Venue 378

VENUE 378

• cyberpunk 2077: what we know • • tulips in red, a creative piece • • no more maddermarket • • zoka the author • ANd much more...

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sections

senior editors EDITOR - LEIA BUTLER DEPUTY EDITOR JAKE WALKER-CHARLES

leia.butler@uea.ac.uk

J.Walker-Charles@uea.ac.uk

ARTS

04-06

BEA PRUTTON

DEPUTY EDITOR ROO PITT R.Pitt@uea.ac.uk

BOOKS

07-09

ALLY FOWLER

B.Prutton@uea.ac.uk

Ally.Fowler@uea.ac.uk

Our arts section is where you’ll find pieces about the art and theatre world.

Featuring reviews, previews, and investigative pieces, the arts section will keep you up to date on important events in the arts world. This section also covers debate pieces about bigger issues in the current arts climate.

The brand new books section will cover everything in the world of Literature! From reviews, interviews and exploration pieces, the books section aims to share coverage of a diverse range of books and authors from different cultures, viewpoints and voices. Feel free to pitch any ideas to the section editor!

creative writing

fashion

10-12

14-16

HAMILTON BROWN

IMOGEN CARTER DE JONG

Hamilton.Brown@uea.ac.uk

I.Carter-De-Jong@uea.ac.uk

In the creating writing section, you’ll find original creative pieces of prose, poetry, script and visual imagery created by writers. Each published piece of writing has been carefully selected by the section editor and will considered in a competition for the best creative piece at the end of December.

Fashion is one of Venue’s most fun sections! Expect to see personal pieces from writers about their perspective on fashion and its ever-evolving world. You’ll see pieces related to makeup, styling, and clothing. Fashion also explores bigger issues in the fashion world and how they might affect the community.

music

gaming

17-19

JACK OXFORD

20-22

JAMES WARD

J.Oxford@uea.ac.uk

James.Ward@uea.ac.uk

The music section is the place to go for anything music related- recent album releases, interesting features, interviews, and favourite tracks from our writers.

The music section aims to cover music from lots of different cultures and backgrounds. There is lots of pitching potential in this section also, so pitch away!

Our gaming section is where you can read all about the latest releases, reviews of games, and interviews with different people in the gaming community and industry. The sections covers pieces about different console and PC games, mobile games, and even traditional board games and playground games!

Film

Television

24-26

NIAMH BROOK

27-29

NERISSE APPLEBY

N.Brook@uea.ac.uk

N.Appleby@uea.ac.uk

The film section is the place to go if you want to read all about the film world including reviews, rewatch pieces and coverage of film award shows. This year the film section will explore the film industry with a more investigative lens, looking at all aspects of the film world.

In our television section you’ll read pieces related to TV programmes, adverts, trailers and much more! In the section this year, we aim to cover a wide range TV shows and TV related content. This is another section that welcomes pitches and do contact the section editor if you’d like to write for this section!

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Front page photo credits: Top left (unsplash) Top right (roo pitt) Bottom left (roo pitt) bottom right (zoka the author)

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What’s to come in... books

fashion

banned books (page 7)

fashion: buffy the vampire (page 14)

film

Television

review: boys in the band (page 24)

the sparkle of strictly (page 28)

credits: Top left (unsplash) Top right (unsplash) Bottom left (Photo: Scott Everett White/ Netflix) bottom right (unsplash)

What’s to come in...

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ARTS

Norwich’s Maddermarket Theatre to close until August 2021 The Maddermarket Theatre, a well-loved Norwich independent, has announced its closure. Following the threat of a second wave of COVID-19, the company has “taken a very difficult decision” to close until August 2021.

The theatre, like many independent venues, has found themselves short on funding, and could potentially have run out of money by the middle of next year if they had continued on.

To help fundraise, The Maddermarket is reopening with the Norfolk Voices Festival, from Saturday 14 November to Saturday 21 November.

It will feature a discussion with Sam Clemmett (who starred in Harry Potter and the Cursed Child as Albus Potter), an original comedy by Antoinette Moses, poetry by Molly Naylor and Luke Wright, and readings by Rebecca Stott and UEA’s own Tessa McWatt, alongside many more. The line-up consists of entirely Norfolk-based talent, and has been endorsed by Stephen Fry

himself, allowing his first memoir, Moab Is My Washpot, to be performed as a commissioned monologue.

The theatre will be hosting all events in-person, with thorough restrictions in place. This is perhaps a reprieve from all of the Zoom discussions and screen-to-screen events that we have witnessed since March. It is certainly an opportunity to experience live performance as it is supposed to be – surrounded by the tangible enjoyment of others. The Maddermarket have highlighted all their safety precautions on their website.

Tickets range between £8 and £12, depending on the event. As a registered charity, The Maddermarket also accepts donations, via their website. With help from the community, fostered by a love for live arts, there is hope that The Maddermarket will persevere to be enjoyed by generations to come.

After the festival, The Maddermarket will be closed again until next August.

Photo : Roo Pitt

Ally Fowler

Art that makes us love ourselves: portrait of Bunny Yeager There is a particular self-portrait of a bikini-clad Bunny Yeager (Yeager being the pin-up model-cum-photographer responsible for that 1955 Bettie Page Santa hat Playboy cover) perched on a stool on a beach, head thrown back in glee, which never fails to supply me with a healthy dose of self-confidence.

At first glance, the image seems undifferentiated from the posed but vivacious, innocent but sensual images of women which make up Yeager’s oeuvre. Yeager’s arms are thrown up behind her head, she is laughing into the wind and a strategically placed mirror and camera behind her in the shot offer the viewer a sense of her wonderfully soft figure from all angles. We see a

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beautiful woman, her Rubenesque body proudly on display, perfectly poised and radiantly happy.

But there is something else lingering in the frame which gives the image a latent power.

The photo in question is not simply a source of empowerment for me because Yeager’s ample thighs and squishy tummy look remarkably like my own, but because of what the presence of the camera within the shot does to the final product. The camera atop a tripod behind Yeager, in combination with the mirror, inscribes a kind of authorship on the scene. The mirror, faithfully reflecting Yeager’s figure from another angle, is not for the spectator’s benefit

but for Yeager herself as she controls how she is captured.

The softness of Yeager’s body is not given up for the pleasure of another but is tied to self-love, self-appreciation and autonomy.

The apparatus of the photo, a potent symbol of power, is woven into the message of the photograph itself: a rather bold proclamation of selfownership as well as pride for her body as she sees it. Yeager’s image encourages me to feel love for my body for my own sake and for my gaze. My lens is just as, if not more, legitimising.

imogen carter de jong

EDITOR: Bea Prutton

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ARTS

The polarising, political art of ‘Enough of Trump’ More than a dozen highly respected artists across America joined forces in an urgent attempt to sway the public vote before the US election day. The Enough of Trump campaign, organised by advocacy group People for the American Way, is displaying works across billboards, at protests and as projections in their attempt to keep Trump out of office.

Carrie Mae Weems is just one of the artists involved in this politically fuelled project.

At first look, Weems’ Enough of Trump poster appears to be one of the calmer pieces being auctioned. A cloudy blue sky fills the paper, only being interrupted by the words ‘Remember to Dream’. Although simplistic, they certainly encompass visually the collective’s message: significantly standing out from the seemingly serene backdrop.

Content

The phrase ‘Remember to Dream’ references Martin Luther King Jr.’s famous speech calling for equality and freedom, suggesting that Weems perceives this election as a battle fought on similar issues as Luther’s civil rights movement.

“weems believes this election is more than just politics: it is a matter of dreams from the past and hopes for the future.”

During Weems’ thirty-year career as an artist in New York, she has consistently addressed themes of cultural identity, political systems and consequences of power. It seems only fitting for her to include an homage to Luther King Jr. and a message of solidarity in this work.

This defiance was echoed from Weems in a recent interview, in which she stated, “we should never be afraid of opposition.”

The viewer’s eye moves to the smaller instruction: ‘Vote 2020’. Despite being a very direct command, it’s comparative size to the above text causes this message to read more like a hopeful plea.

It is not overt, aggressive or eye-catching, but simply enforcing the idea that Weems believes this election is more than just politics: it is a matter of dreams from the past and hopes for the future.

Elizabeth woor

Uea’s Sainsbury Centre for visual art launches 3-month creative project, ‘Campus’ The Sainsbury Centre for Visual Arts has launched a 3-month programme inviting creative responses to the UEA campus and community. The project, named ‘Campus’, is being run in collaboration with 3 local artists, Hannelore Smith, James Metsoja, and Ali Hewson.

Each artist provides a series of prompts, accessible through project packs on the Sainsbury Centre website.

Through drawing soundscapes, creating dialogue with objects, and mindful making with clay, the project offers a route through the campus that may be new and unfamiliar to even the most hardened veterans of the concrete landscape. As a result, long-held opinions and conceptions about the campus begin to shift.

The project offered a chance to refamiliarize myself with the university site, having spent, as most of us have,

the majority of my return to university hauled up in my room. Walking around campus, I found myself exploring areas that, in my three years of being a student at UEA, I had never even noticed. Standing by the lake I was stuck by the surprising natural beauty that our concrete campus contains. Walking around the Sainsbury Centre I became entranced by a range of newfound artwork, from Edgar Degas’ Little Dancer (had this always been here?) to an intricately carved hornbill. These new sights and sounds were revealing themselves in a place that I thought I knew.

Through its simple and effective prompts, the ‘Campus’ project gives space for creative engagement and exploration. At a time when many students are withdrawn from campus, this project offers students a simple and safe way to rekindle their relationship with

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EDITOR: Bea Prutton

the various spaces that the university has to offer. This is something that is needed now more than ever.

Photo : wikimedia commons

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troy fielder

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ARTS

Tveit, the Tonys and atypical nominations In such an unprecedented time for the arts it seems bizarre that there would be theatre awards to be handed out, and yet the 2020 Tony Award nominations were announced on 15 October.

With Broadway being completely closed down since March, there has hardly been a season to reward so nominations were scarce to say the least. Most notably, the 2020 Tonys saw for the first time only one actor, Aaron Tveit, put forward for the Best Actor in a musical category.

This is also the first year that all of the nominees for Best Musical have been jukebox musicals. Moulin Rouge, Tina: The Tina Turner Musical, and Jagged Little Pill all use music from popular culture or from the discography of a specific artist.

Consequently, the award for Best Original Score is guaranteed to go to a play this year for the first time in Tony history.

While it goes without saying that this year’s circumstances aren’t quite what we are used to, it is not the first time that the Tonys have been a little unusual.

In 1983, Cats swept the Tonys, winning, among others, Best Book of

a Musical. The award was given to T. S. Eliot who had written the poems that earned him the nomination more than 44 years before. Eliot died in 1965 and thus he was given the award retrospectively for the first time in Tony history. The second was in 1996

“While it goes without saying that this year’s circumstances aren’t quite what we are used to, it is not the first time the tonys have been a little u n u s u a l” when Jonathan Larson posthumously won multiple creative categories for Rent.

The 35th Tony Awards in 1985,

was such a quiet year on Broadway that several categories were dropped entirely, including Best Actor in a Musical, Best Actress in a Musical and Best Choreography.

1995 saw only two nominees for Best Actress in a Musical. The Broadway season had not been shortened for any reason; the Tony voters merely felt that only two women had displayed sufficient excellence in their field to warrant a Tony nomination. Glenn Close won the award for her performance in Sunset Boulevard, one which many would agree has indeed gone down in history for its calibre.

Often, in the Tonys strange history, musicals that we consider classics controversially did not win Best Musical: West Side Story lost out to The Music Man; Grease was beaten by a musical adaptation of Two Gentlemen of Verona; and Miss Saigon lost out to the since forgotten The Will Rogers Follies.

It’s safe to say that although this year is entirely untypical for live theatre, the Tonys’ strange approach to its 2020 awards is nothing out of the ordinary.

madeline bracey Photo : wikimedia commons

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EDITOR: Bea Prutton

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BOOKS

why do books get banned?

There are plenty of books that children shouldn’t read. In fact, there are an abundance that adults probably shouldn’t read – but does that mean we should ban them?

At its core, the practice of banning books is a form of censorship – whether from a political, legal, religious, moral, or even a commercial standpoint. What is the point of consuming literature if not to open our minds and expand to new ways of thinking?

Scrolling through lists of books that were either banned or censored at some point (some still are) it is difficult, from a 21st-century perspective at least, to fathom just what led governments to classify these works as “indecent”.

Most frequently, books have been banned for either portraying homosexuality or supporting/criticising political systems such as capitalism and communism. These novels did not conform with deeply ingrained

hegemonic ideals in society, and thus the “easiest” option was to ban them completely.

As aforementioned, LGBTQ+ characters and themes are regularly among the list of banned books.

Although it was not banned, Oscar Wilde’s The Picture of Dorian Gray was heavily censored, with the original version being used as evidence against Wilde when he faced trial for “consensual homosexual acts”.

Homosexuality was a grievous taboo at this time in the UK, not decriminalised until 1967.

In the US, Steven Chbosky’s The Perks of Being a Wallflower (one of the most popular YA novels of the 2000s) was also banned in several states for portraying homosexuality – despite the only gay character being a supporting one.

Novels that deal with the issue of racism (The Colour Purple, Heart of

Darkness, To Kill a Mockingbird) were all banned in various countries at one point. However, the fact that these books often feature on high school reading lists shows these are fundamental in developing an understanding of racism, colonialism, and the struggles Black people face. Harper Lee’s novel is still banned in many southern states in the US, demonstrating that racism is still deeply ingrained in society.

Other famous banned books that frequent reading lists include Animal Farm, The Handmaid’s Tale, and Brave New World.

All of these books remain incredibly important today, with stark contrasts available to the political landscape in both the US and the UK today. Without novels such as these, we would have no exposure to the consequences of particular political actions and have a limited understanding of them.

anastasia christodoulou

Photo : unsplash

reading about a leader’s life: steve jobs

I’ve read Steve Jobs: The Biography by Walter Isaacson, about the late CEO of technology company Apple. I chose it because I have purchased Apple gadgets since I was 14 and I’m interested in technology generally.

I learned that the company was started in his garage, which inspired me because it shows that anyone can start a business. He wasn’t interested in schooling, so maybe school isn’t as important to learning as one might think? He was an adopted child and struggled to know who he was.

Jobs was in charge of marketing and his partner, Wazniak, was in charge of

the technology at first.

I didn’t know that Steve Jobs was fired by Pepsi’s Former Chief Executive, John Scully, who was hired to lead the company in a new direction. Jobs’s controversial, demanding and rude management style stuck out. It made me think less of him.

His time between making a comeback to Apple was largely unsuccessful. He had great attention to detail: the Macbook has an upsidedown logo so that, when the computer is open, it’s the right way up, because Jobs wanted people to see the logo.

Overall, I learned a lot.

EDITOR: ally fowler

Photo : unsplash

laurence scott

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books

the politics of dystopia:

the handmaid’s tale & 1984 For the most part, dystopian fiction provides us with a source of escape: it allows us to see alternative universes in which the worst elements of humanity are brought to the forefront.

So, how should we as readers feel when the things we are meant to fear begin to crop up in real life?

Margaret Atwood’s The Handmaid’s Tale is considered by many as an iconic work within this genre.

It presents an alternative version of the United States in which childbirth has become a rare occurrence, women are ranked based on their reproductive abilities, and a hierarchical and divided society is clearly shown through colour coded dress and strict societal regula-

tion and restriction.

Whilst elements of the story are farfetched, a brief glance at today’s headlines provides a stark and shocking comparison.

Protests have taken place internationally regarding laws essentially banning abortion in Poland, and the USA recently signed a treaty dictating that abortion is no longer a right, and they have no financial obligation to provide it. The latter is co-sponsored by nations with poor human rights records, such as Saudi Arabia.

Similarly, Atwood’s Republic of Gilead came about as a result of attacks and protests from right-leaning religious separatists.

Within the real world, one only has to look to opposition group responses to the recent Black Lives Matter movement and similar issues to realise that controversial political views such as these are alive and well, and it would only take for the right candidate to achieve a position of power for this type of nightmarish scenario to become a reality.

With the visible division within the world today and extreme politics on the rise, one has to question whether the dystopian world of Gilead, crafted by Atwood within the novel, is really so farfetched.

emily kelly

Photo: unsplash

Photo: unsplash

Photo: pixabay The world of George Orwell’s dystopian novel 1984 is terrifying; it’s a world where people have fallen victim to an omnipresent government and constant surveillance, ensuring people are devoid of liberty and individuality.

They have no choice but to conform to the will of Big Brother, a phrase that is now synonymous with totalitarian authority. Those who rebel are erased from existence.

Readings of 1984 have shared the idea that it is a dire prediction of what our world may eventually become. It is not only a political statement, but an important warning to all humans of what could happen should we lose the right

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to freedom of thought.

Our modern-day world is closer to the dystopian one found in Orwell’s novel than we think. Video surveillance is already here; we rarely know when we’re being watched, but it’s something we just accept.

What is reality TV if not surveillance wearing a friendly face? Can we see it as an experiment on controlling behaviour? When we’re in front of a camera, we change who we are, how we look and what we do.

Ironically, we don’t need the thought police, or the Ministry of Truth. We allow ourselves to be watched through our televisions and phones; we tell everything

to Facebook, Twitter or Instagram.

The question is, are we becoming Big Brother, in that we are also always watching?

1984 has never lost its popularity; it has inspired movies, television shows, music and plays. It will always be important, not just as a warning and regardless of changes to ideology, but because it’s a story of a person desperate to hold onto what is real.

It makes us realise how lucky we are to have our freedom, and how dreadful the world would be without it.

nerisse appleby

EDITOR: Ally Fowler

BOOKS

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The racist history of

monsters in fantasy novels Earlier this year Wizards of the Coast Publishing, the company in control of Dungeons and Dragons media, announced the plans to begin editing character races in their Player’s Handbook and adventure novels.

Game design aside, from a literary aspect the company addressed longheld racial insensitivities in the lore and backgrounds of races such as Orcs and Drow, and have promised an attempt to resolve this by widening their histories and traditions in the fantasy world.

Yes, even the Forgotten Realms is reexamining its prejudices.

Where did this begin? 45 years ago, Gary Gygax, writer and designer of the original handbook, steals these ideas from three series of high fiction: The Lord of the Rings, Conan the Barbarian and the Cthulhu Mythos.

This leads to a series of attempted lawsuits by the estates of each author but also opens the eyes to the problem European High Fantasy has subjected itself to. What began as an experiment on folkloric techniques to write amazing settings and new characters, attached a racial ideology to many of its founding texts.

Orcs in the Tolkien universe of Lord of the Rings are wholly evil, driven

by darkness, naturally born to serve malign powers. They are described with references to East Asian and African characteristics (though the author always considered them ‘coincidences’) that many aspirers read, formed and copied into their own works. A worse example would be HP Lovecraft’s Old Ones, monstrous Gods prayed to only by the insane and ‘impure’ multicultural cultists who reject the God of Christianity.

That is not to say all of the fantasy from these authors leans into damaging racial stereotypes; in fact it’s the reason these books have made a dangerous presence as influences.

The ideology takes a background to the bigger stories of the fantasy worlds; it is an afterthought for most readers not willing to devote time into understanding why the bad guys are bad.

It seems to be too much for fantasy writers to turn on their idols; George RR Martin for instance was blindly willing to praise HP Lovecraft and John Campbell, two men aligned openly to pro-segregation stances in their stories, for a Hugo Retro-award.

When you look outside of the strict High Fantasy style, there are many

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Photo: pixabay

EDITOR: ally fowler

Photo: pixabay progressive pieces. Evan Winter, Marlon James and Toni Adeyemi are all authors who have written on the inspiration of African folklore and heritage to build a fantasy universe, and Ursula Le Guin became famous as a white American author in the 1960’s who wrote her Earthsea novels with a non-white hero.

But still it seems impossible for the racial inequalities of the European fantasy design to be removed. Talking to a friend about the research of this piece, I got the perfect answer: “Orcs are softies; playful, funny, shy, wouldbe accountants. But no one sees that but Orcs. If you’re not the Orc you can’t understand.”

This shouldn’t be interpreted as a message to remove all things evil from fantasy – we want a story of good and evil to rivet us with knights and wizards and a necromancer who can only speak in riddles. But why must race devise the good-evil divide?

I would like to see a new interpretation of the Orc or the Goblin or the Drow put in a weird mystical adventure where they defy their past characteristics. I would love a world of Minotaur cartographers discovering a continent or a Wraith who opens a flying library.

What keeps my hope is that fantasy is a genre with no limits, and that the racial biases are a set construct prepared to be broken.

Fin little

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creative writing

Grandad’s like me They’re shouting again, isn’t that fun. I’m hiding again. What a surprise. I’ve always loved this room for hiding. Especially when Mother has people over. The attic-turned-studio has always been warm. You’d think it would be cold, but it’s not.

Being up here is like being wrapped in a heated quilt: comforting. But not suffocating. Not like a hug. Hugs are horrible, they’re invasive. They make me feel even more claustrophobic than I usually do. Everyone always seems to want to hug me.

Everyone except Grandad.

You can hear the shouting through the thin wooden floor. You can’t tell what they’re saying, but you could almost fill in the blanks. If you like. If you want, you can zone out. You can focus on the boiler that should be in the garage, but Dad did it wrong; the water filling the pipes. It gurgles but it’s not scary. Actually, it’s comforting. It’s telling me it’ll all be okay.

They won’t fight for long. They stopped having long fights after I started vomiting. Mum gets really annoyed when I vomit in public. She thinks it’s embarrassing.

Then, if you like, you can focus on the creaking. If you move – even lean one way more than another – you creak.

You might not want to do that, because then they hear you.

Then they stop shouting and it goes quiet.

Then I can feel them look up.

I can’t even hear my own thoughts. Not that I want to. Rock music is being blasted through the speakers, vinyl records having been thrown out long ago. Dad says they’re a waste of space, but they calmed me down. So I just sit there, on this uncomfortable, surly rash-inducing chair, picking the copious amounts of paint off the tables and trays. Waiting for them to finish. Mum thought an oil portrait of me would be a ‘nice’ present for Grandad. I’m his favourite grandchild, he likes talking to me best. I’m the smartest. He’s like me: he’s clever, but he doesn’t like people. Grandad doesn’t like change either.

The portrait smells, too. If you go near the dark room, at the back, you can smell it so strongly you think you’ll faint.

Or be sick. Mum doesn’t let me go in there anymore; she got fed up of me being sick. The smell is so strong anyway; it just about hides the smell of vomit.

Mum wanted the painter to paint me up in the attic.

She knows it’s where I’m most comfortable; she said Grandad would want to see me at my most comfortable. I do like being up here, but now I feel so stupid, so embarrassed, sitting on this horrendous chair. I’ve never posed for a painting before.

I take photos, I’m not in them. I don’t like looking at myself.

I don’t even know why I’m still sitting here. As Mum says, Grandad is like me, which means I know he won’t want this painting. He’ll give it one look and go ‘ugh’ and carry on with his Sudoku. We do Sudoku together. We like maths.

They’ve put me in these weird fancy clothes and they’ve done my hair too sticky, too; you know, up. I want to

Photo: findpix

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wash it out. I can feel myself getting hot; agitated. Like a dog in a hot car in mid-July with no windows down. That’s illegal.

This should be illegal.

The painter tells me to stop picking dried paint of the trays he brought and sit still; face him and smile. He spoke so loudly it made me jump and I cut my thumb on the sharp shard of dried paint. I don’t like him, not one bit. He’s going to ruin my favourite place. I want to get out of here. I’ve never wanted to get out of the attic and now I feel like the walls are closing in around me. They’re all looking at me now: Mum, Dad, the painter, just staring. Like there’s something wrong with me. I think they’re getting angry, I can’t always tell, I’m not good at taking hints. I feel a chill run down my back, almost a hot chill.

Then the sweat starts: dripping down my neck and rubbing against my collar. It’s choking me anyway. The rash it’s forming causes more sweat to trickle down my back. Subtly, but it’s there. I can feel it.

Dad doesn’t look up from his phone when Mum starts fussing; he doesn’t care, he’s not a huge fan of Grandad.

He always rolls his eyes when Grandad talks. Says he’s ‘too blunt’. I like Grandad because he’s too blunt. He doesn’t speak in weird code like Mum and Dad do. He means what he says.

Like yesterday, after they had been fighting, Mum told me to tell Dad we were having roast for dinner. He said Mum could “Shove it up my arse”. I asked if he was sure and he looked me in the eyes and said, “Oh one hundred percent, I want my dinner up my arse.” That’s why I don’t know why he got so angry when I tried to pull his trousers down an hour later, with the plate in one hand. Gravy went all over the floor.

I think a potato rolled under the sofa.

Grandad doesn’t like the painting. He’s making a disgruntled face. I knew he would. I don’t think he dislikes it, but he just doesn’t see the point. “Why do I need a painting of the boy? He’s right here.” He says, nodding in my direction.

He shifts in his comfy lounge chair and goes back to the paper, unbothered. Mum looks like she might cry. I don’t know why; no one’s died. Dad finally looks up from his phone and I think he might say something to console Mum. He just rolls his eyes. Mum says Dad’s an asshole, but I think he’s a lot more like me and Grandad than he’d like to admit.

izzy murphy

EDITOR: hamilton brown

creative writing

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Rabbit

Pray you never live your life confined to an existence in the dank holes and dingy burrows of the backlands of West Ireland. It’s a dismal life. The rations are bad, the dirt is poor, and our litters are often pneumonic, from birth to death by one.

We live close and cramped, but there’s no camaraderie. We despise each other all the more because of it.

The other rabbits aren’t the worst of it. We are at constant war with the badgers, the moles, the foxes. The foxes are the worst. At least if you encounter a mole or a badger on a dark night in the forest, they’ll just grunt and glare past you. Foxes will eat you up. We hold a tenuous alliance with the moles, but I know the tensions are rising. Their hills alert the farmer to their presence, but the sticks of dynamite he drops down them blows all of us up. The badgers keep to themselves, but they spread disease among us. The farmer lost half his calf stock to TB last year. I don’t know why the stupid bastards even go near the cows. Probably to taunt them; make them aware of their own captivity. They can’t help it, but the badgers are smug. Smug and stupid.

The farmer is the one we all fear. He shoots us all without mercy. Anything that moves gets shot. There are poppies bowing at the edges of the field with bullet holes through their bloody petals. I took one of my litters to see them once. It’s good to show them what can happen, even if it scares them, which, more often than not, it does.

I’ve had eight litters, three of them with the same doe. Most have died. It’s a sad reality in this war. They are born sick; they live short, sickly lives; they die, feverish and sick in the thick, close warmth of their burrows. A few have been seized by foxes, and a few by the farmer.

It’s often the fearless ones who are shot. Fearless, or just not fast enough? I’m not sure which it is worse to be.

I have four daughters now living. One has recently given birth. When she was born, her litter was the strangest I’ve ever had. One of her brothers had been almost black, and she the colour of bleached bone, as though her brother had stolen all her colour. Another brother was buck red. He had died in the jaws of a fox before his first birthday; his blood had been indistinguisha-

Photo: pixabay

ble from his pelt.

This daughter keeps her kits in one of the burrows on the east side of the field, furthest from the farm house. She is smart; only ventures out under the cover of twilight, when the farmer is eating, and the foxes and badgers are shaking off the heavy cobwebs of sleep. Often I go with her, and together we pick our way across the dead, brutal earth of the churned field. It’s ringed with barbed wire, and against the blazing end of day, it looks as though it’s on fire.

We find flat mushrooms, dandelion leaves, and she even finds a few blackberries, shrivelled and hard, left over from the autumn which is just now turning on its heels to run from us. As we turn tail back towards the field, an ominous noise cuts the air. The rising and falling call of a fox, but she isn’t calling for her litter, or her mate, or to hunt. No, she’s sounding the alarm. My ears go up, and I hear the distant whine of the tractor. I flatten myself against the ground, trembling, but beside me, my daughter stretches herself out, bounding away from me, towards the field. She is thinking only of her litter, and her maddened maternal instinct makes her panic. Save the children, she thinks, protect the kits.

Who am I to deny her that primal protective parental instinct, when I take off after her seconds after she sprints away from me? Back through the trees; through the mud; across the ditch; under the barbed wire; into the open field, into danger. I leap after her, my back legs bunching, springing, bunching, springing. Her white hind bobs up and down frantically. The farmer is ready, waiting; his tractor’s whining a death rattle which cuts through the air. He takes his aim. Beneath me, I know there are families huddled in their burrows, listening to the war taking place metres above their heads. I race through the No Man’s Land. No Rabbit’s Land more like; there is no land for us. A spray of bullets: five quick shots.

Pray you never end your life with a lead bullet shattered in your ribcage.

tulips in red

Monday morning. White sky and waves of air and cars with steam rising out of them like winding iced gems. Against one hot red mass of colour. Tulips. Woman in dyed rug paint brush skirt. Grey cold tinny watering can. Wash of cool breeze, soaking the heat. Old grey ripped up plastic bags and water bottles. Clomp clomp. Bumpy skin, whites and light pinks and stained reds rushing in front of. Tulips. Bony white stems of bone under skin. Like silky paper. Chin tucked into knees.

Watching. Whoosh, crash. Heat of the pavement like white edges of waves. Cold, slow beating of a pulse. Prickly in my throat. Watch the Tulips. Monday night. Tulips are fading into the grey, grey, grey. Clomp clomp. Leaning shadow drops and leers. Dirty, pale, long fat fingers, lily fingers, sponge fingers. Prick prick. Whoosh. Prick injects skin. Injects a winding stream of colour like icing. Cakey, pink, silky Photo: unsplash skin.

EDITOR: HAMILTON BROWN

bella hatch

(find the full piece on concrete-online)

The garden was lovely.

Sitting in the attic. An attic. Legs crossed and cold.

Heart heavy and bulging in my mouth. Smells of mushed pink heat and raisin trays and dust stink. Shhhh. Good morning sweetheart, hums, prickly radio, come down come down to the warm worm worked wood. Gentle steam from a hot hot red kettle. Patch worn pyjamas. Grainy dark sugar in earthenware rust pots, talking woolly, prickly notes. Dried milk and honey and butter. Sugar in the tea? Rice Krispies? Look outside! Look at your hard work you; should be so proud I’m so proud of you. Reds and Yellows and Pinks and Oranges through the glass and behind glassy eyes. Warm sugar, dried milk, wool woman. Whoosh waves of rosy warm. Talking hums, woolly prickly notes. You should be so proud I’m so proud of you. Watch the Tulips.

eleanor burleigh

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creative writing

The struggle between imgination and reality Writing may well be the most frustrating thing anyone can do. What is more intimidating than a blank page that screams: YOU CANNOT THINK OF ANYTHING, or, more commonly: JUST GIVE UP? So, as writers, what do we do?

Strive through that initial blockage and scan your brain for any form of creativity. Go somewhere else other than your desk to revitalise that spark of imagination. Or, like a Shaolin monk, dive into a deep form of meditation.

I’m at this second stage today. Choosing to go to a local café, to see if I can resurrect my poetry, or prose, or whatever you could call it. With my laptop resting on this wooden table, we type in the comfort of a cosy space. The steam from my coffee swirls around, captivating thought and attention as it floats into nothingness…

Bones scattered like keys on a table that had been chucked Without a thought, care, Only for the convenience of the board pieces They were wielding their weapons.

There’s this man coughing at the sofa table by the window.

As well as stealing my space, he’s with his work colleagues that have booming and cackling, witch-like laughs. They are in their own little bubble; oblivious to the student, unaware of the old man reading his paper, and unconscious of the lady reading. It reminds me of those adverts, where you see a really uncomfortable video of these business people laughing hysterically, almost as though the true individuals, behind their business façades, were yelling: GET ME OUT OF HERE. Similar to being at a family gathering and the racist uncle has had one too many drinks…

The arena was a lava landscape The pieces standing on their rocks with the bubble of molten lava around them: Queen/Kings equipped with Browning machine guns Bishops equipped with AK’s

photo:pxfuel

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Knights equipped with Samurai swords (ability to deflect bullets) Rooks equipped with Baseball bat Pawns equipped with a butter knife A loud crash disturbs my writing as the waiter drops a fork.

Great. I’ve lost my writing rhythm. There’s a bookshelf next to the toilets with a sign reading: ‘feel free to swap/borrow or just take!’ Most of the books seem like your average collection of crime, romance and the odd gardening book, but there’s one that catches my eye: ‘The Rise and Fall of the Great Powers’.

I’m not sure who it’s by, but it looks interesting to say the least.

Obviously, I don’t have the courage to actually go up there and take it, but it’s still nice to admire from a few feet away…

Ha! Slash, Ka-pow, pewwww The volcano towering over the arena coughed Spluttered interrupting the duel between the remaining pieces ‘Don’t mean to interrupt you guys, but I think I’m gonna be sick’ Both sets of knights protecting their monarchs looked at each other With sweat dripping in their eyes and knuckles white on their grips.

[Like one of those scenes in Star Wars when they have a stand off and there’s that awkward moment when they think: ‘Shit, this is real’] ‘Yep, I’m gonna be sick’ Red and Black capes covered the black pieces and they vanished Leaving the white pieces confused for a second too long as the volcano Spewed lava onto the wooden board pieces that disintegrated almost instantaneously.

Thomas Manning

EDITOR: hamilton brown

H

download the NHS app at www.covid19.nhs.uk

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fashion

fashion on screen: the legacy of buffy the vampire slayer I’m a bit late to the party here, having only started Buffy the Vampire Slayer this Autumn. It started as my friend Helen began fan-girling over the series to such an emotional level that I had to see what I was missing out on.

As I watched the series, I would go back to Helen with my thoughts as I slowly began to understand her attachment to the series. I’d note that I’d seen these storylines in television series that came out after Buffy but that I had watched earlier.

I realised that Buffy was groundbreaking in television, creating trends that I continue to see on TV today.

Beyond the storylines, the show’s costume choices have had instrumental impacts on popular culture. For the 2020 A/W season, staples from Buffy’s wardrobe have made a comeback (as if they ever left!). Chunky boots, straightleg jeans, oversized jackets, and an emphasis on print have saturated fashion blogs and influencer Instagrams.

These trends were worn time and

again by Buffy throughout the series, often accessorised with a wooden stake in hand. Knit sweaters, dungarees, and denim maxi-skirts that were essential to Willow’s wardrobe have enjoyed a comeback too.

Whilst it’s impossible to stay away from spoilers when watching such an iconic show, I have forced myself off of the fan-pages until I finish the series.

However, I haven’t been able to keep myself away from the Instagram account @Buffystyle, whose posts analyse each of the characters through their iconic wardrobe.

Sometimes, the account focuses on single episodes, other times they single out a statement piece, like Willow’s dungarees or Buffy’s cross necklace, and explore what they meant in terms of characterisation.

Since watching the series, I’ve realised the effect Buffy had on my fashion choices before she strutted across my TV screen.

My chunky boots, leather jacket

The Dark Academia aesthetic is not a novel one. Despite the recent resurgence of interest surrounding it, it is a trend which has existed on social media for some time.

Some digging around the origins of the concept reveals that it initially emerged from a particular branch of literature, the Dark Academia novel, perhaps best epitomised in Donna Tartt’s 1992 text, ‘The Secret History’.

What was extracted from novels such as this was the romanticisation of the historic private school - brimming with secret societies, vintage-style coffee shops, and the kind of visuals that a quick Instagram search in the ‘Dark Academia’ tag would also reveal: warm candle-lit libraries, classical literature and sepia-toned cobblestone streets.

But the phenomenon of aesthetic movements within the online social sphere has wider reach and connotations than they do on the written page.

In its online iteration, Dark Academia takes on a curiously performative nature – although this is not at odds with the content typical to social media platforms.

However, in such a context, the concept somewhat diverges from its origin, in that it morphs into an aesthetic with little to do with academia at all.

It’s to do with how we imagine or wish to be perceived as we pose with plaid uniforms, vinyl records, beautifully lit historical buildings or classical literature collections.

The repercussions of such an aesthetic gaining traction, especially among younger social media users, is

Photo: unsplash

and love for prints were a result of the series’ influence on pop culture. I’m only on season five so far, so only time will tell what my wardrobe (and bank account) will look like when I reach the last episode.

morgan burdick

the curious rise of dark academia

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twofold. In one sense, as with any widely propounded aesthetic trend, there is the danger of promoting one dimensional representations of people’s much less filtered and perfected realities. And of course, there is the exclusionary grounding of ‘Dark Academia’ in the romanticisation of a classist and Eurocentric perspective and way of life.

But a definite upside to the recent influx of ‘Dark Academia’ content on platforms such as TikTok is that increasing numbers of BAME users are participating in the content creation.In this sense, the expansion of the trend onto mainstream platforms is great in the inclusion and diversification aesthetic trends need.

eleanor burleigh

EDITOR: imogen carter de jong

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fashion 15 DR. Martens: A love letter to an iconic pair of shoes Dear Docs, I was nine when I purchased my first pair of you. Having had a growth spurt pretty young, and being 5’7 with size eight feet, relatives kept explaining to me that I had to dress more ‘femininely’ and wear dainty shoes to minimise my stature. I scoffed at this.

I spent the formative years of my life in Camden, witnessing multitudes of free-thinking artists, musicians and creatives all wearing Dr Martens.

Infatuated with the idea of what you represented - rebellion, freedom, and self-expression - when I then stumbled upon a brown leather pair in TKMaxx, I

knew they had to be mine.

You’ve been worn by generations of rulebreakers and once I tied your laces, it was as if I was somehow

photo: wikimedia commons

synonymous with this quirky, exciting community.

My obsession only grew with time, and after saving Christmas and Birthday money and working part-time, I began to amass quite the collection of brogues, boots, and brightly coloured sandals.

Everyone I mention it to is always astounded by the fact that I now own about thirty pairs, but I feel as if you’ve become part of my identity, and there’s always more of a bounce in my step wearing you.

anastasia christodoulou

The long lost fashion brands of yore There is something rather ghostly about sartorial memories; our recollections of cherished items that have long since been passed on or given away assume a sort of uncanniness when remembered.

They belonged to a past version of our self; they would no longer fit us could we access them; their exact colour or texture is a little hazy in our memory, and yet there they are, inextricable from our memories.

As we grow and change, and as the world transforms, those items remain frozen forevermore in past associations.

Such memories arguably become increasingly eerie when the clothing comes from a retailer or brand no longer on our high streets, as if we are part of a spectral legacy of a brand that made an impact on the fashion landscape but has since disappeared from our culture.

Tammy Girl, a retailer who, when I was growing up, was part of BHS (having been bought by the department store in 2005), introduced me to the notion of experimenting with clothing.

It is through Tammy Girl garments that I dabbled with the idea of rebelling stylistically and wearing that otherness, that defiant, wayward spirit on my body for others to see. I look back and

cringe at the sheer volume of neon, vaguely emo-inspired items I wore non-

Photo: unsplash

ironically: fingerless gloves, legwarmers (?!), brightly coloured skinny jeans, pleated mini-skirts with knee-high socks, and slogan tees, but cringiness

editor: imogen carter de jong

aside, these items, and the ritual of shopping in Tammy Girl, was a rite of passage. I was learning to choose clothes for myself, becoming my own person. Likewise, it was through the now-dissolved Woolworths that I had one of my first experiences of picking out clothing for an upcoming holiday, for myself. I was the one curating how I would appear in public. Its cheap, cheerful and wholesome presence on the high-street always retained some of this identity as a stepping-stone for me.

There seem to be fewer and fewer retailers that cater solely to teen and pre-teen girls. New Look, perhaps, and their 915 range. But nothing on today’s high-street provides clothing for young women in a way that encourages experimentation, customisation, and an admittedly paradoxical quality given its mass-produced nature - DIY spirit. I am endlessly thankful for the accessible, introduction they offered me into the long journey of establishing a personal style. I mourn them, but more than anything, I lament that tweens today do not experience the rites of passage my peers and I did.

imogen carter de jong

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Pyjamas. Jim-jams. Jammies. Or, if you prefer Cockney Rhyming Slang, Simon Schamas. Whatever term you opt for, the practice of wearing anything to bed at all is a fairly modern phenomenon. It is surmised that designated sleepwear was largely non-existent before the early sixteenth century. Up until then, men and women alike slept starkers - bar the occasional nightcap. When sleepwear became readily available, much of what was worn was of the comfortable, utilitarian variety: loose and breathable, the offerings were unadorned, designed with practicality in mind.

The etymology of ‘nightgown’ gives us some insight into what these primitive examples of sleepwear might have looked like. From the sixteenth up until the eighteenth centuries, recorded usages of ‘nightgown’ refer to a man’s loose gown. Lawrence Langner’s description then, in The Importance of Wearing Clothes, is rather apt: nightwear, cut in a form reminiscent of a man’s smock, did indeed look rather “shapeless”, “hanging from the [wearer’s] neck like a deflated balloon”.

Though some of this practical spirit will always linger in nightie designs (one need only to look to the phrase ‘up and down like a bride’s nightie’ to recognise the prevailing desire for ease of removal), sleepwear has recast itself as something altogether more glamorous in recent decades, aided by the invention of nylon. Those after more flattering, feminine or pretty sleepwear in the early decades of the twentieth century faced a hefty price tag. Such nightgowns were typically delicate slips fashioned from silk, and were purchased by ladies of leisure with money to spend on attire to recline in.

The advent of nylon, an

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the inexpensive, easy-care textile, radically transformed this, making luxurious and decadent-feeling sleepwear accessible for the masses.

Nylon nightwear was available in a wide range of colours; embellishments were added; innovative shapes like the babydoll nightie, an itsy bitsy style initially borne out of fabric shortages in WWII, could be toyed with - lace, frills, ruffles and other flounces of additional fabric were added.

Advertising from the period points to the excitement surrounding this new, innovative fabric. One campaign promised its customers “sweet dreams

Photo: pikrepo in nylon”, whilst another claims their offering will feel “caressingly soft” against the skin. Nighties had crossed over into the realm of the glamorous.

Though we no longer live in an era of nylon-mania, nighties remain widely available in diverse designs and shapes. Though at one time they might have been conjured up images of those frightful open-backed hospital gowns provided by the NHS, or the sort of twee, grandma-ish affair you only see sold on market stalls, brands like Daily Sleeper (a premium Ukrainian label) and Calamint (an independent Etsy shop crafting homespun linen

fashion

nightgown creations which look like something straight out of Little House on the Prairie) provide elegant nightwear in a range of textures, styles and levels of practicality. Marks and Sparks continue to offer trusty, traditional cotton smock-style nighties, but the options no longer stop there.

For my own part, I blame Grace Kelly in Hitchock’s Rear Window for my love of nighties in recent years.

Far from the cartoonishly-printed or sickly-sweet pastel, jersey affairs I wore as a child, Kelly’s character dons a nightie that edges closer to couture: a long, silky gown, overlaid with a sheer robe, a rather magical combination. The effect is almost ethereal: the champagne silk slip falls effortlessly over Kelly’s graceful movements, and the diaphanous layer atop delicately swims about her as if it were a liquid. There is something so romantic about it all, as if even something so trivial as sleeping is considered deserving of elegant attire.

I soon began to see wonderful nighties everywhere, wanting to be a part of this notion that the art of getting dressed need not only apply outside the bedroom. I wanted a baby-blue nightgown with gloriously puffed sleeves and satin ribbons, like the one Midge Maisel wears in the first season of The Marvellous Mrs Maisel. I wanted the cool simplicity of Holly Golightly’s nightshirt as worn

by Audrey Hepburn in Breakfast at Tiffany’s. I began to scour eBay, Etsy and antique shops. Fast forward to today and I am the proud owner of three vintage nighties, much to my boyfriend’s dismay. I no longer see the humble nightie as the preserve of grandmas, but as the epitome of glamour.

imogen carter de jong

editoR: imogen carter de jong

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music

One to watch: Zoka the Author’s EP Reflections coming soon

Zoka the Author, real name Nicholas Uzoka, is a London-based rapper, and former UEA student. You may recognise his name from last year when he achieved international media coverage for turning his dissertation into a rap album, and subsequently achieving a first for it.

He has since been featured in magazines including Wonderland, and has released his debut single “The Mindset” which has had play on BBC Radio London, BBC Radio Norwich, and was chosen as track of the week on Reprezent Radio by Rellik Tha Don. Now, Zoka the Author is ready to step into the center frame with his new EP Reflections, coming out on the 27th November. His first offering from the EP is “The Pedestal” produced by @ domwitdaheat. The rapper brings a strong energy to the track, delivering

photo:zoka the author impressive vocals and the UEA English Literature with Creative Writing

graduate by no means falls short on the lyricism either.

The second single from the EP will be “Let Me Be”’ due to be released on Friday 6th November. He seamlessly moves between this energetic, and yet at times almost-conversational, rapping style which will be sure to hold the listeners attention throughout.

The rapper has also released a series of promotional photos for the Reflections project on his Instagram (@zoka_the_author), which brings the conceptual nature of the EP to the fore.

Having graduated just one year ago, Zoka the Author has already achieved a string of accolades and shows no signs of slowing down. He’s definitely one to watch in the coming years.

jake walker-charles

Twenty-five years of Liquid Swords: GZA the Genius’ masterpiece Twenty-five years ago, New York rapper GZA of the legendary Wu Tang Clan released an album that to this day remains a hiphop classic. Liquid Swords holds nothing back. It’s a relentless look into the dark social issues surrounding GZA’s world which fuels his mind-bending lyricism over some of RZA’s greatest production.

The lead single from this album, “Cold World,” represents everything that is great about this project and exemplifies why GZA is known as “the genius.” This track starts by adapting Clement Clark Moore’s poem “The Night Before Christmas” and transforming it into a “dark, gritty street tale” to quote GZA himself. He goes on to rap “gunshots, shatter first floor window panes // shells hit the ground and blood stained the dice game // whether pro-calisthenic, any style you

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corner.

To label “Cold World” as simply a track about violence would be a drastic misinterpretation.

It is a social commentary of the dark depths in deprived, crimeridden neighbourhoods and the consequences this has on the people living there. GZA explores the corruption of crime in these areas on the authorities in place to protect them with the line, “cops creep like caterpillars…// those who try to flee hit the vertebrae // increase the murder rate.” photo:wikimedia commons Liquid Swords is an album that could be studied in immense set it.” Not only does GZA showcase why he has the 4th largest vocabulary detail and still there would be room to in hip-hop, he also explores the impact discover something new. For anyone of violence on innocent civilians who claims to be a hip-hop fan this within the street cycle. You could be masterpiece is a must listen. an expert in martial arts or simply playing a game of dice yet in a “Cold World” death can be right around the

tom manning

EDITOR: jack oxford

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music

“An incredible industrial journey”: Taurian talks his debut album musically but also taking charge of a project and make it grow. There’s something about that kind of work method that really drives me and yeah, it’s kind of what I emulate with Taurian.

Have you got any favourite tracks from Nine Inch Nails?

Oh, so many of those. From Photo: bartek mazur The Downward Spiral, currently Radu Constantin is Taurian, a my favourite is “A Warm Place,” an London-based multi-instrumentalist ambient track. Really beautiful, really originally from Romania who draws beautiful, eerie mood. It’s a pleasure on a broad array of influences to listen to that kind of thing.

Your dad was a DJ for a hard rock stemming from a music-imbued childhood. I spoke to him about his radio station, how would you say that debut self-titled album, an industrial affected your music tastes?

I think massively because the first journey showcasing an incredible range of emotion, which is out music I was exposed to was whatever he was bringing me on cassette tape, November 6th.

Was there an exact moment that and whatever he was playing on the you decided to make an album? radio when I was listening.

Ah, it was a long process because To begin with, it was whatever I was in a band before this. We my dad bought on tapes, I think the didn’t exactly break up, we lost two very first cassette he brought me members, then me and the bass was a soundtrack to Batman Forever, player Chris tried to find people but a movie from ninety-five: U2, PJ it didn’t work out. Seeing that things Harvey, Nick Cave…

How would you say lockdown weren’t working on the band front, I just started working on songs, taking affected your process?

In my case it actually helped the things into my own hands.

The exact moment I decided to do creative process, as in the past I had this was when me and my ex-partner to tackle recording and producing flew to Iceland to shoot a music video with other things. I literally had last year in December– it became a twelve hours a day working on this, I was on it all the time. Lockdown bit real!

Who would you say your greatest forced me to focus, basically. influence is?

Of course, lockdown affects If I had to choose just one? I your psyche– whether you like to would say Trent Reznor of Nine Inch admit it or not. There was a bit of a Nails, definitely. Both in a sense claustrophobic feeling sometimes,

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and that comes through in the lyrics and the sounds of the album.

I heard that the lyrics to “Deathshead” were written in the early hours walking home from your bartending job– what can you tell me about that?

Yeah, they just came to my head so I wrote them on a waiter’s pad. I transcribed them on my phone on the way home so I didn’t lose them.

It was just the chorus– I think the

album art: taurian verses were written during one of my trips to Tate Britain, taking in the paintings there. The chorus came to me that night though, and I think it’s the central part of the song really, in terms of message– that universally sad feeling of being left behind.

You visited Tate Britain a lot?

Almost everyday. I had a friend visiting, and she’s great at exploring places– when she goes somewhere, she really knows how to find the best and most inspiring things in places. She sort of dragged me to the museum everyday, and we had this routine of coffee and writing.

The whole process was quite therapeutic, looking at the paintings, writing out any interpretation I had.

And then checking what the painter actually meant– it was all really surprising to me.

jack oxford

EDITOR: jack oxford

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music

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Linkin Park’s Hybrid Theory: Twenty years later This year marks the twentieth anniversary of the release of Linkin Park’s debut album, Hybrid Theory. As referenced in its title, the album’s style is a hybridisation of genres, and while not necessarily unique, it helped launch the band into the mainstream with interesting musical combinations and Bennington’s distinctive voice and songwriting ability.

For the anniversary of Hybrid Theory’s release, Linkin Park released a new edition containing eighty songs, totalling over four hours of music. It is also the band’s first release since the death of Chester Bennington in 2017.

For me this album brings about strong feelings of nostalgia, and after Bennington’s death, a certain sadness through his introspective lyrics, describing his inner turmoil.

This is something that later Linkin Park albums never lacked, despite their sonic divergence from Hybrid

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controlled aggression that comes across as genuine, for example on “Crawling.” This is contrasted with the pained calmness that exists in songs like “My December,” with its wistful vocals and instrumentals.

“In the End” uses piano to elevate the sound and helps build the yearning that the lyrics speak of. It is also perhaps the best-known example of Mike Shinoda’s rapping, photo:wikimedia commons alternating with Bennington’s choruses. The result is a fast-paced Theory. song with insightful lyrics that The band’s second album, remains one of Linkin Park’s most Meteora , shares many similarities popular songs.

Hybrid Theory is a perfect debut with Hybrid Theory, but subsequent entries in the band’s discography from a band who would go on to were met with increasing backlash embody a hybrid theory in their from fans, who criticised the move musical styles in each subsequent towards electronic and pop music. album. It’s been two decades now The lyrics for Hybrid Theory are but its position in musical history drawn from Bennington’s childhood remains strong, and I’m sure the experiences of his parent’s divorce, same will be said in two more. drug abuse, and failed relationships.

Bennington sings these with a raw but

james ward

Disturbing songs Current 93 - I Have A Special Plan For This World

The word “disturbing” gets thrown around a lot to describe any slightly unnerving music, but Current 93’s experimental “I Have A Special Plan For This World” embodies the word.

This genuinely frightening piece is a twenty-minute surrealist nightmare, wherein a disembodied narrator describes his ambiguous

“special plan” to ambient drone music, interrupted by a series of groans and static, that builds until it is overwhelming.

The narrator becomes the delusional voice in a “lunatic’s” head, and the listener is totally consumed by the horror of this unclear special plan that seems to be the final and

only option for the narrator.

Listening to these unanswered cries for help, one cannot help but feel swallowed and trapped, temporarily sharing in the narrator’s disturbing and “endless” misery.

alex grenfell

Johnny Cash - Hurt “Hurt” by Johnny Cash is the dark song I’ve chosen.

I love the contrast of this song: its stripped-back, acoustic simplicity, versus its terrifying lyrics (“I hurt myself today”).

Its simplicity means that the focus is on Johnny Cash’s haunting vocals.

The line “What have I become?” line makes you wonder what whoever wrote it did to write that! The lyric “Everyone I know goes away in the end” is also very

editor: Jack Oxford

sad.

Overall, it’s a perfect Halloween listen.

laurence scott

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gaming

Dungeons and Dragons Fifth Edition Ever since I was young, I have been fascinated – and somewhat obsessed – with the fantasy genre in all its forms.

Amongst my friends, we would design and play our own Dungeons-andDragons-style games, although I only first played the game itself two years ago!

With the revival of DnD appearing to be underway: games like Baldur’s Gate 3 having launched into Early Access, and the Fifth Edition ( 5 e )

being the most accessible yet, it seems like a fantastic time to introduce yourself to the game and the roleplaying experience. I’ve been playing 5e with friends over the course of the last few months, having become vaguely familiar with the ruleset when I bought my own books two years ago, and it is a lot of fun (as expected).

For those that don’t know, DnD is facilitated by a Dungeon/Game Master, who controls the intricacies of the campaign. This campaign can be made by them, or they could be running a pre-made Wizards of the Coast adventure. For example, we are currently playing a campaign

based on the Mythic Odysseys of Theros sourcebook: the setting for the Magic the Gathering card game, and a Greek mythology-inspired campaign.

The players choose a class and level up upon defeating enemies, making their heroes more powerful in the process.

This sort of thing should be familiar to fantasy gamers, as it birthed early cRPGs (Computer Role-Playing Games) like Baldur’s Gate and Planescape: Torment 5e is the most accessible version of DnD available, so I would recommend beginners to start here. The internet also has a wide range of resources to make your campaigns unique and vibrant.

First though, buy the books, then you can pass them down to your kids when they realise that fantasy is best enjoyed with friends.

james ward photo: Dungeons & Dragons

munchkin Munchkin: a board game sweet by name but brutal by nature.

The goal is to get to level ten; sounds simple, right? In theory it’s easy: sell items, fight monsters and get free levels from treasure cards. It suddenly gets a lot harder though when you realise everyone you are playing with is out to get you. They can curse you, causing you to lose a level; add points to the monsters you are fighting to make it harder to beat, and steal your treasure or levels.

Munchkin is a relentlessly competitive game. Whilst working towards getting yourself to level ten, you also must do everything you can to stop your competitors getting themselves there first. You don’t make friends in this game; you have to fight only for yourself.

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photo:photo: Dungeons & Dragons Pixabay

I t is important not to get too attached to your cards in Munchkin as you can lose them just as quickly as you get them. Luckily there are lots of opportunities to gain these back, such as when you lose your class and race cards. At first this losing and gaining does seem quite confusing, but each card clearly explains its functions so after a few rounds the game becomes easier to understand, and easier to focus on defeating your enemies.

You have to be clever, and effectively utilise every card you get. When you are fighting monsters, you must carefully select which cards you use to defeat it, such as subtracting five attack

photo: Wikimedia points from monsters, or plus points to you. You also have to think ahead to anticipate what other players might do to make your fight harder.

Overall, Munchkin is intensely stimulating, challenging and lots of fun to play.

leia butler

EDITOR: james ward

gaming

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Cyberpunk 2077: What do we know so far?

photo: Roo Pitt What is quite possibly the most eagerly Concrete got an exclusive insight anticipated game of the year has into the gameplay at last year’s MCM been further delayed until December.

Comic Con which looked incredibly slick Cyberpunk 2077 is the latest title from and almost limitless, both in terms of CD Projekt Red, the Polish studio behind the massive open world adventure and The Witcher game franchise. the ability to customise your character In the game, you explore Night City with Cyberware. When you start the as an urban mercenary hunting a onegame, you choose your character’s of-a-kind implant, which is the key to background from three options: Corpo, immortality. This futuristic megalopolis’ Street Kid, or Nomad. The origins affect inhabitants are obsessed with glamour, your initiation into the game, but luckily body modification and power, and as don’t affect the main adventure for your such you will have to increase your Cool character after that. level to access certain content.

As a Cyberpunk, you are equipped Initially scheduled for release in with Cybernetic Enhancements April, September, and November, which enable Cyberware, giving Cyberpunk 2077 is now finally you seemingly unlimited options scheduled to hit our shelves in for customisation as each body December. part has multiple upgrade In recent months, options. These range the developers from passive options like treated us to a circulatory upgrades that deeper dive into improve your health the game, with and its regeneration, to the latest release more active upgrades of the Night City that enable your Wire video series character to double showing off jump. the vast array One of the of vehicles most interesting available in developments photo: CD Projekt Red game. so far has been

EDITOR: james ward

the insistence from the developers that ‘it’s an RPG before it’s a shooter’.

This means how you progress through the game is influenced heavily by the choices you make, something I’m sure many players will be pleased about.

We have also seen extensive gunfight sequences, with what look to be smooth animations and responsive AI. As with most AAA titles, there are multiple versions of the game available to pre-order and purchase, from the standard edition, available as either digital or physical (currently £49.99 from Game and most other retailers), and the collector’s edition (currently exclusive to Game). The collector’s edition carries a hefty price tag of £249.99 but boasts a wealth of extras including: a 25cm statue depicting V (the game’s protagonist), embroidered patches, stickers, maps and postcards.

Having been in development since 2012 and being CD Projekt Red’s first title outside of the Witcher series, there are high hopes for Cyberpunk 2077. Any further world disasters aside, the game will (hopefully) be released on the 10th December 2020.

roo pitt

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gaming

Are Real-Time Strategy Games Dying?

Real-Time Strategy or RTS games are exactly what they say on the tin: there is no turn-based gameplay, everything takes place in ‘real-time’. The normal set-up involves gathering resources in order to build facilities that can produce units in order to take on an enemy threat. Since everything is in real-time, there is no knowing when the enemy may begin to launch their own attack and being caught unprepared can lead to an early game-over.

It’s a challenging genre which requires lots of micro-management, and as such many could be turned away from it in favour of other strategy subgenres with more breathing room.

For example, 4X (eXplore, eXpand, eXploit, and eXterminate) games are hugely popular, swapping

real-time gameplay for a wider range of mechanics. Meanwhile, MOBA (Multiplayer Online Battle Arena) games, which incorporate a significantly downscaled version of the traditional RTS format, have grown to dominate the eSports scene.

It would seem as though other subgenres have supplanted RTS’s, but to suggest that the RTS genre is dying out would be to ignore a particularly recent surge in output. In this year alone, remasters of Age of Empires, W a r c r a f t , Company of Heroes and photo: Electronic Arts Inc

Favourite

Games

Nine

Persons,

Hours,

Nine

of Nine

Doors

in a point and click fashion to solve puzzles.

As Junpei and the rest of the cast explore the ship, they uncover various truths about the place: about why they were chosen in particular, about where they are, and so on. But then, when it seems like you’re close to figuring it all out– the game ends.

Except, it doesn’t, not really. You have to play it again, making different

Dragon Age Origins

the demonic hordes of Darkspawn during the Blight. But deeper plots run beneath this surface story; the king is killed and his murderer takes over, an Arl’s son is demonically possessed, horrific discoveries are made during a descent towards the Darkspawn – all of which is fated only by your choices in the narrative. You’re not alone on this journey; a variety of unique companions join you. These characters are the game’s soul.

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jude davies

All

Maybe describing 999 as my favourite game of all time is a bit of an underestimation. It’s way more than that: it’s my favourite story of all time as well.

The premise is SAW-like and simple: you play as Junpei, you’re stuck with eight other people on a ship similar to the Titanic that’s slowly filling with water. You have nine hours to figure out your escape. You have to explore rooms

I don’t think I’ve ever been as drawn into a game as I was with Dragon Age: Origins. The spiritual heir of the classic RPG directly adapted from the DnD sourcebook, the game uses this structure in conjunction with Bioware’s excellent storytelling to craft a masterpiece of dark fantasy.

You play as a Grey Warden, a conscript-knight forced to fight against

Command & Conquer games have been released to mostly high acclaim.

While not bringing anything wholly original to the table, they show that an audience for RTS games is still going strong. While Blizzard announced this week that they were ending their decade-long support of StarCraft 2, the news was swiftly followed by Frost Giant Studios, a breakoff group of exBlizzard employees, stating their plans to create a brand new RTS title.

Though it may have been overshadowed at times, the RTS subgenre is in a healthy position, and considering recent and upcoming releases we will likely see a renewal in popularity from here.

Time

choices regarding the doors you choose to explore behind, resulting in the discovery of different things, all eventually culminating together in one ultimate truth– probably with the help of a guide, though. Getting to that ultimate truth is a pain, but in the case of this game I’d say the journey and the destination are equally as important.

Play this game.

jack oxford There’s Alistair, the bastard prince with a love of cheese; Zevran, an elven assassin fond of innuendo; Sten, a giant who can only be literal; and, of course, your loving dog, among others.

Overall, even though it’s been six years since I first played it, Dragon Age: Origins remains my favourite game, a true classic of the fantasy genre, and there’s no game quite like it.

alex grenfell

EDITOR: james ward

need some help settling in? link up with a buddy today at

uea.su/buddy

w

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The

Boys

In

THe

FILM

Band

“THe Film packs a punch in many ways” The Boys in the Band was a whirlwind from start to finish of conflicting emotions, changing opinions and utter shock, and because of this it did not disappoint.

The Boys in the Band, adapted from the stage play of the same name by Mart Crowley launched on Netflix a few weeks ago, with great reviews and ratings rolling in ever since. Starring an entirely gay cast, the film follows the events of Photo: Scott Everett White/ Netflix a birthday party hosted in 1968 at an apartment in Manhattan, when the quite polarising. Personally, I love it. The host’s (Parsons) heterosexual roommate stage, as a format of art we cannot enjoy from college makes an appearance right now, was perfectly translated onto (Brian Hutchison). the screen in a way I loved, but equally What is most striking about this film I understand some may find this fairly for me is the maintained theatrical feeling stagnant, and dare I say boring. while we watch. It is clear throughout The storyline, however, is so twisted this was originally a stage play and the it can’t not be enjoyed, in a really sadistic script and staging only emphasises this. way. The main event of the party is a game The singular and unchanging setting of Parsons’ character, Michael proposes: the apartment and style of script and a game where all the men in the room speech where characters deliver lines in need to phone the one person they truly turn with almost no overlap contribute have loved. Given the 1960s setting and to this, but I would argue this style is stigma urrounding homosexuality at the

time, this gives the play a really dark edge which provides a stark contrast to the feel-good party prior to this progression. The game leads to moments of joy, sadness, intensity and confusion that make it the whirlwind I described before.

Opinions of all the characters will probably shift dramatically as well. Rannells’ character Larry grew on me over the course of the film, the complete opposite to Michael (Parsons) who I became sour towards, only to then begin to like him come the end. Some characters such as Cowboy (Charlie Carver) provided comedic release, but most other characters, to offer some criticism, didn’t really do anything at all.

In short, the film packs a punch in many ways, and worth the watch regardless of viewing tastes and favourite genres. There is something to like and find endearing in this film for all.

Review 4/5

sam hewitson

Halloween Horror: The Cabin In the Woods Five teenagers spend the weekend at a cabin in the woods and encounter a mysterious evil.

You think you know how this premise is going to end, but The Cabin in the Woods is not your typical horror movie. The story begins like every other film in the genre, but a few things are deliberately off from the regular formula, including an office-bound, almost comic duo that watch the characters throughout. Then, halfway through, your assumptions shatter, the film becomes a novel take on the genre itself, spliced with enough comedy and action to keep you entertained throughout this generic shift.

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Photo: Diyah Pera/Lionsgate Cabin isn’t just a horror movie – it’s an elaborate, comedic comment on every other horror movie. We become a private viewer into the lives (and gruesome deaths!) of these characters at the hands of things that nightmares are made from. We see these archetypal characters – the jock, the virgin, etc

– that make up the tropey victims of a typical horror movie equated into religious sacrifices slaughtered to amuse us. The film, in a way, becomes a metafictional comment on us, on the viewer, and the reason why we’re drawn to horror in the first place – the entertainment of identifying and being scared with the characters, and the tragic catharsis of watching their ill-fated yet expected ends.

If you want to watch a mind-blowing horror film unlike any other horror film this Halloween, one where your expectations will be thrown out completely, then I highly recommend you check out Cabin.

alex grenfell

EDITOR: NIAMH BROOK

FILM

25

Halloween

horror:

Imagine you are watching an intense are real people. It’s like the feeling of game of Among Us in a new map that locking a Sim in the kitchen, igniting the resembles an American suburban town oven and selling the sink and door; no set in the 90s. Usual antics – the players real consequences brings out the inner are running off alone despite knowing sadist. that there is a killer on the loose, some That is until the characters are can’t be bothered to play properly, and actually murdered. What’s so deceptive some are making accusations that are about Scream is that this sadistic above evidence. Well, much like in Among Us, everybody is a suspect in Scream.

From the outset, it may seem like a superficial, shallow slasher film, but there are so many subtle techniques that make it one of my favourite horror movies of all time. The characters are so selfaware and clichéd that you can’t be fooled into pretending they Photo: Dimension Films

Scream desire to want to see them all killed is betrayed by the rapport that has been subtly building between you and the characters. The meta speeches that break the fourth wall down lure you in and, similarly, break your guard down.

I’m not sure if these speeches make the characters feel more like real people, or if they make the audience feel more like characters, but character deaths in Scream hit different heart strings to character deaths in other slasher movies.

Fun to watch as a classic slasher flick, fun to analyze as a parody of horror movie norms, Scream is a must-watch if you haven’t seen it already!

jim gell

The Trial of the Chicago seven :review Review

It doesn’t escape me how strange it was to watch Aaron Sorkin’s Trial of the Chicago Seven in the same 12-hinteresting figures in film and tv for the past 20 years.

When it comes to the non-scripted or semi-scripted content, he’s a performer unlike pretty much anything else in modern cinema, however that leads to little notice Photo: Niko Tavernise/Netflix for his dramatic acting.

The Trial of the Chicago Seven and goes to show that Baron Cohen is completely blitzes this perspective. just someone who the camera seems to Photo: Netflix Abbie Hoffman is an absolute presence love in this film. An often irritating, always In the past, Sorkin’s work has been funny, misunderstood man who Eddie noted for its stylistic qualities. The long Redmayne’s Tom Hayden accurately tracking shots down hallways, the witty, predicts would massively influence how unrealistic back and forth and the big the left would be viewed for the next few swelling emotional speeches which decades, Baron Cohen performs the almost read like a parody. This film does part wonderfully. Even with a tenuous have these elements, but in a much accent, he conveys the inner workings more toned-down way. It has beautifully of a complex person with true brilliance written dialogue, but not overwrought.

4/5

EDITOR: NIAMH BROOK

It’s wonderfully shot, but not over-thetop, just simply made. I think the most outgoing element stylistically is the editing, it’s snappy and gives it great pace, it works with the film, rather than against it. Unlike a great deal of Sorkin’s work, it feels real.

It’s a type of film that’s been lost in time a bit. How often do we see proper courtroom dramas nowadays? But it’s executed perfectly, it hits the notes of a courtroom drama whilst never getting lost in itself. It always knows the point it’s making, about justice, freedom of speech, America and its misgivings. It’s a sensational piece of art, only worsened because when you actually read about the events it discusses, the villains are much more villainous, and the heroes much more heroic. This is a rare film that has to tone down the truth, because the reality is too incredible.

Matt BranSTon

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FILM

Concrete at the London Film Festival 2020

Photo: Unsplash Photo: BFI The London Film Festival, since its inception in 1957, has screened a wide range of both independent and mainstream films that showcase the power of cinema and innovative filmmaking. The London Film Festival continues to be an important event in the British film industry and this year Concrete was granted press access and had the opportunity to watch some truly fantastic films.

This year, LFF faced an interesting challenge; How do you run one of the biggest film festivals in the country socially distanced? The answer, a mix of in-person and virtual screenings.

Attendees with a press pass were given access to a virtual platform (sort of like the BFI’s version of Netflix) where press had a limited window of time to watch the screenings in the comfort of their own home. Now, I have never attended LFF prior to this year and yet I felt the immense shift in the way things were run. Never in my life would I have thought I would be watching

embargoed, press screenings in my bed with a cup of tea but once I got used to the strange scenario, I settled in and watched some great cinema.

Two films in particular stood out to me out of all the films I watched during the festival. The first, Mogul Mowgli, tells the story of a British- Pakistani Rapper whose life is changed forever after he discovers he has a life changing illness. The film spends a lot of time delving into interesting and compelling themes such as identity, parental relationships and life as an ethnic minority in modern Britain. The film uses intriguing visuals and surrealist sequences to allow the audience into the mind of main character Zed, allowing for a deeper, more personal connection to the character. Co-written and beautifully performed by Riz Ahmed, Mogul Mowgli is a brilliant character study which is definitely worth a watch.

The second film of the festival that stood out to me is Mangrove. Steve McQueen, director of the Oscar winning

film 12 Years a Slave, tells the story of the trial of the Mangrove 9. The trial in question was the first court case in British history to acknowledge racial hatred by the metropolitan police.

Containing a plethora of brilliant performances, the film takes time to place you into the shoes of these characters and creates a raw sense of empathy towards their treatment by the police. Mangrove is a spectacular piece of cinema, using it’s runtime to highlight injustice and champion those who fought for the rights we have today.

This year’s London Film Festival had to overcome the many obstacles, but I can safely say, it was a socially distanced triumph with countless other films, such as Supernova and Ammonite, that I simply do not have enough space to mention! This year’s festival, with its screenings, industry events and library of fantastic shorts shows us that even in cinemas most trying year, it will never cease to astonish us.

niamh brook

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EDITOR: NIAMH BROOK

tv

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A REWATCH OF... FRESH MEAT

Photo:channel Netflix4 Photo: Isolating has proved the most perfect way for us to unwind and rewatch some of our favourite shows from the past.

Especially now, we really need familiarity and comfort wherever possible. For me, the obvious lack of social events where you’d see mates you usually wouldn’t get the chance to see is really missed.

However much you hated getting a VK thrown at your head, there’s no doubt that you still miss those crazy nights at the LCR dancing to ‘Pump it Up’ in your rubbish heap of a kitchen until the sun started to rise in the morning. Ah, those were the days.

In order to match the energy I so desperately missed and desired, I thought of no better show to revisit than ‘Fresh Meat’. It’s a show filled with the wackiest of narratives and the most hilarious of archetypes of students we all know. I hadn’t watched the show for a few years, so one thing I really picked up on during my rewatch was how familiar these characters were to me now. I know a JP. I know a Vod. I know a Sabine. We all do. That’s what is so brilliant about how these characters are presented by creators Jesse Armstrong and Sam Bain;

nerisse appleby

they understand what it’s like to be put with the most opposite of personalities and how to make humour out of that.

The show’s first series premiered on Channel 4 in 2011 and was met with positive reviews as the story progressed and concluded with its fourth series debuting in 2016. The episodes are incredibly easy and addictive to watch with a 40-minute run time that feels all too short for the right reasons. Episodes are always left with subtle cliff-hangers or hints for what’s to come which fuels a thirst for more. With familiar faces of comedy like Jack Whitehall (Bad Education) and Joe Thomas (The Inbetweeners) and actresses of drama like Charlotte Ritchie (Call the Midwife) and Kimberley Nixon (Cranford), the show excels at delivering top class timing as they deliver the script as creatively and hilariously as anyone ever could.

Speaking of ‘The Inbetweeners’, this show is like a less tone-deaf and less misogynistic version where all the characters hold a similar status of comedic value. The core cast consists of three guys (JP, Kingsley & Howard)

and three girls (Vod, Oregon & Josie), all of which have plot points where their actors really get to shine. While the characters of Josie and Kingsley have a tad bit of the ‘Gavin and Stacey syndrome’, whereby they are set up as the sort of main characters but are actually the least interesting of the cast, this does not hold them back from being just as brilliant as the rest of the squad. In discussing favourite characters with my housemates, we could not decide as they are all as complicated and intriguing as each other. No disrespect to ‘Gavin and Stacey’; it is probably my favourite show of all-time.

If you are yet to dive into this diamond of a show, please make sure you do. We all need a bit of light and escapism right now and there’s no better way than getting into a story as universal and as chaotic as this one.

‘Fresh Meat’ is a delight and if you’re sitting there thinking ‘I don’t know a person like Howard yet’, are you even having the full university experience?

patrick coe

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TV

emily in paris and cultural representation “Name a stereotype about France and the French, you’ll find it in Emily in Paris” writes Fabian Randenne in French Magazine ‘20 minutes’ and from watching the first few episodes of the Netflix original series, it is easy to see what he means.

The show’s use of stereotypes, from baguettes and rude waiters to apartments with views of the Eiffel Tower, has drawn criticism from French reviewers who found the portrayal of their culture onedimensional and occasionally offensive.

Critics also drew attention to a recurring plot point where Emily (Lily Collins) would fight against her French colleagues’ old-fashioned attitudes, suggesting that American views being shown as consistently superior was a kind of whimsical

Photo: netflix

cultural imperialism.

American audiences also found issue with this, pointing out that Emily was in herself a kind of stereotype of the “ignorant American” who would move to Paris despite not speaking a word of French.

Photo: netflix This isn’t the first time Netflix has come under fire for cultural insensitivity.

The controversial series ‘Insatiable’ was criticised for its offensive portrayal of African-Americans, while, more recently, the representation of SouthAsian culture in ‘Never Have I Ever’ was described as stereotypical by critics. This raises the question of what makes good cultural representation? and how can it best be achieved?

Ironically, some of the shows most praised for accurate cultural

representation also come from Netflix.

‘On My Block’ was praised for its diversity and accurate representation of a variety of cultures including Mexican and African-American. In addition, ‘Plan Coeur’, another Netflix series set in Paris, received positive reviews for its portrayal of French culture.

These shows, among many others, demonstrate that Netflix is capable of sensitive cultural representation, so where did ‘Emily in Paris’ go wrong?

The most obvious issue is the lack of diversity behind the camera. ‘Emily in Paris’ is written by Darren Star (Sex and the City) and Lily Collins, neither of whom are French. Darren Star even stated in an interview for ‘The Hollywood Reporter’ that he intended his version of Paris to be a “fantasy”. With the writer clearly not invested in accuracy, it’s easy to understand why ‘Emily in Paris’ fell prey to so many clichés.

This theme is repeated across other shows with issues surrounding diversity; out of ‘Insatiable’s nine strong writing team, eight are White-American, leaving a clear message: if you want your show to accurately represent a culture, you have to make sure that culture is represented in the creative team.

eleanor carr

the autumn sparkle of strictly come dancing Every season has different events associated with it.

Winter centres on Christmas, Spring is about rebirth and Easter, Summer is a period of sun and holidays, and Autumn is the season of ‘Strictly Come Dancing’.

Autumn hasn’t truly started until its iconic theme tune is heard for the first time.

As the nights draw in and the weather gets colder, ‘Strictly’ reinvigorates what could otherwise be a depressing time with glitz, sparkle and lots of sequins.

For many, myself included, who grew up in the 2000s, ‘Strictly’ evokes memories of cosy Saturday nights with your family

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at the end of the long school week.

Hearing the theme tune today makes

still going from strength to strength, dominating the Autumn schedules.

In a world where linear television is increasingly in decline, ‘Strictly’ remains an appointment to view programme.

It still provides the same opportunity to get cosy on the sofa as it always has.

It is the ultimate comfort viewing, and in these cold Autumn months, what Photo: BBC more could you ask for?

me feel nostalgic for those simpler times.

However, that is not to say that the best of ‘Strictly’ is in the past as it is

matthew stothard

EDITOR: Nerisse appleby

TV

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the haunting of bly manor loses its way ‘The Haunting of Bly Manor’ is more ambitious than Mike Flanagan’s previous series, ‘The Haunting of Hill House’, which was released on Netflix in 2018, but it fails to escape the shadow of its more mature sibling. It is an update of Henry James’ novella ‘The Turn of the Screw’, in which a governess is employed to look after two orphans after the death of her predecessor, with a few of James’ other stories pieced in.

The first few episodes are the strongest, as Flanagan begins to unspool the pasts of those who work at Bly Manor, where the halls are trailed with muddy footprints in the night. Unfortunately, his knack for horror with an emotional resonance, that creeps up closer as we come to understand the characters and the fears that haunt them, for the most part fails to appear. Instead, the broken timeline results in stories told in fragments, often repeating, never

allowed to develop beyond the two dimensions of a children’s picture book.

The corruption of time and material reality is interesting and unsettling at times, reaching a peak in episode five, exploiting horror’s advantage for exploring psychological reality as

Photo: netflix primary. It loses its way, however, as the main narrative is allowed to wander, like the footprints in the halls were they to wind and circle back, becoming fainter.

The elegant monologues and committed acting performances, including from the

young actors, go largely unsupported by substantial developments in plot or character; many episodes are spent uncovering what has already happened.

The thread that connects Bly’s past and present is important, then, and although the exploration of love in ‘The Haunting of Bly Manor’ is limited, it is the strongest element of the series. The relationships that form, quietly, within the found family of those living and working at the house stabilise the series, and are allowed to breathe just enough for the final episodes to have weight.

The narrator’s acceptance that “it isn’t a ghost story, it’s a love story” feels right, but the two elements were not properly reconciled for it to be effective as both. In its refusal to follow the path trodden by its predecessor, ‘The Haunting of Bly Manor’ passes over some interesting ground, but fails to find a clear line through it.

eliza jack

ratched: an absolute thriller hit

Ryan Murphy’s latest Netflix series, ‘Ratched’, has caught the attention of 76 million households worldwide since it landed on the platform last month.

In Murphy’s imagined prequel to ‘One Flew over the Cuckoo’s Nest’, we see a different side to one of literature’s most iconic villains – Nurse Ratched.

Sarah Paulson is fantastic in her portrayal of this ruthless character. Posing as a nurse, Ratched stops at nothing to reconnect with and emancipate her brother, serial killer Edmund Tolleson.

In one scene, we see her undertake a brutal lobotomy on one of Tolleson’s surviving victims, just one of the many references to the acts that bear out in ‘One Flew over the Cuckoo’s Nest’.

Surprisingly, in ‘Ratched’, Sarah Paulson’s Mildred has a softer side.

We see her show sympathy for many

patients, standing up for them when the hospital’s manager Dr Hanover persists in unnecessarily cruel treatments.

Ratched’s gentler side is also shown

REVIEW Photo: netflix in her relationship with Gwendoline Briggs. Briggs, played by Cynthia Nixon, is a proudly, although not openly,

EDITOR: Nerisse appleby

gay woman, and the relationship that develops between them is not only moving, but a neat bit of social commentary on life as an LGBT person in early twentieth century America.

Aside from the storyline and stellar performances from the cast, ‘Ratched’s set and costume design make for a very enjoyable viewing experience.

Paired with spooky scenes, the brightlycoloured 1940’s aesthetic is one that fans of ‘American Horror Story’ will love.

Where ‘Ratched’ disappoints slightly is in the script. Although it is a total imagination piece and artistic licence is to be expected, at times I felt it was reaching a little beyond belief. Overall, this is a hit for fans of thriller and horror – I already can’t wait for season two!

eliza duckworth

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Jake Walker-Charles Leia Butler

Harry Chapman

Catherine Thompson

Jake Walker-Charles

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download the NHS app at www.covid19.nhs.uk

Dear venue AND GAMES

Dear Venue, what are your tips for managing workload during summative/exam season?

I think the key to managing workload with minimal stress is definitely balance. Set achieveable goals and back this up with to-do lists. Make this a daily practice.

How many hours are you going to work on studying each day? What’s best for you? It’s been recommended that students attempt to study 36 hours a week on average.

You might be one of those people that will do four heavy days, get everything done, and have three days off.

You might be one of those people that likes to spread out their workload across the whole seven days.

Find your own personal balance and don’t compare yourself.

Everyone works differently. It’s important to have breaks, and time away from the books too.

During summative/exam time, you’ll naturally feel the need to spend more time than usual studying.

It’s especially important during this time to look after yourself: make good meals, get daily exercise and get enough sleep.

It’s important to remember that everyone’s in the same boat and, if you’re struggling, reach out to people you can trust.

Taking time out to get into nature is also another known stress-reliever, so make use of all of the green spaces on the UEA campus while you’re here!

art: imogen ince

Stretch your brain!

Beginner

5 x4 1/4 -4

Answer

+9 x6

Intermediate

Answer

Advanced

Answer

12 x11 -14 1/4 x15 -90 28 1/6 x35 2/5 x21 -18

c t

u o

r

s e

Make as many words as you can out of these 7 letters! You can only use each letter once per word!

DEAr VENUE AND GAMES