Sunday 13th July 2025
Blog Page 703

The Art of Small Talk

At the beginning of October a hormonal mass of teens, infused with adrenalin and trepidation, will descend on Oxford for a week of clumsy revelry. Fresher’s Week returns, and with it the familiar conversational wormhole of repetition: Where are you from? What school did you go to? What A levels did you do?

While you ask fellow Fresher’s what their degree is, you are liable to feel a dull twinge of repulsion at this lack of originality. You’re at Oxford; you’re meant to be smarter than this drivel.

However, you can come to embrace these stale exchanges as a necessary evil. They not only aid you in determining who you will be seeing in lectures, but importantly fill the dreaded chasm of silence that could open up if you don’t fill it with such inanity.

This mindless charade, featuring facts both parties will instantly forget, will finally come to a close and then the struggle begins in earnest. Once name, course and college have all been categorised what is there left to talk about?

There is an unspoken fear that lurks beneath all Fresher’s Week conversations, prompting people to avoid disclosing any concrete feelings or opinions beyond the bland. The fear is one of a conversational slip up that will provoke widespread repulsion and hilarity at your expense. In this alternate universe, one wrong world will lead to a lifetime of woe and isolation.

The reality is that most will neither notice nor care if you’re a pinhead or a prick during Fresher’s Week. Everyone is equally trying to muddle along unscathed. If you truly make a fool of yourself in a particular situation, you could always become an amnesiac and reintroduce yourself days later on. If this do-over is just as fraught, repeat the reintroduction until it works. At least they won’t knock you for trying.

At this juncture, there are two options. Alcohol’s capacity to loosen the tongue is only rivalled by the more grisly methods of interrogation. Most reach for the bottle, take a swig and start to yell ‘Down it Fresher’ at each other. You could then break into a rousing chorus of ‘We like to drink with (name)’, however proceed with caution lest you have forgotten the target’s name and are forced to mumble some incoherence instead.

However, don’t feel pressured to drink if you don’t want to. The popular conversational starter during my Fresher’s Week was gossip, and as a gossipmonger, I have no qualms in promoting the fun that can be had in exchanging sensational tidbits. Given that it’s Fresher’s Week, you certainly won’t be deprived of content and salacious blather could be the oil that turns the conversational wheel. If you happen to find yourself the subject of the chatter then, fear not, the rumour mill is always turning, and someone else’s fiasco will soon replace yours.

Last year, it was of note how Fresher’s Week heavily featured conversations surrounding the superstar of their intake, Malala Yousafzai. The same may be apparent this year, but it seems it would be much more fruitful for your conversation and imagination to speculate on who in college will be famous in the future. Then, most importantly, plot out how you can piggyback on their success or disrupt them before it happens. There’s nothing like a sabotage operation to cement lasting friendships.

You will know the week is rolling to an end once talk becomes punctured with coughs and snivelling whimpers. When fresher’s flu rears its ugly head, and you inevitably contract it, celebrate the fact by telling everyone how ill you are. It becomes a perverse game of one-upmanship, where all ailing freshers compete for the reigning title of most plague-ridden.

When the weekend finally arrives, you are likely to feel a rather dim shadow of yourself, but Fresher’s week is no normal week at university and you will come to look back on it and the conversational quirks with wistful merriment.

The ‘Brideshead Revisited’ reputation haunting Oxford

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Brideshead Revisited is not a book about Oxford: it is a book about aristocracy, religion, and death. Yet somehow, almost 75 years after it was first written, it continues to be one of the most famous fictional portrayals of life at our university. Our enduring fascination with Waugh’s portrait of university life, peppered with the drunken antics of rebellious upperclassmen, anecdotes of the eccentric and fashion forward Anthony Blanche, and the dramatic sending down of the troubled young Lord Sebastian Flyte, says something about how we see Oxford today. A clash is emerging between this traditional image of the university, and what a modern Oxford would like to be.

The normality of our university, especially in the present day, is edited out of literature like Brideshead Revisited. Yes, the Bodleian has a distinctly ‘Oxford’ vibe, but most of us drown out the sights and sounds of such historic locations with the sterile glow of a laptop screen and a playlist of blaring pop music that makes the next hour of study tolerable. When you are running down the High Street to a lecture that started 10 minutes ago, you stop appreciating the remarkable architecture of our city.

However, normality doesn’t make for a particularly good story. It is a natural human inclination to want to be part of something exclusive, and I think our attachment to such fantastical portrayals of life at Oxford demonstrates this. We like the fact that we are part of an institution that is a bit of a mystery to those on the outside. The existence of this sentiment is confirmed by the popularity of sub fusc among the student body and the endurance of a whole host of other traditions that are entirely superfluous aside from the fact that they are fun to indulge in.

Interestingly, the Oxford of Brideshead Revisited is from the 1940s. The university was definitely more exclusive in decades gone by, and it was almost certainly closer to the world that Waugh describes. But the fact that our cultural imprint is still drawing on an Oxford that no longer exists is revealing in itself. In recent times, Oxford has undergone a drive towards accessibility and diversification that has, in many ways, caused our university to change beyond recognition. There has been a vigorous emphasis on making university seem accessible to all and showing potential students that there is a place at Oxford for people of all backgrounds.

The fact that the legacy of this literature, and the picture of Oxford to which it has contributed, is something that now has to be fought against, shows just how pervasive such images can be. These more recent access movements that try to address the problematic side effects of magnifying these unrealistic aspects of Oxford life show us that it may be time for a new genre of ‘Oxford’ literature.

This leaves us with two conflicting forces that are currently meeting when it comes to our cultural and literary portrayals of Oxford. One enjoys the semi-historic, mystical and ostentatious picture that has been expressed through Brideshead Revisited, but also other literature and films like The History Boys and The Riot Club. Another seeks a more realistic, constructive, forward-looking version of our university that might allow it to open its doors to a wider group of students. Only time will tell the fate of iconic ‘Oxford’ literature like Brideshead Revisited as this struggle plays out.

New rape case opened against Oxford professor

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This articles makes reference to rape and sexual assault.

A new rape and sexual misconduct investigation has been opened in Switzerland against Oxford academic Tariq Ramadan.

Ramadan, who has been detained since February, already faces other similar charges in France.

According to the Tribune de Genève, Geneva’s Special Prosecutor has confirmed the decision to open a formal criminal inquiry into the allegations formally lodged in April that Ramadan sexually assaulted a woman in a Geneva hotel in October 2008.

The lawyer representing Romain Jordan, who came forward with the allegations, described the decision to open a formal criminal inquiry as a “major advance”, and commended the Geneva police for having “worked quickly and worked well” in pursuing charges against Ramadan.

Although Ramadan is a Swiss citizen, Swiss prosecutors will have to travel to France to conduct questioning.

The 56-year-old scholar has denied all allegations of wrongdoing. He has also complained that his continued detention in France has made it difficult for him to seek treatment for multiple sclerosis.

Ramadan, an Islamic scholar and professor at St Anthony’s College, took leave from his post at Oxford University after allegations were made in November last year.

In a previous statement, the University said that it “has consistently acknowledged the gravity of the allegations against Professor Ramadan”, whilst also clarifying that “an agreed leave of absence implies no presumption or acceptance of guilt.”

Ramadan was questioned on Tuesday in the presence of a woman identified only as Christelle, who alleges he assaulted her in a hotel in Lyon, France in 2009.

In total, four women have come forward to the police with allegations of sexual assault against Professor Ramadan.

Oxford grad launches new access initiative

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An Oxford graduate has set up a non-profit startup aimed at tackling the “structural inequalities” associated with the University of Oxford and the University of Cambridge.

Founded by recent graduate Joe Seddon, Access Oxbridge will connect disadvantaged students seeking to apply to Oxbridge with current or former students at the two universities. The organisation states that it will utilise online communication technology to give disadvantaged students the “resources and soft skills” needed to compete with their more affluent peers.

As part of the scheme, Oxbridge ‘mentors’ will deliver live video tutorials offering personal statement advice, admissions test guidance, and mock interviews.

Seddon, founder and CEO, studied PPE at Mansfield College, the college with the highest percentage of state school students across both Oxford and Cambridge.

Recently, Oxford’s admission statistics have attracted criticism nationwide. Labour MP David Lammy has repeatedly called on Oxford and Cambridge to improve their class and ethnic diversity, accusing Oxford of ‘social apartheid’ last year.

As Cherwell reported earlier this year, more students were admitted to Oxford in 2017 from the top twelve independent schools than from all state comprehensives.

Explaining why he believes such inequalities to be significant, Seddon told Cherwell: “Oxbridge regularly admits twice as many students from Eton as it does students eligible for free school meals.

“Such glaring inequalities increasingly matter in a world in which the financial benefits of education are continuously rising, with Oxbridge graduates expected to earn a £400,000 lifetime premium compared to graduates from other British universities.”

Seddon believes that Access Oxbridge offers something that access programmes organised by colleges and the universities do not.

He said: “There’s been a lot of good access work done by students from both universities, but much of it so far has concentrated on transforming Oxbridge’s image and dispelling pernicious myths.

“This doesn’t go far enough in solving the resource and skills gap between disadvantaged students and their more affluent peers”.

Reflecting on his personal experience of the Oxford admissions process, Seddon hopes that his new organisation will give more disadvantaged students the knowledge and ability to complete a successful application.

“As a ‘disadvantaged student’ myself who attended the UNIQ summer school in 2014, I remember the distinct lack of confidence I had about my chances of gaining a place at Oxford.

“I did not know anyone who could help me prepare for a university admissions test, and I was wholly reliant on an overburdened History teacher at my state sixth form to introduce me to the format of an Oxford interview.”

Access Oxbridge are now campaigning to convince current and former Oxbridge students to commit to mentor a disadvantaged student for an hour each week.

Within 24 hours of launching, over 100 Oxbridge students had signed up to be mentors. This number has grown since to over 200, and so far over 20 disadvantaged students have been connected to Oxbridge mentors.

Access Oxbridge hopes to connect 200 students to mentors by the end of October.

The scheme has received a positive reception among students from both universities targeted. Cambridge SU President, Evie Aspinall, said: “This sounds like a really great project.”

Laura Worman, a former Geography student who graduated from Oxford this year, is one of those who have signed up to be a mentor. She said: “This is such an incredible initiative. It’s great to finally be given the chance to connect directly with the disadvantaged students which Oxbridge has been previously failing to admit.

“As someone who went to a state comprehensive with little Oxbridge success, I’m really keen to break the stigma that Oxbridge isn’t for everyone and use my own experience to help disadvantage students realise their full potential.”

Which TV show has the best intro music?

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Abdul Wajid

Show: Unbreakable Kimmy Schmidt

Song: ‘Unbreakable’ – Jeff Richmond

“Unbreakable! They’re alive, dammit! It’s a miracle!” This is something that will be on loop in your head for days if not weeks, mostly as a result of binging all four seasons of Netflix’s Unbreakable Kimmy Schmidt. Much like the show itself, the intro mirrors and comments on viral trends, and is one big pop-culture reference. Very much a product of The Office, starring Ellie Kemper whilst written and created by Tina Fey; the show is jammed packed with jokes being delivered before you have even stopped laughing at the previous one. The pilot episode is no exception to this. We open with a news report depicting the titular character and 3 others being rescued from a bunker after being help captive for 15 years in an underground religious cult. This then morphs into the theme – a fucking Songify remix! Not just a social commentary but a hit in its own right, the song was created by Jeff Richmond with the help of viral hit legends the Gregory Brothers, responsible for ‘Bedroom Intruder’ and ‘Songify the News’. At the heart of the show, we have the theme positivity and taking-things-light-heartedly which is apparent from intro, as a report on a horrendous story is moulded into a hilarious and catchy song. If this hasn’t convinced you how great the intro is, take a listen for yourself.

Lydia Stephens

Show: Gilmore Girls

Song: ‘Where You Lead’ – Caroline King

In 2000, Carole King was asked to re-record a version of her song ‘Where You Lead’ for the TV show Gilmore Girls. The song, being a hit from 1971, could not have seemed more incongruous. Though today both the song and the show feel dated. At the time, they seemed made for each other. King’s initial version was one of several love songs from her album Tapestry. ‘Where You Lead’ had been vetoed in the late 70s by the Women’s Liberation Movement given that the lyrics celebrate a woman following – through love – her man’s lead. As a result, King often left the song out of her repertoire. However, three decades later with minor changes to the lyrics, the song was refigured to fit the mother-daughter theme of Gilmore Girls. This is the version most fans of the show will know, and the version King has since performed with her own daughter, Louise Goffin, who makes a cameo as the Town Troubadour in the show’s final follow up season. Despite her success in the 70’s, it’s as though King had to wait for this particular single to be appreciated by a completely different generation with its newer meaning.

Louis Beer

Show: Malcolm in the Middle

Song: ‘Boss of Me’ – They Might be Giants

Unbelievably, this song has a music video. And it’s not just the opening credits – with clips of old cartoons and footage of WWF wrestling – it’s three minutes long! If any theme was perfectly formed at 30 seconds, it was ‘Boss of Me’. Ten seconds of speak-singing, twenty seconds of yelling, and then the phrase ‘life is unfair’. The lyrics perfectly capture being angry at something vague – your family or your school or trigonometry; this whole opening emits a nostalgia for growing up in the early 2000s in middle America, even if you grew up a decade later in The Wirral (you haven’t heard of it). This is because it’s pure pop-punk cheese, reflected by the (again, wholly unnecessary) video in which the members of They Might be Giants are wearing suits and sunglasses and the camera moves far too much. At one point John Flansburgh is eaten by Bryan Cranston. It’s cliché to say something transports you to a simpler time, sure, but ‘Boss of Me’s’ brilliance is in its stupid simplicity.

Tommy Hurst

Show: BoJack Horseman

Song: ‘BoJack’s Theme’ – Patrick Carney, Ralph Carney

‘BoJack Horseman’ is a show that walks a thin line between childish humour and a complex portrayal of the protagonist’s mental state in its depiction of a has-been anthropomorphic horse living in LA, the show’s intro sequence being a perfect encapsulation of this with simple, yet powerful visuals perfectly accompanied by music from Patrick and Ralph Carney.

The intro opens with a jarring synth quasi-arpeggio and a shot panning around and up to BoJack’s solitary house in the hills. A drumbeat kicks in and BoJack rises from bed, the background moving as he remains still, his listless expression never failing; the world is revolving around a static BoJack, yet nothing penetrates his cold solitude. Surrounded by all the things representative of the celebrity that he so craves (parties, fans, paparazzi etc.), BoJack’s expression is still that of misery, this being complimented by a haunting call and response pattern on a distorted guitar as well as a soulful trombone and saxophone combination.mFollowing this climax, the track then closes with a solitary saxophone, powerfully symbolising the sadness and ineffectuality of BoJack’s life; in much the same way that his career moves towards what he wants while only providing him with transient happiness, the track builds and then ends in a sad manner. A shot of BoJack lying alone in his pool then closes a sequence that begins and ends with the horse-man on his own, aptly summarising his struggles with existence.

Isabella Welch

Show: Vikings

Song: ‘If I had a heart’ – Fever Ray

The haunting chant of Fever Ray’s ‘If I had a Heart’ playing over scenes of a wreck of a Viking longship has to be my favourite TV opening. The song features a heavy reverberating bass that still manages to sound calm, which matches the underwater scenes of still artefacts falling from the ship – an axe, plundered gold, the drowning bodies of protagonists shieldmaiden Lagertha and King Ragnar Lothbrok. It is a devastating scene, with glimpses of distant fires and corpses, but oddly tranquil. It suits the theme of the show, a rare portrayal of the Vikings which shows subtler geopolitics between Norse, Anglo-Saxon and French factions, where tension builds from episode to episode, instead of it being a mere slurry of violence. The Icelandic saga ‘The Tale of Ragnar Lodbrok’ is all history has to understand this period in time, and it places King Ragnar between man and myth. This opening – a watery destructive perpetuity situated impossibly between life and death – couldn’t do a better job of creating a mysterious, mythical but gritty atmosphere to set up the show.

Caleb-Daniel Oyekanmi

Show: Power

Song: ‘Big Rich Town’ – 50 Cent, Joe

This opening song simply slaps. It’s fantastic. Power itself is a show revolving around Ghost – a successful drug dealer and business owner, focusing on the troubles that he and his family go through owing to their circumstances, their past actions and their current flaws. The theme tune features beautiful vocal harmonies from artist and songwriter Joe, who serenades watchers with the lyrics “They say this is a big rich town, I just come from the poorest part”. 50 Cent brings a strong performance to the track, effectively summing up main character’s journey without ever having to directly mention it. But the song’s brilliance lies in the fact that it somehow manages to combine the image of a powerful and successful businessman while still touching upon his struggle, as well as the issues of racial inequality and a lack of social mobility in America. Your favourite TV show introduction could never. This is the clear and obvious choice for me, and I’m sure someday you’ll come to see the light too.

Life After A-Levels: Keeping up Languages

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You’ve whittled your three or four A-Level subjects down to one or two, or abandoned them completely in favour of something brand new. About to be thrown into an unfamiliar academic environment, it’s tempting to try to keep your old subjects as part of your studies. Languages in particular seem difficult to let go of, and for good reason. Knowing another language is useful, and if you’ve been through the British education system, unusual. A language needs constant attention whether you want to improve or maintain your level of understanding, and it’s possible, if a tad time-consuming, to do so.

For fairly casual language upkeep, watching films and TV shows in your target language is your best option. Whilst Netflix’s collection of foreign language media is sparse, the Walter Presents section of Channel 4’s on-demand service, All4, boasts eighty shows, including several in French, German, Portuguese and other European languages, plus a few in Hebrew. And if you would rather use films but don’t have access to Netflix, the Language Centre library has a good collection of DVDs available to borrow.

This is the least stressful way to keep up with a language, and there are several ways you can use TV and film. You can watch with or without English subtitles, switch to subtitles in your target language, transcribe the speech to practice your writing skills, pick up new vocabulary and practice using it in sentences.

If you want to brush up your reading skills but don’t feel ready to tackle a book, the Language Centre library also carries magazines and newspapers. Go at the right time, and you may be able to pick one or two up to take home. On top of this, newsagents in Oxford often offer German and French newspapers as well as English publications, and WHSmiths on Cornmarket has a good selection of foreign language magazines too.

Oxford’s Language Centre, located on Banbury Road, offers reading and speaking classes for twelve languages at different levels. These courses aren’t free, but if you prefer learning in a classroom environment may be a worthwhile investment. There are two kinds of course on offer: LASR courses, which are signed up for on a termly basis and are fairly casual, and OPAL courses, which run from Michaelmas to Trinity and are examined. LASR courses are cheaper, and can be joined mid-year, meaning you can assess your workload and timetable in Michaelmas and then sign up in Hilary if you feel you will have the time to attend classes.

Before signing up to a language course, bear in mind that a LASR course will probably mean a time commitment of at least one hour a week and the tutor may set homework. An OPAL course will have a greater time commitment and require more work outside of class. An hour a week doesn’t sound like much, but it can be overwhelming if you’re struggling to balance your regular workload too.

Apps are also worth looking into. Duolingo allows users to take a placement test in, so you can pick up where you left off and develop your language skills at your own pace. Memrise, which is great for learning vocabulary, may be something you have already used, and can continue with. Maintaining the words you have already learnt there might be repetitive, but such activities can be a welcome break from slaving away over an essay.

If the subject you want to keep studying in your own time isn’t a language, SOLO, the online library catalogue, is the best place to start. Many texts are now available online, so you can read them as quickly as your workload allows without worrying about due dates and fines. When your eyes refuse to read any more, the Internet will provide. Podcasts, YouTube crash courses, documentaries – whatever you want to learn, you can find. A particularly good springboard is the BBC’s In Our Time podcast, which covers an almost ridiculous diversity of topics. Host Melvyn Bragg discusses an often very specific topic with two or three specialists in the subject, whose work you could look into afterwards.

Whether you’re maintaining language skills or trying to continue studying another subject, it’s important to not overwhelm yourself. In Michaelmas, make settling in and managing your degree your priority – keeping up the subjects you studied at A-Level is a bonus. A few weeks in, studying something else in your free time might become a fun break from tutorial work. Or you might find that you don’t want to keep going with a subject: it might take up too much time this term, be less enjoyable outside the classroom environment, or it just might not interest you anymore. And that’s fine – something that’s causing unnecessary stress or boredom isn’t worth your time, especially not when you are surrounded by opportunities to try something new.

Iranian hackers steal sensitive Oxford research

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Iranian hackers have stolen millions of sensitive documents from both Oxbridge universities in a targeted move at many universities worldwide.

The hacked papers are then sold online through WhatsApp to customers in Iran for as little as £2, as part of a global campaign linked to Iran’s Revolutionary Guard, according to The Times.

The hackers, believed to be part of the Colbolt Dickens group operating out of Iran, have targeted 76 universities in 14 countries.

A spokesperson for Oxford University told Cherwell: “The University is aware of the claims, but we have confidence in the robust information security measures already in place.”

The hackers have been targeting unpublished research on sensitive topics including nuclear power, computer file encryption and cyber security, circumventing US sanctions on the sale of academic research to Iran.

The scam creates duplicates of each university’s login page, so students and academics hand over their account name and password believing they are logging in to the actual university website.

The discovery of the attacks by the IT company Secureworks comes just half a year after the US Department of Justice warned of Iranian hackers targeting universities.

A former MI5 and GCHQ officer, Dave Palmer, told The Telegraph: “Universities should be worrying about it.”

‘The Jungle’ Review — a somber celebration of solidarity, hope and resilience

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Leaving the theatre and walking straight into the first grey downpour of rain we had had in months never felt more fitting an atmosphere through which to hold back tears and fight the angry lump in the back of our throats that Joe Murphy and Joe Robertson’s The Jungle left us with.

The dimming of its lights transforms the playhouse theatre of London’s Embankment into the Afgan Cafe, once the heart of the refugee camp in Calais. Aided by the darkness, we are submerged into an atmosphere of chaos and distortion, emphasised by worried shouts and concerned voices in a multitude of languages.

This play starts at the end, the ruthless demolition of this powerless, yet strong community of people by bulldozers controlled by those so distanced that they think they are doing good. It then goes on to follow the journey of the camps formation, and subsequent demolition, whilst weaving in a few powerful stories of the individual refugees.

Murphy and Robertson persistently emphasise the fact that this camp is right on our doorstep, be this through the use of screens, the repetition of just how short a distance thirty miles is, or through the closeness of the Afgan Cafe and the White Cliffs of Dover. Here, the powerful set is worth paying some attention to. The stalls of the playhouse theatre have all been taken out, and replaced with a scattering of different style tables. The audience could either sit in the ‘Afgan Cafe’, submerged in the drama, sitting next to the actors and being served food, or up in the dress circle, which was renamed ‘The White Cliffs of Dover’.

The set also includes television screens scattered around the theatre, showing the audience real news reporting and images that they may remember seeing in the media. Towards the start of the play the images of Alan Kurdî‎, the three year old Syrian child who was found washed up on a Turkish beach after trying to reach Kos, were shown on these screens. The familiarity of these images, and their showing right at the start of the play, set the emotional tone.

Another powerful moment, that was made even more distinct by the use of the screens, was the reporting of the tragic day in November 2015, the day that terrorists killed 130 people in Paris, and the day that the refugee camp in Calais experienced a massive blaze. The televisions showed real reporting that claimed the two incidents were linked, thus sparking anger within the audience. However, Murphy and Richardson show the solidarity, hope and resilience, holding pray for Paris signs and exclaiming their outrage at the brutal murder of the 130 people, rather than focusing on the distorted and fake headlines.

Inevitably, we all rose to our seats as the play ended, yet this standing ovation was not married with a theatre of smiles and excitement; instead each hard and fierce clap had an angry, crying, or helpless face behind it. The wave of people leaving their seats was not just in appreciation of the play and actors, like it typically is, it was in solidarity. Solidarity with the optimistic yet silently broken refugees, solidarity with the frustrated volunteers, but most of all with each other, the feeling of uselessness, guilt and anger inescapable, compelling the audience to stand with one another. This play makes you feel like somebody has shaken you, simultaneously removing a self-inflicted veil from your eyes — it is not to be missed.

The Summer Movie Season: A Retrospective

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The summer is over, and with it the ‘summer movie season’ has come to an end. From eagerly anticipated sequels, a horror movie dubbed ‘the scariest ever’ and a promising selection of comedies and dramas, there was a lot of potential for a fantastic season of movies, but how did it shape up?

Numerous sequels dominated the box office this summer, but perhaps the most highly anticipated summer sequel was Mamma Mia: Here We Go Again. Despite some apprehension about this release (“Haven’t they used up all the good songs?!”), the movie achieved the fourth biggest opening of the year in the UK, and has received positive reviews from critics and cinemagoers alike. It could have been a massive flop, but its upbeat atmosphere, charming lead performance from Lily James, and feel-good tunes have made it a surprisingly good standalone piece of cinema rather than just a movie to placate die-hard fans of the original.

Pixar’s Incredibles 2 also performed very well at the box office, with adults and children flocking to view the long-awaited sequel. Released 14 years after the first, Incredibles 2 managed to retain the excitement, joy and humour of the original whilst bringing a new exciting story to the screen. Children were delighted and adults who adored the first showered it with praise. And Bao, a short film about a protective Chinese mother and her son which played before each screening, was an added quirky bonus for audiences. 

Avengers: Infinity War and Jurassic World: Fallen Kingdom were the big action sequels of the summer. Infinity War took in $640.5 million on its worldwide opening weekend, the biggest of all time, and has gone on to become the fourth highest grossing film of all time and the top grosser of 2018. It might not be my type of movie, but I can admire its sheer ambition, and it’s clear that critics and audiences responded well to it. Fallen Kingdom, the fifth entry in the Jurassic Park series, also raked in impressive amounts of money, grossing over $1.3 billion worldwide, despite the slightly disappointed response from many regular cinemagoers and committed Jurassic fans.

The Meg and Hereditary were the two big horror releases of the summer, but their similarities end there. The Meg is a horror comedy, starring a ginormous shark and Jason Statham. The foolproof combination of Statham’s charisma and a ridiculously large CGI shark makes for great, if slightly ironic, viewing.

On to what I would personally consider one of the best movies of the year, never mind just the summer. Hereditary, directed by Ari Aster, was not only the scariest film of the summer, but produced some of the finest performances of the year. Toni Collette and Alex Wolff were outstanding and turned what was already an excellent piece of cinema into one of the most acclaimed horror movies of the 21st century. No matter your expectations, Hereditary will not disappoint.

Two major dramas released this summer were Adrift, a movie inspired by a real life story of a couple sailing to Hawaii who run into a hurricane, and The Children Act, an adaptation of Ian McEwan’s 2014 novel, and each film squandered their enormous potential. Despite an able and nuanced performance from Woodley at the centre, Adrift was unfortunately neither as riveting nor as moving as I’d hoped. As for The Children Act, Emma Thompson the best thing about the film, but McEwan’s writing does not translate well to screen. Despite a very respectable cast that includes Stanley Tucci and Fionn Whitehead alongside Thompson, it failed to be the dramatic masterpiece it wanted to be. Lacking in pace, clarity and plausibility, The Children Act was possibly the most disappointing film of the summer.

On a lighter note, let’s turn our thoughts to this summer’s most popular comedy. The Festival, directed by The Inbetweeners’ Iain Morris and starring Joe Thomas, was a hit with critics and viewers alike. There’s a reason why The Inbetweeners was so successful, and Morris uses the same crude boyish humour to great effect here. Full of cringe moments and hilariously specific gags involving festival fun, it was certainly a huge hit for the teenage audience, Inbetweeners fans or not.

How to: Lecture Note-taking

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You’re sitting in a cavernous lecture theatre, laptop open in front of you and hands poised above the keys, ready to type. What did the lecturer just say? Shaking your head you stare back over your notes — a second ago they seemed to be talking about something completely different! Maybe you shouldn’t have checked your messages after all. Tuning back into their monologue, you type down everything verbatim, fingers flying 100 miles per hour to catch each syllable. After all, how else will you remember so much information?

Lectures can seem very different to A-level classes when you first arrive at university, and it’s normal to take a couple of weeks to adjust to the change. Everybody has a different way of taking notes, and that’s fine: it’s important that you avoid the situation described above, and find the way that works best for you. To make the first few weeks that bit easier, I’ve compiled a few top tips for taking notes so that those initial lectures are as useful as possible.

Laptops

Most people tend to take notes on their laptops because typing is generally faster than writing. If you’re keen to use your laptop in lectures, then firstly close all of your other tabs. It’s easy to flick onto Facebook for a second and the next thing you know you’re in a full group-chat debrief about what you were doing last night! So close off Messenger, resist the temptation to scroll through Facebook, and actually pay attention to what’s going on. Trust me, I’ve been there.

Once you’re concentrating on the lecture, try not to take down every word that your lecturer says, as you can often end up falling behind. Take concise notes in bullet points rather than paragraphs, and paraphrase where necessary. It’s easier to go back over notes after lectures and flesh sentences out than try to take it all down and accidentally miss the important parts.

If you are typing notes, then it’s always useful to share notes with friends. Unlike at A-level, you’re not competing for the best grades (there are no set percentages of students who will get an A*, but the top grades go to anybody who the university thinks deserves them). Different people will naturally note down different parts of a lecture, so establishing a google drive or emailing notes to people in your subject can help you all out.

Writing

Plenty of people also write notes by hand. If this is our preferred method then buy a refill pad and take your notes here rather than in a notebook — lectures can get moved around, notes can look messy, and it’s often easier to organise a folder than a notebook of jumbled pages. If you’re keen on your notebooks, however, then try to keep a different notebook for each section of the course: that way you won’t get confused.

As with typing your notes, don’t try to take down every word. Pick and choose carefully, and only write down the important parts. This can make your job a lot easier. Alternatively, notes scribbled in lectures can often be pretty scruffy. When I write notes I often rush to write everything down and then type or write them up in neater versions after. This can save the problem of attempting to decipher your own handwriting months later when it comes to exams. The sooner you write your notes up in neat, the better — this way they are fresh in your mind when you do so.

Using lecture slides

Some subjects make the lecture slides available to download in the 24 hours before the lecture begins. This can really useful for note taking because it means that the important parts have already been written down for you. Students who like typing notes often download the slides before the lecture and add anything extra to the comments section under each slide. Others take separate notes on a split screen and use the powerpoint as useful revision aids.

For those of you who like hand-writing notes, it can also be useful to print off the lecture slides and add any extra pieces of information to those by hand. That way it gives you more time to listen to what the lecturer is saying, rather than rushing to take it all down and not concentrating on the content as much. This allows you to get a better understanding of the lecture material because you’re concentrating much harder.

If writing lecture notes seems strange at first, don’t worry about it. Try a few different methods, from typing or writing to printing out the slides, and see what works the best. After a while, taking notes seems like second nature. Just make sure to stay organised and clearly label folders (online or in the flesh) so that none of your notes go missing.