Tuesday, May 13, 2025
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Laurel Hell review: Unapologetically unresolved

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“I will neglect everything else, including me as a person, just to get to keep making music. And even if it actually sometimes hurts, it doesn’t matter as long as I get to be a musician.” It almost feels as though Mitski’s own words from 2018 predicted her new album, which took three years to produce and follows her announcement of an “indefinite” hiatus from music after the final performance of her Be the Cowboy Tour. Her new album Laurel Hell celebrates the duality between the Japanese-American artist’s revolt against Mitski the cult figure and her undying need to keep singing, writing and dancing. 

The opening track ‘Valentine, Texas’ sets the stage for the rest of the album: “Let’s step carefully into the dark”, she sings, accompanied by minimal keyboard chords, before cascading into the second verse, slamming piano keys while evoking images of the American South: Mitski wants to “drive out to where dust devils are made” and “where clouds look like mountains”, hoping that “they’ll finally/Float off of [her]”. This juxtaposition of refuge and chaos characterises the entire album and is presented in its title. ‘Laurel Hell’ is a term from the Southern Appalachians, where laurel bushes grow so thickly that some areas are almost completely impassable. In an interview with Zane Lowe on Apple Music, Mitski explained: “ I’ve never experienced it myself, but when you get stuck in these thickets, you can’t get out. Or so the story goes. And so there are a lot of Laurel Hells in America, in the South, where they’re named after the people who died within them because they were stuck. And, so the thing is, laurel flowers are so pretty. They just burst into these explosions of just beauty. And, I just, I liked the notion of being stuck inside this explosion of flowers and perhaps even dying within one of them.”

Laurel Hell does not try to replicate any of Mitski’s earlier works, such as the unfiltered despair in ‘Class of 2013’, or the longful yearning in ‘First Love / Late Spring’. The feeling of being at a crossroads brings with it its very own set of emotions. In ‘Working for the Knife’, she regrets how the world seems to have “moved on without [her]”: “I always thought the choice was mine/And I was right, but I just chose wrong.” The track also seems to describe her struggle with the music industry and the vibrating synth sound in the intro is replicated in other songs on the album, such as ‘Everyone’, where the synth transitions into a heartbeat-like pattern, while Mitski sings: “I opened my arms wide to the dark/I said ‘Take it all, whatever you want’”. 

‘Love Me More’ presents the listener with the perfect complement to ‘Everyone’, with both offering contradicting responses to Mitski’s struggle in ‘Working for the Knife’. While Mitski returns to the dark in the latter, she chooses a different path in ‘Love Me More’: “I could be a new girl/I will be a new girl”; she pleads for someone to “fill [her] up” and “drown it out/drown [her] out”. The music video to ‘Love Me More’ features a doll, a puppet of a bird drenched in ink and Mitski desperately trying to imitate different images of herself. This, together with the commercial, even upbeat sound of ‘Love Me More’, creates a deeply uncomfortable atmosphere, and it is hard not see a second interpretation of the album’s title here: Mitski really doesn’t want to be famous. And while many artists who’ve risen to some degree of popularity have lamented the dark sides of life as a star, few have managed to pull this off convincingly. Mitski, on the other hand, doesn’t try to convince anyone. The short, often repetitive verses make many songs on Laurel Hell seem so brutally honest that at times you feel as though you’re listening to a monologue that was never intended for you.

While Mitski’s previous albums have offered fairly standard indie rock sound and shone through her talent as a singer and songwriter, it seems she is trying to introduce more meaning into the instrumental parts of her songs this time. Many tracks on the album play with the juxtaposition of flashy synth sounds and traditional piano accompaniment, giving Mitski’s conflict yet another dimension. But here, the album’s production is trying a bit too hard. The 80s-pop synth parts could be more imaginative and ultimately compromise Mitski’s voice and writing for a stylistic element that could have been more compellingly executed in a single song instead of overshadowing the entire album. A notable exception is ‘Heat Lightning’, a ballad-like, metaphor-heavy piece, where Mitski lies awake at night and “feel[s] a storm approaching” and surrenders to the unknown: “There’s nothing I can do/Not much I can change/I give it up to you”. 

Has Mitski already chosen, then? She embraces the dark and, in the album’s penultimate song ‘I guess’, it appears she bids farewell: “I guess this is the end/I’ll have to learn to be somebody else”. But after singing “From here, I can say: ‘Thank you’/From here, I can tell you: ‘Thank you’” – the perfect breakup if you want – the album’s final track ‘That’s Our Lamp’ suggests a different direction. Accompanied by bells and trumpets, in a radical instrumental departure from the rest of the album, she “look[s] up into our room/Where you’ll be waiting for me”. The ending is therefore, like the rest of the album, decidedly ambiguous. Will Mitski give the stage another chance? Or is this really her good-bye? Fans have speculated she might choose the path Fiona Apple has chosen: live a life away from the music business, limit her interaction with fans and the press and sporadically release music on her own terms. With Laurel Hell, she has shown us that she isn’t quite ready to let go yet.

Image Credit: David Lee // CC BY SA 2.0 via Wikimedia Commons

Oscar Wilde, the 70s, and psychiatrists: The Importance of Being Nihilists

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What made you want to write the play?

I drafted an initial, much shorter version of the play in Year 13 while studying The Importance of Being Earnest for A Level. I wrote all the parts with my classmates in mind, and at the time it was just a bit of a laugh. Last term, when I was dipping a tentative toe into Oxford drama, I discovered that all you had to do to put on a play was get a bid together. I thought I could rewrite Nihilists and put out a call for a crew…and that’s what ended up happening!

How has the rehearsal process been?

It’s been fantastic: great fun and I’ve learnt so much from it. We started with a Zoom readthrough just before Christmas (after I had panic-written the rest of the play in the week after coming back from the Varsity trip). We then started online rehearsals in the new year. We spent 0th week, 1st week and 2nd week fitting rehearsals around the schedules of eight cast members (relying a LOT on When2meet and Exeter’s Cohen Quad). The cast are all brilliant and we get along really well – it’s always fun thinking of new warm-up games, and I often leave rehearsals feeling like I’ve had a decent ab workout from laughing.

How has the pandemic affected the process of putting the show together?

It’s definitely had an impact on my blood pressure. But in all seriousness, I didn’t really consider that having a cast of eight would significantly increase the risk. We’ve had to be extra careful in the weeks leading up to the show: wearing masks in rehearsals and making sure no one gets too close to one another (which proves tricky when trying to coordinate a fight scene). It’s a shame when people have to pull out due to Covid, and my heart goes out to all the other productions in the same situation. It’s stressful, but you can get around a surprising number of things if you’re determined enough.

Any fun rehearsal stories?

It’s always fun doing ridiculous warm-ups. We all became particularly fond of ‘What Are You Doing?’, a game that involves walking around the room until someone points to someone else and asks, ‘What are you doing?’. Some bizarre scenarios have ensued from this, including a casual conversation with an electrician happening at the same time as a story about killer seeds taking over the world. Rehearsing a scene in the style of a teen high school movie was also hilarious. And I always look forward to blocking the scenes involving throwing Lucas into a piano.

What has your favourite part of the process been so far?

Meeting so many brilliant people. Whether that’s chugging coffee with crew members, spending 80% of my time on Facebook Messenger, or watching the cast giggle their way through the final act, it’s always about the people.

What makes this project unique?

The play is inspired by Oscar Wilde, his wit and his words…but Nihilists goes in many different directions. It’s sprinkled with anachronism, so watch out for 70s song lyrics and hippies reminiscing about the good old days. Although the play has its fair share of farce (we’ve got psychiatrists being transported inside pianos, very quick costume changes, and a lot of panic), at the end of the day the play is about who we are as people. It digs into some of the most important things we have to face in our lives. Sexuality, family, the education system, the way we judge others and ourselves. It’s tough to navigate life and love.

Describe the show in three words.

Pianos; deception; triviality (or is it seriousness?)

What advice would you give to those wanting to write/direct a show in Oxford?

Even if you don’t think there will be time, or you’re a bit unsure about your idea…go for it. Oxford drama has AMAZING resources and there will always be people enthusiastic about your project who want to get involved. I had never directed anything before this, and despite watching some National Theatre behind-the-scenes videos in pure fear before the first rehearsal, I realised that once you’re in the room with the actors, there’s no ‘right way’ to do it. The whole team, both cast and crew, work together to create something that everyone is proud of. As for the writing, there’s so much new writing popping off at the moment and always room for more – now is the time to get that project out there!

Why should people see the play?

If you want slapstick, wit, high energy, role doubling, love in many forms, a dash of seriousness, secrets and lies, vibrant costumes, bizarre but very human characters, and ultimately a good laugh…this is the play for you!

Image Credit: Sophie Magalhaes

The Importance of Being Nihilists ran at the BT Studio from 1-5 February.

In a tale of Eastern European democracy, all unhappy families are alike

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CW: LGBTQ+ rights, homophobia

The first sentence of Leo Tolstoy’s novel Anna Karenina states what is often referred to as the Anna Karenina principle: ‘Happy families are all alike; every unhappy family is unhappy in its own way.’ When it comes to democracy, in Eastern Europe there indeed seem to be a lot of unhappy families. Hungary, under the leadership of Victor Orban, is the only EU member classified as only a ‘partly free’ democracy. In Poland, the ruling Law and Justice party is moving towards a similar direction: free and independent media is under attack, the opposition are  painted as traitors and the country’s constitutional court is firmly under the control of the party. Tiny Slovenia’s prime minister is experimenting with media-targeted assaults and in Serbia Covid-19 is being used as justification for excessive restrictions on individual liberties and electoral cycle disruptions. The question is, however, are they really all unhappy in their own way? Are all these instances of democratic backsliding and shifts towards hybrid authoritarianism really unrelated and separate in origin?

The remarkable similarities between the countries’ transitions towards one or another version of ‘illiberal’, ‘flawed’ or ‘plebiscitarian’ democracy suggest a different version. In 2009 Victor Orban, head of Hungary’s right-wing populist Fidesz party declared that after a series of election losses it was time to create ‘a central political forcefield’ in the country. Only three years later, helped by the unprecedented election victory in 2010, a new Hungarian constitution, combined with official and semi-official reforms, entrenched Fidesz’s domination in the judicial system and the media. In 2014, the party secured the constitutional super-majority for the second time, with the electoral playing field fundamentally altered and boundaries between the Fidesz party and Hungarian state essentially erased. 

The same story continued in Poland, where Jaroslaw Kaczynski, the éminence grise of the right-wing, populist and fiercely socially conservative Law and Justice party, declared in 2011 that ‘a day will come when we have a Budapest in Warsaw’. The day came in 2015 when Law and Justice won the first full parliamentary majority in Poland’s post-communist history. It was not long before judicial reforms effectively eliminated constitutional checks and balances, party loyalists filled an astonishing portion of civil service jobs, and public broadcasters were turned into a mouthpiece of the ruling party. When the 2019 election came, Law and Justice comfortably received the highest vote share by any party since the country’s return to democracy in 1989.

The fate of Serbian democracy followed along similar lines and in Slovenia, it can be argued, the first steps of this transition to flawed democracy are starting to materialise. It is not even that important what the state in which these countries find themselves is called – although ‘flawed democracy’ seems to serve the purpose best. What really matters is that the quality of the democratic environment in Poland, Hungary, Serbia and Slovenia is deteriorating. The changes these countries went through are not in themselves remarkable. In fact, they broadly resemble what Larry Diamond, a leading American democratisation scholar, has identified as ‘autocrat’s twelve-step program,’  including the demonisation of opposition, control of the judiciary and breakdown of independent media. What is remarkable though, is that these instances of democratic backsliding were localized in a very particular region and very specific period of time. They occurred to the East of the former Iron Curtain, a couple of years after the 2009 financial crash and evolved during the uncertainty of the Covid-19 pandemic.

To fully grasp how these similarities come into play, it is crucial to understand one thing: flawed democracy, no matter how quickly it comes about, never does so as a complete package. There is no bundle of measures that voters agree upon to approve a ‘hybrid regime’ or a ‘partly free’ democracy. There is no referendum on the abolishment of judiciary independence or sidelining of the NGOs. No party – not even Orban’s Fidesz and Kaczynski’s Law and Justice – include proposals to limit media freedom in their election manifestos. Instead, these changes come individually and societal support for them is gathered not as part of a complete, systematic package, but as support for individual ideas and measures. Poland’s crackdown of its constitutional court was motivated and carried out as an administrative reform, designed to eradicate the influence of former communist judges. And who, in a country whose darkest years have passed under the shadow of hammer and sickle, would disapprove of it? On the same note, the Law and Justice’s implementation of generous transfer payments to families with children and support for Poland’s infamous ‘LGBTQ-free zones’ are received well in a more conservative and rural east of the country. 

This is where the strength of these populist authoritarians lies. To come to power, they do not need to persuade all of the electorate to agree with them on all the measures. They only need to get part of the population to agree on some individual measures separately. And the more vulnerable the electorate is to populist proposals, the more disillusioned people are with the status quo, the easier it is for would-be-authoritarians to get to power and start the destructive work of transitioning towards flawed democracy. Democracy is vulnerable to such attacks if the electorate has less faith in the the parties, the civil servants, the government agencies, the politicians and the journalists which make up the system as a whole than they do in one political actor promising to fundamentally alter and change the system in the benefit of the people. The strength and vulnerability of democracy, in short, is about trust. 

And trust is the factor which Eastern Europe is lacking. As the Pew Global Attitudes survey highlights, social trust – beliefs about the trustworthiness of other people – is in decline in the region. However, the situation is much worse with another kind of trust, the institutional one. The fifty or so years which these countries spent as communist-ruled USSR satellite states has generated social environments in which trust in institutions was punished. Trusting party-controlled media would have led one to form ridiculously false beliefs about the state of reality. Trusting government institutions and being a dutiful citizen would have prevented one from reaping the rewards of the shadow economy, which flourished due to the crystal-clear shortcomings of the centrally planned one. Trusting one’s colleagues in work and expressing one’s beliefs about forbidden topics like failures of the state, life in the West or benefits of intellectual freedom could have resulted in job loss or, at worst, imprisonment. The communist societies of Poland, Hungary, Serbia and the USSR were societies characterised by the extreme hostility of citizens towards the state and everything related to it: courts, government agencies and politicians. In HBO’s miniseries Chernobyl there is one particularly illustrative scene. When Valery Legasov, a soviet scientist, testifies in court and speaks of ‘lies that practically define us’, he speaks not only about fatal design flaws in nuclear reactors. His speech is also a reflection on society which had lost something that makes it a society in the first place – trust.

Fifty years under authoritarian communist rule cannot pass without consequences. The effect of lack of institutional trust on the robustness of democracy is tragic. The whole democratic project, including parties, the media and NGOs, are significantly weakened and become more vulnerable to the attacks from populists who seek to paint them as flawed, illegitimate and not on the same side as the people. In healthy democracies, these attacks and political actors behind them are quickly identified and either refuted or ignored by most of the population. But where social trust is low, it is easy to sell one social group as scapegoats – “the liberals”, “gay people”, “the EU supporters” – and capitalise on these attacks on one’s way to power. 

The lack of trust also fuels other factors which make Eastern European democracies more vulnerable. One is growing urban-rural division: market-based reforms carried out in the 1990s unleashed the potential of cities and helped to generate a new, liberal and educated urban class, but resulted in slowly shrinking rural areas which are often poorer, less educated and more likely to support populist, socially conservative parties. In Hungary, Orban’s Fidesz was first elected mostly with the help of rural voters who were disillusioned with the previous socialist government. He carried on with the same support group ever since: those who distrust the “liberal values imposed by the EU” and those who are not educated enough to spot the manipulatory tactics used by the Fidesz-controlled press. These are the people whose faith in democracy as a project – all those gruelling discussions and government changes every four years  – was not high in the first place. In Poland, support for Law and Justice roughly divides the country into two parts – socially conservative rural East and liberal urban West. 

The would-be authoritarians of Eastern Europe also make use of its relatively weak social institutions. The media is not as strong or independent as in the West and twenty-or-so years of democracy is often not enough to establish well-followed precedents or evolved norms. However, the fact that the deterioration of the state of democracy was so quick and that societal divisions still exist in these countries means that there is some hope for the future of democracy in Europe’s east. In Poland, opposition parties control the Senate and, in the streets of Warsaw, Krakow, and other major cities, protests against the destruction of rule of law or the oppression faced by the LGBTQ community often erupt. In Hungary, the united opposition goes almost head-to-head with Orban’s Fidesz in opinion polls and, with parliament elections coming up in 2022, could pose a serious challenge to Orban for the first time in a decade. 

This hope is, unfortunately, fragile. The longer Law and Justice or Fidesz or Serbian Progressive Party stays in power, the tighter their informal and formal grab on state institutions will be. The fact that societies are divided means that it becomes more difficult for the opposition to build a unifying case. It can then rely only on its own support base in cities, and this base is, after all, limited. Finally, no matter what strategies opposition parties choose, the structural obstacles will still be there. A significant portion of the population in Eastern European countries will still lack explicit trust in democracy as a system, with all its imperfections, and instead will tend to fall for the promises of populist leaders. Eastern European democracies are likely to continue to look like a group of unhappy families, but unhappy in one, very specific way.

Image: European People’s Party/ CC BY 2.0 via Flickr

Could the pandemic get worse, again? And can we anticipate the future of the SARS-CoV-2 virus, or of any organism?

A recent article in Quanta magazine explores how scientists have been attempting to predict the future of the pandemic by understanding the constraints on the virus’s evolution. 

The genetic material of any organism is like a computer program written in sequences of four types of either RNA (for many viruses) or DNA bases (for all other species). Changing the sequence, or genotype, of base pairs changes the program: in general, small changes will have small or no effects.  These changes, which biologists call mutations, occur frequently and almost randomly in nature. (There are several caveats to this claim, and sometimes even a single mutation can have huge effects.)

When a virus has enough mutations to change its behaviour and shape (the phenotype), it becomes a new variant or strain. Mutations happen because of random, independent events, and in general, this means that several significant mutations are unlikely to occur at once in a single generation. For a new variant to emerge from the original strain, the virus must accumulate the right mutations over several generations.

This alone doesn’t limit the space of possible variants, although it slows down large changes. The more important restriction comes from natural selection. Natural selection compels the virus to gather its mutations in a specific sequence; in other words, the order of mutations matters. This is because some viral genotypes could leave the virus impaired and unable to function or replicate efficiently in their hosts – that is, some genotypes have low evolutionary fitness. If the virus moves into such a genotype “on its way” to becoming the next variant of concern, then the chain of mutations is likely to be broken simply because this strain of the virus dies out. 

One of the first people to formulate a way of thinking about whether evolution can deliver an organism to a particular spot in genotype space was the American biologist Sewall Wright. Wright re-imagined the problem in terms of a “fitness landscape” and reduced it to three dimensions to make it visualizable. 

The basic idea is that variation is represented on the horizontal axes (this could be either genotypic or phenotypic variation), and the vertical axis – the height – tells you how well a virus that is characterised by the values on the axes at any point will do in the real world. When you zoom out, you can expect to be looking at a picture of a landscape, with peaks and valleys, and perhaps the occasional canyon where a small mutation has led to a large change in fitness. 

If you were to drop a swarm of viruses over some region of the landscape, over time, natural selection would leave only the viruses that climbed to the top of a peak – those with the highest relative fitness. Depending on where you start, this doesn’t have to be the highest peak (and often isn’t, in practice); it may just be the peak that is nearest or easiest to climb. Our swarm of viruses usually can’t get to a higher peak by crossing a valley (this is why the order of mutations matters) because they would struggle to survive at all once they’re actually in the valley.  

Sewall Wright invented fitness landscapes to think about evolution, but they didn’t just remain biological tools. Fitness landscapes as a conceptual aid show up where the problem involves a large or high-dimensional space and only a few correct answers. The idea appears everywhere from the social sciences to string theory/cosmology, and is arguably one of the most powerful tools in science to conceive of problems with large spaces.

In principle, the landscape idea does the trick: you need as many dimensions as there are bases that can mutate, but once you’ve got those, and a way of experimentally testing or even predicting fitness, you can predict evolution by exploring the connections between peaks. So where’s the catch?

In comparison to humans, viruses have tiny genomes. SARS-CoV 2, for instance, has about 30,000 RNA bases. By contrast, humans have about 3 billion DNA bases. While the number of base pairs doesn’t fully determine an organism’s complexity  – onions have about 14 billion more base pairs than humans –  the limited size of a viral genome still means that they must be relatively simple.

But even viruses aren’t simple enough to make the problem fully solvable by a fitness landscape. 30,000 bases translates into nearly a quintillion (ten to the seventeenth power) possibilities. Even for computers, that’s hard. Add to that the difficulty of predicting the fitness of a genotype and the complications of testing this in the lab, and it’s easy to see why biologists have largely used fitness landscapes as a metaphor rather than a quantitative tool. This may now be changing with increased computational power and machine learning, and some argue that the fitness landscape is making a comeback. One way in which using the landscape has arguably worked is for the smaller problem of understanding the stability of mutations in the part of the coronavirus spike protein that binds to human lung receptors. 

The ubiquity and reach of the fitness landscape doesn’t mean that it’s without criticism, however. The idea has been criticised for being misleading: three-dimensional intuition doesn’t easily translate to high dimensional problems. While the landscape conveys some basic intuition, it is possible that the idea of peaks and valleys does not represent what really happens in higher dimensions.  Some have argued that the problem is better represented by a network, with nodes representing genotypes and edges the mutational paths between them. Of course, the notion that the landscape is static is wrong too: the environment that determines the fitness of a genotype is constantly changing (vaccines and widespread immunity may have changed the fitness landscape of the coronavirus, for example). 

Several alternatives to the fitness landscape have been proposed, and the criticisms and caveats to the model mean that the landscape is an imperfect but valuable conceptual aid to convey basic intuition. Evolution is highly complex, and it may never be possible to predict it. While science has made significant progress in anticipating the routes the virus’s evolution could take, the future of the pandemic is still unpredictable. 

Image: Thomas Shafee / CC by 4.0 via Wikimedia Commons

Why Balotelli gamble might prove to be the masterstroke that rescues crisis-hit Italy

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Few players in the recent history of European football have divided opinion quite like Mario Balotelli.  Few players have seen such euphoric highs followed so quickly by such dramatic lows.  Now though, with newly crowned European Champions Italy on the brink of missing out on World Cup qualification yet again, Roberto Mancini has turned to his old friend Mario: and it might just be the stroke of genius that saves the Azzurri.

At first glance, it seems hard to believe that Italy have found themselves in this position at all.  After winning the Euros on penalties at Wembley in July off the back of a tournament full of sensational performances, many predicted a return to the top table of world football after the embarrassment of missing out on the 2018 World Cup.

Things started well enough back in March with three back-to-back comfortable 2-0 wins over Northern Ireland, Bulgaria, and Lithuania.  At that point, very few would have guessed that they would win just one more of their remaining five games (an emphatic 5-0 demolition of Lithuania).  As it turned out though, the Euros hangover was real and after draws to Bulgaria and Switzerland, a 0-0 on the final day of qualification in Belfast was the perfect demonstration of every going wrong with Italy.  A period of games littered with penalty misses, goalkeeping errors, lack of leadership, and above all a lack of goals has left Mancini facing two rounds of play-offs, first against North Macedonia but then a crunch game with Cristiano Ronaldo’s Portugal.

It is notable that on the whole, the notoriously impatient and brutal Italian Tiffossi have yet to turn on boss Mancini.  His Euros success was so unexpected and admired that his experienced hand has so far been trusted to dig his side out of the hole they are in without calls for him to go.  This is perhaps why he has been able to make such controversial decisions, such as recalling Mario Balotelli to the national team set-up for the first time since 2018.

The striker was once seen as one of the most promising young talents in world football.  He exploded onto the scene at Inter in 2008/09, scoring eight Serie A goals in 22 games in his first full season as a professional.  He left the Italian giants in the summer of 2010 after amassing 86 total appearances and winning five trophies, including a historic treble under Jose Mourinho.  His €29.5 million move to join the Manchester City project at the Etihad was viewed as the biggest statement of intent so far from the new owners and he continued to enjoy success with six league goals in his first season and a total of 21 in all competitions over the course of his three years at the club.  He was a key member of the squad that brought City the FA Cup and their first Premier League title with his pass to Sergio Aguero for the Argentine’s last-minute winner in 2013 one of only three assists Balotelli ever made in sky blue.

Controversy followed the Italian wherever he went.  He was famed for stories of training ground bust-ups, setting off fireworks in bathrooms, and genera, craziness.  Whilst the goals and performances kept coming though, no one seemed to care. 

With the national team, things were only getting better and better for the striker.  Euro 2012, when Italy eventually lost in the final to Spain, saw Balotelli win the golden boot and a place in the team of the tournament.  Most famous of all were his two goals in the semi-final against Germany that instantly became a part of Italian footballing folklore.

A successful 2012-13 season on the other side of Milan followed when he made the Serie A team of the season and netted 14 league goals.  It was in 2014 that the decline really began.  After a disastrous world cup campaign that saw Italy exit in the group stages alongside England, things seem to begin to fall apart.  It was in fact against England in Brazil that Balotelli scored his most recent international goal.

A sorry spell at Liverpool, where he scored just four times in 28 games, was followed by a brief renaissance in Nice before a falling out with head coach Patrick Vieira proved the catalyst for a monumental decline and seasons playing in Serie B for both Brescia and Monza.

This summer though, Balotelli was bold.  He turned down the money-filled prospect of a move to Qatar in favour of Adana Demispor.  There he has proved somewhat of a revelation, helping the newly promoted club to fourth place in the league, getting in amongst the goals but perhaps most surprisingly being labelled “the hardest working player on the team” by his manager.

Maybe then, things have finally changed.  At 36, Balotelli is unlikely to ever again establish himself for good in the national team setup but right now might just be exactly what they need.  A desperate lack of attacking players, owing to injuries and dips in form, have seen Mancini do what most would have thought unthinkable six months ago and recall Balotelli to the squad.  What happens next remains to be seen but one thing is for sure, an in-form motivated Mario Balotelli with a point to prove will be a terrifying prospect for anyone who faces him.

Image credit: Nazionale Calcio/ CC BY-2.0 via Flickr

Lifting the cloud: South Africa’s return to winning ways

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CW: racism, abuse

Watching South Africa comfortably sweep aside India, widely held to be one of the best limited-overs sides in the world, in the shimmering December heat in Paarl, it was hard to reconcile the confident and mature display on the pitch with the chaotic few years that the team and administration have endured off it. 

Indeed, less than twenty-four hours after Quinton de Kock and Janneman Malan had sealed another series victory to go with their 2-1 defeat of India in the preceding Tests, the team had to adjust themselves to the announcement that the country’s cricket administrators will be arguing over the coming months in favour of the dismissal of their own head coach, who has been accused of gross misconduct and of bringing Cricket South Africa (CSA) into disrepute.

Mark Boucher, a former captain who played 147 Tests for South Africa between 1997 and 2012 was named in the board’s Social Justice and Nation-Building hearings in June last year as the perpetrator and enabler of a number of instances of racial discrimination that back to his time as a player. He has also been charged with improper conduct as head coach: his charge sheet, quoted by ESPNCricinfo, accuses him of exacerbating divisions and alienating players when the Black Lives Matter campaign hit the sport in 2020, and of treating Enoch Nkwe, his former assistant coach, in “a manner unbecoming of a leader in your position”. He will now be subject to a disciplinary hearing which could result in his dismissal.

These allegations are a reminder of the difficult period that Cricket South Africa has been through since the suspension of then-CEO Thanang Moroe, under misconduct allegations, in 2019. Persistent administrative issues climaxed in April of last year, when the South African Minister of Sport, Arts and Culture announced his intention to remove governmental recognition of Cricket South Africa’s authority over the sport. This would have defunded the federation and prohibited the South African team from representing the country internationally, effectively discontinuing the high-level organising of cricket within the country. South Africa’s three captains were reduced to issuing a joint statement apologising to stakeholders for the depth of the crisis within the sport’s administration.

Those captains hardly needed more on their plates; on the field, South Africa’s men’s teams have at times over the past years looked bereft of direction and ideas. Between 2019 and 2021 they endured one of the worst runs of Test form in their history, losing three series in a row for the first time since 2004, and with the white ball they suffered the ignominy of being the second team, after only Afghanistan, to be eliminated from the 2019 World Cup. Their T20 record has scarcely been any better – they went six consecutive tours without a series win between 2019 and 2021, and fell at the first hurdle at the T20 World Cup in October.

The chaotic state of the sport in the country was in many ways encapsulated in the behaviour of Quinton de Kock, South Africa’s star wicket-keeper. He began 2021 as South Africa’s stand-in Test captain, following the retirement of Faf du Plessis; he began 2022 by retiring from the format altogether, sensationally, in the middle of the Test series against India. In between, he was caught up in the row surrounding South Africa’s confused and often contradictory approach to the Black Lives Matter movement, notably (although not uniquely) refusing to take a knee before international matches. When Cricket South Africa issued a directive requiring their players to kneel before matches at the T20 World Cup, he instead issued an emotional statement and removed himself from the playing squad. His rapid reintegration – he played South Africa’s next match, despite assumptions that he would be sent home, and this time took the knee – only made the situation more confused.

But the series against India could well go some way to dispelling the shadows around the team, if not the still-troubled administrators. To win a Test series against this India team is an achievement in itself, with Australia and England both having failed to do so last year. There were therefore good reasons for India’s status as pre-tour favourites: put simply, they are a team to compare with almost any in the history of the game, and their pace attack – surely, the best in the world – was tipped to do well on the bouncy South African pitches. To have overcome such a team, after having lost the opening Test, and having lost the toss in the two must-win encounters that followed, and having dealt with Covid-19 and Quinton de Kock’s retirement, must surely give South Africa a huge amount of confidence. They attach, after all, a great amount of pride to their status as India’s final frontier – it will be a relief to have kept that record intact for another series. 

Indeed, it seems to have boosted the squad already. As much as the Test side flashed hot and cold last year, with wins against Sri Lanka and the West Indies punctuated by a difficult tour of Pakistan, the ODI team had not won a series since Australia’s visit in March 2020. In between, they were bowled out for 125 and 197 in consecutive games in Sri Lanka, lost at home to Pakistan, and – probably most ignobly of all – fell to a 43-run defeat to Ireland at Malahide in July, drawing the series 1-1. The spectre of the 2019 World Cup has loomed large in recent years.

But when Aiden Markram pushed a delivery from Shreyas Iyer to mid-off to seal the series win against India, South Africa could bask in the knowledge that they had outplayed their much-vaunted opponents in almost all facets of the game. Never mind that India have Jasprit Bumrah, Virat Kohli and Rishabh Pant. Never mind that Anrich Nortje, who has never yet failed to impress at the international level, had been forced to sit out of the whole tour through injury. Never mind either that India are a team with serious World Cup ambitions and the strongest domestic white-ball structure in world cricket. South Africa won the series with a game to spare. 

Captain Temba Bavuma, who had set the series up with his hundred in the first match, put it well when he said his team was one without superstars. It is not that they lack world-class players; Kagiso Rabada, Nortje and de Kock would be serious contenders for any side in the world, in any format. But South Africa in their glory days were often defined by individuals. Graeme Smith’s tenacity, the genius of AB de Villiers – and, yes, Mark Boucher’s skill behind the stumps. The legacy of that great team is now being reassessed; all three have been mentioned in CSA’s hearings in connection with a mismanaged and potentially discriminatory team culture. Whether or not Boucher loses his job, it will be no bad thing if it is South Africa’s team, rather than star players or administrators, who make the headlines in the coming years.

The great initiative of the Social Justice and Nation-Building hearings was to elevate the voices of the overlooked. We have heard much in the past from the storied greats of the game, Boucher, Smith and de Villiers amongst them; we have heard now from Paul Adams, Thami Tsolekile and Khaya Zondo, three black players who suffered in an uncaring dressing room not yet ready to embrace the post-Apartheid world. Their stories are saddening, but the fact that they are being told gives hope. If Temba Bavuma, Dean Elgar and their players can build a new legacy in South African cricket, where diversity is recognised as a strength and not endured as a supposed necessary evil, the current team may well in time come to be seen as greater still than their predecessors. 

There was a postscript to the win at Paarl, a match that deserves its own place in the history of the tour. Beneath the unmistakable profile of Table Mountain, at the grand old Newlands Cricket Ground in Cape Town, South Africa defended 278 to seal a clean-sweep of the series. It is only the second ODI whitewash that India have suffered, at the hands of anybody, in the past eight years. Quinton de Kock collected his second player-of-the-match award in two games, a reminder of the important role that the 29 year-old will still play in South Africa’s medium-term future. A brave and tenacious bowling display ensured that they fought themselves back into a contest they had no real right to win. Bavuma – South Africa’s first permanent black captain, it should not be forgotten, appointed in the midst of whispers of racial disharmony within the team – presided over it all with a calm and tactically astute performance.

And, as the squad celebrated the rewards of a home summer that few had thought possible, it felt fitting that Table Mountain, so often shrouded under its distinctive blanket of cloud, had emerged instead into the bright sunlight once again.

Image: Louis Roussouw / CC BY 2.0 via Flickr

Star-Gazing: In Conversation With Cate Blanchett

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It’s a strange feeling to stare into the void of a Zoom loading screen, waiting for a two-time Oscar winner to join the call. But that’s what I did one Sunday morning, counting the seconds until my interview with Cate Blanchett began. Her schedule was packed—plenty of news services wanted interviews regarding her recent roles in Nightmare Alley and Don’t Look Up, two movies considered likely to receive Oscars nominations—but she found the time for a half-hour audio call.

I take a deep but not quite calming breath as she joins; knowing time is limited, we briefly exchange greetings and begin. The first thing I want to know is how she was cast in Nightmare Alley, a film noir about the rise and fall of Stan Carlisle, a carnival mentalist in 1940s America. In the movie, Blanchett plays Dr. Lilith Ritter, a cunning psychologist who seems to partner with Stan, but has an agenda of her own. 

She tells me that she and director Guillermo del Toro had previously spoken about working on a project together; while that original project never bore fruit, he kept her in mind when it came time to cast Nightmare Alley. “I read the script, and was blown away by it, because it felt so distinct and obviously was drawing from deep recesses of not only the novel,” she says (referring to the 1946 novel by William Lindsay Gresham which the movie adapts), “but things that Guillermo and [co-writer] Kim Morgan had been thinking about for a long time.” I agree with her, saying that the movie’s clearly inspired by del Toro’s personal interests, such as his fondness for filming weird things in jars.

Laughing, she tells me that she and del Toro have a shared love of the horror genre—“I was gripped by that all through my adolescence…I now can’t watch a horror movie without peeing my pants”. But Nightmare Alley doesn’t just rely on the sinister visuals that del Toro is often associated with; rather, halfway through the film the setting shifts from a seedy, exploitative carnival to the elegant ballrooms and offices of New York. While beautiful, it’s ultimately an equally dark and destructive realm—“there’s blood in the panels of those walls,” Blanchett says of that setting.

So what makes film noir relevant as a genre these days? There are so many archetypes of the genre that can be used in a sloppy way, Blanchett notes, and a mere replica of its conventions can just end up being a “cinematic history lesson”. But what del Toro has done is to harness the tropes of the genre—characters haunted by a dark past, spaces that are claustrophobic and confining—and show how they remain pertinent to the psychology of the modern world.

Gresham’s novel was previously adapted as a black-and-white film in 1947 by director Edmund Goulding, and while Blanchett likes the film and had seen it prior to signing on to this project, she does point out a limitation in its storytelling. For her, the 1947 adaptation’s characterization of Dr. Ritter felt “hazy”, less memorable than some of its other components—but this, in a way, was useful. 

Without the fear of being held back by Dr. Ritter’s portrayal in the previous version, she could put her own spin on the character. “She had to be a little Sphinx-like, in the sense that she’s asking the question, but you sense that there’s a power and weight of experience behind those questions,” she says. Del Toro prepared a detailed biography for the character, which Blanchett tells me was headed by a quote from Hamlet: “I am very proud, revengeful, ambitious, with more offences at my beck than I have thoughts to put them in, imagination to give them shape, or time to act them in”.

However, because she knew that to explicitly show her character’s past would be saying too much, the movie only hints at her true self and history. Blanchett especially praises the film’s production design, by Tamara Deverell, as a means of implying Dr. Ritter’s true nature—“I’ve never walked onto a set that so absolutely represented the character I was playing”. Ultimately, she didn’t want the character to be a stereotypical femme fatale, who sought to destroy men “simply because”; rather, Dr. Ritter had been physically and mentally scarred by a cruel world, and was trying to bring about a twisted form of justice.

But that goal wouldn’t be achieved without Stan Carlisle, played by Bradley Cooper, who her character simultaneously works with and undermines. “I adore Bradley”, she says, as an actor as well as a producer and director. They found that they had similar rhythms as actors, so that performing alongside him was enjoyable even in the darkest and most complex scenes—“it’s a dance of death…it’s a matador and a bull,” she says of their characters’ dynamics. 

On the topic of the actor’s craft, does she see acting more as telling the truth or telling lies? She reflects on the question, telling me that for her, ultimately, “acting is revealing”. The things revealed can range from being pleasant to repulsive—“but it’s never, ever telling an audience what to think…I suppose that’s what art is, isn’t it? It does more and resonates more than what it seems to do on the surface.” Maybe that’s why some people think that art and acting is deception, she says.

With this film and Don’t Look Up (a disaster movie by Adam McKay that satirizes the inaction and misinformation surrounding the climate crisis) speaking to the uncertainty of the modern world, I ask her what it’s like to try and make sense of truth in a time where nothing seems to be known. She agrees that it’s become difficult to hunt the truth out, to get at the things that are foundational to a democracy. “I feel for students at the moment,” she says, wondering when it was that truth became degraded into nothing more than competing information sources—in the last six years? since the Cold War? “Certainly in the last four years, that word itself has been so destroyed”.

As for the function of art in general, she says, “I don’t think art is political; it’s wilfully not”. Whereas politics focuses on the here and now, artists have the freedom to look backwards or forwards in time, such as how del Toro’s film uses the 1940s to reflect modern cultural questions back at us. For her, art is a provocation, a space for dangerous ideas: “art is a much more irresponsible medium—it has to be”.

This leads the conversation to current affairs, specifically the experience of making movies during COVID–apart from her two aforementioned projects, last year she finished filming TÁR, a drama film by Todd Field, and is about to begin filming Disclaimer, a seven-part series by Alfonso Cuaron, as well as an adaptation of Lucia Berlin’s short stories, directed by Pedro Almodóvar, next year. Noting the importance of how stories and films provided escapism amidst the pandemic’s stresses, Blanchett tells me that she felt privileged to be part of the film industry. However, she also notes that “there are millions of out-of-work performers, particularly in the live performing arts” who’ve not been as lucky as her and have struggled because of the pandemic.

Blanchett also stresses that the film industry also hasn’t fully processed other key cultural moments such as Black Lives Matter or MeToo, and the need to address these systemic issues in an uncompromising way. “The pandemic revealed just how broken everything was,” she concludes this train of thought by saying, “as you put the pieces back together, the upside is that there’s an understood necessity in our industry to fix it.”

My final question for her is to ask, on behalf of our readers (and myself), for any film recommendations she might have. She replies that while she hasn’t been able to see anything in a cinema yet, she rewatched the 1981 TV miniseries adapting the novel Brideshead Revisited, singling out Jeremy Irons’ performance for particular praise. More recent works she singles out for praise include Long Day’s Journey Into Night, by Bi Gan—recommended to her by her son—the movies of Josephine Decker and Lucrecia Martel, and Pedro Almodóvar’s Parallel Mothers. It’s clear from how she speaks that these are movies she genuinely feels passionate about. 

With that, she answers my final question—or so I assume. Because, later that day, she messages me with one final recommendation: “The other film to see is RED ROCKET. Unforgettable”.

Image Credit: Wang Sum Luk

Oxford University has not joined a pledge to stop using NDAs in misconduct cases

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Oxford University is yet to add its pledge to the Can’t Buy My Silence campaign.

The campaign aims to end the use of Non-Disclosure Agreements (NDAs) by organisations to settle cases of sexual misconduct, racism, pregnancy discrimination, and other human rights violations. According to the campaign’s website, “these agreements, which threaten people with legal consequences, are being used to cover up abuse, and in some cases, criminal acts”.

Can’t Buy My Silence and Michele Donelan, the Minister for Further and Higher Education in England, co-created a pledge for UK universities to stop using NDAs for complaints of misconduct. So far, pledges have been made by fourteen universities, including the University of Exeter, UCL, and the University of York.

As of now, Oxford University has not added its name to the pledge list.

The Can’t Buy My Silence campaign was co-founded by Zelda Perkins, the first woman to break an NDA, which she had signed with Harvey Weinstein, and Professor Julie Macfarlane, a Canadian law professor who persuaded the Anglican Church to cease the use of NDAs for victims of clerical abuse.

In some cases, NDAs can have negative impacts on victims of misconduct. They can enable abusers to move workplace without revealing their past wrongdoings, prevent victims from speaking out about their experiences, and, in some cases, cause victims to live in fear of breaking the terms of the settlement.

In 2019, it was revealed that between 2017-19 nearly £90mn had been spent by UK universities in payoffs to staff that came alongside NDAs, raising concerns that victims of misconduct within higher education were being “gagged”.

Although Universities UK stated that some NDAs are used by universities to protect information about research projects, their use to settle allegations of harassment and other welfare-related complaints may also have contributed to the £90mn sum.

On January 18, 2022, Michele Donelan, the Minister for Further and Higher Education, announced that the use of NDAs for misconduct cases in universities must end. She said: “I am determined to see this shabby practice stamped out on our campuses.”

Subsequently, Minister Donelan and Can’t Buy My Silence created the voluntary pledge which universities can join. Currently, only fourteen of over 150 UK universities have signed onto the pledge.

A spokesperson for Oxford University said: ‘Oxford University cares very deeply about the health and wellbeing of our students. We condemn all forms of sexual abuse and violence, and supporting victims is a high priority for both the University and Colleges.

‘We urge anyone affected by sexual abuse, assault, or violence to contact their college or the central University where they will be offered help and support, including advice on their options if they wish to make a complaint.

‘Oxford University does not use non-disclosure agreements to prevent students from reporting sexual misconduct or other illegal or inappropriate behaviour. In exceptional circumstances, confidentiality agreements may be used once cases have been resolved.’

Image: Kat Smith

Family-owned Blackwell’s bookstore put up for sale for the first time

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Blackwell’s, the iconic family-owned bookstore, has been put up for sale for the first time in its 143-year history.

The bookseller, founded in Oxford also operates Heffers of Cambridge, as well as shops in London, Edinburgh and Manchester, alongside university campuses sites. 

According to the Guardian, the chain said it was looking for an external investor after a plan to put the business into employee ownership fell through. It said that goal “ultimately proved to be difficult, due in large part to the ongoing uncertainty on the high street caused by Covid-19”.

Driven by a boom in e-commerce, the business has managed to grow sales for the past five years, despite the pandemic. It ended 2021 with a 1.9% increase in revenue year on year. “The sale of Blackwell’s represents a genuinely unique and exciting opportunity for any potential buyer to own a much loved and trusted bookselling brand,” David Prescott, Blackwell’s C.E.Os., commented. “The business has been quietly and successfully transitioning itself in recent years to establish a substantial global online presence alongside a core portfolio of iconic shops.”

Prescott told The Bookseller staff had been briefed ahead of the announcement, but the sale was still at its “early stages” and he would not be drawn on potential buyers. However, potential buyers could include Waterstones, which is owned by New York hedge fund Elliott Advisors. It snapped up rival independent Foyles in 2018 and previously took over smaller booksellers Dillons, Hatchards and Ottakar’s.  According to the Guardian, while such a deal might attract attention from the competition watchdog, the scale of competition from Amazon and WH Smith means it could gain approval.

Blackwell’s owner Julian ‘Toby’ Blackwell said: “I would have loved to have handed over the company to its staff, but I also accept that in order to grow and remain competitive in the future, it is time for new ownership, ideas and investment. I have always stood for innovation and transformation in the constantly changing world of bookselling. I am delighted to have supported, and now see, Blackwell’s become a significant player in online bookselling and to have helped keep alive the concepts of service and expertise so well embodied by our chairman and board and our wonderful staff.”

With its main bookstore in Broad Street, Blackwell’s also launched a bookshop at Westgate in 2017 and also operates a poster shop and music shop in Broad Street. Its flagship store on Broad Street is one of the largest in the world. Its basement, The Norrington Room, contains 3.5km of bookshelves

The iconic Oxford landmark began trading in 1879 and was the first to publish J.R.R Tolkien before he became famous for The Hobbit and The Lord of the Rings. Some booksellers have gone on to become well-known writers themselves including children’s murder mystery writer Robin Stevens. Over the years the bookshop has hosted many famous writers and well-known figures, from Oxford’s own Sir Roger Bannister to John Lydon and Muhammad Ali.

Image: Rosewoman / CC BY 2.0

BREAKING: Christ Church conflict with Dean resolved

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Christ Church has confirmed the successful conclusion of the conflict with Rev Martin Percy, the College’s Dean, who has agreed to step down.

The four-year conflict has seen two internal tribunals, student protests, and an intervention from the University’s chancellor. This morning, Cherwell released the confidential decision of a 2021 tribunal over sexual harassment claims that had been levelled at Percy.

In a statement emailed to members of the college’s JCR, MCR, and SCR, the three leaders of the governing body known as the ‘Censors’ wrote: “A process of mediation has been taking place to try to resolve a number of outstanding issues between the Dean of Christ Church and the Governing Body. This includes an allegation of sexual harassment made against the Dean.” 

It continued: “Christ Church can now confirm that the mediation process has been concluded and that a resolution has been reached that is acceptable to all parties. The Dean has agreed to step down, voluntarily, from his role as Dean of Christ Church, and the individual who made the allegation of sexual harassment against the Dean has agreed to settle her claim on terms which on her request are confidential.”

A statement made by the complainant ‘X’ said: “The Dean has always denied this claim. He has also denied that he victimised me including after I brought Employment Tribunal proceedings against him.

“I have to accept, incredibly reluctantly, that it is my word against his that the incident took place. I am acutely aware that this is a situation faced by many women who bring complaints of a sexual nature. Sadly, the various processes that have followed have not altered this situation. However, I want to acknowledge that Christ Church, to their credit, has always supported my right to make this complaint.”

“I know what I experienced on that day and I want to ensure that no other student or member of staff has to go through the ordeal that I have. I am pleased that the Dean has agreed to step down from his role at Christ Church and, in return, I have agreed to settle my outstanding claims against him.”

The email further confirmed that the college would commision a “comprehensive review of its policies and procedures in relation to sexual harassment to be led by an independent expert.”

The complainant wrote: “I am reassured that Christ Church has begun the important work of ensuring that its practices and policies provide the best possible support and protection for all members of its community. I will be working with Christ Church to ensure that whatever changes they adopt take into account my experiences.”

“I sincerely hope that in some way this will help to ensure that other students and staff avoid the distress that I have experienced.”

Image Credit: Dmitry Djouce / CC BY 2.0