Venue 379

VENUE 379

• Interview with Floral Image • • spotlight on graphic novels• • Self care and skin care• • covid 19 & gaming• ANd much more...

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sections

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

leia.butler@uea.ac.uk

J.Walker-Charles@uea.ac.uk

ARTS

04-06

BEA PRUTTON

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

BOOKS

07-09

ALLY FOWLER

B.Prutton@uea.ac.uk

Ally.Fowler@uea.ac.uk

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

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

The Books section is where you’ll find a whole range of content. From regular fiction to poetry, graphic novels to detailed commentary, we’re uncovering what makes books so good through writing about prevalent social issues, important news from the book community, and good old-fashioned reviews.

creative writing

fashion

10-12

14-16

HAMILTON BROWN

IMOGEN CARTER DE JONG

Hamilton.Brown@uea.ac.uk

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

The Creative Writing section of venue is open to anyone – whether you’re just starting out writing, or have been for years – but we want to showcase the best creative writing from UEA students! The content we’re looking for can be any prose, poetry, or script. Each piece will considered in a competition for the best creative piece at the end of December.

The fashion section is home to writing that refuses to dismiss or trivialise the role of clothing in our lives. From theorising about its relationship to art and culture, to more personal takes on how aesthetic choices shape our lives, the fashion section represents a vast spectrum of insightful, sensitive storytelling.

music

gaming

17-19

JACK OXFORD

20-22

JAMES WARD

J.Oxford@uea.ac.uk

James.Ward@uea.ac.uk

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

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

I bet you were wondering what my favourite video games are, so here’s three: Stardew Valley, The Witcher 3, and Dark Souls. I’m aiming to expand the section with exciting new features and recurring pieces so make you don’t miss out! ptch me pieces about interesting topics in the gaming world, including board games!

Film

Television

24-26

NIAMH BROOK

27-29

NERISSE APPLEBY

N.Brook@uea.ac.uk

N.Appleby@uea.ac.uk

Reviews, recommendations and more this is the place to read all about film. This year the film section will cover everything from festivals to award shows. We want to look deeper into the film industry, to discover not only how important film is to us personally, but also how important it is to the world around us.

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

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First page photo credits: Top left (leia butler of junji ito books) Top right (Olivia Brohier Askew) Bottom left (unsplash) bottom right (leia)

sections

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What’s to come...

-interviews-

film

cw

arts

-original creative pieces- -film reviews-

tv

- the best of tv-

- top tips for keeping busy during lockdown -try a book from the booker prizelist -watch 3 oscar winning films -do 5 minutes of writing everyday -listen to 5 new albums

photo wall sneak peak

Mary Hon

team venue gift advice “It’s really easy to go overboard this time of the year, try not to”

credits: all photos sourced from unsplash

What’s to come...

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ARTS

Royal Academy releases virtual tour of Summer Exhibition 2020 The Royal Academy (RA) Summer Exhibition had run interrupted for 252 years; in 2020, the trend was broken.

Determined to keep the exhibition alive, the RA prepared to open the newly retitled ‘Winter Exhibition’, but on November 5 2020, the second lockdown came into place, the institution was forced to close, and thus the virtual tour was born.

“At the RA, Summer is a state of mind, not a time of year,” they say on their exhibition page.

They add, “If art has taught us anything over the past months, it is that it can act as a global symbol of hope, offer individual moments of solace, and create much-needed daily distractions from the enormity of our new situation.” Considering how many exhibitions have been cancelled due to lockdown, the mission of this hugely respected institution - to bring the exhibition to art lovers at home does not go amiss.

Within the virtual tour, the viewer is taken on a continuous journey through every gallery. The camera pans across each wall and zooms in to a select few pieces, and artist details are provided in a caption. The virtual exhibition provides a chance to examine every single work of art, from traditional paintings to sculptures, digital, and mixed media works.

The RA’s virtual exhibition serves to remind us, in a way, that all viewing experiences are individual, and perhaps how lucky we used to be to examine art at our own pace. No two people would walk through an exhibition and be drawn to the exact same set of works, but unfortunately this is something we do not control in the online exhibition. However, every work is interesting because it’s caught on camera. There is no avoiding sections of work because there’s people standing in

Photo: Installation view of the Summer Exhibition 2020 (6 October 2020 – 3 January 2021) at the Royal Academy of Arts, London, showing The American Dream

by Grayson Perry RA. Photo: © Royal Academy of Arts / David Parry front of them, and there is no glancing quickly around a room and walking straight through because nothing grabs your immediate attention. The RA’s video tour is slow and deliberate. It makes you pay attention in a way you might not have before.

There is a particular emphasis this year on the abstract and the political, a product of a contemporary time that has been incredibly tumultuous. Anselm Kiefer’s ‘Vier Plus Eins’ (Gallery III) resembles a deadly Pollock piece. On top of a messy background made from emulsion, oil, shellac, acrylic, metal and other materials, five numbered wooden scythes cut vertically through the horizontal canvas.

Its rust-coloured palette is reminiscent of blood, and the camera zooms in incredibly closely (closer than a viewer feasibly would be able to get), enough to see the frantic impasto texture, invoking something raw and visceral in the

“Grayson Perry’s ‘The American Dream’ is a complex blue and orange commentary on the anxieties of social media.”

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viewer.

Grayson Perry’s ‘The American Dream’ (Gallery VII) is a complex blue and orange commentary on the anxieties of social media. An omnipresent Mark Zuckerberg sun-creature shoots out arrows labelled with adjectives such as FEAR, RESENTMENT, and SEETHING. He overlooks a map of America overloaded with current societal concerns (SOCIAL JUSTICE, CLIMATE CHANGE, HIPSTERS, HETERONORMATIVE, and others). The RA has never shied away from overtly politicised art, and it’s a blessing that we get to see their selection from this year.

The exhibition would still be better in person. This goes without saying.

But with what the Royal Academy has provided, we are in a much better position than expected - that is, a position where we can look at fantastically curated galleries for free.

We are adapting to new ways in which we view and enjoy art, and the RA have taken a step in the right direction, reinventing one of the biggest annual exhibitions in the country.

Ally Fowler

EDITOR: Bea Prutton

ARTS 05 The Lion King: The show that made me love the theatre It’s been around five years since I first saw The Lion King at the Lyceum Theatre in London. There’s a reason this story is such a classic; be it the movie or the musical, it’s completely enchanting. Since then, I’ve been entirely in love with the theatre. Each show is uniquely

breath-taking. Without ‘The Lion King’, I never would have known what magic exists on the stage.

From the second the curtain went up and that iconic music began, I felt every single emotion.

As befits a timeless Disney classic, the show is stunning for its beautiful artistry.

From the celebration of African culture through percussion and vocals, to the life-size elephant that heads through the audience towards the stage, every detail of this production is impeccable.

You become entirely lost in this world. The Lion King is magical for its stage design of a vast African savannah, shrouded in a gor-

Content

Photo : wikimedia commons

geous kaleidoscope of colour and light.

The use of masks and makeup capture the vibrant spirit of this story and are wonderfully harnessed to portray the idiosyncrasies of each character, becoming distorted and malevolent for the villainous Scar, or full of bright colour and vibrant life for Rafiki.

The Lion King is a majestic and dazzling theatrical remake of a much-loved classic, and it does not disappoint.

It was the show that made me fall in love with onstage performance, introducing me to more brilliant classics like Wicked, Les Misérables and The Phantom of the Opera.

There’s no feeling quite like the rush of emotion you get when that curtain is lifted or that first note is sung. The Lion King introduced me to that feeling, and I’ve never looked back.

Nerisse Appleby

A blue New York and a campaign video: the art world responds to Biden’s win The front page of the November 16th issue of the New Yorker, by Pascal Campion, depicts a dark New York city skyline with the Empire State Building in the centre, lit up by a beaming blue light. Representing the Democratic party colour, the deep blue shade engulfs the city scene in a protective mist.

The cover was inspired by the 2012 edition by Mark Ulriksen, originally named ‘Rhapsody in Blue’, after Barack Obama won the presidential election.

Campion uses the premise of Ulrikson’s piece and renames it ‘Hope again’, a title heavy with expectation that Biden will continue Obama’s democratic work.

Joe Biden’s victory video campaign release was inspired by Lorraine O’Grady’s performance piece in 1983.

The 2-minute-long clip was posted on Biden’s social media accounts on the day he was announced president-elect, and follows numerous individuals posing

Cre

ato

r

with a golden frame.

Expressing identity,

individuality

“Both Campion’s ‘Hope again’ cover, and Biden’s victory video express the notion of there being light at the end of the tunnel” and culture, the clip highlights Biden’s focus on liberal democracy and his humanitarian campaign to support all people and communities.

We see people farming, swimming,

EDITOR: Bea Prutton

working, playing instruments and sitting with family, representing all aspects that make people individual and, synonymously, American.

The Biden-Harris video was paired with a soft, melodic country song expressing how “sweet America...God done shed his grace on thee”. Mirroring the hope and sweetness of America’s future with Biden as president, the song evokes optimism and faith for a bright future for the American people.

Both Campion’s ‘Hope again’ cover, and Biden’s victory video express the notion of there being light at the end of the tunnel. The idea of belief and conviction is deliberately embedded in both artistic pieces, leaving America securely in the hands of the 46th President of the United States- Joe Biden.

Phoebe Lucas

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ARTS

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Spotlight on Tiffany Alfonseca Bold, impassioned and honest; these are just a few of the words you could use to describe Tiffany Alfonseca’s artwork. A recent graduate of the School of Visual Arts, Alfonseca’s explosion into the art world hasn’t gone unnoticed, with recent works being displayed in Alicia Key’s Dean Art Collection and the Pérez Art Museum Miami.

Although Alfonseca draws inspiration from a number of sources, her Afro-Dominican heritage lies at the heart of her work, with colourism and class being central themes throughout.

Growing up in New York undoubtedly impacted Alfonseca, as the vibrant diversity of the city is reflected in her exuberant mix of materials and diverse subject matter.

Alfonseca’s portraits, such as ‘Alyssa’, present graphic figures in front of daring backdrops, resulting in a joyful celebration of diasporic culture. Alfonseca brilliantly highlights the rich blue, pink and green tones of the subject’s skin by using lighter backgrounds that are reminiscent of

her mother’s love for colour and print.

The background’s eye-catching prints evoke Alfonseca’s Dominican roots.

Bananas and leaves are reminiscent of the Caribbean (The Dominican Republic being the largest producer of bananas worldwide).

Perhaps most strikingly, though, is the use of mixed media to portray the sitter’s natural hair. Proudly standing out from the canvas is a mixture of layered paint and glitter to create an effect that honours the beauty of natural Black hair.

W.E.B DeBois’ philosophy of “double consciousness” is often a subject Alfonseca’s work often grapples with.

Illustrating a dignified and elegant pose, Alfonseca demonstrates that race is a unique experience and there is strength in identifying with who you are. Emphasising the beauty of Black hair is just one reflection of this.

During the USA’s lockdown, Alfonseca used her time to produce a number of graphite drawings in a project titled ‘In Quarantine Series’, where she asked friends and family to

“Alfonseca’s explosion into the art world hasn’t gone unnoticed”

send her photos of them in their homes.

Like her paintings, the series is a radiant response to women, culture, family and ritual.

Despite losing the colour associated with her paintings, Alfonseca still produces a bold depiction of the people around her that explores the nuances of society.

In Alfonseca’s drawing ‘Jane Aiello’, the viewer’s eye is once again immediately drawn to the spectacular array of hair.

The subject’s dress is adorned with intricate line drawings that break up solid blocks of black and white.

Seemingly a very personal moment, the subject’s pose has an air of confidence about it, as she stares directly at the viewer. Just with a glance, Alfonseca conveys the strength of the Black and Afro-Latinx communities.

There is no doubt that Tiffany Alfonseca’s work will continue for many years to champion the voices of communities who feel overlooked.

Her work is not only aesthetically captivating, but also has the potential to be an important tool for social change.

Elizabeth Woor

Photo : unsplash

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EDITOR: Bea Prutton

BOOKS

07

The power of literary memes An integral part of how we interact and communicate on social media nowadays is through the meme format.

This isn’t up for debate; in almost the same way that poetry can induce shared sentiment and a sense of community and belonging, memes spark a reaction which situates the recipient in a communal group – in this case, one linking to a shared humorous response.

A source which exemplifies the successful use of this format is the Instagram account @sparknotes_, an offshoot of the popular educational brand which initially consisted of a series of study guides and aimed to help students in their understanding of literature, poetry and drama.

SparkNotes was not the instigator of this upsurge in promoting and sharing literary content through the meme format but rather they capitalised upon a pre-existing market.

They have steered the movement to promote an understanding of classical texts through a modern lens; for example, a recent post depicts Nick from the TV show ‘New Girl’ saying “hey ladies, you guys wanna see a grown man cry?” with an added comment above reading ‘Hamlet’s flirting strategy’.

An established company such as SparkNotes jumping on this trend indicates its success in promoting literature in a unique way.

It seizes upon the communal spirit invoked through the meme format, and encourages its viewer, perhaps

stumbling upon it while scrolling through Instagram, to go and read ‘Hamlet’ for themselves, in order to resonate with their parody.

If anything, this phenomenon really establishes how important reading is, and how even the more classical and historical texts hold a similar thread to the media-based entertainment we engage with more frequently today.

We see ourselves and the people we know in the books we read, and the comfort this provides extends to the community which is formed around them.

Eleanor Burleigh Photo: Unsplash

bookshop.org : a chance to sell online for indie book stores A new online bookshop has launched in the UK , which provides a more socially conscious alternative to large companies like Amazon. Bookshop.org was launched on 2 November following its great success in the US. Andy Hunter developed the site as he wanted to help

Photo: Unsplash

increase sales for local and independent bookshops. So far, more than 130 British bookshops have signed up and more than £400,000 worth of books were sold in its opening week.

The site allows bookshops to have their own virtual shopfront and they can earn the full profit margin of 30% commission on all sales. Also, 10% of sales across the whole site is distributed to independent bookshops across the country.

“It’s hard for us to compete with someone that’s got its own warehouse and sells books sometimes at a loss, or at very small profit margins. We just can’t do that. So it’s nice that Bookshop. org is going to rival Amazon in a way we couldn’t on our own or even collectively,” said Georgia Eckert, of Imagined Things bookshop in Harrogate.

This launch was brought forward as bookshops became troubled by the new lockdown restrictions – especially with it also being the run-up to Christmas. “If you don’t get there before Christmas, and give people a way to support their stores and buy their gift books, then it’s gonna be really catastrophic for shops, which is why we’ve scrambled all hands on deck to get it up,” said Hunter.

EDITOR: ally fowler

The UK launch has already received a lot of praise from independent shops across the country: “We’ve had booksellers tell us it’s helped them pay their rent. One bookseller told us it had made the difference between being able to pay their staff Christmas bonuses or not,” Ms Nicole Vanderbilt, the UK company managing director, said.

Lauren Bramwell

Photo: Unsplash

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books

08

Downpour: A self-publishing story

I hate to start this article off with something that sounds a bit cliché, but here goes: ever since I was a kid, I’ve always been writing stories. It’s true though. I remember reading out a short story where the chapters were a few sentences long to my Year 2 classmates.

As I’ve got older, my writing has become more refined, and eventually led to me taking a degree partially in scriptwriting.

But for the last year or so, I’ve felt that I’ve been in a bit of a rut, writingwise. I’ve had plenty of ideas, but I’ve struggled to make them long enough on paper, without padding them out. Then I discovered poetry.

I can’t properly explain it, but it just clicked with me. Because there’s literally no rules when it comes to structure, I could present my ideas however I wanted, without worrying about form or length. So, to pass the time when lockdown hit, I decided to self-publish something. I think the biggest thing that hit me was that every aspect of the book’s content is up to you. You don’t have a publisher looking over your shoulder to spell-check for you, or make sure that your contents page info and page

numbers match up; every single thing within the pages is your responsibility to make perfect.

Whilst this can seem daunting to begin with, not having a traditional publisher gives you a massive sense of creative freedom. You get to call the shots on all aspects of the story, instead of being forced to re-write sections to actually get your book printed.

Your role still continues after the book is all finished though. Publicity is entirely down to you. You’re your own agent. I organised a virtual book launch event where a few friends who also write read out some of their poetry, before I read out some of my own book.

Overall, it can be stressful. There will be times when you just want to stop and have someone else take over and sort it all out for you. But, if you can push through it, and have the mindset that all this work will be worth it when you finally get a physical copy of your book, then self-publishing is definitely a good way for writers to get their work seen by a wider audience.

Daniel Thomas

Photo: Daniel Thomas

Spotlight on graphic novels: Junji Ito’s Uzumaki Junji Ito is one of the most prolific horror mangakas of all time, and even with the sheer volume of content he has put out through his career, people usually consider his magnum opus to be Uzumaki.

The premise is a strange one: a small town on the coast of Japan begins to be haunted by Uzumaki (Japanese for ‘spiral’) in many different shapes and forms. The story follows two main

characters: Kirie Goshima, and her boyfriend Shuichi Saito.

Ito’s art is something that has to be seen to be believed. He’s the master of the page turn – he’ll constantly leave the last panel of a double page spread with the characters looking surprised or revolted, only to give the reader a disgustingly shocking reveal on the next page.

Throughout each episodic chapter,

Shuichi grows increasingly anxious about the spirals haunting their home of Kurouzu-cho – understandable, as one of the first ‘victims’ of the spiral is his father, and his mother ends up dying shortly after due to her own delusions regarding spirals.

I won’t spoil exactly what happens with them – it’s better to see Ito’s striking art than have it described.

Jack Oxford

Photo: Leia butler of junji ito books

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EDITOR: Ally Fowler

BOOKS 09 The toxicity of the online book community:

has

reading

become

competitive?

Photo: Unsplash The Internet is great for many things, notably connecting us to other likeminded people from all over the world.

Throughout my teenage years, as the one guy at school who wasn’t shallow enough to think books “weren’t cool” and because being friends with girls was a cardinal sin at the time (still makes no sense to me), I was alone in my love for devouring the latest series or spending time with my favourite characters.

This meant I turned to the online book community, especially BookTube, to get my fix. However, in my four years with this ever-growing community, I have come to realise it’s not all as great as it seems on the surface.

The online reading world has its perks. I have received countless recommendations from YouTubers and

Photo: Unsplash Instagrammers and discovered some of my favourite ever books from these people.

These are not books I would have found otherwise, as it was the rave reviews and incessant plugging that convinced me to pick them up, so for

that I am grateful. Beyond this though, there are not many more positives to draw upon.

Whether it intends to or not, the online book community perpetuates really bad ideas and expectations for those involved, and this is where it begins to get toxic.

My main problem from personal experience is that it all becomes a contest. I read purely for pleasure, as do most of those getting involved online, but watching someone read more books or read bigger books naturally sparks a little jealousy and competitiveness.

One of my favourite YouTubers regularly reads 20 books a month, all of a reasonable size, which puts my yearly total of roughly 30 to shame. It’s hard to not feel inadequate or pressured to do better when seemingly everyone else around you is doing better and reading more, despite it being for personal enjoyment.

In a similar breath, having more books makes the reader seem more accomplished and attracts more attention. There have been ongoing discussions surrounding consumerism in the book community based on this toxic assumption, but it still doesn’t change the fact that the biggest book hauls are the most impressive and desirable.

I would love to bring in 30 books a month and have a wall of books, but the student budget doesn’t allow for it, and I shouldn’t feel inadequate or less of a bibliophile because of this.

This is especially prevalent on YouTube with the visual background of a huge and full bookshelf being a status symbol of sorts, and given we all love books it always makes the viewer envious.

EDITOR: ally fowler

A lot of these content creators have full time jobs or income from their content which goes towards books, so a student like myself can never realistically match up to them.

This is when the book community and influencer culture become one and the same.

The content creators that work with publishers and have the most subscribers become the faces of the community, and what they have and do is almost treated as a prerequisite to be involved. I certainly felt the pressure to buy loads of books to catch up, as I hadn’t heard of any of the books influencers were discussing. Many of those books remain unread years later.

To round up: the community can do more damage than good. Getting involved with the community really needs some resilience, and readers need to be self-assured.

The number of books you read a month is good enough, what you read is up to you, and the number of books you own is your call. Your hobby, your rules.

Sam Hewitson

Photo: Unsplash

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how to disappear content warning: Eating disorder and self-harm ‘You’re not going until you’ve finished.’ Mum watched and Poppy pretended to chew on the pasta that was slowly congealing on the plate in front of her. ‘Have you got your snack for later?’

‘You should know; you packed it.’ Poppy wanted to scream but managed to keep to sarcasm, buoyed by the knowledge that she would ditch the biscuit in the first bin she saw.

‘Are you sure you’ll be alright having breakfast at Anna’s?’ Mum took a yoghurt from the fridge – which gave Poppy just enough time to slide the last of the pasta into her pocket – and sat across from her smiling tightly with her mouth but not at all with her eyes.

Why wouldn’t she shut up? Stupid Cow. All the woman thought about was what the next meal was going to be and what was for pudding and not to forget her late night snack.

But Poppy was smart, and knew that if she smiled sweetly she could pretty much control what went down and what came back up. She held her breath and swallowed the slimy pudding.

Finally free, she slammed the front door with half a goodbye. She heaved her rucksack onto her back and the sneaky hip flask clanked against the cans of Diet Coke that Mum had given her. Anna had said to meet at six and it was already half past five. Poppy hated being late and have everyone stare at her when she arrived: much better to arrive early and be the starer.

She ran from the bus stop all the way to the Southbank. Anna was already talking to a bunch of boys, and Poppy slowed down in the hope that her flush would fade before she joined them.

‘Sorry I’m late,’ she tried to sound cool but was boiling inside.

‘Are you?’ Anna flicked her sleek blonde hair with a roll of her head and smirked at the tallest boy. ‘I hadn’t noticed.’

They made a gang and walked along the crowded embankment. Poppy handed the rum to Anna and admired her long, slender neck as she tipped it back and swallowed.

She tried to do the same but her throat automatically clenched against the alcohol and she spluttered it into her hand. Anna smirked at the boy again and Poppy coughed to hide her

Photo: Unsplash

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creative writing |find the full piece on concrete-online| shame.

They sat on a concrete curve to watch skateboarders show off. One of the boys put his arm around Poppy’s shoulder and leaned in for a clumsy kiss. His breath smelt like cheesy Wotsits but she let him poke his tongue in her mouth anyway. He wiggled it around a bit. Poppy swallowed a gag.

‘This is boring.’ Anna stood up and smoothed her short tartan skirt over her thighs. ‘Let’s go to mine.’ She led the way, leaning into the tall boy who hooked his elbow around her neck; a hold that was more like a grip than a grope.

The two other boys, little and large, fell in step behind the leaders; hands in their pockets, desperately trying to look like they didn’t mind being the odd ones out. Poppy and Wotsit lagged behind. He held her awkwardly about the shoulder so she couldn’t move properly. She had to look at their feet to try and establish a matching march.

She didn’t see Anna or the boys in front of her stop and so walked right into the back of the skinny one. She lifted her head with a start and knocked Wotsit in the chin; the coke cans shuddered in her rucksack and across her bony back. He released her in order to rub the pain and complain while Poppy pretended to be fine. Anna was pointing into the shadows under the concrete mass of the theatre and it took a few seconds for Poppy to figure out what was there. Then she saw them, almost hidden but not quite. A wave of nausea rose from her gut and threatened to spew onto her tatty white Converse and the ground that was now spinning beneath her.

‘Isn’t that your mum?’ Anna almost sounded concerned.

Poppy slapped her hand to her mouth as the familiar taste of bile clawed its way up her gullet. They were all looking at her now and she felt the expectation of a reaction. She didn’t know whether to laugh with them, make a scene or to brush it off with indifference. So she did what she always did when things got difficult: panicked.

She pushed past Anna and her pretence of concern, and ran until she knew she was out of her sight. Only then did she slow to a march and process what she had seen. Mum. Kissing a strange man. It was disgusting. Poppy knew that Dad was a prick but that didn’t mean Mum could go around with other men. The bile bubbled inside her again but she swallowed it down; it could wait. She pushed her hands deeper into her jacket pocket and tried to quiet the voice in her head. But it kept on at her. It was all her fault; she should never have eaten that pasta.

As soon as she got home, Poppy ran up the stairs, reached for the toilet seat and vomited her disgust out. It tasted of rum and cheese and she felt even more nauseous, so shoved her fingers down her throat just to make sure there was nothing left inside. Her throat burned but it was what she deserved.

Later, in bed waiting for sleep, she heard the scratch of the key as it searched for the barrel and the familiar creak of the front door that no one could be bothered to oil. Then voices: his and hers. Mum laughed; a noise almost forgotten: sweet and trill and edged with happiness. It made Poppy hate herself even more.

Denise Monroe

EDITOR: hamilton brown

creative writing

11

Our tree

|find the full piece on concrete-online|

content warning: mild gore and mentions of terminal illness

Photo: Unsplash

FADE IN: EXT. SOUP TREE HILL - EARLY EVENING Millie and Adam stand at the top of a long, rolling hill with a lone tree in the middle, which has grown into two large trunks and an excess of bulging roots. The middle of the two trunks is home to a natural well. The grass is slightly damp, and the early autumn sun is beginning to set, casting a warm orange glow onto the pristine scene. A gate at the top of the hill separates an old country lane from the field. Two figures stand at the top of the hill; Millie looks fondly onto the field whilst Adam wears a disgruntled frown. They stand out from the scene due to their clean cut “city” clothes, starkly contrasting their wellies which are old and worn.

They start walking down the hill.

MILLIE: God it’s been a while ADAM: It’s weird coming up the lane from somewhere that’s not your grandparents’ Millie silently agrees with him MILLIE: We used to do this all the time when we were younger- remember sneaking out for walks down the lane, having our first kiss under the tree?

She kisses him.

ADAM: I guess we’ve got your nana to thank- we would never have met unless she lived in the village.

MILLIE: I used to love visiting her as a kid. Hours and hours out walking in the fields, down the lane…

ADAM: Mmmm- when we didn’t have jobs… and we couldn’t smell!

MILLIE: Smell?

ADAM: … the air, Millie!

Adam jokingly gently [hb1] pushes Millie towards a cow pat on the grass.

MILLIE: My lungs are already thanking me for leaving the city

EDITOR: HAMILTON BROWN

She twirls him around, laughing. They arrive at the tree in the middle of the field ADAM: Shit, it really is still here They each lay a palm onto the trunks[hb2] ADAM: Hey lookHe prods at a stick that is poking out of the well, half covered in mud, grass, lichen and all sorts of other natural bits. It looks like the well is being used to make mud pies/ potions.

MILLIE: It really hasn’t changed, has it?

ADAM: You haven’t either you know Millie raises an eyebrow ADAM: You were so excited climbing over that bloody stile into the field MILLIE: It’s a lovely stile ADAM: It’s a muddy stile!

It starts raining – big, aggressive droplets MILLIE: Fuck, is that rain?

ADAM: Oh BRILLIANT. What did I say when we left the b’n’b?

MILLIE: I didn’t think we’d need waterproofs AND wellies!

ADAM: Let’s head back; it looks like it’s getting heavier MILLIE: It’s just a bit of rain!

Charlie King

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creative writing

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An Ordinary Man, An Extraordinary Day Mr Jones liked to think that ordinary was better. If you’re ordinary, you’re neither noteworthy for being smart, nor noteworthy for being dumb; neither talented nor useless. If you’re altogether B grade – do a bit of everything relatively well – then you slide right past others’ peripheral visions.

He took pride in the fact he was born on a Tuesday, a very ordinary day indeed; had a job as a barista at a Marks and Spencer’s café, a very ordinary job indeed; and had a wife and two kids, a very ordinary family indeed.

He liked his job; it wasn’t particularly taxing, but there was still a skill to be had for it, in terms of latte art. But then again, there wasn’t an inordinate amount of pressure placed on him for that skill to be honed. Nobody really cared if their coffee looked like a heart or a phallic appendage, and the lack of expectations made him feel safe.

Nearing the end of his Thursday shift, Mr Jones put through his customer’s order with a smile. ‘Thank you! Who’s next, there? Ah, James Gordon – how’re you today?’

James shrugged, ‘Yeah, good.’ But his dejected features and furrowed brows explained otherwise. This insular body language looked rather incongruous on his solid frame and large stature. ‘Just the usual, cheers, David.’

‘A cappuccino, please, Karen!’ Mr Jones called to his colleague as he scanned through James’ usual cheese and mushroom toastie. James checked his watch, and as he did so, Mr Jones caught a glimpse of a Chinese dragon illustration snaking down his arm. ‘New tattoo, eh?’ he said, perhaps a little too energetically to counterbalance James’ mood. ‘Makes that sleeve of yours complete, now doesn’t it?’

‘Cheers mate,’ he snorted politely, but his limp reply lacked any of the jovial laddishness that frequently dominated his tone.

‘I hope you have a lovely half day today, James. Maybe take your daughters to the park? Your toastie will be ready

-find the full piece on concrete-online-

shortly, OK, friend?’

Mr Jones was a creature of habit. A habit was something comforting, to be enjoyed; nothing could go wrong if one continually revolved one’s life round a series of actions, the way the sun orbits the earth. But, as he entered the newsagents at seven forty-five for his morning newspaper, James Gordon was the person that occupied his mind most habitually. If something was bothering his regular customers, then it was bothering Mr Jones. The elusive cause of James’ gloom buzzed inside Mr Jones’ head like a fly pelting on glass, scouting for an open window.

Suddenly a small pistol was thrust into his face. Orders were barked at him by a balaclava with eyes. ‘I’m sorry?’ he asked, coming into consciousness and away from James Gordon.

‘Get on the floor now!’ the balaclava thundered, shoving his gun to Mr Jones’ forehead. He complied sedately. Sitting on the linoleum, he unfolded his paper and turned to the astrology section, to look for answers as to why this day had become so unordinary. Particularly for one who was born on such an ordinary day as Tuesday, and works in M&S. Perhaps it was because he was a Leo, he reasoned. Judging by the vague yet ominous prophecy he read, it was just a bad day for Leos. He wondered whether the person writing this supposed someone born under his star would get caught up in a robbery today, or if the inauspicious message meant they’d lose an umbrella, or some such ordinary item.

Whatever the reason for this speedbump in his life, Mr Jones had never experienced such a ruckus before. But somebody had to do something. And, judging by the hopeless elderly gentleman behind the till and the pregnant woman with her crying toddler, it looked like the stars were calling on him to diffuse the situation ...

Hamilton Brown

Photo: Unsplash

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EDITOR: hamilton brown

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

fashion

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What self care means to me

I’ll begin by saying that the generally accepted associations of the term ‘selfcare’ as I have known them are very different from the way I now understand the practice. Conventionally promoted methods of self-care, from bubble baths to retail therapy, are not only incredibly general but are primarily guided by consumerism: a capitalisation of the trends that self-care and ‘wellness’ have become. That’s not to say that it isn’t relaxing and beneficial to have the odd bubble bath or invest in a new lipstick or nail polish, but when we’re discussing ‘self-care’, it’s important to recognise that it must also implicitly involve something far deeper. A genuine ‘care’ of the self is not something that can be mollified by anything external.

Two key elements of my personal self-care actually stemmed from misguided attempts to imitate what works for other people. In the name of being healthy and looking and feeling good, I went through a phase of obsessive exer-

cising and restrictive eating; frequently looking to social media for guidance and justification of what was, in reality, a very unhealthy lifestyle. What really turned this on its head for me and snapped me out of this mindset was the harsh reality I encountered when, having reached

Photo: unsplash my desired aesthetic state, mirroring all of those Instagram models and fitness pages, I didn’t feel good at all, only perpetually exhausted and stressed.

From that point onwards, I began to make the effort to genuinely listen to my body, resulting in the components of my self-care which are intu-

itive eating (trusting yourself to have complete food freedom) and regular yoga practise (a form of exercise which I’ve managed to disengage from my previous superficial motivations).

This journey is a journey that I am still on myself and will probably continue to be on for a long time to come.

But it is mostly about listening to your body, and finding what works for you - and this is often a task of lengthy trial and error. Genuine self-care requires a combination of self-honesty and selftrust and is never a one-size-fits-all matter, something which can be especially hard to stomach in the influencer era.

Considering how susceptible I was to the ‘influencer’ culture, I also limit and finetune my social media presence; although no one’s self-care rituals are universal, I think the majority of us could benefit from a ‘less is more’ approach to internet usage.

Eleanor Burleigh

From page to screen: fashion on film Costumes are fundamental to any film, but they are particularly important in adaptations of literature, an aspect that is often forgotten amid changes to plot and character. Costumes help bring characters to life on screen, and they are fantastic visual tools for telling us just who these characters are.

The recent Netflix adaptation of Daphne du Maurier’s classic 1938 novel ‘Rebecca’, subverts the infamous flouncy, white dress that Mrs de Winter wears to the costume ball in the text, reimagining it into a crimson velvet gown. Through costume, the new, less-submissive interpretation of the character comes to life on screen.

When Greta Gerwig’s ‘Little Women’ won its Oscar for costume design, it was met with frustration, with many deeming the film unworthy of the award. Yet this sentiment

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ignores the way that costumes, especially in recent period dramas, can be used to elevate the substance of the work. The costumes that Jo wears are distinctly different to the ones that Meg wears, and this small choice subtly says much about who these women are: their desires, their views, their dreams.

Meg’s aspiration to be a ‘proper’ lady sees her wearing a corset and hoop, whereas Jo’s performative and practical frocks perfectly capture her resistance to the social norms imposed on women.

‘The Great Gatsby’ wouldn’t be ‘The Great Gatsby’ without the lavish costumes worn by Daisy Buchanan and Jay Gatsby. The 2013 adaptation, although not strictly historically accurate in its depiction of 1920s style, uses costumes to say a lot about its characters. Gatsby’s pink, pin-striped suit, in its cultural context, is all about

Photo: columbia pictures

showiness, and works to reveal the truth about Gatsby’s beginnings. The darker colour palette reserved for Tom is restrained and understated.

The contrast between the costumes is used to represent the contrast between old and new money, and makes for a striking visual effect on screen.

Like plots, narratives and themes, costume is just as pivotal when adapting an iconic piece of literature.

nerisse appleby

EDITOR: imogen carter de jong

fashion 15 The subtle rebellion of Kamala Harris’ Converse With the end of the US Election and the Biden-Harris campaign, Kamala Harris has received her fair share of media attention. This spotlight is not merely a result of the exciting focus on her as the first female Vice-President, for she is also in the spotlight because of her unconventional choice of footwear.

Harris’ preference for Converse trainers whilst on the campaign trail defies the norm for women in powerful positions in the public eye, who have historically tended to opt for more formal choices. During her 2016 campaign, Hillary Clinton wore kitten heels, a style that suggests sophistication and care, thus aligning Clinton with these desirable attributes in a leader. Harris’ Converse do not offer

quite the same perception: instead, she appears relatable, friendly, normal.

Through her shoes, we are reminded that, ultimately, she is human too.

Converse All-Stars about as quintessentially American as a footwear brand can be. Introduced initially as a basketball shoe, the trainers are now a staple of wardrobes internationally, with the iconic American colours of the white circle, blue star and red font of the shoe’s label being recognisable just about anywhere. They have become the perfect everyday shoe: they are worn to death by their owners, who are unafraid to get them dirty time and again.

It is this rough and ready sense that Harris embodies when wearing them as she refuses to subscribe to the expecta-

tion of having a fresh outfit and shoes on every time she appears in public.

Harris’ footwear makes her appear infinitely more approachable. Given that her campaign slogan was ‘Kamala Harris for the people’, her footwear reflects this. She appears in touch with the American population in a way no other leader has before, rebelling against the prescribed expectations of a leader.

Alternatively, she might just prefer comfort over formality, not caring what the public think, which is equally as respectable as the statement the shoes present. I think we can all respect prioritising comfort, that’s for sure!

fully two dimensional and exclusive: cis-gendered, slim and pre-dominantly white. The fashion industry’s concept of beauty (and consequentially their selling of sex), as derived from this appeal, is incredibly problematic. Today, however, we are travelling towards a more inclusive vision, a concept of beauty and sex appeal free from binaries and societal expectations. Although this totality is many years in the future, it is in progress. Fashion brands, in their imagery and online presence, are beginning to reflect this new desire for diversity.

Foundationally, the male gaze dominates the selling of ‘sex’: the male ‘ideal’ determines the female model; the model determines the broadcasting of fashion and, combined, these determine our societal perception of sex, beauty and ‘perfection’. As the Eurocentric beauty standard reigned, anything outside of it was deemed inferior. This connection between beauty and the male ideal generates unattainable standards which, ultimately, the beauty and fashion world benefit from. For many, clothes and beauty became a vehicle to unnecessary self-bettering in attempts to minimise the gap between the ideal

traditional selling of ‘sex’ is damaging.

The impact of the male gaze is observable within the media, and we might look to the transgression of the Playgirl publication as an example. At its roots, Playgirl was female-led journalism famous for its stylish photography and thought-provoking spreads.

The overriding message was one of self-ownership - a feminist reaction to the objectification of the male gaze, a declaration (through male nudity) of female autonomy and authority regarding sex and sexual identification. Yet as the online Porn industry grew, the selling of sex changed, and Playgirl voyaged into a reflectively tacky objectification of the naked body. As the accessibility of ‘sex’ grew, the power behind Playgirl wilted. The open-ended exploration was lost. Yet in 2020, Playgirl is making a return. Rebranding itself as a publication “desirable to anybody who’s interested in art and fashion”, as Jack Lindley Kuhns put it in an i-D interview, it aims at a cultured and tasteful presentation of nudity. Ultimately, this return reflects society’s changing taste: a reclamation of ‘sex’ and the naked body.

To view the body as art – as Play-

non-binary beauty. Our obsession with the unattainable is being replaced by a thirst for reality; fashion houses and collections gain respect no longer for their narrow sense of ‘perfection’ (think Victoria’s Secret) but instead for an all-inclusive open-mindedness. Gender, race, sexuality and body-shape are being diversified, their representation praised.

Rihanna’s ‘Savage X Fenty’ is the ultimate role-model. Her 2018 debut at New York Fashion Week centred around inclusivity, the show’s models being perhaps the most diverse of any Fashion Week show. Showcasing models to reflect every body type, race, gender and sexuality, Fenty re-defined what it meant to be a lingerie model. Her vision of lingerie, quite rightly, became not a selling of ‘sex’, but a celebration of the human body and the universality of ‘beauty’.

Everybody needs to feel accepted and loved; everybody needs to feel seen; everybody needs to feel represented. The changing of fashion’s gaze, and its shift towards inclusivity is one we have needed for years. We cannot stop until the change is complete.

Content

sam hewitson Sex sells? Playgirl, Fenty, and fashion’s new gaze ‘Sex appeal’ has long been disgrace- and their inferiority. Psychologically, the girl now does – is to see the it in its full

editor: imogen carter de jong

Hannah Emery

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seconds

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fashion

fame

TikTok products truly worth the hype

Like many of us, I found myself entrenched in the depths of Tik Tok over Lockdown (I had already become addicted to the app in November 2019 - but we won’t discuss that!). More than other social media apps that have come before it, Tik Tok seemed to have a powerful influence over us. In March, we all dropped everything and began making whipped coffee, bleaching our jeans and dying the front two strands of our hair. While I’ve foregone plenty of these trends, some of them have stuck.

When Jeremy Scheck told me to add pasta water to my sauce, I never went back to draining the god-like substance again. The same goes for certain beauty trends: I binged videos on anything from learning the perfect e-girl eyeliner, to the pros of double cleansing. However, in an industry skilled at targeting insecurities for profit, and influencers promoting brands that aren’t always in the best interest of their audience, it can be difficult to tell authentic praise from targeted advertisements.

When I join a new social media platform, I slowly begin to find influencers whose opinions I trust.

Someone who gained my trust on Tik Tok is @skincarebyhyram, an American influencer specialising in skincare. He provides product recommendations for a diverse range of budgets and skintypes, taking care to explain ingredient lists that had been gate-keeped for too long. It is through his guidance that I learned what ingredients I should look out for as someone with dry, sensitive and acne-prone skin.

Along with many other consumers, I invested in a number of CeraVe and The Ordinary products. Following Hyram’s advice, I went back to CeraVe, a brand my dermatologist had originally recommended after a particularly bad acne flare-up. Today,

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I still use the hydrating cleanser, moisturizer and sunscreen daily.

From The Ordinary, I favour the Hyaluronic Acid Serum for my dry skin, followed up with the caffeine solution on my eyes. These products don’t break the bank for university students, but have hydrated my skin after long hours spent in the library (or at Bottomless

Brunch…).

When I was looking for a new face mask, I turned to Hyram’s videos. He had recommended the First Aid Beauty Instant Repair Oatmeal Mask.

Approximately once a week, I use the mask and find my skin to feel nourished and my acne to be soothed.

A new trend I’ve been loving when it pops up on my feed are shower routines. I realised that I needed to up my body care routine, investing in a Cocoa Butter body oil and Dove body lotion. I start by using a couple drops of oil on my feet, legs, arms, stomach and chest respectively. As I like to take my facial skin care products down my neck (a tip I learned from various beauty gurus over the years), body

products aren’t necessary here. I then take my body lotion over these places, paying special attention to my elbows, knees, love handles, and the back of my feet where I get particularly dry.

I’ve learned how important moisturized skin is, especially around this time of year and with repetitive hand washing due to Covid. I’ve grown fond of the simple pleasures of taking time inside the shower and after the fact to focus on myself, and my hair, face, and body.

It’s important to remember that skincare isn’t a one size fits all. It’s a process of trial and error, and can take years before you find products that are right for your skin.

Listen to Hyram and you’ll soon learn about ingredients and what suits your body, as well as your lifestyle.

all Photos: UNSPLASH

Morgan Burdick

editoR: imogen carter de jong

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music

Norwich band Red Mar push boundaries with slew of singles

Starting with ‘Killing the Whale’ released on Halloween, Norwich-based experimental group Red Mar have began releasing a trio of singles. The second of the trio, ‘Hound,’ released on the 22nd of November– a couple of days after our publication– but I was given the opportunity to have a listen before, as well as getting a sneak peak of the third, ‘Euphrasie Visits.’

‘Killing the Whale’ is purely instrumental, a sprawling one of over nine minutes featuring elements of drone and noise music. There is a constant guitar loop throughout that haunts you long after the track finishes, although it speeds up towards the track’s conclusion in a cacophony of adrenaline-fuelled drumming and distortion.

The second, ‘Hound,’ features

vocals this time, resembling a younger, slightly less tortured Michael Gira of

track as well, but as an epilogue of sorts we’re treated to a juxtaposition with some gentler vocals and an eerie, high-pitched melody like a road crossing signal crossed with a music box.

The third and final single, releasing in December, is the longest of three: ‘Euphrasie Visits’ is an ambient exploration of countless haunting samples and distorted instruments, including an opening four minutes of improvisation. photo: Anton Lukoszevieze I had some flashbacks to my listening of Godspeed Swans. Thankfully, Red Mar avoids You! Black Emperor’s discography. The the abrasion of tracks like ‘Cop’ from track takes us through a series of acts, Swans’ early work, as the creaking bass with Miles’ vocal performance starting is eventually met with twinkling strings at around seven minutes in acting as a and far more engaging drum work. A melancholic highlight. similarly explosive conclusion for this

Jack Oxford

Live albums: An underappreciated art David Bowie’s live album, Ziggy Stardust and the Spiders from Mars, is a great example.

The insane quality of ‘Moonage Daydream’ and haunting vocal performances from Bowie on ‘My Death’ are two photo: Wikimedia commons examples of high One thing I miss the most due to moments on an COVID-19 is live music. The buzz of album that is filled with them. But trying to guess when the act would would I take this over Hunky Dory? arrive on stage, to that euphoric The Rise and Fall…? Aladdin Sane? I feeling as you walk out of the wouldn’t. venue, your ears still ringing. Over Likewise, with Kanye West’s Late lockdown, I’ve fed this nostalgia by Orchestration I can’t help but feel the listening to live music. This has made same way. Backed by a seventeenme question whether live versions are piece orchestra at Abbey Road better than studio versions or, even Studios in London, Kanye performed more, if live versions are any good. tracks from what many consider to be

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his greatest two albums: The College Dropout and Late Registration. It’s an immersive experience. You feel as though you are there in the crowd and the use of an orchestra gives the album a new dimension to it. Yet it doesn’t have the same impact on me that the original albums have.

Although there isn’t a studio version of Kanye’s ‘Pinocchio Story’, I don’t feel that it’s needed. The track from 808s & Heartbreak is so authentic as though it is being recorded through a phone and the emotion within this track is something that can’t be replicated in a studio recording.

Overall, studio versions are better than live recordings. But while we can’t experience live music right now, live albums help to fill this void. In some cases, such as ‘Pinocchio Story’, a studio recording isn’t even needed.

Tom manning

EDITOR: jack oxford

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music

Talking Lockdown and a new single with Norwich’s Own Floral Image I had the great honor of speaking with Norwich psychedelic rock band, Floral Image, in preparation for their single ‘Why I Leave’ and subsequent music video. You can find their video on YouTube and Facebook Watch, and the single is on Spotify and Bandcamp.

Floral Image consists of Fergus (guitar, vocals), Jack (Keys, vocals), Julian (drummer), and Mitch (bass, vocals).

How did your lockdown go?

Jack: It was um...it was weird. We found more time to do music. But after we did quite a bit of music I felt a bit drained from it all. Then didn’t write many songs for a while. It was hard not seeing people.

Mitch: And ready for the next bit, you know? Music is two parts; playing for yourself and playing for other people. You can only go so far when you’re twiddling about in your spare room.

Julien: I was enjoying being at home and having plenty of time to do things but as a musician it was very tough because you lose this sense of goal - why are you doing music if it’s just to play in your room? It took a while to understand why we were continuing the band.

Mitch: We did have a one week period where we decided to become data programmers and give it up.

Jack: That’s what the government wants.

Miles: Gotta please Rishi, if we can’t please Rishi who can we please?

Jack: Nobody.

Covid’s changed the way we consume art, music and otherwise, what effect do you think that will have on the release of your next single?

Mitch: It’s tough because we’ve

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because finally people can hear what we’ve been creating. Trying to push back any feelings of an anti-climax because of the whole situation.

But we’ve worked really hard as a group and with our creative team to make it as good as what it can be given the circumstances Jack: What’s the photo: Olivia Brohier Askew single called, Fergus? done all of the bits that approach a Ferg: It’s called ‘Why I Leave.’ single release but the only bit we can’t Interesting, differing from some see is the celebratory promo. I wonder of your other titles like Zonsonder if it’s gonna instigate a period of time and Subpoena. where musicians consider whether to Mitch: It’s the first multiple word release music all together which is single to be released, in the title incredibly pertinent considering the alone. It’s almost 3 times as good. whole nature of current listenable Julien: My biggest excitement recorded music. Maybe we’ll see a is that we can really see a step-up shift away from records and towards in the quality of the music and our singles. production, I can really appreciate Ferg: I think for us as a band it how it’s different from Zonsonder, will bring the mindset where you just for instance. It was the first song I over-analyse your previous release was involved in, so I’m excited to and the things you could’ve changed hear the comments of those listening because we haven’t been able to play to it for the first time or hearing it it live or anything. on the radio if it’s aired. I’m really Jack: Desperately and insanely excited for people to say: “Woah. watching the Spotify streaming That’s a real step-up from before”. numbers slowly rise. But hopefully You guys have your music video it might mean that more people will coming out and a single coming on listen to it online but in terms of the 20th of November, where can we making money from it, we would’ve find all of this? done that from selling the single at Jack: The video will be on YouTube gigs and we can’t do that. So, if you and the single will be on Bandcamp want to make a career in music that’s which you can find on our website, almost impossible at the moment. and you can listen on streaming sites ‘Cause the government don’t deem us as well. worthy enough.

Julien: We have preference with You guys have a single coming TIDAL, because they are very kind out, and this is your first release to artists. since 2019?

Full interview available on Ferg: That’s correct, yeah. concrete-online.co.uk Awesome, so how are you guys feeling about it?

Ferg: Two things, really excited

Morgan Burdick

EDITOR: jack oxford

music

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Elliott Smith – A Distorted Reality Is Now A Necessity To Be Free

Elliott Smith’s ‘A Distorted Reality Is Now A Necessity To Be Free’ is concealed quite nicely within Smith’s oeuvre. Like most of his work, ‘Distorted Reality’ is pessimistic indiepop delving into Smith’s addiction and depression. The final track on the posthumous release From A Basement On The Hill, the song was also the last single Smith released before passing in October 2003.

The lyrics poetically illustrate a depressive’s self-destructive attempts to “be free” of his disease, questioning whether his issues are because his “country don’t give a f*ck” or within his head, ultimately realising he will

always be “between” and never happy or clean.

Musically, ‘Distorted Reality’ has Smith’s characteristic piano/ drum/bass/guitar and takes melodic

Released in 1985 as a compilation of recordings made throughout the late 60s, the VU album with its ghostly apparition of a VU meter on the cover was sonically a bit out of step. Rock ‘n’ roll like that went out of fashion in the 80s. With Lionel Richie in the top spot, and REM and the Jesus and Mary Chain occupying everything in between, the Velvet Underground really don’t spring out

as revolutionary.

Nonetheless, ‘I Can’t Stand It’, the opening song, is one of the best releases of that decade. It’s a blistering three-minute moan-a-thon with a recently-dumped Reed complaining about his house: ‘my landlady called me up / she tried to hit me with a mop.’ he grumbles above scrappy, cheap guitar noises. Repetition is key; the rhythm is knocked into you like a

Content

photo: Wikimedia commons

inspiration from George Harrison as with his previous album Figure 8.

Sadly, this song isn’t as popular as Smith’s other work, because it is fundamentally, at its core, hopeless.

It is Smith’s final fade-out, the last message from a dependant to a world which “disappoint[‘s]” him, where all his interactions are with people wanting to use him and his talent selfishly.

It is the hopeless last message of a depressive to a world that he doesn’t feel welcome or free in, and a realisation that he never will.

alex grenfell

The Velvet Underground – I Can’t Stand It

Fleetwood

photo: Wikimedia commons

Mac

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Did

You

Ever

Since being formed in 1967 by the late Peter Green, Fleetwood Mac has gone through several sound changes, multiple image changes & numerous line-up changes. The most famous of which is the one that spanned from 1973 to the late eighties and consisted of Stevie Nicks, Lindsey Buckingham, Mick Fleetwood, and Christine & John McVie. Shortly before Buckingham and Nicks joined the band, the album ‘Penguin’ was released which pays homage to the blues-rock sound that Peter Green strived for. Fleetwood Mac has an abundance of lesser known ‘deep cuts’, but the track

editor: Jack Oxford

blunt nail into a wooden board.

Joining a long tradition of people not being able to stand it, this song rings true for all the jilted and unwashed out there. It’s so good that Johnny Marr acknowledged borrowing it for the riff on ‘The Queen Is Dead.’ Though, the Velvet Underground nicked it from Satie’s ‘Vexations’ first.

Callum GRay

Love

Me

‘Did You Ever Love Me,’ which was released as a single but never charted, is my favourite. In a rare occurrence, Christine McVie is the lead vocalist on this track – as she was confined to the shadows after Nicks joined the band. Her vocals are sublime, but underrated – and suit this melancholy blues track perfectly. The opening lyric sets the tone for the rest of this song; “Ooh you’re a dream’ in that, listening to it feels like a dream. Accompanied by serene steel drums throughout, this track, in my opinion is a classic.

Anastasia Christodoulou

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gaming

Revisiting: Ace Attorney –­ Spirit of Justice The Ace Attorney series has always been known for its incredibly wacky plotlines, and similarly wacky casts, with series leads Phoenix Wright and Apollo Justice being some of the most hilarious I’ve known in my entire gaming life.

A bit of context: in the Ace Attorney series, you (usually) play as a defence attorney in a caricature of Japan’s legal system. In the first three games you play as Phoenix Wright, in the fourth as a new protagonist, Apollo Justice, and in the fifth and sixth games you play as multiple characters throughout, including Phoenix and Apollo but also a new attorney named Athena Cykes.

In Spirit of Justice, the usual setting of Japanifornia (called as such by the fanbase due to the English localization

Photo: Unsplash changing the setting from Japan to US in the script whilst changing absolutely nothing visually) is replaced with the fictional kingdom of Khura’in, as Phoenix visits it to see his former assistant Maya Fey. It’s a nation of spirit mediums with a strange legal system that forces defence attorneys to share the sentences their clients receive should they lose a case– in other words, a defence attorney must

win their case if they don’t want to die or be imprisoned.

Whilst Spirit of Justice is a solid entry to the series, it retreads old ground. The game in the series just before it, Dual Destinies, featured the supposed ‘Dark Age of the Law,’ including false charges and forged evidence, with the ‘Dark Age’ coming to an end in the game’s last case.

Spirit of Justice has the twisted legal system of Khura’in, which Phoenix and Apollo eventually try to fix– essentially the same plot as Dual Destinies. Also, despite being titled a ‘Phoenix Wright’ game, you play most of the game as Apollo. Probably a marketing decision, but oh well.

jack oxford

The Impact of Covid-19 on the Gaming Industry Covid-19 has had some devastating and was just what many people needed. gaming industry to evolve during the effects on businesses all around the Esports have pandemic. world, but the gaming industry has not adapted to being Even physical board suffered as much as it games sales have gone has boomed. up: with people stuck at Though we’ve seen home, there has been a delays in games, like greater emphasis on family Cyberpunk 2077, and time or house bonding cancelled competitions, to pass the time. During we’ve also seen the the heights of the first gaming industry adapt lockdown, I remember it with the changing times being impossible to buy and still continue to board games, as they were Photo: Unsplash thrive. all sold out. Now going While the world was into this second lockdown, my house Photo: Unsplash shutting down in March has prepared itself with making sure we when lockdown hit, Animal Crossing have plenty of games to keep us busy. sales went through the roof with over With games like Among Us now 11.77 million units being sold by March taking over in this second lockdown, 3rd, and a total of 13.41 million units it is safe to say that there is more of a Photo: Unsplash after six weeks on sale. This makes it one demand than ever for games to continue, of the highest grossing openings for a solely online: cancelling in person events and though Covid-19 has hit the gaming Nintendo Switch release. The impact to create online streams of midseason industry hard, it has bounced back and of Covid-19 left many people at home, events, or adapting broadcasting styles. come out even stronger. bored, and looking for a world to escape There is more of a demand than ever to. Animal Crossing provided just that for these streams, which is forcing the

leia butler

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EDITOR: james ward

gaming

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Lacklustre

Next-Generation

Historically this has been one of the most exciting events of a generation: the moment you get your hands on a brandnew console, whether you’re team PlayStation or team Xbox; the moment when the two giants face off with their new consoles, gamers lining the streets to collect their hardware along with the newest titles.

This year the industry has been thrown into disarray with delays to some of the biggest expected titles and the release coinciding with the latest national lockdown in England.

What is perhaps telling is that whilst Xbox CEO Phil Spencer has said that Xbox have sold more consoles than ever on a launch day, they will not release their sales figures. Similarly, Sony has also not released any sales figures for the PS5, though what we do know is that the PS4 has outsold Xbox One 2:1 to date.

Speaking to some gamers in the community it is evident that with the lack of new titles being released with the consoles and frankly the lackluster upgrades for the price compared to PC, many gamers are reconsidering their investments into console gaming and beginning to switch to PC. For me, switching to PC is not something I’m even remotely considering, but for now, my trusty Xbox One will stay by my side until such a time that it needs replacing. Right now, all the games available are also available on the One, plus Cyberpunk 2077 (my most anticipated game of the year) will only be released on Xbox One initially with an update for the Series X to follow.

Our Gaming Editor, James Ward adds his thoughts: “This generation’s specifications don’t seem to have advanced much when compared to the price, compared to PC which for double

Consoles

the price can be future-proofed for a considerable amount of time. PC can [also] play many games that consoles cannot, [there are] a lot of indie games that don’t come to console.”

With services such as the Xbox Game Pass and PlayStation Now also available on PC, it’s clear why this continues to be a considerable contender moving forward, given the bonus that console exclusives could become a thing of the past.

All in all, whilst some gamers have jumped in with both feet and upgraded their consoles, many are taking a much more cautious approach to upgrading, considering their options and switching to PC; this decision could be influenced by the lackluster specifications of the consoles or the economic pressure taking hold during the pandemic.

Roo pitt

Photo: Unsplash

EDITOR: james ward

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gaming

The State of the MMO Genre in 2020 MMOs - that’s Mega Multiplayer Online games - first (commercially) began in the 1990s with the release of Neverwinter Nights. Since then, we have seen countless titles: some which remain powerhouses today. One thing we have also seen is the stagnation of the genre, an inertia resulting from similar formulae being reproduced each new release. Despite this, the biggest MMOs today still bring in hefty player counts and profits: World of Warcraft for example having an estimated 3 million subscribers.

The three biggest MMOs at the moment, by player count, are World of Warcraft, Old School Runescape, and Final Fantasy XIV: A Realm Reborn.

Two of these have been going for almost twenty years, and FFXIV for almost a decade. Having played all three at some point, they are still exceptionally fun experiences when played with friends, but lack originality and can become tedious quite quickly. This is made worse by the attitude that these games are supposed to be constant experiences, similar to ‘Games as a

best

Service’, where any time not playing means you might get left behind. Again this is worsened by the subscription

Photo: Unsplash fees present, although this does ensure a steady stream of content.

These games are all a type of MMO referred to as a ‘theme park MMO’, where the players are led along a pre-set path with some delineation available. This differs from a ‘sandbox MMO’, where the players are free to choose their own progression. In my opinion, the latter of these types offers a more diverse and vibrant experience,

Lockdown

Games

but unfortunately there are not many popular releases that follow this format.

An example of one that does is Black Desert Online.

In my personal experience with MMOs, the formulae of fetch quests and tab targeting is particularly tedious.

Black Desert Online is my favourite MMO in regards to changing up the formula, remedying this tedium with its dynamic and action-oriented combat but its pay-to-win atmosphere and ridiculous grinding culture led me away. Another popular MMO is Guild Wars 2, featuring dynamic events and a casual atmosphere, but it is still afraid to divert too far from the traditional MMO makeup.

I think that MMOs need a change, something fresh to really liven up the genre and its offerings. Unfortunately, this is unlikely to happen just yet, so while we wait, why not try out World of Warcraft’s new Shadowlands expansion on the 24th? If you’ve got a group, WoW is still an experience worth having.

james ward

Part

II

The 2017 reincarnation of Star Wars Battlefront II has proven to be a game that I just can’t stop playing during both of this year’s lockdowns. Despite the criticism it received in previous years, the game now feels fully complete to me and I wish that the developers would continue to work on this tremendously

addictive installment in the Battlefront franchise.

I have been levelling up my Princess Leia and Darth Maul so that I can unlock their ‘Legendary’ costumes: Leia in her iconic Alderaan outfit and Maul in his Rebels appearance.

The game is so diverse in terms of

gameplay. I am a big fan of Heroes vs.

Villains, but I do really enjoy Co-Op Missions when you’ve got a good team!

I highly recommend any fan of Star Wars or the Battlefield series to check out this entry; it will not disappoint!

Pokémon Platinum is a welcome respite to the stress of lockdown. Any time I want to squeeze some serotonin into my life, I boot up my ancient Nintendo DS, wipe my completed game file, and start playing again from scratch.

You play as a Pokémon trainer, travel through the Sinnoh region, battle and

capture Pokémon to form a team, and work your way through a series of Gyms, obtaining 8 badges to reach the Pokémon League: the crème de la crème of battle frontiers. It brings a quiet sense of accomplishment, effective in its simplicity.

It’s a game I know like the back of my

hand. It’s no longer unpredictable, but that’s what I like about it. I know what Pokémon I want in my team, where all the ‘secret’ items are, and the most effective route. It’s entirely inorganic, but the familiarity is what I seek, even after all these years.

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patrick coe

ally fowler

EDITOR: james ward

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

uea.su/buddy

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FILM

Rebecca: From book to film “There were so many twists and turns” Dark, beautiful, and clever are 3 words I’d use to describe Ben Wheatley’s Rebecca.

I’d never read the books,written

by Daphne du Maurier, but I’d always heard good things about the story of Rebecca. So when I heard it was coming onto Netflix, I knew it was the perfect time to give the story a go. It was one of the best films I have seen in a long time, far Photo: Kerry brown/ Netflix better than I expected.

Lily James played the role perfectly and was so suited to her One of my favourite aspects was character. The performance was the fashion and set design in the flawless and I enjoyed every moment movie. The outfits were gorgeous and she was on screen. Though her co-star, really intrigued me. I loved seeing Armie Hammer, did not stand out to the evolution of the outfits as James’ me as particularly memorable or well character went from rags to riches. cast, fellow co-star Kristin Scott Thomas Another element that was particularly stole the screen and played her role so successful was the way the lighting and interestingly and with a lot of depth. set design was presented. There was a

really gloomy and gritty element to the lighting of the film which fit in with the aesthetic and really gave it that mysterious tone. The settings were intriguing and fit the story very well and I particularly enjoyed the way the mysterious Rebecca’s room was designed.

There were so many twists and turns in the film and I think it was very well sustained. The film never felt too long, or too boring.

It perfectly caught my attention at all times and was a great adaptation of the novel.

If you are looking for something with a touch of romance, a shadow of darkness, and a whole lot of mystery and drama, then this is totally the film for you and comes highly recommended by me.

Review 5/5

Leia butler

Lockdown Viewing: Studio Ghibli films With the return of lockdown and sunsets starting at 4pm, spirits are understandably quite low. Studio Ghibli films have been a place of security and comfort for viewers over the years, with something there for everyone.

Founded in 1985, Studio Ghibli is a Japanese animation studio, forefronted by our lord and saviour Hayao Miyazaki. Although its content is aimed at children, Studio Ghibli films have become something of a cult-classic among groups of adults too. They are easy to consume, but by no means simple.

Covering topics such as grief, war, family, childhood, and the environment, the studio offers a film for any mood. Feeling whimsical? Watch Kiki’s Delivery Service. Feeling childlike? Go for Ponyo. Ready for adventure? Try Laputa: Castle in the Sky. If you’re in the mood to feel numbingly, horribly sad, watch Grave of the Fireflies, although perhaps this is one to avoid in the cur-

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rent climate.

Studio Ghibli is famed for its beautiful animation style. Most of its repertoire features a mix of hand-drawn animation and expansive watercolour

Photo: studio ghibli backgrounds, and the care and attention given to detail culminates in a stellar viewing experience. There is an immersive quality to the scenery in these films that is almost hypnotising. Likewise, the scores are also a huge part of the enjoyable experience, with distinc-

tive and emotional melodies present in every watch.

Very few of the films feature names of places that exist in the ‘real world’.

We are offered a certain degree of escapism, wherein the locations give us an immense sense of wanderlust, but there is little connection to a specific place. While most of the films are set somewhere in Japan, the fantasy comes from the ambiguity of their locations, in pockets of worlds we wouldn’t expect to see otherwise.

Studio Ghibli offers us magic in a way that is organic, creative, and heartfelt. It tells stories rooted in love, whether that be for people, for the environment, or for raccoon dogs (thanks, Pom Poko). They offer an excellent escape, and with so many films in the Ghibli canon, there’s an endless set of worlds to dive into.

ally fowler

EDITOR: NIAMH BROOK

FILM

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Norwich Film Festival 2020 I come from a city that does not value much further afield.” the arts. When I moved to Norwich Whilst without a doubt, a physical three years ago it felt like walking into festival would have been a joy to attend a whole new world. Norwich is a place this year, the online platform NFF where art is valued and nowhere is this has created is truly a triumph. Neatly more evident than at the Norwich Film organised into different themed sections Festival. as well as daily recommendations, every Now, don’t be fooled the Norwich Film Festival isn’t a teeny, tiny festival with only a few films on show. NFF is a massive operation. Filmmakers from all over the world submit their shorts and big names such as Dexter Fletcher and Olivia Coleman can be found on the festival’s judging panel! Norwich film festival is not something to be overlooked!

Photo: unsplash Naturally, this year’s festival had to re-work it’s format as a result of the day I log on I am astounded by not only pandemic but Ewan Tough, the festival’s the work of the film makers but the marketing director, believes that whilst festival themselves. this year he misses the “usual buzz of The films featured in the festival the physical festival” the online platform are a showcase of immense creativity. allows the festival to reach not only From Avant garde animation to breath“local audiences but attendees from taking documentaries, this year’s NFF

truly has something for everyone. One film in particular that has stayed with me long after watching is the animated short, Something Borrowed. The film’s tender utilization of animation is both tragic and somehow beautiful in its depiction of how it is to live with the disease. A definite tearjerker if you are as soppy as me, Something Borrowed is perhaps my favourite of the festival.

Overall this year’s Norwich film festival has been fantastic, and it has truly been a pleasure to watch so many of the amazing films showing this year. If missed the opportunity to attend this year, the festival runs annually so make sure to enjoy it next year and if you can make it to this year’s festival, in the words of the founder Kellen Playford, “grab some popcorn, relax on the sofa, and join us for the digital edition of NFF2020.”

niamh brook

D i s n e y + R e v i e w : C l o u d s If you have Disney+, I’m sure you will surprise that the mystery and tension in have seen their latest biopic, Clouds.

The film tells the true story of Zach Sobiech (Fin Argus), a high school senior who uploaded his song ‘Clouds’ to YouTube and it became a viral hit, leading to a recording contract and a concert performance. Clouds has all the makings of a powerful heart-tugger.

Zach was originally diagnosed Photo:with Netflix bone cancer when he was 12, and the Photo: unsplash movie begins 4 years after, he is 17 and completed 20 rounds of chemotherapy. the film are off the table.

Director Justin Baldoni, who also I feel like Clouds wasn’t really a directed 2019 teen drama Five Feet typical Disney movie, which I think Apart, shows a genuine respect for the is the aspect I like most about it. It characters and the situations they are was a very heart-warming as well as going through. Even though we know a very heart-breaking movie. Disney what to expect from the film, as Zach’s are definitely picking up more content fate is sealed from the start, it is no aimed towards the young teen audience

EDITOR: NIAMH BROOK

as this was previously Warner Bros film prior to its release on Disney +. I feel that the portrayal of the characters is very impressive, as I feel that it is a very genuine portrayal of someone going through cancer as we see the struggles they go through. The movie uses these performances to get awareness and information out there to the audience.

The movie’s theme, “you don’t have to find out you’re dying to start living”, I think is a very important message to younger viewers. This teaches them that they should seize every opportunity they have during their life and not be afraid to go after your dreams. I would recommend the movie if you don’t mind a good cry at a film!

Caitlin telford

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FILM

#NotAWitch: The Witches and Disability

Photo: Unsplash

Photo: warner bros. pictures We all suffer from the odd moment of mind boggling brainlessness. Warner Bros just had theirs after releasing “The Witches”, an adaptation of the 1983 novel by British writer Roald Dahl. The main issue relates to director Robert Zemeckis’s seeming ignorance towards the very concept of disability, unequivocally blurring the line between physical impairment and witches. Put simply, he messed up. Big time.

Adapting “The Witches” was a touchy business from the get go. Dahl was writing at a time of patriarchal predominance, male centrism few condemned and many justified. Unlike in the age of #metoo, his outlook was born in the context of a structural and societal dynamic that prevented true female empowerment. His novel is now placed at number 22 on the American Library Association’s list of most challenged books, making the decision to adapt his text ever more brave.

So doomed from the start? Not necessarily, but Zemeckis has only made the problem worse through the film’s

deplorable portrayal of limb deficiencies.

Anne Hathway’s character, the Grand High Witch, has three fingers on each hand characterising the congenital disorder ectrodactyly. Far from being inhuman, her ‘witchlike’ character displays features firmly rooted in reality.

Here lies the problem. In the case

Photo: unsplash of “The Witches”, difference - far from being celebrated - is shown to be creepy. The blatant propagation of a disability stigma knows no bounds. Or as awareness platform Reach recently put it, “many limb difference children and young people have a significant challenging time accepting being different, overcoming mental health and

physical challenges that many others take for granted and being subjected to bullying.”

Film directors, including Zemeckis, have a crucial role to play in raising cultural appreciation of issues pertaining to our contemporary society. Likewise, an ability to maintain a finger on the pulse of your audience must also involve a critical awareness of the link between audience preferences and values, which explains why films that negatively depict disability are generally rejected at the box office. Put simply, people who hate racism refuse to watch racist films, and people who hate ableism refuse to watch ableist films.

Apologies aside, “The Witches” make for one of the most disturbingly inaccurate portrayals of disabilities in entertainment history. Paralympian swimmer Amy Marren reacted on Instagram, writing that “in a time where we are supposed to be moving forwards, we are in fact going backwards.” Dead right, we are. So do yourself a favour and give this one a miss. #NotAWitch

sam GORDON webb

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EDITOR: NIAMH BROOK

tv

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IS HISTORICAL ACCURACY THAT IMPORTANT? YES, BUT IT’S NOT absolutely EVERYTHING

I love historical fiction, it’s one of my favourite genres. There is so much to love about it: intriguing storylines, beautiful costumes and extravagant houses and castles we can only dream of living in, but I also love history, so I’m well known to nit-pick every time a show deviates from the past.

This brings me to the everpresent question: how important is historical accuracy? And when is it okay to exercise some artistic licence?

I’m not ashamed to admit it: ‘Reign’ and ‘The Tudors’ are two of my favourite TV shows. Do they offer a true account of the lives of Mary, Queen of Scots, or King Henry VIII and his six wives?

Absolutely not. In fact, ‘Reign’ makes little attempt at even some accuracy until its fourth and final season (and we’re not even going to discuss those costumes that are clearly twenty-first century designer gowns).

These notorious royals become caricatures of

and many others, is that such artistic license is usually unnecessary. The lives led by Mary Stuart, or Henry VIII, Anne Boleyn and Elizabeth I, are fascinating in their own right, and don’t need improving upon.

Many of the changes made are for gratuitous violence or sex scenes, with fictional characters who only grace the screen for an episode or so before disappearing or being brutally hacked to death. If these shows truly invested us in the story and the lives of the incredible figures they’re portraying, there would be no need for such changes.

Particularly in the last decade, television has witnessed a rather

inaccuracy, beginning each episode with an asterisk on the title card, stating: “an occasionally true story.”

Created by ‘The Favourite’ co-writer, Tony McNamara, the script is witty and over-the-top in a brilliant way, and sometimes feels like it’s going to entirely rewrite Russian history. I don’t usually agree with the sentiment that the story is more important than the history, but in the case of ‘The Great’, it w o r k s .

Photos: netflix, hulu, starz

themselves, and their real-life counterparts are barely recognisable.

These shows are not all bad however, because they are highly entertaining, and act as a gateway to introduce viewers to history, hopefully leading them to learn more about who these people were, and how their lives shaped our past.

The problem with these two shows,

nerisse appleby

perplexing paradox when it comes to historical fiction. History has been gaining popularity, yet the tv shows presenting it seem to be continuously distorting and trivialising it. These embellishments have led people to believe that the truth just isn’t interesting, or entertaining, enough, when this couldn’t be more wrong.

Historical inaccuracy isn’t always bad, though. One recent show I loved that got it right was ‘The Great’, a retelling of the life of Catherine the Great, Empress of Russia, and her quest to overthrow her frat-bro husband Peter III. The show is well aware of its own

There’s an obvious difference between shows like ‘The Tudors’ compared to shows like ‘Outlander’ or ‘Peaky Blinders’. While the latter shows adapt true events into their storylines, they are highly fictionalised; characters like Claire Fraser and Tommy Shelby never actually existed. This allows for more artistic licence as the actions of these characters have no basis in history, and thus do not distort any facts.

So, this leaves us with the question: is historical accuracy really that important?

Yes, but it’s not everything.

You can dramatize the life of a famous figure while still showing respect towards their history. You just need to find the right balance.

NERISSE APPLEBY

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TV

THE GREAT BRITISH BAKE OFF: A TV TREASURE It is Tuesday night, the kettle has just boiled, a slice of cake has just been cut, and I’m on Channel 4, waiting for ‘Bake Off’ to start.

‘Bake Off’ is truly a British TV treasure and the country adores it. It has been popular for years now and everyone loves the classic comedy duos, the bakers, the judges, the music, and the magic.

Every year ‘Bake Off’ is amazing, and this year is no exception, despite being filmed during lockdown.

The different themed weeks have been great, and I particularly liked the most recent weeks of ‘80’s week’ and ‘dessert week’. However, ‘Japanese week’ came under fire from fans. One of the tasks, steamed buns, is more traditionally part of

Photo: channel 4

is always a bit of something for everyone and it does cater to different humours.

Paul and Prue have been as delightful as ever, though Paul has been much stingier than usual with his famous ‘Hollywood handshake’.

He has been very sparse with his handshakes and there have definitely been bakes that deserved them, but weren’t rewarded with them.

The bakers are lovely, and I have a personal favourite in Hermine. With only two episodes left to go, ‘Bake Off’

Photo: UNSPLASH

Chinese cuisine, and many of the flavours used in tasks were, again, more a part of the Chinese cuisine and had little bearing to Japanese food culture. While ‘Bake Off’ does well at what it knows: cake week, bread week, etc, there is clearly still some work to do when it comes to weeks that celebrate people’s cultures and identities.

This year, newcomer Matt Lucas joins Noel Fielding to be the second half of the ‘Bake Off’ comedy duo. Personally I understand why people find him funny, but I don’t think he brings as much to the tent as Noel does. Noel continues to make me laugh with quick-witted and intelligent jokes, while I often find myself cringing at Matt’s. Luckily, that is the bonus of having two comedy stars, there

Photo: UNSPLASH is drawing to a close this year, and I can’t wait to see the final few episodes!

LEIA BUTLER

DISNEY’S CHRISTMAS AD: THE LIFE OF THE ADVERT Disney has released a new advert in support of the Make-A-Wish charity. The advert tells the story of grandmother Lola, her granddaughter and their family traditions.

Photo: disney

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The story begins with the cuddly toy of Mickey Mouse being gifted to Lola as a child in 1940. As the advert continues, we see that Mickey becomes a symbol of her childhood and this continues to the present day.

Disney fans are now able to buy the Mickey Mouse toy that features in the advert at the Disney shop, and also online. All the proceeds go to the Make-A-Wish organisation.

Additionally, the song used in the advert is also available for sale, and for every download before December 31, 2020, 100% of the proceeds will also be

donated to the Make-A-Wish foundation.

Adverts are no longer just shown on our TVs, we are able to view adverts in many other ways. For example, I found the Disney advert on Instagram. This shows that organisations have found other ways to distribute their adverts to the public in order to reach all audiences.

So, for example, Disney distributing on Instagram shows how they are reaching a young audience as well as the older generation.

I personally loved the Disney Christmas advert as I loved the message they put across to the audience about traditions and keeping connected with your family.

CAITLIN TELFORD

EDITOR: Nerisse appleby

TV

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THE BEST OF ADAPTATIONS FOR TV they embark on a cross-country journey to find God, who has gone missing.

The comics were a huge ‘90s phenomenon, and the show takes their comedic, action-heavy feel and transplants it to the twenty-first century, touching on a variety of modern themes, ranging from topics such as humanism to the rise of the alt-right.

The show’s casting is a perfect example of how it adapts to the time period effectively. Actors are excellent for their roles, embodying multifaceted characters, rather than onedimensional ones like certain characters in the comic. For example, in the comics, Eugene is a Nirvana fan who unsuccessfully attempts to mimic Cobain and is used as a persistent punchline. In the

show, he becomes a well-rounded character whose suicide attempt left him scarred, yet with a desire to live.

Similarly, the show is less controversial; the comic was heavily criticised for gory and blasphemous sequences, which the show significantly toned down and improved upon for contemporary viewership.

The show also taps into our modern zeitgeist; in that the backdrop is a subtle emphasis on the political deterioration characterising the 2010s, with the characters squaring off against neonazis, psychopathic rednecks and apocalyptic Christian organisations.

Overall, ‘Preacher’ is an effective adaptation – adapting the soul of the work while modernising it. Steering the plot in a similar yet different direction, ‘Preacher’ feels like something wholly new for modern times, which is exactly what a good adaptation should be.

Dirk Gently’s Holistic Detective Agency

books. A portly middle-aged bloke slovenly bumbles through life, always somehow ending up in the middle of surreal hard-boiled mysteries only he can crack (and was kicked out of Cambridge

Reboots are fantastic.

Some advertising executive sits you down and says: “Right.

You know that thing you love?”

And I reply: “Why yes of course.

I love it.”

So he responds: “What if I told you that we were going to do this thing you love again, in a totally different way?”

To which I would then have to say: “I think every second you spend talking and not letting me experience this is a moment wasted.”

Remakes do nothing for me. To-thetiniest-detail adaptations are great, sure, but they’re nothing like reinvention.

There’s something just glorious about the barebones, the spirit of a piece of fiction you love being wrapped up in a completely different package.

I adore Douglas Adams’ ‘Dirk Gently’s Holistic Detective Agency’

for whispering clairvoyant predictions of final exam questions in his sleep).

This seems far-flung from the Dirk Gently we see on Netflix. A young, nervous (and a little bit camp) young man in odd ties and colourful leather jackets, who just wants to be the best

detective he can (and maybe make a friend along the way). It may also strike a different note when it tosses itself even further into the sci-fi of the novels and even posits Dirk as a psychic on the run from the government.

But they’re both great. And they both have that same wonderful core.

You start with the revelation “you don’t know what’s happening, but you know it’s impossible,” and its titular character figures out what happens with a little help from the universal causality and interconnectedness that always seems to bend in his favour.

They’re different. Really different. But the main characters are still Dirk Gently, and he’s still having to explain what he means when he’s a holistic detective.

It’s just wonderful to experience a cool premise done in multiple ways that are different enough to be enjoyed in their own right. ...It’s for this reason I also think Netflix’ ‘Death Note’ is great.

Fight me, you weebs.

PREACHER

AMC’s ‘Preacher’ is an example of how you adapt a comic book well.

Fundamentally similar to the comic, the show stands out on its own as something unique, in some regard better.

‘Preacher’ tells the story of Jesse Custer, a preacher who mysteriously gains the power to make others obey his will, his criminal ex-girlfriend Tulip, and Cassidy, an alcoholic Irish vampire, as

Photo: AMC

Photo: netflix

EDITOR: Nerisse appleby

ALEX GRENFELL

ALEX VINEY

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PHOTO WALL

Roo Pitt

Jean-Charles de coriolis Leia Butler

Jean-Charles de coriolis Mary Hon

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Mary Hon

Marco Chan

PHOTO WALL

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

DEAR VENUE AND GAMES DEAR VENUE Dear venue team, what are your tips for budgeting around Christmas and dealing with the expectations of gift giving?

It’s really easy to go overboard this time of year, whether it’s the pressures of securing the best gift or simply the temptation to overindulge, particularly with the amount of advertising drawing you in.

The important thing to remember is ‘it’s the thought that counts’, this is more often the case in relation to family and close friends.

First thing’s first, make a budget, work out what you have to spend on gifts and other things once you’ve covered your bills and travel costs.

When it comes to gift giving, it’s also worth thinking about where your money is going, there is a wealth of independent businesses and charity shops in Norwich overflowing with thoughtful and reasonably priced gifts,

that will also see your money go to a good cause.

What can you make? Everyone loves baked goods, or a nice meal. Or you could always try your hand at a new craft and gain a skill whilst also sharing something special with someone else.

Don’t forget the art of regifting, and not just those fragrance and beauty gift sets that you’ll never open.

Maybe pass on one of your favourite books, or a DVD that you know they’d enjoy.

Another fun and relatively low-cost gift is a card from a celebrity, if you look up contacting your giftee’s favourite celeb, many sign cards and send them back (as long as you include a stamped envelope).

Good luck and remember to stay calm!

Photo: Olivia Johnson

Stretch your brain!

Beginner

Answer

Intermediate

Answer

Advanced

Answer

3 x9 +8 -3 1/4 x5 7 x13 -6 1/5 x4 -43 9 x26 2/3 -34 2/ -2

m d

b o e

a n

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

dEAR VENUE AND GAMES