Thursday, May 15, 2025
Blog Page 269

Could artificial intelligence disrupt our world?

L. Sophie Gullino
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Could artificial intelligence disrupt our world?

Every time that Netflix recommends you a movie, or you ask Alexa for today’s weather, you are using an artificial intelligence (AI) designed to perform a specific function.  These so-called “narrow” AIs have become increasingly more advanced, from complex language processing software to self-driving cars, however they are only capable of outperforming humans in a relatively narrow number of tasks. 

Following the intense technological race of the last few decades, experts state that there is a significant chance that machines more intelligent than humans will be developed in the 21st century. Whilst it is difficult to forecast if or when this kind of “general” AI will arise, we cannot take lightly the possibility of a technology that could surpass human abilities in nearly every cognitive task.

AI has great potential for human welfare, holding the promise of countless scientific and medical advantages, as well as cheaper high-quality services, but involves a plethora of risks. There is no lack of examples of failures of narrow AI systems, such as AIs showing systematic biases, as it was the case for Amazon’s recruiting engine which in 2018 was found to hire fewer women than men. 

AI systems can only learn from the information they are presented with, hence if the Amazon workforce has historically been dominated by men, this is the pattern the AI will learn, and indeed amplify.

Science fiction reflects that our greatest concerns around AI involve AI turning evil or conscious, nonetheless in reality the main risk arises from the possibility that the goal of an advanced AI could be misaligned with our own.  This is the core of the alignment problem: even if AIs are designed with beneficial goals, it remains challenging to ensure that highly intelligent machines will pursue them accurately, in a safe and predictable manner.

For example, Professor Nick Bostrom (University of Oxford) explains how an advanced AI with a limited, well-defined purpose, could seek and employ a disproportionate amount of physical resources to intensely pursue its goal, unintentionally harming humans in the process. It is unclear how AI can be taught to weigh different options and make decisions that take into account potential risks.

This adds on to the general worry about losing control to machines more advanced than us, that once deployed might not be easy to switch off. In fact, highly intelligent systems might eventually learn to resist our effort to shut them down, not for any biological notion of self-preservation, but solely because they can’t achieve their goal if they are turned off. 

One solution would be to teach AI human values and program it with the sole purpose of maximizing the realization of those values (whilst having no drive to protect itself), but achieving this could prove to be quite challenging. For example, a common way to teach AI is by reinforcement learning, a paradigm in which an agent is “rewarded” for performing a set of actions, such as maximising points in a game, so that it can learn from repeated experience.  Reinforcement learning can also involve watching a human  perform a task, such as flying a drone, with the AI being “rewarded” as it learns to execute the task successfully.  However, human values and norms are extremely complex and cannot be simply inferred and understood by observing human behaviour, hence further research into frameworks for AI value learning is required. 

Whilst AI research has been getting increased media attention thanks to the engagement of  public figures such as Elon Musk, Stephen Hawking, and Bill Gates, working on the safety of AI remains a quite neglected field. Additionally, the solvability of the problem, as well as the great scale and seriousness of the risks, make this a very impactful area to work on. Here, we discussed problems such as alignment and loss of control, but we have merely scratched the surface of the risks that could arise and should be addressed. For example, there are additional concerns associated with the use of AI systems with malicious intent, such as for military and economic purposes, which could include large-scale data collection and surveillance, cyberattacks and automated military operations. 


In Oxford, the Future of Humanity Institute, has been founded with the specific purpose of  working “on big picture questions for human civilisation” and safeguarding humanity from future risks, such as those resulting from advanced AI systems. Further research into AI safety is needed, however you don’t necessarily need to be a computer scientist to be able to contribute to this exciting field, as contributions to AI governance and policy are equally important. There is a lot of uncertainty associated with how to best transition into a world in which increasingly advanced AI systems exist, hence governance structures, scientists, economists, ethics and policymakers alike can contribute towards positively shaping the development of artificial intelligence.

Image: pixel2013 / CC Public Domain Certification via Pixnio

Old Boris Johnson essay argues for return of the Parthenon Marbles

Charlotte Keys
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Old Boris Johnson essay argues for return of the Parthenon Marbles

An essay arguing for the return of the Parthenon Marbles by the former Oxford Union President Boris Johnson has been revealed for the first time.

The essay, titled, ‘Elgin goes to Athens – The President marbles at the Grandeur that was (in) Greece’, was written in 1986 for the Oxford Union magazine, Debate. Journalists from Athens newspaper Ta Nea found the article in an Oxford library and have made it public.

21-year-old Johnson notes the complex political issues concerning the artefact’s location, stating ‘they are on the one hand the passionate national feeling of the Greek people, and on the other the sophistry and intransigence of the British Government’. However, he later express that the British government should ‘restore to Greece the sculptural embodiment of the spirit of the nation.’

The Parthenon Marbles, a collection of sculptures created under the supervision of Phidias, are also known as the Elgin Marbles after the man who arranged for their transport to England. 

Lord Elgin argued that the Marbles were authorised by an Ottoman edict to be taken to England at the turn of the 19th century. However, no such official document has been found. Elgin later sold them to the British government in 1816 for £35,000, a controversial decision in Parliament even at the time.They have been located in the British Museum since their acquisition.

The debate over the Marbles gained momentum in the 1980s after the Greek minister of culture, Melina Mercouri, campaigned for their return. In those same years Johnson’s article revealed that he was sympathetic to the Greek campaign, hosting Mercouri at an Oxford Union debate on the matter. The chamber voted in favour of the Marbles’ return to Greece.

The British government has consistently disagreed with the Greek government over the issue, arguing in 1983 against the return of the Marbles because the ‘transaction had been conducted with the recognised legitimate authorities of the time’. The current prime minister of Greece, Kyriakos Mitsotakis, and culture minister, Lina Mendoni, have said that they are ‘stolen’. 

In September 2021, UNESCO told the UK government that it would be “legitimate and rightful” to return the Marbles to Greece. 

Classics student Boris Johnson seems to have agreed with that view; however, as a politician he has rebuffed the Greek government’s request. In March, Johnson said that “the UK government has a firm longstanding position on the sculptures, which is that they were legally required by Lord Elgin under the appropriate laws of the time and have been legally owned by the British Museum’s trustees since their acquisition.”

Johnson, who wrote that “the Elgin Marbles should leave this northern whisky-drinking guilt-culture, and be displayed where they belong: in a country of bright sunlight and the landscape of the Achilles, ‘the shadowy mountains and the echoing sea’”, has since altered his stance and has aligned himself with the general opinion of Whitehall.

Image Credit: Andrew Dunn / CC BY-SA 2.0

Transforming Silence: The group reinvigorating change to University sexual assault policy

Pieter Garicano
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Transforming Silence: The group reinvigorating change to University sexual assault policy

CW: Sexual assault

Led by (ex-)Oxford undergraduates and current graduate students across six faculties and sixteen colleges, the new collective aims to both be a space to support survivors and a movement that prevents further sexual violence. They are perhaps best known to Oxford students through their instagram account “@transformingsilence”, which has accumulated 800 followers in a matter of weeks. In a wide-ranging conversation, Cherwell spoke to some of the key students involved with the movement.

Madeleine Foote  (1st year DPhil in History, St Antony’s), Mary Newman (1st year DPhil in Medieval & Modern Languages, Trinity),  Mia Liyanage (Balliol student 2016-2019, one of the original complainants that sparked the Al-Jazeera investigation) and Lara Scheibli (PPE graduate, Women’s Rep at the Philosophy department) all met through what they called Oxford’s “whisper network” in the wake of the fall-out from the Degrees of Abuse investigation. Kaelyn Apple, another of the key complainants in the al-Jazeera investigation, is also involved in the group, but could not attend the meeting.

Mary told Cherwell that: “I simply tweeted, as Academic Twitter and Oxford Twitter blew up, how can I help, and I met Madeleine”. Madeleine, who had matriculated in 2011, had recently returned to pursue a Dphil. To her horror, Peter Thompson, one of the key focuses of the al-Jazeera report, was the same Fellow she had heard rumors about a decade earlier. When the investigation broke, she too decided that it was time to act.

Linking up with other survivors and activists via acquaintances, social media and other channels, they soon decided to form an egalitarian collective which would both provide an effective support group to help victims achieve justice and prevent further sexual violence from happening. Madeleine: “In the decade I was gone, the world changed. MeToo happened. And when I came back, it was clear MeToo hadn’t happened here, at the University of Oxford”. 

Towards the end of Michaelmas, they started to get together. The decisions was made to launch a staff-student symposium and produce a report on sexual violence before the end of Hilary Term. The tight time-frame, they say, was intentional. In their experience, the long vacation over summer leads to a loss of momentum and more inertia. 

The name of the symposium –  Silence will not protect us – is a deliberate homage to Audre Lorde’s Your Silence Will Not Protect You. In it, Lorde deals with the relationship between language, action and violence. But, the group says, they want to make clear that “this is not a staff-versus-student issue. This is one of solidarity and support.” They went on to clarify that “our work is as much aimed at staff as at students. Over half of those who have expressed interest to attend our conference are staff”. The projected line-up for the event includes Professor Sundari Anitha, Dr Anna Bull, Professor Deborah Cameron, Professor Elizabeth Frazer, Dr Mara Keire and Professor Alison Phipps.

Madeleine clarified that their criticisms of the process boiled down to three key issues. These were transparency (“the University does not provide centralised statistics on sexual violence, and many colleges ignored our FOIs”), individualisation (“there seems to be no willingness to look at broader patterns rather than a simple case-by-case approach”) and a lack of clarity in terms of who was responsible. “Every time it’s different processes, with different rules and demands. Sometimes it is the discretion of the department, sometimes the University and often it is just the college that is responsible. This can be incredibly hard for victims to navigate”

Their calls for change went beyond the process that kicks in motion after a sexual assault is reported. They want to see changes in what is considerdered inappropriate, nothing that, according to their own research, only one UK University (UCL) completely bans staff-student relationships. After being prompted by Cherwell whether this meant that they, too, sought to forbid those types of relationships, the group answered affirmatively. 

Towards the end of the conversation, Cherwell asked how they personally had experienced the past few weeks. 

“​​The most common response to our work has been surprise.  Most students and staff don’t know that Oxford has the highest number of staff-on-student and staff-on-staff allegations of sexual misconduct. 

 “Most do not know that only four colleges (Linacre, Oriel, Regent’s Park, St Hugh’s) ban professors from pursing romantic and sexual relationships with students. 

“Most do not know that even if a student files a formal complaint of sexual misconduct against a member of staff, almost no college has a policy that obligates them to investigate before dismissing the complaint 

”After surprise, the next response is anger. And usually, after people get angry, they are ready to do something”

In a reply to Cherwell, the University said that:

“Oxford remains fully committed to ensuring that all students and staff are safe during their time here and takes any allegation of sexual misconduct extremely seriously. Any student bringing forward complaints of this nature will always be listened to and supported.

“The University does not hold information where incidents are dealt with by individual colleges and does not comment on individual cases.

“Students are advised on their options, including how to make a complaint, and offered a number of support services by the University.

 “We have already put a wide range of measures in place aimed at educating students, supporting those affected and preventing further incidents and continue to expand the support services available, both at university and college level. These include the establishment of the Sexual Harassment and Violence Support Service, and a high profile university-wide campaign, Oxford Against Sexual Violence. Oxford was the first university to engage a dedicated Independent Sexual Violence Advisor (ISVA), seconded from the local Rape Crisis centre who is based within the Sexual Harassment and Violence Support Service, and a specialist investigator in the Proctors’ Office. “

The symposium Silence Will Not Protect Us is expected to be held on the 25th of February.

When approached for comment, the University of Oxford said, “Oxford remains fully committed to ensuring that all students and staff are safe during their time here and takes any allegation of sexual misconduct extremely seriously. Any student bringing forward complaints of this nature will always be listened to and supported.”

“The University does not hold information where incidents are dealt with by individual colleges and does not comment on individual cases.”

“Students are advised on their options, including how to make a complaint, and offered a number of support services by the University. We have already put a wide range of measures in place aimed at educating students, supporting those affected and preventing further incidents and continue to expand the support services available, both at university and college level. These include the establishment of the Sexual Harassment and Violence Support Service, and a high profile university-wide campaign, Oxford Against Sexual Violence. Oxford was the first university to engage a dedicated Independent Sexual Violence Advisor (ISVA), seconded from the local Rape Crisis centre who is based within the Sexual Harassment and Violence Support Service, and a specialist investigator in the Proctors’ Office.”

“As a university, we work closely with partners across the city, including Thames Valley Police, and encourage anyone affected by these very serious issues to report them to the police.”

Image Credit: @transformingsilence and Kaelyn Apple, Madeleine Foote and Mia Liyanage

Hertford cat Simpkin banned from Exeter College library

Estelle Atkinson
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Hertford cat Simpkin banned from Exeter College library

The battle for Radcliffe Square has reached new heights as Hertford College cat Simpkin IV has been spending a lot more time in Exeter College cat Walter’s usual digs. In response, Exeter College has now banned Simpkin from the College library.

Last week, Walter reported via instagram that his library had been “infiltrated by an invader” from Hertford. However, a few days later the pair were caught sharing a kiss in the very same library. All tensions seemed to have eased. 

However, Simpkin was spotted a few days later in Walter’s cushioned chair. This event prompted Walter to declare that the ‘truce’ they had established was now, definitively, over. Walter was pictured contemplating his next steps under a nearby table. 

Image: Nam Seongwook via @walter_the_exeter_cat

A spokesperson commented via Simpkin’s instagram that “Simpkin sightings in Hertford have been limited so far this term … looks like we know why!” Simpkin is Oxford’s self proclaimed feistiest feline, Chief Mouser at Hertford College,’ and ‘Library Invader everywhere else.’ He recently had to share his quad with Timothée Chalamet, who used Hertford as a base for filming the upcoming film Wonka.

The most recent shocking development involves a new sign at the entrance to the Exeter library, which reads “Please do not let this cat into the library! (He is called Simpkin and belongs at Hertford!) WARNING: HE BITES!” 

Simpkin’s PR team told Cherwell: “As Simpkin’s publicity team and loyal fans, we want to assure people that he is not a frequent biter! It’s a shame that he and Walter never got to further develop their bromance, but we’re very excited to have him back on home turf. Much like the ravens at the Tower of London, Hertford would crumble without his moody self.”

The Principal of Hertford College and former diplomat, Tom Fletcher, commented via Twitter: “We have always sought friendly relations with our neighbours @ExeterCollegeOx. But this denial of feline movement is a breach of international convention and of grave concern. We have withdrawn our cat for consultations while we consider appropriate sanctions.”

Walter told Cherwell: “I would like to say I am pleased to see the Library return to a Simpkin-free zone. The vet had the audacity to put me on a diet this week – I need to protect my limited rations!”

Featured Image Credit: Jess Cejnar

The 22 Books on my TBR list for 2022

Georgia Brown
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The 22 Books on my TBR list for 2022

Having decided to shove New Year’s resolutions to one side, my only vow for 2022 is to read more. I’ve been feeling quite nostalgic recently for the part of childhood where it was acceptable to sit for hours and devour a book in one go, content and with no other distractions. 

That being said, here is my list of hopeful reads for the new year. A few are recommendations from friends, whilst others have been sat on bestseller lists for a while. Some are yet to be released and are by new and exciting voices that I think will be popular. In the mix are also some classics that even I don’t know how I’ve avoided for this many years (looking at you, Sylvia).

If you’re stuck for your next read, I hope this helps a little! And if you have any recommendations yourself, I would truly love to know them… 

1.       Hamnet, Maggie O’Farrell

 The imagined story of Shakespeare’s son who died aged eleven. After being seriously ill in childhood, O’Farrell became fascinated by the Bard’s son, and how his death inspired the renowned play, Hamlet. She explores a life subjugated to the footnotes of history, and the legacy of grief. 

2.       Sunset, Jessie Cave

 Sunset focuses upon two sisters’ relationship and grief. Known for her comedy Sunrise, Cave also openly discusses the aftermath of losing a sibling. Sunset is a culmination of all these facets of Cave, a both funny and heartbreaking story that honours siblinghood. 

3.       My Body, Emily Ratajkowski

 The follow-on from Buying Myself Back, Ratajkowski’s essay discusses self-ownership and pressures from the male gaze in the modelling world. Growing up, Emily Ratajkowski was the beauty standard that many aspired to; it is this uneasy dynamic that makes her work so interesting. 

4.       Neapolitan Novels, Elena Ferrante 

The Neapolitan series follows two childhood friends. Gifted children, their lives take different paths after only one can afford further education. The novels study the intersection of class and gender, and the resilience of friendship. 

5.       The Transgender Issue, Shon Faye 

Lauded as a monumental work in understanding and celebrating what transgender liberation means in modern Britain. 

6.       Shuggie Bain, Douglas Stuart 

Set in 1980s Glasgow, Shuggie Bain follows the life of a young boy, tackling topics that range from alcoholism to the experience of queerness in working class communities.  

7.       Open Water, Caleb Azumah Nelson 

A lyrical depiction of an affair between two artists in London. Azumah Nelson has been applauded for both the novel’s celebration of young black identity in Britain, and his unconventional and expressive second person narration. 

8.       The Right to Sex, Amia Srinivasan 

Srinivasan examines the politics and ethics of sex in society. Issues are discussed that range from race, pornography, to the politics behind conventional ‘attractiveness.’   

9.       Les Années, Annie Ernaux 

Ernaux is renowned for autobiography, yet Les Années is also the biography of a whole generation. Spanning from 1941 to 2006, the narrative follows collective lives and the changes they experience.  

10.   Notes on Heartbreak (2022 release), Annie Lord 

Lord’s book explores the different shades of her own heartbreak after a break-up. A columnist for Vogue, Lord’s writing is visceral and moving, as well as funny in her self-awareness. 

11.   Animal, Lisa Taddeo 

Following the success of Three Women, Animal’s protagonist is a deeply flawed woman, forced to confront the trauma of her past. 

12.   Everybody: A Book About Freedom, Olivia Laing 

Laing is personally one of my favourite writers. Her latest work examines the power and vulnerability of the body, questioning how it can experience and withstand oppression. 

13.   Black and British: A Forgotten History, David Olusoga  

Challenging the marginalisation of black experiences in history, Olusoga’s breadth study spans from the Roman era to the ‘Black Lives Matter’ movement in 2020. 

14.   The Secret History, Donna Tartt 

Cited as the beginning of the ‘dark academia’ genre, Tartt’s detective story centres a group of classics students at their prestigious college. 

15.   Night Sky with Exit Wounds, Ocean Vuong 

Vuong’s debut collection of poetry; a delve into sexuality, masculinity, and experiences as an immigrant in America. 

16.   Poor Little Sick Girls – A Love Letter to Unacceptable Women (2022 release), Ione Gamble 

Becoming chronically ill aged nineteen, Gamble discusses her relationship with feminism. The trend of ‘girl boss’ empowerment was inaccessible to her and her disability, leading her to forge her own path and identity. 

17.   Nobody is Talking About This, Patricia Lockwood 

Lockwood’s debut novel explores the reality of our lives online, and the power of human connection. 

18.   Where the Crawdads Sing, Delia Owen 

The story of a young woman who grows up isolated from her town, known to them only as ‘the marsh girl.’ A coming-of-age novel, tension occurs once she begins to yearn for acceptance and love from this community, with certain members becoming equally fascinated. 

19.   The Bell Jar, Sylvia Plath 

Plath’s classic novel needs little explanation, often a steady place-holder on the ‘100 books to read before you die’ lists. 

20.   Catch-22, Joseph Heller 

Another permanent fixture on the ‘100 books to read before you die’ list, Heller’s satirical novel is set during World War Two and exemplifies the foolishness of war. I also just want to know the origins of the phrase ‘Catch-22!’ 

21.   The Virgin Suicides, Jeffrey Eugenides 

I have wanted to read this for a while, following Jia Tolentino’s essay “Pure Heroines”; the Lisbon sisters are used as a prime example of the complication and limitations surrounding teenage girl characters in literature. 

22.   Tenant of Wildfell Hall, Anne Brontë 

Originally on my list because I felt guilty for always overlooking the third Brontë sister, I am quite happy to learn that Tenant of Wildfell Hall is considered the Brontës’ ‘most shocking novel.’ Good for Anne.

Artwork: Ben Beechener

Cabaret and Spring Awakening: The Art of Reviving Musicals

James Newbery
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Cabaret and Spring Awakening: The Art of Reviving Musicals

I was very lucky to see two amazing revivals of the iconic musicals Spring Awakening and Cabaret on consecutive nights over the Christmas vacation. Both shows absolutely blew me away. Yet I noticed how the styles of direction of Rebecca Frecknell (director of Cabaret) and Rupert Goold (director of Spring Awakening) were radically opposed. Both shows will surely receive multiple Olivier nominations – but which show will come out top? And ultimately, what makes a musical revival successful?

Rebecca Frecknell’s big directing break originally came at the Almeida Theatre (the current home of Spring Awakening). Eddie Redmayne suggested that she put on a production of Cabaret after seeing the West End transfer of her hit Almeida show Summer and Smoke by Tennessee Williams. In that sense, there is something intrinsically Almeida-esque in her directorial approach. Frecknell’s 2019 production of The Duchess of Malfi made particular use of the opaque and transparent glass boxes that Goold uses so effectively to explore ideas of captivity and liberation in his production of Spring Awakening. Yet what connects both directors is a willingness to disrupt the ‘sanctity’ of the original texts. Both versions are ‘darker’ than their originals; in Cabaret, Redmayne as the Emcee progressively adopts the persona of a fascist dictator, dropping his sexually liberated clown outfit in favour of a blonde wig and a brown shirt. Jessie Buckley removes all the showbiz pizazz that Minelli brought to the role of Sally in the film version – her voice is stunning, but she chooses to speak through much of the title song. Frecknell’s choice is bold but it pays off. The effect is devastating – Sally becomes a ghostly shell of a person, introducing an ironic distance between the lyrics and the dramatic context in which they take place.

Spring Awakening also opts for a darker approach; it feels more intimate and personal than the original Lea Michele Broadway version. The entire set becomes an enormous chalkboard which the actors can draw on – the actors feel almost organically in touch with the stage itself. Goold’s introduction of Greta Thunberg’s speech into ‘Totally Fucked’ added a new ecological framing to the show; Goold’s directorial touch revealed how the show is just as relevant to a Gen-Z audience fifteen years after it was originally performed. 

I would argue that the reason that both revivals are so strong is that the source material itself encourages and even requires an expressionistic sense of theatricality. In that sense, they are gifts to directors – the possibilities of invention are endless. Frecknell’s Cabaret is performed in the round, with a revolve effortlessly transporting us between the different Berlin locations. Spring Awakening on the other hand is staged end-on with an ascending staircase that fills the entire stage – I was in awe with the level of fitness required for the cast, who had to run up and down the steps for the entirety of its 2-and-a-half-hour runtime.  So which show was better? It’s a close call, but I would just about say Cabaret. The whole experience was so immersive to an extent that I have never personally seen done before. The Playhouse Theatre in the West End is completely redecorated to become the Kit Kat Club from the moment you enter the building. Similarly for Spring Awakening, the intimacy of the Almeida as a theatre helps to contribute to an immersive feel. Goold also has Hanschen (Nathan Armarkwei-Laryea) break the fourth wall to particularly comic effect which I won’t spoil.

However, I would say that only 90% of Goold’s decisions worked, whereas the surprisingly minimalist staging of Cabaret itself created a consistency that Spring Awakening lacked at times. The decision to cut the song ‘The Guilty Ones’ in favour of the original Act Two opening ‘There Once Was a Pirate’ felt like a mistake. The glass at the back of the stage felt distracting and I wasn’t quite sure what purpose it served; it wasn’t used as effectively as the glass box at the front. Yet I am being especially picky –  and given the price difference between the tickets for Cabaret and Spring Awakening, it is no surprise that Cabaret has a slight edge. Frecknell defended the exorbitant costs of Cabaret, saying in The Times that ‘a quarter of the house is £50 or less, and we’re doing a daily lottery for £25’.

Can we ever justify ticket prices of more than £200 given the theatrical experience involved – or are we just making theatre expensive and inaccessible? The jury is out. What is certain is that the Almeida must be commended for their prioritisation of young talent (the Assistant Director Priya Patel Appleby only graduated from University in 2020!) and affordable ticket prices. As a theatre, they are committed to training the talent of the future, which is more necessary than ever as the industry continues to struggle under the pressures of the pandemic.

Image Credit: Marc Brenner

Blacking Down

Madi Hopper
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Blacking Down

Blackfishing is a word that though more or less unknown little more than five years ago, has now become part of everyday speech. While certain blustering gammons still pretend not to understand – that by applying a black aesthetic to a white body it’s reframed in a way that is more palatable to other white people – most of us know what it is, and more importantly that it’s A Bad Thing To Do. Co-inciding with this growing awareness is the slow decline of blackfishing as a rebranding technique. Once a tried-and-true strategy for those looking to gain clout, typically ex-child stars and the entire Kardashian family, blackfishing is now a very risky business. Case in point ? Jesy Nelson. The ex-X-Factor star was at the centre of the latest explosion of the debate around cultural appropriation, and is likely the first major celebrity (ok, that might be pushing it) for whom the consequences of blackfishing have not only backfired but actively tanked the attempted rebrand. Not only did it do nothing to propel her away from her past as a member of a bubblegum-turned-girlboss group, but it turned people against her so violently that they felt comfortable going after someone whose other major claim to fame is the damage done to her mental health because of online abuse.

The most interesting thing about this whole controversy is how the accusation of blackfishing has become one which is so heavily morally weighted that it seems to halo the person criticising the blackfisher – they’ve done something bad, so they become an open goal for criticism. Despite having been the focus of a 2019 BBC documentary highlighting the damage trolling had done to her mental health, driving Nelson to attempt suicide, ‘Boyz’ – the branding, the Tiktoks, the performances – has been the ship that launched a thousand memes. You can see the impact of being accused of blackfishing in the difference between the responses to two clips –the Tiktoks that started it all, and videos of her Jingle Bell Ball performance. 

Let’s be honest here – the Tiktoks that were released to hype up the new single, were blackfishing by the book. Grills, du-rags, basketball shorts, big curly wigs and a tan so deep that Jesy, who’s white British, appears darker than her mixed-race ex-bandmate Leanne Pinnock. Add in the cohort of black/mixed-race male back-up dancers (which, when the song is all about liking ‘bad bad boys’ plays into some very nasty stereotypes), and there is no defence. It was a wince-makingly tone-deaf rebrand. Part of the issue is that her team seems stylistically to have thrown the book at her – if they had toned it (and her tan) down a little, it might have been easier to overlook. But by theming her comeback so heavily around an aesthetic that is so blatantly lifted from the black community (or basically a white person’s stereotyped idea of it), it’s hard to understand how they didn’t see the screaming backlash on the horizon. Most of the criticism, however, was measured and valid – pointing out the appropriation and breaking down why it was bad for those struggling to keep up at the back. The next round, however, was in response to the Jingle Bell Ball performance. Even though Nelson was way closer to her natural skin tone, and wore an inoffensive costume, she got absolutely shredded online – for the performance itself. Now, of course you should be able to say what you like about celebrities online but bearing in mind her own history with online criticism it was quite surprising to see the speed at which the Jesy Nelson hate train was fully boarded.

 It seems of the consequences of blackfishing is carte blanche to be criticized for absolutely anything else, which is handy to bear in mind when you think about the gradual shift away from the blackfish aesthetic over the last few years. Even those who’ve blackfished so hard it was basically their entire brand are stepping away – think about the Kardashians, whose empire was built on the appropriation of the body-type and lip-shape of black women, have allegedly had BBL reductions (although at the last count they had 5 kids by black men between them, which will be a heck of a lot harder to whitewash). There are a lot of theories as to why this is – first of all that, naturally, as a trend blackfishing was always going to have an expiration date, which is one of the major problems with the practice in the first place – that the non-black people who’ve hopped on the bandwagon for clout can just as easily hop off again, treating it as a phase rather than a real, solid aesthetic. More positively, you could say with more (though still nowhere near enough) proudly black artists at the top of their fields than even 10 years ago people have become more used to seeing the black aesthetic on black bodies, something that the decline of centralised whitewashed media has no doubt contributed to. Cynically, I’d also say that the biggest factor (though they’re all at play) is simply the increased accountability. And not only accountability, but the vulnerability it brings. Though blackfishing was obviously never ok, it’s now a truth universally acknowleged – and that means that it isok to jump on anyone caught doing it, and we all know that internet loves a dog-pile, especially one where you can then permanently justify your criticism as being from the moral high ground.

Bridgerton star named Oxford visiting professor

Meg Lintern
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Bridgerton star named Oxford visiting professor

Adjoa Andoh has been named as the next Cameron Mackintosh Visiting Professor of Contemporary Theatre. 

The Chair of Contemporary Theatre was founded through a grant from the Mackintosh Foundation at St Catherine’s College. It aims to encourage interest and participation in contemporary theatre throughout the wider university.   

Andoh has directed and acted in a wide range of television productions. She starred in Doctor Who and Casualty, and also appeared as Lady Danbury in the lockdown hit Bridgerton, for which she was nominated NAACP Outstanding Supporting Actress in a TV Drama.  

Her accolades on the stage are equally impressive. Adjoa Andoh is an Associate Artist at the RSC, where she has played Portia in Julius Caesar, Ulysses in Troilus & Cressida, and Helen of Troy in The Odyssey. She has also performed leading roles at the National, such as Serafina Pekkala in His Dark Materials, and at the Globe, where she conceived and co-directed Richard II.  

The Visiting Professorship was inaugurated by Stephen Sondheim in 1990, and has since been held by an impressive array of theatrical figures, including Arthur Miller, Sir Ian McKellen, Diana Rigg, and Patrick Stewart.  

The Professorship seeks to increase students’ exposure to individuals who have had a significant impact on contemporary theatre, and even contemporary culture. Adjoa Andoh certainly ticks this box: Bridgerton was streamed by 63 million households worldwide, and as the second season approaches, the involvement of one of its stars in the University will bring a hint of Hollywood to the Dreaming Spires.  

Discussing her new role, Adjoa said: ‘Sir Cameron has enriched our vision of what is possible in our profession immeasurably. I hope as Visiting Chair in his name to honour his work amongst those Oxford students who wish to make their contributions to the work and the art of storytelling; and to be in dialogue with other theatre makers, ever widening the stories told and the audiences invited in.’ 

Sir Cameron Mackintosh, the founder of the Visiting Professorship, said: ‘‘Since I was lucky enough to have Stephen Sondheim establish the Chair 31 years ago, when he revealed that he was as masterful a teacher as he was a composer and lyricist, I have been honoured that it has attracted so many legendary talents from the world of theatre and film. 

‘This year I am particularly delighted to welcome Adjoa Andoh, who is not only known as a brilliant contemporary actress, including her recent dazzling performance in Bridgerton, but also for her cutting-edge approach to directing and performing Shakespeare in London which has had a powerful impact on modern theatre.’ 

Commenting on the importance of the professorship to student theatre at Oxford, one student said: “having Adjoa Andoh as this year’s visiting professor will allow students to connect in person with the actress and ask their personal questions, allowing them to gain a better understanding of the industry, as well as the issues within it.”  

There is no formal teaching requirement attached to the position, and everyone who holds the professorship can interpret their responsibilities however they like. However, it is expected that Adjoa Andoh will deliver an inaugural lecture at the beginning of her tenure. Previous visiting professors have also interacted with students through workshops and seminars throughout the year. 

Image Credit: Sarbeng781227/CC BY-SA 4.0 via Wikimedia Commons

John Evelyn: 0th Week, Hilary Term 2022

John Evelyn
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John Evelyn: 0th Week, Hilary Term 2022

Much like John Evelyn, the union has decided that, after a long spell of messy and toxic matchups, this term it’s time to branch out and try a three-way.

You might recall that the last time something similar happened, the Union was about to couple up with an Australian gentleman, but some chap called Ron got in the way. As is often the case when one’s first option falls through, the Union ended up in a four-way with some slightly older folks and things got a bit weird. Hopefully, this time, the longer build-up will mean everyone is more comfortable when the moment finally comes.

The Rapid Climber has reConnected with the dynamic duo that is European Girlboss x European Boyboss. The LMH Enforcer, on the other hand, was Inspired by the musical clout of David Guetta and the career prospects of the Campus Ambassador. John Evelyn hears he is planning a 70 person slate social this Saturday at LMH in paralysing fear that he might not get his campaign started soon enough. The Univ Queen has renewed her OUCA Prime subscription and express-shipped two veteran hacks from the university’s other favourite society. John Evelyn hopes she remembered to put the purchase on her personal debit card and presents her with the Garbage Collector of the Week award for reaching deep enough into the bin to pull these two out.

It’s dating season in the union, as each slate desperately tries to fill its final officer position. John Evelyn has heard that the ROs are thinking of putting all the slate leaders and eligible single hacks on an island together to see if they can find The One. They say there are many Fish in the sea, but at present no one seems to be getting any bites. Senior appointed are currently sheltering together in a coffee-proof bunker, however a little birdie told John Evelyn that one member may have been temped over to the electoral dark side…

Meanwhile, all wait with bated breath to see who, if anyone, the Privately-educated Progressive will look down upon favourably from her high throne. We can only wait and see whether this planned three-way does indeed come to climax, or if someone pulls out beforehand with cold feet.

More to come.

John Evelyn x

Words of Wisdom from Rusty Kate: 0th Week, Hilary Term 2022

Rusty Kate
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Words of Wisdom from Rusty Kate: 0th Week, Hilary Term 2022

This mildly comedic column has been written by a drag queen agony aunt. It is not for the faint hearted and contains sensitive topics which may cause distress to some readers. Be prepared for dirty douche water, relationship issues, adultery, and finding out why your Dad never loved you.

Hate men? Losing the will to live? Wondering how to remove that Alpecin-Caffeine shampoo bottle from your arse? Good old Aunt Rusty is here to help!

Rusty Kate is Oxford’s premier cum-filled crossdresser, known for turning looks, tricks, and straight men seven nights a week. She’s decided to take a short break out of her busy schedule of carrying Plush’s Drag & Disorderly shows to act as Cherwell’s Dragony Aunt, and help sort out your pathetic little lives one horrendously uncensored column at a time.

Remember to submit your questions through the link here – you’re guaranteed complete anonymity. Unless you lose an Alpecin-Caffeine shampoo bottle up your arse (looking at you, Ben Jureidini).

Right, onto the issues that the SU are currently writing some very important petitions to the university about…

Dear Rusty, I think I fell in love with one of my closest friends last term. I thought the separation from her over the vac would help me come to my senses, but I think I’m still in love with her. Is it in my head? Am I confusing close friendship with romance? Do I tell her knowing she probably doesn’t feel the same? Help an emotionally confused gal out Rusty xx

Love is always in the head, dear. Just give her some and I’m sure she’ll give you a yes or no answer.

You do need to tell her how you feel, though. There’s no use bottling all it up just for it to all come squirting out later (that’s how lesbianism works, right?). In the words of the great Macklemore, love is love, and by the sounds of it, you’ve got some loving to give her.

Romance and close friendship can be hard to separate, especially as queer people – we shag our friends, and are borderline celibate with our partners. Why not ask her out with the angle of an open relationship? Those always go well!

How the hell do I find someone who is not completely insane, not a weirdo and just interested in something casual? I want a no strings casual hook up – is that too much for a girl to ask for? I’m dying here, Rusty, help. Where are all the hot men hiding?

Darling, the answer is simple – all hot men who are completely devoid of attachment or any ability to sustain intimacy are gay. You’ll find a plethora of options on Grindr – bisexuals and homoflexibles alike will be perfectly happy to give you everything and more, as long as it’s seen as casual. They don’t want to meet your parents, but they will

pound you close enough to death that you’ll be meeting your maker. Just remember, the diamond emoji doesn’t mean they like jewellery – you’ll need to bring something smokable for those types.

How can I get out there without using dating apps?

Go out there just like your mother used to do, the good old-fashioned way. I’ve heard the hard shoulder on the M40 is a good place to meet people.

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