The Edinburgh Festival Fringe Society is pleased to announce the renewal of its partnership with Johnnie Walker Princes Street, as the venue is named the Official Sponsorship Partner of theEdinburgh Festival Fringe 2023.
As the Official Partner Destination of the Fringe, Johnnie Walker Princes Street is only a short distance away from many of Edinburgh’s Fringe venues; and with stunning rooftop bars boasting some breathtaking views of Edinburgh Castle and the Old Town skyline, as well as a host of innovative food and whisky-tasting experiences and immersive tours, the five star, multi award-winning destination is an essential part of any Fringe itinerary.
For the second year in a row, Johnnie Walker Princes Street will feature in the venues map at the back of the Fringe programme – an indispensable navigational tool to everyone looking to make the most of their Fringe experience.
Johnnie Walker Princes Street, which opened with a Green Tourism Gold Award – the highest sustainability accolade for a visitor attraction – has been an invaluable supporter in the Fringe Society’s ongoing efforts to make the festival more environmentally sustainable, particularly the transition to e-ticketing in Fringe 2022.
Commenting on the news, Shona McCarthy, Chief Executive, Edinburgh Festival Fringe Society, said: “We are thrilled to be renewing our partnership with Johnnie Walker Princes Street for a second year.
“Their flagship attraction in Edinburgh has been a welcome addition to the Fringe landscape since it opened its doors and their support in helping us improve our ticketing experience has been indispensable.
“As we invite people to Fill Their Boots at the Fringe this August, we also encourage them to pop by Johnnie Walker Princes Street”.
Rob Maxwell, Head of Johnnie Walker Princes Street, said: “The Edinburgh Festival Fringe brings the best arts and comedy talent to Scotland, and puts Scotland on a global stage.
“It’s an anchor in the world’s cultural calendar, so to once again be the Official Sponsorship Partner of the festival is a proud moment for the Johnnie Walker Princes Street team as we enter our second summer in Edinburgh.
“This year we are looking forward to welcoming more people than ever into our iconic building, letting visitors from across the world experience whisky in innovative ways through our many immersive tours, our new culinary concept STIR, as well as the chance to take in the unbeatable views of Edinburgh with a cocktail at our stunning 1820 Rooftop Bar”.
Find out more about Johnnie Walker Princes Street experiences and food and drink offering here.
Improved payment system to expand services – but BDA says the reforms will not repair a ‘broken system’
NHS dental teams will receive increased fees under a new payment structure which will help them to provide enhanced NHS care and treatment.
Developed in partnership with the dental sector and as part of the Oral Health Improvement Plan, the reforms also include an additional £10 million from the Scottish Government to support the delivery of laboratory-based treatment items, such as dentures.
The updated system will drive greater consideration of patients’ specific oral health needs, with more focus on patient-centred care such as preventative periodontal – gum disease – treatment.
For dentists it will streamline Item of Service payments by reducing the numbers of fees from over 700 to 45, cutting bureaucracy and giving them greater authority over the treatments offered.
While patients that are required to pay a NHS charge are likely to see an increase in costs, this will be dependent on overall treatment plan. Around 40% of patients will continue to receive free NHS care and treatment, as they did under the previous arrangements.
Public Health Minister Jenni Minto said: “This new NHS offer improves the system for both dental teams and patients and is the first step in the process to make the services available on the NHS reflect the changing oral health needs of the population. It also reaffirms our commitment to the sector and to all NHS patients in Scotland.
“We are confident that the modernised system, with increased clinical freedom for dentists, will provide longer-term sustainability to the sector and encourage dentists to continue to provide NHS care.
“All patients will continue to receive free NHS dental examinations and I want to reassure those who are exempt from NHS dental charges – including children and young people under 26, and those on certain benefits – they will continue to receive free care and treatment. People on a low income are also eligible for support, details of which can be found on NHS Inform.
“I’d like to take this opportunity to thank all NHS dental teams for their continued engagement and commitment to NHS dentistry. Increased costs for energy and the cost of living crisis still pose challenges for them but we will continue to work together to ensure the best quality of care is available.”
The British Dental Association has said Scottish Government reforms to NHS dentistry announced today fall short of the root and branch change required to make the service fit for the 2020s.
Following tense negotiations, a reformed payment system will be rolled out from 1 November 2023. This includes changes to the fees provided for many treatments and will see the number of items on the ‘menu’ at dental practices slimmed down – purportedly meant to make it less burdensome – to 45 codes down from around 400. The BDA had stressed that surging costs had left practices delivering some NHS care at a financial loss, particularly for items like dentures that require laboratory work. These items have seen significant increases in fee levels.
However, the professional body has stressed reforms offer no fundamental changes to the current model of care. The service is still predicated on a low margin/high volume system, without the appropriate targeting of resources for those in highest need. The BDA had been seeking a clean break towards a new patient-centred and prevention-focused model and say the package as it stands will do little to tackle deep oral health inequality across Scotland.
Dentist leaders have warned ministers not to view the current package as a ‘final destination’. There is uncertainty over whether these changes will be sufficient to halt the exodus of dentists from NHS services and restore access to millions.
The Scottish Parliament COVID Recovery Committee recently concluded its inquiry into the recovery of NHS dentistry, including a recommendation that the Scottish Government provide costings for – and consults on – different service model options, including those that it does not prefer, in partnership with the sector so that the opportunity is not missed to consider a full range of options for the future of service delivery.
David McColl, Chair of the British Dental Association’s Scottish Dental Practice Committee said:“We’ve secured some improvements, but the fundamentals of a broken system remain unchanged.
“The Scottish Government have stuck with a drill and fill model designed in the 20th century. They were unwilling to even start a conversation on making this service fit for the 21st.
“Ministers cannot pretend this is a final destination for NHS dentistry in Scotland. We struggle to see how these changes alone will close the oral health gap, end the access crisis or halt the exodus from the NHS.”
Anyone struggling to pay for their dental care is urged to visit NHS Inform to view the support available. Patients can check if they are exempt from NHS dental charges by visiting NHS Inform.
For those not eligible for exemption but on a low income, financial support is available via the NHS low income scheme. Patients can apply for this support by completing a HC1 form. Paper copies can be picked up at community pharmacies, GP practices, Citizens Advice Scotland offices and Jobcentre Plus offices.
Independent study commissioned by Scotland’s six producing theatres reveals urgent need to overhaul sector if it is to survive
An independent study reveals critical challenges to the Scottish producing theatre sector. Titled “Disappearing Act?“, the report, conducted by independent analysts Data Culture Change, sheds light on the alarming state of the sector, calling for immediate and sustained action to protect this important element of Scotland’s rich cultural heritage.
Commissioned in 2022 by six prominent independent producing theatres, Dundee Rep and Scottish Dance Theatre, Citizens Theatre, Glasgow, Pitlochry Festival Theatre, Royal Lyceum Theatre Edinburgh, The Traverse, Edinburgh, and The Tron, Glasgow, the study provides an extensive analysis of the current theatre landscape in Scotland.
Liam Sinclair, Executive Director of Dundee Rep and Scottish Dance Theatre said:“Scotland’s producing theatres have been aware that the challenges we face have been building, and that in order to survive we needed to face some hard facts and tackle the issues head on.
“We came together to commission Data Culture Change to produce this independent report to provide us with the robust data to inform actions we are committed to taking in order to protect the future of theatrical work made here and telling Scotland’s stories.”
“Disappearing Act?” draws attention to several key points that demand urgent attention:
1. Producing theatre in Scotland has significant scale and impact
From 2017-2020 the six commissioning theatres’ collective average annual ticket sales totalled 423,000 and their collective turnover topped £20 million. Over the same period, they collectively staged an average of 106 productions a year, of which 80% were commissioned and other new work.
Producing their own work, representing and exploring their communities, the six organisations at the heart of this study use their civic spaces to provide opportunities for a plurality of voices to be heard.
The range and output of these theatres, alongside many others, reflect the individual communities and cultures of Scotland. These theatres invest in their community and its creativity, however this level of investment is at risk due to continued financial challenges.
2. Decades of cuts are being compounded by external factors
The six theatres collectively posted an annual trading deficit in three of the five years of the study. This was partially due to increasing aggregate annual building costs which reached over £610,000 in 2020/21.
There are now unprecedented challenges facing these theatres which maintain buildings, run full-time operating venues, and produce work that generates livelihoods for playwrights, actors and creatives.
The impact of the pandemic has been broad and deep with some audiences slow to return and a sizable proportion of the ‘core’ frequent audience appear to have been lost. As well as reduced earned income, there are now enormous pressures on costs across the businesses, including major rises in the price of utilities.
This is especially important in the context of prolonged real terms reductions in revenue funding from national and local government. In addition, Theatre Tax Relief which has made a vital contribution to the finances of producing theatres during the last decade is planned to begin to taper down from current rates in 2025-26.
3. There is a lack of Scottish representation in theatre consumption
Key findings from the report reveal that Scotland is a nation of theatregoers. Almost 40% of Scottish households visited the theatre over the study period, but less than 15% of the theatre they consumed was made in Scotland.
4. Attracting and retaining skilled staff is challenging
Keeping skilled staff within the theatre industry is a challenge with wage expectations rising, reflecting increases in the cost of living. Theatre leaders are committed to putting fair work first and becoming carbon neutral, but these goals will only be achieved with greater income.
In response to the report, Alex McGowan, Executive Director of Citizens Theatresaid: “If the collective picture for our venues was bleak before the pandemic, the negative and continuing impacts of Covid-19 are potentially devastating. To avoid the risk of venue closures and the very real possibility of the end to a credible producing theatre sector in Scotland, fundamental sustained action is urgently required.
“We recognise change won’t be easy and are committed to responding positively and flexibly. We hope our funders, partners, colleagues and the public will find in this report all the reasons to support our transformation.”
What next? The report outlines several recommendations to address the challenges:
1. A common approach
By taking collaborative approaches to production, marketing, learning and participation and the development of new income streams, the six independent producing theatres could utilise their diversity to be a creative strength for the nation. Increasing skills, knowledge and jobs that will enhance and support the wider theatre industry, as well as Scotland’s TV and Film industries.
2. Producing new Scottish work that will attract large audiences, nationally and internationally
Building on the crucial role the producing theatres play in the development of new Scottish work, the report recommends that the six independent producing theatres work together to find ways to collaborate with experienced commercial theatre producers, that will support and co-produce popular shows that are expected to tour within Scotland and then go on for further commercial exploitation in other parts of the UK and internationally.
3. Growing and diversifying audiences for theatre made in Scotland
Collective action is required by the six independent theatres to increase venue crossover, frequency of attendance and market share. The report recommends that the commissioning venues explore a range of shared-service models that could reduce costs and increase return on investment.
4. Collective Workforce Programme
Currently all six venues report significant problems in the recruitment and retention of trained staff. The report recommends that standard practices and approaches should be introduced across the six organisations, including the tracking of staff demographics and churn.
5. Working groups to address major technical and legal issues
Currently no-one is benefiting from the confused and contradictory landscape of Intellectual Property across Scotland and the UK.
The six commissioning theatres need to address key issues around intellectual property as well as common issues surrounding buildings tenure and investment, and employment relations.
Reflecting on the report Linda Crooks, Executive Producer of Traverse Theatresaid: “A sustainable producing theatre sector is fundamental to theatre and the cultural landscape of our society.
“Scotland is one of the worlds’ leading cultural nations, playing host to the biggest annual arts festival in the world. We need to ensure that Scotland remains a cultural beacon throughout the year, as well as maintaining Scottish theatre’s representation during our festival season.
“We are keen to do more to support the broader ecology. Taking on board these recommendations we can grow the market for Scottish-made theatre domestically, throughout the UK and internationally – bringing benefits to creatives, freelancers and the economy as a whole, not just for theatre, but for the television and film sectors that already contribute to Scotland’s economy.”
David Brownlee, Chief Executive of Data Culture Change said: “Scotland is home to six of the world’s most exciting and diverse producing theatres. They have been doing all they can to deliver ‘more for less’ every year for over a decade, but in the wake of Covid and the middle of a cost-of-living crisis, an existential threat looms for individual theatres and the sector as a whole.
“The good news is that theatre managers know that no change is not an option and they will have to work in different ways to increase income, share skills and build audiences. With increased investment from Government and by the thousands of people who care deeply about work made in this country, the next decade could be a great one for Scottish theatre.”
Joint statement from the six independent producing theatres:
“As executive leaders of Scotland six independent producing theatres we feel the stark challenges this report reveals around making theatre in this country now and in the future.
“Confronting the consequences of decades of public funding reductions alongside rising costs is a daily reality for us. Whilst we recognise the strain on public resources, we also recognise that continuing to achieve more with less is not sustainable.
“Greater collaboration is required as we face upcoming challenges and opportunities. That’s why we find the proposal to adopt a common approach moving forward so compelling. Our collective diversity can serve as an asset for the people of Scotland even as we maintain our individual focus and purpose.
“By aligning on common goals whilst preserving that individuality, we can work smarter to the benefits of all our communities. A shared approach will capitalise on our collective strengths, encourage innovation, and promote the cultivation of new audiences.
“We are committed to a bright future for Scotland’s theatre sector. A sustainable producing theatre sector is fundamental to the future of the performing arts in this country and we intend to contribute to a healthier and more vibrant cultural landscape.
“We have the potential to expand the market for theatre makers in Scotland domestically, throughout the wider UK, and internationally. This will increase the benefits of those working in the industry and boost the overall economy by bringing more visitors to Scotland and taking the best of Scottish talent to the world”
More than 10 million people have called the Scottish Ambulance Service (SAS) Ambulance Control Centre (ACC) in the past nine years.
The amazing milestone of 10 million was received on July 17 at 05:56 and was taken by East ACC call handler Melissa Hurst.
SAS uses a system to log calls called C3, which is a service operating system to record all incidents called into 999; this allows our clinical staff to review and offer support where appropriate and for our dispatchers to allocate resources when required.
It was introduced in 2006 and originally implemented into the three regional ACCs – Glasgow, Inverness and Edinburgh – which operated separately. In 2014, it was implemented nationally as the ACCs integrated into a national service; this is when the national incident count started.
Earlier this year, the Service launched its Integrated Clinical Hub. Using a multi-disciplinary network of skilled clinical staff, the Hub gives SAS the ability to provide a detailed consultation for patients whose initial 999 triage has ruled out time-critical illness. The hub operates 24 hours a day, to ensure patients receive the best possible response to their need when they dial 999.
Michael Dickson, SAS Chief Executive, said: “Our ACCs are an invaluable part of the Scottish Ambulance Service and this is truly a remarkable achievement. Thanks to all of our ACC staff who continue to provide such a crucial service.
“Whether these calls were for call handlers to deliver incredible care, for dispatchers to send the right resource to the scene as quickly as possible, or clinicians to assess and keep our patients safe, we are grateful and proud of all of our ACC staff for the outstanding service they provide to Scotland.
“Our Clinical Hub transformation is aimed at supporting more patients in communities to ensure patients get the right care, at the right time. The number of patients being cared for out with hospital Emergency Departments remains substantial and as we head into a challenging winter period, it’s vital we find ways of delivering the right care for individuals and easing pressure on Emergency Departments.”
Call handler Melissa said: “Taking the 10th million call puts it in perspective of just how many people have depended and relied on SAS to help and care for patients. It shows just how essential our service is for both the public and healthcare professionals and I’m thankful to be a part of it.”
The milestone comes as the SAS ACC team recently won Call Handling Team of the Year at the Control Room Awards, and our control room received Accredited Centre of Excellence (ACE) accreditation for the excellent standard of its 999-call handling and supporting processes.
Edinburgh: Rose Theatre pop-up music venue set to be city’s hottest ticket
A pop up live music venue that will offer the sort of freewheeling feel of the original Fringe and features many of Scotland’s most talented performers, is set to open its doors in early August on Rose Street. Tickets are now on sale.
Over 25 days the venue will host 50 jazz, folk and other concerts featuring many of Scotland’s most talented performers. Some of those already confirmed are Fergus McCreadie, Aidan O’Rourke, Su-a Lee, Shooglenifty, Roddy Woomble, Mr McFall’s Chamber and Georgia Cécile.
Located at the west end of Rose Street (Charlotte Square end) and open from 4pm to midnight 7 days a week, The Rose Theatre (Venue 76) will feature two ticketed performances a day in the Cabaret Bar and main theatre alongside spontaneous, pop-up performances in the child and dog friendly Café Bar area, curated by Soundhouse.
Ticket prices are set at £15.00 and are available from the Fringe Society from Wednesday 26 July.
Joining forces to run the month-long pop up live music venue at The Rose Theatre, are two independent organisations – the Soundhouse live music charity and Edinburgh-based, Bellfield Brewery.
Douglas Robertson from Soundhouse said “We’ll present a showcase of the best of Scottish music at this year’s Fringe: we believe our series will be the best that the Fringe has seen in living memory.
“Events at the Rose Theatre will provide the excitement, spontaneity and creativity that has long been replaced by the crass commercialism of the London-owned mega-venues around Edinburgh University. Great music, great beer, great venue! What’s not to like?”
Speaking about the venture, Bellfield’s Alistair Brown said, “Together we will offer some of the Fringe Festival’s most exciting acts alongside award winning, locally-brewed craft beers.
“Locals and visitors will receive the same friendly welcome from our team that they get in our Abbeyhill Taproom (voted the best Taproom in Scotland 2022).”
The Soundhouse Organisation draws on the success of Edinburgh Tradfest whose popularity grows year on year. Bellfield Brewery’s previous festival experience includes a collaboration with Pianodrome at the Old Royal High School in 2022 and the Hidden Door Festival earlier in 2023.
The partners hope to repeat their Festival successes this year at The Rose Theatre where they have secured a month-long lease, prior to the building being redeveloped.
Programme
A couple of dates/performers are still to be confirmed. The line up at present is:
4th @ 9.30pm Don Paterson and Graeme Stephen
6th @ 7pm Karen Marshalsay
7th @ 7pm Roo and Neil
8th @ 7pm Juliet Lemoine
8th @ 9.30 Nimbus Sextet
9th @ 7pm Adam Holmes
9th @ 9.30pm The Penalty – Live score – Graeme Stephen and Pete Harvey
10th @ 7pm The Firelight Trio
10th @9.30pm ballboy
11th @ 7pm Ross and Ali (with Jenn Butterworth)
11th @ 9.30pm “Motian & Me” – Tom Bancroft, Phil Bancroft & Norman Wilmore
12th @ 7pm Inge Thomson and Fraser Fifield
12th @ 9.30pm Helena Kay Trio
13th @ 7pm Brian Kellock
13th @ 9.30pm Nosferatu – Live score – Graeme Stephen and Aidan O’Rourke
14th @ 7pm Dancing Mice
14th @ 9.30pm Phil Bancroft’s Standards Trio
15th @ 7pm Viper Swing
15th @ 9.30pm Trio Mágico
16th @ 7pm Simon Bradley Trio
16th @ 9pm Matt Carmichael & Fergus McCreadie
17th @ 7pm Aidan O’Rourke & Brighde Chaimbeul
17th @ 9.30 ‘Motian and Me’ – Tom Bancroft Phil Bancroft and Adam Jackson
18th @ 7pm Chris Stout & Catriona Mackay
18th @ 9.30 Fat Suit
19th @ 7pm Jarlath Henderson and Innes Watson
19th @ 9.30pm Shooglenifty
20th @ 7pm Su-a Lee & Friends (D Chisholm, H Napier, D Shaw)
20th @ 9.30pm Shooglenifty
21st @ 7pm Tallulah Rose
21st @ 9.30pm Ciaran Ryan Band
22nd @ 7pm Konrad Wisniewski and Haftor Medboe
22nd @ 9.30 Georgia Cécile with Fraser Urquhart
23rd @ 7pm Georgia Cécile with Fraser Urquhart
23rd @ 9.30pm AKU!
24th @ 7pm The Brothers Gillespie
24th @ 9.30pm Matt Carmichael Quintet
25th @ 7pm Niki King
25th @ 9.30pm Roddy Woomble
26th @ 7pm Gnawa Trance Fusion
27th @ 7pm Mairearad Green and Mike Vass
27th @ 9.30pm Tommy Smith & Peter Johnstone
28th @ 7pm Mr McFall’s Chamber
28th @ 9.30pm Greg Lawson, Mario Caribé & Phil Alexander
Parents or carers who get Housing Benefit but don’t receive Scottish Child Payment need to apply for the School Age Payment as they will not receive it automatically.
Additionally, some young parents, those under 18 or 18 to 19 year olds who are dependent on someone else but don’t receive qualifying benefits, also need to apply for the School Age Payment as they will not receive it automatically.
Anyone who has opted out from receiving automatic awards, or who has chosen not to apply for Scottish Child Payment, will also have to apply for School Age Payment
The School Age Payment of £294.70 is designed to help with the costs of preparing for school. Parents or carers of children born between March 1 2018 and 28 February 2019 can apply online at the Scottish Government website.
Clients can contact a client advisor by calling 0800 182 2222 or by using our webchat.
People must apply before the closing date of 28 February 2024. Parents or carers who defer their child’s entry to school from August 2023 to August 2024 should still apply before the closing date.
Free this Sunday? Come along to a Picnic in the Park – open to everyone, fun and games and chance to chat. Bring your own picnic and let’s celebrate summer!
(If it rains bring your picnic along to the Sycamore Tree Cafe at Davidson’s Mains Parish Church instead.)
Outdoor Screenings at this year’s Edinburgh International Film Festival
EIFF presents a vibrant weekend of outdoor screenings taking place atthe Old College Quad at the University of Edinburgh
Across Saturday 19th and Sunday 20th August, Edinburgh International Film Festival presents a weekend of dreamy and eclectic outdoor screenings in the scenic surroundings of the Old College Quad at the University of Edinburgh.
This year the film festival mixes family-friendly titles with artists’ film, a live soundtrack to a classic, a wuxia-influenced double-bill, and some cracking new films, in a programme set to make your heart sing. Includes collaborations with Edinburgh International Festival, Alchemy Film & Arts and Hippodrome Silent Film Festival (HippFest).
All screenings are ticketed, and priced as Pay What You Can, £2, £4 or £6 per screening. Further information can be found on the EIFF website.
Kate Taylor, EIFF Programme Director, says “With Cinema under the Stars we welcome Edinburgh audiences to a weekend of gorgeous, imaginative and uplifting films.
“We’re particularly excited to present previews of new feature films Scrapper, surely the most charming UK film of the year, and Let The Canary Sing, a film infused with infectious New York punk pop energy.
“Additionally we’ve got Oscar®-winners, we’ve got cats, and we’ve got Tony Leung and Maggie Cheung as lover assassins. Time to bust out the picnic blanket for a magical weekend.”
Lorna Brain, Head of Festivals at the University of Edinburgh said: “The University is proud to be part of the Edinburgh International Film Festival, both as a venue partner and a supporter of their programming.
“We look forward to welcoming film fans to enjoy the delights of outdoor cinema in our iconic Old College Quad this August for the 76th iteration of the festival.”
Spotlight screening | Scrapper | Dir. Charlotte Regan | UK |
Winner of the World Cinema Grand Jury Prize at Sundance, Charlotte Regan’s highly-anticipated debut feature is a heartwarming drama about the reunion between a father and his young daughter.
Georgie is perfectly happy refusing to accept that her mom has passed away. She makes do by herself in her mum’s flat, with some light hustling and some help from the neighbours. That is, until her estranged dad Jason (Harris Dickinson; Triangle of Sadness) shows up to, like, take care of her or something. Slowly, tenderly, they find their footing with each other as they reconcile Georgie’s grief and Jason’s embrace of fatherhood.
Charlotte Regan is an alumna of the EIFF Talent Lab 2018, and we’re delighted to welcome her back to present the film.
Spotlight Screening | Let the Canary Sing | Dir. Alison Ellwood | UK, USA |
From the opening bars of ‘Girls Just Wanna Have Fun’, this rousing documentary is a fascinating trip through the life and times of Cyndi Lauper, an immensely charismatic and constantly rebellious creative force. Over amazing footage of her working-class New York childhood and early downtown punk gigs,
Lauper talks frankly and thoughtfully about the whirlwind of 1980s success, as well as her AIDS activism and her subsequent creative renaissance as an award-winning writer of musicals. Alison Ellwood’s new documentary repositions the singer not as a pop culture artefact but as an artist in a state of constant reinvention, and a life-long feminist who has always stood up for others. Prepare to be charmed ‘Time After Time’.
Spotlight screening | The Wool Aliens (and other films) | Dir. Julia Parks | UK |
Four gorgeous short films by artist Julia Parks, each a 16mm portrait of community action and the natural environment, created during a residency in Hawick in the Scottish Borders. This screening – which includes the shorts The Wool Aliens, Tell Me About The Burryman, Burnfoot Grows and All Flesh Is Grass – will be preceded by a performance by musician Miwa Nagato-Apthorp. Presented in association with Alchemy Film & Arts.
Spotlight screening | Safety Last! ft. Live Accompaniment | Dirs. Fred C. Newmeyer, Sam Taylor |
On the centenary of its release, a classic of the silent era, presented with live musical accompaniment by acclaimed Scottish silent film pianist Mike Nolan. Featuring a nerve-rackingly funny performance by the “King of daredevil comedy” Harold Lloyd. This screening is presented in partnership with HippFest, Scotland’s first and only festival dedicated to silent film.
The Electrical Life of Louis Wain | Dir. Will Sharpe | Benedict Cumberbatch plays the eponymous painter of wide-eyed cats, in this love letter to creativity and misunderstood genius. Director Will Sharpe’s magnificent ode to oddity will pull at the whiskers of your heart.
Everything Everywhere All At Once | Dirs. Daniel Kwan, Daniel Scheinert | This multi-Oscar®-winning film creates an unclassifiable meld of action, sci-fi, drama, comedy and romance, with award-winning performances from Michelle Yeoh, Ke Huy Quan and Jamie Lee Curtis. Now outdoors!
Hero | Dir. Zhang Yimou | This big-screen action epic is a riot of colour and jaw-dropping fight sequences, and features a stirring soundtrack by Oscar®-winner Tan Dun – also composer of Buddha Passion, the opening concert of the Edinburgh International Festival.
The Lego Movie | Dirs. Christopher Miller, Phil Lord | Fighting the tyrannical hands of capitalism has never been so awesome!!! A host of stars build an homage to the creative power of imagination that is as inspirational as it is fun. Plus, it features one of cinema’s all-time catchiest songs.
Parasite | Dir. Bong Joon-Ho | A sharp commentary on class inequality neatly delivered as a skin-tingling thriller. Features a stirring soundtrack by Jang Jae-il – also composer of Trojan Women, which is being staged as part of this year’s Edinburgh International Festival.
Puss in Boots: The Last Wish | Dir. Joel Crawford | Puss in Boots (Antonio Banderas) has just one of his nine lives left. Our hero embarks on a mighty quest to try restoring his feline privileges.
Cinema under the Stars is supported by the Platforms for Creative Excellence (PLaCE) programme funded by the Scottish Government (through Creative Scotland), the City of Edinburgh Council and the Edinburgh Festivals.
The special 2023 edition programme for Edinburgh International Film Festival (EIFF), which this year is hosted by Edinburgh International Festival, celebrates the work of exceptional local and global filmmakers, ensuring the flame of independent cinema burns bright for future generations of passionate film fans.
EIFF is funded by Screen Scotland; enhanced engagement activities are supported by the Scottish Government’s Festivals Expo Fund and the Platforms for Creative Excellence (PlaCE) programme, a partnership between the Scottish Government (through Creative Scotland), the City of Edinburgh Council and the Edinburgh Festivals.
“The world is burning and the UK Government is helping the arsonists pay for the fuel”
Climate campaigners have reacted with outrage at the news that Norwegian oil giant Equinor has today announced pre-tax profits of £5.8 billion (US$7.5 billion) in JST THE LAST THREE MONTHS.
Campaigners said that with climate-induced fires sweeping Greece “the UK Government is helping the arsonists pay for the fuel” with a massive tax break for Equinor to develop a new oil field.
Equinor’s flagship project in the UK, the controversial Rosebank oil field, is in line to pocket a tax break of £3.75 billion from the UK Government to incentivise its development. This deliberate loophole in the Windfall Tax means that 91% of the cost of developing the 500 million barrel field will be covered by the public purse, despite Equinor’s massive profits and the fact that 80% of Rosebank’s oil will be exported.
Campaigners in Aberdeen yesterday delivered a giant ‘cheque’ to the Equinor offices to highlight the injustice of the tax break.
Last year, Equinor broke records with pre-tax yearly profits of £62 billion (US$74.9billion), benefiting from increased prices for oil and gas due to the war in Ukraine. Meanwhile, energy bills for consumers skyrocketed and millions were pushed into fuel poverty.
There has been widespread opposition to the Rosebank field, with public protests across the UK, politicians including SNP MPs Tommy Sheppard and Mhairi Black and the head of the UK Government’s own climate advisory committee, Lord Deben, speaking out against the project.
A decision on Rosebank is rumoured to be scheduled for after the summer recess, following delays due to concerns that the project would not meet net zero commitments under the North Sea Transition Deal.
Friends of the Earth Scotland’s oil and gas campaigner Freya Aitchison said: “These outrageous profits every quarter serve as a stark reminder that companies like Equinor have no intention of changing their ways.
“Fossil fuel giants are simply making too much money from upholding the climate-destroying status quo. Adding insult to injury is the massive tax break Equinor will receive should they go ahead with Rosebank, showing how the UK Government would rather hand out public money than say no to big polluters.
“Grant Shapps and the Department for Energy Security and Net Zero are blatantly ignoring the devastating impacts of climate breakdown, exemplified most recently in the terrifying wildfires in Greece.
“By cheerfully inviting oil companies to drill for yet more polluting fossil fuels, they are effectively denying the reality of the climate crisis. The world is burning and the UK Government is helping the arsonists pay for the fuel.
“The Scottish Government can no longer sit on the fence on this climate denial and must speak out against Rosebank and all other new fossil fuel projects. We need a just transition to clean, affordable energy now.”
BREAKING NEWS: British Gas parent company Centrica has just posted it’s highest ever profits – £969 million in first six months of this year. Shell, too, has just posted eye-watering profits.
In recent times working life has become much more flexible and hybrid working is offered as standard in many businesses across the country, so it’s vital that business owners fully equip their employees with the knowledge of how to upkeep good electrical practices when at home and on the move.
As an increasing number of homeworking homeowners seek to invest in renovating their home office space, NICEIC has stressed the importance of the safety of any electrical equipment being used in the work-from-home environment.
The standard office environment poses little obvious threat of danger if maintained correctly, but poor electrical management can result in damage to the property or physical injury.
Paul Collins, NICEIC’s Technical Director has compiled a list of top things to consider when working from home:
Make sure you don’t overload sockets – it can be tempting to have all your chargers working within reaching distance, but this can create a fire hazard
If more sockets are required, or if you are adapting any of the electrics in your home always use a certified electrical business, such as those certified by NICEIC. They can ensure that the job is carried out safely and in accordance with the relevant regulations and standards
Ensure you unplug any chargers or leads that are not in use and double-check before you log off for the evening that you’ve turned everything off.
Despite us moving towards a more digital world, you may still rely on a lot of paper for your day-to-day operations. If this is the case, make sure they’re kept well away from any electricals or any potential sources of heat
Regularly check any cables for signs of damage or scorching
Only ever purchase electrical goods from reputable retailers
For many, home working setups can be somewhat haphazard, especially when it comes to electrical safety.
Recent research conducted by Electrical Safety First found that two-thirds of those working from home are using extension leads, and 38% of them admitted that homeworking means that they have more plugged into them than they normally would[1].
Not only should you avoid overloading extension leads, but you must also not daisy chain them. This is the process whereby several extension leads are connected to reach further or cater for more appliances / electrical equipment. This is highly dangerous and should be avoided at all costs.
Advising those to stay safe when working from home, Paul Collins, said: “It is crucial that safe electrical practice is maintained in people’s home working space. Many people are unaware of the importance of the surface on which charging appliances are kept. Electrical items such as phones and tablets should only be charged on non-flammable, hard surfaces, so leaving charging computers on top of a bed for example is a potential recipe for disaster.
“Electrical Safety First found that 28% of UK adults have bought and used a cheap, unbranded charger and this rises to 45% of 18-24-year-olds[2]. Workers, whether at home or in the office need to make sure they are using legitimate chargers to ensure they are certified as safe. Counterfeit chargers not only can damage your device but can also result in electrical fire or overheating.”
If the home office set up requires any type of electrical work or new installation, it’s important to assess your workspace and determine if you need any further sockets. If you do, it is advisable to speak to your nearest NICEIC certified business.
Not only can they make the alterations safely and in line with the required standards and regulations, thanks to their certification they can also sign the work off and notify building control (where applicable) on your behalf, saving you time and money.
