Download - PartB - October 30th, 2012
The Beaver 30.10.2012
PartB25
MUSICJEREMIH//PANGAEAVIDEO GAMESPOKEMON WHITE II
30.10.2012 PartB
Kevin McAuley, better known as Pangaea, has just released an 8-track
‘double-EP’ via the Hessle Audio imprint, which he co-founded with Pearson Sound and Ben UFO. Pangaea is a man of few words and his dis-cography is equally limited, sporting just 8 releases since 2007.
After his self-titled EP, which came out in 2010 this is his most lengthy work yet, however interestingly he re-fuses to call it an album. The reasons for this become ap-
it is clear that this is a col-lection of his recent output sprinkled with some experi-mental tracks that he would have refrained from releas-ing on a two-sided 12”.
Pangaea, and indeed most artists that have appeared on Hessle Audio, is well known for blending together vari-
two-step garage sounds and 90s jungle, encapsulating it all at a dubstep tempo.
The opening track, entitled
Pangaea’s typical minimal-ist approach and features
-ott sample. Moving on, the ti-tle track develops from what sounds like an interlude into
an industrial feel. It sets the stage for the next couple of tracks by acting as a middle ground between headphone listening and a club track. Next up, Trouble, is clas-sic Hessle material with its wooden percussion, obscure vocal sample and menacing bass line, a calm before the
‘storm’ that is the 4th track – Majestic 12.
Majestic indeed, this has to be the most thought out track on the double-EP and frankly the only one I can imagine actually dancing to. Fully showcasing McAuley’s skills in drum programming, supported by a writhing and mutating bass line, which drives the track forward. Moreover, upon listening to Majestic 12 you get the im-pression that the track ‘goes’ somewhere, something that cannot be said about the rest. Time Bomb speaks for itself – an explosive track with heavy, Blawan-like drums and an infectious melody. Neverthe-less, it fails to replicate the
dynamism of Majestic 12 and sounds constrained, lacking energy.
The 6th track, Middleman,
combining harsh drum work
brings the EP to a conclusion, being suited better for home listening and showcasing the deeper side of dubstep. Don’t bother playing Aware if you haven’t got a subwoofer – this track is all about the deep sub bass, held together by sparse tribal-like drums. As is always the case with Pangaea, the track features small intricate details such as the occasional bleep or the lush background pads, which work together seamlessly.
what is in my opinion a lack-luster track – a poor attempt at something that Aphex Twin would do much better. High is not your average tune, and certainly not danceable, with an extended buildup com-posed of a monotonous kick drum and an equally unin-spiring, heavily edited vocal sample, before disappear-ing into nowhere leaving the listener wondering why this track was included at all. It sounds more like a lazy ex-periment in the studio rather than anything, which could possibly evoke an emotional response.
but neither does it stand out amongst the vast amount of percussive dubstep hybrids that Hessle and other labels have been putting out lately. Few of the tracks develop into something cohesive and are what you might call ‘percussive workouts’. This
tracks possessed the raw en-ergy that is needed to move a crowd, but instead they feel lazy and undeveloped. Kevin’s previous releases are far more elaborate and var-ied.
Buy Release now on dou-ble 12” vinyl, CD and digital download. Catch Pangaea at the Brixton Academy on the 2nd of November with Four Tet, Caribou and Pearson Sound
Dmitry Feoktistov
EDITORSPartBVENESSA [email protected]
FashionLSESU FASHION [email protected]
FilmVENESSA CHAN
FoodLAURA [email protected]
MusicTOM BARNES EMIR NADER
Private BGINGER [email protected]
TheatreLAURENCE [email protected]
TelevisionISABELLA [email protected]
Video GamesPHILIP GALLAGHER
Visual [email protected]
Cover ArtCOURTESY OF
TOM SPEEDAND
THE LSESU VISUAL ARTS SOCIETY
Write for us!FEEL FREE TO EMAIL ANY OF
US ABOUT OPPORTUNITIES
PartB
Credit: Hessel Audio
MEET OUR
26
PANGAEA release
JEREMIH late nightsThe album sits comfort-
ably in the blossoming electronic take on neo-
soul that has spread ad as-tra thanks in no small part to Frank Ocean. Yet whilst Ocean deals with the sublime and veiled, Jeremih addresses the union of humans directly; the ultra-smooth ‘F*ck U All The Time’ plays like it has been crafted out the distilled sweat of Usher on valentine’s night. The track encapsulates the theme of this album and indeed Jeremih’s oeuvre as a whole: copulation.
Brilliantly, this mixtape is free and stands testament to the disconnect between price and value. The quality and at-tention in production is sub-stantial enough to prick the ears of many in circles wider than the R&B world, with tracks from the record appear-ing in mixes of British DJs Joy Orbison and Oneman. Indeed, it even includes guest spots
the US such as Twista, and un-fortunately one of the worst, 2
Chainz. However, they are all united in doing what they do best, which is penning odes to Patrón, cars and women.
Like any good record, Late Nights, is able to carry the aesthetic and theme through
without losing cohesion; it concerns itself with the laid-back in essence but still man-ages to move beyond the languid. ‘Ladies’ and ‘Girls Go Wild’ bottle-up so much bounce that trying to resist shaking your head would be fruitless.
Once again, cop this ridic-ulously good record for FREE (legally) online.
Emir Nader
Artist Album Website
Credit: Jeremih Promo
The Beaver 30.10.2012
DEADMAU5T
he basic way to explain
deadmau5 is: he sounds
like electro/progressive
house but feels like trance.
Plug in some decent ear-
phones, play some mau5, let
go of your basic inhibitions
and you’ll know what I mean.
In consideration of the previ-
ous statement, deadmau5’s
latest LP, (awkwardly) titled
<album title goes here>, is
both hit, and miss, though
more of the latter.
member hearing when I start-
ed going out clubbing was
Those haunted mansion stabs,
and crazy bass swivels hooked
my mind like no previous elec-
tronic music had before.
Subsequently I delved into
deadmau5’s repertoire. I dis-
covered, and fell in love with
the ability of tracks such as
Strobe (2010), Slip (2008),
and Faxing Berlin (2008), to
mesmerize me within their
respective cocoons of warm
buzzing basses and layered
melodies brilliantly crafted
over 5+ captivating minutes.
‘Superliminal’, adequately
ticks the mesmerism check-
box. The tree-trunk-thick os-
cillating bass line brings you
all the way from the get-go
to the breakdown. Supplied
by a space pad and an ingen-
ious reverse snare sample, the
track explodes back into the
stupor.
The lead single of the al-
bum, ‘Professional Griefers’,
is what you would expect it to
be: a club destroyer. Imagine
the song in a context of a small
dark alcove setting of 200W
amps blasting gigajoules of
sound waves through your
body and you might glimpse
the meaning of this song drop-
ping in a club. The song shines
especially in the verses; kudos
to MCR frontman, Gerard Way,
for delivering the taut, biting
vocals. Combined with the
fast attack, escalating bass
and if you’re not bobbing your
head then shame on you.
For all the love that ‘The
Veldt’ has received as a pro-
gressive house track I per-
sonally detest it with the
vehemence of a thousand elec-
tro-bass-lines. The production
is generic, and the lyrics are
just ridiculous; lions and chil-
dren in the wild?
The rest of the album suf-
fers from either the aforemen-
tioned lacklustre or acciden-
tal construction e.g. ‘Fn Pig’.
Skip the cheesy trance build-
up to 3:45 in ‘Fn Pig’ and you
get a crazy-ass workshop elec-
tro ostinato; the progressive
aspect builds on with snares,
reverse noise, and some extra
where. Unfortunately by 5:20,
the song’s budding genius
dies as the breakdown occurs
and the chopped up vocals are
tactlessly introduced; it sub-
sequently veers into discom-
As a whole, the album’s
‘theme’ of space, void, and
automation meanders without
striking succinctly. Although
there are brief moments of
hypnosis to be found, I discov-
ered a certain idiosyncrasy
between past tracks and the
songs in this album. For exam-
ple, the melodic tune Strobe
(from 2009’s For Lack of A
Better Name) is miles better
than its <album title goes
here> equivalent, The Veldt.
Similarly hard track Animal
Rights (from 2010’s 4x4=12)
is multiple times punchier
than Channel 42 (with the
same DJ, Wolfgang Gartner,
who worked with deadmau5
on Animal Rights).
‘album title goes here’ is
decent as a stand-alone al-
bum, and there are certain
moments of ‘trance’ like mo-
ments to be found but in com-
parison to the potential that is
dying to leap out of Joel’s head
it is lacking so very much.
As a mau5head I will be lis-
tening, and re-listening to the
tually grow on me; however I
pray that deadmau5 will rise
again in the future, to shake
ing him recently as evidenced
by his lack of touring and un-
inspiring work, to take the
throne of EDM as he should.
I will mess my pants if
deadmau5 headlines Tomor-
rowland 2013 with some new
tracks.
Andrew Njoo
Credit: deadmau5
THE PULSE LISTEach week we catch up
with a PuLSE DJ and see what they have to say for them-selves.
Hello Michelle, Hi!
Whats the name of your show?Into the Space
What’s the big idea? To showcase some awesome
spoken word (maybe some po-
where the lyrics are more
3 tracks we will hear?Kate Tempest - Give, LCD
Soundsystem - Home, Mos Def
- Umi Says.
One reason why we should tune in?I think some artists are still
saying interesting and sincere
things which are worth listen-
them.
If your show was a tube sta-tion which one and why?
Kilburn Park, always soothing
music playing.
When?Thursdays 6-7pm every other
week starting 1st November
(Wk 4)
Emir Nader
GIGSDUOLOGUE &
THROWING SNOW3 NOVEMBERELECTROWERKZ
ROBERTO FONSECA3 NOVEMBER
RONNIE SCOTT'S
MARTIN CARTHY3 NOVEMBER
EXMOUTH ARMS (STARCROSS ST.)
ALT-J &STEALING SHEEP
5 NOVEMBERELECTRIC BALLROOM
SPIRITUALIZED5 NOVEMBERROUNDHOUSE
ASHER ROTH6 NOVEMBERTHE GARAGE
DIANNE REEVES6 NOVEMBER
RONNIE SCOTT'S
SEAL6 NOVEMBER
HAMMERSMITH APOLLO
DON GIOVANNI (ENO)UNTIL 7 NOVEMBER
LONDON COLISEUM
BON IVER8 NOV
WEMBLEY ARENA
JULIAN LLOYD WEBBER &
TAMSIN LITTLE8 NOV
ROYAL FESTIVAL HALL
M838 NOV
O2 ACADEMY BRIXTONCredit: Katetempest
You could interview or
review albums and concerts!
CAN'T IMAGINE
ANYTHING BETTER?
Submit articles or just get in
touch with Emir and Tom at:
music@thebeaveronline.
co.uk
WANT TO WRITE
FOR MUSIC?
27
30.10.2012 PartB28
F Rust and Bone
Rust and Bone
A Prophet
In-ception or The Dark Knight Rises
Tree of Life
IN CINEMAS 2 NOVEMBER 2012
Director Jacques AudiardWriter Jacques Audiard, Thomas BidegainCast Marion Cotillard, Matthias Schoenaerts, Armand VerdureRun time 120 minutes
RUST AND BONE
Marion Cotillard and Matthias Schoenaerts in Jacques Audiard’s Rust and Bone.
STU
DIO
CA
NA
L
SKYFALL
The Beaver 30.10.2012 29
SEALAND
II was really looking for-ward to seeing Sealand having missed it at the Ed-
inburgh Fringe festival this year, where a slick market-ing campaign coupled with favourable reviews had cre-ated enough of a buzz to sail it down to London for a run in the Arcola Tent - one of Time-
tres”.It was a shame, then, that
the show did not justify the hype. There is a former WWII sea fort of the same name, which has been occupied by a family since 1967 who claim it to be an independent sov-ereign state – this is also the basis for the play; Ted (Adam El Hager), his son Alex (Ed Pinker) and another family leave broken Britain to estab-lish a new community – ideally utopian.
On stage an obviously competent group of actors played out a series of dull and clumsily-written family dramas that appear to bring down the state – oh and some-one is killed towards the end. El Hager, playing captain/leader/explorer/president Ted, seemed straight from the
the ship – spouting line after line of pious nonsense includ-
missed England more than I do”. To avoid a cringing audi-ence, all director Luke Clarke need to do was to sit El Hager down, make him seem more sincere. Instead Every. Sen-tence. Was. Very. Deliberate. And. Very. LOUD. We were treated to a series of political-ly-naïve, lazily put together, and overly preachy sermons. Typical problems with a com-mune were presented, such as not everyone contributing the same or required amount, but overall this amounted to noth-ing more than a basic notion of autocratic utopia.
cheap laughs helped to keep
prit is Alex. Not a normal 16 year old by any means but his occasional toddler-like be-haviour, to gain a few laughs it seems, was an obvious in-consistency in the script and frankly inexcusable. Jess Stone’s performance as the archetypal teenager Sarah was nothing short of perfect however – possibly one of the best young actors I have seen over the past two years. Her presence commanding, char-acter impeccable – her char-acter is this generation’s an-
Typical problems with a commune were presented, such as not everyone contrib-uting the same or required amount, but overall this amounted to nothing more than a basic notion of auto-cratic utopia.
cheap laughs helped to keep
prit is Alex. Not a normal 16 year old by any means but his occasional toddler-like be-haviour, to gain a few laughs it seems, was an obvious in-consistency in the script and frankly inexcusable. Jess Stone’s performance as the archetypal teenager Sarah was nothing short of perfect however – possibly one of the best young actors I have seen over the past two years. Her presence commanding, char-acter impeccable – her char-acter is this generation’s an-
Laurence Vardaxoglou
ARCOLA TENTuntil 10 November 2012 Directed by Luke Clarke
Written by Luke Clark
Starring Adam El Hagar, Seamus Bradford,
Janet Etuk, Ed Pinker, Jessica Stone
83 minutes
SHELF LIFE
Shelf Life begins as soon as you enter the disused BBC London studies in
Marylebone, new home of Theatre Delicatessen, an in-novative company committed to turning traditional theatre on its head. In a mock hospi-tal waiting room two nurses are kissing ferociously, they stop to give you a balloon and booklet entitled ‘record of achievement’ – the absurdity is just beginning.
Following ‘the light’ through the dark basement
almost there!” rings loud and two large hands pull you through a pink hole – you are born (again). This is prom-enade theatre close to the heart, the rest of the show is spent merely ‘living’ – from school to work to the retire-ment home and beyond. The cast needed to be on top form for this to work – quick, rel-evant, and witty interaction is a must if the audience is to suspend belief and let them-
selves into HalfCut’s world. Sadly this did not happen throughout, some charac-ters were shaky in often la-boured scenes. Mairi Hayes and Ayesha Tansey in particu-lar carried the show past this though – convincingly assum-
roles without having to stop and think. Hayes’ primary school lesson was entirely be-lievable, her fake chirpiness coupled with the audience on beanbags reminded how pat-ronising we (adults) can really be. Some slick wordplay then coolly turned the lesson into high school sex education, it took the audience a while to realise that we had moved on from faces to fallopian tubes.
Equally brilliant, if slight-ly unnerving, was Tansey’s role at the ‘university party’
Heath had perfectly emulated a typical Manchester halls of residence kitchen/living room combo – we all know the scene.
I was pushed into an empty bedroom only to be inter-rupted by a jealous boyfriend (played by Thom Mitchell)…just as things were escalating. We were then rushed on to a wedding reception – the show at its best when scenes were
so swiftly linked. These mo-ments, amongst some others, went far to confuse reality and were great examples of what can make this kind of theatre one of the highest forms of es-capism.
Something should be said of the building itself, a sprawl of offices that lends itself to Shelf Life’s own billing as a manifestation of the meaning-less of life – the rat race is on the whole set in these kinds of spaces; yet the show was all so merry that I hardly felt the weight of life until the mood
scene.The production is certainly
more suited to those of us who have not quite embarked on our journey yet as it did seem to be for the older members of the group a bit of old hat, indeed sitting in a ‘retirement home’ next to a couple who had the option of a free bus home was a little tense. Yet this gamebook-brought-to-life has enough charm to enter-tain and although it dragged itself to an end it was fun while it lasted.
Laurence Vardaxoglou
THEATRE DELICATESSENuntil 10 November 2012 Directed by Luke Clarke
Written by Luke Clark
Starring Adam El Hagar, Seamus Bradford,
Janet Etuk, Ed Pinker, Jessica Stone
83 minutes
ROBERT PRESTO
N /
THEATRE D
ELICATESSEN
30.10.2012 PartB30
It’s rather difficult to re-view a Pokémon game nowadays. Anyone who
grew up in the 90s is familiar with Pokémon.
Since most will know what to expect from this game, I’ve decided to highlight some par-ticularly good and bad points. Please remember that this game is, overall, as good as can be expected, and a wor-thy addition to one of the best gaming series of all time.
It’s rather refreshing to me
rival who isn’t just training for the sake of becoming the strongest trainer in the world, just like the 10 other rivals I’ve been trouncing since I was 7 years old. Your new rival, who I went ahead and called ‘Cata-racts’, has believable motiva-tions for what he does. He’s training so that one day he can defeat the villains of the
game, Team Plasma, who once stole his sister’s pet or some-thing. The thing is, it makes the character very endearing. I enjoyed encountering him, constantly hoping that the
looking for isn’t one of the 15 I knocked out in the previous patch of grass.
At times in this game I was shocked by how ugly, deformed or downright ri-diculous-looking some of the newer pokemon look. Remem-ber the days where you could
later be shocked and in awe as it grew some friggin’ can-nons on its back? Well, in this game you can get a shrunken Easter-Island head with a gi-ant red nose. What does he evolve into? A shrunken East-er-Island head with a giant red nose and no legs. Where, Gamefreak, did you go wrong?
the knee-high wilds of Unova region, you’ll be impressed with how much the battle graphics in Pokémon have im-proved. There’s a lot of indi-viduality and sheer color to at-tacks now, and even a lot more variety in the battle cries your team will make. Things only get better when you don’t at-tack. The camera will move around, and your Pokémon will do cute little dances as they wait for their designated turn to unleash their inner fury. It doesn’t get much bet-ter than this.
There isn’t really much to say about this. It’s a good concept to have the seasons change, and for the pokemon you can catch to change ac-cordingly, but are people seri-ously going to wait 3 months
seems presumptuous that any
of us will still be playing by then, discounting hard-core gamers of course, with their forums and such.
Of all the things you could
think of for making player in-teraction in a Pokémon game fun, Gamefreak thought that being able to make and share surveys would get the kids ex-
cited. Supposedly it’s so that you can get to know players, but personally there are two kinds of people I’ll meet with in a Pokémon game: people I know in real life who I want to beat for the sake of winning a pint, and computer generated AIs who can give me experi-ence points. If I want to ask a stranger what their favourite pokemon is, I’ll ask them on match.com, thank you very much.
And so ends a review for a game people will buy re-gardless of what any crit-ics say. Overall, good show, Gamefreak. Just remember that you won’t get a free ride forever. Emphasise the good points, and for god’s sake play through enough times to weed
that’ll disappoint your older fans!
Philip Gallagher
POKEMON WHITE II
PETERHave you ever heard of
Peter Llewelyn Davies? What about Peter Pan?
Therein lies the concept of this play. Peter Pan was in fact named after Peter Llewelyn Davies by the eccentric play-wright J.M. Barrie (who even-tually became Peter’s adopted father). This play explores the
of the boy who never grew up on Peter Davies’ (played by Martin Richardson) real and ultimately tragic life. The
mainly naturalistic (split down the middle between an in-door room and a park bench) but black and white photos of Peter’s past intrude on every scene. In the second act we see Peter Pan himself stalk Pe-ter around the stage, whereas
tor of the Peter Pan story: J.M. Barrie (Stewart Marquis).
The character of J.M. Bar-rie is sublime and the writing
ing of a literary mind that only another skilled playwright can expose. There are many witty one liners summarising the tragedy of youthful fantasy imposing on real life (or the hard facts of real life destroy-ing one’s dreams depending on how one looks at it), in-cluding “the end of boyhood is the end of a life worth living”. This could be the thesis of the entire play. Stacy Sobieski’s
dialogue is fantastic – going far to highlight the themes of the play whilst remaining entirely believable and often funny. Stewart Marquis’ act-ing completes Barrie’s charac-
Marquis adds subtle idiosyn-crasies which make the char-acter by far the most intrigu-ing and believable. This is not to take away from the other performances in the play; Evelyn Campbell’s versatility is obvious – she plays, equally convincingly, Peter’s brother Jack and his wife Peggy. Ad-
play involves very little of Pe-ter himself, but that is part of the point of Peter’s story – so much of Peter’s life was deter-mined before he was even old enough to walk.
The second half of the play is far more ambitious and al-lows both actors and the di-
to much greater extent. All is forgiven in the second act as Peter’s life begins to fall apart as his fantasies begin to im-pose further and further into his life and play a larger role on stage. The last scene al-lows the two to become one and makes the most tragic scene of the play by far the most beautiful.
Tom Maksymiw
LOST THEATREuntil 10 November 2012
Directed by David Hutchinson
Written by Stacy Sobieski
Starring Martin Richardson,
Stewart Marquis, Jemma Hines
The Beaver 30.10.2012 31
REVISITED: THE WIREIf you have ever had a con-
versation about TV with anyone, ever, chances are
someone will have mentioned The Wire. The conversation usually follows a certain pat-tern, with Person 1 raving about it and secretly judging Person 2 who hasn’t seen it, whilst the Person 2 feels stu-pid and is eventually shamed into downloading the first se-ries. Just so we’re clear, I am Person 1 in this situation, and this is me, shaming you into watching The Wire.
The series focuses on Balti-more and the various sections of society which make up the city – in particular, the com-plex world of organized drug crime and the police that are supposed to deal with it. With a sprawling cast of characters that changes with each sea-son, the only real constant is the city’s permanent state of decay and the people who are desperately trying to hold it back from utter chaos. There are no good guys or bad guys, and often those who are sup-posed to be helping the city, like its police and politicians, are the ones with the most obvious personal flaws – take Officer McNulty, for example, who is utterly dedicated to his job and yet is quite frankly a
philandering, alcoholic arse-hole.
The show is not easy view-ing, and the themes it deals with are incredibly dark, but there is a reason everyone is still talking about it seven years after it finished. Firstly, it’s exciting and addictive. There’s sex, drugs, violence and a lot of good swearing – the most famous scene is in Season 1, Episode 4, where Officers McNulty and Bunk carry out a crime scene in-vestigation, communicating solely in variations of the f-word. There’s suspense, and humour, and it makes com-pulsive viewing. But this isn’t exactly special – True Blood has all this stuff, and, fun as it is, is not exactly a classic, generation-defining TV se-ries. The Wire has something extra. It’s intelligent. Every character, relationship and plotline is intricately wrought and so brilliantly told that no matter how far removed it is from your own reality, there is no question of not believing or understanding. The char-acters are complex, confused and not drawn in black and white – to put it simply, they are real. From Stringer Bell, the drug dealer who goes to business school, to Bubbles,
the heroin addict and police informer, to Omar Little, who robs the drug dealers, lives by a strict moral code and is gay – you believe in all of them, understand all of their motivations and reasoning, no matter how skewed it may be. The show forces you to
open your mind, and you find yourself loving and accepting every character, despite and because of their flaws.
For those who have seen The Wire, this will all be noth-ing new. And to all those who haven’t yet seen it; please, I beg you, watch it. It will open
your mind. It will make you really good at swearing. And you will never feel ashamed in a conversation about TV ever again.
Isabella Silver
HOMELANDSUNDAY 9PM
CHANNEL 4After the explosive (though, of course, not literally) end-ing to season 1 of this brilliant drama, it became clear that all those people dismissing Home-land as just another 24 could, quite frankly, shut up. As sea-son 2 progresses, the show gets better and better, with Clare Danes quickly topping everyone’s ‘Greatest Person Ever’ list. Managing to be both kick-ass and crazy simultane-ously, she is one of the most compelling and well-drawn fe-male characters currently on our screens and she is the rea-son Homeland leaves 24 in the dust. Carrie Mathison beats Jack Bauer any day. This epi-sode sees Agent Brody locked up once more, this time in the US. Don’t miss it. GIRLS
MONDAY 9PMSKY ATLANTIC
There has been much hype about this genre-defying show, and most of it is deserved. Quirky, funny and poignant in equal measures, Girls is a real-istic – sometimes uncomforta-bly so – peek into the worlds of twenty-something women liv-ing in New York. At times the show makes unbearable view-ing as it hits a little too close to home, and often you will
characters, but this is part of what makes it so great. It is a
the girls’ struggle to live with the disappointment of their lives not quite resembling the Sex and the City dream. This episode is not one of the best – Hannah gets felt up by her boss, Jessa loses the kids she is supposed to be babysitting and Shoshanna almost loses her
worth persevering: it improves
nale is worth the wait.
DOWNTON ABBEYSUNDAY 9PM
ITV1After a ridiculous, soap opera-esque second series, Downton
nally regaining some of the
story-lines are getting a little less theatrical and a little more grown-up as the Grantham family tries to deal with the
have had some wonderful mo-ments, especially the one with (sob) Lady Sybil’s death. The actors seem to be improving before our very eyes as they
lines – Elizabeth McGovern in particular is shining as the grieving mother and enraged wife. Robert James-Collier, who plays Thomas, is equally brilliant as his character is
grey and stops being simply
a villain. The most important development, however, is that
married, which means we no longer have to endure their pasty, will-they won’t-they courtship. This week’s episode sees the annual village cricket match, and a visit from Violet’s great-niece from London.
ALSO...IT’S ALWAYS SUNNY IN PHILADELPHIATHURSDAY, 10PMApparently Charlie and Dee
MADE IN CHELSEAMONDAY 10PM, E5
WATCH THIS WEEK
HBO
SHO
WTI
ME/
CH
AN
NEL
4
HBO
CH
AN
NEL 4
The LSE has celebrated
Ginger history month in
the most glorious of fash-
ions. An entire month long
celebration being held in
the underground dungeon
of the LSESU building was
organisers maintain that it
was a phenomenal success.
Despite no-one actually
being able to see how many
gingers there were down in
Putin-Day’s sex-dungeon at
need for any and all light
is reliably informed tens of
carrot-tops attended.
The SU shop also indi-
cated that sales of Orangi-
and that they will soon be
stocking Terry’s Chocolate
Oranges.
Ginger Whoreby com-
mented “that it was great
that the weather really
worked out for us. What
I only had to use SPF 60
could use SPF 10!” Whore-
by goes on to state that
not allowed within ten me-
this year he let us get right
up to the windows!”
to hide your freckles” and
showed any interest was
free tickets to Australia.
stead bought rail tickets to
for anyone who is melanin
One cause of consterna-
tion at the “Rangas Unite”
dermining of redheads by
the Union. In particular the
Student Centre. Putin-Day
swift resolution.
30.10.2012 | The Beaver32
REDHEADS OF THE WORLD UNITEGinger Whoreby
Duncan McKenna
LOOK-A-LIKE BOTTOM OF PAGE TO FILL SPACE AS I AM LAZY THIS W
Putin-DayKeeley
PART B’S GINGER HISTORY SPECIAL