emotions, such as grief.

I first heard Eighteen whilst listening to Radio One and have not been able to get the track out of my head since. It has been compared to the 2012 single Clarity by Zedd and Foxes, which heightened the album’s publicity.

However, instead

The song Karl (I Wonder What

It’s Like to Die) talks of a brother dying and, although it isn’t the best song ever written, it provides a nostalgic tone and a sentimental closing to the album. My Mind Makes Noises has flooded my Spotify and will be on repeat well into the winter.

Jess Barrett

BROCKHAMPTON: the same again The genre-defying, Honda-swerving, harbingers of musical mayhem have returned, with more explosive aggression, soulful introspection and turnup slappers. Despite a larger gap between albums than fans are accustomed to, it doesn’t seem like they’ve done much to change their musical formula; instead more work has gone into perfecting their sound and vision.

On previous albums the band have jarringly juxtaposed genres, but on iridescence genres are far more blended. Therefore, the biggest selling point of iridescence is that it feels like a cohesive album, unlike the disorderly, ‘mixtapey’ Saturation albums. Tracks flow into each other seamlessly, and are arranged to give the album a steady and fluid pace. The sad part is that rather than sounding like a completely different album, it very

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closely resembles the styles, tones, and themes on all of their previous albums, albeit with a fresh lick of paint.

They’re definitely more capable of conveying their style, which admittedly is a difficult balancing act, but have made no substantial developments in composition. Instead of taking the opportunity to depart from their Saturation era, this album comes across as Saturation 4, but with slightly better production.

Obviously, the fans will be pleased, but you can’t keep doing the same album forever and hope that people will still tune in.

It’s surprising that for a group can who blend so many genres, it eventually comes across as boring. The blame for this can be pointed at a couple of things, mostly toward the lack

of diversity in the vocals. Flows and rhyme schemes are overused, and often disrupt the essential unity between vocals and instrumentals (apart from when Merlyn is on the mic).

However, my biggest complaint about the album, and Brockhampton in general, is that they cannot compose a melody.

There are no memorable riffs or choruses and, as a result, none of the tracks stand out. On top of this, for all their genre-blending, they can only ever alternate between aggressive and depressing, nothing in-between.

Overall it makes for a really frustrating listen, as their production skills definitely deserve credit, but it’s all for naught if you can’t compose a tune.

Charlie Walker

Is something about your night

Need some help? Or just want to talk to our campus crew about your night out? give us a call or message us on

07754975636

The phone number is to report anything about your student night out and will run on student only events during event times. If you have any problems outside of this time you should contact UEA Security on 01603 592352

changing the culture

Lara returns stronger than ever in the shadow of the Tomb Raider tricks, Lara now has the option Since arriving on our consoles in 2013, the rebooted Tomb Raider series has made great efforts to put aside the campier aspects of the original in favour of a grittier tone; this was hammered home when our earnest heroine got skewered like a shish kebab within the first five minutes of The Shadow of the Tomb Raider.

In the latest and final instalment, this game ramps the tone up further by placing a full blown apocalypse on the horizon. During an escapade in a Mexican ruin, Lara accidentally triggers the Mayan Armageddon, launching a race against time to undo her mistake and stop the dastardly Trinity corporation before they wipe the whole planet clean. Along the way there’ll be plane crashes, lost civilisations and, of course, lots of old graves to steal from. Tomb raiding got her into this mess – tomb raiding will have to get her out of it.

Having spent the last two games swinging, slashing and crawling through a lost island and a mountain wilderness respectively, Lara is now going full Rambo in a South American jungle. This lush environment is a first for the reboot series, but looks and feels like classic Tomb Raider.

That choice is no coincidence.

Being the final part of a prequel

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Images: steamXO, Flickr

trilogy, the company line has been that Shadow will see Lara “become the tomb raider she was destined to be”; the retro setting is there to help bridge the gap.

In terms of gameplay, the reboot’s winning survival-action formula remains largely unchanged, though fans of the old series will be happy to see a few tweaks and twists that harken back to the original. A new range of difficulty options means you can up the ante on the platforming, giving climbing sections a fresh level of challenge for players. Stealth sections have also received their share of TLC. As well as t h e usual

to cover herself in mud for extra camouflage, meaning you can pick bad guys off from the shadows. Best of all, with the tropical setting comes a rota of fluffy creatures just waiting to be picked off. The Lara who once tearfully apologised to a deer she was forced to shoot is now doge rolling leopards, taking pot shots at birds, and merrily bludgeoning howler monkeys to death without a second thought. Character development!

The Raider reboot has been a comfortable presence in the big budget game scene for almost five years now, so it’s easy to take their popularity for granted. But this series has struck a fantastic balancing act, managing to please both the hardcore fanbase and the fickle modern gamer at the same time. Nothing embodies this unity more than the heroine. Voiced in all three games by Camilla Luddington, the new Lara has a charm all of her own; brave but muddling, straightforward to the point of idiocy, she awkwardly threatens the villains like she’s in a private school stage adaption of Die Hard.

She hasn’t really got the hang of it, bless her, but it’s endearing to watch her try.

Both in terms of story and gameplay, Shadow of the Tomb Raider promises to be the game where Lara stops faking it and starts making it, putting this gaming icon back on the map where she belongs.

Grace Curtis

Game Opinions: tackiness, insensitivity, and the Battlefield V Controversy Developed by Electronic Arts, Battlefront is one of the most played first-person shooter video game series out there. However, since the announcement of the next upcoming title in the franchise - Battlefield V - there has been a stream of controversy.

Typically set in historical warzones with hyperrealistic physics and details, Battlefield V was promised to be a serious World War II action shooter.

Conversely, it features a new Battle Royale mode that mimics the cartoonish style of recent big-hitter Fortnite, as well as a single-player anthology telling ‘untold stories’ of war heroes who never existed, and therefore make little sense as characters in the historical context of the game. With many fans claiming that the game is set to be completely unrealistic in its style and narrative, there have also been accusations that EA has failed in an attempt to diversify the franchise.

So far, the initial reveal trailer has received roughly half a million

dislikes on YouTube alone.

Other trailers have received the same sort of reception, with many suggesting that this is down to the gameplay we’ve seen struggling to resemble World War II. It instead seems to be slipping into current ‘goofier’, popular styles of first-person shooters such as its rival, Call of Duty. If this wasn’t causing enough despair for fans, some of the characters we’ve seen seem a little bit like they’re from a science-fiction fantasy…

Most of the controversy has surrounded a particular soldier seen in the reveal trailer: a woman with a bionic arm. While few have been supportive about her inclusion within the game, many have been outraged - not just because of the historical inaccuracy of soldiers having high-tech prosthetics during the early 20th century, but also because women rarely fought alongside men during World War II. While I can agree that the inclusion of robotics in Battlefield V is a stretch in the wrong direction, I think there’s a lot more to be said about

the franchise’s presentation of women within this game.

In fact, some sources I’ve seen have appeared as suggesting that there should be no women within the game at all due to historical inaccuracy, which seems stupid and pretty ironic considering that women actually fought during the war.

Take a look at Rosa Shanina, who was one of 2484 female snipers recruited by Russia, or Simone Segouin, a famous French Resistance fighter. My point is that women should appear in Battlefield V because they too fought, and it’s fantastic that we’re seeing this in the game. However the way EA has diversified Battlefield V is incredibly lazy and insensitive considering their reputation for realism.

If you want a historical account of female soldiers during the war, look to real women and tell their stories, instead of creating the woman we’ve seen who, to make her stand out further from the men around her, has been given a metal arm.

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It’s a shame that in the gaming industry it’s already considered ‘dangerous’ to diversify games, particularly in first-person shooters, and although many titles have knocked it out the park with diverse narratives it’s clear that some, such as Battlefield, are still taking a tacky and insensitive approach to the subject. History doesn’t need to be altered to include women and other minorities - it just needs to be researched and deeply considered in the narrative.

The reaction of a key figure in all the backlash, former EA Chief Creative Director, Patrick Söderlund, has only added to the controversy.

In an interview following initial complaints about the representation of women in Battlefield V, Söderlund claimed that such critics were ‘uneducated’, and that, if they have a problem with female presence in the game, they are welcome ‘not to buy’ it. Obviously this resulted in further backlash - what made him think that this was an appropriate response to the consumers of the franchise is frankly beyond me. Söderlund later left the company just as the Battlefield V Beta was released with a $20 million bonus from EA. Is this a classic ‘take the money and run’? Leaving now with what he’s said, Söderlund’s departure gives the impression that the game’s political content wasn’t the first thing in mind, but rather that diversity was implimented make profit from the contemporary audience. Minority characters have been created in the popular cartoonish style of Call of Duty and Fornite simply to appear, appeal and increase sales in an industry which is increasingly becoming more exclusive.

While I may be speculating, I’m sure I’m not the only person who believes this. Pre-order sales for Battlefield V are 85% behind that of Call of Duty: World at War, and with the launch date (October 19th) in the middle of a competitive time frame, it seems certain to flop because of the controversy.

With the long anticipated Red Dead Redemption 2 being released a week later on the 26th, many won’t have the money to spare for Battlefield V anyway. It might be that Battlefield V will pleasantly surprise in the end, but with all that we’ve seen and that all that’s happened… you know, I’m just not buying it.

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Jordan Hunnisett

Recently played: Stardew Valley Over the past month, I’ve been enamoured

by Stardew Valley, an indie farming simulator released initially on PC and other ports in 2016, and later on the Nintendo Switch (my console of choice) last year. Why it’s taken me so long to pick it up, I don’t know - its delightful pixel-art style and easy-going gameplay have made it one of my favourites in recent years.

The premise is simple: you inherit an old farm from your grandfather, giving you the perfect opportunity to break free from the monotony of a corporate job and move to the country. At first, the monolithic task of owning a farm can be intimidating; the land is a mess, the townsfolk are distrusting and money is tight. However, with patience and commitment, your farm has the potential to thrive, and that’ll bring you more joy than you might think.

Needless to say, farming isn’t for everyone - which is exactly what the developers and sole designer, ConcernedApe and Eric Barone, have kept in mind. And it shows! Mechanics such as mining, combat and relationships make for a holistic gaming experience.

You may choose to spend your days in the Mines, spelunking, collecting ores and fighting enemies, or you may play with the sole intent of winning the heart of one of the town’s bachelors or bachelorettes, which is equally acceptable. Even sticking to the core mission of expanding and upgrading your farm is more than satisfying.

Stardew Valley is not fast-paced, nor is it inherently ‘easy’ to play. It is true that it requires time, it requires patience, and it requires engagement from the player.

I find it a welcome change from the fast paced action of raiding tombs or assassinating adversaries. If there’s a game which brings you more satisfaction from growing a parsnip, I’m yet to see it.

Oliver Hancock

Doctor Who: still life in the old dog yet Doctor Who is back! As I write this I have just watched the one minute preview of what’s to come in episode one and had my first real look at Jodie Whittaker’s performance as the Doctor. I don’t know about you, but I am beyond excited.

My hopes of a charming, witty doctor that is not made bland by writers because of the lack of a Y chromosome are being fulfilled.

And with the YouTube comments suggesting everyone’s fears of a female Doctor have been quelled, we can get down to the nitty gritty of what might be coming in the eleventh series.

Chibnall (the new show-runner) has promised a fresh start so that first time views can jump right in without the need to study the backlog of episodes since the reboot. I am all for this, especially given the promise of new monsters; there’s always more suspense and excitement when you don’t yet know what, or who, is evil.

But I don’t want the show to be a complete departure from previous seasons - the show needs to hold on to its past to keep the element of nostalgia that has adults coming back to what is, in essence, a children’s show. I hope Chibnall can achieve this balance which I believe, regardless of Whitaker’s Doctor, will define the success of the new era. Some things I do hope will change are the death toll,

Image: Vecteezy.com

the arc and the representation of the companions. Reviews of the first episode from critics suggest that Chibnall has transferred his experience with straight dramas into the series, with more focus on the characters of the companions, their relationships and home lives. Something I am all for.

With any luck, the arcs will become less convoluted and self-absorbed. A good arc is one that is interesting, surprising and, when it all comes together, one that makes you exclaim: “How did I miss that?!” Christopher Eccleston’s run as the Doctor being a prime example of this type of storytelling.

And call me strange but I want a higher death count such as the one that we had in the Eccleston and Tenant era, the everybody lives ethos in Smith’s and Capaldi’s runs took away the stakes and the hide-behind-

the-sofa terror.

But it’s not all sunshine and roses. I am worried that the so called “educational” vibe Chibnall says he is going for will be naff. Additionally, because most of the scripts were written gender blind pre-casting they may lack potential insights and (respectful) comedic moments that could come from having a female doctor. Although we have already seen one with the smashing of the glass ceiling.

But my biggest concern is that the music will be rubbish, as Murray Gold has left and the trailer suggests more radio style music will be used. I am quite apprehensive as to how it will work. Though we all know that when we sit down to watch on Sunday the biggest question will be what’s the new theme and opening credits going to be like? And will we have a new Tardis (if it ever comes back!).

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Maniac: unstable by design and execution Maniac presents two unstable characters, Jonah Hill’s schizophrenic Owen and Emma Stone’s drug-abusing Annie, and thrusts them together in a pharmaceutical trial that has them experience a mix of memories and dreams in which they are connected. Certain episodes are set primarily within these dreamscapes that provide an environment in which the multifaceted protagonists can be analysed. But, while Hill and Stone are an engaging onscreen duo – particularly when they play the more dynamic versions of themselves in these fantasies – the show lacks much substance beyond the pair.

It is perhaps a shame also that the moments of unreliability and delusion are, for the most part, very explicit. The heavy-handedness of Maniac lacks the nuance and inventiveness of certain other shows that address issues surrounding mental health. Mr Robot and Legion, for example, use their unstable protagonists as an excuse

to create both playful and disturbing narratives that twist the expected form of television in order to reflect the psyche of its broken characters.

In comparison, the subdued aspects of Maniac can be relatively bland. However, while it is without much actual plot, the show can be praised for its worldbuilding. It portrays a not too unfamiliar reality where technology, drugs and corporations perpetuate the existence of broken individuals and a fractured society. It is when the weirder aspects appear that Maniac can become most frustrating, and often there seems to be no cohesion with the main story. For instance, certain side characters, who it may be possible to feel only apathy towards, end up being completely distracting. One of the challenges of the series is being able to weather these moments, but after traipsing through a few episodes it is easy to admire Maniac for what it is, and maybe even become enthralled.

Joel Shelley

I’d tell you about Killing Eve but then...

Phoebe Waller-Bridge has become one of the creators whose work demands attention as soon as it is released, perhaps, more than anything else, for its ability to constantly surprise the audience.

While Crashing may never get as much attention as her other shows, it displays a type of unconventional storytelling that can be seen throughout Killing Eve. Fans of Waller-Bridge’s breakout hit Fleabag will be able to appreciate this new show’s ability to make us laugh hysterically then feel like an awful person afterwards. Perhaps everyone who has mentioned this show, whether for a review or just a recommendation to a friend, will praise the introduction to Jodie Comer’s international assassin Villanelle. While hardly the killer’s most destructive act, Waller-Bridge clearly wants her audience to keep the scene in mind throughout the season. It’s the earliest example of Villanelle’s cold lack of empathy and her desire to create de-

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struction and pain for the sake of it. Whenever she surprises us with increasingly deranged actions, that first scene exists as a stark reminder that we knew what kind of a person she is.

It doesn’t take long to grasp the core of Villanelle’s character, the show’s protagonist can be more difficult to get a read on. Our first introduction to MI5 agent Eve Polastri (Sandra Oh) occurs after a karaoke filled night out. Eve is forced to rush into work on a Saturday with a bag of croissants for her breakfast. The message here is clear: she is not ready for the hell that is about to be unleashed. While clearly overworked and underappreciated, Eve quickly shows a remarkable intuition, correctly deducing Villanelle’s gender after one of her hits is discovered.

The fact that Eve is an assistant when she should clearly be running a department is an aspect of Waller-Bridge’s subtextual feminism; another example can be seen where Villanelle admon-

Image: Sharon Mccutcheon, Unsplash

ishes a man for touching her without permission, right before plunging a needle into his skull.

Rightfully, much has been made of the tense cat-and-mouse dynamic; however, they are backed up at every turn by a stellar supporting cast. Fiona Shaw (of Harry Potter fame) plays a practical MI6 chief who is initially the only one to see just how good Eve is at what she does.

Kim Bodnia’s role as Villanelle’s handler Konstantin shows a different side to the character and creates one of the show’s most fascinating dynamics. Owen McDonnell acts as his wife’s primary audience for theories and someone else who begins to realize her true brilliance.

Killing Eve and Jack Ryan represent a fork in the road for spy films and television. While Bond, Borne and Bauer will always have a significant following, it’s finally time to start appreciating the brilliance of the people who work behind the security desks as well.

Harry Routley

The philosophy of... Press The BBC’s newspaper-centric drama has come at a time in which discussion about what the press really is and the value that it holds is not only commonplace, but essential.

much the press should be allowed to divulge. We’re only halfway through the series and I’m already questioning everything I thought I knew about news distribution.

With constant accusations of ‘fake news’ there has never been a better time to bring these discussions into the public eye, and rather than run from this scrutiny – as many outlets have done – this drama welcomes this discussion.

But what really brings it all home is the distinctly human tone that this series carries. It screams out, again and again, that our need for information is a human concern. The press is not a mysterious, untouchable and uninhabited plane of existence. For the people that provide it, the news is an inherently personal entity. ‘The News’ is currently going through an intense evolution and the characters in Press are not only aware of it, they are part of it.

Press centres on two fictional newspapers with different approaches to journalism and news: the entertaining redtop, The Post, and left-leaning broadsheet, The Herald.

The Post’s Editor, Duncan Allen [Ben Chaplin], is sleazy, arrogant and will stop at nothing to sell papers without caring about the hurt it may cause. On the other hand, those at The Herald attempts to balance morals and ethics with ‘real news’ and investigative journalism.

But we soon find that this world isn’t as black and white as it appears. There are questions of morals and humanity which neither party have an answer for, there are deep discussions about what the news is and how

Image: Bank Phrom, Unsplash

It shows the life of a journalist to be intense, upsetting and full of moral dilemmas; they become numb to the pain and suffering that they see so often. As Deputy Editor of The Herald Holly [Charlotte Riley] says to new Post journalist Ed [Paapa Essiedu] “You SHOULD feel bad about what you did today, it means you’re still human” as if she and other longstanding journalists were no longer human.

This show deals with intrinsically human issues - it takes the ideas of what it means to be a

good person, to be passionate, principled and kind, and brings them into conflict with the search for truth. It questions the morals behind publishing information, public interest and ethical research. It suggests that a persons’ beliefs may not coincide with what information is given and the consequences it may have - sometimes these people are simply doing their job and providing information to the public.

But it also shows the less human parts of the press. It shows that stories can be taken and spun and twisted into something entirely new. Articles cannot be taken at face value because a quote can be taken out of context and statistics can be misrepresented. The constant battle between the two papers simply brings these thoughts down to a palpable scale.

Hopefully this television show will open people’s eyes to the ideas that two papers can publish slightly different things and not lie, that not every paper will have a certain demographic at heart and that, despite their best efforts, many of them will have a bias as the people who write them are, after all, only human.

Abi Steer

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Happiness

Happiness materialises at the oddest of moments. She doesn’t make sense, or follow a pattern, or prescription. You are surrounded by friends, lights, and music bundled into a package of high expectations but behind your mirrored grin, you still feel hollow.

Happiness isn’t something that can be precipitated, but a being with a mind of her own. She isn’t tempted by those who desperately reach for her — choosing to settle with who she chooses. Those who sometimes least expect her. So happy places aren’t always permanent because happiness doesn’t follow rules.

At one time, the happiest place in the world may be a bed in a sun-streamed room with a someone stroking your shoulder with no sound but the comforting hum of synchronised breathing.

The next time you feel that same way might be when you realise the power of knowing that even though that same person is now a stranger, you are still okay, you are still alive, and that even though you are alone, happiness will still come to visit. Nevertheless, she isn’t the most desirable of friends: she isn’t predictable or reliable and never shows up when you want her to. She didn’t show up on your 21st birthday when you laid out a placemat for her. The anticipation shifting to empty disappointment when you realised you wished too hard for her to come.

Instead, she finds you on a bus two weeks later. Two weeks of navigating grey tunnels for a pinprick of light to stumble towards, bitter at happiness for not being there when you wanted her to be.

So, when she first sat on the seat next to you you don’t look at her; you didn’t know if she was really there, but she holds your hand the whole bus ride anyway, pointing out the orange light that filtered through the window onto the face of a sleeping child in a push chair. She didn’t stay long, but you appreciate it anyway. For that hour your happy place became a quiet bus in the evening going nowhere.

Sophie Leach

Remember to breathe Have you ever tried to meditate?

You sit comfortably and breathe in through your nose and out through your mouth Ease your eyes closed and reach your spine to the sky, Your breath giving strength for the inner flower to grow; reach for the sun and the light above— Begging to bloom from the crown to the root— Hands, like those all-important leaves, face upwards to feed off the air and the peace; Face down, they root and ground—bringing you closer to the earth and the today and the moment.

Inhale, hold, exhalae, inhale, hold, exhale, 1—2— 3—4—1—2—1—2—3—4— So—you settle, planting yourself in this space

and you breathe; Eyes closed, opening to the universe and the energies around, filling eyelids with waves and bursts and flashes The mind wanders; Goes for a long stroll in a forest where the fruit you pick and eat are the list of things you need to do in a day— On a beach where the waves swell forward that thing you didn’t want to think about— Inside a large white manor hall constructed in your mind which houses all the things you like and locks away those you don’t— Or you see nothing, and all is peaceful, and you don’t wander the way I do.

Remember to breathe.

Rebecca McDonnell

27

The six

therapy thought envelopes thought emotions are clouded by more emotions we are not who we say or project ourselves to be no we are who we think we are the channelling of empathy won’t bring about a torrent in this still water wave after wave of the internal reality would only affect the external + the ideology of a solution to emotion(s) is but ethereal

a shadow of love much often do we begin the creation of an end the creation of a shadow of love which is often seen but never felt and much often do we feel that emotion of longing-the longing of brighter days with flowers blooming in full power in raw emotions

in therapy, the spectrum of colour won’t rightfully befall or be in synonymous contact with her feelings.

Feelings change yet colours remain

why do you slip away, Ophelia? why do you wish to drown in a river that’s a mile away when the pool of my heart is open + boundless ? and how often do I see the shadow of love brimming like it seeks the manifestation of something beautiful-the manifestation of

Indigo Ife

our person.

Image: Vecteezy

Eyes A dip into the kaleidoscope is where I truly feel the mixture of ecstasy shaped for my heart’s rest the structure of Beauty interfering from the deep-tell tale of perceptions

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where demons see light and conscience lays asunder in a starry night let Apollo fall under the various complications of her perfections

an absence of dullness in the varied patterns the pool of her eyes fabricate.

Indigo Ife

You A good question’, it continues, which personally you disagree with.

You’ve never had a problem imposing your own (flexible) opinions on a text ever since you were granted this permission.

‘It is roughly the same as asking whether or not I can write in my own voice.’

You remember one note you made which for some reason seemed particularly threatening on the bright white page; ‘second person perspective / internal monologue’.

You realise as you’re reading that you say ‘you’ a lot. Your voice suddenly, forcefully, finally, gives a physical presence to the passages referencing this term, referencing inadequacy, referencing writing like this. You foolishly hope that those sitting around you don’t put two and two together.

That somehow this ‘you’ is assumed to be some carefully, elaborately constructed character in this purely fictional story bearing absolutely no relation to your own experiences whatsoever.

In hindsight, this is, of course, a highly self-centred view of your peers, of writing, of the world. Everyone has anxieties surrounding their own writing

(you’re fairly sure, anyway).

You’re reassured when the residue of your own words slowly falls to the floor. Like the rain you were watching only a few days before.

Replaced with the carefully considered response that I, sorry, you, have begun to capture the anxieties that everyone has surrounding their own writing.

Half out of habit and half out of a requirement to fulfil an essay brief, you continue the whole flicking through notes, highlighting process. You get to a bit about voice.

‘CAN I USE THE FIRST PERSON?’ reads the title.

The vague logic here is that this magic ‘you’ as opposed to ‘I’ would be perfect at creating a distance, a chasm, a universe of space between this writing and, well, you.

If this felt like the most natural way to express your ‘own voice’, should you continue to run with it?

If a disembodied someone within an inanimate text seems to suggest that the first person is the most effective way to express your ‘own voice’ should you rethink things? Listen to them instead?

You are comforted by the revelation that ‘I is not an easy place to be’: you agree wholeheartedly.

A mixture of these minor happenings leaves you satisfied that you should have faith in your initial decisions.

Becca Allen

29

expectation vs reality E CTIV

ERSPE P ’ S R E H S E R F A

With only the stereotypical images of University in mind, I was anxious about taking that massive step and moving two hours away from my home town in Essex. I could imagine myself binge eating pot noodles and beans on toast, as well as running around the huge campus trying to locate a lecture theatre.

However, my mind was put instantly at ease, as upon arrival there were friendly older students waiting to help unload our car. From then, I got a sense of comfort and would soon come to realise how approachable and friendly everyone is at UEA. Especially in the first few days, people were on hand to guide us around the campus (unlike my initial belief that we would be completely on our own).

I realised that there’s much more to university life than pot noodles and found that it’s easy to do a weekly shop for a cheap, affordable price; budgeting isn’t as hard as it seems! It was also a really nice way to socialise and get to know my flatmates since a few of us normally end up eating dinner together.

The events which UEA put on throughout fresher’s week were really good. From the club nights in the LCR to the societies’ fayre. There was definitely something for everyone, and the programme of ‘do something different’ has inspired not only me, but some of my flatmates as well (and I’m sure a great deal more), to try something we wouldn’t have done before.

I am looking forward to the coming weeks, starting lectures and settling into a routine. Although the work is said to be heavy it all goes towards an end goal, and hopefully with some hard work I’ll be able to have something to show for it.

Natasha Head

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celebrating black history month

educate, inspire, change see uea.su/bhm for further info

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Image: Commision Air