UT Magazine 26/2

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UT ZINE CONTENTS

SCENE 3 The Irish Actor Phenomenon SCENE 4 2023’s Best (and Worst) Films SCENE 6 Zone of Interest SCENE 8 Revolut Revolution SCENE 9 (Salt)Burning Bromance SCENE 10 We All Hate Women SCENE 12 Teenage Sex On-Screen SCENE 13 SCENE 14 The Lighthouse: A Comic SCENE 15 Dear Agony Aunts...

SCENE 16 Puzzles 2

THE IRISH ACTOR PHENOMENON INT. THE BAFTAS - NIGHT MATTHEW KEELEY, staff writer, considers whether the lack of women amidst the current mass of lauded Irish actors on the awards circuit is concerning or simply coincidental.

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here was little surprise amongst those seated in Lon- ing history. In 2016, the Trinity College graduate became the don’s Royal Festival Hall when Cillian Murphy was first black Irish female actor to be nominated for an Oscar and awarded Best Actor at the BAFTAs ceremony this past one of only two Irish women to be nominated for Best Actress.

February. In doing so, he became the first Irish born The other is someone whose outstanding success, longeviman to win the award, yet another impressive feat as eventual ty, and sheer unparalleled talent completely undercuts my Oscar recognition for his leading role in Christopher Nolan’s friend’s argument in my opinion. That woman is none other Oppenheimer becomes almost a formality. At a post-award than Saoirse Ronan. press conference, he restated his pride in being Irish, joking Saoirse Ronan is without doubt one of the greatest actors this country has ever produced. Her performances in Brooklyn, that he should “sing a rebel song” to prove it.

Lady Bird and Little Women all earned her While Murphy’s historic win rightfulOscar nominations, although her first Oscar ly claimed the spotlight, the night also witnomination came when she was just 13 for nessed significant triumphs for other Irish Where are her role in the 2007 film, Atonement. She is filmmakers. Poor Things, co-produced by the Irish company Element Pictures, won all the Irish the second youngest person to ever receive four Oscar nominations behind only Jenniffive awards, including a Best Actress win for girls? er Lawrence, accruing them by the age of 25.

Emma Stone. The company’s co-CEO Andrew At the time of writing, she is still only 29.

Lowe aptly acknowledged the “strong Irish Had Saoirse Ronan delivered another perpresence” at the awards ceremony, mentionformance of the same ilk in a film of similar magnitude in the ing Barry Keoghan and Paul Mescal who were also nominatpast twelve months, there is no doubt that she would have also ed.

Initially, I planned to write an article celebrating the been amongst the sizeable Irish contingent at the BAFTAs. achievements of these actors and this remarkable era for My friend and I also may not have had the same kind of conIrish film talent. But then I had a conversation with a friend of versation about female Irish representation. It may be true mine, a real film buff, which made me change my perspective that, perhaps given the aura surrounding Murphy and others on all this recent success. Amidst all the adulation and bor- this current awards season, the prior achievements of Conderline glorification of this current assembly of Irish actors, don, Negga and Ronan are out of the spotlight. If anything, it my friend asked a poignant question: where are all the Irish proves how a mere year or two away from the bright lights of Hollywood can cause some to overlook or downplay an actor’s girls?

As we witness this crop of male actors basking in in- previous success and significant contributions to the industernational acclaim and gracing red carpets, the apparent try.

So, is there really a gender-based disparity between the absence of their female counterparts is notable. Why is this happening and what does it say about how Ireland fosters and praise heaped upon the male Irish cinema darlings of 2024 and the recognition given to Irish female actors? Perhaps, but produces acting talent?

Within the context of the recent BAFTAs at least, it must I would argue that it is slight. If any of the aforementioned be mentioned that Ayo Edebiri was present at the ceremony. female actors were amongst the other Irish nominees, I know But unfortunately, no matter how endearing Edebiri’s shout- that they would have all been celebrated just the same. After outs and references to Ireland are, they don’t change the fact all, all that we want to see – firstly as Irish film fanatics but also that she was born in the United States to a Nigerian father just as Irish people – is our countrymen and women triumph on the world stage. and a Barbadian mother. Lir graduate AliIn a BBC interview before the BAFson Oliver was also present at the BAFTAs, TAs, Cillian Murphy was asked to share his although was not nominated for an award.

So, just one thoughts on the recent surge of talented Undoubtedly a burgeoning talent, it is sureIrish actors rising to prominence. ReflectIrish female ly not long before she reaches the heights of ing on this phenomenon, Murphy spoke of Murphy, Mescal and Keoghan. actor at the how Irish people are “natural storytellers”, So, just one Irish female actor at the a people with a deep and rich oral tradition.

BAFTAs. A cause for concern? Not necesBAFTAS. A It is worth mentioning that this storytelling sarily. After all, last year’s BAFTAs saw Tipcause for concern?

Not prowess is something shared by all Irish perary’s very own Kerry Condon win the people and is not particular to one gender. award for Best Actress in a Supporting Role necessarily.

Perhaps it’s time to collectively recognize for her incredible performance in The Banand celebrate this remarkable era of Irish acting talent. So, shees of Inisherin. A tremendously successful actor, she was also recognised with an Oscar nomination for her role in the let’s celebrate Cillian Murphy’s win while also taking pride in the achievements of all Irish actors as they continue to captiMartin McDonagh film.

Ruth Negga is also an essential figure within Irish act- vate audiences around the world.

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2023: THE YEAR THE BOX-OFFICE BOUNCED BACK

INT. A FULL CINEMA - EVENING CORINNE MAHON compiles her personal list of the best and worst films of 2023.

2023 gave us the best release lineup we’ve seen post-COVID, with the public’s re-kindling with cinema surmounting in the highest box office numbers since 2019. Even with the summer-long strike from the Writers’ Guild of America, 2023 throttled cinemas out of the red and back into the black – and I definitely contributed to those sales. So, here are what I consider to be the best and worst of the past year in film.

Although a lot can be said for Christopher Nolan’s ambition and stunts in Oppenheimer and similar amounts of awe can be attributed to Greta Gerwin’s Barbie, these are both movies the public (and TikTok) have heard a sickening amount about. Therefore, I’ve decided to jump straight over their analysis in the pursuit of adding something new to the cinematic conversation (we all know they would be ranked among the best, anyway).

Anatomy of a Fall is the greatest ‘French-legal-drama-thriller film’ I have personally experienced. Actor Sandra Hüller depicts the posthumous examination of a marriage through its last living component: the guilty-looking wife. This refreshingly complicated woman undergoes a host of police questioning and intrusion as she is convicted for the murder of her late husband (the death of whom is experienced by only one witness: their blind son). Director Justine Triet teases audience members with crumbs of information that may or may not be important, weaving suspense in a way that is truly impressive. This film quickly became a fan favourite with a stunning 96 per cent on Rotten Tomatoes. It is currently nominated for Best Picture at the Oscars.

Nominated in the same category is Martin Scorsese’s Killers of the Flower Moon, which is a shocking 3 hours and 26 minutes long. Starring Leonardo DiCaprio and Robert De Niro, this film rips its viewers back into the world of the 1920’s – but not in the sparkly way viewers might imagine. Enter Lily Gladstone, an Osage heiress “with the moxie to survive this orgy of greed and violence”. Gladstone’s character reveals to audience members the brutal crimes committed against the oil-wealthy Osage Nation and the strength with which these people survived. Scorsese seamlessly laces anticipation and hope into this story of overwhelming darkness: it is truly unmissable.

Released in Ireland and the UK in January 2023, Tár is a psychological case study of Cate Blanchett as she spirals and falls off her pedestal. This tour de force of a woman throttles everything she has at a live recording of Gustav Mahler’s Symphony No. 5, only to have every meticulously curated aspect of her life slip from her reach. There is truly nothing more fascinating than watching someone who seemingly has everything completely crumble.

Although Women Talking came out nine days before 2023, it found a compelling ability to hold space for itself alongside the year’s vast array of powerful releases. It illustrates the story of eight Mennonite women who were violently assaulted in an isolated religious colony between 2005 and 2008. What makes this film a marked contrast from the Barbies and Oppenheimers of 2023 was the way in which it escaped the need to show violence. In an effort to avoid what has become patterned about movies such as this, Women Talking instead flips the expectation on its head and refuses to showcase brutality. Instead, it demands the audience understand anyway. This powerful depiction of the recovery process is not as vengeful as in films such as Promising Young Women. But, it succeeds in illustrating the realistic and increasingly emotive nature in which these women survived and healed.

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As the year came to a close, Yorgos Lanthimos released perhaps my favourite drop of late: Poor Things. Did you think I forgot about this one? If you did, then you definitely haven’t seen it. Based on Scottish writer Alasdair Gray’s book of the same name, and promoted as a retelling of Frankenstien, Emma Stone, William Dafoe, Mark Ruffalo and Ramy Youssef stun viewers with every single scene. Stone’s character, Bella, experiences the entire development of the human brain within a full-grown body. This strange juxtaposition of Bella’s understanding and the treatment which she receives from her peers provides the film with a layer of interesting hilarity.

Gray’s ability to explain some of modernity’s most complex ideas with such strikingly simple dialogue makes this a mustsee movie.

Lying somewhere in the middle of a Fight Club / Mean Girls venn diagram, Bottoms follows PJ (Rachel Sennott) and Josie (Ayo Edebiri) as they become themselves in over their heads when the most popular students start beating each other up in the name of self-defence as a result of their ploy to lose their virginities. Watching this is comparable to watching Romeo and Juliet and finding yourself hoping the lovers survive.

The unlikely band of characters swindle their way in with the popular girls early on in the film, leaving the viewer hoping they’ll attempt to pull even more off. Edebiri is hilarious and I’ve been chronically obsessed with Sennott since her performance in Bodies, Bodies, Bodies. The dialogue is raunchy and excruciating and impressive. It may even leave you wanting to go back and visit your high school.

For a movie meant to attract absurdists, or teenagers who are genuinely bored, in my opinion Cocaine Bear was not crazy enough. Inspired by the 1985 true story, this film is rife with talented cast members and directors (enter Elizabeth Banks), but was so absolutely unfulfilling that one critique suggested the script, written by Jimmy Warden, “seems to have been scribbled on the back of a vomit bag during an extra-drowsy redeye flight”. A hilarious watch nonetheless, if you feel like chatting with friends for 80 per cent of the movie.

M3GAN has to be 2023’s worst. Making a strangely massive box office debut, this horror flick centres around an AI doll and quickly becomes a cautionary tale of “God-wannabes futzing with what it means to be human by creating life that becomes monstrous.” Completely unnecessary and honestly strange in my view.

How To Have Sex is a fun watch all-around and has been hugely praised by critics, but it admittedly left me with the lasting feeling that I’d seen it before. The scenery and friendships feel like a sequel to I Know What You Did Last Summer’s reboot, The Sex Lives of College Girls, or even Cruel Summer (namely, season 2). Although each of these comparisons have their own varying angles on the classic boy-meets-girl trope, they all give a similar sensation to the viewer.

Saltburn. What do I have to say about this? Again, I’ve seen it before. This feels like a dream Baz Luhrmann had on a random Sunday night with just a little bit of Greek mythology and Hollywood It-Boy sprinkled in. Is it one of 2023’s best? Is it one of its worst? I had this conversation with my parents (with whom I unfortunately sat in the theatre) who were appalled that Emerald Fennell marketed it as a comedy. We concluded that, although entertaining, the movie didn’t necessarily have to be made. I’ve come out of other films just as grossed out and just as willing to do shots as I did with this one.

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ZONE OF INTEREST: THE BANALITY OF EVIL INT. A GUILTY CONSCIENCE - NIGHT FINN PIEROTTI, contributing writer, analyses the appalling apathy depicted in Jonathan Glazer’s recent, BAFTA-winning film.

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hen one imagines a film villain what springs to he has become to the violence around him. Rudolf is a wind mind? Oftentimes Hollywood presents us with cock acting however suits his interest, and for him there is fantastical villains whose ‘colourful’ personas rel- no such thing as too many corpses to stomp over to aid his egate their villainy to a caricature of reality. The progression. He does not justify nor ponder the consequences Zone of Interest, directed by Jonathan Glazer, is dedicated to a of his actions on others. As long as his family is provided for, realistic dissection of the villainous Rudolf he would blindly follow orders without even Hoss (Christian Friedel) and his family, capattempting to delude himself into thinking In my opinion, turing the essence of amoral villainy. When his actions are justified. talking about the evils of the Nazi regime, A stark example of this comes from Rudolf is far we tend to focus our intentions on the suRudolf’s wife Hedwig (Sandra Hüller) and preme evil of Hitler. Whilst no person would more terrifying her maids. At the start of the film, Hedwig deny that Hitler’s ambitions came from a is gifted a luxurious coat. Upon inspection than villains place of bigotry and deep-seated hatred for Hedwig notices the inside of the coat is Jewish people, could the same be said about worn out and orders for it to get repaired. such as the Joker all his followers? Rudolf is not portrayed as Her maids are similarly afforded items or Hannibal Lecter a bigoted man, nor does he seem to gain any of clothing dumped in a pile in the table. joy from the agony he inflicts. Yet this makes Both parties are expressly aware that their because he is real. him all the more unsettling. Rudolf is all the new wardrobe is from Jews transported to more chilling from this indifference. His Auschwitz, with the maid even recounting willingness to raise his family within eara funny story where one of their friends seshot of the executions of his inmates shows just how numb lected a pair of clothes owned by a ‘Jewess’ half her size. Hed-

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wig and the maids are acutely aware of the extreme suffering to provide his family with a lofty house filled with maids and they are benefiting from yet act with complete indifference. good clothing, and every alteration he makes to increase the Hedwig goes even further, threatening that her husband will efficiency of the camp serves to raise their position. Rudolf incinerate a Jewish maid for a minor error. The other maids has provided his family all they could wish for without hatred ignore the latter’s plight and often sit down gossiping amongst nor sadness in his heart for his victims. He is simply a soldier themselves whilst she continues to work around the house. To following the commands of his leader to further his own amthem she is simply a tool, someone beneath bition moving up the army command. them whose continued existence is only tolIn my opinion Rudolf is far more tererated based on her capacity to fulfil their rifying than villains such as the Joker or household duties.

The true horrors Hannibal Lecter because he is real. It is We see what happens to Jews unable easy to say that one would not join the Nain the modern to provide value in life throughout the film zis during WWII when removed from the with the harrowing scene of the ashes of the world are often context of the time, but in reality most peovictims of the Holocaust being used as fertilple were complacent with the regime. How caused by isers for the Hoss’s garden or simply tossed many times have you bought an item made in the lake as Rudolf discovered when stumin abysmal working conditions because amorality rather than bling upon a hip bone whilst rowing down a it was cheaper? How many people do you lake with his children. The lake incident is sadism, fuelled by a know who have funded sex traffickers and expressly interesting as Rudolf rushes his murders through buying weed and othdesire for convenience, children back to the house. One may hope er illicit substances? How many times did that this is a moment of reflection for Ru- consumption and high you stay silent or participate in bullying to dolf, the moment where he realised the huraise your own social standing? How many social standing above man cost of his action. Instead his concerns generations have we endangered from our lay solely in the idea that his children might consumption? As much as I loathe Rudolf, all else. be contaminated by the ash. his amorality is far more grounded than Rudolf’s indifference throughout the other villains. The true horrors caused in film is best encapsulated by two key scenes. In the first Ru- the modern world are often caused by amorality rather than dolf is discussing how to conduct the extermination. His advi- sadism, fuelled by a desire for convenience, consumption, and sors are explaining to him a new system for incinerating Jew high social standing above all else. which involves burning one group whilst cleaning the ashes of the previous group out from another chamber. Rudolf is not concerned with the human costs of his actions, instead wanting to know more about how the system works to ensure it is as efficient as possible. His actions are not guided by a hatred towards the Jews but by a cold indifference to the suffering of those around him, as shown by the second scene I will discuss. In the second scene, Rudolf is attending a party, filled with his Nazi peers and their spouses. Instead of joining in, Rudolf ominously stands above them watching them dance.

On a call with his wife, he remarks he was thinking about how he would go about gassing his colleagues, remarking that the high ceiling posed a logistical problem. This scene demonstrates the core of who Rudolf is, a technocratic bureaucrat.

Were the roles reversed he would gladly commit himself to butchering his colleagues, and in fact revel at the opportunity to ensure that their extermination is properly coordinated.

Rudolf’s villainy represents a stark reflection of the modern world, a technocratic evil which infects every aspect of contemporary life. From the infamous Ford Pinto case, which involved Ford Motor Company releasing a defective car they estimated would kill 180 people, based on the estimation that it was cheaper to settle potential lawsuits than to pay an additional $11 per car to fix the defect, to pharmaceutical companies hiding data showing opioids were addictive and encouraging doctors to overprescribe them with the aim of increasing corporate profits. Villainy in the modern era is driven by efficiency, a utilitarian attitude to life or death designed to minimise costs whilst maximising benefits. Rudolf doesn’t care about the costs of his actions. His cold indifference to the agony caused by his actions coupled with his gleeful attitude towards maximising the efficiency of the operation is simple. Rudolf bares little, if any, hatred for the Jews, insteading viewing them as tools towards his end. Their execution serves

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REVOLUT REVOLUTION

INT. A BUSY PUB - EVENING MAISIE GREENER, Assistant Radius Editor, considers how money transfer apps can affect friendships - and the politics of paying someone back - in college.

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What’s your Rev?” Has become a staple of student lexi- human bank and another as though it’s doubted they will pay con. The question is as much a feature of college vocab- back. The apps, although they can settle the balance, cannot ulary as, “What library are you in?”, or “Smoke break?”. account for the human aspect of money. Trust and vulnerabilOstensibly, apps like Revolut, Paypal and Venmo have ity are often called the markers of true friendship, and while streamlined our lives. They boast currency calculation and transfer apps may offer a quick solution, they cannot substicompatibility with crypto are just a few of the features they tute these. boast but it is their peer-to-peer payment function that apSimilarly, transfer apps cannot remedy human habit. peals most to students. Sending money is as easy as getting If someone is stingy, they are stingy regardless of receiving someone’s phone number and the transfer multiple Splitwise ‘settle up’ notifications. goes through in seconds, often bypassing As articluated in the headline to Imogen bank clearing times. Although convenient West-Knights’ article for the Guardian, Transfer apps and efficient, the rise in digital transfer apps ‘The Splitwise app is excellent for divvying is not without friction. As with most tech decannot remedy up the bill, but it can’t fix human nature’, velopments, the apps’ increasing popularity the premise of money transfer apps is human habit. simple: the implementation, not so much. have been met with accusations that they are damaging human relationships. HarmIf someone is I know people who are indebted to friends ing norms of social reciprocity and making for large sums of money, even in the hunstingy, they are stingy friendships more transactional are just two dreds. Grocery bills left unsplit, holiday of the allegations levelled their way. Have accommodation still not paid for. It’s easy regardless of receiving transfer apps mitigated the awkwardness of to recite the proverb ‘Never loan money money in friendships? Or has an important, you’re not ready or willing to give away’, multiple Splitwise albeit uncomfortable, social convention been but in actuality this is a lot harder to follow superseded by an algorithm? Whilst tension ‘settle up’ notifications. through on. The people who paid back pre between money and friendships existed long App Store accountancy continue to now, before the invention of transfer apps – as while the regular offenders keep offenddramatised by the Friends episode, ‘The One ing. Money transfer apps are excellent with Five Steaks and an Eggplant’ – it is worth considering for organisation and productivity, less so for tackling human whether these apps are far from simple solutions. flaws.

By and large students live under some kind of budgAnother criticism directed toward transfer apps is that eting while at College. Although the source and amount can they promote hyper individuality, which can escalate into selfvary greatly, budgeting is, strangely perhaps, one of the more ishness, at the expense of community. Most people have had unifying facets of being a student. Finances are as much a run-ins with a one sided relationship before, myself includpart of college life as classes and societies are. Living in Dublin ed. The experience can leave you feeling out of luck, and out especially demands it. But despite money of pocket. This history paired with a high occupying such a large proportion of stucost of living leaves many of us more penny dents’ thoughts, it is seldom talked about. pinching than we would like to be. AdmittedMost favours Whilst transfer apps may claim to placate ly, I appreciate and expect a degree of reciand support the social taboo, we should assess how procity in my friendships. I don’t think this successfully they do so. Firstly, awkwardis unreasonable. But, while no one wants to cannot be ness around money in friendships has not feel short-changed, perhaps it’s worth exchanged just because the vocabulary has. panding the definition of reciprocity. Most priced, nor “I’ll Rev you” is the new version of “I’ll get favours and support cannot be priced, nor should they. yours next time”, and the discomfort has should they. When I consider what I am most not dissipated with the change. However, grateful for in my friendships, I remember the former anticipates immediate reimdeeds characterised by selflessness and bursement while the latter involves recicare. Payback pints, although appreciated, procity. This trusting mutuality between friends has rightly are more of an afterthought. or wrongly been replaced by expectation for instant compenA compulsive fixation on money can make friendships sation. feel like business which, although understandable, underTensions continue with the ‘request’ function which, mines kindness and generosity. While Revolut and Co. cannot to some, comes across as confrontational. Using the function be held responsible for money causing issues in friendships, entails another list of social cues to navigate – while some may it is worthwhile to consider their influence. It’s tricky to quanfeel confident requesting as a first port of call, others may wait tify money transfer apps’ drawbacks against such pragmatic to gently remind their friend to pay. Resentment and guilt can advantages, and few would advocate total abstention, but perbe felt by all parties involved as the lines blur between forget- haps their advent should vitalise dialogue about money’s effulness and intentional avoidance. One person may feel like a fects on friendships in college.

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(SALT)BURNING BROMANCE

INT. A MANSION IN THE ENGLISH COUNTRYSIDE - DAYTIME SAJAL SINGH, Deputy Magazine Editor, explores the enduring fascination with Jacob Elordi and Barry Keoghan’s relationship both on and off screen.

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o the viewer of Jacob Elordi and Barry Keoghan’s captivating performances and playful banter both in Saltburn and its surrounding press, the pair’s (b)romance between Jacob Elordi and Barry Keoghan transcends mere acting prowess. While their portrayals in various projects have garnered them acclaim and BAFTA nominations, their seemingly genuine connection has captured fans’ hearts and imaginations worldwide, taking X (Twitter) and Reddit by storm. However, amidst the social media buzz surrounding their relationship, questions arise about the authenticity of this chemistry and its implications for Hollywood promotion.

Are they truly just good at publicity, or can the two attractive men, who are also competitors in their field, be best friends?

The speculation only adds to the intrigue and allure of their dynamic, leaving fans eagerly anticipating their next collaboration on the big screen.

The public’s fascination with Elordi and Keoghan’s relationship reached new heights with their appearance together at the litany of premieres and red carpets for the film. Their playful teasing of each other ignited further speculation online about a romance steaming between them. Their ability to seamlessly transition from co-stars to apparent best friends has only fueled rumours and conjecture about the spicy nature of their connection.

Both actors have clearly shown a deeper camaraderie beyond their on-screen roles in public appearances. In an interview with Variety, Elordi, commenting on the infamous bathtub scene, said, “I was like, ‘Thank God, it’s mine. I was very proud. I was very proud to have Barry Keoghan guzzling it like that.” (For context on what Barry was guzzling, you need to watch the movie.) To this, Keoghan replied, “He doesn’t text me back or ring me back. It’s so weird. He’s pretending to like me. It’s weird, man.”

Such candid moments provide fans with a rare glimpse behind the curtain of Hollywood’s glitz and glamour, humanising these gorgeous men.

In another interview with GQ, Barry mentions a kissing scene between the two that failed to make the cut in Saltburn. Personally, that is just so frustrating – after all that viewers sat through in that movie, we deserved that scene. Keoghan, in his interviews, has consistently talked about how his character is obsessed with Felix (Elordi’s character in the movie), creating layers of intrigue in their onscreen dynamic. So too is the evidence of their fanboying over each other on Instagram unmissable.

As Hollywood continues to evolve, the allure of celebrity relationships and the role of fake chemistry for promotional purposes remain hot topics. Yet, amidst the speculation, Elordi and Keoghan’s partnership stands as a shining example of the magic that can unfold when talent, chemistry, and the cutest height difference collide, leaving an indelible mark on both the entertainment industry and the hearts of their fans.

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WE ALL HATE WOMEN

INT. BEDROOM, MAGIC MIRROR HANGING ON THE WALL - EVENING CLEO DALY, Magazine Editor, asks whether feminist reconsiderations of Disney princess movies should focus more on the bad guys - or girls.

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he only thing that men and women can agree on is the film’s suitability in relation to consent. hating women.

I applaud the realisation in relation to weak female leads The Disney princess movies taught me many and their need to be rescued by men in Disney Films, however things as a child: animals can talk, magic will fix my there is something I’ve failed to see mentioned, and that is the problems, I need a prince to have a happy ending, and other villainization of older women. In the tales of Cinderella, The women will always be my worst enemy.

Little Mermaid, Sleeping Beauty, Snow White and Tangled, all In recent years, the messages behind of the villains are older women, often jealDisney princess movies have come unous of the young female protagonists’ beauder fire, with some celebrities stating that ty. They are depicted as bitter, murderous The Disney they’re against their own children conhags, ready to bring down another woman suming such media. I remember watchprincess movies for their own self-interest. They desperateing a clip of Keira Knightley discussing ly seek to fit the beauty standards set by sotaught me how her daughter is not allowed to watch ciety, and wish to be young once more. To Cinderella and The Little Mermaid due to many things as be “old” and unattractive is to live a life not the messages they present, namely that worth living. But who sets these standards? a child: animals can women must make grave sacrifices to be Who are these women all looking to impress? with men, and that they are unable to resMen. It always comes back to men. And who talk, magic will fix cue themselves. It made me question how do these older women get slain by? Oh, men. much of my own mindset was influenced my problems, I need a The ones they were trying so hard to win by such films, and I can sadly say that at over are ultimately their downfall. Men must prince to have a happy one point of my early childhood all I wanted protect these young (often underage), beauin life was a prince (preferably a pink one) tiful girls from the treacherous hands of ending and other to come and take me away to our pink palugly, older women. For what is more frightwomen will always be ace. Kristen Bell, who voices Anna in Disful than a woman ageing? The attention ney’s Frozen, expressed her disapproval of from men that these princesses are receivmy worst enemy Snow White, and her apparent shortcoming further heightens the jealousy felt by the ings. Bell found herself asking her daughvillains, and they despise not being on the ters “Don’t you think it’s weird that Snow White didn’t ask the receiving end of this male affection. The lives of these women old witch why she needed to eat the apple?”, and questioning constantly revolve around the approval of men, and their en-

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tire existence is based on becoming wives for them. How can men be brave, heroic saviours if there is no helpless damsel to rescue? The only function of these female characters is to make Throughout men look good, and to history, older show how women cannot trust one another. women have The concept of a “girl’s girl” has been cirbeen villainised culating online recently, and feared and I have my thoughts.

In some sense I can see it positively influencing women to become more mindful in how they regard other women, particularly celebrities. I myself had the realisation that even if I dislike a female artist’s music, I should still be glad when she wins, because one woman’s win is arguably a win for all women. However, I’ve also noticed a lot of harassment towards those considered not to be a “girl’s girl”, which seems to defeat the whole purpose of the phrase. If we hate on women who hate on other women, we are no better. We are in fact the same. There is absolutely no need for women to be criticising other women – that’s what men are here for. I’d imagine that the female Disney villains would not be considered “girl’s girls”, and as a result they are met with fear and hatred. We are taught to believe that we need men to save us from ourselves, that women can’t rely on one another, as impressing men will always take centre stage. I’d love to say that the female villains are just misunderstood, but unfortunately I cannot: murder is bad. Instead, I can sympathise (slightly) when you consider what is driving them. In other words, I’m blaming men for how twisted and cruel their mindsets have become.

All throughout history older women The only thing have been villainised and feared, even killed, that men and when they’ve done women can nothing more than age.

During the witch trial agree on is craze in the early modern period, older wom- hating women... and en were being burnt left this needs to change right and centre, with preposterous reasonings on the rise. It was believed that the devil lured older women to engage in sexual acts with him, as they were desperate and no one else would ever desire an aged women. Women experiencing menopause were often feared as the “evil” was no longer being bled out of their bodies. I’ve come across theories that believe that the witch trials were a way of ridding villages of old widows who were considered a burden to their neighbours. It can never be confirmed that this is the case, but I wouldn’t be surprised.

Sure, what use are women without their husbands.

Women are forever being pitted against one another, constantly being compared, especially in relation to physical appearance. We are always taught what sort of woman a man wants, and society as a whole favours those who meet such standards. Men have us fighting with one another, putting down those we wish to become, refusing to associate with those not favoured by men, or perhaps even worse, purpose-

ly associating with those less favoured to make oneself look more attractive in comparison. We speak of going against the wishes of men, but then insult the women who do not. Women receive enough hatred and hardship from men, we at least should not add to this. There is no greater gift than women supporting women. Unity is the only way in which we can have the strength to overcome the hurdles we face.

The only thing that men and women can agree on is hating women… and this needs to change.

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TEEN TV: GROSS SEXPECTATIONS?

INT. AMERICAN HIGH SCHOOL CAFETERIA - DAYTIME AGNE KNIURAITE, Contributing Writer, argues that the common portrayal of young people’s physical relationships in television needs to be questioned

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have recently been consumed with an uncontrollable urge to rewatch the CW’s Riverdale – well, at least the first seasons of it, given I stopped watching it at about two-and-ahalf seasons in when it was still culturally relevant. I used to love it as a teen, but now I find most of it to be odd, nonsensical or straight-out repulsive. One of the things that strikes me most about it on reflection is the gratuitous sexualisation of minors it exhibits in nearly every single one of its first few seasons’ episodes (I cannot speak for the later seasons, but, from what I’ve heard, the trend continues). Granted, the actors in the series may be in their mid-to-late 20s or even early 30s, but that does not change the fact that their characters are supposed to be high schoolers. In the first season, they are sophomores, making them 15 or 16 years old.

While it is a disturbing realisation to think Riverdale, a show of such massive success (at least in its beginning), would portray sexualised teenagers, including interacting with adults in sexual ways (Dark Betty…), it is by far not the first media to have done so.

Before the first episode of Riverdale even came out, teenagers worldwide were enchanted by Pretty Little Liars, which many see as the direct predecessor of my recent re-watch. The show begins with a scene between one of the main characters, Aria Montgomery (Lucy Hale), a high school student, having sex with a grown adult at a bar. Later in the episode, it turns out that he is her new teacher.

While the argument of sexual freedom and the normalisation of themes previously seen as “taboo” or “off-limits” can, to some extent, be applied, I believe that that should be a rare argument for portraying underage kids in explicit settings, ones that, if the actors were underaged, they could by no means be depicted in.

It seems as though, in today’s coming-of-age media, sex involving minors (usually of the ages of 15 to 17) is a usual, and even expected element of television. However, isn’t it odd how normalised it seems to have minors perform explicit sexual acts on screen by adult actors, when, if these actors were actually of their characters’ age, the scenes would not only be objectionable but simply not allowed? By casting twentysomething-year-olds to play fifteen-year-olds, filmmakers allow themselves to portray explicit sexual acts without being stopped or objected against: shouldn’t they be questioned, at the very least?

Sam Levinson is one of the most egregious examples on the list of the sexualisation of (fictional) minors. While his show, Euphoria, resonates with many in various ways (at least the first season of it; the second season enjoyed only mediocre success), it has been possibly one of the most teen-sexualising shows in recent media history. Multiple Euphoria characters have their narratives characterised by some sort of sexual intercourse. Some make sense, such as the sexual assault scenes, which, if the director wants to portray the ‘grittiness’ of teen life, do not necessarily stray from the goal, however I would deem it sensationalisation when these graphic scenes are portrayed in an artistic, almost fantasy resolution-like way despite their obvious darkness. Thirteen Reasons Why

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was a regular culprit of this, too.

The issue arises when the sexual acts portrayed are not necessarily contributing to a wider point in the narrative, or could easily be replaced by other, equally as impactful (if not more) story beats. One of these cases is the story of how Kat Hernandez (Barbie Ferreira) gains confidence in herself in the first season of Euphoria. The girl, at first shy and bullied by her peers, turns to online sex work to enhance her self-image and become comfortable in her own skin. Whilst the storyline is entertaining, I find it profoundly disturbing, particularly considering that a lot of viewers of the show may have related to Kat’s struggles with body image and confidence. This plotline is not only complete and utter fantasy as rare is the teenager who looks, acts and interacts with the world the way Kat does (Barbie Ferreira was 22 at the time of filming the show), but, more importantly, minors soliciting lewd or explicit content of themselves is illegal, which could get a lot of impressionable teens who want to recreate Kat’s storyline in their own lives in trouble (and danger).

So, should sex be kept out of coming-of-age, teen media? Not necessarily. All is good and well in the exploration of sexual themes, particularly as these themes play a big part in teenagers’ lives. However, it is important these motifs are tackled with subtlety. There is a difference between the tender and intimate exploration of relationships and romance presented in films such as The Perks of Being a Wallflower (2012, dir.

Stephen Chbosky), or even the more comedic approach taken in Submarine (2010, dir. Richard Ayoade) and the explicit and, at times, tactless scenes in Levinson’s or Aguirre-Sacasa’s shows.

The normalisation of the discussion surrounding sex and intimacy in adolescent years should not require the depiction of teenagers in adult contexts by adult performers. If done well, a film can connect with the viewer in a way that is tactful and appropriate (the way many iconic coming-ofage, teen-centred films do). However, one should be wary of the possible veering into “pornification” territory, which can be harmful and misleading, or, at the very least, unhelpful in creating a positive depiction of teenage sexuality and breaking taboos.

DEAR AGONY AUNTS...

INT. AN UNNAMED OFFICE (ROOM) IN HOUSE SIX - THE DEAD OF NIGHT UT’s very own Agony Aunts respond to (very real and definitely not at all satirical) queries from readers desperate for their advice on student love, lust and (every now and then) learning.

I think I’m in love with my tutorial leader. Every time he talks to me I get so nervous. I don’t think anything can ever happen but I want to stop this. How do I fix it?

Dear Tortured Tutee, Unattainable crushes are always soul-sucking, especially when they have intellectual prowess and are able to command a room. In this case, your only option left is to stalk. You can’t escape the tutorial, nor can you escape your undying lust.

We recommend taking a leaf out of Joe Goldberg’s book and finding his first, middle, and last name through any and all online academic sources.

From there, find the hospital he was born in, the exact time and date (for astrological compatibility purposes) and his mother’s maiden name. How else are you supposed to spark conversation and ignite the fireworks between you two?

Next, follow him in a Matrix trench coat (for cinematic purposes) to his bus stop. Here you have the option of following him home, or playing hard to get and watching him ride away from a distance.

Finally, take a different bus home to your flat, and take a good long look in your mirror. Ask yourself: Is this the person I want to be? The person my parents dreamed of when I was in utero? The person Trinity accepted?

If this is all un successful, you may have to resort to wallowing and dealing with reality; this may be a case of unrequited love. Not all love is meant to be reciprocated, and this is a fact we all must face head-on. It can, however, be mended with a giant vat of ice cream and a good cry into your pillow.

We all know men value brains over bodies, so when all of this is over, pick up your books, your head, and buck up.

Most faithfully, Your Agony Aunts

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DEAR AGONY AUNTS...

I’m failing three of my classes, and am beginning to think graduate school is not in the cards for me. I don’t want to disappoint my parents, but I’m not sure that’s even the path I want to take. How do I break the news to them that I’m a failed child?

Dear Prodigal Progeny, Failure is relative; everyone fails and life goes on. You are not the center of the universe thus your failure is not either. Look at George Santos, or Charles Haughey. They made horrific mistakes– but did the world implode? No. Failure happens, and the earth still rotates.

Open YouTube and watch all three minutes of “Universe Size Comparison Cosmic Eye”. Relatively speaking, the Milky Way doesn’t care whether or not you go to graduate school.

Does it feel like your life will end when you tell your parents? Yes. Will they be upset? Quite possibly.

Before breaking the news, with no context whatsoever, begin listing names of corrupt politicians who have failed on an unjustifiable level that your parents still actively vote for. List the actors who have multiple allegations under their name that they continue to watch on a Friday night. Then, and only then – with tiptoed feet – approach the subject.

You may find yourself cornered with two angry adults yelling in your face. This is a very possible outcome of the first conversation.

But the first conversation doesn’t determine the rest of your relationship with your parents. Take the bull by the horns and don’t catastrophise; you only need three more horrific attempts at a peace treaty before some compromise might arise.

Unfortunately, your only friend is time in this situation. Remember, your parents are wrangling with their own expectations and might need time to adjust accordingly. Have faith, keep hold of that bull, and rewatch “Universe Size Comparison Cosmic Eye” until you have a strong enough existential crisis to adopt the easier, nihilistic view.

Most faithfully, Your Agony Aunts 14

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