Sunday 15th June 2025
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Wake of the Locks: Baldness, and mourning my hair

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You don’t think it will happen to you until it does. In fact, you don’t think of it at all, because you aren’t one of the men who are losing their hair. Then, one day, suddenly, you are. It’s the summer vac and you’re sitting on the sofa with the sun shining in. Your girlfriend comes in and says something to you about lunch. As you reply, you notice her looking at you with a frown that turns into a grimace. She points to a small area near your left temple where the sun is reflecting off your head in a way she swears it’s never done before. You tell her she doesn’t know what she’s talking about. But she comes closer and starts inspecting your head like if she was looking for lice. I think you’re losing your hair, she says. You’re going mad, you say. I’ve only just finished prelims – I’m in the prime of my life! Go and look in the mirror, she says.

From that day on, you can’t walk past a mirror without stopping and inspecting your head. You borrow your mum’s handheld mirror and hold it at different angles above your head whilst standing in front of the bathroom mirror, trying to get a direct look at that one little spot of thinning. Sometimes, during these mirror sessions, you convince yourself that it’s not true – your girlfriend made a mistake, it was just a trick of the light, or maybe it’s grown back. But in the end you always find that one angle that shows you it definitely is true. There’s no two ways about it: you are a man who is losing his hair. 

Eventually you take the plunge and start googling hair loss. Quickly you find out it has a name: male pattern baldness. Instead of reassuring you, this only makes you feel worse. Male. Pattern. Baldness. You officially have a condition. 

Google research leads you to a plethora of hair-loss clinics, which do transplants. You spend some time looking at these. Some of them have websites that look like they were designed by small children, with weird fonts and spelling mistakes. Others look shiny and professional, with pictures of smiling male doctors wearing lab coats and holding clipboards as they talk to hopeful-looking men without a hair on their head. You go to a part of the house where nobody can hear you, and dial the number. A woman with a kind voice picks up. You introduce yourself and blurt out, sounding way more upset than you intended, that you’re losing your hair. In her now-sympathetic voice the woman says she’s sorry to hear that, and asks if she can take some details before talking you through possible treatments. But there is something about the word treatments that makes you recoil. Hang on a minute, you say, treatments? But I’m not ill – in fact I hardly have a problem at all —  it was only a tiny spot on the side of my head, it’ll probably just grow back. You tell the woman about the boy at school who had large clumps of his hair fall out only for it all to grow back a few months later. I understand, the woman says, unable to mask her scepticism. Why don’t I just send you our brochure and you can have a think about it? You hang up.

Denial fully sets in. One evening, you go upstairs and scour the internet, looking for the perfect hairstyle that, you’ve decided, will mark a new beginning in your life. Eventually you come across a picture of Ryan Gosling. Here is Ryan, standing on the beach, his muscular torso exposed, his thick blonde-brown hair swept over in a stylish side-parting. This one is perfect, you say. You print the image, fold it up, and put it in your wallet, ready for your appointment at the hairdressers the next day.

The hairdresser welcomes you with her usual smiles and friendliness. She sits you in the chair and drapes the apron over you. You take out the photo of Ryan and give it to her. She looks at it, smiles oddly, looks back at you, then back at the photo. You see her face falling. That’s not going to be possible, she says. She shakes her head as if to say it’s not worth protesting. No point denying it anymore. 

When Michaelmas begins, you have a shaved head. Better to cut it off than to let it fall off, you tell yourself. You’re nervous about the comments, but, to your surprise, people are complimentary. A shaved head suits you, they say, you have the right head shape for it – maybe even you look better without hair than with. These all make you feel somewhat better. Still, you miss having hair.

And so the denial creeps back in. One day, you decide to start growing it back again. Maybe it wasn’t really that bad – after all, it was only a tiny spot that was pretty much invisible unless the sun was shining directly on your head. You let it grow. Three weeks later, you have what looks like patches of moss growing over your head. It’s not a good look. People start frowning. Why don’t you shave it all off again, someone says. Or why don’t you go to Turkey, somebody else says, I hear they do good hair transplants. Laughing it off, you tell them no, you’d rather accept your condition than fight it: there are only two types of men in this world, those who accept their hair loss and those who don’t. You shave your hair off again. Life goes on. But every couple of weeks or so, you look at flights to Turkey. 

Why Are UK Universities So Popular?

UK universities continue to attract thousands of international students each year, thanks to their academic reputation and welcoming culture.

Despite global shifts in education trends, these institutions consistently offer strong value through practical teaching, global recognition, and diverse student experiences. The UK remains one of the most sought-after destinations for higher education.

Career Opportunities That Open Doors

Graduating from a UK university can significantly impact your professional path. Employers across industries value the training students receive, especially in areas such as communication, analysis, and teamwork. A UK degree often makes candidates more competitive in international markets and can support long-term growth in both traditional and emerging fields.

Tailored Learning and Academic Writing Support

For students who need help managing their assignments, support services are widely available. Whether you’re balancing part-time work or learning a new subject, lots of students ask if someone can write my essay for me. While that is a nice thought (and can sometimes be done!), more often than not – and unlike universities in other countries – it’s down to you to make sure that essay gets done. But academic writing support does exist, which can definitely be utilised.

Embracing Global Cultures in the Classroom

Students in the UK benefit from studying in an environment where different cultures and perspectives are part of everyday life. This exposure helps foster open-mindedness and prepares graduates for life in a connected world. Classrooms in the UK often encourage dialogue, collaboration, and respect for differing ideas, making the experience both educational and personal.

Flexible Programmes Across Disciplines

One reason behind the UK’s popularity is the variety of academic choices. Whether you are interested in engineering, law, psychology, or the creative industries, there’s a programme that matches your ambitions. Course structures often allow for electives and interdisciplinary learning, giving students the freedom to shape their education.

High Academic Expectations

Some of the world’s oldest and most respected universities are found in the UK. These institutions are known for research that influences industries worldwide. Academic staff frequently have strong industry connections, offering insights that go beyond textbooks. Learning in such an environment helps students build deep knowledge and real-world awareness.

Study Faster, Spend Less

Compared to other countries, UK degrees usually take less time. A bachelor’s degree is typically finished in three years, and master’s programmes often last just one. This condensed format allows students to graduate sooner, reducing costs and helping them enter the job market more quickly.

A Lifestyle Full of Possibilities

Life outside the classroom in the UK offers just as much learning as lectures do. With its historic cities, beautiful landscapes, and diverse cultural events, the country is an exciting place to study. Students can explore music, art, sports, and history in a setting that combines the modern with the traditional.

Access to Financial Aid

Scholarships are available for many students, both local and international. Some awards are based on academic results, while others focus on economic need or personal achievements. These financial options help students reduce the cost of studying and can make attending a UK university more attainable.

Gaining Work Experience

International students on full-time courses are allowed to work part-time during the term and full-time during holidays. This makes it easier to support yourself and gain valuable job experience. Working while studying also helps develop professional skills and can lead to job opportunities after graduation.

Maintaining High Academic Standards

To maintain teaching quality, UK universities are regularly reviewed. These evaluations help institutions stay aligned with international standards. As a result, students can trust they’re receiving a degree that carries weight, no matter where their future takes them.

Final Thoughts

The popularity of UK universities stems from a strong mix of academic rigor, cultural inclusivity, and practical benefits. With flexible learning paths, respected degrees, and vibrant student life, these institutions appeal to a wide range of learners. Whether your goal is professional success, personal growth, or global experience, studying in the UK offers a meaningful and rewarding path forward.

Why Are Gamers Choosing Smart Play Over Grinding This Year?

Do you ever feel like you are just going through the motions in a game? Earlier, I used to be all about these grind-heavy games. I used to spend hours collecting loot, repeating the same missions, and all that. But lately, I just can’t be bothered. If a game doesn’t grab me with a smart challenge or a solid story, I am out.

I have now noticed that I am leaning more towards games that actually make me think, once that reward my skill, and not just how many hours I have played. I feel like, why waste time on rinse and repeat gameplay when there are games out there that actually respect my time?

Now we can tell that the industries are catching on, too. Developers are shifting away from the endless grind and focusing more on clever mechanics and deeper experiences, and honestly, I am here for it. Playing smarter just feels better than playing longer for the sake of it, you know?

Smart Start: Skip The grind, Jump Into The Fun

Honestly, I don’t see skipping the early grind as cheating anymore. It’s just playing smart, especially in the open world games, where the real fun starts once you have got the right gear.

Like in GTA 5, for example, now you no longer need to spend hours grinding just to unlock a decent car because you can just use GTA 5 accounts with modded cars to unlock fully customised vehicles from the get-go. 

I have tried it and it completely changed my experience. You get to dive straight into the good stuff like exploring the map, taking on amazing missions, and just enjoying the excitement without wasting time on the same repetitive tasks. It is not about taking shortcuts now, and it is about getting to the fun part faster.

Goodbye Grind, Hello Smart Play

You know, earlier the grind used to be something we wore like a badge of honour because we spent hours in games and then saw some improvement in our level. I remember spending endless time in games like World of Warcraft or Borderlands 2, just doing the same quest repeatedly for loot or XP. Back then, it felt normal, but now? Man, it’s starting to feel more like a chore than a challenge.

A lot of us have just hit that point where we want our time to be respected. I want meaningful progress, not “do the same thing 300 times, and maybe you will level up” from my games because it’s exhausting. I don’t have the patience I used to, and honestly, I don’t think I should need it just to enjoy a game.

These days, I want to feel like I’m actually achieving something right from the start, not 20 hours in. Also, I am not alone. More and more players are expecting systems that give real rewards without all the busy work. Grinding for the sake of grinding? Yeah, that era’s fast-feeding.

What’s Fueling The Shift?

You know what I have realised from all the times I’ve played? Time is basically the new currency for gamers. Between work, school, and just life in general, I think nobody wants to waste hours on games that don’t give something back. If I’m sitting down to play, I want to feel like that, time actually mattered, you know?

That is why I’ve been loving games like Baldur’s Gate 3 and Hades. They don’t just reward how long you have played the game, but also how you play. Your decisions, your skill, even your creativity, all count, and the progression feels earned without falling into the trap of “grind this for six hours, just to move the needle.”

Plus, gamers today are way more aware and clued in. With social media, reviews and streams, developers cannot hide behind the old time-sink formulas anymore. People are speaking up and saying, “ hey, we want smart systems, not endless busy work” and practically speaking, I’m all for it.

How Game Design Is Adapting

It is actually cool to see how developers are starting to switch things up lately. Instead of just cramming in more and more content for the sake of it, they are actually focusing on quality now. Like you must have seen, now games don’t feel as bloated with grinding stuff anymore. It’s tighter, more focused, and the rewards actually feel meaningful.

AI and procedural generation are helping a lot with that too. In the games, the world feels more alive and varied without developers having to handcraft every little thing. It cuts down on the repetition, which is such a relief.

There are games like Deep Rock Galactic or Prince of Persia: The Lost Crown. These games are great examples of how you can still have satisfying progression without demanding players to sink endless hours. These games show that they respect your time and still keep things fun and engaging.

It really feels like game design now is more about giving players freedom and variety, and not just a checklist of things to grind through. Honestly, it’s a very refreshing change.

Conclusion

This whole grind-your-soul-out-for-basic-progress thing? It’s so last decade. These days gamers are not here for the “continue doing this, and maybe you will level up” crap. 

I mean we have got things to do, snacks to eat and other games to play. We are all about getting to the good stuff without the digital equivalent of peeling potatoes for 10 hours. I know that doesn’t mean we are cutting corners, it means we are playing smart. 

I mean, why suffer through a long when you can dive straight into the action with a few clever moves? So no, we are not skipping the journey. We are skipping the part where the journey feels like unpaid, Digital labour and honestly? That’s just common sense.

Duplicity, infidelity and loyalty in ‘Crocodile Tears’

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“An Italian summer romance that goes wrong” – this is how Crocodile Tears was first pitched to me by its writer, Natascha Norton, when I sat down with her and director Rosie Morgan-Males. But it soon became clear that this simple description understates the latest offering from Labyrinth Productions. Crocodile Tears delves into a raw, emotionally charged relationship between two characters on the edge of romantic possibility, even if everything around them seems to be falling apart. While Natascha was careful not to give too much away, she hinted that the play deals with questions of infidelity, loyalty, and what makes betrayal feel justifiable. 

For Labyrinth Productions, coming off a run of boundary-pushing shows, Crocodile Tears might be their most ambitious project yet. The play knits together film, theatre, and music into a multimedia experience, treading a fine line between emotional realism and immersive abstraction. Expect projection sequences, animation, snippets of Italian, and much more.

Rosie explained: “It’s like running a short film, but not one that’ll be edited into a standalone short film – something interwoven with theatre.” This is certainly an ambitious blending of mediums. Theatre is immediate, whereas film is slow and meticulous. “That’s the challenge,” Rosie told me. “Theatre asks: how do we get emotion in the moment? Film says: let’s colour grade for four days.

“We want to pull those emotional beats of film into a live, theatrical space. I think our generation has lost that sense of film as a collective experience. Film is not really seen as a shared experience anymore, and I’d love to flip that on its head and bring people back together.”

That cinematic inspiration is everywhere in Crocodile Tears, from the lingering, dreamlike shots of Fellini’s , to Joachim Trier’s existential tragicomedy The Worst Person in the World. “Think Luca Guadagnino,” they told me, pointing to his evocation of summer desire in Call Me by Your Name, sun-drenched and full of longing.

I wanted to hear more about the writing process. Natascha explained how the play grew out of her time living in Italy during her year abroad, a personal touch that brought emotional authenticity to the script. Of course, transforming something so personal into a collaborative project came with its challenges.

“We had some honest conversations,” Natascha says. “‘Take it in whatever direction feels right’, I told Rosie, because I totally trust her vision. I say this all the time, but seeing what she did with Closer, I’m in awe.”

Coming at it from a directorial position, Rosie added: “From my side, it’s hard transforming something personally motivated into theatre. When you’re in it emotionally, it makes great material, but turning it into something theatrical takes distance. The only reason it works is because of the professional and personal bond we have. We can access that emotion without needing five years of hindsight.”

Given the emotional terrain Crocodile Tears covers, I was curious how Rosie’s recent experience handling intimacy in Closer, at the Pilch earlier this term, fed into this project. 

Closer was very much ‘you get what you see.’ It was about downplaying physical intimacy to highlight narrative,” Rosie explained. “This is about what happens outside of narrative. I was just rehearsing with our lead and talking about internal monologue. How do we project that outside the body and let everyone in on it? That’s what makes this piece unique – sitting with thoughts and panic that usually stay internal. Closer was about external events; this is about inner life.”

This is why they leaned into multimedia. While the stage helps with immersion, film is perfect for communicating those abstract emotions, dreams, or intrusive memories. Closer was intimate in a physical sense, yet Crocodile Tears aims to tap into a ‘collective intimacy’. 

I asked them both what they hoped audiences will take away from the show.

For Natascha, “it’s about finding comfort in discomfort – or making discomfort comforting. Yes, it’s an escape, but it deals with intense emotions. The most impactful art is when you relate to it on a personal level, even if it doesn’t reflect your reality. I want audiences to feel something, maybe not always pleasant, but cathartic. To recognize themselves in something they thought would make them feel isolated.”

Rosie agreed. “Yeah, it’s saying it’s okay to overthink. We all spiral, and just because you can’t always express it to your friend doesn’t make it any less real. The themes are tough, but we’re presenting them in a way that’s digestible. It lets you sit with them for a bit, not overwhelm you. It’s a different kind of art form.” 

Labyrinth Production’s staging of Crocodile Tears will be running at the Burton Taylor Studio, 10th-14th June. 

Review: The Great Gatsby – ‘Indulge the extravaganza’

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Sophia Eiden’s production of Simon Levy’s script of The Great Gatsby is an undoubted triumph. I was, if only for a moment, transported back to the Roaring Twenties; to a bygone era of excess, extravagance, and endless exhilaration. The setting of Trinity College gardens only heightened this sense of temporal dislocation. One could easily imagine such scenes playing out there a century ago. The costume and set design team, led by Mikela Persson Caracciolo and Naomi Flexman, struck a delicate balance: faithful to the period yet refreshingly tasteful to the modern eye. Most impressive of all was the live band – a rarity in student theatre – which injected the performance with an energy and vibrancy that elevated the entire production.

Directors Izzy Moore and George Loynes have coaxed exuberant, nuanced performances from the cast. Isabel Clarke imbued Daisy with such quiet anguish that even the glint in her eyes seemed to ache, pulling the audience into her heartbreak. In her, I could feel – and I don’t know whether this was intentional – fragments of a certain Princess of Wales, who was equally trapped in a loveless marriage. Alexander McCallum brought a nervy, moral intensity to Nick Carraway, exposing the shallowness of the Jazz Age with each incredulous glance. I was left utterly terrified by Gillies MacDonald’s Tom Buchanan, whose handsome rage was both palpable and authentic, whose silence often spoke louder than his words.

Less convincing, however, was Dominic Murphy-O’Connor’s portrayal of the titular character, Gatsby. At pivotal moments, his performance faltered; not for lack of talent, but for a want of emotional depth. Some of his most charged scenes were undermined by audience laughter, and the lack of chemistry between him and Clarke made their supposed romance difficult to believe. I was, however, moved by the love affair – albeit brief – between Nick Carraway and Tessa Yates’s Jordan Baker. Yates’s performance was sharp, poised, and deliciously sly; her Jordan had McCallum’s Nick chasing his own tail.

As great as the rest of the production was, I must express some misgivings about the choreography. The problem isn’t that Elektra Voulgari Cleare and the directors failed to create convincing movements that utilised the extraordinary space they were provided. Quite the contrary, in fact. The overall flow of the play and complete immersion of the audience from all directions were huge strengths of the production. However, the cast – especially the leads – did not seem to be very committed to the few dance sequences, and it gave the impression that dancing was a box to tick rather than an extension of the performance.

The true standout performances of the show, however, were those of Jane Brenninkmeyer and Fynn Hyde. Brenninkmeyer’s short but powerful portrayal of Myrtle moments before her death sends shockwaves through your bones and brought me to the verge of tears. I could feel her (and George Eustance’s George B Wilson’s) desperation in their circumstances and the feeling that they’ve lost control over their own lives. At the same time, I was completely mesmerised by Hyde’s Chester McKee. Though the role was minor, Hyde brought compelling complexity and fantastic flair to a character who has long intrigued readers, myself included, and he offered a version of McKee that was richly idiosyncratic. In some ways, Hyde was exactly how I had imagined Mr McKee, and more.

Altogether, this production is a dazzling indulgence, a celebration of all that makes Fitzgerald’s work so enduring. Everyone involved should be deeply proud. For those lucky enough to catch it, this is a Gatsby worth getting lost in.

Dominic Cummings to speak at the Sheldonian Theatre

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Dominic Cummings, former Chief Advisor to Prime Minister Boris Johnson, will present a 90-minute lecture at the Sheldonian Theatre on 11th June. Cummings is set to speak about contemporary Western politics, focusing particularly on the British and US governments.

The address has been organised by the Pharos Foundation, an Oxford-based group which holds lectures and debates on politics and culture. Pharos describes itself on its Youtube channel as ‘a gateway to civilisation’, and largely hosts conservative academics and political figures. Brexit, identity politics, and classical history are topics frequently covered by speakers for the group. The group invited Cummings last year to an event where he answered questions on topics including the NHS, immigration and the future of warfare.

The lecture on 11th June will in particular address the following questions: “Why are Western regimes in crisis? What can we do in Britain to turn the tide? Why have political and intellectual elites blown up their credibility? What replaces them?”

Cummings first gained national attention as the director of Vote Leave, the official campaign organisation promoting British withdrawal from the European Union, from 2015 to 2016. When Boris Johnson replaced Theresa May as Prime Minister in 2019, Cummings was appointed to serve as his Chief Advisor.

Last year, Cummings spoke at the Oxford Union in an event which was closed to press under ‘Chatham House’ rules. Since leaving government, he has made only rare public appearances other than sporadic media interviews.

The Pharos Foundation describes itself as a “non-partisan research institution and educational charity working for a renaissance across the arts, humanities, and social sciences.” Previous speakers at public lectures include Richard Dawkins, Lord Tony Sewell, and Sir Niall Ferguson.

Barry Lyndon – Kubrick’s ultimate antifilm?

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Barry Lyndon has always been dismissed within Kubrick’s filmography. While he is a filmmaker known for his versatility across genres, Barry Lyndon still sits uneasily within Kubrick’s wider body of work. It doesn’t have the satirical bite of Dr Strangelove. It’s not groundbreaking like 2001. There is no rousing hero like Spartacus. It’s not visceral and shocking to the point of censorship like A Clockwork Orange. 

Instead, it’s an austere and remarkably restrained examination of blue-blooded society, based on a Thackeray novel: a classic tale of an idealistic social climber in eighteenth-century Ireland, eventually brutalised by his own successes. 

It’s been discarded by many as a “coffee-table movie” (Pauline Kael). Others describe it as an overly-traditional stepping stone in Kubrick’s career which is dull, uninspired, and ultimately eclipsed by his next and much greater film, The Shining. It seems almost universal among the film world that Barry Lyndon is so ordinary of a creation to the point where it simply doesn’t warrant much attention in comparison. 

Yet, in the conventionality of its subject lies the film’s genius. Barry Lyndon doesn’t make the same kinds of explosive statements which warranted mass censorship campaigns surrounding Kubrick’s other films. Instead, it’s the most subtle peeling back of the glacial veneer which enshrouds the aristocratic society of the past, covering its unpalatable darkness – the most cold, detached way to use the camera in order to examine the violent and uncompromising world which young hero Barry enters into. 

The whole film looks like one, long, eighteenth-century oil painting. In perhaps the most overt example of Kubrick’s meticulous use of mise-en-scene, entire tableaus are constructed in symmetry and uncompromising detail, silent and still. To get the lighting right, whole scenes were filmed in candlelight alone and new lenses were made by NASA for Kubrick’s camera. Cool, detached, and beautiful – the cinematography deliberately evokes classic beauty, straight from the work of Vermeer or Watteau. 

These choices have not helped Barry Lyndon’s reputation in Kubrick’s filmography as an overly-conventional film. Perhaps a different filmmaker would have pressed further into the visceral undertones behind class progression at this time. Others would have found the grittiness of the war and duelling culture that Barry is repeatedly exposed to as a spectacular visual subject – and made a film with the silhouettes, saturation, and cinematographic darkness of a film like Apocalypse Now. Yet, Kubrick not only picks a conventional story, but also a conventional way of visually representing it. 

Yet, peeling back this detached visual layer ever so slightly reveals the darkness that the audience knows Kubrick can represent. There are only small moments where the artifice breaks. It comes in Act II of the film, when Barry lashes out at his step-son, beating him in front of his guests. Kubrick follows the screams of the surrounding women; the boy pushed to the floor by his hair; every punch that Barry lands upon his smaller teenage son. The guests form a gladiatorial circle around the scene – beauty, for a moment, is replaced by animalistic venom. 

The scene lasts 40 seconds. It is still enough to break through hours of visual spectacle. 

That’s why Barry Lyndon is ultimately so worth seeing. It breaks convention by using the artifice of supposed conventionality. Underneath Kubrick’s opulent tableaus lies the worst of human darkness – the primalism which makes us beat our children in front of an audience. Humanity at its most uncompromising, placed behind a mask of social allure. He lets this mask slip just enough for it to be perceptible. Blink and you’ll miss it. 

Yet, this break from visual convention tells the audience all it needs to know about the sort of society that Barry inhabits, and what he is trying to break into. 

Cinema’s hidden gems: Daisies (1966)

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Whilst mainstream cinema more often favours the safe and the familiar, some of the most remarkable films ever made are those that dismantle the very idea of what is conventional and slip through the cracks of popular culture. Among these hidden gems, few works have pushed the boundaries of filmmaking to the extent of Věra Chytilová’s Daisies (1966). Inventive, absurdist, and defiantly feminist, Daisies presents an anarchic and visually striking spectacle that epitomises the meaning of experimental film. More than a historical artefact of 1960s counterculture, Daisies remains relevant and artistically radical almost sixty years later. 

Daisies emerged from the artistically fertile ground of the Czech New Wave, a brief but fiercely experimental movement that dominated Czech film in the 1960s. The Czech New Wave was made possible by a period of cultural liberalisation. Following the death of Stalin, Nikita Khrushchev promoted a more moderate mode of socialism. The period became named the ‘Khrushchev Thaw’, allowing for greater criticism of inequality and bureaucracy as censorship became more relaxed. Filmmakers could escape the grip of Stalinist-era social realism which demanded state-approved idealised versions of life. What followed was Czech filmmakers responding to the social trauma and political inequality of the Stalinist era. During this creative opening, Chytilová, an innovator of this movement, crafted Daisies, a film that would cement her place as a radical voice in world cinema. The film shattered both narrative and ideological convention; it was not merely stylistically adventurous but politically subversive. 

At its core, Daisies is a film about female rebellion. The film follows two young women, both named Marie, as they embark on an unapologetic rampage of indulgence, mischief, and chaos. The plot resists coherence in favour of disorder, as the narrative is structured by a sequence of disjointed vignettes. The Maries flirt with and deceive men, gorge themselves on extravagant meals, indulge in wanton acts of destruction, and position themselves as focal points of the public eye. Indeed, they command the attention of the world around them through public disruption, their transgressions transformed into spectacle. They are often centred in the frame, breaking the fourth wall to look directly into the camera. This reinforces their agency through constructing a returned gaze with the audience, disrupting passive viewership and encouraging active critical engagement. 

Visually, the film reflects this narrative havoc: jump cuts collide with psychedelic colour filters, scenes switch abruptly between monochrome and saturated colour, and images are mirrored, reversed, or interrupted. Just as the Maries defy societal expectations of how women should behave, Chytilová defies expectations of cinematic continuity. This rebellion holds greater significance when considering that Chytilová was the first female student at the FAMU film school in Prague, paving the way for female expression in a male-dominated industry.  Chytilová transforms editing from a passive mode of storytelling into a political weapon, attacking the patriarchal structures that dictate how women should behave and how films should be constructed.  

The Maries are not designed to be digestible characters, nor do they conform neatly to familiar archetypes of tragic victims or righteous rebels. They are joyfully disruptive, self-serving, and unapologetically hedonistic. Therefore, it is clear that Chytilová is not offering role models to be placed on a pedestal; she instead aims to provoke the audience. The Maries are a parody of the roles which women are expected to occupy. Whereas modesty and restraint were the expectation, they are indulgent and excessive. Their transgressions challenge the limitations of a culture fixated on control, particularly over the female body.  

Even their childlike mannerisms and line delivery confront the infantilisation of women, not only rejecting social performance but embodying a grotesque caricature, exposing the absurdity of the monitoring of female behaviour by embodying childish mischief. Even today, almost sixty years later, Daisies retains its significance in an era where female bodies and behaviour face a renewed scrutiny in the digital age. This enduring relevance makes Daisies a true hidden gem. The presentation of female autonomy as unapologetically disruptive and gleefully messy still feels like a breath of fresh air.  

Unsurprisingly, the film was banned shortly after its release. The official reason for this was the destruction of food, largely in reference to the climactic scene in which the Maries trample over a banquet table, feasting on and destroying food, a parody of the elite’s wealth and excess during a time of famine. What truly earned the censorship was, in reality, the film’s mockery of authority, celebrating chaos as a form of resistance. This suppression only further cements Daisies as a hidden gem. Despite having been buried by state censorship, Daisies has been rediscovered and praised for its unique style and rebellious attitude. 

Daisies is a reminder of cinema’s power as a medium of social rebellion. Věra Chytilová didn’t just make a feminist film – she produced a piece that pushes all boundaries of cinema, amplifying a female voice demanding to be heard in a world that systematically tries to silence it. 

And the Isis roared – Summer Eights 2025

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For the viewing public, and those involved in the racing, Summer Eights 2025 gave some reasons to be fearful. The Thamesis Regatta, the very first novice regatta of the year, had been cancelled earlier in the academic year due to flooding, the Isis bursting its banks and leaving some boathouses unreachable. Torpids was run on half-divs, with only the top crews competing, leaving many novice rowers equivalent bumps experience.

Could this Eights live up the legacy of all the divisions and crews that had thundered down the Isis before it? Would a batch of rowers and coxes who had little-to-no experience in a racing format with plenty of potential for chaos produce safe and engaging racing?

In short? It did, and they could.

The week of Eights began with its inaugural staple, Rowing On. For most non-guaranteed crews, this is a pleasant but not uncompetitive start to the competition. The cut-off time for was 3:16 for Men’s crews and 3:52 for Women’s Crews. Only five women’s boats failed to qualify (admittedly out of a slightly smaller contingent competing for qualification) whilst 21 men’s boats did not make the cut. As someone who rowed on, it was a preview of Bumps. A 800m sprint, at a pace impossible to maintain over the full Eights course, which left the crew confident and qualified for the real deal on Wednesday.

The day arrived inclemently, with temperamental weather alternating between spitting rain and sharp sunlight. With several colleges fielding large numbers of fixed crews plus beer boats – motley crews of ex-Blues or M2-3 washouts, wearing their finest shirt and tie in the case of New College, or tasteful references to Camden Hells for St Edmund’s Hall – seven divisions were organised, racing lasting from just after 12pm till past 6pm, covered live, day-by-day by this paper and racedesk. 

A sense of frisson was present, like at the demonstration of a new car or the first appearance of a football team under new management, driven by that same curiosity about what might happen this year. Many divisions had to wait significantly longer than five minutes on bunglines to find out, as houseboats, pleasure steamers and swans decided that 2025 was their year on the Isis.

But when the starting gun fired, the week began in earnest.

As with any good Oxford event, there was its fair share of drama. Balliol College M3, in attempting to secure its position in Men’s Division V as the sandwich boat, ended up spearing into a houseboat on the left bank of the Isis. Not only did this leave a sizeable hole in the houseboat, but the damage done to M3’s Empacher relegated them to a less impressive boat for the rest of the event. An Oriel College bump on Lady Margaret Hall left serious damage to LMH’’s boat, whilst OxRow reported generational levels of rattling from Oriel crews when faced with their own chant after failing to bump.

Beyond the mishaps of the week, the true focus was on the battle for headship, blades and spoons. Oriel had sat happily atop the men’s divisions for the first three days of Eights, as Christ Church and Keble fell away, before being caught on the last day by an incredible charging Wolfson crew. Christ Church W1’s headship defence imploded after penalty bumps for themselves and Pembroke for impeding University’s W1, who then lost headship to Wadham who, on the last day, were pipped by a Pembroke crew that now holds both Eights and Torpids headships. 21 crews got blades in all, including Somerville W1-3, several boats from Reuben college and Teddy’s beerboat, with a generational over-bump of eight boats in one day leading to them climbing from Division VI to V. 16 boats received spoons, including ex-headship boat Christ Church W1, and two crews from St Catherine’s, Corpus Christi and Jesus, respectively.

Each boatclub could be proud of the efforts of their rowers, whether they got headship, blades, a bump, rowed over or got bumped day-by-day. Spoons and blades might memorialise misfortune or masterful performances on the river, but they don’t capture the scores of training sessions and listless hours spent building a crew over what is the busiest term of Oxford life. You might have just missed out on blades, like Univ’s W2, or won them like the M2. But by turning up for training when the rest of Oxford made the sane choice of staying in bed, carb-loading with the most disgustingly large portions of pasta available, and enduring the aches and pains of rowing, any college rower can and should look back with joy and pride at Summer Eights 2025.

In short, Eights this year delivered the same racing thrills and excitement that it has always strived to, with close racing, drama and glory all occurring on the same stretch of dirty river. It was everything hoped for, and more.

Review: Troilus and Cressida – ‘A missed opportunity to appeal to the brain rot generation’

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Having heard on the grapevine (and even receiving word from the producer himself) about Troilus and Cressida falling victim to a last-minute casting upheaval, I decided that I needed to go into this play at the Burton Taylor with an open mind. This turned out to be a fortunate attitude to have armed myself with. Moribayassa Productions promised ‘an anti-garden play’ that would be a ‘violently shortened and mutilated’ version. Their promotional video was edited in a distinctly brain-rot style: Justin Bieber’s ‘I Feel Funny’ as the soundtrack, pictures of old men flashing over the blue-toned video, hearts edited onto eyes. Over the course of the play’s 2 hours, it swung from the comically absurd to the melodramatically serious, with varying levels of effectiveness. 

This production transposed the play to a surreal world of video games and crocheted balaclavas instead of helmets. As I entered the space, I was struck by the use of music that sounded like digital bleeps and at how the bare set had a box TV as the focal point of the stage. During the play it was used variously as a display for the litany of Trojan warriors, as a karaoke machine, and as a method of further alienating the outsider, Thersites, who existed only in the videos that were played on it. The sped-up editing of him whizzing around on different playground equipment to techno music (a style that would have made Baz Lurhmann proud) was one of the many early indicators that this show was seeking to subvert the audience’s expectations.

The figure of Pandarus (the actor has chosen to remain ‘anonymous’), an unsettling cross between C-3PO and Lucius Malfoy, was a highlight of this production’s aim to unnerve. With his iPad in one hand (lines needing to be near as a very recent addition to the cast) and a vape in the other, he spoke his lines liltingly between his blackened teeth. Even his most serious speeches were punctuated by him pausing to take a puff of his vape – a move that never failed to make the audience laugh. His conversation with Alexander (Benjamin Helmer), who laced his lines with an inexplicable southern drawl and a smirk, was one of the funniest moments. Similarly, his karaoke performance of Wanda Jackson’s ‘Funnel of Love’, with his voice swerving between a ludicrous falsetto and chesty bass, had me laughing for minutes on end, even after the next scene had begun.

Cressida (Georgie Cotes) did very well to maintain a dynamic performance when dealing with this absurd Pandarus and shuffling Troilus (Rufus Shutter). Alongside her varied performance, her dress worked to highlight the chameleon nature of her character, changing from black to red to brown depending on the colour of the lights Cotes was standing under. However, the performances of both Cotes and Shutter did tend to be still tableaus of emotion rather than believably reactive, most noticeably in the second half. Their parting scene especially failed to elicit any sympathy from me, as I simply did not believe in their romantic connection – a significant problem given this production had whittled the play down to just their love story. The distress of Troilus that took up much of the second half of the performance felt unwarranted and became monotonous very quickly.

Ultimately, the play failed because it attempted to be sincere – subverting my expectations for the worse. After the first act, I happily believed that the show was one big trolling of the audience. The second half’s lack of absurdity (except a moment when actors onstage converse with the recorded Thersites on the TV) and overemphasis on the tragedy of the lovers was a slap in the face – and a lacklustre one at that. The tone switch had already been undermined given that the first half had worked to inhibit the audience creating emotional connections with the characters through its engagement with the absurd and the quite frankly boring directing of the actors, many of whom were lying down for scenes at a time. In a play that had started so bizarrely, it was remarkable that by the end I only felt one emotion: boredom. This was a play of two halves where the second half tried to doggedly claw its way back on track instead of committing to the bit. Rather than the TROLL-us and Cressida I had hoped for, I left utterly unsatisfied.