Spoiler Alert! Are Spoilers the Filmmakers Best Kept Secret?

Growing up, I was never too fond of the traditional spoiler. When it appears essential to the plot, for example: in The Film That We Do Not Talk AboutThe Usual Suspects and Shawshank Redemption, it can be downright annoying when your friend reveals that all-important ending or crucial plot development. I knew the twist to Fight Club before watching it and this undeniably affected my viewing experience and I came away from the final scene feeling as though I hadn’t properly sat through it. However, spoilers have always held mystical appeal to some. But does just knowing there’s a spoiler or twist in a film, count as ruinous to the watching experience itself? With our current stream-centric media consumption occurring at a whizzing pace, can we ever avoid them? How long is long enough before discussing plot points? It appears spoilers leave you with more questions than answers. 

These days it is pop-culture mega-hits such as Star Wars, Marvel and the recently wrapped Game of Thrones that have been at the helm of spoiler-avoidance. Film secrets are a Marvel speciality – given that they have included post-credit scenes in the majority of their films since Iron Man in 2008. This drives buzz as fans are itching to get their hands on what is coming up in the MCU and to tell friends who haven’t yet seen the film. Secrecy and mystery propel sales and the end scenes seem to drive excitement for the next one… and the next one… It changes the cinema-going experience as well; many a time I have sat and actually watched all the credits (something which shamefully we just don’t do a lot of), making friends wait for the post-post-end credits scene. 

For some dedicated fans, scouring the internet for clandestine clues about new character involvement or obscure plot points is intoxicating. It would seem die-hard Star Wars fans can’t wait to unearth plot details about the potential reappearance of Emperor Palpatine in The Rise of Skywalker with the latest TV spot End becoming the latest hunting ground for clues until the next teaser. Both the TV spot and the trailer have developed enough speculation that it is almost certain that he will appear. Is this not seeking out a spoiler, or does this add anything overall to the enjoyment of the film? It could be argued either way. 

According to Amazon TV, when it comes to netiquette, with great power comes great responsibility. Back when they planned a release of a Lord of the Rings spin-off, the PR team developed a top-secret bunker to hide the drama’s crucial information – compared to Soviet state security by the host of The Watch, Chris Ryan. It was also seen as unnecessary by even top fans of the books as they argued that the Aragorn origin story inspired by the original Tolkien books cannot be kept as a mystery. 

Luckily, despite what seems like an overwhelming presence of spoiler coverage on the web and both the film and TV industry, there are ways in which you can keep the clues confidential. With The Guardian’s Now You’ve Seen It, it is now possible to direct your spoiler inducing friends away to discuss the hush-hush elements of shows and film’s in a spoiler-safe environment, even if they are breaking the first rule of Fight Club in the process. 

Image Credit: The Odyssey Online 

Band of Skulls @ The Brudenell Social Club 27/11/19

This year marked indie rock group Band of Skulls reaching their 15th year and tonight at the Brudenell they celebrate the tenth anniversary since the release of their debut album Baby Darling Doll Face Honey. Featuring some of their most iconic songs including ‘I know what I am’ and ‘Cold Fame’, the album’s success saw tracks selected to feature in Guitar Hero: Warriors of Rock and the soundtracks of Friday Night Lights and the Twilight Saga (unashamedly the latter is how I discovered them).

Supporting them throughout the anniversary tour are Higher Peaks, a band who just last week released their song ‘Sick’n’Tired’ featuring Band of Skulls. Though the differing styles of each song make their genre difficult to pin point, the atmosphere created through their use of synthesised piano organs and harmonising vocals mixed with their occasional heavy riffs feels new and fresh.https://www.youtube.com/embed/w-luMmez2UI?feature=oembed

As the room fills up for the sold out night, the lights dim. Shirley Bassey’s ‘Diamonds are Forever’ exudes and the room begins to sparkle as light refracts from the disco ball above the stage. Russell Marsden (vocals and guitar), Emma Richardson (bass and guitar) and Julian Dorio (drums) enter the stage as crowd anticipation peaks. The band open with the heavy riffs of ‘Love is all you Love’, the titular track from their latest album released earlier this year and after two songs Marsden declares, “Happy birthday!” to Baby Darling Doll Face Honey, kick starting the anniversary celebrations before playing the album start to finish.

Hyde Park’s gem, the Brudenell, has been home to some of Leeds’ most iconic gigs. It’s the ideal venue for both immensity and intimacy and nowhere does this show more than when Marsden and Richardson ditch their electrics for acoustics and share a microphone. The crowd, full of fans, simmers down from their excitable sing-along state to listen to the delicate melodies and harmonies of ‘Hometowns’ and ‘Honest’ before the room roars back into movement.https://www.youtube.com/embed/5te1t-3DiVI?feature=oembed

This tour is homage to the fans, a thank you for supporting them over the last decade and the crowd certainly revel in it; as do the band. The night ends with an encore that sees Marsden and Richardson engulfed into a circle of jumping fans, all singing into the microphones; band and fans as one.

The NHS Is Not A Political Football

With the General Election campaign underway, it is inevitable and understandable for the issue of the NHS to be brought up by both major parties. It is easy logic; the NHS is a symbol of national pride so being seen as its champion brings votes – potentially many of them. 

YouGov’s tracker of political issues for this election has placed health as the second most important, with 40% of people naming health as their priority. It would be ludicrous for politicians to avoid speaking about the NHS – which these days is somewhat a political football – when there is clear evidence that voters see healthcare as one of the most pressing issues we face today.

The meaning of what constitutes a political football is meaningless as any issue can be seen as something which politicians exacerbate and manipulate. 

A political football is defined by the Cambridge dictionary as “A problem that politicians from different parties argue about and try to use in order to get an advantage for themselves”, giving immigration as an example. 

Immigration is an interesting example as it is taught and considered through a political lens; however, the political language used should be neutral.

The NHS itself cannot be described with neutral language as its whole concept is based on introducing a socialist option to the market. The NHS was founded in 1948 in the post-war period which saw an astounding political shift to the left. 

Today it is still an institution, with its mere existence threatening the pure capitalism seen abundantly in the US. The idea that a service is free at the point of use and provided for by the whole country is still fundamentally radical.

The NHS is only seen as apolitical as we have had seven decades of socialised, universal healthcare, meaning it seems the norm. Even though the centre-right Conservative Party claim to defend the NHS, it is not a centre ground issue; it is a popular issue, so is redefined as an institution that all parties share. However, being redefined as being above left and right-wing is dangerous given that the party in power derides left-wing solutions for other social issues, such as transport.

The Conservatives are allowed to defend the NHS, and I would welcome them to invest properly in it too, but the party should be honest that the NHS is a product of left-wing thinking, an example that mixed socialism can be successful.  Nothing about the NHS can be described neutrally: statistics are used bluntly to claim the NHS is failing by missing targets.

The people who work for the NHS are not a monolith, they will vote for different parties, but ultimately, they all work for a system which makes the country equal as consumers. The NHS is important to the public, so politicians should be free to talk about it. However, it should not be a political football. The NHS is like a tree that grows with funding, faith and foresight. It may be old and grand, but remember, it is always at risk of being cut down. 

Image Credit: The Mirror

Politics Should Be at the Centre of Our Curriculum

Politics degrees have experienced a significant increase in popularity: UCAS figures have revealed that applications shot up from 34,275 in 2013 to 47,445 in 2018. In those five years, the UK has had two General Elections and two seismic referendums on the Scottish and European Union –the average sixth-former being politicised then seems inevitable. This is great news for politics departments across British Universities, but I think what we should be gained from this revelation is that politics urgently needs to be placed at the centre of national curriculum.

There may have been a current surge in popularity at degree level, but only mandatory political lessons can create an informed electorate vital in establishing a healthier democracy. As well teaching politics to young children will help to increase the amount of voter participation which is still at a historical low; the UK average turnout has not reached 70% since 1997. How healthy can be a democracy be, how strong can parliament’s mandate be when 31.3% had no say in the last election? Surely creating an electorate that votes in credible MPs is in Parliament’s interest so why has politics been excluded from the core curriculum?  

The UK, like all democracies, has experienced a long road to achieve full suffrage, the youth demographic is left as the last main group who are not politically engaged. One reason for the lack of timetabled Year 7 politics lessons, is that the Conservative party are against the teaching of politics at school as they are afraid of teachers highlighting their negative policies in lessons. Likewise, when Labour was in power there was little desire for there to be school children learning political spin or pupils learn about recent American foreign policy.

The 1996 Law prohibiting teachers from disclosing political information is futile. It is naïve to believe that teachers are able to conceal their political affiliations fully or that many don’t comment on their opinions. Can anyone say that they have never heard a teacher criticise the trifecta of Trump, Gove or Brexit? Instead of outright prohibiting teachers, which only makes their comments more potent, the DfE should allow teachers in set lessons to discuss factual presentations and then stimulate a debate with their students where their comments are clearly opinion.

There will be students who do not know who the Prime Minister is. To me that sounded ludicrous but as shown by Varsity in 2015, 59% of 1,942 British adults all in work could not name who the current PM was. Many people would not know who Shakespeare or Dickens are if it wasn’t for GCSEs and children especially are in their own bubbles. Abortion and euthanasia are taught, mostly, in a balanced way. Serious issues that seem incompatible with children but need to be taught objectively as these issues will later affect children, if not already. The same with elections.

We are world full of misinformation about science so, we have compulsory scientific education so everyone can make better informed decisions. Likewise, we live in a world overflowing with politics from newspaper headlines and electoral cycles to the countless ways the government affects your daily life. School should be there to at least teach the basics of the UK parliamentary system, the history behind the system and the record of each political party. At the core of this is whether teachers can ever be trusted as professionals. Trusted to be impartial and accurate about the policies of the major parties and be comprehensive about current issues such as Brexit.

The parallels to the teaching of sex education is profound; parents against teachers unduly influencing the impressionable young minds. We cannot let the responsibility of teaching the facts go to parents who could choose to never have the ‘talk’ or understandably will guarantee that their children vote the same way as them. One of the best outcomes from this educational policy would be to challenge the propensity for families to vote the same.

Teachers are there to be role models for students whose parents may have no interest with science or education. Teachers should be there to show students all sides to our political system so that everyone, regardless of university education, can view the world through a political lenses when they need to.   

Image Credit: Huffington Post

Theatre Review: Handel’s Giulio Cesare in Egitto by Opera North.

Emma Rivers reviews the dazzling Giulio Cesare in Egitto by Opera North at the Leeds Grand Theatre.


George Handel’s Giulio Cesare in Egitto (Julius Caesar in Egypt), is an Italian opera first performed in 1724 in London. This opera intertwines themes of political ambition, dangerous love, and survival, all set to an innovative baroque orchestral score. Set in Egypt after the Roman Civil War, the production opens with Tolomeo, the dangerously sadistic ruler of Egypt, murdering Caesar’s rival Pompeo. When Caesar arrives in Egypt to confront Tolomeo, Cleopatra senses an opportunity to overthrow her brother and take the throne for herself by seducing the Roman Emperor. 

Director Tim Albery’s revival of Giulio Cesare, first performed by Opera North in 2012, presents us with a stunning combination of set design, costume and lighting. These aspects work together to blend the traditional and modern, sweeping the audience along with the timeless, character-driven story. 

The set design is striking in its simplicity. When the curtain first lifts the audience is presented with an overbearing edifice of stark grey concrete. The blasted, bullet-pocked structure conjures up thoughts of a war-torn bunker and serves as a perfect introduction for the militaristic Caesar. However, as the story progresses the two-piece set unfolds like a jewellery box, revealing a stunning golden interior that serves as the setting for the intimate Egyptian scenes. Likewise, the lighting created by Thomas Hase is cleverly used to contrast the two opposing cultures of the Romans and Egyptians. Caesar’s scenes feature a harsh white light shining from above severely on to the concrete set. In contrast, the Egyptian scenes have warm low-level candlelight glowing upon the characters, creating an intimate and rich scene against the gold backdrop of the pyramid set. Both lighting and set work to further emphasise the cultural and political divide between the two societies, creating a tangible tension across the stage.

Albery’s influence is further demonstrated through the choice to cast the roles of Caesar and Sesto to women. While these roles could have been cast as countertenors (high male voice), Albery chose to maintain the spirit of the original production’s use of Castrati (yes, that means what you think) while updating it to the modern era by casting contralto Maria Sanner (Caesar), and mezzo-soprano Heather Lowe (Sesto) in traditionally male roles. Both Sanner and Lowe give exceptional performances, Sanner has a commanding and strong presence on stage, and Lowe powerfully portrays the pain and emotion of Sesto throughout the opera.  

The only criticism to put forward of this brilliant production is that, despite the story featuring Egyptian and Roman characters, there are no people of colour in the cast. This inclusion of diversity would have added depth and realism to an otherwise flawless production.

Whether you’re an opera newbie or seasoned veteran, there’s something for everyone in this production. If you’re tempted to explore the world of Caesar and Cleopatra for yourself, Opera North runs an Under 30s Scheme where you can gain access to great tickets for only ten pounds.

Image Credit: Opera North

Music as an Act of Resistance

With the shortlist for this year’s Mercury Music Prize being more politicised than ever, Toni Stephenson takes a look at how politics and music have become increasingly intertwined over recent years.

Since the shortlisted twelve albums for this year’s Mercury Music Prize were announced in the summer, critics and commentators alike have been hailing the 2019 finalists as the most political in the prestigious award’s 27 year history. Previous recipients of the award for best album released in the United Kingdom by a British or Irish act have been rather apolitical; artists often opted for themes of love, religion and emotion to inspire their song writing. https://www.youtube.com/embed/V1e0ZG0zRCo?feature=oembed

This year, however, the themes in each album are much more explicit and relevant to current affairs. The awards evening saw rapper Dave take home the prize for his album Psychodrama which explores the tough socio-political conditions faced by today’s British black communities. Other nominations included Anna Calvi’s Hunter which explores gender roles, Foals’ Everything Not Saved Will Be Lost which tackles the climate crisis and mental health and Little Simz’s Grey Area which touches on attitudes to female success. So is it true that popular music has become more politicised over the last few years? 

There is no doubt that political frustration is at an all-time high for many of our lifetimes. We appear to be living in a period of Brexit purgatory and increasing populism. Political discourse seems increasingly divisive and whether musicians and artists are using their music to tackle this head on or to satirically vent their frustrations, the politics of race, class, identity and climate have definitely infiltrated their way into this year’s top albums. Whilst last year’s winners, Wolf Alice, were recognised for their soft indie melodies and mix of angelic and heavy vocals, this year’s entire shortlist appears to make a statement of protest.

Of course, music has always had a close relationship with politics. Entire genres such as hip-hop, jazz and blues have developed from repressive socio-economic and political situations. The punk movement was born in the 1970s out of anti-authoritarianism and full rejection of conservative values. Blues developed as a movement in the US as a result of the harsh oppression and segregation imposed upon African-American communities. So there is most certainly a correlation between turbulent, repressive political atmospheres and the creation of protest music.

The last few years has overseen a huge shift in the discourse of politics from the usual trials and tribulations of democracy to what seems like a complete overhaul of everything we’re familiar with and absolutely no signs of consensus anytime soon. Some music commentators have claimed this has created a resigned attitude of pessimism decline in protest songs but the Mercury Prize shortlist shows us quite the opposite. There is no resignation in people, young and old, taking to the streets to protest the state visit of a misogynist ‘leader of the free world’ and the inaction of governments and corporations to protect the earth’s fragile ecosystems. Today’s protest culture is one that is spreading and consequently appreciates and recognises the artists who are using their platforms to help out.

IDLES’ punk-inspired album Joy as an Act of Resistance takes on attitudes towards toxic masculinity, societal pressures and immigration. Their song Danny Nedelko seeks to explain and challenge these, “Fear leads to panic, panic leads to pain, pain leads to anger, anger leads to hate.” Whilst sections of Slowthai’s album Nothing Great about Britain is reminiscent of the anti-establishmentarianism of the 1970s as he ends the titular song with the words “I will treat you with the utmost respect only if you respect me a little bit Elizabeth,” before cursing the Queen.

The severity of current political issues is creating a new wave of music as an act of resistance and the only explanation of their recent success is that they contain messages that a growing number of people relate to. Greta Thunberg’s Fridays for Climate strikes, for example, have gained a huge following so it is not surprising that pop artists such as The 1975 and Billie Eilish are referencing the climate crisis and threat of environmental degradation. Music comes from passion, whether this be a positive or negative take, and the fact that artists are being credited for their politicised statements through their music surely means these issues are more serious now than we have seen in the last few decades.

Header Image by Pooneh Ghana

Is Ageism Still a Problem in the Film Industry?

With the release of the most recent Bond film title: No Time To Die, I thought it’d be a good idea to take a look at the recent fear of ageism in the film industry. Given the franchise’s history of casting older men in the leading role and the infamous young attractive Bond girl (Honey Ryder and Pussy Galore are probably the most comical ones that come to mind), there is an obvious preference towards older men staying in roles over women who can just be replaced each time by another younger actress. Roger Moore, portrayed Bond into what one could argue was far too old an age for an action star. This isn’t just an issue confined to the Bond franchise. In recent years, prominent young actresses such as Anne Hathaway, Maggie Gyllenhaal and Zoe Saldana have all condemned high up executives for enabling ageism. 

So what exactly is the issue nowadays in Hollywood? It appears older male roles are abundant with ageing stars such as Clint Eastwood and Robert De Niro never short of a job in Hollywood. Most recently De Niro appears to reprise his role as the King of Comedy in Joker and Clint Eastwood has starred in a whole host of films. It also appears that Hollywood has no shortage of jobs for stars from the 80s as well, remaking both Terminator and Indiana Jones films with their male stars securing substantial paychecks. Even Marlon Brando was able to breathe new life into his career in Apocalypse Now (a great film by the way) despite being overweight and in need of a few dimly lit shots.

Most recently, Kelly McGillis was left out of the ‘Top Gun: Maverick’ sequel despite Tom Cruise returning for his role. Yet again, Tom Cruise has been paired with different young female co-star continually proving that Mission Impossible films often lack a recurring female star except for Michelle Monaghan who plays Julia, Ethan Hunt’s wife. In 2010, Helen Mirren’s made a comment explaining that she resented having “witnessed… the survival of some very mediocre male actors and the professional demise of some very brilliant female ones”, a tale that still resonates with many of the high up decisions made in Hollywood today.

Despite this, there have been a few recent box office successes which have appeared to revitalise the film industry’s interest in casting older female stars in leading roles. The Best Exotic Marigold Hotel grossed $130 million worldwide upon its release and starred Judi Dench and Maggie Smith, both 77 at the time. 2017 also saw Glenn Close in her early 70s shine as another great example of success when nominated for Best Actress at the Oscars for her role as Joan Castleman. When the opportunities are presented to women over a certain age (which is not often enough), they are clearly ready to take them and excel. A counterpoint to this argument could be the frequent use of de-ageing technology in films to manipulate the appearance of male actors. When you take one look at Patrick Stewart in X-Men: The Last Stand, it makes you shudder. With CGI de-ageing technology being used and sometimes abused since 2006, it appears that Hollywood has yet another weapon to eliminate old age, while casting aside perfectly suited actors in the process, and continues to pursue its search for the fountain of youth in the ever-increasingly digitised age of cinema.

Image Credit: LA Times