Epigram Issue 379 by Epigram

Bristol’s UK Rankings Hold Firm in 2025 University Tables

The Guardian and The Complete University Guide both rank Bristol 16th in the UK, while the QS World Rankings place the university at 9th nationally and 54th globally.

Rhiannon Jenkins, News Co-Deputy Editor

With the new academic year just around the corner, the 2025 UK university rankings have arrived! From The Guardian to The Complete University Guide and the QS World University Rankings, we’re here to see how the University of Bristol measures up.

The Guardian

Good news as The Guardian's table see the uversity climbing one spot to 16th place, inching closer to the University of Edinburgh. With a score of 68.1 out of 100, up from 67.4 last year, Bristol is showing steady improvement. Although there have been a few small dips in student satisfaction with teaching and feedback, Bristol is on the up-and-up in key areas like spending per student, average entry tari s, and career outcomes.

The slight rise in the student-to-sta ratio and the steady value-added score suggest that while there's always room for growth, the university is making progress in key areas.

The Times & Sunday Times

Bristol's best grades come from the Times, who have placed us at 11th. According to them, 'a degree from Bristol carries weight in the jobs market'. After spending £30,000 on one we hope they're right about that.

The Complete University Guide

Keeping it consistent, Bristol holds ﬁrm at 16th on the Complete University Guide’s rankings once again, with a solid overall score of 79%. The ranking takes into account factors like entry standards, research intensity, and student satisfaction. The university excelled when it came to research quality, scoring an impressive 88%, earning them 4th place in the UK! And that’s not all - 28 subjects at the university rank in the UK’s top 10.

QS World University Rankings

Globally, Bristol has edged up to 54th place this year from 55th last year, and remains solidly at 9th in the UK. This small but meaningful rebound comes after a bit of a decline in global rankings, with Bristol having once dazzled as high as 28th in the world back in 2012. It looks like Bristol is on a positive trajectory, hinting at a possible comeback on the international stage.

Overall, Bristol is showing a mix of resilience and recovery across di erent rankings. While the university faces challenges in global standings compared to past glories, it's making notable progress domestically and in key academic areas. With improvements in spending and career outcomes, and consistent strong performance in research, Bristol’s future looks promising.

Image courtesy of Rhiannon Jenkins

October Blues

I’ve always found October a bit miserable.

Controversial, I know. Maybe it’s because I was born in May and will always be a spring baby at heart, or maybe it’s because all that I could find in autumn was cold and itchy woollen jumpers and pressure to have a creative halloween costume and dying leaves and decay and despair. Some call it ‘seasonal depression’, I call it common sense. Stay with me – I am going somewhere with this.

I expected my first autumn in Bristol to be tricky. By the time the leaves began to fall I had barely had a week of lectures and had not yet made any friends

close enough to be honest about how I felt, especially about such a beloved season. I expected to spend my evenings wistfully in my little Hiatt Baker room, haunting the halls of the Arts complex during the day, rednosed and afraid.

I was fully prepared for the worst, but it never came.

As the days got shorter and the volume of alcohol required to keep warm on the walk to Thekla increased, instead of a sense of impending doom, I began to get it.

I got the appeal of the ginger-haired trees and the way the streets seemed to be lit ablaze. I got putting on an absurdly large hoodie. I got walks in hats and piping hot lattes. It all started to click, in no small part thanks to Bristol.

Cities have personalities, and I’ve always found Bristol’s to be gentle. The hills are killer, but there are so many green spaces within the city that you’re never far from nature, or from tranquillity. Back when I was learning to love the colder months I walked to Brandon Hill and watched the sunset with a book in my lap and realised I’d

accidentally picked a beautiful place to come to university.

If you’ve never experienced October in Bristol before, you’re in for a treat. It’s enough to turn even the most fervent iced-latte drinkers into gingerbread lovers, and it’s the ideal time to get to know Bristol’s leafy spaces at their prime.

If you ever have an hour to kill in between lectures and it’s somehow not raining, I recommend grabbing a baguette from Mocha Mocha, right behind campus, and a hot drink and strolling through the Royal Fort Gardens listening to appropriately pensive music. Think about how pretty the trees are and ignore how cold your fingers are getting.

If you’re looking for something to read during your main character walks, you’re in luck. You’ve already been smart enough to pick up a copy of Epigram, the next step is even easier. Inside this issue is everything you need to know on campus this month, and we hope you enjoy reading it as much as you enjoy strolling through Clifton on a sunny October afternoon.

Editorial Team 2024/25

Co-Editors-in-Chief: Amaan Ali and Annie McNamee

Deputy Editors: Sofia Webster and Will Standring

News

Co-Editors: Josie Hodgson and Maud Humphries

Co-deputy Editors: Rhiannon Jenkins and Beatrice Learmouth

Investigations Editor: Will White and Sofia Lambis

Subeditors: Otto Proctor, Cerys Larsen

Opinion

Editor: Karen Mends

Co-Deputy Editors: Alex Creighton and Hannah Moser

Subeditors: Ellen Jones, Riana McConochie

Features

Editor: Nel Roden

Co-Deputy Editors: Jessica Cohen and Daisy Yates

Investigative Corrospondent: Benedict Chester

Subeditors :Reuben Kerbes, Illona Hoffman

Arts

Editor: Bruno Bridger

Co-Deputy Editors: Elizabeth Abbott and Ella Heathcote

Correspondents: Patrick Chandler and Julia Anna Masluszczak

Subeditors: Eve Davies, Bobbi Carsley

Film & TV

Editor: Max Bradley-Cole

Co-Deputy Editors: Meadow Wattret and Chien Wen Sow

Subeditors: Nadiya Jackson, Marianne Chatburn

Music

Editor: Benji Chapman

Co-Deputy Editors: Aditi Hrisheekesh, Megan Foulk

Subeditors: Amelie Peters, Sophie Scannell

Sci-Tech & Gaming

Editor: Corin Gabriel Hadley

Deputy Editor: Miles Gilroy

Subeditor: James Lewis

Head Researcher: Harrison Phillips

Sport

Editor: Faniki Deche

Deputy Editor: Sean Lawrenson and Adam Mountain

Subeditor: James Lewis

Lead Designer Julia Mullins

Designer Alexandra Hill Want to write for us? epigram.org.uk/get-involved/

Annie McNamee Co-Editor-in-Chief

Co-Editor Maud Humphries and Josie Hodgson

Deputy Editor Rhinannon Jenkins and Bea Learmouth

Sub Editor Otto Proctor and Cerys Larsen Investigations Will White and Sofia Lambis

819 students unable to move into new halls this freshers

Metal Works, located in Bedminster, will not open until the 14th of September - the weekend after Freshers Week - leaving many new students unable to attend events this week, or needing to find alternative accommodation elsewhere

Bea Learmouth Fourth Year, Politics and Russian

A spokesperson from the University said:

'When Metal Works was commissioned four years ago, the move-in date was agreed as September 14th 2024 which would have been the first day of the new 2024/25 academic year.

'Since then, the University has undertaken a review of the structure of the academic year which, amongst other things, has seen the start of the year brought forward by a week.'

As compensation for the disruption caused, the University has offered students impacted by the situation £250, a package of sup-

port, and a series of events.

However, Jacob (surname removed for security reasons), first year Law, said he felt the University had acted ‘really badly’ regarding the situation. He had 'no idea' when he chose the accommodation that the move-in date would be after Freshers Week, and felt that before local publications picked up on the story, the University didn't seem like 'they were planning on doing anything about it.'

'I feel like I’ll be behind before I even start, both socially and academically'

bus that serves another part of Bristol, as well as a free kettle and toaster, was insulting, as it does nothing to resolve the issue.

The University said:

‘In the planning stages of Metal Works, we looked into a bus service, but this would have added a significant amount to the rental cost.

transport services and the variety of ways students now travel, we made the decision not to provide this.’

the new student outlined:

‘Even with the promised £250 at the end of the month, the fact that I would have to put my own money towards travel and potentially accommodation in Bristol during freshers made me anxious.

'We are very sorry about this and acknowledge some students will be disappointed.’

Another incoming student whom Epigram spoke with (who wishes to remain anonymous) will be missing out on Freshers Week due to the delayed move-in date. They were particularly upset to be missing out on the tennis trials, as someone who had played tennis competitively since they were seven years old.

‘Not taking part in Freshers Week makes me feel like I’ll be behind before I even start, both socially and academically, especially as I have timetabled introductory sessions for my course that I can’t attend by no fault of my own.’

Many students have managed to find accommodation elsewhere for Welcome Week, and felt that the situation had at least helped bring people together before the start of University.

He stated that the offer of a free bus pass for the U1, a

Bristol's UK Rankings Hold Firm in 2025 University Tables

The Guardian and The Complete University Guide both rank Bristol 16th in the UK, while the QS World Rankings place the Rhiannon Jenkins, Third Year, Politics and International Relations

Good news as The Guardian's table sees the universi-

ty climbing one spot to 16th place, inching closer to the University of Edinburgh. With a score of 68.1 out of 100, up from 67.4 last year, Bristol is showing steady improvement. Although there have been a few small dips in student satisfaction with teaching and feedback, Bristol is on the upand-up in key areas like spending per student, average entry tariffs, and career outcomes. The slight rise in the studentto-staff ratio and the steady value-added score suggest that while there's always room for growth, the university is making progress in key areas. The Complete University Guide Keeping it consistent, Bris-

‘Students have told us they want us to keep rents as low as possible so taking into consideration a number of factors including the location of the residence, the proximity of public

tol holds firm at 16th on the Complete University Guide’s rankings once again, with a solid overall score of 79%.

The ranking takes into account factors like entry standards, research intensity, and student satisfaction. The university excelled when it came to research quality, scoring an impressive 88%, earning them 4th place in the UK! And that’s not all - 28 subjects at the university rank in the UK’s top 10. Globally, Bristol has edged up to 54th place this year from 55th last year, and remains solidly at 9th in the UK. This small but meaningful rebound comes after a bit of a decline in global rankings, with Bristol having once dazzled as high as 28th in the world back in 2012. It looks like Bristol is on a positive trajectory, hinting at a possible comeback on the international stage.

While they recognised that the University had done its best to try and help Metal Works residents,

Lily (surname removed for security reasons), first year Civil Engineering, went viral on TikTok after posting about the situation regarding Metal Works. She said she decided to make the TikTok as she was ‘panicking about the situation after having got off the phone with the University about it’ and ‘was thinking of ways to find people in the same situation.’

Image courtesy of Rhiannon Jenkins

Images courtesy of University of Bristol

Bristol ranked fourth worst in the UK for number of sewage spills in recent report

Maud Humphries and Josie Hodgson

Third Year, Politics

A report published earlier this month by Utility Bidder has revealed that Bristol has the fourth highest number of sewage spills per square kilometre in the UK.

With only the City of London, Tameside and Plymouth topping Bristol, the city was reported to have had 4,433 sewage spills within 110 kilometres - the equivalent of 40.42 spills per square kilometre, leaving Bristol as one of the most significantly affected areas across England, Scotland, Wales and Northern Ireland.

Bristol is full of sh*t

a steep bill increase, the company would remain ‘neither financeable nor investible'.

Rising public anger and a gorwing political row over water pollution

The report has been released amid rising public anger and a growing political row over water pollution, with water companies having released raw sewage into England's rivers and coasts for a record 3.6 million hours last year, according to new Environment Agency data. Debt-laden Thames Water, one such water company which has been facing much criticism, declared last month that without

In Bristol, the river Avon has become a recent hot topic within the water pollution scandal, with an article from the Guardian in March reporting that the river was the third most polluted in the UK in 2023, following the rivers Croal Irwell and Darwen. The Avon had 74 spills per mile of river, making it 6,573 sewage spills in total. In an effort to uncover the UK water companies responsible for the worst spills, alongside recognising the local authorities who are in turn 'most affected', Utility Bidder analysed the most recent data on storm overflows in the UK from over the past year.

The report highlighted Dwr Cymru, or Welsh Water in English, as the Water company responsible for the most sewage spills in 2023, recording 117,830 separate spills, followed by United Utilities and Yorkshire Water. Spills in areas under Thames Water’s jurisdiction were reported to have lasted the longest, with an average duration of 11.56 hours. In regards to the areas most

affected, North Yorkshire saw the most sewage spills in 2023, with 23,929 recorded yearly. North Yorkshire had more than 7,000 more sewage spills than any other local authority. This was followed by Cornwall and County Durham. Only six local authorities, Brighton and Hove, Broxbourne, Cambridge, Hackney, Harlow and Watford, saw no sewage spills in 2023.

is leading experts to warn that sewage spill into rivers will only become worse.

The city was reported to have had 4433 sewage spills within 110 kilometres

With most of the UK supported by a combined sewerage system dating from the 19th century, the outdated system, combined with a growing population and increasing extreme weather events due to climate change,

In response to the growing problem, the newly elected Labour government committed in their manifesto to clean up the water sector, with this month seeing the Department for Environment, Food, and Rural Affairs (DEFRA) introducing the Water Special Measures Bill.

This legislation has been introduced to give regulators new powers to take tougher and faster action to crack down on water companies damaging the environment and fail-

ing their customers. It will be the most significant increase of enforcement measures on water companies in a decade. The Bill includes significantly increasing the ability of the Environment Agency to bring forward criminal charges against law-breaking water executives. It will create new tougher penalties, including imprisonment, for water executives when companies fail to co-operate or obstruct investigations. The new legislation will also ban the payment of bonuses to water bosses if they fail to meet high standards to protect the environment, their consumers and their company’s finances.

Workman dies following wall collapse surrounding University accommodation

An investigation began after a workman died on the Fourth September in Stoke Bishop.

Cerys Larsen

Fourth Year, English and French

An investigation is underway after a man tragically died whilst at work when a wall collapsed onto the pavement on Parrys Lane in the Stoke Bishop area.

The incident occurred on 4th September near Will’s Hall, a University of Bristol student residence. Emergency services

were called and arrived at the scene at around 12:50 PM.

Ambulance staff contacted the Avon and Somerset police who have since released this statement:

‘The man sadly died while at work and we are therefore liaising with the Health & Safety Executive and together, carrying out enquiries in the incident’.

A spokesperson from the University of Bristol has stated:

‘Our thoughts are with all those affected by the tragic accident’ and announced that the university is ‘working with the relevant authorities’.

Image courtesy of Unsplash

Images courtesy of Unsplash

Progress underway for world-leading Temple Quarter enterprise campus

at the university.

A new milestone has been reached today as the structure of the University of Bristol’s new enterprise campus is completed, signifying the project is a third through its completion

Sofia Webster Deputy co-editor in chief

The new building, which is on time and scheduled to be completed in September 2026, will solidify the University of Bristol’s reputation as a global destination for world leading research and innovation.

The new site, which was previously the location of a former Royal Mail sorting office, will become the home for the University’s Business School, Centre for Entrepreneurship and Innovation, a range of engineering programmes and digital research groups as well as Bristol Innovations, the University’s catalyst for innovation. Plans for this building are underway in hope of regenerating the neighbourhood around Temple Meads, and is a project considered radically different from anything previously done

Hope of regenerating the neighbourhood around Temple Meads

Visiting the building site made it possible to visualise prospective students studying and thriving, bringing the building plans to life. This was greatly helped by the use of VR which demonstrated the interior plans for the building's interior design. This new campus will offer a large food court (by Source) as well as laptop lounges, lecture theatres, silent and collaborative study spaces along with calm spaces for reflection. These features will all draw inspiration from Senate House and the Sky Lounge in the Life Sciences Building, amongst other areas throughout the university. Alongside this, a new planting scheme advised by Bristol Botanical Gardens and floating harbour installations along the Totterdown basin ensure carefully nurtured green spaces are included as part of the site.

An important aspect of this campus is how it intertwines local communities and businesses, with parts of

the campus being shaped in consultation with community partners to create spaces for businesses and students to work together and generate new ideas.

This campus aims to improve connectivity in the area and become a world-class gateway to Bristol and the West of England, with a directly connected, refurbished entrance to Bristol Temple Meads Station opening directly onto University Square.

Situated just an 8-minute walk from the University's recently completed dentistry campus

Speaking on this milestone, Professor Evelyn Welch, ViceChancellor and President of the University of Bristol said this campus “is being carefully constructed to meet the needs and nurture the aspirations of our students, staff and partners across the city and the wider region.”

Situated just an 8-minute walk away from the University’s recently completed dentistry campus, this new campus looks like

a fantastic project that will elevate the student experience upon being completed in September 2026.

Renovation to Bristol centre promenade revealed

Almost twenty-five years since their installation, the Centre Promenade fountains will be removed as part of city centre remodel.

Meghan Foulk Third Year, English

Not seen running for a number of years, due to unrepairable damage, the three Centre Promenade fountains that were originally installed for the millennium will be covered with concrete.

Five London plane trees that border Broad Quay will also be removed, having outgrown their planter space with roots causing impair-

ments to the pavement. Hoping to restore life to the centre and increase attraction to the already popular harbour market, chair of the Economy and Skills Committee, councillor Andrew Brown said,

Ensuring the longevity of the new works, the existing plane trees will be replaced by smaller blossoming trees ‘that are more suited to growing in raised planters’. The felled trees will be processed into wood-chip to be used around the base of the newly planted trees, as well as fuelling bio-mass boil-

ers n some public buildings.

Alongside this project, the council plan to review the cycle route through Centre Promenade –a notoriously hazardous bike path for pedestrians and cyclists.

“By creating a flat surface across this whole area, we can give more room for events and people"

Dependent on contractor availability, the work is predicted to begin in January, taking advantage of the winter tree planting season. It is anticipated to take around three months to be completed.

Opinion

Editor

Co-Deputy Editor

Subeditor

Karen Mends

Alex Creighton

Hannah Moser

Ellen Jones

Riana McConochie

Opinion | SPOTTED, a ‘rah’ girl in her natural habitat: Are you the stereotypical Bristol Student?

As a Bristol student, you’ve likely caught yourself in the mirror, baggy jeans on, vape in hand, and wondered—am I the stereotype? But beneath tweed-free race days lies a bigger question: how much do these stereotypes reflect the lack of diversity at our university?

Hannah Moser , Year 3,

Politics

International Relations

Iknow what I am. I know I am the typical Bristol girl (kinda). Now although you will never catch me searching for my ‘baccy’ or wearing a tweed blazer to the Invades race days, a wild number of other stereotypes remain to be true. I ask you, my fellow Bristolians, to put down your blunts, pause your aggressive Depop scavenges and look within to find that you too may be the typical Bristol student. Bristol University was never on my radar; in fact, I only applied because my boyfriend at the time did. As luck would have it, I was accepted, and he was not so who's laughing now? Actually, he probably is because he then proceeded to attend Cambridge which brings me promptly to my first stereotype; Bristol students are Oxbridge rejects. This particular stereotype is not applicable in my case, but I do know a fair number of individuals to which this is relevant. This point is perhaps best summarised by a poster handed out during my freshers year which read ‘Forget Oxbridge, you’re at Bristol now’. It wouldn’t take a genius to conclude that the third member of the holy trinity linking Oxbridge rejection and now Bristol students is private education. This second stereotype is perhaps the most well-known, and most definitely for good reason. Afterall, it is true that more than 30% of students attending this university are privately educated So, are you a privately educated Oxbridge reject? If so, I hate to be the bearer of bad news, but I think you might just be a typical Bristol student. Maybe the above doesn’t apply to you, so let’s look at lifestyle and see if you can find any similarities there.

Are you a Rugby, Lacrosse or Hockey player? If the answer is yes, no need to continue, you are indeed a personification of the Bristol Stereotype. Do you enjoy DJ’ing for poor unsuspecting Hinge dates in your spare time, impressing them with your ‘Dutty DnB’? Again, if the answer is yes, then you are a true Bristol student. Are you a horse girl from the south of England who owns a Labrador or a London girl with a crusty white dog?

Congratulations you are one of us! Finally, let’s talk about style. The classic Bristol style is unmissable, starting with the exceptionally baggy jeans and ending with a vast collection of chunky jewellery. The only thing a Bristol girl loves more than a slick back is copious amounts of accessories. Typically, these accessories do include a vape or cigarette. As for the men, the style is pretty similar. An honourable mention to tote bags and helix piercings, both of which have made a resurgence amongst the young men of Bristol University. Perhaps the best way to describe the style here is ‘anything goes’,

from thrifted Adidas trackies to skirts over jeans. Nothing is too bold for Bristol. Does any of this sound like you? If so, you must accept that you are just like the stereotype. Having read the past 500 words are you now more self-aware, do you see the Bristol stereotype staring back at you in the mirror? Of course, you do, you’re a Bristol student, after all. On a more serious note, these examples should all be taken with a pinch of salt, they make vast generalisations and have the potential to exclude a large number of people. Whilst it is important to joke about oneself and see the humour in these stereotypes, this satirical reflection of the University of Bristol should also prompt greater thought on questions of diversity, inclusion and social standards. Although a large number of students will relate to at least one of the points made here... read more at Epigram.org.uk

Opinion | Arms Companies and Academ-

ic Decolonisation: A Contradiction in Our University's Vision?

The university has removed the presence of the national anthem at graduation ceremonies for being ‘too oldfashioned’. Surely the death of subjugated people in the global south is even more

As Gaza is ravished by war and disease alike, global debates have been reignited around the subjects of militarisation, colonial history and the role of educational institutions in perpetuating systemic violence. As our university faces mounting pressure to sever its ties with arms companies, such as BAE systems, a critical question emerges: does this relationship undermine its ambitious goals of academic decolonisation and the creation of a more just and equitable future, as it expresses in its ‘Reparative Futures’ programme? Decolonising academia involves challenging the colonial legacies embedded in institutional structures as well as global power dynamics. Universities have gone about it in multiple ways over the past few years, ranging from scholarship schemes aimed towards students from black backgrounds, to roundtable discussions on university buildings whose names have links to wealth derived from the slave trade. The university’s ‘Reparative Futures’ programme was launched to address legacies of colonialism in research, teaching, and institutional culture. Academic decolonisation involves the dismantling of settler-colonial legacies and epistemology within education, as well as challenging the dominance of Western-centred thought and addressing historical injustices. These goals demand not only critical reflection on curriculum, but also institutional practices. The ‘Reparative Futures’ initiative

is an effort to create space for marginalised students’ voices, and acknowledge the role that institutions like the Universtiy of Bristol have played in upholding systems of exploitation and colonial power. But the University of Bristol, like many major academic institutions, has faced growing scrutiny over its ties to arms companies, especially since the escalation of the conflict in Gaza. Activists, students, and even some staff members have raised the alarm, demanding the university sever its links to these companies. This pressure comes at a critical moment for Bristol, as it actively engages in an ambitious project to ‘decolonise’ academia. Arms companies are implicated in contemporary forms of violence and exploitation; the global arms trade fuels conflicts, many of which disproportionately affect former colonies in the Global South. Countries in the Middle East, Africa, and South Asia—regions that still bear the scars of colonial violence—continue to be recipients of weapons

used in devastating conflicts, while students who study at Western institutions such as Bristol watch from the sidelines as they receive vast funding from the sector which is rendering their land of origin uninhabitable. For instance, in the context of Gaza, the use of arms by state actors in violent conflicts can often be traced to Western-made weapons, with arms companies profiting from the devastation of lives and communities. It's paradoxical and insulting that an ethnically Palestinian or Sudanese student will receive emails regarding removal of Colston’s infamous dolphin symbol from university-affiliated logos. The university had even removed the presence of the national anthem at graduation ceremonies for being ‘too old-fashioned’. Surely the death of subjugated people in the global south is even more offensive and morally evil? Despite these contradictions, the University of Bristol has defended its collaborations with organisations operating in the defence sector on several

grounds. Research funding is one of the most cited justifications: arms companies provide substantial financial support for research in areas like engineering, aerospace, and technology. Further justification rests on a removal of accountability; the university may invest in entities where up to 10% of turnover might be from manufacture of anti-personnel weapons if the organisation develops civilian-related technology that may have practical, military-related benefits. But even if these justifications hold merit, it’s not clear that the university can credibly claim to promote social justice, equality and decolonisation while accepting funding from entities linked to war and destruction. Even if arms companies fund ostensibly ‘benign’ research, their primary purpose is still the development of weapons and technology for military use. The university’s failure to separate itself from this industry raises difficult ethical questions about where it draws the line between moral integrity and financial ne-

cessity. Decolonisation is not a brand-new fad that should be limited to a change in curriculum or an increase in diversity among staff and students. It requires a fundamental transformation in how universities understand and engage with the world, and a reconsideration of their relationships with systems of violence and oppression. It’s a political project, and accountability is a key component in showing dedication to the promises the university is making. Selective justice is not one of the stepping stones in the path of decolonisation; financial interests that allow the subjugation of oppressed people have no place on campus. Bristol’s position becomes increasingly difficult to defend as the devastating consequence of militarisation is evident in the latest headlines. To claim to commit to decolonisation while maintaining links with arms companies that benefit from violence in historically colonised regions is a glaringly obvious contradiction... Read more ar Epigram.org.uk

Sagal Khalif, Year 2, Honours Law (LLB)

Opinion | University work culture: balancing excellence or breeding burnout?

Balanacing work with the rest of your responsiblities can be extremely difficult so how do you find the perfect balance without burning yourself out.

Maximilian Burnos, Year 2, Law and German

When the word ‘university’ comes to mind, one often thinks of an institution of scholarship and learning, creating the impression of an environment of growth and intellectual development. But at what cost? Are universities striking the right balance between promoting academic development and personal wellbeing, or has such a relentless push for excellence created a culture of burnout? It is without question that standards and expectations of people are growing and with that, ambitions and excellence. A natural consequence of this is pressure. In the corporate world, there is a demand for only the best, with people joking that entry-level positions are asking for 20-years of work experience of a 22-year-old new grad. This has led to the development of a new breed of student: ‘the work hard to only work even harder’ student. With the expectations of an overly competitive job market, these students push themselves to absolute breaking-point at university, striving for the highest grades, the most demanding extracurriculars and, to show the fruit of their labour, the flashiest LinkedIn profiles. For some, the grind for this flashy marker of success has become more than just an intellectual challenge – it’s an emotional strain. Yet this toxic culture continues to dominate, and are universities really doing anything about it?

I spoke to some fellow students about this, and most said that this culture of corporate worship is leading to a terrible spiral of stress, with 18- and 19-year-olds thinking about nothing but how best to fit the criteria for these jobs. The proof is in the LinkedIn profiles. But how can universities strike a balance with something that

has become so ingrained in the mind of the 21st Century, high achievers? Surely the culture of corporate glorification isn’t entirely their fault? While that is partly true, as the highest achievers often put pressure on themselves to be the highest achievers, universities should be pushier about trying to disband this toxic culture. One way to do this is to change the attitude to what ‘successful’ means. Asking the same students what ‘success’ means to them, I received fairly similar answers, all along the line of rising to the top of their respective corporate ladder and bringing themselves to the peak of their careers. Essentially, who can become the best corporate robot. What all these definitions lack: personal development. The University of Bristol should be praised for their efforts. The Bristol PLUS Award encompasses the best of both worlds: it promotes employability through the development of personal and interpersonal skills, without hopping on the trend of corporate glorification. One learns what success means not by selling their soul to become the top dog at a company, but by learning the skills that can make that a whole lot easier, such as entrepreneur-

ship, networking, and negotiation. While coming into the job market with a first-class degree might put you ahead of some candidates, being able to demonstrate these skills on applications and during interviews will pay you dividends. As such, let’s not pin too much

blame on the universities, and maybe give them a little bit of credit – after all, they are trying their best. We need to kill the culture of corporate glorification, as this is what is truly driving burnout to breaking point.

Features

‘A

university-wide

shift

to standardise students’

educational experience’: How do students feel about the new academic year structure?

Nel Roden speaks to students to gather their thoughts on the new academic year structure.

Nel Roden

Features Editor

As Welcome Week draws to a close, students across all disciplines at the University of Bristol prepare for their return to academic life. For some, this will be their first time getting back into the academic routine, while others may be returning for the second, third, or even final time. Regardless of their experience, everyone will encounter something new this year with the updated structure of the University of Bristol’s academic calendar. In February earlier this year, the University of Bristol announced its plans to restructure the academic calendar. They offered a detailed breakdown of the changes that will be implemented and rolled out in September 2024. Such changes come about as a result of student feedback, to which the university responded as follows: ‘[Students] told us you were not getting a proper break during the winter holiday because you had to use your time writing or revising for January assessments. The new structure will allow you to complete exams and assessments before the winter break’.

'It always felt a bit strange that we came back to university so late in September’

In addition to this, the university’s statement also touched on students’ concerns about receiving timely feedback on assessments and coursework. To address this issue, they clarified that ‘the earlier reassessment period will give [students] more time to prepare for the next academic year and the earlier TB1 assessment period will help you with your learning through TB2’. While the university plans on retaining its usual two teaching blocks split across the year, it has opted to change the timing of assess-

ments to ‘ensure that students are given information about their progression [to next stage of study] in good time’. Although the amendments made to the university’s academic year were done in response to criticisms of its original structure, how do students feel about the changes that are being implemented now that Week One is just around the corner? Epigram spoke to four students to gain insight into how they believe the new academic year structure will impact their studies. When asked whether they anticipated that the changes would improve or worsen their academic experience, the students all shared a similar view that it would make for a better university experience, particularly during TB1. Fourth-year English student, Robin, believes the changes are ‘indicative of a university-wide shift to standardise students’ educational experience’. She emphasised that such changes are particularly necessary ‘given the ubiquitous disruption young people have faced throughout the past four years of their academic endeavours’, citing COVID-19, teaching strikes and marking boycotts as major instances that have affected students’ studies. Third-year Biology student, Conor, shares a similar outlook on the updated structure, noting that it ‘always felt a bit strange that we came back to university so late in September’. He continues: ‘I personally feel more motivated to start my studies early in September, so returning to university at an earlier date will hopefully capture some of that momentum rather than coming back later on in the month when I begin to feel more in-

‘This change is necessary to counter the stricter rules on extensions and exceptional circumstances'

different towards studying’. A key aspect of the restructuring that all interviewees agree with is the implementation of a standardised consolidation – or ‘reading’ – week. While in previous years consolidation weeks have varied across subjects, the university has now established that ‘halfway through both terms, taught students on programmes that follow the standard structure of the year will have the same consolidation week’. Fourthyear Chemistry student, James, sees this as a positive adjustment, as in previous years, he writes, ‘I’ve had my reading week one or two weeks after my friends, so it will be nice to have them line up this time around’. Conor echoed this thought, noting that having consistent consolidation weeks across the university term ‘just makes more sense’. Robin also views the standardisation as a step in the right direction, particularly for alleviating the pressure students experience whilst at university: ‘This change is necessary to counter the stricter rules on extensions and exceptional circumstances – hopefully, students will now feel that the calendar offers as much opportunity as possible to have much needed time to decompress’. Despite this, interviewees expressed concerns over the shorter time frame for TB1 assessments, with the assessment period now scheduled to take place between the 9th and the 13th of December. MSc Sociology student, Eleri, shares her apprehensions about having end-of-term assessments clash with ongoing teaching, this now ‘meaning less free time to complete coursework essays’. Similar concerns were voiced by Conor, who notes that it is ‘unfortunate that TB1 could become more intense... To read more, go to Epigram.co.uk

Editor

Co-Deputy Editor

Subeditor

Features Correspondent

Nel Roden

Jess Cohen

Daisy Yates

Ilona Hoffmann

Reuben Kerbes

Ben Chester

Managing academic pressure at university

Daisy Yates speaks to students to investigate the issue of academic pressure.

Daisy Yates

Co-Deputy Features Editor

while many reminisce that university was the best time of their lives, the reality for students is often very different. Research shows that, on average, 45 per cent of students in the UK feel ‘extremely stressed’ by their degree. Students are struggling with the demands of balancing coursework, extracurricular activities, and personal responsibilities. At the University of Bristol, deadlines are tight and expectations are high which can take a serious toll on well-being and mental health. In 2022, the National Institute for Health and Care Excellence (NICE) conducted research into the risk factors for increased mental health in students and found that workload pressures posed a significant threat to their well-being. It was found that students who are ‘focused on the possibility of failure’ and ‘experience imposter syndrome, perfectionism, or low self-efficacy’, are found to be more likely to develop mental health problems such as anxiety. Epigram spoke to Rosie, a second-year Medicine student about her experiences of academic pressure. She explains that ‘naturally, medical students are very competitive, typically used to achieving top grades. Being put amongst students who all achieve grades at that level can definitely cause competition’. In 2024, UCAS reported that 24,150 students applied to study Medicine across the UK, however, only 7,100 places were available for home students and around 500 for international applicants. This reduction in spots has the potential to create a highly competitive academic environment, potentially leading to sig-

‘I find making todo lists so useful in helping me create manageable chunks in my day'

nificant negative impacts on students' mental well-being. This issue is, however, not confined to STEM subjects. A Unihealth study found that 80 per cent of students studying in higher education reported symptoms of stress or anxiety. Ilona, a fourth-year Liberal Arts student, explained that while studying humanities, instead of in-person exams, she has to write ‘three very large essays which [she] found quite overwhelming’. She went on to disclose that in addition to this, the essay grading system at the University of Bristol makes it ‘difficult to understand exactly what your professor is looking for’. Despite this, there are ways for students to mitigate and manage the academic expectations that are placed upon them. The University of Bristol offers assessment support, advice on exam board outcomes, and course transfer issues for any students who are struggling academically, facing unexpected challenges, or considering changes to their academic path. In addition to practical support options, the university also offers Student Counselling services, which can be requested through the university website. During her interview, Ilona offered some advice on how she manages her academic demands: ‘I find making to-do lists so useful in helping me create manageable chunks in my day to set aside to do a task’. She went on to share that the ‘golden rule’ she has cultivated during her time at university is to ‘actively plan to meet up with a friend every day’. She noted that this ‘ensures I don’t live at the library and helps me feel like I’ve had a day that didn’t purely revolve around essay writing or reading’.

NHS organisation, Better Health, offers 6 top tips for managing stress, , including talking to trusted friends and family... To read more, go to Epigram.co.uk

University of Bristol's Sustainability Policy: Is it enough?

Anna Dodd evaluates sustainability measures at the University of Bristol

Anna Dodd

Third Year, English

Amongst the many challenges students of this generation will face in the next century, climate change poses the greatest threat, and will, if it continues at its current pace, undoubtedly affect us all. The next six years are set to be some of the most crucial in humanity’s history, with scientists predicting we must achieve net zero by 2050 to stop the effects of climate change from becoming irreversible.

Researchers from the University of Bristol contributed to a 2018 report confirming that the global temperature rise must not exceed 1.5 °C by 2030 to preserve a habitable climate. This target must be met, to prevent significant environmental impacts such as the deterioration of the food supply chain, and the destruction of ecosystems. At their scale of outreach, universities are the ideal institution to lead the way in battling climate change. Universities predominantly serve the lives of young people, which is why it is integral to promote sustainability as a core goal, to inspire the next generation. During the 2022/23 academic year, universities generated a total of £40.8bn, making up 1.6 per cent of the UK’s GDP. Given their level of impact as a national as-

set, universities undoubtedly have the economic potential to benefit the world we inhabit.

Through durable initiatives and collaborative efforts climate change can be slowed down. 96 per cent of UK universities, including Bristol, which was the first to declare a climate emergency in 2019, have proposed strategies to reduce carbon emissions in recent years. The university has publicly outlined numerous ambitious goals and targets it plans to meet, such as an eight-step plan to have a carbon-neutral campus by 2030. It also plays a key role in sustainability research through the Cabot Institute for the Environment involving individuals from a wide range of perspectives to help ‘solve the biggest global environmental challenges’.

The University of Bristol launched the ‘Be the Change’ campaign in 2022 which tackles the climate emergency on an individual level. The university explained the motivation behind this scheme is to empower staff and students ‘with tangible things they can each do to make a difference’. The climate emergency can often leave one feeling powerless, but the focus of this campaign is on minor changes students and staff can make to their lives to become more sustainable, such as eating more plantbased meals, having shorter showers, and volunteering.

Epigram reached out to approximately 40 students through a survey to gather their views on how satisfied they were with the university’s efforts, and to

ascertain how important sustainability was to them.

When asked if it was very important, somewhat important, or not at all important to them that the university is a sustainable institution, 57 per cent responded that it was very important, and 42 per cent felt it was somewhat important. No students selected ‘Not at all important’.

One student explained, ‘Climate change is incredibly scary and soon to becoming a daunting reality so anything we can to do minimise would help, especially as the uni is a huge institution’. When asked to list examples of sustainable schemes they felt worked well around the university, multiple students included the charge for a disposable cup in source cafes, as well as the frequency of recycling systems across campus. One response specifically noted more covert sustainable choices for students, such as access to online resources to avoid the need

to buy textbooks, and motion-sensor lights in buildings.

Another opportunity for students to become more sustainable is the Moves+ app. By connecting an activity tracker to the app, students and staff can receive rewards based on their activity levels. A hugely popular reward is a free drink up to the value of £2.50 in one of the university’s source cafes. This not only saves money but also encourages more walking across the city, requiring less use of transport such as buses or cars, and reduces the student body's carbon footprint.

Several students were content with the university’s efforts, with one concluding that ‘The university clearly does a lot to stay sustainable and should continue to do so as long as it meets and prioritises the everyday needs of the students’. However, others took a more cynical view. The majority reported that they were only ‘Somewhat aware’ of the university’s sustaina-

bility efforts and 85 per cent felt that it could do more to reduce their carbon footprint. One student expressed their frustration, noting that ‘The university is a big organisation, they should be on top of this’. Student suggestions for improvements in this area included installing more reward-based systems, with a sustainable approach in mind, which would give students motivation to reduce their carbon footprint in manageable and easily achievable ways. From a student perspective, the University of Bristol could do more to make its goals and targets clearer. The more transparency the university has with its students, staff, and the public, the more they can be held accountable. The strategies set up are certainly commendable but don’t necessarily acknowledge indirect sources of emissions from their supply chains and investments. People & Planet’s University League ranks universities on

Image courtesy of Daisy Yates

Spotlight | More than just a shop: Visiting the Clifton Community Bookshop

Elizabeth Abbott speaks to a volunteer at the Bookshop to explore its role in the local community.

Elizabeth Abbott

Third Year, History and English

With technology now playing a key role in how we form connections with others, it is easy to overlook the importance of preserving in-person community hubs. For Ella, a volunteer at the Clifton Community Bookshop, one of the central aspects of the shop is fostering community.

Nestled just outside Clifton Village, the Clifton Community Bookshop was established to sell ‘low-cost books for local people’ and to provide ‘a space for the community’. In addition to this, the shop showcases the multi-facet-

ed nature of Bristol’s cultural scene as a space that is also hired out for creative classes and events. The proceeds of the outlet go towards local arts charity, The Studio Upstairs, which provides art workshops for people with mental or emotional difficulties.

To gain insight into the shop’s ethos, Epigram spoke to Ella, who has been volunteering at Clifton Community Bookshop for three years.

When Epigram visited on a typical Saturday morning, customers were regularly wandering in and out of the shop.

One woman, who was dropping off some books for the first time, even exclaimed, ‘I think you’re fantastic here’, and promised to donate her books every time she returned to Clifton. The day unfolded against a backdrop of contented, book-loving visitors.

When asked about the availability of community spaces

in Bristol, Ella expressed concern that there aren’t enough. She did, however, stress that the Clifton Community Bookshop is a step in the right direction, emphasising that ‘it is such an important space [for the community] to have’.

Ella believes that by nature a bookshop is a ‘community’ space. However, beyond the name, there are concrete ways to measure this role. The bookshop is a key attraction in Bristol, bringing people together from all walks of life through their shared love of reading. The shop has recently taken steps to expand its appeal and attract a broader audience. In an effort to create a more inclusive environment, they have introduced a dedicated children’s section, recognising the importance of fostering a love for reading from a young age. In addition to connecting the wider Bristol community, the bookshop places a strong

emphasis on fostering a closeknit, supportive environment for its volunteers. The owner of the shop, Jane Brown, organises several get-togethers for the volunteers, with the volunteer group chat providing a space for togetherness.

For Ella, the bookshop has been a consistent presence throughout her time at university. Though she began volunteering because she loved books, the shop has now become a much-needed space for Ella to take a break from the stresses of university life. For other visitors, it provides a break from work and everyday stresses.

Not only do customers visit the bookshop for its expansive selection of books, but also for the array of creative workshops the outlet offers. On most Tuesday evenings from seven to nine, the shop is open for their ‘Tuesday Talks’, an event that aims to ‘bring together

like-minded people, to present new projects, and just to talk about interesting things’. On a Wednesday evening once a month the shop hosts what it describes as a ‘mid-brow’ Book Club, with the first Wednesday of each month being reserved for a Tarot Study Group where the only requirement for attendance is that you ‘bring your curiosity and intuition’. Additionally, every Thursday the shop is transformed into a space for yoga classes. Hosted by Pam, a ‘multi-disciplined practitioner in everything from yoga, dance, movement, and radio’, the class aims to help those attending build their strength and explore ‘a deep sense of relaxation’. The interview with Ella only brightened the already glowing image of the bookshop, highlighting how much more it is than just a place to buy books... To read more, go to Epigram.co.uk

In Conversation with Marc Burrows on The Magic of Terry Pratchett

Epigram sat down with Marc Burrows, author of The Magic of Terry Pratchett, to discuss his career.

Reuben Kerbes

Features Subeditor

Marc Burrows, author of the first biography of Sir Terry Pratchett - The Magic of Terry Pratchett, and has adapted this into a stand-up comedy show to celebrate the 40th anniversary of Discworld. This show presents Pratchett’s life, his career and his battle with Alzheimer’s. Marc’s show is coming to Bristol's Redgrave Theatre on 19th September, and Epigram was offered an exclusive interview prior to the show, and couldn’t possibly turn it down! What inspired you to turn the book into a show?

'I always intended to turn the book into a show, just because I’m a stand-up and it's what I do. I've always had an eye on what my next show is going to

be, and it seemed for the same reason that writing the book felt like a no-brainer. It was a great story and I knew there was an inbuilt audience that would show up for it, which when you're doing this sort of thing is incredibly difficult to guarantee and also because I think Terry's story works really well in the context of a comedy show. I knew I'd be able to do what Terry did, which was essentially write something that was ostensibly about one thing but really was about something else. In the same way that his book Truckers (1989) is ostensibly about little Gnomes that live in a department store and learn to drive a lorry, but it’s about how religion constricts people and stops people from fulfilling their own potential. It's ostensibly about Terry Pratchett, but it's a show about the kind of enduring power of storytelling and the way we use storytelling to define our place in the universe. In terms of things that were difficult about adapting the first

version of it, I tried to tell the story that I told in the book, and there just isn’t time like that, so I had to go back and change the structure completely.

Now that you’re nearing the end of your tour, what’s next for you?

'I’ve got a book about Nirvana that comes out in a few months, and a few other non-fiction books I’m contracted to write. In terms of what’s next in performing, I’ve got a bunch of stand-up show ideas. I want to do something about 90s music and Brit-pop, and this might feel like a good year to do that, if Oasis can do Edinburgh Fringe, so can I! But there’s more of Magic of Terry Pratchett to come, it won’t be a big chunk of touring across the country but there are going to be some isolated shows, like a couple of the comedy festivals in Australia and a few dates here and there in the US'... To read more, go to Epigram.co.uk

Image courtesy of Kim Burrows

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Powerful, emotional, and resonant: Wonder Boy at the Bristol Old Vic

Wonder Boy is, in three words, powerful, emotional, and resonant.

Third Year Computer-Science

Amaan Ali Co-Editor in Chief

Wonder Boy, written by Ross Willis, is simple yet deeply affecting, following the story of Sonny (portrayed by Hilson Agbangbe) a 12-year-old boy who suffers from a severe stutter. Sonny loves to draw and has a vivid imagination. One of his creations, a comic book superhero named ‘Captain Chatter’ (portrayed by Ciaran O’Breen) is portrayed as a distinct character, acting as a voice inside Sonny's head. Sometimes this inner voice offers encouragement, but it sometimes sows doubt, convincing Sonny that he'll never overcome his stutter or the challenges life throws at him.

A unique and striking element of the production is its use of "subtitles" projected behind the actors. However, calling them subtitles doesn’t quite do them justice — they are full of personality and interwoven with special effects, adding a dynamic layer to the performance. This creative choice injects energy into the play and emphasises its message

'A unique and striking element of the production is in its use of subtitles projected behind the actors.'

of being misunderstood by allowing us to see what sonny is thinking in times when he is struggling to speak. Throughout the play, Sonny battles with these inner conﬂicts associated with his stutter while preparing for a pivotal moment—delivering a few lines in his school play. He is supported by his friend Roshi (portrayed by Naia Elliott-Spence) who acts as comedy relief while also complementing the

theme of being misunderstood. Roshi, although seemingly more articulate, also deals with the weight of being unheard due to her race and economic background. The play masterfully shows that even though Roshi can speak perfectly she struggles deeply with societal stereotypes and challenges associated with being a young black girl. Sonny’s teacher (portrayed by Eva Scott) plays a key role in his growth, helping him navigate his trauma and build the courage to speak, especially as he grapples with the loss of his mother who Sonny believes he is responsible for due to his stutter.

The stutter itself becomes a powerful metaphor for how society marginalises the voices of the poor and disadvantaged. The principal (portrayed by Jess Murrain) acts as the pseudo villain of the play where we learn that the pressure from the government to meet quotas and standards often doesn’t align

with the real help disadvantaged students need to truly be successful.

The play masterfully illustrates that the struggle to be

'The stutter itself becomes a powerful metaphor for how society marginalises the voices of the poor and the disadvantaged.'

understood is universal. It uses Sonny’s stutter not just as a unique struggle for him, but as a lens through which to explore broader issues of communication, isolation, and societal indifference. Roshi's experiences further deepen this message, making the play's commentary on society's refusal to listen even more powerful. The performance of the actors was outstanding, and they truly did the production justice and had moments that had us both in tears making it a memorable and

thought-provoking experience that neither of us will forget anytime soon.

Image courtesy of Steve Tanner

Edward Boileau

Image courtesy of Bristol

Old Vic

Review | 'One More Edit' - Bristol Old Vic Online

A goldﬁsh, a running track and men dressed as women. This collection of short dance ﬁlms offers an eclecticism of performanc-

Sarah

Mortimore

History Masters

Curated by Bristol-based company Impermanence, One More Edit is a diverse selection of short dance ﬁlms showcasing UK and international artists. Comprised of 10 pieces varying from 1 to 30 minutes, the collection showcases a refreshing and diverse range of choreography, ideas, scores and settings.

The selection opens with themes we have become alltoo familiar with. As enigmatic long-takes of dancers move across an athletics track, Jack Thomson’s We Are Ready Now explores the experiences of being both together and alone through time.

GOLDFISH, a piece by Bristol-based ﬁlmmakers Karni and Saul offers a playful representation of the physical and emotional conﬁnement many of us have felt over the past year, as dancer Natalia Iwaniek moves pushed up against the window of a front room.

Impermanences’s own contribution to the line-up, Enemy of the Stars, is a response to Wyndham Lewis’ 1914 short play of the same name.

Roseanna Anderson and Josh Ben-Tovim’s stirring choreography is performed by two male dancers, with sparse cinematography set against a derelict gorge. A portrayal of the millions of soldiers who would later lose their lives in WWI, these new creative directors have captured the virility and tragedy associated with a war-torn generation well.

The intimacy of the piece immediately draws you in, the dancer’s heavy breathing and expression captured by the cameras. The pair move with strength and ﬂuidity, which is punctuated by uncertain moments of contortion and chaos. To this Alexander Hamilton-Ayres’ unpredictable, eerie score is

a ﬁtting background.

Dancing to Art from Corali was another standout choice.

A company led by performers with alearning disability, the four-person ﬁlm offers the dancer’s personal interpretations of works hanging on the walls in one of Tate Britain’s art galleries.

This ﬁlm is a colourful reminder of the joys all arts offer us for self-expression, and the excitement when these are combined.

The inclusion of Edits Film from The Featherstonehaughs, (now a disbanded company) also felt particularly special. This ﬁlm of the all-male group by Marisa Zanetti follows the six dancers who, dressed as women, explore archetypal

expressions of femininity. By following the dancers both on and off stage, the ﬁlm throws up some interesting questions about gender norms as a performance. Whilst we are all missing the energy of live theatre, these short ﬁlms are a reminder of the creative opportunities brought when the physical stage is removed as an option. They showcase the different experience that can be gleaned when choreography is combined with cinematography, visual effects and the environment and their international scope highlights the universal language of movement.

Feature | Experimental art in the age of the internet

A tour of Berlin's gallery spaces proves fruitful in the discussion between A.I and Art, with Artist trio Troika

Bruno Bridger Arts Editor

Much of today’s criticism surrounding the output of contemporary art can be seen as in conversation with the emergence of A.I and digital technologies. With signiﬁcant ﬁgures in the art world such as Mario Klingemann, choosing to use image-generating software in his work and Ai Wei Wei, who referred to art that can be easily replicated by A.I as being ‘meaningless’ in an interview with The Guardian early this year, falling on disparate ends of the spectrum, suggesting that perhaps looking towards contemporary work that provides some nuance to the subject would be a refreshing and necessary exercise.

When visiting Berlin over the summer, I was lucky enough to catch Artist-trio Troika’s solo show ‘anima atman’ at the Max Goelitz gallery. The trio, made up of artists Eva Rucki, Conny Freyer and Sebastien Noel presented a body of work that seemingly melded many of the disparate contemporary perspectives on A.I and art, bringing what I believe to be a much needed-balance to contemporary art conversations. A series of paintings, titled ‘Irma watched over by machines’ (2021) (pictured) I not only found to be visually engag-

ing on an aesthetic level but in turn, seemed to encapsulate the artists philosophy through a material approach. Taking from video recordings of Hurricane Katrina, and moving them onto the canvas, by way of a pixelated approach to colour mosaic, presented works straddling both the material and digital realms. The use of green hues, which the human eye is naturally sensitive towards, allowed for the paintings to appear as both affected by the methodical technicalities of non-human technology as well as intimately engaging with human imperfections. Further, in using natural disaster as its subject matter, Troika seemingly understands the importance of foregrounding and retaining emotional, human response within art, while still exploring the potentialiality of digital technology.

I left The Max Goelitz gallery with a renewed sense of hope. Both for arts ability to retain nuance in an age of seemingly endless disparity of belief and opinion, as well as its potential to engage with the reality of increasing digital involvement within the arts, while still holding belief in the power of human feeling.

''in using natural disaster as its subject matter, troika seemingly understands the importance of foregrounding and retaining emotional, human response'

Image courtesy of Steve Tanner

Image

courtesy of Bruno

Bridger

Film & TV

I’ll Be Back, You’ll Be Back:

Does the Film Industry Have a Sequel Problem?

"The question that ends up forming is, who is this sequel even for?"

Ellen Jones 3rd Year Poltics and International Relations

Judging solely from the reactions of the cinema where I saw Alien: Romulus (2024), you might easily ﬁnd yourself concluding that the part of the ﬁlm we all enjoyed most was the callback to Aliens (1986), when Andy says: “get away from her, you bitch!”

Alien: Romulus wasn’t a bad film. It wasn’t even a bad Alien (1979) sequel, providing the core trifecta of fan-service, a crew on a mission, and an alien picking them off, one-by-one—what more could we ask from another Alien installation, 45 years since the first came out? Yet at the same time, it’s surely telling that the part of your film that the audience connects most with is the bit where you go: hey, remember this other film, ‘Aliens’? Yeah…wasn’t that one great!

Like the wave of other sequels which are flooding, or are set to flood, cinemas now (including Shrek 5, Jurassic World: Rebirth, Legally Blonde 3, and Mission Impossible: Dead Reckoning Part 2), Alien: Romulus finds itself almost between a rock and a hard place, between

hardcore fans of the franchise, already prepared (and sometimes determined) to be underwhelmed, and those who were never Alien fans in the ﬁrst place, and so even less likely to give it a chance.

The question that ends up forming is, who is this sequel even for? Except that a single glance at the landscape of film today reveals that it is over-saturated by sequels, remakes, and Disney flicks shuffling down the industry conveyer belt and milking our nostalgia for all it’s worth— of the 20 highest-grossing films of 2023, only six were not sequels, remakes or reboots, and of those six, a further three were still adaptations based on pre-existing media or products, like toys or video games. Thus, the question becomes, who are any of these sequels for, and why are there so many?

Of course, not all sequels are destined for lacklustre reception, a famous example of this coming from the Alien franchise itself: Aliens (1986) is generally considered at least as good as Alien (1979), as reﬂected by the callback it’s honoured with in Alien: Romulus. Similarly, The Godfather II (1974), and my choices for high cinema—Paddington 2 (2017) and Shrek 2 (2004)—are heralded as sequels that not only manage to justify themselves, the

make-or-break test for all franchise additions, but may even surpass their predecessors in doing so. Sequels are not few and far between—but genuinely well-received sequels are.

The fact is that along with prequels and remakes, they’re the safest possible bet for the industry—they allow them to capitalise on pre-existing audiences amassed by previous ﬁlms, with very little promotional work on their part. Whether that audience leaves the cinema satisﬁed or not is of little consequence to studios who have already pocketed the cost of their tickets.

Following the rise of streaming, the COVID-19 pandemic, and the exploitation of writers and actors which prompted the WGA and SAG-AFTRA strikes of 2023, the industry was in a tricky place; pumping out ﬁlms with a guaranteed audience was, and remains, the easiest way to make cash. If it ain’t broke, don’t ﬁx it: why risk creating something new and trying to attract interest, when you can release Avatar 3, 4, 5 (seriously), and know you’ve already got it? Such thinking appears to contradict that old adage of capitalism breeding innovation—rather, it feels more like a vending machine: stock it full of three Avatar sequels, another Mission Impossible and a Captain America, and the fans will come to you, cash in hand.

cism: there should always be room for sequels in the industry, both the critically-acclaimed ones and the (allegedly) lazy cash-grabs which stand or fall on their callbacks, but are still lots of fun. But in the interest of the art of filmmaking, there probably shouldn’t be this much room, and the excessive proportion of new releases which are sequels, remakes or additions to an existing cinematic franchise is to the detriment of original pictures which, given the backing, could come to define the current era of film, the way the films all our sequels are based on defined theirs; film critic Matt Zoller Seitz describes this as the ‘decisive defeat of “cinema” by “content.”’

There’s an argument that there must be a trade-off, that cash-cow sequels generate funding which can then be injected into fresher, more creative projects. But you’d be forgiven for looking at the ratio of new ﬁlms to franchise additions being released, and feeling sceptical that the gazillionth Fast & Furious installation is truly the magnanimous, greased-up benefactor of cutting-edge cinema that this defence would have you believe. If it was, well—where’s all our cutting-edge cinema? Hiding behind Vin Diesel?

The cultural success of ﬁlms like Barbie and Oppenheim-

er in 2023, and Challengers this year—whether we liked them or not—demonstrates a genuine appetite for original stories amongst cinema-goers, which studios apparently underestimate. ‘Barbenheimer’ was the memorable cinematic event of last year—not Indiana Jones 5 or Creed III. The industry’s reliance on sequels is stiﬂing opportunities for original art, and failing to give audiences’ curiosity enough credit.

Maybe, then, it’s not the industry which has a sequel problem—perhaps it’s us, the viewers. A widespread weariness with sequels reflects a desire for our own classics like Alien (1979), as much as we want the Aliens (1986) and the Alien: Romuluses (2024) they might go on to inspire—but it takes a willingness from studios, backed by funding, to take risks, and to value their art the way they value their profits. Just as a girl cannot live on vending machines alone, film fans cannot live on sequels, convenient and familiar as rows of Snickers bars and blue aliens in loincloths may be.

What are your thoughts on sequels? Has the industry taken a hit and become oversaturated or do you welcome these expansions on some of the most beloved stories?

Why You Should Be Obsessed with Julio Torres

Throughout his body of work, Torres always maintains the idea that uniqueness is never a burden but a magical gift.

Leo Hincks

3rd Year, Film and Theatre

Ihate to write a title that insinuates that queer-surrealist comedian Julio Torres isn’t as insanely successful as he already is. But for context, I believe he’s not as popular in the student accoms of Bristol, UK as he would be, let’s say, in a ﬂat share in Bushwick, New York.

Ever since I was thirteen, I have been deeply obsessed with the work of Julio Torres. I didn’t realise this however, until I was 16. Before releasing his own A24 movie and HBO series this year, Torres started out as a writer on Saturday Night Live. You’ve probably seen the sketch Papyrus which explores Ryan Gosling playing a man obsessed and tortured over the fact that the Avatar franchise uses the papyrus font for their title. Or perhaps you have seen (arguably the greatest piece of media ever) The Actress, which stars Emma Stone as a woman tackling her most challenging role yet, an extra in a gay porn ﬁlm. Torres is the brains behind these viral sketches, but for some reason, the SNL YouTube channel hates to credit their writers. If

I wasn’t so chronically online, I may never have known he was responsible for such high art. Whilst these sketches are hilarious, Torres’ still manages to highlight beauty and vulnerability in his writing through his campy dramatisations of the small parts of life. And this hasn’t stopped at SNL, he has gone on to expand this in his independent work.

Problemista (2024), written, directed, and starring Torres (wow) was stupidly tossed into a UK digital release in July, when it deserves to be seen on the biggest screen possible. The ﬁlm is an irresistible tale partly based on Torres’s own life, it focuses on Alejandro, played by Torres, who has moved from El Salvador to New York City, in hopes of becoming a toy designer for Hasbro. Alejandro, in a race against time to secure his work Visa, becomes a freelance assistant for Art critic Elizabeth, played by Tilda Swinton, as she could end up being his visa sponsor.

The ﬁlm takes the viewer through the practically impossible process of US Immigration as seen through the unique lens of Julio Torres’ mind. This is marvellously paired with Elizabeth, a woman with London Bus-red hair, heavy eyeliner, and a phone

torch that is always on. She is a hilariously erratic character acting as both the film’s villain and platonic love-interest. I was apprehensive about Swinton’s character at first, as I find that any ‘Can I speak to your manager?’ Karen characters in comedy have become cringey. But Torres breathes new life into the archetype, offering a nuance to her character and imbuing her with a sense of warmth and intricacy that ‘Karens’ are so often denied.

Swinton is genuinely at her best here: you can tell she’s having the time of her life playing around with the colourful set, if she is having fun

acting, we are having just as much fun watching.

Her character, Elizabeth wreaks havoc on those around her, but Alejandro isn’t scared, he is drawn to her. Throughout queer history there is a canon of queer men being inspired and connected to the ‘mad-woman’ character that most would brush off. From Joan Crawford in Strait-Jacket (1964), Kathleen Turner in Serial Mom (1994) and Dorinda Medley in The Real Housewives of New York (2008), there has always been a queer audience for enraged women. Torres has written this character not to be made

fun of, but to be inspired by. As Elizabeth says after Alejandro receives a rejection from a ‘do-not-reply’ email, “You won’t get anything in life if you’re hoping for answers from an entity. Find someone and make yourself a problem to them”.

Just when I thought Problemista was enough to satisfy me for at least a decade, along comes Fantasmas. This show follows Torres playing a surreal version of himself.

Go check out the rest of this amazing article on our website: Epgiram.org.uk

Pulp Fiction: Quentin Tarantino’s 1994 Classic Turns

30 This Year but Never Gets Old

It not only revived John Travolta’s career but also turned Samuel L. Jackson into a superstar while conﬁrming Uma Thurman as a leading actress of her generation.

Nadiya Jackson Film & TV Subeditor

Thirty years on, the cinematic masterpiece that redefined film is returning to cinemas so we can witness the madness on the big screen. If you haven’t already succumbed to the pressure to watch one of the most praised films, then now is your chance. Produced on a (comparatively) modest budget of $8

million (Titanic, released in 1997, had a budget of $200 million), the film’s impact has since transcended its humble origins, resonating with audiences around the world and maintaining its relevance three decades later. Its ever-present poster of Uma Thurman as Mia Wallace, lounging provocatively on a bed while smoking, remains a staple of pop culture, adorning the walls of teenage bedrooms, bars, and coffee shops alike. The film’s dialogue, soundtrack, and characters have left a lasting imprint on film, television, and even music videos.

Its eccentric storytelling, dark humour, and vibrant aesthetic have made it a cinematic favourite, and the movie is now returning to theatres on the 23rd of August in glorious 4K to mark its 30th anniversary.

Tarantino’s apparent disregard for traditional culture has cemented his place as a revolutionary ﬁlmmaker. He has always been an outspoken advocate of the cinematic experience. Known for his distinctive dialogue, genre-bending, and ability to fuse pop culture with ﬁlm history, Pulp Fiction is quintessentially “Tarantino.”

His movies defy conventional storytelling, and this is a prime example of that boldness. The ﬁlm’s nonlinear structure challenges viewers while offering multiple layers of narrative depth. The central plot weaves together the lives of two hitmen, Vincent Vega (John Travolta) and Jules Winnﬁeld (Samuel L. Jackson), their quest to retrieve a mysterious briefcase

for their mob boss, Marsellus Wallace (Ving Rhames), and a semi-retired boxer (Bruce Willis) navigating his own way out of trouble. Tarantino’s genius lies in taking these seemingly disparate characters and stories and tying them together into a cohesive whole. For the full article, please head to our website: Epigram.org.uk

Images Courtesy of IMDb

Music

Editor

Benji Chapman

Co-Deputy Editor

Aditi Hrisheekesh

Co-Deputy Editor

Megan Foulk

Subeditor

In Conversation With Wunderhorse

With the release of their newest project Midas, the band share their headspace and the facets of its creation.

Megan Foulk

Co-Deputy Editor

Hitting the road with their new album Midas alongside a European tour with Fontaines D.C., Epigram talk to Wunderhorse about abandoning social media in favour of introspection and honesty.

Politeness gets the better of me as Jacob Slater returns to his seat on my laptop screen after making a cup of tea. I’m his final press interview of the day and with a week until the album’s release, the atmosphere is at risk of feeling over-rehearsed. Thanking him diligently for his time, twenty minutes of social media repudiation and a desperate attempt to understand the London rental market ensues.

Although well-acquainted with press babble thanks to his previous project The Dead Pretties and a television debut as ‘Paul Cook’ in Danny Boyle’s

miniseries Pistol (2022), Slater doesn’t feel too at home in the hot seat. As we attempt to untangle the marketing minefield that is today’s online and reality - it’s easy to see why.

Diving into the recording process for Midas, I ask the Wunderhorse frontman about his almost-radical-these-days decision to turn his phone off whilst working in the studio in Minnesota. Instantly, I wonder why I asked. For Slater, being off grid beats doom scrolling every day of the week. ‘I know maybe some people get off on

some kind of hyperstimulation with [social media]’ … ‘but it doesn’t work at all for my brain … it totally takes me out of the world that I’m in and doesn’t allow me any time to think’.

'It doesn't work at all for my brain... It totally takes me out of the world I'm in'

Instead, he praises boredom for much of his creativity. ‘To come up with creative ideas you have to be bored some of the time, so your mind begins to create its own

world to escape into, I think that’s partially where songs come from, trying to make sense of things that you’re sitting with, brooding with’.

It’s this authentic, introspective approach to Wunderhorse’s writing that I find refreshing. Plunging their heads into the sand for a moment away from the hullabaloo makes for a contemplative, reflective album that’s safe from the sting of social media.

Regardless of his scepticism, I’m eager to get Slater’s take on the ‘Brat Summer’ PR tsunami that has flooded popular culture over recent months, albeit perhaps for selfish hope of enlightenment as to the music industry’s PR tactics. Yet, whilst admitting ‘[social media] is a strange beast I haven’t quite figured out yet’, Slater and I are in agreement: ‘you have to take your hat off to [Charli XCX]’ … ‘I found it really interesting how the whole thing developed – you have to respect something like that.’

Undoubtedly a traditionalist when it comes to music-making, I decide in a moment of

What's on in Bristol this Autumn?

Credit: Listen Up

DnB Allstars @ Document

26th Oct

Perhaps the only thing scarier than a horde of monsters on a Halloween night would be a crowd of Bristol University students, swarming a 360 degree stage thanks to DnB allstars’ relentless efforts in the drum and bass circuit.

The night features all the food groups for lovers of a big night out to commemorate the spooky occasion: Sub Focus, A.M.C and Bladerunner to name but a few. All names that have sporadically featured across the summer months in Bristol, only a force as strong as DnB allstars will be able to unite them.

Royel Otis @ Marble Factory, 26th Nov

Australian duo Royel Otis are seizing their near-immediate rise to fame after their viral 'Murder on the Dancefloor' cover for Triple J’s Like A Version earlier this year floating to the surface of a Saltburn-crazed internet.

Touring their debut album PRATTS & PAIN, this gig is sure to encapsulate the excitable, energetic sound of a group in their early stages of worldwide success. The fresh-faced band will take to The Marble Factory in Motion, one of the nation’s most beloved and ever-evolving venues, with an equally exhilarating night of dance tunes afterwards.

Sports Team @ Trinity Centre, 27th Nov

Returning to Bristol after two years to kick off their campaign for their third album release Boys These Days, Sports Team brings their raucous sound to the Trinity Centre. The quintessentially British and tongue-in-cheek lyricism have had their previous two albums carried to critical acclaim by folks across the UK, who are rewarded with the noise and anarchy brought to the band’s live shows, often accompanied with a pub voyage afterwards dictated on the band’s socials.

We’re expecting this show to be no different, with the band coming back with a bang in the form of their single release 'I’m in Love (Subaru)' released in July.

Chamber Orchestra @ Vic Rooms, 30th Nov

As first term draws to a close, Bristol University Music Society, the University’s collective for classical musicians, returns with a stellar lineup of repertoire for their winter concert series. Sitting comfortably on their home stage in the Victoria Rooms, the society’s Chamber Orchestra prepare to welcome you into the festive season, with a captivating and reflective concert to calm the chaos of term one.

Conducted by Third Year Music student Jago Webb, expect to get lost in the spellbinding symphonies of the classical world, all for a student-friendly ticket price. Visit the SU website for more information.

Amelie Peters

Sophie Scannell

approaching-graduate-panic to question Slater’s less conventional feelings towards London, a city he describes as ‘overhyped really’ … ‘it’s not the centre of the universe which a lot of people think it is’

'It's not the centre of the universe which a lot of people think it is'

Music to the ears of fellow victims of final year ‘scaries’ and anyone scrolling Rightmove with eyebrows tattooed in permanent disbelief, Slater chuckles at the ridiculous reality: ‘people shouldn’t feel pressured to go and live somewhere where you get charged a grand a month to live in a shipping container with no windows and you’re told it’s ‘edgy’’, expressing a similar shortchanged sentiment many prospective Londoners share.

Chiding aside, Slater admits that, despite attempts to spend more time in his chosen residency (Cornwall), ‘I still end up being in London most of the time anyway, sleeping at friends’ houses’ … ‘if playing live and stuff is part of how you forge your identity and something that you’re good at, then you probably will have to spend some time in a major city where there’s lots of gigs going on.’

Live performance is patently Wunderhorse’s forte and fresh off the festival circuit, the band are itching for their UK tour. ‘It’s always good playing in Ireland’ says Slater, ‘there’s certain places in the world that have this appetite for music and [Ireland] are really hungry for it, which is great, it’s nice to see that there are places where that’s still important to people … it gives me hope.’

Loyal to the old-school methods that proved as lucrative for their own idols (the band recall listening to The Beatles’ Rubber Soul on repeat whilst working in Minnesota), I can’t wait to witness the rawness of the album live. Dubbed their true debut, Midas sees the band work collaboratively, ‘the guys hopefully feel more connected to these songs because there’s part of them in them’, unlike Cub which was somewhat a solo project for Slater.

Having collectively established their seat at the table, Wunderhorse are ready to leave their hallmark on the furniture. If you’re one of the pessimists that argues guitar music is dead, get ready to listen to the counterargument.

Image courtesy of Polocho (2024)

Credit: Megan Foulk

Credit: Chuff Media

BUMS

Credit: @royelotis on instagram

Review: FORWARDS Festival 2024

Epigram reflect on what makes the forwardthinking festival so unique.

Jake Paterson

Editor 2023/2024

Megan Foulk

Co-Deputy Editor

Afestival that feels like it has been a permanent fixture in the calendar for Bristol gig-goers for decades, despite only being in its third year, FORWARDS returned with perfectly curated lineups, excellent organisation and a focus on the climate and future - remaining relevant in a time when UK festivals are struggling.

Situated on the universally loved Clifton Downs, FORWARDS is split over two main stages and a smaller stage that hosts, not only some of the most exciting up and coming artists, but also talks during the day on topics from gender identity to the climate crisis.

With a kids’ area in tow as well - getting young children their first exposure to some of the UK’s best alternative music - there really was something for everyone.

Saturday’s lineup was skewed around its headliner, Loyle Carner, hosting artists across the current jazz and rnb landscape. We arrived to see the saxophonist Nubya Garcia lay down mesmerising patterns and flows.

A central component of the London jazz scene for the past decade, without quite finding mainstream support, it was wonderful to see them have their moment and propel through cuts from their upcoming record and celebrated back catalogue.

The energy of Garcia’s platform continued into sets by Yussef Dayes and Greentea Peng. Dayes’ latest record Black Classical Music made a defining statement on his ambition for forming a band under his own name.

'Dayes' latest record Black Classical Music made a defining statement on his ambition for forming a band under his own name'

As a drummer, his timing was impeccable. Finding pockets and grooves everywhere, he inspired his sax-

ophone and guitar players into solos that brought joy to everyone in the crowd.

Greentea Peng’s set was unique and unmistakeable. Their live vocals were frankly unbelievable, sounding better than they do on record, and they swooned the afternoon crowd with tracks like ‘Hu Man’ and new songs from upcoming projects.

When the evening took a direction more in favour of dance and electronic music, Romy was the crowning jewel of them all. A member of The xx, known for their sombre and minimal indie tracks, Romy’s debut album Mid Air, released last year, saw her drop the guitar and pick up synth pads.

Delightfully fun, her presence on stage was high in energy, running from one side to the other to interact with everyone, waving to people, and playing hits like ‘Enjoy Your Life’ and ‘She’s On My Mind’. Loads of young men turned up at the end to hear the Fred again.. produced ‘Strong’, which sent the crowd into a frenzy.

It was a shame that Joy (Anonymous) couldn’t transfer this jubilant energy in their own set, instead hitting play on remixes that faded into monotony.

Replacing Maribou State, the indie soul group that pulled out due to illness, the late addition of the producer felt like a rushed decision and was definitely a too big a slot to fill just before the headliner.

In strong contrast, Four Tet closed the East stage down with a kaleidoscopic show, proving him to be a true master of his craft. Eclectic and diverse, he took us through tried and tested tunes with a fantastic accompanying light show.

When it was time for Loyle Carner to take the stage for the headline slot, there was no mistake that he would open

Sunday fell victim to the weather and heading to the Downs in my raincoat I was reminded of a similar soggy trek to Ashton Court in May. However, despite its best efforts, the storm didn’t get the better of the day.

Her usual picture of unbridled joy (dressed in a leopard print uniform copied by all the band) CMAT was only a handful of songs into her set when 'Whatever’s Inconvenient' was - ironically - interrupted.

with ‘Hate’. Playing now with a full band, adding an incredible amount of depth and emotion to tracks new and old, the sound filled the thousands of people watching with awe.

'Playing now with a full band, adapting an incredible amount of depth and emotion to tracks new and old'

Whilst older tracks like ‘Dameslfly’ and ‘Loose Ends’ had the most people singing along, it was a real treat to hear the production of new songs like ‘A Lasting Place’ and ‘Speed of Plight’ filled out to new depths than on the record.

Taking time to remind us of just how much of a treasure of a human being he is, Carner repeatedly talked about his three-year-old son and the impression he wants to make on him - taking down the tropes of toxic masculinity that he himself grew up with.

He was also not short of kind words about Bristol, having played what must now be ten shows in the same amount of years in the city. The crowd knew the songs word for word and when he introduced ‘Ice Water’ simply by saying the opening verse, people around us were ready to respond perfectly.

Returning for the encore with a new song performed as a poem, Carner followed with ‘Ottolenghi’, which had friends and lovers embracing and belting Jordan Rakei’s chorus back with aplomb.

He returned for a second time to read another poem, to appease the crowd, ravenous for more. In a city where it’s difficult to go a day without seeing a Loyle Carner t-shirt on Whiteladies Road, the respect and adoration for the headliner was beautiful to see.

Finally given an opportunity to dry off, the stage transformed into ‘The Pearl’ nightclub in preparation for Jessie Ware’s disco offering.

Appearing under an enormous disco ball, Ware was joined by backing singers and a dancing brass section, setting the ultimate disco scene. Irresistibly fun, not a phone was in sight among the crowd. Something which I noted as unusually refreshing.

As the cameras cut, red warning messages were displayed either side of the stage: ‘Lightening has been observed nearby / For Safety Reasons we need to close the stage while it passes / Please Stay Away from Structures and Trees’ and the band hurried off, leaving a strangely apocalyptic feeling to settle across the site.

Thankfully only sacrificing twenty-five minutes, the Irish country-pop singer returned packing more punch than when she first entered, cheering: ‘you lot are legends for sticking it out in the rain!’

Explosively fun, it wouldn’t be the last sighting of CMAT that day, as she made up for lost time joining Yard Act on stage later on.

Providing the healthy dose of English rock that all UK festivals require, Yard Act frontman James Smith certainly looked the part in an almost floor length grey trench coat and thick rimmed glasses. Inciting a welcome rowdiness in the crowd, his energy left me wondering how he manages it night after night.

Despite the unlikely crossover, the addition of CMAT and her band on stage definitely ensured the audience weren’t left feeling shortchanged by the previous weather hiccup. As the collective danced and waved various percussion instruments, it was a delight to watch musicians be musicians - having fun.

Although not joined by collaborator Romy (having already performed on Saturday), the performance of her latest release, 'Lift You Up' supplied vibes aplenty. Visiting the crowd at the barrier for her own slice of the party, Ware returned to the stage laden with flowers and an umbrella. A retro pop switch up after Yard Act, a visit to ‘The Pearl’ was what everybody needed after hours of rain.

Descending into nighttime, the East and West stages geared up for their headliners: Underworld and LCD Soundsystem.

'Descending

into nighttime, the East and West stages geared up for their headliners'

Opening with dance track 'Two Months Off', Underworld had come prepared. Making the Downs their dance floor, strobe lighting and a slideshow of images kept eyes and ears entertained throughout.

On the other side of the field, Brooklyn-based electronic rock band LCD Soundsystem put on an equally mesmerising show. Utilising the disco ball centrepiece left behind from Ware’s set, the light show took on an entirely new dynamic. A well-oiled machine of musicianship, the band displayed true talent on stage and were the perfect close to an impressively eclectic weekend of music.

Images courtesy of Plaster

SciTech

Editor

Deputy

Put the phone down and protect your brain - you’ll thank me later

We all know the countless advantages technology has given us. But, to what extent is our mental health suffering?

James Lewis

Second

year, English

In the last 20 years, mental health has become a central aspect in our society’s attitudes to personal wellbeing. At the same time, the rise of the internet and social media have helped to create one of the most fraught mental states of any generation. Every day, we trick our brain into mistaking the unreal for the real. Our brain triggers responses that aren’t suitable for the dopamine cycles induced by late night doom-scrolling – but what’s just one more video? Rewind 500 years – all the information our relatives could know was what was happening immediately around them. As the book became the kindle and passwords became fingerprints, our brains

This constant bombardment of stimuli has been studied to have similar effects on the brain as drugs and alcohol

have remained the same, barely capable of delineating the virtual from the real. Protests, elections, and that pop star’s latest chemically induced break down are fired into the palms of our hands at every minute of every day. Our brain’s treat them as if they are as real as that car hurtling straight towards you. Your breathing and heart rate rise, glucose is pumped throughout your body; these involuntary responses are your fight-or-flight response. Not quite so useful when you’re heading to bed. This constant bombardment of stimuli has been studied to have similar effects on the brain as drugs and alcohol do. Addiction to our phones is very real; that notification coming from your phone triggers a dopamine response, a sudden burst of excitement that easily distracts you from what is happening in your immediate surroundings. Just the thing our brains crave. Intermittent reinforcement easily takes hold

of our brain. The tactile notification is immediately followed by a text from a loved one, a 10 second TikTok, or a picture of your dog. These cause small releases of dopamine, a hormone that is responsible for sensations of pleasurable reward, and our brains quickly become addicted: the connection in your brain associates a notification with a pleasurable reward. Fight-or-flight is the reason we have prospered for so long - a big lion on the horizon? I'd better get out of here. Or so our relatives thought. The reflex induces our body to a state of preparedness, ready to defend yourself and your family. However, today this response is being repeatedly and unnecessarily triggered by technology. Buzzing and ringing, our brains are on permanent high alert, perceptive to the relentless bombardment of the internet’s short attention span. But, as all good things are, this constant high from dopamine has its inevitable lows. A buzz or a ring is interpreted by our brains as something that demands immediate attention,

e've

ajor tech companies, including Google, Amazon, Meta, and Apple, have been sued by the US government for monopolistic behaviour. A recent win for Google saw a 1.49bn Euro fine against the tech giant dismissed,

Miles Gilroy

Second year, Physics

Buzzing and ringing, our brains are on permanent high alert

that needs to be looked at. This phenomenon is caused by the dopamine cycle; the brain demands to know what’s on the other side of those pixels, because it has been repeatedly conditioned to expect a quick break from the mundane real life. As our brain craves to know what’s happened, by being constantly reminded of the excitement that lies in our phones, cortisol is released from the adrenal glands. This hormone is most readily associated with stress. It keeps the body in an extended period of preparedness and too much of it has links to a variety of mental health problems, including depression and anxiety. It might sometimes feel that we are helpless to do anything about this. No matter how hard we try, we cannot escape our phones. A blessing and a curse, they keep us connected in this world. Sadly, these companies that we have bestowed great power onto have

Companies that we have bestowed great power onto have repeatedly prioritised company profits over the well being of their users.

repeatedly prioritised company profits over the well being of their users. Apps like TikTok, Instagram and Snapchat have been explicitly designed and refined to maximise how addictive they are. Bright colours, easily digestible content and algorithms that anticipate what we want before we know it ourselves have kept us glued to the screen. These platforms trigger the same reward centres associated with drug and alcohol use. Our society needs to change its attitude to this new addiction and understand that it works in ways we have seen before. Like an addict of anything else, a detox can help to reset our relationship with social media and return our dopamine to normal levels. Swapping the phone for a book, or TikTok for a film, are easy ways to protect our fragile brains from getting sucked into destructive habits. This will encourage the body to calm down and not instinctively react when our phones chime from our pockets.

Corin Hadley

Second year, Chemistry

Pavel Durov, the CEO of Telegram, a popular messaging app, was arrested in a French airport. Investigations were conducted into the moderation of Telegram, and it has been accused of failing to cooperate with law enforcement over criminal activity running through the app.

James Lewis

Second year, English

Chemist4U CC BY-SA 2.0

TechCrunch CC BY 2.0

Anthony Quintano CC BY 2.0

Where did it all go wrong: a tale of life on Mars

Following on from a previous article, Miles Gilroy discusses why the atmospheres of Mars and Earth are so different.

Miles Gilroy

Second year, Physics

In Epigram's 2024 Freshers print, I wrote an article about photolysis, a process that we believe happened in the atmosphere of Mars billions of years ago and could be the initial process required for life to emerge. In that article, I mentioned that, due to the similarity between early Mars and Earth, it is likely that, if photolysis happened on Mars, it also happened on Earth and could be the reason we have life here.

Earth still is: teeming with flowing rivers and dominated by magnificent oceans and lakes (this is evident from the meticulous carving of the surface that could only be a result of water flow). However, with just a brief look at the red planet today, it is obvious that this is no longer the case - it is dry… drier than a nun’s [joke redacted]. So what happened to all of Mars’ water?

Earth is a giant magnet and Mars is not

But this leads to the question of why there is such diverse and complex life on Earth while Mars is a barren, seemingly lifeless wastelandat what point did Earth and Mars become so different and why?

Mars’ atmosphere was mostly swept away by solar winds

We aren’t entirely sure why this ecological disparity exists. However, it is very likely that the answer lies in the

Two words: magnetic field, well, global magnetic field, so technically three words. This may sound irrelevant, but all will become clear. Mars has localised, remanent magnetic fields, meaning some parts of the surface (ferromagnetic parts) still produce magnetic fields. But it doesn’t have a global magnetic field like Earth does. Basically, Earth is a giant magnet and Mars is not, although it is covered in small ones. These remanent magnetic fields point to the existence of a global magnetic field in the past, but

solidification of its core, reducing the rate of rotation. Anyway, without a magnetic field, Mars is vulnerable to solar winds, streams of charged particles originating in the sun. When these particles approach Earth, they are deflected by the magnetic field, but when they approach Mars, they just pass straight through the atmosphere, pushing molecules out into space. We believe that this is what happened to most of the wa-

winds, and the heavier oxygen oxidised the surface, creating a rusty-looking, red planet. After a few billion years, all the liquid water was gone, lost to space. But it’s not all

extremely impractical to study them properly. For reference, the deepest hole ever dug on Earth is the Kola Superdeep Borehole in Russia at 12.2 kilometres deep. This was a result

bad news for Amy Wong or the Ice Warriors. Recent analysis of data from NASA’s InSight mission suggests that there is still enough liquid water on Mars to cover the entire surface in a one to two kilometre deep ocean.

fate of the liquid water (as mentioned in the photolysis article), which is vastly different for the two planets. Thanks to our extensive surveys of the surface of Mars, we know that it was once like

this has since been lost. Global magnetic fields are generated by the rotation of liquid iron around the core of a planet. It is unknown why Mars lost its magnetic field, but it is likely due to partial

ter on Mars. It evaporated and rose into the atmosphere only to be broken down by solar UV radiation into hydrogen and oxygen (photolysis), at which point, the lighter hydrogen was swept away by the solar

The InSight lander, equipped with a seismometer, was sent to Mars to study the composition of the planet. It measured seismic waves and determined what materials they had travelled through based on their speeds, since the speed of a seismic wave depends on the density of the medium. Using this method, the same that is used on Earth to find oil reserves, Vashan Wright and Matthias Morzfield of the Scripps Institution of Oceanography at the University of California, San Diego and Michael Manga of the University of California, Berkeley deduced that many of the waves had passed through rocks that were saturated with liquid water between 11.5 and 20 kilometres below the surface.

Many of the waves had passed through rocks that were saturated with liquid water between 11.5 and 20 kilometres below the surface

Life on Mars remains a mystery, but it also remains a possibility

Unfortunately, due to the depth of these reservoirs, it is

of 20 years of digging that eventually had to be aborted because the temperature became too high for the equipment to function. So, mining a hole deep enough to find this water would be hard enough on Earth, let alone 140 million miles away on a practically atmosphere-less planet. But, just because we can’t reach it, it doesn’t mean life can’t exist down there. In fact Manga says ‘I don't see why [the underground reservoir] is not a habitable environment.’ There are similar places on Earth that happily support life. We believe that photolysis happened in the atmospheres of Earth and Mars billions of years ago but, due to some magnetic field issues, Mars’ atmosphere was mostly swept away by solar winds, while Earth's grew into a complex array of organic chemicals, synergistically supported by life. This realistically leaves the water that escaped into the crust of Mars as our last hope at finding cosmic neighbours. Life on Mars remains a mystery, but it also remains a possibility.

An artist's impression of how Mars may have looked billions of years ago ESO/M. Kornmesser

Empty river channels on the surface of Mars that were once full of liquid water ESA/DLR/FU Berlin, CC BY-SA 3.0 IGO

In conversation with UOB Motorsport Soc

With appetite for Formula One ever growing. Epigram meets up with the University's Motorsport Society

Felix Glanville Second Year, History

It is no secret that Formula 1’s appeal is ever-growing, thanks to the success of Netflix’s docuseries ‘Drive to Survive’ showcasing the personalities and people behind the bustling sport, prompting fans to discover other motorsport series such as IndyCar, the World Endurance Championship and Rallycross. As such, this keen interest can be met at Bristol Universities’ Motorsport Society that caters all motorsport interests, not just Formula 1.

To show what is on offer for a growing audience of freshly slickened petrol-heads, Epigram interviewed Alex Watson, Bristol’s Motorsport Society president for the current 2024/25 year, and its previous president for 2023/24 Adam

Yap, who offered their hopes for the future of the society, what brought them to the society and what has happened across the society previously. Adam illuminates the wealth of activities that have gone on throughout the society, while Alex presents that same desire and passion to continue the growth of the society.

The path into the society was very different for Adam and Alex, but both spiralled into success and huge engagement within the society. Adam came into the society for being a relatively long F1 fan since 2018, and as someone who also ‘loves karting recreationally’ and believes that ‘it made perfect sense to join Motorsport Soc looking for others with the same interest’. Adam continued to describe his journey in the society and the brilliant social impacts it had for him later at university: ‘I joined as a fresher and have been active in the three years since. In that time, I have met some of my closest

friends and flatmates through the society! I also moved from just having rental kart experience to competing in the British Universities Karting Championship (BUKC), although I am not that fast, and doing track days which would not have been possible if not

for the society’.

For Alex, it was Freshers Fair that ignited this interest.

‘I found the society at the Freshers fair in my first year.

Probably a little strange but I barely looked at societies or anything until then, so I basically saw a racing game being

played on a sim rig and went over to find what it was about’. Alex’s journey in the society grew from there, capitalising on the society’s connection to karting championships for university students. Read the rest at Epigram.org. uk

Epigram gives American Football a go

After spending Freshers convincing you to join a sports society. Epigram has gone out and given American Football a Go.

Felix Glanville and Faniki Sports Writers

Here in Epigram Sports, we spend most of our time trying to convince you to try one of the Uni’s vast sports societies. So one day we were like “let’s just do it ourselves” and we’ll tell you our thoughts and thanks to the Uni’s American Football Society (Bristol Barracuda’s) we have made that a reality. So join Faniki Deche and Felix Glanville on their experiences with American football starting with Felix.

We began in the clubhouse, listening to an engaging and determined Head Coach James Gilchrist talk about the winning dynamic and welcoming environment that has been ever-present in the society, even from when Coach

Gilchrist was a fellow student and captain several years ago.

A whole range of events for the society is present throughout the year: playing in tournaments against other University teams, pub socials, a Friday Night Lights event, Super Bowl Sunday experience, and it’s newest creation: flag football.

It was remarkable to know that along with Coach Gilchrist, there are 17 other volunteer coaches, many ex-players for the University team, who have shaped this passionate, dedicated and energised society striving for success on and off the pitch. Their shared mindset of winning together and losing together had lit up the faces of the freshers in the room, and for us, who knew nothing really of the society, we found ourselves captivated by it.

We then headed out to the pitch, and it was clear that all the dedication and passion by the coaches was not just for inside the classroom. There

was a whole range of different exercises on show, the exact ones which the team uses during the week, from high intensity tackling manoeuvres against moving targets, to more laid-back field kicks, everyone was engaged and had a good laugh.

The community-feel of the society was clear. Older players offered advice and praise to

eager freshers, as everyone wanted each other to do well and stay as safe as they can. This inclusion element for all players is something that second year Social-Sec, Roman Lewis-Palmer picked up on immediately while being part of the society in his first year. When asked one word to describe this club he confidently expressed ‘inclusivity is the standout thing about

this club, and our non-contact Tuesdays is the perfect way we can get girls and boys joining our mixed society’.

It was then over to Faniki who was really eager to try out the training programme….

To be honest, I did feel a bit weird playing American Football after spending my entire life playing football, I mean “soccer.” But as a soccer player and fan (sorry but I will be saying soccer for now), I really appreciated the attention to detail given in the session. We were being taught the basics of course but the fact that pretty much every coach had their own niche made me feel like I was training under Guardiola.

Catch the rest of this article on our website Epigram.org.uk

But what sports society should Epigram try out next?

Image courtesy of BUKC Photos

Image courtesy of Name /Unsplash

Image courtesy of Faniki Deche

Sport

Mitch Hutchcraft: From Seal Level to Everest

Epigram speaks with extreme Mitch Hutchcraft before his historic 12,000km journey to the top of Everest.

Faniki Deche Sports Editor

The best way to describe Mitch Hutchcraft the person is that he is just a regular guy who has a deep passion for adventure

'I’m just a normal lad who loves adventure and after five years in the military, I decided to leave to pursue the adventures that I had in my head that I wanted to do for years. I left three years ago and I have just been doing epic challenges to raise money for great causes since then.”

ner, very average cyclist and the reason why we are doing this project is to prove that you don’t have to be a Superman to achieve incredible things.”

His journey in extreme sports all began thanks to conveniently timed events that reinvigorated his lust for adventure.

'It was kind of just luck and coincidence. I left the Marines in 2021 and I just got asked randomly by a friend if I would be interested in rowing a boat across the Atlantic Ocean and I was like yeah absolutely.

'Anyone out there who is reasonably fit, not even crazy fit can do it because it is ninetynine per cent just doing it and believing...

Despite what his time in the military might have you believe, Mitch is adamant that his achievements are not down to any physical prowess. Anyone who is decently fit can accomplish his feats. In the end, it is only down to sheer will and determination.

'That is the misconception. Anyone out there who is reasonably fit, not even crazy fit, can do it because it is ninety-nine per cent just doing it and believing that you can do it and trying it… Anyone can ride a bicycle. Anyone that can ride a bike could, tomorrow, go and do it with the right mindset.”

'I’m a very average swimmer, I’m a very average run-

Several weeks of open ocean with no other human beings apart from your three friends. It’s the perfect idea of an ultimate adventure, not knowing what animals and what weather you are going to see and it went from there.”

His career thus far post-Atlantic has included a successful 5000-kilometer self-supported cycle across the United States and a swim across every lake in the lake district whilst running between them. The latter being in preparation for his biggest adventure yet.

every lake back to back but running in between. So I started off with the biggest one, twelve mile long lake. Finished that one, then I’d run to the next one, run to the next one and it was a great adventure.’

Speaking of his biggest adventure yet, by the time you read this article, Mitch would now be on the second stage of his “Everest sized” mission. To conquer the mountain from exactly sea level. Funnily enough, this idea came to him whilst at sea.

'Three years ago, when I rowed across the Atlantic. It’s several weeks of open ocean with loads of time to think. My dream was always to climb Mt. Everest but to climb Everest from sea level cause when you climb Everest these days, you take an aeroplane and you start walking from three thousand meters.”

'My dream was always to climb Mount Everest but to climb Everest from sea level

‘As a kind of training and preparation for swimming across the channel. I just thought that it would be a great idea to go and swim every single lake in the lake district. The whole length of

'I always wanted to go from sea level to the top of the world which no British person has done but I’ve also always wanted to swim across the English channel as well. So I remember at one point whilst rowing to link the middle bit. If I swim until France and then I bicycle from France to India and then I’ll go on foot from there to Everest and I realised later that it is the longest climb of Mt. Everest in history.”

He is not alone though, thanks to his golden retriever and best friend, aptly named Buddy, by his side for as long as possible in his adventures.

'I bought him before rowing the Atlantic for my mother. Bit of a sad story, my cousin committed suicide and my mother was really upset so one of main the reasons I bought this dog was basically for a therapy dog to help her and it was the best thing I ever did. Now he’s her baby and mine as well. We share him and he’s both of our dogs. He’s coming up to his third birthday, he’s old enough and he comes with me to all of these adventures. All the adventures that he can come with, he does it.”

Most importantly, Mitch’s record breaking triathlon is all for a cause that helps one of society’s most uniquely

vulnerable individuals that we all too often overlook.

'It’s all for one small non-profit charity based in London. They are called SAVSIM. They work with [army] veterans and with animals. They made a mental health course using nature and animals to help people with PTSD. But they also send them to lots of countries in Africa and they use their skills by sending them to train the rangers on anti-poaching.”

what career path we decide to go on. That way, doors would open and more opportunities would arrive.

'After this [Everest] I'd like to settle down a little bit but at the same time keep doing adventures and continue to inspire

When the time comes and Mitch has finally reached the summit, his eyes are set on slowing down, spending time with family and potentially launching a career in wildlife presenting.

'If I manage to do this. I’ll take a lot of time after to relax, think about family and slow down. I’d love to be an adventurer/wildlife presenter. When we cycle across India we are stopping off at zoos and rescue centres and I’m basically going to be presenting about conservation and talking about wildlife. After this [Everest] I’d like to settle down a little bit but at the same time keep doing adventures and continue to help inspiring people.”

In terms of advice, Mitch calls for us to be proactive in our decisions no matter

‘Whatever you want just go for it. Don’t regret the decisions you make no matter which path you choose to follow. I’ve come to find out that if you trust in yourself things would just happen and it’s exciting, you don’t know what would happen…Follow your path and whatever comes across your way. Say yes because one thing would open doors to more things.’

With his vast evidence of achievements, we can confirm that his philosophy is working. As for now, he remains an emblem of what one can do through sheer determination and willpower and we wish him the best of luck as he cycles his way to India.

What physical challenge have you always wanted to attempt or what has been the most physically demanding challenge you have successfully achieved?

Images courtesy of Molly McDonald