The Curly Girl Method seems like a maze at first, and after years of trying to learn, it doesn’t get much easier. Even within the community, there’s a constant stream of debates. Whether ‘no-poo’ or ‘low-poo’ is better, if some sulphates are actually okay, and how often you should be washing your hair… the list goes on. We can’t bring ourselves to wash our hair just once a week. There are however, several ways in which the curly girl method has made us regain confidence with our hair.
If in doubt, add a small amount! For washing our hair, we find adding a two-pound size blob of shampoo the perfect quantity. This more cost-effective method not only saves you running to Superdrug, but also encourages a much more thorough wash as the lather of shampoo tends to take longer.
Double washing your hair is effective too. Adding that second step into your hair washing routine effectively removes all the dirt and buildup of oils. We find that this, alongside the curly girl method, keeps our hair grease-free for days!
Need to revitalize your 4-day old curls or tame your morning Hagrid hair with this simple trick? Simply add a small amount of your chosen conditioner into a spray bottle and top up with water, give it a shake and spritz over your curls. An immediate, quick fix which defines and renews your tired looking curls, without even washing your hair!
The ‘scrunch out the crunch’ is also ingenious. We have been told to use mousse and gel in our hair, but never really knew how to use them properly. Why would we want to use a product that would make our hair stiff? Well, the technique actually requires a hard cast to form on the hair, which can later be scrunched out to reveal defined, minimal-frizz curls.
Lastly, another game-changer are silk pillowcases. Silk causes less friction against your hair as you sleep, which in turn makes less frizz. When sleeping at a friend’s house, they usually laugh at the granny-looking silk sleep turban, but we genuinely adore them. The combination of a silk pillowcase and a silk hair turban ensures that the hair looks decent on non-wash days, whilst also being extremely comfy to sleep on. As people who could not maintain the ‘day one’ curl, this has been a lifesaver and it’s well worth the investment.
Ultimately, it’s definitely worth trying out aspects of the Curly Girl Method of it to see what works for your curl pattern and lifestyle. What works for us may not work for you, and vice versa!
On the outset, the theme of Glee & Me seems to be one that has been done to death (pardon the pun) across countless forms of media. Despite that, Glee remains watchable thanks to a script filled with razor sharp dark humour, poignant moments, and, of course, stellar acting.
Add to that the Royal Exchange’s intimate stage setting, and one cannot help but feel that in watching Lola, we were watching our own close friend make their way through a terminal diagnosis with pluckiness, humour and, most important of all, gratitude for having experienced love.
The story revolves around a 16 year-old girl, Lola, portrayed by the fantastic Liv Hill, who has been handed a terminal diagnosis.
As this sword of Damocles, or should I say tumour of Damocles, hangs over her head (thanks to Anna Yates’ minimalist set), Lola goes about making the most of the time she has remaining, delivering Stuart Slade’s lines with panache one moment and tenderness another, moving between the two effortlessly, guided by Nimmo Ismail’s deft direction.
The wallowing in sorrow is often followed by dark jokes, such as “with you dead, I will save a fortune in University tuition fees”. It’s almost like eating a jar full of Bertie Bott’s Every Flavour Beans: you have no idea what emotional boomerang is going to come next.
On the other hand, there was a certain sense of predictability to it. Now, some might say, by that yardstick, all our lives are very predictable – all of us are dying. No points for figuring that out, Socrates. Or as Lola put it – “Every single human activity though, they’re all avoidance mechanisms to blot out the terrifying inevitability of your own death.”
But that’s not the kind of predictability I am discussing here; it’s a predictability in terms of realising that every time we think of our mortality, we inevitably come to the conclusion that we must fundamentally change how we live in the present, enjoying the little moments with our loved ones, noticing the colours (literally and metaphorically) around us and taking delight in the fact that, right now, right here, “we are savagely, emphatically alive.”
This predictability is not necessarily a bad thing, for as we go on living our routine lives, this view fades somewhere into the background, only to be brought back into focus as soon as we have a brush with our own mortality or the mortality of someone we feel close to (as all of us did to Lola).
With most of the country trying to head back to a pre-pandemic state of things, it is only a matter of time when routine takes over yet again.
Perhaps, under such circumstances, shows like Glee & Me serve as useful reminders, albeit a little annoyingly nagging, to actually think of what it means to be alive as we go along rather than waiting for the moment when death feels closer than ever.
The Broadway musical that made Lin-Manuel Miranda fame, has its movie adaptation receive backlash due to lack of dark-skinned characters.
Nearly half a decade before Hamilton debuted, Lin-Manuel Miranda’s name was already celebrated for his work on the Broadway Musical, In the Heights.
The musical deals with the struggles of the Afro-Latinx community in Manhattan, New York. Therefore, last year’s announcement that a film version was hitting our screens in June 2021 was met with enormous anticipation. However, upon its release, the brilliant acting and uplifting music were all overshadowed by criticism over its cast’s colourism.
Critics and fans alike instantly noticed that the cast of the movie did not represent the demographic of the original play. There was only one “dark-skinned” actor in the main cast, and the rest of the cast, while of Afro-Latinx origins, were rather light-skinned. The film was accused of privileging black actors with lighter skin tones over darker ones.
Lin-Manuel Miranda responded by arguing that he wrote the musical to be seen and heard. However, he also recognised the backlash as justified. He went on to assure people that the feedback was being listened to. Puerto Rican actress, Rita Moreno, was also caught in the crossfire. She defended Lin-Manuel Miranda on live TV only to be described as too dismissive of the issue.
Finally, Anthony Ramos, who played the lead in the movie, summed up the issue nicely. He said the criticism was “a good opportunity for us to hear people, for us as creatives, right?”
The controversy around In the Heights should be used as a learning experience and a way to understand how colourism continues to play a heavy, if unconscious, role in the creative sphere.
Hence, a musical that was written by someone’s quest to be seen, ended up with a flood of apologies by the writer and actor, because they in a sense left someone else unseen.
There are two types of productions that make a reviewer’s job very hard. The first type is the banal, run-of-the-mill category where the only motivation to get a review out is the fear of the editor breathing down one’s neck. The other is one where the reviewer feels a heavy weight on their shoulders, considers it sacrilegious to not write the most persuasive and most evocative account to encourage, nay, implore their readers to go out and watch what they have just witnessed.
It is to the latter category that Katori Hall and R.A Weise’s The Mountaintop belongs.
While the play is replete with a stellar cast, an exceptional script and powerful themes, its greatest achievement lies in its ability to not rely exclusively on any of those to deliver a symphonic performance that outshines its illustrious composers, the notes and its talented members of the orchestra.
I say this despite blotting out my notebook page in an attempt to take notes but instead finding myself completely enamoured by Adetomiwa Edun’s reverberating voice channeling Dr. King and Ntombizodwa Ndlovu’s Carmae outshining the giant of the civil rights movement himself.
Most importantly though, The Mountaintop is subversive. It challenges every dearly held notion in its sight, right from using a venue that was once a hub of the transatlantic slave trade and later imperialism (Royal Exchange Theatre still has historical plaques glossing over these periods in its existence), the role of women in the civil rights movement, and even the very idea of the traits in people we take to be heroes and deify, be it MLK or Mahatma Gandhi.
Yet, it does that with a light touch, never preaching virtue or sermonising.
In spite of that, it succeeds in rousing a fervour through its mix of humour in the darkest moments and its incandescence of optimism in the face of great adversity. It challenges us, as an audience, to think whether we have stopped paying attention to the injustices around us, “dropped the baton” so to speak, as we hope to move towards the promised land where there is equality and freedom for all?
At first, such a question makes one uncomfortable, bludgeons our own conception of “being good”. It’s exactly in this discomfort that the script of The Mountaintop comes to our rescue by showing us the very humanity, and by extension, the very fallibilities of people who can be considered the epitome of good.
It does that by espousing the very fundamental belief that great things can be achieved by having the strength to love. A strength to love even those who could never love you back.
And as the end nears, it asks us what would be our legacy? Would we fail to rise against injustice and continue to walk with willowed backs? Or in the words of Lin Manuel Miranda’s Hamilton, plant seeds in a garden we cannot see?
Would we realise the capacity for love and kindness in our hearts that extends far beyond the limited spheres we confine them to or would we let hatred and prejudice dictate the terms of the next half a century since MLK’s death?
As the lights went out on the stage, the teary sniffles and the ensuing standing ovation of the crowd made me realise that we had all collectively reached the same questions throughout the performance and found ourselves wanting for answers.
The Mountaintop runs at the Royal Exchange Theatre until Wednesday 27th of October. It’s the perfect way to mark and celebrate Black History Month.
Last year’s curtain bangs are not yet gone, but we are already seeing the emergence of a new hairstyle this autumn. Seen in the narrow corridors of Oak House and Owens Park alike, the ‘shag’ – a tasteful name for a tasteful haircut, has made its way into all the crooks and nooks of Fallow.
Unlike other experimental tropes seen around campus, like that of Crocs or claw clips, the new mullet marks a resurgence of 70s and 80s style. Social media helped it back into fashion, presenting it now as a longer, more feminine, but still heavily layered style, reminiscent of the original cut.
First emerging as a ‘quarantine cut’, the new hairstyle first gained traction in Korea and then found its way to Tiktok as the next DIY hair craze. It was originally known as the ‘wolf-cut’, featuring tousled ends and an eyebrow length fringe. Similar to the original 70s and 80s look, it still embraces natural hair texture to channel the untamed, carefree appearance once seen on the likes of Billy Rae Cyrus and James Hetfield.
The technique used to achieve it involved putting all your hair into a high ponytail and cutting the ends in one movement, resulting in choppy layers that fall shorter around the face. However, Gen Z are now moving on to professional hair dressers to achieve the look, tailoring the depth and framing of the cut to suit their face shape.
The timing of this comeback isn’t coincidental. Previously, the mullet signified flamboyance – it was outlandish and unapologetic and allowed for a form of self-expression beyond the punk and yuppie groups. Worn by men and women of all ages, it was able to transcend normative gender roles and traditional styling. It soon became a part of the lesbian culture too, becoming a way to identify one’s self as a member of the LGBTQ+ community in public.
Today, in the post-lockdown world, the hairdo, once again, has come to symbolise freedom and new beginnings for young people, welcoming change in both hair and lifestyle.
It has since gained popularity in the media, sported by celebrities such as Miley Cyrus, Rihanna, and Billie Eilish. Recently, it has even reached the high-fashion world, being used by brands like Isabel Marant during fashion week. Prada also chose to recreate the style for Milan Fashion Week, shortening the layers around the sides of the face, and slicking the hair back to create their own version.
The mullet has emerged as a haircut for everyone and although we might have thought of it as another fleeting trend, it seems that it’s here to stay.
This article contains spoilers for the new Bond movie. You have been warned …
Bond purists have criticised No Time To Die for its portrayal of Craig’s Bond. How can it be, they say, that Bond sleeps exclusively with one woman, or that he dedicates much of his energy to protecting a child? I argue that the emotional and paternal 007 we see in Craig’s final outing is actually one rooted in the original novels and does well to resist the macho tropes of the last films.
Bond first showed his partiality for monogamy in Ian Fleming’s 1963 novel On Her Majesty’s Secret Service. Choosing to dedicate his future to Tracey di Vicenzo, her subsequent death was a landmark moment in the series because it was the first moment we see Bond distraught by loss.
Fast forward a year with Fleming’s final full-length Bond novel You Only Live Twice, upon which aspects of No Time To Die are heavily based (Safin’s Garden of Death), and we realise that Bond has gotten Kissy Suzuki pregnant, just as he does with the new film’s Dr Madeleine Swan. However, we can have no doubt of Bond’s natural paternalistic instincts, highlighted through previous films in his relationship with younger women, for example Melina Havelock.
In their cinematic form, Craig’s emotional Bond is often tied in with the storylines that question his role and necessity in the modern world. This vulnerability is also a natural progression within the storyline of No Time To Die. Having retired from service, Bond’s mellowing feels very natural. However, when he does re-enter the murky world of espionage, his retired status affords his character a sense of confidence and ease previously unseen.
Bond, famous for short quips, talks more than any previous film in No Time To Die, and gives us a glimpse at the person behind the secretive killer. This enables tender moments such as at the grave of one-time love Vesper Lynd and references a similar moment in For Your Eyes Only when Roger Moore visits his deceased wife Tracey.
All in all, Bond’s increased vulnerability represents a positive shift in the series, but one that is not as unfounded as some purists have argued. This shift engenders a far more thoughtful film in which the losses of Bond’s previous years are finally recognised.
The Samuel Alexander building has been affected particularly badly by the recent flooding on Oxford Road. When I received an email notifying me of its closure, I began to wonder why the building has its name.
The Samuel Alexander building, previously called Humanities Lime Grove, and renamed in 2007, contains a bust of Alexander in the main entrance hall. Jacob Epstein presented it to the university in 1925. But who is Samuel Alexander, and what’s his significance to the University of Manchester?
Who is Samuel Alexander?
Born into a Jewish family in 1859 in Sydney, Australia, Alexander became a highly influential philosopher and professor, mostly active in the first half of the twentieth century.
He spent the earlier years of his life growing up in Australia, and enrolled at the University of Melbourne in 1875. It was clear that Alexander had a sharp mind. So much so that his mother gave him the money to come to England to pursue a scholarship at the University of Oxford, which he obtained, and he enrolled at Balliol College in 1877.
He spent the next sixteen years of his life in Oxford, becoming a Philosophy tutor at Lincoln’s College in 1882. A notable publication by Alexander whilst a tutor was his 1889 work. Moral Order and Progress: An Analysis of Ethical Conceptions considered how moral philosophy could be progressed. He was also the first Jewish fellow of an Oxbridge college.
Bust of Samuel Alexander. Photo: Ella Reading @ The Mancunion
Alexander’s time in Manchester
Four years after this publication, in 1893, Samuel Alexander arrived in Manchester to be a professor of Philosophy at Owens College (now The University of Manchester). He was the first Samuel Hall Professor of Philosophy and remained in his position for thirty-one years, until his retirement in 1924.
During his time at the university, the professor contributed massively to expanding student life. For example by helping to set up Ashburne Hall, the first female hall of residence at the University of Manchester. He also contributed to the independent status of the university.
Aside from his work as a professor and key figure in the establishment of the University of Manchester, Samuel Alexander was renowned for his philosophical ideas. He was a crucial thinker in the twentieth century, mainly known for breaking away from the idea of British idealism.
Alexander’s Work
Idealism is focused on linking ideas from the mind to reality. Samuel Alexander branched away from this by creating his own interpretation of realism. He approached philosophy rationally and incorporated a range of sciences. Contributing to a new branch of philosophical thinking referred to as British emergentism, which considers the philosophy of the mind and ideas about consciousness.He heavily influenced the development of metaphysical realism in the twentieth century. This argues the majority of objects on earth exist independently of human thought.
In 1920, he published Space, Time and Deity, which suggests that space time included everything else in reality, for example, the bicycle that Alexander elected as his primary method of transport around the university. Surely members of the Cycling Society can appreciate this transport choice even to this day!
The outside of the Samuel Alexander Building. Photo: Ella Reading @ The Mancunion
In terms of personal connections, it appears Samuel Alexander built a close relationship with Naomi Mitchinson. She was born in Scotland but grew up in Oxford. He offered her ample advice to allow her skill to flourish as a poet and novelist, and treated her like a father figure would. In 1902, the entire Alexander family came from Sydney to Manchester to live with Samuel Alexander. When he died in 1938, he was unmarried, and still lived in Manchester –for a short while at 6 Mauldeth Road West.
Alexander’s death
After his death, there were two main contributions that Samuel Alexander made to the academic community in his will. The first was to the University of Jerusalem and the second to the University of Manchester, marking his interest in developing the communities and education at these institutions.
In modern Manchester, Samuel Alexander’s work is accessible in the John Rylands Library, worth a visit alone for its marvellous interior and exterior.
Samuel Alexander is an example of one of the many intriguing figures remembered by the university. There are many more buildings, each with a captivating story to be told. Next time you pass through a university building, consider its past and wonder why it has the name it does. Perhaps this will inspire you to research it and discover a hidden gem in the university’s, or Manchester’s, history.
Sally Rooney’s hotly awaited third novel, Beautiful World, Where Are You, covers themes of friendship, honesty and love. The novel follows Alice, a successful novelist, and her best friend Eileen, who works at a literary magazine in Dublin. They met while studying English Literature at university and are now navigating complex romantic relationships.
Here, Aileen and Victoria, themselves both English Literature students at the University of Manchester, chat about the novel.
These questions invite you to have your own conversations about Beautiful World, Where Are You.
How would you classify the novel, if you think it needs classifying?
A: While Beautiful World, Where Are You could fit into a whole range of genres, I don’t think that there’s one categorisation that would be fully accurate. I imagine it will be regularly marketed as romance, but I don’t see the novel as a romance. For me, the most important relationship is the friendship between Eileen and Alice.
V: I think that the only way the novel could be classified is simply as contemporary literature, in that it is a work which is deeply concerned with the state of our current historical moment and the plights of the people living within it.
So do you think it could be called a novel about love?
V: It’s a novel which is self-conscious about its own status as a novel about love… Alice and Eileen ponder whether there can be any value in books about romance in the face of impending apocalypse, or whether in fact it is one of the only things worth writing about. I think it’s a novel about love being humanity’s redemption in a society where everything else is unforgivingly commodified.
A: The novel also offers moments of varying definitions of love, such as when Felix cuts his hand. He realises he cares about Alice, as it is her that his thoughts turn to.
The novel could be described as plotless, would you agree with that?
V: I wouldn’t agree with that necessarily. The story feels strongly rooted in following the lives of the characters, so it never feels directionless. The action in the novel in that this action is found in interactions between the characters, making the novel personal and character-driven but not strictly plotless, as Rooney charts a clear trajectory in all four characters’ lives.
A: I completely agree with Victoria – while overall the pace of the novel is slow, there are still key turning points that move the plot forward.
And what about the sex?
V: As always with Rooney, the sex is part of her preoccupation with the mundane and the real. Audre Lorde wrote about the diametrical difference between the erotic and the pornographic, in that the erotic is emotionally charged whilst the pornographic is sensation without feeling. Sex in Beautiful World, Where Are You always falls into the former, simultaneously reflecting and constructing the connection between the novel’s characters.
A: Again I would agree, although the characters do tend to have full blown conversations during sex, which strikes me as slightly unrealisitc at times! However, it is pretty characteristic of Rooney’s protagonists to analyse sex whilst having it.
What did you think of the writing style?
A: I enjoyed the intensely detailed, detached sentences describing the actions of the characters, especially when those actions were juxtaposed against one another, such as when Felix is working at a warehouse while Alice is writing at home. I think this also revealed similar banalities about Eileen’s job as an editor to Felix’s in a warehouse, which centralised questions about the value of labour and the purpose of work that run throughout the novel.
V: I agree; the level of detail, especially in trivialities which could be seen as too banal to be worth mentioning by other writers, brings Rooney’s characters to life in a way which seems so unique to her work.
Did you like the email portions of the novel?
A: I loved reading the emails, which have a reason to be overly crafted and witty and stylish, in a way that the characters’ conversation cannot quite be. It’s interesting to consider why Alice and Eileen only seem to communicate via email, despite regularly using social media platforms to interact with other people. The emails show how little they see each other (only meeting once at the end of the novel) and perhaps reflect anxieties within the friendship that aren’t immediately apparent.
V: The emails were enjoyable and thought-provoking, although I couldn’t shake the sense that they were functioning simply as a mouthpiece for Rooney’s own beliefs, like it was Rooney in dialogue with Rooney in the ‘conversations’ between Alice and Eileen.
To what extent is the novel about the status of the author and their relationship with fame?
V: For me the novel read overwhelmingly as Rooney’s response to her own sudden fame. Alice felt like a very transparent stand-in for Rooney herself, faced with extreme literary success which causes her to question the integrity of her own work. As Rooney is a self-professed Marxist, I believe that Beautiful World, Where Are You was very much her rebelling against this success by explicitly reinstating her own views as the characters mourn the death of the contemporary novel, beauty and art in the face of capitalism’s commodification of these things.
A: While I agree to some extent, it’s dangerous to view the novel as too autobiographical. It is a work of fiction, and Alice is a created character that cannot be seen as merely a mouthpiece for the author. That’s not to say I don’t think Rooney would agree with a lot Alice had to say in the novel…
What about the title?
A: The lack of a question mark in the title is thought provoking. I think it seems to invite continued conversation, as it requires finishing – Beautiful World, Where Are You [going?], Beautiful World, Where Are You [now?]. Or perhaps, looking at the title more bleakly, it cannot be framed as a question because a beautiful world doesn’t exist and cannot be found.
V: The title reveals the book’s theme of trying to find beauty in the modern Western world due to the disaster of capitalism which places profit above people… I think Rooney finds this beautiful world in the end, and finds it in the love between the characters.
And without any spoilers, what about the ending?
A: I was disappointed with the final two chapters, both emails, which struck me as more cliche than I was expecting from the novel. There was an abrupt change in tone, alongside a change in time and circumstance, and I felt it was disjointed from the rest of the novel.
V: I think that although the sentimentality of the ending may be construed as cliche if written by any other writer, by leaning into this Rooney is escaping her own cliche of pessimistic, bittersweet endings. These final chapters that would normally seem cliche end up feeling poignant when found in Rooney’s work, which is so often bleak. It seemed like a fitting end for Rooney’s search for a beautiful world.
How do you think this novel compares to her previous work?
A:Beautiful World, Where Are You won’t have the same mass appeal as Normal People– characters in this novel, as in Conversations With Friends, are more immoral and at times less likable than Connell and Marianne. The romances are also less compelling. Personally though, I enjoyed it more than her previous work.
V: This book felt more intellectually driven that Ronney’s previous novels, with the emails particularly operating as long pieces of theoretical writing about society and its politics. Although this was extremely interesting, and Rooney certainly has many perceptive and sharp points to make, sometimes the novel’s intellectualism felt at the expense of time to develop the characters and their relationships.
Any final thoughts?
A: I was already inclined to like it, as an English Literature student. And I did like it. At times it felt like it was written about me or people I know, as though Rooney had successfully voiced my own thoughts better than I am capable of doing, and I devoured the book within two days. It is therefore hard to judge how much of this enjoyment was self indulgent!
V: I agree in already feeling inclined to like it, as I was a big fan of Rooney’s other work and style. I loved the book, though, and would definitely recommend it to anyone looking for a thoughtful, accomplished contemporary novel.
Death Drop is an excitingly camp and comedic murder mystery written by Holly Stars and starring a cast of exclusively drag performers, including William, Ra’Jah O’Hara, Vinegar Strokes, and Karen from Finance.
The show, set in 1991, sees a group of guests gather on the mysterious Tuck Island for an unforgettable dinner party.
As the outrageous guests reveal their suspicious pasts, tension rises until buzzing scenes of finger-pointing and speculations unnervingly reveal who dunnit!
The Mancunion had the opportunity to interview RuPaul’s Drag Race Down Under star Karen from Finance on her new role in this exciting, new drag murder mystery.
How did you get involved in the project?
I’ve met some of the production crew on one of my last trips to the UK, and I’ve been looking from afar at the genesis of Death Drop and it all coming together.
How has it been playing in front of an audience?
It just has been the most fun. Holly Stars has written not only the funniest show but also the most clever show. There’s a lot of giggles and laughs, but the way it’s put together and the way the story unfolds is really really clever. It’s also such a huge and incredible production as well, and with the amazing cast delivering it, it’s a fully exhilarating experience to be part of and a thrilling show to watch.
Could you talk more about your role?
I play one of the dinner guests at the house in which the play is set. Her name is Morgan Pierce, an infamous newspaper editor and a lil bit of a ‘nasty pasty’.
Can we recognise some of Karen from Finance in Morgan Pierce or are they completely separate?
They’re completely separate. I like to say that Karen from Finance is this lovable finance worker that works at the bottom of the department while Morgan Pierce is a fierce CEO. The characters are very different so I play them quite differently. It’s so much fun being given license a free rain to go in and be a villainess.
How have you found the UK?
I love the UK! This is my fourth time over here, it’s such a vibrant and exciting place, not only to be but also the drag scene as well. Australia is still in strict lockdown, so it’s been an absolute blessing, not only to work again but to work hard.
How does the drag scene in the UK compare to Australia?
The drag scene here is really forward-thinking and very diverse and very exciting. I have always found that the drag scene in the UK is a lot more cabaret-based. It’s a lot less about lip-syncing and having the most beautiful look but rather about characterization and performance which is really exciting for me. It’s been amazing getting to know and getting to work with Drag Kings on this show. The Drag King scene is a lot more popular here than it is back in Australia. I’ve been out to nights at The Box or The Glory.
There’s been a huge surge in new drag content. What do you think might happen within drag in the near future?
I think the possibilities that drag offers are endless. I think now with the widespread acceptance and understanding of drag, we’re just going to see it grow and grow and grow. And not in formats that we already know like film or tv but I like to think that it will surpass even that.
What do you see Karen from Finance becoming in the future?
Doing a show like Death Drop has been a dream of mine forever, and so to be realising that sort of dream already is so exciting, and I’m looking to work more in the realm of theatre. Of course, I’m already part of the cabaret scene back home, but I’m really looking to explore further the realm of drama and just explore everything that drag has to offer outside of clubs.
About your name: ‘Karen from Finance’ has an obvious meaning and a lot tied to it. Do you find it restrictive at times to have such a strict persona?
I see it as the complete opposite; I don’t see it as restrictive at all. It gives me a point of difference and has opened up so many doors and opportunities that I otherwise wouldn’t have considered. The specific character and name that I have come up with has allowed me to do things like representing a banking organisation at a makeup festival because I bring makeup and finance together. I have been booked to go to major company head-offices at the end of financial years and entertain by reading end-of-year reports. The opportunities that my character offers are really not restrictive in any way. They’re broad, if anything.
How was it being part of the very first RuPaul’s Drag Race Down Under season?
It was a major privilege. Me and the 9 other queens went in without knowing what to expect and we had a lovely time doing the show and a lovely time reaping the benefits of doing the show after it.
How significant do you think it was for Oceania to have Drag Race come over?
It has to an extent split the community. There are those that didn’t really want Drag Race to come because it does focus on a very specific part of the drag scene, but on the other hand, Australia has some amazing drag performers and amazing people that would definitely benefit from the exposure of such a show.
How impactful do you think a show like Death Drop is to the drag scene as a whole?
I don’t think the world has ever seen a touring Drag murder mystery like this before, but most importantly, we are taking this show to towns that have never seen something like this before. We are doing the big cities but then we are also going to places that don’t usually have a queer scene, and there are queer people everywhere. Apart from having the shows in these places, having the posters and the billboards advertising for it is really exciting for young queer people. It really shows the opportunities that are out there for queer people.
Death drop plays at The Lowry until Saturday 17th October before continuing to tour around the UK.
Black Milk is the place to be if you want to indulge in the world of pancakes, milkshakes, cakes and anything else which can be topped with whipped cream!
Whether you fancy classic dessert combinations of the well known Lotus Biscoff or Oreo cookies and cream or feel like trying one of Black Milk’s signature specials, there is something for everyone on the menu.
Decadent plates of food are brought to you by Black Milk’s team and your face is sure to drop when you admire the tower of pancakes brought over, jaw-dropping if you also order a shake to go alongside and suddenly wonder if your stomach can really finish everything in front of you.
Fear not however as Black Milk will box anything you want to finish off later!
Photo : Black Milk
Black Milk has gone viral on social media many times for their enticing shots of the signature desserts menu because come on, who doesn’t love desserts?
Andy the founder of Black Milk, spoke to The Mancunion, reminiscing on the days he learnt to bake with his grandma and talking about the nostalgia of desserts. Especially the simple treat of ice cream by the seaside.
Everyone is catered for in the pink hub of Black Milk whether you’re vegan or gluten-free or just want an alternative to a bar on a Saturday night, they are here and open to everyone.
Black Milk is re-inventing the typical dessert, entering this cafe is committing yourself to the experience Black Milk offer, whether celebrating a birthday, coming for a romantic first date or brunch with friends, the one-stop dessert shop has it all and welcomes groups in with open arms.
For students, Andy is former MMU alumni and caters to the student community. Black Milk offers 2 for £12 on pancakes and has partnered with university groups to lead pop-up events in the city giving them valuable events and marketing experience.
Students may also like to know the best budget buy in Black Milk, The Mancunion’s tip to save money would be to share a plate of pancakes as believe us, they are huge!
Black Milk is also a good place to note for any birthday presents. They sell their signature spreads and sauces by the bottle which makes a sweet gift for any dessert lover, spread it on toast, top your ice cream or just use a spoon?
Photo : Black Milk
The spreads range between £4.95 – £5.45 and sauces cost £5.95 per bottle.
With a dazzling disco ball hanging, noughties tunes playing and an abundance of plants and of course the endless options of fantastical, exciting dessert picks, Black Milk is a must-go when discovering the Northern Quarter.
Under the misty blue lights of Academy 2, Brighton-based indie outfit Black Honey make their long-awaited return to Manchester. Over the years, the quartet have earned a reputation for their raucous live shows and rightly so.
Lead singer Izzy B. Phillips is a force to be reckoned with, strutting about the stage, with her platinum feather-cut ‘do, and dressed in a ruby red floor-length dress and black platform boots. It’s a look fitting for such a formidable frontwoman, evoking icons such as Stevie Nicks, Kate Bush, and Marc Bolan.
Earlier in the night, support is provided by DIY duo Arxx, who bring a combination of fist-pumping punk and indie-rock to Academy 2, along with shimmering bedroom pop artist Phoebe Green.
We did it Manchester!! You upped the game. Women to the front. Queers came thru. Cake out of my wildest dreams was shared. Curtesy of Crumb THANK YOU!! ♥️ pic.twitter.com/c5XvQ0fcg5
Black Honey begin their set with ‘I Like The Way You Die’, the stomping lead single from the band’s stellar sophomore record ‘Written & Directed’. Phillips oscillates between a sultry lilt and a snarl, all whilst wielding her trusty guitar. Clean-cut guitar licks and retro riffs also come courtesy of Chris Ostler and Tommy Taylor. Meanwhile Alex Woodward enhances each track with pulsing percussion.
‘Corrine’ marks a poignant moment in the set, with Phillips clearly moved by the crowd’s continuing to sing where she leaves off. “I feel so lucky to be able to do this again”, she smiles. On the other hand, ‘All My Pride’ packs a punch with its pulsating instrumentals encouraging the audience to bounce along.
“Women to the front!”, Phillips declares to overwhelming cheers midway through the band’s set. There is a clear emphasis on tonight’s show being a safe space for female gig-goers. Men visibly shuffle to the sides, making way for a plethora of young female fans who joyfully gather round the barrier.
There’s something decidedly cinematic about the latest Black Honey record, with its artwork even paying homage to the films of Quentin Tarantino. This quality is amplified on stage, as Americana-inspired instrumentals resonate around the buzzing venue. The infectious hook of sugary indie-pop tune ‘Believer’ is echoed by the audience, whilst softer moments like ‘Dig’ and ‘Back of the Bar’ inspire awe.
Photo: Black Honey meeting fans after their Manchester show by Sarah Taylor
Riotous ‘Run For Cover’ closes Black Honey’s set and boy does it pack a punch! Sizzling guitar lines and pounding drums invoke a frenzy among the crowd, with Phillips jumping off the stage and right up to the barrier. Fans surge forward for a chance to share the mic with the songstress, before she dives straight into the crowd in its final third. Rock ‘n’ roll in its purest form.
After the show, Black Honey head to the merchandise stand where they happily sign autographs and pose for photos with fans, with one such gig-goer having baked an ornate triple-tier cake for the band. In a somewhat bizarre but memorable turn of events, Phillips then proceeds to cut and hand out slices of cake to those who gather to watch. It’s a joy to see such an accomplished band interacting with their fans like this, and its certainly testament to their popularity.
If their show at Academy 2 is anything to go by, Black Honey have cemented themselves as one of the most exciting live bands around.
Student businesses to follow is a three-part mini-series at the Mancunion Fashion & Beauty section which intends to highlight students that balance their uni work while also managing their own business. This last instalment is centred around Rebecca from the beauty and jewellery brand Embody Natural.
PHOTO: EMBODY NATURALS
Rebecca is a fashion design student from Manchester currently living in London. She owns a skincare and jewellery brand, Embody Naturals.
Like many others, her brand started during lockdown. She describes her start: “I was trying different recipes in the kitchen. I gave away lots of products as gifts”. Not only did this plan allow her to launch her business, it also allowed her to get sincere reviews. Starting in lockdown has its advantages: she slowly got used to the system that the pandemic changed forever. In fact, lockdown might have been the perfect time to start a business since she had all the time in the world to dedicate herself to her brand. “When lockdown ended, I had less time and things became more difficult as I’m also a full-time uni student and work part-time.” Returning to ‘normal’ life has taken a lot of re-adjustments.
PHOTO: EMBODY NATURALS
Rebecca started her skincare business because she couldn’t find products that suited her needs. “A scrub that I loved had been discontinued and I often found that scrubs either didn’t have the correct scent, were too drying or didn’t smell right”, she explains. She also wanted to have products that could be used either alongside or completely separately from a skincare routine which you often cannot do because of products’ overcomplicated ingredient lists. All her products are handmade and her range includes hand-whipped body butters, scrubs, lip oils as well as eyebrow serum.
PHOTO: EMBODY NATURALS
Supporting other women and specifically women of colour is at the very core of her brand: “I source my skincare ingredients from a UK supplier, the shea butter is particularly important as they source it from a women’s cooperative in Africa, who source Shea butter the traditional way and are dedicated to empowering women!”. Finding suitable suppliers for her skincare range has taken a lot of time and research and with her new jewellery branch, the research is far from over: “I’m still learning”, she laughs. However, she likes to support other small businesses by buying her beads and wires, notably from Etsy: “ I find Etsy to be a key resource for buying raw materials!”, she exclaims.
PHOTO: EMBODY NATURALS
Nature is also central to her brand philosophy. Not only are all her products made from natural ingredients she also includes, with every order she sells, a package of bee-friendly seeds so that her customers can re-use their containers after they finish their products.
PHOTO: EMBODY NATURALS
Once her skincare brand was well-established, she also started making and selling handmade jewellery. The range includes sculpted wire rings and earrings. Using gemstones such as rose quartz, aventurine and clear quartz, she also makes crystal healing jewellery. “Now I think the brand really stands for self-care and adornment”, she says.
PHOTO: EMBODY NATURALS
Although she often finds herself wishing for 48h days so that she could spend more time working on her brand, Rebecca really enjoys running her own business. “I always have plans and ideas. The business has opened so many opportunities for me and this is only just the beginning, so things have been great!” she exclaims.
PHOTO: EMBODY NATURALS
In the near future, she hopes to get a bigger space to work in and hopes to start making and selling clothes once her studies are over. “I think it would be the perfect way to expand the brand and really be a positive challenge” she muses. She is also working on expanding her customer base, notably through social media presence. “I think that with time and effort things could really begin to take off in a positive way and I’m really excited to see what’s to come!”
We certainly hope so too!
PHOTO: EMBODY NATURALS
You can follow her on Insta and shop her products on her website.
Take a look at the second installment of ‘Student businesses to follow’ centered around fashion brands.
Following the culmination of her 2020 season, relatively unknown teenager Emma Raducanu finished the year with a ranking of 343 on the Women’s Tennis Association (WTA) Tour. Although impressive for a player of only eighteen years old, this feat did not catch the world by storm. However, few would have predicted, including Emma herself, the incredible summer of 2021 that she would endure.
Raducanu’s remarkable journey began at Wimbledon where the tournament’s organisers granted her a wild card entry into the Ladies’ Singles main draw. She was quick to repay the tournament’s faith in her, storming into the fourth round without the loss of a set, becoming the youngest British woman to do so in the Open Era.
Despite falling to Ajla Tomljanović in her next match, Raducanu’s Wimbledon exploits established herself as a household name throughout Britain, with her athleticism and aggressive style of play captivating the nation’s audiences. As the sole British player to reach the tournament’s second week, Raducanu’s unanticipated success offered a glimpse into a promising future for British tennis, with many of the game’s legends including Martina Navratilova branding her a ‘future star’.
However, supporters would not have to wait long for her to fulfil her promise as only two months later, at the US Open, Raducanu cemented her name into the history of the sport. Before the tournament had even begun, Emma had to navigate her way through three qualifying rounds in the New York heat, which she did so effortlessly.
She continued this form throughout the tournament, brushing past several higher-ranked opponents to reach the final where she would face another teenager in Leylah Fernandez. Fernandez entered the match in formidable form having defeated former champions Naomi Osaka and Angelique Kerber, with a total of three top-ten victories en route to the final.
However, Raducanu proved too powerful, winning once again in straight sets, claiming her first grand slam title, tennis’ most coveted prize. In doing so she became the only player, male or female, in the game’s history to win a major title coming through the qualifying rounds, elevating herself to world number twenty-three in the process.
In the wake of her US Open title, the real challenge is yet to begin. Throughout tennis’ history, many first-time grand slam winners have struggled to get back on the horse, with recent examples being Jelena Ostapenko and Bianca Andreescu.
Despite Raducanu’s phenomenal 10-1 win-loss record at grand slams, outside of these events, she has failed to win a match on the main tour. Coupled with the immense media attention her success has garnered, Emma will need to maintain her focus if she is to build upon her success. Andy Murray cited the enormous pressure placed upon him by the British media as a significant factor affecting his results in the early years of his career. More recently, Naomi Osaka has spoken about how media pressure has taken its toll on her mental health, causing her to take a hiatus from competition.
In her first match since her US Open victory, Raducanu fell rather tamely to the world number one hundred in Indian Wells. Despite a disappointing result, Raducanu demonstrated a clear perspective and maturity in her post-match press conference, acknowledging the difficulty of transitioning to professional tennis, accepting that it will take time. This maturity, coupled with her incredible tennis ability, leaves little doubt that Emma Raducanu will be a force in the women’s game for years to come.
In her new book The Transgender Issue: An Argument for Justice, Shon Fayereclaims what ‘the transgender issue’ means. The media often uses this phrase. As Faye outlines, “to talk about their issues with us, not the challenges facing us”. This book turns that on its head, discussing the issues and injustices facing the transgender community.
Last week, Shon Faye spoke with political activist Christine Burns at Manchester Central Library about her recent book. Faye was a funny and engaging speaker, but didn’t shy away from the more serious elements of her work. The opening line boldly asserts that “the liberation of trans people would improve the lives of everyone in our society”.
Faye read English Literature at the University of Oxford and then went on to train as a lawyer. She then had an ‘implosion’ (a word Faye was happy to use herself to describe the period of her life) and left the law. She now pursues writing and campaigning full time, and The Transgender Issue is her first book.
Talk of ‘transgender issues’ often brings to mind the Olympic Games, JK Rowling, or public toilets. It is these associations that Faye wants to challenge. Faye writes: “The ‘topic’ of trans has now been limited to a handful of repetitive talking points” such as “the endless debate over toilets and changing rooms”. She wishes to move on from these repeated points. The function of such repetition is distraction and time-wasting. The more serious issues facing transgender people are sidelined. This book refuses to be distracted, and prioritises the issues that are most urgent.
The Transgender Issue: An Argument for Justice is split into chapters covering sex work, housing, healthcare, the prison system and trans participation in the LGBTQ+ and feminist communities. Though some of these topics are heavy, the style is readable and flows quickly. The book is not a memoir: Faye emphasises, “if that’s what you’re here for, prepare to be disappointed”.
She described the process of writing, two thirds of which was during lockdown, as an exorcism of her anger. Faye explained that she had been angry for a long time, but the process of writing was cathartic, and she did not feel angry while writing the book, despite the injustices it describes. This partly explains, or is perhaps a result of, the calm tone of the book.
The Transgender Issue is powerful, instructive and persuasive, and the issues faced by transgender people cannot be ignored. Faye explained that she wants the book to help people form their own conclusions and be able to construct their own arguments. With this in mind, the book ends hopefully: “We are symbols of hope for many non-trans people, too, who see in our lives the possibility of living more fully and freely”.
Blackwell’s bookshop organised this event. Here is Blackwell’s Manchester’s full schedule of events for Autumn.
Welcome to my candy store! This review contains countless spoilers. Proceed at your own peril…
There seems to be so many musical adaptations of films in the West End at the moment. I recently caught The Prince of Egypt and Pretty Woman in the West End and Dirty Dancing in Manchester. Manchester is soon welcoming Grease and the debut tour of Bedknobs and Broomsticks.
Based on the cult classic of the same name – starring Hollywood icons Winona Ryder, Christian Slater and Shannen Doherty – Heathers finally arrived in Manchester as part of its first ever UK tour.
Whilst Dirty Dancing and Pretty Woman were mainly unchanged, aside for the breaking into song, Heathers crafted something new. It was easier to do this with Heathers. It’s a cult film, not a well-known classic or a household name like the other two.
I knew I’d love Heathers. I just knew it. Yet, it ended up being even better than I anticipated. Along with fellow rock musical Bat Out of Hell, which I caught a few weeks back, it is one of the best musicals that I’ve ever seen. Even better – it makes up for the travesty that was Dirty Dancing a week prior.
Set in an American high school in the 80s, Heathers has three title characters (villains), the mean girls of the school.
But that is essentially what the titular Heathers are: Mean Girls but deeper, darker and deadlier (oh, and deader).
Photo: Pamela Raith.
As soon as the musical started, I knew it was going to be good. Rebecca Wickes was extremely likeable as the protagonist (and at times, anti-hero), Veronica.
It’s not easy to play a character made famous by Winona Ryder. Or even follow Annaleigh Ashford’s first performance, first debuted in the US. Let alone follow none other than British musical theatre’s sweetheart, Carrie Hope Fletcher! But Wickes’ talent and charm enabled me to quickly forget about the famous faces to take on that role.
Photo: Pamela Raith.
The hellish introduction of the Heathers in the opening song was deliciously villainous. Right away, the musical wanted us to know that these are not high schoolers; they’re demons in human flesh – at least that’s how the other students saw them.
This metaphor continued with Veronica referring to the main Heather as a “mythic bitch” and a “demon queen” – and envisioning her as a devil in her nightmare.
This rock musical is jam-packed with memorable bangers. Such as the Heathers’ main song, ‘Candy Store’, and Veronica’s main solo, ‘Dead Girl Walking’ – which is beautifully reprised in the second act.
Heathers and Les Mis could not be more different. They do have one thing in common: the show is stolen by a character who dies early on. Whilst Fantine returns towards the end of Les Mis, the character who meets a grisly fate early on in Heathers never seems to leave the stage after her death.
Photo: Pamela Raith.
The musical explores many social issues in the microcosm of a high school. As J.D. (Simon Gordon), the musical’s male lead and Veronica’s love interest, notes: high school is not a product of society; it is society.
Whilst the trials and tribulations of high school test the characters’ loyalty, the musical also has us, the audience, questioning our loyalties. The Heathers are cruel and calculating, but we love them – even before we know the reason why the secondary Heathers are the way that they are.
Photo: Pamela Raith.
J.D. is introduced as a secondary protagonist, but we soon learn that he is not the hero we thought he was. Whilst lots of genres can have you rooting for the baddie, only musical theatre can get you to love a lead character that is, essentially – BIG SPOILER – a school shooter. There’s no business like showbusiness!
J.D. was recently played by Jordan Luke Gage in the West End – who I interviewed prior to the world premiere of & Juliet. A sweetheart of British theatre who first garnered recognition as the lead in Bat Out of Hell.
It’s not easy to step into a role that was recently performed by an actor adored by the girls (and the gays). But Gordon played J.D. to perfection.
Photo: Pamela Raith.
A particularly memorable moment in the show was when Heather Duke decided to take over Heather Chandler as the “Demon Queen” of Westberg High School.
It was cathartic watching her steal the stage with her number ‘Never Shut Up Again’. Especially after Heather Chandler told her to shut up when she attempted a solo riff in ‘Candy Store’.
I’m a sucker for a costume change, and Heather Duke’s during this number has to be one of the best that I’ve ever seen. Members of the ensemble literally ripped the green off of her, revealing a red version of her outfit underneath: she has transformed into Heather Chandler.
Yet, her green stockings and heels remain on her for the rest of the show. This symbolised even though she has stepped into Heather Chandler’s shoes, she’ll never be able to fill them; she’ll always be the second Heather. Whilst Heather Chandler was a tyrant, she ensured rule and order; without her at the helm, the school erupts into chaos.
Photo: Pamela Raith.
Heather McNamara finally got her big moment with the solo song ‘Lifeboat’ – a beautiful redemption for a troubled teen and a scared little girl masquerading as a big, bad bitch. We all know a Heather McNamara – a lonely, insecure person, who tries so hard to appear strong and confident that they come across as rude and obnoxious.
McNamara’s ballad was rivalled with Martha’s ‘Kindergarten Boyfriend’. The most likeable and sympathetic character in the show – and perhaps the only one who truly deserved to be liked. It was lovely for Martha to finally get to speak (or sing) herself instead of be spoken over or spoken for.
Photo: Pamela Raith.
Perhaps the audience’s favourite number was the one that opened the second act. I’m often a little tired by the start of the second act, so kicking it off with a big, memorable number is a clever creative decision.
Following the – another BIG spoiler – murders (yes, more murder) of homophobic, rapist jocks Kurt (Liam Doyle) and Rory (Ram Sweeney). The boys’ fathers address the (false) revelation that they were secret gay lovers whose affair ended in murder-suicide.
Whilst Kurt’s dad (Andy Brady) expresses shame and embarrassment. Ram’s dad (Kurt Kansley) defends their son’s against his homophobia – to woops and applause from the audience.
They then perform the number ‘Dead Gay Son’. I’d seen merch with that line printed on it during the interval; I presumed all would be revealed in the second act.
The number ended with the revelation that the late boys’ dads used to be gay lovers!
This big, gay number received a stellar applause from the audience. It played with gay stereotypes in such a clever, creative (and fabulous) way, neither distasteful or offensive, as is sometimes the case. But a celebration of all things queer and a love letter, of sorts, to the many queer fans of musical theatre – and the film Heathers.
Photo: Pamela Raith.
The ensemble number ‘Shine a Light’, lead by Ms. Fleming (Georgina Hagen), was a highlight of the show. The number began with Fleming revealing that she is having an affair with a member of the audience. She made the poor, shocked man stand up, called off their relationship, and joked about his hair.
Hilariously, the man was bald, so she joked about him forgetting his hair or leaving it at home. I’m not sure if this was impromptu, or if she often looks for a bald man, but her timing and delivery were perfect.
Whilst ostensibly very funny, this number was part of the musical’s attempt to reveal the disingenuity of people when it comes to serious issues, such as mental health and suicide. This song explores how people use serious issues and tragic events to their advantage. This was especially relevant given the era of performative activism that we are currently living in (ech-hm, black squares on Instagram).
Photo: Pamela Raith.
The musical is very relevant with the themes it tackles, but some themes felt all the more relevant right now, such as the scene in which Kurt and Ram attempt to rape Veronica.
The audience loved it when the guys stripped off into their undies, revealing washboard abs – even though we knew that they were about to commit an egregious crime.
There seems to be a lot of naked, ripped men in Manchester musicals lately – Falco (Rob Fowler) in Bat Out of Hell and Johnny (Michael O’Reilly) in Dirty Dancing both treated audiences to their near-bare bodies. Some might consider that the highlight of Dirty Dancing, but let’s stop with the Dirty Dancing hate…
Whilst the attempted rape scene contains a lot of humour, it was a little uncomfortable to watch in the aftermath of Sarah Everard’s trial – and, more broadly, in a post-Me Too society.
I’m glad that the scene was not removed, or even sanitised, as is increasingly the case. This scene was never about making light of sexual assault; the musical cleverly uses dark comedy to tackle important issues.
Photo: Pamela Raith.
There’s so much more I could talk about – the set, the costumes, the music – which were all incredible. I was particularly fond of the lighting, especially when the Heathers were lit by spotlights in their corresponding colours. I must also give a nod to the punky conductor – have you ever seen a conductor with a mohawk before?! It was very fitting for this musical.
Photo: Pamela Raith.
I’m sorry for all of the spoilers in this review, but I did put a disclaimer. At least, for those of you who thought that the film Heathers was just Mean Girls before Mean Girls, you won’t be so shocked when the protagonists start killing!
During the interval, Georgina and I met a couple in the queue – that I later realised was celebrity chef Andrew Nutter and Manchester Confidential’s Georgina Hague! Whilst he was the one who wanted to see the show, he had never seen the film upon which it was based, so he was pretty shocked when the musical took a dark turn.
Similarly, a colleague of mine from The Circle, who absolutely loves musical theatre, but did not know what Heathers was about, had just expected it to be like Mean Girls.
But then the killing started…
Photo: Pamela Raith.
I cannot recommend Heathers enough. I’m used to being one of the youngest people in the audience, but this was possibly the youngest theatre crowd I’ve ever seen – and also one of the gayest!
Loads of people dressed up, and the queue for merchandise was pretty crazy – which was annoying – but it just goes to show how much people love this musical.
Whilst the merch was some of the best theatre merch I’ve seen, walking around with a tote bag that says “My Dead Gay Son” on it might put you at the receiving end of a few strange looks…
Thrusting audiences into a bleak and haunting vision of Middle Ages Camelot, David Lowery’s latest film, The Green Knight is an aesthetic masterpiece that reimagines the famous Arthurian epic of Sir Gawain.
Following Gawain (strangely pronounced Garwen), the young nephew of the aging King Arthur, the film uses the medieval value of chivalry to comment on and question ahistorical expectations of masculinity. A young man with no epic tale to tell of his own, the clear currency of this medieval vision, is goaded into proving his valour when a strange, tree like Knight enters the castle and proposes a yuletide challenge. In keeping with the original poem’s head chopping scene, Gawain gets more than he bargained for. Forced on an epic and seemingly fatal journey into the wild, Gawain toils as he attempts to repay the strange knight and prove his honour to his ailing uncle.
Every shot from The Green Knight leaves audiences in a state of immersed bewilderment. However, despite drawing on the plethora of images, moral questions and mythical scenarios from the epic, David Lowery’s vision twists many of the original’s narrative arcs. Instead, Gawain is faced with short coming after short coming. Far from witnessing his clear transformation into mythological hero, Lowery instead poses the horrifying possibility of his failure.
This central theme, heightened by the disorientating camera angles and lenses, is when the film is at its most interesting. Rather than simply enjoying its stunning visuals and bold colour pallet, the thematic changes made by the writers and director force audiences to think. The expectations and responsibilities of medieval heroism translate all too well into the film’s subtextual treatment of modern gender roles.
Leaving us with more questions than answers, The Green Knight echoes the Arthurian poem’s cerebral oddities whilst remaining original and immersive.
A new COVID-19 antiviral pill, known as molnupiravir, has shown promising results in early trials. Developed by Merck and Co., the drug has been found to reduce hospitalisation of patients with mild to moderate COVID-19 by 50%.
Merck are now applying for Emergency Use Authorisation, acting on advice by the US Food and Drugs Administration (FDA), and an independent Data Monitoring Committee.
What is molnupiravir?
Molnupiravir is a drug that slows the replication of SARS-CoV-2, the virus that causes the disease COVID-19. It is intended to reduce the risk of hospitalisation and death for patients who already have symptoms of coronavirus.
However, it is also currently being studied as the potential drug for post-exposure prophylaxis. This means it would be given to people who have had close contact with those infected with COVID-19. Studies are currently investigating as to whether it could prevent household transmission.
The drug was invented at Drug Innovations at Emory (DRIVE), LLC, a not-for-profit biotechnology company owned by Emory University. It was developed by Merck (also known as MSD), in collaboration with Ridgeback Biotherapeutics.
Centers for Disease Control and Prevention’s Public Health Image Library
Why is the study so promising?
The study evaluated the data from 775 patients with laboratory-confirmed-COVID-19. All patients had at least one characteristic which increased their risk of COVID-19 making them severely unwell. This included obesity, diabetes and high blood pressure.
These patients were divided into two groups. The first group was treated with molnupiravir, and the second was given a placebo. This study produced three main encouraging findings:
The rate of hospitalisation was 50% lower for the group given molnupiravir. In addition, no deaths occurred amongst this group’s patients, compared to eight deaths in the placebo group.
Based on gene sequencing of 40% of participants, the pill was similarly efficient for the Gamma, Delta and Mu COVID-19 variants. These are currently the three most common COVID-19 variants worldwide.
Molnupiravir seems to induce few side effects. The incidence of drug induced ‘adverse events’ for patients treated with the pill was almost identical to those treated with a placebo.
How will the drug be made available?
Merck expects to produce 10 million courses of treatment by the end of 2021, and more in 2022. It has already agreed to supply approximately 1.7 million courses to the US government, at a cost of $1.2 billion – around £880 million – and is in early talks with other countries.
If approved, Merck claims that it will charge countries for their drug proportionally to their wealth. They have also entered into non-exclusive licencing agreements with established companies to improve availability in low and middle income countries.
What might the future hold?
Despite the new vaccines providing a very high rate of protection against COVID-19, breakthrough cases that require hospital treatment do occur. This means that the new antiviral drug could provide yet another layer to the safety net of societal protection.
Testing and widespread vaccination programmes help reduce the number of people being infected, but if you are infected, being vaccinated reduces your chance of becoming severely ill. If you are one of the small percentage of vaccinated people who would have still become severely ill, this new pill should reduce your chance of dying of COVID-19.
In addition, pills like these may help reduce the burden currently placed on hospitals. Wendy Holman, chief executive officer of Ridgeback Biotherapeutics, stated:
“With the virus continuing to circulate widely, and because therapeutic options currently available are infused and/or require access to a healthcare facility, antiviral treatments that can be taken at home to keep people with COVID-19 out of the hospital are critically needed”.
Wendy Holman
Combined with pre-existing tools, antiviral medications should help us move to a future where coronavirus has less of an impact on the world. In the UK, despite most people returning to daily life, about 800 people have died of COVID-19 in the last seven days.
Molnupiravir gives hope that as we ‘learn to live with COVID’, fewer people have to die from it.
A combination of glorious fashion and brilliant acting, Cruella re-invents Disney’s 1961 classic 101 Dalmatians.
In keeping with recent films like Maleficent (2014), audiences are retold a classic fairy-tale from the perspective of the antagonist. Following the rise and fall of the original’s dog-napping fashion designer, Cruella De Vil, the film reimagines the villain in a sympathetic and at times thoughtful light.
Estella, AKA Cruella (Emma Stone) is as a young orphan dreaming of fashion industry success. Pushed into a life of crime by fashion mogul and mentor ‘Baroness’ (Emma Thompson), Cruella’s dual nature is a joy to watch. Both shy and outrageous, innocent yet ruthless.
From hilarious disguises and bold music to cute sidekick dogs, Cruella balances its serious storyline with dry, sharp sarcasm.
Stone’s acting prowess really shines through. The fine balance between Cruella’s shifting moods and identities emphasises the character’s reliability, as well as the conflicting emotions of someone following their dreams; a true (and recurring) Disney theme.
Similarly, the bold and colourful costume design completely matches the period and dynamic characters. Cruella’s ever more extravagant designs mirror her growing confidence and ego. Most notable is the elegant gown and a fiery red dress which sets ablaze on stage, much like that worn in The Hunger Games.
Disney has added human dimensions to a once abominable character. Whether you prefer the straightforward antagonist of the original 1961 film or you prefer the multi-dimensional aspects of the 2021 film, Cruella is certainly a villain to remember. The movie is a brilliant and spirited re-imagination of an absolute classic.
Cruella is now available on Disney+ for free or can be purchased as a DVD or Digital Sky Store movie.
Lemn Sissay answers the Zoom call with a beaming smile on his face. Sat in front of a colourful wall covered with framed art, it’s almost like he’s in an art gallery, if it were an installation exhibition depicting a poet’s home office. He addresses me by name, and is so friendly it’s like we’ve chatted a hundred times before.
I ask him how he is, and he urges me to start recording before he answers – he wants to tell me about a letter he’s received from a reader of his poetry.
“It’s a six page letter from a 91 year old woman, just talking about the fact that she’s just read my book, and about her incredible life. I was really pleased to write back to her, so you asked me how my day is going – it’s a good day.”
We chat about the rarity of a handwritten letter, and the value of feedback from readers. “It’s quite a gift that’s given to writers, that people will feed back to us and tell us what they think. My favourite kind of feedback is when students or their parents stop me in the street, and say, ‘You made a difference in my life.’ Or ‘You shook my hand when I got my degree.’ It means a lot to me.”
Lemn has been the Chancellor of the University of Manchester (UoM) for almost seven years now – writing poetry you might know from the Stellify scheme branding, or from the sides of buildings along Oxford Road.
But there’s more to the role than that, and I tell Lemn that this is one of the things I want to ask him about. This is a paper for the students of UoM, who have been quite invested in the doings of senior leadership recently, after all. I’m curious to know about his actual involvement with the university, and what a day in the life of the Chancellor of UoM looks like.
Photo: Craig Sugden @ lemnsissay.com
“My role as Chancellor of the University is first and foremost to be the ceremonial head of the university. I’m not there on a daily basis, but I will, for example, be at degree ceremonies. That’s my favourite responsibility – to be able to shake the hands of the students, and give them their degree as they grow wings and fly off into the world, into their respective positions.
“That moment is a moment of connection between the entire university population. I represent all of the lecturers and all of the institution saying to that student, ‘Thank you for being here. Congratulations on everything you’ve done. And I wish you well for the future. Stay in touch, stay part of the alumni of the University, because there is much more to university than simply the time that you’re here. There are many more services that we can offer you and we want you to be part of this university family.’”
“A moment of connection between the entire university population”
His attitude towards graduations is poetic, really, and it’s clear that he genuinely cares about and enjoys his role as Chancellor. He’s keen to explain the extent of his role, telling me that he also gets involved with the procedural running of the university:
“I’m also head of the board of the university, which includes the Students’ Union. The university is a charitable organisation, and is answerable to its constituents, who are represented on the general board. I chair those meetings every few months, and they include pretty much all of what the university is going through and what it is aiming for as well.”
And Lemn works closely with the Students’ Union (SU). He seems to have a great respect for it, even attributing the fact that he has his role to the efforts of SU officers.
“It was the Students’ Union who called me and said, ‘We would like you to put yourself forward to be the next Chancellor’, and then it was the constituents who voted for me to become Chancellor. I will forever be thankful to the Students’ Union for calling me and asking me to run for the chancellorship. If it hadn’t been for the Students’ Union, I wouldn’t be Chancellor right now.”
“If it hadn’t been for the Students’ Union, I wouldn’t be Chancellor right now.”
So it seems that Lemn and the SU go back a while. It’s unsurprising that the SU were so keen to have him as Chancellor, really, given his links with the city of Manchester – his poetry is literally part of the city, with his poem ‘Flags’ set in the flagstones of Tib Street in the Northern Quarter.
Photo: Annie Dabb @ The Mancunion
Manchester loves Lemn Sissay, and this love is by no means unrequited. “As a child growing up in the northwest of England, Manchester was this city glinting on the horizon from the Lancashire planes… I ran down that yellow brick road as soon as I left the children’s homes. It gave me, and still gives me, the experience which allows me to then go out to the rest of the world as an artist and writer. Manchester was my university, you know? It gave me everything.
“Manchester was my university”
“I became a literature development worker at a place called Common Word. There, I published books by Black writers, gay writers, working class writers, any writers who otherwise wouldn’t be published for any reason. After that, I became a full time writer from the age of 25, based in Manchester. And I just grew from there really, I made records with bands in Manchester, I performed at the Hacienda…”
He starts to reminisce. “The 1980s were a really great time. A lot of the arts activity which came out of that time built the Manchester of now. For example, Tom Bloxom, the Chancellor before me, was part of the building of young Manchester which became the Northern Quarter. A lot of Manchester, a lot of the places where you might party now, were started by Tom Bloxom.”
I’m keen to hear more about his career trajectory. In a lot of interviews, Lemn talks about his childhood in care and the hardships that that brought about. But we’re focusing on the highlights.
Only Lemn tells me that he doesn’t really have distinct highlights, because “hopefully, for all of us, the highlights just keep unfolding.”
There is one thing, which he decides he can tell me after we figure when this will be published.
“By the time this comes out, I’ll be an honorary professor at the University, which is great. I can also tell you that I’ll be a visiting fellow at Jesus College in Cambridge.”
And then, a few more things: “This year, I was made an OBE… I guess that could be a highlight. Also my book becoming number one in the Sunday Times bestseller list, in 2019, I think that was a highlight. Yeah.”
Photo: Lemn Sissay @ lemnsissay.com
The past covered, we turn to the present. The SU Executive team this year has decided not to celebrate Black History Month, so I ask Lemn about his thoughts on this.
“Gosh. Listen, I remember when International Women’s Day was a small affair, seen as a niche thing – a few events in Manchester happening but mainly by the left field. And now International Women’s Day is an international movement and reminder of the importance of the need to listen to women. And I think Black History Month is the same. It’s a reminder of the importance of Black history as part of the history of Britain. There’s a reason that that reminder has been put in place. It’s because it was ignored.
“So. look, Black Lives Matter. Black History Months matter too. And if anybody says it doesn’t, it possibly means that they have little idea of their own British culture.”
“Black Lives matter. Black History Months matter too.”
But could it not be seen as tokenistic if similar efforts aren’t kept up throughout the year?
“As a black man, I don’t find it tokenistic at all. I’m like, great, yeah, bring it on. What do you know about the great classical black musicians? What do you know about the great black poets and novelists and writers? And why do you think that all we do is music and sport? Is it because actually, the people who had the opportunity to quite acquire knowledge were all one colour, and because they actually did everything they could to stop the acknowledgment of the achievements of people of colour?
“Black History Month is a way of saying, Oh, no, we have achievements, we have done incredibly well. It’s just that you’ve been ignoring us. So let us put things in context for you.”
The SU’s General Secretary, Melody, wants rid of the university’s annual ‘BAME’ report and to replace it with a diversity report with breakdowns of each separate ethnic group, so I also ask his thoughts on the term BAME.
“Whenever there is one term to describe our whole group of people, there will be a massive subsection of those people who don’t agree with that term. I don’t acknowledge myself as BAME but I know that a lot of people do, and a lot of institutions do as well, including probably my own university.
“I would agree with Melody from the Students Union. She’s saying that there are so many different groups of people within BAME, that it sort of doesn’t work. It’s supposed to be a way of acknowledging diversity, but actually it denies diversity.
“BAME… actually denies diversity”
“What I am aware of is that everybody’s trying to do the right thing. And sometimes that means doing the wrong thing first. Unfortunately, we often end up being the crash test dummy. But our difference is what unites us. And this isn’t just a difference of race, every unique individual has a different life experience.”
Photo: Lemn Sissay @ lemnsissay.com
Speaking of life experiences, Lemn’s has been immortalised in multiple documentaries and a memoir. I’ve never met anyone who has written a memoir before, so I’m curious to find out how it feels to turn your life into art, into consumable content.
“Our own stories are something that we get away from, you know, we go out into the world and we become lawyers, poets, scientists, hairdressers – but actually, our own stories, the stories of our families, and the journeys that they have been through, they create us. Those stories are part of our journeys, whether you have to articulate it explicitly as I do or not. What does matter is that you don’t deny where you’re from. It is part of who you are. And you are incredible because of that.
“A lot of my work at the moment is autobiographical. But it is the medium that you use, which is actually more exciting. So in many ways, it doesn’t matter what it is that you’re writing, the medium that you use is what’s exciting. What I’m excited by is the medium and how I have utilised it, how I’ve explored my life with the medium. If you go on a journey, you may love the view. But actually, I built the car.”
I don’t want to take up too much of his time, but Lemn wants to say one last thing.
“This probably will be my last interview in the Mancunion because I’m leaving in July next year. So I just wanted to thank the students of University of Manchester over my six and a half years of being here. And I just want the students to have a great time while they are at the university! Students are the most important part of the university. There’s research and there’s teaching and there’s this, that and the other, but the students are the heart of our university.
“Students are the most important part of the university”
“Also, be kind to yourself. As students you put yourself under a lot of pressure – there’s a lot of work to be done and you will do it as best as you can. But be caring to yourself, because there’s only you that’s going to carry yourself through this process. We need you to be well in your mental health as well as in your academic health.”
“Oh and also”, he adds, “Can I ask them to follow me on Twitter?”
It’s been a week since students have been let loose in Manchester, with the city returning to its bustling self. That being said, it’s also been the University of Manchester’s (UoM) students’ most expensive week, hunting for ways to make their flats feel like home. A great way to do this? Plants. Lots and lots of plants. They’re an easy way to brighten up any flat – even Oak House. So, if you missed the Student’s Union (SU) Freshers plant sale, or simply can’t get enough, we’ve got you covered. Here are some of Manchester’s plant shop havens.
NICE THINGS NQ, Oldham St. 10:30-18:00
Opening recently 2 minutes from Piccadilly Gardens, Nice Things has made its The Mancunion debut. Set to be a hit with Millenials and students alike, the store is a plant paradise. With a peachy exterior welcoming you to a Mediterranean mini market inside, plants range from £3.95 – £400. The store does replicate Boots however with shopping trolleys and a plant pharmacy section. Along with modern warm tone pots, dried flowers and funky vases, it can be confirmed that Nice Things definitely has some nice things.
Nice Things
Photo: Jess Walmsley
FRED ALDOUS LTD NQ, Lever St. 9-17:30
At first glance, Fred Aldous may not strike you as a plant shop, but don’t be fooled: the store is a hidden gem. Ranging from £4 – £35, their art-pop pots are gorgeous and super sturdy. They even have plant pot bookends – something I might invest in…for study purposes obviously. Alas, if a Frida Kahlo pot isn’t for you, there’s more. Just below the store, there are two huge DIY floors to get lost in, enabling you to spice up old pots or completely make a new one. Whatever you’re looking for, Fred Aldous can supply it.
Fred Aldous
Photo: Jess Walmsley
NORTHERN FLOWER NQ, Tib St. 10-17:00
Half florist half-plant shop, Northern Flower has tons of affordable options that look high end. The shop smells amazing as you walk in, with ‘make your own bouquets’ lining the walls (£25 – £100 depending on how “Sorry” you are). Close by there are a small array of plants: Marino balls, air, hanging – available for £2 – £30. But, at the back, there’s a secret basement with guess what… even more plants! The basement is lit by a single neon sign, reminiscent of AHS Coven’s witch greenhouse. There you’ll find rustic ceramic and glass pots for £15 at most.
Northern Flower
Photo: Jess Walmsley
FLOURISH NQ, Tib St. 9:30-17:30
Now, this is our absolute favourite here at The Mancunion. Situated on the west side of our beloved Debenhams (RIP), Flourish is an outdoor market with the coolest pots and plants. As manager Iain George puts it, “We’re not pretentious, plants are for everyone!”
That couldn’t be more true at Flourish, with tiny cacti, affordable Marijo balls and bouquets available from £3 upwards. Even their quirky and colourful pots are just £4 – £12! Over the years, the store has flourished and expanded across Manchester, with their warm personalities luring you back every time. So, if you’re looking to buy on a budget, or just seen what outfit Iain is wearing that day, Flourish has got you covered.
Flourish Photo: Jess Walmsley
OKLAHOMA NQ, High St. 10-17:00
A stone’s throw away from the Arndale, Oklahoma is full of multicultural vibrant homeware items, including plant decor. Here you can find alternative pots consisting of cans, fabric, and woven baskets. The upcycled art aesthetic can be seen throughout the store, particularly in their mugs, doubling as small plant pots. The few plants that are available to buy in-store range from £30 – £60, along with flower bombs for £4.95. Additionally, Oklahoma stocks numerous plant posters and cards – brightening your room without the risk of it dying!
Glass House
Photo: Jess Walmsley
GLASSHOUSE Gay Village, Princess St. 11-18:00
Sister store to Nice Things, this industrially sleek pink shop caters to everyone’s budget. Along with books, tote bags, plant hangers and gift cards, Glass House has plants from £3 – £70. Its monochromatic pots are lightweight (75p – £10) and can be easily paired with a stand (£20). The store is a great place for pictures too, with pop music humming in the background as you waltz around the pink basement. Don’t worry about trying to find the store, it’s a literal glass house open seven days a week. If you love Urban Outfitters, Glass House is definitely for you.
