Thursday 25th September 2025
Blog Page 260

Performing the unperformable – Preview: Carrie

Founding Fellas Productions have made an interesting choice in staging Carrie: The Musical at the Oxford Playhouse, which I watched in a dress rehearsal earlier this week. With its catastrophic production history (a book of Broadway failures is named after it), the musical is famously one of the biggest flops in theatre history. But given renewed interest in the material (from Riverdale specials to a dedicated podcast series) their choice is unsurprising, especially with the current popularity of dark, teen-angst products like Heathers: The Musical. Based on the Stephen King novel, and with an iconic Brian de Palma film adaptation, the tale of bullied, isolated teen Carrie White is well-known. Considering that Carrie discovers she has telekinetic abilities after her first period, there is also an opportunity to reshape it with feminist interest. If only the writers of the musical were drawn to explore that angle back in 1988. 

The musical, with a score by Fame! songwriters Dean Pitchford and Michael Gore, begins with a typical chorus of angsty, anxiety driven teens, though with a more concrete sense of concern than in the similar openings found in the musical adaptations of Fame! and Heathers. It is fortunate that Vanessa Silva’s often violent, searching choreography saves the opening number from cliché. As Carrie, Harriet Nokes delivers the rock score – with its leaping pitch and pulsating, brightly cluttered rhythms – with ease. It’s a pleasure to hear as her voice rises in power and contracts back to the soft interiority with which it began. The quiet despair she brings to Carrie’s loneliness develops into an equally quiet joyfulness in the second act. It’s a subtle performance and very well done. Nokes’ scenes with Eleanor Dunlop, playing Carrie’s devoutly religious and controlling mother Margaret White, are the highlight of the production. Dunlop, who was a standout in Persephone last year, shines in this role. Her vocal depth is powerful, her voice almost exploding in on itself whilst holding an eerily cold exterior, then falling into tense despair in her second act ballad.

Carrie: The Musical has never fully recovered from the divided creative team back in 1988, and there is a resulting unevenness to the material, which is no fault of the creative team of this production. The high school nostalgia of songs like ‘The World According to Chris’ and the sentimentality of ‘Unsuspecting Hearts’, though perfectly enjoyable, just never match the dark, belting intensity of the mother-daughter duets. In their scenes, Dunlop and Nokes are breathtaking together, so much so that I wished Dunlop could storm into the high school as Margaret White and knock the script’s underwritten characters into shape.

Grace de Souza clearly enjoys every second onstage as Chris, the high school ‘mean girl’, with a sickly smile throughout, whilst Luke Nixon, as the kinder Tommy, gives a sensitivity that contrasts the swagger of Chris’ boyfriend Billy, played by Oxford musical theatre mainstay Peter Todd. To these supporting characters the musical never provides much exploration, but the cast, particularly Nixon, manage to bring an admirable depth. Alongside this, Beth Ranasinghe, as Carrie’s sympathetic PE teacher Ms Gardner, aptly moves from a harsh authority over her students to the softer sympathy of student-teacher friendship.  

The role of kind-hearted Sue, who attempts to reach out to Carrie to the disgust of her peers, is split between two actors, Grace Olusola and Gianna Foster, across the run. They take very different interpretations. Foster’s voice more typically suits the material, with her ecstatic malice gradually replaced by wide-eyed idealism. Olusola is very different; her deeper voice brings a restrained softness that contrasts Sue’s classmates. Whilst Foster’s eyes sparkle, Olusola’s build towards interior despair. It is an interesting choice to split the character this way, given that the two performers have a very different dynamic with Nixon, who plays Sue’s boyfriend. At times, the supporting cast struggled to fully meet the demands of a challenging rock score, though when the band – under the musical direction of Beth Fitz-Patrick – surges into full rock-ballad mode, the cast are aptly supported. I’d particularly love Eleanor Dunlop and the cello player to release an album!

The cast is completed by a strong and confident ensemble. Ellie Tutt and Gillian Konko are noticeable standouts, with expressive and interesting performances. Considering that the true test of any musical is in the quality of the ensemble, there is stable grounding to the production. Tutt and Konko bring a firecracker energy to the choreography; Tutt’s delivery of the hip-thrusting, thigh-bending opening number is particularly memorable. In the second half, Emma Starbuck and Sav Sood bring a necessary humour to the prom sequence.

A test of any interpretation of Carrie is in its staging of Carrie’s telekinetic abilities, particularly in the infamous climax. On the whole, the stage effects successfully conveyed a levitating statuette and self-propelling books. However, I felt these key moments were underplayed and struggled to build a moody, horror-driven atmosphere. More importantly, the production’s finale lacked a true climax. I hope that by opening night de Souza and Todd have learned to pour their bucket-load with more accuracy (or perhaps just get them a bigger bucket), as there was no recreation of the classic climax pose so iconic in Brian de Palma’s film version. Whilst Sweeney Todd managed last term to use lighting alone to create an eerie, genuinely unsettling close, the finale of Carrie, though similarly impressionistic and drenched in red, struggles to salvage a badly structured script. However, the haunting, almost-symbolic movement from the ensemble does have great impact. It would be overly harsh to criticise a student production for the absence of expensive stage effects, and the production’s skilful use of remote-control mechanics is itself worthy of praise.

What eclipses any criticism is that Founding Fellas Productions have managed to prove that Carrie: The Musical is worthy of greater attention. What I have previously considered flawed material, lacking in musical depth and experimentation, I found to be compelling viewing with many standout moments. This is due, in no small part, to the talents of the cast and crew, and it is certainly worth a trip to the Playhouse to experience this unique musical. This team has demonstrated the value of a musical once deemed to be unperformable, and that is worthy of praise!

Carrie continues at the Oxford Playhouse until Saturday 21st May.

Image credit: Simon Vail.

New LGBTQI+ nightclub set to open

0

Next week will see the opening of the new LGBTQI+ nightclub, Glamorous, in St. Clements.  The venue is set to open on Friday 20th May, and builds on the success of the chain’s businesses in Birmingham and Coventry.

The venue will be “a blend of a modern cocktail bar and nightclub,” as proclaimed on the website.  Claiming to offer “a unique experience, from our cosy lounge, and cocktail bar on the ground floor, to our chic underground club room for the ultimate party”, the owners have promised that it will be an all-around ‘safe space’ for the LGBTQI+ community in the city.

The owner, Matt Eason, has chosen the site previously occupied by Be At One on St. Clements Road, offering Oxford residents a third LGBTQI+ nightclub in a different part of the city to Plush and the Jolly Farmers.

Eason promises that Glamourous will fit in between the nightclub atmosphere of Plush and the pub-like environment of the Jolly Farmers, the other two main LGBTQI+ venues currently in the city.

He is also keen to stress that he isn’t out to ‘cannibalise’ the business of those other locations, saying, “It is about being part of the community, not coming into Oxford being like the ‘big I am’ because we have a venue in Birmingham.  We are here to compliment what is already in the city.  The more that is going on, the better for the community is how we see it.”

Glamourous will be open every day, 12:00-03:00, with a daily happy hour until 11pm.  The company’s website also promises an exciting array of events alongside the normal opening hours, stating that, “Glamorous offers a range of nightly special offers on a wide variety of drinks as well as award-winning international drag artists, top UK drag artists, resident DJ’s, student nights and much more.”

Image credit: David Howard

Annual Town and Gown run takes place in Oxford

0

About 5,000 runners took part in the 40th annual Town and Gown 10k run through the streets of Oxford on the morning of Sunday, 8 May. The Oxford Town and Gown is the oldest run in a series of races hosted by Muscular Dystrophy UK (MDUK), a charity dedicated to curing and finding treatments for muscular dystrophy and other muscle-wasting conditions. 

The Oxford Town and Gown race dates back to 1982, when local runner Mike Cleaver, whose son had congenital muscular dystrophy, began the event as a way to raise funds and awareness for MDUK. It was later expanded into a series, with the Cambridge Town and Gown inaugurated in 2011 and Leicester Town and Gown in 2017. To date, the Town and Gown 10k series has raised over £2 million, according to the MDUK website.

This year’s 10k saw a significant increase in turnout compared to 2021, when just over 2,000 runners participated.

In addition to the 10k race, the organization also hosted a 3k race for juniors at the same time. The 10k runners began on South Parks Rd, looping around a number of historic and scenic locations in Oxford, including the Bridge of Sighs and a stretch along the River Cherwell, before concluding their journey at University Parks. The Town and Gown route is the only closed-road City Centre 10k in Oxford, according to the MDUK website. In 2019, Running Awards deemed the run “Best 10k in South East England.” 

Participants in this year’s 10k included students from the University of Oxford — including 72 runners from St. Hugh’s College alone, comprising the largest college team — as well as former Team GB Olympic rower Victoria Thornley and Lord Mayor of Oxford Mark Lygo.

“St Hugh’s are delighted to be able to support the event, not just because of the funds it raises for charity, but because it is an inclusive event, which brings together people of all abilities and promotes both physical and mental wellbeing,” St. Hugh’s communications manager Tessa Wood told the Oxford Mail.

Robin Ward, this year’s race starter, discussed the importance of funding the search for treatments and cures for muscular dystrophy in an interview with the Oxford Mail. “Taking part in events like this are a crucial part of this,” she said. “By starting the Town and Gown Race, my goal is to fundraise for all manifesting carriers of DMD and find effective treatments and a cure for the condition.”

The next run in MDUK’s series will take place on Sunday, 16 October 2022 in Cambridge.

Image Credit: Miguel A. Amutio via Unsplash

Receipts of Deceit – Kokiba Mohan

0

Kobi Mohan deconstructs the perception of corruption as a historically distant or ‘foreign’ concept. Recent British and foreign governments have been involved in scandals often inaccurately dubbed ‘sleaze’ instead of what they are: plain corruption. By analysing the broader legal and economic systems that have allowed corruption to flourish, Kokiba aims to turn her angry, frustrated feelings of powerlessness about the issue into musings on possible solutions and action moving forward, starting with issues of money laundering and stolen assets in London. 

Swift and shockingly appropriate action has been taken by the British government to put pressure on the Kremlin so far as the Russian invasion of Ukraine continues. Having once been all too enthusiastic to blindly welcome billions in Russian money to British shores, the government’s announcement just over a month ago of an ambitious raft of measures targeting Kremlin-affiliated wealth stored in the UK certainly came as something of a surprise. 

These measures primarily come in the form of sanctions on Russian investments and assets based in the UK, which have led, amongst other things, to the notable sanctioning of the £230m property portfolio of former-Chelsea owner Roman Abramovich, and the freezing of two of his associates’ assets, which, combined, totalled £10bn, making the instance the single greatest asset freeze in UK history. The intention behind this and other measures is to prevent assets from being returned to the Kremlin to be used to fund the continued Russian invasion of Ukraine. Undoubtedly, progress has been made to this end, and yet, these figures pale in comparison to the mammoth sums associated with the Kremlin that have made their way to the UK in recent decades and stayed here.

Determining the exact figure is a difficult task because of how Russian, or specifically Putin-affiliated individuals typically move their money; through a series of transactions often involving some combination of offshore satellites and shell companies in order to conceal the origins of the income. The Guardian reports that some £9bn has flowed directly from Russia to the UK in the past decade, whilst over seven times this, £68bn, flowed between Russia and one of Britain’s many offshore financial centres. How much of this money has direct ties to the Kremlin is hard to say, but the choice to divert funds using offshores, for example, should raise eyebrows regarding the source of these flows.

Privacy in regards to financial transactions is one thing, and secrecy is another. The means taken by many wealthy individuals surrounding Putin, more than not, tend to be of the latter sort. It is not that these structures being used are inherently corrupt, but rather that their use is indicative of some attempt to cover up illegal dealings, illicit sources of income and corruption.

The recent asset freezes of Billionaire Row properties with underground swimming pools and cigar rooms are an overdue attempt to end a decades-long policy of welcoming, with open arms and covered eyes, all investment into this country regardless of how murky their origins. The UK has long been attractive to global investment, illicit or otherwise. There are many conditions that make it so ripe for the role of global money laundering hub: its deregulated financial markets, (which, until recently, lacked stringent checks on the provenance of money) and perhaps more importantly, its overseas territories, the lax financial laws of which shield agents’ identities as they dodge taxes or launder money. 

Sanctions on Russian money fail to chase investments much further than Surrey, let alone the Seychelles, and yet each year millions of illicit money, some of it Putin-affiliated, is laundered through these territories each year. The freezing of assets may occasionally catch out the odd mansion in an oligarch’s collection, but for the most part, especially with the help of the finest lawyers and accountants money can buy, this can be dodged by simply passing a property onto a wife or a nephew, picking up a Chagall or two at Sotheby’s, or buying another property in cash from an all-too-willing London property manager all to divert your assets. For the unfortunate few whose properties have been subjected to unexplained wealth orders to freeze assets, still jail or any further punishment is not even a remote concern. 

Sanctions on russian money fail to chase investments much further than surrey, let alone the seychelles

After calls for further action to prevent more flows of dirty money, Kremlin-affiliated or otherwise, into the country, Boris’ government announced new beneficial ownership register, the function of which is to improve transparency around who benefits from the existence of certain assets, a bold proposal worthy of praise at the least for its ambition. Yet it seems loopholes were being drawn up even before Johnson could make a final TV promise about his conviction to the efficacy of these measures, because non-profit Transparency International has identified the inclusion of an eighteen- month grace period for those having to join the register, which is more than enough time for a skilled team of lawyers and accountants to draw up an alternate route for illicit financial flows. A £500 daily fine is to be paid by overseas-property-owning firms that fail to disclose relevant information regarding their ultimate beneficiary, which, doubtless, is a small hurdle for those with a disposable fortune in the hundreds of millions. On top of this, the allotted funding for the register is estimated to be grossly insufficient, seemingly setting the project up for failure. This is not to say the effort is not still worth acknowledging; the task the government has set for itself is formidable- the sheer volume of information that will need to be analysed and the ever incorrigible and opaque Kremlin being just two hurdles to face in the battle against Putin-affiliated dirty money. 

In 2011, David Cameron said maintaining the secrecy of overseas territories’ financial records “means minimising the burden of regulation so that business and entrepreneurship can flourish.” It is neither entrepreneurship nor business, but corruption that thrives on secrecy, and secrecy within the global financial system enables and validates those who accrue wealth through the exploitation of others. My hope is that the new policies being implemented represent a sincere, albeit incomplete, effort to tackle the problem of global money laundering and asset theft that the government has found itself to be complicit in as a result of its inaction thus far.

University launches graduate scholarship scheme for Ukrainian students

0

Oxford University is planning on offering a fully-funded scholarship scheme to refugees from Ukraine in the 2022-2023 academic year. The Graduate Scholarship Scheme for Ukraine Refugees seeks to provide academic training for qualified Ukrainian graduates whose lives have been affected by the ongoing war so as to allow them to contribute toward reconstructing their country.

The scheme will award up to 20 scholarships to graduates for admission to a range of full-time, one-year postgraduate taught courses. The University and participating colleges will co-fund the scholarships, which will waive both course fees and the graduate application fee. Additionally, each Ukrainian scholar will receive free accommodation and meals in their college, as well as a grant of £7,500 to support their living and study costs. To recruit scholars, the University is planning on running a campaign during May of 2022, which will involve extensive advertising among Ukrainian universities, as well as through social media and such informal networks as the University of Oxford Ukrainian Society. Scholars may also be recruited via the UK Government’s Homes for Ukraine scheme, the family reunification route, or other routes.

Additionally, the Oxford Refugee Studies Centre will serve as a hub providing scholars with access to seminars, events, and mentorship. Professor Louise Richardson, the University’s Vice-Chancellor, has stressed the institution’s solidarity with Ukrainians: “Like others, we have been horrified by the suffering and destruction caused by the Russian invasion of Ukraine,” she said. “Our community is united in our desire to do something to help. These scholarships represent our effort to provide an opportunity to students and academics whose scholarship has been disrupted by the war. We look forward to welcoming colleagues from Ukraine into the University of Oxford.”

Baroness Jan Royall, Principal of Somerville College and Chair of Oxford University’s Conference of Colleges, said of the new scheme: “The war in Ukraine continues to cause immense suffering and long-term repercussions for those affected. It has been inspiring to see the speed and unanimity with which the colleges have rallied to support this important new programme. In time, there will be more for us to do in order to lessen the impact of this terrible war – but this scheme will give Ukrainian students a chance to rebuild their lives now, which is invaluable.”

The opportunity was devised by Professor Lionel Tarassenko, President of Reuben College, whose paternal grandfather came from Eastern Ukraine as a refugee. He spoke extensively of the scholarship scheme: “Like everyone else, I was horrified when the conflict started in late February and immediately began to think about how best to help the people of Ukraine,” Tarassenko said. “Having been an academic in the University for the past 34 years, I had no doubt that Oxford could play its part in supporting students fleeing from the conflict. The University offers a fantastic range of high-quality Master’s courses. As the former Head of a large University Department and now the President of Oxford’s newest college, I was able, with the support of senior colleagues in the University and its colleges, to devise a graduate scholarship scheme for Ukraine refugees. I am thrilled that this scheme should now enable Oxford to welcome 20 refugee scholars starting one-year Masters courses at the beginning of next academic year.”

Beyond the particular scheme, the University is building on its commitment to supporting refugees by working on designing welfare support for current undergraduates who have been impacted by the war, as well as financial support for those who need it. Those impacted by the conflict who are due to begin their course in Oxford in October of 2022 will also have the opportunity to benefit from the University’s support plans.

Image credit: Karollyne Hubert

University sees ‘stark’ decline in EU students post-Brexit

0

The number of pupils admitted to Oxford University from EU countries has halved in the past five years, according to the University’s annual admissions report, which also indicated that the decline was expected as a result of Brexit. Elsewhere, the data showed continued growth in the number of state school pupils and applicants from China.

The admissions report revealed that the average number of EU admissions has fallen from an average of 260 over the last four years to 128 this year. Whereas students from the EU made up 8% of undergraduates admitted five years ago, that figure now stands at just 4%. Brexit negotiations raised questions over changing fee structures for foreign pupils with the government, and the bloc failed to agree on a replacement for the previously popular Erasmus programme. Erasmus is an EU programme that provides free movement and education exchange between registered universities and institutions, but the UK withdrew from the scheme following Brexit.

Vice-Chancellor of the University Louise Richardson said that the decline in EU admits “was expected as a result of the changing fee regime occasioned by Brexit, but it is stark.”

The decreasing trend was also noted by the Universities and Colleges Admission Service (UCAS) who stated that students from the EU had submitted far fewer applications in the UK higher education system after the Brexit withdrawal. UCAS figures highlight that only 31,670 EU students applied in the 2020-2021 period — 50% less than before Brexit. 

These falling numbers have been made up by a combination of more ‘homegrown’ British students and increased applications from Asian countries, especially China. In 2021, UK students comprised 59.2% of total applicants and 81.6% of total students admitted — a figure 9% higher than the average proportion of UK students admitted across Russell Group Universities. (The Russell Group comprises 24 research-intensive universities in the UK.)

EU students were only 8.8% of total applicants and 3.9% of students admitted, while non-EU (and non-UK) students were 32.1% of total applicants and 14.5% of students admitted. The People’s Republic of China continues to be the country most represented in overseas applications and admitted students.

The statistics on state school admissions paint an increasingly positive picture, however: in the last five years the number of successful applicants from the sector has increased by 10% to 68%.

To further its progress in this area as well as increase application numbers from the state sector, the University is launching a foundation year programme named Astrophoria. The project is entirely funded by a private, anonymous donor and will fund 50 students for one foundation year, starting in 2023.  As well as course fees, the fund will cover living expenses and accommodation in full.

According to the announcement, the fund will look to support those with “significant academic potential, but who have experienced severe personal disadvantage or a disrupted education which has damaged their ability to apply for an Oxford undergraduate place.”  

“We are delighted to announce the launch of the Astrophoria Foundation Year, which will have a transformative impact on the lives of the smartest students who have experienced grave disadvantage,” Richardson said. “The programme will enable us to accelerate the progress we have made, as demonstrated in our annual admissions report, in broadening the socio-economic backgrounds of our undergraduate students. I am deeply grateful to the generous donor who shares our belief in the power of education and our commitment to identifying and nurturing talent.”

Oxford campus appears in Netflix’s Anatomy of a Scandal

0

Netflix’s Anatomy of a Scandal, which premiered on 15 April 2022, was partly filmed in Oxford. The six-part courtroom drama series, based on the novel of the same name by Sarah Vaughan, follows the life of Tory MP James Whitehouse (Rupert Friend) as he stands accused of sexual assault.

His wife and mother-of-two Sophie, played by Sienna Miller, fights to clear her husband and family from scandal. She meets her match in justice-hungry Kate Woodcroft QC (Michelle Dockery), the prosecution barrister for the case.

Both James and Sophie Whitehouse spent their undergraduate years at Oxford University.

Flashbacks to Oxford depict James’ time as a member of the elite, debauched society, the Libertines Club – itself inspired by the Bullingdon Club.

Filming occurred in Oxford between March 25 and 28, 2021. The show was shot in New College Lane, Brasenose Lane, Wadham, and Pembroke Square.

Similarly to the recent filming of Timothée Chalamet’s Wonka, Radcliffe Square was occupied by film trucks, equipment and production crews for the duration of the shoot.

Filming took place across the country. Some scenes meant to be based at Oxford University were filmed in Winchester College in Hampshire.

Image credit: Ray Harrington via unsplash.com

Calorific damage

0

CW: calories, eating disorders

Many will be aware of the public concern which erupted when the government passed legislation making it compulsory for eateries with over 250 employees to label menus in England with calories alongside the message that “adults need around 2000kcal a day”. Much of this reaction centred around the risk to those suffering from and vulnerable to eating disorders. 

But how significant is this risk, given the scale of the obesity ‘crisis’? After all, an estimated 63 percent of adults in England are classed as overweight or obese, and thus are at higher risk of cancer, diabetes, coronary heart disease, mental health issues and are prone to lower life expectancy. Around 14 percent of reception age children are obese; this rises to 25 percent for year six.

Surely a strategy designed to tackle what the Department of Health & Social Care calls “one of the greatest long-term health challenges this country faces”, (a challenge which disproportionately affects those of deprived groups) cannot be so problematic?

The experts — and the facts — suggest otherwise. 

Eating disorders (EDs) are mental health conditions, which, simplistically put, involve an unhealthy and obsessive relationship with food. The UK’s leading eating disorder charity, Beat, has repeatedly raised concerns regarding the government’s scheme. They have pointed to research which shows that faced with a hypothetical menu with calorie counts, people with anorexia and bulimia are more likely to make a choice with notably fewer calories, those with binge-eating disorder (which is linked to obesity): the opposite. Ask anyone with experience of one and they will tell you that EDs thrive off numbers: weight lost or gained, clothes sizes, amount of time spent exercising, amount of time spent fasting, number of calories burnt, number of calories consumed… and so on. Part of ED recovery is learning to stop measuring worth by these arbitrary digits, by widening focus from narrow Venn diagrams of food, weight and control towards a more holistic conception of health. 

Another component is learning to eat out again.

To eat out covers a wide range of situations: enjoying a birthday meal with friends or family, going to a restaurant for a date, grabbing something from Starbucks at a service station or the airport, sharing a plate of chips at a pub, queuing for a Najar’s on a Saturday evening. These situations can already be challenging: in Beat’s November 2020 survey of over 1000 people, 95% who had first or second hand experience of an ED flagged that calorie labelling would only increase the anxiety and distress eating out can induce. For many, without the recovery safety ropes provided by the familiar factors of meal time, content, and location, the ED voice suddenly sounds very loud. 

This is not to say that the government has completely ignored campaigners like Beat: following mounting pressure, they’ve dictated that eateries are allowed to offer a menu without calorie labelling on request. The key words here are “allowed” and “on request”. What if you don’t feel comfortable asking? What if they don’t have one? What’s to stop you glancing across at the menu of the person next to you? The very fact that there are labels is likely to catalyse an increased frequency of conversations regarding calories. Just as it doesn’t take a great stretch of the imagination to see how the proliferation on social media of diet pill adverts and body-tuned photos negatively impacts body image, these mealtime “diet talk” conversations are much more likely to generate mental distress than physical wellbeing. Although such sociocultural discourses do not solely cause EDs – which are incredibly complex illnesses – there is a widespread recognition that our cultural and social fixation of thinness and ‘clean’ eating are facilitating factors. For example, Orthorexia (fixation with righteous eating) is strongly associated with the social media ‘healthy eating movement’, more often than not propped up by pseudoscience and unqualified influencers. 

So, it’s not difficult to see how the calorie strategy will challenge ED sufferers, but – especially compared to the scale of the obesity crisis – why should we care? We could argue that only a minority of people in the UK suffer with an eating disorder: an estimated 1.25m, around 2 percent of the population. However, for comparison, alcohol dependency comes in at around 0.9 percent. Furthermore it’s widely believed that more people than officially diagnosed have eating issues, owing to a variety of factors ranging from antiquated diagnosis guidelines to ignorance on the part of medical practitioners (the number of hours spent on EDs at medical school is less than two on average) to stereotypes regarding ED sufferers. Contrary to the trope of the white female anorexic, EDs affect people of all ethnicities, classes, and gender identities (1/4 sufferers are male), and refer to more than anorexia: the majority of sufferers are diagnosed with “Other Specified Feeding or Eating Disorders” (OFSED, 47%) or Binge Eating Disorder (22%). Another misconception is that having an ED leads to weight loss. Actually, binge eating disorder is strongly linked to having an ‘overweight’ BMI. Given the documented links between obesity and ED behaviours (with the latter posited as a causal factor), the exacerbation of eating disorder cognitions may contribute to, not detract from, obesity – as BEAT’s hypothetical menu study suggests. To throw some more statistics into the mix, EDs have the highest mortality rates among psychiatric disorders and a September 2021 report found that they cost the UK a shocking 9.4 billion pounds a year. In comparison, the cost of obesity comes in at a lower count: £6.1 billion in 2014/15. This number is projected to increase to £9.7 billion in 2050, but – especially given the impact of the pandemic, which has seen hospital admissions and waiting list numbers increase by almost 50 percent – it is not wild speculation to say the financial cost of EDs will surpass this.

Furthermore, there is little evidence to suggest that calorie labelling on menus will actually work. Much like the outdated and contested BMI scale (developed in the 1830s on a scientific basis which is wanting by today’s standards), calorie-tracking has many critics. Calorie counting is one method of judging what we eat, and one that doesn’t necessarily assist healthier choices. For example, a chocolate bar may have less calories than a regular meal, but sugary processed foods compare poorly in terms of nutritional content. Our bodies are not designed to use food in a simplistic in and out calculation, but work through processes of digestion, absorption, and excretion: you may ingest 100 calories but 100 calories is not necessarily what your body takes in. Additionally, the message that 2000kcal a day is optimal does not accord with NHS guidelines that “ideal daily intake of calories varies depending on age, metabolism and levels of physical activity, among other things”. In fact, many people will need a great deal more than this on a daily basis, including adolescents and those repairing their metabolisms and/or gaining weight in ED recovery: two risk groups for triggers exacerbating disordered behaviours.

But what about the non-ED sufferer aiming to lose weight? Well, the research doesn’t look particularly promising on that front either. The 2018 Cochane review found only a small body of low quality evidence to suggest calorie counts on menus lead to reduced calories consumed. This accords with a recent study in the US concerning calorie labelling in fast food restaurants: despite an initial 4 percent reduction in calories per order, this dried up during a one year follow up, suggesting calorie labelling doesn’t translate to sustainable impact. Moreover, is there much sense in putting calories on menus when, especially compared to European countries, the British don’t actually eat out that much? 40 percent only dine out once a month, and only 8.5 percent more than once a week. Given the rise in the cost of living, these percentages are certainly unlikely to increase. One group of people who may be disproportionately affected however, is ED sufferers, many of whom prefer the predictability of high street and chain eateries, finding comfort in a familiar menu. 

Stuart Flint, the head of Obesity UK, also views the scheme as misdirected: “The reality is that we’ve had 14 policies over the last 20 years related to obesity, and it hasn’t decreased, it’s increased. And the reason is that most of those are focused on individual changing.” He points out that, “Obesity is very complex. If it was as simple as eating less or more, people wouldn’t gain weight to the extent we have at the moment, and people would be able to lose weight more easily.” Experts echo Flint’s point: a simplistic approach to weight management ignores the socioeconomic factors contributing to rising obesity rates, namely the link between obesity and deprivation. For example, the prevalence of obesity in the most deprived 1/10th of children is twice that of the least deprived 1/10th. Low income families have limited food choices, budgets, access to physical activity, and time. Is it that outlandish to argue that we should be addressing these factors, and the fundamental wealth inequality which they stem from, coupled with promoting preventative healthcare and education? The latter is a point which food campaigners and experts stress: over half of children do not learn cooking basics at school, leaving them ill-equipped to cook healthy meals whilst balancing financial restrictions as adults. Giving children and adolescents these tools would not not only foster health benefits but hopefully ecological ones too, by promoting the use of seasonal ingredients and choice of climatarian-friendly foods. Acknowledging the webs of causality behind the obesity crisis, including the structural factors, is bound to be a more impactful strategy than shifting the blame onto individuals and responsibility onto the hospitality industry. 

Indeed, Kate Nicholls, chief executive of trade body UK Hospitality, has appealed to the government to delay their plans as the food hospitality industry continues to struggle in the pandemic aftermath. Co-founder of Wahaca, Mark Selby, summarised the sector’s concerns when he emphasised the increased logistical and financial challenges of creating a system whereby chefs were using the same amount of ingredient across branches every day. Sven-Hanson Britt, Masterchef winner, warned of the detriment to the creativity of the cooking industry, fearing that “Kids will grow up in restaurants, hotels and cafes only looking at that little number below a dish. Choices will be made based on a number alone. The love of flavour, ingredients, history, cooking, craft or nutrition will be lost and masked by a newly perceived focus.” Given the likelihood of quotidian human errors and swaps (anyone who has worked in a restaurant or somewhere similar will tell you that meal preparation is no exact science), how can restaurant-goers even be certain of the accuracy of these ‘little number[s]”? Additionally, the legislation does not apply to items on the menu for less than 30 days. Hence, any argument in favour of the health benefits of calorie labelling is redundant for anyone ordering a special, and we may see a proliferation of temporary menu items, as eateries work their way around this restrictive new plan. 

All this considered, the government may find neither safety nor strength in numbers given the limited evidence for the effectiveness of calorie labelling, the logistical and economic inconvenience falling on a floundering hospitality industry, and the complex socioeconomic causes of obesity. Those struggling with eating disordered thinking who are encountering this new case study in under-researched virtue signalling will be understandably anxious, but there are resources and strategies to cope. 

Beat UK has published guidance on eating out with calories on menus, which stresses that planning ahead can go a long way: this may mean discussing potential triggers and anxieties with a friend, treatment team, or family member. This sort of discussion is best limited to a single treatment session or conversation, and researching the menu, beyond familiarisation with options, should be kept to a minimum. Calling ahead or requesting a calorie free menu on the day, and asking the rest of the group to do so too – if comfortable with this – may constitute useful preparation. This approach may not be available for every situation, especially with lots of people- but a trusted person among the group will likely be happy to keep an eye out, for example by steering the conversation away from diet talk discussion. Alternatively, the propensity of email-checking, snapchatting, and Wordle-completing which comes (free of charge!) with most dining out experiences means that friends or family can easily be at the end of a message to provide support. In any situation, but particularly among strangers, relying on mental strategies and fact-checking ED thoughts is key. Remind yourself that the 2000kcal recommendation is not a law or a goal but an approximate, that calories themselves are a disputed method of determine the nutritional quality of foods, and that each person needs different amounts of food: any comparison to what another person is eating is necessarily based on an incomplete picture of their nutritional requirements, relationship with food, and past and present food intake. Calories on menus may seem like just another string to the bow of a culture which seems so counterproductive to ED recovery, but as countless people will be able to tell you, progress is possible. And there will come a day where you’ll be able to say “Pipe down Karen, no one cares that you’re having something called a sandwich despite the fact it has no bread and no butter and just looks like a suffocated fern just because it’s the lowest calorie option” whilst tucking into a chunky sarnie, those pesky little numbers as irrelevant as an English student’s opinion on quantum gravity*. 

*very irrelevant.

Image Credit: Mia HolteCC BY-NC-ND 2.0 via Flickr

Netflix’s Newest Sweetheart

Originally posted as a webcomic series on Tumblr in 2019, Alice Oseman’s Heartstopper became an instant hit. It has been adored internationally for its sweet portrayal of young, queer love and friendship. The series grew so popular that Oseman was able to source funding to self-publish a limited print edition of the first volume in just two hours. Publishing houses took note of her success and Hachette Group later bought the rights to publish all four volumes, with a fifth and final instalment set to release in February 2023.

This is not, however, Oseman’s first foray into the world of Young Adult literature. They secured their first publishing deal at the age of just 17, and their debut novel, Solitaire, features Charlie from Heartstopper‘s older sister, Tori, as the protagonist.

It was announced in January 2021 that Heartstopper was going to be adapted to live-action with Joe Locke and Kit Connor as Charlie and Nick. And, when the series finally landed on Netflix this spring, it quickly took the world by storm, racking up millions of views in its first week and obtaining a legion of new, adoring fans.

Having read the first volume around the time of the first casting announcement, I finally finished the series the day before the show’s debut, before proceeding to buy myself the series in print soon after – this is testament to just how much I enjoyed this story. Not only does Oseman’s exploration of first love amongst queer teens feel both nostalgic, sweet and resonant, but the graphic novels themselves are also compulsively readable, with me finishing all four in under two hours.

Charlie Spring is one of the only out gay boys in his school and he’s suffered for it at the hands of bullies in his last year. His story begins at the start of a new term where he is seated beside Year 11 ‘rugby king’ Nick Nelson, the subject of his seemingly unrequited crush. It’s a familiar setting that makes it all the more relatable for both teens and young adults reading the series, and the sweet friendship and love of the two main characters is hard not to be instantly and totally swept up in. What Oseman captures perfectly through both their art and characterisation, is the jolt of first attraction and the swift, insecure blossoming of first love. With Nick and Charlie, there is no drama or toxicity, and their wholesome relationship is the beating heart of the novels.

Entwined with the wholesome depiction of young, queer love are profound and honest explorations of what it looks like to be young and questioning your sexuality and your social circle which seems, at that age, to be everything that matters to you. Oseman writes Nick’s inner turmoil with real care, providing not just joy within the novels but a place of comfort and solace for young readers as well.

The show was praised for its heart-warming representation of queer joy and love, and the graphic novels, too, are suffused with this. However, as the novels progress, Oseman introduces harder-hitting themes: Charlie grapples with an eating disorder and mental health struggles, namely depression and OCD. I’d be lying if I said the later novels didn’t leave me sobbing as I read them during the early hours of the morning, but the honest exploration of such struggles are vital for young readers to have access to and I think Oseman handles them with deft tenderness.

Another standout aspect of the series is the superb cast of supporting characters. From Charlie’s wonderful friendship group, Elle, Tao, Isaac, Darcey and Tara, to Nick’s supportive mum (played by none other than Olivia Coleman in the TV show), the supporting cast help to round out the graphic novels and remind readers of the joy and importance of strong support networks – be they relatives or not. However, it’s not all sunshine and rainbows, the friends sometimes clash heads and aspects of both Nick and Charlie’s home lives aren’t easy for them to cope with, neatly blending the highs and lows of personal life that most people can relate to. But, regardless of the struggles Nick and Charlie face as a couple, what endures throughout the series is the strength of their love for one another and the enduring support of the friends they have around them. It’s a wonderful message to young readers picking up the series in a world littered with negative depictions of and attitudes towards queerness, that everyone is every bit worthy of joy and love, and that family, if not the ones you are given, can be found and made elsewhere.

To ask whether or not the graphic novels live up to the hype of the smash-hit Netflix series seems to miss the point. These books, adapted to screen by the author no less, are the blueprint for the show and provide every inch of much joy and warmth as its adaptation.

Image Credit: Hetta Johnson

Maxim Biller and Ukraine: The resignation of a German-Jewish author?

I am well aware that for the sake of switching off from university, or from the cruel news about Ukraine, it is better to read books that are unrelated to your studies. Still, over the vacation, I found myself in the rabbit hole of finishing the books by Maxim Biller that I had not read for my module in German-Jewish literature. His short stories fascinate me. Wenn ich einmal reich und tot bin (‘Someday when I’m rich and dead: Narratives’) and his novel Esra are probably the ones that stuck to me the most. Before Hilary term, I only knew Biller from a widely followed legal dispute about the latter novel. I have also seen him in-person as a poetics lecturer in Heidelberg. I knew he was a German writer, a columnist for the major newspaper Die Zeit, and a highly disputed figure because he never holds back his opinions.

Now I can say that I read most of his novels and short stories, listened to an eight-hour interview on a podcast and consumed a lot of his sharp newspaper columns. Closing the last page of Bernsteintage (‘Amber Days’), and opening the newspaper, I stumbled across a new article by Biller. The title (in translation) was “Everything was for nothing. Why I no longer want to be a writer.” After initially thinking that this was only another of his provoking statements, I realised that he was serious this time.

While I devoured Maxim Biller’s books, Russia had simultaneously started a war against Ukraine. Around a month of deadly attacks on people, their homes, and former lives  lies in between the beginning of this war and Biller’s proclamation that he wished to stop being a writer. This leaves us with the existential question on whether and how one ought to be an author in the current time of war.

I am not speaking of Ukrainian authors who are and will be willing to write about their immediate experiences, but of authors like Biller who live in another European country. There seem to be two quite radical answers: protest or resignation. Where many famous writers, like Margaret Atwood or Salman Rushdie, are publicly standing up for Ukraine and condemning Russia’s invasion, Biller goes down another path. He announces the end of his career as an author, arguably by putting the spotlight on himself. This career, although definitely considered controversial, is quite a substantial one. The winner of numerous prizes, Biller has been an integral part of  the German literary scene for over the last 30 years. He is one of the biggest contemporary names, next to authors like Daniel Kehlmann or Christian Kracht.

It seems astonishing that he proclaims to end his career so abruptly, especially due to a war that isn’t even taking place in his own country. To find answers that make sense of Biller’s statement beyond allegations of self-centredness, Biller’s background has to be considered. Being a Jew who migrated from Prague to Germany at the age of ten, Biller belongs to the so-called second-generation of German-Jewish writers after 1945. He might not have yet been born when his people and ancestors were callously killed in Nazi concentration and extinction camps, but these gaping wounds still accompany his life and writing. He recently explained that in his stories, he tries to render post-war reality into fiction. However, facing how people kill and denounce each other once again, these fictions turn back into cruel reality. Something quite unthinkable happens again in real life.

Maybe the difference between Jewish and non-Jewish writers becomes quite evident in such a delicate question as the one Biller raises with stepping down from writing fiction. If we wanted to zoom out a little further, we could ask if there is a moment in time when producing art is inappropriate? For sure, what can be said is that art has always been something productive, even in the darkest times. However, I do not want to go as far as to imply that Biller addresses this existential question, but rather that he gives a personal answer to the dilemma of whether he should continue to write. The absence of sympathy in a time of war, when he values sympathy as one of the most important traits of an author, leads him to his decision.

Biller has always been a German writer who stressed his German-Jewish background, and so it seems reasonable that he is not only speaking for himself, but a bigger group of German-Jewish authors. From the terrible history of Jews in Germany, this literature has always been more receptive, more conscious, more human. Who could have grasped the nature of the world in fewer words than Franz Kafka did – merely a coincidence that he was born in Prague, like Biller. We will have to see if others react similarly, and if Biller takes up a pen again at some point. For now, I am glad that I have read his books because they give me a way to think about this war’s reality and the most profound questions of human nature itself.

Artwork credit: Ben Beechener.