Friday 13th February 2026
Blog Page 13

Are Video Games the Future of Culture?

When we think about culture, our minds typically drift to fine art, theatre, classical music, and other longstanding traditions that have defined human creativity for centuries. But today, where technology and digital experiences are increasingly shaping how we live, could video games be the cultural cornerstone of future generations? Could they eventually replace traditional forms of culture, like literature or theatre, as the main creative outlet for a generation that grew up on iPads?

Video Games: An Emerging Cultural Force

Over the past few decades, video games have developed into more than just a form of entertainment. With complex narratives, beautiful visuals, and interactive experiences, games like The Witcher 3 and Red Dead Redemption 2 have shown how gaming can be as emotionally resonant as any film or book. And it’s not just the stories — the scale of these games and the ability to interact with a virtual world create an experience that passive mediums like theater or art simply can’t replicate.

Games like Fortnite are a prime example of how video games have become a cultural space in their own right. What started as a battle royale game has grown into a hangout. Players attend live concerts, watch in-game events, and hang out with friends, all within the game. It shows how video games are not just an entertainment medium, but a form of socialising, cultural expression, and even artistry.

The Shift in How We Connect and Share Culture

For the younger generation, video games have already become an essential part of culture. Platforms like Twitch, where people watch others play games and discuss them, or Discord communities, where players engage with each other around specific games or gaming culture, are integral to the social lives of millions. The ease of access to these platforms — often without leaving home — means that gaming has replaced other forms of interaction like going to the movies or attending theatre performances for many.

Look at how Fortnite has become an event space. Players are logging in to witness virtual concerts or spending their Fortnite gift card balance to participate in crossovers like Star Wars. These in-game events have taken on a cultural significance for players, much like a concert or a film premiere would for a moviegoer.

Gaming vs. Traditional Art Forms

Traditional forms of culture — fine art, theatre, and even literature — still play an important role, but video games are arguably where culture is shifting. Scorsese’s comments about the decline of cinema and the dominance of franchise-based films show how traditional art forms may not resonate with younger generations in the same way. People are not as interested in consuming content that’s static, such as movies or theater. They want experiences that feel dynamic and interactive.

In contrast, video games are inherently participatory. Players are active participants in the narrative, choosing outcomes and affecting the game world. This shift from passive observation to active participation is a key reason why video games are being embraced as the next cultural medium.

Can Video Games Replace Fine Art and Theater?

It’s hard to say whether video games will fully replace fine art or theatre, but they are undoubtedly becoming central to the cultural landscape. Games like Fortnite are transforming how the youngest generations socialise, and games like The Last of Us are pushing the boundaries of storytelling. For iPad kids, who grew up on brainrot content, video games may be the only art form that can keep up with their declining attention spans and hold any significant value.

With interactivity and personal engagement becoming the main focus, video games fit perfectly into the way people want to experience culture. For some, the best way to engage with art or entertainment is through an immersive, interactive world — and video games offer that.

The Growing Influence of Gaming

Video games are already changing how people engage with culture. They bring together elements of storytelling, socializing, and artistic expression that resonate deeply with today’s generation.

Video games are becoming a window into a new cultural landscape where the lines between entertainment, art, and social interaction continuously blur — and where even access to that culture is shaped by digital marketplaces like Eneba, where players casually pick up codes, credits, and game time the way previous generations bought movie tickets or CDs.

Looking back to look forward: The films of 1976

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Films are, essentially, artefacts. The history of film is a cumulative record of what people have wanted to say, show, and create, not only for their contemporary audience, but for audiences of the future. The films of past decades do not just exist in the here and now, but act as reminders of the there and then. These artefacts, however, only survive if we in the present know how to see ourselves in them.

As we enter this new year, 1976 is now 50 years ago, and while it is easy for us to use its films as a way to escape backwards in time, tucking ourselves comfortably into a nostalgia for an era that feels so far removed from our own, this should not be their sole purpose. Films are as much records of the past as they are guides for the future, and the films of 1976 feel uncomfortably instructional, shaped by anxieties that still resonate with a student in 2026.

Network, dir. Sidney Lumet

In this satire, news anchor Howard Beale’s gradually deteriorating mental state causes his ratings to rapidly increase until he becomes a modern-day prophet, spouting galvanising diatribes to an entertainment-obsessed America. 

It goes without saying that our lives, more than ever, are filtered through screens. We cling to media personalities for guidance. We are hungry for anything that can alleviate our boredom, in the hopes that somewhere amongst all the mess, we will find some kind of wider truth. Media executives respond accordingly and prioritise narratives that prompt emotional engagement, favouring entertainment over facts. This concern within our media culture existed in 1976 much like it does now, and is the underlying theme of Network. Viewers, then and now, are victims of media systems which seek to turn emotion into profit, to the extent that our outrage is their desired product. Howard Beale embodies this attitude, as his ethical rhetoric is absorbed into spectacle, and his sincerity is irrelevant as long as it is beneficial to the Network.

Network is currently available to rent on Apple TV.

Canoa: A Shameful Memory, dir. Felipe Cazals

Eight years prior to the release of this film, five employees of the University of Puebla, Mexico, were victims of a lynching by a mob of villagers, incited by a manipulative right-wing priest who claimed that they were communist students. This story is chillingly reenacted in Felipe Cazals’ Canoa

Ideological manipulation. Religious fanaticism. Mass violence. These themes transcend Mexico, 1968, and 1976, and map onto today’s world with unsettling precision. We are constantly navigating discourses about who is considered ‘dangerous’, and bombarded with ideologies which thrive on fear, emotionally charged social narratives, and unverified claims. These narratives aren’t merely abstract, as they shape how people act, whom they trust, and whom they are willing to harm. What this film teaches us is that violence is present long before an act of violence is committed. It can be found when fear, haste, and confusion replace rational thinking.

Canoa: A Shameful Memory is not currently available to watch in the UK.

Cría Cuervos…, dir. Carlos Saura

Filmed in the dying days of Francoist Spain, Cría Cuervos… paints the portrait of Ana, an eight-year-old orphan, living with her two sisters. Often retreating into memories from when her mother was alive, she grapples with the death of her parents and the legacy of fascism within her family.

For children living in any time or place, politics is not something you opt into willingly. Authoritarianism conditions people emotionally, through fear, habit, and silence, long before it asserts itself through law. Politics can be a spectacle, but it is often something more atmospheric, embedded in social relationships and absorbed into our private emotional lives. It is no surprise, therefore, that so many of us experience burnout, as political issues that started long before our time increasingly feel like our responsibility. In Cría Cuervos…, Ana inherits emotional damage she does not understand: a historically produced fatigue. Through her we learn that the fatigue we may be feeling is not the result of personal inadequacy, but is instead shaped by the emotional inheritance of unfinished histories.

Cría Cuervos… is not currently available to watch in the UK.

News from Home, dir. Chantal Akerman

Filmmaker Chantal Akerman, after leaving Belgium to live in New York, reads letters from her mother, who remained in Brussels. Accompanying this are elegant but alienating shots of Manhattan, creating a minimalist meditation on dislocation, estrangement, and familial disconnection. 

During my first year of university, I rarely and reluctantly called my family. I saw their protectiveness and care as unnecessary as I searched for independence somewhere new. However, as many of us spend more and more time alone, it is important to treasure the humble domestic elements of home that we so often take for granted. As in Akerman’s film, these moments do not resolve distance or uncertainty, but they make them more bearable. Amidst the constant circulation of crisis-driven news and opinion, and the exhaustion that follows from it, it is in the small things that true human connection and fulfilment can be found. 

News from Home is currently available to stream on BFI Player.

To look back into the films of 1976 is not to retreat into nostalgia; they are not mere archaisms. These works emerge from a moment similar to our own, marked by political distrust, media saturation, and cultural burnout, and show us that surviving these moments requires more than outrage or endurance alone. Between these four films, there is a thread. Watching them, we can connect the systems that manufacture outrage, the violence that stems from those systems, the fatigue we experience from our constant exposure to that violence, and the importance of preserving human connection despite our fatigue. The value of these films lies not in their distance from us, but in their closeness. They survive not just because they illustrate the past, but because they continue to teach us how to live when the future feels uncertain.

How a visual impairment changed the way I see art

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How do you study art if you can’t see? In 2025, I was suddenly faced with this question, not out of curiosity, but the simple fact that half of my vision suddenly and significantly deteriorated. Perhaps it’s ironic that this strange period of my life began after an art exam (thank you, Mods). Health concerns aside, I suddenly had a huge art-shaped problem on my hands: I couldn’t see the art I was meant to be studying.

I would be lying if I said I knew exactly what happened to me, and to this day I’m still somewhat of a medical mystery to the Oxford Eye Hospital, which has quite frankly seen enough of me this year. The only certainty was that my eyes had changed. One was white, one was red. One was in constant pain, one was unaffected. One had 20/20 vision, and one could barely read the first row of an eye chart. As this malady set in, I was transported back to my 16-year-old self, plagued by completely different eye issues which demolished my self-esteem and threatened my health. Medical anxieties came flooding back. Was it something serious? Keratoconus, corneal dystrophy, or meibomian gland dysfunction? Would it leave scars? Would it last forever?

How do universities, and specifically art-related courses, accommodate for visual impairments? On a good day, the remedy of glasses, strong eye drops, and several compresses may have made my experience more bearable. But on a bad day, being presented with an undeniably beautiful image of a Greek sculpture on a computer screen only produced sharp pain and a blurred picture. Instances like these point to the absolute necessity of handling art in person, which I was fortunate enough to be able to do. Instead of being exposed to harmful screens, I could see objects in person and feel them to ascertain their shape, size, and texture. Yet, these opportunities certainly aren’t available to all, especially to those at universities with smaller endowments and archives. Likewise, while audio guides and large-print descriptions are available at some major galleries, such as the National Gallery in London, this is not a uniform policy across all British galleries. Some only provide audio guides for certain exhibitions, including the Ashmolean.

Art is anything but restrictive, and we can enjoy it with all of our senses. This is exactly what I sought to do once my sight began to falter. Far from the ‘immersive experiences’ in tourist-hell London, I found multi-sensory art in every walk of life. Cooking with Greek herbs transported me to the very land from which those blurry but beautiful statues originated. Musical accompaniments to exhibitions, like Art of Noise’s deliciously opulent Moments in Love complementing Tate Modern’s Leigh Bowery showcase, threw me headlong into pure artistic bliss, somewhat making up for the endless amount of squinting.

I also found art in what at first seemed mundane. The John Radcliffe Hospital, a short bus journey away from any of the University’s colleges, should have been a place for my eye-related anxieties to come to a head. Tense waiting rooms, uncomfortable operations, and news that can change your life in an instant. But, in my four-hour wait for an emergency ophthalmologist appointment, I found comfort in the art I came across unexpectedly. Enter NHS Artlink, the endeavour of Oxford University Hospitals to use the visual arts to reduce those same anxieties I had while nervously biting my nails in the JR. From floral wall-paintings by Angie Lewin in the Ambulatory Assessment Unit to Lisa Milroy’s Hands On drawing exhibition in the Emergency Department, the hospital is coloured with works by local artists, designed with the purpose to instill hope, even for just a moment. My often-frequented spot, the Eye Hospital waiting room, bears landscapes painted by Nicky Hirst and inspired by the Ashmolean’s Turner and Constable collection, reproductions of which juxtapose her paintings. I still couldn’t see them as well as I ought to, but comparisons to the familiar originals certainly helped.

The hospital’s main artistic attraction, however, is the Corridor Gallery. It functions as a mini-gallery itself, with temporary exhibitions held throughout the year. The curation is sensitive and speaks to the visitors of the hospital: recently, artist Marysa Dowling’s exhibition titled What We Carry showcased the experience of those with chronic pain, as channeled through photography and storytelling. In one photo series, we see joyful pet cats contrasted with polaroids of pillboxes and MRI machines. The neutrality of the display and the nostalgic sheen of polaroid certainly emphasises the constant presence of chronic pain. 

Until 17th January 2026, the Corridor Gallery is also host to Oxford-based artist Claire Venables’ collection of oil paintings titled Looking at Glass. This exhibition is similarly one of contrasts, as Venables explores the relationship we have with everyday objects, from fruit and flowers to conical flasks. Each painting employs a blue-dominated colour scheme, complementing each other greatly, and once again speaking to the uncomfortable normality of illness in our everyday lives. In a state where I couldn’t see clearly, I saw truth in these paintings. My visual impairment wasn’t something I could turn off, or even forget about for just a moment, constantly faced with it until I shut my eyes at the end of the night.

A year later, and after a long treatment of steroids, my vision has fortunately recovered, but the anxiety remains. I often think of the other patients who continue to endure the four, five, even six hour waits for appointments at the Eye Hospital, riddled with the same anxiety. I only hope that the art dotted around the JR brings them as much hope as it did for me.

2025 releases you may not have seen (but definitely should)

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It’s that time of year again: the season in which we are inundated with a never-ending stream of lists ranking 2025’s top releases. Cherwell, however, will not attempt to tell you which films were the best. What follows instead is a list of less-discussed new releases that are still very much worth your time. 

  1. Mirrors No.3, dir. Christian Petzold

Laura (Paula Beer) escapes the car crash that kills her boyfriend, miraculously unscathed. A local woman, Betty (Barbara Auer), who witnesses the accident, takes her in while she recovers from the shock. As Laura continues to stay with Betty and her family, it becomes clear that something is strange about the nature of their connection. 

The German auteur’s newest film premiered at the Quizaine des Cinéastes at Cannes, a section usually associated with the discovery of new filmmakers rather than veterans like Petzold. While Mirrors No.3 is simpler and smaller in scope than most of his other films, and was quickly labelled a “minor Petzold”, it remains a deliciously subtle and psychologically complex exploration of grief and identity. Paula Beer steals the show as usual, endlessly enigmatic and elusive in the lead role. 

Mirrors No.3 was screened at the BFI London Film Festival in October 2025, and is scheduled for cinema release in Spring 2026.

  1. Where to Land, dir. Hal Hartley

Where to Land follows Joseph Fulton (Bill Sage), a middle-aged filmmaker (a kind of Hartley alter ego), who suddenly decides he wants to work for his local cemetery. At the same time, he resolves to have his will drawn up. As a result, his girlfriend (Kim Taff) and niece (Katelyn Sparks) become convinced that he is dying. As the news spreads, neighbours, family members, and friends gather in his apartment to say goodbye. 

American independent film legend Hal Hartley returns to the cinema with his first feature in over a decade. While decidedly weaker than some of his previous work, Where to Land is still infused with a charm and originality that puts much of recent indie American cinema to shame. Although not all of the cast are equally convincing at delivering his highly stylised dialogue, Hartley proves that he is still a master of the awkward comedy. Reflective and funny while remaining unpretentious, if nothing else, this surprisingly optimistic film will put a smile on your face. 

With a tragically limited cinema release, you can rent the film directly from the director’s website

  1. In the Land of Brothers, dir. Raha Amirfazli and Alireza Ghasemi

Divided into three parts spanning three decades, In the Land of Brothers follows a family of Afghan refugees in Iran and their struggle for integration. 

The film boasts a series of very impressive performances from first-time actors, Mohammad Hosseini giving a particularly moving and nuanced turn as Mohammad. In the Land of Brothers sheds light on an underdiscussed issue through powerful vignettes each centred on a different facet of the struggle. Amirfazli and Ghasemi clearly get across their social and political message – the exploitation of Afghan refugees in Iran – while never allowing the characters to be purely defined by their suffering. This is a film which will not leave you unmoved. 

  1. The Blue Trail, dir. Gabriel Mascaro

In the near future, the Brazilian government commits anyone over 80 to isolation in a remote colony in an effort to increase the productivity of the working population. When the age limit is unexpectedly lowered, 77-year-old Tereza (Denise Weinberg) refuses to be taken away and escapes into the Amazon, beginning a journey of self-discovery. 

At a time of great success for Brazilian cinema worldwide, Gabriel Mascaro’s The Blue Trail has been largely overlooked. The film takes a rare approach to old age, giving us an elderly protagonist whose narrative is not about death, illness, or the past, but is instead an unusual twist on the coming-of-age film. In Mascaro’s clever, funny, and moving new feature, Tereza is the driving force of the film, a woman still very much capable of desire, renewal, and hope for the future. 

The Blue Trail was screened at the BFI London Film Festival in October 2025, and is scheduled for cinema release in April 2026.

  1. Winter in Sokcho, dir. Koya Kamura

Based on Elisa Shua Dusapin’s eponymous novel, Kamura’s debut film follows Soo-Ha (Bella Kim), a recent graduate working at a small hotel in the town of Sokcho. The arrival of a French artist, Yan Kerrand (Roschdy Zem), at the guesthouse leads her to reevaluate her life and ask new questions about her estranged French father. 

While far from being a perfect film, Kamura’s debut is definitely promising. Certain aspects of Yan’s tortured artist persona veer dangerously close to cliché, but a quietly stunning lead performance by Bella Kim earns the film its sincere, tender quality. The animated watercolour interludes, along with their sound design, are very affecting, as are the moments when Kamura’s visuals seem to capture something of Yan’s illustrations. These choices elevate the film above your run-of-the-mill narrative about feeling lost in your 20s. 

Winter in Sokcho is currently streaming on MUBI.

  1. On Falling, dir. Laura Carreira

Probably the most discussed film on the list, Laura Carreira’s feature-length debut follows Aurora (Joana Santos), a Portuguese immigrant working in an online shopping warehouse in Scotland. On top of her long working hours, Aurora’s job seems designed to minimise contact with other employees and she finds herself falling into an overwhelming loneliness. 

Carreira renders the alienation and isolation forced upon Aurora by her dehumanising job heartbreakingly palpable. Joana Santos gives a brilliant performance as Aurora, at her best when conveying the character’s longing and repeated failure to achieve human connection. Given the growing power of corporations like Amazon, whose mistreatment of workers just like Aurora continues to go unchecked, this is an incredibly important and timely film.

On Falling is currently streaming on BFI Player and available to rent on Apple TV.

Digital Wallets vs. Game-Specific Top-Ups: What’s Better for Gamers?

In the fast-paced world of digital gaming, where convenience is king and speed is the norm, gamers are constantly looking for the easiest way to pay and play. Whether you’re grinding dailies, picking up a new release, or grabbing that DLC everyone’s talking about, you’ll eventually hit the ‘checkout’ screen. That’s when a familiar question comes up: do you go for a digital wallet or a game-specific top-up?

What Are Digital Wallets and Game-Specific Top-Ups?

To start, a digital wallet acts like a central bank for your online spending. Services like PayPal, Google Pay, and Apple Pay allow you to store funds and use them across platforms. On the other hand, game-specific top-ups – think V-Bucks, Riot Points, or Steam credit – are designed to work within one particular ecosystem.

Digital wallets offer flexibility, letting you buy from multiple online stores or platforms. But when you’re deep in a particular gaming environment like Steam, PlayStation, or Nintendo, a platform-specific credit often makes more sense for smooth and instant purchases.

Why Game-Specific Credits Still Reign Supreme

While general wallets are universal, they aren’t always practical for hardcore gamers. That’s where platform-specific solutions shine. For example, a Steam gift card gives you direct purchasing power inside the Steam ecosystem without needing a bank card or exposing your details. It’s fast, secure, and most importantly, tailored for gaming.

Steam users know the drill: wishlisting games for months, then diving into a seasonal sale. Having a Steam gift card ready to go means no interruptions or failed transactions – just click, download, and play. It’s also a great gifting option that doesn’t assume the recipient’s exact gaming tastes, but still ensures the credit gets used meaningfully.

Security, Budgeting, and Access

Game-specific top-ups also offer an edge in terms of security and budgeting. Parents, for example, often prefer using store credit rather than linking a card to their kid’s gaming account. A set amount on a Steam gift card ensures that spending can’t spiral out of control, and it’s easy to monitor.

For international gamers or anyone dealing with regional payment restrictions, platform-specific cards also serve as a workaround. If you’re abroad or using a different currency, these top-ups help you avoid failed transactions or geo-locked payment issues.

The Case for Digital Wallets

Of course, digital wallets have their place. They’re excellent for gamers who shop across multiple platforms or prefer flexibility. They make transactions across gaming, streaming, and general e-commerce seamless, all from one balance.

However, they come with limitations, especially when it comes to region-specific content or store credits that require a native payment method. Some platforms still restrict certain digital wallet transactions, making them less reliable in a pinch.

Which One Should You Choose?

It really comes down to how you play.

  • If you’re loyal to one platform and value simplicity, security, or gifting ease, top-ups like a Steam gift card are the clear winner.
  • If you’re a multi-platform explorer or just want one centralised way to pay, digital wallets make sense.

But for gamers who live inside their favourite ecosystems, nothing beats having a top-up ready the moment a flash sale drops.

Wrapping It Up

Whether you’re a casual player or a seasoned digital adventurer, how you choose to pay affects how you play. While digital wallets offer cross-platform convenience, platform-specific top-ups like a Steam gift card give you direct access, better control, and a more streamlined experience in the gaming universe you love.

And with digital marketplaces like Eneba offering deals on all things digital, finding the right top-up method has never been easier or more rewarding.

Farmers block traffic outside Exam Schools to protest minister’s visit

Farmers have staged a protest action on the High street slowing down the traffic with tractors. The Environment, Food and Rural Affairs secretary Emma Reynolds was giving a speech at the Oxford Farming Conference, hosted in the Examination Schools. 

Farmers have staged numerous demonstrations using tractors across the UK to protest the government’s decision to apply inheritance tax to farms and agricultural businesses, announced in the October 2024 budget. One of the protesting farmers told Cherwell: “It’s an egregious tax. When someone dies, they then put the family through the suffering of finding the tax set… on their farmland, which is our shop floor at the end of the day.

“The government have declared war on the countryside, whether it’s to do with our countryside pursuits or…with food production.”

Speaking about his personal experience he told Cherwell: “I have two sons who want to carry on my farming legacy…It’s currently very difficult for them to take over my farmland.”

Speaking to the press after her speech at the conference, Reynolds stated she had “no idea” what message the farmers were trying to get across, and criticised the use of the tractor horns during the demonstration. 

At the conference, Reynolds announced the set up of a Farming and Food Partnership Board. She emphasised that “farmers will have a seat at the table when policy is developed”.

Extinction Rebellion (XR) also staged a protest outside of the Examination Schools. A demonstrator told Cherwell: “We believe that big farming is extremely deleterious to nature and to social life”, citing methane emissions and the negative impacts of farming techniques on species of wildlife. She added that “the themes of this conference are completely misguided and ignore what the real problems in farming are”.

The Extinction Rebellion protesters laid cardboard tombstones outside of the conference dedicated to wildlife species purportedly adversely affected by farming. In a similar protest, the farmers placed a coffin outside of the High Street entrance to the Examination Schools with “R.I.P British Agriculture” written on it.

Following criticism from rural business activists, the government altered the plans to raise the tax relief threshold from £1 million to £2.5 million. 

Thames Valley Police (TVP) have blocked access to Merton street. A TVP spokesperson told Cherwell that they are aware of “an ongoing protest in Oxford today” and “have officers in attendance and are facilitating a peaceful protest”. 

Andy Beckett on Balliol politics, Labour’s dilemmas, and culture wars

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Andy Beckett is a British journalist and historian. He studied Modern History at Balliol College from 1989 to 1992, and has since written several books and contributed to The Guardian, The London Review of Books, and The New York Times. His work often examines how the politics of the 1970s and 1980s shaped contemporary Britain.

(And, for the record, despite appearances on the page, Andy and I are not related – we just share a common surname, which we bravely put aside to have what I found to be a fascinating conversation about the problems and divides shaping modern Britain)

Cherwell: In When the Lights Went Out, you describe seeing Ted Heath return to Balliol for a Gaudy [reunion dinner]. The college has deep ties to postwar British politics. Did that play any role in your decision to study there?

Beckett: When I applied to Balliol, I didn’t know about all the connections to post-war prime ministers. But I did know it was a political college, which appealed to me, because at 18 or 19 I was becoming quite political. The idea of a college where politics was a big thing, and where some of the more elaborate Oxford rituals mattered less, was appealing. 

Cherwell: Were your political sympathies already formed before university, or did Oxford shape them? 

Beckett: When I arrived, I was left-of-centre but not in a thoughtful or defined way. I’d been a scholarship boy, a bit of a rebel, but ready for new ideas. Meeting other political students mattered. Studying modern history mattered too – European fascism, the New Deal – and the way history was taught at Balliol leaned toward politics: elites, class structure, social forces. 

The end of Thatcherism was also important. We all went on the poll tax march in 1990; when Thatcher was toppled later that year, we celebrated. So, if you were left-wing, it felt like a time when the big enemy was crumbling. It didn’t feel futile. 

There were also influential people around: Andrew Graham teaching PPE – associated with Labour governments; Yvette Cooper and James Purnell in student politics – people clearly headed for political careers. Politics pervaded the place.  

Cherwell: You’ve said that while many of your peers moved into politics or policy, you took a different path into journalism. When did journalism first become a serious career consideration for you, and what were your initial steps after graduation? 

Beckett: I started doing some journalism at school – the school newspaper – and I enjoyed it. At Oxford I didn’t write for Cherwell or Isis; in a slightly rebellious way, I avoided the establishment papers. In 1990, some people at Magdalen set up a new student paper called The Word using early Apple computers and desktop publishing. We ran the whole enterprise –  pages, ads – and I wrote a lot, edited it for a time, and mostly wrote about culture: music and film. That experience made journalism feel exciting. 

A lot of people at Oxford wanted to go straight to The Guardian, but I wanted to differentiate myself. I went to Berkeley, in California, for a journalism master’s after Oxford – partly to learn a different tradition and have something distinctive to offer on my return. That was my route into professional journalism. 

Cherwell: In your most recent book, The Searchers, you follow five politicians pursuing a fairer, socialist vision of Britain. What do you recall from following their careers in real time, and did you hope their projects would succeed?

Beckett: I was left-of-centre at Oxford but became more left-wing later. Initially, I thought Tony Blair was charismatic but perhaps impractical; as I aged and as Britain changed in ways leftists disliked, I became more drawn to more radical figures. 

Living in London, in Hackney, Diane Abbott’s constituency – and previously in Jeremy Corbyn’s constituency of Islington North – I’ve been aware of these figures. Ken Livingstone’s impact on London has been enormous – public transport, diversity, a rebellious egalitarian feel  – and that practical-minded left-wingness attracted me. Corbyn’s project took me longer to appreciate; by 2016–17, when he had momentum, I began to see serious thinking around John McDonnell about reshaping the economy. That convinced me Corbynism wasn’t just elderly lefties taking over but a serious project worth exploring. 

The book explores how political establishments react to radicals, and the hostility Corbyn, McDonnell, Abbott, Benn and Livingstone faced – which tells you as much about their opponents as about them. 

Cherwell: You accept that their projects were generally unsuccessful. In terms of the causes of this failure, how do you weigh internal divisions in the Labour Party versus external forces like the establishment media and even the security state? 

Beckett: Internal divisions are very important. Labour contains many traditions, and when the left gains power, the right of the party often finds that unacceptable. Corbyn’s leadership was undermined internally; Tony Benn faced undermining too. So internal splits matter. 

External forces matter hugely as well. Since the 1970s, Britain has become more unequal; many benefited from privatisation, housing booms, weakened unions. Challenging that creates powerful opponents in the media, civil service, security services, and corporations. The Financial Times’ hostile coverage of Corbyn and McDonnell was revealing – even sophisticated business press showed visceral hostility. 

Also, the left has made big mistakes – Benn was too optimistic about electoral chances, and Corbyn had limits as a Labour leader. So both internal errors and external opposition shaped outcomes. I often compare radicals of the left to Thatcherism: radicals on the right often get an easier ride because more interests are on their side. Thatcher, despite her radicalism, had establishment support; Benn did not. That informs my writing about the left. 

Cherwell: Electoral evidence suggests that many of the broad, cross-class coalitions you discuss in The Searchers are harder to sustain today, even in London, where such alliances have historically been strongest. In light of this, do you think the contemporary left is struggling to attract working-class voters who feel culturally distant from its dominant forms of activism, and what do you see as the main barriers to deeper working-class participation? 

Beckett: London has long been unusual in sustaining a broad cross-class coalition, with middle- and working-class voters often backing the same party. That reflects the city’s multiracial working class and a strong tradition of anti-racist organising, which has brought white middle-class activists and working-class Londoners of colour into shared political work. This history has helped figures such as Jeremy Corbyn maintain credibility across groups, so class-based political fragmentation has been less pronounced in London than elsewhere. 

Outside the big cities, however, the left does face difficulties. Older working-class voters in towns and small cities can feel culturally distant from a more socially liberal left, and many of these areas have aged as younger people have moved away. Rising home ownership among older working-class voters has reinforced this shift, contributing to realignments, such as with the Red Wall’s move towards Boris in 2019. Still, it is misleading to treat the working class as uniformly white and socially conservative: in many urban areas, it is increasingly diverse and continues to support left-of-centre parties. 

The main barriers to deeper working-class participation, then, lie in cultural distance and demographic change, especially in ageing, post-industrial areas, rather than in a uniform estrangement from the contemporary left. 

Cherwell: I guess I can identify two probably oversimplistic – accounts that try to explain the left’s recent difficulties when attempting to build these coalitions: New Labour’s retreat from economic egalitarianism, and identity politics diverting attention from economic concerns. Do you prefer one explanation or find them both too narrow? 

Beckett: Both are important. New Labour’s move away from talking about class and economic competition helped it win power but eroded its base: poorer areas voted less for New Labour over time, especially in the north. Even in the 2000s, many people felt left behind despite overall growth.  

Corbynism in 2017 offered a populist left economic analysis – elites vs everyone else – that resonated briefly. The left has often avoided talking sufficiently about inequality over the last 20–30 years; when it does, it tends to resonate. Public opinion has fluctuated – recently, there’s been more hostility to inequality and corporations, and many voters now give increasingly left-wing answers on economic questions. 

On identity politics, when it first rose in Britain – notably with Ken Livingstone in the GLC – it complemented class analysis by acknowledging other forms of inequality. Problems arise when identity politics detaches from economic analysis. In Britain, identity activism often coexists with economic concerns; there is less separation than is sometimes seen in America. 

Criticisms that identity politics ignores economic issues can be a straw man. But identity-focused debates can be exploited by the right to magnify niche issues and paint the left as out of touch – that’s a strategic move by opponents. 

Cherwell: Are you suggesting that the right has been able to weaponise identity-focused debates in ways that distance socially conservative voters from the left? 

Beckett: Absolutely. Social change movements often begin with small minorities; exposing them to early mass democratic debate can be risky, as unfamiliar majorities can reject them. Over time, social attitudes shift – for example, on gay civil partnerships – but decades of being labelled extremist often come first. The right uses conservatism and fear of niche causes to attack the left; over time, some of those once-minority positions become mainstream, but the transition can be rocky. 

Cherwell: I suppose Zack Polanski is one of the few figures on the left currently finding success by largely sidestepping ‘culture war’ debates and focusing on economic issues, though his recent appearance on The Rest Is Politics suggested he can struggle with economic detail. Is that a weakness of the modern Green or left movement? How do they overcome it? 

Beckett: Knowing figures matters. Left economic populism can be powerful, but leaders need to be well-briefed and know the numbers when challenged. Mamdani in New York was effective because he knew the figures; newcomers risk being undone by centrist interviewers exposing gaps. 

Media framing matters too. Radicals are often framed as risky, while right-wing radicals are not framed the same way. The left must show its proposals are practical, and often that radical reforms are actually the stabilising choice, given the crises we are facing – climate and public services. The left should also demand solutions from centrists, who often accept the problems identified by the left, like growing wealth inequality, but shy away from bolder proposals. 

Cherwell: Do you share centrist worries about a potential bond market revolt, or are these fears overstated? 

Beckett: Worries about a bond market revolt are reasonable. It is simply more expensive for governments to borrow than it was five or ten years ago, and many are trying to borrow large sums at the same time. The bond market, therefore, has more power than before, which is an unavoidable reality. 

But the way the bond market frames its own demands is often quite limited. In Britain, for example, traders might say they want the government to raise taxes, yet if higher taxes slow growth, revenues fall, and borrowing may have to rise anyway. There is a short-term belief that balancing the books now produces stability, even though prioritising that over several years could leave the country with weakened public services, higher poverty, and, ultimately, a more unstable economy. 

So, the bond market cannot be ignored, but its assumptions should be questioned. Sometimes a left-wing approach is actually the more stable option in the medium term, even if markets instinctively favour right-wing solutions. Britain’s last decade of chaotic Conservative governments, followed by a fairly right-wing Labour stance, has not delivered the stable, fast-growing economy the markets claim to prefer, which shows that their orthodox instincts are not always borne out in practice 

Cherwell: Looking ahead to the next general election, how do you see party fragmentation shaping the outcome? And how does Rachel Reeves’s budget fit into these dynamics? 

Beckett: Party support is fragmented to an unprecedented degree. Aside from Reform, several parties are clustered at similar levels, which points towards a quasi-European result with no overall majority and multiple parties on 15–20 percent. That would almost certainly mean coalition negotiations on both sides – a major shock for a political system built around single-party rule. 

Labour could recover somewhat, but from its current polling position, it looks unlikely to win outright or even be the largest party, without a deal. It may need to negotiate with the Liberal Democrats, the Greens, and smaller groups to assemble a two- or three-party coalition. Reform’s support could soften if leadership controversies persist, while the Conservatives risk being eclipsed if they edge towards a Reform coalition. 

Reeves’s budget illustrates Labour’s difficulty. The individual measures – such as the mansion tax – poll well, but the overall package is viewed negatively because voters sense an unresolved contradiction: Labour is trying to deliver progressive reforms while accepting restrictive economic framings about balanced books. That muddled message damages credibility and complicates any recovery. All this interacts with an electoral system ill-suited to fragmentation, where similar vote shares could translate into wildly unequal seat counts. Some parties may gain large national votes while winning few seats, leaving almost everyone dissatisfied. There are early signs parties are adjusting to this reality – Labour tilting left, figures adopting more consensual tones – but Britain’s majoritarian mindset is only just beginning to adapt to a more European-style political landscape.

Cherwell Mini #25 – New Year’s Mini

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Made by ZohMyGosh using the crossword puzzle creator from Amuse Labs

‘Dark, revealing, gripping’: In conversation with the cast of ‘JACK’

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JACK, by Musketeer Productions, reimagines the cult story of the most notorious serial killer in British history. Shining a light particularly on the mistreatment of women and the brutality of the Ripper murders, the show carries a dark, punky aesthetic with a striking score and a vivid story. This new musical by Oxford graduates Sahar Malaika and Samuel Phillips had a sellout run in Oxford early last year, as well as at the Edinburgh Fringe festival last summer, and is set to come to the Courtyard Theatre in London on 5th January.

The musical takes place in London, 1888, a city thrown into panic by the recent murders of prostitutes in Whitechapel, attributed to Jack the Ripper. The play follows his final victim, Mary Kelly, days before her death, as she gets caught up in the investigation. Sitting down with cast members Liv Russell (Mary Ann Nichols), Sorcha Ní Mheachair (Nell), and newcomer Cameron Maiklem (Aloysius Howell), I asked them what they found so appealing about the play, and what’s in store for audiences in London. 

Cherwell: Can you describe JACK in three words to start us off?

Maiklem: Dark, revealing, gripping. 

Russell: Compelling, exhilarating, eye-catching. 

Cherwell: How has JACK evolved since its first Oxford showing, and what can we expect to see in London?

Mheachair: The show has really focused its message. The heart of this piece has always been giving a voice to the women who were killed and exploring themes of misogyny in the time period. Fans should be excited to see new angles being explored, like the manipulation of women’s stories by men in the press, not just the police. As well as some more solo content for each of the ‘Unfortunates’. 

Cherwell: Introduce your character to us. 

Maiklem: Howell is, simply put, slimy. He sees people as players not individuals, characters he can manipulate and repaint to tell his own compelling, yet usually inaccurate, narrative in the papers. While he is not a murderer, he certainly exhibits all the traits of a villain you love to hate.

Mheachair: Nell is a complex character. She’s invented for the stage but based on many real women who did stay with Mary Kelly in her flat. Nell is a former prostitute who has fallen in love with Mary and is both grateful for the shelter and comfort Mary offers her, while still being hesitant and untrusting of the idea of relying on someone else. Nell’s life has not been her own and she has had to look out for herself since birth, making her own money the only way that was available to her, and throughout the play we see her struggle to let go of this need to protect herself by maintaining distance and independence.

Cherwell: What is your favourite moment or line in the play? 

Russell: The song ‘To Catch a Ripper’. It is such a monumental part of the show – Rosie’s choreography is amazing and the effect of the whole cast singing bits of previous songs from the show gives rise to a really impressive number, as well as being a shocking and crucial plot point.

Maiklem: The chief’s line “piss off” (the most appropriate response to Aloysius Howell ever).

Mheachair: The word ‘unfortunate’ carries a lot of weight in this piece. It’s the title of the main theme and a blanket term to refer to the main characters of the show: the women. I really like when Howell (a slimy reporter) teases Alfie by comparing his failures to the low status of these women by taunting him at the end of an investigation: “Wrong again, sir, sorry. How unfortunate.” 

Cherwell: How has the play shaped you as a performer?

Maiklem: This is my first time working on an original musical, so this journey has really developed my focus on characterisation in the early stages of rehearsal. I found conversations with the writer and directors, as well as sitting with the script myself, to be invaluable. It felt so refreshing to create my own character without the influence (whether conscious or not) of previous performers’ iterations. 

Cherwell: What has been the most exciting aspect of this journey? 

Russell: I just feel really lucky that I get to be a part of such an amazingly written, exciting new musical and also to be part of a team of such incredibly talented people that I am in awe of. 

Maiklem: The most exciting aspect of this journey has been joining the team as both a new cast member and completely new character. It had felt like a huge responsibility but one that I have felt so lucky to bear. Roll on show week!

JACK runs from the 5th to the 11th January 2026 at The Courtyard Theatre, Pitfield St., N1 6EU.

‘The political is also political’: Ash Sarkar’s ‘Minority Rule’

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Universities have often been seen as bastions of radicalism. Forgetting the fact that higher educational institutions, particularly ancient and elite ones in the Anglophone world, are governed by centuries of tradition and incubate the next leaders of the establishment, many people think of Oxbridge as moments away from starting a second May 68. There’s nothing the right-wing media love bashing more than their tired stereotype of out-of-touch students sipping oat flat whites and pontificating about the latest unfalsifiable nonsense coming out of the critical theory departments. 

As fictitious as this caricature may be, it is true that educational level has started to be a major dividing line in voting intention and political opinions. UK politics over the last decade or so has upended many assumptions about the natural structuring of the left-right divide, with the Labour party now receiving most of its support from the middle-class (educated professionals), having seemingly lost traditional heartlands in the North. This has led to many centrists chasing an impossibly wide spectrum of voters, as exemplified by the disgraceful attempts of Keir Starmer’s government to rightwardly outflank Reform on immigration, despite the fact that his party risks losing far more voters to the Greens than the far-right. 

What has happened to the left and the politics of community, equality, and dignity it is meant to support? This year, a brilliant book by journalist Ash Sarkar, Minority Rule, argues that a combination of right-wing inflammation and left-wing self-harm has shifted the political battlegrounds from economic and material factors to an obsession with what Sarkar calls ‘minority rule’ – the “paranoid fear that identity minorities and progressives are conniving to oppress majority populations”. Rather than focusing on financial issues such as energy, food, and housing prices, political discourse is saturated with hyper-toxic debates on immigration, transgender identity, and ‘cancel culture’. Sarkar’s diagnosis of the hysterical ‘culture wars’ points the issue to two places: a right-wing media that amplifies the voices of a few extremist politicians and uses statistical rarities to construct fantastical narratives, and an identity-obsessed left which has become more concerned with trivial semantic debates and the appearance of moral purity than substantive political and economic issues. Left-wingers at Oxford and other ivory towers would do well to take note.

Sarkar, an editor at the left-wing Novara Media, has attracted some prominence in recent years for clashes with prominent figures, including a debate with Piers Morgan where she declared she was “literally a communist”. Minority Rule is written in a breezy, accessible, and amusing style, which romps between using expletives and quoting Stuart Hall at length. The most engaging, provocative, and original part of the book is the opening chapter, which directs her ire towards those on the left she sees as stymieing the cause. Later chapters, which put great emphasis on the role of the media in creating political dividing lines, are also insightful and trenchant, but occasionally digress too far into personal disagreements with particular journalistic interlocutors. With the subtitle ‘Adventures in the Culture War’, it’s not surprising that the book is filled with outrageous, frustrating, and unbelievable stories and incidents, but sometimes the enumeration of particular events within the culture war (which it’s better to try to forget about) comes at the expense of greater elaboration and reflection. 

As the emphasis on ‘minority’ suggests, Sarkar’s key concern in the work is to draw out a process of division and polarisation within the working class, a group whose interests should, from her Marxist perspective, be aligned. Sarkar is keenly aware of the difficulties in conceptualising the group of people she wishes to talk about. Indeed, the very difficulty in doing so gestures towards one of her central theses – how cultural issues have distorted the traditional ‘class consciousness’ and sense of shared interests. She writes: “Rather than shaping a sense of class identity around shared material and economic conditions … it’s instead defined by political and cultural outlooks.”

The right-wing media and politicians have not only created a dangerous frenzy on issues such as immigration, they’ve managed to turn the debate into one that ostensibly divides by class: affluent middle-class liberals in metropolitan cities are set against authentic working-class communities in neglected areas of the country. There is an increasing sense that ‘working-class’ refers to an identity and way of life rather than a material status. Sarkar incisively demonstrates how the same politicians and commentators who, ten years ago, publicly demonised the working-class as “chavs”, now lament the fate of the ‘white working class’, introducing a racial focus that inflames cultural division rather than ‘levelling up’ communities. Such right-wing rhetoric falsely creates the impression of a zero-sum game in which progress towards racial equality necessarily comes at the expense of improving the living standards of others. 

The most interesting part of Sarkar’s work is the challenge she raises to the contemporary left. In the first chapter ‘How the “I” Took Over Identity Politics’, Sarkar explains how the once-radical idea of ‘identity politics’ – originated by black feminists to draw attention to how race intersected with class and gender –  has become, in Sarkar’s words, “confused, atomised and oddly unambitious”. Rather than focusing on combating inequalities and entrenched institutional problems, the raison d’être of much momentum on the left has become dealing with problems such as ‘microaggressions’ and linguistic correctness. Sarkar highlights three particular problems: the notions of irreducible difference, competing interests, and unassailability of lived experience. These have led to a focus on performativity rather than genuine progress, and a culture of intolerance. The left has, in Sarkar’s brilliant phrase, “absorbed the idea that the personal is political, at the expense of remembering that the political is still political”. 

Sarkar argues that there has been a great overcorrection. Until recently, the white man with a BBC accent was the ultimate authority – and in many, many places, he still is. But amongst progressives the admirable impulse to listen to others – to understand others – has been so greatly elevated that, in some spaces, the appeal to lived experience has become a rhetorical move that carries an automatic veto of any opposition. Irreducible difference supports this: if one’s experience as, say, a gay man or trans-woman is radically incommensurable with that of a cis-gendered straight man – as Thomas Nagel thinks a bat’s is with a human’s – then naturally you won’t wish to question a claim they make which is grounded in it.  Sarkar argues that these barriers of lived experience are not unimpeachable and that such divisions lead to the deeply problematic idea of competing interests – the belief that even though someone agrees with you on a hundred different issues and shares the same socio-economic position as you, that, if they disagree on a single issue, they are no longer a viable political ally. This logic, which creates an inability to work together for the greater good, also opens the door to right-wing exploitation – it allows people to pit the projected interests of the white working class against minorities living in deprivation in London. 

This obsession with an all-or-nothing view of politics unfolds constantly in universities. I recall a feverish argument over a JCR motion supporting Palestine because there was disagreement whether it should also show support for Jewish students facing antisemitism. The idea that there is a single dimension to progress, that solidarity requires complete and utter agreement, and that minor issues can be allowed to get in the way of real problems is an affliction that the left must purge if it is to get anywhere. Even Sarkar’s own last chapter, which ends with an impassioned call for unity against rentier capitalism, fails to live up to her otherwise rigorous defence of toleration. Her attacks on landlords and property owners feel overly crude and ad hominem,  fostering an antagonistic mindset which eschews the possibility of democratic solutions. However, Sarkar, as “literally a communist”, probably wouldn’t care too much for my Rawlsian view of reasonable agreement. Are we radically opposed, incommensurably different, utterly at-ends, in the fight for progress, then? Of course not! 

Minority Rule was published by Bloomsbury.