Month: November 2022

The best sh*t TV for exam season

Written by Erin Botten on 22nd November 2022. Posted in TV.

Sometimes you just need an easy watch after a long day of work. That’s where shi*t TV comes in – or as my family calls it: marshmallow TV. It requires little attention and minimal thought. You can guarantee an hour or so of harmless entertainment packed with spicy melodrama.

As an expert in the field, I can tell you no two marshmallow TV shows are alike, despite usually being reality TV. They’ll be centred on the most obscure industries and people, somehow making them interesting. So, if you’re stuck in a rut and need something to wind down to, welcome to the world of marshmallow TV.

Below Deck Mediterranean

Below Deck follows a group of mega yacht workers through yachting season as they tackle clients and each other. Each series is set in a different idyllic place, with sunny shots panning over the landscape every few minutes. That’s about the calmest thing in the show: the landscape. Turns out, living and working with the same people for six months and catering for the mega-rich can be quite stressful – who knew?

In the show, we follow how the staff relationships developed and unfold as the season goes on. There are professional spats, flings, and wild nights out that usually end in tears – and that’s just the staff. The guests themselves range from obscene to arrogant, usually given away by their food requirements. For example, insisting on only white gumballs and finishing 14-and-a-half bottles of vodka in less than a day…

To round the whole thing off, each season ends in Watch What Happens Live which is even more chaotic as we watch staff bitch about each other on camera to only confront each other live. As messy as it sounds, it’s a very sun-packed show where you can learn a lot about yachting, so there’s something for everyone.

Seasons 1-3 are available on Prime TV and Chanel 4.

Keeping Up With the Kardashians

This is arguably a cult classic, at least for the first few seasons. In the early days of KUWTK, moments were usually unfiltered. The Kardashian family were new to fame and yet to be taken seriously. This of course isn’t surprising given the content of the first few series.

Unlike the last few series of KUWTK, moments are both scripted and raw. We watch numerous WWE matches between the fully grown sisters, tampon lessons, and secret engagements. Each shocked facial expression is matched with dramatic music and zoomed-in shots, amplifying any minor drama.

The best part of the show? How unput-together the family initially is. None of them had a sense of style or dignity in front of the cameras, bearing all for better or for worse. The KarJenners are shadows of who they are today, having strong personalities and chaotic humour throughout the show.

Seasons 1-20 are available on Amazon Prime and seasons 9-10 are available on Netflix

Tabitha Takes Over

Gordon Ramsey has Hell’s Kitchen. Alex Polizzi has Hotel Inspector. Randy Fenoli has Say Yes to the Dress. Well, Tabitha Coffey has Tabitha Takes Over, transforming hair salons from sh*t holes to 2010s luxury.

Tabitha is an Australian that looks like a mean vision of P!nk. Her mission? To save your salon by taking over, and maybe help you clear your $250,000+ debt.

The show is simple in format, following the same formula for each episode. We watch the salon staff be unprofessional beyond your wildest dreams, watching dogs piss on the floor or the receptionist head off to the liquor store mid-shift, before the call from Tabetha comes in. The owner is marched out their business before they hand over their keys and the bollocking begins.

It’s great. The only downside is that anytime you go to a salon soon after, you notice all the things Tabitha does. Dirty brushes? Wet dirty towels? Dogs parading about? Seems like Tabitha needs to take over…

Available to watch on YouTube

60 Days In

This one’s for the True Crime fans. 60 Days In follows a small group of civilians who voluntarily go to county jail for 60 days. Participants range from convict’s spouses and nosey neighbours, to police officers and social workers. All of them are looking to learn something from the experience. Most don’t last the two months, either because they’re not cut out for jail life or because they’re a threat to the programme.

The main aim of the show is to firstly watch how ‘normal’ people act when they’re thrown in jail, cut off from friends, family and the outside world. The second aim is to have the group act as snitches, reporting to the head sheriff on any fraud and abuse of power they see.

The show highlights the conditions of US jail houses, as well as inmate culture. You quickly learn that lunch trays act as currency, commissary is incredibly valuable, and if someone laces up, there’s about to be a fight. Well worth a watch for Sociology or Criminology students.

Seasons 5-6 are available on ITV Hub

Alice Sebold Memoir: The changing narrative of racism, activism and sexual violence

Written by Imogen Mingos on 22nd November 2022. Posted in Books.

Trigger Warning: Discusses rape and sexual violence

Alice Sebold was a college student when she was raped. She was an 18-year-old at Syracuse University when that one night changed her life forever.

However, it also ruined that of Anthony Broadwater. After being convicted of Sebold’s rape in 1982, he was later found innocent and exonerated after a sixteen-year prison sentence and twenty-three years as a registered sex offender.

This would not have been the case if not for Sebold’s 1999 memoir Lucky which was set to be adapted into a film by Timothy Mucciante, who quickly discovered that Broadwater had been falsely sentenced and imprisoned. What are the implications of this? Who is responsible for the miscarriage of justice? What does this case tell us about how the discourse on sexual assault has changed over forty years?

Broadwater, a former marine, was arrested five months after the rape of Sebold and convicted of rape, assault, and robbery despite being misidentified in a police lineup. The only piece of evidence tying him to the scene was ‘microscopic’ hair analysis.

This is an obvious failing of the US justice system, especially since their case was undone by a filmmaker and a private investigator. Sebold in her apology issued said, “He became another young Black man brutalized by our flawed legal system. I will forever be sorry for what was done to him.”

Mucciante wrote for The Guardian when discussing how he came to uncover the truth behind Sebold’s rape: “My common sense told me something was wrong with the story. That the obvious truth had been ignored raises the bigger question: how widespread is this?” This is undoubtedly a crucial question to ask regarding rape convictions.

The English and Welsh charity Rape Crisis reported 70, 330 rapes recorded by the police in the year ending March 2022 but only 2,223 charges of rape cases were brought in. Of course, the astonishing lack of rape convictions in England and Wales is devastating, we’d hope that forty years later the justice system has improved in both the US and the UK so that those who are charged have not been done so falsely.

Could the significant lack of rape convictions be a contributing factor in women taking matters into their own hands? Although Broadwater had already been sentenced and subsequently released when Sebold published her memoir Lucky, many sexual assault survivors use books as, “a vehicle for activism and as a call to action for the readers, the media, and the government.”

Therefore, there’s no doubt that the US justice system failed Anthony Broadwater, but Sebold’s memoir itself was not such a catastrophe. Lucky used a pseudonym for Broadwater throughout so that she didn’t publicly defame him while working through her own trauma and looking to help other survivors of sexual assault. Moreover, suppose the book hadn’t been picked for adaptation. In that case, Broadwater may never have been exonerated and removed from the sex offenders’ registry which meant he could never get jobs other than a trash haulier and a handyman.

Sebold’s rapist was never caught and convicted but Anthony Broadwater’s life was forever changed by the prejudice and miscarriage of justice demonstrated by the US legal system. However, Sebold’s memoir positively changed her life as well as those of other women, and Mucciante’s work on the film adaptation has exonerated an innocent man. His documentary will still go ahead but as an investigation into the Anthony Broadwater case called Unlucky.

Low conviction rates aren’t the only story though; this case shows the authorities’ preoccupation with statistics and appearing to serve justice rather than using necessary time and resources on convictions for the safety of women. This is why Reclaim the Night is such an important event in Manchester and why I will be proudly marching on November 30.

Review: Opera North’s Orpheus

Written by Jay Darcy on 22nd November 2022. Posted in Theatre.

I’m not a huge fan of opera. I have seen almost every opera I have ever wanted to see (The Merry Widow, The Magic Flute and Carmen; I’m just yet to see Madama Butterfly and Aida). All three of those operas were by Opera North, who make operas for modern audiences; I’m not sure I’d enjoy them if they were not modernised.

As much as I love Greek mythology, I had never fancied an opera based on the Greek myth of Orpheus. Indeed, when I first saw Opera North’s latest season, I had not planned on seeing anything. But then I discovered that Orpheus was, in fact, a modern, Indian reimagining of Monteverdi’s L’Orfeo – and I knew I had to see it! Its arrival in Manchester was poignant, given all of the South Asian theatre in the city this month.

Now, no story is as important to opera as the Greek myth of Orpheus and Eurydice. It is the most common story in operas from the 16th to the 20th centuries, and it is one of the first stories ever to be turned into an opera.

Indeed, whilst the first work in the opera genre is Jacopo Peri’s Dafne, the earliest surviving opera is Peri’s Euridice, and the earliest opera that is still regularly performed is Monteverdi’s L’Orfeo, also known as La favola d’Orfeo, or just Orfeo.

Another well-known operatic retelling of the myth is Gluck’s Orfeo ed Euridice, which was featured in Opera North’s latest season, as a stripped-back concert.

I often say that Opera North do to opera what the Royal Shakespeare Company (RSC) do to Shakespeare: they contemporise classic works by changing the setting. Orpheus, however, is much more radical: it is not merely L’Orfeo with a new facade but, rather, a complete reimagining, with brand-new (classical Indian) music by Jasdeep Degun (thus, it can be compared to Matthew Bourne‘s interpretations of classic ballets).

Reimagining operas – and doing the unthinkable by changing the music – is controversial. Indeed, Degun’s reinvention of one of the most popular operas of all time is ambitious – and, ultimately, triumphant.

The Design

We walked into the auditorium to a raised curtain and a finely decorated stage. At the back of the stage were two models of terraced houses, each intricately designed, complete with drain pipes and LED lights over the main house. The windows all offered a little insight into the going-ons of each room, and throughout the course of the opera, lights switched on and off, creating a real sense of life. Behind the houses was a blue sky, which, too, changed colour depending on the time of day.

The main action, meanwhile, took place in the garden belonging to the main house. There were fences at either side, each covered in plants and lights. The orchestra sat at either side of the garden, allowing the cast to perform in the middle. The orchestra was a part of the action; when guests arrived, they greeted the orchestra, who responded accordingly. The orchestra were, themselves, playing a band, performing at the wedding of Orpheus and Eurydice.

Nicholas Watts, Kirpal Singh Panesar and the orchestra. Photo: ©Tristram Kenton

The set stayed mostly the same for the entirety of the piece. In the second act, when Orpheus travels to the Underworld – on the hunt for his deceased wife, Eurydice – the garden remains in place, but the house is nowhere to be seen, and instead of a rich, blue sky, there is just black. Balloons dangled from the ceiling, including a large heart-shaped one – and they occasionally lit up.

Keeping the set mostly the same, even whilst Orpheus is in the underworld, created a dream-like feeling of entrapment and futility – as if Orpheus is destined to return to the garden alone, and his visit to the Underworld is merely a fantasy. Towards the end of the final act, a black curtain covered the back of the stage, and thus Eurydice, before moving away to reveal the terraced houses; we were back where we started. It was a dramatic but seamless transition.

That said, there was a missed opportunity in creating a dramatic landscape for the Underworld. At times, the second act felt more like a concert performance; actors/singers, the orchestra, and black. But the creatives clearly wanted the Underworld to feel more like the abyss (as Pluto calls it, himself).

The stripped-back nature of the Underworld elevated the emotional power of the music and the story. Yes, Orpheus was in the Underworld, but the creatives did not want us to get lost in that; at its core, this is a story about love and longing. After all, the opera uses the more positive Pluto, rather than the hellish Hades.

The costumes were as beautiful as the set design, especially the traditional Indian garments, such as saris. The way they twinkled and sparkled in the stage light was captivating, and they added a sense of drama whenever any dancing took place.

Dean Robinson and Chandra Chakraborty. Photo: ©Tristram Kenton

The Music

Degun masterfully fused together the original Italian score with brand-new (but classical) Indian music. On paper, it should not work, but in action, it is divine.

The opera opened as the original does, with La musica, representing the “spirit of music”, telling the tale of star-crossed lovers. In this version, La musica is split in two: a European woman, La musica (Amy Freston), who sings in Italian, and a South Asian woman, Sangeet (Deep Nair Rasiya), who sings in a South Asian language. “Sangeet” means a Northern Indian wedding music ceremony.

In the scene that follows, the women seem to portray maternal figures of Orpheus (Nicholas Watts) and Eurydice (Ashnaa Sasikaran).

Nicholas Watts, Sanchita Pal and the company. Photo: ©Tristram Kenton

The angel-voiced Sanchita Pal – who played Asparā (Nymph) – won the hearts of the audience. Her movements were similar to Kathak, and her fellow South Asian co-stars similarly embodied other South Asian cultures and dance forms.

Other standout performances came from Kezia Bienek as Silvia (The Messenger), the ethereal Yarlinie Thanabalasingam as Nambikkai (Hope), the captivating Chandra Chakraborty as Prosperina, the striking Dean Robinson as Pluto, and the regal Kirpal Singh Panesar as Apollo.

Yarlinie Thanabalasingam, Amy Freston, Deep Nair Rasiya, Dean Robinson, Chandra Chakraborty, Sanchita Pal, Kezia Bienek, and the company. Photo: ©Tristram Kenton

Degun chooses not to use only one South Asian language. Instead, he pays tribute to ethnicities and cultures all over the Indian subcontinent, with an ethnically diverse cast who sing in different languages. There is also a variety of South Asian dance and movement in the piece, as well as instruments from all over the subcontinent. It really is a love-letter to South Asian culture and identity.

A highlight of the East-West fusion comes during the wedding, when the family take part in a celebratory dance. The number flips between Italian and an Indian language, with the cast repeating the same words in both languages. During the Italian parts, the dancing is more Western; doing the Indian part, they do traditional Indian dancing (it looks a little like Garba). The White actors appeared comfortable doing the Indian dance, and they made it seem as if they were copying the movements of their Indian friends. It felt very real, like you would imagine a mixed-White/Indian wedding.

Chiranjeeb Chakraborty, Vijay Rajput, Nicholas Watts and the orchestra. Photo: ©Tristram Kenton

Later, two Shephards (or Chavaraaho), played by Chiranjeeb Chakraborty and Vijay Rajput, sat with Orpheus. They taught him how to sing like them (Indian singing often involves lots of noise, devoid of any actual words, such as “oohs” and “ahhs”). Watt’s attempt to sing in that style deserves great praise. One of the Indian men produced a noise that was simply not replicable, much to the humour of the audience.

In the second act, there is a divine drumming sequence, in which two Indian members of the orchestra showed off their tabla skills, producing the biggest applause in the entire piece, until the curtain call.

Orpheus is a masterclass on how you reinvent a classic for modern audiences, to tell the same story in a new way, to breathe life into what some consider a dying art form. The Indian-Italian fusion produces an experience for the senses: it is visually stunning and aurally satisfying. I have seen and reviewed several operas, all by Opera North, and this was the best, by far. I’m not sure how they – or anyone, for that matter – can top it.

For more Opera North content, check out our review of the company’s stripped-back, concert version of Gluck’s Orfeo ed Euridice. Both L’Orfeo and Orfeo ed Euridice are based on the Greek myth of Orpheus and Eurydice; the most common story in operas from the 16th to the 20th century.

Review: Opera North’s Orfeo ed Euridice

Written by Rosemary Russett on 22nd November 2022. Posted in Theatre, Music.

Despite my middle-class upbringing, I have not seen many operas. The only one I had seen previous to this one was Akhnaten, a three-act epic with no subtitles. During the second interval, my guest had to excuse themself to make sure they did not fall asleep in the third act. So while I was excited about seeing Orfeo ed Euridice, I was also trepidatious.

The story of Orfeo (an alternate spelling of the classic Orpheus) is not one I know well. Rather, it is a cultural touchstone that I have absorbed through references in media such as Portrait of a Lady on Fire, the Percy Jackson books and steampunk band The Mechanisms’ sci-fi Greek myth setting, where Orpheus is trying to retrieve his lover’s brain from a super computer.

The benefit of an opera is that the audience is not expected to learn the story from the on-stage performance. Instead, a programme details key plot points which can be matched up with the performance on stage and the subtitles which translate the sung Italian into English.

In the grand scheme of things, this opera is a short one, coming in at just under two hours including the interval. The narrative is basic but the story emotional nonetheless; there is a reason it has ended up as a cultural touchstone.

The central moment comes when Orfeo (Alice Coote OBE) is trying to convince Euridice (Fflur Wyn) to follow him out of the afterlife without being allowed to look at her or touch her, nor tell her why. The performance between the two main singers was heartbreaking to watch, with Euridice pleading for Orfeo to look at her and embrace her while he looked resolutely away. This works especially well as the audience knows that soon Orfeo will turn around, and so cause himself to lose Euridice again.

An interesting feature with the two titular characters was that they were both played by women. Apparently this is a common casting decision for Orfeo because of the key of his songs, but there was nonetheless a queer energy to a woman referring to herself as a husband missing her dead wife. Especially for an older audience, it seems like a subtle way of including some much-needed queerness.

As someone used to more modern theatre, it is always impressive to see a large cast. Despite it being traditional for opera, I had not quite realised that a full orchestra would be playing (conducted by Antony Hermus). The instruments are many and varied, and they create a gorgeous backing to the opera singers. The Greek chorus is also a delight to hear as a full-bodied contrast to the single-voiced laments of Orfeo and Euridice as well as that of Amore (Daisy Brown).

While the cast and orchestra is impressive, the staging is very simple, with just a single raised platform in the centre and a background of stars to indicate whether the characters are on Earth or in the Underworld. A harpist plays on-stage while Orfeo soothes the harpies. This was a touch that I really liked, bringing focus to the skill of the musicians.

The costumes are also very simple and made me wish for something a bit more extravagant, especially considering it is one of the things that opera is known for. This was a stripped-back concert performance that “that elevates the emotional power of the music and the splendour of the chorus and orchestra”.

While the simplicity brings focus to the characters, it would have been nice to have more for the actors to interact with, as I found a lot of the scenes move very slowly.

Overall, I found many elements lovely, but I do not think I will be visiting another opera again any time soon. I heard many people praising various elements of the performance but slow Italian singing was not a style that resonated with me.

For more Opera North content, check out our review of Orpheus – an Indian reimagining of Monteverdi’s L’Orfeo. Both L’Orfeo and Orfeo ed Euridice are based on the Greek myth of Orpheus and Eurydice; the most common story in operas from the 16th to the 20th century.

UoM Amnesty International calls upon University to cut ties with Lethal Autonomous Weapons

Written by Shikhar Talwar on 21st November 2022. Posted in News, Videos.

The University of Manchester (UoM) Amnesty International has sent a resolution to the Students’ Union (SU), calling on the University to remove its association with Lethal Autonomous Weapons.

The campaign, which started with a banner-making event in the Students’ Union, is linked to a report by Stop Killer Robots, featuring contributions by UNA-UK and Amnesty International.

The report investigated the links between UK universities and companies that develop Lethal Autonomous Weapons (LAWs) – that is, weapons which have the capability to independently locate and destroy targets.

UoM Amnesty International has now proposed a resolution to the SU that will be voted on in February, if it reaches 50 votes on the SUggestions site. Their resolution is to make the SU “ask the University to take a firmer stance against it [LAWs].”

The resolution states, “LAWS are controversial weapons with no clear legal status, and we believe there is no place for them at any university”.

In addition, they would like the SU to sign the “Safe Future for Life Pledge.” This pledge is about removing and actively participating against LAWs.

Currently, the University has projects organised by BAE Systems, BP, Blue Bear Systems Research Ltd, MDBA Missile Systems, and more. Many of these companies are either directly or indirectly linked to manufacturing LAWs.

BAE systems, for example, is an Aerospace company which produces, among many things, “multinational arms and security”.

They partnered with the University in 2017 with the Faculty of Science and Engineering.

Professor Martin Schröder, welcoming them, stated, “we look forward to working with BAE Systems on exciting research and education innovations.”

Similarly, the report notes a connection with MBDA Missiles Systems. While no announcement of this appears to have been made, MBDA has been associated with University award ceremonies for students for several years.

A University spokesperson said: “The University gives careful consideration to all of its research collaborations and follows all government legislation, regulation and guidance to protect national security and the integrity of research more generally.

“The University also considers carefully the ethics of AI applications. Notably, two of our recent major initiatives (the Christobel Pankhurst Institute and the proposed Turing Innovation Hub) have ethics and AI certification as central work streams. In addition, Manchester has played a leading role in the SPRITE+ digital trust and privacy network.”

UCU Teach Outs to be held in the Students’ Union

Written by Rosina Read on 21st November 2022. Posted in News.

Four teach out sessions will be held on November 24, a UCU strike day, in the Students’ Union.

This series of four informal lectures covers a range of topics. Discussed will be the UCU strikes, climate action, the cost-of-living crisis, and the on-going protests in Iran over women’s rights.

The lectures are on the first of three nationwide UCU strike days, which will affect over 150 universities. Over 70,000 university staff are due to go on strike over pay, working conditions, and pensions.

The series of lectures is hosted by a range of staff from within the University and have been organised by Robbie Beale, the Students’ Union’s Activities and Culture Officer.

The first session, Why we strike, held from 9:30 – 11am, will be hosted by two lecturers and two doctoral candidates. Professor Louise Dawes and Dr Carl Emery from the Department of Education will be joined by Morgan Powell, studying trade union action, and Allison Briggs, from the School of Environment, Education & Development.

The same panel appear again from 3-5 pm, to discuss the ongoing cost-of-living crisis. The University has recently pledged approximately £9 million to students in in £170 payments to each full-time student to tackle rising prices.

The second session, from 11-12 pm, entitled Climate Action, will be hosted by Dr Lydia Meryll. Dr Meryll is a trade union representative for UCU and an active member of the Climate Network.

This comes after the recent COP27 summit, which concluded with richer nations agreeing to pay climate reparations to poorer countries most affected by climate change.

The third talk, Woman, Life, Freedom – an Iranian Revolution, is hosted by Sohrab Rezvani, a PhD student, and Laya Hooshyari, an Iranian activist.

On September 16, Mahsa Amini died in custody after being arrested for allegedly breaching the Islamic dress code. This event sparked an on-going series of protests across Iran.

Tales from a year abroad: SEMINCI Film Festival

Written by Daniel Collins on 21st November 2022. Posted in Film.

Like many Spanish cities, Valladolid’s film culture is an eclectic mix of dubbed Hollywood productions, family films, and Spanish-language indies. Its cinemas are not particularly glamorous — despite a certain undeniable retro charm — and a combination of the pandemic and streaming has left the industry largely in decline outside the major cities. Yet, out of this comes one of the country’s largest film festivals.

Suddenly, the city is filled with SEMINCI’s green carpets leading toward gloriously repurposed theatres that become packed cinemas for a week of film celebrations. It is both a showcase of the diversity of Spanish Cinema and an opportunity for locals and critics alike to engage with some of the year’s most anticipated films such as Decision to Leave and The Banshees of Inisherin. I considered my Spanish to be of a high enough standard to attend some of the solely Spanish language screenings and was rewarded immensely with a wonderfully diverse range of films that I hope can secure a UK release someday.

One of the clear standouts was Modelo 77, a prison drama set during the years of the transition between the Franco Dictatorship and the beginnings of contemporary Spanish democracy (1976-1978). Inspired by true events, it is a politically-charged thriller that plays like a mix of Steve McQueen’s brutal IRA drama Hunger and more conventionally crowd-pleasing film like The Shawshank Redemption. This balance of exciting action, biting political discussion, and palpable suffering is what sets this film apart from many others within its genre.

First-time inmate Manuel (Miguel Herrán, best known as Río from Money Heist) shares a cell with prison veteran Pino (Javier Gutiérrez). As they strike up an unlikely bond and kinship, both soon become leading figures within a rebellion group known as COPEL , and demand amnesty and freedom for those wrongfully imprisoned and abused during the dictatorship.

Modelo 77 has beautiful cinematography that makes use of the drab rusty prison to great effect, framing its characters within geometric patterns that are fiercely cinematic but also key to understanding the film’s geography and the way that the prisoners manoeuvre the spaces. Similarly, as the inmates do not wear a uniform but their own clothing, the costumes capture the 1970s fashion with stripy shirts and chain necklaces. This gives the film an extra layer of style and effervescence whilst also functioning as important symbols of social class both within the prison and outside of it. Overall, it is this balance between exciting genre cinema and a pointed political commentary that makes Modelo 77 one of the best Spanish films at the festival.

Walking around Valladolid, one gets the sense that change is perhaps not the city’s best forte. The city centre is full of rather old buildings and, based on personal experience, there seems to be a lack of general diversity. As far as I can tell, there appears to be a couple explicitly queer bars at best and thus, when SEMINCI had numerous films focused on LGBTQ+ issues, I was surprised – perhaps I had misjudged the city after all.

A city once being named ‘Fachaolid’ for its supposed right-wing tendencies was suddenly exhibiting a sex-filled, frank drama about a young trans woman dealing with gender dysphoria and awkward Tinder dates (Mi Vacío y Yo), merely days after screening L’Immensita which follows a young person exploring their gender identity in 1970s Italy against the backdrop of a patriarchal, conservative society. Both films are equally refreshing not just in their subject matter but in the considered thoughtful tones in which they explore it.

In L’Immensita, Penelope Cruz plays the protagonists’ mother who indulges in her children’s imaginations and games, much to her cheating husband’s dislike. The film is best when it leans into this melodrama, cutting away to fantastical musical sequences and exploring the playfulness and the heightened emotions of youth. On the other hand, Mi Vacío y Yo refuses any kind of extremity altogether and instead situates the viewer within the reality of transitioning using Spain’s healthcare system, embracing all the questioning, bureaucracy, and emotional waves of joy and sadness that come with it.

SEMINCI is a welcome gift to the city of Valladolid, an enriching cultural presence that brings with it some of the most interesting European cinema and an opportunity for premieres of exciting new Spanish cinema. Perhaps, some of these films may not be available in the UK in the near future (such as Estefanía Cortés’ brilliantly bizarre debut Eden) but I urge you to seek out similar films from years past.

For every new Pedro Almodóvar film, there are dozens of Spanish films that simply do not make it onto people’s radar. One major obstacle is language; many of these films are simply never translated for wide release, but marketing and distribution are also challenges; word-of-mouth doesn’t exist for films unceremoniously dropped into the depths of Netflix.

Film festivals are a great place to start discovering new films. Whether its SEMINCI, our very own MANIFF, or even Cannes, there are always gems to be found that may have been unfortunately forgotten by a film culture which overwhelmingly focuses on franchise fare, the Oscars, and little in between.

Review: Cocktails and Cinquains #2

Written by Alexia Pieretti on 21st November 2022. Posted in Theatre.

Cocktails and Cinquaines is a series of spoken word nights hosted by Keisha Thompson and Rory Dickinson at Contact Theatre. The first Cocktails and Cinquaines took part during the welcome party for Contact’s new Artistic Director and CEO, Keisha Thompson (who we interviewed a few months back).

Performances are presented within the framework of a cocktail: the show consists of a mixer act, ice (an icebreaker activity), a spirit, and finally, a garnish. Cocktails are my drink of choice so I was interested to see how the two would combine.

Despite having studied Drama at the University of Manchester for several years now, I had never been to Contact; it spent years closed for refurbishment. I found it to be a lovely theatre venue, warm and modern, and I am excited to see other shows there in future. The performance space was set up in a cabaret style with the audience sitting at small tables dispersed around the theatre.

Thompson and Dickinson entered, translating French phrases, hints for what the special cocktail of the night would be, before playfully conversing with the audience. This sense of interactivity, which the audience were fully receptive to, continued throughout.

The “mixer” act was musician Ellen Beth Abdi. Her music blew me away as she recorded her own acapella backing track live onstage, controlling the different layers of the track with incredible mastery, all while singing at the same time and making it look effortless. Her voice is breath-taking.

Next, attendees were tasked to write their own cinquaines. Cinquaines are types of poems which, like haikus, have a specific number of syllables per line (2,4,6,8,2). I was unfortunately not brave enough to read mine aloud but those that were read caused great laughter from the audience, usually due to the bluntness of that final two syllable line.

The headline act, or “spirit”, was poet Louise Wallwein MBE, who read some of her own wonderful poetry. In both hers and Abdi’s acts, there was a casualness that I found really added to the atmosphere of the evening with both asking the hosts how many songs/poems they were allowed to perform. It demonstrated that both of these artists were given freedom to express themselves and perform whichever of their works they wanted to.

The whole evening was tied up with a new cocktail presented to Wallwein by mixologist Beatriz Vilela. We had made guesses throughout the night for what this cocktail would be (no one guessed correctly), but it was based on a French orange drink from the 1950s called a “kinnie”. The drink was inspired by an experience Wallwein shared with Vilela pre-show. I actually ordered one in the interval and absolutely loved the taste of it.

Cocktails and Cinquaines nights will return in the future, each entirely unique, one-off nights, where different poets perform and cocktails are created inspired by their poetry. The familiarity of the hosts with the audience and the unpredictably of the night made it a lot of fun, and I definitely recommend attending when the next night comes around, especially if you love trying new cocktails!

Review: Not F**kin’ Sorry

Written by Hanna Patla on 21st November 2022. Posted in Theatre.

Learning-disabled and neurodivergent performers from the Not Your Circus Dog collective treated Manchester to a rowdy evening of unapologetic cabaret, eliciting laughs alongside a thought-provoking narrative. It was a show that will doubtless stay with me for years.

A handful of green tokens was given to each audience member as they walked into the theatre. The cast evoked a laugh by joking that the tokens had been stolen from the charity box in Waitrose. These tokens were then to be put in buckets corresponding to each cast member according to who you enjoyed most; Adam Smith and DJ Hassan, with their infectious joy and radiating energy, won over my tokens. They then called into question their estimated value by asking a disturbing question: “is this all we are worth to you?” It was a moment symptomatic of the show’s frequent balancing act between the gleeful and the tragic.

Each person brought something completely different to the room. DJ Hassan’s unadulterated love for life, Emma Selwyn’s rage at institutionalised injustice, Stephanie Newman’s rebellious passion, and Adam Smith’s cheeky sexual fervour mixed to create a company that was truly unique and captivating. The thing that united this cast, and humbled me, was their utter fearlessness. They swore like sailors, disclosed their sexual fantasies, and stripped to their underwear. Emma Selwyn’s bra straps continuously falling gave me powerful anxiety but, to their credit, they never missed a beat.

My favourite comedic moment was the re-enactment of the popular show Countdown. Adam stood holding a placard around his neck while the DJ invited volunteers from the audience to pick vowels or consonants. Hilariously, he paid no attention to the letter being requested and spelt out pre-planned words. Audience participation is a theatre trope that I am less than keen on usually, with this show being no exception.

People were volunteered by the cast on occasion and I appreciated the compassion that Adam Smith showed when one woman declined. Despite this, I thought in a performance that promised a relaxed environment, members of the audience should be encouraged to put themselves forward. I was certainly glad that I wasn’t chosen.

Contrasts between comedy and hard-hitting moments were strong. The Countdown game took a very dark turn as the letters were shown to first spell out “Twat”, then “Eugenics” and finally a slur used against disabled people. Combining the cheery atmosphere with the obvious emotional reaction of the performers to this word created a powerful, sobering moment as the audience fell silent.

Emma Selwyn delivered another incredibly compelling moment. The cast listed victims of Covid (22,000) and discussed how many were given “Do Not Resuscitate” orders without their permission. The accusatory tone and raw grief emanating through the room was hugely moving and made me reassess the state of our country.

However, I would have liked to have had more time to process this moving monologue before the show moved on. I found this was a frequent issue for me as the show didn’t have clear continuity and often jumped from one juncture to another too quickly. As the performance only lasted an hour, this problem is unsurprising. Nevertheless, I felt that some of the comedy could have been cut down to accommodate the more poignant moments.

Overall, much praise should be given to these four performers for their candour and outright bravery in baring their souls to the audience. They all bowed in their underwear, completely stripped of both clothes and emotional walls, having given so much of themselves to us. It was a dedication to their art which required a confidence I am very jealous of. Everyone should see this show, for the exuberance the cast radiate and the clear and unwavering message of personal identity they sent.

Not F**kin Sorry‘s finished its tour of the UK with this last performance at Contact Theatre.

You’re not a celebrity Hancock, get out of there

Written by Libby Elliott on 21st November 2022. Posted in Opinion.

Embarrassed at the state of British politics? Exhausted by those in charge failing to take political processes seriously? Concerned about petty distractions from the cost-of-living crisis? Well, there’s no time to rest! Your former Health Secretary is now on telly every night eating bull penis.

Yes, the very man who insisted we stay inside during the pandemic has now entered the jungle as, apparently, overseeing the country and health service through a devastating pandemic sets you up for celebrity stardom. Hold the phone to the constituents of West Suffolk, I’m afraid your elected representative is too busy being a star.

As part of this real-life episode of Black Mirror, as The Guardian aptly puts it, Matt Hancock is being paid £400,000 to appear on the show. That’s almost half a million Great British pounds awarded to a largely failed politician, who broke his own guidance when he snogged somebody in his office, to have maggots chucked at him for nightly entertainment. Have you ever heard of something so quintessentially British?

Upon being asked during his first few days in camp why he’s even there, Hancock replied: “Why? Because, all politicians are known – and me in particular – for being in a very sort of strict way of being. Which is just not actually how we are”. I’d argue the British public is hyper-aware of Hancock’s aversion to strictness. Whether it’s lockdown rules or the binding contract that is marriage, Hancock has never been the blueprint of a strict rule-following politician.

Hancock officially insists he’s in there to promote his dyslexia campaign. I’m unsure how ethical a dyslexia awareness campaign can be when its promoter is personally taking home just shy of half a million quid. Likewise, none of the dyslexia awareness might even make the cut to be shown on telly.

In my view, Hancock had a taste of celebrity life when his extramarital lockdown affair awarded him tabloid stardom. I think he quite liked how it felt. Hence, since then, he’s gone on Steven Barlett’s Diary of a CEO podcast. Hence, he’s now in the jungle. As somebody who now knows that he’ll likely never work in frontline politics again, why not keep his relevance alive in a cheapened celebrity form? To be fair to him, it’s a form that pays extraordinarily well.

Or perhaps, more dangerously, Hancock is hoping to be a sort of second coming of Boris Johnson. Another supposedly hilarious and relatable bumbling Brit who likes a laugh and shouldn’t be taken too seriously. Then suddenly, before we all know it, they’re back in frontline politics hiding their political agenda behind the oratory of a lovable and laid-back Brit.

Another danger with this TV stint is that it’s being confused as Matt Hancock taking accountability for his actions and mistakes during Covid. Do not be fooled, oh viewers of ITV. There is a huge difference between a politician engaging in a hard-hitting interview with an experienced journalist, or even a local radio station, than going onto a game show.

The former is the way to take appropriate accountability. The latter involves a few days of tension or a couple disputes getting dismissed for the sake of “the camp getting along”. All contestants eventually come to the conclusion that it’s easier for everybody to be chummy with Hancock, and that “he’s only human”. That’s the damaging consequence of this supposed form of accountability. Matt Hancock gets away with a mere slap on the wrist because he ‘fell in love’, and we’re now all supposed to be fine about what he did.

For a start, Hancock should be aiding the clear up from the short-lived Truss regime – one he endorsed. He should also be doing his actual job, which involves engaging with and representing the people of West Suffolk. But if this is too much for him, the least he can do is show the slightest bit of remorse in camp.

Boy George was tearful upon Hancock’s entry, having nearly lost his mum during the pandemic. Likewise, Charlene White pointed out that for bereaved families like hers, “sorry” doesn’t cut it.

Matt addresses the elephant in the room and answers the big questions dominating camp… #ImACeleb pic.twitter.com/jSA63Ehpgw
— I'm A Celebrity… (@imacelebrity) November 11, 2022

It was the tone with which Hancock insisted he didn’t break lockdown rules, just guidance. It was as if he found his campmate’s request for a display of remorse farcical. He then went on to detail that what he’s looking for, merely, is a bit of forgiveness.

It was guidance that dictated I wear gloves, a mask, and a plastic gown when I went to see my dad in the hospital in August 2020. It was guidance that ensured only two members of each family could visit ICU patients for one hour at a time. I was extremely lucky that a particularly sympathetic NHS doctor let my mum and I stay much longer, something I’m grateful for every day. I can guess with almost full certainty that the NHS doctor who humanely helped us to bend guidance is still probably doing ICU night shifts and not faffing about the jungle with a half-a-million paycheque on its way.

Guidance meant I couldn’t touch my dad’s coffin, not even for ‘love’. So frankly, I do still find it pretty ridiculous that Matt Hancock, in the words of Babatúndé Aléshé, was “grabbing booty“, for the same reason.

On that note, lest we forget how much of a smack in the teeth this whole stint is to NHS staff themselves. Hence, bereaved families have recently paid for a 35-foot banner to fly over the camp.

I, for one, do not forgive Matt Hancock. I frankly never will. I intend to stop watching this series of the show altogether. His presence on the show, let alone the blasé tone he uses to casually mention his mistakes, is an insult to all the British people who followed Covid guidance. Not to mention the people who were unable to be with their dying loved ones, sit together at funerals, or celebrate lives that were sadly lost alongside friends and family.

To Matt Hancock I would call upon the words of the immortal Lady C. Indisputably I’m a Celeb’s most entertaining contestant of all time and general societal deviant. Fittingly, she said this from the jungle itself. Matt, “darling, you are so full of sh*t, that if you had an enema you would simply disappear off the face of this earth without trace”.

Never OK: A stand against sexual harassment

Written by Lily Wallen on 21st November 2022. Posted in News.

A new scheme to combat sexual harassment, called Never Ok, was launched on November 7 as a collaboration between The University of Manchester, Manchester Metropolitan University, and the University of Salford.

The campaign intends to “promote an environment and culture where sexual harassment and violence is never tolerated”.

Never Ok intends to combine prevention with action through a communications campaign, which aims to raise awareness amongst students, alongside centralised action taken by the University.

The campaign urges students to be active bystanders towards sexual harassment on campus, whilst also providing survivors with the tools and empowerment necessary for reporting incidents of misconduct.

These topics are discussed on a series of interviews created for the Never OK campaign, hosted by student Dorsa.

Through the extension of boundaries on the University of Manchester’s Safe Zone app, as well as their online Understanding Consent module, Never OK has already established measures for increasing student safety on campus.

These actions reflect the sentiment of the Faculty of Biology, Medicine, and Health at UoM who took to Twitter to express that “no one should be made to feel uncomfortable, upset, offended or scared by another individual’s behaviour”.

In a study conducted by the National Union for Students (NUS) it was reported that “almost two thirds (62%) of students and graduates have experienced sexual violence at UK universities”.

In 2020 it was found that The University of Manchester had not expelled a single student for sexual misconduct in three years, despite the reporting of up to 18 cases of assault. In addition, only one in ten of those who experienced sexual violence reported their experiences to their Universities.

Manchester Opera House lays a mousetrap

Written by Jay Darcy on 21st November 2022. Posted in Theatre.

The Mousetrap is the genre-defining murder mystery from Dame Agatha Christie DBE, the world’s best-selling novelist.

Christie’s signature piece of work is, of course, And Then There Were None, which has sold approximately 100 million copies, making it one of the top-selling books of all time.

Christie is known for creating two of the world’s most famous fictional investigators: the amateur sleuth Miss Marple and the Belgian detective Hercule Poirot. The latter is the main character in novels such as Murder on the Orient Express and Death on the Nile, both of which were recently adapted to the big screen by Sir Kenneth Branagh.

Christie’s famous plays include the stage adaptation of Witness for the Prosecution, which has been revived three times in recent years – including a a unique courtroom staging of the play, which is still playing at London County Hall.

But her most famous play, is, of course, The Mousetrap. The longest-running show in history, it is embarking on a UK tour to celebrate its 70th anniversary.

The premise of the play is as follows: “As news spreads of a murder in London, a group of seven strangers find themselves snowed in at Monkswell Manor, a remote countryside guesthouse. When a police sergeant arrives, the guests discover – to their horror – that a killer is in their midst. One by one, the suspicious characters reveal their sordid pasts. Which one is the murderer? Who will be their next victim?”

The Mousetrap began life as a short radio play written by Agatha Christie as a birthday present for Queen Mary, the consort of King George V. It was broadcast in May 1947, under the name Three Blind Mice. The story drew from the real-life case of Dennis O’Neill, who died after he and his brother, Terence, suffered extreme abuse while in the foster care of a Shropshire farmer and his wife in 1945.

The play is based on a short story, itself based on the radio play, but Christie asked that the story not be published as long as it ran as a play in the West End of London. The short story has still not been published within the United Kingdom but it has appeared in the United States in the 1950 collection Three Blind Mice and Other Stories.

In the UK, only one production of the play, in addition to the West End production, can be performed annually, and under the contract terms of the play, no film adaptation can be produced until the West End production has been closed for at least six months (and it shows no signs of closing any time soon).

The stage adaptation of The Mousetrap had its world premiere at Theatre Royal, Nottingham in October 1952 and toured the UK over the next two months. In late November 1952, it opened in the West End – where it has stayed, ever since (with a pandemic-forced closure from March 2020 until May 2021).

The played ran at the Ambassadors Theatre until 23rd March 1974, immediately transferring to the larger St Martin’s Theatre, next door, where it reopened on 25th March – thus keeping its “initial run” status. The play has been at St Martin’s Theatre ever since. It has been performed close to 30,000 times, with over 10 million tickets sold.

Christie did not expect The Mousetrap to be anywhere near as successful as it is. In her autobiography, she reports a conversation that she had with Peter Saunders, the impresario behind the stage adaptation.

“Fourteen months I am going to give it”, says Saunders, too which Christie replies, “It won’t run that long. Eight months perhaps. Yes, I think eight months.”

In September 1957, it broke the record for the longest run of a play in the West End. Christie received a mildly grudging telegram from fellow playwright Sir Noël Coward: “Much as it pains me I really must congratulate you …” By the time of Christie’s death in 1976, the play had made more than £3 million.

Since the retirement of Mysie Monte and David Raven, who each made history by remaining in the cast for more than 11 years (in their roles as Mrs Boyle and Major Metcalf, respectively), the cast has been changed annually. The change usually occurs around late November, around the anniversary of the play’s opening, and was the initiative of Sir Peter Saunders, the original producer. There is a tradition of the retiring leading lady and the new leading lady cutting a “Mousetrap cake” together.

The play has also made theatrical history by having an original “cast member” survive all the cast changes since its opening night. The late Deryck Guyler can still be heard, via a recording, reading the radio news bulletin in the play to this present day. The set was changed in 1965 and 1999, but one prop survives from the original opening – the clock which sits on the mantelpiece of the fireplace in the main hall.

The anniversary tour opened at Theatre Royal, Nottingham in late September – where it had its world premiere seven decades ago. The thriller will then visit over 70 venues across the country, including all the cities to which it originally played, including Manchester. Poetically, it will be playing at the Opera House – where it played as part of its original run.

The touring cast includes Todd Carty (EastEnders, Grange Hill, Dancing on Ice) as Major Metcalf and Gwyneth Strong (Only Fools and Horses, EastEnders) as Mrs. Boyle, alongside fellow EastEnders actor John Altman as Mr. Paravicini. The play also stars a couple of actors who previously starred in the West End production: Elliot Clay as Christopher Wren and Essie Barrow as Miss Casewell.

Todd Carty and Gwyneth Strong are scheduled to perform until May 6. Sadly, Carty is absent for the stint in Manchester, where the role of Major Metcalf will be played by Kieran Brown or Nicholas Maude.

So, come along to Manchester Opera House for an epic evening of wonderful wine and marvellous murder! Try not to get trapped…

The Mousetrap runs at Manchester Opera House from November 28 to December 3 and tours the UK until late November 2023.

How to pick your student house

Written by aislingflaherty on 21st November 2022. Posted in Lifestyle.

It’s that time again. Housing conversations start to creep up on us earlier and earlier every year, and love it or loathe it, it’s got to be done. For some of us, it can be fun preparing for another year of living with friends. For others, this time is filled with awkward conversations and friendship group politics. Well, whatever camp you belong to, don’t panic: here, we have outlined ten things to make this process as easy as possible.

Don’t rush

It can be easy to get ahead of yourself and rush into a house with people who you met on the first day and who you swore would be your best friends forever. There are loads of houses available which all go on the market at different times. If you aren’t ready to do housing and feel like you haven’t met your people, that is so fine! Houses continue to be staggered onto agency websites, with lots being released after Christmas, so there’s no need to panic.

Don’t let other people rush you

This is far easier said than done. It is easy to get swept up by the madness and feel like everyone is talking about housing and if you don’t do it now you will be left behind. This is not the case, keep your cool and do it when you are ready.

Don’t live with your partner or couples

It may seem like a good idea, or you may feel that you cannot possibly live without them. But the probability of you breaking up is quite high (sorry!), which could result in a really uncomfortable living situation. You’ve probably heard of people who have lived with their partner at university, and it all worked out and now they are beyond happy. These people are the exception, not the rule! Even if you don’t break up, there can be other complications. For many people, it makes the relationship too intense and can be very overwhelming. I would recommend living separately for a healthier lifestyle.

The same goes for couples. You don’t want to be a few months into your tenancy and not feel comfortable coming home. Nor do you want to have to pick sides if all goes to hell.

Pick people who are easy to live with

Your housemates do not have to be your best friends, and sometimes it’s actually easier if they aren’t. Pick people who are easy to live with and have similar cleanliness levels to you. You will still see your friends that you don’t live with all the time.

To see if people have the same expectations as you, see if you share similar lifestyles. Are they messy? Social? Regularly host parties? Do they take out the bins? Hang out at potential housemates’ current accommodation to get a feel for how they live and see if it works with your lifestyle.

Don’t go too big

It can seem like a great idea and a way of including everyone to sign for a massive house. But trust me, in the long run, splitting a big group into two smaller groups is a good idea. Firstly, there are fewer houses for big groups so it will be easier to get a house that you like. Furthermore, whilst living with nine other people seems like fun, imagine nine other people’s mess all the time!

Make sure that your landlord is credible

You will have heard the rumours, and they are authentic, a lot of landlords suck! Helpfully UoM and MMU have set up Manchester Student Homes, a website where you can check the credibility of your future landlord to ensure that they are legitimate. Whilst this site is helpful, still do your diligence and take pictures of your room when you first move in to avoid losing your deposit. Top tip: if you get a chance, try asking the current tenants at the viewing how the landlord has been.

Live near a bus stop

When it comes to where you should live there are many options. Most people choose Fallowfield, the UoM student hub. For some more info, you can check out our guide to Manchester’s student suburbs to get some advice on the best area for you. Wherever you choose to live, live near a bus stop! Don’t make life harder for yourself by adding another ten minutes to your commute in the morning.

Give the house a chance

Upon viewings, it can be easy to judge a house by the tenants that currently live there. Give the house a chance: think of it clean, and look at the foundations. Is it spacious? Does it have wooden floors? Does it have a dishwasher? Try not to be swayed by the state that you see at the viewing.

Be safe

As everyone is all too aware, Fallowfield is not the safest place. However, most house-related robberies are not heists and are usually just petty crimes because a door wasn’t locked or the window was open. Ask the landlord about the locks on the doors, the safety of the windows, and the burglar alarm.

With all this in mind, I wish you all the best! House hunting can be stressful, but try and think of it as a fun activity as you look forward to another year which holds new and exciting memories!

Can we dance ourselves happier and healthier?

Written by Fleur Cartwright on 21st November 2022. Posted in Science & Tech.

Undeniably, some funky shapes have been thrown on the dance floors of Manchester’s vibrant night scene. The Hacienda and the clubs of Canal Street have given Manchester its iconic nightlife reputation. Many of us students have spent the night busting our best moves only to later realise we spent the night dad dancing instead of the smooth grooving we intended. But research suggests dance is incredibly good for our emotional and physical well-being. So we should probably learn to embrace this form of self-expression and value the venues that accommodate our disco disasters.

What is dance therapy?

Dance therapy is the treatment of disease using dance and psychology. It is used as an add-on therapy to treat neurological disorders such as dementia, depression, and Parkinson’s disease. In the case of Parkinson’s disease (which is characterised by reduced mobility and poor balance), a ten-week tango programme was shown to improve balance, mood and general well-being.

The power of music and movement

As we all know, the dance floor only empties when the music stops. Likewise, an essential component of dance therapy is music. Music stimulates neural connections in the brain, inducing the release of dopamine. This happy chemical can radically improve our mood.

However, music in isolation is simply not enough. Music must be coupled with movement to have a full healing effect. In our increasingly individualistic world, isolated passive activities are on the up. For example, listening to music via headphones or watching Netflix alone.

Dance therapy provides a social environment to enjoy music. Moving in time with others and mirroring actions activates new cortical patterns, instead of following the ones damaged by neurodegenerative diseases. In addition, letting loose and improvising are shown to improve self-expression and awareness of one’s emotions. This can create a more cohesive relationship between patients and their carers, as the patient is better able to communicate their symptoms.

An anti-ageing remedy?

The UK’s ageing population means new methods are needed to improve the quality of life of a demographic vulnerable to loneliness and health complications. Where traditional medicine has failed, dancing has waltzed onto the stage. In 2013 the RAD (Royal Academy of Dance) reported that dance is the best form of exercise to prevent the deterioration of the brain and slow down ageing.

Dance requires spatial awareness with a partner and/or your surroundings. Movement in combination with music stimulates the cerebellum, the section of your brain responsible for balance and spatial awareness. Stimulating the brain creates new synapse connections, protecting against the progression of destructive brain diseases like Alzheimer’s.

The report by the RAD found that elderly people who participated in a dance class were 37% less likely to have a fall. This is because dancing improves balance and coordination and increases reaction time. One-third of adults over the age of 65 fall once a year and many of these falls require hospitalisation. Therefore, it could be said that dance therapy has the potential to ease the pressure on the NHS from the ageing population.

Unfortunately, when the budget tightens, the arts are often the first to be slashed by the government. As a result, dance therapy classes are becoming increasingly inaccessible.

It’s good for the young too

Maybe you’ve danced the night away only to wake up the next morning (or afternoon) thinking that the time could have been better spent in the library. Well, fear not because GPs are prescribing physical social activities to improve patient well-being. This new form of medicine is referred to as social prescribing.

Examples include gardening, bingo, and dance classes. In one case, preschool students were prescribed weekly dance classes. Dancing was found to improve the children’s social skills, behaviour, and academic success.

In another case, a group of depressed adolescents were prescribed improvisational dance classes. Immediately following these classes their serotonin (the ‘feel good’ chemical) levels rocketed. In the long term, they showed a sustained decrease in depressive symptoms.

Sometimes all it takes to feel better is the space and permission to get a bit silly on the dance floor. Long gone are the days spent feeling guilty about dancing the night away.

The value and future of nightlife culture

The scientific benefits of dance highlight the need for nightlife venues in our formative years. Youth require these spaces to bond with friends and discover the ability of movement and music to alter our mood.

When dance floors emptied during the pandemic, young people lost their spaces for self-expression. ‘We’ve Lost Dancing’ – a track made in response to the pandemic by the British producer Fred Again captured the loss of connection experienced. Not only did we lose dancing, but all the mental and physical benefits that come with it.

The pandemic allowed us to pause and realise the social value of nightlife venues and the need to make them inclusive safe spaces. However in the wake of the pandemic and current austerity the nightlife industry is suffering with 14 venues closing every month.

In response to soaring energy prices and lack of governmental support, one club in Glasgow turned to innovative technology that uses dancers’ body heat to warm the building. Venues are being forced to get creative or close.

Continuing research into the ability of dance to treat disorders and improve well-being should force the government to accept the value of nightlife culture and dig a little deeper into their pockets. Research shows that dance can make us happier and healthier individuals. For many, this is reason enough to embrace getting down at the disco.

£95m investment awarded to the Henry Royce Institute

Written by Cat Rowe on 21st November 2022. Posted in News.

£95 million in funding has been awarded to the Henry Royce Institute.

The funding, given to the UK’s advanced materials research institute, was announced by Grant Shapps, the new Business Secretary.

The investment will be used to research advanced materials and develop new sustainable technologies within sectors such as green energy, housing development, and medicine.

Shapps stated during his visit that the £95m investment will help with “bringing together the brightest minds across our businesses and institutions to help future-proof sectors from healthcare to nuclear energy.”

The Royce, as it is nicknamed, operates from a headquarters based in Manchester and affiliates at eight other UK universities and institutions. These include the University of Cambridge, University of Sheffield, and the National Nuclear Laboratory.

Through these partnerships, the Institute aims to provide further interdisciplinary research on several key sectors, including low-carbon and energy efficient power. In addition, it will bring innovative processes for data storage and communication.

It is similarly focused on areas of social justice, including affordable and environmental housing schemes, and personalised healthcare for an ageing population.

As the environment is of the utmost importance to the Royce Institute, each area is aimed to be delivered in the most sustainable manner.

The grant follows previous investments made by the government throughout the past decade for the inception and maintenance of the institution, which was opened in 2020 after three years of construction.

It is part of the government’s Innovation Strategy, an R&D strategy which aims to lead the future “by creating it”.

The institute takes its name from Sir Frederick Henry Royce OBE, co-founder of Rolls-Royce. This was deemed fitting as Royce manufactured his first car in Manchester in 1904.

Global Cinema Series: Contemporary South Korean Cinema

Written by Daniella Alconaba on 21st November 2022. Posted in Film.

Bong Joon-Ho’s Barking Dogs Never Bite (2000) – Daniella Alconaba

Far away from the Oscar triumph of Parasite (2019), a small cast and few locations are used in Bong Joon-Ho’s eccentric directorial debut Barking Dogs Never Bite. The film depicts Yun-ju, an unemployed aspiring professor, irritated by the sound of barking dogs in his apartment building. In this dark comedy, Yun-ju’s frustration leads him to take matters, quite literally, into his own hands.

Whilst Barking Dogs is rightfully not an acclaimed masterpiece, it lays the foundation for director Bong’s later films, as his signature style of mixing tragedy and comedy peeks through. I would, however, class Barking Dogs as leaning more on the comedy side than tragedy. Defensively, the dog owners in the film might argue against me.

In other ways, Barking Dogs bares similarities to Bong’s later films: people living in basements (Parasite); references to animal cruelty (Okja (2017); and, thematically, the discussion of economic insecurity and precariat workers in South Korea. Although the last point is briefly touched upon in this film, it contributes to the attitude change in protagonist Yun-ju.

However charming Barking Dogs is, at times it felt a little unpolished, as some characters felt unfinished. I wish Bong expanded on Eun-sil, as her character of ‘Yun-ju’s pregnant wife’ is all we know of her.

In terms of plot, it’s unusual to describe a film about the disappearance of dogs as fun but that is what this film is: playful and fun. Nothing in this film is truly explained and that’s what makes it amusing. Weird behaviours are accepted as fact. Accompanying the odd happenings of the film is a sanguine jazz soundtrack marrying well to heighten the film’s comedic relief. With some unrelatable characters, funny dialogue, and good performances, Barking Dogs Don’t Bite is a bizarre but entertaining watch.

Ji-woo Jung’s Tune In For Love (2019) – Evie Knight

Full of slow-burn yearning and missed opportunities, Tune in For Love follows two young lovers through the changing millennium.

Although the film title may come across as a ‘cheesy’ or ‘cringe’, Tune in For Love not only constructs a complex notion of love, but also captures South Korea in a period of great economic change during the IMF crisis. Interwoven with their narrative, technology influences the couple’s romance. Mi-soo (Kim Go-eun) and Hyun-woo (Jung Hae-in) meet in a bakery, where the radio becomes the miracle that pulls them together. However, technology also tears them further apart. Soon the bakery is forced to close, skyscrapers are built up around it, and in a desire to keep in touch while Hyun-woo is attending military service, Mi-soo creates an email account for him – but forgets to give him the password.

Finally, radio confirms their love in the last scene, however, this is a scene that entirely upsets the tone of the film, with the non-diegetic Coldplay song ‘Fix You’ blaring over a bizarre reconciliation. I would have chosen a different ending myself.

Looking past this, Tune in For Love is unique in its capturing of the ordinary within love: moments of yearning, being let down in love, and the timing never quite being right. There are no huge fireworks or exciting declarations of affection, but small moments that feel far more real. Some may say the film lacks movement, but I would argue it takes its time, reminiscent of Before Sunrise (Richard Linklater, 1995), or even Call Me by Your Name (Luca Guadagnino, 2017), unhurried, intricate and beautiful. It is a film about patience, in a time before online dating and social media, and the audience also needs patience to appreciate the wonders of Tune in For Love.

Park Chan-Wook’s Decision to Leave (2022) – Dominic Hayes

Decision to Leave centres around Hae-joon (Park Hae-il), a detective investigating the death of a man who has fallen from a mountaintop, and Hae-joon’s uneasy attraction to the deceased man’s wife, Seo-rae (Tang Wei). I won’t reveal any more plot. Simply describing the plot doesn’t do Decision to Leave any justice whatsoever; just experience it yourself and you’ll see why it’s so brilliant.

Decision to Leave is the closest a modern film has been to emulating film noir. Park Chan-wook has taken inspiration from films such as Orson Welles’ The Lady From Shanghai and Edgar G. Ulmer’s Detour, with noir-typical character types and a plot filled with twists.

Chan-wook lives and dies by the principle of “show, don’t tell”; when Hae-joon is watching Seo-rae from afar, he is placed in the room with her, a directorial decision which is complimented excellently by the intricate sound design and intimate camerawork. All of this combines to make the audience feel close to Seo-rae, which only heightens the stakes in later parts of the film.

The editing of the film is the best I’ve seen all year – Chan-wook mixes different events together seamlessly and deliberately, to manipulate the pace of the film. I only have one flaw – that there is one moment of bad CGI when showing the fall from the mountaintop. The camera is utilised to convey distance, height, and speed, often combined with quick digital zooms, to further convey those ideas. You can only describe this use of the technical elements of cinema as masterful in their conceptualisation and execution. Other directors aren’t doing what Park Chan-wook does here.

The viability of some of the tropes of film noir in the modern day is questionable, specifically, the portrayal of women. There is an incredibly typical femme-fatale character in Decision to Leave, while Hae-joon’s wife is portrayed as a stereotypically overly emotional and impulsively jealous woman. The use of these archetypes in 2022 may become an interesting talking point.

Decision to Leave makes full use of the technical possibilities and attention to detail offered by the medium of film to create a gripping drama. I really can’t recommend Decision to Leave more highly.

Wheels of Fortune: Interview with Director George Pack

Written by Grace Humphreys on 21st November 2022. Posted in Film.

Wheels of Fortune is a new short film, directed, written, and produced solely by students in London and having been recently nominated at The British Short Film Awards.

This film is centred around the manager of a mobility scooter business, which he begrudgingly took over from his traditionalist father. The manager wants to fund a snazzy new TV advert to boost sales in the store, but the father doesn’t believe in his fad schemes.

Using clever conservation of space and time, the film is fast-paced, without losing the crucial character development. The film is humorous and witty, with a weird ending that I’ll leave for you to watch. The director, 20 year old George Pack, took the time out of his schedule to talk about his directorial debut, and his path to getting here.

Interested in photography at A-level and wanting to challenge himself further, George Pack decided to study film at a university in London. Within his university course, he was asked to create a short film with other students, auditioning for the role in the crew they wanted (director, editor, producer…). George describes how Milo Hickey, the writer, was living in America at the time he pitched the script, and how his script was immediately loved by all members of the team.

We talked about his directorial influences during the filming process. George explains that he wanted to draw from “the Coen Brothers and Wes Anderson’s films” and their ‘American’ traits, as seen in No Country for Old Men. George talks about how he wanted to take from this style – while still making the film very ‘British’ – taking inspiration from The Office UK. Although filmed in London, George talks of how the team outsourced “American flags and weird posters with American influences” to be displayed in the background of the old peoples home to reference their connection while filming in the UK.

“Getting it down to 12 minutes was the hardest part… we even attempted a Christopher Nolan out-of-order style to get it to fit,” George explains when asked about the editing process. The short film was finally edited to just under 10 minutes, and George points out that this is because the majority of film festivals only accept short films under 10 minutes.

“I didn’t like the film at first, it felt too hasty… however, once finished, I realised it suited the shortness. You don’t ask too many questions,” George reveals. I ask about the claustrophobic feeling the film gives, and George explains that although it suited the film, most of it was out of convenience, and unintentional.

George insisted on using a wide angle lens on the camera, however this meant that it was difficult to film in the small shop without getting the crew in shot, and when doing a 180 degree spin of the camera while filming, many of the crew had to duck underneath the line of view to not appear in the shot.

He mentions that it took around a month from concept to final product, which gave no time for auditions and rehearsals. “Everyone was willing to pull their weight…people were exceedingly generous,” George says as he explains how the conception couldn’t have been as fast as it was without the help of those around him. He talks of the mobility scooter shop, used as the main set for the short film, and how the manager was willing to let them film for a “bottle of rum and the promise that he could still stay open for his customers.”

I asked him what would he change about the film if given a bigger budget. “I think I would keep it the same…but I would probably pay my actors more!” came George’s unselfish response, although it was followed by a joke about how “it would be quite funny to get Brad Pitt in [Wheels of Fortune] somewhere!”.

We ended the interview with his top three films. “Ratatouille definitely… it’s such a nostalgic film for me,” was George’s answer to his favourite film. “Moonrise Kingdom second… and The Lighthouse, closely tied with A Ghost Story,”.

Wheels of Fortune is available to watch on YouTube. To keep an eye out for new developments, and to have a look at some of the behind the scenes images from the set, have a look at George’s Instagram @georgepxck.

photo of two men sat on the cliffs of Ireland

The Banshees of Inisherin review: McDonagh gets the band back together

Written by Libby Elliott on 21st November 2022. Posted in Film.

In an attempt to deepen my appreciation of film – and have a break from films starring Harry Styles – it seemed only fitting to give Martin McDonagh’s The Banshees of Inisherin a watch. With whispers of an Oscar nomination for Colin Farrell, and a stream of overwhelmingly positive reviews, my curiosity was struck.

McDonagh directed both In Bruges and Three Billboards Outside Ebbing, the latter being a favourite of mine. But I must confess, when I first saw the trailer for the Banshees I was left wondering what could possibly fill the two hours? One of today’s most acclaimed directors making a film about a mere falling out… seemed a bit meh to me.

To help me out, I brought along my favourite film-buff duo and die-hard In Bruges fans – also known as my mates James and Louis. This particular panel is one-half Irish, one-half actor, so I felt it rather fitting. And how lucky I was to have them point out that what I had originally perceived as ‘meh’ was, in fact, a pretty expertly crafted, rather beautiful, allegory of Irish history.

The film itself is a fable, and a hilarious one. Lifelong old friends from the remote and scarcely populated island of Inisherin, Colm and Pádraic, have been wasting away the hours at the pub together since they can remember. Suddenly, one morning Colm decides he’s had enough of his confidant and insists Pádraic leave him alone to focus on his fiddle playing.

Pádraic, the smiley simpleton of an already simple island, can’t seem to wrap his head around his friend’s change of heart. Pádraic’s insistence on repairing the unprompted damage soon provokes Colm to threaten to cut off his own fingers if he isn’t left alone.

Throughout the dark comedy Pádraic’s sister Siobhán yearns for a more meaningful life on the mainland; none-the-wiser neighbours weigh in on the conflict and a witchy old woman observes all the tribulations. A true highlight of the film is Barry Keoghan’s performance as the ultimate village idiot, Dominic, who still suffers his fair share of tragedy.

It may seem like not an awful lot happens, but McDonagh has found his previous work too plotty. And the product of this reflection is a sombre introspective tale of friendship and legacy.

My informal film buff team then helped me pick apart the film over an even more informal pint. James explained that the relationship between the two friends nods to the Irish Civil War. Colm and his insistence on leaving a lasting mark represents the shift from old Ireland to new. His self-appointed role as the worldliest figure on the island contrasts the majority of islanders who are happy to go on with their lives. It’s no surprise, then, that conflict occurs.

The history between the friends is what originally makes the conflict seem farcical, then eventually so tragic. Both sides appreciate there are lines considered too grave to cross. Although just a donkey and a dog in the film, it’s clear that certain damage is irreparable. What begins as a shockingly violent out-of-nowhere conflict is left with scars just deep enough to last, even when the two shake hands.

Louis then reminded me how clever McDonagh can be. Siobhán, truly smarter than everybody, was always ready to be part of the new Ireland. She’s the only character always dressed in colour. She’s never truly welcome by the other islanders. She’s the only one who eventually makes it to the mainland in the end.

Not only is the film backdropped by sublime landscapes, the entire cinema was giggling. It’s certainly worth a watch, or even two. What is so poignant about the supposedly 100-year-old tale is that it could happen between friends now. You are left with a resounding feeling of whether human nature really changes and if we’ll be remembered once we’re gone.

The Banshees of Inisherin is in cinemas now.

Charlie Hickey smiling with his guitar at his performance

Live review: Charlie Hickey at Night and Day Café

Written by Imogen Mingos on 21st November 2022. Posted in Music.

Charlie Hickey is a 21-year-old indie rock singer-songwriter from California, currently touring the U.K. with his latest album Nervous at Night. When asked about his music, Hickey said that, “The way that I prefer to hear music is alone in my room and I think I make music for that setting”. Growing up in a family of “neurotic musicians” (‘Mid Air’) and signed to Phoebe Bridgers’ record label Saddest Factory Records, Charlie Hickey is well-versed in the music industry – and his performance at Night and Day Café last Monday completely demonstrated this.

Hickey came on stage with a smile and effortless confidence that was well warranted. With smooth vocals and poetic lyrics, he soon came alive and built a rapport with the audience. He cracked jokes, asking the audience questions and answering theirs in return, which created the sense that you were listening to him at home.

When interviewed, Hickey said that, “whatever the energy of the crowd is, that’s my energy”, and this was definitely the case during his Manchester performance. I asked him how he found touring in England, and he replied: “I think people like to have fun a little more over here”, which made me feel quite proud to be attending.

The songs themselves were emotional and vulnerable, with Hickey describing ‘Planet with Water’ as “earnest”, which I believe could summarise his whole album. In our interview, he said that he was currently most proud of his song ‘Mid Air’, as it was “authentic and personal”. This certainly came across in his performance on Monday as the audience swayed to the music, holding on to his every word.

Hickey said that his songs always start “with an event or person in my life”, or sometimes with “a music idea or ‘vibe’… and that will illicit a feeling or story”. But he added that “I think my proudest song is one that I haven’t released. So you’ll hear that one day.” That is certainly something for fans to look forward to!

The set was short but sweet, with a couple of older songs as well as ‘Thirteen’ and the album’s title track, ‘Nervous at Night’. This song has one of my favourite melodies, and dancing to it with other people who also loved the song was a surreal experience. The lyrics from ‘Thirteen’ are arguably Hickey’s best, though, due to their sheer rawness and power: “I grew up and you didn’t/ I guess that it’s fucked up to feel like I’m winning”. Lyrics like these add an extra layer of sophistication to the album as a whole, and separate the song from other coming-of-age tracks that often feel diaristic or – dare I say – cringe.

Night and Day Café was the perfect setting for Hickey’s concert: with the red and blue lighting and slow-moving disco balls, I felt like a main character in a movie with a cinematic track playing. If you’re looking for a body of work with authentic and powerful lyrics to provide a soundtrack to your main character moment while you walk down Oxford Road, then make sure to check out Charlie Hickey’s Nervous at Night!

Nervous at Night is out now, and you can stream it below:

Battle of the October albums

Written by Libby Elliott on 21st November 2022. Posted in Music.

The 1975 – Being Funny in a Foreign Language

October 14

Best Listen

The 1975 open with a track named ‘The 1975’ at the start of each of their albums. Following their frankly bog-standard fourth studio album, an overwhelming sense of relief and excitement came over me when I heard Being Funny in a Foreign Language’s opener.

The rest of the album was perhaps one of the biggest “Thank God!” moments of my life. Almost like I had a son who got really into a failed techno DJ career the last few years and just turned around to me to say “Mum, I’m going back to uni”. The band’s now shameless embrace of their old sound, but still with a few experiments chucked in there, shapes this up to be one of their best albums since their first two – potentially altogether.

It mirrors the I like it when you sleep era, with clear references to their debut album the 1975. ‘Happiness’ nods to its little cousin ‘The Sound’ while ‘All I Need to Hear’ echoes ‘If I Believe You’. Being Funny in a Foreign Language shows off what the 1975 do best: a few of their ‘Robbers’ style ballads, their Scritti Politti-esque upbeat hits and the oh-so-reliable self-importance interlaced in their lyrics.

Matty Healy seems to have finally struck a balance between the postmodern pretentiousness that he drowned himself in on A Brief Enquiry and the genuine original sound of the band. Although the self-diagnosed existential prophet still shines through in some lyrics. “Vaccinista tote bag chique baristas”… “full of soy milk and so sweet it won’t offend anybody”… “Olivia’s been a vegan since ten”. Not for everyone, and I sense Matty does revel in that a bit.

Following him on Instagram (which I would highly recommend for a laugh or the odd eclectic meme), has helped to gage the inter-October album tensions. Matty posted a meme about himself after the stream of 21st releases of a bloke yelling “I’m the best”, which he captioned “me when The Car and Midnights came out”. He is joking, however, as a die-hard Swiftie himself.

The 1975 have definitely done well to embrace their old sound. As Matty Healy even confessed to The Guardian, after years of trying to capture everything, everywhere, all at once, here he was happy to scale it down. But the band certainly did not play it safe. The instrumental arrangements are elevated, the album itself is just the right length and this is the first time I have noticed non-1975 fans properly listening to them in a while.

Arctic Monkeys – The Car

October 21

A hit-and-miss with a few hits

For context, my flatmate and best friend has just got a mirror ball tattoo. So, if I go missing after this review, tell the authorities it was her.

Confusion surrounds this album for me. Not because it is bad, because some parts of it are so strong – I just do not understand what they are trying to do. I really did enjoy this album: instrumentally it is insane, almost as if you are listening to an orchestra. But I do not like it for the same reasons that I have always liked the Arctic Monkeys.

The two hits ‘There Better Be A Mirror Ball’ and ‘Body Paint’ are really strong songs. Somewhat ethereal listens with enough nods to the band’s former rock to satisfy any Monkeys fan. Yet, the rest of the song titles are almost bizarre. It is almost as if Alex Turner has had a swig of Matt Healy’s self-prescribed holy water when naming the tracks.

If you have the patience for their new sound the album certainly is a grower, yet a far cry from their former sound. But such is Alex Turner’s intention – I am sure the next indie boy you end up on a date with at Fuel with will mansplain to you that this was the band’s natural evolution.

I do think if you like music, you will like this album. However, if you like the old Arctic Monkeys, you probably will not. There are clear influences from the past laced in there if you listen closely enough. My flatmate, perhaps the most advanced Arctic Monkeys scholar in her field, does inform me that there are heavy tones of the Humbug album throughout.

Give ‘Hello You’ and ‘I Ain’t Quite Where I Think I Am’ a listen before you write this album off altogether.

Loyle Carner – Hugo

October 21

At his very best

In the confusion of all these releases I completely forgot about Loyle Carner and had a lovely surprise when I realised I had a whole new album to listen to on my Sainsbury’s run. 30 minutes later I was walking through Fallowfield in tears. Carner is at his very best here, without question, keeping all the former finesse but making far more moving music.

The singles that came out prior to the album’s release – ‘Georgetown’ and ‘Nobody Knows (Ladas Road)’ were already described as career highs before hugo’s release. It is pretty widely agreed that Carner has outdone himself this time round.

Hugo is certainly his most political and personal album. He takes deep dives into his identity, exploring both his mixed-race roots and ADHD. Carner being a dad himself now, and having reconnected with his estranged father, shares with us the darkest elements of his relationship with fatherhood. It is a remarkably profound album, with enough of the upbeat neo-soul tracks that he’s so well known for to ensure hugo is a balanced record.

Carner has playwright and poet, John Agard, and East London soul singers JNR Williams and Olivia Dean featured on various tracks. It truly is a piece of artwork. It is political, emotional, funny, bleak. Musically, I do not think there is anybody else out there doing quite what, or doing it as well as, Loyle Carner does.

‘Plastic’ is one of my favourites by far, the kind of tune you would play while having little boogie to yourself while you cook. ‘Nobody Knows’ encapsulates what Carner accomplishes with the whole album if you are in too much of a rush to listen to the whole thing.

Taylor Swift – Midnights

October 21

The People’s Winner

For all the advanced music jargon I have just danced about with, am I about to give the crown to my tween-pop-hero? Absolutely.

I would recommend we all stop fighting it, and just admit this woman never really misses. Her longevity is unrivalled. Whilst Katy Perry is doing the Just Eat ads, Taylor Swift has just broken the record to become Spotify’s most streamed artist in a day.

Officially the top-selling album of 2022 so far, Midnights is full of Taylor’s classic Easter-egg moments. There are cheeky nods to Scooter Braun and Jake Gyllenhaal if you listen closely enough.

With lyrics born out of Taylor’s insomnia, there are certain hall of fame tunes in there. ‘Anti-Hero’ and ‘Bejewelled’ already have music videos in the tens of millions of views. The album may not appeal to the Folklore and evermore cohort that joined the gang during Covid, but the 1989 and Red loyals are in for a 2014 Taylor era treat.

As much as it is not everyone’s cup of tea, you have to admit that Taylor’s longevity is relatively unmatched – she’s on her 10^th studio album and breaking her own records still. And not to mention, most of the songs are bangers.

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Month: November 2022

Below Deck Mediterranean

Keeping Up With the Kardashians

Tabitha Takes Over

60 Days In

The Design

The Music

Don’t rush

Don’t let other people rush you

Don’t live with your partner or couples

Pick people who are easy to live with

Don’t go too big

Make sure that your landlord is credible

Live near a bus stop

Give the house a chance

Be safe

The power of music and movement

An anti-ageing remedy?

It’s good for the young too

The 1975 – Being Funny in a Foreign Language

October 14

Best Listen

Arctic Monkeys – The Car

October 21

A hit-and-miss with a few hits