Wednesday 30th July 2025
Blog Page 386

Backstage takes centre stage: a look behind the scenes

Holly Bostock
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Backstage takes centre stage: a look behind the scenes

Whether you have acted in the Olivier Theatre, or taken part in the school nativity, any actor will be oh too familiar with the organised chaos commonly referred to as ‘backstage’. The panicked cry of ‘where’s my prop?!’ five seconds before your cue, the frantic costume changes in the wings and the crippling fear of not being called for your scene are not only rights of passages but, in fact, an integral part to the production. Perhaps even an aspect that audience members rarely consider whilst sat happily in the stalls. Where would Cinderella be without her glass slipper? Could Romeo and Juliet have lived happily ever after if Romeo had been cued a bit late? Perhaps Lady Macbeth wouldn’t have felt quite so guilty if she hadn’t had time to apply that fake blood to her hands in-between scenes? It may be, that the seamless performance audience members witness onstage, is in fact, only the tip of an iceberg.

It all begins, of course, in the rehearsal room. After weeks of eyeing up your opponents during auditions, you are finally sat in an unusually dark room with a slightly damp smell; some feeling pretty chuffed with their solo and others less so with the role of Villager No. 2. It is at this point where the thought of being secure in your lines, standing on stage, in costume, seems like a faraway dream. At this precise moment, dodgy American accents are being polished and elaborate mimes for props you simply don’t have are being carried out with painful attention to detail. Meanwhile, the director is becoming increasingly stressed as cues are missed, lines are shaky and ‘NO-ONE. I REPEAT NO-ONE IS WHERE THEY ARE SUPPOSED TO BE!’ is screamed over a microphone.

The general feeling in the rehearsal room tends to be one of despair and doubt as to whether the show will ever be ready. The
famous phrase, ‘it’ll all be ok on the night’ does, however, always seem to pull through when you finally have something worthy of performance. It is at this moment that it becomes obvious just how important backstage is; it can quite simply carry the play or allow it to flop, making the phrase ‘break a leg’ cut a bit close to the bone.

That isn’t to say, however, that a few technical hiccups during a production don’t add to the charm and fun, both for actors and audience members. During one particularly memorable sixth form production of ‘A Christmas Carol’, a yoyo, which was crucial to the scene, was not in the coat pocket it was supposed to be in. This resulted in having to perform an overly detailed, ‘off the cuff’ mime of said yoyo in front of a live audience: great sport for them, rather humiliating for me. During another production of RSC’s ‘Wendy and Peter Pan’, an actor not being able to make it in time from the dressing room to the stage meant that drastic improvisation had to take place, resulting in the contents and length of the scene changing dramatically. I’m fairly confident that the audience didn’t notice, the actors onstage, however, most definitely did and, safe to say, the post show adrenaline levels in the dressing room were running much higher than usual.

Then there is the pre-show dressing room tension that every actor is craving during this latest lockdown. From the lost costumes and wardrobe malfunctions being sorted out last minute to the soundtrack of tongue twisters and scales being sung in the background. Meanwhile, seeing fellow castmates in their underwear no longer seems strange; in fact, no-one bats an eyelid. It is maybe these small moments that are most missed by actors during the pandemic, not the dramatic death scenes, or passionate declarations of love onstage, but the little trials and tribulations that go on in the wings which ultimately bring a cast closer together.

Ultimately, it doesn’t seem to be the centre stage limelight that actors are missing so much during lockdown, but rather the backstage community, the dressing room drama and panic in the wings that all contribute to the feel-good-feeling drama can achieve. It seems that now, more so than ever before, the show truly must go on in order to preserve this precious sense of ensembl

BREAKING: University confirms record-low 7 positive cases this week

Sasha Mills
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BREAKING: University confirms record-low 7 positive cases this week

The University has confirmed a record-low 7 cases of Covid-19 amongst staff and students from Early Alert Service tests for the 16th-22nd January, with a positivity rate of 6.8%. This marks an 84.4% decrease from last week’s 45 cases. 

This figure does not include the results from the Lateral Flow Tests that students have been encouraged to take upon returning to campus. 103 tests were administered by the University service in total this week, less than half the 222 administered the week prior. 

In Oxfordshire, cases have been decreasing. In the 7 days up to the 19th of January, Public Health England reported 24 positive cases in Oxford Central, 5 in North Central Oxford, and 36 cases in East Central Oxford. All of these areas have seen a decrease in cases.

Oxford study finds social media manipulation in all 81 countries surveyed

Angela Eichhorst
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Oxford study finds social media manipulation in all 81 countries surveyed

A report published by the Oxford Internet Institute (OII) has found evidence of organised social media manipulation campaigns in all 81 countries surveyed in 2020, a 15% increase compared to last year’s report. 

The study points to the rising influence of ‘cyber troops’. This refers to social media accounts that spread doctored images, use data-driven strategies to target specific sections of the population, troll political opponents, and mass-report opponents’ content so that it is reported as spam. These accounts can be either automated or human.

Facebook and Twitter revealed that they removed more than 317,000 accounts and pages from their platforms in a 22-month period (Jan 2019 to Nov 2020), but they are up against an industry that has become “professionalised, with private firms offering disinformation-for-hire services,” says Dr Samantha Bradshaw, a researcher at the OII. While social media companies were removing accounts, $10 million was spent around the world on cyber troop political advertising in the same timeframe and $60 million has been spent on private “strategic communications” firms since 2009. 

OII’s report found evidence of government agencies in 62 countries using computational propaganda for their own ends. Examples include China-backed cyber troops who continue to launch smear campaigns against Hong Kong Protestors and the Libyan National Army who have used social media to shape narratives about the ongoing civil war.

Of the 48% of countries with misinformation campaigns that drive division and polarization, the UK and the US were counted among them. In fact, the US and the UK both tested positive for interference from all five potential actors – government agencies, politicians & parties, private contractors, civil society organisations and citizens & influencers.

During the attack on the US Capitol on 6 January, fears of civil unrest caused by years of social media manipulation were harshly realised. “The day after the election, a group immediately pops up on Facebook called Stop the Steal,” says Sheera Frankel, cybersecurity reporter for the New York Times. “They’re gaining 100 new members every 10 seconds.” After Facebook and Twitter removed their pages, the group reconvened on Gab and Parler, platforms that allow individuals to say whatever they want without fear of moderation or censorship.

“Now, more than ever, the public needs to be able to rely on trustworthy information about government policy and activity,” said Professor Philip Howard, Director of the OII and co-author of the OII report. “Social media companies need to raise their game by increasing their efforts to flag misinformation and close fake accounts without the need for government intervention, so the public has access to high-quality information.”

Image Credit: Today Testing. Licence: CC BY-SA 4.0

Oxford researchers accurately trace Covid-19 transmission through genomic epidemiology

Dania Kamal Aryf
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Oxford researchers accurately trace Covid-19 transmission through genomic epidemiology

Researchers from the Universities of Oxford and Edinburgh have recently published a comprehensive genomic analysis of the Covid-19 transmission. The full report was released on 8 January 2021, presenting detailed insights into the behaviour of Covid-19 transmission chains since the outbreak of the pandemic in the UK. 

The study is based on data from the first wave of the pandemic in early 2020, when the virus was first introduced into the region, and has found that the highest number of transmission chains had been introduced from Spain at 33%, France at 29%, and Italy at 12%. Transmission chains of the virus from China, meanwhile, accounted for only 0.4% of imports. 

The researchers drew on more than 50,000 virus genome sequences, in which 26,000 of these sequences were obtained from the Covid-19 Genomics UK (COG-UK) consortium. The results of the study offer a crucial context to what is happening now in the current wave of the pandemic in the UK. The same team have hence incorporated the genomic factor in identifying the latest variant (termed B.1.1.7) that is currently growing at rapid rates throughout the country. 

The team of scientists have suggested that a detailed comparison of the new variant’s behaviour with that of the first wave lineages will be crucial to understanding why the B.1.1.7 variant is spreading so quickly now. Before the March 2020 lockdown, high travel volumes and lax restrictions on international travel led to the circulation of more than 1,000 identifiable UK transmission lineages which had persisted into the summer of the same year. 

In a news article published by Oxford University, Professor Oliver Pybus, co-lead author based at Oxford’s Department of Zoology and the Oxford Martin School, said that by reconstructing where and when COVID-19 was introduced to the UK, we can see that earlier travel and quarantine interventions could have helped to reduce the acceleration and intensity of the UK’s first wave of cases. 

Another co-lead author, Louis du Plessis, also from Oxford’s Department of Zoology, added that the UK shares large volumes of virus genetic data publicly on a weekly basis, and that “if you don’t have this level of surveillance, you won’t know the real situation of virus evolution and transmission.” 

PhD researcher Verity Hill also emphasised that this form of continuous, nationally coordinated genomic sequencing allows for high-resolution analysis and for other countries to place their genomic data into context. This would enable countries to strategise a more effective pandemic response.

Image Credit: iSO-FORM LLC. Licence: CC BY 4.0

Michael(mas): Everyone’s Toxic Ex

Brittany Perera
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Michael(mas): Everyone’s Toxic Ex


It’s weird isn’t it, having more than one kid.  

I love kids (not in a weird way, you creep) but, you’d think that after the pain of childbirth and having your vagina stretched to the size of a small melon, if someone was like,  

“You wanna go for round 2?” 

You’d be like,

 “I’m good.” 

But my mum’s one of six, which means her mum either has a vagina of steel or a taste for masochism. 

Turns out she has neither. 

After childbirth your brain releases some hormone/chemical (medics come at me) that makes you forget how painful it actually was. And how on Earth can you be upset about the pain when ‘awhhh cute baby! It looks  ike literally every other baby on the planet but let’s pretend it has your forehead!’ *pinches cheeks.* 

Oxford is Childbirth. See, I got to the point eventually. I’ve never given birth (shocker) but they say that it’s the 2nd most painful thing that a human can endure. Number 1?  

Michaelmas.  

Scientifically proven, I swear. Michaelmas is Childbirth and the baby is your shiny, gleaming Oxford Degree.  

My point is, you spend 86% of term stressed, depressed and formally-dressed. You put up your paper shield for your tutors’ machine guns, you fret over deadlines, you look at everyone else who all finish every problem sheet 10x faster with 10x more ease and think “why the fuck am I here?” All of your other friends at other unis seem to be on the sesh every other night, posting Instagram posts that you double tap out of courtesy but, really, you’re looking at them thinking: 

Are my 10 lectures, 6 hours of labs and 24 hours of imposter syndrome worth it for a fancy gown that’s only going to make those friends think ‘god they’re a prick’?     

You see the library more than you see your own bed and you count the days until your mum can cook you a meal, without charging you the price of a small island for it, preferably telling you how much of a little clever clogs you are as she serves up the plate.  

And yet. 

Somewhere between the 2nd and 5th week of the 80000-day vac, you find yourself yearning for your gal, Hilary.  

I mean, sure, your ex, Michael (surname: Mas) wasn’t perfect and, yes, you loved the first 2 weeks of detox… but he wasn’t that bad, right? 

The first week, when things where Fresher(s), he was the life of the party. You guys were happy together- partying, drinking, meeting new people, staying up til dawn and sleeping in til noon. After that? I mean, sure he stressed you out during the week, but maybe it was just you, overreacting.  And, come on, during the weekends it was just like old times! He treated you like a gentleman should. You explored the city together, milked that Free Pret Subscription,- other (less free) coffee shops also available- took romantic walks around the Meadows. A couple shots down and you’ve forgotten the bad times altogether.  

Nothing beats your Dad’s stir fry… but suddenly you’re thinking about that Najaar’s falafel, hummus and tabouleh wrap. And your living room couch is like being hugged by a cloud… so why is the dirty JCR sofa calling your name?  

The childbirth chemicals have done their trick and suddenly you can’t wait for round 2. You’re ready. You’re raring to go. Come at me, Hilary, I’m a new person, I’ve learnt from my mistakes and it’ll be different this time, I swear. 

Then, the letter came. 

Ladies and gentlemen, welcome to the stage: Cockblock COVID. She’s your textbook villain; sickeningly evil, hates fun and an absolute buzzkill at parties.  

We are unfortunately having to ask you to restrict the number of students returning to university.

10 more days added to a vac already longer than a year on Jupiter (scientific fact) and you’re wondering if you’ll ever meet Hilary. That Najaar’s wrap floats from your fingertips.  

10 more days. Thank god I bloody love a stir fry.

A Recipe for the ‘Great British Sitcom’

Cherwell Culture
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A Recipe for the ‘Great British Sitcom’

It seems difficult to think of anything so integrally British as the phenomenon known as the ‘Great British Sitcom’. Up there with scones, Big Ben and the BBC, it is hailed as one of our much-loved cultural oddities, a strange and mystifying asset which is difficult to pin down. Yet in a time of Tory scandal and coronavirus disaster in Britain, I feel myself clinging to this odd, undefinable genre as a rock of national identity. Once, one of my international friends spending a while in the country asked me, perhaps within reason, how I could be proud to be British in a time with Brexit raging across every headline. With a rather shocked look at him, I said, “Have you never seen Doc Marten?”

When I say the ‘Great British Sitcom’, I mean the strange, often rather ambiguous comedy shows, usually to be found on a Friday evening, most enjoyed with a good glass of wine. The range runs from Peep Show, starring David Mitchell as a socially and romantically inept office worker, all the way to The Vicar of Dibley, starring Dawn French as a progressively-minded vicar in a conservative English village. In between these opposite ends of the spectrum lies The IT Crowd; The Inbetweeners; Spaced; Bad Education; Miranda; Outnumbered, and countless others. Though undoubtedly influenced by their predecessors, these shows are integrally different to something like The Two Ronnies sketches, or Laurel and Hardy pieces. Admittedly, 70s shows like Fawlty Towers or Are You Being Served? might serve as a bridge to this modern genre. But what exactly is it that makes the format so unquestionably British?

One thing that all of the modern shows listed have in common is situation, of course the most vital aspect of the ‘sitcom’ genre. Whether the focus is on the computer geeks of The IT Crowd or the schoolkids of The Inbetweeners, all of these shows have a group of characters attempting to navigate, with varying success, the throes of everyday British life. Whether their problems are romantic, social or otherwise, the general British awkwardness supersedes everything and drives the situation forward. And their problems, too, are often so relatable, especially for people who have grown up here: the references, the settings, the characters, too.

Whilst there are overlaps in the types of characters which populate British sitcoms – one can certainly see the influence of Dawn French’s vicar upon Miranda Hart’s Miranda – often the actual traits of a character play little part in this genre. The constantly battling family in Friday Night Dinner are very different to the pot-smoking young adults we see in Spaced, however, it seems simple to group these shows together under the umbrella of ‘The Great British Sitcom’. This is because differences in characters, such as age, ethnicity or experience don’t really affect a show’s place in the genre: this is all based, once again, on ‘situation’.

The backdrop of this situation is usually important; setting certainly plays a role in defining this genre. If we’re in an urban setting, we’re likely to get shots of Piccadilly Circus or the Houses of Parliament, or at least a sturdy-looking London skyline. A rural setting, on the other hand, is likely to feature cows, muddy fields, a good dose of rain and those nice, white semi-detached houses with the bay windows and a side garage (you know the ones) that crop up all over our fertile land. Admittedly, these shows often present a limited view of Britain – London-centric, southern-based – and generally skim over all the unpleasant bits, such as colonial history and Prince Andrew.

British humour is notorious for being a thing of great mystery to the rest of the world. I imagine that especially in the light of Brexit, the rest of Europe certainly see us as a lot of oddballs. Yet our little island, with its terrible weather and generally shocking cuisine, has bred a certain type of ‘let’s just get on with it’ humour that is possibly one of the most difficult British things to explain (aside from most of the Cabinet’s decisions, that is). Rather like us Brits ourselves, our jokes are silly, awkward, ridiculous, nuanced things. We seem to have a particular fondness for puns and other jokes based on our bastardised language (see Upstart Crow), as well as a good dose of what the Germans call ‘Schadenfreude’ – finding great humour in someone else’s passing misfortune (see The Inbetweeners). The surreal, too, also plays into many of our jokes (probably the result of all the hard water), and this is one of the most prominent features almost all of the television shows I have mentioned have in common. As comedic situations highten, they often become uttery ridiculous; consider Dawn French ballet dancing with Darcy Bussell in The Vicar of Dibley, or Simon Pegg believing he lives in a post-apocalyptic world in Spaced. We seem to love to toy with the abstract, perhaps simply leaning into our global reputation as a funny little island with a warped sense of humour.

This humour, I believe, is the one staple holding together the cluster of television we see as the Great British Sitcom. And so despite all the Government have done to ruin our international standing, I still find myself feeling fond of our strange little land. As it turned out, national identity exists not only is such things as politics and flags, but just as much in humour, settings, situations and friends. With that, I’ve got to dash – I’m on the final episode of This Country!

Anyone Can Cook

Angela Eichhorst
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Anyone Can Cook

If you walked into any Waterstones in the month of December you would have seen Yotam Ottelenghi’s most recent book, Flavour, piled high on tables around the store. Even after the Christmas rush, the popularity of the eighth book by the world-renowned Israeli-British chef, owner of six delis and restaurants across London, has not depleted. It is currently #61 on the bestselling list on Amazon and #1 in the restaurant cookbooks section, which, according to sales calculator estimates, puts it at 857 sales a day. His penultimate book SIMPLE published in 2018 is still ranked #163 on Amazon’s bestsellers list. 

While Ottolenghi certainly achieved success with his earlier books, SIMPLE made his sophisticated cuisine accessible to “lazy cooks”. Ottolenghi promises all his recipes can be prepped in under thirty minutes, use ten ingredients or less and can be made ahead of time. After tasting my Dad’s versions of Ottolenghi’s mouth-watering signatures when he was gifted SIMPLE by family friends, I decided to try my hand. While Ottolenghi’s recipes would usually take me longer than the promised thirty minutes, I was surprised to find that it was virtually impossible for them to turn out wrong. Ottolenghi has ridiculously precise directions: “cook for 7-8 minutes, until starting to soften at the edges but still holding their shape.” You’ll also need to invest in cooking scales: “55g pitted Kalamata olives torn in half.” It uses a fantastic combination of flavours from rose harissa with preserved lemon and red bell peppers, to yoghurt with strawberries and sumac for dessert. As I worked my way through the various recipes I started to gain a sense of how crispy I wanted my potatoes to be and how much spice I wanted to add for my not-so-spice-friendly family. In short, Ottolenghi taught me how to cook.

Flavour focuses on vegetables. In fact, it’s an entirely vegetarian cookbook with 45 out of 100 recipes strictly vegan and 17 “easily veganised”. The book highlights methods that induce so-called “flavour bombs,” including charring, infusing and ageing. It also talks about unique pairings such as sweetness and chilli or acidity and fat, using flavour-rich products that pack a particularly potent punch. With increasing knowledge of the damage caused to our health and environment by an excessive global consumption of animal products, Ottolenghi aims to “appeal to the widest group of vegetable lovers possible” with a flexitarian approach. Many of the recipes are also naturally free of other allergens such as gluten or nuts. 

If there is anyone who has done more to advance Ratatouille’s mission of ‘anyone can cook,’ it’s Ottolenghi. As for me, I plan on using my time at home to try out new recipes on my family. I often find myself reminiscing about my Friday 7pm shopping runs to the Oxford Tesco, which would inevitably involve my deep despair when I discovered that they had (yet again) run out of my favourite Ottolenghi staple: the versatile and robust aubergine. Now that I’m no longer in charge of my own grocery shopping I’m grateful at least to be cooking in my parents’ well-stocked kitchen, but not even all the aubergines in the world could heal my broken remote-Hilary heart. 

Photos by Angela Eichhorst.

Bridgerton: blunders amidst beauty

Various contributors
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Bridgerton: blunders amidst beauty

The portrayal of corsets within Bridgerton is, unquestionably, historically inaccurate. The empire-line dresses worn throughout the series would not necessitate the smaller waist that a tight-laced corset would create, as the dress falls from the bust, almost completely obscuring the shape of one’s figure. Yet, just because they are historically inaccurate, does not mean that they don’t have a valuable role to play within the series. Tight corsets have come to be a shorthand within period programming – they are there to emphasise the tight restrictions placed on women’s lives during these periods, the ridiculous societal expectations thrust upon them, the lack of control they truly had over their own lives. In this, when we watch Lady Featherington demand that her daughter’s corset be tightened beyond reason, the scene is not about the corset, but rather acts as an introduction to the character dynamics that we will be seeing throughout the series: Lady Featherington is a woman who cares about what people think, often to the detriment of her own children; she cares about appearance beyond reason (in fact, the fact the corsets are seemingly useless only further contributes to this, as she is needlessly hurting her daughter); and she wants to ensure her daughters are perfectly moulded to fit in with cultural expectations.

Written by Lily Kershaw

Shonda Rhimes’ and Netflix’s new baby in leading strings Bridgerton had all the ingredients to become a viral sensation, the romantic romp being delightfully easy-viewing with the added bonus of debonair dukes and jaw-droppingly gorgeous sets and costumes. The show was quickly consumed worldwide, amassing viewing figures of over 63 million in a fortnight and shaking the fashion world right down to their breeches.

 It is not unusual for a popular television show or film to have an effect on fashion and beauty trends; Jennifer Aniston’s hair on Friends prompted over 11 million women to chop their locks into ‘The Rachel’ cut, and headbands were no longer only primary-school cool after Gossip Girl’s Blair wore them as her signature accessory. The only difference is, we are not talking about a revival of headbands here. The characters of Bridgerton wear (mostly) era-appropriate empire-waist gowns, corsets and bonnets, items you are unlikely to see on the Zara website or wear on your trip to Tesco’s.

How 19th century and 21st century fashion came together somewhat mirrors the music of the show itself.  Pop songs by the likes of Ariana Grande and Taylor Swift were ‘Austenised’ with a string quartet makeover and surreptitiously slotted into scenes, marrying the classical and the modern. The 2021 fashion equivalent is ‘Regencycore’, a trend which combines elements of Regency and 21st century fashion into a wearable version of the dreamy clothes seen on the show.

For this lockdown corsets have made a comeback, although not as the debutantes of Queen Charlotte’s court knew them. Corsets are now being styled over crisp white shirts, paired with jeans or layered over a t-shirt dress, making for cool and savvy outfits not too out of place for a walk down the high street. Swirling floral designs, romantic flowing skirts and capped sleeves will no doubt be popular in Spring too, a wistful departure from the comfort of lockdown-chic trackies and old freshers week t-shirts. A Victoria’s Secret corset top has gone viral on Tiktok because its delicate floral pattern, fussy lace and sweet satin ribbons practically scream Bridgerton, without being a full-blown ballgown. If a singular clothing item encapsulates the essence of Regencycore, this top is just that: a piece of lingerie that is somehow also demure and rather elegant.

Even the colours of Bridgerton are coinciding with the predicted shade trends for 2021. Every December Pantone™ declare their new ‘it’ colour for the new year, setting the tone for fashion and home design trends to follow. The 2021 colour is a cheery, buttercup shade of yellow named ‘illuminating’ which Lady Featherington could only be proud of. Bridgerton’s costume designer Ellen Mirojnick pre-empted the need for visual vivacity and cheerfulness in the gloom of 2020/21. She used anachronistic hues of fuchsia, cornflower blue and of course bright, bright, yellow to do some illuminating of her own.

Tiktok and other social media sites undoubtedly fuelled part of the virality of both Bridgerton and Regencycore fashion. The platform was flooded with hundreds of women wearing the same olive-green corset from Amazon, flitting and floating around the room like a princess at Disneyland, the video overlayed with the Bridgerton soundtrack. Vogue, Cosmopolitan and Harper’s Bazaar among others have written articles about the show’s glorious costumes and outrageously fun hairstyles, showing the hold the costumes alone have on the fashion industry.

Bridgerton is neither ground-breaking nor deeply thought-provoking but nevertheless charming and oh-so pretty to watch. The show temporarily transports the viewer to a world stuffed with dances, picnics and nights at the opera, the kind of thing we can only yearn for in the midst of a lockdown. The characters look consistently stunning, primped and preened in case a suitor might show up at any minute. Sitting on the sofa in our pjs you cannot help but want to go to the ball with them draped in feathers and satin, if not just for the chance to wear real clothes and not loungewear for once. Since this is not obviously possible, imitation is the next best thing. After all, if we dress like Daphne, maybe a hunky duke will land in our laps too?

Written by Hannah Goode

Dear reader, I shall hope that you did not miss the most remarkable coup of the season – the first series of Netflix’s Bridgerton.

Lady Whistledown impersonations aside, the Netflix-hit Bridgerton certainly made a remarkable debut! The show created by Chris van Dusen and based on Julia Quinn’s novel has been binged-watched by many (and, dear Oxford student, yes, you are allowed to catch a break and watch a show on Netflix) and is set to make the best launch ever for a show on the platform.

Bridgerton is indeed the perfect combination of Jane Austen novels and Gossip Girl, “Regency with a modern twist”. It is a period drama like never seen before. The show is a joyful painting of the 1813 society – exit dull beiges and welcome to a colourful debutante season! Bridgerton’s costumes were the creation of designer Ellen Mirojnick, who had worked with Shondaland (the show’s production company) in the past. Part of her philosophy was to stick to historical foundations and silhouettes, while offering a modern colour palette. The styles are more luxurious, more sumptuous and reflect the fashion of our current time. The colours provide a fresh outlook on the Regency period; historical accuracy mattered, but there needed to be a modern shift. Who would have expected garish yellows and pinks amongst the Ton? Now, who wishes for a Bridgerton-inspired ball once the pandemic ends? Quite a ravishing idea indeed!

Colours carry an important meaning for the shows characters. They hide clues about their stories and personalities. Let’s start with an outlook on the Bridgertons. Their wardrobe is dominated by pale hues of blue, purple and pink. The muted pastel palette is a symbol for the older, classically upper class family that the Bridgertons are. The more traditional and delicate gowns of Daphne, Eloise and Lady Bridgerton radiate elegance and grace. The family is mostly defined by Wedgwood blue. It is a nod to the fine china porcelain founded in 1759 and illustrates the level of status and luxury held by the family. The pastels are juxtaposed with the Featherington’s bright, almost gaudy colour scheme. The Featherington’s are new money, and thus seek stature and attention. Lady Featherington wishes her daughters to be seen and courted by the most noble men of Mayfair. The family is loud and proud, although the vivid hues are verging on the vulgar. The colour scheme also cover up a deeper secret. Lord Featherington is severely indebted – a scandal that would have destroyed any family’s reputation. The bright colours are an effort to hide the stain covering the family. And what better way to distract the town’s, and, crucially, Lady Whistledown’s attention than wearing bold colours?

The families illustrate the importance of colours in Bridgerton, but individual characters also wear distinct colour schemes.

Daphne Bridgerton, the diamond of the first water, wears white, baby blue and pale colourful hues. It is indeed an indicator of the stature and nobility. The pale colours will be associated to innocence – she enters the marriage market having never been in love or having had a relationship with a man. Gradually, she will discover herself, the world and become a woman. White may even further symbolize her strong wish of being married and her pursuit of an ideal family life. Over the course of the episodes, her clothing will become more mature.

Our dear Penelope Featherington almost exclusively wears yellow. At first, it symbolizes her joyful, perhaps sometimes childish nature. It was an incredibly fashionable colour of the Regency Era, often considered the most popular of those worn by marriage-seeking young women. But yellow is also the colour of lust and jealousy, which reflects her infatuation with Colin Bridgerton, whom she witnesses forming an attachment with Marina Thompson. Most interestingly, it is the colour of deceit and hints at the interesting secrets that Penelope has to hide.

And then, of course, we have the Duke of Hastings (you really thought that we could write an entire article on Bridgerton without mentioning His Grace?). Simon first appears wearing solely dark colours, that emerged from his complicated past and overall reluctance to participate in the bravado that is social season in London. As the series progresses, and so do his feelings for Daphne Bridgerton, he is seen with more and more red. Red is the colour of love, of passion and hence adequately reflect the Duke’s gradual attraction to her.

There we are with our analysis about the importance of colours in Bridgerton. The show is a refreshing outtake on period dramas that will certainly influence modern fashion.

Now in the words of the mysterious Lady Whistledown: “The illustrious words that come to this author’s mind the morning after any good party are shock and delight”.

Yours truly.

Written by Larissa Koerber

Artwork by Alessia Daniel

Don’t knock Wagamama’s anglicised katsu curry

Jade Calder
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Don’t knock Wagamama’s anglicised katsu curry

When I was in sixth form, I auditioned to represent my college at a public speaking competition. As I awkwardly stepped in front of the audience of nonplussed students and teachers, I began my spiel: ‘I am the human equivalent of a Greggs Katsu Curry bake’. The audience continued to look nonplussed. 

What I had been attempting to do was to convey my feelings about being caught between two different identities: my Japanese heritage on the one hand and my Northern English upbringing on the other. The katsu curry bake is sadly no longer available – probably because it had been marketed as a ‘healthier’ pasty – but my awkward attempts to reconcile my dual heritage remain.

For those who are unaware, Japanese curry is a common family dish with chains across the land serving up plates of meat (typically chicken, beef or pork) and vegetables in a brown stew and served with a generous mound of steamed rice. Think of it as the Japanese equivalent spaghetti Bolognese in terms of ubiquity.

Its origins are, as you might have suspected, rooted in colonialism from the Indian subcontinent via British sailors. By the late 19th century, it had begun to take root in a form that had been distinctly transformed from anything which resembled anything Southern Asian and thus, from this perspective, it is funny to see the dish once again be adapted for the British palette.

The katsu curry one can find in Wagamama is not really much like the kare raisu (curry rice) I loved when I lived in Japan, but rather an Anglicised concoction which has more in common with the curry sauce available in a fish and chip shop. Despite the inauthenticity, I appreciate it (arguably perhaps a little too much if you’re looking at my bank balance). Yet it isn’t quite the Katsu on which my Japanese mother raised me, but rather the one I enjoy in public, with my western friends. However, in lieu of having some sort of identity crisis whenever I go to Wagamama, I have decided to appreciate this suspicious sauce for what it is: a delicious intersection of my multiple heritages. 

If you want to make authentic Japanese curry, pick up some roux blocks from an Oriental supermarket (Golden Curry is a popular brand) and melt them into a stew of some meat and vegetables, then serve over rice or udon noodles; the ease of preparation is probably one of the reasons why is it pretty much the most popular dish in the country. As a vegetarian student who tries to make the most out of limited means, I have taken to substituting the deep-fried meat cutlet for Quorn nuggets (I am a classy lady) whenever I am craving my ultimate childhood comfort dish after a day at the library.

There are numerous curry recipes available online for those looking to create the sauce from scratch, but nobody in Japan making the dish at home would bother with the effort; even if one was so inclined it would almost certainly not be much match for the pre-made stuff (as I have found from my own disappointing experimentation). Done right, it is a big bowlful of that ever-mysterious adjective of ‘umami’ – dark and rich, harnessing the perfect mix of salty and sweet with honey and apple being common ingredients in the sauce mix. Unlike traditional South Asian curries, the spice is rather tame so don’t be afraid to give it a try!

Image credit: Triplecaña via Wikimedia Commons.

Students unhappy with college isolation provision

Rachel Muir
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Students unhappy with college isolation provision

A Cherwell survey has found that 57% of respondents were not satisfied with their college’s handling of self-isolation last term. One student commented that they were “treated disrespectfully,” with “little support from the college.”

A key area of complaint was meal provisions, with only 44% of respondents voting that the food they were given was “adequate.”

One student complained that they were given “slabs of boiled unseasoned tofu with peas,” while another, who got sent the same meals four times in a row, said: “I never ever want black bean chicken and rice again!”

Students also complained that their food arrived cold due to it being transported from the main college site to external college accommodation. 

The disdain for self-isolation meals even made it to Oxlove, with one post from November reading: “oxhate to the somerville isolation meals, the only food that makes you wish you had covid so you couldn’t taste it.”

A spokesperson from Somerville responded: “Our catering team worked exceptionally hard during Michaelmas term to deliver three nutritious, affordable meals a day to those in isolation, and many students and staff expressed their gratitude to them for this hard work. We regularly review our provision and will ensure that all comments made are taken into consideration and balanced against our overarching priority to keep our students, staff and the wider community safe during this difficult time.”

As well as the questionable quality of the food, there was also the overwhelming sense that colleges were charging their students an unreasonable amount for their meals whilst in isolation. 

71% of respondents to our survey voted that they did not think that the amount they were charged for food was fair.

A student wrote on Oxfess: “Normally I spend £20 a week on food. In isolation it was £13 a day for food that wasn’t really up to standard. I wasn’t allowed to use my kitchen so was left with no option than to receive the overpriced meals.”

The survey also called into question whether students were receiving adequate support from their college welfare teams whilst self-isolating. 

Oxford University’s Covid-19 Response, published at the start of Michaelmas term, said in regards to self-isolation: “Your College’s Welfare team will already have prepared for this eventuality and will be ready to help and support you where they can.” However, the survey found that 42% of students did not get any communication from their college welfare team whilst they were isolating.

This breaches the guidance produced by Universities UK last October on best practice for supporting students who are required to self-isolate. This guidance stated that universities should stay “in regular, proactive and personal contact throughout the self-isolation period, to encourage them [students] to raise any issues or concerns and to identify those getting into difficulty.”

One student told Cherwell: “After telling me I had to isolate I never heard another word from college during the next 2 weeks.” Another said that their chaplain had promised to check in but this never happened.

As well as the lack of communication, it also seems that there was a lack of clarity in the emails students did receive from their colleges. One student said: “college changed its mind about whether we would have to isolate,” whilst another said that they were not told that someone in their bubble had covid.

Despite generally negative feedback, some respondents did praise the support they received during their self-isolation, particularly from the JCR welfare reps. A student from Somerville said: “The JCR was amazing, always helping and checking in on me”. She added: “The principal also emailed me various times asking if everything was ok and if I needed anything in particular.” Another from Wadham said that the JCR welfare reps “were really good if you reached out but they didn’t initiate it too much.”

With the majority of students remaining at home for at least the first half Hilary term, colleges won’t have to deal with large numbers of students self-isolating for the time being. However, for those in Oxford who do have to isolate, it will be more essential than ever that they are well-supported by their college, since it will be much more difficult to rely on friends.

The University of Oxford and the Oxford SU have been contacted for comment.

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