Monday, May 26, 2025
Blog Page 1523

Nissan apprenticeships harder than a place at Oxford

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Research conducted by Lord Adonis suggests that Nissan apprenticeships have become more competitive than a place at Oxford University.

The report, “More and Better Jobs: North-East International” revealed that with 1,000 applications for 20 places, the candidate’s chance of success is just 2%.

By contrast, Oxford receives on average 17,200 applications for 3,200 places, giving an approximately 18% chance of a place. In fact, in recent years, Oxford has seen a slight decline in applications – down 5% from 2010 to 2011.

However, as well as highlighting the quality of the apprenticeship programme offered by Nissan, these statistics also draw attention to a lack of opportunities in the vocational sector. Adonis commented that “Nissan’s apprenticeship programme is regarded as one of the best in the country so you would expect to see it oversubscribed, but it is scandalous that so few apprenticeship places are available at companies across this region.”

He hopes to create 13,000 apprenticeships in the North-East every year in order to “get young people on the road to a job, not the road to the dole.” His research focused specifically on the North-East: he is keen to see a higher proportion of the population going on the higher education as well as vocational work.

Claiming that these internships are harder than Oxford University could be a controversial statement. However, on closer inspection, it seems that they were a provocative statement rather than a genuine comparison between the two institutions. His allegation that “The competition for places is unbelievably fierce, more even than for Oxford University’ is more to do with numbers than application process.

Quality and quantity are not necessarily synonymous, as confirmed by Adam Tyndell, Lord Adonis’s Assistant who alleged that “Andrew was referring to the number of applicants per place, only.”

Jonathon Metzer, Co-Chair of Oxford University Labour Club, was supportive of Adonis’ research. “Lord Adonis is absolutely right to highlight the need to expand apprenticeships so that there are clear pathways to success for less academically-inclined people and I strongly hope that his ideas will gather cross-party support.”

Metzer also confirmed that Adonis will be speaking at the OULC on Monday of 3rd Week.

Has Your (Intern)Ship Sailed?

Considering my parents’ unquestioning conviction in my future in either open-heart or brain surgery (I could choose my speciality myself) and after PSHE classes spent filling out the careers quizzes that informed me and my 14-year old friends of our future vocations to be, variously, a fishmonger, a commercial pilot and a long-haul truck driver, it was understandable that I had always had high hopes for my prospective entrance into the ‘world of work.’

Yet last summer, a year into an English degree and after a brief stint as a ‘charity street fundraiser’ (do not read ‘chugger’), I found myself jobless (I cried after an old woman told me to ‘fuck off’ at Clapham Junction station and quit on the morning of my third day). With summer plans already booked but a bank balance largely depleted by ASOS and 8th Week Park End, I turned to agency waitressing. A waiting agency provides staff for anything from corporate events and awards ceremonies to weddings and Bar Mitzvahs and, after all the cafés I had handed my CV into were apparently unimpressed by my work experience in the renal department of the Royal Free Hospital, joining one seemed like a good plan-B.  I could decide when to work, meaning I wouldn’t have to miss out on anything over the summer, or ever really have to wake up before midday.

As if that and the lure of minimum wage wasn’t enough to convince, have a read of some of the other perks of the job and find out if agency waiting could be for you too:

Free food and drink
Seeing as the job entails serving delicious dishes at open bar events, leftover food and drink are always freely on offer to the staff. Slyly eat one of the salmon mousse canapés you’ve accidentally dropped on the floor because you’re crap at your job, or sample the dregs of someone’s cocktail before you pour it into the slop bucket, hoping they haven’t got herpes or a cold – a little taste of the high life.

Meeting new people
The job provides endless opportunities to engage in awkward small-talk with strangers about your A-Levels and where you’re from; a bit like a sober Freshers’ Week only you’re all wearing uniforms but no one makes you go to Camera.

Chatting to fit barmen
With your hair scraped back into a bun and your polyester bootleg trousers just allowing your Marks and Spencer’s velcro shoes to seductively peek out from under their flared hem, you know you’re at your best; a shift becomes the perfect opportunity to engage in a little workplace flirtation. Whilst polishing glasses, strike up a rapport with that Lower Sixth boy who once watched Cocktail with his mum and realised if he could only pour drinks he’d be running his own bar on a beach in Trinidad instead of on the sofa with his mum watching Cocktail. If you’re mopping the floor, make eyes at the guy on his gap year who’d heard from his older brother that tending bar was cool and would make all the girls love him. Who cares if he didn’t realise it was only cool because his brother had done it in a bar on the beach at sunset on Phi Phi Lee island and it would be different when he was doing it just after lunch at an annual building material suppliers’ conference in Moorgate? Everyone knows that being able to pour liquids from bottles into glasses makes you instantly more attractive than anyone who can’t (or doesn’t happen to be at the time).

Rubbing shoulders with celebs
These events are pretty high class so you’ll have to learn to keep your cool and top up that table water in front of the likes of Billie Piper and the one that isn’t Greg off Masterchef.

Interacting with customers
Guests might sometimes show off their cosmopolitan talent with languages by slurring at you in what is supposedly your mother tongue and are left confused and disbelieving when you tell them you only speak English because you are from London. But if you try and be obliging, complimenting them on the finesse of their linguistic merits, that parting ‘sayonara’ might come with a generous (drunkenly misjudged) tip.

Job satisfaction
Agency waitressing is a truly rewarding experience. You’ll leave work glowing with pride (sweat from lugging a dozen bags of dirty table linen onto the laundry van) at the great (shoddy and probably quite rude) service you’ve given your guests. Your manager will always make sure to give you a pat on the back (tell you to ‘Leave your apron by the door’) and a parting ‘Goodnight!’ (‘You can go now.’) to make sure you feel appreciated.

If you like what you’ve heard and happen to have a very small skillset and an unimpressive CV then you might well have found your calling. Top Tip: have a quick practice of spooning plastic fruit and veg from one plate onto another plate – refine your technique and you’ll be sure to impress at training!

But if you aren’t convinced but still haven’t heard back about that summer internship, then I’ve conducted some pretty extensive research into a few alternative, yet equally rewarding, potential holiday jobs that come highly recommended by a varied cross-section of your fellow students (the girls that I live with):

Leisure centre staff
If you like waking up at 6.30am on a Saturday morning with a hangover to supervise a kid’s 5th birthday party then you’re just £395 and a National Pool Lifeguard Qualification (NPLQ) later from doing just that. If you’re lucky enough to be on pool duty you can read a magazine inbetween yelling at children to ‘WALK, DON’T RUN!’ and laughing at their belly flops into the pool. Top Tip: If you have been out the night before, try not to blow your whistle – it will give you a headache.

Childcare
This is for those of you who enjoy having your self-esteem systematically worn down by seven-year-old girls called Saffron, and telling Hamishes and Barnabys to stop picking their noses and eating it. If you thought your haircut suited you and that it was fine to wear a jumper because you were only picking her up from school then you’ll be glad to be told by a 4ft-tall Miley Cyrus fan that you were, in fact, mistaken. Luckily it will probably shrink in the hygiene wash you have to put it on after Mummy’s favourite boy gets sick on it after one too many Haribos.

Working on the factory line of a tennis goods manufacturing company
If you’ve ever looked at a tennis net and wished you knew how to make one by hand then I hear this is the job for you. Other responsibilities include putting tennis balls into bags (normally 24 per bag) and counting and stacking plastic circles.

If you still haven’t been tempted but have noticed that your bank account has already begun to start haemorrhagingyour loan and that e-mail from Reuters still hasn’t come through, then it might be time to start photographing some of your possessions to sell on eBay. It will only take a minute and after it’s done you can go back to refreshing your Nexus inbox, secure in the knowledge that somebody probably will want to buy your P!nk 2002 ‘Party Tour’ T-shirt for quite a lot of money. 

Monopoly misspelling

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Walton Street, the home of Oxford University Press, has been misspelt in the city’s latest version of the board game Monopoly. 

Although the original Oxford version, produced in 2001, has no such spelling mistakes it appears that Walton street, a yellow card along with Banbury Road and High Street, has been spelt ‘Wolton Street’ in some games recently sold on Amazon. 

Many students were quick to notice the irony that the misspelt street is home to OUP, the publishers of the Oxford English Dictionary. “It’s good that Oxford has its own monopoly board, especially considering how iconic the game is, but it seems pretty strange that the manufacturers managed to spell all the street names right the first time round and have errors now,” said Sarah Kroloff, an English student at Exeter college.

However, some Jericho residents were not amused. Jericho Community Association chairman Jenny Mann told the Oxford Mail, “I think this is outrageous and I take this as a personal insult.” Adding that she wants ‘the manufacturers to look into this as soon as possible because Walton Street is a famous ancient street. People in Jericho will want the game to be reprinted.” 

The game’s manufacturers Winning Moves, are now trying to establish how many sets have been affected and have promised to amend the error on the next print run, when that will be however, has not been confirmed. 

Monopoly can trace its history back to 1903 and arrived in the Britain in the 1930s, becoming a staple family board game. Oxford is one of many recent variations on the London board with which many are familiar, with The Randolph Hotel and the Ashmolean replacing Mayfair and Park Lane, while other places such as the Covered Market and the Pear Tree Park & Ride are also mentioned.  

 

Fathers suffer at childbirth too

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Recent findings by Oxford University researchers have shown that fathers as well as mothers can be severely affected by the trauma a difficult childbirth can induce.

The researchers, from the National Perinatal Epidemiology Unit (NPEU), interviewed eleven fathers and partners whose partners’ childbirths had been marred by life-threatening complications. They went on to look at the effects of these experiences.

The results suggest that particularly difficult births, as well as being severe for the mothers, also cause long-term issues for partners to the extent that in some cases they are diagnosed with post-traumatic stress disorder.

Factors leading to particularly stressful and dangerous births can vary from heavy, uncontrollable bleeding to amniotic fluid embolism, where birthing fluids get into the mother’s bloodstream. However, such events are rare with only one in 100 births involving such complications.

Professor Marian Knight of NPEU, who led the work, said, “Many of these emergencies happen during labour or immediately after, and involve severe bleeding. The mums are severely ill and need lots of care. And while everyone is running around looking after mum, it can affect dads too.”

However, the results of the findings have caused controversy. In an article for the Telegraph, Milli Hill, founder of The Positive Birth Movement, said, “Already the number of articles and media discussions about the study greatly outnumber the tiny number of husbands and partners who took part in it.

“Yes, it’s no wonder the men folk are traumatised by childbirth, because it’s a gory freak show that women alone must suffer, and, if you must be there at all, you’re best off sticking at the head end and keeping a low profile, mate. Birth is bloody, birth is horrific, birth is dangerous.”

One comment left in response to Hill’s article expressed a similarly traditional view, saying, “Allow the father to be there during the preliminaries then boot him out into the waiting room when things really get going. This is women’s business and a man shouldn’t be at the business end.”

Harriet Moorhouse on the other hand, a third year geographer with a place to study graduate-entry medicine in September,  focused on the positives of childbirth. Having worked on labour wards, she was able to give the following anecdote.

“I saw a routine caesarean-section delivery of IVF twins. The father was present for the c-section, and the couple had undergone several rounds of IVF before finally conceiving twins. The birth of these twins was therefore an overwhelmingly exciting and joyous event in the couple’s lives. Save for the anxiety associated with any surgical procedure, the father was over-the-moon and visibly excited – almost giddy.

“He observed the entire procedure, including the surgeon making an incision, essentially tearing the skin apart and then reaching under the skin to pull the babies out. When the babies were removed from the mother’s body, the father cut the umbilical cord. He was thrilled.”

"Zero tolerance" sexual harassment policy passed at Wadham

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Wadham SU has passed a motion to implement a “Zero Tolerance” policy regarding sexual harassment at college events.

The proposers of the motion ask for the SU to “To implement a Zero Tolerance policy for all bops, Wadstock and Queerfest.”

The new policy means suspected perpetrators of sexual harassment or assault will be immediately ejected from the premises by security staff. The motion passed with approximately two thirds of the student vote.

Modelled on the OUSU ‘zero tolerance’ contract with Varsity Events, the policy further states that a record must be kept of any alleged perpetrator ejected which will then be sent to college harassment officers. The motion specifies that the policy must be advertised in the Queerfest and Wadstock handbooks and at the entrances and bathrooms of these events, and that ignorance of the policy will not be considered a valid defence.

The motion was proposed by 3rd year PPE student Sarah Pine, who told Cherwell “Assault is a real problem and it happens here. Anyone attempting to deny assault because we’re ‘all friends in college’ is entertaining a spectacularly high level of denial.”

“This isn’t so much a ‘Wadham problem’ as a problem that affects everywhere, including Wadham. However, in a college context, it’s a lot more difficult for victims, because they have to see their attacker in the library, around college events and in their collections.”

Pine continued “There was a lot of support for providing a mechanism by which victims of assault and harassment no longer had to put up with their attacker being at the same event to them. People seemed to really care about the experiences of members who had been assaulted.”

Wadham SU president, Jahni Emmanuel voted against the motion.

Sarah Pine told Cherwell, “I’m confused and disappointed at our President for voting against the motion. Rejecting any way for coping with assault and harassment protects a system in which abuse and assault are common experiences.”

2nd year English student Maeve Scullion, who seconded the motion, said that the motion “should have the desired effect of opening up healthy conversations about the definitions of sexual consent and sexual harassment, as well as giving victims of sexual harassment the right to be removed of the immediate threat of further sexual and/or physical violence.”

Wadham SU president Jahni Emmanuel told Cherwell: “The motion was brought forward because the people who proposed it felt that the college’s current policy on sexual harassment was not sufficient.”

“In terms of specific reasons for the timing of this motion, as far as I’m aware it was not inspired by any specific incident – I believe it was prompted by some statistics recently published about the high rate of sexual harassment across the University.”

However, a student who wished to remain anonymous added that the SU meeting was attended by a victim of sexual assault at a former Wadham event.

Emmanuel voted against the motion, explaining, “Personally, I think that, although this is a very sensitive issue, changing an otherwise universal policy of innocent-until-proven guilty is difficult to justify. Although we have put procedures for appeals in place, this will not stop people automatically being ejected from an event.”

When approached for comment, a spokesperson for Oxford University said, “The University and colleges take cases of harassment, abuse, assault or rape extremely seriously. Anyone who is the victim of mistreatment, harassment, assault or in the most serious cases, rape, is advised to talk to their tutors, their college welfare officers, or the University Counselling Service.”

“Allegations of this nature will be dealt with confidentially. Whilst allegations are treated confidentially, matters of concern may be referred to the police, with the permission of the student concerned, resulting in criminal or disciplinary proceedings.”

Victorian graffiti found on Natural History Museum

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Victorian graffiti has been found in the roof of Oxford University Museum of Natural History during renovation work.

Painted high in the rafters is the message: “This roof was painted by G. Thicke and J Randall, April 1864.” Although it is a tradition for craftsmen to leave their marks in places that cannot be seen, it is not known whether the message was sanctioned.

The graffiti is dated six years after the Museum opened in 1860, suggesting that decoration was still going on when the building was being used by academic staff.

Bloggers on the Museum’s website have now taken up the story, suggesting that the two craftsmen were Oxford locals. Using the census, Debbie Moorwood argues that the G. Thicke may have been George Thicke, a painter from St Clements and her husband’s great great great grandfather. Similarly, J Randall is perhaps John James Randall, a resident of St Ebbes. If such claims can be confirmed, the graffiti marks an interesting piece of social history as well as possible 150-year old bad behaviour. 

However, Rachel Parle, the museum’s education officer, was keen to emphasise that the museum’s decision not to paint over the graffiti meant that any contemporary scrawls would be allowed: “old masons’ marks are found in cathedrals and heritage sites across the country and the purpose is very different to someone just scrawling their name.” The sentiment was echoed by Ms Parle’s colleague Scott Billings, who said, “any modern graffiti applied to a visible area of the Museum would obviously be a different matter.”

The Museum, which holds some of the first dinosaur’s discovered as well as a preserved dodo, has been closed for 2013 to allow renovations to its Grade-1 listed building. The repairs to the neo-Gothic architecture are expected to conclude in early 2014.

Review: The Place Beyond the Pines

It takes an actor with stealth, attraction, and candour to steal the limelight from Ryan Gosling, but Bradley Cooper has pulled it off. Much to the chagrin of the teenage girls surrounding me in the cinema, this film is no Drive. Here, Gosling forms the backdrop, not the centrepiece. 

A tale of fathers and sons, The Place Beyond the Pines traces the repercussions of a split-second face-off between two men: one a stunt biker turned bank robber, the other a rookie cop. Their actions echo through the years, shaping the lives of their children. Both characters – motorcyclist Luke Glanton (Gosling) and Officer Avery Cross (Cooper) – have one-year old sons, Jason and AJ. Fifteen years down the line, Jason (Dane DeHaan) has become a ‘loner stoner’ and AJ, played irritatingly by Emory Cohen, resembles a spoilt Jersey Shore character. 

Director Derek Cianfrance structures the story in a triptych, with the final chapter amplifying the consequences of violence. This follow-up to Blue Valentine is extremely visceral: the camera work is unobtrusive, and the dialogue straight. This is fortunate, as it’s the performances that keep the film from buckling under its scope. Gosling’s flashy character is perfectly matched by Cooper, who gives a compelling performance as a cop with an unbending sense of justice. The supporting roles are just as impressive: Ben Mendelson is perfect as Luke’s amusing confidante and Dane DeHaan’s performance only leaves one wanting more. 

Although its narrative is plagued with bittiness, The Place Beyond the Pines has a sense of grandeur that should be admired. Not only does it tie together themes of fatherhood and masculinity, but it also showcases problems of inheritance and class that dominate the lives of two families in small-town America. It’s an ambitious script and one that ultimately produces a powerful film about legacy.  

Blackwell’s Music continues despite relocation

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Blackwell’s, the bookshop of more than a hundred years that originated in Oxford, recently moved its music shop from 23-25 Broad Street to join its main bookshop and headquarter  200 feet away. The former site, owned by Oxford City Council, had accommodated the music shop for twelve years since its first move from Holywell Street in 2001. 

Luke Rickett, the music shop manager, told Cherwell no redundancy was resulted from the relocation. All its twenty employees have been kept in position. Despite the smaller space, the music shop managed to fit in all its collections after some remodelling. 

Rickett said, “Our old location needed a refit. It wasn’t up to date with the latest standards for disabled customers because there was no lift. Essentially, we decided that it was just much easier to leave that premises and move here.”

He added, “We have got less room but the same stock. So we had to get a bit creative about display.” 

Besides the convenience of technical support and additional footfall from main shop, the relocation is also one of Blackwell’s series endeavours to cut cost and refocus the business on its core retail services.

David Prescott, Blackwell’s chief executive officer, emphasized their new restructuring strategy, “the Blackwell’s board is focused on our bookshop business and the direct opportunity to develop our digital offering to student, academic and professional customers.”

Owner Toby Blackwell aims to deploy “employee partnership” similar to that of John Lewis once the company turns profits.

Rickett responded positively to the plan, “I think it’s a good idea. It’s a real incentive for staffs and workers behind the scene to put an effort into the company and make sure it performs as well as it can.”

Blackwell’s has made steady progress in turning around the dwindling business. It has reduced its operating losses from £10.2 in 2010 down to £1.5m in 2012 and expects to yield a profit by the end of the year. 

When asked about the difficulties Blackwell’s faces with the rapid structural shift of consumer behaviour in the market, Rickett answered, “Our biggest challenge is to make sure we offer expertise and customer service and specialist knowledge that people can’t get on Amazon.”

 

Interview: Anya Reiss

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At 21, Anya has had a sell-out production at the Royal Court, written an adaptation of Chekhov’s classic ‘The Seagull’ and is currently writing a screenplay… the novelty of collections is starting to ebb away at this point. Having enrolled in a course at the Royal Court she won a competition and was accepted into the adult course, where she received a lot of support from the theatre in her early career. I wondered how, at the prime age of 14, when I (and many others like me) was merely awaiting my GCSEs, she got noticed in such a way that it started her career – for her it was simply a case of “doing the same as everyone else on the course”, she says.

Her age seemed to me and to others a huge bolster for her success within the industry – not only is she successful in her own right, but this success seems to have come so early on. She describes her age as a positive force, giving her publicity, but also unremarkable to her: “I only only noticed it once articles were being written about it” she recalls.

Despite this she says that “constant focus on her age” from the press has been “frustrating” as it gives license to undermine what she means to do with her plays. It is undeniable that most interviews with Anya and reviews of her plays (which have been hugely complementary) reference her age, with one applauding her ability to understand and portray the emotional stand-point from each character in her plays (ranging from teen to middle-aged parent). She is able to fully understand these different generational figures and viewpoints but yet her age is sometimes used as a defence for something that she did very readily intend to portray in her plays.

Her age has both evidently helped her with publicity, but at the same time has been a bit of a kick in the teeth, she muses. As someone who is four years fully integrated in the industry, she says that after a few plays you’re “experienced whatever your age”.

A lot of Anya’s work has been based around young people: one of her most recent works has been part of a collaboration with the National Theatre in their “Connections” project.

Projects are “essential” for young people, a happy relief from being “frustrated that there were so few real plays which young people could perform” as a teenager.

Ten playwrights were commissioned this year to write plays, the National Theatre then cast young people from all round the country for these plays as a way to involve a younger generation with drama. Working with the likes of Lenny Henry and Howard Brenton, Reiss has been described as part of a “stellar line-up” but denies any hint of this simply expressing her enthusiasm for the project which is “exciting because [the plays] are written about British teenagers and for British teenagers” rather than just using them as props. Although Reiss had a personal interest in the project, having been part of it from a young age helping to develop the plays, she claims that these types of projects are “essential” for young people that were a happy relief from being “frustrated that there were so few real plays which young people could perform” as a teenager. In fact her most enthusiastic statement about the industry is when she starts talking about her friends’ engagement with her work, saying “Nothing has felt better than when I get a friend who doesn’t go to the theatre to watch a play and they’ve had a good time.”

Reiss’ interaction with her friends and peer group is normal, she claims that she does “live mainly like a student, a very lazy student in that I can go out whenever I want and unless I have a meeting I don’t have to worry about a hangover or a late night” but that the difficulty of her job lies in the fact that “free-time” isn’t really a thing – at any point she “could/does feel like [she] should be working” as her job isn’t a 9 to 5 affair. So her lifestyle is not that dissimilar in the sense that her time-constraints are personally motivated rather than being in an office environment. Despite her assertion that she is a “lazy student” she stresses her obsession with her work (which might not be a steady feature in a student’s lifestyle…). The fact that her job has “no point where you feel like you’re allowed to switch off” is “bizarre” to a lot of her peers as well as being seen as an “excuse”. Apparently “most people seem quite bemused” by her job and “often jealous of the freedom and flexibility of being self employed” as apposed to the weighty confines of “deadlines and dissertations”. So although she is not an office 9-to-5-er Reiss’ dedication to her job is pretty intense, her mention of hangovers and procrastination later on in the interview bring her back down to my level at least!

So after considering her own place in her peer group how does she think younger people can engage and get involved in playwriting? The answer is experience, experience, experience according to Anya – the Royal Court Young Writers program helped her in this respect and she describes the course (and other courses like it – for example the BBC Writers Room, the Lyric Young Company and the Young Vic Direc- tors program) as “invaluable”.

Last year she tackled adapting Chekhov’s The Seagull having been approached by Russell Bolam. With her adaptation not only being prone to criticism from “the wrath of classicists” but also from comparison with other versions by distinguished playwrights – Mark Lawson of the Guardian comparing her to Michael Frayn, Tom Stoppard and Christopher Hampton, found her emerging “creditably from the comparison” – it is remarkable that it has been reviewed as “fresh, colloquial, sexy and downright perceptive”. Despite Reiss feeling “very nervous” and even expecting “disappointment” in her effort she says that “Chekhov won out” however at this point I’m trusting the good reviews rather than Reiss’ modesty! In terms of adapting Chekhov’s themes Reiss says that it was “surprisingly easy”, with “universal” themes for the most part but still some “radical” thinking. We have all seen the dark side of modernisation and connecting the youth to old plays; Reiss speaks of “gimmicky Facebook references” never being part of her vision for the project but also of the difficulties of actually regenerating the play rather than just putting a “modern dress” on it, describing the difference as a “difficult line to walk”. As adaptations are in the line of fire from not only critics and previous lovers of the play it seems that Reiss has come out on top, giving the classic a modern-day focus.

After branching out into adaptation, Reiss is extending her grasp even further into TV and Film. Currently writing a screenplay and contributing towards a TV series, the focus has changed dramatically (excuse the pun) with “rules unlike in theatre”. The move into this medium seems to have been a bit alien for Reiss as she jokes “if you’re writing a Rom-Com and by page 7 the boy and girl haven’t met each other, you’re already in trouble… apparently” but far from her initial attitude towards these “I don’t think anything can beat your first play: it was full of quite steep learning curves but because the Court was so fantastic…I never felt that daunted by it at all, I just enjoyed myself.”

Restrictions as “arbitrary” her understanding of this medium has grown to acceptance. Obviously the content and the target audience of different TV slots change the brief for a program but Reiss stresses the reversed importance of the story and the audience with the audience being number one for TV. She seems excited by this new venture but incredibly wary of the precarious TV and Film industry resolving “to treat it as a bucking bronco and not to take it personally when you inevitably get thrown off”.

My last question to her was asking what the most enjoyable production that she has written, she responded with a happy but slightly apprehensive advertisement for the industry: “I don’t think anything can beat your first play, it was full of quite steep learning curves but because the Court was so fantastic, and because, as I keep on saying, I knew nothing about the workings of Theatre when I started, I never felt that daunted by it at all, I just enjoyed myself. Now I know better.” However, would she do another adaptation despite the mass of external pressure? Yes. Will she continue to work in the TV and Film sector? Yes. Can we eagerly await another Anya Reiss original? Of course and many of us already are! So however “daunting” it may be after losing her naivety in the industry she’s powering through like noone’s business.

Reiss plays the part of successful playwright well and she was a pleasure to get to know. 

Creaming Spires: Week Two

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The first week of Trinity term brings with it the start of lectures, tutorials, and for me a rather different kind of assignment.

To gently ease you in to this series of scandalous sex stories I have decided to focus on foreplay. This however, is a unique slant on foreplay; where thinking out of the box proves to be unimaginably pleasurable.

Feeling a little guilty that I have managed to coerce my guinea-pig of a boyfriend into letting me publish our sex life every week for the next two months, I let him go first this week. An urban myth that we had both been curious to try out is whether or not Altoid mints enhance sensation during blow jobs. So I crunched down on five or so of these über strong fuck-off mints and got to it, sticking to my usual technique, with the only change being the minty sensation.

Well, what can I say. It certainly was no urban myth. The mintyness made him so aroused that every action I made was mind blowing for him. We are certainly on to a winner with this Altoid mint tekkers – less effort for the girls and more pleasure for the boys. Although, Cherwell lovers be warned: my other half has now depleted Tesco on Magdalen Street of their entire stock. and the Sainsbury’s is his next target.

Now for my turn. My boyfriend is exceptionally good at giving head; but I have to admit for most of the time I am so preoccupied that I have no idea what he is doing down there. So I asked him to talk me through exactly what he did to make it feel so good. Apparently he likes to play this game with himself of spelling out the alphabet on my clitoris, and pays attention to the letter which makes me climax every time. I thought this was all rather childish, but I guess if it keeps him entertained whilst I am enjoying myself then it works for me. Once I was aware of this little game I tried to play along too – ‘S’ is particularly arousing.

Only Oxford couples get kicks out of foreplay scrabble…