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]

[email protected]

MusicTOM BARNES EMIR NADER

Private BGINGER [email protected]

TheatreLAURENCE [email protected]

TelevisionISABELLA [email protected]

Video GamesPHILIP GALLAGHER

Visual [email protected]

[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