Thursday 21st August 2025
Blog Page 1202

Trinity JCR to Support Divestment

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A motion in favour of divestment from fos- sil fuels was passed by Trinity College JCR last Sunday, with a 51-15 majority and five absten- tions. The motion mandates the JCR President to support OUSU’s Environment and Ethics campaign to request the divestment of college investments from fossil fuel companies.

The motion was proposed by Rosemary Leech and seconded by Alice Jones, the JCR’s Environment and Ethics Reps. The motion stated, “Investment made by the University into unethical fossil fuel companies is socially irresponsible and inconsistent with the educa- tional objectives of the University”.

15 other JCRs have pledged to support the Oxford University Fossil Free Divestment Campaign, including Balliol, Keble, University and Exeter. A further fourteen MCRs have also pledged support for the campaign, and this in total represents over 8,200 students.

Oxford University’s Socially Responsible Investment Review Committee (SRIRC) has stated that it “has decided to canvass the opinions of stakeholders. We are therefore requesting evidence and opinions from relevant bodies in the collegiate University, and through the publication of this statement invite interested parties to submit evidence or views that might inform the committee’s consideration of the question of possible divestment from companies ‘that participate in exploration for and/or extraction of fossil fuel reserves’ as per the OUSU representation.”

Leech commented, “Essentially, we passed the motion to support the wider OUSU divestment campaign, which is bigger than anything we could do as a single college. So while other colleges passing the motion did influence me in proposing it in a way, this was something Alice and I wanted the support of the JCR in anyway. Personally, I think divestment is hugely important for large bodies like Oxford University. We hold significant investing power, and by divesting from a fuel source which damages the planet and makes life harder for the world’s most vulnerable people, we would send a strong message about the need to care for the future.”

The University Council will meet on 18th May to make a decision on divestment after deferring their decision at the first meeting.

Trinity College has not replied to Cherwell’s request for comment. 

The Dark Side of the Picket Fence

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In the opening scene of David Lynch’s Blue Velvet, we are met by vibrant shots of a suburban neighbourhood basking in the glow of a warm summer sunlight. As a man suffers a crippling stroke, the camera does something unexpected. We pan away from the catatonic victim and stumble, deep beneath the grass, on a hoard of crawling, festering insects. Lynch makes his point beautifully. Beneath the pleasant façade of suburbia lies a creepy and infested underworld; behind the picket fences and crimson roses are people we know nothing about – people riddled with secrets.

How much do we really know about our neighbours? Aside from the polite “good morning” and mandatory Christmas cards, do we truly know what’s going on behind the closed doors of people who live a matter of feet away from us? It’s a curiosity explored endlessly on screen. Ricky Fitts’ video camera in American Beauty reveals the peculiar nude workout routines of a man’s mid-life crisis; a vain young girl desperately seeking attention from men; and his own personal favourite – an insecure teenager who feels she’ll never find anybody who loves her. What his camera doesn’t pick up is his own father’s repressed homosexuality (masquerading as intense homophobia); Carolyn’s adultery; or even Lester’s infatuation with his daughter’s 16 year old friend. These are things no neighbour could ever know because they are hidden so well.

In 2004, Marc Cherry was inspired by American Beauty to create a TV series about the mysteries of one’s neighbours hidden behind the beautiful surface of suburbia, Desperate Housewives. With each new season, a different neighbour joined the street, always disguising a sinister past that threatened to break free. The picturesque Wisteria Lane became synonymous with closeted skeletons, and the female protagonists represented the “everyman”, inquisitive but clueless about the lives of their neighbours. It doesn’t matter how “ordinary” one may seem – everybody has secrets they want to protect.

Suburban life is all about exhibiting a shiny façade. It’s about Stepford Wives-type figures, perfectly prim and presentable, ready to offer a batch of warm cookies to passers by, whilst concealing the fact that they’re actually robots. It’s about the ideal family unit and community spirit displayed by Truman Burbank in The Truman Show – a man who is all the while unaware that his life is part of a scripted TV series. Jeffrey Beaumont never expects to discover a severed ear in his neighbourhood in Blue Velvet – why would something so disturbing ever find its way into his quaint little community? But as long as everybody feels safe – as long as they believe that no harm could ever come to their homes, the façade may continue and life can go on.

But how should we treat our neighbours if we do find out something unsavory about them? Todd Field’s Little Children is one of many films to deal with this difficulty. Should a community band together to enrage one another against a convicted paedophile living amongst them, or does he deserve a chance at anonymity and redemption? In Rear Window, is L.B. Jefferies right to take his suspicions of his neighbour – whom he’s been watching from across the street through binoculars – into his own hands? Does Claire have justification to slander her enigmatic neighbours to her husband and friends in What Lies Beneath? Curiosity always gets the better of us, it seems.

The most effective examination of the neighbourhood network is probably demonstrated by the soap opera. A myriad of characters share the screen for brief vignettes, each simultaneously contributing to a larger picture of a disconnected yet closely associated community. We all emit different personalities when we’re out and about to when we’re sitting in the comfort of our own home. This is what film and TV loves to explore. The medium lends itself perfectly. Just like Ricky Fitts, filmmakers are able to push their cameras deep into the private world of the most fascinatingly revealing place of all: the home.

Review: Avengers: Age of Ultron

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★★★☆☆

Three stars

With Avengers: Age of Ultron being the 11th Marvel Studios film since 2008’s Iron Man, one would be forgiven for assuming the franchise must have outworn its welcome by now. Fortunately, this is not the case. This summer’s most anticipated film serves as a suitable sequel to 2012’s The Avengers, but this latest installment in the Marvel “megafranchise” is let down by a convoluted script, with too many characters – old and new – and the general feeling that it is a ‘necessary’ installment in the series, one that doesn’t really further the overall plot.

Tony Stark has created a world-defending artificial intelligence programme, Ultron, chillingly voiced by James Spader, which instead begins to believe that it can only protect the world by destroying humanity. Ultron finds initial allies in two awesome additions to the cast, Aaron Taylor-Johnson’s super-fast Quicksilver, and the telekinetic Scarlet Witch, played by Elisabeth Olsen, who hold a grudge against Tony Stark, after his weapons killed their parents. The six returning Avengers are joined by the newly created android Vision, whose loosely-defined powers seem to be made up as the film progresses. Alongside the team are another entire cast’s worth of supporting characters from previous films. If you think such a large roster of Marvel heroes would lead to a rather overstuffed film, you’d be right.

The main problem with this film is that there’s just too much going on, and not enough time to see much character develop- ment and interaction which was so perfect in the first film. Even the new characters aren’t given much chance to expand. The producers clearly felt it was time the Hawkeye character be explored, yet when we see his life outside of the team, it feels it’s been shoehorned in just to please fans.

Thor’s playful mockery of his mortal teamates gets tiresome, and with Loki not appearing, this film may simply prove that Thor as a character requires a ‘yin’ to his ‘yang’. The introduction of a love story between Black Widow and Bruce Banner is scarcely touched upon and though well portrayed by Scarlett Johansson, it feels superficial, the filmmakers ticking off another box. The quips and witticisms of the Avengers are not lacking, but the moments of interaction between the teammates that made the previous film so memorable are few are far between, and this talented ensemble is given little opportunity to showcase their abilities.

There is a distinct lack of focus – one moment you’re in South Korea, the next you’re in London – and whilst the action is still as exciting as ever, and the visuals no less spectacular, they are entering the realm of Transformers- esque messiness. Ultimately the central plot is confused, and the problem resulting from the Avengers’ own actions renders the narrative somewhat redundant, meaning it’s a film that neither does much to advance the series’ overall plot, nor excels in being a particularly good ‘stand-alone’ Marvel film.

Ultimately, it seems a “necessary” installment, in that the audience needed to see the team together once more before they are divided in next year’s Captain America: Civil War. There is little inherently bad, and following up its 2012 predecessor would be a difficult task by any standards, but it’s both overstuffed and lacking at the same time. Avengers: Age of Ultron is enjoyable, but its convoluted script is wasted on outstanding visual effects and a talented cast.

In Defence of: Cloud Atlas

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When Cloud Atlas was released, it polarised critics and barely broke even at the box office. Based on David Mitchell’s wonderfully complex 2004 novel, the film contains multiple plotlines and narratives spanning six different eras, genres, and settings. Only the creators of The Matrix and the visionary director of Run Lola Run could adapt this supposedly “unfilmable” book, dividing directorial duties between them and assembling an all-star cast that includes Tom Hanks, Halle Berry, Jim Broadbent and Hugh Grant.

The film presents one of the most complex narratives ever attempted on screen. Mitchell’s novel was split into chapters devoted to each separate “period”, but the filmmakers decided to interweave and flip between each era simultaneously, accumulating a mosaic narrative of interrelated storylines. Some have called this “messy”, but it is one of the most heroically ambitious endeavours of modern cinema.

There’s an uncompromising depth and beauty to the sheer vastness of the narrative. We jump from explosive sci-fi action to a quaint Cambridge love story. There’s even a touch of Terrence Malick in the sprawling sublimity of the film’s central philosophy. It passes beyond mere sentimentality in order to ask more fulfilling questions about humanity. At its heart, there is the age-old “butterfly effect” question – how do our actions influence each other? Are we all connected?

It’s also very funny. The cast seem to be genuinely enjoying themselves. Broadbent is effortlessly hilarious when trapped in a sinister nursing home; Tom Hanks sports hysterical Scottish, Irish and English accents in his eclectic range of characters; and who wouldn’t want to see Hugh Grant as a can- nibal? It’s an immensely charming film.

A view from the cheap seat

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Sandwiched between the cushions of a Turl Street Kitchen sofa, I found these notes of a bygone student producer: “Tuesday, 4th Week, Michaelmas.”

So we’re only just about to go do it! We are going to put on Hamlet. Yeah, we are going to do Hamlet at OXFORD.

We tossed around a few ideas today, me, Mark, Jez and Sophie (wait, what, they literally have the same names as the char- acters from the first series of Peep Show). We thought this has got to be different. People do Shakespeare all the time, sometimes, you actually can’t move in your JCR because your Urban Outfitter’s cardigan is stuck to one of the five pins holding up one of the countless over-stylised, bloody neon, post- ers for King Lear – which was rather good by the way! (I definitely didn’t get round to seeing it). We bashed out some ideas: we thought Hamlet as a woman, Hamlet as a post-grad, Hamlet as a tutor, Hamlet without the character of Hamlet. We thought ship in Benedict Cumberbatch and ramp up the media presence with another tire- some photobomb (not that that production needs anymore publicity), we thought do it all completely naked – we could do the sword bit at the end with their penises – feminist critics (actually any critics) would have an absolute field day. And then I really ‘hit the nail on the head’ as they say. We do Hamlet… where Hamlet is, actually, a dog.

We’re now going with, ‘Hamlet without the character of Hamlet’. We feel that, basically, everyone here has seen Hamlet already, or at least read it, and they really know the character of Hamlet better than we, at Hypnotast Productions (little nod to our rivals there), could ever perform it in the one and a half hour slot that we are bid- ding for at the BT. It will also fantastically cut down both run and rehearsal time, and hopefully we won’t need the gross skull.” 

Preview: The Mercy of Titus

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Opera, perhaps more so than most art forms, has become divisive. For some it epitomises the very worst sort of excess enjoyed by the privileged enclaves of our society. Opera is thus entangled not only in aesthetic disputes, but socio-economic and even moral controversy. Indeed the prolonged length of the form and the setting in opulent and exclusive venues seems to make the accusation of elitism ever more compelling.

This however is most definitely not what producer Ambrose Yim and Director Hendrick Ehlers think. Their decision to stage Mozart’s late masterpiece, The Mercy of Titus has at its heart a faith in the fact that everybody can enjoy opera. One cannot help but admire their belief. Having attended a preview, it seems they may well be rewarded for their conviction. Written not long before his death, Mozart composed The Mercy Of Titus to celebrate the crowning of Leopold II. Despite his eminence the opera was not initially well received.

The Mercy of Titus tells the story of the emperor Titus and a conspiracy to overthrow him. Having seized the empire under dubious circumstances, Titus has cheesed of the ever scheming Vitelia, daughter of Titus’s predecessor. Her main bone with Titus is passing her up as a wife and thus excluding her from the power she thinks is rightly hers. The story charts her machinations and manipulations as she forces her poor lover Sextus into killing Titus. Perhaps it was all a little too racy for the audience of his time.

It’s certainly a juicy story, with all the eroticism and bitchiness of a Gossip Girl series binge.

Not really what we think of when it comes to Mozart and the Viennese court. Indeed Titus is not one of Mozart’s well-known typical crowd pleasers. But the production team is confident they can harness the sensationalism of the narrative to their advantage.

As Yim explained, the play is about “the desire for power, and the power of desire”. This fertile ground between love and politics, seduction and conspiracy comes to the fore in their interpretation. In one scene I saw, the character of Vitelia blindfolded Sextus as she teased and taunted him into burning down Rome. This is where perhaps the producers have been right.

There is undeniably something fascinating about the interplay of words and music when done well. To my untrained ear, it seems Mozart does it pretty damn well. The magic happens when the musical counterpoint elevates the lyrics into the rich and complex theatrical spectacle opera can be.

Take Vitelia. On paper, Viteilia is just your standard uber bitch seductress archetype; but in the hands of Mozart we see, tenderness, compassion and even remorse.

In moments like these, I am fully with them in their belief opera is for all. But an opera is a tricky business not least if it is to be kept fresh for a contemporary audience. Nonetheless, if the team can balance the musical virtuosity, the emotional complexity and keep us in the grip of the narrative you can be sure this will be one to watch. Seeing the passion and conviction of cast and crew alike, we also can be sure they’ll have a damn good go at it.

The Mercy Of Titus will be running from Thursday 7th to Saturday 9th of May at Exeter College Chapel page1image49968

Preview: Cut the Mustard

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The comedy duo, Georgia Bruce and Jack Chisnall, gave me a very exciting sneak preview of their show Cut the Mustard, which will be staged this term. I was met at Trinity College porters’ lodge by the tall and fairly silent Jack, who immediately struck me as a dry, and slightly awkward David Mitchell sort-of figure.

Before I knew it I was watching him and Georgia perform an original song titled ‘Hey Kids, Don’t Do It’ – warning ‘little children’ about the dangers of drugs, strangers, crossing the road, and pretty much everything else. Jack managed to push his glasses up his face in the gaps between playing his guitar, which I think is nothing short of a great talent.

Both members met at the Oxford Revue in their first year, and decided to get together as a double act. “We both play exaggerated versions of ourselves,” says Georgia. Jack de- scribes these cameo-characters as compli- menting each other in their differences. “I’m sort of ego-y,” he says, pushing his glasses up his face again, “and she’s cute and lovely.” I have to agree that these adjectives sum up Georgia pretty well, with the addition of sparky and confident. The two compliment each other marvelously and the chemistry between the two is great.

The show will be a show of a show, for want of a better description: the audience will be observing the two characters practise for a TV recording, and watching as the proceed- ings fail somewhat. There will be audience participation to the full, and music alongthe way.

Hopefully there won’t be any expectationon their part for us to do any of the singing, but having sat through this preview I would not put it past them. Apparently however it is going to be really “chill”.

For all desperate finalists and nerve stricken prelim virgins this could be a healthy contrast from Trinity Term exam stress. I am also told there will be a “hilarious surprise” when it finally comes to the supposed recording. Be warned.

Cut the Mustard is going to be captivating. The pair will also be performing at the Edinburgh Fringe this summer, so this will serve partly as a test of their material. “But we’re taking it seriously,” Georgia assures me, wide eyed. “Yeah”, says Jack. “We’re not just doing any old shit.” 

Keble crowned rugby Cuppers champions

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Keble clinched the Rugby Cuppers trophy last week, in an exciting triumph for this pow­erhouse of Oxford’s college rugby.

After many rounds of fixtures spanning Michaelmas and Hilary, the three Rugby Cup­pers competitions reached their dramatic conclusions on the eve of the city’s May Day cel­ebrations at the Iffley Road Stadium. Six squads had earned the right to battle it out on ‘Super Finals’ day in what proved to be a fantastic spectacle and also a testament to the quality of rugby being played across the university.

First up, at 3.30pm St. Peter’s took on Pem­broke in the Bowl Final. On the day, St. Peter’s were the much better side in what was certainly the most one-sided contest of the ‘Super Finals’. They ran riot and dominated all phases of the game from the first whistle to the last, running away to a convincing 78-10 victory.

A highlight for St. Peter’s was a spectacular try from fullback Matthew Brady that left their opposition’s spirits truly (Pem)broken. In spite of this hefty defeat, the Pembroke players de­serve credit for a gutsy performance in which they did not give up and kept playing hard until the full-time whistle to ensure that the post-match touchline beers were well-earned on both sides.

Topically, seeing as it is election season, the second game of the day gave the baying student public exactly what they wanted: a masterclass in harmonious coalitions, as St. Anne’s/St. John’s took on Corpus Christi/Somerville in the Plate final. As the winners of the 2014 Cup competition St. Anne’s/St. John’s went in to the clash as favourites on paper, with current OURFC captain George Messum anchoring the back line from outside centre and fellow Blue Tom Reeson-Price providing them with a strong presence in the back row.

Ultimately, it was Reeson-Price, switching to No. 8 from his usual second row position, who proved the difference. Thanks to his powerful hat-trick of tries, ‘the Saints’ eventually ran out 39-17 winners over Corpus Christi/Somerville.

Then came the showpiece event that every­one at Iffley had been waiting for, the Cup final between Keble and Teddy Hall. Both colleges have dominated the rugby scene in recent years sparking a fierce rivalry on and off the field, with reports of Keble fans behind enemy lines in Teddy Hall with “SHOE” banners really tak­ing the pre-match mind games up a level.

The atmosphere at Iffley was similarly elec­tric as the teams took to the pitch, Teddy Hall with two Blues giving presence to their back row and Keble’s dynamic back line featuring former Varsity Man of the Match Sam Egerton at scrum-half and 2014 OURFC captain Jacob Taylor at fullback. For the expectant crowd, it was clear an enticing clash lay ahead.

The first half was very evenly contested thanks to scores by Keble captain Jonathan Mitchell and his teammate, left winger Sam Steinert, with full-back Jacob Taylor knocking over one conversion from two. As to not lose touch, Teddy Hall hit back through fly-half Tom Dyer, who slotted a penalty through the uprights, and centre Jack Calvert, who snatched an interception and raced in to score. Consequently, there was very little in it at the break, with Keble marginally ahead 12 – 8.

As the lights came on for the second half, it was suddenly a different story, as Keble began to find their stride, building phase after phase leading them to eventually dominating large swathes of both possession and territory.

Whether this was due to inspiration from Keble alumnus Shadow Chancellor Ed Balls, who tweeted in support of his former college, we’ll never know, but whatever was said at half time certainly helped change the tide of the match. Inevitably, Keble were clinical with their second half dominance and as they grad­ually pulled away from Teddy Hall, who were only able to notch a solitary penalty through Dyer in the second half. By contrast, Keble ran in a further three tries through winger David Peberdy, scrum-half Sam Egerton and centre Oakley Cox. Taylor chipped in further with the boot, converting two of the second half tries and adding two penalties for 12 total points on the day.

Keble’s victory was certainly deserved as they once again reasserted their dominance at the top of college rugby’s totem pole, claiming their 11th Cuppers title. Having fallen at the final hurdle, the Teddy Hall XV and their loyal supporters will have to wait until next year for another shot at their 33rd Cuppers crown.

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A combination of outstanding strength in depth, some crafty tactical play and well-taken kicks ensured victory was never out of Keble’s grasp. Teddy Hall were left exposed in the second half, run ragged by a suddenly embold­ened Keble side, hungry to take the trophy.

Congratulations to the victors, commisera­tions to those who fell short, but most impor­tantly: see you next year to do it all over again.

Not all plain sailing for Yacht Club

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These last few weeks have been chaotic mix of highs and lows for the Oxford University Yacht Club. The Sunsail Weekend event in Portsmouth became the scene of a tense and stormy annual Yacht Varsity, with Cambridge defeating Oxford for the third year running to reclaim their crown.

Buoyed by the earlier success of the men’s dinghy team against Cambridge under Edward Scallan in the Cam Cup, yachting skipper Tim Joy led his crew in a race as much against the tempestuous weather as the experienced Cambridge team. As gusts of up to 83 knots tore down the race course, Cambridge made a stunning start and built a firm early lead, the Cambridge decision to play it safe with two reefs and no kite paying huge dividend. Joy’s team raced excellently to eat away at this lead and solidify their position at the head of the chasing pack, threatening Cambridge consistently for pole position particularly in the last third of the course. It was, however, not to be; calm seamanship and excellent race management by the Light Blues allowed them to cross the line, battered and drenched, but ultimately in first-place.

Despite brilliant performances by the entire team during the race, the foundations laid by early tactical decisions proved too much for the young Oxford crew. With the racingcommittee deciding that it was too dangerous to hold any further races, an energised Oxford crew lost the chance to make up for the loss and Cambridge claimed victory by default.

Luckily the BUCS Student Yachting Championships, also in Portsmouth, allowed a chance for redemption days later. Consisting of the best yachting teams in the  country, Oxford and Cambridge competed consistently for second place behind world-champions Southampton.

Though a full set of races was lost to awful weather, Oxford raced brilliantly on the final day to overtake Cambridge and secure second place overall. The Dark Blue crew adapted cannily to the much reduced wind of the final day of racing, managing a fantastic closing stretch and not only winning the chance to represent England at this year’s Student Yachting World Cup in France, but also inflicting revenge for the previous week’s close defeat.

If this season proves anything, it is that often yachting can be as temperamental and difficult to predict as the waters they race on.

A relatively young club with a rapidly expanding membership, OUYC should not be disheartened by the loss of their varsity. The talent shown in their successful outing at the national championships demonstrates the rapid development of both the skill and steel which defines great sailing crews. Looking forward to next year’s yacht varsity, and this term’s dinghy varsity, the entire OUYC is very much in the ascendency; Scallan looks back on a “successful season for both sides of the yacht club”, one not only of honours but also of consistent development.

How to be a Good Lad

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Ping. An email flew into my inbox on Monday informing me that the fate of the Oriel rugby team hung in the balance unless I attended something called a Good Lad workshop. My reaction was summed up by the Cherwell editor looking over my shoulder, “So you’re a ‘Bad lad’ then are you?”

But my initial understandings of Good Lad were soon disabused as it fast became apparent the rugby team really might be discontinued. I did a bit of googling and – contrary to my expectations – this thing looked intriguing. Judging from the website it looked like Alcoholics Anonymous met post-match changing room chat. Begrudgingly I told myself I would give up an hour of precious pre-Lola-Lo’s time to attend.

And I couldn’t have been more wrong. My ignorance soon gave way to a pretty keen interest. There were 19 of us there, seated in a circle and the class was led by two cool doctoral students Will and Dylan.

Good Lad was set up a few years ago by a group of graduate and post-doctoral students who wanted to change the conversation about lad culture and gender relations. They’ve hosted workshops with the university football, hockey and rugby teams, 20 college sides, Vinnie’s club and even the Saïd Business School. Recently the campaign has become quite high profi le. The Guardian, Daily Telegraph and Sunday Times have all run features about it, whilst it has received endorsement from the likes of McKinsey’s Dominic Barton and ex-Vice Chancellor John Hood.

Good Lad works exclusively with men, but doesn’t preach. Rather it’s about exploring gender dynamics and complicated situations we might found ourselves or our mates in on nights out. At its core Good Lad is about going beyond the bare minimum and exploring what’s the best thing to do in any situation.

We got the ball rolling with a couple of ice breakers. How acceptable was it to tell a girl she’s hot? Or to buy her drinks with the intention of chatting her up? Already there was some ambiguity in the room. We tended all to agree that neither was drastically wrong. The real sticking point came when we started discussing what was a lad? A couple of definitions were bandied around; association with alcoholism, immaturity, disrespect. You get the picture.

Soon we reached the crux of the workshop: the clash between a minimum standards approach and a ‘positive masculinity framework.’ To the uninitiated this was buzzword central but the gist was straightforward. Essentially the whole point of Good Lad is that a rigid, inflexible approach to sexual encounters, based around legal obligations really doesn’t get us that far.

Will, one of the group leaders, talked us through a few examples which started to problematise matters. First of all we were in a bar with our team. One of our mates started dancing topless, miming sexual acts in front of two women: what do we do? Next up we were in a club and see a friend groping a girl’s arse after she’s asked him to stop. Finally we found ourselves back in a girl’s room at the end of a night out. This particular girl seemed uncertain about having sex. What was the best approach?

Pretty key to all of this was thinking about the other people ‘in the room’. As Will put it, “you don’t have to take a survey,” but it’s worthwhile pausing to consider who’s actually in play. What was refreshing was the conversation had moved well-beyond the standard ‘don’t rape someone’ formula. At the start we were talked through some pretty shocking statistics; one in seven women report that she feels she’s been sexually abused. But as someone in the discussion pointed out that all too rarely registers as so few of  us would ever put a woman in that position. Good Lad looked at this from a new angle. The assumption was less that all men are rapists and more that we could behave so much better.

As Josh Carpenter, one of the Good Lad cofounders, put it to me, “a lot of conversations/ workshops about gender dynamics focus on bare minimum responses like ‘don’t rape someone.’ Obviously, we all know better than that. But most guys want to be considered to be ‘good lads’ by their peers, respected by their teammates, and ultimately, satisfied with who they are as individuals.” The raucous debate which ensued in this Good Lad workshop seemed to vindicate that. There was a real acceptance that gender dynamics are complicated, that we’re not mind readers, but that the burden is on men to behave as well as they can.

So whether or not I was a ‘Bad Lad’ before I went to the class is still open to question. But I’d urge every college and university sports team to sign up for this programme. Walking out of that workshop I felt pretty sure this is one of those great, Oxford-grown initiatives we can justly be proud of.