Sunday 6th July 2025
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Review: Rhinoceros

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There aren’t many plays that leave you speechless as the actors take their final bow: still less that fully deserve a standing ovation. Rhinoceros is undoubtedly one of them. From the very first scene, with a chaos of white-faced comic French characters bouncing off each other and causing utter mayhem, the play same alive and held the audience in the palm of its hand – it was like being in the centre of a humorous Hadron Collider. Playing to a sold-out audience, Gruffdog Theatre created an electric show full of colour, action and laughter, employing everything from puppetry and live music to tunnels underneath the stage, with dance, masks and paint in between.

The humour of the initial first half was kept up throughout, with high energy fun woven throughout the piece that only lagged in the last few scenes. Though perhaps this was apt, as the play grew steadily darker and more onimous: as more and more of the townsfolk morphed into rhinoceroses, the boundary between right and wrong, and what is and isn’t ‘natural’, is blurred. The slow slip from carefree humour into a frightening world of metamorphoses where humans turn into rhinos leads to a stark and surprisingly dark ending of the play, with the lead protagonists Berenger and Daisy (brilliantly played by Jack Bradfield and Madeleine Walker respectively) left as the last humans in a threatening world of rhinos that seem more at home than he does on earth, jolting the audience out of any sense of security they might have had. But then again, this play is constantly playing with the audience – from the trapdoors that suddenly appear in the wonderfully cluttered and eye-catching staging to the incredible puppetry and guitar-violin duet that help with the smooth scene transitions. The sheer creativity in this play is staggering – during an office scene the fast-paced back-and-forth conversation is accompanied by the rhythmically musical beat of a typewriter, used as a drum-kit to drive the dialogue along.

The multitude of diverse, absorbing caricatures are a testament to the huge skills of these actors: from the stuffy ‘professional logician’ (Gaetano Ianetta) to the doddery old man (Oli Clayton) and the spectacular transformation scene of Jean into a rhino (Markus Kinght-Adams), the whole cast paint vivid characters with dexterity and flair. Special mention must go to the producer Conor Jordan and director Pete Sayer, whose incredible inventive theatrical devices helped the play to come alive. In what other play would a telephone be used as a fireman’s ladder to rescue office workers from a collapsed building?

In this absdurdist show full of humour and life, the cast successfully managed to pose searching questions of nature and normality whilst engaging and astounding the audience. What else could you ask for from a play?

Review: OBA Film Festival showcase

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The culmination of the Oxford Broadcasting Association (OBA)’s Student Film Festival, it was a time for celebration as the cast and crew of the biggest student films made over the previous year gathered to witness the fruits of their labours on the big screen.

The screening began with the likeable Martin Friar’s First Kiss, which sought to capture the delirium and awkwardness of a Year 7 relationship with rose-tinted nostalgia. Directed with zeal by Megan Gibbons and graded with bold colours, it was a nimble and energetic opener.

Darkness soon set in, however, with the arrival of Joel Scott-Hawkes’ United Strong Alone. In spite of its oxymoronic title, this futuristic wartime drama was arguably the most ambitious in sheer scope, attempting to reconcile a tender examination of mental illness with both a parable about the dangers of organised religion and the tragedy of a nation turned against itself. The lead actor, Rhys Isaac-Jones, and costumes were undeniably impressive, but the absence of any distinct visual threat left it feeling unavoidably half-baked.

Arguably Silas Elliot’s III succeeded better overall on its more modest aims than USA did on its more grandiose ambitions. Liberated by the simplicity of its premise – the characterization of a grieving father – the film could strike out in new visual ways. Evocative images of hot coals and sweeping shots of the landscape gave it some of the most cinematic moments of the entire screening, made even more impressive by the fact that the whole project was accomplished in just 72 hours.

My personal favourite, however, was the kooky Life in Orbit, directed again by Joel Scott-Halkes. A thoroughly off-kilter premise seemingly inspired by the real-life discovery of Richard III underneath a car park, Orbit treated the viewer to a look inside a roadside restaurant where all is not as it seems. It managed to be funny, eerie and confidently directed, and although the ending once again felt a little rushed, the sharply-written monologue delivered by a medieval king back from the grave which followed was a satisfactory substitute.

Custom Built, directed by Alex Darby, asks a universal question: if a bike is changed, part-by-part, until it is completely new, is it still the same bike? The central character, Gemma, was well-drawn, and the film featured some lovely music, but occasionally the scenes tended to drag on longer than they needed to. Nonetheless, it left me excited to see what Darby and his team will do next. For a Rose was a promising teaser – short, sharp, and sweet, it was a great companion piece for its larger sibling.

Lizzy Mansfield’s Aftermath and Hendrik Ehlers’ Storgē were pleasant surprises, offering exemplary character work in a low-key setting. While both films flirted with moments of visual panache and Storgē took a more futuristic angle, they each remained impressively grounded, allowing their leading double-acts (Kathy Stocker and Calam Lynch, and Mary Higgins and James Aldred respecively) to shine.

Spilt was perhaps the most emotionally powerful of the films on show. Dealing with the fallout of a family torn apart by public scorn and exploring dark themes of abuse, it was genuinely unsettling and tense – a commendable achievement.

The screening concluded with Heaven Knows, written and directed by Florence Hyde. The highest-budget production of the lot, it was a sumptuous looking love letter to the tortured artist. The sets and lighting were outstanding, but the music deserves most acclaim, beautifully composed by Harry Brokensha.

Above all, the sheer variety and standard of the films on offer was remarkable; a testament to the creativity of the writers and directors as well as the belief and support of the OBA in helping them realise their ideas.

Web Series World – The Lizzie Bennet Diaries

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Today’s entry is an ode to the first ever web series I watched from start to finish and the one that seemingly kicked off the movement of reinterpreting classic novels for an online audience. The Lizzie Bennet Diaries – the place this all began and my life just became a bottomless pit of online consumption. It was the first YouTube series to win a Primetime Emmy. I write this as if it somehow justifies my behaviour.

The series officially started on the 9th of April 2012, but it didn’t hit Twitter until July that year. The series officially finished with the 100th episode on March the 28th 2013. Looking back, the use of different mediums wasn’t quite as in depth as some more recent web series – which has been nice to appreciate just how far the genre has come. However it was still an important addition to the vlogs and helped to add another dimension to these characters.

Going back to the very beginning. This took an awful lot of scrolling on Twitter.
Going back to the very beginning. This took an awful lot of scrolling on Twitter.

Tweets were used to mark key moments in the development of the plot, and to highlight the innocence of certain characters, as seen in this example when Bing Lee is persuaded to leave Netherfield.

Another key example of characters interacting with fans
Another key example of characters interacting with fans

My favourite part of this series, which to this day remains my favourite adaptation of this particular sub plot, are Lydia Bennet’s videos. Following the development of an increasingly abusive relationship with Mr Wickham and the trials of constantly feeling like the younger less intelligent sister, the casting for this role was exquisite. Wickham was believably charming, while being clearly very screwed up and uncomfortably manipulative. Lydia (played by Mary Kate Wiles) is the perfect mix of annoying extroversion, intense vulnerability and complete lovability.

lydia

This love for Lydia Bennet was shared fairly universally by fans – so much so that she has her own book spin off, delightfully named The Epic Adventures of Lydia Bennet. I think the reason I like this adaptation so much is that at the end of the story, Lydia is not left in an unhappy marriage; the assumed just deserves of such a flirt and rather is allowed to develop from her immaturity. The audience is also encouraged to see that the psychology of this character is much more complex than may first be apparent.

Elsewhere casting continued to be on point. Jane Bennet is the epitome of sweetness and manages to perfectly convey the possibility of mistaken attraction for just general niceness. Her way of coping with heartbreak is equally enchanting. Her manic insistence that everything is completely fine, particularly in the episode ‘snickerdoodles‘, is one of the most realistic and touching adaptations of a nice person dealing with rejection that I think I have ever seen. Ashley Clements playing Lizzie Bennet is lightly teasing and a great grounded central character. Caroline Lee (played by Jessica Jade Andres) is perfectly dislikeable.

Caroline being characteristically nosy
Caroline being characteristically nosy

Lizzie is seen to develop as a character significantly through her individual tweets. Her dedication to her studies and addiction to tumblr make her the perfect Lizzie Bennet of the 21st Century.

lizzie

All in all, The Lizzie Bennet Diaries is an important cornerstone of the world of Jane Austen adaptations and the use of the vlog as a medium for telling stories. It spawned later series such as Emma Approved and Welcome to Sanditon and while the latter did begin to feel a little inauthentic in its delivery, both were significant stages of this ever blossoming genre.

The NUS isn’t working – and it won’t anytime soon

Much ink has been spilled on the NUS, Malia Bouattia and the surge in Student Unions seeking disaffiliation from the body as a consequence of her election. OUSU’s own Becky Howe stated in the heated debate that preceded the decision to hold a referendum that the controversial new president was not in itself a reason to leave the NUS. She is fundamentally correct. This vote should not be about a personnel issue, but the structures that underpin it. Seen from this perspective, the conclusion is clear: the election of Bouattia was not an accident of history. It is the logical consequence of an organisation that has failed to comply with its mission, swapping genuine representation of students for narrow factional interests of student activists.

“For an NUS that works for you!” This was the ambitious slogan for my campaign to be elected NUS Delegate at my alma mater King’s College London in 2013. At the time, it captured my faith in the NUS: accommodating roughly 600 Student Unions across the United Kingdom, I felt that this was an organisation with a stunning capacity to deliver tangible benefits for students on every level – be it on fees, costs, equal access, tenancy rights, welfare, career and not least academic services. It was in this spirit that I fought and won the campaign and travelled to Liverpool for national conference in April 2014.

The reality of NUS Conference was rather sobering: the lion’s share of the motions presented to delegates focused on political issues of marginal relevance to the everyday experience of students at university, such as public ownership of banks, the condemnation of UKIP, and the obligatory motion on Palestine. Topics such as improving contact hours, guarantor schemes for international students, the expansion of soft skills training provision for students and the abolition of re-sit fees were drowned out as conference heatedly debated everyday politics. This was amplified by the infamous political factionalism that underpinned the conference, pitting representatives of organisations with such sonorous acronyms such as NCAFC, NOLS or AWL against one another while vying for seats on the National Executive Council or the Block of 15. One of the principal candidates for NUS President even managed to hold a candidacy speech without mentioning the word “students” once. An impressive, yet telling feat. While the eventual re-election of moderate Toni Pearce saw the convention end on a cordial note, the overall experience left non-factional delegates disillusioned.

While many may find these tales typical of the shenanigans of modern student politics, there is a more troubling reality behind them: the NUS has for long been structurally unable to properly work for students. It shuns accountability and democracy by rejecting a “One Member, One Vote” system to elect its President. As a result, factional infighting prevails within its executive bodies whose members primarily seek to advance narrow partisan interests irrespective of whether they improve the lives of the more than two million students they represent. These officers are in turn elected by delegates returned on minimal turnouts in local SUs, supported by coordinated fringe activist groups. Marred by this infighting and detached from the lives of the people it is supposed to represent, the NUS has long ceased to be an effective and powerful national voice for students. This is lamentable since there is a need for effective and constructive national student representation, particularly in an age where academia is evolving as rapidly as today. Today, the NUS is as, if not more, dysfunctional as during my undergraduate years – while demanding more than twice the affiliation fees from SUs. Bouattia’s election is the logical conclusion of this development.

The NUS, as it is now, is not working for students. It has not done so for several years, if not decades, and there is little hope for this state of affairs to change in the near future. Students should send a clear message and reject the failed institution that is the NUS – and with it the self-seeking politics that have led to the loss of the national student voice in Britain.

Review: Florence Foster Jenkins

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FOUR STARS

“Music is my life,” declares Florence Foster Jenkins in the latest biopic from director Stephen Frears (The Queen, Philomena). Meryl Streep plays the eponymous New York socialite, a big name on the musical scene in 1940s Manhattan. Along with her husband and manager St. Clair Bayfield (Hugh Grant) she presents tableaux-vivants from famous musical scenes for her devoted and mainly octogenarian audience, but singing is her private passion. So much so that she takes it upon herself to have lessons and eventually give a gala performance at Carnegie Hall.

The problem is she can’t sing. Really can’t sing. There are lots of scenes which showcase her truly terrible vocals. It takes real skill to sing badly as convincingly as Streep manages. I did wonder whether perhaps the dearth of Florence’s vocal aptitude had been exaggerated for comedic effect. But no, it turns out there are recordings knocking around which are the real deal and she really was that ear-offending. Streep’s performance is in fact an uncanny impression of the lack of skill for tone, pitch, pronunciation and general talent that Florence possessed. In a refreshing twist the trailer gives very little away in terms of singing, making its effect a dreadfully delicious surprise – it really must be heard to be believed.

The film itself treats the Florence with love. Despite the ‘scoffers’ (a much better word than the modern equivalent: haters) of the New York scene we, along with her devoted – but possibly deaf – fans, are willing her to succeed. And there are some truly poignant moments, too. When one of her detractors gets through, we see the chinks in her armour. Her devoted husband (‘Whitey’ to her) shields her from the arrows of society, and especially from the music critic at the New York Post.

The two leads give fantastic performances, Streep once more confirming her chameleonic ability to play any part with panache. Grant gives a tender, intricate performance, with more depth than the posh, floppy-haired role he’s often typecast in. This is particularly impressive considering he is still playing a posh stereotype, it’s different. He’s in a happy marriage, he’s settled down. Grant’s latest incarnation offers a distinct maturity.

A surprising stand-out  performance comes from Simon Helberg, ‘Wolowitz’ from The Big Bang Theory. He breaks free of the geek we know him as.  Working as Florence’s accompanist, he plays Cosme McMoon – another of the film’s many amazing names. Full of camp nervous energy, he’s our eyes into the bizarre world of Florence’s world. His disbelief is ours too.

The titular character’s lack of singing talent shouldn’t put you off. The film is stacked with great music – operatic, classical and contemporary. We’re also treated to some fantastic dancing from Hugh Grant in one memorable scene. It paints a beautiful picture of 1940s New York. Despite being filmed in Liverpool, we’re placed right there and then amongst the smoke and yellow cabs.

The wandering narrative did feel a little listless at times. The side-plots of St. Clair and Cosme are never engaging, and only detract from Florence’s story. But this is a minor quibble to an otherwise laugh-out-loud film. As Grant points out to Florence, ‘Ours is a happy world’. In an age of cinema doom and gloom, with horror and disaster movies increasingly the norm, Florence Foster Jenkins will leave you feeling warm inside.

Live review: Pete Doherty

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Eudaimonia, the title of Peter Doherty’s new solo album, is a Greek word describing the contented state of being happy, healthy and prosperous. His performance at the Bristol O2 Academy on Wednesday last week, the first night of his 2016 UK solo tour, proved this to be a well-chosen title.

Expecting an intimate and relaxed solo set, as he had previously performed his solo material, you can imagine my surprise and excited anticipation when he casually sauntered on stage in classic Doherty style accompanied by a five-piece backing band: an accordionist, a Russian keyboardist with bright, bubble gum pink hair, the exceptionally talented Miki Beavis on the violin, Drew McConnell of Babyshambles on Bass and a new drummer. They played eight new songs during the performance, and the set-up really gave his music a very different vibe. It was clear that whilst writing this new album he’d been experimenting with different genres. For example, one song almost sounded like a Country and Western hoedown. In others, the very talented accordionist’s playing introduced a Ska feel to the music.

From Doherty’s electric energy and stage presence you could tell he was really proud of these new songs and was enjoying performing them. It was really good to see him enjoying himself on stage and giving such a positive performance after a few difficult years battling addiction. After opening with two fast-paced and raucous new tracks, the unmistakable violin melody announced ‘Last of the English Roses’, arguably Peter’s most popular solo track, which proved to be a real crowd pleaser as the whole venue sang the words back to him. The night was no doubt unforgettable for one man, who was invited up on stage by Doherty for ‘Albion’, after the singer noticed him wearing the same iconic red British military jacket infamously worn by The Libertines. They closed with ‘Time for Heroes’, the hectic and frenzied Libertines hit, written by Doherty after experiencing the carnage of the London May Day riots in 2000. Eudaimonia, set for release later this year, is not one to miss for any Peter Doherty fans.

The Stone Roses’ Third Coming

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The Stone Roses’ new track ‘All For One’ must have been one of the most awaited-for releases of the year for indie fanboys everywhere; and so its appearance on Thursday evening was greeted with something akin to mania. Yet our editors were torn…

Richard: I don’t know, the riff was kinda catchy – I guess. Slightly more overdriven than classic Roses, it made it seem slightly more generic. It sounds like many, many other shoegaze songs, maybe early Blur (I’m thinking ‘She’s So High’) or any song by Ride. What made this worse, however, was the melodic obviousness of the track. It took the three minutes of listening to it to guess the chords; which is not so much a reflection on my ability, as the simplicity of the track. Kinda like it though. It is sort of irresistibly catchy, even if singing the lyrics must be done either ironically or with more than a hint of shame. Plus what once came across as a swaggering snarl now seems more like a catatonic drawl. Bring back the Roses of ‘89, please.

Daniel: It’s just so trite. I mean, lyrically it’s appalling. We’ve gone from legitimate poetry on their self-titled debut to this: “All for one, one for all / If we all join hands we’ll build a wall”. This single screams of its own lack of creativity, its own boredom. The Stone Roses’ relative lack of financial success at the height of their powers has oft justified their comeback, but for money, they’ve created a single which is essentially artistically bankrupt. Not only has Ian Brown seemingly lost all poetic sensibility, but the drive of the song, while hardly horrific, echoes the very worst excesses of Be Here Now era Oasis: overblown, soulless and cynical. I actually do like the riff, predictable as it is, but I am bitterly, bitterly disappointed. If this is the Third Coming, it wasn’t worth the wait

Brexit at the Blavatnik: debate review

On May 3, at the Blavatnik School of Government, the public debate ‘Britain IN or OUT of Europe?’ saw a panel discussion on the possibility of Brexit. Duelling on diverse issues such as economics, political power, and international diplomacy, the panel transcended political allegiances and reflected the schism within British society over the prospect of Britain leaving the EU. The many interruptions and rebuttals underlined the conviction and commitment of the factions to their respective causes.

So far, the greatest factor inhibiting Brexit appears to be the economic ramifications that the mere prospect of leaving the common market would cause. Even those leading the charge of the ‘OUT’ faction (Nigel Farage chief amongst them) have been conceding that, in the short run at least, Britain would suffer dearly. But this wasn’t the case in Tuesday’s debate. Adopting the eyebrow-raising ‘We can’t really know what will happen, we might be fine’ approach, Roger Bootle, Daily Telegraph columnist and economist, attempted to reverse the tide of popular opinion on the matter.

These attitudes towards these implications don’t help the Brexiters’ case either. A ‘could’ simply isn’t enough when speculating on major developments on trade agreements, the City’s financial prominence, or the future of the pound. It can’t be denied that there are numerous valid reasons for Brexit, but to make an economic argument in favour of it appears a disingenuous and desperate attempt, hurting the movement rather than aiding the cause.

But a lot of this could be overlooked in favour of the higher ideals of self-determination of peoples or national sovereignty; in other words, we’ll eat the insipid main course if the pudding is good enough. And yet here lies a problem, highlighted by Lord Stephen Green of the pro-EU panel: Brexit won’t bring about a more cohesive United Kingdom. Scotland will be more likely to secede; and, in Lord Green’s words, “God help Northern Ireland if [Brexit] happens.”

Indeed, the political issues are by no means limited to Britain itself. How can Britain be an active participant in the war on terror? And a leader on the issue of climate change? On these issues, the Brexit panel failed to give any convincing answers, and the questions on the probable domino effect Brexit would have on other countries’ membership were largely ignored. In an increasingly interconnected and unified world, the implicit isolationism of the Brexit option could not be more anachronistic. One cannot but wonder at the fact that, despite all this, the pro-Brexit panel carried the day, ‘converting’ most spectators whilst providing the minority of the audience.

Discussions of the sort are vital for a positive outcome in the June 23 referendum, irrespective of the result. For it would be a pity to vote to leave the EU because you dislike the Romanian couple who just moved next door, or to hope Britain would remain because of the appeal of cheap holidays in the Spanish isles.

Debate: ‘does Oxford produce good British Prime Ministers?’

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Yes: Ben Evans 

Unfortunately the sheer number of Oxonian Prime ministers forecloses a comparative answer to this question. Instead we need to examine the particular benefits an Oxford education provides for a Prime Minister and, by extension, the country as whole. Of these, three are especially significant.

The first is a sharpening of the intellect. Oxford’s selection process is perhaps the most rigorous in the UK, ensuring that we receive the most accomplished students. But, having done so, the University does not let them rest upon their laurels – it subjects them to rigorous intellectual scrutiny, forcing them to develop and defend their own ideas via tutorials. This high intensity personal debate is the best possible way to develop the kind of mental agility, negotiation skills and reasoning capacity which are invaluable assets to a Prime Minister, both in policy deliberation and international diplomacy. Furthermore, the tutorial system, being unique to Oxbridge, provides experience that cannot be replicated elsewhere. Even when we move beyond the tutorial, Oxford overflows with opportunities for debate, whether in the Union or one of many student societies.

An Oxford education does not only improve one’s raw mental capacity, it also provides would-be Prime Ministers with the wisdom of the foremost academics in their field. Prime Ministers have policy advisors, but given they must make the final decisions (and given advisors may say what PMs wish to hear) the benefits for decision making of a PM with strong grounding in economic theory, law, politics or ethics cannot be overestimated. Not all Oxford PM’s have studied relevant subjects (Thatcher studied Chemistry, for instance); however Oxford provides other means to gain political insight – most notably via the range of influential speakers attracted to the University by its reputation, or their status as alumni.

Finally, Oxford also provides an environment in which highly gifted individuals interact with similarly talented individuals with different views. This has two effects on potential future PMs. First, they realise they are not infallible. Ordinarily, intelligent individuals, when left as large fish in small ponds, face the real danger of succumbing to arrogance, of believing that because they are better informed or smarter than those they know, they are categorically correct; a trait which leads to disastrous overconfidence, stubbornness and refusal to listen when in power. For such a person to be transplanted into Oxford, there to be surrounded by those of comparable or greater skills, to have their arguments rebutted by their fellows or their views dissected by an adroit tutor, is at once to instill in them the knowledge that they are not superior.

When this is coupled with the diversity of opinion the Oxford student is likely to encounter, students are encouraged to be careful in forming their own beliefs and intellectually considerate in responding to those of others. This may be part of the explanation for why British PMs have tended to moderation, with parties co-opting the successful elements of one another’s programme (examples of which include Macmillan’s ‘Middle Way’, Blair’s ‘Third Way’). This sort of politics, based on evidential and pragmatic considerations rather than rigid ideology, has proven both efficacious and popular.

Before we can conclude, two arguments of the opposition need be dealt with. The first is the idea that Oxford makes PM’s who are ‘out of touch’ and unrepresentative. This is quite simply irrelevant. What matters for good governance is the ability to govern well; to effectively implement beneficial policy. Being aware of the price of a pint or the average weekly household spend on groceries is neither here nor there. As for not representing the public; it is absurd to suppose that any single individual can possibly accomplish such a feat, quite aside from representativeness having negligible influence on quality of governance.

The second argument is the idea that Oxonian PMs gain power through connection rather than merit. This is an extremely difficult argument to quantify. If, as I have argued, Oxford gathers together intelligent people and then endows them with still greater intellectual resources, they are bound to do well. If they have similar interests, they will do well alongside one another. Even with no connection based advancement (and I don’t doubt it does exist to some degree) the opponents of Oxford would find everything they claim is a symptom for university based nepotism: but a symptom that exists regardless of the presence of the disease is, in truth, not a symptom at all.

Oxford’s detractors claim that the reason for Oxford’s Prime Ministerial success is that the political game has been rigged in its favour. But the simple truth is that it is Oxford that produces the best players; Prime Ministers who have established the welfare state, decolonised the Empire, reined in inflation, nurtured the modern service economy and much more besides. Oxford does not produce good Prime Ministers, it produces great ones.

No: Ellen Peirson-Hagger

The context of a Prime Minister’s education is most often Oxford, and the recent context is often PPE. It is ridiculous to believe that one singular university, no matter a single course, could produce countless Prime Ministers perfectly fit for a job which is so diverse and challenging.

This trend goes back as far as 1742, to Spencer Compton, Britain’s second ever Prime Minister, who studied at Trinity College. The fact that this trend continues almost 400 years later is, at best, out-dated. At worst, it proves the narrow-minded, stubborn and unwilling nature of our system to confront change.

Simply, the vast array of leadership, diplomatic, and practical thinking skills that have always been required from a leader cannot possibly stem from just one institution, for they are skills which combine talent and inherent character, alongside aspects that can be nurtured in an academic environment. On top of this, the role of a Prime Minister has changed massively over these 400 years. To say that Oxford, a singular institution, continuously develops these changing requirements in students is implausible.

Oxford is renowned as an institution which teaches its students to think independently, negotiating difficult courses and extreme amounts of work in little time. As Ben discusses, the tutorial system encourages students to think and communicate clearly. Whilst Ben is not wrong to state that an Oxford education improves one’s raw mental capacity (or so a student paying such an amount in tuition fees here would like to believe), one’s intelligence is not proven by attending Oxford, nor is it the only characteristic needed to be a ‘good’ PM. In fact, the key characteristic that aligns Oxford students is an incessant interest in their subject, above all. A PM, on the other hand, should be practical, fast, and knowledgeable of a wide variety of areas.

Even more relevant are the people by whom any student is surrounded. If only 53.8 per cent of Oxford’s 2015 undergraduate offers to UK students went to students from state schools, yet 93 per cent of all school students in the country attend state schools, Oxford is not truly representative of the UK. If black students make up just one per cent of Oxford’s undergraduate body, yet more than two per cent of the UK’s population, Oxford, again, is not a true representation of our country. Perhaps this would be a different argument if the members of the University who went on to become PMs were actively aware of Oxford’s inequalities during their time here. But when David Cameron (PPE, Brasenose) was a member of the Bullingdon Club, known for its members making the very most of their place at the top of the social hierarchy, it is clear that the elitist society which prevails in much of Oxford does not often stir revolutionary fires against injustice in the souls of wannabe PMs.

Being academically rich and intellectually curious is not the same as being culturally or socially aware. This narrow university field is not limited to PMs. A laughably high number of nine of the total 22 MPs in the current cabinet are Oxford alumni. Six of these nine studied PPE. All six are white; all but one, male. This lack of diversity saturates Oxford too and is part of the perpetual cycle of this tight hierarchical political bubble that, after 400 years, we have still not escaped.

Ben refers to the Oxford Union, a political bubble within the Oxford bubble, as a means of practising debate, presumably in advance of the jeering of Parliament and the corrupt “it’s who you know” elitism that exists at the top of the Conservative Party, in particular. It is clear that this aspect of the University is emulated in our political system. When so many would argue that the misogynistic, childish behaviour of individuals during PMQs is one of the things requiring most change within our system, this is one of the clearest examples as to why Oxford does not produce ‘good’ PMs. If we teach them to do here what they so rightly lose dignity and respect for during their careers, we are teaching them nothing ‘good’.

Ultimately, it cannot be said that Oxford produces ‘good’ Prime Ministers: our university is no manufacturing plant for humans of the best all-round pedigree. The fact of the matter is that for a Prime Minister and for a cabinet to be ‘good’, both must be representative of the people of a country. Until prospective Prime Ministers realise that studying PPE at Oxford should not be their singular path, this will continue as one vicious, narrow-minded circle.

Perhaps it is the 27 Nobel Prize winners who are Oxford alumni, rather than the 26 Prime Ministers, whom we should celebrate.

Of Dogs, Doughnuts and Depression – 4

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It is exam season now, and every morning I see students sharply donned in sub fusc and roses heading towards the dreaded Examination Schools. Some obviously seem to have whatever is coming their way under control, with a smug smirk on their faces and taking big strides towards the battlefield with an unmistakable strut and swagger.

Such a composure, though, is obviously not shared by everyone. Some, I see, desperately hold onto whatever miniscule time they have left, agitatedly flipping through their concrete block of notes, hoping to squeeze into their brains that very last piece of knowledge – be it a formula, a fact, a name, a theory – that might possibly make a difference between a First and a 2:1.

It is, to say the least, a very, very stressful time for those sitting exams, especially Finalists, whose degree classification depends predominantly, if not solely, on the results they achieve in a set of papers they sit within a two-week period.

Take law students for example. They have to sit 9 papers within the span of 12 days. How this is even humanely or physically possible, I do not know, for I can barely write 9 words in 12 minutes.

In Oxford, the notion of success amongst us students inevitably skew towards how many Firsts you have gotten in your Finals, or how many lucrative job offers in the City await you upon graduation, or whether you’ve made it as President of the Oxford Union.

These achievements are no easy feats. They are the just results of hours upon hours of dedication and sheer hard work, and thus they undoubtedly deserve the recognition and applause.

But what if I do not achieve those things? Does that make me less of a success in terms of an Oxford student?

The notions of happiness and success are variable, for they differ from person to person. My counterparts might equate happiness and success with academic excellence and bright career prospects and thus endeavor their best to realize such goals. These are perfectly noble pursuits and one should not assume the moral high ground by denunciating such goals as being “worldly” and “overly realistic”.

But for me, happiness holds a different dimension. With Tom around, it is admittedly difficult to hold myself up to the contemporary, or should I say, Oxonian standard of happiness and success. Happiness and success, after all that I have been through, now are much more simplistic conceptions to me.

I am happy because I made it out of bed this morning before 11. I am happy because I managed to write an actual full-length essay and hand it in on time for the first time in months. I am happy because I braved myself to speak to an actual, not imaginary, person today. I am happy because I could summon up a long-lost appetite to eat more than 1 meal today.

I am successful because I managed to win in a brawl with Tom today and I managed to kick him back where he belongs. I am successful because I was able to walk to the supermarket and back without having a panic attack in between. I am successful because I managed to take a shower, comb my hair and cut my nails properly. I am successful because I am less afraid of the dark now.

And I know no mountain is too high for me to climb. Because all the things I have done, means that I can do anything.