Venue 376

VENUE 376

Thin privilege: the blurred lines •

• should we mourn gcse poetry?

the return of cinema •

cans or canvases?• and much morE...

senior editors

EDITOR - LEIA BUTLER

leia.butler@uea.ac.uk

JAKE WALKER-CHARLES DEPUTY EDITOR ROO PITT

DEPUTY EDITOR

J.Walker-Charles@uea.ac.uk

04-06

B.Prutton@uea.ac.uk

HERE is where you can read about the art and theatre world. Featuring reviews, previews, and investigative pieces, we keep you up to date on the arts world.

creative writing

HAMILTON BROWN

Hamilton.Brown@uea.ac.uk

10-12

Ally.Fowler@uea.ac.uk

This section will cover everything in the world of Literature! From reviews, interviews and exploration pieces you can read about different cultures, viewpoints and voices.

fashion

Each published piece of writing has been carefully selected by the section editor and will considered in a contest for the best piece at the end of December.

music

JACK OXFORD

J.Oxford@uea.ac.uk

HERE is the place to go for anything music relatedalbum releases, interesting features, interviews, and tracks from different cultures and backgrounds.

Film

NIAMH BROOK

N.Brook@uea.ac.uk

24-26

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

Fashion is one of Venue’s most fun sections! Expect to see personal pieces from writers about their perspective on fashion and its ever-evolving world.

James.Ward@uea.ac.uk

HERE is where you can read all about the latest releases, previews and reviews of games, and interviews with different people in gaming.

27-29

NERISSE

APPLEBY

N.Appleby@uea.ac.uk

The film section is the place to go if you want to read all about the film world including reviews, rewatch pieces and coverage of film award shows.

Here you’ll read pieces related to TV programmes, both analysis and reviews, adverts, trailers and much more, YOU CAN TALK ABOUT ANYTHING!

Creative writing Music

An original poem by Christopher Perry finding love of music during lockdown

Gaming Television

Super mario all stars for the switch A Rewatch of… The Midnight Gospel (2020)

credits: Top left (Christopher Perry) Top right (leia butler) Bottom left (FLICKR, https://creativecommons.org/licenses/by-sa/2.0/ Sergey Galyonkin) bottom right (FLICKR, https://creativecommons.org/licenses/by-sa/2.0/, theilr)

to come in...

Poll: Public lacks confidence in the government’s aid for the arts

In a statement, culture secretary Oliver Dowden described the arts as “the soul of our nation.”

The arts have huge cultural significance in this country but are also vital economically - the creative sector has grown at twice the rate of the national economy in the last decade.

The arts also promote mental health and social unity, as well as helping to fight racism and isolation.

Despite being such an important sector

socio-economically, the arts have suffered greatly during the pandemic and many feel apprehensive about the government’s approach to aiding the arts.

How confident do you feel in the government’s ability/willingness to save the arts?

One student responded: “I think the government is under the impression that they can just throw money at the arts in times of crisis and expect that to be enough, when in reality a huge part of the

arts is nurtured through emotional/mental response.

When we value art as therapeutic/ something that makes the world seem a little less dire, the emotionally-constipated government can’t seem to wrap their heads around what that really means.”

Not confident at all: 89% (16 votes)

Unsure: 11% (2 votes)

Quite Confident: 0 votes

Very Confident: 0 votes

Norwich theatre heads outside after months in lockdown

Norwich Theatre has paired up with Norwich-based circus company Lost In Translation to create Interlude in Chapelfield Gardens, a pop-up venue intended to host productions from 10th August to 20th September.

Featuring comedy, music, circus acts and some productions that were expected to perform at the Norwich Theatre Playhouse pre-lockdown, Interlude is hosting big names such as Jimmy Carr, Daniel Sloss, Paul Chowdhary and “Young Magician of the Year” Ben Hart.

In accordance with social distancing guidelines, tickets are printed and shown to gate staff to avoid hand-to-hand transmission, the large tent’s sides are lifted to ensure proper ventilation, and rows of two to six seats will be in their own

“social bubbles”.

Of course, a provisional outdoor stage has its limitations.

Productions that demand more intricate lighting and sound, such as The Book of Mormon and How Sweet It Is: The Greatest Hits of Motown, have been postponed or rescheduled.

However, productions that are less technically intricate have been able to continue, including performances by stand-up comedians, who need only white floodlights to perform.

Other venues have followed the trend of moving outdoors to better adapt to social distancing measures.

Glyndebourne was planning to host the annual Festival Opera and the already open-air Minack Theatre in Cornwall is

also able to resume productions.

Some venues, like the London Palladium, may not be moving productions outside but are opening their doors and soon their curtains to public audiences under full social distancing measures.

The future of struggling arts venues may be uncertain, but their adaptability and resilient approach is evident.

Moving performances outside has provided many in the arts sector with a stream of much-needed revenue, and audiences with the performances they have craved, during these trying times.

Photos: Disney

Bea Prutton Jim Gell

Photo : Unsplash

Cans or canvases?

How beers cans become modern masterpieces

Beer cans have undergone a seismic shift, in what has been described as the “beer-art renaissance”.

Long gone are the days in which beer shelves purely consist of simple, branded designs with Carlsberg or Budweiser slapped across the front.

Instead beer cans are becoming more decorative and artistic, truly embracing the idea that anything can be a canvas.

I’m firmly of the opinion that art can be anywhere, using any medium as a form of expression, and I think beer cans are no different.

Some of the designs I have come across through researching for this piece are beyond cool.

They really take away from the norm of minimalistic boring cans with a block colour and the brand’s typography.

As someone who does not drink beer often, cans with weird and wacky designs are the most enticing.

In the same way a book cover draws the attention of a reader, a can draws the

attention of a consumer.

Although the beer will put me off in most cases, I can confidently say I would be drawn to cans exhibiting a piece of art, rather than a brand name doing all the selling.

With these designs adorning more and more cans, they are becoming somewhat of a collectors item.

One of my personal favourite companies for this is Pipeworks Brewing Co., based in Chicago.

Although the art is not to my taste particularly, it cannot be denied they are incredible designs.

Their beer ‘Ninja vs Unicorn’, the design which drew me to the company, is a specific favourite of mine.

Designer Jason Burke’s comic-style

graphics truly make the beer more interesting.

With big names in the beer industry like Guinness releasing limited edition cans for events and anniversaries, I would not be at all surprised if we begin to see more cans being revolutionised and becoming more creative.

Sam Hewitson

The resilience of Native American artists through the pandemic

The pandemic has hit us all in some capacity, but Native American artists and craftspeople have suffered a particularly huge loss.

Creativity is an intrinsic part of tribal culture. For example, 77% of households in Zuni Pueblo, New Mexico, contain at least one self-identified artist, and so the lack of a physical connection has been taking its toll on many traditional artisans.

Hugely important events like the South West Indian Market in Santa Fe were cancelled this summer and with a lot of tribes lacking stable internet access, the shift to a digital medium over the past six months has been near impossible.

Brent Learned, a Native American artist enrolled as a member of the Cheyenne and Arapho Tribes in Oklahoma, creates indigenous art in a contemporary light. Inspired by artists such as Picasso, Klimt, Monet, and Basquiat, Learned presents Native narratives with a satirical, cutting edge and in bright Pop-Art-style colours.

He aims to remind art lovers that Indian art can look to the present and future,

both stylistically and in terms of its content.

His Masked Chief painting is particularly striking, depicting a tribal chief in profile with a white cloth mask over his nose and mouth. An identical painting, sans mask, is on his Instagram profile, uploaded at the beginning of March.

In his updated version, there is an added nobility to survival; to don a mask, to protect yourself, is to protect your community, to lead by example and to uphold safety for the sake of others.

Learned is one of the lucky ones; he is active on social media and is still receiving financial support from commissions.

For indigenous artists who cannot get that same support, organisations have stepped in to provide much-needed help, such as The Hopi Foundation providing aid to 500 families (a large proportion of the income of the Hopi Tribe comes from art sales). Similarly, Rapid City’s Fund has offered financial relief for

Photo Credit : Roo Pitt

Native artists in 25 states. The resilience of tribal communities herein emerges; recovery from COVID’s blow will be hard, but they will return to their prime.

Ally fowler

Photo: Pixy

Banksy and the migrant crisis

The ever-elusive Banksy has funded a search-and-rescue boat to aid refugees from north Africa attempting to enter Europe.

The boat has reportedly rescued over 200 people and sadly taken on board numerous bodies of refugees, after being launched in secret from Burriana in Spain on August 18th. The bright pink boat is adorned with a work in Banksy’s idiosyncratic street-style depicting a young girl clutching a heartshaped buoyancy aid.

The ship is said to be led by a crew of professionals with a “flat hierarchy and a vegan diet”. According to data published by the UN, in 2020 495 people who have attempted to enter Europe from north Africa are dead or missing.

In Banksy’s team’s mission statement, the crew said they intended to respond to SOS calls from refugees, “not just to save their souls, but our own”.

On August 29th, the ship’s crew took to Twitter in haste as the ratio of crew members to rescued migrants was becoming unsustainable, and they were essentially stranded. They asked for

“immediate assistance” and it was later reported that the Italian coastguard had taken 49 of the most vulnerable aboard, and later SeaWatch4 went to the ships’s aid to collect the remaining passengers. The migrant crisis in

auctioned three paintings, the subject of which was displaced persons and the migrant crisis, in order to raise money for a Bethlehem hospital.

In Banksy’s triptych, Mediterranean Sea View 2017, the artist took three 19thcentury oil seascapes, to which he added life vests and floatation devices, swirling in the stormy waters. The pieces sold for a total £2.2 million, which Banksy is donating to building a new stroke unit and funding children’s rehabilitation equipment at the Bethlehem Arab Society for Rehabilitation. Some of Banksy’s other works on the migrant crisis include his Son of a Migrant, a portrait of Steve Jobs, who himself was the son of a Syrian migrant, which the artist left at the Calais Jungle.

theme in numerous of Banksy’s works, and the artist is no stranger to politically motivated acts, often auctioning his works for charitable causes.

Earlier this year, Banksy

At his infamous site Dismaland, Banksy also produced an installation of a boat filled with migrants, and upon the site’s deconstruction he donated structural materials from Dismaland to the Calais Jungle for the site’s construction of shelters for refugees.

EDITOR: Bea Prutton

Photo : Unsplash

Photo: Wikimedia Commons

Dawn O’ Porter’s ‘So Lucky’: a refreshing twist on a regular chick lit

Although I’m usually averse to consuming any literature that could be described as “chick lit”, I had heard great things about Dawn O’Porter’s writing style.

So, in search of some light-heartedness in a world that becomes darker by the day, I decided that I would give one of her books a try. So Lucky illustrates the story of three women (Beth, Lauren & Ruby) who all have issues with romantic relationships and their self-esteem.

Not expecting much, I assumed that my original thoughts would prevail as I found the characters immensely dislikeable at first, and the plot something that had been overdone.

About halfway through, though, I grew to adore the characters and empathise with their struggles. This book

also provided a far more feminist narrative than expected – the protagonists end up experiencing self-development phases, and it was enjoyable to consume a chick lit novel that didn’t end with characters falling in love as the main outcome.

The characters learn that whilst romance is wonderful, it’s not the only kind of love out there – which I believe is an immensely important message – and that there is as much value to be found in female friendships and career successes.

Huckleberry Finn: conscious resistance against unconscious racism

Around the same time BLM marches gained momentum, I read Huckleberry Finn by Mark Twain. Set in the 1840s when slavery was still an industry in some southern US states, it offers a view into how attitudes, no matter how immoral, can be justified so long as they are normalized. Despite being his friend, Huck sees Jim as property belonging to someone else, not out of maliciousness, but from taught social conventions.

You only need to watch the news to see echoes of the same prejudice. From controlling how hairstyles are worn to deeming some dialects as “unprofessional,” Britain has a lot to realize about its failure to deal with unconscious biases.

The active opposition against taking down statues of slave traders, subtle otherings in media language and the PM’s firm stance against omitting lines from ‘Rule Britannia.’ Although the book is set in America, I

couldn’t forget that Britain was where this culture derived and mutated from.

Looking at friends and family, I was reminded of Tom; friendly, hospitable, altruistic people who take action if faced with extreme racism but excuse subtle racism as normal. This book forced me to seek out unconscious racial biases in others and myself.

Anastasia Christodoulou

Photo: Unsplash

Jim Gell

Photo: Pixabay

Should we mourn GcsE poetry?

Ofqual’s decision to make GCSE poetry optional in 2021 has sparked mixed opinions, with the current Poet Laureate, Simon Armitage, and other writers deeming it “a dangerous first step” in undermining the importance of the arts.

Ofqual’s justification for their decision is that it will prevent students having to study complicated poems remotely.

However, at a time of much negative comparison between the arts and STEM subjects, it is possible that the decision is not solely motivated by concern for student wellbeing; especially since the class of 2021 have already spent a year preparing to sit an exam on poetry, meaning they do have an understanding of the texts.

The decision also does little to consider the needs of analytically-inclined students: is studying poetry remotely really more challenging than A Christmas Carol or even trigonometry or osmosis?

In The Guardian, Armitage suggested that poetry is “language at play” at a time when our world is largely data-driven and numerical.

People have also been quick to de-

fend poetry in wider society. In times as strange as these, not only does it provide a form of escapism but the shorter, in-depth focus of a poem allows for the study of many topics across one module.

that Shakespeare, 19th-Century novels and post-1914 British fiction are easier to study than poetry but, in pitching poetry against other modes of literature, we risk perpetuating a eurocentric curriculum.

If 2020 has proved anything, it is the need for understanding between cultures. We should surely question what we teach children about our history, and take this curriculum change as a chance to encourage an engagement with the cultural potential of poetry.

To treat this change as a disaster is to underestimate young people. Since turbulent societies often turn to the arts for comfort, we may see the appeal of poetry increase beyond classrooms (especially with the pressures of examination alleviated).

This means that it allows students to engage with many cultures and voices, using these as a way of questioning our own.

Not only is it misleading to imply

In a society that under-appreciates the arts, we must ensure that this decision remains only a “dangerous first step”, at the same time using it as an opportunity to explore “language at play” in different – and new – ways.

Molly Phillips

Douglas Adams’ ‘Hitchhiker’s Guide to Galaxy’ celebrates its 42nd birthday

On the 25th of May every year a small collection of fanatics across the world will walk out on the streets holding on their person a standard 30” by 56” towel. Some more devout followers might even put on pyjamas and a red bathrobe, screaming about how the answer to the question of life, the universe and everything is…42. All of this has to do with The Hitchhiker’s Guide To The Galaxy; this famous series is made up of a mix of black humour, far reaching science-fiction and soul-scouring institutions.

The radio play (which premiered March 8th 1978, with the book adaptation the following year) finally turned its golden number earlier this year – the coveted 42. In celebration, we have seen a rerelease of the classic show on vinyl and a planned celebration edition of the first book next year. During lockdown, Towel Day (May 25th, the official celebratory event for all things Hitchhikers), had a fair chunk of fans on their computers, talking about Vogons, Paranoid Androids and the

intelligence of dolphins.

Arthur Dent, the confused earthman who knows as little of his part in history as a tea leaf knows about the history of the East India company, has been played time and again from radio play to movie format. His story is always the same but slightly different. Sometimes he ends happy; confused; lost but never hopeless. It has become a therapeutic journey for many fans of the series. It opens up a door to a love of space and programming. It was a revolution for BBC soundboards which had to develop a whole experimental division to make the sounds of a Vogon constructor fleet obliterating Earth for a hyperspace bypass.

Adams created his awkwardly British space adventures from an interest in technology and mental health. He also gained fame from being the first lifeform in the UK to own an Apple computer. What he wrote with this technology was a vast set of witty mantras on how one can cope with confusion, depression, pointlessness

and suspense; stories that found a way to make the destruction of the earth look pointless compared to the vast politics of all of space.

There is no other way to celebrate The Hitchhiker’s Guide to the Galaxy than to say: sit down, take in one of its many media forms, and DON’T PANIC.

EDITOR:

Photo: Unsplash

Photo: Unsplash

‘Reclaim her name’: a new collection released under authors’ real names

Historically, there has been a major disparity in the treatment of male authors in comparison to female authors. In an attempt to counteract this, some female authors publish under male or genderneutral pseudonyms in order to avoid any potential sexist or misogynistic discrimination.

One of the most well-known examples of this would be JK Rowling, author of the Harry Potter novels, who thought by hiding that she was a female author, more young boys would want to read her books.

The Women’s Prize for Fiction is a prestigious U.K. prize awarded each year to a female author who has published a full-length novel in the previous year. It can be awarded to any woman of any nationality who has published a book in English, within the time frame in question. The prize was set up in 1996, in order to “celebrate originality, accessibility and excellence in writing by women and connect world-class writers with readers everywhere”.

This year marks the 25th anniversary of the prize; to celebrate this milestone, a collection of twenty-five novels by women, that were previously published under male or gender-neutral aliases, will be re-issued with the authors’ real names.

The titles will be available to download for free as eBooks and physical copies will be donated to the British Libraryhowever, they are not available to buy.

Many of the books to be released in the “Reclaim her Name” initiative date back to the nineteenth century. The intention behind having the real names on the front covers of the novels is to give these women the credit and visibility which they did not receive within their lifetimes.

The collection includes novels such as A Phantom’s Lover by Violet Paget (male alias: Vernon Lee), and The History of Sir Richard Calmady by Mary Kingsley (male alias: Lucas Malet). Each book that is included in the selection has been given a cover update by female illustrators from countries all over the world including Brazil, Russia, Jordan and Germany.

The daughter of Ann Petry, one of the women whose work is featured in the selection, stated: “When I was asked if my mother’s work could be included within such a worthy collection of books along with other impressive female writers, I was honoured. I’m incredibly proud of my mother’s work and it excites me that her writing has been introduced to a new audience through this collection. I know she would be thrilled to be a part

of this as it’s an incredible conversation starter for such an important cause - my mother always believed in a world with shared humanity and I think this project encapsulates that.”

I believe this to be a very necessary celebration, and an opportunity to remember the journeys and trials of female authors past and present whose lives and careers have helped shape modern literature into what it is today.

It is worth remembering, most of these women writers were writing at a time when women in the U.K. did not even have the right to vote. It wasn’t until 1918 that women above the age of 30 who met a property qualification were able to vote, which still left around a third of the female population in the U.K. unable to do so, so it’s no surprise that so many nineteenthcentury female authors hid their sex when having their work published.

Although steps have been taken since, initiatives like “Reclaim her Name” serve as a reminder that the journey to equality is far from over; women’s history is still being written as we speak.

Photo: Gerhard G. Pixabay

Peace at last

christopher perry

EDITOR: hamilton brown

A Pier Outstretched into an Ocean

Reached through the ocean, ran through the reef – stopped where the waters turned dark, into the unknowable. We were just kids then: five-, ten-, twelve-year-olds; fingers grasped around the chilled silver railings in front. The wind brought clouds of tortuous form inwards, with full bellies and colours that cracked this spurious visage. We could feel it through the tottering planks of the pier: the breath of the waves deeply sighing onto the rocks beneath our bare feet. And over our shoulder – nothing. The signs that had accompanied us, crowded – effaced, dissipated into that field of indiscernible fog. We turned back, and gripped harder. But outstretched in front of us, the expanse only grew and darkened, and the masts at the outmost edges were taken down; left rotting amongst the oceans, the reefs and the waters.

Content

So I just kinda tucked in – I – I just kinda tucked in and jumped–

A walk on the beach

The beach is my haven, where I can go to remember. I go when my home becomes too full of melancholy memories. Usually they build up slowly, but today the thoughts are unrelenting. Because they’re the impossible ones. The ifonly’s, continually questioning me.

I stare at the rectangular box in my hand, the engagement photo of Diana and Charles faded almost completely on the lid. It’s our old flimsy biscuit tin; seemingly light to others, but for me it’s weighted down, as heavy as a rock and filled full of love. I feel the tears welling in my eyes. Patting the lid, I take a deep breath of the salty air and look out t o the grey, crashing waves. ‘We’re here, my love. We’re here at our beach.’

A beach is timeless. Things around it can change, but the smell of the salt; the sound of the seagulls screeching; the feeling of the sea spray on your face will always be constant. Here, I’m not seventy-five anymore but eighteen; the year, 1948. I remember that night I met Donald so vividly, I could almost trick myself into being eighteen again. I wish I was, just to see him again, to hold him again.

EDITOR: HAMILTON BROWN

Photo: Wikimedia Commons

tristan pollitt

I turn to see the dilapidated amusement arcade, once the vibrant dance hall where we first met. I remember I was disgusted by the incessant jazz music which filled my ears the moment I opened the door; the smell of cigarette smoke, and the synchronised swirling of ladies skirts as they whirled, assaulted my senses. Girls were linked arm in arm like comrades advancing in the late war, but were armed with alluring glances instead of guns. I took a seat on the perimeter, trying to block out the music and stop it from giving me a headache.

In between the dancing couples, a man caught my eye on the opposite side of the floor. He was engrossed in a small brown book; his eyes flicking up sporadically to survey the room, a cigarette limp, almost forgotten, between his lips. He was about my age; handsome, with brown hair and green eyes, impeccably dressed in a navy pinstripe suit.

We locked eyes for a moment longer than necessary and he smiled subtly, nodding his head ever so slightly. I returned the smile, feeling butterflies flutter in my stomach, which heightened as he closed his book, rose slowly, and began to cross the dance floor towards me.

‘Not dancing, then?’ he inquired, taking a seat beside me.

I smiled awkwardly. ‘Not much of a dancer, I’m afraid.’

He gave me a wink. ‘Well, that makes two of us.’ Thrusting his hand out to me, he said, ‘Donald Jackson; how do you do?’

I shook it, my grip considerably firmer than his. Father had told me that you could tell an awful lot about a man from his handshake. But his was soft. ‘Richard Walker,’ I replied.

‘Do you come here often?’

‘No,’ I laughed. ‘I hate these types of events. They’re too loud – I’d much rather be at home.’

He looked amused. ‘Doing what?’ He smiled curiously, as though trying to figure me out, and I felt myself return the smile rather awkwardly, taken by the suave sophistication which seemed to permeate around him, like the smell of his intoxicating aftershave.

Bashfully, I admitted, ‘Writing. My mother wanted me to come.’

Donald suddenly seemed inquisitive, alert with interest rather than merely polite. ‘You’re an author?’

‘No, poet – well, I try to be. I hope to read English next year at University.’

Suddenly something caught Donald’s eye, and an emotion not yet recognisable to me flashed across his face, something I was not yet privy to the meaning of, only knowing him for such a short period. ‘You see that man over there?’ I leant closer to him to see whom he was nodding towards, and a thrill of adrenalin pulsed through me like Morse code, sending a telegram to my brain which explained the reason my heart was beating quicker.

‘Yes,’ I said, following his gaze to a man who appeared to be in his mid-twenties, dressed in a rather fetching suit and dancing with a pretty blonde girl around the same age.

‘He was my art teacher at school. And he shouldn’t be dancing with her.’ Donald didn’t look at me when he spoke, his face expressionless except only his eyes which moved in time to the twirling couple, like a young child watching a ballerina on a music box.

EDITOR: hamilton brown

Photo: Unsplash HAMILTON BROWN

Thin privIlege: the blurred lines of style and skinniness

If you’ve been active on social media recently, you’ve probably seen that strawberry dress popping up again and again. The $490 midi dress by fashion designer Lirika Matoshi has become an internet sensation, particularly on TikTok, and people are desperate to get their hands on it.

Before the garment gained such notoriety, it was being sported by plussize model and blogger, Tess Holliday, when she attended the Grammys. Despite its current popularity, the dress landed Holliday on several “worst-dressed” lists back in January. It seems fatphobia still dominates the fashion industry: is fashionable just code for skinny?

On August 17, Holliday shared her thoughts on Instagram, writing: “I like how this dress had me on worst dressed lists when I wore it in January to the Grammys, but now bc [sic] a bunch of skinny ppl wore it on TikTok everyone cares. To sum it

up: our society hates fat people, especially when we are winning.”

Holliday certainly has a point. The strawberry dress ultimately demonstrates what body types are deemed acceptable by society, and what clothes those so-called ‘other’ body types can and can’t wear.

Holliday was wearing the dress in January, months before it became a viral sensation, and yet she received no credit for the craze. The strawberry dress only became desirable when it was seen to be worn on the ‘right’ type of body: someone skinny. Thinness, then, seems to go hand in hand with what we consider fashionable.

This begs the question: are we just appreciating a person’s body when we label them fashionable, rather than praising the creativity or style of the clothes they’re wearing?

Yes, because a lot of the time, the clothes these people are wearing are hardly anything new or unique. What

the individuals on the receiving end of these compliments are is skinny, and thus, they receive heaps of praise; their outfits becoming the subject of many a Pinterest board. People are praising how their bodies look in the clothes, rather than the clothes themselves.

When plus-size people wear a simple t-shirt with shorts or jeans, they are criticised for their sloppiness or called out for the unflattering nature of their outfit choice. Yet when skinny celebrities (think, the Hadid sisters, or Kendall Jenner), don the very same outfit, it is branded chic and effortlessly stylish.

The fashion industry must do more for body inclusivity. Even in 2020, the conflation between skinniness and style still pervades the industry, and clothing is very much judged by the bodies that wear it.

Nerisse Appleby

Fashion on film: the whimsy of Wes Anderson

“There are still faint glimmers of civilisation left in this barbaric slaughterhouse that was once known as humanity.” So says M Gustav in Wes Anderson’s The Grand Budapest Hotel. Released in 2014, the film is famous for its chipper, absurdist dialogue.

Characters in a world on the edge of a devastating war frolic about in search of a painting, whilst displaying a disturbing level of denial surrounding the actuality of their impending doom.

On the surface, the film is whimsical and fun, but underlying this is a story of a bewildering sense of restlessness and the devastating lack of control we have over the tragedies that occur in life, and history.

Yet, The Grand Budapest Hotel is also known for its vivacious, vibrant and camp costume design under the direction of Milena Canonero. Canonero has

collaborated with Wes Anderson on two other films (The Darjeeling Limited and The Life Aquatic), as well as presiding over the costume design for iconic films such as Stanley Kubrick’s The Shining.

Canonero’s role in the production of the film won her an Oscar, and it is easy to see why. Perhaps most recognisable in The Grand Budapest Hotel is the harsh contrast in Wes Anderson’s candy coloured backdrop and the costumes the characters wear.

Anderson’s film’s, past and future ones, usually reflect the world through the lens of outsiders, or self-identified oddballs.

They are usually people who don’t fit in with society, who can reflect a more honest account of it. Wes Anderson’s choice of colours and aesthetics when it comes to costume and general design is often sympathetic to these characters. In The Grand Budapest Hotel, the exterior set,

Everything about the world around the characters is uncomfortably detracted from reality, oversaturated and overly sweet, and yet the characters wear bold, distinctive, almost garish colours. Main characters M Gustav, and Zero wear a deep purple, perfectly tailored, cotton uniform. Even the prison outfit M Gustav wears in his short stint in prison is well-tailored to him, as if to reflect that no matter their toils, the way people present themselves can still be a form of dignity.

The boldness of colours in Anderson’s films seems to reflect not the physical, but the inner person. They stand out, literally, against the pastel backdrops of their reality. Characters, through clever costuming, are seen to be important visually, no matter how unimportant they feel in their own story.

designed by Adam Stockhausen and Anna Pinnock, swims in candy floss pink.

Photo: Unsplash

Mannequins, models and diversifying fashion’s ideal body

When you hear the word model, what are the first words that come to mind?

Skinny? Tall? Attractive? Such associations have, over time, left a damaging effect on hundreds of thousands of people, including models themselves who are left with ludicrous standards that have to be met.

Mannequins that showcase the clothes we buy measure in, on average, at 34”-24”-34” (bust-waist-hips) - the same measurements that models are expected to uphold. To give some perspective, the average woman measures in at 40.5”-33”43”. From these numbers alone, some huge issues are highlighted: our mannequins and our models paint an unrealistic image for women. We are led to believe that the shape and size of a mannequin is a true reflection of ‘beauty’. These unrealistic standards bring about a number of problems. With first-hand experience in the fashion industry as a model, these are issues which are very personal to myself and those around me.

The standard sample size used when shooting e-commerce (online images for websites) is a UK 10. However, these size 10 clothes are often being shown on models who are on average a UK 6; warping our perception of sizes, and our own bodies. Clothes, in my own modelling experience, have nearly always been pinned back –which involves shooting images from the front, back and sides and moving the clips that are pinning clothes between each shot. This process that is so normalised for industry insiders came as a shock to the

public when it was revealed via an image that hadn’t been correctly edited, uploaded to ASOS in April 2019. The image showed a bulldog clip clipping a dress back on a model, and caused uproar on social media, with many questioning what other deceptive techniques fashion brands are using to skew our understanding of clothing sizes.

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The ever-growing understanding of the importance of mental health in today’s society brings to light a number of different issues, many of which are interesting to consider in relation to these worrying beauty standards. Body image and mental health are often intertwined, resulting in a rise in related illnesses like eating disorders, such as anorexia and bulimia, as well as increasingly common mental health disorders like body dysmorphia.

However, with society’s views changing and many of us moving towards greater self-acceptance and self-love, one important question is, what are the fashion industries doing to progress alongside society, recognising how deception and unrealistic standards of beauty can breed mental health issues? Well, for one, many brands are becoming more size-inclusive – with some brands including plus-sized mannequins in their stores and many brands catering to a greater range of sizes with specific ‘curve’ ranges. Additionally, some high fashion brands, such as Mark Fast, include plus-sized models in fashion shows, a trend which has continued to grow with plus-sized models walking for a number of well-known brands such as

It is clear that there has been a lot of positive progress in the diversification of the fashion industry’s perception of the ‘ideal body’, however there is still a long way to go. But with petitions circulating

on sites like change.org about changing standards within the fashion industry, I look forward to seeing fashion’s ideal body gradually being knocked down to align with society’s growing attitude towards self-acceptance and self-love.

Fiona McCormick

Kate Spade and Michael Kors, throughout New York Fashion Week.

Photo: Pexels

Photo: Pexels

The gentrification of depop

We are entering Oxfam’s “Second Hand September”, and with it, an increased focus on sustainability and the ethics of clothing retailers. As the resale app ‘Depop’ has grown in popularity, a conversation has erupted surrounding the gentrification of thrift stores.

A problem many sustainable fashion advocates have with Depop is the increased number of accounts reselling charity shop finds at huge mark-ups; often selling items with desirable tags like “y2k”, “vintage” and “urban”, allowing them to put up prices astronomically.

These sellers use the app as a main source of income, taking hundreds of garments away from those from low-income backgrounds who rely on charity shop bargains. The huge markups on Depop have caused inflated prices in some charity shops.

This begs the question of whether the increased demand is making charity or thrift shopping an inaccessible avenue for those who rely heavily on

such stores.

Growing up, about half of my clothes came from thrift stores in the United States, and I was often embarrassed and looked down upon for my secondhand outfits.

I’m happy to see that thrift stores are no longer steeped in shame, allowing working-class people to feel less self-conscious about their clothing. But rising prices are not a consequence of more second-hand buyers, rather the blame lies with the owners of these establishments, many of whom do not use the increased funds to raise the wages of their workers, many of whom are disabled.

It’s unfair to place blame on conscious buyers on a budget for the gentrification of thrift stores. Reusing garments and reducing single-wear clothing is essential in our quest for sustainability. While it is certainly controversial and arguably unethical for Depop sellers to mark up their items, charity shops around the country already have a surplus of clothing still

available for shoppers.

Many conscious buyers have limited affordable avenues when wanting to revamp their wardrobe. Sustainable, ethical brands come with a hefty price tag that isn’t always accessible. Additionally, many brands participate in greenwashing, otherwise known as a ‘green sheen’, whereby their sustainable image and marketing is not reflective or their practices behind the scenes: leaving customers with limited options outside of Depop or charity shops.

Ultimately, the gentrification of thrift stores is not the fault of customers or Depop sellers, but lies with the owners who raise prices without giving back to their workers or the community. Eco-conscious buyers should not be guilted for their sustainable shopping habits, and it’s important to promote sustainability with even the smallest lifestyle changes.

Morgan Burdick

Photo: Pexels

Favourite song covers

• The Star Spangled Banner • Faith • Knockin’ On Heaven’s Door •

Nothing captures the dying spirit of America quite like Jimi Hendrix’s cover of “The Star-Spangled Banner.”

Introduced at Woodstock as the “song that we was all brainwashed with,” it is as much of a protest statement now as it was in 1969. Hendrix described it as “representing the sounds [of] … lost souls and frustration,” the deliberate screeching of the guitar representing the bombs and bullets of the Vietnam War. Originally written to capture the beauty of the American dream, Hendrix distorted it to reflect the chaotic nature of the real America. His rendition is fuelled by his experiences as a Black man growing up in extreme poverty in Seattle’s heavily segregated Central District. He would carry a broom around to emulate a guitar, was forced into military service at 19, and, in spite of his exceptional talent, had to work exceptionally hard to succeed against white contemporaries in a genre created by Black artists. Hendrix’s cover lays bare the soul of an American who never felt American – demonised by the white establishment, booed during free Harlem concerts as an “Uncle Tom,” still stereotyped by white fans as a hypersexualised drug-addict. The song illustrates the lie Hendrix had been fed his entire life; “brainwashed” about the American dream in a country that he would never truly be free in.

“Faith” by Limp Bizkit is an abomination; two and a half minutes of musical trauma as the group do everything in their power to give you a panic attack. The song opens with George Michael’s well-loved guitar riff, but any sense of familiarity is severed as Fred Durst groans the opening lyric, “well I guess it would be nice.” It’s the musical equivalent to catcalling, Durst’s moans instantly triggering your fight or flight response as he threatens to touch your body. The lyrics themselves have been changed, the line “not everybody has a body like me,” turning Michael’s bashful lyrics into something that’s just a bit gross. He chucks the odd swear word in too, commanding us to “get the **** up,” a quick reminder to hide the CD from your 90’s suburban mum while you head to high school.

With its sleazy vocals and undeniable vibes of sexual misconduct, it’s hard to find any real positives within the song. However, if you do manage to endure the rap-rock fever dream, listening to the original is like clearing a blocked nose. Those opening chords will fill you with dread, but Michael’s voice quickly restores reality. Despite the song’s shortcomings, no other cover has painted the original in a better light. It’s unique, surreal, fearinducing: maybe the greatest “bad” cover song of all time.

“Knockin’ On Heaven’s Door” is a perfect example of a song cover that alters the original in such a way as to surpass it. The genre shift from country to rock works exceptionally: Slash’s iconic guitar riffs create a smooth sound throughout, accompanying Axl Rose’s powerful vocalisations.

This impressive sonic symbiosis builds to a crescendo of choral harmonies of arena-rock quality.

The Guns N’ Roses version is also almost double the length, with added guitar solos and a more intense finale. Bob Dylan’s original is slow and contemplative, and while the band retains this tone, they also bring power and controlled emotion to the piece that the original lacks. Some listeners may prefer the melancholy of Dylan, but I think Guns N’ Roses elevate the song’s sentiment far beyond the original.

James

grenfell

EDITOR: jack oxford

music dan clark

Photo: Wikimedia Commons

Photo: Wikimedia Commons

Jimi Hendrix Limp bizkit guns n’ roses

Eighties revival: the rise of nostalgic music in lockdown

Nostalgia plays a significant part in music being a source of escapism. During this pandemic, nostalgic music has played a significant part in many people’s coping mechanisms.

While you can’t see certain people and places, you can still turn to music which has an association to the things you might be missing.

This notion of “nostalgia” is especially relevant to this current moment.

Dua Lipa has arguably cornered this market, with her aptly named 2020 release Future Nostalgia going on to become one of the highest selling albums of the year. This album utilises 1980s pop music tropes to create the nostalgic feel.

Despite not being alive in the 80s, for me this type of dance music still creates a sense of longing for a by-gone happier time that everyone can relate to.

Eighties music has definitely seen a revival in 2020, with The Weeknd’s After Hours also being heavily influenced by the period.

For me personally, I feel a special affinity for artists that had their breakout moments in 2013/2014, as all their subsequent releases have then kind of gone on to score my teenage years.

One of these artists is Kiesza, who you might remember from the 2014 hit

song “Hideaway”.

She is another artist who has brought out an album in 2020 that has a heavy 1980’s influence, with her release Crave, which went on to receive critical acclaim.

It was released independently and has a Metacritic rating of 77.

Another recent independent album release comes from Aluna of AlunaGeorge.

You may remember her from her platinum hit “White Noise” with Disclosure in 2013. The album’s title Renaissance also has a rather nostalgic feel to it, and deals with similar themes of revival and recreation that we feel more and more in this period of music. Through the sampling, the cover art, the music videos, “nostalgia” can certainly be considered a staple part of the music of 2020.

How lockdown made me find my love of music again

Though most things in life came to a halt when lockdown hit, music didn’t.

It is one of the only things that continued throughout this scary time and it not only brightened my lockdown but made me fall in love with it again.

Between uni and work, I rarely found time to play through an album or listen to music in the way I used to. If I ever played it, it was just in the background so that I could focus on other more important things around me. But when lockdown hit, and I suddenly had so much free time, I could now listen and enjoy.

With albums from The Weeknd, Dominic Fike and Taylor Swift, and singles from Billie Eilish and Halsey, I certainly had enough new music to

listen to. We had After Hours at the start of lockdown, and Folklore as lockdown was easing up, two huge releases to entertain us throughout the entire period of lockdown. Music didn’t just survive the lockdown, it thrived.

We were using it to pass the time, to make us feel better, when we felt down and scared and when we longed for the future. Music was a blanket during uncertain times.

Lockdown broke the cycle of me just relistening to the same music. It made me reevaluate my relationship with music and how important it is in my life and how much I really do value it.

Going forward, I am making the promise to myself to make time for music.

EDITOR: jack oxford

Photo: Someone

jake walker-charles

Photo: Wikimedia commons

Photo: Pikist

The environmental impact of live music

are some artists taking this further. Massive Attack have been working alongside researchers from the Tyndall Centre in Manchester to try and plan the most environmentally sustainable tour possible, with changes made in every possible aspect, from travel to catering to production itself.

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Without question, the live music industry is facing a time of unprecedented disruption and uncertainty due to Covid-19. However, even before the pandemic took hold, there were issues within the sector, notably its role within the global climate crisis. Recent research suggests the live music industry releases approximately 405,000 tonnes of greenhouse gases each year, creating a serious impact on the environment. Audiences, artists and the industry as a whole are therefore exploring what can be done to improve sustainability, as it is clear there is no single correct answer.

Even incremental changes can have a significant impact. For instance, around a third of the greenhouse gas emissions from live music are believed to come from audience travel, so to combat this, Declan McKenna’s

upcoming tour offered a specific time slot for existing ticket holders to swap to a closer venue after more dates were added.

Similarly, Billie Eilish’s world tour attempted to use as little plastic as possible, encouraging the use of reusable cups and bottles, while also working with environmental nonprofit Reverb to create an “eco-village” experience at each venue to educate audiences.

As you might imagine, there

Coldplay are probably at the furthest end of the scale, having refused to tour their latest album, stating they will not do so unless responsible measures are found.

The Coronavirus pandemic has emphasised the value of live music in our lives, but this will definitely be one of the areas in which we see a “new normal.”

T he Coronavirus pandemic has emphasised the value of live music in our lives, but this will definitely be one of the areas in which we see a “new normal.”

Fiona Apple’s ‘Fetch The Bolt Cutters’: Six months on

Fiona Apple’s Fetch The Bolt Cutters was released in April 2020, seven months earlier than expected, allowing listeners to use it during lockdown.

I say ‘use’ because I believe this album is a toolkit for difficult times.

Grounded in themes of injustice and power, and recorded within the walls of her home, the album that’s been eight years in the making feels chiselled for this moment.

Within our COVID restrictions, Fetch The Bolt Cutters models the way homes can form wombs for personal, political, and artistic growth.

Recording the album within her house, Apple gains autonomy of her stories, reclaiming her voice from the industry that stole it and composting her rage into fertile soil for hope.

Tracks like “Newspaper” and “Relay” bubble with the unfairness Apple experiences, holding these

experiences without allowing them to cancel out goodness.

Apple welcomes complexity and intentionally moves away from perfectionism into authentic imperfection, littering songs with unplanned dog barks, spoiled vocal takes, and spontaneous outbursts of dolphin noise.

better things exist beyond our confines: it commands the bolt cutters despite the unknown.

The album knows that escaping this reality is paramount, mirroring our own thoughts of not going back to normal post-COVID. It accepts that to grow is to dare and risk failure, and that this is necessary. Since April, this album has functioned as a safe space to express rage and meditate on healing.

Her commitment to transparency is what makes Fetch The Bolt Cutters vital listening.

Fetch The Bolt Cutters knows that

It is a musical landmark of isolation and one we can return to as we transition out of this period, giving birth to a new world. I like to think of the “bang it, bite it, bruise it” from “I Want You To Love Me” as an invitation to squeeze this album for all it’s worth, slurping up every drop of its ripe wisdom.

EMILY KELLY

Photo: Wikimedia Commons

“Her commitment to transparency is what makes Fetch The Bolt Cutters vital listening”

A COMPLETE OVERVIEW OF Gamescom 2020

Gamescom 2020 gave us so much to look forward to, with a crazy amount of highlights despite the online-only nature of the event. Here are the two things from the event I’m most excited for!

Dragon Age 4: Bioware gave us a behind the scenes look at Dragon Age 4, which has been a long time coming– the absolutely huge Dragon Age: Inquisition came out in 2014! Without going into deep spoilers, the game seems to leave off roughly where Inquisition’s Trespasser DLC left off, with plenty of returning figures from that game and the others in the series. Notably, the game will feature the first female playable Qunari character, outside of possibly having your player character be one in

Inquisition. It is unclear as of yet whether we’ll be given a true open world or many separate, huge open areas like Inquisition, but I’d be happy with either– and given the amount of time we’ve had to wait, I can only assume the best. We likely still have a while to wait as well, as Covid probably delayed development and a release date is not close to being confirmed.

Lego Star Wars: The Skywalker Saga: The Lego Star Wars series is one I hold close to my heart, having played the game across several platforms, and The

Lockdown Games

With lockdown came days that felt like forever. Days stretched into weeks, and weeks into months. But there was one shining light which got me, and so many others, through those early lockdown days: Animal Crossing. For so many of us, it was the gift we didn’t know we needed. It gave us the chance to escape early lockdown life and the terrifying state of the world around us.

Life in animal crossing is simple and innocent. You collect, you build, you farm, you buy, and you sell. Animal crossing represents the real world, but without fear. Of course, you can’t live in a game world forever, and it isn’t healthy

to avoid the problems and issues in the real world, but that time playing Animal Crossing meant that for just a few hours, there was no stress or worry: there was just fun.

Leia Butler

I freakin’ love Rocket League. My housemate and I squeeze in a game or two every evening we can. It has a pretty simple premise: “Hey, what if football was played with rocket-powered cars that can fly

Skywalker Saga looks like it has potential to be the best yet. It will adapt all nine movies of The Skywalker Saga with five story missions each, completable in any order you wish. It will also feature over 500 characters, the majority being playable as well, and heavily revamped combat–a welcome change, especially given the simple nature of the combat in the earlier titles. The game is scheduled for release in early 2021 for the Nintendo Switch, Xbox One, Xbox Series X, PS4, PS5 and Windows PC.

Whilst there were many other things revealed and expanded on at Gamescom 2020, these two titles stood out to me most. Which ones stood out most to you?

Jack Oxford

the air and drive along walls? Oh, and the ball was massive.” An unshakeable concept. Though don’t mistake my fervour as anything resembling talent; we are beyond shocking at this game we love.

A night where we manage to not lose that badly is deemed a successful one. Every goal, no matter how accidental, is celebrated as if it were a victory - even if we’re 7-1 down.

We keep telling ourselves we’ll get better, but the accelerate button on my controller has stopped working and there’s no way to rebind it, so I guess I’ll have to master scoring goals in reverse?

The Sims 4 has a major diversity issue

The Sims is a real-life simulation game, aimed at recreating real life in a way that has been wildly successful. While it is obviously impossible to simulate all aspects of the human experience, the game has been heavily criticised for its focus on American, white, middle- class, suburban life.

Compared to past versions, The Sims 4 has rarely portrayed other cultures in its expansion packs, let alone the base game.

As graphics have become more realistic, attention to white skin tones and hairstyles has been remarkable. While this has been impressive, it has only highlighted the neglect of their ethnic counterparts.

Many of my friends who play the game use it as an outlet for self-expression, sometimes even recreating themselves and their friends. While recent expansion packs

have released improved ethnic hairstyles, the base game remains lacklustre.

This leaves the responsibility to modders, who upload free content for Simmers looking to expand their inventory.

It’s frustrating players should have to find solutions outside of the game rather than Maxis/EA providing it, especially considering the price of the game and its various packs.

Just recently, the newest pack was released: Journey to Batuu. The Sims community was generally disappointed with the new release, considering it resolved none of their issues.

For years, Simmers have asked for more Lore, increased interactions with babies, greater emphasis on age ranges outside of young adult, as well as improving ethnic skin tones and hair types. This release solved none of this, only

alienating members of the community. It’s clear this release was part of a brand deal with Disney, emphasising the Sims focus on income rather than listening to their customers.

As an avid Simmer myself, it’s frustrating to feel as though I am yelling at a brick wall.

These issues were only highlighted with the reignition of the Black Lives Matter movement this June, as Simmers have been advocating for greater attention to minorities in the Create A Sim function for years.

With the release of Journey to Batuu, it feels that the Sims Franchise will continue to have a greater focus on big brands rather than the opinions of their players.

Photo: The Sims Studio, IGDB

Super Mario’s 35th Anniversary announcements

There was… enough to get excited about from Nintendo’s Super Mario Bros. 35th Anniversary announcement. While I have no interest in getting a Game & Watch, Super Mario Bros. 35. looks a bit busy for my liking, and the novelty of a Mario Kart where RC characters drive around your living room will wear off once someone gets annoyed at you for running over their foot, I am excited to get my hands on the Switch version of Super Mario 3D World (with new Bowser’s Fury add-on) because I missed it the first time around by not having a Wii U.

The in-game events in Mario Kart Tour (the app; remember that? It’s still a thing.) didn’t pique my interest as much as Super Mario-themed Animal Crossing furniture. An in-game Mario-themed Super Smash Bros. Ultimate tournament sounds okay, but I don’t own Splatoon 2, so whatever a “Super Mario-themed Splatfest” is, it just sounds dodgy.

There’s a bunch of easily ignored merch on the way - I don’t use my My Nintendo account and am unlikely to visit their New York store, my interest in themed Monopoly dried up years ago, and I don’t need Puma trainers. My eye is on the swanky BlackMilk dungarees coming out later this month. I’ve already set a reminder in my phone.

The best announcement was the final one. After telling us Super Mario All Stars is coming to the Super NES Nintendo

Switch Collection, Nintendo unveiled the long-rumoured Super Mario 3D All Stars. Super Mario 64, Super Mario Sunshine (the best one), and Super Mario Galaxy, coming to Switch, all in one game! An absolute treat! It’ll only be available later this month until the end of March 2021, so if you’re looking to play these critically acclaimed 3D platformers (like me!), make sure you get your order in early.

Alex Viney

Favourite games of the last generation

Although I played Dragon Quest XI on the Nintendo Switch, it was originally released on PS4 in 2017. The main criticism of the Dragon Quest series is the sameness that runs through each title, but it is this very criticism which is also its greatest strength to long-term fans of the series like myself. With a Dragon Quest game you always know roughly what to expect: solid turnbased combat, charming characters, and a gorgeous medieval world designed by Akira Toriyama of Dragon Ball Z.

Dragon Quest XI is by far the most polished Dragon Quest game ever, being the most graphically impressive, sure, but it most shines in the animations of

its characters: subtle expressions, hand movements, and changes in posture. I completed this over the course of about a week, totalling fifty hours before the credits, although there is a very expansive postgame which could probably double that playtime.

JACK OXFORD

Honestly, nothing from this latest generation of consoles has come close to beating the Elder Scrolls titles from the Xbox 360 days. The Elder Scrolls Online’s release for Xbox One was lacklustre to say the least.

My favourite console of this generation

is honestly the Nintendo Switch: it punches way above its weight in terms of playability and versatility. With that my favourite titles were probably Mario Party and Ring Fit (and of course Mario Kart!); these titles never get old and are great fun with family and friends or on solo play.

In which case, my favourite series of games was Forza Horizons, combining realistic gameplay and sleek graphics with a vast expanse of free world exploration was just remarkable.

I’m looking forward to seeing how this series develops with the capabilities of the next gen consoles.

Photo: Pixy.org

Photo: Nintendo

COVID-19 know the rules

please remember to wear face coverings while:

in union house ordering coffee from unio in shop(su)

these locations are now cashless, so make sure to bring your card: thank you from everyone at your su!

unio bar(su)

Working as a film extra: The true reality behind the film fiction

The purpose of a film extra is simply to fill space and blend in. That might seem easy enough, however, there’s a lot more that goes into being a blurry dot floating in the back of the cinema screen than you might imagine. Here’s what it’s really like:

It starts with an availability enquiry from an agency via email or text. If you respond that you’re available, your photos and details will be sent to production. You’ll then receive a notification that you’ve been “penciled”.

The production will be given an array of photos that fit a brief. They may narrow down their options: placing a smaller group on “heavy pencil” to be reconsidered later. Alternatively, they may select the extras they want outright; “booking” some, and “releasing” the rest. This can be tedious, but you have to be patient with it. I was released 16 times before I got my first film extra job, but who’s counting!

Once you’re booked, you’ve got work. Typically, this starts with a fitting (usually a separate day). You’ll be given some generalised “character information” about your role and be fitted into your costume/ hair/make-up. This process can feel quite intimidating at first, but once you do one, it becomes second-nature.

The call time for the shoot day won’t normally be realised until the day/evening before.

The call times can be 6:00 AM, or earlier. You always get an array of complimentary meals on shoot days, including breakfast if it’s an early start.

There will also probably have a fair amount of time to socialise with the other extras by complaining about how tired you are.

Once you’re in costume, it’s a real lottery in terms of how the day pans out. Some days you might be on set for hours;

other times you might be waiting around in a crowd holding area the whole day and never be used in a scene. You’re not usually allowed a phone, so my advice would be to bring a book, or maybe a small pillow.

Personally, I really enjoy my time working as a “supporting artist”, as the professional term goes. It pays well and I went in simply with the intention of gaining a bit more of an understanding of the film industry. You have to have a thick skin. The selection process can be very disappointing at times, and “releases” can sting.

Film environments can be very stressful and you, as an individual, aren’t going to be anyone’s top priority. However, if you want to learn a thing or two about the film world, work with the odd Hollywood A Lister, and can do without the glamour, then (Covid permitting) I’d recommend applying!

Jake Walker-Charles

EDITOR: NIAMH BROOK

Photo:Wikimedia Commons

DC Trailers: A Tease of What’s to Come

The DC fandom have been offered several new trailers! Many of the trailers give us a glimpse of these films in any format, though some had little to offer beyond brief teases of the films to come.

Firstly, ‘Wonder Woman 1984’, set during the Cold War, shows us that Diana will come into conflict with two new characters as well as reuniting with Steve Trevor.

With this trailer I don’t really understand the need for another sequel, as with the original Wonder Woman we saw her past and how she came to be.

However, there seems to be another part of Diana’s past that they need to tell as well as a new character that has gone rogue, Kristen Wiig’s ‘Cheetah’.

‘The Suicide Squad’ is back

for another film and honestly, I’m very excited about it.

I am curious how Idris Elba will replace Will Smith as Dead Shot as Smith was unable to return to the film due to scheduling conflicts.

The trailer was very simple, giving us a glimpse of the characters in costume, but we are just shown the characters and the actor’s names. I like the simplicity of the trailer as it leaves us in the mystery of what the film will entail.

Another one to look out for would be ‘Black Adam’. The role will be played by Dwayne ‘The Rock’ Johnson. The Black Adam concept trailer doesn’t have any footage from the movie itself, but it did give a sense of how the new film will be positioning the character. The version of the character that is being

presented to us isn’t exactly a villain, but he’s not a hero either. The trailer shows that he has his own goals and motives in life. It could also be possible that Black Adam could join the Justice League, as a result of the failure of their film.

Lastly, ‘The Batman’, starring Robert Pattinson. The first official trailer shows everything that you would expect from a Batman film; brutal, action-packed, and revealing.

We got what Robert Pattinson looks like as Batman and also introduced a few key characters, including Jeffrey Wright’s James Gordon and Zoe Kravitz’s Catwoman.

The film was supposed to be released on June 21st, 2021, but because of the pandemic affecting production and other film’s releases this year, it has been pushed to October 1st, 2021.

Caitlin Telford

The New Mutants and The Return of the Cinema

Tango ice blast? Check. Cinema snacks? Check. I had everything I needed for a classic cinema experience. But this time it was different.

When not eating, my mask was on. And there wasn’t the usual hustle and bustle of the cinema, where you were shoved up against the person next to you who was telling the kids a few rows in front to be quiet.

This time, we were socially distanced, spread out and it was a much emptier room. Cinema had changed, but nonetheless, it was still a fantastic experience.

I went to see the much anticipated ‘The New Mutants’. This film has been in the works since 2014 but it was continuously pushed back by delays and tweaks to the plot and characters. So after all that wait, was it worth it?

The story follows 5 young mutants who have been locked away as a means

to control their powers. As they try and navigate their escape, we see their journeys

review 3/5

more feel good movie and it is one that leaves you with a fuzzy feeling. As part of the X-men world, it definitely had the same feel as those movies, but much more light-hearted as it centres around a group of teenagers.

The acting from Maisie Williams, Anya Taylor-Joy and Blu Hunt were standout performances and I loved how they were such complex characters.

Overall, this movie was well worth the watch. However I’d give it a miss if you do like a good dark superhero movie, as this does appeal more to a slightly younger audience I’d say.

of self-discovery and freedom.

Though the plot was quite predictable, it was well put together and a very wholesome watch.

Though it is described as fitting into the horror genre, I’d say this is a much

EDITOR: NIAMH BROOK

It was great to be back in the cinema and feel the excitement of the trailers and the upcoming world of film. I can’t wait to go back again!

Leia Butler

Photo: Negan, VamosRayos

Photo: Leia Butler

Tenet: An Interesting Insight into Inversion

‘Tenet’ marks the welcome return of the blockbuster to the silver screen.

The first film released after lockdown, Christopher Nolan’s Tenet shows us a world of inverted espionage, a means of using time travel as a means to save the world.

It has become expected for Nolan’s work to be something of a visual masterpiece and Tenet marks no expectation.

The visuals in this film are spectacular; blending the sleek and stylish nature of espionage with high stake action.These action sequences are a marvel, perhaps the most impressive was a car chase scene that takes place both forwards and backwards

in time.

One gripe I have with the film is its pace. Due to the subject matter of the film, Nolan rushes you through the first act at lighting speed, introducing you to characters and major plot points with no chance to catch your breath.

Because of this I found myself more confused during the first act than I was during the rest of the film.

Overall, ‘Tenet’ is a thoroughly enjoyable and original summer blockbuster, featuring fantastic performances from the lead duo John David Washington and Robert Pattinson.

Whilst not Nolan’s best work, ‘Tenet’

shows us the world of Time Travel that will have you leaving this

kaufman’s ‘I’m Thinking of Ending Things’

I could tell you “I’m Thinking of Ending Things” was made by someone out of their mind. It’s a critique as common as it is vacuous.

The film is aggressively obtuse and entirely disinterested in explaining itself, so I have no idea whether I ‘got’ it.

But to dismiss the film as deranged nonsense is to ignore the overwhelming sense of craft oozing from every frame.

Charlie Kaufman is one of my favourite filmmakers, and here he’s both director and writer (by way of adapting a synonymous novel by Iain Reid).

Even down to the tight 4 by 3 aspect ratio that creates a palpable sense of claustrophobic tension so fitting for this story of awkward social encounters, you can see him hand-picking every pixel.

But this would all fall flat on its face without actors who can carry it, and costars Jessie Buckley and Jesse Plemons add so much as the human elements that give the audience a way into this auster style and a reason to care about

what’s at the center of this puzzle box.

It’s a feat of charisma to talk in a car for tens of minutes at a time and remain so engaging, and it’s vital if the depth and range of topics they discuss are going to register as part of this cinematic tapestry.

With Toni Collette and David Thewlis alternating between sinister and hilarious between single lines and a story that splices together different times and realities to keep you invested but off balance. Honestly though, this film is hard work. Beyond the gorgeous aesthetics, it’s effort to take in what’s happening, and if I have one substantive criticism it’s that the film doesn’t resolve itself in much of a satisfying way.

While raising so many fascinating topics and expressing them in beautiful ways, I’m left with a sense that I now have homework if I want to get a fulfilling answer for what it all meant.

Photo: Netflix

Photo: Chris Murray, Unsplash

“THE film is aggressively obtuse and entirely disinterested in explaining itself”

A Rewatch of… The Midnight Gospel (2020)

When you rewatch something, that overall experience can never be the same again –the mental circumstances occurring as you watch will always be different.

This was my mindset going into my latest rewatch of ‘The Midnight Gospel’ (2020), a show I’ve now seen three times. ‘The Midnight Gospel’ is an adaption of sorts of ‘The Duncan Trussell Family Hour’ podcast, with the heavy, authentic conversations of the show being mixed with a vibrant fantasy world created by Pendleton Ward of ‘Adventure Time’ fame, featuring Trussell’s “character” Clancy interviewing simulated beings whose universes are about to end (thus the eponymous “Midnight Gospel”). Simply from the way the show is presented, it feels as if you’re watching two shows at once: a high concept sci-fi adult animation, and a journey through different approaches to mindfulness.

When I first saw ‘The Midnight Gospel’, I’d been in lockdown for a month and had been getting slowly into Buddhism. This show skyrocketed my interest. Upon this rewatch I was quite familiar with Eastern spirituality and the ideas of Ram Dass, so found I could more easily grasp many of the concepts I couldn’t on my first watch. One of the things I’ve noticed introducing friends to it is that one’s ignorance of

these concepts doesn’t make the show any less accessible. The nature of these conversations means they’re presented for Duncan’s Western audience; in the second episode, for instance, the discussion is primarily on Christianity, dabbling only a little into Dass.

It also occurred to me on this rewatch that there’s a healthy blend of guests from all walks of life (both in reality and their fictionalised depictions), offering a variety of nuanced perspectives. There’s an addiction medicine specialist (represented as the president during a zombie apocalypse), a mortician (represented as Death with a gigantic eyeball and a party hat), and a falsely-convicted magician released from death row (animated as a fish in a robot suit). The zaniness of the concept grasps viewers and provides an alternative if one finds the conversation too much.

However, a downside to this approach was that at times, particularly on my first watch, I found myself distracted by the animation and thus not understanding the deep conversations guests were having. Upon my third rewatch, I realised what captivated me about the show was the sheer reality of these conversations, partly due to Duncan’s openness as a host to address things other hosts would avoid.

For instance, in the first five minutes of episode one he describes how he nearly died from mixing sleeping pills with alcohol; later in that same episode he opens up about his past anger issues. However, the episode that hit hardest with this facet was the final one, which used a podcast episode from 2013, wherein Duncan interviewed his mother dying from cancer. Sure, the emotions are depicted using animated characters, but I was struck by how sincerely REAL everything was, far more real than the fake tears an actor can give you on a screen. On this watch, I realised that I’d listened to one of the last conversations between a mother and her son, between two people who loved each other immensely, forever immortalised through the show, and that really touched me.

All in all, I feel that this rewatch solidified my thought that ‘The Midnight Gospel’ is a show that seeks to offer different people’s answers for the big questions while offering genuine teachings about mindfulness. It doesn’t tell you what to think like a lot of modern “philosophical” media, instead it simply gives you new perspectives on things you thought you already understood.

Alex Grenfell

Photo: Netflix

Anticipated Autumn Arrivals

His Dark Materials The Boys The Mandalorian

I don’t watch a lot of television. I have certain shows I adore and very few I actively keep up with and religiously watch, so anticipating a premiere is almost unheard of.

Friday 4 September saw the release of season two of The Boys a day early, fans could not be more buzzed for Season Two of the American superhero action-thriller series. Delightfully gory and packed with dark comedy and dramatic twists, the show, based on the graphic novel of the same name, follows the wild and messy journey of the anti-hero vigilante group known as The Boys.

Season Two of Star Wars’ first live-action series ‘The Mandalorian’ may as well be named “The return of Baby Yoda”. The stuff of internet legend, Baby Yoda, known to fans of the show as ‘the child’, took over social media after the release of the first season in November 2019. The show earned 15 Emmy nominations, including outstanding drama series and visual effects.

Season Two is due to begin October 30 on Disney+, as filming finished in March 2020, narrowly missing incoming lockdown measures. Pre-production has begun on a third season, with the production design department beginning work on April 20. Creator Jon Favreau confirmed the pandemic will not cause a significant delay to the third

The unbearable wait until November for the second season of ‘His Dark Materials’ therefore shows perfectly how incredible this show is.

Season One was a lockdown binge for me, and it emotionally destroyed me, to then build me back up again, only to destroy me once more. My favourite thing about the show, and ultimately the one factor why I am desperate to have it back on my screen, is the incredible cast. All the actors suit their roles perfectly, the diversity is great, and my post-Hamilton obsession with Lin Manuel Miranda drew me in to watch the show. Andrew Scott also joins the cast for Season Two, so there are very few ways the show can get any better from this point in my eyes.

I am also excited to see where the story goes with the second series. As it is based mostly on the second book in the ‘His Dark Materials’ trilogy, ‘The Subtle Knife’, I do not know anything that’s coming up, so the mystery of it all is keeping me on the edge of my seat.

Led by the rebellious and charming Billy Butcher, they aim to expose the truth behind the idealised super-heroes, the Seven, who are owned and marketed by the corrupt organisation Vought and led by the most evil, sociopathic ‘supe’ of them all, Homelander. With a new bold and crazy season that delves deeper into the concepts of super-humanity, morality, politics and greed, this show will surprise you in the strangest of ways. Although we can only binge-watch so much, with the first few episodes of Season Two available to watch now on Amazon Prime Video and the rest of the episodes to be released weekly, being able to savour each episode as it comes should be just as satisfyingly sweet.

hoped the second season will tie up loose ends when it comes to Baby Yoda’s future and the history of the Mandalorians. Boba Fett, a clone of Mandalorian Jango Fett, is also due to feature, after a first appearance in Episode V – The Empire Strikes Back (1980), as one of the bounty hunters hired by Darth Vader to capture Han Solo. The Mandalorian gained Disney’s streaming service around 50 million subscribers.

Lily Boag

Photos: BBC, Amazon, Star Wars / CC BY (https://creativecommons.org/licenses/by/2.0)

Mrs America: An Accurate Retelling of Second Wave Feminism?

‘Mrs America’ breathes life into the women at the front of second wave feminism and their fight for equal rights. The nine-part miniseries follows both sides of the argument, those for the Equal Rights Amendment and the members of STOP ERA, headed by Phyllis Schlafly. This captivating retelling not only offers an entertaining distraction to the worldwide pandemic, but also stands as a reminder of the endless struggle for equality that we still face.

Phyllis Schlafly, or Mrs America, was an anti-feminist activist who directly opposed the Women’s Movement in America, particularly the Equal Rights Amendment. By defending traditional

gender roles, ‘Mrs America’ highlights Schlafly’s hypocritical position, and subsequently, how her activism seemed to uphold inequality. The series does amplify Schlafly’s influence over the anti-feminists, but others, such as Gloria Steinem, believe the show gives one the ‘impression that [Schlafly] was the reason it was defeated.’

According to Steinem, one of the show’s protagonists, the ‘vast majority’ supported the ERA, as presented by the series, but Schlafly was just someone ‘brought in at the last minute’ to oppose equal rights. The battle over the ERA appears to be Schlafly versus Steinem, when others, such as insurance companies, hindered the ERA’s progress more. The

show spotlights the issue on the table: inequality. It emphasises how change requires the relentless persistence of those effected, and that sometimes even that is not enough to overthrow the norm.

‘Equality of rights under the law shall not be denied or abridged by the United States or by any state on account of sex.’

Almost one hundred years on from the ERA’s introduction, ‘Mrs America’ reminds us the minimum of thirty-eight states has been achieved allowing ratification of the U.S. Constitution.

Equality is back on the agenda.

Cancelled TV: ‘American Vandal’ and ‘Forever’

I have two go-tos when it comes to shows cancelled too soon: American Vandal - one of the best comedies of recent years and another victim of Netflix’s cynical “two seasons, then done” financial strategy - and Forever.

My love of detective and mystery series comes from an utter inability to guess who the culprit is. The “big reveal” is always a huge revelation.

I spent my teens harbouring a major NCIS obsession (it’s all on Amazon Prime, I’m probably only a few more months of lockdown away from relapse…), but eventually I found comfort in the “Detective + Person With a Quirk Wot Makes Them Very Clever” genre. This includes shows like Castle (Detective + experienced crime writer), Psych (Detective + guy with a photographic memory who pretends to be a psychic) and Lucifer (Detective + the actual, literal devil).

In Forever, Ioan Gruffudd plays

centuries-old forensic scientist Dr Henry Morgan, whose mysterious immortality fuelled multiple-lifetimes worth of study into death itself. Henry uses this expertise to solve crimes with detective Jo Martinez (Alana de la Garza), while also dealing with the revelation of Adam - a second, more ancient and enigmatic immortal.

I loved how the show balanced crime stories with interrogations of what it would be like to live forever, but low ratings meant it was cancelled after one season, despite online campaigning and with help from viewers from Spain and France, where it was really well received (it was the most watched show on Tuesday evenings in France which was… bizarre to learn).

Although wishing there was more of it to enjoy, I am oddly content with the one season we got. It wraps things up quite nicely in a “we could go on, but wouldn’t it also be okay if that was it?” kind of way. It didn’t explore Dr Morgan’s immortality in quite the way it wanted, but there weren’t obvious loose threads hanging off the final episode.

Elena Rodgers

Photo: Netflix

Vera venue is your agony aunt

Dear vera venue, I’m starting uea and i’m excited but im also really nervous my flatmates won’t like me. how am I going to fit in?

Firstly, congratulations on getting into UEA. This is such an exciting time for you, but it is totally normal to be nervous. When you got to university, you have to meet and live with some many different people new people and this can be overwhelming. Luckily, you aren’t alone. As nervous as you feel, that how your new flatmates are probably feeling too!

One great piece of advice is to try and come across open and approachable to your flatmates when you first met them. First impressions aren’t everything but they do certainly help. A good start is to buy a doorstop. It may seem like a small thing but this is a great gesture in allowing you to open your door, and then invite people

in to talk to you or say hi when they are walking past! Another good way to start making a good connection with your flatmates when you move in is to have a snack for them up for grabs.

This could be biscuits, sweets, a tub of quality streets, anything! But making the first step and offering them something small is the first step in offering the beginning of a relationship.

Even though you might feel worried about differences between you and flatmates, these differences are to be expected! You and your flatmates will come from all different backgrounds and cultures and you wouldn’t grow or learn from your flatmates if they all were exactly like you. Use this new experience as a chance to learn from new people and broaden your horizons.

Fears about fitting in are tricky and they can sometimes encourage people to subject themselves to peer pressure and doing things they don’t want to in order to ‘fit in’.

This is common and lots of students do end up doing things they don’t want to because they fear they won’t fit in if they don’t follow the crowd. Besides flatmates aren’t your only option!

You can find loads more new people through societies and clubs. Have a browse on the SU page or check out their buddy scheme. Remember to reach out to SU support service and on-campus services like student support if you are struggling as they are there to give you advice and listen to any concerns you may have.

Love Vera x

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