Venue 362

GUS EDGAR-CHAN Venue Editor

JOSEPHINE DOWSWELL Venue Deputy Editor

I know I’ve overseen Halloween, Christmas, New Year’s and Valentine’s during my time as Venue

think this is our best front cover yet. Seeing how the concrete of our campus remains unchanged, having

editor, but we’ve finally hit the big boy: Pancake Day (or Shrove Tuesday to the common intellectual.) We have a page 7 feature on the best pancake-y dishes from around the world, which aims to spice up your life and add a lil’ lemon to your sugar (if you know what I mean haha!)

I guess there’s more content in this issue I can flaunt, and though none of it will come close to a celebration of the best holiday of the year, they’re well worth your time. We have a host of recommendations of where to study if (and when) the library becomes cramped, a thinkpiece on race (or the lack thereof) in Norwich, and a delightful poem on Jeremy Corbyn. And of course, there’s the sudoku. Josie expands on it more in her editorial, but I’d like to add, regarding UEA memories and nostalgia, that these last few years have been huge, incredible, terrifying, remarkable. You should savour every memory, good or bad. You won’t know what you’ve missed until it’s gone.

Johanne Elster Hanson

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Shelby Cooke

Jordan Hunnisett

Gabriela Williams

completely withstood the test of time, is somehow comforting to me. I don’t find the permanence of the concrete ugly, rather I find it stunning and dramatic. I have fond memories of the Zigs: its futuristic brutalism combined with the greenery of the fields and the lakes make up some vivid memories for me. That and the taste of cherry Lambrini...

Sadly, we’re not allowed to climb on the Zig roofs anymore, like you were in the ‘60s. Which is a shame, because climbing on the Zig roofs is wonderful - not that I’ve ever done it, of course. That could incur a fine.

But nonetheless, I’m feeling nostalgic as I write this.

Those people on the cover, they were first years once, then third years, now adults. Is that our fate too, dear reader?

This edition has Gucci, Vikings and stationary. The three basic needs of man, as far as I’m concerned.

Enjoy!

Nick Mason

Icons courtesy of Vecteezy

Rabbit by Fay Austen

Jodie Bailey

Gus & Josephine

2019 Spotlights Festival UEA Drama Society’s annual Spotlights Festival is two days of eight new short plays written, directed, and produced by Drama Society members. Here’s Ella Dorman-Gajic’s reviews of Thursday night’s plays:

‘Conquistador’ by Jonny Davidson

Hitmen Dan and Stewart sit in a Spanish bar, awaiting the daunting arrival of their boss, sipping beer and contemplating the bar’s pathetic ‘Dorset’ style interior. The comedic moments were well-received and layered nicely with the underlying tension between the characters; power dynamics were sharply crafted, with some unexpected moments and dark humour which took a clever satirical twist. However, the end felt sudden, meaning the tone remained similar throughout. This is a piece that could be nicely fleshed out with a longer script.

‘Necronomicomedy’ by Alexander Wiseman

Funny, freakish and fucking wacko: after a sudden kidnapping, a girl awakes to an underground world of spells and sacrifice. Each character had their individual tropes, delivering equal shares of cooky and hilarious moments, with Sebastian Garbacz’s hobgoblin physicality and fixation on shouting ‘sacrifice knife’ leaving us in stitches. The heightened, ridiculous comedy gave these classic fantasy tropes a spellbinding new twist; this was nicely juxtaposed with contemporary humour and witty one-liners. The characters were completely immersed in the delusional, necromantic world they had carved for themselves, and the hilarious hierarchies between them and their orator. This piece just needs some sharpening on pacing, but a brilliant show nonetheless.

‘Post Show’’ by Safia Hall

When Alex is surprised by the appearance of his Mother after his show, he is forced to face up to the conflicts of his childhood. The tension between these characters was immediately apparent, making us want to understand their estrangement, whilst sensitively exploring important themes of sexuality and loyalty. However, most scenes were slowly paced, failing to capture dramatic tension. The clunky use of props and slow transitions took us out of the action; much of the acting lacked nuance and a sense of motivation, with poor projection meaning dialogue was lost. This made it difficult to become invested in the characters. However, Hattie Manton as the Mother captured a good sense of age, characterisation and a conflicting moral compass.

‘Off the Wall’ by Natalie Froome

Two men stand many metres up in the air on a platform, cleaning windows. What could possibly go wrong? This sketch-style piece had some funny moments, despite being unevenly dispersed. Visual humour was well orchestrated, however the actors didn’t manage to master much of the comic timing required. The power dynamics, although clear, could have been pushed further: the trope of ‘grumpy boss’ and ‘annoying intern’ was immediately apparent and didn’t allow for a natural build.

The structure needed honing, perhaps with a clearer resolution between the characters after the ‘crisis’ moment, and a more precise ending.

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Ella Dorman-Gajic

Images: Charley Hawthorne

Concrete Book Review

She Used To Be On A Milk Carton

by Kailey Tadesco I started reading She Used To Be On A Milk Carton expecting it to follow the trend of contemporary feminist poetry popularised by Rupi Kaur and the like. Despite probably being a pleasant read in the moment, I thought it would end up fading in my memory similar to Instagram poetry/illustration books - I have never understood the fuss about them. However, I was mistaken; in her debut collection Kailey Tedesco compares puberty to death and suicide, casting a Gothic tone over the coming-ofage genre. Although Whitney Propper’s lino-print artwork featured in the collection is sparse in comparison with the line-drawings that often accompanies poetry of this genre,

the book benefits from this as it only leads the reader to further admire its quality, and it does an excellent job of illustrating themes of love, loss and magic.

The majority of the poems in this collection take a look at the major themes of coming of age and death through various works of fiction and real-life women in history.

Tedesco looks at the idea of women being infantilised in Red Riding Hood: ‘She says don’t call me little, and don’t call me red’. In doing this she gives a voice to a character that exists only to be saved, as a cautionary tale to young woman not to wander astray. She reimagines Red Riding Hood as a capable young woman in charge of her own body and her own future ‘as she skips past Granny’s & howls into a sap-stained forest of her own.’ In this piece as in many others, Tedesco lends a voice to the women and girls of history and fiction who have been portrayed as effeminately pristine, even in death.

collection. In speaking for women throughout history and all over the world Tedesco seems to multiply, transforming into all of these young women, those who are still living, and those who are not. The collection is split into two parts: I. Girl/Shape, and II. Ghost/Body, with certain poems from the second part mirroring ones from the first. Siamese twins are also mentioned several times, namely in I Hear Evil Enter Through The Nothing Of Me and These Ghosts Of Mine, Siamese, both of which relate to childbearing. I found this to be perhaps one of the book’s most interesting themes, as it re-appropriates the theme of sisterhood that is so dominant in today’s feminist writing, but in a new way that provides a higher level if closeness.

This collection contained everything that I love, and so in ways this is a biased review, but what I will say is that if you have any interest in writing on puberty and the Gothic, and a penchant for poetry, then I would highly recommend She Used To Be On A Milk Carton.

Lucy Caradog

In the poem The Most Beautiful Suicide inspired by the famous photograph of the corpse of Evelyn McHale, Tedesco immediately shatters the illusion of the beauty of death with the line ‘I wasn’t there, but the sight of her is ice on my face’. In this opening line, the poet evocates imagery of a corpse, not of a beautiful woman. She goes on to describe her daily rituals, and her wish to destroy herself and her body, ‘chewed up & brined with asphalt, indistinguishable from plastic bags coated with rain-slime.’

Yet this was not the case, she was immortalised in death, becoming an American icon.

Duality is another theme in She Used To Be On A Milk Carton, and although it is more subtle than those of death and puberty, it is just as dominant throughout the

Image: Whitney Proper

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Viking exhibition at the Norwich Castle Museum In the eighth and ninth centuries, the area of East Anglia was particularly vulnerable to invasion from Danish Vikings sailing across the North Sea. With fertile land conveniently located facing the southern part of Scandinavia, the invasion of the East Anglia and Northumbria (what is now northern England and south-eastern Scotland) by the Great Heathen Army in 865AD saw the end of the independent Anglo Saxon kingdoms. The Vikings ended up settling around the east of England, eventually assimilating with the local population, which is why the area’s history from this time is intimately connected with that of Scandinavia. Now, a collaboration between the Norwich Castle Museum, the Yorkshire Museum and the British Museum, has resulted in the new exhibition Viking: Rediscover the Legend at Norwich Castle Museum, where some of the most important Viking treasures ever discovered in Britain are now on display.

In the large, airy hall reserved for Norwich Castle’s special exhibitions, you can follow the trajectory of the Vikings’ settlement in England in themed sections, from the rough crossing from Scandinavia in their wooden ships, to the cultural background of the raiders and settlers, and the almost total assimilation that happened in some parts of the country. In the different sections, famous items are displayed alongside some very recent finds (one of which was discovered just a couple of weeks before the opening of the exhibition) as well as highlights from Norwich Castle’s own collections.

Viking: Rediscover the Legend also provides context for when and how the Scandinavian Vikings invaded and settled in England. The first Vikings to arrive in Britain came from Norway (a ‘very long and very narrow’ land of ‘wild, mountainous wastelands’ according to Voyage of Othere) to the island of Lindisfarne on the northeast coast of England in 793AD. A relatively small group of ‘northmen’ looted the church of St Cuthbert – there were no proper Viking armies at this point, and as little as ten men in one

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Image: Norwich Castle Museum

ship usually carried out the raids. However, they soon became more organised and could muster entire armies from the middle of the ninth century onwards. It was also around this time that the Vikings began to settle in Britain and assimilate with the local population.

Where the objects were found plays an important part in contextualising the Vikings’ settlement and assimilation.

There are objects that show how some of the ‘heathens’ converted to Christianity after settling in England, as graves both in Britain and Scandinavia feature hacksilver inscribed with crosses. The exhibition also features a majestic neck ring that was made in England but clearly

inspired by a design that existed in Scandinavia; its maker must have seen and wished to emulate it (proving that English people’s love of ‘Scandi chic’ is far from new).

One of the most important discoveries of objects from the Viking area made on British soil is the Vale of York Hoard, also on display. In 2007, two metal detectorists found a gilded silver cup that contained 617 silver coins, dating from the ninth and tenth century, as well as 65 other valuable items. Gareth Williams, Curator of Early Medieval Coins at the British Museum, was the one who examined the hoard when it was first found. He explained to us that because it included items that originated everywhere from North Africa, Afghanistan and Russia, it proved the vast scope of the Vikings’ travelling and trade connections.

With its ambitious scope, Viking: Rediscover the Legend should be interesting to all those interested in our distant past. However, if there end up being too many glass cases filled with old coins and worn pieces of Viking jewellery, you can always entertain yourself by tying knots, dressing up in full Viking gear, or taking the test ‘How Viking are you?’ on your way out – I got 70 percent.

Johanne Elster Hanson

PANCAKE DAY: Pancakes around the world BLINIS (RUSSIA & UKRAINE) - Gazal Raii In countries such as Russia and Ukraine, pancakes such as blini are traditionally made from a pancake batter made with wheat such as buckwheat instead. Many variations of blinis vary from the thin, crêpe-shaped pancakes to miniature round and puffy ones. The real twist however is that it is usually served with either butter, sour cream or crème fraiche and topped with lots of caviar! Red caviar, or salmon roe as it is usually known is the most common choice of topping but black caviar is just as much a delicacy!

SCALLION PANCAKES (CHINA) - Gus Edgar-Chan In Hong Kong, Taiwan & mainland China lies the scallion pancake, an incredible savoury treat made from spring onions, and dough instaed of batter. Flaking in the mouth, this pan-fried sort-of-flatbread is a popular street food item, and for good reason: these pancakes are insanely tasty, with a texture more chewy than a crêpe but less filling than an American hotcake.

CRÊPES (FRANCE) - Helen Drumm Is there anything as satisfying as a winter market crêpe? Walking up to the stall, seeing vats of nutella so huge they offer Willy Wonka levels of chocolate splendor,. Pale batter poured out onto a vast circular plate, spread out with flat metal to create a paper thin circle, fragile enough to ever so slightly see through. The crêpe becomes the ideal receptacle for any manner of filling. You take a bite, inviting a hot lava flow of Nutella to ooze out cinematically.

The crêpe; a pancake’s more refined, delicious twin.

FETEER (EGYPT) - Farah Mostafa Feteer is a flaky layered pastry made of dough and ghee (clarified butter). Its name literally translates to ‘cushioned pies.’ Unlike English pancakes, it is rarely made at home, as the recipe requires both skill and physical labour.

Feteer dates back to Ancient Egyptian times, when it was served during special occasions. It can be eaten on its own, soaked in honey, or stuffed with anything from custard to cheese and pizza toppings. Due to its versatility, it’s generally eaten at any point in the day.

“LAPPER” (NORWAY) - Johanne Elster Hanson The closest English translation of the Norwegian batter-based “lapp” would be “patch”. While it may look like its more famous American cousin, Norwegian “lapper” are made with cultured milk and eaten between meals or with coffee. They go well with jam and sour cream, or the traditional Norwegian “brunost”: brown cheese made from goat’s milk. From the 1970s onwards they were served on small local ferries connecting islands in western Norway, and is still very much associated with this part of the country and its beautiful fjord landscape.

HOTCAKES (USA) - Shelby Cooke Let’s be real, American pancakes are the definitive definition of pancakes. Their chewy, yet soft texture is the exact thing you want to consume for breakfast, as it just melts in your mouth without any effort. A three stack of those angelic, glorious, wonderful, delicious little bundles of pure joy are required to be smothered in maple syrup and butter with a side of breakfast sausage (another American breakfast food that needs to be introduced into the UK because I’m withdrawing) and bacon. Now that’s what I call a breakfast of champions.

Images: Pexels (Brigitte Tohm), Wikimedia Commons

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Investigative journalism in film Investigative journalism that probes into the hidden practices of those who hold political power is in decline.

There are a number of reasons for this, such as lack of resources available to editors to commission long investigative projects, massive demand for 24/7 news, the rise of ‘churnalism’ and the dependency on PR sources, the media constituting politics as entertainment. But despite the decline in their prominence, it remains some of the most essential work that can be done in the press’s

abuse from priests and a list of places where these scandals occurred.

So how does this film represent investigative journalism as essential to any democratic political system?

The crux of the matter comes when Mark Ruffalo’s Michael Rezendes finds documents that prove a high-ranking Cardinal had been informed of the abuse and ignored it. He argues that they need to publish their findings immediately, but his boss Walter Robinson (Michael Keaton), calmly insists that they need to hold off from

So what does the representation of investigative journalism in cinema say about this essential journalistic practice? If we understand exposing the secrets of those in power as such a necessary part of the free press, does its representation in film present the exposing of those secrets as just as courageous and democratically necessary? Or does it simply constitute this journalism as part of a wider political system by focussing on political ramifications rather than social ones?

In this sense, Spotlight rises above the politics of investigative journalism and focuses on the act of exposing injustice to the public. Robinson downplays Rezendes’ fears that rival newspapers might get hold of the story, or even that more victims may suffer in the short term and tells him to focus on finding evidence to expose the remaining 86 priests.

mission of holding the powerful to account.

Tom McCarthy’s 2015 film Spotlight offers an insight into one of the most groundbreaking pieces of investigative journalism of the 21st century – the exposing of the widespread sexual abuse by Roman Catholic priests. The focus of the film is on the process of the team’s research and writing of the story, with the aftermath presented only in the final scene in which the

Boston Globe is overrun with phone calls reporting instances of sexual

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Image: Summit Entertainment

publishing until they can expose the whole system, saying ‘we need the full scope; that’s the only thing that will put an end to this.’

This is where the film differs slightly from Steven Spielberg’s The Post, which explores the Washington Post’s exposing of the U.S. government’s mishandling of the Vietnam War; the implications within the film are far more political. Meryl Streep’s Katherine Graham, owner and publisher of the paper, deals with multiple pressures from board members and editors warning of the professional and legal implications of publishing government documents, such as ostracisation from White

House communication, the financial collapse of the paper, and legal action.

In this sense, where Spotlight leans away from political consequences of choosing to publish, The Post presents them as the primary concern of investigative journalism which moves the act of journalism into the political sphere itself and away from one in which political powers are held to account. However, whilst The Post leans towards political consequences,

the film still presents the democratic necessity of investigative journalism in resistance to these consequences; the documents are published despite the potential repercussions. In both films, journalism that exposes injustice and holds power to account is seen to resist political consequence, placing it in a sphere outside of the power of the establishment, designed and operating solely to hold it to account.

The way that film presents investigative journalism as a political act then shows that the process of exposing the secrets of those in power is inextricably linked to power itself.

Repercussions will always follow, but it is up to journalists, and those that represent the experiences of those journalists in film (and other media) to stand up to those repercussions, portraying investigative journalism as outside of and uninfluenced by those in power that they seek to hold to account.

Ryan Norman

Can blockbusters be political?

Politics has been a constant presence in cinema for a long time, but if I told you that your favourite film had a strong political undertone, would you view it in the same light as before?

Probably not, and it is for this reason, that politics in mainstream cinema is largely a subtle, covered force that most don’t acknowledge unless explicitly told it is there. You would be surprised how often and where political undertones appear.

Naturally, some films are blatantly

political or have a plot point that is inherently political. The Hate U Give, my favourite film of last year, and an adaptation of my favourite book of all time, tells the story of an unarmed black teenager who is shot by a white police officer. The plot progresses with Starr, the only witness, as our protagonist, who takes part in the campaign for justice through protest, public appearances and, ultimately, rioting. As you can probably imagine from the description given, the nature of this film is naturally political through and through, offering harrowing commentary on American society and the justice system. The line in this film that has stuck with me the most is ‘it’s the same story, just a different name’, a bold statement that effectively and realistically depicts the way American society operates around such an issue, but does so within the safe space that is provided by it being a fictional circumstance.

Another of my favourite films, The Hunger Games, is a great example of a political subplot. Of course, it is primarily about The Hunger Games as an event, following Katniss

through her experience as a tribute.

The secondary plot-point, however, and the primary plot of the later films and books, is the dictatorial regime that exists. President Snow is a dictator and the reason the games were enforced in the first place was to act as a guarantor of compliance and obedience, to keep the twelve Districts in line. This theme is explored further in the later films, as resistance and revolution start to brew. Methods of coercion such as public flogging, execution and

bombing are all present in the films, with the eventual revolution being followed in Mockingjay Part 1 and 2. The franchise, therefore, acts as a portrayal of power relations and political violence, albeit this is not the most prevalent plot within the earlier films in the series.

On the other hand, films with no apparent political plot or message can still carry a political undertone, whether that be intentional or not. This, however, comes down to interpretation, especially when the political nature is not obvious or intentional. For instance, superhero

films have received attention for their supposed upholding of conservative values, which is carried out through an individual or group upholding the status quo in the face of a threat to the establishment and ‘normality’ as a whole. So, all of your favourite Marvel and DC characters are simply instrumental to the maintenance of conservative ideals, or so some would say.

Another example of an interpretive political undertone can be found in

The Lord of the Rings, a pop culture classic, which can be said to be a commentary on industrialisation and technological advancement.

Tolkien’s upbringing and background reflect this: as a resident of a rural area, industrialisation and urban sprawl influenced his area with factories, which, given his location was previously idyllic and serene, were seen as an encroaching evil. We have a formerly peaceful land, which is interrupted by a negative, dark influence that corrupts the area.

These are both perfect examples of a political message that is so heavily wrapped up in plot and world-building that the undertone is not noticed unless specifically looked for. So, the political nature of a film does not have to be prominent and noticeable, it can instead be discrete, but that does not make the mainstream cinema industry less political. There is probably a political message to your favourite film, but look for it at your own risk, for your view of the film will be changed, I guarantee it.

Sam Hewitson

Image : 20th Century Fox

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The MCU: politics and entertainment, perfectly balanced as all things should be?

As a long-withstanding fan of the Marvel films, I have endured the absolute privilege of watching the Marvel Cinematic Universe (MCU) films when young, as well as growing up, to see how the films have garnered a wider-reaching impact. When considering the politics of Marvel, it is easy to fall into the camp of how they are merely fantasy/sci-fi/comic book films and thus not seriously affiliated with global issues.

However, following the release of Black Panther, the first major black superhero film arguably since Blade, this began to suddenly uproot this earlier snub and quickly replaced it with the melting ice caps of ‘political correctness is ruining everything.’

Yet Black Panther has now received six Academy Award nominations, the most any Marvel film has ever received so... there’s the tea.

But if you thought that was the first time a Marvel film has integrated a political stance, let me enlighten you.

Through the Captain America franchise alone we witness the external threat becoming frequently internal: with Captain America: The First Avenger temporally positioning itself within World War I fighting Red Skull and the German forces, through to Captain America: Winter Soldier where the enemy manifests itself within the government and invokes the political anxiety of being under a surveillance state, and finally Captain America: Civil War where the distortion

of peace is focalised between the heroes themselves. This Russian doll effect is not a coincidence, for in each film, respectively, the notion of ‘doing the right thing’ becomes ever more complicated for the hero/heroes when even the governing forces of ‘good’ become unreliable.

Even connotations of imperialism materialise in the Marvel films you may not expect to, such as Guardians of the Galaxy Vol.2 where Starlord (Chris Pratt) fighting his own father, Ego (Kurt Russell), boils down to the conflict of him wanting to carve an entire planet in his own making.

This all certainly comes into fruition in Avengers: Infinity War, in which the tyrannical titan – or Eternal if we want to be pedantic – Thanos (Josh Brolin) is hell-bent on eradicating half of the universe’s population for (as it always seems to be) ‘the greater good’. What is most conflicting about Thanos’ agenda is how there are clear flaws to his plan, such as the obvious: ‘what happens when the population builds back up again?’ Yet, he is so beseeched upon collecting the infinity stones, he even sacrifices his own family in order to achieve ‘the perfect balance.’ Do any other tyrannical figures, perhaps within our own world today, come to mind when thinking of obscene and repressive plans that make no sense?

An important fact that sometimes goes amiss is how the creators of these remarkable characters, Stan Lee, Jack Kirby and Steve Ditko, were

all immigrants from Europe, whose families travelled to America seeking work and a better life post-World War II. It’s no secret that there is a specific formula to Marvel films with regard to storytelling: the unlikely hero facing insurmountable odds when discovering they are capable of power, whilst facing an ongoing battle with the antagonist but always ends up winning the day. Yet with the background of Lee, Kirby and Ditko in mind, this very formula enacts as their overarching core value: it goes beyond mere altruistic sentiment or good prevailing over evil to the trials and labours one must face in order to succeed. That anybody from anywhere can achieve greatness when they are hardworking and have their moral compass in the right place. That I think is the principal message to take away from these films.

The MCU films incontrovertibly have something to say with regard to politics amongst the action. However, they do not push an agenda for audiences to digest. Rather, they give the audience something to think about if they should choose to look deeper. Marvel still has room for growth, especially regarding women and not white-washing ethnicities. But with new films and franchises planned for the next decade, hopefully the MCU will continue to explore different ways these stories reflect upon humanity and resonate with audiences.

Eva Wakeford

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Image: Ponfield

Gucci guilty over jumper faux pas Oscar Wilde once claimed that ‘Fashion is a form of ugliness so intolerable that we have to alter it every six months’. This statement rings painfully true with the luxury fashion house Gucci after recently being accused of blackface following the release of a turtleneck jumper.

While the design was pulled from the brands website shortly after complaints surfaced online, these events show the worrying trend within fashion of cultural appropriation. In recent years, brands such as Dolce

where fashion changed twice a year, in some shops like H&M this can now be done as much as twice a week.

But while this throwaway culture can satisfy the Instagram need for new products, it forces major brands to move away from their traditional styles into something more modern to compete. What was acceptable 30 years ago now has no place in our ever changing consumer culture. This has therefore forced large brands to be increasingly radical and unique to be noticed in this marketplace, with

them set a standard for the rest of the industry to follow, and, quite frankly, not to recognise the problems with this design are questionable at best. To the consumer, the mistakes are obvious, this mistake being especially ironic due to it occurring in Black History Month, showing the disconnect that these brands have with their target market. Do we want fashion to keep being new and inventive? Absolutely, hence why there will always be a need for Topshop. What must be avoided is this

& Gabbana and Prada, as well as celebrities such as Katy Perry, have removed items from their stores for the same issues. It seems that these brands are disconnected with the real issues that their products can represent.

brands such as Alexander McQueen routinely producing collections intended to shock rather than be worn day to day.

process happening at the expense of a certain demographic.

Gucci’s brand has been the fantasy Italian lifestyle since its conception and has always sought to push the boundaries of classic elegance.

However, their actions this week indicate the issues surrounding the need to reinvent and constantly churn out new ideas. The expansion of online stores such as ASOS and advancing technology means that styles are constantly changing, and new designs can be taken from conception to sales floor within two weeks. Gone are the days of Wilde

This, however, doesn’t excuse Gucci’s actions in the slightest, especially since blackface claims have been levied against its main competitor Prada for producing keyrings resembling monkeys with the same exaggerated red lips. Both products

were criticised for resembling Sambo dolls - racist toys that represented servitude - indicating that some awareness must have been known before the collections were released.

Personally, it is hard to believe that this was done intentionally, but it shows quite an oversight on Gucci’s part and the lack of understanding amongst the industry. Brands like

So where do we go from here? Most importantly high-profile brands such as Gucci need to realise how products can be interpreted and how they fit into social histories, and be aware of the mistakes made by other brands.

Next, they should re-examine their selling point and return to it rather than feeling the need to constantly change themselves: we buy Gucci for the Italian fantasy, not for groundbreaking edginess. And finally, we need to continue to hold companies like this accountable, because they affect all aspects of the industry, especially those below it.

Danny Hayes Images: Flickr

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Addicted to the glow Over the past couple of years jelly makeup products have slowly but surely been making their way onto the makeup scene, and 2019 is set to be the year they really come into their own. The only issue is that the majority of these

jellified products seem to be coming from the high-end makeup brands, meaning if you want to try this trend you’ll be paying top dollar for the privilege.

To purchase jelly highlighters from brands such as Farsali and Iconic London will set you back up to £34, which is pretty steep if you ask me. The selling point for these products however, to justify the price, is that they are multiuse, because of their consistency you can put them on your eyes, on your cheekbone and even under your foundation to create a glow from within.

Which is all very good, so long as they work. The general consensus from social media and bloggers alike is how fast drying these types of products are.

US Youtuber Tati Westbrook has warned fans that this is not something you want to leave the lid off of as it is sure to dry out. As long as you’re a quick blender the staying power of these things and the beautiful shimmer it gives you does seem worth it. And because of the lightweight texture, you can build-up the colour without looking cakey.

So long as the drugstore starts picking up this trend (and does it well!), jelly makeup will be a big hit this year.

Swetha Natarajan

Supreme and the marketing of radicalisation Introducing the latest in late-stage capitalism: a brick. With a logo. A logo which is ripped off from left-wing pop artists.

A logo which is not even that visually interesting.

I hope I am not regarded as hyperbolic when I say that Supreme is the most openly festering symptom of the dying days of capitalism that I can find. Springing from disadvantaged neighbourhoods in New York City in the mid-1990s, Supreme has made its name through a painful awareness of how worthless it truly is.

It is worn as the ultimate irony. You know you are wearing an overpriced sweatshirt, hat or, um, brick. That’s the point. You have the money to show off how little it matters.

Nihilism, youthful rebellion and street vibes with none of the effort of reading Nietzsche, risk of making an actual point or inconvenience of coming from a disadvantaged background. Revolution for reactionary teens.

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Image: Flickr, Phil Simonson

Valued at $1billion, half-owned a private equity group, Supreme is the face of sanitised rebellion. The use of leftist propaganda art for a logo, an upstart story and feelings of non-conformity add value to something otherwise worthless. If you beat the artificial scarcity of supply and manage to buy anything from Supreme, some of the wealthiest people in the world profit from counter-culture rhetoric.

In doing so, expression and dissent become fuel for the capitalist machine. Rather than putting your bodies upon the gears, wheels and levers, that purchase oils them.

Supreme is a chance to use wealth to make an implicit statement against wealth. One drafted, approved and propagated by the wealthy. As capitalism breathes its last, it will do anything to monetise opposition. A vampire fuelled by Futura and sweatshops, Supreme is capitalism’s oxygen mask.

Nick Mason

Tarte’s limited shade range For a long time, racism has made its way into every possible aspect of society, and the makeup industry is no stranger to it. The idea that the purpose of makeup is to appear fair skinned and conventionally beautiful has been ingrained into almost everyone’s thoughts. Although there has been significant progress in eradicating this evidently flawed mentality, there’s still a long way to go.

About a year ago, Tarte, a popular makeup brand, launched a new collection, the Shape Tape Foundation, inspired by the Shape Tape Concealer which was an overwhelming success for the brand in 2016. The Shape Tape Concealer had an acceptable amount of variety in the shades that it was produced in. However, for some bizarre reason, the foundation, which came in two different formulas, hydrating and matte, only offered about three shades for women with darker skin tones in the fifteen shades that were launched.

Obviously, this was met with immense backlash. They were criticised for having had the time to come up with two different formulas but not enough shades, and with new technology, it isn’t very hard to create a few more shades.

People with darker skin were having to purchase two or three shades to match their skin tone, and they weren’t entirely happy with the result either.

Youtubers such as Alissa Ashley and Jackie Aina used their videos as a platform to express their views. Although

they appreciated the formulae, they did express their disapproval of the shade range.

Tarte then eventually announced that their plan all along was to launch about 25 shades, and that ten more shades would be launched soon. They even turned off comments on a Shape Tape related post on Instagram. ‘We all just got so caught up in #shapetapenation and seeing your tweets asking for it… We wanted to get the product out as fast as possible and we made the decision to move forward before all the shades were ready to go. We know there is no excuse,

and we take full responsibility for launching this way. We lost sight of what’s really important in this industry, & for those who feel alienated in our community, we want to personally apologise. We’re doing everything in our power to bring those unfinished shades to market as fast as we can, at

any cost. We CAN and WILL DO BETTER.’ In my opinion, this seems like a pathetic excuse for having committed such a blunder. People with darker skin shouldn’t need to be an afterthought in response to objection.

Having learnt from this experience, Tarte has recently announced that they are launching a new collection of Shape Tape Foundation with 50 shades and five undertones on 17 February.

Cailin Cron

Image: Pxhere

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Places to study... outside the library

It’s almost halfway through term. It’s cold. You have so much work. It’s all a slog, and by God you’re bored of the library. But where else can you go? Where’s a good place to work outside of that glorious yet numbing concrete cube?

BLEND:

The home of Campus Kitchen curly fries and oddly selected mood music. This may seem like an absurd study location, but if you avoid the 11 – 1 lunchtime rush, it can become pretty easy to knuckle down to work. The café is generally quiet, (with plenty of plug sockets!) and the slow moving coloured lights make it a unique environment to study in. Despite the odd rogue tune, Blend’s playlist tends to feature a lot of chilled jazz music to relax and immerse the busy student into a productive study session.

LOUIS’ DELI:

Louis’ Deli is a lovely location found a quiet distance from the bustle of the market. Its rustic interior, both inside and out, makes it a lovely place to work, and its clientele of mostly older people gives it a mellow atmosphere. Handmade cakes, cheeses, and lots of options for lunch.There’s no wifi or plugs, though.

Ellie Robson

MARZANO’S CAFE:

Marzano’s Café in the Forum is home to the best hot chocolate in Norfolk (and a pretty mean hummus and roast veg sarnie too), and thus is the best place to work if you’re sick of the library (and live closer to town).

With a selection of sofas, reliable wi-fi, and the absence of plugs forcing you to stop procrastinating and get your work done before your laptop runs out of battery, this should be your work hub of choice.

Gus Edgar-Chan

Josephine Dowswell

IN BED...:

Any homebody out there would know that the best place to do your uni work is, without a doubt, at home. Make yourself a cuppa, throw on your dressing gown, tuck yourself into bed, and you’re sorted! No one’s going to judge you for what you’re eating (or how loudly) AND you can do all your reading in a laying down position.

And best of all, if it’s just one of those days, you can just pop some Netflix on without worrying about everyone knowing you’ve written seven words since stepping into the library. Whoever said your bed is for sleeping has clearly missed out on a world of comfort.

Tamar Moshkovitz

Fancy a productive procrastination? The best places to get stationery: ELM, 5-7 Lower Goat Lane: some really beautiful

notebooks and stationery on offer here. brands you’ve never heard of, fancy pencils, tiny rubbers, Japanese notebooks. The greeting card collection is also impressive and equally quirky.

And they sell plants! Shake up your whole work desk, why don’t you.

JARROLD THE STATIONERS, 25-27 Exchange Street: fun and boujie. lots of professinal art

stationary in one half, some of which is surprisingly cheap. The other half, just cute stationery.

PAPERCHASE, 1-3 Castle Street: a slightly

obvious one, but still worth a mention. Their combination of both classy and quirky stationery is perfect, and there’s a 10% UniDays discount.

WILCO, 56-72 St Stephens Street: that’s right.

Perfect for your cheap basics: tippex, walets, folders, pens. Can’t go wrong.

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THE SAINSBURY CENTRE:

The Sainsbury Centre for Visual Arts actually warrants four different good places to study. The first is Kofra, at the half of the gallery nearest the Zigs. It’s a clean, cosy place to drink the famously tasty Kofra coffee and a slice of cake or two. Since it’s got that noisiness of a stylish cafe, it’s best if you like having white noise in the background while you study, or want to do some group work. The ceiling high window also lets in a lot of light.

Next is studying at any of the tables actually in the gallery. I can guarantee you’ll get one hell of a cultural kick from studying in front of a Francis Bacon or next to some modernist relics. Studying at these low-lying tables and leather seats doesn’t lend itself to writing notes or essays, but they’re perfect for binge reading.

Third, the art students study space. I’m not so sure you’re meant to study there if you’re not an arts student - you can’t login to the computers with a nonAMA account… - but the study space is barely ever crowded. Big round tables, mellow atmosphere and colours, places to plug in your laptop. Very chic, and great for studying with friends.

Finally, the Modern Life Café at the furthest end of the gallery. This is for if you want to treat yourself: the food is pricey if you’re not buying one of their (still pricey) sandwiches, but it is the tastiest food available on campus by far. Nab yourself some bread and soup, take a seat by the enormous glass wall (complete with Lynn Chadwick sculpture outside) and take in the exquisitely aesthetic studying atmosphere. You’d be a fool to not get an insta of your book and coffee here.

Josephine Dowswell

EXPRESSO:

With good coffee, banging cakes and free wifi Expresso is my go to study and reading spot in Norwich (by which I mean I procrastinate and read comics in there). It’s simple and quiet, with a lovely chill vibe from the staff. Nothing too pretentious to be found here, other than maybe the students, it’s just a nice and easy little café. There are also nice wafer biscuits that come with coffee, which is a fun and refreshing change from the usual Biscoff. Most importantly, once the bare minimum work is done you can go a few doors down the road and treat yourself to a nice pint in Playhouse. You earned it.

Talia Holmes

Images: Wikimedia Commons, Unsplash; Dan McKeon.

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Concrete jungle: Jungle at the LCR Synth-funk outfit Jungle bring a distinct sound to their genre representing a unique variety of groove in modern music. The band came to the LCR accompanied by upcoming synth-pop artist Georgia.

Georgia, originating from North London, has been developing her sound since 2015 but has only really gained momentum in recent years, following 2018’s Starting Out. Her set at the LCR showed off all that the young artist was able to do. Laying down a style that has clear parallels to bands like Gorgon City, Georgia was an outstanding supporting act for Jungle and what she comes up with in future as she defines her sound more is something worth being excited for.

Jungle, after releasing debut self-titled album in

their 2014,

won a place in the hearts of many for bringing funk back into the mainstream. Following the release of their second album For Ever the group have, in terms of new music, engaged with the genre once again and have been touring the world to re-establish themselves as a funk force to be reckoned with.

Opening their set with the songs Smile and California, the group showed its strength and its intent.

These songs, felt throughout the LCR, created an air of happiness and there wasn’t a single person not bobbing to the wonderfully eclectic composition.

Moving to songs like Casio and Happy Man Jungle later in the set, the band maintained a strongly positive vibe to their set laying out beats and gloriously

pitchy vocals that would keep any audience entranced. The bands stage presence matched this as the vocalists called out to the crow throughout their set.

Although showcasing some songs from their first album, such as Platoon, Time and Busy Earnin’ (the last two from their encore), the band notably focused on their newer material. In this they seemed to thrive in songs with more complicated layering and these were the songs that were enjoyed most. Although it is fair to question how much the band has really developed their sound following their first album, there is no denying that Jungle still put on an amazing, euphoric and funky show.

Chris Grosset

AJ Tracey: birth of a superstar In AJ Tracey’s self-titled debut, he showcases his remarkable versatility that the British hip-hop scene arguably lacked. His Secure The Bag! EP was met with critical acclaim, and between the release of the EP and this debut he released a successful run of singles, including Butterflies featuring Not3s, which charted highly in the UK. AJ raps on a wide variety of production styles in this album, including typical grime and hip-hop instrumentals but also more lowkey beats and, to his fans’ surprise, he flows along country-tinged production on Country Star, which melds the two genres very well with AJ’s simple yet infectious singing on the hook.

Although bangers,

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AJ is known for his including tracks like

Thiago Silva with Dave, he takes a far more introspective and quieter tone in songs like Plan B. AJ’s flow is slow and chill over the similarly chill instrumental which twinkles behind typical trap drums.

Flick, which utilises samples from music typical to horror movies, with AJ’s aggression combining well with his wordplay revolving around said movies.

The album lacks many features, but the ones that are present bring their best. Butterflies is a typical summer song featuring a verse from Not3s, a frequent collaborator of AJ, although the song’s presence on the album is somewhat of a jarring contrast with the more low-key Plan B and Wifey Riddim 3. Another highprofile feature is Giggs on Nothing But Net, the two stars of British hip-hop coming together to create a banger of a track, with Giggs providing a typical verse for the clubs of the UK. The most interesting track is Horror

Jack Oxford

thank u, next: Ariana’s all grown up Ariana Grande’s fifth studio album thank u, next was released on 8 February this year, just in time for Valentine’s Day. But some of her upbeat songs have sad undertones: tracks like ghostin’, imagine, in my head, bloodline and fake smile all share the realities of post-breakup anxiety and the thoughts about a future that could have been.

Grande’s style on this album is very bass heavy with alternative beats and is infused with sad songs throughout. It is these songs that are the most interesting because they take a few listens for you to hear past the airy bass heavy music to get to the core lyrics.

This album isn’t all sad songs though. Grande’s major singles this year have been thank u, next and 7

rings. thank u, next is a song that is sure of its target audience. I knew when I watched the music video that she was appealing to young women in their late teens and early twenties because of the references to classic chick flicks such as Mean Girls, Bring It On, 13 Going on 30 and Legally Blonde. It was a nice touch to include Kris Jenner as Mrs George, and original cast members such as Stefanie Drummond from Mean Girls and Jennifer Coolidge from Legally Blonde.

song at face value or to read into it a message about the flaws of consumerism.

7 rings continues with the pop

culture references by riffing off My Favourite Things from The Sound of Music. The backstory to this song rests on Grande and her friends buying rings at Tiffany & Co. after a hard day in New York. It is hard to know whether or not to take this

Gabriela Williams

Music documentaries: what’s the point?

There’s no denying that music documentaries can offer a new angle on well-loved bands or musicians, however many may argue these documentaries aren’t needed.

The main issue I have with such documentaries is that they can be viewed as a means to simply make money.

The primary thing I love about any artist is their music, which I can listen to any time through Spotify or other streaming services. I don’t need to pay money to see a film where they will play their songs and give me the backstory behind that because, if I wanted to, I could find that information on Google.

Fair enough if the documentary offers new songs, unreleased songs or information not available

anywhere else, but if the content is easily accessible for free, I don’t see why I’d need to pay or waste time watching a documentary.

However, if you love the artist, then there’s no reason you wouldn’t want to learn more about them and see them in a different light. Learning more about the artist on a deeper level can make you understand the music they produce better and give new layers to the music they produce.

Many documentaries include interviews with the artists themselves or important people in the industry which can offer an incredible new perspective. Most music documentaries have their own unique spin on the artist and offer pieces of information which

can’t be discovered simply through the music alone. They offer not only an insight, but a story.

They don’t personally appeal to me on a large scale, because typically it’s the specific music of the artist which I appreciate, I’m not necessarily interested in the artist themselves. All that being said, I can see how fans would love the chance to engage with the artist in a different way.

Leia Butler

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Indie in the digitial age In the final installment of his three-part celebration of indie’s 40th year, Lewis Oxley looks at indie’s foray into the digital age.

If the 90s proved anything, it was that the independent record labels driving the movement on would hitting a new brick wall – step in the major buyout period. This would be postponed a few years however, due to the success of bands like Blur, Pulp and, Oasis. This new phenomenon was ‘Britpop’ where, nationwide, another musical revolution was happening not seen since the 60s.

The usual press hounds of the

NME and Melody Maker jumped on this new wave like flies and, all of a sudden, British music became hip again and replied to the gloomy shoegazers of grunge with a big up yours. It was all very well to say that the fever of ‘Britpop’ was spun just to sell the best British export, but, behind the scenes, the people who were making this possible were sure to make it a big success.

McGee and Creation, despite selling out to Sony, were in the midst of a revolution, releasing not just two great albums (Definitely Maybe and What’s the Story) but becoming the epitome of what the independent movement could do. The success of Creation and Oasis led to some unlikely fans. In the run-up to the 1997 General Election, Labour leader Tony Blair turned to the Scotsman in order to rejuvenate the party’s appeal to the youth.

This, Blair thought, would get him and the party on board with the ‘Cool Britannia’ vibe. This contrived project did work, and Labour won an historic landslide victory. Oasis didn’t see the 90s out with Creation.

In late 1999, the label went defunct with McGee becoming rather disillusioned with it and Oasis’ spending habits beginning to bite back. Oasis themselves went on

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to find their own record label, Big Brother, just in time for their 2000 release: Standing on the Shoulder of Giants.

As the millennium came around, indie acts kept coming and going, and the genre was now catering for more mainstream tastes. The launch of Richard Branson’s new label v2 is a prime example and the signing of Welsh newcomers

Stereophonics saw the band become an archetype of this new radio-friendly style, a stark contrast to that of the foundational bands of the 70s and 80s. Its sound was now reaching across the pond; American artists, with the tag of grunge not yet erased, built from the sounds of their British contemporaries. Bands like Pavement, The Flaming Lips and The Strokes were proof of America’s strong claim to the genre.

The Strokes’ success was the result of a rejuvenated Rough Trade, leading Geoff Travis to revive the label with help from a collective of artists known as the Zomba Group. They enjoyed further success in London too, this time with a band who found fame digitally, with fans filming gigs: The Libertines. The success of The Libertines was sometimes overshadowed by the notoriety the band caused, mainly from the interplay between members Carl Barat and Pete Doherty and various substances. This notoriety did not bode well, and the band called it a day in 2004, but have undergone multiple reunions since.

Rough Trade’s revival saw it still had life left, but by no means was it a phoenix rising from the ashes. Its miraculous journey saw it personify

the cliché that nothing in music was an easy ride. While the scene at Rough Trade dwindled in the background, down in London there was a new name on the scene, a label, whose success is still in the making.

Founded by Lawrence Bell and his partner Jacqui Rice, Domino was the latest label to cause an earthquake on Britain’s music scene. Their

success was instantaneous. Firstly, signing Glasgow outfit Franz Ferdinand, whose debut album won the 2004 Mercury Prize and whose second, You Could Have It So Much, topped the charts. However, their next act would go beyond that, for this they went with a small band from Sheffield, who had a growing following on social media outlets.

They were one of the first bands to use YouTube as a source to share their music with listeners. They were the Arctic Monkeys and they told us to ‘not believe the hype’. The irony of this is incredible, their success was more than anyone could have imagined, and they earned their place as Indie’s big thing. Six albums later, it’s safe to say, that title hasn’t been removed.

The legacy that the founding fathers of Indie have left is incredibly rich and curiously unpredictable as to the future of the D.I.Y movement.

In contemporary music, the D.I.Y element is everywhere, whether Soundcloud or Bandcamp, the method is well and truly living. The bedroom has become for many the recording studio and in homage to its pioneers, it is something they would be truly glad to see.

Lewis Oxley

NEW RELEASE: Kingdom Hearts 3 Brought to you from a wonderful seventeen-year old collaboration between Disney Interactive and Square Enix, Kingdom Hearts 3 is out after much anticipation from fans of the series. Released last month on both Playstation 4 and Xbox One, the game marks the final chapter in the Dark Seekers trilogy, which began back in 2002 with the original Kingdom Hearts on Playstation 2.

In that time, there have been twelve games in the franchise across multiple platforms, each centered around Sora, a young adventurer journeying through various Disney worlds to put a stop to the Heartless and their frightening leader, Xehanort, while helping his friends along the way. Allied with the likes of heroes such Mickey Mouse, Donald Duck and Goofy, as well as with further characters from Disney, Final Fantasy, The World Ends with You, and Pixar, this time we see Sora continue his search for the seven Guardians of Light and the ‘Key to Return Hearts’ in what hopes to be the most magical game of the year.

Beginning with Sora, Donald and Goofy joining up with Hercules to stop Hades in his attempt to overthrow Zeus, Kingdom Hearts 3 then tells a

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Image: dreamypixel, Pixabay

story that travels from one Disney universe to the next, including the worlds of Tangled, Wreck It Ralph and Frozen. As the menacing plans of Xehanort are revealed, it becomes Sora’s prerogative to prevent his nemesis from bringing about a second Keyblade War. Eventually regrouping with Mickey, Riku, and Aqua, along with a troop of Disney’s best heros, Sora faces Xehanort in one of the most dazzling battles of the franchise.

While the premise of the game may be gripping enough for Disney Interactive fans, perhaps Kingdom Hearts 3’s frantic sort of fun comes from its excited - if not slightly ridiculous - gameplay. Driven by a hack-and-slash combat system used by three playable characters - Sora, Riku and Aqua - the player will often them find themselves leaping around skirmishes of the game, slicing and dicing at Heartless, Nobodies and Unversed with their keyblade in an otherworldly fashion.

During these battles, Sora has the ability of summoning powerful attacks, coined ‘Attraction Flow’. These attacks are probably the most bizarre as well as brilliantly fun element of Kingdom Hearts 3, since they are each inspired by several Disney Parks attractions,

including Grizzly River Run, Big Thunder Mountain Railroad, and Mad Tea Party. Also drawing visual inspiration from Disney Parks’ Main Street Electrical Parade, they prove to be both an effective and stunning way of fighting enemies in the game - particularly against huge bosses.

Sora can also use magic in combat, shooting fire and bending water.

With various mini-games available throughout Kingdom Hearts 3, gamers are not likely to get bored of playing despite the somewhat repetitive nature of combat. Perhaps the most impressive of these are the 1980s LCD games found on the Gummiphone feature, containing over twenty games such as the classic Game & Watch. Players can even cook with Ratatouille’s firstclass little chef, Remy, in a Cooking Mama style. Frankly, the game might be worth picking up solely for these mini-games, if not for the staggering main storyline! Either way, if you’re in the mood for some Disney chaos, then Kingdom Hearts 3 is definitely the game for you.

Jordan Hunnisett

RECENTLY PLAYED: The Legend of Zelda: Breath of the Wild Heralded as one of the best games of all time, The Legend of Zelda: Breath of the Wild is a masterpiece. It outsold all previous Zelda games and was a break away from the traditional style of the series. Previous Zelda games have all focussed heavily on puzzles and linear gameplay whereas Breath of the Wild is completely open-world with a lot more attention on the fighting. Now weapons are degradable and can be dropped from enemies or found in chests, which are hidden across the land. Also, unlike previous Zelda games treasure normally takes the form of usable items like elemental arrows and weapons rather than rupees, the games currency, which is now much rarer.

Other additions to Breath of the Wild that were unseen in previous games in the series is horseback riding and extreme weather conditions in deserts, mountains and tundra, all can be experienced in deadly lightning storms, where having metal armour equipped makes you a target for the one shooting lightning bolts shooting form the skies. In the more extreme areas of the map it’s important to bring the right gear to cool Link down or keep him warm, otherwise the consequence is likely to be death.

Alternatively, cooking up an elixir or tasty meal with ingredients foraged or picked up from monsters can be

Image: Brett Chapula, Flickr

used to stave off the effects of these weather conditions. Also, rain is a new frustrating challenge when trying to climb up mountains or castle walls as surfaces become unclimbable; for every inch you gain you lose another two by slipping back down.

Upon starting the game, you awake after 100 years as Link to find a plush green world warped by Calamity Ganon’s control the games’ antagonist. Ganon, a huge red flying

serpent, wraps its body around a castle in the distance. This is the mission. Princess Zelda has sacrificed her freedom to lock herself and Ganon away in the castle with her magic. To free her and fulfil your destiny as Link, you must first regather your strength by venturing out to the corners of the map completing shrines. To complete a shrine Link must either defeat a formidable opponent or complete some puzzle using the four powers of his Sheikah Slate; freeze water, move metal objects, stop objects in time and throw bombs. If you manage this then you will be rewarded with a spirit orb, four of which can be traded in for either an increase in your health or your stamina, essentially levelling up.

Four divine beasts also block your path on the way to free Princess Zelda.

These divine beasts are massive conscious machines that must be tamed to bring down Ganon. Each

Divine Beasts must first be gained access to by enlisting the help of the local villages and tribes, who were once great kingdoms before Ganon took over. Once inside you must complete a series of increasingly difficult challenges and puzzles until you enter the last boss room.

As a series known for its unique and exciting boss battles Breath of the Wild more than lives up to its reputation.

After surmounting this feat four times you should head straight to take

down Ganon as the Divine Beasts are now fighting to save Princess Zelda too, and weaken Ganon, giving you a vital helping hand. After battling your way up the steps to the castle through waves of guardians, spider like machines that shoot devastatingly powerful laser beams out of their eyes, you will face down Ganon: your most powerful enemy yet. However, I shall leave you to experience that pleasure for yourself. Breath of the Wild took my breath away with the only slight niggling annoyance of slightly clunky controls, although with a little time these are quickly forgotten as you immerse yourself within, in my opinion, one of the best open worlds available on the current generation of console.

Jack Berryman

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GAME OPINIONS: the lacking LGBTQ+ representation in video games

Video games are generally not the most inclusive. I’ve heard a lot of people say any representation is good representation, I’m not sure I fully agree. One of the most prominent methods game developers use to represent the LGBTQ+ community that I’ve seen is use of the F slur to illustrate that the character is in fact a bigot.

The funny thing is that it’s always in quotation marks, with that same old excuse, ‘It’s a character’s words, not the publishers’. In a creative piece, it honestly isn’t good enough, especially when you could just exclude or write around. It’s like these people who write deep and complex characters for a living don’t know how to represent without being offensive.

There is a general lack of fleshed out LGBTQ+ characters in mainstream games, particularly in story-driven ones. Though, there will always be something entertaining in bigots playing contemporary MMO’s like

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Image: BagoGames, Flickr

Overwatch, getting mad because a character isn’t straight. This is a really great step forward from gaming curators. It also casts a lot of shame on the heavy hitters of single player RPGs, as these characters in MMOs are normally picked on aesthetic and play style, with their backstory usually a bit of a mute point. If a game like that can make the effort of writing in more inclusive backstories, then what excuse do these games have that pride themselves on rich narrative and ‘deep’ characters.

The bar is so low, especially when it’s free to be mutual on the subject.

Take, for example, Skyrim. This game, released in 2011, had a romance mechanic that was clearly thrown in like an afterthought. For any eligible marriage candidate, all you have to do to win them over is to complete their personal quest and talk to them while wearing a funky amulet, doesn’t matter what kind of pairing it is. How

has it been 8 years and yet, in general, game publishers find it easier to be offensive than not?

One tiny shining light of progression was the Mass Effect series between 2007 and 2012 - because, let’s be honest, Andromeda was the video game equivalent of eating literal garbage. For the time, those games came a long way in terms of LGBTQ+ representation. The romance evolved from heteronormative in 1 to including multiple gay characters in 3, with smatterings of implied sexuality. I guess I’m just saddened a bit that the only relief I’ve been exposed to is just a small portion of gaming that I enjoy, especially when I know for a fact that the LGBTQ+ community is underrepresented in the gaming industry.

It’s not hard to do better.

Joe Pallace

Our obsession with True Crime Murderers, rapists, and paedophiles are initially introduced to us as a concept of fiction, something written about in books and plays – a terrifying figment of the imagination. So, when we are introduced to them in True Crime documentaries, films and television series it is hard to comprehend the reality of these criminals’ actions.

driving. Bundy’s charisma and charm won a alarming amount of the public over for the majority of his trial. His ability to deceive and manipulate the law enforcement agencies in America during the 1970-80s is second to none as he was able to escape from custody not once, but twice.

he was in prison. However, surely Boone must have loved Bundy deeply in order to face the public backlash to their relationship. The existence of such a relationship proves the extent of Bundy’s charm, for without it I doubt he would have found someone with such devotion as Carole Ann Boone.

The popularity of True Crime has risen dramatically of late. Making a Murderer has been on Netflix for quite a few years now, and until recently I had never taken the time to

There has been a lot of controversy regarding Ted Bundy and the film starring Zac Efron. I heard of the film mid-way through watching the Netflix documentary and immediately saw the resemblance between Efron and

Abducted in Plain Sight is another of Netflix’s latest True Crime offerings, focusing on the multiple kidnaps of Jan Broberg. Berchtold was involved sexually with both of Broberg’s parents, as well as Broberg herself

Names like Ted Bundy and Robert ‘B’ Berchtold had never been on my radar.

After watching these documentaries, it is hard to comprehend the lengths that some will go to in order to gratify themselves.

Necrophilia and paedophilia have always been something that nobody really understood, I was introduced to the terms during games of Cards Against Humanity, so they were nothing more than a joke. But the True Crime dramas that I have watched in the last few weeks are both disturbing and enlightening. My pick has to be the Ted Bundy Tapes. I was shocked that a man could kill so many people and that he was only caught when pulled over by the police for reckless

Even after escaping from prison to kill again, commit necrophilia and paedophilia, he was still capable of being admired. The fact that after his convictions, Carole Ann Boone married Bundy and had a daughter with him is something that astounds me. The relationship between them makes me incredibly uneasy. It is hard to know if the relationship was something to make the media favour Bundy: he proposed to her whilst on trial and they conceived a child whilst

The actions of both Bundy and Berchtold are so far beyond societal norms that the public cannot help but be fascinated with these stories.

The fact that these men were both capable and able to commit such horrific crimes is mind-blowing and frightening. We cannot help but binge watch True Crime shows, being entertained whilst simultaneously being horrified.

watch it. But after watching The Ted Bundy Tapes, Abducted in Plain Sight and Dirty John, I simply cannot get enough of True Crime.

Bundy. The main issue however is that many people find Efron attractive and charming; these feelings are not acceptable to associate with serial killers. There is certainly a concern that True Crime romanticises serial killers. However, the main reason that Bundy was able to get away with the crimes he committed was because he was charming.

(who was only a child at the time). The multiple sexual relationships involved in this True Crime documentary has led to an uproar on the internet, especially in regard to the creation of memes. The lack of consideration of the Broberg family and their ordeal is concerning. But perhaps this is why True Crime is so fascinating, because these crimes are so outrageous and troubling.

Jess Barrett

Image: David Von Diemar, Unsplash

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Diamonds in the rough - TV’s hidden gems We’re in the golden age of television and as viewers we are absolutely spoilt for choice, but with Netflix homogenising what we see, it becomes easy for some of the best shows to slip under the radar. Here are some of the strongest series we’ve seen in recent years that you’ve probably never heard of; but once you’ve seen them, you’ll never forget them.

Legion (FX) As a highly stylised experiment in long-form storytelling that dabbles in surrealism, you wouldn’t guess Legion was a Marvel property. Following David Haller (Dan Stevens), a patient in a psychiatric hospital who isn’t certain whether he is schizophrenic or has superpowers, Legion is the most refined exploration of mental illness on television, using its collection of characters to interrogate the entire spectrum of mental health. Stylistically the show is framed entirely within David’s mind: scenes abruptly shift into old black and white film with title cards replacing the dialogue, at times the sound is completely removed and the viewer is no longer party to conversations, fight sequences turn into dance battles or anime; the show is eager to play with style and refuses to conform to any one genre. The experience of watching this show is unlike anything else you’ll find on TV, and it’s one that will leave you thinking about its content weeks after the binge.

Atlanta (FX) Imagine Childish Gambino’s This is America as a TV show. Welcome to Donald Glover’s Atlanta, a sitcom like no other, an acclaimed opus that exemplifies black genius in television. Glover writes, stars, and directs flawlessly alongside long-time collaborator Hiro Murai (the director of This is America) and brother Stephen Glover. The story revolves around Earn (Glover), a young Princeton dropout who’s homeless and trying to help raise his young daughter. When his cousin Paper Boi drops a viral hit, Earn wants to step in as his manager and make an indent on the Atlanta rap scene. The chronicling of this slow but steady rise to fame is placed within a genre hopping, cinematically stunning imagined version of Atlanta.

It bears little resemblance to reality and exaggerates its inhabitants beyond caricatures. Atlanta is a breath of fresh air for a sitcom and is unafraid to rip into the pitfalls of American culture on black working class communities.

Sharp Objects (HBO) Sharp Objects is a beautifully perverse masterpiece, a Plathian horror-show of ever mounting dread that slowly eats away at its viewer. Based on the novel by Gillian Flynn – author of Gone Girl – and held together by an award-winning performance by Amy Adams, the series follows Camille Preaker (Adams), an aspiring crime reporter in St Louis, Missouri who returns to her hometown to report on the murders of two teenage girls. The show is a deep and unflinching case study of abuse, one that doesn’t centre on the murders but instead on Camille’s relationship with her mother (Patricia Clarkson) and half-sister (Eliza Scanlen). As a perfectly paced mini-series, Sharp Objects is a pinnacle of feminist storytelling, but it certainly isn’t for the faint-hearted.

In the Flesh (BBC Three) Gay Zombies?! One of the most sophisticated explorations of queer identity on television, In the Flesh soars where so many other shows belly-flop. Set post-Zombie apocalypse in a world where the NHS have found a cure, the show tells the story of Kieran, a young PDS (Post-Deceased Syndrome) sufferer who has been cured of his rabid state and is ready to go home to his parents’ village in Lancashire. However, as attention was focused on cities during the apocalypse, rural communities had to fight back and are prepared to continue defending themselves against the undead, rabid or not.

Written by playwright Dominic Mitchell, In the Flesh places its emphasis on quiet character beats rather than gore and violence. Its brimming romance plots only add to use of the zombie metaphor as one of contemporary queer experience in small town communities and provides a unique and devastatingly honest view of the prejudice that continues in England today.

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Frederick Zennor Images: FX Network, HBO, BBC.

The philosophy of...

A Series of Unfortunate Events

Netflix’s adaptation of A Series of Unfortunate Events has something to teach all of us, regardless of whether we are adults or children. The show explores issues such as morality, the importance of education and family, and the oft-forgotten trials that children face. The story centres around the three Baudelaire orphans, Violet (Malina Weissman), Klaus (Louis Hynes) and Sunny (Presley Smith) whose lives take an unfortunate turn after their parents perish in a fire. They are relentlessly pursued by Count Olaf (Neil Patrick Harris) who is determined to steal their fortune.

One of the show’s central questions is what it means to be a good person. Count Olaf and his accomplices are overtly villainous, attempting to obtain their desires through treachery; but the Baudelaires are not perfect either. The show conveys a message of moral relativism as the children desperately attempt to survive a world with Count Olaf in it, but their actions slowly begin to mirror the man they condemn as they lie, deceive, and set fires.

The fundamental difference is their reasoning for doing so; they do the wrong thing for the right reason. However Olaf, in his final moments, is noble and saves a woman he once loved so that she could give birth in a safe place. The show proves that people are neither inherently good nor wicked; in its own words, ‘they’re like chef’s salads with good things and bad things all mixed together.’

The show also addresses the importance of education; Violet and Klaus are well-educated children who value knowledge and learning whereas Count Olaf was expelled from school and prefers transitory things. In his book on Utilitarianism, J.S. Mill distinguishes between higher and lower pleasures. He argues that those who are familiar with the pleasures of higher faculties, such as morality, intellect, and imagination are most likely to favour them, even though they are sometimes accompanied by

discontent. This applies to the Baudelaire children who

have experienced the feelings associated with activities such as reading and inventing. Count Olaf has little education and never understood the emotions that can come from higher pleasures, and consequently prefers lower pleasures that bring immediate satisfaction. This is ultimately what creates the conflict between Olaf and the Baudelaires; he desires their fortune, and the children, due to their preference for higher pleasures and their moral compass, are unable to stop him.

Children are not blind to the horrors that the world can bring, and this is especially true for the Baudelaires who suffer through many mental and physical trials. They begin to forget the simple joys of life; both Klaus and Violet forget their birthdays, and by placing children in these situations, the show highlights the incompetence of the adults who should be protecting them. Mr Poe (K. Todd Freeman) in unable to recognise Count Olaf, and their various guardians fall prey to Olaf’s schemes. The Baudelaires are often overlooked and ignored, even when informing people of the danger they’re in. Despite this, the adults do not fail the children because of innate evil, they fail because they are the ones who turn a blind eye to the horror of the world.

At the centre of this show are the Baudelaires, and the theme of family is prominent throughout. The story begins with great loss, but Violet, Klaus and Sunny learn to rely on and protect each other and they never lose the belief that one day they would find a home. The show subverts the typical ideas surrounding family identity, and when the children are told they have lost theirs, Violet replies ‘We didn’t lose our family, only our parents’. The series ends with a glimmer of hope for the children to finally find a safe place to call home.

Nerisse Appleby Image: Netflix

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Opening a jar of mayonnaise in a sexual manner My finger caresses the Helmann’s lable gently.

It beckons to me, and I dream of slapping it on thick betwixt my buns.

I insert my thumb around the rim and grip, my stomach moaning.

Aeughh.

The lid is greased, covered with a tangible moistness.

I lift my leg up onto the table and heave.

I want to fuck—I mean I want to eat this mayonnaise so hard right now—I mean so much right now.

Let its white, non-newtonian fluid enter my throat.

With all my might I attempt to screw it—I mean unscrew it.

Rotating my hands and clasping its supple… tits.

It’s my lewd lubricant My condiment condom I can’t catch up with ketchup And I poop on grey poupon I can’t put my dick on dijon, Horseradish is only rad-ish, Can’t muster the mustard, Don’t relish any relish.

It’s not cinco de mayo, it’s on-the-brinko-de-mayo, It’s not a metaphor, I just really like mayonnaise.

I twist the lid again and again, ever so slowly, and...

There’s the squirt! The release of the off-kilter white goodness.

I change my pants and continue trying to open the jar of mayonnaise.

It’s proving difficult, and I admit defeat, my sexual gratification once again unfulfilled.

I couldn’t get saucy.

Gus Edgar-Chan

Untitled When I was younger I used to have these little plastic cut outs for drawing around.

I’d do them all the time, almost compulsively, but there would always be more. I’d spend hours and never run out. Then I realised, I’d never be done, I’d never accomplish anything because there would always be more and long after I stopped or died they’d be there.

Anyway that’s the story of my first extra stencil crisis.

Avouleance Aaq

Image: pixabay

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I voted for Jeremy Corbyn I voted for Jeremy Corbyn And my friends did too, And that’s why we’re all Better people than you.

I’m Ed, I’m a vegetarian, Unlike my mum and dad, And the treatment of animals Drives me cow mad.

And I sign a petition Sipping milk from a cup And stand and tighten my leather belt To hold my trousers up.

And I voted for Jeremy Corbyn

‘Well that’s it then’, says Donald, ‘Throw it all away, I retire, shut the whole thing down, Now I’ve felt the ire of some English town, Seriously – I don’t have to take this crap’ He says of a place he couldn’t find on the map.

Suzy, when on an anti-trump protest ‘Cause she finds his views pretty insulting, ‘Mr Trump, Mr Tump – Norwich is revolting’ An aide rushes into the Oval Office to say

And so should you, Or we’ll always be Better people than you.

and my friends did too, and that’s why we’re all better people than you.

Take Nick.

Nick’s an intellectual, So he doesn’t think much of Russell Brand And Nick’s an intellectual So he started an anti-right wing band.

Nick’s an intellectual you see So he’s heard of Syriza And he once gave a homeless person 50p While gnawing on pizza.

But Nick’s an intellectual So he’s politically aware, And he can’t name a Prime Minister Before Tony Blair.

Nick is an intellectual And he thinks that the treatment of women in some societies Is a disgrace, An unearthly blot on the human race.

Debased, disgusting, mysoginistic and crude And the best moment of Nick’s life Was when he saw Jennifer Lawrence nude.

And he voted for Jeremy Corbyn and his friends did too, and that’s why they’re all better people than you.

Then there’s Suzy.

Now he votes for Jeremy Corbyn And Melania does too And that’s why they’re both Better people than you.

Then we come to Giles.

Giles is a feminist.

Wait – a feminist and a man, like - what?!

‘Hi, I’m Giles and I’m a feminist, I’ll tell you what’s what – So – I’m Giles and I’m a feminist Cause women have it pretty bloody bad.

I’m Giles and I’m a feminist Cause, like – I have a Mum, as well as a Dad, I’m Giles and I’m a feminist But that does NOT make me a bender (Babe, stfu – don’t interrupt me while I’m saving your gender).

I’m Giles and old people voted leave while I was travelling in South East Asia, I’m Giles and that’s why I’m pro euthanasia.

And I voted for Jeremy Corbyn And my friends did too And that’s why we’re all Better people than you Then we come to Anne!

Anne voted Labour (She also regularly mutilates ducks) and Bill accosts old women with Labour leaflets Who couldn’t give two fucks about his adolescent mulings on the housing crisis and why he thinks Punk is gonna take down ISIS. But they voted for Jeremy Corbyn and to stay in the EU and they voted for Jeremy Corbyn For the many, not the few, And they voted for Jeremy Corbyn

Edward Whitbread

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Image: Wikimedia Commons

Diary entry of a sexist fifteen year old boy going through puberty who also has an infatuation with winged animals Girls are birds.

They’re birds.

They’re birds that herd boys and hurt boys that are buoyed by the buoyancy of their boybs.

I mean, look at that bird caw, and look at that bird, corrrrr.

Her. She’s a penguin, grin so peng, pending gin she doesn’t know how to begin, still a virgin but vergin’ on sin.

That’s her thing.

And her.

She’s a woodpecker, wooed by your wood would your pecs or pecker be impeccable.

So yeah, women are birds.

She’s a hummingbird, makes my bird hum, it’ll thrum to your words and bird is the word, now my bird is stirred by the sight of your bum.

And you.

I’d say you’re an ostrich but that’s a bit of… ostretch.

But she’s an ostrich, head in the sand, won’t fly and won’t land, see girls are birds but not all of them want your dick in their hand.

Her. She’s a bating pigeon, not a mating pigeon.

Take the bait, pigeon, Let’s go on a date, pigeon, Let’s marry and move away and have a nice chateau in the south of France and we’ll have two kids named Marie-Anne and Pierre and that’ll be really great, pigeon.

And her. She’s a great tit. Because she has great tit… ...ilating conversations about life that appeal to me as a fifteen year old finding himself.

Also she has great tits.

And sure you titter but that’s tat and that’s that.

She’s a pheasant and while that’s pleasant, She’s a rooster and I wanna seduce her, Put my dick in that chicken, Call me KFC because it’s gonna be fingerlickin’... good.

So yeah, girls are birds, They’re birds, They do as they please.

Only one half of what I want, The birds and the bees.

So that means…

If girls are birds then boys are the bees, I’m one but I still can’t get no honeys.

I’m a yellowjacket because I’m yellow and I jack it, It’s the bumblebees that humble me, They’re larger and they’ve cracked it.

I see in black and yellow, black and yellow, That’s our version of black and white.

If I don’t pollinate I’ll get irate, Tell myself that I’m alright.

See, I’m the bee because I see the birds as above, Can’t reach that dove so can’t find that love, We wanna perfect her and make her our nectar, Too occupied to go and make ourselves better.

So we get our emotions and put them on shelves, Go through the motions and think to ourselves: ‘We’re bees, we’re bees, that’s our thing.

We may be the bees but it’s the birds that sting.’

Gus Edgar-Chan Image: Tony Hisgett, Flickr

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Let’s talk about racism in Norwich Our beloved city Norwich is not particularly known for having a culturally diverse populace, and that to a certain degree extends to UEA. According to UEA’s Equality Data Report from 2017, Black, Asian and other Minority Ethnic students (BAME) make up approximately 27 percent of students overall, a little over one quarter of the students both international and UK-based attending UEA. In which, 12 percent of BAME students are UK-nationals who come from minority backgrounds.

Indeed, I myself come under this bracket and although I cannot speak for all the POC students here, what I can say is that there are many of us including myself who have experienced varying levels of implicit and overt racism both on campus and in Norwich in general.

shock. Certainly, there have been many moments where people mispronounce and butcher foreign names such as mine or constantly mistake peoples ethnicities/ background. Or most notoriously those casual racist comments which end in the classic guise: ‘I’m only joking!’ Indeed, you can argue that these instances are inevitable in majority-white cities and institutions such as UEA, or that they are not ‘extreme’ circumstances but that isn’t to say that there haven’t been incidents of that likeness occurring here. It also doesn’t mean that implicit comments don’t have the same effect as more overt racism that’s ‘in your face’, I can assure you it’s just as problematic and need to be addressed.

While courses such as Pharmacy, Medicine, Economics,

Personally, I revel in discussions regarding race, so when instances like this occur there is nothing I love

Furthermore, when it comes to Literature, it is natural that whatever texts we read and discuss in class lead to discussions about life, art, politics, philosophy, history, you name it. So, when the subject of race would arise and muster up conversations/debates, I could immediately feel dozens of eyes turn to me or the one other POC student present, waiting for either a reaction or response from us to help defuse the tense atmosphere. Especially after hearing that one person who would start off the discussion with that classic uncomfortable opening statement: ‘I want to say this in the most politically correct way possible, BUT…’ and

So why do incidences like this still happen? Is it due to students coming from areas where there are hardly any POCs? A lack of education and understanding of racism in the UK both on a political and cultural level?

Or simply a lack of awareness of other cultures or religions which are inclusive of Black, Asian or ethnic minorities? It’s difficult to pinpoint, but regardless of the reasons it’s essential that race is discussed at UEA, especially in majority-white environments. More importantly, university itself is ultimately a place where people of all walks of life come together to learn, grown and celebrate each other’s differences. For it is through an awareness and appreciation of other backgrounds we can all learn to educate each other on instances

Chemistry, Biology, Law, International Development, hold more than 10 percent of Home-fee BAME students, most courses at UEA have hardly any POC students.

As an English Literature student, I knew even before arriving to Norwich and UEA that I would be moving to an area which is predominately white, for in the words of Drag Race legend Latrice Royale: ‘Y’all so white and Anglo-Saxon and shit’. Even walking around the centre of Norwich there would be nothing but a sea of white faces roaming around the streets. But it wasn’t until I attended my first seminars and lectures where it hit me that I was almost always the student who wasn’t white; heck, even the tutors at UEA are predominately white.

then proceed to say some awfully uninformed, ignorant statement that would paralyse everyone with confusion, awkwardly making us curl up and hold our breath in

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Image: Pixabay.

more than humbling and checking someone of their ignorance. And if you see some punk being ignorant I suggest you do the same for these circumstances aren’t addressed enough at UEA. Although, thankfully dozens of societies such as African & Caribbean Soc, Womanist Soc, Bengali Soc, and Persian Soc, which aim to represent and celebrate their respected ethnicities by being incredibly welcoming and inclusive to BAME students, allowing people to connect with their cultural identities with the utmost pride, notably through annual events such as Go Global.

regarding race, and not seclude ourselves from one another but stand up against ignorance and prejudice.

Gazal Raii

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Image: Architect’s Journal, Pinterest

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