Culture

Spike Lee’s lackluster remake: Highest 2 Lowest

There is no reason why a remake should remain inferior to its source material; even less so when it’s a ‘reinterpretation’ by an auteur as opposed to a cynical...

Culture Matthew Mair -

One book, 500 years of art: The History of Art in One Sentence

★★★★☆ Former Wadhamite Verity Babbs has created a practical guide to the history of art...

Art Maxim Vorobev -

The Librarians (2025) at the Bodleian: reviewed

Kim A. Snyder’s The Librarians (2025) draws the audience into a pernicious web of...

Culture Abigail Lakeland -

Be brave, Oxford: Let’s put creativity back in the creative arts

Welcome back, Oxford. While you were away preparing for the next academic year, or...

Culture Mair Andrews -

Latest

German Expressionist film: A beginner’s guide

With Robert Eggers’ remake of the classic vampire horror Nosferatu taking the world by storm, now is a great time to look back at...

Shakespeare and the ‘Dark Lady’

Shakespeare is undoubtedly the most well renowned English playwright. Thus, the chance that the bard might have been strongly influenced by a woman, as...

Cherubs Grow On Trees: Atmospheric student filmmaking

Making short films is hard. You have anything between two and 20 minutes to tell a compelling story. As an audience member, they can...

Lessons in censorship: A cautionary tale against Bodleian blacklists

For some authors, the Bodleian Libraries have not always a safe haven for their work. Although marginalised texts are no longer demarcated with the phi symbol on their spines, with many having re-entered the undergraduate canon, Sophie Price discusses the valuable lessons we can learn from the Bodleian blacklist which remain pertinent today.

Should ‘Orbital’ have won The Booker Prize?

Laurence Cooke reviews Samantha Harvey's 'Orbital', the winner of the 2024 Booker Prize.

Fontaines DC and the (re) rise of indie Sleaze

I recently took to my finsta to post a story claiming that the Fontaines DC’s Radio One Live Lounge cover of Lana Del Ray’s...

Julie review – Free shots, toxic relationships, immersive theatre

My ticket to see Julie resembled an invite to a birthday party, promising a live DJ and that I would be greeted by ‘partygoers’...

Who is Oxford’s Coffee Shop Artist? In conversation with Julia Whatley

Julia sees herself as the conduit through which an artistic vision is realised. Where does this vision come from? “Somewhere else.”

The Goat Review: ‘raw, absurdist, and honest’

Clarendon Productions brings The Goat, or Who is Sylvia? (Edward Albee) to the Michael Pilch studio, painfully, humorously, and soulfully. Seated in the round,...

The Busy Body Review: ‘Theatre of the Real’

The Busy Body (1709) is one of the many plays written by Susanna Centlivre. Centlivre is often referred to by critics and historians as...

Doubts on Banksy

What is so enticing – and infuriating – about this mystery man’s slapdash approach to political commentary?

Death of the Album, rise of the playlist

The album, once the definitive artistic statement in music, is being increasingly overshadowed by the rise of the playlist. Streaming platforms such as Spotify...

Dindymene: A Dream

And on the seventh day, we found HER temple, feasted on HER sight. Enthroned. Flanked by mammoths on both sides. There, there! Berry-ringed fingers on berry-strung vines:...

In the Beginning

I was alone with the earth and the sun before youcame along: there was no life, no song, not even words.My hope had been...

Mac Miller grapples with mortality on ‘Balloonerism’

When the 'D' rings out from the organ on the dream-like second track of Mac Miller's Balloonerism, it feels like the beginning of an...

The Secret History characters as Oxford tropes

Donna Tartt's novel The Secret History is set in an exclusive college in Vermont but can be read as a satire of Oxford and its students. It invites us to question how little differentiates us from the elitist American universities.

Nosferatu: From Murnau to Eggers

Over one hundred years since its first screening, F.W. Murnau’s Nosferatu: A Symphony of Horror (1922) is not as terrifying as it once was,...

In conversation with ‘The Children’

‘If you’re curious as to how and why cows, nuclear reactors, tricycles, peperami, and old people doing yoga all fit into one play…come and...

The Ultimate Picture Palace: A Profile

The Ultimate Picture Palace has been at the forefront of Oxford’s cinema scene for over a century. First opening in 1911, under the enthusiastic...

Sanskrit drama returns to Oxford

Building on a strong recent tradition of plays performed in Sanskrit (with surtitles!) we are delighted to present this beautiful drama from ancient India,...

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Culture

Spike Lee’s lackluster remake: Highest 2 Lowest

One book, 500 years of art: The History of Art in One Sentence

The Librarians (2025) at the Bodleian: reviewed

Be brave, Oxford: Let’s put creativity back in the creative arts

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