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Month: February 2020

Diverse professionals and James Haskell’s MMA switch

Written by joeymillington on . Posted in Sport.

After hanging up their boots, gloves or bats many athletes find new endeavours to pursue. Whether they attempt to make it in Hollywood, slap the fake tan on and head to reality television or establish a fashion empire, there are many options for stars outside their natural sporting habitat.

An increasing number of elite athletes are turning their attention to other sports. Many admit to missing the rigour of a stringent diet and training regime, whilst others long for the camaraderie of the dressing room. Such factors have driven former England Rugby Union regular James Haskell towards MMA. Haskell, who starred at Wasps, announced last August he would fight in the Bellator and recently declared that his first contest is imminent.

Haskell is not the first athlete to enter the fight game. The transition into combat sports is a well-trodden path with many world-class performers lacing up the gloves to go toe-to-toe with a more experienced foe. Ashes hero Freddie Flintoff won his sole professional boxing bout against Richard Dawson in 2012, whilst Sonny Bill Williams has won seven contests in amongst a decorated rugby career. Famously MMA icon Conor McGregor also chanced his arm in the ring as he was defeated by Floyd Mayweather in a lucrative encounter.

Combat sports are dangerous though, with many fighters facing a tragic end and so criticism has been directed at those choosing a potentially fatal challenge for fame and finance. It must be noted, however, that often boxing and martial arts organisations run strict tests in order to ensure that every professional does have the capability to look after themselves. This was seen in 2018 when Premier League winner Rio Ferdinand was denied a licence by the British Boxing Board of Control after he intended to add a belt to his brimming trophy cabinet.

Outside of combat sports, the greatest ever sprinter, Usain Bolt, had a fleeting football career, playing for Central Coast Mariners. Though he never featured competitively in Australia. Questions were raised over whether the legendary Jamaican was making a mockery of professionals who trained for years to reach this standard, whilst a rival side’s player compared Bolt’s ball control to that of a trampoline.

There are athletes though, who possess the Midas touch, adapting to any sporting scenario they face. One such individual is Liverpool’s James Milner, who is not only comfortable in most positions on the pitch but could have competed professionally in cricket, darts and long-distance running as a teenager. Another versatile athlete is Ester Ledecka, a Czech skier who also starred as a snowboarder, becoming the first woman to win gold medals in two separate disciplines at the same Winter Olympic Games in 2018. Additionally, Australian cricketer Ellyse Perry made a seamless transition between different professional sports having also represented her nation in football.

What is clear then, is that not all athletes take up a new sport for money or notoriety, some individuals are genuinely talented enough to compete on multiple fronts. Despite recently making a name for himself on television and as a DJ, those closest to Haskell are convinced he has the mental drive and physical prowess to thrive in MMA. Whether it is just a publicity stunt, or whether Haskell has genuinely found a new calling remains to be seen.

Death Row Dinners: Acting Edition

Written by Elena Meritxell Bradley on . Posted in Food & Drink.

This weeks installment gives you a brief tour of some of Hollywood’s favourite dinners (with reference to The Recipe’s 2018 article ‘Hungry Hollywood’)

Photo: Gage Skidmore @WikimediaCommons
  1. Jennifer Lawrence: Cool Ranch Doritos and Pizza.

    Photo: Gage Skidmore @WikimediaCommons
  2. Emma Stone: Fries and Brussels Sprouts.

    Photo: Chad J. McNeeley @WikimediaCommons
  3. Bradley Cooper: Grandma’s Cheesecake.

    Photo: Gary King @WikimediaCommons
  4. Justin Timberlake: Lobster Pasta with Pecorino Cheese.

    Photo: Honest Reporting @Flickr
  5. Scarlett Johansson: Buffalo wings.
steak no attribution needed

Steak Night Every Night

Written by dominicfung on . Posted in Food & Drink.

Whether that’s at the Michelin star restaurant, which you only afford after scraping together the remainders of your student loan, or the Aldi ribeye you decided to splurge a whole £5 on – there’s nothing quite like a steak dinner.

Whatever the price, that glorious chunk of meat can be totally ruined if made wrong. Chances are that if you’re truly splashing the cash at a restaurant then badly cooked steak is not likely to be a problem. At home though…that’s a whole other story.

So, following the steak parade of Valentine’s Day,  here’s a quick guide on the dos and don’ts, so you don’t make any mis-steaks.

no attribution needed

General Tips

The first rule of good steak is finding good beef. As a student, this isn’t easy as good beef usually means expensive. But it’s not impossible – many leading supermarkets now have some aged steaks, or specially reared beef.

Fat means flavour. As a general rule, the fattier the steak, the more cooking you can allow it to have, in order to render out this fat. But, as another general rule (and this may fluctuate on personal preference), even the fattiest steak shouldn’t go over a medium. Interestingly, Richard Turner (the chef behind Hawksmoor) suggests that either end of the cooking spectrum isn’t optimum for the best steak.

Enjoying a steak ‘blue’ (meaning just seared on the outside) doesn’t allow enough time for The Maillard Reaction – basically the technical term for when a steak caramelises and gets all sexy and charred. On the other hand, enjoying a steak ‘well done’ means that all the juiciness and flavour instilled by the ageing processes is cooked out.

The 4 Main Cuts

A big decision you’ve got to make is which cut of beef you want. Generally speaking you’ve got 4 options; rump, sirloin, ribeye or fillet. Each one has different characteristics so there’s a cut for everyone, no matter their preferences.

Rump is the toughest but most flavourful of the four. It’s a muscle, which is why when compared to a similarly lean fillet, it’s a lot tougher and packs a hell of a lot of umami, beefy flavour. Rumps are generally the cheapest, and are recommended no more than medium rare/medium as the meat is very lean and is prone to being increasingly tough with more cooking.

Sirloin steaks are a cut above, with similar meatiness and a trim of fat along the top. Sirloins are also slightly more on the affordable side of things and can be found anywhere from your local Spoons to Hawksmoor.

Ribeye can be easily identified by the thin white lines of fat running through it. This is known as “marbling” which, as mentioned before, can be an indicator for how flavoursome the steak will be. Marbling can be seen in all high quality cuts of steak but is most easily seen in ribeyes. Ribeye steaks are also the common choice for artistic depictions alongside the T-bone steak.

Fillet is the last main cut on the list. In pre-packaged forms this is the cylindrical shaped piece and most expensive of all. Fillet steaks are prized for being the most tender piece of meat you can get from a cow as it comes from the back of the rib cage that is worked the least. Unlike Rump and because this meat is the least ‘worked’ or marbled, it tends to have the most subtle, delicate flavour. If cooked correctly, eating it will be the easiest experience of your life.

Others You May Come Across

T-Bone: A sirloin and small chunk of fillet separated by a T-shaped bone.

Porterhouse: A T-bone but with a larger section of fillet.

Prime Rib: The big boy of the steak world, massively marbled. With the bone in, is also called a Tomahawk.

Chateaubriand: The larger cut from the fillet loin. Like a fillet, but larger.

Season and sear

So you’ve decided on your cut of steak and brought it home…now what?

Well first off, remove the packaging and dry off the steak. You’ll find that it will be slightly damp so dabbing it with some paper towels will do the trick.

This is in preparation for the next stage; seasoning. Keeping it simple, all you want to do is generously sprinkle it with salt on all sides and leave it at room temperature for 10 to 15 minutes so that your seasoning can penetrate the muscle a little. Leaving the steak to come to room temperature will also help when cooking the steak as it prevents potential overcooking from having to bring the cold centre up to temperature.

Following this comes the cooking. Depending on your equipment and steak you might want to take different approaches, but generally you want to get a roaring hot grill or pan. Make sure to get your extractor fan on or open some windows because there will definitely be smoke.

Second tip, oil your steak and not your pan. Don’t use butter to begin with as most likely it will burn in your pan. Also, if you’re wondering why I didn’t say season with pepper before cooking it’s because pepper is a spice – like toasting spices, it can burn and go bitter. So if you love pepper, grind it over your steak toward the end of cooking.

At this point, you want to drop your seasoned steak onto the pan and let the magic happen. Depending on the size of the steak, different cooking times apply. However for a standard sized fillet (2 inches thick, 300g) leave it alone for about two minutes before flipping and leave it to cook for a further two minutes.

Toward the end of your cooking time, if you want to employ the French steak cooking method, add a large knob of butter to the pan, along with a cross-sectioned garlic bulb (cut-side face down) and some fresh herbs (think sage, tarragon, rosemary or thyme etc). As the butter quickly melts, baste the herby, garlicky, ‘steaky’ goodness back over the steak.

Once this is done, take the steak off the heat and let it rest on a plate for 5 minutes or so with some foil over it to prevent it from getting cold. Some chefs say that the resting is more important than the actual cooking. This is because heat shocks the meat, and so cutting into a poorly rested steak means all the blood and juiciness of the steak immediately runs out.

Resting your steak for an ample amount of time ensures that all juiciness stays inside for you to enjoy. And, voila, your steak is done!

The duration of the sear can be changed based on how you like your steak done, with two minutes being enough for a rare experience. For more thorough cooking, simply increase the duration you leave the meat on the heat. I wouldn’t recommend going past 4 minutes per side though unless the steak is on the thicker end of the scale or you prefer eating rubber.

At the end of the day, the way you cook a steak is what determines how delicious it is, do it right and you can make that cheap piece you found in the back of a fridge a gourmet meal for one!

How to wear midi and maxi coats

Written by Burcu Can on . Posted in Fashion & Beauty.

’Tis the season for midi and maxi coats! The transition between winter and spring is the perfect time for this kind of outerwear and there are so many different variations to pick from to express your personal style. They can be a bit tricky to style if you’re not used to this silhouette but there are lots of ways to experiment with them.

We all love a comfy pair of trainers but midi/maxi coats look especially great with a simple black leather boot. With this combo, you don’t necessarily need to cling onto the safe option of skinny jeans. Instead, try mom jeans or even joggers for maximum comfort during library days and to keep it on-trend. Black leather lace-up or straight boots go best with this look!

Sweater dresses can save the day during the transitional season. Combining a sweater dress and maxi coat looks great with coordinating colours. Try something neutral with a grey sweater dress and camel/beige tones for the maxi coat. You can either go with long dark boots or a pair of white high-top trainers for more of a street style-inspired look.

https://www.instagram.com/p/B7jXIZ-FS2m/

Wearing skirts with midi coats also looks elegant and is a great way to inject some summer style into your tired winter wardrobe. Try a simple mini skirt with tights and statement plaid midi coat. Alternatively, pair a midi skirt with midi coat. This works best with block colours, for example, a plain black midi skirt, a white t-shirt, white trainers and a camel coat. Top it all off with a crossbody bag for a chic ensemble!

Skincare basics for young adults

Written by Alice Holder on . Posted in Fashion & Beauty.

When your student loan flies into your account, I’m just going to take a wild stab and say that your first thought isn’t – oh great, money to spend on skincare this month! But if you are used to prioritising food and booze instead, then maybe you should start thinking more about skincare as it comes with many benefits for your skin and general health.

Don’t panic though, looking after your skin doesn’t have to cost the earth. Not to mention, it’s totally dependent on your skin type, so following (normally expensive) Instagram trends are not the way forward. The trick is to find the easiest, non-fuss and cost-efficient products out there, that you can slap on before bed – even after a mad night out.

1. Cleanser

Washing your face is the first and most essential step to your skincare routine. Cleanse twice if you have time, especially if you’ve been wearing makeup, and keep it easy with something like the Simple purifying cleansing lotion to cleanse your face gently. Alternatively, I recommend Nip+Fab’s cleanser to remove harsher products like foundation and mascara. Always use warm water but not too hot!

2. Toner (optional)

When I was suffering from Freshers Skin (this is totally a thing – stress, alcohol, etc. all adds up), Nip+Fab’s chemical exfoliator really brought my skin back to life! Glossier’s Solution is also “a gentle way to slough away dead skin to reveal a fresh, smooth complexion”, so that might be worth a go.

3. Serum

Serum is one of the final steps in your routine, used to target specific problems. The Ordinary is a go-to for serums as they are so affordable yet effective.

Skin lacking in brightness? Well duh, we live in sunless Manchester. I recommend The Ordinary’s Vitamin C serum (start with the less intense version, as it is very potent).

Breaking out, but not bad enough to get acne medication? The odd spot can be cleared up with The Ordinary’s Niacinamide Serum. It stops the production of sebum, which is the oil that builds up to create a spot. Be wary of the fact that this can be quite drying, however, so use sparingly.

That essay making you age prematurely? I’ve got your back. The Ordinary’s Buffet serum is fantastic. Packed with peptides to boost brightness and plumpness in the skin, your skin will feel like a baby’s in no time.

4. Moisturiser

Simple skincare does a great, inexpensive one but if you’re looking for a richer cream then go for Aveeno moisturiser. Also Glossier’s priming moisturiser works great for combination skin in the mornings under makeup.

5. Eye cream

Even though eye is an added faff, it is definitely worth it. It stops premature aging whilst helping your concealer glide on easier.

Try Glossier’s Bubblewrap (bonus points as it works on your lips too). It’s affordable and does the job perfectly. If you suffer from darker undereyes, I’d recommend one with a peachy tint, like Origins’ GinZing Refreshing Eyecream.

That’s pretty much it! To summarise:

  • A no-nonsense cleanser (or two)
  • An exfoliant/toner
  • A targeted serum
  • A serious moisturiser
  • An eye cream, if you can be bothered

Also, invest in a facemask – a treat after a stressful day and a boost for the complexion. Try K Beauty’s masks or if  you’re feeling boujée, then Origins charcoal ones work especially well.

The average overall cost of those products would be about £39.25. That might seem like a lot, but it should last you for approximately half a year and your face has to last you your whole life so… you do the maths!

Iris van Herpen spring 2020 couture: sensory seas

Written by isabellasharp on . Posted in Fashion & Beauty.

The background of the show is deceptively simple. A black screen, where twisting strands of neon blue light flicker and dance like bioluminescence. As the models drift up and down the runway, the curved lines appear to form the shape of a double helix, which speaks to the central theme of this collection; the mutability of life.

Herpen’s use of fabric is nothing short of masterful. It stiffens into spines that protrude from a model’s shoulders like lionfish. It seems to warp the body’s skeleton into something unfamiliar, as it curves out from her elbow down below her knee. A dress billows out from a model’s shoulders, drowning her in marbled silks, so light and supple that it moves like a jellyfish.

The shapes and structures of Herpen’s garments are stranger and more wonderful than the creatures you’d find flitting about in Blue Planet. Material is rucked and caught up in impossible ways that create bubbles of volume, or else flattened onto mesh frameworks that undulate and flex in the air.

https://www.instagram.com/p/B7yV-2_BFFK/

There is no laziness in terms of colour, either. As the show continues, the tone becomes darker and more menacing. The clothes are blanched to bone-white like they have never seen the sun, or bloom with deep, alarming reds and blacks, like a startled sea creature. On one of the looks, the inky fabric fades to the lightest of translucent blues, and then into a nude mesh, almost as if it has grown organically from the model’s own shoulders.

It is a mark of Herpen’s skill that this collection manages to feel completely independent to McQueen’s Plato’s Atlantis. Where McQueen looked to the future, Herpen appears to delve into the past, into the primordial. There is a gently alien tone to the whole show which is less threatening than Plato’s Atlantis, with its preoccupation with exoskeletons and scales.

https://www.instagram.com/p/B7_PQUXh8fw/

It is interesting to examine the collection, particularly its resembling blue lightning, in relation to the concept of paleolightning. The groundbreaking Miller-Urey experiment of 1952 theorised that the catalyst for life on earth may well have been a lightning strike. A recreation of the event, with some of the elements thought to be present at that time, produced some of the key components essential for living organisms. Whatever Herpen’s intentions, this is fashion at its best, investigative yet subtle, thoughtful while remaining accessible.

Alexander McQueen’s legacy: VOSS

Written by isabellasharp on . Posted in Fashion & Beauty.

Last week marked the tenth anniversary since we lost the fashion mind of a generation, Lee Alexander McQueen. What could encapsulate his legacy more than the dizzyingly disturbing collection VOSS, aka S/S 2001? The reason McQueen means so much to so many is that he truly understood women. Voss may seem like an odd choice to illuminate this, but McQueen’s ability to see both the hideous and the beautiful in the female form, and understand that they co-exist, was his great power.

VOSS, as a collection, hurts before it even begins. There’s the set, harshly lit by ice-white light, the strange mirrored glass which allows the audience to peer in at the models. They jerk and contort around the runway, or else move as if tranquilised. Their heads are covered with bandages, incongruous against the smartly cut dresses and suits which are every inch the successful modern woman. At least, ostensibly. The clothes unravel with each look, in sharp and subtle ways.

A painfully thin model has slits in her trousers which glide up her calves and touch the soft flesh behind the knee. Another wears gauzy thigh highs which on closer inspection resemble bandages. A few more wear lace dresses that leave them almost naked, the tissue as thin as new skin. Forms turn from daring to distended. Dresses skim the base of spines like backless hospital gowns. A scarlet, one-shoulder gown scoops right down to the hip, like an anatomical figure exposing muscle.

Outlandishness sets in firmly from this point. A sort of metal exoskeleton, resembling obsolete medical apparatus, pokes at a girl’s lip while she leers through the glass. Waistlines bloom obscenely, and a huge gown made of razor clams rattles as a model runs her hands down it, shattering a few in the process. The clinically white floor becomes littered with natural detritus. There is a tenderness and fragility to the whole affair that is like seeing Sylvia Plath’s Bell Jar brought to life. When, at the end, the ominous box of opaque, dirty glass at the centre inches open and then smashes, it reveals a startling sight. A plus-size woman, naked, on a respirator, butterflies escaping their confines around her.

VOSS accomplishes more than simply recreating Joel-Peter Witkin’s Sanitarium. It shows us a restrictive, painful beauty that is little more than a fragile cast over the true self, neglected and sequestered. McQueen understood what it meant to be a modern woman- the strain, the control, the pressure, and the strength. It’s easy to see why two words have settled his legacy. Savage Beauty, to the core.

https://www.instagram.com/p/B0sN-6QBXC1/

Review: Hegemony and Socialist Strategy

Written by isaaclucia on . Posted in Books.

Identity politics often finds negative attention from across the political spectrum. Laclau and Mouffe in their book Hegemony and Socialist Strategy pay tribute to the usefulness of different social movements emergent in the 60s and 70s, whilst warning of the dangers of fragmentation for class solidarity.

The return of leftism as a site of engagement for young people often feels split between a language of class struggle that rings hollow to our jaded ears and a language of many struggles (gender, sexuality, race etc.) that, despite claims for ‘intersectionality’, can unite its adherents only in their losing position in the culture war.

This places us within that terrain defined by the emergence of the New Left in the 60s and the triumph of neoliberalism in the 70s​—which Laclau and Mouffe’s book, first published in 1985, supplies with a new political logic.

This logic is hegemony: what pertains, according to Laclau and Mouffe, when society is understood as discursive, as existing through discourse. The book’s first half is a stunning genealogy of the concept as it lay dormant in early 20th-century Marxism, before breaking out, like the chest-burster from ​Alien, in the work of Gramsci. Again and again they show how class essentialism and historical determinism are incompatible with hegemony’s radical contingency: no groupings exist in advance and everything depends on articulation.

Laclau and Mouffe’s precise understanding of discourse, outlined in the second half, makes their text a model of poststructural social analysis: a) Objects exist only as the objects of discourse, which is not to deny an external reality (as STEM accuses the humanities of doing​—often rightly​), but to say that discourse itself is ​material. b) Discourse is never fully constituted, which means that society never exists positive and entire. All its positions are split, as it were,​ from the inside, and this split is the site of real antagonisms.

The existence of class antagonism is not denied​—rather, the claim​ ​that it alone gives history a sense of direction. The advantage of presenting hegemony through the Marxist tradition, as Laclau and Mouffe write in their introduction, was simply that ‘it constitutes our own past’.

As we look to that same past in search of our own political histories, this precise and forceful book is an essential guide.

Review: A Little Space

Written by Kayleigh Crawford on . Posted in Theatre.

Performed at HOME theatre, A Little Space is a physical theatre production from theatre companies Gecko and Mind The Gap, exploring the concept of space, both physical and abstract.

A Little Space is a conceptual piece, following the lives of five people and their connections to each other. Using movement and dance, the performance explores the contrast between isolation and overcrowding.

The five actors have individual storylines which interconnect and weave together, highlighting their individual struggles. A couple trying to overcome addiction in their relationship, individuals dealing with past trauma, and the desire to be outside, were all explored in relation to the concept of space.

The stage is the first notable thing about this production, tilted to one side and presenting an uneven ground for actors to walk across. Metal pipes create a box-like frame and mismatched furniture decorates the space within it, which becomes reminiscent of an apartment complex. As the play progresses, trapdoors are revealed beneath the tilted stage, emitting a green light when opened and closed. This almost dystopic set design created a creepy atmosphere, setting tensions high from the moment the audience take their seats.

Although there is no dialogue in the performance, sound effects provide a constant background noise to the action on stage. Sirens, instrumental music, and the sound of heavy breathing all featured regularly within the performance. The use of sound effects in place of dialogue made the performance feel more intimate at times, especially during quieter scenes.

The performance uses the physical space on the stage to represent the personal space of the characters. At times of heightened tension, the actors would move the furniture to close in on a particular character, limiting the space in which they could move. This highlighted how our thought patterns can limit us in reality, and how the concepts of physical space and abstract space are more related than we might think.

This was revisited throughout the performance; the sound and lighting especially added a lot to the creation of different physical spaces on the stage. Partial blackouts where regularly used during scene transitions, limiting what was visible to the audience. When the lights came back up, the space had changed. Furniture has been moved or removed from the area to make it appear bigger or smaller. This was a success of the production, as it was impossible to see or hear the set changes happening even though the actors never left the stage.

A Little Space is a conceptual and intensely thought-provoking piece of physical theatre. With a gripping narrative, the show uses sound and lighting to constantly produce the unexpected, prompting deep reflection on the space we inhabit and our needs, desires, and fears as human beings.

In conversation: Alan Silvestri, Glen Ballard and Bob Gale at the Back to the Future Press Junket

Written by Jay Darcy on . Posted in Theatre.

Following on from the launch event of Back to the Future the musical, held at Albert Hall last October, a press junket was held at The Ivy last week to make some further announcements. This involved the cast and crew being interviewed by executive producer Colin Ingram, before I got the chance to interview two cast-members and three creatives.

My interview with cast-members Hugh Coles and Rosanna Hyland can be found here.

Back in October, I got to chat to Bob Gale, the co-writer of the original film.

Gale knew that Back to the Future (BTTF) would make a great musical, especially with Marty being a musician and being “supposed to sing,” in contrast to the Spider-Man musical, which he referred to as being “the stupidest idea for a musical,” because Spider-Man wears a mask, so the audience can’t even see him sing!

Indeed, you might notice that whilst posters for The Phantom of the Opera, which arrives in Manchester shortly, include a mask that covers most of his face, the stage musical features what is now termed a “Phantom” mask, covering only one eye. This is because the creatives realised that a mask that coves both eyes would mask (pardon the pun) too much facial expression, but the poster had already been designed.

Bob wants audiences to know that Marty is still Marty and Doc is still Doc, and they will love seeing them sing and dance. Whilst the musical has some slight tweaks because we are now in the future, there won’t be attempts to be “woke” or “PC,” as is often the case with modern adaptations.

It was nice to catch up with Gale at the press junket this week, four months on from the original launch event.

Gale was joined by several actors, executive producer Colin Ingram (who interviewed his colleagues) and six-time Grammy winner Glen Ballard and two-time Grammy and two-time Emmy winner Alan Silvestri, who are responsible for the show’s music; the latter worked on the music for the original film series.

Both Ballard and Silvestri were noticeably modest. When I remarked that I was in owe over how accomplished they were, Ballard pointed to Silvestri, and he later remarked that, “Al and I did a movie with Bob (Robert) Zemeckis… called Polar Express,” as if the film is not legendary and renowned, which I found very humble.

Silvestri’s other credits include The Avengers, Avengers: Endgame, The Bodyguard, Captain America: The First Avenger, Cast Away, Forrest Grump, and Who Framed Roger Rabbit?.

Ballard has worked with the likes of Aerosmith, Katy Perry, Michael Jackson and Paula Abdul, but is best-known for co-writing and producing Alanis Morisette’s album Jagged Little Pill and co-writing Jackson’s Man in the Mirror.

Silvestri is also working on the music for the upcoming remake of my favourite kid’s film, The Witches. He teased that Anne Hathaway and Octavia Spencer are “amazing” in this Zemeckis film.

Meanwhile, Ballard has worked with my favourite singer, Shakira, whom I’ve written two articles about: both before and after Super Bowl.

To my delight, he called her “amazing,” “very beautiful,” and “a real intellectual,” summing her up as having “it all”, with Silvestri remembering Ballard saying great things about her and calling her a real pro.

But now we’ve established Shakira’s Lips “Don’t Lie”, because she really is ‘humble’ like her breasts, let’s go Back to the Future…

Silvestri told me the musical’s creation began as “an investigation by Bob (Robert) Zemeckis, Bob Gale, Glen and myself”, asking is this possible?

Ballard and Silvestri wrote some songs, the first of which was written around the film’s theme, and played them for the Bobs. All four came to the agreement that, yes, BTTF could be a musical.

Ballard believes that he and Silvestri having worked with Zemeckis on Polar Express almost twenty years ago gave them some sense of how to approach this musical.

Whilst they have created new music, Ballard said there was ‘no way’ they would ever leave out the iconic songs from the film, including The Power of Love. I told them I’m glad they are not doing a “Sister Act” and opting for all new music.

Ballard remarked that Earth Angel is part of the fabric, and the biggest moment in telling the story, so of course it will be in the musical.

Still, some fans of the film might be a little worried seeing it turned into a stage musical, but with Gale and Silvestri having written and composed the original film, they are certainly in safe hands.

“My presence, my name on this thing is the guarantee to all fans that you’re in good hands,” Gale stated.

In fact, even Michael J. Fox, and other original cast-members (including Christopher Lloyd, who was at the launch event) are onboard. Gale told me they will hopefully get him down for the West End Press Night.

But “this is Back to the Future,” Silvestri remarked. “It’s not the movie.”

They have captured the spirit of BTTF and are allowing it to live and breathe in a completely different medium. If somebody wants to watch the movie, they can just go and watch the movie, but the musical will be a “very satisfying experience” for big fans of BTTF.

But Gale believes younger people who have never seen the film will also love the musical, because the story is “strong,” the characters are “wonderful”, and the humour is “really funny”.

As the father of BTTF, he remarked that he is “so excited about this” and it is wonderful to see these “iconic scenes” come to life onstage.

“It’s the same but it’s different,’ he remarked, hoping people who have watched the film like the way the scenes play onstage.

The overall story is exactly the same, but some of the “trappings” are different, for instance, they cannot do a skateboard race onstage. Instead, there will be “something else” and “an Easter egg” or “tribute” to the skateboard chase that people will appreciate. Meanwhile, people who have never seen the movie will not think anything of it.

They have had to lose some jokes, but in place of them, they have gotten songs, dance-numbers and “new jokes”.

As for people who want all of the stuff in the movie and no changes or updates: “stay at home and watch the movie,” Gale  remarked.

The musical is a celebration of the original film but also offers a few allusions to the sequel, which I’m sure fans will enjoy.

Gale also wanted to point out that the movie was filmed in the 80s and set in the 80s and 50s, whilst the musical is performed in the 2020s but set in the 80s and 50s, so there will be some gags and nuances about the 80s.

So, are you ready to make a trip to the past for 2 hours and a half? Just be warned: you might not want to come back to the future/present once you’re there!

Back to the Future runs at the Opera House from the 20th of February to the 17th of May.

Back to the Future – Press Junket

Written by Jay Darcy on . Posted in Theatre.

Following on from the launch event of Back to the Future the musical, held at Albert Hall last October, a press junket was held at The Ivy this week to make some further announcements.

Joining the previously announced 2 x Tony winner Roger Bart as Doc Brown, Olly Dobson as Marty McFly, Hugh Coles as George McFly, Rosanna Hyland as Lorraine Baines and The Voice UK‘s Cedric Neal as Goldie Wilson, will be Aidan Cutler as Biff, who, like Coles, will be making his professional stage debut.

Bart, Dobson, Neal, Coles and Hyland were all present at the launch event, though Ana and I only got chance to interview Coles and Hyland, and to briefly meet Bart.

Coles and Hyland, alongside Neal and Cutler, were also at the junket, so it was nice to catch-up with them and see how things are going now, especially as the premiere is only days away.

Also at the junket were producer Colin Ingram (who has previously produced the stage-musical adaptations of Ghost and Grease) and co-writer of the original film, Bob Gale, both of whom had been at the launch event. I was lucky enough to chat to Gale at both events.

Ingram revealed that tickets will be as cheap as £19.55 (but they are actually as cheap as £13 on ATG), an intentional decision that fans of the film will surely appreciate. Big fans with money, however, might be glad to pay the top-priced £94 to see their favourite film onstage.

Ingram also interviewed Bob and the cast, who were joined by 6 x Grammy winner Glen Ballard and 2 x Grammy and 2 x Emmy winner Alan Silvestri, who are responsible for the show’s music; the latter worked on the music for the original film series.

My interview with Silvestri, Ballard and Gale can be found here.

After interviewing Coles and Hyland back in October, I caught back up with them to see how things are going.

The cast have been given more freedom than is often the case in musicals. But if Gale’s word is not enough, you can take it from Coles and Hyland too; both remarked that creating this musical has been a cooperative experience, with even the director, John Rando, asking the cast what they think.

Hyland say it was “cool” to get to leave her stamp on something brand-new, in whatever small way she can. I brought up my interview with the cast of & Juliet, when established actors told me it was incredible to be a part of a new show and create a character.

Of course, these roles have already been played; Hyland feels responsible for taking care of the role of Lorraine, but she is also being true to herself in the recreation of this iconic role.

After workshopping for so long, Coles and Hyland are finding it wonderful working with a set, props and costumes. Hyland remarked that all of the character work starts to come together because you start to feel like your character, with Cole saying hard work “pays off” because you get to be “in the world”.

But it will also be immersive for us audience-members: having watched tech rehearsals, Cole remarked that you get to “live in Hill Valley”. Hyland compared it to going to New York for the first time and meeting a celebrity, and whilst she’s now part of ‘it’, she’s still star-struck by it.

Drawing on the incredible success of & Juliet, which also debuted in Manchester, and having been told how ground-breaking BTTF is going to be, I asked Cole and Hyland what it feels like to possibly be part of history.

But neither of them have taken that in; they are taking it day-by-day, but acknowledged it is amazing to be part of something so incredible, alongside a world-class crew.

I asked the pair what it will be like for their parents to watch their children in one of the most iconic films of their generation. Coles, who grew up attending the theatre, likes the circularity of now bringing his parents to the theatre to watch him.

Hyland teased that the costumes and wigs will be “true to the film,” but when I asked about the production value of the show, she remarked that I just have to come and see it.

And that I will!

Back to the Future runs at the Opera House from the 20th of February to the 17th of May.

Review: Extraordinary Wall of Silence

Written by Rosemary Russett on . Posted in Theatre.

Extraordinary Wall of Silence was a defiant treat for the senses. A range of smaller acts that created a flowing montage of experiences, history and education spun us through an 80-minute performance that ended up fitting in more than I had expected, and left me wanting to learn to sign.

The format of the show was highly unique. I have, on occasion, seen British Sign Language (BSL) interpreters either at the bottom of the screen of a TV show or, more recently, at a festival at the side of a stage. But, in this case, the BSL was the focus. The whole of the show was told bilingually, with spoken and signed language, but the sign was definitely no afterthought.

Lighting throughout the performance was high enough to be able to see what performers were saying and on the occasion that the lights went out, the speaking also stopped.

A humorous segment showed a couple trying to have sex with the hearing person repeatedly turning the lights off and the deaf person trying to explain that they need the lights on to be able to communicate.

The performance was done through a mixture of dance and acting, with stories playing out that seemed to illustrate all of the barriers faced by deaf people, as well as the discrimination faced on a daily basis now and in the recent past.

While I did get the message that this play was largely a celebration of deaf culture, it was not afraid to show the difficulties of being deaf. The main cause, however, is not a “loss of hearing”, but, rather, an expectation that deaf people want to be able to hear and speak. This is done in a variety of ways including surgery on newborns and oralism – the idea that lip reading and speech therapy is a better way to teach deaf children than sign language (spoiler alert: it’s not).

Throughout it all was a strand of intense truth. The stories were those of the actors on stage but also of people they knew and people they did not know in their community. They were the stories that get passed around, the ones that everyone has.

While many of them felt very personal, I also got the sense that many of these stories were universal and showed the reasons behind the need for community specific spaces, but also for a greater level of accommodation by hearing people.

Extraordinary Wall of Silence runs at HOME until 22nd February.

Review: Welcome to Shangri-La

Written by Anna Jin on . Posted in Theatre.

“I only want what other people have!”

“Don’t we all?”

Welcome to Shangri-La is a dark comedy written by the Manchester-based writer, and BAFTA-winner, Gemma Langford. It is a cleverly directed play with a cast of talented actors who perform their complex characters to perfection.

With overwhelming realism, the play tackles up important themes such as class struggles, generational difference, and psychological abuse in a way that is neither obvious nor pretentious. Langford’s writing skilfully balances gravity and comedy as it presents a nightmarish landscape of what could happen when we decide to close our eyes to complexity in our search for normality.

Shangri-La is an aggressively English Bed and Breakfast that has seen better days. Its working-class inhabitants long for a better, more ‘normal’ life, and the clean-looking gentleman who stepped through their door appeared to be the answer to their prayers, but appearances can be deceiving…

The highlight of this brilliant play was the group of talented actors. The actors all had a natural chemistry with each other. Some characters have known each other for a long time, while other characters were strangers to each other, which was well expressed in the acting. The actors did not play roles dramatically or in an over-the-top way, which emphasised the play’s realistic mood.

Instead of watching a staged play, the audience felt like they were watching real humans going about their daily lives. The actors articulated their dialogue in a normal tone and, because of their placement on the stage, the audience could hear them clearly.

The acting was engaging to watch. It was clear that they knew their characters well and stayed true to their roles throughout the play. The cast boasts a diverse group of individuals, all of whom could leave a deep impression on the viewer’s mind.

Some actors were onstage almost all the time, while others were only present during a few scenes, however, they all managed to leave an impression.

Robyn Moore was especially impressive because she managed to do multiple difficult stunts on stage (like falling down a flight of stairs) and she went through multiple drastic costume changes.

The design elements were simple and realistic. The few props used by the actors were real items and were treated as such, like ceramic plates and sandwiches. The actors wore modern costumes and had minimalistic makeup.

The stage was large, with a lot of empty spaces for the cast to move freely. The plot occurred on multiple settings, and this was achieved mainly with the acting and some simple set-design. The main setting took up most of the theatre and looked like a typical bad British hotel that most people would recognise immediately.

The lighting was well used to set the mood but was not memorable in the performance and did not draw attention to any particular element on stage. The background sound effects were timed perfectly and contributed to setting the scene.

All in all, the design elements were faultless but was unexciting on purpose. The design highlighted the characters’ desire for mundaneness.

The only shortcoming with the play is that it lacks some trigger warnings. It brings up physiological abuse and mental illness in a visceral way that can prompt recall of people’s previous traumatic experiences. Throughout the play, one male character uses gas-lighting, shame and guilt to abuse multiple female characters. In addition, some characters express homophobic and misogynist opinions, which can also be triggering for some people.

Welcome to Shangri-La is a well written and skilfully directed play that is brought to life by a group of extremely talented actors. It has wide appeal and brings up universal issues. It interrogates the human desire for “normality” and begs the question: Does such a thing even exist?

It plays at Hope Mill Theatre until 20th of February.

Law Commission of England of Wales - Manchester Hearing photo courtesy of Misogyny is Hate

Still waiting for misogyny to be a hate crime

Written by Aisha Al-Janabi on . Posted in Lifestyle.

In December 2018 Manchester’s Misogyny is Hate campaign organised the rally of ‘1000 voices.’ Whilst Greater Manchester Police (GMP) failed to attend, the campaign has continued working towards making misogyny a hate crime. I spoke to third year Geography student Jess, and first year History and Politics student Hannah to find out what they’ve been up to in the year since this rally.

Misogyny is Hate is part of the Greater Manchester branch of Citizens which is a “community organisation that uses testimony and people’s experiences as the basis of change.” From the testimonies of women and girls it was decided that it would be beneficial for misogyny to be recognised as a hate crime. In 2018 the University of Manchester’s Misogyny is Hate campaign was launched and the group have been working towards their goal  in Greater Manchester for the past two years.

Jess explained that you “can only solve the problem by naming it, and misogyny is literally what the problem is.” Part of the problem is that it is so normalised that it’s often accepted instead of being spoken about, which Hannah believes is “not the attitude we should be having.” Making misogyny a hate crime enables the police to record where these incidences are occurring so “they can see where crimes are taking place” and direct their resources appropriately. Jess and Hannah gave me an example in Nottingham where misogyny has been a hate crime since 2016. They “recognised people were experiencing misogyny near building sites,” and instead of arresting perpetrators, “they contacted the organisation and did an awareness [event],” to focus on education and raising awareness about the experiences of women. A study in Nottinghamshire showed there was “overwhelming support for its implementation nationwide.” Jess and Hannah hope that Greater Manchester will take this success and do the same.

In September, Manchester hosted representatives of the Law Commission of England and Wales to review legislation around hate crime. They heard from women’s experiences of misogyny in Greater Manchester including “xenophobic misogyny, anti-disability misogyny [and] racist misogyny” which highlighted that misogyny is an intersectional issue and all these instances “intersect with the fact these people are women.” The outcome from this consultation is due to come out early in 2020, and both Hannah and Jess are eagerly waiting.

When talking about policy and legislation it can be easy to lose sight of what misogyny actually is, and what it would mean for it to be a hate crime. Hannah explained that “it’s victim based rather then perpetrator based” meaning if the victim views an instance as misogyny it should be treated as such. However, for “something to be a misogyny hate crime, it has to be a crime to begin with.” But if something happened “that is not a crime, but is due to my gender, I can report that to the police so they can record that” to provide the police with a better picture of where these incidences are occurring.

The members of Misogyny Is Hate don’t stop at campaigning and working to change legislation but are also inspiring young women and girls. Through Greater Manchester Citizens they have carried out school visits to discuss a range of topics including “deconstructing gender, how to run an intersectional campaign” among others. As well as using their degrees to highlight women’s issues in different areas like discussing that climate change is a gendered issue.

For now, misogyny is still not recognised as a hate crime in Greater Manchester but I’m sure the campaign will continue to put pressure on those who can make it happen.

For more information head over to their new website: https://www.misogynyishate.com/

Misogyny is Hate will be a flagship policy for this year’s Reclaim the Night (20th of February 2020) and will have a block near the front of the march. If you’re marching feel free to join them and show your support of this campaign.

Misogyny is Hate is also spreading the word among students about consent workshops run by Odd Arts to encourage their participation. Odd Arts is a theatrical company which aims to challenge attitudes through applied theatre, these workshops will be between the 24th and 28th of February.

Misogyny Is Hate has also partnered with FuseTV creating a video to raise awareness of the campaign. Watch it on the FuseTV Manchester Youtube channel.courtesy of Misogyny is Hate

Review: A Beautiful Day in the Neighbourhood

Written by willburdess on . Posted in Film.

A Beautiful Day in the Neighbourhood makes for an unexpectedly personal viewing experience, one which holds your hand and takes you back to the days of your childhood. All in all, it makes for a surprisingly touching trip to the cinema.

Adapted from a 1998 Esquire article, the film details an unlikely friendship between television personality Fred Rogers and investigative journalist Lloyd Vogel.

Tom Hanks plays the much-beloved star and host of Mr. Rogers’ Neighbourhood, a children’s educational television programme. “We are trying to give the world positive ways of dealing with their feelings,” Hanks’ softly spoken Mr. Rogers says of the show in which he plays every child’s loving ‘neighbour’.

Vogel is a cynical investigative journalist, played by a rather forlorn-looking Matthew Rhys. His story begins at the wedding of his sister, Loraine Vogel, where he gets into a fight with his estranged father Jerry. His father had abandoned him, his sister and his mother when she was ill with cancer.

At work the next day, he is asked to write an easygoing 400-word piece on whether Mr. Rogers might be considered a hero.

As it happens Vogel’s profile of Mr. Rogers makes for a great deal more introspection than Lloyd would have expected; Mr. Rogers sees a man in pain with the world and tries to show him a way to feel precious again. Here lies the core of the film’s message.

Arguably, A Beautiful Day in the Neighbourhood’s key moment happens when, sat in a restaurant, Vogel is asked by Mr. Rogers to pause for a minute, and to imagine “all those who loved him into being”. A silence follows that makes for one of the films’ most reflective moments. Not only is the scene wonderfully moving in itself, but Hanks’ performance more than does justice to the kind of spiritual nourishment the original Mr. Rogers was famous for. You can’t help but feel a little entranced by the way Hanks asks Vogel this. Note: it might leave you open to a tear or two.

This scene is somewhat telling of the film’s enduring value: it could have been a soft, soothing story of an embittered journalist longing for meaning in his life, with many-a-classic Mr. Rogers’ quotes weaved in for sentimental effect.

Yet the fact that the film itself is presented as one long episode of Mr. Rogers’ Neighbourhood, in which Vogel’s story is told as part of one long episode of the show, only serves to make the film’s personal touches sink deeper.

In having a poke at the fourth wall both in the restaurant scene, during which Hanks slowly turns to look down the lens, and in the structure of the film more generally, we too are gently urged to consider those who loved us into existence. We too are urged to recall, as Vogel does later in the film, the time when each of us had a teddy or an “old rabbit”.

In this way, A Beautiful Day in the Neighbourhood brings forth many a moment of introspection; it makes you feel childlike and innocent again, to look to those with whom we are closest in a kinder, more forgiving way. Thus, even if you never watched an episode of the original Mr. Rogers’ Neighbourhood, this episode is certainly worth a try.

4.5/5.

Review: Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)

Written by caitlinslw on . Posted in Film.

From start to finish Birds of Prey was a wild ride, led by the amazing Margot Robbie as Harleen Quinzel AKA Harley Quinn. Post-break up with the Joker, Harley is going out on her own and finding herself now that she’s single. The journey that she goes through leads her to team up with four other women in Gotham, who each have their own unique personality, style and story. Birds of Prey is a brilliant demonstration of the power that women have when they work together to take down some bad guys.

While Robbie’s Harley Quinn is our protagonist, each member of the Birds of Prey gets their time to shine, develop their character and flesh out their story. We have Jurnee Smollett-Bell as lounge singer and secret badass Black Canary (Dinah Lance), Mary Elizabeth Winstead as Mafia princess and vengeance-fuelled assassin Huntress (Helena Bertinelli), Rosie Perez as the clever and skilled but overlooked Detective Renee Montoya, and Ella Jay Basco as the young pickpocket Cassandra Cain.

 

 

The plot itself follows Harley Quinn publicly making it known that her and Joker are broken up for good by destroying Ace Chemicals. Now that she is no longer under the Joker’s protection as his sidekick, everyone in Gotham whom she has ever wronged is out for their pound of flesh. There are a lot, but at the top of the list is one Roman Sionis AKA Black Mask, portrayed wonderfully by Ewan McGregor. At the same time, he is on the hunt for the missing Bertinelli Diamond, and if he gets it, he will be the richest and most powerful man in Gotham.

It’s a stunning display of colour and action, with top-notch action sequences that highlight the skills of the different team members. It is both written and directed by women, and you can see this through the way the female characters are shown in dazzling and sexy costumes but not overly sexualised (like Harley Quinn was in Suicide Squad), and during one fight scene in particular, we see Harley help Black Canary by offering her a hair tie, which is something that only women would think of to help each other. As well as the amazing visuals, the use of music in the film is excellent, with a great choice of songs for the film. There is also a scene where we see Black Canary sing in the Black Mask Club, with Smollett-Bell performing a cover of It’s A Man’s Man’s Man’s World, showcasing Canary’s super voice.

Birds of Prey is a fun, exciting and thrilling film that showcases badass women working together to fight against a common enemy: the misogynistic and completely evil Roman Sionis. However, Birds of Prey would not be here without the effort of Margot Robbie, as she fought to get this movie made the way it is: an all-female team-up, directed by a woman, with an R-rating (in the US. Here in the UK it is a 15). The hard work of her and the women behind the scenes shines on screen in a Gotham like you’ve never seen it before.

5/5.

NHS data has potential beyond health care – but who should have access?

Written by Kitty Racionzer on . Posted in Science & Tech.

As it stands, the NHS database holds records of around 65 million people that go back decades which is drawing the attention of private businesses, as reported by The Guardian. Julie Simmonds, a healthcare analyst said to The Guardian: “[digitalised data] is very valuable for pharma company. Real world data is better than clinical data.”

Experts at the University of Manchester have expressed concern that the NHS, government, universities and companies must do more to avoid misusing health data and damaging public trust in health research.

The experts published a report in January 2019 where they highlight the importance of Data privacy. The problem identified is that the same electronic health records used in GP practices by the NHS is being used in hospitals, social care, dentistry and other parts of the health care system.

Recently, there have reports of incidents that have revealed the complexity of understanding public trust around the concept of health data sharing, such as care.data and Google Deepmind.

Professor John Ainsworth and Niels Peek set up two juries of citizens to understand the public perception of using NHS health data for purposes beyond those of health care.

The first jury was asked to what extent patients should control access to patient records for secondary use. The second jury was asked to propose eight scenarios for reusing health data from improving health service to its use in the private commercial sector.

The jurors seemed to be more accepting of data sharing to private and public sectors after the exercise, however some were still suspicious.

Despite the potential benefits of maximising the rich NHS resource, Professor Ainsworth pointed out that, “health is an intimate area of personal life and few people feel comfortable with the idea that strangers can see their health record.”

However, problems arise when data is shared, even to other medical sectors due to the increased risks of potential misuse. In fact, the overwhelming data held by the NHS is of interest to private businesses, and the pressure on NHS funding is increasing drastically. Therefore, as the interaction between the two sectors develops, this poses controversial problems which can severely have an impact on data protection at the public’s dismay.

Diary Photo: Ana Tavares @Unsplash

Lessons of being alone—an international student’s perspective

Written by heidylo on . Posted in Lifestyle.

Being an international student means something different for everyone. For me, it means living 9617km out my comfort zone, and its impact has not always been positive. However, I am proud to say that the struggles have fostered growth that I would never have thought possible in as little as 3 months. 

Is it hard living alone for the first time? Definitely. What I found most challenging, and something no one could have taught me, is being alone with my thoughts. Sounds like a basic skill, but I could not let my mind wander. I always needed something to focus on—a book, a TV show, some music. It got to a point where even when I was not alone, I had to make up stories in my head to avoid actually thinking. Why? Because for me, thinking leads to overthinking and overthinking leads to anxiety and depression. To protect myself, my brain developed a defence mechanism—to not let myself think at all.

Moving to England exacerbated my problem. There was only so much distraction I could find through my laptop and phone, hence overthinking possessed my mind completely. Not to mention that, other than my usual problems, I started to feel guilty about my feelings—people were facing so many problems in the world and here I was, with a privileged life, unable to process my emotions. Change was desperately needed.

My first changes concerned honesty and acknowledgement. As important as it is to be honest with others, I think it is so important to be honest with yourself. This is difficult because not everything we think is pleasant, but I realised that lying to myself was useless. What I find helpful is keeping a journal—a safe space, created for myself. Here I can be honest about my feelings, and process them without fear of judgement. It’s like taking the trash out of my head space.

By being honest with myself, I learned slowly how my brain is wired. That my overthinking, for example, was rooted in social anxiety. I cannot stand the thought of the people I like or admire may think badly of me, and the most trivial things can trigger it — a cease in communications, an unanswered text, or even a less-than-enthusiastic smile when we greet. So now, when I start to get anxious over a friend, I check in on them, and it should come as no surprise to you that things are always fine, my mind just overthinks.

I feel more confident, I have a more positive mindset, and my mind, formerly my worst enemy, has become my friend. Of course, the road to good mental health is not a linear one: I still have bad days, but I truly believe that as long as I am still fighting, I am winning.

The same applies to you. I do not know your experience, but I know how suffocating and all-consuming emotions can be. If no one can understand how you feel, please know that you are not alone and that you are stronger than your struggles.

growing up bilingual

Growing up bilingual

Written by isabellalock on . Posted in Lifestyle.

Over half the world’s population is bilingual, meaning that the majority of us can speak two languages fluently. Growing up bilingual in Dutch and English – I learnt Dutch from my mother and English from my father – I have discovered the joys and the difficulties that come with being bilingual, but of course everyone has their own, individual experiences.

There are differences in learning a language as you grow up and learning a language in class. With Dutch I have learnt the language by picking up phrases in conversation rather than learning the grammar. So, my Dutch comes naturally to me without much thought, but I am unable to translate and construct sentences accurately as my grammar is intuitive rather then learnt. However, as a student of Spanish and Japanese, whilst I am able to translate and construct sentences which are grammatically correct, my fluency is prohibited as I learnt the colloquial phrases from a textbook rather than from the native speakers. Having grown up bilingual I have learnt that the best way to learn a language is through being around native speakers and in this way your brain is able to adapt to the language.

Growing up bilingual developed my language skills, I often visit my family in Holland and at the same time live in the UK so I have always been exposed to both Dutch and English. As a result, my brain naturally interchanges between the two languages without much thought. Curiously, I have found that my identity and character changes between the languages. Whilst I am more reserved and calm when speaking English, I become far more honest and direct when speaking Dutch, which I suspect is mainly down to the different cultural norms. British are stereotypically regarded as, almost too, polite, like apologising to someone that has walked into you. Whereas, the Dutch are known to be blunt and direct.

Whilst my language might change between languages, I have sometimes struggled with fitting in and knowing what I identify as. As a child my Dutch was stronger than my English and I often mixed up the language. As a result, I found it difficult to interact with other children. However, I do not fully fit in the Netherlands either as I neither live there nor know the cultural norms as well those who have been brought up there. It can be difficult to have these different identities as I lack a sense of belonging. Nonetheless, I prefer to see myself as a part of both cultures, rather than part of neither.

Bilingualism is spreading across the world and one day I think most people will be able to speak two languages. Whilst bilingualism has its its benefits and difficulties, it is undeniably a gift and will continue to benefit me and others in the future.

Sex Education fashion

How Netflix’s Sex Education explores identity politics and victim blaming through fashion

Written by Maisie Scott on . Posted in Fashion & Beauty.

*Content Warning: discussions of sexual assault and violence.*

Netflix’s Sex Education puts forward vital discussions about sex and relationships; its fashion is a key part of this exploration. The series is set in the present day but the style of many of the characters nostalgically refers back to the past. Maeve’s alternative dress sense incorporates elements of punk and grunge whilst Aimee’s wardrobe appears to be inspired by the 1970s. Every character has a highly cultivated style which has been clearly refined by the costume and wardrobe department.

The students of Moorgate secondary school do not have a prescribed uniform and they can express their individual style at school. The characters on the show have a diverse fashion taste which is characteristic of Gen-Z style. The Mancunion‘s Fashion Editor Alice Porter discusses the difficulty in identifying the trends of the last decade in a recent article titled ‘This decade’s fashion is undefinable because it was obsessed with the past’. Sex Education dramatises this contemporary trend through the variety present in the students’ wardrobes. Lily’s space buns and pastel wardrobe is set alongside Jackson’s sporty outfits which showcases the scope of the styles adopted by the show’s characters.

https://www.instagram.com/p/B7l4NveDDng/

Sex Education is concerned with the lives of teenagers who are navigating their identity and sexuality and their identity is explored and mediated through clothing in both series of the popular Netflix show. The importance of clothing should not be overlooked as it is crucial to the exploration of personal identity and it offers an outlet for self-expression.

Clothing plays a key role in the darker moments in the show which feature episodes of sexual assault and violence. Eric’s attack in Series One takes place whilst he is dressed up in denim cut offs, a blonde wig and red platform boots in an outfit inspired by Hedwig and the Angry Inch.

https://www.instagram.com/p/B16n4LdDO7z/

Eric is attacked by a white man that same evening on his return home. The trauma of the event is registered through clothing as Eric subsequently retreats from the colourful items in his wardrobe. He temporarily opts for a uniform of ripped jeans, monotone t-shirts and hoodies in later episodes. Emotionally and physically the attack takes a toll on Eric and clothing is one of the ways in which he navigates this experience.

Aimee light-heartedly brushes being sexually assaulted on the bus in series two by making references to her jeans which have been stained. Maeve supports Aimee following the event and takes her to the police station and the police later take Aimee’s jeans for evidence. Aimee says to Maeve that she hopes the police will return her jeans because ‘they’re the perfect bootleg Maeve. You don’t find that very often’. The sentiment Aimee shares about her jeans show the complicated ways in which trauma is sometimes expressed via humour and how clothing can be used as a sort of armour by those who feel marginalised.

https://www.instagram.com/p/B8bNiwxDREp/

Clothing has the potential to form a key piece of evidence in cases of sexual assault and violence because it can show the markings of the perpetrator’s DNA, bodily fluids or aggression but beyond that, it has no relevance. The style of the victim’s clothing and the amount of skin they choose to bare is a key way in which a harmful narratives of victim-blaming have been perpetrated in the past, which is unacceptable; the responsibility lies unequivocally with the perpetrator and never the victim.

Solidarity and support must continue to be shown to victims of sexual assault and violence and misogynistic attitudes urgently need to be abandoned towards victims. Reclaim the Night is a campaign against sexual assault and gender-based violence in Manchester. The Reclaim the Night march will take place on the 20th February 2020. I urge you to join the march and use it as an opportunity to wear whatever you desire without fear.

Clothing is crucial to how we navigate our social identity and Sex Education offers a nuanced portrayal of that experience. Maeve’s remembers the blame another woman projected onto her when she was catcalled for wearing ‘revealing’ shorts in series 2. She also recalls how she rejected the older woman’s comments and ‘went home and cut them even shorter’. Support Reclaim the Night and share the defiant spirit Sex Education’s Maeve Wiley would encourage us all to channel.