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Guide to Christmas music: 2012

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It’s Christmas, and music wants to join in. There’s a lot of judgement flying around on artists who make Christmas music; it’s not that fashionable, and it’s popular to believe that it’s better left to Ella Fitzgerald, Louis Armstrong and the like, but we at Cherwell think that if Bob Dylan, Sting and suchlike want to get into the Christmas spirit, more power to them. ‘Tis the season.

It’s difficult to say who we would expect to release a Christmas album, as everyone from  Elvis to Justin Bieber has been involved in this dubious practice at some time. But let’s be honest, Rod Stewart wasn’t much of a surprise. Less like a fish out of water than a mutilated fish that’s forgotten how to swim and has in any case been packed up in a FedEx parcel and sent to the Moon, ‘Rod the Mod’ croons his way through 16 Christmas classics for what seems like an eternity.

One could imagine The Faces producing an enjoyable Christmas album, but instead we’ve got their lead singer doing his best Bing Crosby impression and inspiring more nausea than a whole plate of Brussels sprouts. Mary J. Blige adds a touch of undeniable quality on ‘We Three Kings’, but this isn’t enough to excuse a record that probably wouldn’t even please its target audience of middle-aged women sitting by the fireside. But we shouldn’t be shocked, it is called ‘Merry Christmas, Baby’ after all.

Still, it’s not all doom and gloom, as an unlikely saviour of Christmas is at hand in the form of Cee Lo Green, who casts himself as Santa plus swag on the album cover of ‘Cee Lo’s Magic Moment’. He’s taken on the rôle of spreading Christmas cheer, and achieves it in wonderfully cheery fashion; it’s virtually impossible not to smile while listening to ‘All I Need Is Love’, a collaboration with The Muppets. It’s not all cheerful though; possibly the album’s best moment is Green’s rendition of Joni Mitchell’s ‘River’, a tragic, goose bump-inspiring break-up ode. Finally, the album closes with a spine-tingling ‘Silent Night’, which acts as a firm reminder of his vocal talent. Yes, it’s cheesy, and yes, it’s part of Cee Lo’s mission to expand the public personality that he’s been developing on NBC’s ‘The Voice’, but c’mon guys, it’s Christmas, and if you’re not in a festive mood by the end, your first name has to be Ebenezer.

If you’re desperate for new Christmas music though, the place to go is ‘Christmas Rules’, an album from various artists, including fun., Civil Wars and The Shins. Even Paul McCartney’s got in on the act with a version of ‘The Christmas Song (Chestnuts Roasting On An Open Fire)’. While it doesn’t give you the relentless feeling of joy that Cee Lo provides, one can’t ignore the fact that it includes a duet from Rufus Wainwright and Sharon Van Etten, who cover ‘Baby It’s Cold Outside’ and will make you feel like you’re sitting by a fireside drinking eggnog and trying to ignore the weird game of charades being conducted by the section of your family that you prefer not to talk to.

We can’t go through all the Christmassy wonder on the album, but it’s worth mentioning that Y La Bamba bring us a song called ‘Señor Santa’, which is exactly as amazing as it sounds; The Shins give their own unique sound to ‘Wonderful Christmastime’, a brave venture when on the same album as the man who wrote it but successful nevertheless; and Heartless Bastards offer up a country-style rendition of ‘Blue Christmas’ in a great contribution to the truly excellent combination of country and Christmas that Lady Antebellum have managed so wonderfully this year with ‘On This Winter’s Night’, an album filled with almost more than the appropriate amount of festive happiness.

In conclusion, music has thrown its considerable weight into Christmas yet again, and it’s done pretty well. We haven’t had anything with the quality of Emmy the Great and Tim Wheeler’s 2011 release ‘This Is Christmas’, which is well worth a listen, but we’re going to spend Christmas Day 2012 with Rufus Wainwright and Sharon Van Etten, and who could complain about that?

Press vultures: the media’s troubling response to tragedy

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Jacintha Saldanha, a 46-year-old British nurse, has been found dead, days after taking a hoax telephone call about the pregnant Duchess of Cambridge.

Headlines do not communicate complexities. A woman has died. Her family, her two children, her partner, will all have been launched into an unspeakable hell, and will suffer the sort of relentless pain that we cannot overcome so much as learn to live with.

Why the BBC and the national newspapers have led their bulletins and front pages with this private tragedy escapes me. It is not an important question of public policy or a far-reaching story of economic, environmental or social consequence. It is a matter only for the close circles of a grieving family.

This news does not touch in any way upon the general public to whom it is delivered. Yet delivered it still is, at the top of news bulletins in hourly doses. The notion that sometimes space must be made and compassion exercised has still not penetrated the press at large. The royal connection is enough to make it worth talking about, as if the whole thing were but the grim appendage to a celebrity culture.

Of course it is easy enough for a producer to justify its place on the news agenda, not least with regard to the ongoing arguments over the very press intrusiveness which now so dismays me. Won’t this case act as a great rebuke to all those who argue against limits being put on the media? How can intrusion now be justified when we see how much damage it can do to real people?

Undue prominence may be the first disturbing component of our media’s response to this story. But it is not the worst. It is when the self-righteous obsessives and limited intellects of social media begin to crawl over competing ‘tribute pages’ on the likes of Facebook that we find how low people can sink. The comments are thick with synthetic sentimentalism. So many post how ‘beautiful’, ‘caring’ and ‘intelligent’ a person the deceased was in life, yet hardly any of them ever knew her.

Grieving is a lonely process, for there are so few others who share the full bitterness of the loss. Well-intentioned they may be, but I fail to see how the sympathy of perfect strangers claiming to share in your sadness could feel like anything other than a vile simulation. Here too the entire matter is reduced to the stark black-and-white moralism of a children’s story.

The amount of hatred poured out against the Australian DJs responsible for the prank call is extraordinary. On Facebook, ‘I hope they rot and suffer’ was par for the course. Before they deleted their twitter accounts the abuse directed personally against the pair revelled in its own crudeness, ‘I hope you’re happy now…The receptionist you rang has COMMITTED SUICIDE! You have blood on your hands now!’

There are two main points to consider. The first is to what extent the presenters, who have enjoyed global fame and damnation in the space of a week, genuinely are culpable. The pair were stupid and high spirited. They probably do have a case to answer for insofar as they procured private information and wasted the time of overworked medical staff.

But as much disapproval as there was about their prank before today, so too was there amusement at their chutzpah. Their station delightedly promoted the controversy, relishing how daft the Aussies had made us pommies appear. Now that would be unthinkable. The terrible consequences have changed the moral status of the action from daring hijinks to destructive and malicious transgression.

But it is unclear whether the prank was really unacceptable simply because it unintentionally made someone feel stupid and inadequate. After all, life is full of such experiences, cruel and difficult though this is. Be it redundancy and shattered dreams, or guilt at failing to get things right, they are an inescapable part of the human condition. The pair didn’t mean to make a hard-working nurse look a fool, but she fell into a trap they had thought no one would take, and all this horror has followed from there.

If it is suicide, then rare is the suicide which is mono-causal. This was clearly a vulnerable person, susceptible to despair at the turn of events which followed. The pair were not to know this either. The whole thing was a terrible and unpredictable accident. The horrific responsibility they will carry for the rest of their lives is surely the very worst punishment. What is really striking about the venom being poured out online is the dearth of the very humanity or compassion which online commenters accuse the DJs of lacking. There is no recognition that these two young Australians will now in their turn feel desperately stupid and inadequate, and bear the irremovable and lifelong stain of guilt.

Secondly, there is a very real danger that the simplistic narrative of bad media and innocent nurse will be how we remember this. Such things have happened before. The death of Dr David Kelly cast a long shadow over Tony Blair and Alistair Campbell’s justifications for the Iraq war. Our society’s attitudes to suicide are remarkably naïve. It will happily load criticisms and pressure on someone’s back, but when they break under the load attitudes go into reverse.

Anyone can be made to feel terrible. But not everyone will react by killing themselves. Suicide normally arises out of a nexus of circumstances. The current pressures on a person are certainly one possible factor, but so too are personality, formative life events, and the propensity for mental illness. Families will search for years to try to understand why their child or sibling or parent did it, how someone could find it within themselves to leave behind their loved ones forever. In the general culture the understanding is cruder: ‘something made them feel really bad, so they killed themselves. Whoever made them feel really bad should be ashamed of themselves.’ But suicide is never so simple and rarely so intelligible.

It is often said that as a society we still do not properly appreciate the nature of mental illness. Perhaps linked are the ignorant attitudes to suicide betrayed by the responses on the social networks. In a less brazen way these notions are shared by the ‘traditional’ media. By so prominently leading the news agenda with the recent sad case, they are propagating the expectation that this death will have broader consequences, when it ought to have none. The headlines cannot convey the profound and confusing complexities of this most extreme of human decisions. Some things are better passed over in silence.

Oxford Lecturer wins Turner Prize

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The 2012 Turner Prize has been awarded to Oxford University lecturer and Fellow at Lady Margaret Hall, Dr Elizabeth Price. 

The 2012 Turner Prize has been awarded to Oxford University lecturer and Fellow at Lady Margaret Hall, Dr Elizabeth Price. 
The newly-appointed Fine Art lecturer at the Ruskin School of Drawing and Fine Art received the prize at Tate Britain this week for the twenty-minute video installation, ‘The Woolworths Choir of 1979’. The piece was part of a solo exhibition which was displayed at the BALTIC Centre for Contemporary Art in Gateshead earlier this year.
The piece depicts a fire at a Woolworths in Manchester in 1979 which killed ten people and makes use archival video footage, photographs, music and text.
The Bradford-born artist studied at the Ruskin School in the 1980s and took up the position of University Lecturer in Fine Art alongside the 2013 Venice Biennale exhibitor Corin Sworn.
 Ruskin student Lucy Mayes explained the effect of Price’s work, “The video is made up of three apparently dissimilar constituent parts: church architecture, choreography from the 1960s girl band The Shangri-Las, and archival footage from the fire. She bridges them persuasively by figuring out etymological, figurative, semiotic and semantic references which glide the imagery on easily to a kind of crescendo.” 
Head of the Ruskin School, Dr Jason Gaiger told Cherwell, “I am thrilled for Elizabeth, whose work demonstrates the vitality of contemporary art practice and its ability to address themes of enduring social significance. The seriousness and technical virtuosity of her film-making is exhilarating and I am delighted that her recent achievements have been recognised through the award of Britain’s most prestigious art prize.” 
He added, “Elizabeth is an inspirational teacher, who has made invaluable contributions at both undergraduate and graduate level. She is taking a leading role in the further development of the Ruskin School, including the launch of a master’s programme and the integration of Fine Art research into the wider academic community.” 
Students and staff at the Ruskin School have remarked on the positive repercussions of Dr Price’s achievement for the School. Dr Gaiger told Cherwell, “The high visibility of the Turner Prize shows what young artists can achieve and it has generated considerable excitement in the School.” 
Ruskin student Lucy Mayes described Dr Price’s artistic success as “a path to follow and a legacy to aim for.”
She added, “To me she has found a poignant and distinct voice and a way of working that is contemporary and distinctly new. It is admirable that she has found her voice, as it is the ultimate in what as artists we endeavour for.”The 2012 Turner Prize has been awarded to Oxford University lecturer and Fellow at Lady Margaret Hall, Dr Elizabeth Price. [mm-hide-text]%%IMG6436%%[/mm-hide-text]

The newly appointed Fine Art lecturer at the Ruskin School of Drawing and Fine Art received the prize at Tate Britain this week for the twenty-minute video installation, ‘The Woolworths Choir of 1979’. The piece was part of a solo exhibition which was displayed at the BALTIC Centre for Contemporary Art in Gateshead earlier this year. 

The piece depicts a fire at a Woolworths in Manchester in 1979 which killed ten people and makes use archival video footage, photographs, music and text. It was developed while she held the Arts Council England Helen Chadwick Fellowship at the University of Oxford and British School at Rome in 2010-11.

The Bradford-born artist studied at the Ruskin School in the 1980s and took up the position of University Lecturer in Fine Art in October alongside the 2013 Venice Biennale exhibitor Corin Sworn. 

Ruskin student Lucy Mayes explained the effect of Price’s work, “The video is made up of three apparently dissimilar constituent parts: church architecture, choreography from the 1960s girl band The Shangri-Las, and archival footage from the fire. She bridges them persuasively by figuring out etymological, figurative, semiotic and semantic references which glide the imagery on easily to a kind of crescendo.” 

Head of the Ruskin School, Dr Jason Gaiger told Cherwell, “I am thrilled for Elizabeth, whose work demonstrates the vitality of contemporary art practice and its ability to address themes of enduring social significance. The seriousness and technical virtuosity of her film-making is exhilarating and I am delighted that her recent achievements have been recognised through the award of Britain’s most prestigious art prize.” 

He added, “Elizabeth is an inspirational teacher, who has made invaluable contributions at both undergraduate and graduate level. She is taking a leading role in the further development of the Ruskin School, including the launch of a master’s programme and the integration of Fine Art research into the wider academic community.”

Students and staff at the Ruskin School have remarked on the positive repercussions of Dr Price’s achievement for the School. Dr Gaiger told Cherwell, “The high visibility of the Turner Prize shows what young artists can achieve and it has generated considerable excitement in the School.”

Ruskin student Lucy Mayes described Dr Price’s artistic success as “a path to follow and a legacy to aim for.” She added, “To me she has found a poignant and distinct voice and a way of working that is contemporary and distinctly new. It is admirable that she has found her voice, as it is the ultimate in what as artists we endeavour for.”

An Interview With The Director & Lead Actor of Electric Man

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Electric Man is currently showing in cinemas and is also available on DVD and through iTunes. Check out these websites for more details.

http://electricmanmovie.com

http://www.facebook.com/pages/Electric-Man/149372189649?ref=ts&fref=ts

Forget the Foetus, that’s enough royal baby for now

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You know that friend on facebook who had a kid, and it’s seriously annoying? The one who you went to school with seven years ago, or who was friends with your brother and feels the need to share every single thing that happens in their tot’s life. Their profile picture is a baby, maybe their name has ‘Mummy’ inserted into it (seriously), or they have a day-by-day photo montage of a shrunken face that really doesn’t seem that different. The sane response is obviously to divest oneself of such friends. However, I’m not without the foresight to see that this is not an isolated incident, and I might soon be left adrift in a lonely world of my own making. Alternatively, you could helpfully remind them that this kind of behaviour is exactly what Twitter was made for. But really, the only socially acceptable option is to try and ignore them and move on. Hell, you could even unsubscribe if it becomes particularly annoying. Imagine a world where you couldn’t turn off irritating updates like that.

You may have anticipated where I’m going with this.

I should prefix all this by saying that I’m happy for Kate and William, I really am. Well actually that’s not true, I’m completely indifferent, as I would be for any child of strangers that I’ll probably never meet. I certainly don’t wish them anything other than happiness. It’s just that, well, it’s going to be a nightmare. The royal wedding speculation writ large, for seven months, with newspapers churning out baseless speculation on everything: names, sex, schooling, even position on immigration. This has happened already, and for the tabloids it’s a real boon: nobody can know these things, at least not yet, so there’s no real effort involved in finding out the ‘facts’. Anybody is as right as anybody else, save perhaps the royal couple themselves.

Maybe the baby will be called Frances. Oh, it’ll probably be called Henry, or Charles if it’s a boy – wouldn’t it be lovely if they called it Diana after his mother? No. Shut up. They’ll probably call it some boring royal name, certainly, but there’s literally no point speculating. For all you know, they could call him or her Plantpot unit B 57.4. They almost certainly won’t (otherwise, I’ll be expecting royalties, no pun intended), but technically it’s as valuable and insightful a comment as anything anyone else is making – which is to say, not at all. What school will they go to? What university? Will they be a good King/Queen? All essentially harmless, but extremely irritating in a world where so much news is meaningless guff already. It’s an infinite vacuum of content, a nuclear bomb of nothingness.

The only thing worse is the broadsheet reaction. There’ll be one chin-stroking op-ed piece after another marvelling over the continued propagation of the story, cheerfully ignoring the incredible hypocrisy of their publishing such an article (the irony of me also doing so must be blithely set aside for the sake of my own sanity). Following that, somebody may burp out some self-consciously ‘wacky’ reasons why they’re looking forward to the royal birth. Maybe somebody will have legitimate, ‘serious’ reasons for their interest. Then of course, some worthy, humourless republican will wade in and suck any vague sense of whimsy from proceedings with a long drone of anti-royal rhetoric. If anything, this behaviour is worse than the self-consciously inane response of the tabloids; the Guardian G2’s ‘anti-royal wedding special’ just came across as spiteful, and was more irritating than any of the normal coverage.

This will be seven months of relentless insipidity. I checked, and that is a word, but even if it wasn’t it would have to become one, such is the barrage of shit journalism we’re all going to be subjected to. At least the royal wedding coverage had a half-life; the media’s warped view of relationships as dominated by fairytale romance or drama meant that once Kate and William were boringly married, people (comparatively) lost interest. But excitement for this child can only grow. Just imagine the birth itself: as if the ‘womb-watching’ pre-pregnancy wasn’t unsettling enough, we’ll presumably be treated to blow-by-blow gory coverage on what might be going on in the hospital room by a trio of experts on the Breakfast sofa. And when he or she is born, there’ll be first steps, first days of school, first swan head-shot. The usual things any kid gets up to, but magnified and placed before our unwilling eyes. It’s like the world cup, but (unbelievably) somehow worse – it’s snuck up on us all, and there’s no special ‘baby’ section of the newspaper to avoid.

Maybe that’s the answer – specially allocated sections of the press for this kind of coverage to be easily avoided. I’m not a monster – this kind of coverage wouldn’t exist if there wasn’t some market for it. The Guardian made great steps in this direction at the royal wedding by introducing a ‘republican’ button so any dyed-in-the wool monarch-bashers could avoid the offending nuptials more easily. But this hasn’t gone far enough in my eyes, especially in the print media. A ‘section’ of the newspaper could still be stumbled upon by accident, like an irate spider in a bag of satsumas. The only logical response is for every newspaper to have lurid, plastic-wrapped sections of the paper that could be eagerly ripped open by interested parties, and gingerly dropped in the bin by everyone else. The theme should be made obvious: something suitably innocuous, like yellow duckies wearing crowns in a sea of royal blue, or something. Everybody wins – the baby watchers get their fix, everyone else can go about their business unmolested by dross.

The years will pass. The sun will rise and fall. And one day, we might realize there’s a coronation going on. The monarchy limps on. And if my conditions have been met, I’ll hail King Plantpot with the best of them.

Oxford graduate arrested after Christmas lights incident

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An Oxford graduate, Bethan Tichborne, has been charged by police over an incident at an event in Witney, where David Cameron appeared to switch on the town’s Christmas lights.

On Friday 30 November, the twenty eight year old allegedly attempted to climb over a barrier at the ceremony. She was then charged with obstructing or resisting a constable in the execution of their duty and of using threatening words or behaviour to cause harassment, alarm or distress. The Prime Minister, who took part in his Oxfordshire constituency’s event, was on the stage with Father Christmas at the time.

A Thames Valley Police spokeswoman has confirmed that the charges against Miss Tichborne are in connection with the incident in Witney, which occurred at 7pm. It is, however, unclear as to what Miss Tichborne’s intentions actually were. Tom Ashby, a second year undergraduate reading History and Politics at Keble College, said, “It seems to me rather striking that Miss Tichborne here is charged with causing ‘alarm and distress’ whilst the current First Lord of the Treasury, Mr Cameron, seems to be getting away scot-free.”

Miss Tichborne graduated from Oxford University four years ago, having completed a course in Philosophy and Italian. She is currently involved with anti-sweatshop campaigning and has worked as a care assistant in the past. She is also a poet and was short-listed for the prestigious Melita Hume Poetry Prize in the June of this year. An entry on the website for this award stated that Miss Tichborne is ‘currently preparing for a trip to Afghanistan to write a book about young peace activists living in Kabul’.

Miss Tichborne has been released on bail and is due to appear at Oxford Magistrates’ Court on Wednesday 19 December. However, her actions at the event in Witney do not seem to have lessened Mr Cameron’s enjoyment. He later posted a picture of himself and Father Christmas in the act of turning on the lights at the ceremony on Twitter, stating that it was ‘good to see so many people at the turning on of the Christmas lights in my constituency tonight’.

On reading the charges against Miss Tichborne, first year law student Andrew Hall said, “Quite how climbing over a barrier can cause harassment, alarm or distress is a little baffling. If Mr Cameron felt any of these – and I concede that he might – then oughtn’t we wonder what kind of man this country is led by?”

First year English student, Rebecca Simpson, commented, ‘I thought the Prime Minister was all for helping people overcome their barriers. So much for the ‘Big Society!”

Review: Carmen (ENO)

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★★☆☆☆
Two Stars

Rarely does a night at the opera prompt such strong critical responses. The Mail is hailing the production a ‘travesty’ while The Guardian  describes it as a ‘fascinating’ examination of ‘insistent male sexuality’. Yet, opening night at director Calixto Bieito’s production of Carmen at the English National Opera, was, for me, curiously lacking in passion and conviction.

This is Carmen transported to the last days of Franco’s Spain – an idea that could have worked well in both the military and gypsy camp settings. Unfortunately however, there was more chemistry between Carmen (Ruxandro Donose) and the flagpole she was tied to or the cars she posed over than with her leading man José (Adam Diegel). His murderous passion in the final act was not only unbelievable but bordering on the ludicrous – what just about worked when sung was painful in the dialogue sections. It was this failure of the central romance, rather than the emphasis on sleaze which has horrified some critics, which reduced the tragic plot to the level of tawdry soap opera.

An exception was Elizabeth Llewellyn’s Micaëla – a favourite with the crowd on the night. Her strong vocal performance was matched by a real dignity in her performance, even when mauled at by lustful soldiers, or hiding in the rear seats of a car, and she enjoyed an emotional repartee with the audience which was entirely lacking with the main characters. Some of the crowd scenes were also impressive, indicating what a strong production this could have been. Colourful costuming and energetic choreography combined perfectly with the Chorus of Citizens at the beginning of Act IV to suggest the excitement of the bullfight, and the interaction between Carmen and the soldiers during the Habanera aria showed the leading lady at her best.

I wasn’t horrified by the full frontal male nudity, or the suggestion of child prostitution, or entirely opposed to the idea of seeing Carmen in a phone box. I really wanted to love it. But this production, despite the beautiful music conducted by Ryan Wigglesworth, just falls a little flat, although it will probably do well from its dalliance with controversy.

Review: Liz & Dick

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★☆☆☆☆
One Star 

Contrary to what the rest of this article may suggest, I am not a hater. I am very much Team Lohan.

I’ve been rooting for the comeback of the century after every prison stint, car crash, jewellery theft and failed drug test. She was not only responsible for one of the most quotable movies of our generation, Mean Girls, but also carved an art form out of the mugshot, and successfully managed to work even the most horrendous shade of jumpsuit-orange.

Lifetime Network’s straight-to-TV movie Liz & Dick, the story of Elizabeth Taylor and Richard Burton, was billed as a triumphant return, and for the briefest of moments looked as though it might fulfill its promise. What in fact emerged was perhaps one of the most spectacular and catastrophic train-wrecks to grace America’s screens in recent years, taking its rightful place alongside Showgirls and The Room in the so-forehead-smackingly-awful-you-can’t-afford-to-miss-it Hall of Fame.

Lifetime’s publicity around the film rests upon the following premise: Elizabeth Taylor was hounded by the paparazzi. Lindsay Lohan is hounded by the paparazzi. If you subject the latter to a ‘minor’ re-style and a load of airbrushing, then squint very hard whilst inebriated, she looks like Liz. Unfortunately for our Li-Lo, a shared history of alcohol abuse and pap-trouble does not a convincing performance make.

Cue Elindsabeth, a character who only sporadically slips into Queen’s English, largely sounding like an ageing drag queen with a penchant for Ke$ha-style dental hygiene. Liz & Dick’s protagonists recount their turbulent romance from the vantage point of a nondescript place, The Other Side, in which the compulsory dress code is Funereal-Glam and regular close-ups unintentionally ensure we pay more attention to the current state of Lindsay’s face (Fillers? Drug-induced bloat? Strange form of weight gain which exclusively affects lips, cheeks and chin?) than the dialogue itself.

A stable pace is clearly something that was abandoned (alongside accent coaching or a half-decent wig for Grant Bowler’s Burton): three-quarters of the film passes before divorce no.1 even occurs. After this Liz is accompanied by an unidentified new male for a handful of scenes (New lover? Wayward extra?), has a spell in hospital (Liz has colon cancer! Liz doesn’t have colon cancer!), re-marries Burton in Botswana, and then promptly divorces him again.

All of which brings us to Liz and Dick‘s pièce de résistance: 1980’s-era Elindsabeth. Whilst transforming a young actress into a fifty-something is difficult at the best of times, the only element missing from the Halloween costume thrown upon poor Lindsay is the accompanying laughter track – which, incidentally, might aid a rather sensible re-marketing of the whole piece as a comedy.

I personally am holding out for the porn adaptation; the acting will be better and no one even need come up with a dirty pun. 

Stop the Press: Kate needs a BIGGER wardrobe

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The day our royal couple got married, the question on every teary-eyed, Union-Jack-waver’s mind was whether tonight would be the night that the third in line would be conceived (and if so, when the making of it on DVD would be released). Well, the time has finally come. Despite whispers on Twitter that Kate was too “thin to conceive,” the Duchess and the Duke of Cambridge have not failed to provide the long awaited chapter of the Wate/Killiam saga: Kate gets up the royal duff.

On Monday it was announced that Kate had been taken into King Edward VII hospital and, due to very real fears that her hospitalisation would cause a public cardiac arrest, the Palace officially announced that she, 12 weeks pregnant, was suffering from hyperemesis gravidarun (a very acute form of morning sickness). Although this news is of course not nearly as important as when she was spotted wearing a dress from Zara, or that time when she “recycled” her £1,100 Alexander McQueen gown by – wait for it – actually wearing it again, the Guardian has already devoted six articles to the subject and the Daily Mail Online nearly had a server break down.

Everyone from the Princess of Wales to the Archbishop of Canterbury have since publicly extended their congratulations to the expecting couple. Even David Cameron said it was “wonderful news.” Well, anything to make the public forget about what’s actually going on – he probably got down on his knees and cried when he heard Kate was preggers. Remember the benefit slashing, anyone? NHS reforms? Of course not, because Kate’s on private healthcare, silly. Dave even went as far as to say that the couple would make “absolutely brilliant parents.

Granted, with that amount of staff at their disposal and the financial support they’ll receive, it would be mathematically impossible to be bad parents. But on a more spiritual level, it cannot be denied that, as role models, they both fail. Kate, who is a pretty, passive extension of William’s arm and who has hardly spoken a public word out loud, is the perfect upholder of the old mantra that women should be seen and not heard. And as for William, I don’t even need to get started on the whole existential problem of what-is-the-purpose-of-his-life since his degree choice – Geography – succinctly sums up everything we need to know.

Because the unborn child will be third in line to the throne and, if it has more luck than Charles, will one day wear the crown, the public will want to know everything about its life – from when it says its first words to when it sprouts its first pubic hairs. The poor thing doesn’t have a chance. Any responsible adult should at least start thinking about “pulling a Dumbledore”, that is, sending the kid to a Communist country for the first 12 years of its life to avoid it turning into (in the words of the wise Headmaster) “a pampered prince”, and then on his 11th birthday having a friendly giant come to tell him “Yer is a royalist, Harry/Harriet”. This is assuming they decide to name it after its fun and charismatic Uncle (FYI expect a frenzy in the media on potential baby names, alongside evidence on how hyperemesis gravidarum is actually good at keeping shameful baby weight at bay and speculation as to when Pippa will finally get her act together and be a proper woman like her sister).

Since the nation’s love affair with Kate began, the only people who have really benefited have been upper-end high street labels for whom the Duchess has a penchant – Reiss, Whistles, and LK Bennett, to name a few. During the next nine months, anyone passing through Oxford High Street on a regular basis will notice that all those shops which most of us can’t afford will miraculously develop a maternity section. Perhaps some good can come out of making such a fuss over this one unborn child, after all. Perhaps Kate will help all Pregnant Women across the country by making the high street expand its range in glamorous maternity wear. Yes, perhaps the best thing to come out of all of this is that the Duchess becomes the shining beacon of hope for the much underrepresented demographic, the PWILF. 

Varsity hat-trick for Oxford

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Oxford beat Cambridge 26-19 on Thursday in a third year of Varsity victories at Twickenham.

After a shaky first half where the Dark Blues trailed 19-6 behind Cambridge, Oxford staged a thrilling comeback with three tries in 16 minutes from full-back Sam Egerton, flanker James Harries and substitute Charlie Marr.

The result marks Oxford’s first Varsity hat-trick in 11 years, taking their overall number of wins to 56, with Cambridge at 61. 

Playing just before the blues, Oxford U21’s also won their match against Cambridge, beating their rivals 31-17.