Tuesday 28th April 2026
Blog Page 1172

More cheating at Oxford than Cambridge

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An investigation conducted by The Times has revealed that Oxford students have been found to have cheated over 20 times more than Cambridge students in University examinations or submitted work.

In the period 2012 to 2015, 109 Oxford students were found to have committed 109 offences, data released by the University shows after a Times Freedom of Information request. In comparison, only five such cases were uncovered at Cambridge.

The most common offences nationwide were continuing to write after time was up, and reading the question paper before the examination had begun.

Nationally, nearly 50,000 students were found to have cheated, in the investigation published last month, with Oxford Brookes ranked fifth for highest cheating rate, with 1,711 reported offences in the last three years.

The University of Kent’s incidence of academic misconduct is the highest nationally, with 1,947 cases, with the revelations raising questions as to possible large disparities between the rigour in detecting cheating across different universities.

In a statement to The Times, a spokesperson for the University of Oxford stated, “The close supervision of students through Oxford’s intensive teaching system makes it particularly difficult for students to cheat by, for example, passing off the work of others as their own.”

She added that the University is “confident its processes for identifying, investigating and holding students to account for academic misconduct are thorough and rigorous.”

Universities aside from Oxford and Cambridge reported more cases of plagiarism in the form of using essay-writing services, with more submitted work and coursework counting towards the final degree than at Oxbridge.

Professor Geoffrey Alderman at the University of Buckingham told The Times that “type-1 plagiarism,” copying and pasting, is decreasing because it’s “so easy to detect,” adding, “My impression is that type-2 cheating, using a bespoke essay-writing service, is increasing.” These services can reportedly charge hundreds of pounds for dissertations, essays and model exam answers written by professional lecturers up to doctorate level.

The investigation also found that non-EU students cheated disproportionately, with 35 per cent of all cases being from students from outside the EU, despite representing 12 per cent of the UK student population.

Across the country, there were five detected cases of students arranging for someone else to sit their exam in their place.

A significant number of incidents involved students going to the lavatory during examinations, with one University of Exeter student being investigated after a “long toilet break where student did not use most convenient toilet”.

Of the nearly 50,000 academic cheating incidences in the UK from 2012, one per cent resulted in the dismissal of a student from the institution.

Responding to the Cambridge Student’s article on this story, OUSU Vice-President for Graduates Nick Cooper commented, “Unlike Oxford’s excellent student journalism, the Cambridge Student headline raises some questions – comparing our 109 reports of plagiarism with Cambridge’s five convictions may be a little naughty. But it may also be an issue of definitions: until recently, plagiarism in Oxford’s rules was very broad (ranging from an accidental failure to cite one study, to full-blown copying) and we’re pleased that with OUSU support, Oxford updated its procedure last year to reflect this sliding scale.

“However we remain concerned that colleges and departments aren’t doing enough to ensure students are aware of good academic practice and what constitutes ‘plagiarism’. This is especially the case for graduate students who have studied elsewhere with more emphasis on collaborative work, who may end up breaking plagiarism rules entirely unknowingly.”

The University of Cambridge has not replied to media requests for comment.

Junior doctors’ strike comes to Oxford

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This week, doctors on strike, alongside other protestors, gathered outside of the Sheldonian Theatre on Broad Street. The gathering was in conjunction with the national strike of Junior Doctors, which was called by the British Medical Association (BMA).

The strike in Oxford began with a picket line outside of the John Radcliffe Hospital, before moving onto the more visible Broad Street location.

Placards reading ‘Save our NHS’ and ‘NOT SAFE, NOT FAIR’ were displayed in relation to Jeremy Hunt’s proposed changes to junior doctors’ contracts, which the BMA has argued are unfair on doctors and compromise patient safety. Amongst the crowd were dozens of striking doctors wearing white scrubs and stethoscopes.

Two foundation doctors in their second year, Steph White and Rachael Fleming, told Cherwell, “Junior doctors did not want it to come to industrial action, but we are worried about the proposed plans for patients, us, and the NHS.”

NHS staffs were joined in their demonstration by sympathetic students and members of the public, including demonstrators from the Oxford University Labour Club.

Momentum Oxford, a successor organisation to Jeremy Corbyn’s Labour leadership campaign, also showed solidarity with today’s junior doctors taking industrial action in Oxford with about a dozen members present to show their support.

A spokesperson from Momentum Oxford told Cherwell, “we stood in solidarity with the junior doctors today because we believe this Tory government is trying to bully them into accepting a contract that is both unfair and unsafe.”

They added, “The overwhelming support for the strike amongst BMA members (98%) shows that Jeremy Hunt is unambiguously in the wrong: these are people committed to serving those in need, and they would not strike unless forced to do so. With Jeremy Corbyn’s Labour Party, we call on Hunt to change his position, and end his attacks on the NHS.”

Dr. Mark Toynbee, also in attendance, told Cherwell, “We are very pleased by the overwhelming public support by the picket and on broad street and hope that will be a basis for constructive progress.” 

Disadvantaged applicants more likely to be given interviews

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Dr Samina Khan, head of undergraduate admissions at Oxford University, has told the Times Education Supplement that applicants from poor backgrounds are more likely to be given interviews. Dr Khan was referring to the use of contextual data in the undergraduate admissions process.

Oxford currently uses the performance of an applicant’s school, their postcode and care background to judge their full potential. If a flagged candidate is not shortlisted for interview, despite a prediction of AAA+ and high subject scores, an explanation must be provided to the department.

The Social Mobility and Child Poverty Commission, appointed by the government, recently criticised Oxford and Cambridge for failure to admit enough state-school pupils. In 2014, 56.3 per cent of Oxbridge students were state-educated.

Oxford University officially maintains that the state/independent school division is a misleading proxy for disadvantage. In its Access Agreement with the Office for Fair Access, the University has no set target regarding the state/ independent split.

The University also claims that, even if they were to use the state/independent school binary, it is “unclear how ‘disproportionate’ the state/ independent picture at Oxford actually [would be] – it’s often argued that only seven per cent of school pupils are at independent schools (while they make up over 40% of Oxford’s UK undergraduate intake). But more than one-third of students getting AAA or A*AA at A level (which is the bare minimum needed to apply for a place at Oxford) come from the independent sector – and things like subject choice and degree course choice narrow the picture further.”

Barnaby Lenon, Chairman of the Independent Schools Council and former headmaster of Harrow School, advised caution regarding Dr. Khan’s statement, saying, “admissions tutors at Oxford simply want the best students. A student with quite good grades from a school whose results are generally poor may well be as able as a student with higher grades from a high-achieving school.

“However, admissions tutors do not want to send the wrong signal to high-achieving schools (who provide a large proportion of the best undergraduates). So care is needed in terms of the messages which are sent out.”

Benjamin Peacock, Co-chair of Target Schools (the OUSU-sponsored access program), stated that he “fully supports the use of comparative data to level the playing field for students from state-educated backgrounds, as well as those who are young carers or have other extenuating circumstances.

“Application of such data accounts for the correlation between wealth and quality of education that is inherent in the UK, as well as many other disadvantages applicants face.”

 

Dons salute free speech in Hebdo anniversary e-book

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A group of Oxford academics has translated essays about free speech and then published them as free e-books in order to mark the first anniversary of the Charlie Hebdo attack in Paris.

Lecturers and students have translated the works of Voltaire and other figures renowned for defending free speech to mark the murders of 12 Charlie Hebdo journalists last year.

Dr Caroline Warman, associate professor in French at Jesus College, has led a group of more than 102 students and staff at Oxford who sought Oxford academics to produce their own version in English of the collection of essays called Tolérance: le combat des Lumières, produced by French academics after the attack by Islamic extremists.

The professors and students translated the works of 18th Century writers and philosophers including Diderot, Montesquieu and Rousseau,
as well as Voltaire, who all discuss topics including slavery, religious intolerance and the rights of individuals. The collection also includes Italian writer Cesare Beccaria.

Dr Warman wrote on the ‘Adventures on the Bookshelf’ blog how “posters of Voltaire” and some of his polemical slogans about the importance of religious tolerance appeared “in the vigils and marches that followed the Charlie Hebdo assassinations”.

She said, “Dozens of university lecturers in France who teach Voltaire and other 18th century writers, and who were all as distressed by the events and by the increasingly polarised politics that followed as anyone else, decided to put together an anthology of texts from the Enlightenment. This anthology would make available to everyone what writers of the time said about liberty, equality, and fraternity, about the importance of religious tolerance, about the rights of women, about the abomination of slavery, about the exploitation created by a system of global capitalism, and so on.

“We in the UK wanted to support and applaud this initiative, and we wanted to extend its readership. So we decided to translate it. And we thought, who better to translate this texts than our students? They are the citizens, female and male, of today and tomorrow, they are deeply engaged in our world, and they are brilliant at languages.”

On the subject of translating the works, Warman added, “Translation is a particularly intense way of reading, because to translate something you really have to get inside the text. It’s incredibly stimulating, because you’re both reading and writing at the same time.

“102 of us – tutors and their second-year students (who don’t have any exams) from lots of different colleges – translated the anthology this past summer term.’’


The anthology was published on 7th January 2016 to mark the first anniversary of the shootings. It was launched at the annual conference of the British Society for Eighteenth-Century Studies, which supported the project, and it has received positive coverage in the press and online.


The e-books are free to download, including links to the original French texts and in some cases, the original eighteenth-century edition.

Dr Warman appealed to the “open-minded thinkers” of the future to read the texts.

Flora Hudson, a second year French and Russian student, commented, “I think it’s a very effective and moving way for Oxford to mark the anniversary. Instead of focusing on the pain and grief following the attacks, it promotes tolerance in society, which is so important for multiculturalism in French culture.”


Jake Smales, who studies French and Spanish at Pembroke College, told Cherwell, “I think it’s brilliant that everyone can access texts that are so important to the idea of free speech in France and across the world. Translation is in itself one step of bridging the barriers between nations and cultures, uniting all under the common values we share, both past and present.

“It reminds us all of the importance of the power of speech, ideas and freedom over violence, which it seems we need to remember now more than ever. I hope people are aware of the e-books and have a read a few; especially as they’re free! They should start everyone talking and thinking about very relevant issues.” 

Spotlight: Child Actors

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I was recently lucky enough to watch the musical adaptation of Roald Dahl’s Matilda. What immediately struck me was the immense talent clearly present in the actor performing as the eponymous protagonist. She was given long monologues, melodically complex songs, and even a passage in Russian at the end (having studied Russian, I can tell you it was legit) and she never faltered in her energy or enthusiasm she really carried the show. Her only real flaw was a shaky attempt at an English accent, but this I realised to be a rather minor quibbling point – hers was vastly superior to Anne Hathaway’s pitiful Yorkshire accent in One Day. Yet the most impressive fact was that she did all of this and was, of course, a child actor. 

Child actors are known throughout the industry for burning out – Macaulay Culkin (career deceased), Lindsey Lohan (reputation deceased) and River Phoenix (actually deceased) being several of the more dramatic instances. It brings up an interesting question of whether the pressures of acting and fame can damage young performers, and so whether in turn it is even ethical to employ such child actors. And if child acting were banned, would I then be required to watch a twenty- something woman pretend to be a seven year old Matilda? A surreal experience for sure. In truth however, I would argue that these are but the few well- publicised examples which then tarnish the reality that most child actors come out from the experience relatively unscathed. In all honesty, I think the only real risk in using child actors is that they will be, to put it bluntly, dreadful – just look at Rupert Grint…

 

Should Varsity be the pinnacle of the sporting season?

Isaac Virchis – Yes

Oxford University sports teams for as long as records show have been facing off against their rivals Cambridge University once a season in what for every scholar-athlete is the pinnacle of their Oxford sporting career. Forget BUCS leagues, regional cups or fixtures against Brookes, if we are to be honest, the only thing that matters is beating the opposition from the ‘other place’ wearing an odd shade of greeny-blue.

No one can deny the rivalry that exists between the two institutions be it in academic tables, on the televised university challenge quiz or on the pitches, in the pools or wherever else Oxford sportspersons go in search of glory. Since 1209 when a group of scholars left Oxford, heading east to found a new school of academic learning, the Oxford student has fought tooth and nail to better their bitter rivals. Today this manifests itself in iconic sporting fixtures such as the Varsity Rugby match at Twickenham, The Boat Race on the Tideway and the Varsity Ski Races on the slopes of alpine resorts.

It should go without saying and be obvious to everyone involved in Oxford sport, be it as a fan or as a member of a club that the pinnacle of the sporting calendar is and should be the Varsity Match, but just to be sure I’ll explain to you why.

Firstly varsity is and should be the highlight of the Oxford sporting calendar because Cambridge view it as theirs. Whether we like it or not, for Cambridge the prospect of beating us at the varsity fixture represents the highlight of their sporting calendar. It is what drives their competitiveness and as such creates a crucible of intense sporting rivalry and competitiveness unmatched by any sporting fixture in the calendar. By its very nature the Varsity match has so much hype, so much attention and so much sheer competitive aggression imbued within it, from both sides, that it can only be the highlight of the season.

Secondly the nature of the ‘Blue’ the prestigious title awarded to the best of Oxford’s sportsmen and sportswomen is entirely dependent on the varsity match. The ‘Blue’ is only awarded upon participation in the varsity fixture and the fact that the two are linked in this way reinforces the reputation of the latter as the pinnacle of the season.

Lastly the varsity match is like no other competition in the season. It is unique because unlike BUCS leagues and cup competitions there is no runner up, no prizes for second place. No one remembers those who lost a varsity, only those who are victorious and whilst the losers are promptly forgotten, those who win are inscribed in the annals of Oxford sporting history. If that doesn’t justify varsity being the highlight of the Oxford sporting calendar, right where it truly belongs, I don’t know what will. 

Taylor Yu – No

Rivalries drive sports. If you’re a sports fan and have never developed any sort of irrational impulse to smack a rival fan right in his or her stupid little face, then congratulations, you’ve played yourself. Few things in life gets the blood boiling more than when your team – the team that represents you and where you’re from and what you believe in – faces its rival that seemingly embodies the darkest of all evils. Just ask any Arsenal fan when Tottenham swings by the Emirates, or any Bostonian when the Yankees or Lakers come to town – to say that one could cut the tension with a breadknife would be an understatement.

The Oxford-Cambridge rivalry is no different. If the duration of the rivalry should be a factor when determining its intensity, then I challenge you to find one more intense and significant than the mutual discontent that Oxford and Cambridge scholars have for one another. Beyond all the (questionable) academic rankings and all the tea-time arguments over who has the most Nobel winners, the rivalry extends its roots into the athletic arena, with historic events such as the boat race and the rugby varsity match drawing viewership from across the globe.

Yet as important as rivalries are to athletes and fans alike, sport is also about winning. With apologies to Drake, sports do come with trophies, and sometimes the balance between wanting to win and wanting to beat Cambridge becomes heavily tilted in the favour of the latter for fans and athletes alike. Diehard Cherwell Sport readers – all three of you – will have noticed that all of our match reports and season updates on Blues teams last term included something about how the team has its eyes set on the varsity match and how players are already foaming at the mouth at the thought of taking on the Light Blues, as if the varsity match is the major determinant of whether this season will be a success or not. This isn’t a criticism of the mind-set of Oxford student athletes – to question their motives and work ethic, and how much pride they take in representing and achieving success for Oxford would be doing them a great injustice. It’s more of an observation of the sporting culture that has engrained itself into the Oxford fabric, one that is built upon the insatiable desire of beating Cambridge.

In some cases, that goal is the equivalent of overall success – the Blues rugby union team isn’t part of any significant league, so the Varsity Match is essentially its championship match, and the same goes for rowing and the annual boat race. Yet for most competitive sports played here at Oxford, the teams are part of a bigger overall league that doesn’t get nearly as much attention as it deserves, and certainly not as much fanfare and hype as the varsity matches. Look at it this way – in about two months’ time, Oxford Men’s Blues football will take on Cambridge in a match that will garner the attention of hundreds of students, most of whom probably have no clue that Oxford was knocked out of the BUCS Tournament in the first round all the way back in late November by Kent. If the Blues beat Cambridge, will their season still be viewed as a success? More importantly, do fans even care?

The varsity match should most certainly be a highlight for any Oxford-affiliated team for reasons that extend way beyond sports, yet it should not be the highlight of the season – as justifiable as it is for fans and athletes alike to circle the varsity matches on their calendars, more attention should be paid to the bigger picture. Maybe I’m just not as immersed in the Oxford culture as I should be, or maybe I just don’t fully understand the historical roots behind the varsity games – all I know is that, as a sports fan, nothing feels better than being able to call your team champions, especially in front of your rivals. 

Oxford’s Maddest Sports Fan – Dundee United

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How many people do you know who would drive for seven hours to Dundee to watch a Scottish football match? Not many I would imagine. But that’s what I did on New Year’s Day. The following day I watched Dundee United (my team) play. We lost 2-1. Which itself wasn’t as bad as the time I drove through the night to see us lose 7-1 to Rangers. I still wake up shaking about tha tone. It wasn’t until I arrived home that I asked myself the question I perhaps should have asked myself before I left England. Why? What’s it all about? 

Let’s get rid of some of the more obvious answers. No, I was not expecting a game of high quality. Scottish football has rarely been mistaken for tiki-taka. In fact, it’s often really, really bad. I’d quite happily put money on any hastily-assembled team of children from a Brazilian favela being able to do more kick-ups than any of the players in United’s starting team. Indeed, I’ve rarely gone to a match where I expected to be entertained. The idea that I am paying to enjoy what I am watching sounds vaguely distasteful, overly sensual even.

Football north of the border is strictly ascetic. Passing is viewed with the same suspicion with which a priest might view a Satanic Mass. Anyway, I’ve always been a little suspicious of people who enjoy watching their football teams play. Enjoyment of the football we have to watch suggests a level of sadomasochism I find disturbing and slightly distressing.

Nor are the grounds wonderful sporting arenas. Dens Park (home of Dundee) looks like it was built by a blind man with a weird sense of humour. The main stand doesn’t actually run alongside the pitch which means spectators can be miles from either goal. Luckily, ‘travelling’ United fans didn’t have to ‘travel’ all that far. Dens Park is only 100 yards away from Tannadice (home of Dundee United). Yes – 100 yards. But no, I don’t understand that either.

In fairness the quality of the facilities isn’t only a problem in Dundee. Celtic Park’s away end has a pillar that obscures a large part of the pitch. At Ibrox the away end seems to have been designed specifically to make it easier for Rangers fans to hurl missiles and sectarian abuse at visiting fans.

Speaking of abuse. I once went to watch United against Celtic in Glasgow. On the way to the stadium I walked past two Celtic fans. One of them called me a ‘Dundee prick’. He looked about 12 years old. I’m not even from Dundee. What am I doing here? 

I suppose all this might make more sense if United were in with a chance of winning something. But in fact we’re at the bottom of the Scottish Premiership and almost certain to be relegated. We did win the Scottish Cup a fewyearsago,thefirsttimewe’dwonanything since 1994. And beyond that you have to go back to the early 80s to see any silverware. we won the League in 1983. We also beat Barcelona four times in European cup competitions. Halcyon days compared to the modern era. But, in a way, it’s moments like that draw with Celtic (we came from behind and could have nicked it, in case you were wondering) that makes all the rubbish worth it. How fans of Celtic and Rangers have managed to cope with winning all these years baffles me. Seriously. Whereas I’m happy if United put up a decent performance, Old Firm fans howl with rage when they don’t put at least five past whichever club they happen to be playing that week. It must be bad for their health and would explain the infamously low life-expectancy in Glasgow. 

Are you Oxford’s maddest sports fan? Email [email protected] to share your struggles and be featured in our search for Oxford’s greatest sports fan 

Cuppers in Retrospect

Cuppers: an event that embodies the wide- eyed excitement of freshers (ourselves included) in those early flushes of Oxford life – full of hope and possibility that people might actually come and see a play that they’ve done. Relieved from the anxiety of niggling questions such as ‘can we really cut a two hour play down to thirty minutes?’ Or ‘where are we going to get all of our props given you couldn’t be bothered to get up in time to go to the OUDS store?’

We realise that cuppers was nearly two months ago now, but as the fresh-faced new editors of Cherwell stage we thought we might reflect on the nascent future of Oxford Drama by looking back at some of the cuppers productions that really shone (i.e. the ones we actually went to see) and the talent that we hope to see more of in the near future.

First, a slick adaptation of Jon McGregor’s Wires from St Anne’s directed by India Opzoomer. It was the cuppers production that felt the least like cuppers. It centres around a young woman (Franciska Csongrady) as she suffers the manipulation of her apparent rescuers from a car crash. This was a fraught, tense piece with the initial suspicion of the two men being skilfully ratcheted up to an intense terror with the aid of Tegan Eldridge’s lustrously windswept sound engineering. The factor that truly elevated Wires was the astonishing rehearsal-derived polish and the faultless harmony between tech and actor; impressive given the short time given to them.

100 from Keble was a story about purgatory – a specific vision of life after death where the deceased must choose a single moment from their memories to relive for eternity. The strong combination of Una O’Sullivan’s direction with Renee Kapuku’s tech made for a richly varied production, dipping into the myriad of memories of the freshly expired with great imagination. A particular standout was Gavin Fleming as the ‘Guide’ to the underworld, a lively perfor- mance that readily jumped between menace and joy.

Horror Story from Lady Margaret Hall was a darkly comic piece of new writing by Jack Bradfield and co-directed by Charles Pidgeon. It centred around and satirised all of the worst anecdotes that have been circulated about the interview process – the borderline psychopathically cruel tutor and the hapless and privileged candidate with no knowledge of his subject. There was great chemistry between Finlay Stroud and Eithne Brennan, on whose interactions the whole story relied. If any criticism could be levelled at this highly original and deeply witty piece, it would be that it was occasionally too clever for its own good; one too many levels of literary reference gave the play a slight air of self-satisfaction.

Merton College put on The Arrogant Student, a comedy based on the ancient Greek play The Swaggering Soldier, which played cleverly off its casting to aid the jokes that contained the risk of not translating well to a modern adaptation. Held together by a compelling narration, the piece effectively conveyed the comedy of mistaken identity while not losing or confusing the audience. It was a funny, albeit brief piece that was carried off entertainingly by all involved – if it had made the full 30-minute allotted run time, I think it would have been one of the more successful pieces.

Meanwhile Regent’s Park College put on a contemporary political comedy called The Party. Here, I the writer – also an actor in the Regent’s Park performance – must confess something. Yes, it was my error that I left Oxford during the second round of performances, meaning that though getting through, Regent’s did not perform again… Despite this error that *may* have affected Regents’ chances of winning cuppers, the original performance was at least strong enough to get through to the next round.

Pissed off? Disagree? Email [email protected]

The eternal Hugh Grant clone

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High culture is easy to hate with a passion. Keats wrote ‘Ode to a Grecian Urn’! That’s basically ‘Poem to a Pot’. The language may be beautiful, but he is gazing for hours, misty-eyed, at what is, at best, a fairly pleasant piece of ceramics. I wanted to write on low culture. Think Bridget Jones, with Colin Firth stumbling over his cut-glass consonants, spilling clipped RP all over Bridget’s Christmas jumper. Eddie Redmayne’s pallid sad-face scoring the lead role in the Harry Potter spin-off , Fantastic Beasts and Where to Find Them. Preternaturally nasal-voiced Milky Bar Kid Owen Wilson yet again playing the loveable doofus. Benedict Cumberbatch being the next in a long line of British actors to rub themselves over the Marvel franchise, purring about how rich they are going to be. Michael Fassbender swanning about somewhere, shoving award nominations in the pocket of his 10-to-the-dozen grey sharp suit. James McAvoy and Daniel Radcliffe patting each other on the back about the new Frankenstein film and sparking yet another wave of ‘celebrity bromance’ journalism. One of the Hemsworth brothers wearing a period costume somewhere sunny and raking in £12 billion at the box office. I could go on…but are you even noticing what links them all?

Here is something that needs to be said about the drudgery of culture. White straight cis middle-class male actors are boring. They are not evil, or wrong, or even bad at acting – in fact, I suspect a lot of them were manufactured in a lab especially to perform a Really-Quite-Original-And-Modern Hamlet at the RSC, four stars, The Telegraph. The whole concept is just a little overdone, like The X Factor or ‘quirky’ girls in sitcoms or jokes about Ed Miliband being awkward. We get it now! If you get a man who has been to a school with a polo team, put him in a nice shiny pair of brogues, and stick him on the Graham Norton sofa, you’ve got four Oscar nominations and the lead in a BBC drama before you can say ‘privilege’. ‘And he put on an “I’m a feminist” t-shirt for Emma Watson! What a lovely guy!’

I don’t feel qualified to get on my high horse regarding privilege as I type this in my nice suburban house sitting on my Cath Kidston bedspread whilst my university-educated mother brings me a cup of Earl Grey. And as a student writing an article for an Oxford student paper about better representation of gender, class, race and sexuality in mainstream media, I’m obviously also not against re-hashing old ideas. It’s just that sometimes politics override common sense. Benedict Cumberbatch saying ‘coloured’ or Eddie Redmayne playing a transwoman may or may not be proof that Harrow and Eton can’t teach you everything. The actors I’ve used as examples might have worked their way from rags to riches for their role. I mean, the Hemsworths are Australian – who knows how the class system works there. I imagine with happy ignorance that it has something to do with how many kangaroos live on your beach. But white, straight, cis, predominately middle class men are getting samey now.

This breed is literally everywhere. They love Donnie Darko, rhapsodise about the genius of The Beatles, and adore their mums. They can discuss the pros and cons of diff erent types of whiskey for longer than you would think possible. They hate the comedian Miranda Hart and love Alan Partridge. They are obviously movie anoraks, so this means making fun of The Holiday but taking the Batman films very seriously indeed. They can’t see Nicki Minaj without commenting on how her tits are fake, whilst not seeing that that isn’t the point. Again, there is nothing inherently wrong here. I like Radiohead as much as the next person, occasionally an art-house film isn’t completely awful, and Minaj did perform for an Angolan dictator, I guess. But our screens are crowded with people who you just know have the same cultural references, revere the same artists, and share the same very specifi c idea of what constitutes ‘good’ culture.

Just as some complain about synth-pop nursery rhymes dominating the charts and seeing yet another reality talent show on TV might provoke a sense of ennui, a certain type of person dominating our TV screens and cinemas is a legitimate cultural moan. We might have Idris Elba as Luther, a black Hermione and Orange is The New Black bringing diversity to our Netflix accounts. But where is our BME Doctor Who, our trans superhero in the next Marvel blockbuster, our female lead franchise on the same level as James Bond? All I’m asking is for it not to be run-of-the-mill, unremarkable, and unnoticed when a prime-time chat show doesn’t have a single person who isn’t that Holy Quintet of Male Straight White Middle-Class and Cis. We should be doing the one thing that consumers of culture have a right to do and tend to enjoy; saying, “Well, this is tedious.”

Ai Weiwei at the RA: drudgery revitalised

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“Dear Ai Weiwei, You have applied for a sixmonth business visit visa, but on this occasion your visa has been restricted,” reads a letter to the artist from the Beijing British Embassy, photographed and posted to his Instagram account. There’s a grotesque irony in the reality of the reason given for his visa restriction being an undeclared “criminal conviction” in China: his 81-day detention for crossing “the red line of Chinese law” is traumatically depicted in S.A.C.R.E.D. (2012), the penultimate piece in the very RA exhibition which prompted his UK visa application.

The viewer is confronted with six identical black cuboids, each with two windows. Because of the tremendous popularity of the exhibition, you have to wait in line to look through them, winding your way past pushchairs and school parties. Inside each one is a painstakingly accurate fi breglass diorama, drenched in bright, white light. Fibreglass Ai Weiwei is scrutinised at close proximity by two guards, and looking from above or from the side, we scrutinise them both.

And yet there’s so much more here than the new surveillance of shifting of the viewer’s gaze, or the irony of the installation’s situation. This is more than a catharsis or a mockery; in S.A.C.R.E.D., basic human rituals of eating, sleeping, and washing are laid (quite literally) bare in hyper-realistic form. The repetition from each scene to the next is a stark inversion of the mundanity of these human rituals: their bleak ‘Sacrament’ is an uncanny anti-sacredness. The paradoxical permanence of these statuesque Doppelgängers and the cruel monotony of the unchanging, white room are in constant tension with the movement tracked from diorama to diorama. Weiwei’s 81, unchanging days are crystallised, monumental, and perverted in S.A.C.R.E.D.– you even see him on the toilet.

Permanence and change wrestle time and time again throughout Weiwei’s output, most infamously in his triptych ‘Dropping a Han Dynasty Urn’ (1995) and accompanying “appropriation” of similar vases, which he has painted in vivid colours. One, bright red, bears the Coca Cola logo. Some critics have tritely dismissed these intensely political gestures as “posturing”, but Weiwei’s harsh comments on the Western fetishisation of ancient Chinese arts, their high monetary values in conflict with Chinese authorities’ seeming lack of care for them, are just one facet of his work with dynasty vases. Here, his activism collides with a snapshot of the split second before the smash, the “vandalistic”, irreversible re-painting of ancient artefacts which once seemed so permanent. These are serious engagements with serious questions about the nature of the work, and the results are both shocking and devastating: in his seeming destruction, he has made something new.

Nevertheless, the garishly post-modern confrontation of the vases is in some way a disappointment after his Qing Dynasty ‘Stool’ and ‘Table with Two Legs on the Wall’ (1997) three rooms earlier. These pieces of seamlessly re-imagined furniture ask all of the same questions as the vases, but the more elegant fi gures that they cut are testament not only to Weiwei’s interrogative approach, but his immensely effective commissioning of traditional woodwork techniques. The sense of entrapment is achieved by the legs literally pressing against the wall, making another floor of it and de-centering the entire room; in ‘Grapes’ (2010), it’s impossible to see where one antique stool ends and another begins.

In his manipulation of mundane furniture forms, Ai Weiwei renders them useless: how do you eat off a table with a fi ve-metre pillar protruding through it? How do you sit on a chair with a tree embedded in it? His “useless objects” are more of the mundane (an armchair, a pushchair,) with added sexuality (anal beads, a butt plug,) and threat (a gas mask, handcuffs, CCTV cameras on the staircase.) In an invocation of permanence strikingly similar to that of Anselm Kiefer’s enormous lead books displayed at the RA this time last year, the “useless objects” are carved out of marble. Yet unlike Kiefer, Weiwei’s mockery of these flagrantly mundane objects sees a traditional Chinese building material transformed into the whitewashed workaday. In the final piece, Weiwei inverts this process, starting with a mundane building material and creating a vast centrepiece. ‘Bicycle Chandelier’ (2015,) as the name suggests, is constructed from China’s most ubiquitous mode of transport. The common bicycle is fragmented and repeated to create towering columns and beautifully imposing geometric tunnels. To be brutally frank, the softer decadence of the white-and-gold sloped plaster ceiling of the RA sort of spoils it.

Weiwei’s most moving transformation at the RA this winter, however, weighs heavily on the gallery floor. 90 tonnes of reinforced steel rods make up the matter of ‘Straight’ (2008-12). For the most dramatic of Weiwei’s “found object” installations, each of these rods were gathered in the wake of the devastating Sichuan earthquake of 2012, hammered straight over several years by a team of six, and painstakingly laid into a vast, undulating, tectonic landscape on the floor. The walls of the gallery are lined with the names of children who died at school during the quake, crushed by their poorly constructed classrooms, many of their deaths unrecognised by Chinese authorities. Along with the screams and cries of the aftermath footage in Weiwei’s film Little Girl’s Cheeks (2008) which plays in the same room, this staggeringly large grid of names forms a harrowing background to a work of such astonishing proportions and beautifully controlled form, as it tapers off at each end. Within the trauma glaring out of each of the four walls, there is something powerfully moving and cathartic conveyed by this landslide of straight metal lines.

The pace of this exhibition is relentless. Between the dissident and the devastating, the ancient and the new, the moving and the funny, there is a constant discussion here and it is anything but dull or flippant. For a handful of weeks this winter, London’s grinding streets held a few rooms full of uselessness, and each one was bold, beautiful and strange.