Tuesday, May 13, 2025
Blog Page 251

‘The most important lesson I’ve had as a journalist’: Adam Fleming in conversation

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Adam Fleming joins me just before his daily nap. A critical part of his daily routine, enabling those 4AM starts and late-night Newscast sessions, he describes himself as an “Olympic power-napper”. I joke that his time as a student in Oxford – late night essay-crises galore –  must have prepared him well for working at the BBC. 

Adam is personable and conversational. It is a stereotype that journalists can be closed-off and insular; but from first listening to Brexitcast over four years ago, I knew that Adam would be the opposite. A self-confessed lover of detail, his recollections of his time here in Oxford – nearly 20 years ago – are illuminating and warm. Known for his use of ‘Brexit binders’, I should hardly be surprised. 

Throughout our interview, I’m struck by how open and honest Adam is. Whilst he is consistently friendly on TV and the BBC’s podcasts, those conversations are political (and, crucially, professional) in nature, with his colleagues and friends. In comparison, our brief chat about Hertford (the Oxford College we share, some 20 years apart) are like conversations with any of my friends studying here now. 

Despite British politics being so tumultuous, we avoid any discussion of current events – Adam’s calm, reassuring voice instead discussing his career and opportunities.

Having risen up the BBC ranks from an internship and presenting Newsround to being Chief Political Correspondent, I ask how he was ever able to prepare for that style of career. Studying Geography at Hertford College, Adam was a keen student journalist (for a rival rag publication to Cherwell). He originally wanted to be a film director, but was introduced to both the Oxford Student and Oxygen radio (now Oxide radio), where he felt he’d “found [his] calling early on”. He tells me that he knew his interests lay in broadcast journalism, rather than print; finding it “a bit more satisfying than the long process of writing a newspaper article”.

It wasn’t just the satisfaction, though; Adam explained that he was (and still is) “extremely envious of people who can just go and churn out a beautiful piece of copy”, but that, for him, it was more “natural” to work in broadcasting. Having developed a taste for radio broadcasting after having been introduced to the station by those in the years above, he found the experience was good training for a future broadcasting career. He explains that “the way you have to talk and broadcast and troubleshoot and fill” whenever anything goes awry is the best way to learn the tricks of the broadcast trade. 

He traces his journalistic abilities to his time at Oxford, explaining that the “essay-tutorial system is probably the most important lesson” he’d ever had as a journalist; that taking in lots of information and synthesising it is something he does when presenting, every single day. He confirms that Hertford’s culture – a “melting-pot of people from different backgrounds” – was just the same then as it is now, and that the Hertford spirit of “not taking yourself too seriously” was fundamental to getting involved with student journalism. He clarifies that this was a “subtle” influence, but one that enabled him to experiment with things like student radio. 

From there, Adam remembers heading to the Oxford Careers Service on Banbury Road, seeking out the Broadcasting folder. He found an advert for the BBC work experience scheme, being accepted for a three-week placement after “hassling them about the application”. From there, he was told to take a postgraduate diploma in journalism, funded by the BBC. 

Midway through that course, he was invited to take part in some BBC filming, as they needed “guinea pig reporters”, helping some camera operators out in their training. The subsequent VHS – “that dates it for you!” –  ended up on the desk of the editor of Newsround. They were looking for a young, male presenter, and Adam jokes that he was also “quite cheap to hire”. 

Adam makes clear that his “way in” to the BBC was based on “a combination of lots of strategy and lots of luck, and lots of work experience”. But the factor that truly helped secure his place was following the advice of those already in the BBC, as they were the source of advice that “really made it” happen for him. 

Adam’s next steps were into presenting Newsround; an “amazing, amazing experience”. He beams when describing this section of his career, emphasising both the freedom of working on the show and its unpredictability: “interviewing Toby Maguire, or Will Smith”, then heading back to present “from the other end of the Newsround cupboard”. There was “no typical day”, but every day was united by the same “thrill, being sandwiched between Blue Peter and Neighbours”. The audience of Newsround was bigger than now; the majority of children heading home after school and immediately switching on the TV. It’s certainly how I first came across Adam!

A report by the Children’s Media Foundation describes the ideal Newsround presenter as “warm and engaging”, but possessing an “air of authority”. Adam fits the bill perfectly, describing the responsibilities of a Newsround presenter as having to decide “what the audience of 6 – 12 year olds need to hear today, and how to best tell them”. This is a part of the “Newsround DNA”, the “balance between giving young people the information and not scaring them”. 

Adam made clear that Newsround would always “say it’s alright to be scared about something”; never patronising or rude. Part of Newsround’s appeal was that the exact same events being relayed to adults were presented to children, too; Adam describes “foreign jaunts to America for Obama’s inauguration”. The Newsround newsroom (“cupboard”) had a policy of “never censoring ourselves”, never discounting a story because it would be “too hard to explain”.

Newsround’s successes were in reporting directly for the young audience, not the adults. He describes the “classic tricks” of both himself and a camera operator “crouching down” when interviewing a child. Being at the child’s eye level was better for their interview subject – reducing any fear and establishing an immediate rapport. It also avoided alienating the young audience. 

I asked Adam if he felt he’d left any mark on Newsround during his 2002-09 tenure. He described it as a process of “inheriting it and looking after it and passing it on to the next person”, with no fixed format beyond communicating the news to children. “The audience is continually moving on”, with younger viewers watching for the first time whilst older viewers gradually watched Newsround less. He expressed pride that those older viewers “still watch and listen to me now”, as he had “moved on” along with them onto BBC News.

After Newsround, he moved briefly into the BBC Newsroom as a “junior baby political correspondent” for three months, before working on the BBC’s Daily Politics until 2017. At that time, in the midst of disputes over Britain’s future in the European Union, he developed his interest in the EU – an “untapped market” for the BBC’s news output that evolved into a role as a political correspondent in Brussels. 

It was then that Adam collaborated with Dino Sofos and fellow political correspondent Chris Mason to create a podcast, first titled Electioncast and later Brexitcast and Newscast. Their thinking was to experiment, with no set format or plan before they sat to record the first edition. It became clear that they had a hit on their hands – a well-informed conversation between good friends with a collective “zany energy”. Laura Kuennsberg (Political Editor) and Katya Adler (Europe Editor) quickly signed up, finding that their passions for news and presenting enabled them to have detailed discussions and – crucially – “bring the audience along with them”. 

Adam explaines that whilst there was no central vision or “magic formula” for their podcast, the experience of Newsround had been the formative element on the podcast’s success. Newsround taught him “the importance of understanding the subject so you can convey it properly to the audience, without making stuff up”. This nuance developed into an additional understanding; that no matter how complicated something is, “people will still be interested in it”. 

The podcast’s unconventional “zany energy” – that won over so many listeners – originated as a “total natural product” of what the presenters’ jobs were like. The podcast was consciously “natural”, with no conventions of “classic news”. The presenters agreed they wanted it to be “just them”. Such a recipe was aided by the podcast’s reactionary role; always convening no matter where they were – a “skiing holiday”, “espresso bar”, or “the bus from the airport” being Adam’s examples. 

The central philosophy of their podcast was therefore to always preserve their “natural” conversations; informed journalists “talking about their subject in an enthusiastic way, in a lot of detail”. I asked whether that honesty was ever called into question, either in the shift into a daily production, or the shift to having one episode a week televised. Adam remarks that the “key components” of their podcast were preserved throughout: the same presenters, in the same room, with the same energy. They made the active decision to not use a TV studio, but to “adapt one of the Westminster radio studios, and stick loads of cameras in there”.

The team had established a framework that preserved the podcast format, but with cameras – building the “technical and editing processes around the same raw material”; just “people talking about the stories they’re working on in a really enthusiastic way, and enjoying themselves as they do it”. 

Aware that the time we set aside for the interview is rapidly running out, I suggest that Adam might want to wrap things up soon. “Take as long as you like”, he replies. “I can talk about myself for ages!”

That interaction sums up the other success of Newscast; the impression that the presenting team are selfless, working to inform their listeners in a way that exceeds ‘traditional’ public service broadcasting. Adam is the perfect example of this selflessness; referring to listeners as “Newscasters”, and inviting them onto the podcast to share a particularly relevant story. 

Our conversation then shifts to podcasting as a format, with Adam expressing near-glee at the absence of any BBC podcasting “legacy”, with every day “feeling like a blank sheet of paper”. “We could try things”, he explained. “If the audience didn’t like it, they’d let us know”. This increased interactivity – a helpful journalistic parasocial interaction – is a constructive marker for the podcast. It enabled the team to “become a bit like a curator of the news”, guided by helpful feedback on how audiences “trust Newscast to tell them the most important things they need to know”, with some feeling disillusioned by traditional television news. 

Such an answer led me to ask whether that meant podcasts were the future of news. Adam suggested that the future wasn’t a single format, but rather the ability to “choose how they will get their news, when they’ll get it and what they can ingest”. He looked to the BBC’s implementation of ‘live update’ news pages as an example of a new, popular format; describing how they “never knew necessarily that they’d be popular”, and that the choice they can now offer is “brilliant”, removing the possibility of feeling overwhelmed by current events by allowing each audience member to define their news intake.

Adam consistently emphasises the need to both “experiment” and to be yourself in news and journalism. The promise of individuality is what brought Laura Kuenssberg and Katya Adler on-board; the podcast offered new advantages for them to talk about the “1000 things in their notebooks” that couldn’t be squeezed into a traditional bulletin. He acknowledged that the episodes can be “long and chaotic”, but that both the public and Adam’s “really well regarded, well-paid senior colleagues” had realised that, through their experimentation, they’d hit upon a winning format. 

Aware that I have to get back to my insurmountable essay crisis (and that Adam has to get back to his nap), I ask my final question; about Adam’s recent appearance on Christmas University Challenge. Adam explained that he tried some revision, but “you can’t revise the entire history of humanity and all of human knowledge – so there’s not really much point“. He hadn’t anticipated “quite how psychological the format is”, that you have to “just take the risk” when answering a ‘starter for 10’. I ask if the atmosphere is any different as a competitor on the ‘alumni’ show, but Paxman apparently “isn’t nicer”, and it’s “just as stressful”. 

Above all, my conversation with Adam seemed to consistently come back to the ideas of experimenting, having confidence in your ideas, and being yourself. As Adam admitted, his entry into journalism was a healthy combination of “strategy” and “luck”; but it was ultimately his “calling”. He has learnt from every single experience, using his time at Oxford, time at Newsround, and time as a correspondent to continually develop. It’s this passion that led to the success of Newscast; a passion evidently shared by the whole Newscast team. I suspect the mid-afternoon naps are essential to maintaining that passion!

Image Credit: Adam Fleming

Eurofashion! How rock music can learn from Måneskin’s style

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Since making history with their win in the 2021 Eurovision Song Contest, the popularity of Italian rock band Måneskin has skyrocketed. Not only is their music amassing quite literally billions of streams, but they have also made a name as fashion icons. During the Eurovision Song Contest final, they captured the hearts of viewers with a charismatic stage presence and powerful performance. Another unmissable aspect of the show were their outfits: burgundy metallic leather suits by Italian brand Etro were coordinated with chunky black boots and smudged eyeliner, as they stole the show in every way.

“We like to experiment, have fun, mix it all up,” explains bassist Victoria Di Angelis in an interview with GQ. Indeed, it’s clear they don’t hold back when it comes to style. Inspired by 70s glam rock both musically and sartorially, a quick scroll through their official and personal Instagram accounts shows why they’re one of the hottest groups in the world right now. Previously, they have been pictured in Vivienne Westwood, head-to-toe Gucci, or even bondage gear, pulling off looks which Harry Styles could only dream of. Though they’ve cited Styles as a model, it appears that they’ve actually outdone him – rather than looking like they’re trying too hard to push boundaries, the four members of Måneskin exude a genuine, effortless ‘cool-kid’ vibe in even the most extravagant outfits.

Måneskin’s personal styles have evolved along with their music, though that’s to be expected since they began their career in 2016, busking on the streets of Rome in exactly the kinds of outfits you would expect from a group of European teenagers. The radical transition from skinny jeans and denim shirts to flared trousers and embroidered suits happened along with their musical transition from funk/pop-rock to alternative hard rock. Måneskin’s fashion sense and impeccable coordination are a blessing for fans of rock, as the fashion side of this genre has been a let-down in the past decades. Yes, Fall Out Boy did fill my childhood with amazing songs, but their outfits left much to be desired (who let Patrick Stump get away with those fedoras?).

However, outside of the west, things do look different. Japanese rock bands have been influenced by 60s American and British rock since the late 1980s, with various movements emerging based on a combination of sound and appearance. One of the most notable genres is known as visual kei, featuring punk, glam rock, and heavy metal music. Bands belonging to this movement are characterised by elaborate hair; extravagant costumes referencing gothic, steampunk or even rococo styles; and heavy make-up. By comparison, Western hard rock bands such as My Chemical Romance seem tame. Such a heavy focus on appearance and expression has called into question whether visual kei is a music genre or just an expressive fashion movement. I make this parenthesis to show how Western rock bands could do better with their image – though you could argue that rock is about the music, Måneskin has proven that it is possible to elevate a group’s popularity by looking good too.

Nowadays, it is often female music artists who put effort into their fashion style. This has created an imbalance where female performers must usually work much more on their looks, often switching between several outfits in one concert, while their male counterparts can sell out the Wembley Stadium in just jeans and a plaid shirt (I’m looking at Ed Sheeran here). Of course, there are exceptions, with artists such as Lil Nas X upping the game through expressive and bold outfits at shows and in music videos. Yet when male artists do put in some effort, it is deemed as revolutionary. This highlights a somewhat frustrating double standard amongst music performers where many try too hard, and others not at all, receiving various degrees of appreciation based on pre-existing popularity. Fortunately, Måneskin shows that straight men can dress up too. Frontrunner and vocalist Damiano David has become a fashion icon in his own right, often sporting some of the band’s most daring looks. The band’s coordinating outfits make no difference between the male and female band members, and you can sometimes see them all go topless on stage (Di Angelis having to cover up slightly, but that’s another issue altogether).

Måneskin could be changing the image of today’s Western rock artists again by highlighting the importance of combining visual and musical aesthetics, nodding to icons of the past such as David Bowie and Fleetwood Mac. They have also struck just the right balance between great music and a powerful image, which you do not get to see all the time. One can only hope that their popularity will inspire other rock bands to take a similar approach. It is very clear that fashion and music go hand in hand; as seen in Måneskin’s case these evolved together, and through this they have elevated their popularity – rightfully establishing themselves as one of the biggest rock bands in the world today.

Image Credit: Valentina Ceccatelli on Flickr, CC BY-NC-SA 2.0.

In Defence of the Rom-Com

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Over the first lockdown, my family developed hobbies: sourdough (my dad), piano (my brother), learning German (my mum), and running (somehow my other, cardio-averse brother). These are all fairly harmless hobbies – although the running really did start to grate when every morning I was confronted with cirque-du-soleil stretches in my kitchen. Mine was slightly more fun: I fell into a rom-com hole.

I devoured the genre. I went through a phase of watching one a day as a form of serotonin intake after mind-numbing days on glitching Teams calls. I watched Richard Curtis films, everything Hugh Grant has been in, Katherine Heigl playing the same character in four different projects, as well as innumerable others that have melded into a vague haze of warmth in my mind.

I remember telling my brothers of this new quirk of mine at the time, and their reactions of mingled disgust and embarrassment. It was like the entire genre was taboo to them, and my admission that I – God forbid – enjoyed it was bringing shame on the family by association. My family started joking about me being bitterly single or becoming a swooning heroine. My dad was suddenly worried I was not going to end up the Beauvoir-on-the-beach feminist daughter he wanted because of this new hobby.

But what was I doing wrong? The genre is vapid and over-saturated, but it’s still a very popular one. It has entered so deeply into the cultural zeitgeist it’s hard to find anyone who doesn’t recognise lines such as ‘I’m just a girl, standing in front of a boy’, or ‘TO ME, YOU ARE PERFECT’, even if they haven’t watched the original films. The genre has indisputable cultural capital.

There are valid criticisms to be made, of course. The dialogue is usually bad and almost nothing will be remotely surprising: if the film were a pop song, it would hit the same chords over and over again until your ears bled. If you watch a rom-com from before about 2016, the main characters will almost certainly be white, cis, and straight. The girl will always have whatever the current fashion deemed ‘perfect’ proportions, the guy will probably have a six-pack. She is quirky and clumsy and unable to look after herself. The guy will be funny and emotionally repressed. They will treat each other terribly and demonstrate characteristics that should send any sane person running for the hills. 

Take, for example, beloved teen film Ten Things I Hate About You: as attractive as young Heath Ledger is, making money off tricking Kat is disgusting. Four Weddings and a Funeral shows Andie Macdowell and Hugh Grant repeatedly cheat on their respective partners with each other. In How To Lose a Guy in Ten Days, Kate Hudson makes Matthew McConaughey’s life a living hell, whilst he tries to manipulate her into falling in love with him.

Whilst there may be some third act drama based around this behaviour, the message of these films is not “This person seems insane; I must leave,” but “Now we’ve been through these trials we will be stronger than ever”. If you grow up with these films, you internalise some of the rhetoric they spout that no one is too broken for you to fix. Even if Heath Ledger lies to you, as long as he buys you a guitar it’s probably fine to take him back, because this time will be different. 

Is there nothing worth saving, then?

Recently, rom-coms like Crazy Rich Asians, The Big Sick and Palm Springs have moved the genre beyond these questionable tropes, with more diverse characters, inventive storylines, and more realistic portrayals of love. Crazy Rich Asians, for example, starts with the main couple already together, and follows them struggling with prioritising relationships and communication over familial expectations. Palm Springs explores the fear of making yourself vulnerable, and how much more comfortable emotional isolation is. The Big Sick shows its audience how cultural differences can cause real problems for love, and what you have to be willing to sacrifice to make a relationship good. These films are good. Not just good rom-coms, but quite good films. 

Admittedly, they are not the only rom-coms I was watching. I mean, I was scraping the bottom of Amazon Prime’s selection, not cruising award tables for new options.

I still think those other, less fashionable films are defensible, too. They aren’t Great Films. They probably won’t be sweeping the Oscars any time soon, and indie film critics probably aren’t going to suddenly change their minds and fall in love with Justin Timberlake’s performance in Friends with Benefits. But if you look close enough they show a lot of facets of modern-day womanhood, and the pressures of growing up in it. There is no other genre that revolves so much around the female gaze, and that is their hidden strength.

Take a look at 27 Dresses, a fairly typical late-2000s rom-com. The story revolves around Katherine Heigl’s attempt to unlearn the people-pleasing mechanisms that have come to govern her life. Leap Year is about a woman who realises that constantly seeking perfection is not going to make her happy. Even My Big Fat Greek Wedding shows the pressures that are put on single women to fall in love and settle down. 

And most importantly – they’re fun. They are joyful films to watch. I hate-watched Something Borrowed with one of my best friends a year or so ago, and we still quote lines from it back and forth. I have (badly) reenacted the singing scene in Ten Things I Hate About You so many times I think I could probably play the part in a sequel or unnecessary reboot. Just because these films aren’t doing anything new doesn’t mean they don’t make people feel good. Curled up in front of my laptop screen after a day of tearfully boring online school, I felt better when I watched rom-coms. And I don’t care if that’s for some reason a cause of embarrassment, because I think we might need to grow up from that.

Why is there such a double standard here? 

Yes, some rom-coms set bad examples for women, but how many action films set terrible examples for men? If I made fun of my male friends for their enjoyment of James Bond or Jack Reacher, I think I’d be labelled judgemental and snobbish. They’re just having fun, and granted (as with everything) you consume the content mindfully, the films are fine. As far as I know, no guy really gets shamed for going to watch the new Marvel film, or for enjoying the Transformers universe. And I think that’s great. I don’t think they should be shamed. But somehow we have convinced ourselves that traditionally ‘masculine’ films are allowed to be flawed or mediocre. Yet if women enjoy the films that are explicitly marketed towards them, they’re being silly and embarrassing themselves.

Rom-coms deserve to be valued on their own terms, as films that can be good and bad and mediocre. They don’t deserve shaming, and neither do the people who watch them.

Artwork: Wang Sum Luk

OUAFC set to host Reserves Varsity this Weekend

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OUAFC will be hosting three thrilling games of football this coming Saturday 26th February for Reserves Varsity at Oxford City. Not only will there be 3 fantastic games of football, but there will also be a bar and food stand running throughout the day.

First up this Saturday will be the Colts vs Kestrels match, following a years’ hiatus due to COVID. The last time these two teams faced each other, it was the Kestrels who came out top after a 0-0 draw was followed by a win on penalties. Following this, there will be the Women’s match where the Furies take on the Eagles. Cambridge will be looking to continue their winning streak off the back of last year’s 2-0 victory. However, after an undefeated season without dropping a point, the Furies will be looking very dangerous when they face Cambridge. To finish the day off, the Centaurs vs the Falcons under floodlights will prove to be a big match following a strong 1-0 Centaurs victory last year. 

The players have trained in rain, snow, storm Eunice, hangovers, and at ungodly hours of the day (Friday 8-10 pm I say no more…), all working towards the matches this Saturday. Get down and watch the Colts, Centaurs and Furies show Cambridge the real meaning of a (dark) Blue victory!

Image: Adrian Betteridge / CC BY 2.0 via Flickr

La Vie en Rose: Monstres innocents

“Quelles bizarreries ne trouve-t-on pas dans une grande ville, quand on sait se promener et regarder ? La vie fourmille de monstres innocents.” 

(“What oddities do you find in a big city, if you know how to walk around and look? Life is swarming with innocent monsters.” ) 

Baudelaire

In this article, I am not discussing the slightly odd guy who used to get on the tram reeking of weed, or the woman who used to hum to herself in the centre of town as she fed pigeons leftover KFC from the bins. What I’m talking about here is a very specific group of people I have only encountered here in Paris. And they are exactly the people I imagine Baudelaire described when writing about “Les Monstres Innocents” (the innocent monsters). And when I read Mademoiselle Bistourit, one of his poems quintessential in depicting one of these weird and wonderful characters – namely a woman who believes every man she meets is a doctor and wishes to be cured by all, even when told they are not doctors and despite the fact she is not physically ill – I couldn’t help but realise that I too encounter various versions of Mademoiselles Bistourits every single day. 

There seems to be a whole population of Monstres Innocents here. People you fear, despite deep down knowing that they could do no harm. People who are so far removed from our technological, “relatable” and (for want of a better word) consumeristic society. And I am not talking about the homeless. Granted some of them are, but essentially, I am talking about the oblivious. (They may well own a mansion in Monaco for all we know). There is a whole world here that we all see and swiftly dismiss. And perhaps that is what they want. To be ignored. But perhaps not. That’s something we’ll never know. But what I wonder is, in a world where from day 1 we are all so meticulously catalogued, and where everyone is given a part in the school play (even if it’s the mute additional fairy who’s not actually in the original script but I promise is just as important as the rest of the cast – it’s fine I’m over it), where were they when Mr Radcliff started allocating parts? Playing hooky? And at what point in time did these children (because, believe it or not, they too were children, toddlers even) fall out of line with the rest of this working organism. 

I don’t know why but busses and bus stops seem to be a more saturated Monstres Innocents spot. One example was the one-toothed man yesterday who kept telling us that the bus would eventually come, followed by asking each and every one of us individually whether it was Tuesday and affirming (in a toothless sort of whistle) that “if so, tomorrow will be Wednesday.” But it was so sincere and impromptu every single time, and his look so confidential and exclusive that I was genuinely duped into believing he had not just received the same answer 8 times in a row from 8 other bus-waiting interlocutors. “Yes,” I answered because yes it was Tuesday and tomorrow was in fact going to be Wednesday and I was not going to ignore him because I was not like other dismissive humans, because only I understood his folly as I am the only empath of the village – and I am not like other girls…

It all feels so film-like, or even like a song (Mr Bojangles comes to mind, or even Eleanor Rigby). Or the old hunchback woman with a flowery hat and a cane who stumbled onto the bus literally screaming at a tone and pitch I didn’t know the human species could emit “GIVE ME A SEAT, GIVE ME A SEAT” for twenty minutes straight (even after having received a seat) was no doubt, despite being slightly disturbing, also slightly poetic in her absurdity. It’s giving charcoaled-faced chimney sweep actor from a My Fair Lady or Oliver Twist west-end production. It’s like stumbling across a character from a fairy-tale. And maybe she’s not so mad, because as I stood contemplating her folly, held up only by the gravitational force of two sweaty men on either side of me, she was sat comfortably in her well-deserved throne (that she only had to give up her tonsils and about a litre of spit for). So, who’s the real fool? And then I get off, go about my google-mapsed day and find Tom’s house for the gathering where I’ll proceed to drink myself silly. And that’s the end of that. Where the hunchback flowery hat screaming lady was going, I’ll never know. 

They really are the ‘what would you do’ hypothetical situations in the flesh. ‘What would you do if I just started jumping up and down and howling obscenities?’ They are all of those intrusive thoughts incarnate. But then again, they can’t be that insane if they are still able to find the bus they need and go their merry way. They too have places to be. So, despite the initial feeling being one of pity or commiseration, it can be argued that they are actually happier people. Freer than us opinion-obsessed laptop-carrying and work-scurrying droids. If opinions don’t matter then there’s nothing to lose. The truth is that a lot of us use them as a sort of prop for our daily dosage of Schadenfreude and social relief. We feel less mad, less psycho when seeing these characters. OK, I may have forced upon the new fit and disinterested German guy my perfect Borat impersonation monologue and proceeded to piss my friend’s bed in a completely 4-Long-Island-Ice-Tea-s-induced state, but at least I’m not poking people’s ankles with a cane on the metro ? (I can’t lie, it was slightly alarming). Anyway, just like there can’t be happy without the sad, rainbow without the rain, there can’t be normal without the insane. 

Essentially, we need them. We must protect our Monstres Innocents at all costs.

Image Credit: CC0 1.0 (Public Domain)

“Le fou est fou, mais il est en même temps mon pareil, … je suis fou comme le fou (ou le fou est normal comme moi), mais : en quoi puis-je être fou ? En quoi suis-je fou, profondément, au-delà de ce qui m’en garde ?”

(“The madman is mad, but at the same time he is my equal, … I am mad like the madman (or the madman is normal like me), but: in which way can I be mad? In which way am I deeply mad, beyond that which keeps me mad?”)

‘Mortality and the human condition’ – Review: Wednesday, Death Meditation

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CW: mentions of death, surgery

Like many students at a loose end during the first lockdown, Shaw Worth joined an online yoga class. However, unlike many others, he stayed in that class, and has now written and directed a one-act play, Wednesday, Death Meditation, performed at the BT Studio throughout 4th Week, using yoga as a device to explore issues of mortality and the human condition.

The play has a bipartite structure, centring around a suburban yoga class, followed by a much darker conversation between yoga teacher Sandra (Rosie Owen) and her husband Doug (Michael Yates), the night before a major surgery which will remove his ability to speak. This uncomplicated plot provides Worth with rich opportunities for philosophical musings, with ideas explored in the piece ranging from the abrupt (“do you think sleep is practising for death?”) to the more profound, ruminating on the experience of yoga itself (“when you get to let go of all your crap on the mat…you have to deal with what it might be like to not be you anymore”).

Worth’s script leaves the audience with much to reflect on, but sometimes one wonders if the powerful ideas explored come at the expense of effective characterisation. The opening scene is populated by intriguing yet believable archetypes of yoga class attendees – the over-intellectual Buddhist who tries to take over the running of the class, the renunciation of worldly attachments, the newbie over-exerting an injury – which are initially exploited for their comic potential without detracting from the show’s philosophical ideas. However, these supporting characters are never fully interrogated beyond brief introductory dialogues, and after a point just appear to be mouthpieces for the musings of the writer. This issue is somewhat remedied about two thirds of the way in by the tense confrontation between Sandra and Doug, during which their crotchety relationship and differing approaches as yoga teachers are intimately linked; still, one wishes that Doug’s upcoming surgery, as the central tension of this conversation and of the whole piece, had been introduced slightly earlier on.

Nevertheless, the play is strongest when Worth’s obvious passion for yoga shines through. Through the characters of Sandra and Doug, he articulates clearly two very different types of yoga practitioner: the former a control freak focussed on the physicality of the poses (“you’d set up your body with CCTV if you could”), and the latter a sardonic intellectual who accuses Sandra of being “allergic to insight”. Credit here must also be given to Owen’s acting performance, which fluctuates easily between the confident, didactic demeanour of Sandra during class – here is the familiar yoga teacher, correcting the class’s poses and directing them to feel the fingers and the toes – and her more vulnerable reality at home with her husband. Furthermore, the show’s lighting and sound, designed by Luke Drago, is unsubtle yet emphatic. The stark contrast it produces between scenes of yoga and of speech, particularly Sandra’s closing monologue, serve to highlight how yoga can be both an escape from one’s emotions and something that enhances them.

One wishes some of the ideas could have been integrated with a slightly better-structured plot and stronger characterisation, and hopes for potential future refinement. Nonetheless, Wednesday, Death Meditation clearly centres on a topic that its writer is deeply passionate about and has considered at length, which makes for thought-provoking theatre.  

Oli Hall’s Oxford Updates – W6

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It was another up and down week for Oxford United. Results on the pitch were outstanding, but it ended on a sad note with the passing of club legend Joey Beauchamp on Saturday night.

The women were left disappointed as Storm Eunice wreaked havoc across the UK and led to the postponement of their game against Hounslow that had been set to take place on Wednesday night due to a waterlogged pitch. That was followed up by another league clash against Southampton on Sunday being pushed back, also due to the weather, and leaves the side looking ahead to potentially problematic fixture congestion as the season comes to a close.

The U-18s had a much better week and finished their season on Saturday morning with an emphatic win against Portsmouth.  Goals from Gaitlin O’Donkor, Anifowose, and a stunner from George Franklin sealed the 3-0 win and ensured that the U’s youngsters qualified for the Merit League as they finished in the top five. It has been a great end to the season for the young Yellows that has seen them lose just one of their last five.

The men needed a big result to bounce back from two consecutive defeats and boy did they get it.  A hugely impressive 4-0 win against Charlton at the Den sees them back up into fourth in the League One table. They’ll face a Crewe side rooted to the bottom of the table on Tuesday night before hosting Cambridge at home on Saturday.  The women are scheduled to welcome Crawley Wasps next Sunday but only time will tell if the weather holds up well enough for that game to go ahead.

The week closed on a sad note with the passing of Joey Beauchamp. The Oxford United legend passed away at the age of 50.  His 80 goals make him the fifth top goalscorer in Yellows history and his tally of 428 appearances is tenth on the club’s all-time list. In a statement published on the official website on Saturday, the club said, “The thoughts of everyone at Oxford United are with the family and friends of Joey Beauchamp who has passed away aged 50. The club will pay fitting tribute to one of its greatest ever players in due course but for now we ask fans to allow Joey’s family some privacy at this incredibly sad time.”

Match Report – Charlton Athletic 0-4 Oxford United

Two more goals from Matty Taylor and others from Baldock and Brannagan saw Oxford United to an emphatic four-goal victory at the Valley against Charlton Athletic as they rekindled their promotion push.

Karl Robinson signalled his intent with an extremely attacking line-up that saw an electric Sam Baldock make his debut upfront as well as wing-backs Sykes and Williams bombing forward alongside the back three.

The hosts started the more dominant but never really manage to threaten the Oxford goal. On 21 minutes, a great passing move started by McNaly run saw Matty Taylor with an inch of space on the right-hand side.  His finish past MacGillivray in the Charlton net was typically clinical and gave the Yellows a 1-0 lead.

The second came just seven minutes later.  Ryan Williams was the creator this time around – his cross was whipped in past centre-backs Care and Inniss for Taylor to smash home and add yet another goal to his tally of 16 for the season.

Things went from bad to worse for Charlton just past the hour mark when Sean Clare got into a scuffle with Taylor that saw him receive a straight red after the Oxford man was left on the floor. From then on in things were bound to be very difficult indeed for the hosts and they struggled to get hold of the ball for the remaining half an hour

It was until the 82nd minute that the cherry on top of the dream away performance arrived but it was well worth waiting for.  Cameron Brannagan smashed home an absolute thunderbolt into the top right corner and celebrated fittingly with the travelling fans in the away end.  

The result marked a welcome return to form for the Us ahead of their trip to Crewe midweek. They are now back up to fourth in the table, well-positioned in the playoff hunt with MK Dons just four points away in third.

Image: Ben Sutherland / CC BY 2.0 via Flickr

Union announces additional speakers for HT22

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The Oxford Union has announced four extra speakers who will be coming to Oxford during the coming weeks. They include US Representative Hakeem Jeffries and comedian Dara Ó Briain. The speakers were not previously listed on the HT22 termcard, which was released at the start of this term.

Dara Ó Briain, who will be speaking at 8 pm 23rd February, is an Irish comedian known for his roles hosting Mock the Week, The Apprentice: You’re Fired!, and Stargazing Live with Professor Brian Cox. Only two days later, US Representative Hakeem Jeffries will be making an appearance. 

Jeffries is chair of the House Democratic Caucus and is considered as one of the frontrunners in the race to succeed Nancy Pelosi as leader of the Democrats in the House of Representatives. 

The other two speakers joining the line-up are former MI6 agent and author of the Trump dossier Christopher Steele (1st of March) and Big Narstie, the British rapper and comedian, on the 9th of March. 

Steele, who ran the MI6’s Russia desk, was brought to the limelight after a source in the dossier he wrote alleged that Russia had blackmail on then-candidate Donald Trump, including lurid information on Trump’s alleged ‘golden shower’ with prostitutes in Moscow.

Details of the International Women’s Day debate and address are to be announced shortly.

Union President Molly Mantle told Cherwell: “We’re so excited to host these speakers and I hope members will enjoy the additions to our termcard.”

Image Credit: NATO North Atlantic Treaty Organisation/CC BY-NC-ND 2.0 via flickr.com

Meta-perverse: on the inherent misogyny of the technology and gaming industry

CW: misogyny, sexual harassment 

Meta has announced the rolling out of a “personal boundary tool”, prohibiting avatars from coming within nearly four-feet of one another in its Horizon virtual reality experiences. Avatars will now be immobilised upon approach and have to “extend their arms to be able to high-five or fist bump.” This follows reports of harassment from multiple female beta testers of the game being groped by strangers in these Horizon Worlds. Until now, Meta had responded with casual victim-blaming, telling female testers that they should have activated the “Safe Zone” tool if they felt threatened.

It is unsurprising that sexual harassment has made its way from reality into the metaverse. Last summer Ubisoft, maker of top games like Assassin’s Creed, faced allegations of sexual harassment and misconduct. Similarly, Riot Games, maker of League of Legends was accused of sexist culture in 2018, leading to a company walkout in 2019 and class-action lawsuits for gender discrimination. Most recently, Activation Blizzard, creator of popular franchises like Call of Duty and World of Warcraft, was sued by the State of California for discrimination, sexual harassment and assault of women in the workplace. The case was almost immediately settled with an $18 million payout, however as seen by the inappropriacy in the metaverse, perversity remains at the core of the gaming industry. 

Documentary-drama The Social Dilemma, brought to Netflix late last year sought to enlighten viewers of the issues that social platforms, including Meta’s Facebook and Instagram, entail. Attracting a swarming volume of 38 million views within the first 28 days of release, the exposé film revealed shock-statistics such as an 151% increase in female preteen suicide as a result of social media usage. However, this docudrama only grazed the surface of gender issues cultivated by social media and incited no retrospection from Meta to act in protection of their female users. 

We should recall that Meta, until recently known as Facebook, was originally birthed ‘Facemash’; a tool that Mark Zuckerberg created for male students to rate the attractiveness of their female classmates. The nonce word, punning on words ‘face’ and ‘smash,’ not only correlated appearances with female worth, but also advocated sexual violence.  As the company evolved into Facebook, these values were not abandoned, only amplified. Women reported being sent explicit, offensive, insulting or graphic messages and images on the platform, or having their own private photos shared without consent. Conducted in 2019, The Survation poll revealed 29% of women experienced sexual harassment on the platform and of those that reported this, 52% were ignored or told that there had not been a breach of community guidelines. Despite voicing intent to take action, the victim-blaming of female beta testers in the metaverse only echoes Facebook’s inherent misogyny that, unlike their re-brand, has not been resolved. 

Conveniently, Meta’s positively impactful action to combat harassment after decades of ignorance, comes at a time when such is also needed in its market evaluation. Only a few days prior to this announcement, Meta made history as having the biggest single-day drop in market value the US stock market has ever seen. This followed a disgracefully bad earnings report, with more than $250 billion wiped off Meta’s market value and shares plunging 27%. 

An anti-misogyny stance is therefore opportunely for Meta. In showcasing concern for its female players through setting boundaries, Meta outshines its competitors who, in light of the same issues, have remained torpid. Yet, is removing physical contact entirely the right move for combating the issue, when it addresses symptoms rather than the cause? Though the raising of one’s hand to initiate a high five or fist bump is didactic of consent; it is only consent on a very small scale. Prohibiting physical contact entirely not only creates a false reality that forces us to ignore women’s impossibility of setting “personal boundaries” in real life, but also fails to penalise the excess of inappropriate sexual desire directed at female players. Instead, we are left with a new universe in which ill-breeding thoughts are still housed, and perverse individuals remain mobile. The physical boundary set does not censor verbal harassment that can still occur in the game’s hangout spaces and messaging features, leaving women as equally exposed to emotional abuse as they are in Meta’s other channels. 

Meta has too soon proved that it is a textile cut from the same misogynistic cloth as its former self and the industry in which it exists. Instead of rectifying the misogyny concerns of the industry at large, like the window that segregates a child from the candy store, by erecting this four-feet parameter, it has only made men lust over women more. 

Image: julientromeur / Public Domain Certification via pixabay

Broader system challenges for net-zero energy transition

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Reaching net zero emissions by 2050 is necessary to meet the Paris Agreement’s targets, so that catastrophic climate disasters can be avoided. This means that the energy system must be decarbonised deeply – fossil fuels which represent 81.2% of the current global energy consumption need to be gradually substituted with cleaner energy vectors as much as possible, while technologies like carbon capture, utilisation and storage will be required to offset emissions associated with the remaining usage of carbon-intensive fuels.

Electrification will be the critical enabler for a net zero energy transition. Technologies like heat pumps and electric vehicles are already available in the market, yet their potential in decarbonizing the building and transport sectors have not been fully realised. Concurrently, continued digitalization of economic activities with robotics and advanced manufacturing methods could reduce industrial processes’ reliance on fossil fuel. Many difficult-to-electrify sectors like aviation, heavy vehicles, and high temperature industrial processes can also transition into using low-carbon processes supported by hydrogen, which can be produced using renewable energy through electrolysis.

To support these demand-side changes for achieving a low carbon future, increasing penetration of renewables in power systems is crucial. However, despite the availability of technologies and abundance of resources, the net zero ambition remains far from realisation – this shows that technical restructuring is likely not the main obstacle hindering energy transitions. Instead, the progression towards a renewables-dominant world is limited by various economic, financial, and market factors across different stages of the energy transition.

Challenge 1: Energy Market Distortions

Despite the falling costs of renewables and energy storage technologies over the past decade, the low-carbon transition is still occurring slower than what is required to mitigate climate change. One key challenge hindering the net zero transition lies in the sustained distortions of energy markets – the economically illogical action of subsidising fossil fuel consumptions in many countries prevents renewables from competing with carbon-intensive incumbents on a level playing field. To put the scale of these subsidies into perspective, post-tax fossil fuel subsidies amounted to US$5.3 trillion in 2015, approximately 17 times the global renewable energy investment in that year.

Not only are persistent fossil fuel subsidies a significant opportunity cost to national budgets, thereby reducing available financial resources to invest in low-carbon energy technologies, but they also manifest substantial economic inefficiencies and encourage excessive energy usage. In fact, an analysis on 50 energy-producing economies found that their fossil fuel consumption almost increases linearly with the amount of subsidy that the government provides. This suggests that legacy fossil fuel subsidies have created social and infrastructural lock-ins in these economies, leading to persisting energy-intensive, inefficient practises. Consequently, this cements inertia in transitioning away from fossil fuels. Reforming fossil fuel subsidies is urgently necessary, as subsidies distort market signals to inform future technology choices, potentially risking additional carbon lock-in which negatively impacts progress towards a net zero energy system.

Besides regulatory distortion, the current energy market also features notable social distortion – the negative environmental and social externalities associated with fossil fuel consumptions are not sufficiently considered. To minimise the inefficiencies from such externalities, emissions must be priced appropriately. Nevertheless, only 16% of global annual emissions are currently covered by carbon pricing arrangements, like carbon taxes or emissions trading schemes. Emissions must be priced appropriately to correct distorted markets, enabling appropriate price signals to guide long-term planning and investment decisions towards achieving the net zero ambitions.

In the power sector where energy generation infrastructures typically have a long lifespans of at least 25 to 30 years, achieving Paris Agreement’s target for net zero by 2050 means that no new fossil fuel power plants should be built from now on. However, without internalising pollution costs to provide clear price signals reflecting Paris’ commitments, an investor who focuses solely on monetary cost will naturally prioritise cheaper fossil fuel incumbents, exacerbating costly stranded asset problems as energy systems progress towards net zero. To put the magnitude of this cost impact into perspective, premature retirement of current fossil fuel power plants to achieve net zero by 2050 will cost Latin America and the Caribbean at least US$37 – 90 billion. Therefore, if the distorted market continues allowing carbon-intensive energy infrastructure to be constructed, greater costs would be required to meet Paris’ targets – exacerbating stakeholders’ resistance towards a net zero transition.

However, both fossil fuel subsidy removal and carbon pricing may burden consumers with rising fossil fuel prices, potentially leading to socioeconomic challenges that affect political stability if mishandled. For instance, a study on the association between fuel subsidies and fuel riots worldwide found that 41 countries had at least one riot related to fuel price increases between 2005 – 2018 . This is because fuel subsidy often entails an invisible social contract upon which a government’s legitimacy is partly dependent on, which may explain why politicians are typically reluctant to remove subsidies despite understanding their inefficiencies. Nevertheless, socioeconomic systems are not stagnant but dynamic. The presence of pro-climate silent majorities in many societies manifest a potential sensitive intervention point. A few “radical” social movements towards energy sustainability can trigger political mobilisation, allowing for accelerated transitions away from existing overreliance on underpriced fossil fuels.

To enable a smooth transition, correcting market distortions via increasing fossil fuel prices can be coupled with artificial price reductions of low-carbon technologies, minimising the risk of social unrest caused by sudden surges in living expenses. As such, carbon tax revenues and savings achieved from fossil fuel subsidy removals can be recycled to subsidise renewable energy deployment, bridging existing financial gaps.

Moreover, earmarking carbon and subsidy reform revenues for specific purposes, like renewable energy investments, exhibits greater transparency and would generally be more socially acceptable than incorporating them into general government budgets. Nevertheless, the effectiveness of this approach is contingent on consumers’ trust towards their governments – in areas with high political distrust, a lump-sum targeted cash transfer to politically important groups, such as fossil fuel industry workers impacted by energy transitions, would likely ensure greater success. Policymakers can then introduce parallel policies to support these targeted consumers in reinvesting revenues towards low-carbon technologies.

Although investing in renewables is often less economical than non-renewable incumbents now, it should be noted that operating a fossil fuel power plant might not be the economically optimal option in the long-run, given that extraction costs of fossil fuels would likely increase as easy-to-extract reserves are exhausted. Conversely, the cost of renewables generally reduces with increasing deployment as they tend to exhibit strong learning-by-doing effects. As such, policymakers can accelerate net zero energy transitions by taking advantage of sensitive intervention points – providing subsidies to support renewables deployment can kick-start a self-reinforcing feedback loop capable of further cost reductions. This subsequently enables renewables to become cost competitive relative to incumbents in the medium-to-long term, even when renewable subsidies are absent.

Challenge 2: Meeting Increasing Energy Demand in The Global South with Renewables 

Striving for the net zero energy target means that increases in demand should predominantly be met by renewable energy expansion, which can often be rapidly deployed to meet the growing demand. This is especially relevant to the Global South where around 789 million people still do not have access to electricity – the region’s energy demand is expected to increase as energy becomes more accessible given improved living standards coupled with growing population. Nevertheless, a research projected that Africa’s share of modern renewables in the energy mix will still likely be below 10% in 2030 despite the anticipated doubling of power generation capacity, due to the abundant planned large-scale fossil fuel infrastructure in the pipeline. To achieve net zero by 2050, most planned and operating fossil-based power plants should be retired before the end of their expected lifespan with rapidly increasing renewable capacity substituting their role in power generation.

The lack of planned renewables deployment can be attributed to different investment profiles of renewables and fossil fuel facilities – although renewables feature a lower recurring cost relative to fossil-based power plants due to lack of fuel requirements, they are also generally more capital-intensive to set up. Currently, most generation plants in Africa are constructed by governments who have limited financial resources to balance multiple priorities for sustainable development. Although the capital required for energy infrastructure can be borrowed from external parties, these loans generally come at high costs, leading to these governments naturally leaning towards investing in fossil-based systems which provide immediate energy needs with minimal capital expenditure.

While public funds like sovereign and multilateral lenders have recently been playing an increasing role to support renewable investment in the Global South, they will still likely be insufficient in meeting the colossal scale of investment required to fully decarbonize the developing world. As such, private investments from the international community would be critical to bridge this financial gap, ensuring developing countries’ long-term energy planning aligns with net zero targets, while taking full advantage of renewable resources in the region that have been historically underutilised.

However, despite featuring a large pool of untapped renewable resources, investing in developing countries can present a severe risk for investors. As private investment decisions are usually based on the perceived risk-return profile, associated investment risks must be lowered to attract sufficient private funding. To that end, research has concluded that providing guarantees is one of the most effective ways to reduce investors’ perceived risk regarding renewable projects. Thus, these countries can collectively adapt international risk guarantee mechanisms, like the Renewable Energy Cost Reduction Facility proposed in the European Union to reduce the risk for private investors, and thus, accelerate much-needed renewable investments.

To this end, relevant developing countries could pool their public financial resources to create a multilateral guarantee mechanism providing private investors with remuneration if a covered risk materialises. In exchange, private investors would be responsible for paying a small fee sustaining the operational cost of this guarantee mechanism. A study on implementing similar multilateral guarantee mechanisms on a global scale found that, not only do these risk-pooling mechanisms reduce the financial risk of any single participating country, but they can also avoid direct conflicts between stakeholders and minimise market frictions. Moreover, since guarantee mechanisms have already been used as part of developing countries’ climate financing, execution of the proposed solution can be relatively easy assuming stakeholders have existing familiarity with these mechanisms. As such, not only does this mitigate the risk currently hindering the flow of private investments required to support renewables deployment imminently necessary to meet increased energy demand, but it can also trigger a positive feedback loop: as financiers become more experienced, capital expenditure in renewables deployment decreases, subsequently attracting more investments to encourage net zero energy transitions in the developing world.

Challenge 3: Inadequacy of Existing Liberalised Electricity Market

While earlier solutions can increase the share of renewables in the energy mix, existing liberalised market architectures in the developed world will need restructuring to avoid the Renewable Energy Policy Paradox, where the wholesale price of electricity fall to an uneconomical level with greater penetration of renewables that has an almost zero short-run marginal cost. Currently, most liberalised electricity spot markets operate under a merit order arrangement where the cheapest marginal generations are prioritised to meet a given demand. The highest cost generators set the clearing price, while more expensive generators are not dispatched.

As such, most of the current energy-only markets function under two assumptions namely, energy generators are dispatchable and span a range of positive short-run marginal costs. Both assumptions are inadequate in high renewable penetration systems considering renewables are intermittent and have negligible short-run marginal cost. As such, energy generated from fossil-based facilities is crucial in providing a floor for electricity prices, without them, renewable facilities will not obtain sufficient returns to finance their operations. This means that it is economically impossible to have a 100% renewable power system under existing market architectures.

Currently, renewables are prioritised for dispatch under existing market designs as they have the lowest short-run marginal costs. Thus, increasing penetration of zero short-run marginal cost renewables can cause electricity prices to become more volatile and depressed – disincentivizing investment on new renewable generations. As such, the dwindling revenues stemming from diminishing wholesale electricity prices will warrant increasing levels of governmental support to facilitate further investments into renewable generation.

These effects can be seen in the Italian electricity market. Between 2005 – 2013, every GWh average hourly increase in solar and wind energy generation decreased the wholesale electricity prices by €2.3/MWh and €4.2/MWh, respectively, leading to increased electricity price volatility. Furthermore, a recent study of the Italian energy market also found that increasing renewable penetration will decrease electricity prices from 50 €/MWh in 2015 to 20 €/MWh in 2040 – making it economically unfeasible to deploy more renewables to achieve the government’s 55% renewable penetration target by 2035. Therefore, existing market architecture needs to be fundamentally redesigned to avoid this challenge.

Since the future cost of a renewable-dominant system will mostly be based on capital expenditure rather than operating cost, it may be more appropriate for the market to operate under kW-basis capacity pricing than current energy-only market pricing – allowing for better guarantee on capital cost recovery. On the other hand, current revenue support, like Feed-in-Tariff for renewable supply, can be replaced with capital support at the time of investment, reducing the barrier to entry in the renewables market and encouraging greater investments. On the demand side, a flat-rate tariff, like the Spanish system where consumers are charged based on their subscription to a maximum capacity access, can be utilised as a complementary solution. Therefore, this proposed solution can generate continuous revenue to sustain the operation of renewable generation and storage facilities, avoiding the Renewable Energy Policy Paradox as the energy system progresses towards net zero.

Interestingly, this solution can also support tackling other common challenges that the existing liberalised electricity market faces as more renewables integrate into the system. Under the current energy-only market, there will be insufficient financial return to incentivize the operation of expensive peaking plants which only run for a minimum timeframe during peak demand. Therefore, capacity pricing would allow these peaking plants to be adequately financed with a fixed return based on their commitment to provide a predetermined capacity during times of high demand, effectively addressing the energy security challenge that a power system with high renewable penetration might face.

In conclusion, economic, financial, and market challenges must be resolved to enable rapid, widespread deployments of net zero energy technologies. Removing fossil fuel subsidies and implementing a carbon tax can correct the distorted market and allow renewables to compete with fossil-based power plants on a level playing field. Sensitive intervention points should be enacted to shift the existing socio economic regime; this could reduce anticipated social resistance to increased fossil fuel prices. The financing challenge of expanding renewable capacity to meet increasing demand in the developing world can be addressed by setting up a multilateral guarantee mechanism to attract private investments, allowing rapid deployment of renewables while minimising risks on any single participating country. Lastly, fundamentally redesigning the market architecture to an alternative based on capacity pricing can be an effective solution to mitigate the current market structure challenges.

Image Credit: Jason Blackeye on Unsplash