Gendered Award Categories: Outdated or Unrepresentative?

Anushka Searle on 11 October 2019

Anushka Searle writes in response to the announcement that the “Brit Awards ‘will review’ male and female categories”

The Brit award categories ‘British female solo artist’ and ‘British male solo artist’ appear outdated, as they reference the sex of the individual consequently isolating protentional nominees of other gender identities. In the light of Sam Smith’s recent announcement, that they identify as non-binary, it seems that award categories will need to adjust accordingly. Though, an issue arises when we consider how this could affect another minority representation. If the categories (mentioned above) were combined to form the non-gendered category ‘British solo artist’, would this mean that fewer individuals are nominated, leading to many minority groups being underrepresented? One must consider that we don’t live in an ideal world and that the music industry, and the media in general, are polluted with racism, sexism, and homophobia. Therefore, the solution cannot be to decrease the representation of some to increase the representation of others. Award shows must adjust to modern identity, however, everyone must be equally represented and purely judged on their talent. Most artists, especially smaller artists, are overjoyed just to be nominated. Therefore, we can’t decrease the nominees of two categories into just one, as smaller, struggling artists will be overshadowed.

Even though eradicating gendered categories does seem to be the best solution to include those of every gender identity, as a woman I find all female categories empowering. It’s exciting to simply focus on female creatives, and to allow them the opportunity to not be overshadowed, and to win purely on talent. Though it was empowering to witness Emma Watson become the first recipient of the MTV Movie and Television Awards’ category ‘Best movie performance’-as it has recently become gender neutral- I can’t help but be sceptical. If they had given the award to a male actor after changing the category to be gender neutral then there would have been outrage in the media, however, because it was awarded to a woman the MTV Awards were applauded. This suggests in my view that award shows are tampered with in order to be politically correct, whether there is a “public” vote or not. Combined categories therefore seem more iniquitous than separate gendered categories.

In the past, gendered award categories have been targeted as being ‘archaic and unnecessary’. However, “non-binary” is new terminology that has just begun to enter vernacular and therefore, it is unfair to use the word ‘archaic’, as the world has only just begun to understand what non-binary entails. It is also unfair to suggest that gendered categories are ‘unnecessary’, when in fact they have been necessary in order to increase the representation and support of female creatives. In conclusion, award shows need to be more representative of everybody. However, one must make sure that equality is always considered, and that changes made to represent one social group don’t diminish another grouping in the process.

Header image credit: Pink News

Tackling University: How to Survive as a Vegetarian

Anushka Searle on 13 September 2019

Most students arrive at university with a lack of cooking skills, and a longing for “mum’s cooking.” Cooking for yourself can seem daunting, especially if you follow a stricter diet such as vegetarianism. I’m here to tell you that you shouldn’t be at all worried.

Most of your concerns will probably be based on myths. The myths that vegetarian food is more expensive, more difficult to cook, and it’s more difficult to source protein and iron.

However, if you aren’t surviving just on pot noodles and can boil water you will be just fine. In fact, cooking as a veggie is much easier. You will never need to worry about defrosting meat, or if you’ve cooked your meat long enough to not give yourself food poisoning. 

I’ve been vegetarian for five years now, but during my first year of university I learnt a lot about my own diet, how to cook well, and how to cook flavoursome vegetarian food on a budget.

My first piece of advice for anyone tackling a vegetarian or vegan diet, is to choose 3-4 veggies that you love, and use them for every dish.

If you did this, you’ll cut down the amount you spend on food, and decrease your fresh food waste. There’s no point in having a whole head cauliflower in your fridge that you’re never going to use! Personally, I am always stocked up on red peppers, carrots, broccoli, and of course onions and garlic, as they add flavour and nutrients to any dish. I would also recommend having frozen veg in the freezer ready for those busy weeks, when you don’t have time to pop to Aldi. Additionally, if you aren’t too big on vegetables then buy a bag of spinach; spinach wilts into your food, so you’ll barely notice that you’re eating greens!

Of course, vegetarian and vegan diets aren’t always healthy. Probably one of the biggest challenges at university will be finding veggie drunk food and trust me you’re going to need it!

While your meat-eating friends are stuffing their faces with kebabs and burgers, you don’t want to be missing out when your only options are limp French fries. Luckily, Leeds has a breadth of veggie and vegan drunk food options. My go to drunk food stops includes: Crispys, Milanos, Chicko’s, and of course good ol’maccies. From a wide range of pizzas, to wraps, to burgers you won’t be subjected to limp French fries. Though, a few of my vegetarian friends have fallen victim to the temptation of a chicken burger! However, there’s no need to put lots of pressure on yourself to get it right all the time, we’re all trying our best.

My final advice is to try your hardest to not just live off Quorn and Linda McCartney sausages, because unfortunately you won’t be able to afford that in the long run. Learn how to make your favourite dishes, and to nail the perfect fluffy rice (a staple of my diet). Experiment with your food and try different spices and combinations.

Finally, just practice cooking, because in actuality it’s therapeutic, fun, and a lot more rewarding than sticking a frozen lasagne in the oven!

Header image credit: Healthline

First Look: Tarantino’s Once Upon a Time in Hollywood

Toni Stephenson on 30 March 2019

27 years after the release of his debut Reservoir Dogs, the trailer for Quentin Tarantino’s ninth film, Once Upon a Time in Hollywood, has been released. Toni Stephenson gives a round-up of what we know about it so far.

From the trailer we can gather the film will follow TV actor Rick Dalton (Leonardo DiCaprio) and his stunt double Rick Booth (Brad Pitt) as they attempt to break into the film industry in 1969, the final golden days of Hollywood. Whilst further details of the plot have been kept well under wraps, the name pays homage to film maker Sergio Leone’s Once Upon a Time in the West and Once Upon a Time in America. With these films being about men who feel they’re being left behind in a changing world, it wouldn’t be surprising to see this as a main theme of Tarantino’s film.

A subplot will also feature the Manson Family murders; after Inglorious Basterds (2009), it seems blending fact and fiction for the sake of compelling storytelling is one of Tarantino’s strengths, so it appears that this decision will only serve to enhance the film.

The numerous suspected plot lines and range of characters listed so far have led many to speculate that this film may take on a Pulp Fiction style chopped up narrative which follows numerous different people, and Tarantino himself has even said that Once Upon a Time in Hollywood shares similarities with his most popular film. Indeed, from the trailer there’s no doubt that it will be full of his quirky signature features: graphic, almost comic-like violence; quick-witted, oddball dialogue and an eclectic (very likely 1960s hippy inspired) soundtrack.

For Tarantino fans, both fresh and familiar faces will be seen on the big screen with returning regulars such as Tim Roth, Kurt Russell and Michael Madsen. DiCaprio and Pitt have also both worked with Tarantino before, but this film marks their first on-screen collaboration and it looks exciting! There’s even a legacy casting with Maya Hawke, the twenty year-old daughter of Kill Bill star Uma Thurman and Ethan Hawke, as ‘flower child’. This this suggests an element of reconciliation between Thurman and Tarantino following the former opening up about a car accident on the Kill Bill set and Tarantino’s subsequent hostile treatment of her during filming, for which he later apologised for. Other names gracing this star-studded cast are Al Pacino as Dalton and Booth’s agent, Margot Robbie as Sharon Tate, Damian Lewis as Steve McQueen, Mike Mo as Bruce Lee, Damon Herriman as Charles Manson and Dakota Fanning as “Squeaky” Fromme.

Overall, Once Upon a Time in Hollywood looks to be an excellent addition to Tarantino’s repertoire and a compelling homage to the director’s first love, the golden age of Hollywood.

Once Upon a Time in Hollywood will be in cinemas 14th August 2019.

Image Courtesy of Warner Bros.

LUU Theatre Group’s Rock ‘n’ Roll: A Review

Toni Stephenson on 26 March 2019

On Thursday night LUU’s Theatre Group opened their production of Tom Stoppard’s Rock ‘n’ Roll, directed by Steph Green, which took the Alex Clegg studio on a journey of humour, grief, jealousy and unity in a series of snapshots from lives across the Iron Curtain.

Starting in 1968 and ending with the fall of the Soviet Bloc in 1989, the play follows the lives of Marxist Cambridge professor, Max, his family and his young Czech protégé, Jan. The play essentially serves as small snippets of their lives in Cambridge and Prague over the 20+ years that it spans, whilst highlighting the nature of Prague’s dissident movement. Questions are raised about whether something as central to everyday culture as music can ever be fully monitored and repressed by state authorities, and how pop culture goes hand in hand with criticism of governing systems as an expression of popular feeling.

The cast met the challenge of the play with compelling performances and convincing eastern European accents impressively sustained throughout. The double casting of a number of characters was an endearing touch, with continuity seen in the performances of India Walton and Kate Winter playing Eleanor and daughter Esme in Act One and adult Esme and daughter Alice in Act Two; highlighting the similarities passed from parent to child in each generation.

The main set, with its simple and unadorned character, neatly doubled as both university staff property and a Soviet-era apartment. A production highlight was the convincing creation of an interrogation room by a stage blackout and single light bulb hanging from the ceiling above a small table; credit going to lighting designer and assistant Ben Nuttall and Emma Garcia. This created a tense claustrophobic atmosphere complementing the performances of Woodley and Fraser. The simplicity also meant the transitions between sets were smooth. The creation of the John Lennon Wall, by a sheet being drawn across the stage like a curtain also succeeded in maintaining its iconic and impressive aura.

Transitions between scenes were helped with video footage helping to situate the historic events surrounding the plot. Projections of the Prague Spring, the Russian invasion of Czechoslovakia and later, the Berlin Wall being torn down added context to the scenes and made the plot easy to follow, even for those unfamiliar with the history of communist Eastern Europe. With music being central in the story, the soundtrack also served to establish the time period during scene transitions. The Velvet Underground, The Rolling Stones, Bowie, Lennon and the Beatles, the soundtrack was a comprehensive collection of the music that sought to percolate through the Iron Curtain.

With Theatre Group’s monthly turnaround of plays, the effort and commitment of its members was clear in all aspects of their performance. The quality of production meant it was a night of welcome escape from the library in light of those mid-semester deadlines and exams.

BAFTAs Roundup: What You Need to Know about Sunday Night

Toni Stephenson on 19 February 2019

It’s the biggest night in the British film industry. Last Sunday saw the 72nd British Academy Film Awards take place at the Royal Albert Hall in London. A succession of US dominated award shows over the last few month such as Critics’ Choice Awards, the Screen Actors’ Guild Awards and the Golden Globes have already set the tone for the 2019 awards season. The BAFTAs are not only a celebration of the 2018’s films but also, in particular, a celebration of the British film industry within that. The BAFTAs can also be seen as a precursor to the Oscars which will take place on the 24th of this month.

Yorgos Lanthimos’ The Favourite has received the most attention from the British Academy, receiving 12 nominations including Best Film, Best British Film, Best Original Screenplay, Best Actress (Olivia Colman), two Best Supporting Actresses (Rachel Weisz and Emma Stone) and subsequent nominations in production categories. The film’s subject matter of love, lust, jealousy and social climbing, along with its quirky editing and witty dialogue, turns the tragic life of Queen Anne into two hours of compelling cinema. As a night celebrating the achievements of British films, it’s safe to say The Favourite stands a good chance of collecting awards.

As well as The Favourite, Best Film nominations have gone to BlacKkKlansman, the story of an African American police officer and Jewish recruit infiltrating a Colorado Ku Klux Klan branch; Green Book, the tale of an African American Pianist and ex-nightclub bouncer in the 1960s, travelling through the segregated deep South; Roma, following the life of a maid working for a middle class family in 1970s Mexico City and finally, the heart breaking tale of two musicians, A Star is Born.

Although Olivia Colman is dominating predictions for Best Leading Actress for her tragicomic portrayal of Queen Anne, the performances by the other nominees have been outstanding. Melissa McCarthy is almost unrecognisable in Can You Ever Forgive Me? – a step away from the lighter comic roles we’re used to seeing her in. Lady Gaga also received acclaim for A Star is Born, although the only awards she’s received for this so far have been for the song ‘Shallow’.

Rami Malek is favourite to win Best Actor for his portrayal of Freddie Mercury in the box office triumph Bohemian Rhapsody, having already picked up a Golden Globe for the role. However, he faces strong contenders, including Steve Coogan for his portrayal of Stan Laurel in bio-pic Stan & Ollie. Other nominees are Bradley Cooper for A Star is Born, Christian Bale for Vice and Viggo Mortensen for Green Book.

The EE Rising Star Award is the only award of the night voted by the British public and is always one to watch. Previous recipient include James McAvoy, Kristen Stewart, Tom Hardy, Will Poulter, John Boyega and Daniel Kaluuya. This year, nominations have gone to Barry Keoghan (best known for American Animals and Dunkirk), Cynthia Erivo (Widows), Jessie Buckley (Wild Rose and War & Peace), Lakeith Stanfield (Selma and Get Out) and Letitia Wright (Black Panther and Black Mirror). 

Every Hollywood fan and film lovers’ eyes were on London last weekend, ready to see who gets recognised by the prestigious British Academy and who might be on the cards to receive the American equivalent in a few weeks’ time. All in all, the BAFTAs should be a memorable night for 2019’s British and international cinema achievements.

Image: denofgeek

TV Review: Les Misérables

Toni Stephenson on 8 February 2019

It’s been almost 35 years since the musical adaptation of Victor Hugo’s Les Misérablesopened on the West End, drawing in 70 million theatre goers worldwide, and 7 years since it hit the big screen, collecting 3 Oscars. The musical’s success may have changed popular association of the title from Hugo’s 1,231-page book to the stage production; however, Andrew Davis set out to challenge this with his six-part drama adaptation, taking the story back to its non-musical roots.

Fans of the musical should not be put off at the prospect of a melody-less Les Mis and fans of the book should be assured that the novel is in safe hands, with Davis’ previous adaptations consisting of BBC’s 1995 Pride and Prejudice and 2016 War and Peace. The first few minutes may take some getting used to as the background score makes those familiar with the musical half convinced the prisoners will break into an angry song. However, it doesn’t take long for the style to establish.

This dramatisation offers a deeper look into Hugo’s epic novel, closer to the one experienced in the book. It covers much more ground for the simple reason of extra screen time and the lack of music, rather than making the storyline heavy going (it is called “The Miserable Ones” after all), it makes the struggles and suffering presented even more hard-hitting.

For fans of the musical, it brings to the table a closer look into the characters’ backgrounds, relationships, flaws and developments. For instance, Valjean’s transition from thief to honest citizen is much more pronounced when we see him, not only stealing the silverware from the priest, but also remorselessly stealing money from an innocent child. Whether it’s the charm of Hugh Jackman or the absence of this scene from the musical, Dominic West’s Valjean is much more dislikeable at the start of the story, making his redemption that much more remarkable. We also see Lily Collins’s moving portrayal of a young and naïve Fantine, being deceived by a student and their relationship before he cuts ties with her and their daughter to return to his father’s southern estate and Fantine’s subsequent dilemma to leave Cossette with the Thénardiers in order to be able to work and provide. The same amount of detail goes into the stories of Marius and the Thénardiers as well as establishing the links between all the characters.

For newcomers, it offers an impressive condensed version of Hugo’s tale of good and evil, privilege and poverty, oppression and revolution with a cast of Oscar nominees and BAFTA winners including Olivia Colman and Adeel Akhtar as the infamous Thénardiers, David Oyelowo as Javert, as well as promising new talent found in Ellie Bamber, Erin Kellyman and Reece Yates.

Whether you’ve read the book, seen the musical or are a complete newcomer to Les Miserables, missing out on this dramatisation is a huge mistake.

Image credit: BBC