Sunday 20th July 2025
Blog Page 971

Review: Doctor Strange

Jonnie Barrow
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0
Review: Doctor Strange

I am absolutely certain that the Marvel logo gets longer with each new film from the Marvel Cinematic Universe (MCU). Back when Iron Man first came out in 2008, it was on screen for five, maybe ten seconds — but Doctor Strange , the 14th entry into the MCU, announces itself with the most grandiose, operatic Marvel logo you can possibly imagine. It runs through their most famous characters from The Avengers to the Guardians of the Galaxy , as if to say: “Hey, remember these superhero movies you really like? We made those, so don’t worry: you’re in safe hands!”

Doctor Strange is, however, definitely distinguished from the other Marvel films simply by fully embracing the madcap weirdness of the magic side of the Marvel universe. If you’re worried about needing tons of backstory before going in, don’t be—compared to Captain America: Civil War earlier this year, Doctor Strange is very light on Marvel connections. Aside from the odd mention of the Avengers and a couple of shots of the Avenger’s Tower, only the first end credits scene really ties the film into the larger universe, so it’s very easy to watch as a standalone film.

I never like recommending a film based on the visuals alone (because otherwise we’d all hold up the Transformers series as masterpieces of filmmaking) but the visuals of this film honestly have to be seen to be believed. It is rare that the phrase “jaw-dropping” is used literally, but on an enormous screen, some of the more surreal sequences had me catching flies in my mouth. Even apart from those, the production and costume design are outstanding, and the visualisation of magic is really interestingly done—certainly a lot more physical than the “point-and-squint” wandwork in the Harry Potter series.

The cast is on top form, too. One of my main worries going in, surprisingly enough, was Benedict Cumberbatch as Strange. His American accent seemed a bit shaky in the trailers, but his performance absolutely anchors the film and creates pathos where many actors would only irritate the audience.

It’s a touch too close to his portrayal of Sherlock at times, but they’re both enormously arrogant, immensely intelligent masters of their fields, so it’s a forgivable similarity. Elsewhere, Tilda Swinton turns in a fantastic performance as The Ancient One, Chiwetel Ejiofor is reliably brilliant in a significant supporting role, and Mads Mikkelsen makes a more interesting villain than many in the Marvel pantheon.

The only issues with the film are pretty minor, to be honest; structurally, it’s very similar to Iron Man 1 and Ant-Man , and Marvel’s trademark sense of humour undercuts what ought to be many of the film’s best moments. The punch-based fight sequences are shot pretty badly too, with the camera far too close to the action for you to really get an idea of whats going on—but then the action reverts to citybending, mind-warping craziness of such visual inventiveness and breathtaking spectacle that by the time the third act sweeps in and starts messing about with time, you can’t help but grin at the sheer wonder of what’s happening on the screen in front of you.

After a string of high-profile failures in the comic book movie genre this year (ahem Batman v s Superman , ahem ahem Suicide Squad ), it was such a relief to sit down to a movie that’s actually pretty damn good for a change. This is honestly the most purely fun film to come out this year—find the biggest screen you can and don’t miss this one.

Preview: The Roaring Girl

Alice Robinson
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0
Preview: The Roaring Girl

Want a welcome break from the Trump turmoil? The Roaring Girl from St Hilda’s College Drama Society not only provides comedic light relief but also some fun proto-feminism to cheer you up.

Dekker and Middleton’s city comedy has very rarely seen the light of day in Oxford drama. Co-director Alex Barasch calls it a “forgotten gem.” With its heroine Moll Cutpurse striding the stage wearing men’s trousers and duelling her misogynist opponents with gusto, this production sounds like it’s come just at the right time to give all us students some feminist fun.

The play includes a large cast, entirely made-up of St Hilda’s students, including eleven newbies who’ve never done Oxford drama before. Directors, producers, this is your chance to spot your next star! As a result of this inclusiveness, the cast have had just three weeks to rehearse and learn the lengthy Renaissance script. A mammoth task, one might think, but Freya Cunningham as Moll and Felicity Miles as her lecherous nemesis Laxton seemed to have no trouble when I watched a sneak preview of the show. Cunningham in particular performed a sizeable speech with aplomb, her fury at Laxton varied in pitch but not intensity. She lends real power to the role, particularly in this more serious scene.

Miles is also impressive as Moll’s opponent Laxton. Used to playing the debutante or the ingénue, she told me in a weird way it’s empowering to play the misogynist: “It’s almost a release to get to make comic relief out of the creepy guys in the club.” Despite a minor mishap with the props during the preview (nothing a little sellotape won’t fix!), the duelling looks like it’ll be slick and entertaining.

Barasch and his co-director Jhanie Fender have transitioned their Roaring Girl to the roaring twenties. Partly set amongst London’s shopkeepers, the women are unwilling to go back to a simply domestic role after their brief experience of independence during the First World War. Gender is clearly a big theme in this production. The characters may be larger-than-life and comedic, but the ideas behind them are thought-provoking.

However, the directors are keen to emphasise that above all, this is a comedy. In fact, Barasch sees the comedy as holding up better than that of Shakespeare—and the drama includes both shopkeepers and Lords, taking in more of the ‘commoners’ than in Twelfth Night, or Much Ado, for example.

Taking place in the Jacqueline du Pre Music Building, the inevitable omnipresent piano is being used to effect in a musical interlude during a scene at Sir Alexander’s house, whilst the shopkeepers will be represented by a trio of colourful shopfronts.

All in all, this promises to be a fun and feisty production, whether you’re in the mood to take down the patriarchy or just escape the cold November weather and fifth week blues for a warm and diverting show. Cunningham says since taking on the role she’s begun asking herself, “What Would Moll Do?” Having seen some of Moll’s fierce independence (and duelling skills!) first hand, I think this wouldn’t be a bad motto for all of us at the moment. If you want to see for yourself what Moll would do, head down to Hilda’s this weekend for seduction, sword fighting, and smashing societal expectations.

Letters from abroad: Nîmes

Alec Fullerton
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2
Letters from abroad: Nîmes

In his generation-defining novel Fiesta (or The Sun Also Rises),Hemingway exalts the passion and courage on display in the Spanish corridas of Pamplona. Yet, it is his non-fiction work ‘Death in the Afternoon’, published six years later in 1932, that is considered a fundamental guide to the history of bullfighting, even by real enthusiasts. In it, he writes, “Bullfighting is the only art in which the artist is in danger of death and in which the degree of brilliance in the performance is left to the fighter’s honour.” As a keen reader of Hemingway, when I stumbled upon a poster advertising the final of Le Trophée Taurin, I knew I had to go.

For my year abroad, I’m teaching English in a lycée in Nîmes, referred to as ‘The French Rome’ due to its Roman heritage. Consequently there are several Roman monuments, including Les Arènes, a Roman amphitheatre—in fact, the biggest and best-preserved one outside of Italy. Because of this, Nîmes is considered to be the capital of French bullfighting. Previously, I’d been to one bullfight before, and it was a traditional, rather grisly, corridas in Seville. So when I made my way down to the arena one Sunday afternoon a couple of weeks ago, past overflowing bodegas with sangria-sipping crowds spilling out onto the bustling streets, I was fully expecting a similar experience, a culturally intriguing and enchanting spectacle, coupled with the bitter aftertaste of cruelty and death. However, I was to be pleasantly surprised.

Completely by chance, that afternoon I was about to discover La Course Camarguaise, or bullfighting à la Française. As opposed to its bloody Iberian counterpart, French bullfighting doesn’t end with a dead bull. Whilst a traditional, Spanish bullfight consists of various rounds of pageantry, designed to weaken and taunt the bull, resulting in its inevitable death, but with La Course Camarguaise, it’s different. For starters, instead of matadors and picadors, the format is far simpler. For 15 minutes, a group of men (Razeteurs), kitted out in Pamplona-style outfits, compete amongst each other to remove ribbons from between the bull’s horns. In return for their courage and sheer disregard for their own safety in grabbing these ribbons, they are awarded cash prizes.

The real enjoyment of this comes from the bravery of the Razeteurs as they evade the horns of the bull, often narrowly. I’d be lying if I didn’t say that part of the fun also comes from secretly willing the bull to finally catch up with one of them. With this version of the bullfight, it ends up feeling more like Total Wipeout than ritualistic blood sacrifice. Another very telling difference is that, whereas before a Spanish corridas, posters advertise the names of the matadors, with La Course Camarguaise, it is the bulls’ names instead that are listed. Hemingway wrote: “Anything capable of arousing passion in its favour will surely raise as much passion against it.” But as the passion against it appears to increasingly outweigh the passion for it, perhaps La Course Camarguaise provides a more humane alternative, whilst preserving the cultural significance of bullfighting for many communities.

W.H. Auden’s return to Christ Church

Daniel Curtis
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0
W.H. Auden’s return to Christ Church

Underfoot, beneath the vaulted ceilings of Christ Church Cathedral, is a small, modest plaque. Easy to step on, even easier to walk past, it is not something which draws attention to itself. Take the time to explore the plaques intermingled with the stones, however, and you’ll find a black triangle, bearing a dedication to the great man. Auden was, and still is, a literary giant whose influence stretches through so much modern poetry, not just in Oxford—yet Auden and the University are still bound together over the course of decades, first as student, later as master.

Last week, we looked back on Richard Burton gracing Oxford with his presence, leaving, and then returning for a glorious hero’s welcome. Auden’s journey to and from the city was much the same. However, the educational route of Auden, one of the greatest English poets of all time, was anything but clear-cut. He came to Oxford to study Biology, only to have switched to English by second year and graduated with a third-class degree in 1928.

At Christ Church, he would fall into a group of future poetic stars such as Stephen Spender, Louis MacNeice and Cecil Day-Lewis. They would later be known, rather disingenuously, as the ‘Auden Group’ during the 1930s, which marked their heyday. Their friendship and cross-pollination was a huge influence, both on each other and on the literary scene of inter-war Britain as a whole.

After his studies, Auden left Britain for Berlin, to encounter the physical and political turmoil which would underscore much of his work. After nine months, he returned to Britain, had his first collection of poems published and began to establish himself as one of the finest poets in the country.

Twenty years after graduation, Auden took up the post of Professor of Poetry at the University. He was a hit with the student body, all while bolstering his output with articles, reviews and reading tours, and would eventually retire in Oxford, offered a cottage by Christ Church, while regularly holidaying in Austria.

Auden died in Vienna and is buried there, but his work lives on in the city and college where he made such an impact. Auden’s name is embedded into Christ Church’s Cathedral, much like his presence is embedded into Oxford’s recent history.

Antibiotic apocalypse

Jonny Page
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0
Antibiotic apocalypse

The modern world owes its existence to the industrial revolution and medicine, and it’s hard to dispute the benefits both have brought. But you can have too much of a good thing. Overuse of antibiotics is leading to the development of antibiotic resistance in many bacteria, meaning antibiotics are becoming useless for some infections. If the trend continues, there is a possibility that trivial ailments like chest infections will become untreatable and even basic surgery will become impossible. This ‘antibiotic apocalypse’ is creeping ever forward with each drug prescription.

The more we use antibiotics, the more likely it is these antibiotic-resistant bacteria can gain a foothold, outperforming other strains.  Antibiotics are dished out daily in prescriptions from GPs, pharmacists and vets, as well as in battery farms to both prevent illness and promote growth. This cavalier attitude to the use of antibiotics has led to the emergence of so-called ‘superbugs’ like MRSA and Clostridium difficile. Infections from these superbugs are sometimes completely untreatable and, without a change in the way antibiotics are administered, the number of multi-drug resistant strains of bacteria will continue to rise.  According to Dr Craig MacLean of the University of Oxford Department of Zoology, “By 2050 it’s predicted that antibiotic resistant bacteria will be responsible for ten million deaths every year.” The ultimate end of this trend is the so-called ‘antibiotic apocalypse’, in which all known antibiotics are no longer effective in treating disease, causing previously trivial infections to become life threatening.

It’s not just the healthcare system that will be challenged, the economy is set to take a hit too. “In a post-antibiotic world, you might go to the GP with a chest infection,” MacLean explains. “They might tell you that you’ll be fine, but you need to take three or four months off  work. That’s going to have a huge effect on the economy.” This situation is only exacerbated by the fact that there has been a drought in antibiotic discovery since the 1980s.

We can postpone the arrival of the post-antibiotic world, but it’s going to require some significant changes to how antibiotics are used.  Many antibiotics are prescribed needlessly because it’s very easy to confuse a bacterial infection with an infection caused by a virus. Antibiotics are effective against bacteria but cannot kill viruses. As a doctor, if a patient arrives at a hospital with flu-like symptoms, they could either have the flu, which is caused by a virus, or they could have a bacterial infection. Antibiotics will be useless against the flu, but a bacterial infection could be harmful if left untreated. Do you assume it’s the flu and send them home for some rest or do you give them antibiotics just in case?  Diagnostic tools that help doctors distinguish between viral and bacterial infections do exist, but they’re currently too expensive for global use.

The inability to distinguish types of infection is only part of the problem; the attitude of patients can be an issue too. Most people aren’t aware of antibiotic resistance, and our busy lives mean we just want a pill to help us as quickly as possible. Many people feel more comfortable walking out of the doctor’s surgery with a prescription. “People are seeking medicine as well as advice,” said Professor Chrisoph Tang of the Sir William Dunn School of Pathology. Tang believes educating patients about antibiotics could help significantly. “In Scandinavia, the general public are well educated about antibiotic resistance. Antibiotic use is lower there and we see less antibiotic resistance.”

If the four horsemen of the apocalypse are indeed just around the corner, it’s Pestilence leading the charge. Antibiotic resistance is an imminent threat and left unchecked it will change the face of modern medicine.

It’s not too late for the horsemen to falter, change is possible and in some cases simple.  Antibiotics need to be used more sparingly, but we need affordable technology to help this happen. Equally importantly, we need to be more aware about what we can do. We have to stop demanding antibiotics from our doctors and, if we are given some, we must finish the prescription.

Poetry through a rose-tinted telescope

Lily Begg
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0
Poetry through a rose-tinted telescope

“You are my sun, my moon, and all my stars…” Oh, Cummings! You bore me with your clichés. When will all these star-crossed lovers learn to look beyond the very basics of the cosmos for romantic inspiration? Our adored “pale-faced moon” pales further into insignificance when compared to the infinity of what lurks far beyond it, so why be restricted to such over-used imagery? Although talk of black holes and the Theories of Relativity are rare in a lover’s lexicon, there’s little crime in being original and intelligent in our expression.

Poets have ventured very timidly into space imagery: sun, moon, stars, relatively plain elements of the universe which are all immediately visible with the naked eye. Stars are just balls of gas which emit light. The real hidden gems are collapsed stars.

Collapsing stars can create a black hole or, in very specific circumstances depending on pressure and chemical composition, a dying star can become a diamond with the same structure as one you would find in a ring, but unimaginably larger. In 2004, scientists discovered the largest space diamond yet, measuring 4000 km across—larger than the moon—and with a core composed of 10 billion trillion trillion carats. Such immense, dazzling gems are lodged in unknown corners of our universe, unseen by telescopes since they emit less light than ‘normal’ stars.

A by-product of a star dying is the dispersion of gas molecules thrown out as the star explodes or compresses. These rejected molecules eventually form gas clouds with those of other collapsed stars. Each gas cloud is a unique shape, colour and chemical composition, making hypnotic Holi-style appearances at the end of our telescopes.

And as much as poets praise the beautiful, they are irresistibly drawn toward the morose and the macabre, transforming death, decay and pain into beauty and art. Images of Hell, blood, worms, shadows, sleep, but what about black holes?

A black hole is formed when a dying star with sufficient mass is compressed to a tiny, incredibly dense core as it is sucked in by its own gravity. In the case of supermassive black holes, this core has an immensely powerful gravitational pull and mercilessly drags any surrounding matter into its heart. Even light is swallowed up, hence the appellation ‘black’ holes. However, black holes are incredibly unpredictable and even today we cannot claim to fully understand them. Sometimes they devour nearby stars, sometimes they stunt their growth, but black holes have also been known to accelerate the growth of new stars.

If you care to look, there is art wherever there is science. It is time to explore and exploit this. Look up at the stars and then beyond, for both poetry and space know no boundaries.

The Promised Land

Jack Harrison
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0
The Promised Land

Until the early hours of Thursday morning – Chicago Cubs were the worst franchise in American sporting history. 71 years had passed since their last World Series appearance, 108 years since their last World Series Triumph. When the World Series was last won by the Cubs, World War I was yet to begin, Edward VII was King of England and the oldest living person in Britain had just celebrated her 4th birthday – this was a long losing streak.

Unlike the sport we enjoy in Britain, where power often lies in the hand of those with the biggest pockets, US sport prides itself on equality. All the ‘Big Four’ League – NFL (American Football), NBA (Basketball), NHL (Ice Hockey) and MLB (Baseball), employ draft systems whereby the lowest ranked teams the previous season get first pick of the best new talent for the upcoming season in the hope that they’ll stop being so bad. The Chicago Cubs didn’t stop being so bad – no other side in the ‘Big Four’ leagues come close to a drought as long as the Cubs.

Longest Current Droughts in the Big 4 American Leagues.

Team League Seasons
Chicago Cubs* MLB 107
Cleveland Indians MLB 68
Sacramento Kings NBA 65
Detroit Lions NFL 58
Atlanta Hawks NBA 58
Texas Rangers MLB 56
Houston Astros MLB 55

 

*On Thursday morning however, history was changed. 108 years of pain was over as by overcoming the Cleveland Indians 8-7 in the final game of the 7 match World Series, the Indians themselves claimed top spot on one of American Sports most unwanted lists.

Throughout Chicago, the city was overcome with elation as the curse of Billy the Goat, placed on the team by a fan during their most recent World Series defeat in 1945, was lifted. This was however, as beautifully portrayed in a Wright Thompson piece for ESPN, a night of complex emotion. Much like with Stockholm Syndrome whereby hostages express positive feelings towards their captors, the curse for the Cubs has become such a part of the clubs identity it will be hard for fans to relinquish it – a victory will never taste so sweet again.

The day of the finale was one of reflection in Chicago. With 108 years of history about to be ended, many spent the day thinking about the 108 years of failure before them and the loved ones who had come and gone with it. One the walls of Wrigley Field, the Cubs home ground, many congregated to write messages to loved ones and names of loved ones who were no longer around for the special day. ‘This one is for you, Dad’ one read. As Thompson wrote in his piece, ‘each name represented an unfulfilled dream.’

Sports fans, more than most, have many an unfulfilled dream. Only a select few reach the promised land, and even when you’re there you want more. On Wednesday night, hours before the Cubs won the World Series I attended a Spurs Champions League game, a competition I and fellow Leeds fans had been longing for a place in ever since we were last knocked out of it, 15 years ago. And yet, to Spurs fans, this greatly coveted and cherished honour wasn’t so greatly coveted and cherished. Losing 1-0, the stadium half emptied. Success is all relative. The promised land is not the important thing, but the journey that may or may not lead there.

One of those Cubs supporters who went to Wrigley Field to write on the walls, was Mary Beth Talhami; she wrote “Mom, thank you for teaching us to believe in ourselves, love and the Cubs. Enjoy your view from the ultimate skybox.” Her mother, Ginny Iversen had died just 6 days before, after game 2 of the World Series, having lived for 94 years as a fanatical Cubs supporter. She passed away wrapped in her beloved Cubs blanket.

Mary Beth went to her local bar to watch the game. With the game tantalisingly poised at 6-6 a rain break further elongated the wait, but then, upon resumption, the Cubs hit two further runs and closed the game out to end the longest drought in sport. While the city erupted, time stood still for Mary Beth, with the timing of her mother’s passing this was about far more than a game of baseball. Looking towards her mother in the sky, with victory shot raised in the air, it all hit home. As the emotion of the last few hours and the last 6 days set in, all Mary Beth could do was sob and shake. As time passed she steadied herself, and still looking to the sky, saw off the shot.

108 years were over, 94 years were over, it was all over.

Christ Church hall catches fire

Tony Diver
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5
Christ Church hall catches fire

Oxfordshire Fire and Rescue service were called this morning to Christ Church hall, after a hot plate used to serve food caught fire.

It is not known how serious the blaze was, but four fire engines were called to attend, and smoke could be seen issuing from the windows to Tom Quad.

According to the Christ Church custodian, the fire was put out shortly before 2pm after burning for roughly an hour.

One member of hall staff told Cherwell, “we didn’t see any fire but there was a lot of black smoke”.

Ali Hussain, Christ Church JCR President, said, “it’s a shame that our beloved and historic hall is on fire. I hope no one was hurt.”

Felix Westerén, a second year PPEist who was in the area at the time, said, “I’d just left the stairs coming out of hall when the fire alarm started. Hopefully there will be dinner tonight, but it doesn’t look like it.”

In an email to students at the college, Pauline Linieres-Hartley, the Steward of Christ Church, stated: “A quick update that it has now been confirmed that the small fire in Hall was caused by an electrical fault in a hot cupboard. Thanks to the quick reaction of staff, in particular, Neil Jackson, the Hall was quickly evacuated, the fire brigade called, the fire alarm sounded and the fire contained. There will be some smoke damage but no-one was hurt and no other damage to anything apart from the hot cupboard. Our thanks to Neil and the Hall team for their quick response.”

Review: Albert Herring

Bessie Yuill
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1
Review: Albert Herring

The charm of this new version of Benjamin Britten’s 1947 opera Albert Herring lies not only in the impeccable vocal performances of the cast, but their strong overall characterisations as well. The humour of this nostalgic, parochial farce (which utilises the collective imagination’s picture of Victorian village life cleverly) depends on clear characterisation, satire and innuendo—one of the biggest laughs of the night was probably a female character’s flirtatious request for ‘a piece of best British beef’.

The set, while not overly complicated, creates clear distinctions between the different locations as well as evoking Victorian pastoral life, and—in a particularly creative touch—the cast themselves move props between scenes, entirely in character. While the orchestra tirelessly keeps a brisk, entertaining pace, the actors toil back and forth, except for a certain imperious aristocratic female character who at one point stands back and orders the others around as they carry boxes: it’s an ingenious method of keeping the audience laughing between scenes.

Maximilian Lawrie shines as the title character Albert, his clear discomfort at the enforced, emasculating title of May King building until it manifests in a captivating outburst that exhibits his outstanding voice at its best. Albert’s transformation over the course of the opera is not the only stand-out performance in the production, however: the sheer presence of Margaret Marchetti’s Lady Billows is incredible, emphasised by a majestic entrance and striking vocal performance. She works along with the three village representatives (played by Will Pate, Tara Mansfield and John Lee) and her acerbic maid Florence Pike (Sian Millet) to evaluate and dismiss the unchaste village girls in a superbly-acted scene, where the underlying social restrictions implicit in these condemnations blend with the satirical humour as seamlessly as the intersecting of the singers’ parts. Millet’s lament for ‘Country virgins, if there be such’ is particularly memorable, as the woman who has gathered rumours about every girl in town affects superior morality.

Lila Chrisp and Ivo Almond also dazzle with natural ease and chemistry, as the young couple who serve as counterpoint to the village’s moralising, Nancy and Sid. The three schoolchildren (Ellie Bray, Sofia Kirwan-Baez and Harry Gant) are equally charming, and a scene with them and Tara Mansfield’s headmistress character may send some audience members flashing back to choir practice with its brilliantly detailed satire.

Even if the speed and subtlety of the humour may seem daunting to some, this production will soon welcome and enrapture you—this perfect antidote to fifth week blues combines wit, social commentary and a beautiful score to stunning effect.

One thing I’d change about Oxford… Lectures

Safa Dar
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1
One thing I’d change about Oxford… Lectures

I’m told that, as a historian, I have no right to complain about lectures. Apparently having most of your lectures after 11am means you are living the good life. While I can confirm that 9ams sound like a horrific injustice, there is one thing about history lectures that is almost as frustrating: the lack of coordination between tutorial and lecture topics.

At first, it may seem having lecture topics unrelated to tutorial themes being covered in the same week is an efficient way of gaining a “broad overview”. But once the keen fresher goggles come off and lofty goals of “learning for the sake of learning” are forgotten amidst the onslaught of essays and accompanying crises, the thought of attending a lecture you’ll probably never write an essay on becomes less and less appealing. Soon enough your life becomes a series of daily struggles, constant internal battles and groggy calculations of the opportunity cost of wasting 3600 precious seconds that could be dedicated to an essay due in two hours.

And then there’s the guilt: whichever path you choose, you can’t escape this. Did you go the lecture? Hooray! Now you can bin the notes you halfheartedly scrawled a year later without ever having looked at them. Did you skip it? Congratulations, not only are you wasting your money, but your noble intentions of “working” probably ended in an (un)satisfying nap and you can now be doubly haunted by an essay crisis and a guilty conscience to boot. Lucky you.

But, really, what’s wrong with broadening your academic horizons, you ask? There wouldn’t be any harm in attending an unrelated lecture or two if it was actually useful. Even someone as lazy as myself occasionally jumps at the chance for actual contact hours. Instead, what you often get is an unhelpfully vague and general conglomeration of random information which makes very little sense to the uninformed audience.

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