Physicist Zhi-Ming Yuan and his colleagues at the University of Strathclyde are the recipients of this year’s Ig-Nobel prize in physics for their research into the reason ducklings swim in formation behind their mothers. It is hoped the research could be applied to explain the formations of other swimming birds, such as swans, as well as being used to make water transport more efficient.
Ducks a-surfing
The ideas behind duckling formation are similar to those behind surfing – the wave patterns on the water interact with the ducklings swimming on the surface pushing them forward. This makes it easier for the ducklings to swim.
Picture a duckling on a flat-level surface of water. The weight of the duckling acts vertically downwards, and the equal and opposite buoyant force acts upwards on the duck. If the duck is on a wave, then a component of the buoyant force is in the direction the duck is swimming. If the duck is in front of the wave, this acts in the same direction as the motion of the duck, making it easier to swim.
Seven ducks
The problem gets a little more complicated when considering a group of ducks on the surface of the water, as they all produce wave patterns that interact with each other in a process called ‘interference’.
The team at the University of Strathclyde modelled the mother duck as a large ellipse and the ducklings as small ellipses following behind. They then simulated the positions of the ducks in the wave pattern that allowed them to use minimal energy to follow their mother.
They found that the ducklings should keep the same speed as their mother and that, unlike in the surfing case, the ducks should swim in the troughs (dips) of the wave pattern produced by the mother duck in order to be propelled by the waves. This is unlike the surfing case because the waves produced by the mother and the ducklings themselves interfere making this position in the wave favourable.
This simulation provides a physical motivation for the synchronised swimming formations seen in ducks, swans, and other birds. Beyond just following their mother, these formations allow the small ducklings to ‘ride’ the wave their mother creates, making it easier to swim.
Manchester has the greatest theatre scene outside of London. There’s numerous theatres, and a diverse selection of theatre (plays, cabaret, etc.), but musicals are, without a doubt, the most popular form of theatre. So here are the musicals coming to Manchester (and Salford) this December!
“Set against the majesty of the Serengeti Plains and to the evocative rhythms of Africa, Disney’s multi award-winning musical is a unique theatrical experience that you will remember forever.”
“‘Here’s to a woman who conquered the murky world of Westminster with nothing but wit and gumption… and enough hairspray to turn a tsunami into a kiss curl.
As the first female speaker of the House of Commons, Betty Boothroyd is a Dewsbury girl to celebrate, and the five ladies (plus Calvin) of The Dewsbury Players are going to do just that… through the medium of musical theatre! Their high-kicks may be wobbly, their acting ‘enthusiastic’ and the props left over from a production of Miss Saigon; but, tonight, the Village Hall is their theatre of dreams! Emboldened by their heroine’s indefatigable tenacity, this amateur group prove themselves to be extraordinary women on and off stage.
Maxine Peake (Funny Cow & Anne) and Seiriol Davies (How to Win Against History) write and star in this brand-new production, directed by former Royal Exchange Theatre Artistic Director Sarah Frankcom. At a time when everything seems so polarised, Betty is a heart-warming celebration of the human spirit and the unexpected rewards that can come from thinking outside of the dispatch box.”
“How the Boy became a Man. How the Man became a Legend.”
From the writer of The Wonderful Wizard of Oz comes the world premiere of Claus The Musical. Based on the beloved children’s book The Life and Adventures of Santa Claus by L. Frank Baum, this brand-new musical is as magical as Christmas itself.
With spellbinding songs from Andy Collyer, heart-warming storytelling, enchanting sets, and a whole load of festive fun, discover the story of Claus and how he became a man forever in our hearts, and on Christmas Eve, forever in our skies.
Abandoned as a baby in the magical Forest of Burzee, he is gifted to Necile, a wood nymph, who showers him with love and names him Claus. With a helping hand from the mystical inhabitants of the forest – Fairies, Knooks and Ryls – she teaches him that kindness is the most important lesson of all, a gift that Claus eventually shares with us, as he embarks on a journey to bring the miracle of Christmas to the whole world.
Make Christmas in 2022 unforgettable and book now!
Adapted for the stage by Simon Warne, Claus will warm the hearts of everyone from 7 to 97, and is a truly joyful production for the whole family to cherish and enjoy together.”
“The Musketeers; Athos, Porthos, Aramis and D’Artagnan return for another swashbuckling adventure! The King’s crown has been stolen and an innocent woman has been framed for it – can the Musketeers solve the mystery in time? And who on earth is the Duke of Salford? Barton Theatre Company proudly presents another Pantoland Adventure written by Natasha Raso and Daniel Chadwick. Christmas fun for all the family. Recommended for ages 5 to 95.”
Direct from its triumph in the West End where it won the Laurence Olivier Award, Pride and Prejudice* (*sort of) is a unique and audacious retelling of Jane Austen’s most iconic love story. Men, money and microphones will be fought over in this irreverent but affectionate adaptation, where the stakes couldn’t be higher when it comes to romance.
It’s the 1800s. It’s party time. Let the ruthless matchmaking begin. “
“Head Over Heels is the bold new musical comedy from the visionaries that rocked Broadway with Hedwig and the Angry Inch, Avenue Q and Spring Awakening. This laugh-out-loud love story is set to the music of the iconic 1980’s all-female rock band The Go-Go’s, including the hit songs, ‘We Got the Beat,’ ‘Our Lips Are Sealed,’ ‘Vacation,’ Belinda Carlisle’s ‘Heaven is a Place on Earth’ and ‘Mad About You.’
A hilarious, exuberant celebration of love, Head Over Heels follows the escapades of a royal family on an outrageous journey to save their beloved kingdom from extinction—only to discover the key to their realm’s survival lies within each of their own hearts.”
“Set on a Greek island paradise, a story of love, friendship and identity is cleverly told through the timeless songs of ABBA.
Whatever age you are, you can’t help but have the time of your life at Mamma Mia!
Join us at Mamma Mai! and enjoy the ultimate feel-good factor at the world’s sunniest and most exhilarating smash-hit musical!
Sophie’s quest to discover the father she’s never known brings her mother face to face with three men from her distant romantic past on the eve of a wedding they’ll never forget.
Whatever age you are, you can’t help but have the time of your life at Mamma Mia!”
Photo: Mamma Mia!
So, there you have it – a splendid selection of marvellous musicals (and pantomimes) to choose from! Stay tuned for what’s on in February.
During the winter months, polar bears hunt seals on the vast sea ice, fattening up on the plentiful marine bounty. In May, when the sun comes out and melts this ice, the polar bears are forced onto land. Over the summer, the bears must preserve their energy stores to survive the long six months until the next freeze.
Climate Change
In 2021, the average global surface temperature was 0.82oC warmer than in the 20th century. With summer temperatures increasing every year, larger ice areas are breaking up, pushing the polar bears deeper into human habitats.
Currently, only female and cub polar bears have been observed chasing geese, an activity which can require more energy than is gained from such a small portion. This indicates the energy cost is not worth it for larger male bears who can successfully take down caribou, a type of reindeer.
As polar bears are forced to live off the land for a larger proportion of the year, the pressure on these food supplies increases. In the near future, we may see male polar bears forced to compete for geese.
Protecting polar bear habitats
Sea ice loss from climate change has led polar bears to be classed as a vulnerable species. The most significant population loss has been found in the Hudson Bay area of Canada, where 60% of polar bears live.
Increased commercial activities and conflicts with people have also contributed to the loss of polar bears from this region. Specific tourism activities venture out into the remote habitat to ‘see the polar bears’ on snow buggies.
Protecting the polar bear’s natural habitat on sea ice and land can only truly be achieved by combating climate change.
Following three sold-out West End runs and a smash hit UK tour, Death Drop is back! The drag murder mystery sensation has returned with a brand-new show: Death Drop: Back In The Habit. The show promises to be another “killer show… that absolutely slays.”
Whilst the first Death Drop centred on a mysterious, glamorous hostess inviting a bunch of outrageous divas to her secluded mansion, the standalone sequel has relocated the action to a Convent!
The plot follows a gaggle of fabulous Nuns trapped in their Convent with a serial slayer slashing their way through the Sisters. As the clues are unearthed by Sis Marple, you’ll be laughing in the pews as the hilarious, fierce, all-drag killer comedy comes to its thrilling and uproarious conclusion.
Casting varies from venue to venue. Sadly, Willam (who led the first tour) has now departed Back in the Habit. Willam is known for playing transgender woman Cherry Peck in Nip/Tuck, competing in (and being disqualified from) the fourth season of Drag Race, and starring in EastSiders (for which she was nominated for a Daytime Emmy Award).
The second half of the tour is set to be led by Drag Race legend Jujubee, who has competed in numerous RuPaul competitions. She came third place on season two of Drag Race, joint-third place on season one of All Stars, runner-up on season five of All Stars, joint-1oth (last) place in Queen of the Universe, and third place in UK vs. The World.
Jujubee previously stared in the third West End run of Death Drop. She will get back in the habit from January 31 in Dublin. Jujubee will be replacing River Medway (Drag Race UK series three – joint-sixth place) as Sister Maria JulieAndrews, who departs the tour on January 28 in Aberdeen. We’re gutted we won’t get to see Medway in action, but you know what they say? When a new Supreme rises, the other one fades away…
Kitty Scott-Claus, who also starred in Death Drop in the Wet End, joins the tour on January 10 in Sheffield (replacing Willam) and will make it until the very end (but the end is Birmingham so she might not be too happy about that). Scott-Claus is best-known for being joint-runner-up in the third series of Drag Race UK.
Completing the main cast is Cheryl Hole, female drag queen Victoria Scone, and Drag King LoUis CYfer.
Cheryl Hole came fourth place in the first series of Drag Race UK and eighth place in UK vs. The World. Victoria Scone, the first female contestant in the franchise’s history, came tenth in series three of Drag Race UK, after being forced to withdraw because of a knee injury. However, she returned to the franchise this year, starring in Canada vs. The World, where she came joint-third. LoUis CYfer, meanwhile, is one of the country’s best-known Drag Kings; he starred in the original Death Drop.
Death Drop comes Trafalgar Theatre Productions and TuckShop. Trafalgar Theatre Productions produces new shows and classic musicals in London and internationally, including Anything Goes, Jagged Little Pill, Jersey Boys, The King and I, The Rocky Horror Show, and War Horse.
TuckShop, meanwhile, is the UK’s leading drag production company. They recently produced Who’s Holiday!, starring Miz Cracker, which had its European premiere at HOME in Manchester before transferring to London’s Off West End. I caught the penultimate Manchester show, and Miz Cracker brought me onstage and then derided me for the rest of the show!
I caught Death Drop at The Lowry last year. As a fan of both drag and murder mysteries, I knew I’d love it, yet the show exceeded my high expectations. So, book yourself a ticket today – but be prepared to get slayed!
Strictly Come Dancing’s Giovanni Pernice always seems to be on tour. He starred alongside Anton Du Beke in Him & Me in both 2021 and 2022, with new dates next year. He completed a solo tour (This is Me) last year, and he’s set to begin a new solo tour (Made in Italy) in early 2023. He’s incredibly sought-after, with thousands of Strictly fans keen to see him in the flesh (and, oh, does he show his flesh).
Since joining the hit BBC show in 2015, Giovanni has become one of the best-loved and most successful dancers on the programme – and in the country. He secured a place in the final thrice, before finally lifting the glitter ball in 2021 with celebrity partner Rose Ayling-Ellis, the show’s first ever deaf contestant.
Giovanni had previously described himself as “always the bridesmaid… never the bride”, before finally winning with Rose. The iconic show dance where they danced in complete silence won the pair a BAFTA.
If that wasn’t enough, Giovanni also received the earliest ever perfect score in the show’s history, as well as overtaking former professional dancer Pasha Kovalev to receive the most ever 10s.
This year, he was part of a same-sex partnership with footballer-turned-TV-and-radio-personality Richie Anderson. This came after Giovanni unashamedly danced with male audience members at each date of his This is Me tour.
This is Me had audiences raving, “Giovanni’s best show to date”, “The best show I’ve ever seen”, and “‘Most magical and captivating show ever”. These glowing reviews are why, unlike most Strictly stars, Giovanni can tour year-round (outside of Strictly season, of course).
After last year’s sold-out solo tour, Giovanni invites you to join him on a journey to his homeland in Made in Italy.
Former Strictly star (and two-times champion) Oti Mabuse similarly took audiences back to her homeland, South Africa, in her recent tour, I am Here. It’s a winning formula, in which audiences get to learn about the stars whilst being treated to traditional forms of dance.
Giovanni’s Italian-themed show features an incredible soundtrack, stunning choreography, and beautiful costumes. But be warned… in Italy, it can get hot!
Made in Italy features an outstanding ensemble of some of the best dancers and singers from the ballroom and theatre world. Giovanni’s leading lady is, once again, Lauren Oakley – following on from both Him & Me and This is Me. My mother and I were both mesmerised by Oakley in the latter, and we were not at all surprised when she joined the Strictly cast this year. Whilst she currently only competes in group pieces, it’s only a matter of time before she becomes a competing dancer, with a celebrity partner of her own.
A handful of Made in Italy shows will feature a British Sign Language interpreter, including the Salford show. Giovanni’s last Manchester show, at the Bridgewater Hall, had also featured a BSL interpreter, and Giovanni even did some signing himself. We were sat near a group of deaf folk who looked delighted. Giovanni has learned a lot from Rose, and he’s keen to make dancing more accessible for deaf people.
Made in Italytours the UK from January 18 to May 7, with a stop at The Lowry (Lyric Theatre) on January 27. A limited number of VIP Meet and Greet tickets are available at each venue.
Him & Me, which Giovanni stars in alongside Anton Du Beke, tours the UK for the third time from June 29 to July 30, with two shows at The Lowry (Lyric Theatre) on July 16 (the matinee has a BSL interpreter).
Whilst you wait for the Italian sun to rise in not-so sunny Salford, check out our reviews of Giovanni’s previous shows, Him & Me and This is Me, as well as fellow Strictly Theatre Co. show Burn the Floor (starring Kevin Clifton).
Be sure to check out our other Strictly content too.
Gold has long been coveted by humankind – illustrated by the gold rush free-for-alls that swept the world during the 19th century. Its rarity and lustrous shine means people throughout the ages have used it to craft jewellery and sacred artefacts.
We have also used gold in medicine for centuries. Historical sources as early as the Roman Empire record the use of gold compounds to treat ailments, this is something we still do today. Sodium aurothiomalate and auranofin are both gold-containing drugs used to slow the progression of rheumatoid arthritis, and auranofin could even be used to help treat HIV too.
Although gold compounds can be used in medicine, elemental gold itself is extremely unreactive. As a result of its reluctance to engage in chemical reactions, it’s perfectly safe to eat! So safe, in fact, that it has its own E-number: E175. Edible gold is used to craft the most indulgent, extravagant dishes possible, such as the ‘gold steak’ available at Nusret Gökçe’s (a.k.a. Salt Bae) restaurants around the world.
Gold also has uses in science and technology, especially in space. As a good reflector of electromagnetic radiation gold has found its way into the visors on astronaut’s helmets, completing their iconic look and shielding their retinas from the power of the sun.
The recently-launched James Webb Space Telescope also takes advantage of gold’s reflectivity by having a microscopic coating of the metal on its primary mirror. Gold was chosen as it is especially good at reflecting infrared radiation – the main type of light the telescope will observe.
Its beauty, scarcity, and numerous useful physical and chemical properties mean gold has been used, worn, and eaten by humans for centuries. We may not use actual gold coins anymore, but as you can see from these examples we won’t be abandoning it any time soon.
On the fourth day of Christmas, my true love gave to me… four colly birds? Calling birds? Which is it?
Modern audiences will typically sing calling birds, but the original was colly birds, and it turns out there are scientific explanations behind lyric transformations of this kind – known as mondegreens.
What are mondegreens?
Mondegreens are incorrect words or phrases arising from the mishearing of lyrics in popular songs. The term was coined from a 1954 essay by Silvia Wright, in which she remembered how as a child, she misheard the start of one of her favourite poems, The Bonnie Earl O’Moray: “They hae slain the Earl o’ Moray, And Lady Mondegreen”
The line was in fact, “And laid him on the green,” and the incorrect word – which Wright quipped was better than the original, was used to name the phenomenon.
Why do we mishear lyrics?
Sound is made up of pressure waves travelling through the air. When it reaches our ear canal, the ear drum vibrates, and a few small bones amplify this vibration, passing it through towards the cochlea.
The cochlea is a spiral-shaped component covered in thousands of tiny hairs, which convert the vibration into an electrical signal, which is then interpreted by the brain.
The way the brain interprets the signal is hugely complex, which is why the perception of sound varies so dramatically from person to person. Add in layers of confusion introduced by music, such as instruments that might muffle the vocal line, and it’s hardly surprising that so many people mishear lyrics from popular songs.
Psychological research suggests that we are likely to substitute a phrase we don’t hear clearly with one which makes more sense to us. In addition, it’s harder to hear the correct lyrics when the brain has formed a version they now expect to hear.
Sound and hearing are hugely subjective, as is our enjoyment of lyrics and poetry. The poor colly birds may therefore have to resign themselves to being left out of the 12 days of Christmas, at least for now.
The infection is caused by an avian influenza Type A virus. Direct infection occurs when the virus is spread through exposure to saliva, mucous or faeces from other infected birds. It causes many symptoms including, a swollen head, closed and runny eyes, lethargy and sudden death.
The avian influenza Type A virus infects the birds’ cells by inserting its RNA, the genetic material that encodes the different viral proteins. The virus then manipulates the host cells to begin to read this RNA using host cell machinery, producing the viral proteins and replicating the viral RNA. New viral cells are formed which can go on to infect more cells and new hosts.
How can we diagnose our hens?
The only way to confidently determine that the birds are infected with avian flu is through laboratory tests. Government guidance for anyone who is the owner of poultry is to speak to your private vet if you are concerned about their health and report any symptoms immediately.
Turtle doves will not be a gift given by lovers this Christmas, as turtle dove numbers have plummeted by 98% in the UK, making them the fastest-declining species in the UK. These long-distance migratory doves usually spend the winter in sub-Saharan West Africa, then migrate to Europe for breeding. However, the loss of breeding grounds and unsustainable hunting practices have led to them becoming a highly-threatened species. A national survey recorded approximately 2,100 pairs of turtle doves in the UK in 2021, a steep decline from 125,000 in 1970.
Save the turtle doves
Conservation organisations have launched operations to combat these dwindling numbers and increase breeding. Operation Turtle Dove launched in 2012 by the RSPB aims to restore and create habitats for these birds to breed in the UK. This involves a collaboration between farmers, communities and volunteers to provide nesting and feeding habitats for turtle doves.
International efforts are also taking place to help restore the turtle dove numbers, with turtle dove hunting being banned in France, Spain and Portugal in 2021. Previously, it has been estimated that a million birds are shot each year in southwest Europe.
Alas, not much to say on partridges or trees this Christmas, but there is good news for your pear and apple crumbles, pear tarts, and poached pears alike.
Improving fruit preservation
To keep them fresh, most hard fruits, like apples and pears, are covered in an artificial wax coating before getting shipped off to the supermarket. There is generally a negative response to this artificial wax coating, with many finding the unnatural preservative chemicals off-putting, despite the ‘Food Grade’ safe certificate stickers.
Unfortunately, the ‘Food Grade’ safe certificate doesn’t indicate environmental friendliness, and petroleum-based waxes are not currently developed from particularly sustainable sources. However, recent research presented in the Journal of Food Science and Technology International (FSTI) brings good news for the wax-coating-naysayers. Scientists from Universidade Federal de Sao Carlos in Brazil have found a new combination of materials to use to replace wax: Chitosan and montmorillonite nanocomposites. This recipe is proposed to be more biocompatible and biodegradable, whilst also having antimicrobial properties.
Chitosan and montmorillonite explained
Chitosan is a biopolymer developed from chitin – a naturally occurring material which you may remember from plant cell biology. Chitosan has characteristics which are perfect for an edible coating: it is a great adhesive, is fully biodegradable and is non-toxic. There is, however, some concern about chitosan interacting with water which could reduce its ability to preserve fruit. The research presented in the FSTI journal shows findings that chitosan can be improved with montmorillonite.
The addition of montmorillonite (a mineral found in clay) improves the hydrophilic behaviour, barrier, and mechanical properties of chitosan. Montmorillonite has not yet been approved as food-grade safe but it is a low-toxicity material, and like chitosan, is extracted from natural sources. Overall it remains more environmentally friendly than petroleum wax coatings.
Malaria is an ancient disease, with evidence suggesting King Tutankhamun suffered from it. As a society, we have eradicated diseases such as smallpox and polio and invested billions of dollars in malaria research. However, over 600,000 lives were lost to the parasite in 2020 alone, and a universal preventative medicine is not yet within our grasp.
Plasmodium is a group of single-celled parasites which cause malaria, and they have complex lifecycles. This leads to one of the main challenges of malaria vaccine research: each stage of the parasite’s life presents a range of different potential vaccine targets. Trying to tackle each target is time-consuming and expensive.
The Plasmodium parasites can also hamper patients’ long-term immune responses, meaning that even if a vaccine is initially effective at preventing disease, any protection given could be too short-lasting to be of much use.
The parasite does this by making changes to the host’s immune system, making it harder for memory cells to do their job properly. Memory cells develop after infection and usually persist in the body, allowing a rapid immune response if the same infection appears again. They are why we only suffer from some diseases once before we gain long-lasting immunity.
The RTS,S vaccine: a groundbreaking moment in malaria treatment
The WHO estimated that a life was saved for every 200 doses administered, and as of 2021 over 830,000 children had been vaccinated.
This was a great step forward but is far from a perfect solution. RTS,S is only currently being rolled out for children and the vaccine’s efficacy is below 40%, a far cry from the WHO-specified goal of 75%.
Also of the five Plasmodium species known to infect humans, RTS,S only targets the one most commonly found in Africa, meaning this vaccine will not be as effective in regions that are most affected by different Plasmodium species.
The R21/Matrix-M vaccine, developed in part by the University of Oxford and the Clinical Research Unit of Nanoro, showed a welcome improvement in efficacy. In an update published this year the team found that if a booster shot was given following the initial vaccinations it was possible to achieve an efficacy of 75% over 2 years.
This is a marked improvement over RTS,S, and has the potential to save many lives if the medicine makes it to market. A clinical trial involving 4,800 children is currently underway. This trial will start to assess the result of large-scale administration of the vaccine, and will help determine whether the vaccine could be licensed.
mRNA vaccines: learning from COVID
The COVID pandemic has put mRNA vaccines squarely on the general public’s radar. This has accelerated research into RNA-based medicines, which one day may help us address malaria.
mRNA vaccines work by providing the patient with a piece of mRNA that acts as a template for cells to produce a certain protein, for example the COVID spike protein. When this protein is made and becomes visible on cells, the immune system recognises them as a potential infection and responds by destroying those cells. As part of this immune response memory cells are created, which persist in the body and allow a quick suppression of any future infection of the same type.
The vaccine candidate that Richard Bucala and his team have developed has a crucial extra feature: it is self-replicating. An extra instruction is included in the mRNA which tells the cells to keep making the protein instead of only making it once. This means less vaccine is needed per dose, making it cheaper and more efficient to manufacture.
Bucala’s team found that a protein called PMIF, released by malaria parasites, is responsible for the immune system’s poor memory when it comes to malaria infections. By targeting this protein with their mRNA vaccine they showed that mice given this medicine successfully produce antibodies that lead to the destruction of PMIF. Amazingly this meant the mice were then able to naturally fight off the malaria infection, and successfully developed immunity to further infections. The team hope to try their vaccine in human trials as soon as it’s safe to do so.
If the same immune memory effect is seen in humans, this mRNA technology could be combined with other vaccines, and may extend the short window of protection that malaria medicines often suffer from.
Looking forward
Each new step in malaria research brings a new challenge, but the significance of RTS,S cannot be understated. It’s another crucial piece in the puzzle that could save many lives. Promising new clinical trials and fresh approaches give hope that in the near future more effective vaccines could be available for malaria-stricken areas.
The fight against malaria is likely to remain a war of attrition, with each successive new drug representing an incremental improvement. However, we are nonetheless moving in the right direction. Continuing research into malaria prevention allows us cautious optimism that the impact of this horrific disease will continue to diminish.
There have been several huge Neil Gaiman adaptations in recent years. The two most notable have been television series: Bryan Fuller and Michael Green’s controversial adaptation of American Gods (2017), and Gaiman’s own adaptation of Good Omens (2019) – the novel he wrote with Terry Pratchett.
Also in 2019, Joel Horwood ambitiously brought Gaiman’s The Ocean at the End of Lane to life onstage at the National Theatre. The play’s success led to a West End transfer and now a national tour, with its regional premiere held at The Lowry.
Whilst Ocean is obviously a fantasy novel, it has many relatable themes, such as family and finding oneself, which the National Theatre has brought to the forefront. In some ways, the fantastical Ocean is similar to the real-world A Curious Incident of the Dog in the Night Time, one of the National Theatre’s most acclaimed productions, which premiered a decade ago. The National Theatre has applied a similar formula to Ocean. Whilst the former masterfully used lighting design to help establish the autistic main character’s way of seeing and being, the latter uses it, more conventionally but just as captivatingly, to create a world of magic.
Ocean follows a young boy, simply called Boy (Keir Ogilvy), still reeling from his mother’s death. He lives with his struggling but supportive father, Dad (Trevor Fox), and his sassy sister, Sis (Laurie Ogden). He soon befriends the strange but smart Lettie (played by Millie Hikasa, who steals every scene she’s in).
Lette lives with her strong-willed mother, Ginnie, and her wise, passionate grandmother, “Old Mrs Kimpton”. The former is played by Kemi-Bo Jacobs whilst the latter is played by Finty Williams (Gosford Park, Angelina Ballerina). Jacobs is convincing and sympathetic as a hardened mother whilst Williams is every bit as fabulous as one would expect the daughter of Dame Judi Dench to be.
The play’s villain, Ursula/Skarthatch, is played to perfection by Charlie Brooks, who is best-known for playing Janine Butcher in EastEnders (one of the greatest soap villains of all time, with a fitting surname).
It’s interesting that only the magical characters have names; the mortals are all nameless, rendering them ordinary and unexceptional; they could be any one of us.
The play’s ensemble, though nameless and often faceless, are the beating heart of the play. Their portrayals of Skarthatch in flee form (yes, really) and the hunger birds were striking; they worked together in tandem to bring the beasts to life.
The play’s plot, though nothing ground-breaking, is darkly intriguing. The play masterfully and metaphorically uses magic as a stand-in and aid for various socio-political issues. Dad is anchored down with unspoken anguish, weighed down by grief but desperate to be a better father to his son than his own father was to him.
After Boy rants at Ursula and flips over the table she has decorated with an enticing feast, Dad twice dunks him into a filled bath, briefly drowning him. Boy wants to believe that Ursula enchanted him but she promises she didn’t, and she has no reason to lie. It’s a careful, considered examination of generational trauma and an in interesting interrogation of the oppressed becoming the oppressor. Humans can be just as cruel as supernatural beings, and supernatural beings are not necessarily evil. Lettia, who fought to keep Skarthatch in the supernatural realm, insists that she is scared, not evil.
The real magic, however, is seen in the mesmerising production value. The dark, dull and dreary “real” world is wonderfully contrasted with the enchanting but terrifying magical realm – and the magic that inevitably escapes that realm and invades the world of mortals. As a huge musical theatre fan, when I watch plays, I often find myself waiting for characters to burst into song and dance, but Ocean trades music numbers for magic numbers – and they really are some of the most magical scenes I’ve ever seen in theatre.
My favourite scene has to be the one in which Ursula reveals that she is, in fact, Skarthatch. She exits the dining room with Sis, leaving Boy behind, and walks offstage, before suddenly re-entering the door onstage. The audience gasped.
Obviously, the woman who walked offstage with Sis was a member of the ensemble, dressed as Ursula, and Brooks somehow hid behind the door, but the execution was incredible; it really did feel supernatural. This happened a couple more times, in slightly different ways, and the audience never tired of the trick. The ensemble brought more and more doors onstage, Skarthatch magically replicating the room’s single door. Sound and lighting were employed to create a terrifying tension so thick you could cut it with a knife. It’s a scene that will stick with me forever. That is how you do theatre.
Whilst the play’s lore can be a little unclear (with new concepts suddenly introduced, many of them not properly established or interrogated), the simplicity is part of the appeal. Death and trauma can easily activate the imagination of an impressionable child, who might prefer to get lost in a nightmare than deal with the horrors of real life. Ostensibly, The Ocean at the End of the Lane is fantastical, but, at its core, it’s a story about family – and whilst few of us have had the (dis)pleasure of encountering magic, we can all recognise and appreciate the complexity and dysfunctionality of family.
The Ocean at the End of the Lane runs at The Lowry (Lyric Theatre) until January 8 2023 and tours the UK until the end of September.
We know Mars is an incredibly cold planet whose climate is so extreme that there is no possibility of it hosting living organisms on its surface. Indeed, until recently, scientists thought that all water on Mars is in ice form, frozen solid up to the surface of the planet.
Now, however, researchers have discovered potential evidence of liquid water beneath the south polar ice caps (known as the Ultimi Scopuli region) – evidence that there was once life on Mars…
Liquid water on Mars?
MARSIS, a planet-orbiting laser altimeter, has collected data from the surface of Mars, showing the measurements of the Martian ice caps’ patterns. These are modelled using measurements of the varying height in the upper layer of ice.
Alongside computer-modelled predictions of the effects of water beneath ice caps (based on the Earth’s poles and the subglacial lakes beneath them), scientists from the SPRI have found that the topological patterns predicted to match the data from MARSIS.
In 2018, the European Space Agency found possible evidence of liquid water below the surface of these ice caps using their Mars Express satellite’s radar measurements. However, at the time there was a general global consensus that the measurements were actually an indication of other dry material and not water, and researchers moved on.
This new evidence from MARSIS contradicts that consensus and backs up the 2018 prediction that there actually is liquid water underneath the Ultimi Scopuli region.
Why does it matter?
For water to remain liquid on Mars, there must be some geothermal activity. This means there must be some residual warmth on the red planet that is conducted through the ice, rather than being lost immediately at the bedrock surface.
Flowing ice creates friction which concentrates at the base of the ice cap and results in smooth flat areas on the upper surface of the ice caps. Similar flat stretches on the ice caps of Mars have been discovered and matched by both radar measurements and computer modelling.
For this water to be liquid at these cold temperatures, researchers acknowledged in the recent SPRI-led report that this water must be incredibly saline (decreasing its freezing temperature), too saline for most known organisms to survive in. However, this may not have always been the case. There is a possibility that at one point this water was less salty and Mars was warm enough to inhabit.
Perhaps we aren’t alone in the solar system after all?
Bev Craig, the leader of the Manchester City Council, gave an enthralling speech at Reclaim the Night. Following this, she joined Jess Walmsley and Erin Botten to be interviewed for another episode of Under the Spotlight.
Her speech at Reclaim talked about the lack of change in Manchester in regard to sexual harassment. She recalled her time as the Wellbeing Officer at the Students Union (SU), and how reclaim also took place during her time. Hence one of the first things we did when we brought her into the Mancunion office is see which editions she might have been in. Talking for a few minutes about how the SU was during her time and what parts she remembered.
“I think there are a whole raft of things that need to change.
However, during the speech, she added, “We cannot in five, ten, or 20 years time be stood here having the same conversations.” Positively, Craig exclaimed that she does see stuff changing. For example, the councillor referred to the increased diversity of the protestors and having speakers from marginalised groups.
It is also key to note that during her time, men were either not allowed to participate at all or were sent to the back of the march. Nowadays, men are included and welcomed in the feminist march against harassment and misogyny.
Bev Craig noted this modern development, stating, “I think having the participation of man in it is actually quite an interesting development. It can be quite powerful when we think about some of the societal changes that we need to see.”
Craig continued saying that for things to change, more political and legal conversations need to take place. For example, Manchester City Council has had conversations about making misogyny a hate crime.
Craig explains this discussion, stating, “categorizing that [misogyny] in a way that gives some legislative back into it – I think that needs to happen as well. Of course, we’ve seen challenges around police forces across the country and some of the attitudes that are there. I think there is a whole raft of things that need to change.”
Bev Craig came out being one of the few politicians who accept that there is a lot more work that they need to put in. She remained determined to go the extra mile and make these changes.
Reflecting back on her time leading Reclaim in 2008, seeing increased diversity at the protest and the emergency centres. Stating, “we need to do more to recognize the intersection difficulties communities face.”
Chang is slowly coming in, adding, “we’ve done a whole bunch of other things to make sure that people from other marginalized communities are feeling safe, but we’ve been at the forefront of tackling some of those big issues for quite some time.”
She was questioned about the long waiting in Manchester for counselling such as St. Mary’s. Craig responded, “[The Council] has seen its budget cut by more than £428 million a year since 2010.” This in turn makes it harder for them to fund the required changes.
“We’ve tried to get extra money flow into St. Mary’s [and] see extra resource go into there,” she added. “But I do think there is a challenge for accessing consciousness support, people need it rather than six, eight months down the line. And we’re working to do everything we can to try.”
Photo: Ibiwunmi Balogun @ The Mancunion
Craig expanded on her Night Time Charter, saying that it’s aimed at organisations employing a female workforce between the hours of 6am to 6pm. Its point is to increase accountability, making any nightlife venues safe from harassment for both staff and customers. This does not just include nightclubs or bars, but even places like McDonalds, who have signed up to the charter.
Bev Craig’s main goal for the Night Time Charter? To incorporate night safety into every part of daily life. Giving an example of architects being asked to put in LED lights to reduce their carbon footprint. The problem with LED lights is their intensity or lack thereof. With streets being less well-lit in order to reduce companies’ carbon footprint, people feel more unsafe walking about at night.
Hence, Craig point’s out the purpose of the charter is”to have those conversations when you’re designing things at the beginning when you’re able to debate with all of the top architects.”
We asked how many businesses have been involved with the charter. The councillor stated that there are a lot of nightclubs and bars that have signed up for the charter and these venues are seeing progress with it.
“I think that’s what’s quite energetic about it, because it is really flipping the way people think, by training sessions for some of those businesses. So we’ve done things like active bystander training, the door staff people running the bars night and it has been really well received.” However, Craig is trying to put pressure on places like McDonalds to make them safer spaces.
Still from Fuse TV interview. Photo: Shikhar Talwar @Fuse TV
From there the subject was moved onto spiking. Over a year ago, in November 2021, there was the End Spiking Now protest and Girls’ Night In. We asked about what changes have been made since it.
Bev Craig stated, “I’m a big fan that if you say you’re going to do something, do it but you do it for meaningful and lasting change.” Adding that the Council has put stricter rules on the licensing of places to ensure that they are safer.
The Council has also added a focus on policing and monitoring the spiking cases. Craig expending on this, saying she has had conversations with police on how such crimes can be reported.
“I’m a big fan that if you say you’re going to do something, do it but you do it for meaningful and lasting change.
Coming back to Reclaim: last year’s Reclaim the Night included a theme of sex workers. Hence, we asked what the Council would be doing about it.
Craig replied saying that the council is currently working with a lot of organisations: “I think one of the things that have come through to us really, is that actually, for most normal people, you think about the people that are relevant to you.”
As a result, the Council wants to have conversations with individuals, and talk about charities and what support can be provided.
Finally, Bev Craig was asked about her favourite sign at the protest. While meant to be a light-hearted question, Craig couldn’t help but talk about how important the DIY signs are. She alluded to how it shows how deep and individualistic the problem is.
As the interview ended she got up; had a little chat about our plans with Under the Spotlight. Then, with a determination to make a change, Bev Craig left the office.
With the countdown to Christmas on, it’s time to think about food for the big day. From turkey to nut roasts, mince pies to Christmas pudding, it really is the season to eat well. Each year supermarkets try to outdo each other with ever more luxurious and extravagant options. Have a read of some of our picks from Sainsbury’s, Lidl, Aldi, Iceland, Waitrose, and M&S.
Sainsbury’s
This year Sainsbury’s is offering a range of traditional sweet baked goods. Each comes with a twist or differentiation of flavour from the original.
First on this year’s list is the Cherry and Kirsch Stollen Bites with glacé cherries. Stollen is a Christmas German sweet bread, often made with dried fruit and nuts, and spices. The ‘bites’ are mouth-sized cubes that come in a pack of nine. They are soft and fluffy yet also a bit dense as expected with stollen, they are filled with marzipan and finished with a sweet dusting. These festive flavours are subtle and would make a good accompaniment on a Christmas dessert table.
To continue the theme of re-vamped traditional Christmas sweets, Sainsbury’s is also selling Ecclefechan Tarts, sometimes known as Butter Tarts. These are typically made from a mixture of sugar and dried fruit in a buttery shortcrust pastry, this year’s edition is filled with currants, almonds, and cherries. It can be eaten straight from the packet or alternatively heated to make a gooey and soft pudding.
The last of Sainsbury’s festive foods is Blood Orange Curd, less of a Christmas treat, but a special edition for the Christmas period nonetheless. Blood Orange Curd is a flavoursome twist on the classic lemon curd, an English spread that is sweet and tangy and great on fruit cakes or toast.
Lidl
Lidl: the holy grail for students. But don’t discount the supermarket for its festive treats, especially in the freezer section. This year Lidl have a great range of vegetarian and vegan party food, so keep an eye out for these especially.
For something a little bit different, check out their Palmiers. Palmiers are thin brittle pastries from France, whilst typically a sweet treat, Lidl has taken a savoury turn, making theirs with butter and parmesan pesto. They are a nice snack to have at the table for a Christmas celebration offering a decadent flavour that combats the undoubtable sugar overload that comes this time of year.
Lidl, like Sainsbury’s, are offering twists on classic treats. Speculoos Almond Mince Tarts are another take on a traditional Mince Pie. These Mince ‘tarts’ are made with shortcrust pastry. The lattice top encases the mince and almond paste, finished off with a generous sprinkling of flaked almonds. These really elevate the humble Mince Pie, taking it to the next level.
Aldi
Aldi is certainly competing well with other Supermarket Christmas selections. One product that stands out the most is their great Florentines. These are thin, crispy biscuits with a base of nuts and fruits, then half dipped in chocolate, leaving one side smooth and the other displaying the collage-like arrangement on the other side.
Have a browse of the puddings whilst you’re at it. Let’s be honest – not everyone is the greatest fan of Christmas pudding. After a big dinner, a Christmas pudding isn’t the most appealing option. Their Marbled Toffee and Pecan Roulade is the perfect swap, remaining a crowd-pleasing and equally festive alternative. With a soft meringue outside, a crisp interior, and a smooth toffee sauce, this one from Aldi is bound to get your guests asking for seconds.
Iceland
Iceland doesn’t seem to be doing anything too special this year but do keep an eye out for their Luxury Festive Roast. A vegetarian or vegan Christmas is never complete without a nut roast. This take on the classic dish has something for everyone, even for the most adamant of turkey lovers. Combined with rich gravy and all the trimmings, take the effort out of making it yourself with this one from Iceland. And ignore the calls of “it’s boring,” with a top layer of cranberry and onion chutney to round it all off.
Waitrose
Waitrose always impresses with its Christmas range. They seem to come out with something even more extravagant each year, their Limoncello Pandoro being one of them. After all, a pandoro just screams Christmas. Originating in Italy, this sweet bread is slightly more special than your typical French pastries, making it the ideal breakfast item during the festive season. Complimented by the sharp tangy taste of limoncello, it’s the perfect start to a Christmas Day morning.
You’ve also got to try their Sweet Potato Katsu Bites. Don’t question what a Katsu curry has anything to do with Christmas – just accept it. Sometimes the typical Christmas canapés can get a bit boring, but you can definitely keep your guests excited with these Sweet Potato Katsu Bites. If you’re a fan of Wagamama’s Katsu Curry, you’re bound to enjoy these. Fried breaded sweet potato wedges with that classic Katsu sauce – what’s not to like?
M&S
Like Waitrose, M&S always have an amazing array of festive food to keep everyone happy. Their Garlic Butter Brioche & Camembert Wreath should be going in your basket. This centrepiece is made for sharing. A soft wreath surrounds a melting cheese middle, a rich and indulgent savoury treat. Topped with semi-dried tomatoes, this gooey cheese is screaming to be dipped into with those garlic dough balls – the perfect combination of flavours and textures. Trust us, this will be gone quickly.
Whilst The Wonderful Wizard of Oz is one of the most famous stories in history and has been adapted countless times, L. Frank Baum’s other works are nowhere near as well-known, perhaps by virtue of rarely being adapted. That’s not because his other works are weak, but, rather, difficult to adapt.
His little-known origin story for Santa Claus, The Life and Adventures of Santa Claus, has recently been adapted for the stage as a musical called Claus. I love a world premiere, and it’s especially exciting seeing a brand-new show that I know nothing about.
The day before Claus’ press night, I caught Curve’s revival of Andrew Lloyd Webber’s The Wizard of Oz, which is based on the film of the same name, itself based on Baum’s most prolific novel. Whilst the production gave the story a makeover, I knew exactly what was coming; I’ve seen the film countless times. With Claus, however, I knew not what to expect; I knew he’d end up as an old man that travels the world and blesses children with toys, but I did not know how he’d get there – and I was excited to find out.
However, I was a little disappointed by the story. I know it’s based on a children’s novel, and the musical is very much a family show, but The Wizard of Oz is narratively complex and philosophically astute enough for adults to enjoy.
The flimsy narrative of Claus is Baum’s fault, but I do question the creative’s choice in adapting something so trite. It was probably inventive when it was written, but after scores of origin stories, the genre is exhausted, and this one falls flat. The story begins quite interesting but struggles to find its footing. Spoilers ahead.
A pre-show consists of magical beings interacting with the audience, on different levels of the theatre. It aids in transporting us to a magical forest, where each species (e.g. fairies) is led by a King or Queen, and somebody (who?) leaves a human child. The child is found and adopted by Necile (the wonderful, super talented Georgie Buckland) and loved by all in the magical kingdom – except the villainous Awgwa (played by the deliciously evil Jazz Evans, who chews up the scenery).
Awgwa and his motley crew are responsible for the misdeeds of humans; they whisper in their ears and convince them to hurt others. Awgwa attempts to thwart Claus’ efforts to spread kindness in the world by turning Claus, himself, evil – but he ultimately (obviously) fails. Whilst the defeat of the villain is inevitable, it could have been executed more excitingly. Instead, it is pretty sudden, with no feeling of jeopardy.
It’s all quite predictable and uninteresting. It feels under-written – even though the musical is twelve-years-in-the-making.
The second half of the second act, however, takes a more interesting, unexpected turn. Claus has become an old man whilst his fantastical family remain immortal and, thus, ageless. The Kings and Queens reveal that they can make Claus immortal with the one unclaimed magical cloak – the red one, of course! But it comes with a price: for a mortal to be made immortal, an immortal must became mortal.
Claus’s adoptive mother, Necile, sacrifices herself for her son, as any mother would. However, she does not die immediately. Instead, she grows old over time – and it is revealed that the kindly, old woman narrating the story is an aged Necile. It’s a beautiful, emotional twist.
Alwynne Taylor is wonderful as the narrator. She oozes expression and passion – physically, verbally and emotionally. I recently caught her in the world premiere of The Time Traveller’s Wife (where she, funnily enough, played an older version of the title character). Onscreen, Taylor is recognised for EastEnders, South of the Border, and Midsomer Murders.
Claus is played by the adorable Harry Winchester, who beams positivity; he’s exactly what you’d expect a young Santa Claus to be like.
The production’s design, meanwhile, deserves both praise and criticism. The stage design is beautiful; Stewart J Charlesworth has succeeded in creating a fantastical forest where immortals reside, aided by Aaron J Dootson’s lively lighting. Whilst the actors make great use of the space, the stage can sometimes feel overcrowded – especially because the stage in the Quays Theatre is quite small (unlike the Lowry’s immense Lyric Theatre).
The production’s use of puppetry is hit-and-miss. I generally enjoyed the use of stencil figures placed behind sheets of fabric, which resulted in large, beautiful shadows; it felt both child-like and whimsical. However, other aspects were not as successful. In particular, I was confused by the decision to have various actors grip on to Shiegra’s tail and move it around. Whilst I appreciate the intention to give the tail a life of its own, the execution was poor, and I found the movements to be quite distracting.
As I said in my review of The Wizard of Oz, bringing animals to life is not easy, but there are many ways in which you can succeed. Jessica Lim was on fine form as the kindly lion, and she should have been allowed to control her own tail or just have it dangle behind her. Sometimes, less is more.
Claus cannot possibly compete with the staples of the season, such as Elf, White Christmas, and the never-ending adaptations of A Christmas Carol (even Dolly Parton has one!). People often want something more familiar in the festive period, yes, but Claus also fails to match the magic of the aforementioned, thus, audiences might be disappointed in trying something new.
However, whilst Simon Warne’s script lacks jeopardy, I can appreciate Claus as a warm, child-friendly story with a positive message. The production is presented, and the story is delivered, with a sweet innocence that takes us away from these difficult times. It’s saccharine and sentimental, but so is Christmas, and sometimes all you want is some light-hearted escapism to make you forget the cost-of-living-crisis, our revolving door of Prime Ministers, and whatever rubbish has been spewed by Musk/Trump/Ye today. Bah humbug!
Claus – The Musical plays at The Lowry (Quays Theatre) until January 8 2023.
Despite numerous Christmas movies being considered cult classics of their genre, the genre is saturated by cheesy, feel-good films to watch with friends or family during the holiday season. There are some Christmas movies that are enjoyed for their nostalgia (personally that’s Elf for me), others are liked because they’re fun (Home Alone), but some are loved because of their cheesiness and those are the ones we’re going to look at here! In no particular order…
The Christmas film from my childhood is Elf. I’m not entirely sure why or how it became a family favourite, but it did until I was about 11 when we also threw Arthur Christmas into the mix (more on that one later!) For those of you who are unaware of the cinematic masterpiece that is Elf, the movie follows Buddy the elf played by Will Ferrell who is a human that has been raised as one of Santa’s elves in the North Pole.
He later discovers, as an adult, that he isn’t actually an elf but was in fact orphaned by his father as a baby. Buddy then goes on an adventure to New York City to be reunited with his father (the late James Caan) and to spread Christmas cheer. Most people say how much they dislike Elf due to its cheesy nature, but I think if you’re willing to look past that it is a funny, uplifting movie to get you into the Christmas spirit.
Anyone who knows me will know that I am not a rom-com person, but I am, however, a huge George Michael fan and so when I found out that a Christmas movie was being made with a soundtrack comprised entirely of his music, I had to watch it! The film stars Emilia Clarke, Henry Golding, and Emma Thompson.
It follows struggling aspiring singer Kate (Clarke) works as a Christmas elf in a store and bounces between homes when she meets charming and optimistic Tom (Golding). I won’t describe much more for fear of spoiling the ending, but I did thoroughly enjoy the plot twist. I didn’t find it an overly cheesy Christmas romance, so it was rated quite highly by my standards.
Now, this is a movie that rates highly on the cheese scale! The Princes Switch stars Vanessa Hudgens playing both Stacy a baker from Chicago and Lady Margaret of Montenaro (ala. Selena Gomez’s Monte Carlo). Stacy is entered into a prestigious baking competition by her assistant Kevin which she travels to with him and his daughter and meets Lady Margaret.
They are struck by how they look identical (Parent Trap moment anyone?) and decide to swap places for a couple of days until the baking competition and Margaret’s wedding. Obviously, lots of inconsequential drama and romance ensue which is to be expected from a Netflix Christmas movie… and there’s two more films in the series to stomach afterwards!
Let It Snow is another Christmas movie produced by Netflix but this one is based on the YA novel of the same name that contains three short stories about different romances that intertwine. The cast includes a cast of familiar faces among Gen-Z such as Isabela Merced, Odeya Rush, and Kiernan Shipka.
As it’s for teenagers, it is somewhat cheesy, but most romance movies are! I personally liked the different stories within although the book is definitely better than the film.
Cheese rating: A smorgasbord of different cheeses.
Holidate is a rom-com about Christmas cynic Sloane (Emma Roberts) who hates the holidays due to her family’s constant criticism and disapproval of her being single. Until she meets Jackson (Luke Bracey) and they agree to be each other’s dates but just on the holidays, only to develop real feelings for each other.
If you can’t spot how this film would be cheesy already then, I suggest you re-evaluate some things! I didn’t find this one to be overly funny and it isn’t particularly Christmas-y as it does take place over different holidays, but still, a good one to add to your list if you’re searching for films to watch.
This film features Jamie Lee Curtis and Tim Allen as Nora and Luther Krank, a couple who choose to boycott the holidays and go on a Caribbean cruise instead after their daughter leaves for a Peace Corps assignment in Peru.
However, their neighbours consider the couple social pariahs for not celebrating Christmas, but the Kranks remain strong until they discover their daughter will be home for the holidays. Their Christmas spirit is restored, and they decide never to skip Christmas again. The film is funny and puts you in a good mood, but the American comedy is cheesy at times.
I have been informed that liking this film is a red flag, but my family and I watch it every Christmas Eve anyway. This Aardman animated movie includes voices by Jim Broadbent, Imelda Staunton, James McAvoy, Bill Nighy, and Hugh Laurie.
It is about Santa’s son Arthur who goes on an adventure with Grandsanta and elf Bryony to deliver a gift to a child that got missed. Like Elf, this film brings back childhood memories for me and is part of the tradition, but there’s no doubt that it isn’t silly and overdone in parts.
The Christmas-y sequel to the hit comedy film Bad Moms, stars Mila Kunis, Kristen Bell, and Kathryn Hahn who have to spend the holidays with their own mothers who are each frustrating and difficult in their own ways! I personally love this movie despite it being cheesy in places, and it’s aimed at an older audience than Arthur Christmas or Elf so it’s great for watching with friends.
Cheese rating: Camembert with a Christmas tipple.
Just because these movies are cheesy doesn’t mean you should boycott them completely! They’re still a great way to get you in the Christmas spirit. If you’re willing to look past the cheesiness and don’t mind a bit of second-hand embarrassment in the quest for getting yourself in the mood for the holidays, then you might just enjoy yourself!
“Never cared about being immortalised”, asserts Little Simz in the first bar of her surprise fifth album, NO THANK YOU. After every publication has evaluated their albums of the year, including ours, and you’ve all shown your friends your Spotify Wrapped, here enters a new challenger. Widely regarded as one of the most exciting artists internationally, it’s hard to argue that Simz’s music hasn’t been immortalised now, whether she cares for the label or not.
Little Simz has been doing great things for many years. From producing the most incredible live verse of Gorillaz’s Clint Eastwood in 2017, something of an inter-rapper challenge, to becoming the first woman to sell out a three-date residency at Brixton Academy, her talent and work ethic has propelled her to being one of the best in her field, and indeed outside her field in wider musical discourses.
NO THANK YOU comes from the magnificent artist-producer duo of Simz and Inflo. This is the same team that masterminded Mercury Prize and BRIT Award winning album, Sometimes I Might Be Introvert (SIMBI). The two again collaborate with Cleo Sol, having worked extensively with both on Little Simz records as well as the SAULT project. Sol holds six writing credits across the ten songs, adding further quality to the killer partnership.
The beauty of NO THANK YOU is in its minimalism. If SIMBI was her manifesto, this is her making policies. It is a continuation of SIMBI, but from a much more overtly angry place; it sets out to address specific themes and leaves nothing uncovered. Opening song ‘Angel’ is like a cousin to previous opener ‘Introvert’, except cries of “I’m a black woman and I’m a proud one” (‘Introvert’) are swapped for the deadpan delivery of “I refuse to be on a slave ship, give me all of your masters and lower your wages” (‘Angel’). Simz never had anything to prove, but now having artistic independence she refuses to compromise and continues to make the art she always has.
Brimming with packed wordplay, NO THANK YOU deals with uncomfortable themes with detail and gravitas. Little Simz represents her struggle across the ten songs like a lawyer would represent a client. She muses over contracts, artistic autonomy, and times in which she has been taken for granted. You always pay attention when Simz is speaking; whether that be on the epic and heart-wrenching ‘Broken’, to the heat of double-entendre ‘No Merci’, both rejecting and not compromising.
The instrumentals are adjacent to the sound that we have grown accustomed to from Little Simz. Neither better, nor worse, just a display of the many multitudes she contains. ‘Heart on Fire’, nestled in the middle of the track listing, draws anecdotal evidence of interactions with the world of music. Within this brutal evidence holds inalienable truths about the uglier side of the music industry, which Simz expresses with her trademark eloquence and outstanding technical ability. She shouldn’t have to address these problems as they shouldn’t happen in the first place. But, through beautiful artistry, it puts the requirement for a better era in sharp focus. It’s our job to take notice and change the discourse.
The timing of the project means that NO THANK YOU won’t feature in any aforementioned album lists. However, the quality and importance of the album means that it undercuts the whole evaluation of the year in music. To draw comparisons with Radiohead, if the expansive and dominating SIMBI is her OK Computer, this is Little Simz’s In Rainbows. A beautiful, unexpected collection of songs that maps out her career progression and arguably creates her most cohesive album to date.
These are not summer anthems, but they offer a thought-provoking and, at many points, warm listen. Whether that be the party-starting hits of ‘101 FM’ and ‘Point and Kill’, or captivating bodies of work such as NO THANK YOU, Little Simz is a true master of her craft. And, most crucially, she is unapologetically making the music she wants to outside of external pressures. Her discography indicates the music is just going to keep getting better.
Detective films are perfect for the winter season, especially if you’re looking for something fun and easy to take your mind off those end-of-year assignments. So far See How They Run is now available on Disney +, Glass Onion: A Knives Out Mystery hit the cinema for a one-week-only screening, and now to complete the trinity we have Enola Holmes 2 on Netflix.
Millie Bobby Brown is back with the sequel to her family-friendly mystery movie as Sherlock Holmes’ younger sister so grab your laptops and get ready because the game is on!
After the first movie was viewed very highly, Netflix is back with the sequel: Enola Holmes 2. This one stars Millie Bobby Brown alongside Henry Cavill, David Thewlis, Helena Bonham Carter, Louis Partridge, and Susan Wakoma, and is inspired by the real-life story of the Matchstick Girls. It received even better scores on Rotten Tomatoes with 93% on the Tomatometer. Reviews from newspaper film critics, on the other hand, were mixed, to say the least.
The Evening Standardrated it the highest with 4/5 stars describing it as “more fun tales of feminist derring-do with just the right amount of silly” but also “desperately cringey… [although] the film’s target audience is unlikely to care not a jot”. Leading lady Enola herself (Brown) was described as “effervescent” even though it did seem “as though she’s been plucked directly from 2022 into Victorian Britain”.
The Telegraphwas highly critical giving it only 2/5 for “a case of cheap looking action and not enough heart”. Personally, I didn’t love the film either, but I can see why it has potential amongst families, as my younger sister loved it.
I agreed with some of The Guardian‘s points such as how “it too often feels as if the thrill of watching a mystery get solved is deemed too pedestrian or too small and so there’s a patronising tendency to cushion with less involving action scenes, brawn prioritised over brain”. Whilst I like the idea of being well-rounded in terms of intelligence and physical capability, the clues themselves didn’t feel solvable for an audience but the involvement of certain characters was obvious.
Of course, I’m aware that some of these things could be big revelations for children, but it felt as if the movie didn’t manage to pull off being a family movie with teenagers and adults wanting to join in on the fun.
As for Brown’s performance, I’m somewhat conflicted. I adore her in Stranger Things; I believe that she’s set herself up as one of the most influential actresses of our generation and have no doubt that she will go far in her acting career. However, as Enola, Brown seemed somewhat stiff during the scenes where she spoke to the camera. She excelled in the emotional scenes when delivering highly impactful performances, but the moments that were supposed to be witty or earnest felt a bit awkward. The film’s director Harry Bradbeer is “no stranger to a fourth-wall-breaking female protagonist having also directed the majority of Fleabag” and so I’d have to assume that it was Brown’s performance itself that made these moments rather stilted.
Overall, Enola Holmes 2 was a well-thought-out mystery and I liked how they tied it into real historical events. Both Cavill and Thewlis delivered excellent acting performances, and the relationship between Sherlock (Cavill) and Enola was brilliantly produced. It didn’t feel too long, as detective films sometimes can be, and I would happily rewatch it with family when home for the holidays.
Guillermo del Toro is one of the best directors working today, his work is consistently overflowing with heart and originality that always moves me. Del Toro’s latest effort for Netflix, a stop-motion adaptation of Pinocchio, is no different. I’m always sceptical of remakes or adaptations of works that already have an iconic film adaptation (Disney’s Pinocchio, in this case), but Guillermo del Toro’s Pinocchio manages to justify its existence in a world of unnecessary remakes and re-adaptations.
At the world premiere of this film del Toro talked in his introduction about how Disney’s 1940 Pinocchio meant a lot to him, as he had watched it with his mother when he was young, and it was a formative part of their bonding. So, Pinocchio is clearly a text that means a lot to him, and he is very faithful to the source material while also making changes to the plot to address themes commonly touched upon in his own films: namely, the pervasiveness of fascism, its de-emphasis on individuality, and how we can stop it from corrupting the minds of the young and innocent.
Del Toro does this by placing the film during the rise of fascism in Mussolini’s Italy, and it also includes a new subplot about the son of the main fascist military officer in Pinocchio and Geppetto’s hometown. This is done in an organic way, and it hits all the intended emotional beats, making it the perfect anti-fascist introduction for anyone who isn’t yet politically literate.
Some of the scenes featuring Mussolini himself minimised his evilness in reality, but this didn’t detract from the thematic potency of the film too much for me. The emotion of the film as a whole is really strong, as some more changes to the source material heighten the stakes significantly and make you a lot more emotionally invested in the on-screen events. Pinocchio does get quite dark at times as well, but it never feels tonally dissonant from the heart-warming core of the story.
The stop-motion animation here is among the best I’ve ever seen; everything looks wonderfully detailed, and the movements of the characters are just seamless. The painstaking process of stop-motion looks effortless as del Toro’s stylistic risk pays off.
Another highlight was the star-studded voice cast. I was shocked to see the likes of Cate Blanchett and Christoph Waltz rock up to the screening, with more big names such as Ewen McGregor, Tilda Swinton, and Finn Wolfhard also voicing characters. Ewen McGregor as Sebastian J. Cricket was my personal favourite performance, he’s able to communicate the eccentricity of his character perfectly with his voice, I couldn’t imagine anyone else doing a better job.
Guillermo del Toro’s Pinocchio surprised me with its stellar animation, A-list cast, and thematic depth. It does an excellent job of standing up on its own as an adaptation of this beloved story, and it’s such an easy watch that I would urge anyone with a Netflix subscription to watch it immediately.
4/5.
Guillermo del Toro’s Pinocchio is streaming on Netflix now.
