Tuesday 5th August 2025
Blog Page 1168

Scholars choose not to toast Rhodes

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Rhodes scholars chose not to toast colonist politician Cecil John Rhodes at their ‘Going Down Dinner’ on Saturday. The dinner signals the end of the class of 2013 Rhodes Scholars two year scholarship at the university.

The Rhodes Trust replied to Cherwell‘s request for comment by saying it was a “a collaborative process with the Scholars to find their preferred wording for the toast this year. The Trust worked with the Scholars to craft a toast for their Going Down, and was happy to do so.

“The Rhodes Trust is proud of its contribution to Oxford. Without these international Scholarships, the student community would be less diverse, and Rhodes Scholars both in Oxford and around the world are keen advocates of social justice. The change to the toast reflected the wishes of the Going Down class, and we propose to actively involve each future Going Down class in the scripting of future toasts.”

British-born Cecil Rhodes was the Prime Minister of Cape Colony in 1890 where he enforced racial segregation policies. Rhodes University in South Africa was named after him, where he set up the Rhodes scholarship which supports selected international postgraduate students to study at Oxford University.

Though the decision to change the toast was an indepedent decision on behalf of the Rhodes Trust and the Rhodes scholars, it was appreciated by the Rhodes Must Fall Campaign, which campaigns against similar homages to Rhodes. They describe themselves as “an organisation determined to decolonise the space, the curriculum, and the institutional memory at, and to fight intersectional oppression within, Oxford”.

They have spent this Trinity term campaigning for greater representation of BME students and greater racial sensitivity. Two events of particular precedence have included their stand against the Oxford Union’s ‘colonial comeback’ poster and their protest outside Oriel College which holds a Cecil Rhodes statue.

In relation to the most recent event, Rhodes Must Fall stated on their Facebook page: “We honour the hard work of those, both within and outside the Rhodes Community, who unwaveringly dedicated their time and energies to tabling the issue of the toast and raising why it is problematic.

“Rhodes Must Fall Oxford believes that it is through violent cultures and traditions like the toast to Rhodes that the colonial mind-set – which is still alive and well at Oxford, and in Britain in general – sustains itself. We believe that such cultures and traditions have no place in a scholarly environment in the 21st century.

“We further understand that the issue of the toast will be further deliberated on within the Rhodes Community, and will keep a close eye on the developments. We maintain that we will not rest until violent and oppressive practices of this nature are totally eradicated, and oppression itself intersectionally rooted out from Oxford!

“Rhodes is crumbling, and the process of his inevitable fall is well and truly in motion at Oxford!”

Kirandeep Benipal, chair of the Campaign for Racial Awareness and Equality (CRAE) and organising member of Rhodes Must Fall, told Cherwell “I think it’s brilliant. I’m astounded and in awe of the initiative taken by Rhodes scholars who clearly feel the need to deconstruct the narrative of celebratory colonialism which shrouds the ‘prestigious’ scholarship that they hold.

“Rhodes scholars tend to be the most intelligent, forward thinking students on campus- so it’s in many ways, unsurprising that they chose to take the campaign to decolonize to their own community. If Rhodes scholars can recognise how problematic the uncritical celebration of colonial figures is, so can the institution which perpetuates it. The decision not to toast was a powerful act of resistance against the legacy of Rhodes. I commend them.”

Presidential candidate has Union membership suspended

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Zuleyka Shahin, candidate in the recent Union presidential elections, has had her Oxford Union membership suspended for one year, been fined £250 and has a life-time ban on holding office, following an election tribunal.

The tribunal consisted of two cases, one of which was held against Shahin. It lasted approximately six hours and took place on Saturday of 8th Week. The panel consisted of three members, with a collected 27 terms’ worth of membership or more, none of whom are current students or resident in Oxford. Of those three members, one was a woman, one was a person of colour, and two were qualified lawyers.

Election tribunals are held after each Union election in 8th week against any candidates thought to have broken election rules. The Returning Officer has no authority to dismiss complaints of electoral malpractice, and so if a complaint is made, a tribunal must be called. Shahin did not choose to bring any tribunals against anyone herself, and chose to not attend the tribunal against her.

She was found to have violated Rule 33(a)(i)(6) of the Union, which states “A person shall have committed an Electoral Malpractice if he performs any of the following actions: extortion, blackmail or intimidation in connection with the Election”.

Election rules state that if she fails to pay the fine within seven days, it will increase by 10%. If she does not pay the fine within 14 days, her membership of the Oxford Union Society will be revoked.

Shahin told Cherwell, “Unless I find £250 in the next 7 days, I will not be paying the fine. I simply do not have that kind of money. Nor do I wish to validate this process by paying, even if I were to find the money.

“This proves once again everything I campaigned about relating to access and the use of fines as punishment. It makes no sense that a panel, I am guessing of mostly men, can whimsically decide on a cause of punishment as such. Other members of my team have also been fined, others who will also undoubtedly struggle to find the cash. Yet the Union talks about opening its doors to all and inviting more people to run for office. This is why we get the same types of people running for office term in term out.

“The entire “Election Tribunal” is a waste of members’ money, with tribunals costing up to £4000.  

“I would like to know: Who was on the “Election Tribunal” panel? How many women? How many people of colour? Were these some of the same people who heckled me in Hustings? The same people who attacked my campaign page? How impartial was this judgment?

“Instead of fining me £250, somebody needs to look into refunding my lifetime membership fee following my services to the Oxford Union Society.  I feel I have been treated unfairly.”

Cherwell now understands that the fine increases will begin on the seventh day of Michaelmas 2015 rather than from the day of the tribunal itself.

The panel which made the ruling against Shahin is due to publish a report on the tribunals. Suspended members are not automatically banned from the Union premises, rather, they have the same status as non-members.

Peter Orlov, a member of the tribunal, told Cherwell in a personal capacity, “it is frankly amazing that Ms Shahin should paint the tribunal’s composition or decision as being somehow opaque or “whimsical”: had she bothered to attend herself or send a representative, she could have had all of the answers she claims to seek and made such representations as she wished. 

“The panel was comprised of three members of the Union, who happen to have been a man of colour, a woman and – myself – a gay man who has previously been Chair of OUSU’s “Queer Rights” campaign and has been involved with LGBT campaigns and charities (including NUS’ LGBT campaign and Stonewall) since my teenage years.”

Orlov conceded “as a trans woman of colour, some of Ms Shahin’s successes in life will have been more difficult than they may have been for others” but went on to say Ms Shahin “has sought at every stage to present every personal gain at the Union as a result of her tenacity and every failing, however manifestly unconnected, as a result of some animus against her as a member of one or more minorities. In this case, there is no malice towards her whatsoever – her being found guilty of electoral malpractice is a result of her own actions which breached the rules of both the Society and, frankly, of basic decency.”

Conor Diamond, Hertford College, one of the two students to bring claims against Shahin in a joint case but which were not upheld, commented: “I’m saddened that things ended this way, but ultimately very pleased that the judgement recognises the necessity for fair and well-conducted elections.

“Ms Shahin’s race or gender had absolutely no influence on my behaviour in dropping out or my decision to take up a formal complaint. I continue to hold Ms Shahin in high regard and to wish her well.”

The student whose claims against Shahin were upheld by the tribunal has been approached for comment.

 

Univ JCR condemns dining society’s exclusivity

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University College JCR has raised concerns about the ‘Shakespeare Society’, a secret and selective dining society at the College.

A motion condemning the College’s actions towards the Shakespeare Society was passed after discussion at a General Meeting. It was revealed that the society uses College facilities twice a year, once in the SCR, and membership is drawn from JCR members with a senior member present.

The motion noted, “Because it is an exclusive body they are obliged to pay the full external rate”. It also noted that students have recently expressed their anger that “Univ is simultaneously promoting their access work as progressive and innovative, yet condoning the society by offering it the special privilege of the SCR.”

Members describe the society as existing “for the celebration of the arts”. Prior to the motion, the JCR President met with some of the members of the society, in which they expressed their desire to reform the society.

Responding to allegations that the society was secret, a member of the Shakespeare Society said that it was not secret, but, “People just use their discretion in not mentioning it. We are keen to reform this.”

During the meeting, concerns were raised over access, transparency, and the reputation of the College. The motion noted Univ’s progressive work in access; the College won an OxTalent award last year for its access website staircase12.org.

The motion further resolved to “condemn College’s decision to allow exclusive societies use of the SCR” and “to encourage Governing Body to ban the society, in its current form, from using the SCR”.

When quizzed about the selection criteria for membership, another member said, “There isn’t an exact criterion, which is an issue in itself, and is exactly what we hope to change.”

The JCR further resolved to “begin a discussion between College, members of the Shakespeare society and the JCR as how best the society’s aim might be met in such a way as to not be exclusionary.

“The onus will be on the society to prove that a) it can be rehabilitated and b) that is best placed relative to other organisations (Univ Revue, Univ Players, UCMS etc.) to pursue their stated aim”.

It concluded that if the Governing Body were to propose to disband the Shakespeare Society, the matter would be brought to a JCR meeting to debate.

Joshua Richards, University College’s JCR President, told Cherwell, “I am glad that the JCR recognised and affirmed that the Shakespeare Society is a problem in need of a solution. The motion has started a conversation as to how best Univ students’ contribution to the arts can be celebrated in an open and fair way.  

“That is a conversation to be continued by my successor, members of Univ’s arts community, and College Officers. I am confident that they will reach a solution that reflects the inclusiveness of the Univ community.” 

The Senior Member has been contacted for comment.

Open letter by Union ex-Treasurer alleges Union transphobia

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Defeated Oxford Union Presidential candidate and out-going Treasurer Zuleyka Shahin has published an open letter detailing her experiences of the term’s campaign and levelling accusations of transphobia and racism against members of the Union.

Published on her Facebook page, the letter was entitled, “An Open Letter: Some Truths You Do Not Know” and detailed alleged transphobic abuse written on spoilt Union ballots, as well as alleged smear campaigns.

Speaking about an allegedly negative campaign run against her, Shahin said, “1055 people did not vote because they were inspired by Mr Webber [Stuart Webber, Shahin’s rival candidate]; I believe a majority of them voted because they opposed the monster I was made out to be. A very successful smear campaign was launched, weaving a web of hate and lies. This is the game of politics, but it is a game I do not have to continue to subject myself to.

“I chose the moral high ground and because of it I lost. I wasn’t about to engage in an election of mud slinging and dirt. Our campaign focused on what we could do. The members did not wish to see my team or I take that leading role and I fully accept that.”

She added, “When STEP sat down in a room, they must’ve said, ‘How do we get everyone to hate this woman?’ and, like the real world of politics and power, called up all their friends in the media to begin churning out the stories.

“There is evidence out there of candidates for Officership from STEP sending screenshots themselves, directly to the newspapers in question. Some papers even refused to print this mess. And they must have thought, ‘If we can get everyone to turn on her – a trans woman of colour who a lot of people in Oxford like – we can do anything!’”

Screenshots of messages sent between members of Shahin’s slate appeared in a VERSA article last week entitled, “Scrutiny report: all the drama, deception and juicy detail of BOTH Union slates”.

Shahin further claimed that ballot papers had been spoiled with transphobic abuse, saying, “To those people who spoilt their ballots with Transphobic abuse, thank you. Thank you for exposing the Oxford Union and Oxford University for what it really is. To those who wrote things like ‘MAN’ next to my name, thank you. You are gutless and spineless.

“To those who drew pictures and wrote whole sentences about how much you despise my transgendered being, I wish you had the courage to come out and say it to my face. It says even more about the Union that people want to focus on what I did ‘wrong’, what I did during elections and whether I brought Rocky and NOT the transphobic hate written on those spoilt ballots. Transphobic hate that was so prevalent, those in the count gave up reading them out loud in the interest of time. This is the Union I belong to. This is what cut me the most.”

According to Union rules, all messages written on the back of ballot papers must be read aloud by Deputy Returning Officers conducting the count. The count is held in camera and as such the Returning Officer was unable to comment.

She added, “To those of you who sat on benches, in parks and quads discussing my “blackness” my gender or my identity, you succeeded in keeping your life basic. Trust me, the last thing you want to be in the Union is black and trans.”

She further expressed fears over tactics used during the campaign period. “I did not eat my food in the Union for the last few weeks because as history has shown, a ‘roofie’ in a drink is not uncommon during election season.”

Other issues addressed included the furore around A$AP Rocky talking at the Union, for which Shahin claimed, “I brought Rocky. Simple. I know it, you know it, the Union knows it. It took 12 weeks of negotiations. The powers that be are on tape in Scrunity, despite my having sponsorship in place, saying that ‘A$AP Rocky will NOT be coming to the Union’.

“And so I looked to other alternatives, hence Christ Church and the event page. Some white people, who didn’t know who he was, saw the page, saw the hype, panicked, and tried to get him back. Nothing was ‘leaked’.

“We stood in the room that night, having drinks with Rocky, many people of colour circling around him, engaging in free flowing and fun conversation. And the powers that be stood in the corner, their faces contorted in confusion. But a part of them got it. That this nobody black boy with a $ sign in his name means something to somebody.”

The letter closed, “I wish everyone the very best and remind everyone to stop and think about our value as humans. Compassion is a quality in a human that is so rare. This election has taught me that much, if nothing else. Finally, I am pleased to say.. I don’t live here anymore.”

At the time of publication, the post had received over 140 likes.

Shahin, Webber and Union President Olivia Merrett have been approached for comment.

Fire at Magdalen College School

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Fire struck Magdalen College School on Tuesday evening requiring a full evacuation of adjacent St Hilda’s college. Flames risked spreading from the sports building at Magdalen College school to the Christina Barratt building at Hilda’s next door.

Cherwell understands the fire started at around 7.30 PM in Magdalen school though the cause has yet to be determined. Fire engines were quick to arrive at the scene, one arriving within 15 minutes and another three inside the hour. A strong police presence soon arrived as hundreds of passers-by gathered to photograph the blaze.  A police helicopter was also seen circling overhead. By 9.30 twelve fire engines had arrived on the scene.  

As fire alarms sounded across Hilda’s college, students streamed out onto the Cowley round-about and surrounding streets.  Students returning to college found the lodge shut and the area cordoned off. Parts of Iffley road have also been shut-off.

Fire crews were seen entering the college with chainsaws and heavy hose equipment whilst two large pumps and a hydraulic platform were erected outside the blazing building. Cherwell understands water was pumped from the Cherwell river by over sixty fire fighters from the Oxfordshire Fire Brigade.

The Thames Valley Police and the Oxfordshire Fire Brigade could not be reached for comment. 

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Union candidates clash again over A$AP Rocky speaker event

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New tensions have arisen between Stuart Webber and Zuleyka Shahin, who ran against one another for Union presidency last week, over a speaker event scheduled for today.

On Sunday evening, a Facebook event page managed by Shahin and fellow-student Annie Teriba called ‘A$AP Rocky in Oxford’ was created. The event was scheduled to be held today in the Blue Boar Lecture Theatre owned by Christ Church. It was a ticketed event open to non-Union members.

This morning, the Oxford Union set up a rival Facebook event page, ‘A$AP ROCKY at The Oxford Union’, with the event description, “IN 12 HOURS TIME, A$AP Rocky will be in Oxford… The hype around this is so great that others have tried to leak it…

HOWEVER This is the *official* event for A$AP Rocky’s visit to speak ONLY and EXCLUSIVELY at the Oxford Union.”

In a comment on the post, ‘The Oxford Union created the event’, the Union Facebook account said, “Despite what you’ve heard, A$AP ROCKY will ONLY be at the Oxford Union, not anywhere else: EXCLUSIVELY and FREE.

“He will not be going to Christ Church, and there will be no charge for tickets.”

This event is also open to non-Union members, contrary to normal Union practice.

Cherwell understands that Rocky will now be speaking at the Oxford Union rather than at the Blue Boar Lecture Theatre this evening.

The Oxford Union told Cherwell, “A$AP Rocky was always intending to come to the Oxford Union, and he will be speaking in the Union Chamber at 8pm this evening. This event is open for free to all bod card holders, and for information on signing up please see the official Oxford Union Facebook event. See you there!”

In a statement released on their event page, Teriba said, “For those of you who have been confused by what has happened in the last day or so, we’d like to clarify. Since the last vacation Zuleyka has been in negotiations with the publicist for A$AP Rocky. As far as we understand, the intention was always to speak in Oxford.

“Earlier in term, it became clear that the Union would have to contribute to his flight and accommodation costs. Zuleyka, having found full sponsorship wished for the event to go forward. During the manifesto scrutiny process, which is routinely recorded and exists on file in the Union, both Stuart and Olivia categorically said that A$AP Rocky, regardless of what funding Zuleyka had found, would not be speaking at the Union. We now believe that this was to prevent Zuleyka from being able to claim that she had confirmed a speaker in her manifesto.

“Moreover, in light of the Union declaring itself institutionally racist, the Sponsor would only accept sponsorship of the event if a guarantee would be given that the Union was taking significant steps towards reforming itself. The sponsor subsequently decided to no longer go ahead with sponsorship, exercising the break clause within the contract following the events of this past week.

“After the sponsorship fell through, Zuleyka emailed Rocky’s management to cancel, explaining the situation. We received an email back in which Rocky’s publicist insisted that the event go ahead, calling Zuleyka numerous times. Once we were in contact with them, Zuleyka and I decided that the best course of action would be to seek out alternative sponsorship. We secured a second sponsor. Given that the terms of the new contract would require action in the MT15 President’s term we called him a number of times and sent texts urging him to call us urgently to no avail. The second package for sponsorship fell through.

“Conscious of the fact that it was Sunday and the event was due to be held on Tuesday, we began contacting other societies of interest and signalled to his management that we would be looking for alternative venues and funding streams -including ticketing- in order to host the event. We negotiated the terms to allow for Rocky to come to another venue now that we had arrangements in place for his arrival.

“Yesterday, we found out that Olivia and Stuart had called Rocky’s management to bring the event to the Union. Zuleyka was emailed and threatened with disciplinary action. Apparently, even without the sponsorship, the Union were willing to contribute to the buyout of flights and accommodation, just so the event wouldn’t be hosted by us.

“We called Rocky’s management who said that they wanted to resolve the issue as amicably as possible for all parties and that they would ensure that we were not shut out of the event. Zuleyka and I then went to the Union last night to attempt to find out what happened. Negoiations failed.

“We emailed Olivia to suggest as a compromise that the event be held at the Union, but that it be open to non-members and that Zuleyka and I interview Rocky given that when asked the Librarian to name an A$AP Rocky song, he said ‘Purple Drank’. We have numerous emails asking us to ensure that those who interviewed Rocky knew who he was and were well versed in his career.

“We are appalled that this event is being used as a pawn in petty infighting despite no responses to our initial attempts to reach out. We are appalled that as it stands Rocky will be interviewed by someone who did not know who he was before this term and apparently still doesn’t. We are appalled that the in politicking of some individuals has put the event in jeopardy.

“The intention was always to make the event successful. To that end we encourage you all to go and see him speak. We will be refunding any tickets that were bought. Further to this, we ask that pressure is put on the Union to resolve the farcical situation in which someone who could not as of yesterday evening name an A$AP Rocky song is interviewing him.

“The priority is serving the students of Oxford, whether they be members of not, to allow for amazing artists to come address us.

“We apologise to anyone who has been inconvenienced by this and wish Rocky the very best of luck tonight. Please enjoy the event.”

According to Union rules, in order for candidates to claim on manifestos that they have confirmed a speaker, they must ‘have produced written evidence either that a contract is being drawn up for a confirmed sum of money or that a speaker has accepted an invitation and provided a date.’ Shahin was not considered by the Returning Officer to have met these criteria during scrutiny procedures.

Webber has been contacted for comment.

Game of Thrones cares more about boners than storytelling

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Game of Thrones concluded its fifth season this past Monday, with a finale that encapsulated all that the show has got wrong as of late. The wheels have fallen off the show’s well oiled machine, with it foregoing political intrigue and personal conflicts in favour of gussied up expedition. At the same time, as the show’s story has become increasingly disinteresting, the show runners have instead chased spectacle, usually in the form of either visual effects, or harrowing, cruel, and tone-deaf scenes of shocking and misogynistic sexual violence. This has been the first season without a single female writer or director, and boy has it showed. Would we have spent so long over the last few seasons on Daenerys’ meandering, aimless, plot if she and her wig were not the young, of-age, nubile, female face of the show?

Already this season, two women have been raped in order to advance male bystanders’ narrative arcs, and now in the finale another, Cersei, is publicly sexually abused. It’s handled with all the nuance and restraint one would expect from the show that only one episode before utilised the imprisonment of a female assassin as an excuse for a needless prison cell striptease. That is to say, almost none. And so Cersei is coerced into admitting to sleeping with her cousin. In her horrendous fall from grace and consequent humiliation she is stripped, shorn, and forced to walk, naked and bleeding, through the streets of King’s Landing. The scene encapsulated Game of Throne’s fraught relationship between female characters and their sexuality on screen. The show features a vast array of wonderfully complex, fascinating and genuinely innovative female characters, in a world where being a women is to carry a target on your back. Yet for all the respect the show’s scripts afford to the show’s female cast, the camera’s lascivious glare tells a different story.

To rehash discussions of the show’s narrative misogyny, and to offer anything new is the prerogative of someone with a far more enlightened perspective than I. Instead, what I find so irritating about Game of Thrones is the way in which the show systematically and deliberately panders to its straight male audience, at the expense of its huge female and gay audiences, hiding behind a paper thin argument that they’re illustrating a patriarchal world. The systematic use of male-on-female sexual abuse as a narrative device conveys this just fine thanks, we don’t need, and don’t want, you to set every other political scene in a brothel, with disembodied breasts as frame filling set dressing to labour the point.

And so returning to Cersei’s walk of shame, we see the show’s conflicting interests perfectly, frustratingly encapsulated. The sequence cuts between close ups of actress Lena Heady’s visage, as she precisely plays a progression from determined pride through embarrassment, resolution, humiliation, violation, relief and finally rage. Compounding this emotional tour-de-force (Heady is surely a shoe in for a second Emmy nomination come awards time) are point of view shots which allows us to experience the venom and invasiveness of the amassed crowds from Cersei’s perspective. But then there are the unnecessarily frequent wide shots, complete with dodgy face replacement effects, where the composition instructs us to stare upon her naked body, sharing in the crowd’s ogling, even as the sequence, and human decency, suggests one should look away (the uncomfortable class dynamic where we’re to look upon the “othered” hordes of the great unwashed whilst sharing in their disgust and leering gaze is also somewhat uncomfortable).

That the show also used a body double for Cersei’s nakedness, choosing to give her the body of a 20 year old glamour model, says everything about the show’s privileging of certain audiences and the heterosexual male gaze, even over the quality of storytelling. Would a more realistic, 40 year old woman’s naked body not have far better brought home the feelings of vulnerability and exposure so central to the scene and to Cersei’s dramatic arc? Would this not have avoided reinforcing unreasonable expectations of women’s bodies, particularly ageing ones, in one of the few times they’ve been represented on screen in the show? Instead, some 12-year old’s first boner has been prioritised over the effectiveness of the entire season’s denouément, whilst at the same time encouraging the sexualisation of a systemically victimised woman.

What’s worse, the show can’t conceive of her struggle outside of its own raging madonna-whore complex. Cersei is caught between the earthly realities of her public sexual identity, and the idealised, elevated maternity represented by her son, holed up in the Castle to which she frequently gazes skyward, as her source of strength. Only a select few female characters are awarded convincing characteristics outside of this simplistic dichotomy.

Whats more, this is not an isolated incident, and it’s not an equal opportunities thing. There’s a gross imbalance between male and female nudity, and this isn’t just a numbers game. It’s about the way these scenes are shot, the perspective the audience is invited to adopt, the narrative contrivances taken to get attractive characters in the nude. I’m glad Hodor got to flash his junk and all, but why wasn’t it Daario’s instead? It’s not like the straight male audience are being served anything outside of 2015’s gym honed, juice cleansed and almost hairless ideal of the female form. Or how about we just stop wasting precious minutes on serving the base interests of a specific audience, when that time could be used to unfurl a narrative that already strains against its hour-long runtimes? If you want to stare at tits, go on Google. Audiences tune in for adventure, not unnecessary areola.

I want to keep watching the show. I’ve invested 50 hours into it, and countless more reading, talking, and thinking about it. But, as a gay man, this becomes increasingly difficult with every lingering shot and leering pan over a rogue boob serving as a reminder that the show is catering to a demographic into which I definitely don’t fit. And when this titillation comes at the expense of the storytelling, it’s incredibly frustrating. Surely we can all be a little more discerning, than to demand our pathos with a side of good-looking genitalia.

Fashion Matters: Homophobia and Homoeroticism

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Men of all sexual orientations enjoy gazing at the male body – take a look at any number of Hollywood action films, men’s fitness magazine covers, or underwear packaging to see that this is inarguably the case. The fashion industry knows this. They rely on images of idealised masculine forms in order to sell their menswear lines. Their campaign images routinely imagine heightened homosocial worlds of male bonding. But this homoeroticism has its own type of latent homophobia. Homosexuality within these images is relentlessly controlled and denied, even whilst it is overtly insinuated. What results is a confusing and shameful perspective on male homosexuality, in one of the few industries where its image is promoted in the relative mainstream.

The fashion industry’s creation of the metrosexual, dreamt up in a boardroom sometime in the 90s in order to expand out of gay markets, required imagery that sold an unattainable hyper-masculinity to its new “straight” audience. Hence campaigns presenting homoeroticism that denies its homosexuality. And so Oscar Wilde’s “love that dare not speak its name” remains silent.

Take a look at recent campaigns. Dolce and Ganbana, the design duo who recently declared that “the only family is the traditional one,” stock their menswear imagery with deeply suggestive tableaux of Sicilian machismo and male bonding. But the extent to which these images acknowledge their homosexual subtext is limited to the models’ regard of the viewer. In art theory, the traditional relationship of painter and subject is that women are looked at, whilst men do the looking. But we know that these campaigns are designed to sell to and be seen by men. Thus the masculine subjects are sneakily subject to a homosexual male gaze. So despite these images being produced by a fashion house run by two gay men, homosexuality is only hinted at, toyed with, but ultimately denied. It remains shameful.

But the fashion world marches on with its own vision of progress. Commentators have pointed towards the recent queering of gender as a sign of fashion taking a more flexible approach to notions of masculinity. Designers like Dries Van Noten, JW Anderson, and most recently, Gucci’s groundbreaking Autumn/Winter 2015 Menswear Collection have all shown off determinedly androgynous conceptions of gender. But these are queering gender, not the body, and beyond the underground of Fashion Weeks, collections and markets remain divided into mens and womenswear. And so the male market must be maintained, ensuring a continuing parade of deified male physiques and images of hyper-masculinity in which there is no room for homosexuality.

This despite the male fashion industry being largely homosexual in production and reception, which makes these campaigns all the more frustrating. They acknowledge their audience, but enforce narratives of denial and unfulfilment which have plagued gay culture for decades. And there’s a wealth of evidence that these images of deliberately unattainable masculine forms affect a gay audience most acutely. Of men who suffer from eating disorders, 42% identify as gay, whilst homosexual men are twelve times more likely to report binging and purging cycles than their heterosexual counterparts.

Obviously, looking for responsible imagery from an industry that sells unattainable fantasies would be misguided. Yet I believe it’s important to be aware of the hidden messages these fantastical images encourage you to receive and internalise day in and day out.

Review: Force Majeure

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★★★★☆

Four Stars

The creeping power of an avalanche sets in motion the forward march of a family’s breakdown in Ruben Östlund’s Force Majeure. Currently doing a victory lapof arthouse cinemas, the films is a must-see that set alight last year’s Cannes, sweeping up the Jury Prize on its way to crashing into cinemas a year later. It’s a powerful, affecting and brutally intense drama that takes place high amongst the French Alps. We follow a beautiful, affluent, apparently happy nuclear family, as they ski, eat and relax together in the mountaintop hotel. Until a cascade of snow descends upon their resort, and their true natures are exposed.

The film is excruciatingly tense right from the beginning.The hotel perches precariously against the vastness of the mountains. An intrusive janitor watches the family a little too closely. We hear muffled conversations and sneaky asides – rifts in this family’s perfect veneer which seem destined to break into yawning cracks. And all the while, we watch, at a distance, as director Östlund controls the pace, forcing us to observe long ski-lift rides, gradual movements along a conveyor belt, long silences as the family wait for food. We watch as the parents absent-mindedly stop watching their children – perhaps just for a crucial moment too long. In these moments we feel a simmering heat, unexpressed grievances, the first particles that will gather momentum and a million other unexpressed feelings until these people’s frustrations become an unstoppable force. It’s nail-biting stuff, and a real feat of directorial ingenuity.

The incredible adult cast – led by Johannes Kuhnke and Lisa Loven Kongsli – are uniformly wonderful. Kuhnke in particular is magnificent as the family’s patriarch as he begins to realise just how delicate his self-worth and masculinity are. Konglsi too delivers incredible work in the less showy role of the mother, precisely revealing the frustrations and claustrophobia she feels being caught between her independence and allegiance to the family unit she’s formed. Both are incredibly cast, he with all the openess and breezy masculinity of dad-bodded Scandinavian Stephen Dorff, she haughty, classically beautiful, perhaps a little too calculating. Both are able to convey character just by being. The chemistry between the two is white hot, almost searingly so. A late night tooth-brush session in front of the bathroom mirror expresses everything in the silence. They’re a magnetic pair, almost a force of nature.

The minor key of the story allows us to scrutinise every choice each character makes, parse out the extent to which personal vendettas cloud their clear judgement. These characters are flawed, bitter, selfish, and all the more understandable for it. We chastise their arrogance, and that of the resort itself, attempting to offer respite and safety from the cruel elements whilst sitting so delicately on a ledge – one stunning late night drone sequence in particular captures this, as blinking red lights nip across the creaking, monolithic mountains. The film is a real tale of fire and ice, warmth and coldness. Expressive closeup invites us into the characters’ minds, then demands objective judgement by deploying a well-timed long shot. The film finds its rhythms, and plays them at an ever-increasing intensity. It is a tour de force of storytelling, taking huge risks and stylistic gambles which never feel showy or forced.

Force Majeure is a marvel. It’s gut wrenching, devastating, and not to be missed.

Review: Oxford Revue

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★★★★★

Five Stars

In a word, brilliant. On Saturday night a packed-out Oxford Playhouse was treated to two uproarious hours billed as the Oxford Revue and Friends. During those two hours we were subject to everything from a finger broken during an anal examination, to the Hogwarts student who died from starvation after Harry Potter bought everything from the trolley. Variety, depravity and hilarity: the unholy Trinity that made this one of the best things I have seen on the Oxford stage. 

We opened with Dan Byam Shaw, whose provocative spoken word piece extolled the miseries of being a white man barred on grounds of colour and gender from social justice campaigning. A very incisive piece, perhaps more thought provoking than it was funny but nonetheless a very worthy opener. It was especially good to see comedy that engaged frankly with actual Oxford issues.

Next, Alex Fox presented a one-man mini-family drama by acting out two sons and their relationship with their father. The first son was a rah on steroids (“if you are what you eat, then I eat legend”), the second a forgotten younger brother, bullied into mild depression. This was a fascinating one-man show for it was as compelling as it was hilarious. While sometimes true that comedy has tragedy at its heart, this piece couldn’t quite reconcile the two. In the end we were left wanting an ending as brilliant as the overall execution and conception.

The final piece by George McGoldrick consisted in a series of imaginary letters. They were all delivered in a sardonic nasal monotone which somehow worked for all the letters. The highlight must have been the Harry Potter story, just fantastic. 

Next we saw the Cambridge Footlights. Surprisingly sparse, there were only two of them. They were nonetheless a highly dynamic duo with a lot of ingenuity and skill. However, theyir style didn’t quite fit the tone of the evening. Theirs was a much quieter form of humour based on word puns and the like. These were often executed with lengthy build-ups or delivered in short one to three line sketches. The result was funny but not hilarious. In this respect, following their suggestion that this was a Varsity comedy match, the Tabs were well and truly shoed. 

This brings us to the highlight of the evening, the Revue. What is striking about their style is how carefully, in fact often meticulously crafted their sketches are. There is very much a method in this madness: they really know when and how to put in the laughs for maximum effect. One sketch for example showed us a recitation of a GCSE drama piece. Apart from being spot-on as regard the ridiculous hoop-jumping that it entails (“I am bullied on social media…”) it was a fantastically well-structured sketch. Like a magic trick, it built up to a ‘prestige’- a final trick that you didn’t see coming. In this case, Jack Chisnall, who was awkwardly standing at the back, was pushed as a door. Everyone in the audience who ever did GCSE drama exploded with laughter. 

Their thought/intuition/voodoo/whatever it is that makes their pieces so well rounded and crafted, was complemented by their immense skill. They are in their own right actors, musicians, mimes and much more. The one moment that summed up their sheer virtuosity was a short sketch in which we saw two football fans chanting at a match. The chanting however gradually gave way into classical music. In one particularly impressive feat they went from “Ryan Giggs Ryan Giggs” to Beethoven’s Fur Elise. Another very impressive performance was a song imitating a GCSE French Oral. Switching between a generic description of going to the train station and a question on feminism, it just summed up every bullshit language oral exam I’ve ever sat through. 

All in all a fantastic evening. What was borderline inspiring about the whole thing was the sheer energy, commitment and professionalism of them all. If indeed they keep this up perhaps they too might join the pantheon of the Revue. Well who knows, but if indeed you ever get a chance to see the Revue, make absolutely sure that you go!