Monday 13th October 2025
Blog Page 717

Freedom of speech is bigger than any Boris jibe

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As the press shifts to the next summer scandal, let’s take a look back to that Boris Johnson article. Amidst the fury, it seems to me there were several distinct strands of criticism lodged here, each ultimately less and less coherent.

There is first the protest in his own constituency, where defiant crowds gathered around placards that read, among other things, “my dress my choice”. The message is of course to be promoted, you might think, except of course it is the very thing that the offending article argued for. Those who took the time to read the piece before getting angry about it would have known that Boris’ position was precisely that the law should not interfere with choice of dress. In this, he notably deviates from the position of many, nominally “liberal” countries in Europe, where the burka is in fact banned. Some picketers’ error was to have staged their stunt in Uxbridge rather than, say, any city in Belgium.

Next came cheap shots of a party-political flavour, exemplified by the likes of John McDonnell, according to whom Johnson’s remarks reveal “how endemic intolerance is within the Tory party”. Again, we seem to forget that Johnson’s larger point was that we must, unlike France and Denmark, tolerate the wearing of burkas, regardless of personal feeling. But never mind what he actually said! This was all in a week that saw Labour’s leader tie himself in knots trying to explain why he flew halfway across the world to apparently lay wreaths on the graves of terrorists. Is the Shadow Chancellor just doing his bit to distract us from the real story — nothing to see here, but did you hear about this jibe a Tory backbencher made in his Sunday column?

But this is all beside the point, I hear you disputing, since the issue here is not Johnson’s actual message, but his tone, one which explicitly mocked Muslim women. It’s this, critics exclaim, which has rightly landed Boris, an influential public figure, in the trouble he finds himself. “[P]eople are objecting”, we are told, “not to Johnson’s views on the veil but his decision to mock the women who wear them”. This view is echoed by many others, who argue that “as much as anything, [the whole debate] is about respect for Muslim religious beliefs and practices”.

For a start, how exactly did this priesthood come to be elected, which apparently has within its remit the quite amazing power to decide for us which jokes we are permitted to tell? The very essence of comedy is often to subvert and mock, and who says they decide when this goes too far?

More seriously, a certain double standard seems often to be in play when such firestorms erupt, as they periodically do. For some time now, we have grown accustomed in this country to backlashes of the sort we have seen here whenever traditional beliefs and practices are mocked. Be it the release of The Life of Brian or the publication of The Satanic Verses, satirical works of various levels of seriousness have been denounced, censored, and in some cases we have seen those involved in their production threatened. The interesting thing about this kind of reactions is that they seem predominately to come in one direction.

What I have in mind is the asymmetry between the respect bestowed by default upon long standing (and typically) religious beliefs and practices on the one hand, and to less traditional ways of life on the other. Socially conservative, religious types regularly and publicly denounce “libertine hedonists”, who do not exactly regard godless rakes of the Boris variety to be their equals.

There is no doubt that for those who have dedicated their lives to such values as modesty and religious devotion, other lives shaped around a guiltless pursuit of power, sensual pleasure, and material comfort can seem empty, unaccountably narcissistic, and altogether wicked. It’s only fair that the people they regard as miserable sinners should be free to return the favour.

“It is impossible to live in peace with those one believes to be damned”, or so Rousseau would tell us. The liberal project, if we can call it that, is perhaps the modern West’s attempt to defy that statement. There is, of course, an element of truth in what Rousseau had said. As we have seen in recent weeks, the fiery tensions generated by a society in which we live side by side with others, whose idea of a ‘good’ life can be so different, can sometimes boil over.

A mutual incomprehension of this kind takes on many forms: we may exchange barbs, tell jokes at the expense of rival attitudes and approaches, or write up philosophical treatises to persuade the benighted of the truth. All of this is indicative of a robust, healthy, and open-minded society, where people are free to say what they think, and put forward their version of how life ought to be lived. Sensible limits should of course be in place to govern how we go about engaging these differences, but nothing in the Boris fiasco suggest that the line should not be drawn where it has always been drawn.

Short of libel and incitements to violence, the domain of speech should always be off-limits to top-down oversight.

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The Meg – mega-ridiculous, mega-fun

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It may seem the best of summer is behind us: the World Cup paraphernalia has evaporated from shops and Love Island couples are already announcing their breakups.

Yet, it seems the latest offering from “WTF-movie” icon Jason Statham, The Meg, promised a ludicrous tail end treat for the drowsy sprawl of summer. The hilarious trailers promised us the ultimate big-budget Man vs Giant Prehistoric Shark movie, but has the Stath delivered the goods?

The opening scene plunges into the melodrama of Statham’s Jonas Taylor, a rescue diver in the throes of an underwater crisis. Statham utters laughable clichés such as “There’s something out there” and “We got this!”, while seemingly itching to break the fourth wall and wink into the depths of the camera.

From here, the film then doggy-paddles through the first act as a misfit ensemble of unremarkable characters and their synthetic dramas is introduced, while the audience becomes impatient for the Meg to swim onscreen and shed some blood. Statham growls his dialogue and engages in a flirtation with researcher Suyin (Li Bingbing), that is apparently conducted in a hermetically concealed chamber maintaining the vacuum of chemistry between the two. There are more sparks between Statham and the shark than between Taylor and his love interest.

Emulating the ancestral titan Jaws in its reluctance to reveal the carnivore, The Meg fails to sustain the icy terror Spielberg struck because the gargantuan Meg just isn’t particularly scary. In fact, it becomes less threatening with each glimpse we get of its fluctuating dimensions. 

As ever, it is man’s hubris that precipitates the catastrophic consequences. The Meg follows a submarine to the swanky research facility in the South China Sea, escaping its icy subterranean realm and miraculously avoiding the bends, only to emerge at sea level eager to wreak carnage on our heroes. This prehistoric predator first materialises from the murky depths in a shot of looming intensity reminiscent of Bruce’s entrance in Finding Nemo. 

At first it seems Statham intends on defeating the Meg by whipping off his shirt and tensing his abs.However, the film unfolds into a series of comically brainless plot points and set pieces, including Statham taking on the Meg solo, armed with nothing but a harpoon gun and his muscle definition. There’s never a moment where Statham’s heroic credentials are remotely in doubt; at on point, he performs mouth-to-mouth on Suyin while the actor playing the qualified doctor sits impotent at his side, having done chest compressions, leaving the heavy duty lifesaving part to Jason and his flexing pecs.

The film is an American-Chinese co-production with clear concessions made to appease both audiences, from lashings of CGI-shark mayhem to the clear advert for Chinese beach tourism that caps off the third act. Having watched the film in Shanghai, I was given a glimpse into the Chinese reception of this Hollywood/Chollywood fusion and, given the fact one woman starting giggling while watching videos on her phone a few rows over, I am not sure the high-octane sequences had the desired effect.

However, the cinema was packed with punters so perhaps such joint U.S. and Chinese productions could become a mainstay of blockbuster output if they continue to draw the crowds and the cash.

At times The Meg threatens to veer into the absurd; it takes a sheer effort of will not to collapse into giggles when Statham first rasps the word ‘megalodon’. Yet, in amongst Statham’s growled lines of haggard dialogue is a teasing possibility that he, and perhaps the film as a whole, holds his tongue firmly in cheek. Perhaps director Jon Turteltaub and Statham are in on the joke, as the film is at its most entertaining when it not only embraces, but revels in, the unrestrained impulse of silliness.

Privilege comes in many shapes and sizes

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At Oxford, it is very normal to consciously recognise the privileges that we enjoy, be that white privilege, male privilege, straight privilege, class privilege, or education privilege.

Yet a newly acknowledged, if controversial, type of privilege that has been trending on social media seems harder to accept for some people. The privilege I am talking about is thin privilege. Thin privilege, which was brought to our attention through a series of tweets by Cora Harrington, has sparked many a debate on Twitter.

Thin privilege, as Cora explains, includes the ways in which a slim person may easily be able to purchase clothing, fit into a seat on public transport, and publicly eat excessive amounts without judgement. She labels it as a ‘privilege’ as it is something that thinner people have a duty to recognise, in order that we may progress away from a situation of unconscious bias that pervades society.

The immediate backlash that followed included repeated statements explaining how thin privilege is just another part of everyday life that overly PC, touchy millennial snowflakes are calling out. Yet it is much deeper than this, thin privilege does not just affect the availability of clothes in a shop, it can also have an impact on the level of medical care you receive and the way doctors treat you, as a consequence of how they perceive you.

The bias towards those who are thinner has carefully been constructed, and repeatedly reinforced by Western society through the media. Skinny people will be pasted across Vogue and Grazia, they haunt you in shop windows, they sell you haircuts, makeup, and even a lifestyle. This feeds into everyday life here at Oxford.

The purchasing of stash carries with it a clear nod towards the concept of thin privilege. For slim people buying stash is easy, male sizes range from small to 2XL, female sizes range from XS to XL. What happens when you need a larger size? The thin privilege in this situation is that there will (nearly) always be a size that fits a thin person, yes it may be a little big, but you don’t need to miss out on stash just because it doesn’t fit perfectly.

On the contrary, if these sizes are too small someone may be forced to go without stash, impacting their involvement in a particular sport, and ability to feel a part of that team. It is even worse in high street stores. Topshop sizes stop at a size 18 and Topman at XXL. Easily being able to buy a last-minute outfit in Westgate, for a formal, carries with it an air of thin privilege. Even if you have time to order something from ASOS, most of the models wearing the clothes are a tall size 8, and the majority are white, so it may be hard to visualise what the clothes will look like on all body shapes and skin tones.

Thin privilege is being able to purchase a large plate of food, along with two desserts in hall, asking for an extra-large portion in the JCR cafe, and making several hungover trips a day down Cornmarket to Mcdonalds, with nobody batting an eyelid. Yet, if you are a few dress sizes bigger you receive the looks and sniggers.

Many people justify their sniggers and remarks by explaining how the person ‘deserves’ it as they need to lose weight to be ‘healthy’. This is not only unjustified and clearly untrue, but it also points to why there is a refusal to accept thin privilege.

Most will remember the famous ad that erupted all over London, a skinny woman in a yellow bikini entitled ‘are you beach body ready’. Things like this distort the perception of health. Being healthy is not being a size 8, being healthy is having a balanced diet and taking part in exercise. Bar extreme cases such as obesity it has very little to do with if you are a size 6 or a size 16.

Thin people do need to address their thin privilege. Yes, weight can impact the ability to be comfortable on a plane, this is significant, but something that needs to be more urgently addressed is that weight can impact the quality of medical care that a person receives. Upon tweeting about thin privilege, Cora Harrington received an influx of replies. Many of these included stories of unfair bias when visiting a doctor, with some being called lazy, and others being told their condition was merely due to weight gain.

Yes, clothing is hard to find if you do not have a ‘typical’ body shape, which most of us do not. Yes, there are other privileges that are extremely important to recognise. Yes, weight can sometimes impact health. And yes, thinner people may also experience negative bias; this does not mean we do not have a duty to at least recognise our thin privilege. There are very crucial struggles to fight, but we do not have to disregard other types of prejudice.

In the midst of Netflix releasing its thin championing, body shaming, and widely criticised series ‘Insatiable’, it is even more crucial to tackle and therefore address thin privilege. By doing this thin people are not making themselves martyrs, they are helping to change society, in order to make life better for people of all body shapes.

It’s time to redress the balance of John McCain’s legacy

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Tributes have poured in this week from all sides of the political divide to celebrate the life of John McCain, whose funeral was this weekend. The Washington Post’s editorial declared that “all over the world, Mr McCain is associated with freedom and democracy”; “he championed human rights with verve and timelessness – speaking out against repression and authoritarianism’.

His support for gun control, his liberal stance on immigration, and his opposition to the use of torture in Guantánamo Bay, as well as his time spent as a Prisoner of War in Vietnam has led journalists, even in the UK, to hail him as a “warrior politician”.  But this doesn’t tell the full story. Some of his actions – the effects of which are still felt around the world today – are not being mentioned. The well wishes circulating in the press fail to hold Senator McCain to account for what is an appalling political record. It is not insensitive to now attempt a little rebalancing.

Throughout his political career, McCain was an ardent supporter of possibly every American intervention, war, and militaristic use of force in its arsenal of foreign policy. Whilst praised for ‘championing human rights’, his opposition to the use of torture was not so much due to humanitarian sympathies, but because he said it did not “work”. Instead, it was only harmful to America’s legitimacy and global image.

Following his release from time spent as a Prisoner of War in Vietnam, now Senator McCain supported Reagan’s 1983 invasion of Grenada; Reagan’s efforts with the Central American fascists; Bush’s 1989 invasion of Panama; Clinton’s military threats in Bosnia; the 1999 bombing of Serbia; the 2001 invasion of Afghanistan; the belief that Saddam Hussein possessed “weapons of mass destruction”; advocated military action against North Korea in 2003, and subsequently, intervention in Libya and Syria. The day before he died, 22 Yemeni children were killed in yet another war supported by McCain, a tragedy which has failed to rouse anywhere near the same outpouring of grief in the media.

McCain’s legacy, for now, is shaped by today’s political climate. Fear and mass hysteria surrounding the election and presidency of Donald Trump allowed McCain to win the hearts of Democrats and Republicans alike through his recent criticism of the President. The overblown panic surrounding Trump’s administration has led to a short term memory loss; that people have said they’d prefer to have President Bush back in office is testament to how far we’ve lost our way. It is right that we should now attempt to remember McCain more realistically.

We should always remember McCain’s less commendable actions.  Restoring a more well-rounded view of some of the darker aspects of American history will alleviate some of the terror we feel today. Today’s politics are not the radical disjuncture from America’s past we’ve been led to believe. Don’t pine for a past that did not exist; don’t pine for a man who was not the hero we make him out to be. America has caused a lot of unnecessary destruction in the world, and McCain has advocated almost every intervention which has led to it.

Remember him as an American hero if you want to, but first ask yourself what that really means. He helped create the desert they call peace.

Actor Profile: Scarlett Johansson

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Scarlett Johansson is a household name and a star of the silver screen, and now she has become the highest paid actress in Hollywood – possibly earning $25million from Marvel’s upcoming movie Black Widow.

But every huge success starts out small, and in her case, really small – only nine years old to be precise, in the film North alongside a similarly baby-faced Elijah Wood. Johansson then continued to play supporting roles in a number of indie films before catching her first starring role at fourteen: The Horse Whisperer. Directed by and starring Robert Redford, the film had a remarkably small cast where Scarlett was the only child, but she managed to stand out in scenes that were compelling and often tear-jerking. This film and others like Manny and Lo and An American Rhapsody cemented her place as a well-known name in the world of art house films from a young age. Johansson turned eighteen in 2002 and went from starlet to star; a title she secured over the next year in which she starred in both Lost in Translation and Girl with a Pearl Earring.

In Sofia Copola’s hit film, Lost in Translation, Johansson played the character of Charlotte; a despondent newlywed accompanying her husband in Tokyo. In her serendipitous meeting with ageing actor Bob Harris, played by Bill Murray, she finds a kindred spirit. Both characters feel both out of place and out of sorts; Charlotte matches his mid-life crisis ennui with a powerful quarter-life crisis of her own. The two actors created a chemistry that gives the unconventional friendship life, despite the struggles Johansson faced in playing a character 6 years her senior and acting across from such a huge star.

The success of this film segued into the success of Girl with a Pearl Earring, where Johansson again portrays a friendship with a world weary, middle aged man- this time Colin Firth. The film speculates about the model behind Vermeer’s famous painting, exploring the relationship between the muse and the artist. It’s a film of long looks and lingering camera work and Johnsson and Firth deftly handle the rampant tension. Neither of these characters are revolutionary, often appearing just to fit the out of date Hollywood typecast damsel who needs a man to save them, but the subtlety of Johansson’s acting in these big roles put her on the top of many casting wish lists.

From 2003 onwards she was in high demand, starring in four films in 2004, befriending Woody Allen and starring in three of his films, and moving between rom-coms, period pieces and sci-fi. Her first big budget action adventure was The Island in 2005, but the film was not the success cast and crew had hoped for. The film cost over $120million to make, probably something to do with Michael Bay’s love of huge stunts and effects, but ultimately the biggest explosion came from the film itself, a box office bomb. Some blamed the performances of Johansson and co-star Ewan McGregor, who played sheltered clones educated only up to the level of a 15-year-old, but others have pointed toward bad publicity. Since both actors had a wealth of other successes built up, the film didn’t hinder them from starring in similar action films in the future. Films like Under the Skin, Her, Lucy and Ghost in the Shell all see Johansson again playing unusual science fiction characters, whether they’re aliens, robots or disembodied voices. They all explore the ethics of the existence of these beings, to varying degrees of success.

However, since 2010 her most successful action roles have been in the comic book world, playing the part of Black Widow, a master assassin turned spy. She first appeared in the franchise in Iron Man 2, where her role as babysitter was not groundbreaking, and the film in general was one of her least successful. Since then however, she has starred in Avengers Assemble, Captain America: Winter Soldier, Avengers: Age of Ultron, Captain America: Civil War, and Avengers: Infinity War. A more complex character has been revealed throughout these films despite the fact she has always played a supporting role. The story of a smoldering, sexy women with a tortured past and equipped with an impressive set of stunts ticks all the right box office boxes, so the character has been weaved into many plots. Johansson has been given opportunities here and there to lend the character her acting skills in scenes of vulnerability, but fans have been clamoring to see her in the heroic driving seat.

At least, this appears to be happening, as Marvel has finally decided that female heroes are in demand. With the new Black Widow movie on the way in a few years’ time, it will be exciting to see what Johansson can bring from her years of experience of playing layered characters to this and other future performances.

Egon Schiele and Francesca Woodman Tate Review- ‘a triumph of comparison’

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‘Now she has gone. Now I encounter her body’,

Egon Schiele ‘The Portrait of the Pale, Still Girl’ 1910

Schiele’s lament for a physical absence and the remaining artistic encounter resonates in both his own body of work – his capturing of momentary expressions, the fleeting rapture which seizes the individual – and that of his exhibited counterpart Francesca Woodman, a photographer separated from him by time and medium. In her photography, Woodman uses the blurring effect of long-exposure to conjure shadow-like apparitions into the frame, so the figure is simultaneously appearing and disappearing, caught between two states: transmutation and absence, remaining in the frame itself. Both artists capture the momentary nature of expression, while simultaneously alluding to the inescapable nature of movement – that it is transitory, and the artist’s immortalising seeks to capture that which is impermanent.

The exhibition illustrates the Tate’s unparalleled knowledge of artistic marriage – the similarities which can be drawn across artistic movements and mediums, resulting in a triumph of comparison between two seminal creative figures. A prevailing similarity between the two is their depiction of isolated figures; Schiele’s pencil details the characteristics of individual flesh which startles against their surrounding void of empty background, while Woodman’s camera illustrates the individual’s isolation from human society in their ability to merge with their natural surroundings, their edges fading into the lines in tree bark but ultimately remaining isolated as the human form in amongst nature.

Schiele often saw his sitters as isolated beings in the throes of torture, haunted by some nameless mental anguish. Their troubled expressions washing over their form of bruised skin and skeletal limbs illustrates both Schiele’s mental state and his perception of the human condition. For Woodman, her figures are likewise tormented; yet theirs is a far more recognisable, physically translated suffering – in ‘Horizontale, Providence’, cello-tape loops maddeningly upwards until binding both her legs. In ‘Untitled, Boulder, Colorado’, washing pegs tightly clamp her breasts and stomach. They appear as physical translations of a stronger, socially-ingrained anguish of female self-perception and body image. Her figures are striking in their isolation – they demand your attention while simultaneously resenting it, cowering away from it. Their underlying fragility resonates through their unclarified movements; questioning our awareness of whether they are running away or beckoning us nearer.

Why do we have such an obsession with Schiele? He resides as one of the most controversial but nevertheless important artists of the Expressionist period. He confronts us with the sexualised form, the extremes of the flesh, the constant potentiality of erotica. Yet, he disturbs us with his honesty; we are all his figures, his paintings are born from an understanding of the truth held by the human body. His obsession with the life-summoning veins and underlying skeletons of the hands take centre-stage in multiple paintings, exaggerated yet remaining firmly rooted in the potentiality of the human flesh.

Schiele’s obsession with the earthly experience of sexual pleasure, starvation and adolescence stand in juxtaposition to Woodman’s understanding of the human potentiality to cross over into the realm of the empyrean. Her ‘Angel Series’, the product of a year spent abroad in Rome from 1977 to 1978 and the presence of the angel figure in surrounding churches and museums, seem to take the human form further than both her previous work and Schiele’s focus on erotic experience. Her captured forms appear ‘shadow-like as if in the process of disappearing’ – she takes the human body, forms every thread of mortality, then begins to fray them away. Negatively bleaching them out. The result – wistful apparitions you beg to stay in the frame, but you remain still, an onlooker to their ceremony of disappearance.

Standing, looking into her photographs, the viewer is taken into a feminised realm of sharp-edged shadows, manipulative mirrors, natural canvases and male absence. Its film-noir, the darkness exploiting the light, Woodman teasing the tension between two states to express her own meanings. Her figures cast their shadows but bathe in light, never belonging to one or the other. She photographs women in ruins; walls crumbling, leaves drying out, paper peeling. Her figures, with their propensity for life and unrelenting desire to escape our world, are present both in the decomposition of the ruins and their enduring beauty.

Movement, while present in the physical compositions of Schiele and the blurring exposures of Woodman, is not merely physical. Movement is emotional; the struggle between states, be it pain and pleasure, hatred and love, natural and human. They capture the struggle of disappearance from one state and the emergence into another. They confront us with the extremes of the human experience; theirs is an artistic unity born from an understanding of being human, living and escaping through transient moments as a human being.

‘Life in Motion: Egon Schiele/ Francesca Woodman’ is on display at the Tate, Liverpool, until the 23rd September 2018./

University Challenge introduces “gender neutral” questions to encourage more female contestants

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University Challenge has announced that it hopes to encourage more women to compete on the show by introducing “gender neutral” questions.

The move comes after complaints from the public about the lack of questions about women.

Executive producer Peter Gwyn said: “When a viewer wrote in to point out that a recent edition of the programme had contained few questions on women, we agreed and decided to rectify it.

We try to ensure that when hearing a question, we don’t have any sense of whether it was written by a man or a woman, just as questions should never sound as if they are directed more at men than women.”

He said that while the programme “will always do everything” to encourage more women to participate, “ultimately […] the makeup of each team is decided by the university it represents.”

In 2017, the Telegraph reported that even though women in the UK are 35% more likely than men to go to university, 95% of finalists over the past five years have been men.

While the show itself has been criticised for the bias of its questions, several female previous participants have cited online abuse as the biggest barrier to women wanting to compete.

Rose McKeown, who was on the winning team of St John’s, Cambridge, spoke out against the “hostility that some female contestants are subjected to on social media” but said there was also “an issue with women underestimating themselves and being hesitant to try out for the show.”

New Statesman’s Anna Leszkiewicz told this week’s Radio Times: “Female contestants have repeatedly experienced abuse and objectification after their appearances, from Gail Trimble in 2009 to Katharine Perry in the current series, with a host of others in between.

“It’s easy to dismiss these cyclical sexism rows as manufactured outrage, but University Challenge is a British institution that reaches millions of people each week.”

Meanwhile, Professor Mary Beard told the Guardian: “Much as I love University Challenge, and ready as I am to sniff out sexism… I do sometimes wonder if women think they have better uses for their intelligence than quiz shows.”

There have also been efforts within colleges to improve female representation on the show, with Wadham setting up trials exclusively for women to ensure at least one woman was selected.

After a few weeks however, the college’s student committee decided to scrap the policy for fear that choosing a weaker female candidate over a stronger male one would appear “tokenistic”.

Iron Maiden: 35 Years On

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I grew up next to a primary school, and the only way I could concentrate on my studies alongside screaming children was to play louder, more furious screams. Iron Maiden appealed to the English and History nerd in me — their songs cover everything from Edgar Allan Poe to Coleridge, dueling to Soviet Russia to Alexander the Great. Because who needs yet another love song?

Last week I saw Iron Maiden live, and I cannot overstate how much campier, geekier and showier it was than I could have possibly imagined. I thought Spinal Tap was a parody. But soon after we took our literal back row seats in the O2, lead singer Bruce Dickinson was wearing a flamethrower backpack (donned double strap), and prancing about the stage blasting fire from his hands. During almost every song, the props changed. A paper mâché spitfire was dangled from the rafters, Dickinson took up a sword and knighted the guitarists, monastic robes were donned, devil horns were worn. The 80s were kept alive on this stage to an impossible degree. I’ve seen other campy bands that invoke 80s metal/rock tropes – Disturbed, Avenged Sevenfold, The Darkness – but they have all succumbed to modern CGI shows and use their massive budgets to create an intimidating stage presence. Iron Maiden have pumped millions into creating backgrounds that look straight out of He-Man and the Masters of the Universe. 

As they are approaching their seventies, it was both endearing and comical to watch Steve Harris and Dave Murray do little else while playing their guitars besides hopping up and down on the spot.

Iron Maiden is one of those bands that have not faded in the slightest and give the impression they’re headed ever onward towards their platonic form. They do not consistently have big fall-outs and splits. They are a bunch of private school boys who are still quite healthy and alive, yet do not give off the impression that there was much sex and drugs along with their rock and roll. They politely mount the stage, prance, and frolic about with images of Hell, the trenches, an evil cathedral, and Siberia in the background, make a joke about needing viagra, and then safely depart. The quality of their work is consistent — their newest album is, if anything, more ambitious than those which have come before. I didn’t know how much I needed an 18-minute long song about the crash of the Hindenburg until I got one. But even if they are more ambitiously themselves, Iron Maiden have not changed, reformed or significantly improved in any way, because they didn’t need to. 

After the beast had been sufficiently enumerated, and my school friend and I had joined in the chorus of grizzled old men chanting ‘666!’, Iron Maiden calmly left the stage. The mosh pit that had just about got going turned into a massive can-can. Yes, a can-can pit of jaunty leg-flicking.

Iron Maiden have never tried to be fully cool, or do anything other than to appeal to a niche group of Dungeons and Dragons players and like-minded nerds, and this is why I think they’re just the right band to see after they’ve aged. Some bands will lose the glamour of their youth, especially those who do not put out new content, and seeing them live will ruin the illusion. Iron Maiden is like an unwashed teapot or an unscoured pan (I hesitate in calling them a ‘fine vintage’), the crusty residue that has accumulated over the years only gives them a better flavour, and it’s hard for them still not to win your heart.

Rugby League: Saints and Dragons victorious so far, though questions over League’s future structure

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Super League Leaders St. Helens were 10 points clear of their local rivals Wigan Warriors at the top of the table, as the 23 regular-season fixtures drew to a close at the end of July.

This didn’t stop Huddersfield Giants snatching a win over them two weeks ago though in the first round of the Super 8s matches, in which the three tiers of rugby league are further divided into groups of eight after the regular season of home and away matches are completed.

Although they took home the League Leaders’ Shield, the Super League Champion will then have to battle through the semi-final play-offs before winning the Grand Final at Old Trafford on the 13th October. With so much at stake in the last five matches of the season, there will certainly be a fight for the top spots, and while a twenty point win over Wakefield Trinity last week would have given them some confidence, the Saints are far from being crowned champions yet.

It was the Catalan Dragons that had the last laugh in the Challenge Cup though, with the chants of ‘Les Marseillaise” being heard across Wembley into the early hours of Sunday morning, as they sealed victory over Warrington 20-14.

In the Championship, new arrivals Toronto Wolfpack have stormed to eight points clear at the top of the table, though are lagging in third behind the Salford Red Devils and Leeds Rhinos in the Super 8 qualifiers, which began on the 9th August.

In this lower tier, the four top teams from the Championship met the four bottom teams from the Super League, with the Toronto Wolfpack, London Broncos and Toulouse automatically earning a place in next season’s Super League. and the clubs finishing fourth and fifth playing in the infamous ‘Million Pound Game’ to compete for the remaining last spot in the top flight.

However, although this structure for the end of the season was only introduced in 2015, the clubs have voted for it to be scrapped ahead of 2019, meaning the rugby league will return to a one up, one down structure. This could make it harder for lower tier teams to have a chance to make it to the top flight, despite the possibility that they are of a higher standard than some of the clubs in the bottom half of the Super League. Despite this, St. Helens’ owner Eamonn McManus has suggested that the Super 8s structure did not deliver the right commercial returns and Ian Lenagan, the owner of Wigan Warriors, has insisted the Super League’s continued commitment to Championship and League One representation.

With the success of Toronto so far this season, more questions have been raised about the expansion of Rugby League. Toronto Wolfpack are the third non-English side to join the RFL, following Catalan Dragons in 2006 and Toulouse Olympique in 2016. The club has gone from strength to strength, winning League One in 2017 and the Championship in 2018, and their quick success may pave the way for more clubs from around the world to seek permission to join the league. The owner of Hull F.C, Adam Pearson, clearly sees the advantages of such an expansion and, speaking to The Guardian, suggested that if Toronto are “serious about coming into Super League and adding new broadcast rights and franchises, then we truly have a global game once the Americans get involved”.

Despite this, there is also criticism of having transatlantic clubs competing in the RFL, with concerns being raised over the fact that allowing Toronto to play their matches in blocks gives them an unfair advantage. By playing all their away matches in the first half of the season, and all their home games in the second half, this means that the Toronto players are well adjusted to the time zone throughout the season, whereas visiting teams are potentially jet-lagged when they play Toronto at their home ground, the Lamport Stadium. This system also allows the potential for considerable momentum for Toronto in the latter half of the season due to their back-to-back home games. However, with talks of a New York team set to join the RFL in 2019, it seems that the expansion of the game across the globe is only just beginning.

The Women’s Challenge Cup Final was held on the 4th of August, with Leeds Rhinos coming from behind to claim their 20-14 victory over Castleford Tigers. The attendance of 1,022 at Warrington’s HJ stadium appears to be a step in the right direction for the women’s game, and there are high hopes that the women’s league will be able to reach a new fan base in the coming years.

Oxford student sailors complete Round Britain and Ireland race

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A Oxford University Yacht Club crew has completed the Sevenstar Round Britain and Ireland Race, coming 11th out of 28 boats.

The student team set off on their 1,805 nautical mile race from Cowes, Isle of Wight, at midday on Sunday 12th August. After spending just over 13 days sailing round Ireland and Britain, they returned to the Isle of Wight at around 1:30pm on Saturday, welcomed by family and friends.

The race, which began in 1976 and takes place every four years, is regarded by some as more challenging than a transatlantic race due to the volatile British weather, and the difficulty of navigating the tidal patterns around land.

Competitors in 2018 also faced a tropical storm off the west coast of Scotland, as well as oil rigs in the North Sea and busy shipping lanes in the English Channel.

Despite finishing almost four days behind the winners, the Oxford crew were pleased to have finished in the top half of the overall rankings.

León López Brennan, Vice-Commodore of Oxford University Yacht Club, told Cherwell: “I am of course very proud of our team’s performance. Sailing around the British Isles in one go is a feat in itself. But doing so in a race – where the yacht is constantly maxed out, and whatever the sea throws at you must be dealt with – is even more impressive.

“Our club is immensely proud of both the physical and, perhaps more importantly, the psychological professionalism of our RBI (Round Britain and Ireland Race) team.”

Paying tribute to the many hours of training undergone by the crew, Brennan also said: “That this race could be completed in the manner that it was goes a long way to show that all those long weekends of training during and in between terms have produced a very solid squad with a strong team spirit.

“It should also prove to those who equate yachting in general, and university yachting in particular, to summer holidays in Croatia that we stand for hell of a lot more than that.”

Reflecting on the experience, Mélisande Besse, a member of the Oxford crew, said: “I saw islands I didn’t know we had in this country, wildlife I’d never seen near our shore, and stars so bright; so beautiful at night. It’s an adventure and it’s tough, but it’s an amazing experience!”