Oxford's oldest student newspaper

Independent since 1920

Blog Page 58

The Silent Boom of Killers of the Flower Moon: A Review

Minor spoiler alert for the beginning of the film!

Martin Scorsese’s latest film Killers of the Flower Moon has reached UK cinemas and despite the many other autumn releases, it remains hotly talked about. 

The film transports us to 1920s Oklahoma, specifically the Osage Nation. The opulence of the nation is immediately clear; we see Osage people being chauffeured and owning acres of land. Through an early slow-motion scene, it is revealed that their land, originally thought to be worthless, was situated above an oil reserve. This oil boom resulted in an influx of wealth for the Osage Nation who soon became the richest people per capita in the world. However, from the offset, Scorsese sets up an underlying tension between those native to the land and the white society that resides alongside them. In an early montage, he creates a dissonance between what we see on the screen and what we hear: graphic depictions of murder are shown on the screen but reported as suicides or unsolved mysteries. For this reason, when our protagonists Mollie (Lily Gladstone) and Ernest Burkhart (Leonardo DiCaprio) meet, their amorous back and forth presents a beginning but also foreshadows tragedy. The film is based on the real series of murders in the Osage Nation.

While watching this film, I could not help but feel as though I was witnessing a master at work. Scorsese skilfully blends the quick cuts and dry humour of his early works with a more meditative and evocative tone that is entirely appropriate to the nature of this film. Scorsese is widely considered to be one of the greatest living American directors, and his command of the medium is felt in every scene of this film. The story is unrelenting: he does not hide away from depicting the real tragedy that swept the Osage Nation, nor does he complicate the villains’ culpability. Ernest Burkhart is presented as a complex villain, but his complicity is not questioned. Rather than dramatising the events or creating a spectacle, Scorsese quietly develops the story’s narrative, which evokes an unsettling tension.

It is impossible to talk about this film without mentioning its extensive length. Clocking in at 3 hours and 26 minutes, Killers of the Flower Moon is Martin Scorsese’s second-longest feature non-documentary film and has become the stage for a debate on movie runtimes. Within all the discourse, two clear camps have emerged: those who believe the film did not need to be that long and those who proclaim that it ‘flew by’. My experience aligned with the latter: to me, the film’s length did not feel inordinate. This is a story that cannot be rushed but rather needs to unravel slowly to reveal the cause of the Osage murders. In a way, the experience of watching the film mirrors the unyielding nature of the horrors the Osage nation faced. As a viewer, you are not granted any respite or time to breathe but instead must watch the events as they unfolded. 

The discourse on film runtimes seems to be part of a larger conversation on the current state of media consumption. Longer runtimes are not a new concept and have never been uncommon in the film community, though recently it has felt like more films that are longer than the standard two hours are reaching mainstream audiences. Christopher Nolan’s box office hit Oppenheimer was three hours long and even the latest instalment of the Hunger Games franchise, Hunger Games: The Ballad of Songbirds and Snakes, is over two and a half hours long. Alongside the mainstream rise of these longer films, there have been calls for intermissions to allow people to stretch their legs or use the bathroom. Others argue that this diminishes the artistic integrity of a film; if the directors and editors wanted to add an intermission, they would have. This debate is rooted in personal preference, and so there is no simple answer. However, it is interesting that it’s a Scorsese film that has prompted this discussion. It was just four years ago that the director likened ‘comic-book movies’ to theme parks. It was his attempt to distinguish the CGI superhero movies that feel like products of the corporate studio machine from the films that position a director’s vision at the forefront of the filmmaking process and seem more grounded in human experiences. This runtime conversation also links to the rise of short-form content. Perhaps the film’s length is not the problem; maybe it is our attention spans.

Whatever the answer may be, this discussion about runtime does detract from the film’s narrative and the interesting stories that surround the creation of Killers of the Flower Moon. For instance, the film is an adaptation of David Grann’s non-fiction book of the same name, but instead of focusing on Tom White (played by Jesse Plemons), a detective who worked to track down the perpetrators of these murders, Scorsese and DiCaprio shift the focus to Ernest and Mollie Burkhart, not only preventing the white saviour narrative but also giving the Osage Nation more of a presence in the film. Like many other viewers, I would have loved to see even more of the Osage perspective. Lily Gladstone has the standout performance of the film, capturing both Mollie’s stillness and strength. Her restraint creates a powerful contrast with the more turbulent performances of Robert De Niro and Leonardo DiCaprio. I couldn’t help but wish she was at the centre of the film. This links to another discussion that the film has prompted about who has the right to tell someone else’s experience. The film’s ending asks us this question and reminds us that the depredation did not end with Native American land but continued with the depredation of their stories as well.

Wolfson College is first zero-carbon UK higher education institution

Mtcv via. Wikimedia Commons

Wolfson College has eliminated its carbon emissions in time for COP28, making it the first zero-carbon higher education institution in the UK. 

According to representatives from the College, Wolfson has not only achieved carbon neutrality – which can be attained with carbon offsets and credits – but also completely eliminated its Scope 1 and Scope 2 carbon emissions through an unprecedented decarbonisation project. Scope 1 carbon emissions are classified as direct emissions from owned and controlled resources while Scope 2 emissions are indirect emissions from the generation of purchased energy from a utility provider.

Wolfson achieved this historic feat by “making use of a first-of-its-kind heat pump system, high-tech insulation and investment in electric transport.”

Sir Tim Hitchens, President of Wolfson College, had the following to say on the decarbonisation project: “40% of the UK’s greenhouse gas emissions are linked to the built environment. Retrofitting old buildings may seem unglamorous, but it is the single most essential element in a successful energy transition in the UK. So at Wolfson College, Oxford we took the difficult decision to transform our Grade II buildings without changing their look, turning them from gas-guzzlers into zero carbon homes and offices.

“It has been a disruptive process, as any major change must be, but we’re delighted with our new environment. As the home to hundreds of students who will be inheriting this world, we wanted to show that it is possible, through an act of will, to turn the corner in the climate emergency.”

The College expressed hope that Wolfson’s success in eliminating carbon emissions would spur other higher education institutions to demonstrate similar urgency in fighting climate change: “Our multi-award-winning decarbonisation project demonstrates to institutions across all sectors that ambitious climate targets are achievable.”

*This page was amended on 6 December to reflect the fact that Wolfson College has not only gone carbon neutral (which can be achieved with carbon offsets and credits) but also eliminated its Scope 1 and Scope 2 carbon emissions. 

Hooked!

alt= "crochet"
Image credit: Castorly Stock via Pexels.

I never thought to pick up crochet. Other than a few lessons from my grandmother as a child, the thought didn’t cross my mind. It seemed too complicated, time-consuming, and, indeed, a little dull. So it wasn’t until the dark depths of the first lockdown that I picked up a crochet hook. I was, like most of the country, feeling quite bored, and, having watched almost everything Netflix had to offer, I finally turned to crochet. Armed with only YouTube videos and a single hook, I found myself trying to navigate the world of complex patterns, stitches, and what appeared to be a million different types of wool. Starting with a humble hat, I quickly discovered crochet’s addictive quality. My first few pieces didn’t always go to plan, but pretty soon I found myself completely hooked. 

There is no feeling quite like the sense of achievement you get from finishing a crochet project. One of the main reasons I love it is the dedication it requires. Most projects take hours upon hours of work and planning, and, yes, this is a big commitment, but the effort that it requires means that the final product feels all the more satisfying. A jumper that took me almost a month to make may not look as polished as the latest from Zara, but do I love it infinitely more? Of course. I find that the most gratifying pieces are those made for other people. The time and dedication that goes into crocheting makes for the most special of gifts, whether that be a new scarf, a jumper, or even an adorable costume for a furry friend (my poor cat has found himself parading endless little hats and costumes over the years). My favourite gift idea is to crochet a little bouquet of flowers. These last forever and take no time at all, making them the perfect last-minute–but thoughtful!–gift. It isn’t as if the time spent on these projects takes you away from other commitments; quite the contrary, you can crochet on the train, watching TV (or recorded lectures) and even with friends. In fact, my idea of a perfect night-in consists of wine, a little gossip, and crocheting on the sofa. Oxford even has its very own Textile Society, where you can crochet with friends and de-stress from the week’s work. 

Particularly at uni, where my mind is so often full of essay stress, the creativity involved in crochet has really helped me take care of my mental health. Sitting down to crochet with a cup of tea and a podcast gives me the creative output I need to relax. The physical movements of my hands while crocheting are, in themselves, therapeutic. They are methodical and deliberate, allowing me to channel all my anxious energy into something productive and positive. Of course, knitting is another similar option; however, especially as a beginner, I found crochet to afford far more freedom for creative expression. Unlike knitting, it is incredibly simple to unravel your work if you make a mistake, allowing you to crochet freehand without a pattern. You can literally be as creative as you like, designing projects as you go: from funky tote bags adorned with cats to a blanket made up of a hundred different granny squares. With crochet, you can really do anything.

Image credit: Castorly Stock via Pexels.

X days ’til Christmas

alt="calendar"
Image credit: Torsten Dettlaff via Pexels.

Ah yes, November. The clocks have gone forward, Halloween has been and gone and, according to TikTok, Mariah Carey has officially begun her annual ‘defrost’. She has thawed early this year, I am told, due to the catastrophic effects of climate change.

But whilst the dulcet tones of ‘All I Want For Christmas’ now saturating my FYP are escapable by a single swipe, there is an unavoidable sense that the Christmas season is already upon us: festive lights are up on the High Street, and John Lewis has released the teaser for their Christmas ad. The short length of Oxford terms makes this realisation something of an assault to the senses: ‘but we only just got here!’ you cry into your gingerbread latte from Pret. Yes – we did. But the Mariah Carey train stops for no one in its quest for total Christmas domination.

It’s true, it’s hard to feel all that Christmassy when the build-up to the Christmas season promises not much more than a continuation of the same pressures and stresses – but now with tinsel. Whilst friends at other unis have had their half terms – sorry, “reading weeks” – and can return to work with a newfound festive spring in their step, I’m left with the sense that all these preparations are a bit premature. Enjoying the lead-up to Christmas sadly doesn’t gel too well with unrelenting deadlines and reading lists, and there is a distinct sense of nostalgia for those long-gone primary school days of spelling tests being replaced with Home Alone screenings. This feeling is compounded for anyone involved with music, who will know all too well the specific sort of dread that looms at the thought of regurgitating the same tired tunes for 30 consecutive days each year; just hearing a snippet of ‘The Fairytale of New York’ playing out of a car window is enough to send any seasoned festive performer into a mild state of shock. 

But it’s not all sour eggnog and soggy mince pies: Oxmas, just a few weeks away, offers a small beacon of hope, as does the Varsity Ski Trip for all those looking to welcome in the festive season with a broken collarbone. And with the promise of the Black Friday sales coming, maybe a light sprinkling of Christmas is just what we need to get us through the bleak mid-term blues. There is definitely also something exciting about strolling the Rad Cam bundled in knitwear,something very “dark academia” about it all. And even for those, like me, for whom Christmas does not hold personal religious significance, it’s still possible to look forward to the cosy nights in and catch-ups with family and friends from home: a time for some good old Yuletide human connection. Isn’t the lead up to Christmas meant to be the best bit anyway?

It’s clear that the early arrival of the Christmas season holds excitement for many, so to all those stress-free students: have at it – the fun starts now! But I – like many other Oxford students – have just a few more essay-shaped hills to climb before I can really get into the festive spirit. 

So, Mariah (the recently thawed) now that you mention it, there is just one thing I need: any chance you fancy trying your hand at some Old English poetry analysis? 

Image credit: Torsten Dettlaff via Pexels.

Leo Buckley disqualified as Oxford Union President-Elect

Image Credit: Barker Evans via Wikimedia Commons

Following an investigation into two alleged counts of electoral malpractice, an Oxford Union tribunal has disqualified Leo Buckley as President-Elect. Buckley was found guilty on one of the two counts, which led to the tribunal ordering a recount of the remaining votes. Consequently, Julia Maranhao-Wong has been elected with 523 first preference votes, while the option to reopen nominations received 224 first preferences.

The two charges brought before the tribunal against Buckley were communication of illicit statements under Rule 33(a)(i)(1) and harassment under Rule 33(a)(i)(28). The tribunal found Buckley not guilty on the first of the two charges but ultimately ruled that he had engaged in “conduct that amounts to harassment, bullying, or victimisation in connection with the election.”

Under the Union regulations, harassment is defined as “engaging in unwanted and unwarranted conduct which has the purpose or effect of violating another person’s dignity, or creating an intimidating, hostile, degrading, humiliating, or offensive environment for another person.”

In addition to voiding Buckley’s election victory, the tribunal ordered that he be suspended from the Union until 10th Week of Trinity Term 2024. 

As losses deepen, could this mark the death of ASOS?

alt= asos losses, person shopping online
Image Credits: CC 1.0 / via. Pexels by Cottonbro Studio

In the ever-evolving realm of online fashion retail, ASOS once stood as a shining star – a household name which soared to success over the pandemic. However, ASOS’ domination over this industry has taken an unexpected turn, as the profits of the company plummet, threatening a potentially irreparable financial situation. The future of this retailer is therefore in jeopardy, prompting the question as to how, ASOS found themselves in this position in the first place, and whether they can carve themselves a road to recovery. 

Upon the onset of lockdown, and the consequential closing of most high street stores, many resorted to the Internet  for retail therapy. This marked a pivotal moment for ASOS, which experienced a staggering 329% surge in annual profits in October 2020. Yet today, their financial predicament is drastically different. Recent reports indicate a concerning drop in UK sales by 13%, coupled with a forecast predicting a decline between 5% and 15% in the year leading up to September 2024. So how has ASOS faced such a fall from grace? ASOS partially blames the drop on the soggy July weather. Alternatively, it is arguable that the reasoning for this sharp decline stems from the very nature of their success being rooted in lockdown. Of course, with all the closing of high street stores comes their reopening, many of which returned with a vengeance boosted by revenge spending. Following this, many shoppers shifted away from online buying and towards physical stores once more, on account of a renewed desire and appreciation for the in-person experience, leaving ASOS in the dust. 

Delving deeper into the intricacies of ASOS itself, the fundamental question arises: What sets this retailer apart? ASOS boasts high-quality, trendy and affordable products across an extensive range, characterised by both own-label and third-party brands targeted directly towards the demographic of 20-somethings. It appears however, that this plethora of products perhaps does more harm than good, since potential gems become lost in a sea of over-saturation. ASOS have been recently attempting to bolster its reputation with ‘20-somethings’ for being ‘trendy’ via  social media campaigns that you might have seen on Tiktok or Instagram in collaboration with various influencers. Despite these efforts, there is a discernible argument that evolving consumer behaviour is outpacing ASOS’ ability to adapt, and the products that ASOS offer are simply facing a diminished demand compared to their previous popularity. 

Arguably the most detrimental challenge to ASOS’ business, however, lies in its intensifying competition. With the simultaneous lockdown ascent of brands such as SHEIN and, more recently, Temu, ASOS simply cannot compete price-wise due to the ultra-fast fashion nature of these companies. Otherwise, concerning customer experience, it is becoming increasingly clear that consumers are favouring hybrid companies such as H&M and Zara over solely online retailers like ASOS on account of their physical presence. Intriguingly, changes in consumer values are affecting ASOS, and the rise of second-hand companies such as Vinted is gaining momentum and thus poses an additional challenge in this evolving market. 

And of course, we cannot ignore the elephant in the room – the rising cost of living. For young people, and particularly the targeted ‘20-somethings’ demographic of ASOS, funds are dwindling. Financial strain means it is increasingly difficult to splash the cash on new casual wear whilst struggling to afford the basics of food and energy.  

Ultimately, the survival of ASOS hangs in the balance. Despite the optimistic outlook of Chief Executive José Ramon Calamonte, who anticipates a resurgence in 2025 post-decline, there are multiple hurdles that ASOS must first conquer. ASOS has acknowledged the need for strategic changes to overcome their current financial challenges and return to its former position. The core of this plan centres around cost-cutting, evidenced by a 30% reduction in stock, the elimination of 100 jobs, and the removal of 35 unprofitable brands, alongside operational cuts. Yet, ASOS faces deeper problems than excessive expenditure, leaving the critical question: Is reducing costs enough to navigate the company on the route back to prosperity? The answer to this remains lingering and unanswered, and lies at the root of ASOS’ journey towards financial recovery. 

Tom Hanks speaks at Oxford Union

Image Credit: Raygar He via Unsplash

Speaking on Friday night before a full chamber at the Oxford Union, Tom Hanks discussed the importance of empathy in acting, his experience working with great directors like Steven Spielberg, and the rise of streaming services. 

Tom Hanks began his speech by conducting an impromptu acting exercise with the audience. He asked the members in the chamber to pronounce the words “is there something I can do for you?” as they would in three different contexts: To an elderly person who had tripped on the street, to someone asking for assistance at the bank, and to a customer they suspected of shoplifting in their store. After running through the three scenarios, Hanks instructed the audience to say “It’s all right, I’m okay,” imagining they were the second person in each of the interactions.

The purpose of the exercise, according to Hanks, was to bring out the different connotations the same line of dialogue can have depending on context and delivery. Hanks told the audience that this ability to tease out nuances in dialogue and to empathise with characters was crucial for good acting and storytelling.

Around this point in the speech, Emma Watson – who recently matriculated as a master’s student at the University – started to leave the chamber from her seat in the front row. Tom Hanks addressed her as she neared the door, telling the audience how much he had enjoyed working with her on their 2017 film “The Circle.” Before leaving, she complimented Hanks in return: “There are very few people you get to work with that are actually as kind as they seem, and Tom is one of them.”

Transitioning to the Q&A portion of the event, Union President Disha Hegde asked the Academy Award-winning actor what he thought of the aphorism “It’s not what you know, it’s who you know.” Hanks said he disagreed with the sentiment and that “no one who is a shitty actor ends up being in a movie just because they know someone who got them the job.” He continued, telling the audience: “If they’re not any good it’s as simple as that.” 

He qualified his position by stating that often a stellar reputation will help with landing roles, but he emphasised that to acquire this reputation, “you have to be great…and you have to have proven yourself.”

Hegde then asked Tom Hanks what it was like working with director Steven Spielberg. Hanks told the audience that sometimes “Steven does all your work for you.” But occasionally, “Steven says ‘guys, you have to be good tonight because I have no idea how I’m gonna shoot this scene.’” 

Hanks stressed that regardless of the filming circumstances, it was essential for actors to be prepared with their lines: “There is no substitute for showing up on time, knowing the task at hand, and having an idea that you yourself came up with.”

On the question of media streaming services and their effect on cinema, Hanks stated: “The only thing that matters and the only thing that ever will matter is the story.

“You just have to tell a story that is so good that people are going to hear about it and want to see it.”

According to Hanks, streaming services like Netflix and Hulu – with their vast array of options and low level of required commitment – introduced so much flexibility in film that they became “a test of how good the story [of a film] is.” 

Hanks then addressed the trope that “there are no good films like The Godfather being made nowadays,” insisting that “there are all kinds of great movies out there. There’s just so much.”

The audience portion of the Q&A began with a Tom Hanks fan asking about the process of writing his short story collection, “Uncommon Type.” Hanks touched on the liberating and challenging aspects of writing before sharing techniques he had begun to use to write more effectively. He told the audience that now whenever he wrote, he set a timer for twenty-five minute intervals to ensure he had sufficiently many breaks.

Another audience member asked Hanks which of his characters’ predicaments he would have least liked to have been in. Apparently unable to decipher the member’s Bristol accent, Hanks asked him to repeat the question several times. Eventually, he turned to the Union President for a translation before playfully mocking the student’s accent.

Hanks then told the audience about the trials and tribulations of Captain Sully, the US Airways pilot who in 2009 successfully landed an Airbus A320 on the Hudson River. He also touched on his meeting with Sully, where the two went over the script for the 2016 film in which Hanks played the eponymous pilot. He told the audience that “compared to [Sully], [he was] a pussy,” which elicited laughter in the chamber.

The final audience question came from a Union ex-president. She informed Hanks that her son worked in the film industry as a score producer before asking Hanks about the importance of music in film. Hanks said that a film’s score carried enormous weight and that “a bad score is the easiest way to ruin a film.” He called film one of the most intricate and complex art forms and emphasised the vast network of artists, actors, musicians, and prop specialists who all must be “at the top of their game” for a film to be successful. 

Hanks finished his address by echoing his remark on the importance of being prepared and working hard: “There is no substitute for showing up on time, knowing the task at hand, and having an idea.”

“Highly enjoyable”: An Enemy of the People Review

alt= An enemy of the people review image
Photography by Eliana Kwok

Henrik Ibsen wrote to the publisher of his 1882 play ‘An Enemy of the People’ that ‘I am still uncertain whether I should call it a comedy or a straight drama’. The play’s balance between comic elements and serious themes has posed a perpetual challenge for directors in the 140 years since it was written. But co-directors Eliana Kwok and Valerina Tjandra’s recent production of Ibsen’s individualist outcry has come down decidedly on the side of comedy.

The comic choices are clear from the outset when Mrs Stockmann arrives to provide the characters with three oversized bottles of spirits, which they then pour generous glasses from. The bottles remained on stage and continued to be drunk from for the entirety of the production. This is followed by the ingenious decision to have both Dr Stockmann and his brother, the mayor, use a large presentation stand to reveal their ideas by dramatically flipping the paper. The culmination of this technique, perhaps, is the scene when Dr Stockmann walks in on the Mayor, Hovstad and Alaksen plotting. This provokes the Mayor to then scurry repeatedly round the floor of the room, making desperate attempts to seize a glass of spirits.

All this was very funny and only enhanced by the acting performance given. While there were no standout performances, the supporting characters of Hovstad, Billing and Alaksen delivered their lines with enough melodramatic energy to have the audience chuckling constantly. The pompous formal costumes added to the atmosphere of exaggerated silliness which carried us through a rolling first half. As long as it wasn’t taken too seriously, it was a lot of fun to watch.

However, this strategy began to run out of steam after the interval. It’s at this point in the play, when Dr Stockmann stands before a town meeting, that Ibsen tries to pull his philosophical punches, and the jubilant chaos of the first half had meant it now became very difficult to take anyone seriously. The lines of the various supporting characters were often confused, and the acting felt forced, as if these comic actors suddenly felt out of their element in more serious tones. Even Dr Stockmann’s performance, of central importance to the message of the play, was mumbled and uneven at times. Combine this with an unnecessary interactive voting gimmick where no one, least of all the actors, seemed to know what the plan was, and you had a town meeting where it was hard to tell which farces were deliberate and which were unintentional.

The ending of the play (famously inconclusive) attempted for a more serious tone, and to some extent achieved it. The ruined set, scattered with dropped household items and scraps of recent Cherwell editions which took the place of Dr Stockmann’s papers, provided a somewhat moving background to the emotional segments. In which, a stifled Dr Stockmann tries to assure his family of his affection by kissing the plastic doll which functioned as a newborn son, and asking for their support in return. But even this was broken up by elements of slapstick humour, like when Dr Stockmann chases Hovstad and Alaksen out of his house with his walking stick. After all of this chaos, the play’s final ending was abrupt and unexpected.

‘An Enemy of the People’ is a difficult play to produce. If even Ibsen was uncertain of what he wanted out of it, it’s no surprise that directors find it difficult to take a stance as well. Kwok and Tjandra’s comic angle was highly successful in a first half where the characters’ ridiculous personalities are hard not to make fun of. However, humour can only get you so far. This was by no means a masterpiece – but upon leaving the theatre, I could not deny that it had been a highly enjoyable watch.

Can you revive something that’s long dead?: the Oxford Majlis

illustration of debaters around a table
Artwork by Rachael Cummings-Naylor

Majlis, مَجلِس: noun; an assembly, convivial meeting, congress, council; of Perso-Arabic origin, derived into Urdu.

The words ‘Oxford Majlis’ have re-entered the collective consciousness of Oxford. The 2023 iteration of the society has made headlines with a controversial invitation to the Russian Ambassador, and makes a tall order by claiming continuity from the original society. 

Majlis has had a myriad of functions over the years, growing from a small association of students from British India in the 19th Century to a political behemoth which fostered generations of anti-imperial activists from South Asia, to a drinking society which was loved for its ball and not much else. Even its name has been fluid, while the society was founded as ‘the Oxford Majlis’, over the years it was known as ‘the Oxford Indian Society’, ‘the Majlis Asian Society’, and, quite simply, ‘Majlis’.

Oxford’s Majlis began in 1896 as a society of students originating from what was then India, now the countries of India, Pakistan, and Bangladesh. The Majlis followed the model of the Cambridge Majlis – which was founded five years prior – as a social and political society and held debates which followed the format of the Union. Over its early history, the Majlis snowballed in importance, becoming a crucial intellectual engine of the independence movement. The society counted among its members Liaquat Ali Khan, Solomon Bandaranaike, and Indira Gandhi, who respectively went on to become prime ministers of Pakistan, Sri Lanka, and India.

The earliest iteration of Majlis was therefore radical and distinctly Subcontinental. The Majlis, as a broadly left-wing, anti-imperialist platform was inherently on the wrong side of British foreign policy and was often targeted by the apparatus of the British State. Nonetheless, the Majlis itself welcomed a diversity of speakers, from prominent Indian nationalists, including Gandhi and Tagore, to a former Viceroy of India, Lord Chelmsford. In the early ‘20s, Majlis members debated Lord Chelmsford over whether his own measures as Viceroy – which included the unpopular imposition of martial law in Punjab in a bid to quash violent protest against British rule, leading to the Jallianwala Bagh Massacre – had been “necessary and successful”.

After the independence and partition of India and Pakistan in 1947, the role of Majlis shifted. Kamal Hossain, who would go on to draft the constitution for Bangladesh after its independence, writes in his autobiography that the 50s marked a change in tack for Majlis: “Much of Asia and most of Africa were still fighting for independence. Liberation wars were still being fought in Indo-China and Algeria, and the cause of national independence concerned us all.”

The Majlis in this period expanded beyond its Subcontinental roots rather than looking inwards. In a way, this expansion of focus was crucial to the Oxford Majlis’ continued survival. By comparison, the Cambridge Majlis ceased to exist because of the tensions stoked among South Asian students at the time of the Bangladesh Liberation War of 1971.

By the time of the 80s, Oxford’s Majlis had lost its revolutionary political momentum: much of the global South had been ostensibly freed from the shackles of the imperialist hand, and Oxford itself was no longer the intellectual centre of a sprawling Empire. Majlis became again a particularly South Asian student society.

I spoke to Daljit Singh Makan, who was co-President of the Majlis in 1987, about the state of the society in the mid-80s. Daljit tells me that “by 1985, the society had dwindled to a membership of 20 to 30 people, who were mostly international students from the Subcontinent”. He speaks of a “huge revival” sparked in the years preceding and following his presidency, which saw Majlis’ membership jump to around 300, and established Majlis as a space which welcomed South Asians from across national and religious divides.

The archival records of this period paint much the same story. While information on the Majlis is hard to find from the other periods, the mid-80s offer a goldmine of material. Majlis’ term-card from 1988 is packed with debates, speaker events, cultural performances (Daljit tells me that among these was the first ever bhangra event at Oxford). The term-card also features advertisements from Oxford curry-houses, including one from the legendary Jamal’s. A one-off ‘Majlis Magazine’, published in 1986, records the history of the society as well as providing the transcripts of lectures which had been given at the Majlis in that year. There was clearly a deep interest in what Majlis once was alongside what it might become.

Daljit closes by mentioning that “our revival of Majlis didn’t alter its original raison d’être: we were a hub of inclusivity, welcoming members from all over the Subcontinent, and the world”. I ask him what he thinks of the Majlis as it is being revived this term, with its expanded purview and controversial leanings: his response is one of disappointment.

Crucial to the success of the revived Majlis in the 80s appears to be that it was the only South Asian student society in Oxford. As the years progressed, other South Asian-centric societies sprang up, and in turn encroached upon what had once been the sole remit of Majlis. By the late 00s Majlis had devolved into a mostly social society, which hosted an annual charity ball and little else.

Speaking to Dr. Priya Atwal, now a fellow of the Faculty of History, about her experience of the Majlis, she recalls “being very surprised to learn during [her] undergraduate course about the vibrant political role that the Majlis had once played as a debating society for South Asian students under the British Raj. It was a far cry from the much more muted and purely sociable activities that the society organised during my student years.”

As a result, by 2016, the Oxford Majlis had all but died. The society, without a sense of purpose, held events more infrequently, and the political forum which Majlis had once offered was no more.

It is worth mentioning that the saturation of South Asian societies (which had a large part in killing off Majlis) continues and is unlikely to ever go away. There are numerous societies made up of South Asians now, with national societies (namely, India, Pakistan, Bangladesh, and Sri Lanka societies) as well as the Punjab and Tamil societies. When we add to the mix the faith-based Islamic, Hindu, and Sikh Societies, and even the cultural South Asian Arts Society, OxBolly, and Bhangra Society, there is little room left to go. Given this saturation, it is no wonder that this year’s conception of the society has turned to an extremely broad interpretation of who Majlis is for.

That too, there is already a society which offers the political space that Majlis once did: the South Asian Society. Formed in 2018, the society hosts the panels, debates, and socials that were the hallmark of Majlis. Sameer Bhat, a DPhil candidate who has been part of the South Asian Society since its inception, tells me that it was founded as a policy forum among students at the Blavatnik School of Government, and has since grown into a platform for “meaningful, critical, and progressive engagement with the politics of South Asia”.

Bhat goes on to say that the role of the South Asian Society, in his view, is to “bring the national societies together”. I ask him if, in terms of this transnational and political focus, he sees the South Asian Society as continuing the work of Majlis: “factually yes, but without consciously trying to do so”, he tells me.

While Majlis was no longer active in the late 2010s, its legacy was (and continues to be) potent. An attempt in 2018 by the Oxford India Society to absorb the Majlis Society was rebuked by the re-foundation of Majlis as an independent society. Ali Arsalan Pasha, who was Treasurer of this Majlis, spoke to me about the vision and circumstances which accompanied this attempt at revival. Ali tells me that “Majlis, then, was still part of the popular consciousness of Oxford students, albeit peripherally.”

The revival began with a debate – the first Majlis debate to have taken place in twenty years by that time – with the motion: “This House Believes that India is becoming a Hindu Pakistan”. The focus, therefore, was political, and arose from a core desire which appears to define the Majlis: that the society aimed to be a place for people who cared about what was going on “back home”. I ask Ali what his thoughts are on the vision of this year’s revived Majlis, he replies: “it seems too broad, it’s trying to do too much. At some point it becomes an Oxford Union 2.0.”

After a couple of terms packed with debates, panels, and socials, the 2019 Majlis fell into inactivity once again. Plagued by the curse of ‘the student society’ – for one can only be an undergraduate for three years or so – there was a failure to pass on the baton after the academic year ended.

Coincidentally in 2019, Cambridge Majlis too was revived, the result being decidedly more permanent. The current president of Cambridge Majlis, Ananya Jain told me about how Majlis at the other place continues to run today. Ananya tells me that the Majlis was re-founded as an alternative to the national student societies: “the point of Majlis was to be explicitly political and informative, appealing to those who hail from what was ‘India’ [broadly South Asia] at Majlis’ original foundation”.

The Cambridge Majlis maintains free membership, charging no entry fee for its events, which include speaker events, panels, socials, and debates. As a result, Ananya tells me that it has spawned a “tight-knit community, which, as it continues to grow and find its place in the landscape of student societies, has gone from being less of a Union-style debate platform to a group of people motivated by grassroots politics.”

Finally, I ask Ananya what her thoughts are on the 2023 Oxford Majlis’ activities. Aside from confusion at the Russian Ambassador episode (a recurring theme among everyone I spoke to), Ananya expressed some relief at the Majlis’ decision to platform Husam Zomlot, Head of the Palestinian Mission to the UK: “that, if nothing else, is true to the tenets of what Majlis was.”

So, where does the Majlis of Michaelmas Term 2023 stand? 

Quite simply, there is no licence or badge or mantle which entitles anyone to describe their society as the Oxford Majlis (c. 1896). That the Majlis was hardly ever registered with the University’s Proctors throughout its hundred-year history makes it impossible to claim any sort of ‘official’ continuity. Although the 2023 Majlis does claim the original Majlis’ founding date as its own on its Instagram handle. Nonetheless, any ‘revival’ must be scrutinised within the frame of what Majlis was, and whether this aligns at all with what that revival is trying to be. Therefore, let us take what is before us: The Oxford Majlis (c. MT23) sets out an expansive, if convoluted vision, defining Majlis as “a hub of eastern culture, spirituality, and thought”, and envisaging the society’s objectives “to host eminent speakers, live performances, art exhibitions and political rallies”. 

It is to the expanded purview of the post-Independence era that the Majlis of 2023 attempts to stake its claim. I ask Ibrahim Chaudry, a founder of the 2023 Majlis, whether envisioning Majlis as “a hub of eastern[ness]” truly captures this, whether there is any merit in explicitly grouping together such diverse identities and realities under one ‘eastern’ banner. In response, he paints for me a vivid image of people from across the global South congregating under the banner of Majlis, conversing over matters of literature, politics, religion: “I imagine a Nigerian clad in an agbada, an Uzbek wearing a kaftan, and a Pakistani in salwaar-kameez, all sat together as equals.” A truly transnational aim, yet this fails to quell my reservations about romanticising a monolithic orient. 

As the on-campus activities of students become increasingly subject to the scrutiny of outsider and political figures, the new Oxford Majlis will find itself in a tight knot. The Higher Education (Freedom of Speech) Act of 2023 has made the practice of inviting (and disinviting) guest speakers a perilous one. This new Majlis will, inevitably, struggle with the reluctance of colleges to host guest speaker events in this climate. While this Majlis believes that it will become so much more than a stop on the speaker circuit, it is worth noting that the majority of its advertised events so far are just that.

I ask Ibrahim what his views on the speaker events are, whether inviting the Russian Ambassador and a former Editor of The Independent really align with the goals of the historic Majlis. He tells me that the way of the 2023 Majlis will not be a familiar one, putting forth that speakers will be invited not to parrot a pre-written script, but will instead be confronted by students armed with, for example, a verse of poetry. Ibrahim supposes that these discussions will spiral outwards into conversations about more pressing issues. Ibrahim is adamant that the event will be open to, and most certainly attended by fierce critics of Russian state policy, for whom the event will provide the platform to say their piece before the Ambassador. 

But is such a conception appropriate when one is dealing with a figure such as Andrey Kelin, who has spread disinformation about the Russian massacre of Ukrainian civilians in Bucha, and who, in any case, treads the Russian policy line carefully? A plan to have the event filmed by Russian state television, which has now been scrapped, only added to this scrutiny as students from Russia and of Russian origin would, doubtlessly, have been dissuaded from attending an event monitored by state channels. 

I get the impression that the founders of the 2023 Majlis have thought a lot about its legacy; it is difficult to trace that legacy through many of its present actions. Most of the people I spoke to while writing this article at first expressed their delight to hear of another attempt at Majlis’ revival, although this delight often fell tepid when they realised this new Majlis’ penchant for controversy. To that effect, the question must be posed: is it better to let Majlis die off completely than to have an iteration which risks tarnishing its legacy in years to come?

This article would not have been possible without the generous contributions of Prof Sudhir Anand, Dr Priya Atwal, Sameer Bhat, Prof Amit Chaudhuri, Ananya Jain, Daljit Singh Makan, and Ali Arsalan Pasha.

A Goodbye to Australia’s Golden Generation

Image Credit: David Molloy/ CC BY 2.0 Via Wikimedia Commons

Near the start of the Ashes in England, ESPNCricinfo published a graphic asking viewers to compare the 2023 team to the legendary 2005 team, the original ‘golden generation’, the greatest Australian team there ever was. Of course, most people chose the 2005 team. But that the comparison can be suggested at all speaks volumes about the quality, experience, and grit of the 2023 team. It is a testament to the strength of today’s team that Pat Cummins and Steve Smith can stand toe-to-toe with all-time greats like Glenn McGrath and Ricky Ponting. For this second golden generation, with their long and storied careers that now draw to an end together, 2023 has been a year that they can look back fondly upon as a satisfying capstone achievement.

Australia have made three major achievements in 2023. First, they won the World Test Championship, beating India in the final at Lord’s. Second, they retained the Ashes, playing against a revamped, Bazballing England in England. Third, and the greatest achievement, they defeated India- in India- to win the World Cup. But within this larger, team story, are so many smaller stories of the individual players. This is truly a second golden generation, and the stories of much of this generation are drawing to a close. In their stories, 2023 will be remembered as their swan song.

The truest, sweetest swan song will be for Usman Khawaja. Khawaja is the runt of the litter, having spent over half a decade shuffling in and out of the Test team, never truly having found his feet. He spent two years out after the 2019 Ashes, and admits he gave up on ever coming back. But return he did, and remade himself into the best opening batsman in the world in his career’s dying moments. At 36, he has made himself a legacy he can be unqualifiedly proud of. In the Ashes, he ended up with a match-winning century in the first Test, and ended the series as the highest run-scorer. 

The very first to retire has already announced his plans, leaving at the end of this Aussie summer. David Warner’s departure will probably be welcomed by many, given his poor performances in recent years. But the 37-year-old’s contribution to Australia’s batting over the years is incalculable. For well over a decade, he has been the best red-ball batsman after Steve Smith, and the best white-ball batsman too. He showed his white-ball talent in this World Cup too, slamming two magnificent hundreds and becoming Australia’s top scorer. His retirement heralds the rest of his generation.

And probably closest to following him will be Steve Smith. Smith is, in my opinion, the true heir to the title of the ‘best since Bradman’. It is a testament to his quality that I consider his Test summer in England pretty average despite having scored two centuries in six Tests. He is 34 and his unremarkable 2023 hides the fact that he has been Australia’s premier batsman for over a decade, and when he retires, he will be universally acknowledged as the greatest Test batsman of the last 80 years.

Rounding out this set of batters is Glenn Maxwell. The 35-year-old made a name for himself by playing aggressively and recklessly, and this World Cup was most clearly Maxwell’s World Cup. In a group stage match against the Netherlands, he smoked the fastest 100 in a World Cup, off just 40 balls. In another match against Afghanistan, he produced a scarcely believable innings, dragging his team single handedly from near-collapse at 91/7 to victory at 292/7. His innings of 201* is, in my opinion, the greatest ODI innings ever played. It is the only double hundred to be ever scored in a chase. In the middle of his innings, he began cramping and spasming from the heat and humidity, and fell to the ground, twitching in pain. He could barely walk, yet he told the physio he would battle on. And in doing so, he produced an innings of sheer will, forcing himself to hit sixes and fours on one leg, hobbling for runs where he could get them, and beating his body into submission. His 2023 is the year that has put him firmly in the history books as Australia’s greatest ever finisher. 

Although Australia are famed for their fearful fast bowling, Nathan Lyon has been tiring away at bowling spin for the last thirteen years. For any Test spinner from Australia, comparisons with the great Shane Warne are inevitable, and everyone is expected to perform at his unattainable standard. Lyon is not like Warne. Lyon doesn’t turn the ball as much, he doesn’t produce the same pressure from an end, he doesn’t conjure up the magic of Warne. But he’s been consistent and dependable, amassing nearly 500 wickets over 100 consecutive Tests. He’s done the dirty work, and bowled the hard overs as spinners are expected, making the needed breakthroughs. Lyon is now 36, and he can look back at his 2023 Ashes as the finality of a great career, ably holding his own in the vacuum that Warne left behind.

Mitchell Starc is fast bowling personified. He saunters in his run-up, loads up like a shotgun, and releases the ball in one smooth, elegant motion, sending a ball that careens into the stumps with all the pace and grace that only the truest fast bowlers can summon. Starc’s consistent performances in the Ashes earnt him Man of the Series for his 23 wickets, and although he didn’t replicate his legendary 2015 or 2019 performances at the World Cup, he performed well enough. Starc is now 33, and given the shorter shelf-life of fast bowlers, doesn’t have long left. He will be missed by all, who will remember him as Australia’s greatest ever white-ball bowler. 

Of Australia’s fast bowling trio, Josh Hazlewood stands out as the truest all-format talent. He is the archetypal metronomic bowler, banging in the ball on the same spot ball after ball, over after over. His contributions are not flashy, and he will never have the highlight reel of a Starc. But he bowls the hard yards, breaks the back of the opposing batsmen, and provides the crucial groundwork that makes this trio work. He was in and out of injury recovery since 2021, but made himself available just in time for the 2023 season. Without this final effort from the 32-year-old, Australia may not have made it to where they are now.

Starc’s Test counterpart is captain Pat Cummins. Cummins is the pace prodigy, the perfect bowler, the red-ball equal to the great Glenn McGrath. Where Starc is a shotgun, Cummins is a sniper. Cummins is also the youngest of this golden generation, at just 30. Unlike the rest of this generation, he still has some career ahead of him. His story hasn’t yet ended; he’s the bridge between the golden generation and the younger boys. Yet Cummins can still be proud of this year, a year where he’s led his team to winning a World Test Championship, retaining the Ashes, and winning a World Cup. Cummins has proven himself to be an all-time great for Australia, not just as a bowler, but also as a captain. 

This golden generation, four batsmen and four bowlers, represents the highest heights that Australia cricket has seen since the 2007 World Cup. 2023 is the year that they have all chosen to put themselves in the history books, and cement themselves as Aussie greats. Their heroic efforts and never-say-die attitude are what have produced a memorable 2023 for Australia, and a year where they will be remembered as champions of the world.