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Month: August 2017

Review: Tequila Festival

The saying goes that you need to take life with a pinch of salt, however on Saturday this was followed by a shot of tequila and a slice of lemon.

The Tequila Festival arrived in Manchester on the 26th August 2017, the second stop of its nationwide tour. It was an unfamiliar yet entertaining experience.

The event combined heritage and tradition with a contemporary edge. It won the hearts and livers of everyone who attended, including that of Made In Chelsea star Alex Mytton… Eeek!

The festival ran as smoothly as the tequila sunrises from 1 pm until 11 pm and the turn out was notable despite the festival having to battle it out against other nearby events; Manchester Pride and a match at Old Trafford too.

On arrival, we were greeted with a complimentary shot along with a ‘Tequila Bible’ which provided insight and background of the brands of Tequila which were available to try.

The venue was brimming with sombrero hats, ponchos and all kinds of dancing. This combined with an infusion of Mariachi bands playing THAT Mexican song ( you all know which one I mean) but also DJ’s who were keeping the party going.

The Tequila Festival had an array of tequilas to taste, 30 brands from the house hold names such as Jose Cuervo, Don Julio and Patron to others less known. It was interesting to read about the drinks in the booklet which highlighted key notes and flavours in each; my personal favourite was the Casamigos Blanco, that was slightly twinged with vanilla and mint. It’s a drink I would never normally have tried and now one that I will encourage my friends to try for themselves.

If the shots are not quite for you, there was also a range of different Mexican food for you to experience and indulge in too! Burritos, and loaded Nachos, the perfect way to line your stomach… to allow you to drink and enjoy some more tequila.

The cocktails were tongue tingling from margaritas and tequila sunrises to a cocktail who’s name tickled me slightly; tequila mockingbird.

If you missed the Manchester one though, never fear — there’s still tickets for its appearances in Leeds, Birmingham and more, which you can buy here.

 

…Who knew hangovers could be this fun?

 

Don’t call the alt-right losers, call them racists

Earlier this month, an assortment of Neo-Nazis and White Supremacists gathered in Charlottesville, Virginia carrying Swastika flags and Tiki Torches, and allegedly chanted “Blood and Soil”, and “Jews will not replace us”. Heather D Heyer, a 32-year old paralegal, was murdered for opposing fascism.

What kind of response should this march provoke? Unqualified condemnation. Praise for those brave enough to risk their safety to oppose it. Legal repercussions for anyone who broke the law. Serious thinking about the reasons that people who despise other races feel that the environment is ripe for them to hold this kind of rally. Questions about the response of the President. All of these things are necessary and important.

But there was another response to this public demonstration of fascism, and one that has become a weirdly common weapon in the Twitterverse’s arsenal against anyone who is disapproved of. Instead of expressing horror at the racism and violence, some people jumped online to give their armchair psychoanalysis: these guys say and think horrible things because they are sweaty losers who are either virgins or can’t satisfy their partners. LBC presenter Stig Abell tweeted, referring to the marchers, “not one of these men is in a mutually satisfying sexual relationship.”

Other, similar tweets received hundreds of thousands of retweets. Similarly, in the Presidential election campaign last year, statues popped up in Manhattan, San Francisco, Los Angeles, Cleveland, and Seattle, depicting a naked Donald Trump with a tiny penis.

Most of the tweets in the aftermath of the rally were from the left, but ironically, this is a tactic straight from the playbook of the right (and alt-right), both in America and Britain. After the attack earlier this year in Manchester, President Trump branded the attackers as ‘evil losers’. Boris Johnson claimed that men who go off to fight for the Islamic State are “literally w**kers”, who turn to extremism when they are “rejected by women”, and are “obsessed with porn.”

There are a few reasons that this kind of response to fascism or terrorism is an undesirable one. When the immediate response to hearing about Neo-Nazi marches or the killing of innocent people is to construct a humiliating caricature of those involved, we undermine the actual faults of these people and the downplay the horror of their actions. Islamic terrorists aren’t worthy of our condemnation because they watch porn, they’re worthy of our condemnation because they murder children at a pop concert. Nazis aren’t odious because they’re not having sex, they’re odious because they hate people who aren’t white.

There’s another reason that the ‘loser narrative’ is undesirable: it’s baseless. There is, understandably, a tendency for people to find every way in which people they don’t approve of are unlike themselves. We take solace in the idea that we could never have these abhorrent views because we have friends and satisfying relationships, and we don’t sit in a dark room, face lit only by the screen of a laptop, and say horrible things about people who we’ve never met. But it’s not really true: fascists and the rest of the alt-right have families and friends. And to caricature them as losers makes it easier to fall down the rabbit hole. By being aware of the fact that there are people on the far-right who aren’t so different from ourselves, we can be more vigilant when we encounter far-right rhetoric and propaganda.

The most serious problem with the ‘loser narrative’ is that it increases the appeal of radical ideologies to people who are feeling alienated. On online alt-right message boards, people with normal social lives and satisfying relationships are resentfully known as ‘normies’. By calling these people losers, we play into their narrative, and advance the view that people who are isolated and unhappy will inevitably be the advocates of extremist positions. We make it easier for the alt-right to target people who are feeling despondent and frustrated, and those feelings are channelled into hatred and violence.

We have plenty of things we can say about those who marched in Charlottesville. Their views are vile and hateful. They are opposed by all compassionate and rational people. They, and their views, will be defeated, as they have been before. They may or may not be losers, but they are certainly racists, so why not say so?

Manchester airport bomber imprisoned

43 year old Nadeem Muhammed has been imprisoned for 18 years for planning to bomb a Ryanair flight from Manchester to Italy.

Muhammed was found possessing a “crude explosive device” when he was searched at security before he attempted to board the flight in January. However security did not believe the device to be a viable threat as no trace of explosives were found when the weapon was examined; according to The Guardian police had concluded that it was begin and perhaps had been placed in his bag somebody else.

Though he was not arrested initially he missed his intended flight. On 5th February Muhammed boarded another flight to Italy during which the device was re-examined on the 8th a suspicions were raised and a bomb squad were called. Muhammed was then arrested upon his return the UK on 12th February.

Muhammed claimed to have no knowledge of the device and its intention and so far no motivation, religious or political, can be found for his motivation and therefore it is inaccurate to call Muhammed’s attempt as an act of terror.

The device consisted of 3 AAA batteries, the shell of a marker pen which contained under 10 grams of gunpowder as well as dressmaker’s pins. Though it posed most of a threat to the one detonating the bomb, it could have caused harm to those in the immediate vicinity.

Nadeem Muhammed has since been given an 18 year sentence with an extension period of 5 years license.

As a result, airport security has been brought into question, as many newspaper outlets have reported that the security manager placed the small bomb into their pocket and this incident could have become more serious.

In a statement to Sky News, Judge Patrick Field QC has criticised the actions of airport security and highlighted that in theses times there is “no room” for complacency and that security should be subject to the “highest review”.

Walker Red Causes City to Lose Attacking Incisiveness

Pep Guardiola’s tactical plan for Manchester City against Everton took a big hit with the 44th minute dismissal of right wing back Kyle Walker.

The ex-Spurs man was making his home debut and after a relatively anonymous opening half an hour, Walker was centre stage as he saw red for alleged elbow. Replays showed it was a harsh decision but Walker, who was already on a booking, should not have given the referee the option.
Losing the right wing back had a significant impact on Guardiola’s 5-3-2 and how he intended to break down Everton’s strong, organised back five. Half time saw the Catalan shuffle the pack, sacrificing Gabriel Jesus in favour of Raheem Sterling who could fill in on the right flank but with the loss of a striker, City lost an incisive edge to their attack.

With as many world class midfielders as City have there was no real doubt about who would control the centre of the pitch. City’s passing ability made them able to pen the Everton pack five into the area surrounding the box, whilst the likes of Kevin De Bruyne and David Silva operated in between the lines of Everton’s midfield and defence.

City were forced wide. (Outside of the Boot)

The man who struggled for space to operate was Sergio Agüero. Everton’s back five allowed one of the three centre backs to always be marking Agüero while the other two marked the space around him.

With Agüero’s striker partner now off the field, the defenders had no problem covering one man between the three of them. The lack of a direct attacking outlet through Agüero forced City to spread the ball wide where their crossing was poor and ineffective. Opting for high passes instead of low drilled ones to Agüero’s feet.
With both Jesus and Agüero on the pitch, it stretched the back three of Everton and forced gaps. This was only going to happen more often as Everton tired and a quick one-two using this space was always likely to create chances but with just the one striker, Agüero found it difficult to find any opening.
The game changed back into City’s favour with the introduction of Danilo as it then allowed Sterling to come inside and play more as a second striker than a right wing back. With Sterling cutting in, the back five of Everton finally became more stretched and allowed the City winger a sight of goal. The finish was poor but the sign was there that a goal was coming. In the end, the equaliser for the home side came when Holgate headed the ball onto Sterling’s foot and the City number 7 rocketed the ball into the corner.

The goal came as a relief for both Guardiola and the fans as they stared another disappointing result in the face. Too many times have City dominated the game but failed to take their chances and the joy on Guardiola’s face when Sterling found the net was demonstrative of this.

A man down, Guardiola opted to sacrifice a striker but you do wonder if it would have been more wise to sacrifice one of his midfielders. Granted it would have meant a loss of some control in the team but it would have kept that two-pronged attacking threat that was looking dangerous in the opening stage.

Review: Game of Thrones — Beyond the Wall

After seven years of unsparing violence, Machiavellian intrigue, and perspicacious dialogue, tonight we finally got it — the end of Game of Thrones, in the form of ‘Beyond the Wall’. HBO may be producing another season of budget-busting fan fiction, but their plot has become too ludicrous to take seriously any longer.

The show runners didn’t drop the ball here, they buried it.

Last week, I expressed uneasiness that the writers were lending themselves to plot inconsistencies and erasure of realism within their world. I predicted that ‘Beyond the Wall’ would turn things around from the failings of ‘Eastwatch’.

I was wrong. Narrative integrity has now fully departed. Despite that, Season Seven’s penultimate episode is still an exceptional spectacle. Television is a visual experience, so a show isn’t just the creation of its writers.

As a showpiece for visual effects, special effects, set design, fight choreography, makeup, and costume design, it’s in top form. The work of these creative teams are as commendable as that of writers’ when they produce exceptional material, so I still admire the episode in many ways.

The climactic scene is one of the most visually stunning in television history. Dragons fought off an army of wights, fire blasted a frozen lake, and Viserion was struck down by an ice spear.

It’s unfortunate that the scene’s basis was nonsensical. The plot hinged on the wights waiting at least a whole day (as long as it takes for Gendry to marathon his way through the snow back to Eastwatch, for a raven to fly across an entire continent, and for dragons to fly across that continent again to find Jon and company beyond the Wall) for holes in a frozen lake to freeze back over. They only notice that the water has indeed frozen back over when the Hound skids a pebble across it.

It is only five minutes into the following skirmish before dragons ex machina arrive to save the day. Before this, six characters are surrounded and attacked by an undead army, and none of them are hurt. Instead, magic extras materialise at various points to die on screen to create a semblance of danger.

The Night King presents another potential threat when he draws an ice spear. This is, sadly, when suspension of disbelief is broken and never returns. Why does he aim it at Viserion when Drogon, carrying all our protagonists, is a far closer, larger, and immobile target? And why, when Viserion falls, does Daenerys look like she’s restraining a smile? Why does she smirk when watching Jon drown?

The dragons leave Jon behind, sinking into the icy water in layers and layers of drenched furs. Viewers learned from Jaime Lannister, however, that that is no problem. He pulls himself out and gets walking.

When Jon needs a horse, Benjen suddenly appears and decides to commit suicide so Jon can use his horse. The purpose of Benjen’s suicide is unclear. He tells Jon that there’s “not enough time” for him to stay on the horse with Jon, but the wights are so far away he has to stand round waiting for them to come to him.

I won’t try to examine what happened in the polar bear attack, or Jon and Daenerys’ conversation on the boat. Their absurdity simply cannot be accounted for.

Down south in Winterfell, we find our one worthwhile storyline. Despite the psychotic, aberrant dialogue written for Arya, this was an interesting episode for Sansa and Littlefinger. It’s up in the air who’s got the upper hand right now, but I suspect it’s Littlefinger. It’s likely he tricked Sansa into sending Brienne away and thinking it was her own idea. Either way, Winterfell definitely looks like the most interesting place to be in the season finale next week.

I don’t have much interest in how the wight kidnapping storyline wraps up. Undoubtedly, it will conclude as outrageously as it was conceived. Viewers will keep watching, though, because to watch it isn’t essential to think. The writers’ lapse doesn’t, and shouldn’t, inhibit our appreciation for all the other extraordinary work that’s gone into this show’s production.

EXCLUSIVE: Alastair Campbell urges students to take action on Brexit

“[The] Brexit battle is far from over”, Alastair Campbell tells The Mancunion ahead of the upcoming ‘Stop Brexit’ march in Manchester this autumn.

Part of a planned ‘Autumn of Discontent” by pro-EU campaigners, the ‘Stop Brexit’ march is expected to be attended by thousands.

Campaigners have stated that the aim of the demonstration is “to make it clear that the ‘will of the people’ was always a lie and that public opinion has changed”, adding that the “conference is the place where the party will have to face up to the reality of Brexit”.

Speaking to The Mancunion, Alastair Campbell, former Downing Street Director of Communications and Strategy, said: “There is no country in history that has built success by governing against the interests of its young people. Yet that is what this government is now trying to do. That is why students and all who support them need to turn out and show Mrs May and her team that the Brexit battle is far from over.”

Specifically appealing to the people of Manchester to take action and attend the march, Mr Campbell said: “I hope Manchester students, and the people of Manchester more generally, turn out in force to make sure the government understands the depth of concern and anger about Brexit, both the false prospectus sold, and the mind-numbing incompetence of the ministers in charge of the Brexit process.”

He added: “The decisions they are taking will have a massive effect on the lives of your readers, the kind of country you live and work in, the strength of the economy, the standing of Britain in the world, the ability of our university sector to continue to be a real force in the world.

“Fifteen months on from the referendum, a journey from soft Remainer to hard Brexiteer and a botched election campaign behind her, Mrs May continues to have wishful thinking as the main driver of her strategy. The biggest political decisions of our generation are being taken with wilful disregard for the future.”

The march will take place on the first day of the Conservative Party conference, October 1st – beginning in Whitworth Park, Fallowfield before finishing outside the party conference, alongside the traditional anti-Tory and anti-austerity protests.

Mr Campbell is a keynote speaker at the march, along with Professor AC Grayling and Bonnie Greer.

Though results across Greater Manchester were spatially varied, 60.4 per cent of voters in Manchester backed Remain in the EU referendum and the march is widely expected to be attended by thousands of protesters.

In addition to the large event in Manchester, a smaller anti-Brexit march will take place in Brighton on the 24th September at the Labour Party conference, as well as a demonstration outside the Autumn Liberal Democrat conference.

A-level results day sees fewer students going to university this year than in 2016

Despite yesterday’s A-Level results showing a rise in top grades being achieved, there was a significant decline in university applications being accepted.

According to The Universities and Colleges Admissions Service (UCAS), 2% fewer places were awarded at universities in the UK this year.

UCAS said in a statement: “The number of students accepted on A level results day is down 2% compared to 2016, but is the second highest number recorded.”

The University of Manchester has not adhered to this trend however, with a university spokesperson saying that “we’ve admitted more students than in 2016”.

The nationwide decline is partially the fault of Brexit says Sky News, as there has apparently been a 5% decline in EU students applying to go to study in the UK. This is something that UCAS also admits: “this decrease is driven by a fall in acceptances from older students, and fewer students from the European Union.”

Other reasons given for the decline are a decrease in the number of 18-19 year olds overall in the country, as well as changes and abolishing of popular (and, in some cases necessary) bursary schemes.

The University of Manchester is again not adhering to the national trend, as apparently “more EU students have accepted an offer of a place [at Manchester] than this time last year.”

In contrast, the number of sixth form or college leavers taking up apprenticeships has risen steadily from 175,000 in 2005-06 to more than 500,000 in 2015-16.

The rise in the attainment of A and A* grades at A-Level is a welcome one, with boys outperforming their female peers at achieving them for the first time since 1999.

 

Moving home after university is negatively impacting graduates’ careers

Going home after graduation could have more of an effect on Britain’s economy than you might think.

A study by the Resolution Foundation has reported that graduates who opt to return home after their studies is causing a dramatic decrease in labour mobility in Britain. The population prepared to change the region they live in for work has decreased from 0.8% to 0.6% in 2016.

The think tank’s findings have concluded that this makes millennials far less mobile than the generation preceding. Also, they’re more likely then the previous generations to apply for jobs that they are overqualified for, due to this reluctance to move.

In 2001, 31% of graduates were in roles that they were overqualified for and 1.8% of graduates changed their region and employer. When looking at 2016 the numbers show a different trend; 1% of graduates had moved for degree-level employment and 35.6% were in non-graduate employment.

But how is this affecting the economy?

Stephen Clarke, a policy analyst from Resolution Foundation, explained to The Mancunion why this development is a concern: “the decline in internal migration and job-to-job moves means that graduates could be missing out on pay rises early on in their careers.”

According to Clarke the reason this is an issue for the economy is because the “inertia is contributing to the fact that this generation of young people are earning less than the previous generation at their age.”

The willingness to work for jobs they are overqualified for is one of the explanations for Britain’s poor pay and productivity record. According to the think tank’s research, it means graduates miss out on possible pay rises, as a person under 30 who moves for employment has the opportunity to secure an 11% increase to their wages.

Living away from home can be incredibly expensive, which is likely motivating many graduates to stay at home and save. As most degrees are unlikely to automatically place one in a job, let alone the ideal one, going home can be the most secure and stress free option.

In a statement to The Guardian the Resolution Foundation said that there should be an emphasis on improving how people move into jobs they are qualified for, without causing too much disruption. Therefore attention should be diverted into improving transport and housing so as to increase the benefits of moving to a different region for the right job.

“It’s not over yet” — Manchester’s absence from NSS rankings marks huge success for boycott campaign

A week ago today, the hotly anticipated National Student Survey (NSS)results were published, but the University of Manchester (UoM) was missing from its rankings.

Other Russell Group universities were also left out of the rankings, including Bristol, Oxford and Cambridge.

The Univeristy of Manchester’s absence has been attributed to the #Dontfillitin campaign fronted by Emma Atkins, the Education Officer for UoM’s Students’ Union.

Following this campaign, less than 50% of students filled in the survey, which led to its reopening in May. This, in turn, led to many students retracting their results, and the overall lack of engagement with it rendered the results unusable.

Emma told The Mancunion that she was “really proud of our students”, as these results showed her that they care more about future students than winning an arbitrary award.

When asked what she attributed the success of the campaign to, she said that it was by “making the campaign fun” through video and linking it with other events such as pancake day.

There were many complaints at the time that Ipsos Mori (the company commissioned to conduct the survey) were using aggressive and deceitful tactics to get people to fill the NSS in. These included asking vague questions about how satisfied they were with their course without stating what the answers would be used for, and calling at unsociable hours of the day.

Emma said of this that people “resent being bothered” in such manners, especially “when studying”, as the NSS was being conducted over the summer exam period.

When asked what the future of the #Dontfillitin campaign was, Emma said “it’s not over yet!”

The NSS is used within the Teaching Excellence Framework (TEF), within which universities can raise their fees if they score well. This link is something that Emma wants to break, and she plans to lobby the university to disassociate with the TEF before 2020 (the next time the rankings are published).

This link between the NSS score and tuition fees is something that youth leadership charity RECLAIM thinks spurred momentum for nationwide boycotts. They believe that universities have been “failing working class students” and that the failure of the NSS shows “it is becoming impossible for universities to ignore students’ concerns” about their financs.

Educating All, a project founded by RECLAIM, produced a study in February  that found “over 70% of students who identify as working class cited their class as a barrier when integrating at university.” As well as this, “the survey also showed that 86.7% of state school educated students worried about finance whilst at university.”

These palpable barriers are something that RECLAIM think universities up and down the country now need to address.

The University of Manchester has so far not responded to The Mancunion’s request for comment.

Top 5: US TV Dramas

5.         The Walking Dead (2010 – )

One of the longest running dramas still in production, The Walking Dead was the first show to properly introduce the undead to the small screen.  Premiering on Halloween, 2010, the series was initially met with apprehension.

With Andrew Lincoln – a British actor best known for roles in small UK shows This Life and Teachers – playing the lead character, AMC’s zombie-horror had to rely on its originality and the loyalty of fans of the comic books to kick start the series.

Despite lulls in Season 4 (enough with the farming already) and in Season 5 (less with the domestic drama and more with the flesh-eating beasties please), the show has retained a colossal fan base, and has spawned a spin off show in Fear the Walking Dead, and various theme park attractions.

The show excellently intertwines horror with drama, and it is scary how quickly mankind overtakes the undead as the major threat to the protagonists, in the form of David Morrissey’s sociopathic ‘Governor’ and Jeffrey Dean Morgan’s pantomime-villain-esque Negan.  Season 8 airs in October.

Available on:  Amazon Prime; NOW TV

4.         Westworld (2016 – )

Fresh out of its first season in autumn 2016, Westworld was last year’s surprise hit.  A TV adaptation of a relatively unknown 1973 sci-fi film, set in the Wild West – a genre which has somewhat died in the last decade – did not appear to have success written all over it.

However, with a cast which included Sir Anthony Hopkins, Line of Duty’s Thandie Newton and X-Men star James Marsden, Westworld blew audiences away with its mystery, shocking twists, and incredible originality.  Its commercial and critical success led to an immediate renewal by HBO.

The show is set in a futuristic theme park where guests can live in an artificial Wild West named ‘Westworld’, which is populated by unnervingly lifelike androids.  Visitors can choose to hunt outlaws, spend their days drinking in the saloon, or face off in showdowns.

But as the season progresses, problems creep into the establishment.  Is there a darker, ulterior motive behind the park?  Can the androids be trusted? And can the guests and staff be sure that they themselves are not machines engineered by Westworld’s creators…?

Available on:  Sky; Amazon Prime

3.         Game of Thrones (2011 – )

Game of Thrones is without a doubt the biggest show in the world at the moment.  Everyone is talking about it, and social media is drowning in memes, analyses and spoilers about the latest episodes.  And understandably so.

Based on George RR Martin’s novel A Song of Ice and Fire, it is often described as ‘Lord of the Rings but with sex’.  Whilst accurate to an extent, this is a criminal understatement.  Renowned for killing off main characters and fan favourites, ‘GoT’ is peak cinematic TV.  It is currently in its seventh season, and the quality and excitement has yet to wane.

The show had to employ Sean Bean in its first season to gather the masses – akin to Hopkins’ involvement in Westworld – yet it is its home-grown stars in Kit Harrington, Emilia Clarke and Sophie Turner who firmly hold the limelight now.

Available on:  Sky; Amazon Prime; NOW TV

2.         Breaking Bad (2008 – 2013)

The makers and cast of Breaking Bad never anticipated how massive their show would be.  Lead star Bryan Cranston has even said he didn’t think it would survive its first season.

Prior to filming its debut series, Cranston was best known for the pathetic but loveable character of Hal in Fox’s Malcom in the Middle.  But the immense success of Breaking Bad has seen him launched to Hollywood stardom and his portrayal of ‘Heisenberg’ becoming iconic.

The series follows a passive, unassertive high school chemistry teacher Walter White (Bryan Cranston) who, following the news he has lung cancer, decides to start cooking high quality crystal meth in order to provide for his family financially after his death.

Despite an abundance of excellent characters – Aaron Paul’s tragic Jesse Pinkman and Giancarlo Esposito’s sinister Gustavo Fring but two – it is the transformation of Cranston’s White, from timid professor to sociopathic megalomaniac, that made the show the steamrolling success it was.

Available on:  Netflix; Amazon Prime

1.         The Sopranos (1999 – 2007)

HBO’s ground-breaking drama about the New Jersey mafia marked the arrival of the ‘New Golden Age of Television’.  Across six seasons, it follows the late James Gandolfini’s mob-boss Tony Soprano, who, amidst problems from both his literal and figurative family, regularly sees a therapist.

At first glance, the show could be perceived as a television adaptation of Analyze This, which starred Robert De Niro as a disgruntled Mafioso who seeks help from Billy Crystal’s psychiatrist.  However, the show shakes off any similarities with Harold Ramis’ comedy, and remains one of the most highly regarded TV series to this day.

For those who have watched Scorsese’s Goodfellas or De Niro’s A Bronx Tale, there will be an array of familiar Italian-American faces in The Sopranos, as well as cameos from Iron Man and Jungle Book director Jon Favreau and Hollywood veteran Sir Ben Kingsley.

The only show in this list to have concluded (Breaking Bad lives on in Netflix spinoff Better Call Saul), The Sopranos claims top spot due to its fantastic characters, rollercoaster plots, and its harrowing yet intriguing vision of the world of organised crime.

Available on:  Sky; Amazon Prime

Review: Game of Thrones — Eastwatch

This was a difficult one. For an episode so packed with juicy scenes, it’s odd it left me afterwards feeling a bit robbed.

As the end of the saga hurtles ever closer, the show runners are starting to pressure the plot onwards at a breakneck pace. And that’s both a blessing and a curse.

Let’s start with the good, and there’s a lot of that to get through. I never, ever expected this much, Gendry. Gendry, back with all his obstinance and a brand new war hammer his father would’ve been proud of. We got to see him swing it at some gold cloaks… then row back to Dragonstone, befriend Jon, and venture all the way to Eastwatch and beyond the Wall to take on the army of the dead — all within one hour.

And every minute of it was stellar. Jorah’s return to Daenerys and Tyrion’s reconnection with Jaime compete for second best major character reunion. Peter Dinklage might have stolen the whole show with Tyrion’s heartfelt defence to his brother, for the murder of his father.

We didn’t have time to appreciate it, though, before we were swept to the citadel and got a game-changing confirmation from Gilly that Jon is a legitimate son of Rhaegar Targaryen, and therefore has a greater claim to the throne than Daenerys.

This was a very loaded episode. Significant plot developments were explored in every part of Westeros, from Littlefinger’s old tricks in Winterfell to Cersei’s new pregnancy lie (remember the 3 children prophecy?) to keep Jaime loyal. It deserved a longer runtime, because many of these great moments had more steam in them. Instead, they were jammed together and felt rushed.

Another consequence of the time constraint is that there is no time left for obstacles for main characters. A lot of the political intrigue and sense of drama has dissipated from Game of Thrones, and our characters are starting to feel too safe. It seems that characters ‘can’t’ die now because their plot arcs ‘need’ to be completed poetically.

Their plans are lazy when they once were cunning, as if they are aware of the impenetrable plot armour that surrounds them. The idea of capturing a wight for Cersei is a ludicrous plan. They plan to travel all the way from Dragonstone to out beyond the Wall, fight the White Walkers, survive to take back a hostage, and ride all the way to King’s Landing again. Then, after lots of negotiation, they plan to ride with an army all the way back up to the Wall again.

That involves crossing a continent three times, once with a massive army on foot. In that amount of time, the White Walkers would have plenty of time to decimate the North several times over.

Of course, however, characters can travel fast whenever it’s convenient for the plot, and characters can travel slowly whenever it’s convenient for the plot. The White Walkers have taken two seasons to get halfway from Hardhome to Eastwatch, whilst Jon takes one scene to traverse the entire continent.

It was also incomprehensibly convenient for Bronn to have saved Jaime from drowning with apparent ease in the first two seconds of the episode, to find the battlefield suddenly completely deserted and safe. Later, Tyrion assumes with certainty that Jaime is alive and at King’s Landing, despite not witnessing his rescue.

It wasn’t a bad episode. Far from it. The show runners have just lost the integrity that they used to hold over other TV shows and movies.

Now, it doesn’t feel too different to a Marvel superhero production, with its invulnerable heroes, supernatural transport methods, and caricature villains. And that isn’t sitting right with me.

I expect the show runners to turn the tables on us soon enough, though. I hope they do.

Top universities discriminate against A-Level subjects typically chosen by poorer students

Career-specific A-Level subjects, favoured by lower-income students, are discriminated against by admissions to leading universities in the UK.

New research, conducted by the Institute for Education at University College London, finds that elite degree courses at Russell Group universities prefer applicants with A-Levels in traditional subjects rather than degree subjects.

This preference disproportionally benefits private school applicants. The author of the study, Catherine Dilnot, formed a taxonomy of all 96 subjects available at A-Level. Traditional subjects were found to be more commonly chosen at private schools.

Vocational A-Levels such as in business, accounting, and law are more prevalent in maintained schools.

Dilnot surveyed data on 475,000 English students entering UK universities between 2010-12. Top universities prioritised entry to students taking certain subjects at A-Level. These were mostly traditional “facilitating subjects”.

In 2011, the Russell Group published a list of traditional subjects they regard as “facilitating” to university applications — maths, sciences, modern languages, history, geography, and English literature.

Some non-traditional subjects, which are more popular at private schools than maintained schools, were also prioritised — for example, economics, government and politics. Students with at least an A in these subjects were more likely to end up at high-ranking universities.

Students with at least an A in vocational subjects were more likely to end up at low-ranking universities.

Dilnot said in a written statement: “A student who aspires to a career in a professional services firm might easily think taking an A-level in law, accounting or business would be helpful in achieving that goal.”

“But it may be that choosing these subjects is actually unhelpful in high-status university admissions. So an apparently sensible subject choice for students wishing to prepare for a professional career may, in fact, put them at a disadvantage.”

Geography and English literature, despite being “facilitating subjects”, were not found to be preferred by top universities. Therefore, subject preference by the universities appears less driven by whether the subjects are facilitating than by their prevalence in private schools.

The Russell Group maintains that it has always been advantageous to study facilitating subjects, and that it is of “vital importance” that all students are given correct advice when choosing their A-Levels.

Jessica Cole, head of policy at the Russell Group, responded in a written statement to Dilnot’s study by repeating almost verbatim the Russell Group’s 2011 statement on facilitating subjects.

“Choosing facilitating subjects allows students to keep their options open, meaning they have a wider choice of degree courses.

“Our advice is that if students don’t know what they want to study at university then it’s a really good rule of thumb that taking two facilitating subjects will keep a wide range of degree courses open.”

The reason students from lower-income households choose vocational A-Levels tailored for direct employment is clear — rising tuition fees are discouraging students from reliance on higher education.

A new survey by the Sutton Trust was released just days apart from Dilnot’s study. It reveals that the proportion of pupils from ‘low affluence’ households who are worried about the cost of higher education is at its highest recorded level. The proportion who say they are likely to go into higher education is at its lowest recorded level.

In 2017, UCAS reported a 5% drop in total applicants from the previous year.

Cole stated on behalf of the Russell Group that “Russell Group universities will spend more than £250m this year on activities designed to encourage successful applications from students from disadvantaged and under-represented backgrounds.”

Neil Cobb, Undergraduate Admissions Tutor for the University of Manchester School of Law, denied discrimination against vocational A-Levels to the Mancunion.

“The Law School has no preference for ‘traditional’ over ‘vocational’ A-Levels, and sees all A-Level subjects as suitable preparation for law and criminology degrees,” Cobb stated. “We take our widening participation (WP) responsibilities very seriously, and recognise the negative impact a preferential approach to A-Levels can have on access to higher education.

“Over recent years in the Law School, around one third of all offers to home students have been made to those with WP backgrounds.”

Review: Fargo – Season 3

When the first season of the TV ‘adaptation’ of the Coens’ classic was released, spearheaded by Martin Freeman and Billy Bob Thornton, the first few episodes were met with a mixed reception.  Fans of the film were disappointed that the series was not a remake of the same story, and sceptics remained unmoved at how the storyline felt all too familiar to be branded an original show.  It was almost as if the show was caught in no man’s land – between wanting to stand on its own two feet and paying homage to 1996’s Fargo.

Fortunately, as the series progressed, it became more certain of itself and by the finale, it had become a highly respectable debut season.  The second series – a completely different plotline – was equally impressive, with Patrick Wilson, Kirsten Dunst and Bokeem Woodbine taking over as the series’ main characters.

Yet it is this third season which has arguably been the strongest so far.  Ewan McGregor is the household name this time around, playing two characters: the squabbling twin brothers Emmit and Ray Stussy.  He is accompanied by Harry Potter’s David Thewlis as the sinister Varga, and Mary Elizabeth Winstead as Ray Stussy’s lover, with the series’ moral compass arriving in the form of Gloria Burgle, played by Carrie Coon.  Coon assumes the role of modest police chief, which Allison Tolman and Patrick Wilson portrayed in previous series – heroic everyman-type figures all obviously drawn from Frances McDormand’s role in the original film.

Fargo: Season 3 follows the rivalry between the two Stussy brothers – Emmit owns his own successful company and lives in an obscenely large mansion, whereas Ray is a miserable parole officer, living in a small, dingy house and seeing one of his parolees, Nikki.  Ray resents his brother for taking from him a stamp which is worth a considerable amount of money, and with Nikki, he conspires to take back what is his.

However, the couple’s scheme does not go as planned, and the mishap kick starts a chain of events which is exacerbated when David Thewlis’ ominous and predator-like (sharpened teeth ‘n all) V.M. Varga comes to town.  Thewlis effortlessly fills the void of true villain – a vacancy which at times was gaping in the previous seasons.  Billy Bob Thornton’s Lorne Malvo was menacing and Jean Smart as mob boss Floyd Gerhardt was chilling, yet neither appeared to strike as much fear in their adversaries as Thewlis’s antagonist.

McGregor does a good job at playing the Stussy twins, but it might take some getting used to hearing him speak with a Minnesotan accent.  Similar to Freeman’s Lester Nygaard in the debut season, Emmit is a simple soul who gets wound up with a bad crowd, and his brother Ray merely wants to take back his inheritance and marry the lovable yet cunning Nikki, who he is head-over-heels in love with.

It’s a relief to have a series with so many likeable characters.  The prior seasons had excellent characters, however none of whom were really sympathetic.  Various other current TV shows suffer from this as well.  Breaking Bad is possibly one of the greatest TV series ever made, yet at times it felt like there was nobody in the story to sympathise with.

The same cannot be said for Fargo: Season 3.  The most tragic of the Fargo storylines by far, the audience’s alignment with the characters allows for much greater shock impact and investment in the show’s events.

The only fear I have for Fargo is how long it will last.  Too many times has a series been critically successful but has flopped commercially. NBC’s Hannibal is a recent example of an outstanding show that just didn’t attract the audiences.  In a current climate of TV releases where zombies, dragons and superheroes rule the roost, more understated and modest shows like Fargo are easily overlooked and side-lined by popcorn audiences.

Currently available here in the UK on All 4, Fargo: Season 3 echoes the Coens’ black laughs yet avoids mimicking the Hollywood auteurs.  Creator Noah Hawley will be hoping that this latest series is commercially successful enough to warrant a renewal by FX.  Critically however, it is a guaranteed shoo-in.

Run for your life!

I am an avid runner, I LOVE to run. However I know for a lot of students, this just isn’t the case. Going for a run can feel extremely daunting if it is your first time. For motivation, here are some benefits running can give you, even if it’s for just 30 minutes a day; I hope it will be enough to convince you to dust off your trainers and catch the running bug.

 

1. Improvements in your Mental Health

ENDORPHINS are released which make you HAPPY. This will happen even if you only manage 10 minutes.

Running is a fabulous way to de-stress. Exercise reduces the body’s stress hormones. Whenever I feel overwhelmed by deadlines the first thing I do is run. This allows time to do something productive whilst having a much needed break, something I find very satisfying.

It is estimated by YouGov one in four students at university suffer from a mental illness. Stress and anxiety makes day to day life difficult for many students. Many studies have proven that regular exercise could lower the risk of depression by 16%. Over time running increases self-esteem and confidence. You will feel better about yourself for making the effort to go for a run. Getting out for a run is a small accomplishment you can make every day which will make you feel more prepared to take on bigger tasks.

Running has a social aspect if you choose to join a club or run with friends. Run Wild is a running club that has weekly runs from The University of Manchester Students’ Union every Tuesday at 6pm. It has a range of ability groups so it is easy for anyone to get involved.

If you would like to run in a group but joining a running club seems a little scary Parkrun is another option. Parkrun is a free 5k run every Saturday morning that takes places all over the world at 9am. The South Manchester Parkrun is located at Platt Fields Park. A mixture of abilities and ages take part in the weekly Parkrun. Parkrun is a friendly and encouraging running event and I cannot recommend it enough to new runners.

 

 2.  Quick Calorie/ Fat burn

Frequently I hear that people are too busy to exercise or they only have half an hour so why bother. Running for just 15-30 minutes kick starts your metabolism and burns fat. Running for 30 minutes will guarantee you burn 200-500 calories. Not only do you burn fat and calories when running, your body continues to burn fat after exercise. Very effective time management.

 

3. Sharpens your memory and improves your learning abilities

Running can improve your capacity to learn and retain new information. It boosts levels of BDNF (or brain-derived neurotrophic factor) and the neurotransmitter catecholamine, which are associated with the brains cognitive (and learning) functions. Exactly what students need.

 

4. Helps aid a Peaceful sleep

Running 30 minutes a day aids a restful night’s sleep. With many students’ sleeping patterns all over the place due to late night library trips, big nights out and noisy housemates, I can imagine the ability to fall into a deep peaceful sleep would be greatly desired.

Additionally, as mentioned above, running can significantly reduce anxiety and can help cope with depression which is often a cause of insomnia.

 

5. RUNNING IS FREE

On a tight student budget joining a gym or going to gym classes can be too expensive. This often hinders many students getting regular exercise. RUNNING IS FREE.

 

Photo: @Bradfordparkrun

With longer days and better (ish) weather, summer is the perfect time to get into a regular running routine.

If you want to feel happier and healthier – GET RUNNING!

 

 

Review: The Ghoul

Earlier this year, Jordan Peele showed the world how to make a debut as director with his socio-thriller/horror, Get Out.  An ominous and sharp portrayal of white, American suburbia, it was met with huge critical acclaim.  Peele proved that a film with a low budget can still look fantastic and does not have to do anything too outlandish to break the mould and achieve recognition.

The Ghoul sounded like it could follow in a similar vein.  Like Peele, Gareth Tunley was a low-key comedy actor. Possibly best known for small roles in Ghoul-producer Ben Wheatley’s Kill List (2011) and series such as Peep Show, he has made the transition to film director.  Sadly, he has not managed to emulate the success that Peele’s show-stopping horror enjoyed.

Tunley’s debut film as director is ambitious.  Tom Meeten plays a homicide detective who, following an undercover investigation which involves posing as a psychotherapist’s patient, becomes subject to existential uncertainty and mental torment.

Early on, we discover that in fact, his life as detective is a fabrication – a day dream he fantasises about.  In reality, he suffers from depression, is unemployed, and pines for Alice Lowe’s Kathleen, who is shacked up with his only apparent friend, Jim, played by Dan Renton Skinner.  In his fantasy, Jim is a police officer who drafts Chris in to help with cases, and Kathleen is a profiler who the protagonist corresponds and sleeps with.

However, after meeting fellow therapy patient Coulson (Rufus Jones) and the eccentric psychiatrist Morland, played vibrantly by acting veteran Geoffrey McGivern, Chris faces further complexities and conflicts regarding his identity.  Could Morland have ulterior and sinister motives?  Could the daydream in fact be reality?

It goes without saying that The Ghoul is intriguing and commendably zealous. Unfortunately however, it appears to suffer from the same existential quandary as its leading character.

It seems as if Tunley found himself torn between making a psychological crime thriller, and a socio-dramatic meditation on depression and mental health. Perhaps if it had been billed more as the latter, I might have been more satisfied post-viewing. Sadly, it is yet another example of a production falling victim to misleading marketing and not attracting its true target audience.

Nonetheless, The Ghoul does have its triumphs.  The cinematography is shrewd and powerful, at times adopting hand-held techniques which evoke the same sense of unease and turmoil which Chris suffers from.  At the film’s climax, we eventually see the world through Meeten’s character’s eyes in a somewhat hallucinogenic and surreal sequence, yet I could not help but wish that this striking and almost kaleidoscopic approach had been utilised more.

Waen Shepherd’s – who has a minor acting role in the film – score is impressive, evoking at times that of David Julyan’s for Memento (2000), or even Twin Peaks’ chilling soundtrack by Angelo Badalamenti.

Not a disastrous first outing as director, but not an amazing debut either.  However, there is enough promise and intriguing elements in the film to suggest bigger things to come from Gareth Tunley, and Tom Meeten may find that this is his breakthrough role.  The Ghoul is gripping, yet loses sight of its message and narrative.

3/5

Push Doctor launches grant for medical students

A new grant for medical students has been launched by Push Doctor.

The grant is open to any medical student studying at a UK university, from their second year onwards. Successful applicants will win a £500 cash grant.

Push Doctor is Europe’s largest digital healthcare provider. They stated on Thursday that they want to “support the next generation of home-grown doctors get off to the best possible start.”

The launch comes after the 2016 General Medical Council (GMC) report claimed that the NHS is having nationwide trouble recruiting and retaining enough GPs. NHS records were released by the NHS Confederation in March of this year. It reported a 2.6% reduction in the number of full-time equivalent GPs employed by the NHS compared to March 2016.

At the same time, the GMC reports the number of medical students in the UK has declined by 3% since 2012.

Push Doctor founder and CEO Eren Ozagir stated that the company is introducing the grant “to invest in the future of healthcare and the next generation of British doctors.”

He continues: “Equally, we are passionate about providing quality healthcare and making unwell people better, helping the public to invest in themselves and take an active interest in their healthcare.”

Applications are open now. There will be three successful candidates for the cash grant. Results will be announced in January 2018.

The students can decide how they would like to spend the grant. Push Doctor recommends that the winners invest funds in medical supplies, travel, books, and any additional courses.

Push Doctor has been headquartered in Manchester since 2013. A funding campaign completed in July 2017 raised $26.1 million for the digital healthcare service. The grant is one of several new ventures for the expanding brand.

Students interested in applying for the grant can find more information here.

Review: Okja

It’s becoming more and more difficult to deny the inevitable future of digital streaming as the king of entertainment. Since The Sopranos and The Wire, many have cited this early part of the twenty-first century as a “Golden Age” of television, and streaming giant Netflix has played no small part in the medium’s resurgence.

Leading the pack of nominations for the 69th Emmy awards are Netflix’s The Crown, House of Cards, crowd-pleasing 80s throwback Stranger Things and Aziz Ansari’s divine ode to modern romance, Master of None. Back in 2014, a stirring year for television and cinema, Robin Wright made history by winning the first Golden Globe award for a web-based series, (aforementioned House of Cards).

But what to say of Netflix’s current filmography? Up until now, the web-based channel’s slate of Adam Sandler duds, quirky horror thrillers and the rare gem (Cary Fukanawa’s Beasts of No Nation) haven’t done much to inspire great change to the Academy’s manifesto.

Bong Joon-Ho’s Okja marks perhaps only the second time in which Netflix has taken a chance on an established auteur’s vision (Fukanawa, of True Detective fame, takes first prize), a risk that has gifted US Netflix’s biggest and best movie.

It packs a $50mil budget, rich layers of satire of modern corporate, anarchic culture, a near 50/50 split of Korean and English dialogue and a divisively comic turn from Jake Gyllenhaal. The film is everything a blend of genuine independent, foreign filmmaking and corporation-funded, blockbusting entertainment should be. Okja is weird, multicultural, frenetically paced and chaotically subversive, yet never dull or pretentious.

Bong has already cemented himself in the canon of the South Korean Renaissance with his darkly comedic, and occasionally surrealist works. These include Memories of Murder, The Host and his first venture to Hollywood, the underrated Snowpiercer.

He brings a fresh and unique voice to a science-fiction cautionary tale that would have had the danger of feeling preachy under the guidance of any other director. Instead of the bloated, unfocused mess of an indulgent passion project it had every right to be, Okja is tightly scripted, painfully relevant and spirited.

Though its budget is nothing to be sniffed at for a film of its stature, Bong is fully aware of the benefits another $50mill would have had. Despite this, it wears its visual effects shortcomings on its sleeve.

The eponymous Okja is not the most convincing CGI creature you’ll see on your screens this year, but she is surely the most soulful. Bong expertly combines an array of puppetry, camera tricks and exceptionally human performances, and bravely frames his lens close to what is not there. This purposefully draws attention to the illusion of Jake Gyllenhaal stroking the hide of a mythic creature, and paradoxically dictates a sense of intimacy and presence.

Though Netflix is famously covetous of their viewing figures, Okja’s trending on twitter and other social media is enough to earn its status as a “hit” film. The lab-grown and enormously empathetic super pig has been appropriately appropriated as a mascot for vegetarians and vegans, both the previously converted and those inspired to make the change by the film.

Bong himself, who conducted research in battery farms and slaughter houses, stated “I’m gradually becoming a pescatarian”, admitting that the culture around meat consumption in South Korea makes cutting it out completely challenging. A testament to the morally grey messages of the film, which adeptly balances criticisms of glossy capitalism and the hypocrisy of some young liberals, Bong’s only intention is that people “consider where the food on their plate comes from”.

With no theatrical exhibition, other than its screening at Cannes film festival (where it received loud boos during the first few minutes, and a four minute standing ovation during the credits — go figure), it’s tempting to dub Okja a success despite Netflix, not thanks to it. Within the first week of its release, it was clear that the film had found an enthusiastic and extensive audience, and the streaming colossus would do well to learn from its acclaim.

Martin Scorsese’s promise of Netflix showing a Goodfellas reunion in next year’s The Irishman sounds a promising step in the right direction. It seems criminal though, that audiences will be denied a big screen presentation from one of film’s remaining masters.

Sadly, Netflix’s remaining 2017 features, including Death Note and Bright, feel less enticing. A white-washed, cultural downgrade of an anime adaptation helmed by an indie film-maker who would have remained a promising talent were it not for his flop of a Blair Witch reboot (Adam Wingard), and, hot off Suicide Squad, David Ayer’s collaboration with yuppie irritant Max Landis, an urban fairy tale crime drama that feels all too familiar.

Mercifully, a host of inventive miniseries will keep our appetites sated until The Irishman, but, until then, film fans are currently banking on Angelina Jolie (First They Killed My Father) to save the day.

Until Netflix begins to either finance theatrical distribution of their films or — a sinister thought — open their own cinemas, streaming will always feel second place to the experience of the big screen. Thankfully, its trust in interesting and established directors such as Bong and Scorsese should be a promise of better days to come.

“Brave, political decisions” must be made to resolve the North-South death rate divide

Around 1.2 million more Northerners died before the age of 75 than their southern counterparts since 1965 a study from the University of Manchester has found.

Not only that, but the gap is steadily widening, according to the team led by Iain Buchan, professor in Public Health Informatics at the university.

To investigate the divide, the team split England into “north” and “south”, with the latter made up of of the East, South East, South West and London. Using data from the Office for National Statistics, they then combined figures on the numbers of deaths in each region with population estimates.

What they found was a North-South divide in deaths among middle aged adults, which has been rising since the mid-90s and is now at alarming levels: 49% more premature deaths occurred among 35-44 year olds in the North in 2015 than in the south, with 29% more deaths among 25-34 year olds.

When The Mancunion asked Iain Buchan what he thought was responsible for this vast inequality, he told us that the “main underlying factor” was the inequality in investment in public health services.

“Early death rates are a maker of overall public health, and the strongest determinants of that are social and economic  factors” Mr Buchan continued, explaining that the team that worked on the report could have focused on deaths caused by smoking, alcohol and physical health, but the combination of all of these points towards a more general lack in funding.

Mr Buchan continued that people who have pointing towards the popularity of fast food outlets such as Gregg’s as perhaps contributing to this problem, are entirely mistaken. Iain’s team were very indignant in their belief that no one franchise, group in society or other factor should be blamed as the sole reason for this inequality.

A lack of proper education on living well is also thought to contribute: “You can’t just tell people to lead healthier lives, that message won’t get through in the North, especially to those under a lot of stress. A single mum holding down multiple jobs has less opportunity to make healthier choices than people with one, steady job.”

When asked about a possible solution, Mr Buchan suggested “investing in communities through the creation of jobs and good schools, that create social capital as well as economic security, creates an environment for better health.”

When asked if this could be achieved through the Government’s recent announcement that they would invest £15mil in Arts and Culture in the North, Mr Buchan said “it’s not enough. Announcements like this are welcome but they’re tiny in proportion to the size of the problem.”

He proposed a 20% “northern weighting” when distributing national funds, in the same way that London gets its own weighting, to close this cost of early death.

This focus on national funding would also help avoid “national government [pushing] responsibility to different regions.” Mr Buchan admitted it would be akin to political suicide to try and lobby for something like this, but believes that this is a price worth paying.

Manchester City Council have so far not responded to The Mancunion’s request for comment.

Preview: The Tequila Festival is coming to Manchester

The Tequila Festival arrives at Bowlers Manchester on 26th August, as part of a national tour of 16 major cities around the UK.

The Tequila Festival aims to celebrate the history, culture and taste of the highly popular drink in an all day extravaganza filled with Mexican charmed music and entertainment. From 1pm until 11pm there will be over 30 Tequilas to delve into.

Guests on arrival will be greeted with a complimentary shot and a Tequila Bible. The day will be filled with traditional Mexican dancers, a Mariachi band providing live music and DJs spinning house music with a Latin twist. A Tequila cocktail bar will provide a range of new and innovative cocktails and there will be several Mexican food stalls so you can line the stomach or perhaps soak up all that Tequila.

Tickets are on sale here from just £16 (with a table for 6 people available for £80).

Photo: Nicola Freitas Sliding Doors Publicity

Tequila has been steadily growing in popularity. Its versatility means it forms the basis for some stunning cocktails including a personal favourite the classic Margarita. Ordering shots of tequila is often a ritual on a night out, however it is also a drink with rich cultural heritage which will be shown at this wonderful festival.

The Tequila Festival organiser, Nathan Reed said: “tequila is a drink that is associated with a great party all across the world, however, it is also now being recognised as a more sophisticated, crafted drink with a rich variety of flavours.”

Photo: Nicola Freitas Sliding Doors Publicity Photo: Nicola Freitas Sliding Doors Publicity

The Tequila Festival will celebrate the Mexican roots of Tequila, showcasing the huge variety of tastes cultivated from the Agave plant.

Tickets are selling fast for the London debut event as well as for The Tequila Festivals coming up in Manchester, Cardiff, Newcastle, Brighton, Leeds, Birmingham, Glasgow, Bristol, Swansea, Lincoln, Exeter, Cheltenham, Belfast, Dublin, and Edinburgh.

The UK seems to have chosen its favourite drink!

Review: The Emoji Movie

Back in November 2015 when The Emoji Movie was announced, it was written off as a cheap cash grab, but few could have predicted what was to come. Like Harry Potter on his first Christmas morn at Hogwarts, we awake with surprise to find a delightful cinematic present under the tree.

Writer-director extraordinaire Tony Leondis, known for his work on direct-to-video classics such as Lilo & Stitch 2: Stitch has a Glitch and Kronk’s New Groove took the helm for this. Whilst watching it, I would not be surprised if you drew parallels to animation greats such as Walt Disney, for they do share many similar flairs.

For example, both Leondis and Disney have an innate ability to craft a enchanting story, immersing the viewer in their fantasy world. Disney took inspiration from fairytales. Leondis’ fairytale was Toy Story, a centuries old tale that modern children couldn’t relate to anymore, so he adapted it for the 21st century toy: the emoji.

The leading role of the ‘Meh’ emoji is played by TJ Miller but his performance is eclipsed in every way by former Gavin and Stacey star James Corden who plays the ‘Hi-5’ emoji. Voice acting has never been recognised by the Academy but there will undoubtedly be some discussion behind the scenes about this topic, and there would be no better year to introduce the category than 2017.

Corden gives a nuanced and complex performance as the bandana wearing hand, provoking a deep emotional reaction the likes of which haven’t been seen since Adam Sandler’s role as both titular characters in 2011’s Jack and Jill. Thankfully, it won’t be long until we see Corden in another voice acting role as his next film, an animated adaptation of Beatrix Potter’s Peter Rabbit, is right around the corner.

In the film industry, producers and studios increasingly favour established characters and stories, and original ideas such as that of Leondis’ can struggle to attain the funding needed to make. This obstacle was overcome with an ingenious idea after Leondis saw that he could receive money in advance from corporations by featuring their products, notably that Heineken paid a reported $45 million to have James Bond drink their beer in Skyfall. Therefore to raise the $50 million necessary for the budget he would just have to rewrite the script to give these corporations bang for their bucks.

Not only did this help the film turn a profit before it even hits the cinema, but we the viewers get introduced to various exciting bits of technology. Video game series Just Dance and the app Candy Crush both had ten minute segments dedicated solely to them.

Facebook, YouTube, Shazam, Dropbox, Spotify, Instagram, Yelp, Twitter and WeChat all feature too. Parents can relish the fact they don’t need to teach their children the important life lessons, like how in Candy Crush arranging three of the same colour candies together in a row eliminates them, because films like this do it for them.

Whether you 🙂 it or 🙁 it, there will certainly be a sequel, simply because any animation about small, yellow people is a sure fire hit with children. Perhaps we will get a walk-through on how to buy something on eBay or Amazon with daddy’s credit card while the XD emoji dual wields Mountain Dew branded fidget spinners. We can only wait and see.