| | | Sex Education's Aimee Lou Wood: 'I was in so much pain underneath it all' | | by Barbara Ellen Aug 28, 2021 | | As the high school comedy returns for a third series, its Bafta-winning star talks about stage fright, embarrassing scenes, and the torment that lay behind her desire to please people In June, Aimee Lou Wood, 26, won a Bafta for best female performance in a comedy programme for her role as another Aimee (a teenager) in the hit Netflix show Sex Education, about a set of sexually active high school students, now returning for a third series. Even before the Bafta, Wood was always being stopped in the street. Fans wanted to talk to her, about Sex Education, about everything, because they related to her so strongly. Wood is naturally so friendly, she’d engage in conversation and make herself late. Then she starred opposite Bill Nighy in the forthcoming Oliver Hermanus film, Living: “Obviously, every single person recognises Bill Nighy, and he handles it with such grace,” Wood says, when we meet to talk in a north London photo studio. “With people in the street, I was like [she mock hyperventilates]: ‘Did I say the right thing? Was I nice enough?’ Now I’m learning to be: ‘Thank you so much!’ and carry on walking.” It’s easy to see why fans relate to Wood: never mind the dazzling prettiness, she’s sparky, warm and expressive. She comes from a working-class family in Stockport, Greater Manchester, and although, following her parents’ divorce, her mother’s new partner paid for her to attend a private secondary school, she kept her rich Mancunian tones: “I sound like my mum and I like that. I like that I sound like where I’m from.” Continue reading... | | | | | Candyman review – knowing horror sequel | | by Simran Hans Aug 28, 2021 | | Nia DaCosta’s visually impressive take on the cult 1992 film gives it a meta art-world twist In Bernard Rose’s original 1992 horror film, a white female graduate student investigated the Candyman myth and the site of his haunting – Chicago’s Cabrini-Green housing project – as part of her research. Director Nia DaCosta’s smart, stylish “spiritual sequel”, co-written and produced by Jordan Peele, reimagines its protagonist as a Black artist. In this version, Anthony (Yahya Abdul-Mateen II) mines creative inspiration from the tale of a killer ghost who appears when his name is uttered five times in the mirror. DaCosta’s visual flair is apparent, from the way she details flesh turning to rotten honeycomb, to the visceral squelch of pressing open a wound. Candyman’s attacks are inventively mounted too, playing out in the reflections of floor-to-ceiling windows and a teenage girl’s compact mirror. Anthony says his paintings “focus on the body”, a self-conscious allusion to the way the director leans into body horror too. Continue reading... | | | | | Joe Lycett: 'I'm being ghosted by Peppa Pig' | | by Michael Hogan Aug 28, 2021 | | The comedian, 33, talks about funny anger, homophobic hecklers, selling soffits and his trouble with Heinz pasta shapes Anger is a funny emotion. That’s how I accidentally got my consumer show. In my stand-up set, I’d read out my complaint letters. My genuine fury about minor injustices got laughs. It grew from there. Basically, a parking fine in York ended up making me loads of cash. It’s paid for itself many times over. I learned to make pasta in lockdown. I did all the bread-baking clichés too – banana bread, soda bread, sourdough – but pasta was my great victory. I got really good at it, as my waistline will attest. Except for ravioli. My meaty parcels kept falling open. Continue reading... | | | | | Chvrches: Screen Violence review – full of fighting spirit | | by Kitty Empire Aug 28, 2021 | | (EMI)
The Glaswegian trio use horror film tropes to explore fame, double standards and battles closer to home on their intense fourth album In 1992, the US film professor Carol J Clover published Men, Women and Chain Saws: Gender in the Modern Horror Film (Princeton University Press). In it, she introduced the concept of the “final girl”, a female protagonist who survives the bloodbath to take on the slasher in the closing scenes. If the final girl is heroic, she is also a problematic figure, kept alive by the film-maker because of her sobriety or chastity while other women who have more fun get the axe. The sequel makes the final girl’s victory pyrrhic anyway. Midway through Screen Violence, Chvrches’ intense fourth album, a song called Final Girl puts the well-worn horror trope to a more personal use. Lauren Mayberry – mouthpiece of the Glaswegian synth-pop trio – doesn’t want to “end up in a bodybag”. In 2019, Chvrches co-authored a huge tune, Here With Me, with Marshmello. The EDM DJ then went on to work with Chris Brown, the rapper convicted of violently assaulting Rihanna. Continue reading... | | | | | |
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