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Nailed it! The evolution of nail art at our fingertips.

Image Credit: Public Domain via Pexels

Nail art has truly taken the world by storm. With over 233 million people sharing their designs with #nails on Instagram, it is clear that this is not just a passing trend. In fact, it is one of the oldest trends to ever exist! Dating back to as early as 5000 B.C, the evolution of nail art is a fascinating exploration of beauty standards through the ages. What is now an obsession with bejewelled acrylics, relaxing manicures and intricate gel designs began as an expression of complicated social expectations. When we delve into this complex history, we uncover the deep political entanglements that come with this ancient trend. It is not as pretty as a pedicure!

Surprisingly, nail art began in an era that was almost as dominated by beauty standards as the one we live in now: ancient Egypt. Henna was used on the hands and nails as not only a way to display status amongst the elite, but as a natural supplement, believed to have medicinal qualities. Women of the lower classes used more neutral shades, while the upper classes had access to deeper, brighter shades that conveyed seductiveness and wealth. This is where nail art’s association with femininity began. 

However, nail art was not exclusive to women in every ancient culture. Male soldiers in Babylonia adorned their nails with black and green kohl as a symbol of ferocity. Archaeologists have even uncovered a manicure adorned with solid gold dating back to this period. In the 21st century, precious metals and gemstones are employed as a fancy decorative feature, but they were originally used as a weapon in these ancient wars. 

The first recorded instance of nail art as we see it today was actually the Inca Empire. Spanning across the 15th and 16th century, the Incas painted their nails with eagles. Although this had much more societal significance than the cartoons we often see nowadays, these intricate and tiny designs have hugely impacted the modern industry. 

A fascinating figure in the history of nail art is the Empress Dowager Cixi of China. During her reign from 1825 to 1908, she was instantly recognisable with her 6 inch long, decorated nail guards, made of solid gold and jewels. These protected her long nails, which were a symbol of her wealth as they indicated that she did not take part in manual tasks that would easily cause breakages. 

The manicure as we know it today stemmed from a European podiatrist, Dr Sitts, who adapted a dental tool for use on nails. This created what we know today as the orangewood stick, a staple tool in any modern nail technician’s toolkit. Sitts’ niece then expanded upon her uncle’s invention, creating a full nail care system and reaching the USA. Salons started to become more mainstream around this time, allowing nail care to become accessible to a wide range of demographics and social classes. Apart from salons, many started doing their nails at home as the first nail varnishes began to hit the consumer market. 

The first modern intricate nail designs began with the advent and emergence of acrylic nails in the 1950s. Acrylic nails in the USA quickly became a sign of femininity and style amongst African American women. Donyale Luna featured acrylic nails on her 1966 Vogue cover; she was the first Black woman on the cover of Vogue. Acrylic nails evolved along the disco culture of the 1970s as artists like Donna Summer, Diana Ross and Millie Jackson sported bright red acrylic nails as part of their style. When Florence Griffith Joyner, a former nail artist, won Olympic gold wearing six inch acrylic nails, news headlines were abuzz with discussions of how her nails matched her running gear. Bright and intricate nails were not yet in the mainstream, therefore Joyner’s nails became a big focal point of her Olympic journey. 

Nail art’s popularity was once again boosted by musical artists in the late 1990s and early 2000s as rappers like Missy Elliot and Lil Kim were seen with acrylic nails in their music videos and concerts. Nail art now is more varied and popular than ever, especially with the rise of social media, as everyone from at home nail enthusiasts to celebrity nail technicians can share their art with the world. Everywhere from Pinterest to Instagram to TikTok is filled with nail inspiration; there is no shortage of designs for every type of person. 

Clearly, the history of nail art is more complex than a gel manicure! It has represented social and cultural values for millenium, before becoming a stellar industry in the 20th century. Much like classical art has developed over time, nail art is constantly evolving and will certainly have a fascinating future. 

SU-supported College Disparities Campaign launches to create equal ‘Oxford experience’

Image Credit: The College Disparities Campaign

Following the release of The College Disparities Report, a subsequent College Disparities Campaign has announced its launch. The Campaign uses the findings of the report and suggests solutions to the problems, most notably creating an Endowment Fund, to balance out financial disparities between colleges. An open letter to the Vice-Chancellor, Irene Tracey, will be sent urging the University to take action. On Monday 29th April, a university-wide email from the Student Union (SU) will encourage all students to sign the letter, available to read now on the Campaign’s website.

The report, largely written by the current SU President, Danial Hussain, exposed great financial inequality between colleges, including analysing colleges’ yearly income, academic performance, financial aid systems and accommodation costs.

It also finds a direct correlation between college wealth and high positions in the Norrington Table, which ranks colleges according to the proportion of students receiving each class of degree. Merton College, St John’s College and Christ Church College are consistently some of the wealthiest colleges, and each year they place in the top quarter. The unfair nature of this is highlighted in the report; it also found that one third of students end up in colleges they did not apply to.

Danial Hussain told Cherwell: “the vast disparities in rent are the most materially significant effect of college disparities on the average student.” The report showed that there are higher rents for poorer colleges than in richer colleges. For example, Christ Church offers a subsidised rent of up to 50% for “undergraduates from lower-income households”. Hussain continues, “I will push for a median rent across all colleges – a tangible solution to even out the student experience.”

Co-organisers of the College Disparities Campaign, Danial Hussain and Cem Kozanoglu told Cherwell: “the College Disparities Campaign will build on the report’s findings…” They have proposed a solution in the form of an Endowment Fund. The report explains it as “a sustainable endowment fund which provides reliable funding to the poorest colleges at predetermined rates.” This would come at the cost of disbanding the current College Contribution Scheme, which is a fund that colleges with taxable incomes over £45 million contribute to that poorer colleges can apply for grants from.  

The Campaign stresses that the Endowment Fund would not slow the growth of richer colleges. Instead, their website states that due to richer college’s higher-growth assets, such as stocks and bonds, they will be able “to grow their endowment even after contributing to the Endowment Fund.”

The Campaign’s open letter urges the University to create an Endowment Fund as well as implementing other solutions, such as establishing a College Disparities Committee and revising the 2027 Access and Participation Plan. The letter asks “the University to act swiftly and decisively to address these disparities” so that “all members of the Oxford community have the same opportunities to thrive, regardless of their college affiliation.”

Hussain and Kozanoglu told Cherwell: “Our priority is to mobilise support for our open letter […] to unite the Oxford community – from undergraduates and postgraduates to alumni and academics – in a collective effort to drive change.” On Monday 29th April, this open letter will be emailed to every student by the SU to “encourage them to sign”.

A spokesperson from the University of Oxford told Cherwell: “the central University provides one of the UK’s most generous packages of financial support through bursaries and scholarships” and that ” the Vice-Chancellor has in the last year also increased the funding available to those affected by the cost of living, through Oxford Financial Assistance.”

The Conference of Colleges told Cherwell: “We welcome discussion of how best to ensure an appropriate level of provision across colleges, regardless of their relative resources, and welcome student feedback.” Hussain and Kozanoglu told Cherwell: “The University has also shown a willingness to listen to student concerns in the past […] we’re confident that these recommendations will be seriously considered.”

While the College Disparities Campaign has acknowledged that “real change will take time” since “college disparities have been an issue for decades”, Hussain and Kozanoglu “are optimistic that […] this report and campaign can mark a turning point.”

SU President-elect Addi Haran told Cherwell: “I look forward to continuing Danial’s work, which is a watershed moment for tackling the disparities between colleges, and will make it a central focus as SU president next year.

Cornmarket Street and Queen Street to undergo ‘extensive repair works’

Image Credit: Robin Sones / CC BY-SA 2.0 via Geograph

Oxford’s Cornmarket Street and Queen Street are scheduled to undergo “extensive repair works’’. Andrew Gant, head of transport management, announced at Oxfordshire County Council’s full meeting on Tuesday 16 April that the repairs are expected to take place over the summer.

Oxfordshire County Council told Cherwell: “Extensive repair works are planned for both Cornmarket Street and Queen Street in this financial year.” The plans involve the pavements of these streets being replaced and refurbished, which will start on Queen Street, before extending to Cornmarket Street. However, the initiation of the project is also dependent upon the “delivery of specialist materials from abroad”, and as such there is no confirmed start date yet. Overall, the repairs will take between 9 to 12 weeks, subject to external factors and conditions, such as weather. 

The two streets in the historic city centre were described as being “in a shameful state” in the meeting by Susanna Pressel, Councillor for Jericho and Osney. Pressel pointed out in her question to Gant that these streets were ‘’possibly the most prominent and heavily used streets in the county, at least by pedestrians’’, with Gant admitting they were “a bit of a mess’’ in his response. Following his reassurance that plans to repair the streets were underway, Pressel expressed support, stating she was “very glad to hear’’ of the plans.

The announcement follows a series of other maintenance-related works in the city and wider county. Oxford Road, the main road from Banbury to Oxford, shut for two weeks at the beginning of April to undergo sewer repairs. In the rest of Oxfordshire, pothole-related compensation paid out by the council has nearly tripled to over £230,000, with the authorities blaming “perfect pothole-forming conditions’’. The Oxfordshire County Council told Cherwell that: “The budget estimate [for work on Cornmarket Street and Queens Street] is approximately £600,000.”

Gant has also revealed previously that Woodstock Road will be resurfaced in August, pointing out that the repairs would take place “overnight and during the school holidays to reduce [the] impact.” This work would therefore take place back-to-back with the repair works on Queen and Cornmarket Street.

How to be a vegan – and an Oxford student

Image credit: Robin Stott / CC-BY-SA 2.0 via Geograph

I have a disturbing secret to admit, which might cause people to think I’m crazy, and Katie Hopkins to think I’m smelly: I’m vegan.

I have been vegan for over four years, and I can honestly say I have never found it difficult. Choosing a path of compassion and non-violence feels much easier to me than the alternative, and I firmly believe a vegan lifestyle makes positive contributions towards one’s mental and physical health, both human and non-human welfare, and the environment. What’s more is that one does not need to consume animal products in order to live a healthy life.

I am often reminded how fortunate I am to come from a household that supports my dietary choices, and to have been raised on South Indian cuisine, which can be so effortlessly veganised. I have come to realise this is not the case for my peers from different backgrounds – but university can be the perfect opportunity to assert your independence and choose your own lifestyle.

Despite Oxford being a fairly small city, it has a surprising number of vegan-friendly places. Some recommendations from a certified vegan are: The Coconut Tree, Chick Pea, Delhish Vegan Kitchen, Dosa Park, and of course, Najar’s (they have vegan mayo, ask for it!). A special mention goes to the banana bread French toast at the Handle Bar and the vegan doughnuts at Crosstown. However, I always wish there were more options, especially affordable ones, which perhaps only Najar’s gets points for. 

But what about students who want more than falafel and hummus? Cooking for yourself as a vegan is not nearly as expensive and difficult as people will tell you it is. While realistic meat alternatives can be pretty pricey, many staple sources of protein for vegans, such as beans and lentils, are in fact cheaper than their animal counterparts. Once you’ve secured said affordable vegan goods, a quick google search for ‘easy student vegan recipes’ will show you that you are almost definitely capable of executing a simple dhal or chilli. In fact, there are many cuisines around the world which are not centred around animal products. Ethiopian, Indian, and Mediterranean cuisines, among others, have largely vegan foundations, showing that the idea that one cannot live on a diet that is simultaneously sustainable, nutritious, and tasty, is entirely unfounded.

When it comes to college cuisine, I am privileged to be at St John’s, where hall food is incredibly affordable, and – for the most part – quite nice, with rare (devastatingly bad) exceptions (including a harrowing tempeh dish I still have nightmares about). A special shoutout goes out to the college café, at which the ratio of plant-based to non-vegan options is 2:1, not to mention the fact that there is always at least one vegan cake to choose from. By contrast, although I have generally had good experiences at formals, I have consistently been disappointed by my dessert. I just want to consume a meal that doesn’t inflict pain and suffering on others, whilst still having a sweet treat that looks like what’s in front of everyone sitting around me – is that too much to ask? Apparently so, considering the number of delicately plated fruit platters I’ve reluctantly eaten at the end of a John’s formal. 

My friends make fun of me, I am persistently asked “where on earth do you get your protein from?” and I will, tragically, never have a post-club night kebab. But I will always prefer it to the alternative, and I am proud to be happy, healthy, and 100% plant based.

The ultimate guide to May Morning

Image credit: Danny Chapman / CC BY 2.0 via Flickr

Dating back over five hundred years, May Day celebrations (traditionally) present an opportunity to herald in the arrival of spring. Whilst the tradition is now used as a clever marketing tool by nightclubs to get you dancing to even more cheesy ABBA tunes than usual, the historic element still welcomes in thousands of people from across the city and beyond.

For the clubbers amongst you, as always, options are plenty. With the clubs open for longer, May Day means starting the evening much later – a wise choice if you wish to survive the night to come. Closing times are around five am, giving you the chance to slowly make your way towards the location of the age-old tradition: Magdalen Bridge. As an alternative to the dancefloor, you could set out to conquer an in-college all-nighter with friends – maybe a movie marathon – before heading down to to cross paths with the club-goers.

In either case, as you reach the bridge, eyes occasionally flickering as fatigue sets in, you’ll encounter a wide variety of celebrations. Whether it is moving your sleep-driven body to the rhythms of samba music, or watching the Morris dancers shake their bells in accordance with age-old routines, the High Street is a spectacle for the weird, wonderful and everything in between. Following your arrival, you will await 6am, when Magdalen College Choir will be heard singing hymns for all to hear. After this is completed, you will have tackled the challenge that is surviving May Day. 

And for those who woke up for the occasion, you can treat your adherence to an early start with a breakfast or coffee in the surrounding cafes, who purposefully open to welcome in the celebrants. Whilst you still probably won’t sleep as long as usual in this instance, it can be a wholesome way to enjoy the event and escape the hangover. 

Importantly, for those choosing to sack off sleep for the sambuca, know your limits. Whilst there’s a high chance that will.i.am will try and convince you that ‘tonight’s gonna be a good night’ in the depths of ATIK’s main room, surviving May Day is no mean feat. Make sure to recognise when you need that glass of water from the bar, so that the night remains as good as possible for as long as possible. On a similar note, devise your May Day plans around what works for you. While May Day celebrations can be incredibly enjoyable, facing the dancefloor is not everyone’s idea of fun, and even if it is, five hours will strongly challenge even the hard-core clubbers.

Whether you choose to celebrate with a five hour clubbing session or a night in, followed by an early wake, is up to you – but, at its heart, May Day offers a unique opportunity to embrace another one of the many Oxford traditions.

Sharron Davies, the Oxford Literary Festival, and the place for transgender athletes in professional sport.

Sharron Davies in The Optimist Image Credit: Pebble Bay Enterntainment / CC BY-SA 4.0 via Wikimedia Commons

The bell chimed for 2 o’clock on Thursday the 21st of March and the doors closed for the Oxford Literary Festival’s most controversial talk: ‘Sharron Davies, Unfair Play: The Battle for Women’s Sport.’ I stood on the step of the main entrance wearing my ‘festival steward’ lanyard, and contemplating the politics of being a volunteer at what felt like a history-making event. There had been no protest, no commotion, and the courtyard around the Sheldonian was relatively calm, but the moment felt monumental. The memory of philosopher Kathleen Stock’s infamous 2023 visit to the union weighed heavy on my mind. The event was a watershed moment for what has become a particularly intense transgender debate here in Oxford, famously spawning public tensions between faculty and student activists that foregrounded important critical questions about the limits of free speech and the power of student protests. 

The Davies talk was a weird episode in the current history of the transgender debate in Oxford. As festival volunteers, we had the option of attending the event for free whilst tickets ranged from eight pounds to twenty, but the decision to hang around felt loaded. The Easter vacation had essentially flattened the student response to the talk, in stark contrast to Stock’s term-time visit. The ticketed entry seemed to further limit attendance, and although student tickets could be purchased at a discount, the issue of handing money over to figures like Sharron Davies poses its own problems. The student reaction was certainly voiced in a condemning Instagram post by the LGBTQ+ campaign of the Oxford Student Union and an article by Éilis Mathur for Cherwell, but in the quiet courtyard of the Sheldonian, there was not a protester to be seen. And unlike the other events, no members of the press showed up at the door I was ticketing; indeed, reception of the event, both local and national, has been incredibly quiet. It was the subdued atmosphere of the theatre which tipped me towards attending Davies’ talk.  As it seemed the lofty Sheldonian could become a literal echo chamber, it felt important that I take advantage of my free seat and expose the conversation to the wider student community.

Sharron Davies is a former competitive swimmer, who competed for England in three Olympic games. Since retiring from the sport, she has worked as a sports commentator for BBC and was an advocate for London’s bid to host the 2012 Olympics. She is a supporter of the Conservative party, endorsing Kemi Badenoch in the 2022 leadership election. Since 2019, she has become well-known as a vocal supporter of the separation of cis- and transgender athletic spaces, a concern which rests on her experiences swimming in the 1980s at the height of the infamous East German doping scandal. It’s a powerful opener. Davies had been frontline in the affair, racing against no fewer than three East German swimmers who were participants in a program which saw female athletes deceived or bullied into taking ‘vitamin pills’ containing anabolic steroids. Davies outraced two and came in second place behind the final East German swimmer, Petra Schneider. The Oxford literary festival website refers to her as the athlete who “infamously missed out on an Olympic gold.” 

These experiences underline her conviction that Olympic Sport committees, plagued by systemic misogyny, have continually allowed the mistreatment of women to go unnoticed and unchallenged. Part of this misogyny, she argues, is the willingness to turn a blind eye to the ‘unfair’ participation of transwomen in women’s sports. As with the doping scandal, Davies suggests that Olympic boards have not been willing to properly invigilate women’s sports because they do not value women’s victories as much as those of men. This undervaluing of women’s sport has, the argument goes, led to committee boards ‘taking the easy route’ by denying that there is a difference in performance capabilities between cisgender athletes and transgender athletes which she does not find to be a workable solution.

Convincingly, Davies exposes the complications inherent to the debate, identifying that the effects of ‘male’ puberty, which are not reversed by HRT –  such as increasing bone density and muscular development, and a narrower angle between the hips and knees –  can provide an unfair competitive advantage, particularly in fighting sports. It certainly seems important then, to differentiate sports categories in more than simple ‘male’ and ‘female’ categories. Whilst many of us would agree that these categories do not capture such complexities, Davies’ proposed ‘solution’, which involves separating transgender athletes from their cisgender counterparts, fails to convince. 

There is a twofold problem with Davies’ case for a segregated athletic space. As with many of the classic arguments associated with the TERF (Trans-Exclusionary Radical Feminist) position, there is a total lack of intersectional awareness in the argument. The existence of systemic misogyny within professional sport is indubitable. But Davies, despite aiming to appear sympathetic to the transgender experience, mistakenly suggests transgender and cisgender athletes compete for the same space, which they cannot both occupy. As she terms it, “Women already have a small piece of the pie, and it is becoming smaller,” a sentiment epitomised in her suggestion that Lia Thomas was a ‘mediocre’ swimmer when she had competed in the ‘male’ category, and therefore should not have enjoyed such success as she did competing as a woman. This time round, Davies chooses moderate language, but an article from The Times in June 2023 quotes her referring to trans athletes as “mediocre males self-identifying their way out of biological reality to a new status in sport.” It’s not a good look. While Davies claims to put the crux of the issue on Olympic committee boards, not individual athletes, the idea that transgender women are being allowed to ‘take pieces’ of the womanhood ‘pie’ inevitably and unfairly pits athletes against each other.

Moreover, Davies gestures towards biological definitions of womanhood. For example, she talks with sympathy, though not without an agenda, about the tragic effects of the doping program, making specific references to Schneider’s struggles with fertility. Another moment sees interviewer Andrew Billen pose a question about the perceived dangers of allowing transgender women to to share changing rooms with their cisgender teammates, focusing on the presence of male genitalia in ‘female’ spaces and the possibility that there is an inherent power dynamic tipped in the favour of male-to-female transgender athletes. Davies contributed to this narrative by drawing attention to the very real financial vulnerability of often single-sponsor female athletes to the problematic effect of suggesting that they are forced to accept the unwanted or (it is implied) traumatising presence of ‘men’ in women’s spaces. The focus on making safe spaces for women would no doubt be more fruitfully directed at handling the abundant cases of sexual misconduct by cisgender coaches, a much more common and persistent fear for young female athletes. 

In one especially ‘on the nose’ moment, interviewer Andrew Billen asks Sharron Davies if she sees herself as a TERF (Trans Exclusionary Radical Feminist) and she responds by saying that she identifies as a woman, and a mother. It is perhaps no coincidence that one of the only places that the Literary Festival event shows up on the internet (besides the festival website) is in a forum post on mums.net. The appeal to motherhood as an identifier of cisgender womanhood clearly strikes a chord with Davies’ supporters.

A question from an intersex member of the audience provides the first and only real challenge to Davies’ views. The questioner suggests that the language around intersex people in Davies’ book is awkward and dehumanising, suggesting that Davies had implied that intersex was not an identity but a biological abnormality, and asks if Davies has any advice for intersex individuals who feel excluded from professional sport. After some disagreement on the appropriate way to refer to the intersex community (with Davies suggesting ‘Diverse Sex Characteristics, is more representative, whilst the audience member defends their choice of label) Davies then questions why intersex people would feel excluded from professional sport, whether this feeling of exclusion is justified. Her tone – defensive rather than encouraging – and her insistence on the lack of social barriers into a professional sports career is bizarre. I find myself wondering why Davies doesn’t simply apologise for a poor choice of language and exercise some of her inspirational-speaker-meets-life-coach muscle and deliver some token inspiration about chasing dreams and overcoming hardships. Instead, she chooses to argue about the language of a community she does not represent, adopting a tone-deaf approach to an invitation for words of encouragement. Although the end of the talk sees the two shake hands relatively cordially, it is not a flattering or compassionate moment.

Despite all of this, Davies’ talk does leave room for optimism. Although Davies was only directly challenged by one advocate for the LGBTQ+ community, a sense pervaded the event that she is conscious of LGBTQ+ and student sensibilities on this sensitive issue. For example, Davies’ use of gender reaffirming terminology, her tempering of some of her former sentiments about Lia Thomas, and diligence in professing her sympathies for the struggles of the transgender community demonstrate the kind of awareness brought about through protest and activism, such as the interruption of Kathleen Stock’s appearance at the Oxford Union and the SU’s LGBTQ+ campaign callout post. The result was that the voice of student LGBTQ+ activists was ‘present’ in the room, even at an event that saw limited attendance by Oxford students because of the vacation. One comment in the mums.net forum read,Oxford, eh? I hope that a horde of screeching blue hairs doesn’t turn up to ruin the event.” Perhaps we should see this ‘blue-haired Oxford effect’ as a small win for activism.

What should we make of these observations? It is difficult to be an activist. It is often the case that the activist space feels dark and defeatist. Hopefully, the indications that Davies is more conscious and attuned to the sensibilities of an LGBTQ+ audience suggest that activism has worked to the effect of forcing public figures to be held accountable for their language. The movement should take some pride in that accomplishment.

However, the subdued atmosphere at the Sheldonian and the framing of Davies’ potentially trans-exclusionary arguments reflects an uncomfortable reality. There is talk everywhere of a ‘tide turning’ towards the Conservative position on the sports issue. Sharron Davies states her conviction that she would not have been platformed at the Oxford Literary Festival even just two years before. Sports committees are increasingly banning transgender athletes from competing with their cisgender counterparts, without an effective solution having been reached. 

I reflect on the quiet and uncontested filter of people into the Sheldonian, the sparse ticket queues. The event is not even close to selling out. The initial storm of debate about the inclusion of transgender athletes seems to be fading away. I hope that we might capitalise on the increasingly omnipresent concern for accountability to enter a compassionate debate on the right way forward, rather than leaving the decision to be quietly made uncontested in the boardroom of the Olympic committee. It is essential to prevent such significant cultural moments from sliding quietly under the radar. But inevitably we are forced to accept the classic, if hard-to-swallow reality that there is still more work to be done.

Long Day’s Journey Into Night review

I walked into the Wyndham Theatre’s production of Long Day’s Journey Into Night by Eugene O’Neill half-expecting a night at the London Theatre like any other. Beer in hand, I filed in with my family to the gorgeously decorated auditorium and sat watching the stage with the rest of the buzzing crowd, waiting for the show to begin. Initially, there wasn’t much to note- the set is a sparsely furnished wooden room, almost grey in colour, remarkable only in its plainness. The initial action was somewhat slow-paced as well. Brian Cox of Succession fame plays James Tyrone, an ageing Irish-American actor and property developer, with Patricia Clarkson as his wife Mary – recently recovered from an unnamed illness – and Anthony Boyle and Daryl McCormack as his two unruly sons. We’re initially presented with a rather pleasant family set-up, with acting that didn’t stand out – I found Clarkson’s performance in particular rather clunky, though, as later events were to show, this was entirely deliberate on her part.

Image Credit: Thomas Berg / CC BY-SA 2.0 DEED via Wikimedia Commons

It takes time for the plot to unravel in this extremely long play – a three hours and ten minutes run time, with a single interval of only fifteen – but unravel it steadily does. In a series of sinister underhand comments and hints of suspicion and suggestion, O’Neill’s masterful script slowly opens the lid on how fearsomely dysfunctional this seemingly-innocuous family really is. Mary’s recent illness is slowly revealed to have actually been a period of crippling morphine addiction, and Clarkson’s jittery and unsteady portrayal of her at the start is symptomatic of its recent resurgence. Younger son Edmund, played by Boyle, does not have a mere cold, but is likely suffering from consumption as a result of his heavy drinking lifestyle (his depressing story definitely discouraged me from getting another beer in the second half…). Older son James, played by McCormack, is a wayward alcoholic who spends much of his time in brothels, and Brian Cox gives a stunning performance as the elder Tyrone whose ungenerous and unsympathetic character is partly to blame for his family’s ills. The play is long, and slow-paced in the first half, but never boring. With each subtle reveal the tension mounts and mounts, aided heartily by the high-strung performances of all the actors. A perfect storm is clearly brewing – one which finally breaks in the second half.

O’Neill is known to be heavily influenced by Shakespeare, and this is clearly evident in his portrayal of bitter drunken arguments and moments of deep emotional pathos which punctuate the last two acts of this play. They are relentless and they are devastating. I found particularly powerful the conversations between Boyle and McCormack, offering a gut-wrenching portrayal of the simultaneous beauty and destructiveness of familial love. Boyle, McCormack and Cox all offered spellbinding performances in this half, wrought with passion and heightened emotion. But particularly memorable was Clarkson, whose depiction of a mother slowly losing herself in the grip of morphine was absolutely heart shattering. Thankfully, comedy relief is at points offered by an enjoyable performance from the maid Cathleen, recognisable from Derry Girls. All in all, the eventual ending left me emotionally squeezed dry. I truly understood the power of catharsis then – it was so overwhelming as to actually be refreshing upon its close.

Long Day’s Journey Into Night is not an easy play to watch. At times, it is in fact, excruciating. It is not fun, it is not hopeful, and it is totally unrelenting. But it is masterfully written and masterfully acted from all parties, and I left it somehow feeling better about myself. For a Shakespearean inspired tragedy rewritten for the modern era, I would advise you to look no further. Though maybe mentally prepare yourself for the emotional rollercoaster…

‘Long Day’s Journey Into Night’ runs at the Wyndham Theatre, Charing Cross Road, London until 8th June. This play contains themes of alcoholism and drug addiction.

WaterTok, Stanley cups and the half-empty glass of consumerism

We all need to drink more water. A 1998 New York Hospital-Cornell Medical Center survey of 3003 Americans found that 75% of those interviewed were ‘chronically dehydrated’ — a condition apparently characterised by fatigue, memory loss, irritability, and anxiety. It is no wonder that, according to a Cherwell poll, 78% of Oxford students claim they are ‘trying to drink more water.’ 

Conventional wisdom prescribes that each person drink eight glasses (or two litres) of water a day; an amount so difficult to maintain that it has spawned countless industries bent on supporting our apparent need for endless hydration, and demanded the writing of NHS guidelines and Healthline articles on how to force ourselves to drink more. The internet is full of information on the seemingly exponential benefits of excessive hydration; according to TikTok ‘hydration experts’, drinking more water can clear your skin, heal eczema and flush toxins from your organs . Water consumption is no longer a fulfilment of the biological need of thirst, but an endeavour to be a more attractive, healthier, happier, better version of yourself

But is this true? 

I reached out to Dr. Tamara Hew-Butler, a Professor of Sports Science at Wade State University, who explained that, “most people do not need to be drinking 8 glasses of water a day. The amount of water you need to be consuming is dependent on a lot of things, like your weight or the climate you’re in. We also get a lot of our daily water and minerals from the food we eat.” When I push her on the seeming necessity of driving oneself to drink when not thirsty, she explains that “the gene for thirst is one of the oldest and best evolved in the human body. It is probably the best marker for when you need to be drinking water.” On the possibility of  health benefits from drinking too much water, she explains that “it can help prevent UTIs, if you have a history of UTIs, or help prevent kidney stones, if you have a history of kidney stones. Apart from that, the only thing your body is doing with that excess water is peeing it out.” 

Yet, despite this evidence, myths surrounding hydration still abound. In fact, water has long been linked both to ideals not only about health, but purity and goodness; see the ostensible healing qualities of Roman Baths, the historical folk medicine of healing wells, even the symbolic purification of baptism. As the Royal College of Physicians in Edinburgh explains, at different points of history water has been touted as a cure to “all manner of ailments – from smallpox, to gout and indigestion.”  Hew–Butler traces the provenance and endurance of these ideals to the fact that water is “readily available, and necessary for life. There also aren’t any real dangers from drinking more water, unless you take it to extremes.” There is almost a common-sense element to the promotion of over-hydration — drinking enough water is crucial to health — what harm could come from drinking more?

However, it would be remiss to chalk our modern take on hydration to simple medical misconception. In truth, it is a highly profitable marketing scheme which helps to fuel some high-value industries. As Hew-Butler explains, “these commercial conceptions of ‘hydration’ are really very recent— I first noticed it in Gatorade marketing campaigns in the 90s, then with plastic bottled mineral water in the 2000s.” The academics and research of hydration are therefore saturated with the corporate interests that they support; the Cornell Medical Centre’s findings on hydration — which, as you may remember, stated that 75% of adults are chronically dehydrated — were funded by the International Bottled Water Association. Their subjects’ ostensible ‘dehydration’ was not determined by medical testing, but by, as Hew Butler outlines, asking if they ‘drank at least 8 glasses of water a day,’ and declaring them dehydrated if they did not. When I tried to find their research for myself, I first saw it linked on a website selling flavoured water supplements. 

Stoking fears about dehydration translates directly into real-world profits. As of 2023, the bottled water industry was valued at £2.1 billion in the UK alone — 20 years ago, influencers photographed themselves with Fiji Water, sleekly packaged bottles of water which boasted high contents of ostensibly healthy minerals. As concerns about plastic pollution grew in the public consciousness, fueled by the release of studies finding microplastics in plastic water bottles, the commercial focus shifted towards the development and marketing of reusable water bottles. Contrary to their claims towards sustainability, these bottles arrive in noticeable trends, and develop into fashion statements of their own — you might remember the seemingly ubiquitous Chillis bottles (and ensuing knockoffs) of the later 2010s, the gallon-sized Hydromates, with their (vaguely threatening) printed encouragements of ‘KEEP DRINKING’, as endorsed by celebrities like Kendall Jenner, or the relentlessly marketed Airup bottles, which promise to flavour water (and therefore encourage its consumption) with ‘scent technology’. Of course, you would be entirely forgiven for not remembering any of these bottles; as with all trends, they have all experienced a brief craze of visibility before their inevitable, ever-swifter replacement with the next bottle on the market. 

The current water bottle du jour, however, has raised a little more controversy. Priced at £45, the Stanley Quencher cup is a 1.2 litre tumblr manufactured by Stanley, a brand of previously utilitarian water bottles, which touted its products as construction site essentials. Their shift in advertising has paid off; CNBC estimates Stanley made over $750m last year, compared with an average of $70m a year before 2020. Perhaps the most useful tool in Stanley’s rebranding has been the social media zeitgeist that surrounded them. They have quickly become a mainstay of ‘WaterTok’, a TikTok subculture populated by well-hydrated (mostly) women — Stanley Cups are their weapon of choice against the spectre of dehydration. Under the #WaterTok Hashtag, you can find countless videos of its members making their ‘water of the day’, filling their cups with multiple flavouring packets and sugar-free syrups in order to produce moderately off-putting concoctions such as ‘Birthday Cake’ and ‘Mermaid’ flavoured water. Any use of flavouring is, of course, entirely justified as a means towards the ultimate end of ‘drinking more water’. WaterTok’s cultural prominence, (and therefore the ensuing backlash against it) was precipitated in early 2024 by Stanley’s collaboration with Starbucks to release a limited-edition pitcher, resulting in fatalistic and purge-style video clips of well-manicured American women tussling over the cups in outlets of Target, the American retailer. The videos were quickly followed by backlash from social and conventional media alike, of varying legitimacy. It is true that the flash-marketing and mass-collection (many WaterTokers boast huge, multi-coloured collections of Stanley Cups) of ostensibly sustainable products does undercut the environmental benefits of their production — yet the conversation around WaterTok has been  (true to general internet form) one of mockery, rather than discussion.

Much of this ridicule is notably gendered. On the 28th of January 2024, the sketch show Saturday Night Live released their ‘Big Dumb Cups’ sketch, in which members of the show’s cast sport thick Southern accents, blonde wigs, vacant stares, and, of course, Stanley Cups. The Stanley Cup, therefore, seems to have grown from a simple product to a shorthand for a type of person; to mock the bottle is to mock the buyer. The surrounding discourse is, of course, entirely aware of this — one comment lauded the sketch for having “Absolutely NAILED this type of woman!”, while others discuss how they are “slaying the white mormon mom!”. Each snide aside locates the cups’ users within a distinct societal archetype, one profiled as white, lower-middle class, Christian (somehow?), and, of course, female. Mockery of the cups, therefore, manifests not only as a reaction to the consumerism they represent, but as an excuse to mock the ‘type’ of woman to whom they are attributed, an outlet for internet users to purge themselves of their (apparent) vitriol for blonde Mormon mothers of three. 

When viewed through the lens of the gendered ridicule it enables, the scale of the backlash generated by the cups begins to make more sense. J. B. MacKinnon, author of The Day the World Stops Shopping: How Ending Consumerism Gives Us a Better Life and a Greener World, characterises these flurries of outrage as “finger-wagging”; the consumer frenzy surrounding Stanley Cups seems to be facing disproportionate criticism compared to its relatively insignificant impact on the environment, compared to, say, the ever-churning behemoth of Fast fashion or the massive emissions produced by commercial air travel. 

It is not only the trend’s detractors who use the cups as a marker of identity; like many products peddled to consumers, they inhabit the cultural zeitgeist as more than just a water bottle, but as a declaration of values. This, of course, is not only unique to water bottles; consumption, in recent years, has equated to its own form of communication. Products have increasingly become coveted, not for what they do, but for what they mean.  A friend of mine who bought a Stanley claimed she was motivated partly by seeing “so many people on socials” with them, and the hope that it would push her to do “cute aesthetic work with it.” 

As far as purchases go, the cups are clearly aspirational; Hew-Butler described them as a “symbol of health”, a sign that their user is drinking their water, taking care of the environment, consuming in the marketing-approved right way. My friend largely attributed her Stanley Cup purchase to the fact that she felt it would “help [her] to drink more water”; and when water is falsely equated to health, attractiveness, and happiness, there is more to drinking more water than simply drinking more water. It is not only a reach for self-betterment, but, in the cases of cups like the Stanley, a public communication of this reach. 

Hew-Butler’s summary of the over-marketing of hydration is simple; in her words, “to be told you need to drink more water is to force you into thinking that you need something that you really don’t.” Perhaps this is what is so objectionable about the overconsumption of Stanley cups — there is something bleakly metaphorical in the  whole cycle of buying a bottle that you do not need to own, in order to force yourself to drink water that you do not need to drink. Certainly, when Hew-Butler explains that “people are constantly sipping, so they are never really thirsty, and so they think their thirst is ‘broken’, and they feel like they should be drinking even more,” I am struck for a moment by the utter futility of the scene she describes. 

On the flip side of water’s commodification lie its consumers, for whom thirst is characterised as an endless, cavernous need. It is insatiable, even in the face of all the products sold to help sate it; you cannot quench a thirst that you do not feel, and you can never have enough of something you never really needed at all.

Artwork by Oliver Ray

Film around the world – Turkey’s Atıf Yılmaz

Richard Ha / CC by 2.0 DEED via Flickr

Atıf Yılmaz was a Turkish film director. Until his death in 2006, he was extremely prolific and directed films across every decade of Turkish cinema starting in the 1950s. He directed more than a hundred films in total – I’ll write about two of them.

Two of the films he made during the Yeşilçam Era (the name given to what is usually considered the ‘golden age’ of Turkish cinema between the 1960s and the ‘70s) were Kibar Feyzo and Selvi Boylum, Al Yazmalım both of which were released in 1978.

Kibar Feyzo (‘kibar’ means ‘kind’ or ‘polite’) is a comedy film. It stars Kemal Sunal, who is probably the best-known Turkish comedian. Kibar Feyzo may be the funniest film I’ve ever seen, although most of its comedy is derived from the ridiculously clever wordplay that I’m not sure a non-native speaker would comprehend. At any rate, if you’re not Turkish and have decided to watch this film, you’ll still find it funny and have a good time. You might just not laugh at every other sentence like I did.

Kibar Feyzo’s cinematography is drenched in sunlight. It has a bombastically light-hearted soundtrack and a very cheerful cast of characters. Everything about it is jolly, or so it would seem. Kibar Feyzo is about a poor villager returning to his home village after military service. He is Feyzo, and he is determined to marry Gülo, the girl he loves. However, he is forced to come up with an enormous sum of money to appease Gülo’s father and receive her hand in marriage. Penniless, Feyzo sets out to secure every bit of money he can, and funny shenanigans start happening from there.  

However, Kibar Feyzo is also about domestic violence, corruption, ethnic persecution, the exploitation of workers, misogyny, police brutality, and so on. It’s one of my favourite comedies, a brilliant exercise in dark humour. Across its 83-minute runtime, its satire and over-abundance of jokes never gets boring. You might find yourself so caught up in Feyzo’s amazingly humorous voice-over that by the end of the film, you’ll forget that you are watching a flashback. In this last scene at the police station, Feyzo delivers such an abruptly devastating final line that suddenly the film isn’t so funny anymore. Why is he there? I’ll let you find that out.

Selvi Boylum, Al Yazmalım, Yılmaz’s other 1978 feature, is best known internationally with the title The Girl with the Red Scarf. I dare not write down its very lengthy literal translation lest I incur the wrath of the Cherwell Editor Team. Unlike Feyzo, this film doesn’t pretend to disguise itself as a comedy. It is a sad – yet very engaging – story of a woman named Asya, who falls in love with a man named İlyas, has a child with him, and promptly gets cheated on. Asya is in an inconvenient situation: her family has disowned her because she married someone not of their choosing, so she can’t go back there. She has a son now whom she must take care of, so she can’t just take the bus to the big city and hope to find work and a place to stay. This is where a third party enters her story: another man, who teaches her the actual definition of love, or she teaches it to both men – I don’t know, the last twenty minutes of this is very emotionally intense. Another great thing about Girl with the Red Scarf is that it has the best theme song I’ve ever heard. I listen to it most days. This is a much better-known film in Turkey than Feyzo, which is my personal favourite. 

These are two of the four feature films Yılmaz directed in 1978. Feyzo was banned for ten years before it became a cult classic, and Girl with the Red Scarf is now hailed as one of the masterpieces of Turkish cinema. I’d say both of them deserve the latter’s treatment, and so do many other films of his.

Delayed New College accommodation which forced students into hotels officially opens

Image Credit: Will Pryce via New College

New College’s Gradel Quad has officially opened after month-long delays. The Quad, opened by Oxford’s Vice-Chancellor, Irene Tracey, was built to provide college accommodation for the majority of third-year students at New College. However, construction delays left students living in a hotel for Michaelmas term. The hotel, four miles from the City Centre, left students with long daily commutes, and an incident involving an escort was reported by a student. 

Speaking to Cherwell, a New College student said: “Living in Gradel Quad has been a great experience so far. Having recently injured myself it’s been amazing to have disabled-friendly accommodation so close to college.” Another New College student said: “it’s brilliant to have the third years integrated as a part of the college community.”

The opening was attended by the Lord Mayor, Lubna Arshad, and key donor, Chris Gradel. It marks New College becoming the latest in a string of colleges to assure accommodation for nearly all undergraduates. Speaking at the opening, New College Warden, Miles Young, said:  “We are immensely grateful to Chris Gradel as the foundation donor of this project. It allows us to house 94 third-year students in college, releasing pressure on the Oxford housing market.”

Although the majority of residents moved in at the beginning of Hilary term, the opening was delayed to allow for the completion of New Warham House. Parts of the development were opposed by Mansfield College, who argued that the tower on New Warham House impedes the privacy of Mansfield students, as it overlooks their residential quad. The accommodation includes student flats with kitchens and accessible rooms.

The buildings were designed by David Kohn as was described by Historic England “one of the very few instances where contemporary design can be considered genuinely outstanding”. 

Young has said: “We are thrilled that, as novel and as original as they are, these buildings already feel like an intrinsic part of student life at New College. Even though there’s still a little more work to do, they’ve already shown their usefulness.”