Issuu

Editorial

Issue #318 1 December For our Halloween issue of Venue, I focused on how I was going to spend Halloween in order to best experience the holiday according to its true meaning. However, it’s fair to say that my choices were less than well received. Some accused me of misunderstanding a very special holiday, some accused me of being a simple kill joy, and some even inquired about my overall well being. As we approach Christmas, the self proclaimed ‘most wonderful time of the year’, I debated following up this previous edition with a Christmas theme, outlining how I plan to spend the holiday in order to get an experience closest to the true spirit of the holiday.

Editors: concrete.venue@uea.ac.uk Ana Dukakis Joe Fitzsimmons Arts: concrete.arts@uea.ac.uk Brett Mottram

However, as I sat down to write this editorial, I found myself staring at a blank screen, the text cursor blinking for what felt like an eternity, unable to write a thing. As I became more and more frustrated, I tried to invent newer and newer ways to celebrate, each more outlandish (and probably offensive) than the last. Eventually though, I found myself reaching an epiphany. I believe, that the reason I sat here so long, unable to come up with even a satirical ‘true meaning’ of Christmas with which to celebrate, is that in today’s society, there is no such thing as the true meaning of Christmas. Sure, some people lament the commmericialsm of the holiday, but you know what, if that’s what makes you truly happy, then who am I to judge you. There are many worse things you can be doing to celebrate. I say, take advantage of this modernisation of the holiday. Make it about whatever you want, and whatever holiday you want to celebrate: gifts, God, family, food, tinsel, time off, even just the Doctor Who special. Just make sure you do it for the right reasons, and, as best you can, feel good about what you do. Oh, by the way. Read Frontier, it’s rather good.

Creative Writing: concretre.creativewriting@uea.ac.uk Jay Stonestreet Fashion: concrete.fashion@uea.ac.uk Lizz Gowens Leah Omonya Film: concrete.film@uea.ac.uk George Barker Melissa Haggar Gaming & Technology: concrete.gamingtech@uea.ac.uk Tom Bedford Music: concrete.music@uea.ac.uk Freya Gibson Daniel Jeakins Televison: concrete.television@uea.ac.uk Hannah Ford

Art and Design: concrete.artdesign@uea.ac.uk Dougie Dodds Cover Art : Emily Mildren

A couple of weeks ago, I went with one of my housemates to see the Christmas lights being turned on outside Norwich City Hall. The evening was appropriately wintery, cold wind tousling the last of the leaves from the trees, tendrils of steam rising from people’s lips as they gathered in clusters above the market. Yet, as we stood watching a group of extremely enthusiastic elves dancing around to Christmas songs, fake snow tokens raining down upon us, the whole scene felt rather surreal. This was not because there were men prancing before us in green tights and bobble hats (though this likely contributed to it), but because we were still in the middle of November. Before that evening, we had barely begun to think about Thanksgiving (yes, my housemate is American), never mind Christmas. Yet with more and more holiday hallmarks springing up everywhere – Christmas trees, Christmas songs, the John Lewis advert – we could no longer ignore it. It was November, and the holiday season was upon us. But now it’s the first of December! Surely now any festivities are acceptable, safely in the domain of the final month of the year. Or perhaps it isn’t; there never seems to be a complete consensus on when such holiday merriment should begin (though I think we can all agree that the Christmas adverts that pop up before Halloween need to take it down a notch). Regardless of whether it is time or not, Venue has certainly gotten into the holiday spirit. We’ve been looking at the best winter party wear, compiling Christmas playlists, and picking out the best TV shows to watch during the inevitable holiday binge-eating. Yep, we’re pretty excited for the holidays. But we haven’t just been looking forward to festivities; TV’s recaps of the best moments in different shows and Film’s list of this year’s biggest flops look back, reminding us that this year is soon drawing to a close. For some reason, the knowledge that we are in December does nothing to diminish my surprise that 2016 is around the corner. Like the turning on of the lights outside City Hall, it feels too early. But regardless of what my mind believes, the calendar proves otherwise. So enjoy what remains of your year – indulge in those cheesy Christmas songs, fattening foods, and overly elaborate gifts – we’ll be blundering into 2016 before you know it.

Music We Are The Ocean Review Essex Hardcore Band Storm the WaterFront

Eleanor Swain We Are The Ocean have a diehard group of fans that have remained loyal to the band throughout their eight plus years of performing, even after their most recent album, ARK took on a decidedly different sound to the previous three. Headlining their own UK tour is a testament to Liam, Alfie, Jack, and Tom’s work ethic and goes to show that they still have a relevant sound even after almost a decade of writing, touring, and performing. Taking to the stage at The WaterFront after being supported by Tall Ships and Allusondrugs the band had an audience already warmed up and raring to go, although it’s obvious from the cheers and excitement bubbling in the crowd that the success of their performance didn’t rely on this. From the start of their set it’s immediately evident that the boys have a dedicated group of fans in the audience, and are capable of getting them (and the newcomers to their fan club, of which I am one) head banging and singing along within moments

of taking the stage. The vivacity of their music, with its rock backbone and soulfully hoarse undercurrents, roots much of the audience to the spot in a kind of energetic aural overdose. Opening the gig with fan favourites including ‘Maybe Today, Maybe Tomorrow’ and ‘Young Heart’, We Are The Ocean wasted no time in whipping the crowd up into a rock-induced sweaty frenzy to the backdrop of the powerful, growling guitar twangs and full bass with Liam’s voice alternating between raspy and mournful falsetto. The sign of a good concert is the continued participation of the crowd (among other things), something which is assured throughout the seventeen strong set by the building rockiness, combined with punchy lyrics and the band’s calls for crowd involvement during the choruses. With the band’s more recent focus on choruses and hooks, Liam’s impressively broad vocal capabilities compliment the electric, kinetic flow of string and percussion provided

by Alfie, Jack, and Tom. The band’s experience of being on the festival circuit has undoubtedly positively affected their ability to cast their music into the corners of the room, reserved for those who previously only passively experienced a performance, drawing the crowd into a kind of universal appreciation for energetic rock anthems. Making space for a cover of London Grammar’s ‘Hey Now’ (which they previously performed on BBC Radio One’s Live Lounge) the band’s set list included a pleasing mix of songs from older albums, and also their recent album ARK, whilst also illustrating their ability to breathe their own style into non-originals. Towards the tail end of the performance all of the band, except Liam, left the stage to make way for a soulful, and undoubtedly personal, delivery of ‘Chin Up, Son’ which reduces the crowd to a captivated half whisper. Liam’s voice takes on a more soulful and brooding timbre with the accompanying guitar solo

echoing around the venue along with the heartbreakingly emotive lyrics such as “so tell me why do I worry myself? I’m out of the storm, my heart is worn, I made it through hell”. The personal significance of the song was abundantly clear and the vulnerability portrayed in the lyrics combined with the slower pace of the track brought the previously fever-pitch intensity of the gig to a poignant lull, which was then reversed by the rest of the band’s return to the stage to play ‘Good For You’, one of the key tracks on their latest album. The guys finished the concert by thanking their fans for their loyalty and attributing their success to the continued support that they receive from those who listen to their music. All in all, We Are The Ocean delivered on their promise for a re-energized return to the rock scene, by giving a punchy, memorable, performance that had the crowd letting loose and demanding an encore.

Music We Are The Ocean Interview New Albums, Tours, and Future Plans

Eleanor Swain We Are The Ocean have steadily built up a dedicated fan base over their eight plus years of playing together, a loyalty that was fiercely evident at their Norwich gig on Thursday 12th November. Venue sat down with three of the band’s members Liam, Jack and Alfie before they hit the stage to discuss their new album, musical inspirations, fans, and weird and wonderful woodland festivals. This is the fourth date of your current UK tour, how are things going so far? Really good. Yeah been a while since we’ve headlined. It’s good to be back in the game, back doing shows. Ten shows is a nice amount of shows, not too little, not too much, well I suppose you can never have too much! How are your diehard fans responding to your new music given that this album has a different sound to the ones that you’ve released before? They like it! We’ve had some good feedback online, lots of people asking for new songs on this tour. I’ve noticed a bunch of people who’ve maybe liked the first album then drifted away and have now come back, we’ve had people say that they have maybe lost us for a bit and have come across the new album and it’s reinvigorated things a bit. So that’s great, it’s really nice to have them people back. Lots of people asking for new songs that we haven’t released yet. The new album we’ve has released three or four videos for it. So many people just know the singles in general, so it’s always nice when people know the actual album tracks.

What is your rehearsal schedule like now that you’re back on tour? It depends really. We go in normally a week before tour and feel it out from there. It takes us a while to get warmed up, we pick out a set, and then the set changes about four or five times. We start talking about what kind of set we want to do a couple of weeks before we get into the practice room, then when we get in there we’ll swap things around a bit. We ask people online what kind of songs they want to listen to, and we try to factor that in as much as we can. We got to a point where we’re ready to go on tour, there’s lots of older songs that we haven’t played in a while and a lot of newer ones that we’ve never played, so we had to make sure that we had spent enough time on them. It’s funny that you just remember them, you just know them from years ago. We do practice for like six hours or eight hours sometimes, we go for as long as it needs. You’ve played some festivals this year, how was that? Crazy, really. You go to places like Germany and Austria and they’re really big festivals in really cool parts, in the middle of the forest, always lovely people to meet. It’s always nice to travel around and go to these different places. There was a nice mix this summer of bigger festivals of a certain genre and smaller festivals of a certain genre, a really nice variety to it. Also, performing in the UK as well as mainland Europe, it was a busy summer, with some really good shows.

Who would you like to collaborate with in the future? Liam: I’d like to do something with Lonely the Brave, just because I really like Dave’s voice. Alfie: Their sound would lend itself well and their guitar music isn’t too distant either. Liam: Either that or N.W.A, if they were to reform! How were you inspired to become musicians? Liam: I fell into it, my parents are pretty musical. Dad played in a band, mum was a singer, so I grew up wanting to play music. I’m not really good at anything else! Alfie: My brother played music, I lived in a really rural town where not much goes on. So when you went to school, music was such a good thing to be involved in. It got you to different venues, seeing other people the same age as you that are playing shows at rugby clubs and that, so it’s kind of a community. Jack: I think for me it was just a group of friends picking up instruments at the same time and then meeting other people at shows, and there was this big community of a local music scene, and I wanted to be a part of it. What’s your favourite part of being a musician - is it the writing, the performing, getting feedback from the crowd? A bit of everything. Being able to express. It’s a good release. The whole journey of a song, taking it from the studio to the stage and performing it with that journey it mind, how it came to be. Then seeing people singing it back is always very exciting.

During your gigs do you stick to original songs, or do you throw in the odd cover or two? Only recently have we started playing around with covers a little bit more. It can be quite fun, and interesting for a crowd. There are some people who have seen us on numerous occasions, so we try to revamp the set a little and make things interesting. There’s also a lot of songs that we love and like to pay homage to. How do you approach the song writing process, do you all collaborate on songs or does someone usually take the lead? It happens in different ways, sometimes we’ll all be jamming in the practice room and something will come out, or one of us will come into the room with a new idea, anything. It’s nice doing it that way because there’s no real pressure on anyone specific. It’s more of a collaborative. What do you guys want to do in the next few years, any particular goals? Liam: Save some whales, jump out of an aeroplane. Jack: It’d be good to explore the world a little bit with the music. We’ve been lucky enough to go to a few continents, but it’s always nice to meet new people, and it’s always exciting to see the songs that you wrote being sung by people in a completely different country. Alfie: Go do some exploring. Play on top of a mountain somewhere, just explore. Liam: Space is the new frontier guys, we need to get on that spaceship from Virgin! Illustration: Ana Dukakis

Music The Music of Fallout 4 Looking at the Soundtrack of Bethesda’s Latest Epic

Flickr, Videogame Photography

Joe Jameson For a number of reasons music is hard to get right in video games. Firstly, there is the balance between the game’s original score and the collection of licensed music to get right. The original score helps to set the atmosphere and set the tone, with a number of set pieces which help you to understand what is going on in the game, be it signalling night time, the middle of a battle, or simply sneaking around. The licensed music is there to draw you into the game and make you want to play it. The licensed music of a game will typically reflect the nature of the game which you’re playing, so in Fifa, you might get “Gold on the Ceiling” by the Black Keys, whilst in a game like Civilisation you have big

orchestral pieces such as Grieg’s “Morning Mood”. In the Fallout franchise the licensed music has always played an important role, because it’s one of the easiest ways for the developers to help the player bridge the lore gap. It’s all in the live action trailer that Bethesda made just before the game’s release with an opening shot of a robotic butler clipping the hedge; when “The Wanderer” by Dion blasts out from the speakers you can’t help but become immersed. That is exactly what the music in Fallout 4 manages to build so well; immersion. In many ways the lore as to why artists such

as the Ink Spots, Bing Crosby and Eliza Fitzgerald were all the rage back in 2077 is irrelevant - once you’re strolling along with your companion and a fantastically catchy track comes on, and you can’t help but sing along and start shooting. However, there is so much story telling within the music, and a lot of the songs are put there deliberately because they help tell some indirect story, either about the Pre-War world, or about the player’s character. ‘Uranium Rock’ by Warren Smith for example, whilst being a simply hilarious song also tells a deeper story about how the pre-war United States was obsessed with nuclear power. Whilst the title track “It’s all Over but the Crying”

by the Ink Spots, could very easily be a cheeky hint at the player’s storyline. The music is entertaining and helps to reinforce to the player that their playing a Fallout game (they’re running about with a plasma rifle whilst humming along to “Butcher Peter”, after all), but it also provides us a story element which tells us that no everything was quite right in the world before the bombs fell. It’s a world of the American dream on steroids, a world which had become so removed from reality that the music has come to represent something of a vision of what could be, mixed with a deep melancholy, carried by the Ink Spots tracks, which brings across regret that this dream couldn’t be realised.

It's Christmasssss!

We Asked the Editorial Team What Their Favourite Christmas Tunes Were Freya Gibson & Daniel Jeakins Julian Casablancas – I Wish It Was Christmas Today (music editor Daniel Jeakins) Adding his legendary snarl to a festive beat, ‘I Wish It Was Christmas Today’ is arguably the high point of The Strokes front-man’s patchy solo output. Originating from a Saturday Night Live sketch, Casablancas brings some Christmas cheer as he wails ‘All I know is that Santa’s sleigh/Is makin’ it’s way to the USA’. It’s cheesy, sure, but perfect if you want to give your Christmas playlist some indie appeal. The Pogues – Fairtytale of New York (deputy editor Peter Sheehan) Frequently cited as the greatest achievement in festive song-craft, Shane MacGowan and Kirsty MacColl’s drunken love song still warms the hearts of millions every December. A classic for the ages.

Bing Crosby – White Christmas (editor-inchief Joe Jameson) Singing a timeless serenade of the perfect Christmas, Bing Crosby indulges us with deliciously deep vocals and a rich choir accompaniment to get us in the ultimate christmassy mood. First performed in 1941, the tune is sure to be included in every Christmas compilation album and is an obvious choice for any festive event, and, of course, Christmas decorating. It’s easy to find yourself day dreaming of the ultimate snowy day to the treacle tones of Crosby’s voice alongside his classical entourage. She & Him – Rockin’ Around The Christmas Tree (music editor Freya Gibson) Zoeey Deschanel’s adorable vocals give Brenda Lee’s classic a new lease of life whilst maintaining its vintage roots. Retro guitar riffs decorate the catchy melody and lyics,

to leave you optimistically humming all day long. Wham! - Last Christmas (features editor Olivia Minnock) A pop classic known as much for its iconic video as it for its irresistable chorus, Wham’s take on festive heartbreak is the ultimate Christmas hit. Set aside your cynicism and put it on max volume, you know you want to. Chris Rea - Driving Home For Christmas (editor-in-chief Dan Falvey) It’s almost impossible to replicate the warm feeling you get hearing ‘Driving Home For Christmas’, Chris Rea’s crooner that captures the feeling of returing home to your family for the joys of festive celebration. A must for your car journey home from university. Slade - Merry Xmas Everybody (news editor

Sam McKinty) Slade were one of the great British rock bands of the seventies, but aside from football fans occasionally chanting a long to ‘Cum on Feel The Noize’ their Christmas number one is how they are now remembered. It’s safe to assume Noddy Holder still can’t wait for December’s royalty cheque to come in. Mariah Carey – All I Want For Christmas Is You (chief copy editor, Tom Etheridge) Perhaps the only Christmas song that’s permissible in September, Mariah’s festive banger is undoubtedly the soundtrack to many a Christmas dinner. Taken from the best selling Christmas album of all time, it’s still an outrage that the Mrs Claus impersonator never topped the charts. I thought the brilliance of the song was unsurpassable, until Justin Bieber got in on the act. Simply sublime.

Music Happy Mondays Review The 80s Rock Band Play at the LCR Freya Gibson ‘You’re twistin’ ma melons man’! Friday 27th November 2015, 25 years to the day since their release of Pills 'n' Thrills and Bellyaches and Happy Mondays chose to mark the occasion by gracing the stage of the LCR with their Mancunian accents and a crowd littered with bobbing bucket hats. The band packed the union with old girls and boys still as smashed as they were the first time they saw Bez shake his maracas. Kicking off with “Kinky Afro”, Shaun Ryder brought the “cool” factor wearing all black, a leather jacket and sunglasses, whilst Bez danced in front like an inebriated uncle at a northern wedding. It’s

obvious that Bez is the heart of the band, and it’s personality. Everyone wants to party with Bez. The stage was framed with a vignette of lights in a trippy spectrum which created a buzz within the audience before the band had even arrived on stage. Nostalgia seemed to flood the room, and teamed with copious alcohol, brought a festival atmosphere to the LCR which meant even the Norwich crowd found it hard not to dance. After seeing how much energy a Happy Mondays gig requires, it’s impressive to think that they have any left after 25 years! The highlight of the set would have to be, unsurprisingly, “Step On”. The iconic keyboard riff in the opening of the song

sent the already excited crowd into a ruckus, and before we knew it we were wailing along to every word with our arms wrapped around a smelly stranger. Bez joined the crowd at the front and shared a beer whilst Ryder watched on singing, “You’re twistin ma melons man” Playing Pills ’n’ Thrills and Bellyaches from start to finish, the set was an indulgent dose of 90s bangers. Unlike many other bands, Happy Mondays seemed just as excited to be performing as we were to be there, which made it a privilege to be part of all the contagious giddiness. The band’s female vocals came from the very talented and colourfully dressed Rowetta. She fully embraced the Mondays vibe and crowd, and was an asset to their sound.

After spending an hour singing along to naughty songs with my Mum, I was sad when the set was over. But I was not too sad because we were safe in the knowledge of a Happy Mondays after party in the Blue Bar, where we danced to a super collection of Manchester classics and took wavy selfies with the weird old friends we had just made in the LCR. The floor of the Blue Bar has never been so sticky, and never have I seen such an array of generations cutting some shapes down there. I highly recommend a Happy Mondays gig. Although the ticket price was on the steep side, it will be a fond memory of my time at UEA, it was worth every penny.

Hello Again, Adele With Adele’s 25 Set to Smash Sales Records, We Ask Whether She Can Revolutionise the Industry Once Again Sam Payne Let me take you back to January 2011, the month that Adele released her multi-platinum album, 21. It went on to become the bestselling UK album of the millennium, and sold over 30 million copies worldwide. Adele single-handedly changed the industry, revitalising the lagging sales of the UK and the US. After a three-year hiatus, Adele stormed back onto the scene with the release of her video for ‘Hello’. In the first day it broke the record for single-day views after it was watched 27.7 million times a record previously held by Taylor Swift. After 48 hours, the video had reached 50 million views. People were listening to Adele’s new single more than one million times an hour. Even in this digital age, these numbers are unprecedented. The singer’s return has come at just the right time. In an industry overwhelmed by streaming services, such as Spotify, Apple Music, and Tidal, getting fans to actually pay money for the music is becoming more and more rare. Nobody really knows if Spotify is the saviour or the enemy of the artists. It is a huge industry statement that Adele has made by not making ‘25’ available on these streaming services.

Earlier in the year, Taylor Swift famously wrote an open letter, ‘To Apple, Love Taylor,’ where she outlined why she would be withholding her latest album, 1989, from Apple’s new streaming service. Unfortunately, Swift’s good intentions (and a number of controversial law suits) lead to accusations that she’s a money-grabbing diva. She has been the subject of social media criticism ever since. I’m hoping that Adele, like some musical superwoman extraordinaire, is going to swoop in a give us all the answers or, at least, start making money for the industry again. With her next album, titled 25 (she’s as original as ever) around the corner, there’s hope that it may give the industry the direction it so desperately needs. But can Adele save the industry again? Only time will tell. Of course, this is no disrespect to Taylor Swift. After all, who doesn’t love the country songstress turned pop princess after seeing her on Earlham Park earlier this year? (And for those worrying about the somewhat repetitive age-related titles, Adele assured her fans that 25 “will be the last number one”.)

Photo credit top to bottom: Freya Gibson, Christopher Macsurat

Fashion Party Clothes Suits and Sparkles

Elizabeth Wigley The party season is finally here and so are the endless possibilities of what to wear this Christmas. Here we have narrowed it down to a few of the go-to outfit ideas for the winter. Tis the season to be sparkly! Whether you opt for sequins, beads, or bejewelled garments this Christmas, you know you’re guaranteed to nail it. Winter is normally all about covering up and keeping warm, but the party season is all about wearing what you want, so embellishment is a winwin choice. What’s more, with this option there is so much room for variation; your outfit does not need to be head-to-toe dazzling with sparkles: a tasteful beaded neckline or waistband will suffice. This does not mean, however, that a sequined dress or skirt will not work, as these have been worn Christmas parties for years and never let the wearer down. Metallics are also a go-to look. They can be less obvious than embellishments, and are a subtle way of adding vibrant aesthetics to your style. Team them with neutrally textured accessories and you’re good to go! Co-ords The Co-ord is a classy and stylish option for a Christmas party, be it a top and skirt, or a pant suit. It’s also pretty difficult to get wrong, as it will work with most patterns and textures, and because the garments are separate pieces, you can go totally

out there with the print. A look that adds a sense of fun is a midi A-line skirt matched with a fitted top, be it cropped, sleeveless or long-sleeved – that’s the beauty of a co-ord, the possibilities are endless! Alternatively, if you’re not a skirt person then some slim-fitted trousers add elegance, and can be dark or light-coloured. Pairing these with a long-sleeved top or blazer will define your silhouette and is guaranteed to give a refined look. Suits Let’s face it, suits make it much easier when it comes to deciding what to wear! This does not mean, however, that you should simply opt for a black suit, white shirt and black bow tie. You can feel free to experiment with the style of their suit. Let’s look at colour first. If your event is in the evening, it’s often a better idea to go for a darker-coloured suit, but this does not necessarily mean black. Burgundy, navy, dark green .and dark grey are good options for mixing it up a bit, and don’t think that your suit jacket needs to match your trousers (just remember not to pair navy with black!). The texture of a suit can also be experimented with, and suede or velvet, when used subtly, can add a new aspect to your outfit. If a tie is used to complete the look, be it a bow tie or a normal straight tie, the use of colour and/or texture is welcome, but keep in mind the aesthetics of your suit - sometimes less is more!

Balmain x H&M, Kacper Kasprzyk

The True Cost What is the Real Price of Fast Fashion? Roseneathe Machube The True Cost is a documentary that discusses the issues within the clothing industry, particularly the ever growing gap between manufacturing costs and selling prices. Fast fashion has transformed the way in which clothing is processed from factory to franchise and has led to businesses trying to develop new designs whilst continuing to maintain attractive prices for us, the consumer. The documentary asks us to think about the lives of those who make the garments we love so much, and whether it’s really something we want to buy into. A quick Google search will be able to tell you that many of our high-street favourites are produced in countries where the wages are almost non-existent and the working conditions are often awful. The aim of a successful company is to keep production costs low whilst making as much money as possible. In order to do this, you will find companies approaching factory owners with bare minimum payments in exchange for labour – a deal that is only met by the factory owners because it’s probably the best they’ll get. They also have employees who need to take care of their families, and secondly there are many other factories that can be approached if they decline. The manufacturers end up cutting corners and

using unsafe measures to meet production which in turn presents health and safety risks. A perfect example of this is Dakar, Bangladesh where an eight storey building collapsed, subsequently making front-page news. The accidents and deaths caused were put down to factory owners ignoring evacuation requests, instead choosing to concentrate on meeting clothing orders. The workers had warned of the poor structure and cracks in the building, but these warnings fell on deaf ears. If there was one positive that came from this incident, however, it was that fast fashion was finally being talked about, and those most vulnerable were seen to be carrying the most risk. In this incident alone more than 1,000 people were killed and it was soon followed by two more disasters making them the three of the worst fashion disasters, all occurring in the same year. Incidents such as these force the fashion industry to hold serious conversations about human rights: the right to safety, the right to be heard, the right to satisfaction of basic needs, and the right to a healthy environment. We have to ask why it is that in a multibillion dollar

industry it is those producing the goods that suffer the most. Questions are then prompted as to why there are such poor working conditions, why there is child labour, why the workers are earning way less than the UK/EU/ US minimum wage, despite the companys selling in these countries? Why are they unable to make ends meet and live in decent safe accommodation with utilities and decent meals, why are their conditions not meeting labour costs? They have jobs, but at what cost? The True Cost is an excellent and truly eye-opening documentary as it delves into these issues in more depth ,giving consumers more food for thought. It illustrates ways that we, the consumers, can actively contribute to achieving better conditions for factory workers, reducing exploitation and allowing us to move towards a more ethical industry. The more we come together to oppose these conditions, the sooner the big stores will consider actively becoming more ethical. Nobody should suffer at the cost of another’s pleasure or enjoyment. As consumers we must begin to take steps towards aweness of what you’re wearing, where it originates from and how it was made in order to beat the huge problems in the industry.

Fashion Celebrity status

Why Celebrities Get Away With What We Can’t

Melissa Haggar Ah, the glitz and glamor of the world of celebrities. In celeb land, usual risks and rules seem not to apply, and since you have fame, fortune and money, almost anything is available to you. That includes some of the most risky fashion pieces. Celebrity status and fashion is one of those odd cases. An A-lister can wear something particularly risqué for various reasons, and it will be all you hear about across media for days. People loving it. People hating it. Regardless of opinion, people are talking about it. It is for this reason celebrity and fashion go hand-in-hand, and the best designers know that if you get a celeb in your gown then that’s the best type of publicity. This is especially the case when it comes to awards seasons. Any type of event, whether it be the AMAs, the BFAs, or even the Grammy’s, there will always be some gown, suit or other type of attire that looks like it has been created by a short-sighted grandma using spare fabrics and threads. There will be various body parts on show, minimal fabric, wacky prints, outlandish

head-pieces or even varying textures (meat dress, anyone?) Yet somehow these celebs can still walk through the door and barely anyone bats an eye. It’s become almost expected that there will be at least one bizarre outfit (it almost seems like there in an invisible quota that has to be hit) that someone chooses to wear, garnering a whole heap of media attention, for the wrong or right reasons. The point is, you can go as bold as you like, and it seems in some ways there is a competition to see who can go the boldest, most daring and risky, and pull it off. But whilst celebs can wear these items and almost get away with it, let’s face it, if Sandra at your local chippie was to stroll in wearing something that resembles Miley Cyrus’ candy button outfit from the VMAs, then there are going to be (at the very least) some odd looks. But in a way, celebs don’t really get away with their risky decisions when it comes to attire, as unlike Sandra from the chippie, they are wearing these outfits to highly televised events, and as much as Woody Harrelson likes to rock up in his pyjamas

to certain high profile press events, they are always going to get scrutinised for their decisions. Fashion, in the world of celebrity is inescapable, especially when it comes to riskier pieces (whether it be ‘too colourful’, ‘too bold’, ‘too baring’ or ‘too excessive’), and it sort of breeds competition in itself. You can’t just turn up in something plain and boring, or you’ll get judged. Similarly, you turn up in something excessively flashy, and you’ll get judged. It’s almost like celebs can’t win. But it is this culture that encourages celebrities to be more daring with their fashion choices, and to go for something attention grabbing to garner more publicity, and whilst some motives are unclear, there is always the need to impress and make yourself, your brand, and your name, known. But it’s not always vilification that greets celebrities when they make bold moves, and sometimes riskier items. Gigi Hadid’s white ensemble at the AMAs, for example, can be celebrated for being on trend in colour and bold in their design. However, while celebrities may get praised for their

choices, there may be some reasoning behind it due to them having influence and power, as opposed to whether someone believes it is a genuine ‘good look’, which is still subjective. Unfortunately this is not the case for an average fashion enthusiast, as unless you are caught up with the similar culture of certain events (where extravagant fashion pieces may be commonplace), there is always going to be the element of standing out, and depending on the situation and event, this may not always be appropriate and will realistically stray away from expectation. At the end of the day, celebrities can get away with riskier pieces because of the culture they inhabit; they live and run in social circles and atmospheres where originality and boldness is encouraged, even if it is later vilified by press organisations. We, the everyday people, aren’t seen as especially eccentric and don’t have the same power, influence and social status that many celebrities have, which allow them to ‘pull off ’ some fashion styles that we would never attempt.

Campus Catwalk

Florence Leslie Masters student Sissi boldly contrasts her red coat, bought over from Shangi, against the monochrome of her outfit. The flare of her skirt gives the busniess like elegance of the monochrome a playful edge. Her waterproof boots are edged with fur, complementing the bow adorning her collar and creating balance.

Drama and English student Ollie plays with retro colours to balace against dark shades. Contrasting with the maroon coat, the mustard waistcoat completes the top half of the outfit, casting a sillouette that creates the affect of a vinyl sleeve. The waitcoast even belonged to his dad in the 80s.

Creative writing student Blythe uses layering to create texture and warmth. Her outfit is inspired by the British comic Tank Girl, which draws on themes of feminism and anarchy. Customising her jacket with patches and pins embodies the punk and DIY movement, while the majority of her clothes are thrifted and self-altered.

Photo Credit: Florence Leslie

Arts The Cats

Cats in the Arts (or why I’m a cat person: if Tom Hardy likes them they must be good) Kate Romain For many of you, the highlight of arriving home for Christmas will not be the novelty of delicious home cooked food. Nor will it be someone else doing your washing, or the guilt-free mornings you can laze away, safe in the knowledge you’re not missing a lecture. It will be walking through your front door and seeing your cat. Cats sometimes get bad press. Cat lovers are frequently told dogs are more loyal, or more fun, or better friends. If you’re a car person, then you know that this isn’t the case, and, what’s more, you’re in good company. Tom Hardy has had more publicity for his love of dogs than cats, but he reportedly cared for a stray kitten in his hotel room until a ‘forever home’ could be found. Macklemore’s kitty Cairo has more Instagram followers than all my

friends and I put together, and she takes a pretty good selfie. If you want to get a bit more cultural, in the 1960s eccentric and iconic artist Salvador Dali and his pet cat (or rather, Columbian Ocelot) Babou were inseparable. The pair caused quite a stir in an upmarket Manhattan restaurant when a woman expressed concern over dining with a wild cat. Dali was able to console her by telling her Babou was just a normal cat he had painted in an ‘op art design.’ Cats and kittens also captured cat lover Picasso’s imagination, and he was photographed with various cat companions throughout his life. He appreciated the complexities of the cat and used feline imagery to symbolise

everything from sensuality, to loneliness, to fascist general Franco defeating Madrid in 1939. T.S. Eliot was another man in the arts who clearly understood and appreciated the unique versatility of the cat, as is obvious in Old Possums Book of Practical Cats. Here, he tells us cats need not one name, but three: an everyday name, a more dignified name, and a name ‘the cat himself knows, but will never confess’ (We can assume that dogs only need one name). In The Ad-dressing of Cats, Eliot tells us it is important that we address a cat properly, and that ‘some cats are sane and some are mad, some are good and some are bad… Cats are just like you and me’! Andrew Lloyd Webber obviously agreed with him because he converted T.S. Eliot’s book of poems into the longest running musical in Broadway history: Cats.

When you’re stuffed from eating all the Christmas dinner you possibly can (probably more than you need because you’re stocking up for second semester), and you see your cat cuddled up by the fire, take a moment to appreciate him. He might have not have his own Instagram account, he may not have ever been for dinner in a Manhattan restaurant. He probably hasn’t had a book of poetry (or a musical) written about him, nethertheless he still has a lot to offer. Cats have their own unique quirks, and this is what makes them special. They are independent, good hunters and could get along quite happily without us. But your cat would rather spend Christmas day with you. He appreciates you more than you realise, so this Christmas, take a little more time to appreciate him.

Game? Sex? Match? Venue Preview UEA Drama’s latest run of performances Ben Bishop As the first semester comes to a close,and essays are rushed out in order to prove that studying was actually done at some point, some students have taken the time to celebrate the results of three months’ labour. Final year students and staff from the school of literature, drama, and creative writing will this year continue their running tradition of December shows with a trio of Restoration comedies from writers William Wycherley, Mary Pix, and George Farquhar. Running from December 1st until the 5th, ‘Game? Sex? Match?’ are shows rich in sex, sin, sensation and scandal. Led by artistic director James Robert Carson, senior lecturer in drama, the plays stretch across time periods and locations, from jazz age Lichfield to modern day London. Guaranteed to draw a laugh, whilst also

providing the opportunity to support the hard efforts of student work, you can check out the shows every night, as well as a Wednesday matinee, in the Drama Studio. The Innocent Mistress: Show Times: Wednesday 2nd 19:30 and Saturday 5th 14:00, Belinda, the “innocent mistress’ of Restoration high society, is desperately in love. Struggling to come to terms with her beaux’s marriage to his devious wife, she embarks on a destructive spree of scandal and deceit, proving to be anything but innocent. Starring Amy Chappell as Belinda, be prepared for a comedy with a strong performance at its heart.

The Country Wife: Show Times: Tuesday 1st 19:30 and Friday 4th 19:30 Starring Alice Haskell as Margery, a country native visiting London, easily taken aback by the glamour and debauchery of the capital. Wycherley’s comedy is filled with unsatisfied female desire and men behaving badly. With a supporting cast including Tom Mason and Jake Head, the show is sure to be a delightful trip through the passions of lonely individuals and the culture clash of the city and the rural. The Beaux Stratagem Show Times: Thursday 3th 19:30 and Saturday 5th 19:30

Set in a less familiar location, the small cathedral city Lichfield at the height of the jazz age, the play crosses between romance and comedy as much as it straddles the boundaries of love and money. Featuring a packed cast of final year students, two city cads, low on cash, hatch a plan to get rich quick. They appear to have a fool-proof strategy, but love has a way of getting in the way. Will their plan to marry for money succeed or have they met their match? As a last minute break from work, or an ideal lazy date for the newest person you met on Tinder, you can’t really do better. Tickets for the shows start at £6.25, and can be bought online at www.gsmrestoration.com

Illustration: Niamh Jones

Arts A Liquid Alchemy Absinthe in and around Art Muse Giacalone Certianly, drugs are bad, but who can deny the volume of artisitc endeavours that are born out of their effects? The clichéd image of the alcoholic poet or cocaine-sniffing artist that plagues the art world of the 21st century is a product of the history of the twisted relations between the artist and their respective drug. Absinthe, also reffered to as ‘The Green Fairy’, was a drink consumed by many 19th century poets, artists, and musicians. Nonetheless, questions remain about what exactly absinthe is, where it comes from, and the effects it has had on people and the art they have created.

absinthe was blamed for provoking lunacy or criminal behavior, including rape or murder. At the turn of the century, many countries, including the US, France, and the Netherlands, decided to ban the selling and drinking of absinthe due to its increasingly negative associations. The

faces. The drink was consumed or made a subject in many paintings by renowned French artists such as Degas, Van Gogh and Lautrec. As a new symbol of creative stimulus, absinthe was growing into an avant-garde aspect of Parisian lifestyle.

The origins of absinthe can be traced back to biblical times. It is produced from thujone which is naturally present in wormwood leaves. Indeed, it is believed that the etymology of the name absinthe derives from the Greek word ‘absithion’ which means undrinkable. This is not surprising, as the drink can sometimes have an alcohol content of up to 80%! Absinthe became most widespread in the early 19th century when it was used by French troops to fight malaria. Often, it was mixed along with wine to make it more subdued. As they brought it home to France in the following years, absinthe became popular among the Parisian middle class and artistic circles. It is the effects of this ‘fée verte’ that are most controversial. Most agree that the effect of absinthe differs from the typical drunkedness felt with other alcoholic drinks and stronger liquors. It is described as bringing a certain clarity of thought, an illuminating of the mind and an awakening of the senses. Ernest Hemingway once recounted his experience of absinthe as “brainwarming, idea-changing” and called the drink a “liquid alchemy”. The celebrated French poet Arthur Rimbau was drawn, like many other artists, to the “sacred thing” as he called it, to liberate his mind and find inspiration. He described the experience as a “voyage of discovery that nobody had heard of ” and of “every kind of magic”. All of this might sound positive, but the effects of the drink have been hauntingly represented by artists, who were former addicts. Some negative side effects include seizures (resembling those of epilepsy), difficulty concentrating and vision impairment, along with hallucinations. Often, this addiction or over-use of

people made available by street vendors for as little as a couple of centimes. Yet, the revival of absinthe drinking in Paris corresponded with the time in which artists began to explore unconventional subject matter. Some of the best known artistic works which put the ‘green fairy’ at their center are Absinthe by Edgar Degas, in which the melancholy and alienating side of the drink is exposed; Still Life with Absinthe by Van Gogh (indeed, it is also believed that cutting off of his own ear was due to an excess consumption of the drink); or even Picasso’s Angel Fernando de Soto with absinthe. Absinthe moves beyond visual art, though, to enclose almost all aspects of creative life of the late 19th century until our present day. It has been made a muse of classic literature for poets such as Oscar Wilde, Ernest Hemingway, Charles Baudelaire or Arthur Rimbaud, and his lover Paul Verlaine, who were all avid consumers of the drink. In occurrence, absinthe has made many appearances in cinematic works, most of them more recent: Total Eclipse, the 1995 film that recounts Rimbaud and Verlaine’s tumultuous love affair, Bram Stoker’s Dracula (1992) which assures that absinthe was the main ingredient to Dracula’s seduction of Mina Harker, or even the 2001 Moulin Rouge! Oscar-nominee, this features a scene of hallucination caused by absinthe and acted out by Kylie Minogue. Without a doubt, absinthe has made something of a comeback, and is increasingly present in modern artisitc interpretations.

Henri Privat-Livemont, Absinthe Robette, 1896, Wikipedia eccentric poet and acclaimed magician Aleister Crowley inquired in his book Absinthe: The Green Goddess, published in 1918: “What is there in absinthe that makes it a separate cult? Even in ruin and in degradation it remains a thing apart: its victims wear a ghastly aureole all their own, and in their peculiar hell yet gloat with a sinister perversion of pride that they are not as other men.” Perhaps this is where artists found their place, in a newfound muse of many

One English writer, H.P. Hugh, recalled of his stay in Paris: ‘The sickly odour of absinthe lies heavily in the air. The absinthe hour of the Boulevards begins vaguely at half-past five… but the deadly opal drink lasts longer than anything else’. Furthermore, the drink was greatly popularized due to it being a cheaper alternative to wine, which had seen its prices increase after the devastation of vineyards in the 1870s caused by an insect infestation. This made absinthe more accessible, a veritable drink of the

Although the ‘green muse’ has led to the moral and physical destruction of many consumers, it cannot be denied that great artistic achievements have been born out of that dependency. Charles Baudelaire, a renowned French poet and art critic of the late 19th century declared in 1845: “The painter, the true painter will be he who can extract from present-day life its epic quality.” That seems to be the underlying cause of artists’ love affair with absinthe, and in fact, for any form of tangible and material consumable. In search of ways to express the distress, heartbreak, beauty and violence of their world, these artists and poets knew where to find them in the humdrum of everyday life, in the common streets of 19th century Paris, and evidently, in their one mistress : La Fée Verte.

Creative Writing The topic for Creative Writing this issue is peace, and with good reason. As of late, the world has been reeling from the shock of terror in our midst - the evil actions of a small few to punish innocent people. I chose two themes for the writers this time - ‘a call for peace’ or ‘the vigil’, and once again the responses display UEA’s unique sensitivity and empathy for those who are suffering around us. - Jay Stonestreet, Creative Writing Editor

The Flame of Kindness

We all hold the flame of goodness, Deep within ourselves. It burns on love, on family, on the gift of kindness And is distinguished only with our last breath. Sometimes our flames struggle and flicker, They fight against desert winds and hurricane rains. Wavering with sorrow, our flames weep their smoke, Which unfurls and soothes with its rich homely scent. Every ember will grow again, Each will transform into its original, beautiful body, We can all radiate the warmth of love, With each flame of goodness the battles will be conquered And desert winds and hurricane storms will be no more. Imogen Swash

In Gazing Peace I set out on my walk, a half-minute till the midnight dawn. The silver moth wing wisps agape show me diminutive visions of age. Behind them, consciously emptying and filling always with bomb and bursting birth, Supernovae happening away at the instant of my footfall. Ever a witness in mind, for these expiring lenses live like a fly through summer, Buzzing and batting but just as brief with reflected colour, frantic dream, teasing prophecy. Eyes ascend from leaves, leaves, sodden yellow, sulphur under lamps, Over eaves, eaves and steaming tiles. Thud, thud in gazing peace. A loamy damp obstruction Scatters and scrapes colourless cold. All you stars, now and then a now away, All you stars here and gone. Jay Stonestreet

Creative Writing Mungu Wetu Morning broke this morning, sleep caught like crystal dew in the prison call of the sun dawning far away from the grey bland aftertaste of day, the horizon’s lifeless grain; a mauve shawl of the dying winter emerges in splinters, wanting to dawn more, more than just day, today Flitter falls, fell with the night, first eyes, found first blossom trails on silent fairy lights, carrying the wind. Feet step on delicate origami worlds scattered miniatures of all we hold, revolve in the breath they blow Life glows the starblood centers of the blossom uncurled and alive from where they fell, the mist pressed them onto themselves

into one amassing tide of perfume of the most delicate youth, running beneath the powder fall of thoughts, of possibilities, of life That morning masks and mutes, numbs the focus of the fall and renders the sweet stung scent blanched by its own discovery when in the full circle of a year, all stops, suddenly aware as if hung on a weightless impasse, clung to a belief that will never come and through this infinite, the miniature worlds of the blossoms curls, slowly part; mark the splintering of their white by creases of crimson spills of sight and find refuge in the fight to grapple and turn a shadowless light; a transparent disguise to their inseparable selves one hundred and forty seven selves fell into the blossom’s plight in my first sight of spring each whispering

- when we fall, we fall each and all, to the one floor from the same great height and on they fall, and on we fall converging in woe, engrained in the dirt pressed from our past; the identity cast of our footprints mar on the blossom grounds of life, unable to live out of difference, outside of reasons, too afraid of seeing ends, when they are the beginnings to the hemlock spin of our blossom season, We are the spiral of the gyre’s design, The heliocentrism of no sun but ourselves forgotten as fingerprints of spring Carlo Saio

Calling for An End Now do I appraise that which I did not. The gall of Gauls rising to the throat. La musique, L’ivresse, et la joie A beautiful trinity, Because it is human, Not tediously divine. They need not pray to Muses While they dance already in the Paris bars Beaten in drink yet never sinking pissed As though hung from young vines Curling to the night. They have thrown the crosses from their shoulders And ripped shirts of imperial stains Beyond repair. What would redeem the revellers Who heard the band sing That they had met the devil As they played His song With pleasure only fauns evoke. And He was there. Sprawling in the detail

Branching like paths of thoughts That culminate to joy – The numbness with no death Pulling his people with release and contraction. His muscle flexes stronger than God’s tongue If he does have one. But those fires that arose Were not of Hells’ design Merely from martyrs to the temples built on air. They who revive the timeless inanity Of revenge upon Death’s lovers Who are of no nation, Who are of no heart. I cry for waving crescents And steep my head for the mothers Who over them once ruled. For our redemption in their eyes Let us bring an end. Charles Pritchard Illustration: Dougie Dodds

Television

Top TV Moments of 2015

As the Year Draws to a Close, These are the Top Moments Which Stood Out from the Rest Hannah Ford 2015 has been another amazing year for TV, and trying to pick a top moment is a difficult task. But, after long deliberation, my personal favourite moment has to be finally seeing Daenerys flying on one of her dragons in Game of Thrones. After five long years of waiting for her baby dragons to grow into the magical creatures straight out of myths and legends, Drogon’s rescue of his mother from those creepy, mask wearing Sons of the Harpy was an incredible moment (forgetting the whole tedium of the Sons of the Harpy and that plotline for the time being). Surrounded and outnumbered by her enemies in Meereen, Daenerys faced execution, (because apparently they don’t appreciate strong, independent woman there). Her allies, including, amazingly, Tyrion Lannister (another incredible moment being when the two best characters in the show - nay in any TV show ever - finally met) were unable to protect her from the Meninists in Masks. Daenerys seemed doomed. But what’s that in the sky? A bird? A plane? No, it’s a huge dragon that’s gonna burn your misogynistic, over-privileged asses to the ground. After defeating her enemies in an incredible scene with some amazing special effects, Daenerys climbed onto one of her dragons, and finally got out of Meereen in a spectacular fashion, flying far, far away from the patriarchy (so many

Alice Spencer metaphors I could make). Of course, it had to be the best and the coolest dragon of them all, Drogon, who defeated the enemies and saved his mother (especially since she locked the other two in a tomb. That backfired a bit on reflection, didn’t it Dany?) All her friends and enemies could do was watch in awe as she truly lived up to her name, the Mother of Dragons. Tyrion, new to all this dragon craziness after believing, like the rest of Westeros, that dragons were long extinct, looked particularly spellbound to see Daenerys and Drogon flying away, and it was clear to see that this was the moment that Tyrion realised, as the rest of us did five seasons ago, that this is a Queen we can get behind. Drogon appeared to take Daenerys right back to where she started – Dothraki territory – so it will be interesting to see how the newly empowered (deep breath) Daenerys Stormborn of the House Targaryen, the First of Her Name, the Unburnt, Queen of Meereen, Queen of the Andals and the Rhoynar and the First Men, Khaleesi of the Great Grass Sea, Breaker of Chains, and Mother of Dragons copes with the horde that now surrounds her. One thing’s for sure: with her dragons at her command, and her bad-ass, strong attitude, no one is going to mess with our Dany.

Magic, madness, and nineteenth-century mansions: it could only be the BBC’s adaptation of Susanna Clarke’s bestselling novel, Jonathan Strange and Mr Norrell. Proclaimed by Neil Gaiman as “the finest English novel of the fantastic written in the last seventy years”, screenwriter Peter Harness had his work cut out for him in satisfying evangelistic fans of the book. Ambitious certainly describes his condensing of 782 pages of minute plot detail into seven hour-long episodes. The TV adaptation, aired between May and June, unavoidably had to skim over some details of the book. Yet, this somewhat underrated fantasy drama doesn’t fail to capture the essence of nineteenth century Englishness and a superstitious society morbidly fascinated with black magic. Beginning in 1806, the plot offers an alternative history of the Napoleonic Wars. With no magic having been practised in England for several centuries, the show opens with Yorkshire magician Gilbert Norrell (played by Eddie Marsan) attempting to prove to non-believers the usefulness of magic in the nation’s fight against Napoleon. Incredulity at this deviation from fact

aside, this plot point provides the catalyst for the unravelling of the show’s storyline. Desperate to prove his skill, Norrell is led astray into summoning the power of the Gentleman, an evil faery, to bring back the young wife of Prime Minister Sir Walter Pole from the dead, thereby unleashing the dark forces of magic which he finds he cannot control, and which drives the plot from that point onwards. Arguably the shining star of the cast however, is Norrell’s student and later rival, the other half of the title pairing, Jonathan Strange. Played excellently by Bertie Carvel, who any eagle-eyed viewer may recognize from behind the period costume as the twotiming Simon from the BBC’s most recent success, Doctor Foster, Strange’s descent into madness offers the right balance to the stoic, humourless Norrell. Even with any shortcomings of plot felt by fans of the book, Jonathan Strange and Mr Norrell remains for me one of the TV highlights of 2015. With its gripping characters and cliff-hangers, Peter Harness gives an insight into the societal intrigue surrounding the unknown which kept me religiously tuning in every week.

Joey Levenson Since this was the year in which Netflix seemed to take over, I thought it was only apt to pick Orange Is The New Black as one of TV’s best moments in 2015. The moment I particularly want to highlight is the last scene of season three, which aired back in June. When the inmates find momentary glory in what had otherwise been a gloomy season, the show pulled together for a rather stunning and beautiful piece of television. Critics and fans alike had been questioning the show’s pace (especially compared to the high-tension stakes of its prior season), but this singular scene eradicated all criticism. The inmates finally find access to the lake that borders just outside the prison, and they all seemingly band together towards one goal: freedom, if only temporary. The shot of each character running against the sunlight towards the lake, followed by a cacophony of all different types of characters coming together in the water was captivating to watch. The direction and

editing gently highlighted the characters’ complex differences between one another, whilst simultaneously binding them all together as a singular power. Many themes run through the scene, and its slow-moving editing between different parts of the lake came across almost like an enlarged painting in gallery displays; each time your eyes trail along the painting, there is another hidden intricate gem to discover. The scene transcended cliché - it transcended traditional narrative, it transcended what we expect from a TV show. It gave us hope, it gave us a moment to vicariously share, a moment to pause, reflect, and enjoy freedom. Where do I fit in? Where do I belong? Am I happy? Am I good enough? Orange Is The New Black wasn’t necessarily claiming to answer all these questions in its season finale, but it certainly tried.

Illustration: Kirsty Mcalpine

'Tis the Season to Watch Telly

Television

All the Best Christmas TV to Stuff Your Face to

Illustration: Dougie Dodds

Holly Mason Now that the famous Cola Cola Christmas advert is back on our screens, we can safely say that the holidays are coming. For many, snuggling up on the sofa with your family to watch the Christmas TV specials is an exciting and relaxing tradition, just like over-doing it on mince pies and chocolate selection boxes. Some scrooges say that Christmas TV has become too predictable, but our cosy, festive evenings just wouldn’t be the same without all our favourite shows. However, there are also many new shows on this festive season, all of which look to be an exciting and brilliant addition to our screens. Here is some of the best Christmas specials we can look forward to this year: Text Santa, December 18th, ITV ITV kicks off the Christmas spirit with its fifth instalment of Text Santa, a funpacked charity appeal show, with the likes of celebrity stars such as Philip Schofield, Holly Willoughby, Olly Murs, Caroline Flack, Paddy McGuiness, Alesha Dixon and Amanda Holden. The show reminds us that Christmas is all about giving and

the celebrities make fools of themselves in order to raise money for charities, such as MacMillan Cancer Support, Make-a-Wish and Save the Children. Doctor Who, Christmas Day, BBC One Full of thrills and rib-tickling moments, this year’s Doctor Who Christmas special follows the Doctor on a fast-paced, supervillain chase in an anti-Christmas universe. Romance could be also in the air, with the return of the Doctor’s enigmatic and feisty wife, River Song, played by Alex Kingston. Their relationship has always been complicated, but this latest meeting promises to be particularly moving. Join the Doctor and his snow-covered Tardis on Christmas Day for his latest adventure in time and space. Downton Abbey, Christmas Day, ITV For Downton Abbey fans the biggest gift this year will be the final ever episode of ITV’s beloved period drama. The episode that aired earlier this month did not disappoint, with heated arguments, confessions, and a wedding, and Julian Fellowes’ promises

that the Christmas special will also be filled with ‘love, loss, happiness and heartbreak’. With so many loose ends and so little time, we hope Lady Edith finally gets the happy ending she has been waiting for, that Mr and Mrs Bates’ pregnancy goes smoothly, and that poor Mr Barrow finds peace with himself. Dickensian, BBC One (Date TBA) Dickensian is a new 20-part series which will intertwine some of Charles Dickens’ most famous characters, all living next door to one another on one cobbled street in Victorian London. From the likes of Scrooge, Fagin, Miss Havisham, Bleak House’s Inspector Bucket, and even Oliver Twist’s Mrs Bumble, this series is ambitious to say the least. Fast-paced and full of surprising twists and described as ‘a beginners guide to Charles Dickens’, this could be set out to be a new TV favourite. And Then There Were None, BBC One (Date TBA) Based on Agatha Christie’s best-selling crime novel of the same name, an all-star

cast including Poldark’s Aidan Turner bring the story to life in a new TV series. Set in 1939, on the brink of war, ten strangers are invited to a mysterious island, cut off from the mainland. However when they get there their hosts seem to have disappeared. Each guest seems to be hiding something and are accused of crimes, but when one of them is killed, they realise one of their fellow guests might be a murderer. In usual Christie style, the story is full of tension, drama and mystery. Sherlock: The Abominable Bride, New Year’s Day, BBC One On New Year’s Day, everyone’s favourite detective pairing will finally be back on our screens in the long awaited one-off special. Set in the story’s original setting of Victorian London in 1895, Benedict Cumberbatch and Martin Freeman reunite to face a new case. The episode will closely follow the plot of the book, and looks set to be an intriguing mystery. Although Moriarty seems to be missing from the trailer, this special looks set to be a particularly exciting part of the Christmas line-up.

Television

Not Your Supergirl

Marvel’s New Series Jessica Jones Arrives on Netflix - and She’s Not Your Typical Superhero Melissa Haggar Marvel is known for its brave, dashing superheroes who, despite their difficult situations, always seem to come out on top in the end. The shiny exterior of its films never seems to delve into murkier waters or attempts to tackle more dangerous and disturbing subjects – that is until, Marvel’s series deal with Netflix. Known for accepting slightly more risky and taboo series, Netflix allowed Marvel to explore some more gritty and realistic storylines – or, at least, about as realistic as you can get for a superhero genre. We first saw this change with Daredevil, the first instalment in the deal, which saw blind lawyer Matt Murdock face up to some of Hell’s Kitchen’s most ruthless villains, as well as tackling his own inner demons. The vibe of the show was far more harsh, bloody, and violent than anything Marvel had produced before. The darker tone was duly noted, especially when compared against the backdrop of more peppy Marvel films, which have always had a certain sense of light-heartedness. If Daredevil was the first step into this darker universe, then Jessica Jones marks an unguided leap into the unknown. Jessica Jones, unlike Daredevil, is unashamedly brazen. There is more blood, more gore,

more sexual diversity and more difficult topics to tackle. Whilst Daredevil’s Murdoch always felt like he was trying to fight for the greater good, Jessica Jones’ title character is nothing of the sort. She drinks copious amounts of whisky, gets into super-strength brawls, and she’s not afraid to swear or get her hands dirty. She has tried the superhero shtick and been left with nothing but a bad taste in her mouth. Now she’s doing things her way, which usually involve her being thrown through a concrete wall. It’s fair to say that Krysten Ritter puts on a convincing portrayal as the titular character, and you almost forget that Jessica isn’t actually a real person, as her story, mannerisms, and struggles feel so real.

that doesn’t mean that you shouldn’t talk about them. A tricky task for even the most seasoned creator, Jessica Jones benefits from having Melissa Rosenberg at the helm, who doesn’t try to make light of these subjects but instead showcases both sides of life: the good and the bad. These characters aren’t perfect, and they aren’ trying to be. This is especially true of Jessica; the series highlights her struggles with her own morality, as well as her incredibly dark past and how she copes with it. Jessica gives viewers an anti-hero that they may actually be able to relate to on a human level, as inspite of her remarkable abilities, she still makes mistakes, and she feels an overwhelming responsibility for those around her.

Perhaps the most intriguing and celebratory aspect of Jessica Jones is its commitment to the foundations on which the comic book character was built upon. Jones’ story is not a pleasant, happy-go-lucky one. There is rape, PTSD, assault, mind-control, and murder, as well as explorations of sexuality. These are not experiences frequently visited by most television shows. These issues are often deemed to be too risky or sensitive; that doesn’t mean, however, that we shouldn’t talk about them. But that’s the thing, these are sensitive issues – but

Rosenberg also shows that she really understands who these characters are at their core, ensuring that all characters have their own personalities. The relationship between Jessica and her childhood friend Trish Walker is devoid of stereotypes and clichés; instead it is built on friendship and love, as well as hate and competition. Trish provides an important mirror reflection for Jessica throughout the series, and Rachael Taylor has no trouble adapting to the multitude of situations her character is faced with, providing a perfect counterbalance to

Jessica’s abrasive and often stubborn attitude. Everything from the brash dialogue to the inclusion of darker subject matter hits the mark perfectly, and the overall noir feel of the series represents an appreciated turn to the gritty . There is no denying the darker undertones and the aesthetic of the series, with its neon purple hues, usually descending when David Tennant’s Killgrave appears, provide a striking comparison to Jessica’s bolder persona. Speaking of Tennant, you may have always envisioned him as a villain, and he proves his worth as the charismatic and equally disturbing mind-controller. Ruthless and unhinged, Tennant’s character is undoubtedly chilling, and he and Ritter are electric on screen as they square off against each other. Jessica Jones may have the heart of Agents of S.H.I.E.L.D, the grit of Daredevil, the depravity of Hannibal and the sexual liberation of Lost Girl, but it ultimately has the distinctive boozy bite that only Jessica can inflict, giving the series a fresh and original edge. It is a creation that combines all aspects of life and places them in the hands of a wickedly entertaining anti-hero; Jessica Jones sets the mark for future Marvel shows.

Illustration: Dougie Dodds

Gaming & Technology On The Face Of Things The Best And The Worst of Character Creation Functions Christopher Jones Character creation is something that can be one of the most interesting parts of a game, and new release Fallout 4 has produced some great charcter designs seen on the internet. A lot of games have some great creation mechanics and allow for some really unique characters. There is nothing like playing an online game and seeing a huge variety of different characters and not hundreds of the same standard-issue guy with a blank expression. Ark Survival Evolved on the PC is one of these games where character creation leads to some very unique character models. Before you spawn naked on a dinosaur infested island, you get to create your human. Despite this game being in early

access, you do currently have many options with your character. You’re able to change everything from the neck length to hand size. As you can imagine you end up with some very funny looking characters. Short limbs, no neck with giant hands and head is a favourite look. Survival games are great examples of character creation done well. First person shooters on the other hand are not. Destiny has really bad character creation. The options it gives you are so limited that every character pretty much looks the same in the end. It becomes quite pointless when every character is wearing armour most of the time so you can’t even see the differences. As you are only able to change the face of

your character, any detail the differences are lost as soon as you put your helmet on. One of the ways first person shooters do help you create a character is by choosing not the appearance but the actual functionality of the character. Choosing perks or armours in games like Call of Duty let you define a character in different ways to how they look If you want a game that really gives you all the tools to create a truly unique character then you have to look at The Sims. The Sims has always had good options when it comes to creating a character, and Sims 4 gives you even more control. You’re able to drag almost any part of your character right down to the nostrils to produce the person you desire.

The best thing most about character creation is options. The more options the better. The more unique you can make my character the more time you’re going to spend on creating it. More games should have character creation, perhaps even every game, especially those that are online.

Fun FactCharacter creation functions in games were first introduced in order to emulate Dungeons & Dragons, where a degree of choice involved in character creation lead to players having more empathy for the character.

The Warmest Months Of The Year How Overheating Gadgets Are Just What You Need

Tom Bedford These winter months provide one of the biggest dilemmas for a student renting a home - do you relinquish your hard-earned pennies and turn on the central heating, or do you bunker down in all your clothing under a blanket of money? In truth, neither! As a fan of technology, you don’t need silly things like boilers and radiators, you’ve got gadgets! Goodbye central heating, hello Samsung Galaxy! From least effective, to most effective, here are the five best methods of heating your home. 5. Television If you’ve ever hugged your TV (although I don’t know why you would have done) you’ll have noticed that it actually gets quite warm during your four-hour Pointless marathon. While most TVs have good ventilation since the manufacturers know you’ll be spending all your time using it, older TVs really tend to warm up over a long period of time. Sadly it doesn’t warm up much else, making it the lowest on the list. 4. Laptop and Charger Kittens love them and so should you. Laptop fans are very precious things when it’s cold. They’re usually on the left-hand side, blowing out a gentle gust of warm air as you work. If you’ve ever had hands too cold to type, you’ll know how great it is to rest your hand in the

stream a second. The same goes for chargers - if you’re using your laptop plugged in, the transformers tend to get nice and toasty. They’d be great for warming your home if your kitten didn’t hog all the warmth. 3. Phone Probably the number one cause of warmth in beds, extended use of phones can turn them into little portable stoves. This does mean you have to be using it pretty constantly for a long time, but anyone that’s used QuizUp or Angry Birds won’t have this problem. However it does lead to increased drain of battery, and if you don’t get annoyed at the short battery life of your phone you probably have a Nokia Brick. Also, by definition if your phone is hot enough that it’s overheating, this usually leads to slowed functions and apps crashing. Regardless, I prefer snuggling up to my phone than a hot water bottle, it’s that hot.

turns your room into a sauna. A stereotype of gamers is they sweat a lot, and this is true because we’re just so warm from our lovely toasty consoles.

otherwise chilly location, and it’s why the library is always oddly warm. That’s why we give desktop computers the accolade of being too damn hot.

1. Desktops

Fun FactComputers in general can reach temperatures of up to 80oC without taking damage

While all of these devices can get quite warm, none of them can get quite as blisteringly hot as a badly ventilated desktop, particularly a home-made one. They cause games to crash and essays to disappear into oblivion on a regular basis, all due to the fact they get too hot. This makes them perfect for heating an

Flickr- BagoGames

2. Older Games Console One problem with the newer console generation is that their superior fans keep the console cool. Whilst this doesn’t sound like a problem, leading to efficient functionality and reduced hardware damage, it’s cold. The winter months get me missing my PS3 a bit - with it, even a short time playing games

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Film The Hunger Games: Mockingjay, Part Two

Lionsgate.

Alex Morrison When Part One was released, there was definitely a sense that Mockingjay, the final instalment of Suzanne Collins’ young adult series, should have remained as one movie. Pervaded by a great deal of padding and a lack of strong action sequences, it certainly felt that Part One was hanging around for the real story to occur later on. Part Two could have gone in two directions: keep dragging along and continuing to prove that the source needed fewer films, like The Hobbit, or crank up the action and excitement for an excellent conclusion, like Harry Potter and the Deathly Hallows – Part Two.

longer than it needs to be. Splitting the movie into two parts proved to be a bad decision.

Regrettably, Mockingjay – Part Two falls into the dragging category, proving to have a lot of filler; it’s less padded than Part One, but it still features many scenes that are extraneous to the grand scheme of the plot. No clearer is this evident than the love triangle subplot. Whilst present throughout the series, it really rears its ugly head again and is painfully irritating. You know how it’s going to end, and there is a sense of weariness as it keeps trying to distract you from what should be an epic war effort. Additionally, there are plenty of other scenes that drag on and take away from the story, with the epilogue in particular going on far

For the most part, the action is very well done (with the exception of the ending) and makes up for the previous movie’s drudging lack of it. The second act is essentially an extended action sequence, presenting an unofficial ‘Hunger Games’ within a gritty urban setting. Tense and unpredictable, this act keeps you on the edge of your seat through an intense sewer battle. Sadly the creatures sent to kill the protagonists during this scene look like poorly rendered albino xenomorphs. The storming of the Capitol proves to be a gripping action sequence that brings a suitably grim tone to the finale.

Unfortunately, even if the movie was one part, it wouldn’t change its disappointing anticlimax. It’s astonishing that, despite the slow pace of some scenes in the film, it rushes the most important parts. A number of important character deaths take place, yet their scenes are hurried through, reducing the emotional impact of the film. The final action climax sequence proves to be the worst offender in this area, being over far too quickly and feeling very predictable.

The acting is solid throughout. Jennifer Lawrence proves her mettle once again as Katniss Everdeen, mixing stoic leadership qualities with the vulnerabilities that make her a well-rounded lead. Josh Hutcherson is also good as Peeta, capturing the character’s internal conflict stemming from the previous movie. Liam Hemsworth is bland as Gale, though he seems to be short-changed by the fact that his character exists mostly to fuel the banal love triangle. Actors such as Elizabeth Banks, Woody Harrelson, and Jena Malone are strong, as ever, though they feel rather underused, as does Julianne Moore as President Coin, the leader of the resistance who may have ulterior motives. Stealing the show once again, is Donald Sutherland as President Snow, who brings a mixture of coldness and smirking smugness, making him highly enjoyable to watch. It’s a shame that the writing undermines the film’s strengths and stretches what started as a promising franchise far past its shelf life, trying to squeeze out more money from the target audience. Instead of being a glorious conclusion, it feels like a lumbering race to the end, and ultimately proves that Mockingjay should have been one film.

Strong Action

Pacing all over the place.

AntiClimactic

Diehard fans will love this, but the scattershot Mockingjay - Part Two brings the once promising franchise, to an end with an unsatisfactory whimper. Illustration: Kristiana Sizinceva

Film The Lady in the Van

Aliyah Rawat In 1974, author and playwright Alan Bennett offered his driveway space in middleclass Camden to an offbeat, nomadic old lady living out of her disheveled van for a few months until she “sorted herself out”. Fifteen years later, and this lady known as Mary Shepherd was still living there, becoming the titular ‘Lady in the Van’ in a film based on a “mostly true” story. Miss Shepherd is played by Dame Maggie Smith, who had previously played the same role in the 1999 theatre production in an excellent, heartfelt performance. Miss Shepherd, who we discover was a high-achiever who led a unique life despite her later circumstances, comes across as extremely genuine in a role many other actresses could not take on. Throughout this eccentric tale - and even at the end when Miss Shepherd is physically at her frailest - she still retains her dignity and strength. Independent

Alice Ballard

and striking, she does not let her impoverished state stop her from doing what she wishes, as she embarks on road-trips to Broadstairs, suddenly disappears for days, or is seen at her happiest when painting her numerous vehicles her signature garish shade of yellow. The range of Miss Shepherd’s character is exceptional: from her moments of absurdity that are laughout-loud humorous, to her hysterical praying, to her sharp-witted statements, or even her fears that show a sad reflection of issues with religion. This is complemented by an admirable performance from Alex Jennings who plays Mr Bennett. Bennett often weaves his personal experiences with writing into the film and its witty script, with there being two Bennetts present on-screen: the “Bennett who lives” and the “Bennett who writes,” and these are in constant dialogue, often in differing views. Flirk - Southbank Centre

This gives an interesting edge to what could have otherwise been a fairly straight-forward biographical telling; he acts as both critical narrator and as an inventive, humorous yet selfdoubting character, who keeps the mystery, joy and fascination of the film alive. The Lady in the Van proves to be a very interesting observation on human lifespan, how people treat each other, and the pasts we hide. It is almost documentary-like, combining characteristics of social realism with kooky surreal elements. But more than that, it is a film about embracing life despite whatever it throws at you: whether that be in the small things like painting an old van, racing down the road in a wheelchair with a union jack flag, or in forming an unexpected, undesired, yet irreplaceable bond with a seemingly eccentric stranger.

+Inspiring

Yes

+Heartfelt + Maggie

Smith Unlike anything released in recent years, The Lady in the Van is exciting, heart-warming, and most definitely worth a watch. Illustration: Tom Cascarini

The Dressmaker

With stunning cinematography (Donald McAlpine) and the sheer contrast between femme fatale, Tilly Dunnage, and the dusty, rural Austalian town; The Dressmaker is a must-see gem within this season of female led films. Between The Lady in the Van and Carol it may seem outdated or generic but be assured that it is far from what it seems on the surface.

The film’s ability to seamlessly traverse several different genres without losing pace or interest is a credit to director Jocelyn Moorhouse (Proof, 1991). The plot, albeit at first seemingly predictable, takes unsuspected turns and brings tears to your eyes, along with throwing in some pretty appalling did-that-really-justhappen moments.

The Dressmaker is an old time, slightly dark, revenge-based drama with the backdrop of a spaghetti western. Set in 1951 in the small, unknown and infinitely dusty town of Dungatar, Australia, it depicts the story of Myrtle ‘Tilly’ Dunnage (Kate Winslet), an haute couture dressmaker, as she revisits her home town. Dunnage’s discovery that her own mother doesn’t remember her, the townspeople believe she is a murderer, and that her quiet hometown is home to none other than a shirtless Liam Hemsworth.

Winslet is truly stunning in her portrayal of this strong, deviously sexy woman. Winning favour in the town by creating haute couture dresses for the residents (worthy of best costume at the Oscars), this inspires particularly amusing scenes of ladies in rural Australia prancing around in couture gowns, looking like an advert for Vogue. Though the character of Tilly becomes a little weakened by the romantic interest Teddy (Liam Hemsworth) she thoroughly makes up for it with the beautifully humorous and touching relationship with her mother,

Molly Dunnage (Judy Davis). Davis’ performance surpasses all as the batty old hag at the top of the hill, providing comic relief and dry Australian wit. Another actor to take particular note of is Gyton Grantley playing Teddy’s brother. The book (by Rosaline Ham), to which the film is based on, states that Barney has a mental disability, which Grantley performs with dignity and a playfulness that is heart-breaking and lovable. However, some of the other characters, particularly the townsfolk, could have been given a little more dimension. There is a feeling that Liam Hemsworth is the perfect love interest and not much else, which makes the romance a little generic. For instance, Gertrude ‘Trudy’ Pratt and Beulah Harridiene could have had more character depth. However, it is possible that this was a deliberate decision by Moorhouse to make them even more shallow, which did fit with the story.

Yes

Unpredictable

Clever camera work

Emotive

As the director herself proclaimed, it's like Clint Eastwood with a sewing machine. So put on your best red lipstick guys and girls, this is not a film you want to miss..

Film Steve Jobs Ben Cheshire Steve Jobs was a man who aspired to “think different”; his vision was the one nobody had thought of. He was a man who foresaw and shaped the digitised world we live in today. But what did he actually do? What was his drive? And who was the man behind the machine? Danny Boyle’s new movie, simply titled Steve Jobs, is not the first movie to attempt to answer these questions. These questions are much larger than any one movie could possibly answer adequately. Jobs was a man of great complexity in all areas of his life, and this movie shows us that complexity in astounding detail. Rather than adopting the structure of a biopic, this movie thinks differently and instead depicts three distinct scenes taking place backstage before three keynote speeches. It does not depict the rise of Apple or even the post-iPod Apple, because it knows that a two-hour piece of cinema is not enough to do so effectively. This approach works because it uses these three moments as a vessel to display a vertical slice of the man; it’s focused and feels complete. Jobs’ passion was relentless, and so is this movie. Every scene progresses very quickly, the soundtrack enforcing its high energy. There’s a sense of urgency to it all - in fact, one problem with the movie is that there aren’t

enough moments where we can relax. But it’s relentlessly entertaining. It exists in the moment, and we must exist in the moment to enjoy it. We see Jobs drive his partners and employees mercilessly, which is fascinating to watch, as this allows us to see the full-extent of Jobs’ darker side. Like the technology he created, everything is progressing forward, and intelligent use of quick cutbacks to earlier events in his life help to elaborate on his progression while also giving us a good amount of his backstory. The movie is extremely dialogue-heavy, but avoids telling without showing. We aren’t told who Jobs was, we see who he was. It all feels incredibly genuine. This is one of those movies where one forgets that these are actors reading lines. The screenplay feels completely natural, as do the performances. Michael Fassbender might not look like Jobs as much as Ashton Kutcher did in Jobs, but he captures the essence of Jobs more. When we look at the action on the screen we believe what we see; Michael Fassbender’s performance has even been praised highly by Apple co-founder Steve Woznaik, who has said that he felt like his performance was “the real Steve Jobs”. Director Danny Boyle, known for his striking imagery in his movies, is on top form in Steve Jobs. There are several visuals that really delve

into the psyche of the media-mogul; we are enticed to look into the eyes of this troubled man and understand him. The use of extreme close-ups, extended shots, and tracking shots paint an intimate portrait of this complex man. We see his relentless focus, his dominance, his wit, but also his emotional vulnerabilities. Throughout the film the cinematography changes rather drastically as the movie progresses. Each act was shot with a different camera: 16mm, then 35mm, then digital, and the effect is profound. The image goes from being grainy and de-saturated to very clean and vivid. This reflects the changes Jobs goes through as he matures throughout the movie as well as the ways in which technology has changed the world. It encapsulates his journey. Steve Jobs is a great movie, making its disappointing commercial performance a real shame. It works because it takes a complicated topic and condenses it to something simple, elegant and easy to understand – much like Jobs’ approach to creating products. With that said, there are certainly more stories to tell of Jobs and the people around him. What about the friendship/rivalry between Steve Jobs and Bill Gates? What about his final years? What about the formation of Pixar? There’s more to Steve Jobs than one movie, but this movie does reveal a lot. As he always said, “there’s just one more thing…”.

+Brilliant

Yes

performances

+Sharply scripted

-Not enough quiet breaks An intensely paced piece of cinema that paints a detailed portrait of a man who took the world into the 21st century.

Universal Pictures

Film Biopics: Warranted Or Woeful? A Look into the Challenges and Pitfalls of Creating a Biopic Benjamin Pinsent You might assume a biopic would be the easiest film to make. After all, the story is already written, the character already exists for the actor to inhabit, and in most cases the awards are almost guaranteed. However, it can be very, very easy to produce a shoddy product because directors and writers fail to understand the basic rules of the biopic. These are not documentaries. A biopic needs to embellish real life events and people for dramatic effect, in order to tell a more subjective story about the main character. Historical verisimilitude is not important in these films; what matters is story and character. Legend (2015) suffers greatly because it lacks these crucial elements. While on paper

a biopic about the infamous Kray twins should work, in practice the film falls flat. This is mostly due to the construction of the story. The film focuses on the Kray’s career as criminals, their relationship as brothers, Ronnie Kray’s (Tom Hardy) mental illness and Reggie Kray’s (also Hardy) relationship to Frances Shea (Emily Browning), his wife. There are too many elements to this film, which leaves a lot of it under-developed and unsatisfying. This is partially due to the time scale and the film having too broad a time frame. Similarly, the use of narration from Shea’s perspective seems strange ,especially at the end. This is a common problem with biopics as at times they can feel over-full, and this is certainly the case of the 2010 Ian Dury

biopic, Sex & Drugs & Rock & Roll, and 2015’s Black Mass. A biopic should have a singular focus, like in 2005’s Walk the Line, where the relationship between Johnny Cash (Joaquin Pheonix) and June Carter (Reese Witherspoon) is at the forefront, while Cash’s career is in the background. You can’t make a biopic based on just anyone. Take for example William and Kate (2011). This boring film failed because of an uninteresting story, a lack of struggle, and an inherent lack of good characters, which is a fatal flaw. Rock stars are so popular in this genre usually because they have an element of self-destruction that makes them so appealing to watch. It is also partly due to the actors playing them. With Walk the Line and Sex & Drugs & Rock & Roll, casting

is perfect, physically and emotionally, with the audience believing that Pheonix is Cash and Serkis is Ian Dury because they look and act like the people they’re playing. Having said that, the actor doesn’t necessarily have to physically resemble the character they are playing, as is the case with Colin Firth who gives such an emotional performance in The King’s Speech that despite his looks, the audience is convinced. Ultimately, a biopic’s main function is much like that of a fictional film; it must entertain an audience through its story and characters, and the fact that these are real people and the story actually happened is mere coincidence. Accuracy and detail are the enemy; these are tales of emotion first, not history.

Flop Busters The Biggest Film Flops of 2015 Connor Jordan 2015 has proven to be a very fruitful year for films - four of the top ten most successful films of all time were released, and with Star Wars coming out soon in December it is likely we haven’t seen the last of what this year has to offer. However, for every major hit, we had several that crashed and burned. Before these movies are locked away in a warehouse somewhere, let’s take one last look. Jem and the Holograms Here’s a movie fresh off the shelf and straight into the bargain bin, Jem and the Holograms is an adaptation of a 1980’s animated TV series. Projected to gross around $5 million on its opening weekend, it ended its run with a mere $1.4 million, the fourth worst ever opening for a film playing in more than 2,000 theatres. If this was the only factor in rating a film then Jen and the Holograms would be the fourth worst film ever made. However with a budget of only $5 million, the studio didn’t make that big of a loss. Tomorrowland Based on a futuristic themed section of

Disney land, Tomorrowland was expected to be one of the biggest films of the summer. With director Brad Bird (The Incredibles) and George Clooney (Return of the Killer Tomatoes) in the lead role, it was hard to imagine failure. However, it came out and no one went to see it. Poor reviews touted the film simply wasn’t able to enchant the audience enough to make it worth seeing. The film is estimated to have cost about $330 million to produce and market, so its earnings of $209 million means it has left Disney over $100 million out of pocket. Nevertheless, being Disney, that loss is only a drop in their Scrooge McDuck style swimming pool of wealth. Pan There were so many things wrong with Pan that I have written an entire article about it in a previous issue of Venue. In a brief few lines let’s just say, aside from Hugh Jackman, this movie lacked everything it needed to be a good film. The insensitive casting that white washed Tiger Lily, and a story that was shallow, poorly paced, and really boring, the film struggled on

multiple levels. Pan received unanimously negative reviews upon opening, and the fact it was made by someone other than Disney was enough to convince parents to give this film a miss. The film is looking to hit $150 million under target, but maybe Warner Bros will have better luck next year with Fantastic Beasts and Where To Find Them. Fantastic Four Dissertations could be written on what went wrong with this film, as it is about as complex as the origins of the first world war. Whilst in today’s world it seems absurd to think of a superhero film not doing well, Fantastic Four (otherwise known as Fan4stic or ‘The Fantastic Flop’) makes sure to do just that, setting out on journey to defy all expectations and make an absolutely terrible superhero movie. Before that, let’s talk about why this movie at one time looked good. To start with, they chose director Josh Trank, who previously made the great low budget sci-fi Chronicle. People were generally excited about this decision, and Chronicle was a unique film with a great plot, not to mention that it made

$120 million on a $12 million budget. Fantastic Four also made the bold choice to cast Michael B. Jordan as Johnny Storm which helped to add some diversity to a genre that is so dominated by white actors. However, during the production of the film multiple sources reported that there were several disagreements between 20th Century Fox and Josh Trank. After being unhappy with the final cut of the film, the studio ordered several changes to be made without the supervision of Trank. Reshoots can be seen in the film quite clearly, as Sue Storm’s (Kate Mara) hair changes colour between shots due to the reshoots having her wear a wig that was a brighter shade of blonde then her hair in the original shooting. This also meant that there are scenes in the film’s trailers that are absent from the film itself. This all resulted in a poorly paced story that generated a torrent of negative reviews and a loss of about $30 million. The future of the franchise is currently unknown, although we may still get a sequel or Fox may make a deal with Marvel.