Monday 11th August 2025
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Nuffield students defend Noah Carl after “racist pseudoscience” petition

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Three Nuffield PhD students have signed a letter defending the former Nuffield fellow Noah Carl, after he was denounced in a petition signed by hundreds of academics.

The three politics students alleged that the petition against Noah Carl was a threat to academic freedom.

In a letter to the editor of the Times, they wrote: “We are not writing to corroborate Dr Carl’s conclusions. We are simply concerned by the use of popular opinion as the arbiter of truth. This is dangerous.

“The letter’s signatories may be experts in their own fields but they do not have the subject expertise to judge Dr Carl’s research. That responsibility falls to peer review.”

Other Nuffield students have expressed support for the petition, arguing that Carl’s work is both of poor quality and likely to provoke racism.

One Nuffield student told Cherwell: “He absolutely is not uncovering uncomfortable truths. He wouldn’t know how to do that.”

Noah Carl, who is now a fellow at St. Edmund’s, Cambridge, has faced calls for his removal for what the petition describes as “ethically suspect and methodologically flawed” research into the connection between race and criminality and his connections to the far-right through the London Conference on Intelligence.

The three Nuffield PhD students, writing in the Times, said: “A young researcher’s career and reputation are at stake; the bar should surely be higher than innuendo in an online letter that anyone can sign.”

A second Nuffield student who spoke to Cherwell said that Carl’s time at the College had left a legacy of “tension and bitterness.”

The first-year student told Cherwell: “Nuffield has proved to be an alienating and deeply divided social science research community, in part because of the legacy of Noah Carl and continued support for him and his racist work amongst a vocal minority of the student body (though not, to my knowledge, amongst Nuffield academics).

“I know many students who just try to avoid college life as much as possible because of this culture of acceptance, or at the very least tolerance, of far-right politics.”

JCR President of Nuffield College, Matthias Haslberger told Cherwell: “No complaints about Noah Carl were made to me. Noah ceased to be a member of the JCR in the summer of 2017 when he graduated and started his postdoc.”

Articles written in defence of the researcher have also appeared in the Spectator, Quillette, Spiked, the National ReviewBreitbart, and the Daily Wire.

23/12/2018 Correction: The article formerly read that “The JCR President did not respond to a request for comment”. However, the President had not been successfully contacted at the time. 

New taxi hailing app launches in Oxford

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Oxford-based startup, Eurekar, has launched a taxi hailing app that will serve the city and the surrounding area.

The app allows people to request taxis and calculates the fare before they ride.

Eurekar competitors include 001 Taxis, who describe their app as “like Uber in Oxford” , and MyTaxi which launched in Oxford this summer. Uber’s application to operate in Oxford was declared void in July 2016.

The startup’s CEO, Nahim Arif, told Cherwell: “Public transport doesn’t match the comfort and convenience of a ride booking app. Taxis can’t always offer the same affordability and transparency that an app based service can. We want to improve transport in Oxford by making our taxis more accessible and affordable for everybody.”

While there has been concern over the treatment of drivers within taxi app companies such as Uber, Eurekar has emphasised they want to protect workers’ rights.

Mr Arif said: “Fairness is at the heart of Eurekar. The company will help and support drivers with any training they need. In future we want to encourage people who need flexible working around family life, studies or even a second job to sign up and drive and will support them in getting the necessary licenses.”

The app will offer three types of car, including an MPV option for larger groups of up to eight. For up to four passengers, app users will be able to choose between a Standard and Executive option.

Eurekar will offer an airport service from Oxford to six different airports including Heathrow and Stansted.

There will also be a business package, which the company hopes will act as an “all-in-one solution” for companies.

Mr Arif said: “The app also gives businesses a dedicated platform through which they can completely manage their travel needs from booking right through to payment. Having a technology focused dedicated platform to manage their travel is something that businesses in Oxford don’t have at the moment.”

Eurekar only currently operates within Oxford, but has plans to expand further across the country.

What’s next for Theresa May?

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May has won the vote but is more alone than ever – Cherwell Comment

Theresa May has won the confidence ballot by 200 votes to 117 and will be permitted to carry on as Prime Minister until Brexit is seen through.

The result has been met by encouragement from May’s most dedicated supporters and scathing criticism from the rest. Philip Hammond said that the result of the vote “is the right one […] Her deal means we will honour the referendum”. 

Yet Andrew Bridgen has said that May’s party has merely “kicked the can down the road”. The chaos of May’s struggling attempt to reach an adequate deal is indicative of the division and lack of organisation in her party. With MPs resigning like rats leaving a sinking ship, it is clear that under May’s leadership, the future of Britain is not bright.

May has struggled to fulfil the will and expectations of the nation, and her party is guilty in undermining her, making it impossible for the government to achieve anything beneficial for this country. I do feel some sympathy for May. Once all of this is over, she will be crucified by the opposition, rebels within her own party, and the nation. While much of the chaos can be attributed to her shaky leadership, the rest of the Conservative party, engaging in civil war, are also equally to blame. 

On Monday, at the last minute, May postponed the vote on her Brexit deal – yet another example of May failing to fulfil her promise of a “strong and stable” leadership. Her stalling is a move which will mean that when the MPs have to vote on the deal, time will be running out so fast that many will feel shoehorned into agreeing to her deal out of sheer desperation.

The biggest takeaway from this vote is not whether Theresa May is the most suitable leader going forward. It is, instead, that major constitutional changes must not be carried out unless a government has adequate support both from the country, and from within the party. Major constitutional change must not be carried out unless the governing party has the adequate control and ability to ensure that the proposed change can be made.

In the speech May delivered after the vote, she attempted to assure the nation that she will ensure a Brexit that “delivers on the vote that people gave”. But the vote was merely advisory. It was a mistake to treat the vote as binding, and this is the root of all the Brexit shambles. May’s deal is not the deal that the British people voted for. 

She claimed that her Brexit deal will “bring the country back together rather than entrenching division.” Yet waves of criticism are hitting May from all sides: from Scotland, from Labour, and from within her own party. She supports the coming together of “politicians on all sides, acting in the national interest”, but if May cannot even get the support of those from within her own party, it is difficult to see how she can convince the opposition to back her deal. 

May stated a “renewed mission”: to deliver the Brexit that people voted for; to bring the country back together; and to build a country that truly works for everyone. As more and more of May’s supporters turn into critics, it is clear that May is on the verge of standing alone. May cannot claim that the Conservatives have a renewed, united mission. In the wake of this chaos, it is becoming increasingly difficult to see how she will achieve anything.

After yesterday’s No Confidence vote, the country seems back to square one in the Brexit game- Beatrice Barr

If there’s one thing the Brexit process has taught us all, it’s that it takes 48 letters to derail a Prime Minister.

Months of speculation about whether Graham Brady, the Chairman of the 1922 Committee, had received this magic number of letters from Tory MP’s was put to an end yesterday morning by the announcement of a No Confidence vote in Theresa May.

At face value, a vote of No Confidence in a Prime Minister is a momentous thing, and this is evident by the response of the Twitter commentariat, who went into what can only be described as a ‘meltdown’. It was the kind of morning where the nation was glued to news as we awaited Theresa May’s statement at the podium outside Number 10.

 Yet, if the vote is considered in context, it is not ultimately all that important. Yesterday’s vote, as exciting as it might have been, will do nothing to solve Brexit’s nature as the Impossible Problem™. Now that May has won the deal, she will still have to go back to the Commons before the 21stof January deadline, just as before the vote. There will still be no majority in its favour, just as before the vote. And May will face a choice between attempting to renegotiate the deal, pivoting to a ‘soft Brexit’, calling an election, and calling a second referendum, just as before the vote. It’s almost as if the last 24 hours had never happened.

 Let’s consider the first of these options, a ‘hard Brexit’: leaving the EU and reverting to WTO trading rules. Though favoured by the most vocal of Brexiteers, this solution is by no means favoured by the Commons, who are largely skeptical, concerned about economic chaos and the general abandonment of any facade of peace in Northern Ireland. A significant effort to push the Article 50 deadline to prevent this eventuality would no doubt emerge.

The alternative, pivoting to a ‘soft Brexit’ along Labour’s lines, similarly lacks the parliamentary arithmetic. As impossible as it seems, Tory Eurosceptics’ cries of betrayal would get even louder than they currently are. One thing that May supporting this deal would remind us is that it’s decades of Tory infighting that got us into this mess, and that the ERG would sooner burn down the party than accept the backstop. What’s more, Theresa May has Arlene Foster on her shoulder. The 10 DUP MPs upon whom May’s government is entirely reliant will not accept any softening of the Irish border; thus, May remains stuck.

In the unlikely event that she calls a General Election little would change. What’s perhaps most impressive about the current political climate is Jeremy Corbyn’s ability to make May look like she’s winning; take PMQs yesterday, which should’ve been an open goal for the Leader of the Opposition, as proof: May would almost certainly win an election. As a result, we would witness a time-consuming, expensive, and ultimately worthless snap election campaign, and end up back at square one.

 The final scenario, a second referendum, is perhaps the only foreseeable way for a Brexit bill to be passed. I am a fervent opposer of a ‘People’s Vote’ on the basis that a second referendum, despite noble intentions, would look like telling the people to have another go because they got it wrong the first time. However, we must accept that it is a growing possibility.

 Say we had a second referendum with a three-way ballot and preferential voting, as Justine Greening has suggested: in a choice between Remain, May’s deal, and No Deal, the lowest common denominator would be May’s Deal. Were May’s Deal to emerge victorious from a referendum, Parliament would be forced to pass her deal (unless Tory Brexiteers want to reach a new level of hypocrisy and ignore the will of the people), and the Brexit game would be won. But to get to this point would require a complex and controversial set of decisions by May.

May’s current line is that she has no intention of leading the party into the next election, suggesting that her job will be to finish off Brexit and resign. Aside from May’s sacrifice of her career on the altar of Brexit being depressing on a basic human level regardless of political leaning, this plan only works on the shaky presumption that there will be no election until 2022: yet, as Labour-leaning journalists have suggested over the past few hours (http://www.progressonline.org.uk/2018/12/12/why-now-could-still-be-the-right-time-to-force-a-no-confidence-vote/), May’s victory in the Tory No Confidence vote does not guarantee victory in a parliamentary one. Indeed, even if we don’t get an election until 2022, we must ask when exactly May expects Brexit to end before that. Based on the current state of affairs, Brexit is simply not going to happen on March 29th. Brexit is the defining issue of a generation of politicians and voters, and one that will not simply disappear on an arbitrary date to which we’ve been counting down for two years. Thus, May’s current tenure in office looks indefinite, and politics will be synonymous with Brexit for a very long time to come.

Why May Must Stay… for now- Oliver Shaw

Last night’s vote of confidence in the Prime Minister was by no means a victory.

One-third of Theresa May’s own MPs have dealt a crushing blow to both the embattled Prime Minister and her dying Brexit deal. Had she not pledged to step down before 2022’s general election, it is possible that even greater numbers would have deserted.

The decision was the right one – but for all the wrong reasons. May survived not because of the grit and determination which has characterised her tumultuous spell in Number 10, but for two basic and blunt reasons: the lack of an obvious heir, and a rapidly approaching Brexit deadline.

There is still an overwhelming chance that her compromise, her worst-of-all-worlds ‘fudge’ of a deal, will be struck down before the end of January, and a flimsy and dirty pact with the DUP hangs in the balance.

The story might be different had a serious challenge been mounted in the summer, with sufficient time to find and install a new fall guy – also known as ‘Leader of the Conservative Party’. As the Prime Minister pointed out herself with a hint of a smirk this morning, her successor would have no time to renegotiate with Brussels and could be forced to delay the Article 50 period. It could hardly have been a more blatant hint to Brexiteer rivals of the dangers of ousting her.

On the other hand, extending Article 50 would bolster the momentum of the campaign for a second referendum, or so-called People’s Vote. Another national vote – the fourth in five years, assuming it was held next year – would only reopen old wounds, piling further pressure onto existing divisions which have so characterised the Brexit debacle.

What would change? If Remain were to win, would ardent Brexiteer backbenchers really wind their necks in? May has been totally right to slap down calls for a fresh vote, understanding that to overturn the 2016 result would be an affront to the power of popular sovereignty.

If a leadership contest had begun tonight, who could really have stepped up to the plate? Boris Johnson, David Davis, Michael Gove and Jeremy Hunt are too poisonous. The party would be seriously nervous about putting arch-Remainer Amber Rudd in charge. Esther McVey and Penny Mordaunt, leading ladies of Brexit, are yet to make a mark, and Sajid Javid seems to evade any kind of political definition or description at the moment. Dominic Raab is a possibility, but he would surely be held responsible for appeasing May’s avid loyalty to the Chequers settlement.

For all her determination and political courage, it has come to the point that even Theresa May realises that her premiership endures out of pure necessity. She has had far too many chances, and has demonstrated the precarious and fine line between firmness and destructive intransigence.

The Brexit deal has proved universally unpopular, threatening the very integrity of the government and – more importantly – raising grave concerns about both the Northern Ireland backstop and the economic shock to be expected over the coming years. Cabinet ministers have backed the deal so as to save a sinking ship, and not out of enthusiasm for May’s efforts. Tonight, MPs arguably saved her for the same reason.

Today’s result was the preferable one, but it was by no means ideal. She won, but a belittled Theresa May still has to see through her limp and flawed version of Brexit, knowing that her days are numbered. It is likely that the deal – in its current incarnation – will collapse in the Commons, and a major rethink (and maybe May’s resignation) will be inevitable. Brexit was always going to be an uncomfortable process, an awkward stumble out of Europe rather than a smooth and orderly departure. No Deal is still likely, and there’s no guarantee that May’s successor would fare any better.

Theresa May must go – but not just yet. Winning tonight’s vote gives the Prime Minister a further year in office, in theory. She has a smidgen of room for manoeuvre, the chance to tease out final concessions from Europe – a last hallelujah, perhaps. Maybe she can even bring about some much-needed unity, a final push for the best possible Brexit in the circumstances.

But don’t be fooled: a larger proportion of MPs voted for May today than did in 2016, but this time it was out of necessity and desperation. Theresa May must be given these final months to see through what now seems an impossible task. But then, and only then, she must leave.

As Eden is so inextricably associated with the Suez disaster of 1956, so Theresa May will forever be remembered as the Brexit Prime Minister. Her image is toxic, and her continued leadership could, in the long term, be destructive for both the Conservative Party and for Britain.

But who knows – perhaps history will be kind to Theresa May.

If Merkel Says Auf wiedersehen, what’s Next for Germany?

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Merkel’s magic has worn off. In stepping down as leader of her party, Merkel has admitted that she does not have the answers to their problems. Her recent poor performances in the CDU/CSU state elections were the last straw. In truth, Merkel’s party has been struggling for much longer. Despite winning the Federal election in 2017, the party saw a near 10% drop in its share in the vote from the previous election. This crisis for the German political establishment is not limited to Merkel or the CDU, however. The SPD are in even worse shape: being reduced to the fifth position in Bavaria suggests the affliction may be terminal.

To the casual observer this crisis might seem unusual as it appears exclusively political. Germany’s economy is in great shape, with unemployment having fallen in October to just 3.3%, the lowest recorded level since the country’s reunification. Yet, underlying these attention-grabbing statistics is a more worrying picture of the German economy, one where inequality continues to grow, and the relative poverty rate remains stubbornly high. The divide between those who have shared in Germany’s economic success and those who have not has clearly contributed to this political crisis. The AfD has grown most rapidly in the East of the country, the region from which Merkel hails, and which suffers disproportionately from unemployment and poverty. The narrative of a successful Germany is gained from comparisons between Germany and its neighbours; it is not something that one is likely to hear on the average German street.

This all begs the question of what exactly Merkel’s successor, Annegret Kramp-Karrenbauer (AKK), intends to do. As the leader of the party, and (probably) Merkel’s preferred candidate for the role, it could be assumed that continuity is the likely outcome, and perhaps such a strategy could be successful. Indeed, under AKK’s leadership, the CDU made substantial electoral gains of around 5% in the Saarland last year, but it should be remembered the Saarland is just one state and not a representative one at that. There is reason to believe that AKK will have the foresight to pursue changes at the national level: her campaign was branded a ‘listening tour’. She will be aware that the CDU lost more votes to the AfD than any other party in 2017, and that the current Grand Coalition with the SPD is likely to be the last that can produce a majority in the Bundestag. The Green Party is now polling in last place out of the main six parties, but in October polled higher, at second place, than the CDU (without its Bavarian sister party, the CSU), in fourth. The threat of the AfD to the CDU is well known, recently being voted the second most popular party in the country, but it could be that the Green Party will present the greater challenge when Germans go to the polls. The average Green voter more closely resembles the average CDU voter in terms of education and income than the average AfD voter which has recently seen an increase in voters with lower levels of education. For AKK, then, the choice is to move the party to the right to attract the roughly 1 million voters who have left the CDU for the AfD, or to move to the centre, to avoid losing core voters to the Greens.

Merkel’s stated intention to stay on until 2021 could well be a bluff, an attempt to buy time, to slow the time until succession to give her successor the best possible chance. It’s no secret that the CDU/CSU coalition has been tested: the tensions, particularly surrounding policies towards refugees, between Merkel and Horst Seehofer, her Bavarian counterpart, have been one aspect of this, but Merkel’s departure alone will not solve this. The issue is that the CSU have favoured a move to the right to counter the AfD, and while the state election suggests this wasn’t entirely successful, the party is unlikely to swing back to the centre. AKK’s personal social conservatism may help patch things up between the two parties, but it might not solve the issue of which strategy will strengthen the CDU. If Merkel refuses to say ‘auf wiedersehen’- and her knack for political survival means this is likely- then tensions may well emerge between her and AKK during the cohabitation period. Potentially even more damaging is the prospect that AKK simply becomes a Merkel legacy project and loses credibility as an independent successor.

There are many possibilities for Germany at this point. For the decision makers who will decide which becomes a reality there are no easy choices: Merkel has to decide whether her position as Chancellor is tenable; AKK must decide a direction for her party, and her country, without having the immediate power to enact it; And finally, the German people must decide what they want, and whether the CDU will be able to provide it, whoever leads them.

Branding Matters

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From the Balenciaga-stamped sneaker to the svelte, cinched waist of the Dior dress, the boundaries of branding in fashion extend far beyond a graphic logo printed onto a T-shirt. Brandingmag offers one definition of branding: a name, symbol or design implemented by the label to communicate its personality to the client. Branding evidently has value in the fashion industry: a simple black loafer, for instance, is completely transformed from a prêt-à-porter shoe into a head-turning piece of high fashion when the Chanel logo dangles from its buckle.

Branding acts as a mark of authenticity, reliability and consistency for the client, and therefore the brand itself cannot operate without it. Some fashion houses take inspiration from other brands and even totally different industries for their appeal – in 2014, Moschino’s Jeremy Scott took the golden McDonald’s arches and the brilliant, recognisable red and yellow colour combination to create a collection of alluring prêt-à-porter pieces.

However, how does quality in branding differ? Are there some types of branding that are superior to others? In an era where the branding kings Jack Wills and Abercrombie have been overthrown by labels such as iets frans…, Reebok and Fila, students no longer need to rely on a two-dimensional logo across the chest to express their tastes. The shortcoming of Jack Wills and Abercrombie is that their products rely entirely on this aspect; the sole buoyancy of their very rudimentarily-designed pieces is their name.

Jack Wills set up its own downfall by proclaiming itself as an outfitter for university students. Here in Oxford, its brand is almost entirely superseded by stash (Oxford-branded clothes for students which can represent college, sport, or society). Nowadays, the student fashion world is becoming more dynamic. Trends are not centred so much anymore around a logo, but a style. Instead of skinny-jeans and Hollister tees, the silhouettes of clothing are changing to follow trend, demonstrated by the luxurious flare trousers that scream Topshop in a glance. The growing spectrum of trousers (culottes, wide-leg, mom jeans and so on) in particular has been a sign of the progression of trends from logo-driven to style-oriented. The clout of Reebok and Fila is demonstrated on the street by the wearable appeal of their sporty-yet-fashionable look: the main styling pieces are fleeces and sweatshirts that are designed to be staples rather than cheaper, fad-driven pieces.

Despite the fall of logo branding, if you’re going to put a logo anywhere in your outfit, I’d argue that shoes are a must. Even haute couture (see Chanel S/S14) can work with a classic, comfy pair of trainers. There is no one rule to follow when it comes to branding. What recent times has shown us, however, is the triumph of quality craftsmanship and design over the letters of a logo. The ability to turn a brand’s garments into wardrobe staples – here to stay, and not the product of ephemeral trends – is branding at its most effective.

Film Firsts: Nothing gets lost in translation with my first foreign film

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As I crouched with my friend and her laptop under a desk while hiding from sports lessons, I knew my first experience of a non-English language film was already going to be a memorable occasion. Yet watching Rajkumar Hirani’s 3 Idiots was distinctly unforgettable in itself, as the film is one of the most emotionally capacious and rewarding ones I have seen.

3 Idiots was my first Bollywood film as well as my first foreign-language one. The comedy-drama is a modern-day Bollywood classic and follows the quest of two friends, Farhan (R. Madhavan) and Raju (Sharman Joshi), as they seek their missing university roommate, Ranchoddas ‘Rancho’ Chanchad (Aamir Khan). At once a coming-of-age story, a mystery, a slapstick comedy, and a romance, 3 Idiots careens through its plot, cheekily overturning my expectations from misleading start in which Farhan fakes a heart attack to trigger a plane’s emergency landing to rousing finish.

Admittedly, the film is not entirely ‘foreign’. The script’s dialogue is written in ‘Hinglish’, a popular combination of Hindustani and English, which leaves speech peppered with words and phrases comprehensible to English viewers. With the help of subtitles, I forgot I was watching a ‘foreign’ film at all. Even without translation, however, the expressiveness of the Bollywood actors’ performances and Hirani’s foregrounding of intimate, emotional moments would have made communicative obstacles few and far between.

In its three-hour running time, the film commits to the development of fully-fledged, believable characters. Raju, Farhan, and Rancho’s quirks are each explored, but are never consigned to stereotype. I was most compelled, however, by the complexity of the relationships between the protagonists and their families. The director deftly explores the conflict between the Asian tradition of filial piety and the son’s individual ambitions. With each protagonist returning home at least once over the course of the film, the moments of reconciliation are unforced, cathartic, and genuinely tear-jerking. Hirani does not force these conclusions, but paces them sensitively; the result is universally appealing.

3 Idiots does not conceal its broader social criticism. In fact, it is the film’s cultural specificity that saves it from triteness. Its setting within India’s Institution of Civil Engineers, together with its infusion of real-life references and statistics that reveal the cut-throat competition of India’s higher education system, give new urgency to Farhan’s remark that “life is a race. Run fast or you’ll be trampled”. No wonder, then, that 3 Idiots charged contemporary conversations about Indian students’ mental health at the time, or that the film received unprecedented acclaim in East Asia, where China’s gao kao exam exerts a similar pressure.

Yet the irresistibly likeable Rancho offers a converse value system. His mantra, “all is well”, becomes a quirky leitmotif woven into the fabric of the story. His droll delivery of his philosophy passion over mindless toil keeps a worn maxim both fresh and profound.

There is an apprehension when watching 3 Idiots that, in the gap between cultures and languages, the film’s essence could be lost on the non-native viewer. But though it is impossible to wholly gauge a cultural environment from the outside, I found the film’s recasting of the familiar themes of pressure, duty, and aspiration deeply affecting.

I was also surprised by the film’s cinematic stylishness. Hirani’s techniques include Wes Anderson-esque visual centring, roving cameras, and vivid colour palettes, all of which add a vibrant dynamism to the scenes. Each departure from realism, from the exaggerated villainy of the institution’s Dickensian director (Boman Irani) to the decorative musical numbers, is unconventional by Western standards; yet Hirani never relinquishes his fidelity to light-heartedness. Even though the film’s playful parody of Bollywood tropes soared right over my eleven-year-old head, I was charmed by its ready abandonment to quirkiness and silliness. Its fluctuation between humour and solemnity is not, as one critic termed it, an example of ‘emotional whiplash’, but rather an attempt to encapsulate life’s ups and downs and the teeming energy of youth. A droll irreverence reigns throughout – Western social satires could learn from the willingness of 3 Idiots to laugh at itself.

A whistle-stop tour of technique and theme is not enough to describe what is essentially an uncontainable film, or to do justice to the thrill of its joie de vivre. 3 Idiots left me puzzling at the societal dismissal of Bollywood as a kitsch version of its American counterpart. Beyond even the sprawling shots of the Indian landscapes, Hirani’s film achieves the quality of epic.

No longer merely an alternative to compulsory sport, it has become a film I voluntarily return to one that is full of meaning, but leaves room for a healthy amount of fun. For all that, a relatively thin and penetrable language barrier is a small price to pay.

Dirty Dancing Review – ‘gives fans exactly what they want’

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Despite the film now being over thirty years old, it seems the appeal of Dirty Dancing is still as great as ever. Famous for its thrilling choreography and iconic characters, and renowned for its subtle yet brilliant treatment of numerous social issues, one might have thought any stage adaptation would always fall in the film’s shadow.

But the tremendous success of the Dirty Dancing UK Theatre Tour proves that the plot translates perfectly onto the stage. The fact that it sticks almost entirely to the film script, even though writer Eleanor Bergstein did add a few scenes to help embroider her original storyline, means it satisfies even the most sceptical of fans.

Director Federico Bellone and set designer Roberto Comotti combine to produce stunning staging, transporting the audience back in time to the sixties’ summer camp. This provides the perfect setting for the main attraction – no, not Johnny – the intense dance sequences. They are performed with a slickness and energy that more than does the film justice, while Baby’s lessons with Johnny are suitably charming. This middle period does feel a little rushed at times, however, with most of the dance classes being cramped into one scene, and the outdoor sessions not really being given the staging or attention to flourish. This is particularly evident when the two leading characters practice in the lake, arguably one of the most memorable scenes from the film, but the decision to lower a semi-transparent blind with waves painted onto it provoked laughter from the audience, at a moment that is supposed to be crucial in the development of Baby and Johnny’s relationship.

Kira Malou gives a vibrant performance as Baby, astutely conveying her innocence yet determination. Michael O’Reilly dazzles with his dance technique and presence, but still struggles to carry the somewhat poisoned chalice of Johnny. Perhaps unfairly, anyone playing the role will inevitably be compared to Patrick Swayze’s original performance. Swayze gives the character a charm that O’Reilly’s portrayal lacks, making Johnny appear arrogant in places as opposed to charismatic. Both of the lead’s dances flow beautifully, though, and they allow their flame to flicker brightly enough for the audience to empathise, without making their romance come across as trite. A notable mention must be given to Alex Wheeler and Sian Gentle-Green, playing Billy and Elizabeth respectively, whose vocals provide consistent moments of class throughout the show, and serve to light up the finale.

The production is undoubtedly fun and vivacious, jerking the audience along every twist and turn (of which there are many) almost as aggressively as Johnny’s mambo hip thrusts, making the two acts rattle through like a whirlwind. Even though most of the audience will probably know how Dirty Dancing reaches its resolution, you never feel bored, or anxious for the curtain to close. If anything, you wish it could last a little while longer, and are grateful for Bergstein’s decision to add a few extra scenes. The plot becomes too convoluted in places, and it becomes difficult to follow the storyline of each character, briefly reminding the audience that this is a script designed for the cinema and not for the stage. The story is still riveting, though, and does not lose any of the drama or emotion in translation.

Dirty Dancing at Oxford’s New Theatre doesn’t aim too high, sticking religiously to the original script, but in doing so satisfies original fans, whilst no doubt enchanting the next generation to ensure the magic of Dirty Dancing continues to be passed on year after year.

Oxford flies Suffragette flag marking centenary of women’s vote

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Oxford’s suffragettes’ flag will fly over the city’s colleges and libraries on Friday, marking exactly 100 years since the first women were allowed to vote in Britain and Ireland.

Friday will mark the centenary of the 1918 general election, which was the first election following the enfranchisement of middle-class women over the age of 30. It was also the first election in which working class men, although not working class women, were allowed to vote.

Women in the Humanities, which campaigns for gender equality in academia and conducts interdisciplinary research on gender issues, is coordinating the occasion.

A spokesperson said: “We hope that on Friday 14th December people will look out for it and remember those who campaigned tirelessly more than a century ago for women’s enfranchisement.”

The banner which will be flown on today is a reproduction of an original flown by a contingent of around 90 members of the Oxford Women’s Suffrage Society, at a major march in London in 1908. The OWSS was formed by a coalition of locals, students and academics in 1904.

Linacre College tweeted a photo of the flag flying over a college building earlier today.

Women in the Humanities also aim to shed light on the locations in Oxford which feature in the history of the suffragette movement.

For example, Millicent Fawcett addressed the Oxford Union in 1908, while feminist meetings were regularly held at Oxford’s women’s colleges, as well as Jesus College and the Town Hall. Other places in Oxford were the site of attacks by militant suffragettes and their male supporters.

Oxford’s history of feminist activism goes back to at least 1878 and the founding of Lady Margaret Hall and the Association for Promoting the Higher Education of Women. By 1893 Oxford had four women’s colleges, and by 1909 there were suffrage societies at St. Hilda’s, Lady Margaret Hall and St. Hugh’s.

More information about the history of the suffragette movement in Oxford can be found on the Women in the Humanities website.

University Hospitals promise to cover settled status applications for its EU staff

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Oxford University Hospital will be covering the costs of settled status applications for its EU staff following Brexit.

Chief executive, Dr Bruno Holthof, who is himself Belgian, has written personally to all EU staff of the OUH to let them know that the Trust will cover the costs of their applications for settled status.

Applying for settled status will allow the EU nationals to continue living and working indefinitely in the UK, provided they have lived in the UK for a continuous 5-year period.

Applications will open next March and the deadline is the following June. The cost of an application will be £65 and £32.50 for those under the age of 16.

Head of Communications of the Oxford University Hospitals NHS Foundation Trust, Matt Akid, told Cherwell: “We have taken this step to demonstrate to our EU staff that we value the huge contribution which they make to caring for patients in our hospitals.

“We want them to stay with us despite the current political uncertainty over Brexit.”

OUH has seen an increase in EU staff since the Brexit vote, with 11.37% of its staff made up of EU citizens in March 2016 to 12.47% in March 2018. Akid informed Cherwell that 19% of the OUH’s nurses and midwives are from the EU.

Akid states that the number of EU nationals that have joined has been greater than the number leaving.

In terms of other measures to support EU staff, Akid told Cherwell that the Director o Improvement and Culture “has held open meetings with EU staff to listen to their concerns”.

OUH also has a “range of key worker accommodation on our different hospital sites which, where possible, provide affordable and sociable housing for staff who are coming to work in Oxford from overseas.”

Other NHS trusts have followed suit, for example University College London Hospitals and Guy’s and St Thomas’ Hospital in London.

“After three hours in an Omniplex I am, at least, still alive” – livestreaming from theatre to cinema

Continuing a tradition begun in 2009, this month the National Theatre livestreamed their production of Antony and Cleopatra to 650 cinemas around the UK. I took this as an excuse to get out of the house for the evening, putting off the day when I run out of things to say to my parents and lapse into silence for the remainder of the Christmas break. Of the production as a whole, I have this to say: it was alright. Ralph Fiennes appeared to be doing a John Gielgud impression; my hopes of seeing an interpretation of Cleopatra that doesn’t make her seem like she should be sectioned were not fulfilled. Still, that’s not absolutely heartbreaking – and there was a live snake, so points for that. But I was able to spend ten minutes trying to think of something funny to say about Ralph Fiennes’ trousers without feeling like I’d missed out on anything.

The only thing that was striking about it was how un-striking it was. In fact, the more I think about it, the more it becomes indistinguishable from the RSC’s production last year (Google it – Antony Byrne and Ralph Fiennes have the same haircut). It’s Shakespeare the way everyone does Shakespeare, in the same modern dress everyone uses – nothing to make someone standing in the rain, at eleven o’clock on a Thursday night, remember why they bothered to leave the house in the first place.

So, who is bothering? The Society of London Theatre say that 15 million people went to see something live on stage in 2017, but what about those livestreams? Going to one is a strange experience, a bit like real theatre except with a fair chance of getting stuck next to someone (me) surreptitiously eating a chicken sandwich. It opens with a video in which Samira Ahmed assures you of a) the inherent greatness of the thing you are about to watch, and b) the welfare of the snake. It’s definitely not a substitute for live theatre because there’s nothing like a Craigavon retail estate for sucking the atmosphere out of something. And there’s no escaping the fact that an onscreen Ralph Fiennes in ill-advised trousers is no substitute for a real life Ralph Fiennes in (what, on closer inspection, I suspect would be) trousers even more ill-advised than you first thought. Still, it allows those of us condemned to live in fields see big-budget theatre.

But here’s my real problem with livestreaming: no one goes. The National Theatre say that NT Live broadcasts to 2500 screens worldwide, and that 1.2 million people “engaged” with them through the medium in 2017-18 (I don’t know what that means either). There were seven NT Live shows last year, plus Encore screenings – but not everywhere gets them, so let’s make that three. This results in a grand total of forty-eight people per show per venue. That’s just a statistic, of course: if you go to a livestream somewhere arty it will probably be sold out. But in the kind of cinemas I go to there are usually about fifty people. Plus me, with my chicken sandwich.

Last month the The King and I became the highest grossing livestream theatre event to date: 135,000 people watched it worldwide. Which is good, obviously. But, without wishing to be that person, 12.6 million people watch I’m a Celebrity every week – and I’m a Celebrity isn’t even good anymore. And I know TV’s a lot cheaper, and you don’t have to drive for 40 minutes to watch it, and that occasionally you just want to watch Noel Edmonds suffer. But sometimes theatre is more fun.

It occurs to me that you might misinterpret my lukewarm response to Antony and Cleopatra, and conclude that people don’t go to livestreams because the ‘live’ being ‘streamed’ is bad. But I don’t think they would go even if it was amazing. It wasn’t until I went to London that I met other people who were into theatre. Up until then, everyone I had ever met didn’t think about it for longer than was actually necessary, and then only to conclude that it was Art and therefore boring. And, for all it talks about being modern and visceral, it is hard to shake the suspicion that theatre has decided that’s what it is too.

I realise this structure leads naturally towards a self-congratulatory Clever Solution, but fortunately for you I don’t have one. I don’t know how it happened, how to stop it, or whether I might not be wrong in thinking it’s happened at all. I know I don’t want livestreams to stop – beyond that all I can say with certainty is that I am a) confused, and b) unhappy.

So instead I will say this: theatre is fun. Do not let anyone tell you otherwise.