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UrbanObserver
Monday 9th June 2025
Oxford's oldest independent student newspaper, est. 1920
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Marvel’s Netflix universe is going badly wrong, and it’s the writing that’s to blame
Christopher Goring takes a look at Netflix’s increasingly troubled corner of the Marvel Cinematic Universe in a spoiler-filled examination of how everything went off the rails
Review: ‘T2 Trainspotting’
Louise Howland finds an addictive energy in sequel to cult classic Trainspotting
Zoom In: How to steal our jobs as Film and TV editors
Shivani Ananth and Katie Sayer tell you how to take over their legacy
Moonlight: a transcendent spectacle
Jonnie Barrow delights in Barry Jenkins' mesmeric exploration of identity
The Coen brothers: a dynamic directing duo
Jack Allsopp argues that we should stop thinking of the director solely in the singular
‘Jackie’: simply a mishandled film
Surya Bowyer is unstirred by Natalie Portman’s performance as America’s sweetheart
Exhausted tropes and the odd jump scare: ‘Split’ review
Louise Howland is unimpressed by 'Split', Shyamalan’s attempt at psychological horror
Films to cure fifth week and Valentine’s blues
Katie Sayer and Tesni Jones offer some topical film suggestions to quell your Fifth Week and Valentine’s Day sorrows
Girl meets girl: re-writing cultural scripts
Priya Khaira-Hanks advocates forming your own unique queer identity outside of the boundaries of heteronormative culture
Men directing women: Almódovar ‘Julieta’
Benjamin Davies discusses guilt, colours and female relationships in Pedro Almódovar’s latest work
Which film best represents your Oxford college?
Oxford colleges are known for their quirks, and inspired by these traits, here’s part two of the Cherwell guide to movies that reflect our...
Review: ‘A Monster Calls’
Jonnie Barrow is impressed by Bayona’s adaptation of an underrated children’s novel
Disney princesses and ‘Lolita’: the danger of men writing women
Carolina Earle explores how masculine fantasies have shaped and corrupted our childhood obsessions
Review: ‘La La Land’
Jonnie Barrow is amazed by Chazelle’s modern musical, which reinvents a forgotten genre
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