Epigram issue 368

EPIGRAM

The University of Bristol's Award Winning Independent Student Newspaper

Between the Sheets

NEWS

DOG DAYS NOT OVER

FEATURES

As seen by Marine: Marine Saint investigates the significance of Bristol's ongoing NHS nurses’ and ambulance sta strikes for students.

WIT & WISDOM

RuPaul's Drag Race Season

15's message is clear: You better walk that duck

FILM & TV ARTS

Confronting taboo: The importance of fanfictions as a form of escapism

SPORT

Bristol Men's 1s edge 4-3 cup thriller against Hartpury: Free kicks own goals and excellent playing

CONTENTS

P1 Front page

P2 Editorial

P3 News

P6 Opinion

P9 Features

P13 Wit & Wisdom

P14 Arts

P18 Film & TV

P22 Music

P26 SciTech

P30 Sport

James Dowden Co-Editor-in-Chief

As yet another fresh wave of strikes gets underway Vice-Chancellor Evelyn Welch underlined her lack of con dence in a national resolution being found to the University and Colleges Union (UCU) strike.

Three days of strike action has already taken place so far and students are braced for up to a further 15 days of strikes action in February and March, although Welch is not con dent in a solution being found.

Speaking exclusively to Epigram from on the picket line, she stated that ‘to be blunt I’m not that condent about a national resolution.’

The UCU is taking strike action over a number of issues including pay, working conditions and pensions cuts.

The strike action took place in conjunction with 150 universities across the country, involving more than 70,000 members of university sta nationwide.

During the industrial action, strikers gathered outside a number of

university buildings including on Woodland Road, the Arts Complex, the Merchant Ventures building, the School of Geography as well as outside of the Richmond Building.

Both the history and modern languages departments recorded their biggest every picket lines for strike action.

Ruth Glynn, a professor in the School of Modern Languages, said that during her time at the University working conditions had decreased.

‘It’s something that we don’t want to be doing but we’ve been forced into with the increasing attacks on our conditions, on our pay and on our conditions in general.

'I’ve been at the university for over 20 years.

'Over that time, I’ve seen conditions get more and more di cult. There’s a lot of fatigue, and stress amongst sta .

‘I’m striking to make sure that we can improve conditions so that the best people come to work in this profession and continue to develop and motivate students.

'So that students get the best

experience and so the UK as an academic environment continues to be competitive in the global sphere.’

‘We’ve also seen for the rst time this year much harsher messages about non-conformance and threats to reduce pay if we don’t put up slides.

'We’ve never had that kind of escalation in the discourse before.

'The Vice-Chancellor is taking a harsher line than in the past and we don’t think it’s deserved.’

Matthew Brown, a fellow professor in the School of Modern Languages, said that ‘students’ learning conditions are our working conditions. I feel like I’ve been saying that for many years. When our working conditions get worse, student learning conditions get worse.’

He implored Vice- Chancellor Evelyn Welch to do more to take action.

‘Come and talk to us for longer than half an hour. Listen to people's concerns and take a public stance on working conditions and pay.’

85 per cent of respondents to an Epigram poll said that they were supportive of the strikes.

Multiple students echoed this support for sta :

‘At the end of the day, you remember a good teacher and you want them to be well o .

‘I think that striking is a very important part of any sort of labour force because it ensures equal rights, fair wages, fair working hours.’

Questioned on whether they supported the UCU strikes or felt frustrated by the disruption, one student said:

‘I stand with my teachers, I stand with my professors.’

In response to the strikes,

The UCU said it was o ered an improved pay deal for 202324 worth between 5 per cent and 8 per cent on 25 January, but that was 'not enough'.

But the Universities and Colleges Employers' Association has said the o er is actually worth up to 7 per cent.

Academic sta and those in other professional roles including administrators, librarians and technicians are all taking part...

Continued on page 5...

Bristol student Edward Isaacs elected new President of the Union of Jewish Students

Oscar's Agony Aunt column Epigraft

Editorial

At Epigram we recently received a message from a fellow student paper stating that their funding from their student's union had been cut and asking us to support their petition. The petition stated that it was unacceptable for a student's union to cut a university newspaper’s funding and that consequently it would be unable to produce content across its print, website or podcast. After a consultation with the rest of the Epigram team we decided that we couldn’t sign the petition as we felt it to be against one of the most important values that we stand for – an independent university newspaper free from student union interference and control. Instead, we o ered to talk them through our unique business model as one of the only student newspapers in the country to not be funded by our SU. Our independence has always been central to the paper since our founding back in 1988 by current BBC diplomatic correspondent James

Lansdale. Since then, we have ercely maintained our independent reputation. We feel that in comparison to other student papers around the country we have the freedom to follow a truly independent line and hold the University and its administrators to account as the SU does not have any nancial and therefore editorial control over us.

I have personally heard stories of other student union’s not allowing damaging stories to be run as well as withdrawing funding over coverage which in my view fundamentally violates the freedom that a student newspaper should have on campus. In this very edition we speak exclusively to Vice-Chancellor Evelyn Welch from on the picket line as another round of strikes gets underway. And over the years Epigram has covered everything from antisemitism on campus to the murky world of student and teacher relationships, all while keeping our independence from Bristol SU. This year we have massively stepped

up our multimedia content across a range of platforms including our new website, Instagram, Facebook, Twitter and Tik Tok feeds. We also recently launched a fantastic new podcast on Spotify called the Epicast so be sure to have a listen as our Deputy Editor Marine and our two Creative Directors Freya and Oscar chat all things student in Bristol. All of this multimedia content is produced and funded entirely by ourselves and in particular our fantastic business team who source advertising revenue in order to fund us. It hasn’t been easy in a post-pandemic world with falling advertising rates this year, but thanks to their brilliant work we have managed to deliver a truly nancially sustainable newspaper and all round media organization, while maintaining the independent line we have followed for over 30 years. Here’s to the next 30 years of independent student journalism on campus at Bristol!

James Dowden, Co-Editor-in-Chief

Editorial Team 2022/23

Epigram

Co-Editors-in-Chief: James Dowden and Mark Ross

Deputy Editors: Marine Saint and Alexander Sampson

Creative Directors: Freya Shaw and Oscar Hunter

News

Editor: Radhika Gurnani

Deputy Editor: Lena Stein

Digital Editor: Aeliya Bilgrami

Subeditor: Shreyas Kanna

Features

Editor: Lauren Sanderson

Deputy Editor: Lily Farrant

Digital Editor: Tamara Letts

Investigations

Editor: Aidan Szabo-Hall

Subeditor: Dan Hutton

Music

Editor: Oscar Ross

Co-Deputy Editors: Jake Paterson and Josh Templeman

Digital Editor: Sam Cox

Subeditor: Hannah Thompson

Sci-Tech

Editor: Emily Barrett

Deputy Editor: Dhristi Agarwal

Digital Editor: Carla Rosario

Investigations Editor: Tiberiu Toca

Opinion

Co-Editor: Quinn Clearwater

Co-Editor: Nina Micciche

Digital Editor: Laurie Hallam

Columnist: Katie Sowerby

Subeditor: Eve Bentley-Hussey

Arts

Editor: Rianna Houghton

Deputy Editor: Melissa Braine

Digital Editor: Pheobe Caine

Critic Columnist: Milan Perera

Subeditor: Ella Fraser

Film & TV

Editor: Evelyn Heis

Deputy Editor: Jake Tickle

Digital Editor: Amelia Jacob

Investigations

Editor: Kalila Smith

Sport

Editor: Joe Green

Deputy Editor: Jojo Lewis

Digital Editor: Louis Edward

Investigations

Creative Team

Director: Charlotte Carpenter

Visual Designer: Elsie King

Editor: Eddie McAteer

The Croft

Co-Editors-in-Chief: Emily Fromant and Nicole Quy

Style

Editor: Molly Grogan

Deputy Editor: Mia Flock

Digital Editor: Amy Marshall

Subeditor: Bea Buchanan-Lee

Food

Editor: Saiba Haque

Deputy Editor: Maya Glantz

Digital Editor: Lara Inglis-Jones

Subeditor: Emma Witham

Wellbeing

Editor: Sophia Smith

Deputy Editor: Ursula Glendinning

Digital Editor: Helen March

Subeditor: Zara Whistler

Travel

Editor: Finnuala Brett

Deputy Editor: Grace Burton

Digital Editor: Isobel Edmonson

Subeditor: Eve Baird

Lifestyle

Editors: Nicole Quy and Emily Fromant

Subeditor: Sophie Robertson

Want to write for us?

Bristol airport expansion: recent court ruling prompts fresh protests

• Members of the Bristol Airport Action Network (BAAN) protested the recent court ruling approving the expansion of Bristol Airport

• Demonstrations took place outside City Hall

Milan Perera News Reporter

The recent court ruling that gave the green light for the expansion of Bristol Airport was met with incredulity and anger as a large group of demonstrators gathered outside City Hall on College Green on Saturday, February 4.

The event was organised by Bristol Airport Action Network (BAAN)

in order to send a clear message on the expansion of Bristol Airport.

The High Court ruling on January 31 removed any legal impediment to the proposed expansion. The BAAN highlighted the impact on the environment and the general public if the plans for expansions were to go ahead.

Members of BAAN were also joined by climate activists, local politicians, healthcare professionals, local artists, students and members of the general public for the rally. Speaking on the occasion was the Deputy Leader of Bath & North East Somerset Council, Sarah Warren representing the Liberal Democrats who voiced her disappointment on the court ruling:

‘This decision flies in the face of overwhelming public opposition to further unwarranted and polluting development at Bristol Airport and completely ignores both the climate emergency and democratic decision-making.’

Another local politician who addressed the rally was Emma Edwards, the local Councillor for Bishopston

and Ashley Down, representing the Green Party who pointed out that:

‘The airport set an ambitious target of reaching net zero by 2030 but they didn’t actually count the aeroplanes and cars. It’s like saying McDonald’s is going vegan…There’s no such thing as a carbon-neutral airport!’

Also speaking on the occasion was Dr. Jonathan Monk-Cunliffe who warned of the potential health risks for those who live in the area and beyond as a result of the expansion which is set to go ahead.

‘It’s not local democracy. It’s not decisions about public health, climate crisis or social justice. It’s corporate interest in profit rather than the health and interests of the people. As a doctor I have a duty to speak out. The airport expansion will risk the health of our community.’ Dr. Monk-Cunliffe elaborated how the presence of 23,000 more flights a year and 10,000 cars a day could raise toxic gas emissions to unprecedented levels which could lead to health issues. He further ex-

plained how the increased levels of noise pollution could result in higher rates of heart attacks and strokes as it puts extra stress on the body.

It is estimated that the passenger numbers will increase from 10 million to 12 million a year as a result of the expansion.

Huw Williams from the Climate Justice Coalition who also addressed the rally spoke exclusively to Epigram and pointed out that:

‘Today’s protest is in opposition to the expansion of the airport. It’s clear that climate chaos is bringing increasing misery to millions across the globe and is speeding up. We need urgent action to put people and the planet before profit.’ The proceedings for the afternoon were interspersed with live music which featured the Extinction Rebellion Samba Band and the Climate Choir.

Bristol Council passes motion stopping cuts to public transport

• The Green Party succeeded in passing a motion opposing plans to cut funding to public transport infrastructure

• The move follows the Party's motion to back bus franchising, passed in December last year

Radhika Gurnani News Editor

AGreen Party motion has been approved opposing plans to remove crucial transport and city design teams. Following opposition from Green councillors, UNISON members, and other campaigners in December, Bristol City Council called on the mayor to halt proposed cuts which would disband its city design team and transfer transport

officers to regional authorities.

All parties supported the motion except for Labour, which abstained.

The current Labour administration proposed this reduction and redistribution of staff as part of the upcoming budget, claiming it could save the council over £1 million.

In December, however, Green Councillor Ed Plowden stressed the importance of the teams’ expertise and guidance as Bristol ‘heads towards Net Zero and transformational projects for the City such as Western Harbour and Temple Quarter.’

He also pointed out that, rather than cutting the council’s costs, outsourcing the functions would likely increase expenses and ‘hand the profit-making services straight to private consultancies.’

In light of the recent motion’s approval, Councillor Plowden stated:

‘I’m pleased Full Council voted for my motion this evening – I hope the administration will listen to the chamber and the many Bristolians and staff who’ve raised concerns about this, and pause the plans to consider them in more detail.’

‘It’s not too late for Labour to

U-turn on these disastrous proposals.

To proceed with this decision without thoroughly and carefully examining the impact and alternatives would be reckless and risk crippling Bristol’s ability to make transport improvements the city desperately needs.

As union reps said in December these proposals could cost the council more money, open the door to pri-

vatisation of services and expose the Council to legal and financial risks.’

Seconding the motion, Green Councillor Emma Edwards said:

‘While WECA [the West of England Combined Authority] is the regional transport body, engaging in transport projects within it still requires expert officers at Bristol Council – and we need to keep an

in-house team to design the future of our city and deliver for residents.

'Major cities around the UK, such as Manchester, Liverpool and Birmingham, are also part of larger bodies yet have retained these essential functions.

'I hope the administration will reconsider these damaging proposals which would set the city back years.’

Sarah Warren addressing the rally/ Milan Perera

Campaigners protesting against the cuts in December of last year: Bristol Green Party

•

'Philosopher Queens': new feminist SPAIS unit aims to diversify philosophy curriculum

• The new unit from the School of Sociology, Politics and International Studies challenges 'male-heavy, western-centric philosophy curriculums'

It is reportedly a 'big hit' with students

So e Kwiatkowski

News Reporter

Bristol's Social Sciences and Law Faculty are running a successful new unit for the second year in a row aiming to provide an alternate and critical history of political though to a standard course. The course is run by a senior lec-

turer in Sociology, Politics and International Studies, Dr Alix Dietzel and is o ered to third years, encouraging learning that challenges maleheavy, western-centric philosophy curriculum. It has a focus on the sexist and racist nature of political philosophy, drawing attention to the exclusion of women's ideas from mainstream philosophy.

The unit was inspired by a 2020 book called The Philosopher Queens: The lives and legacies of philosophy's unsung women, edited by Rebecca Buxton and Lisa Whiting.

Participants discuss why women, and particularly women of colour, are written out of the philosophy canon, and why many others never had the opportunity to become philosophers, before discussing female philosophers and their views,

Dr Dietzel says that although putting together the unit was 'risky,' she was 'passionate about creating

Bristol student wins UJS presidential election

• Bristol student Edward Isaacs has been elected new President of the Union of Jewish Students (UJS)

• He secured a majority of 150

Milan Perera News Reporter

University of Bristol student

Edward Isaacs has been elected new President of the Union of Jewish Students (UJS). Isaacs won the election after just one round of voting, seeing o the challenge of two other candidates –Ábel Keszler and Gavriel Solomons. His election was announced on Sunday, February 5, at the Annual UJS Conference 2022/23 which was attended by 400 Jewish students

the course for anyone who felt that philosophy is stale, male, and pale.'

Dr Dietzel went on to say that she had found it di cult to be a woman in philosophy, and describes her unit as allowing herself and her students to ask 'big questions' about their own role as philosophers.

'It turns out you don't always have to be an academic expert to make an exciting unit, you can draw on lived experience and co-create a space of learning with your students, not for them.'

Described as being a 'big hit' with students who thought philosophy wasn't for them, one student said she took the unit as she 'admired' Dr Dietzel and is 'very excited to see the representation of women's viewpoints in a male-dominated world like academia.'

Professor Tansy Jessop, the University's Pro Vice-Chancellor for Education, said: 'Philosophy Queens head-

lines female philosophers in contrast to the traditional canon populated by western, male philosophers.

'I'm excited that Alix has opened the way for our students to learn from ground-breaking women philosophers and from traditions inside and outside the

dominant western paradigm.

'This is a long-overdue and much needed development, which will enable our students to experience a more democratic education.'

The unit is available to those studying Politics.

from across the UK. UJS is the umbrella organisation of nearly 9000 Jewish students from over 70 universities and Isaacs' appointment as President puts him at the helm of the organisation after the tenure of the current President Joel Rosen.

Isaacs who is reading Politics and International Relations was the President of the University of Bristol Jewish Society (JSoc) between 2020 and 2021 where he fronted a concerted campaign against antisemitism on campus which eventually led to the dismissal of Professor David Miller over antisemitic remarks on Israel and Zionism.

During his presidential campaign

Isaacs suggested a ‘progressive prayer space on campus’ and mental health rst aid training amongst his list of goals. In his manifesto he also promised to improve the experience of LGBTQ+ students and introduce training with Keshet - an education

and training charity with a mission to ensure that Jewish LGBT+ people and their families are included throughout Jewish life in the UK.

The three candidates took part in hustings events at Cambridge and Leeds prior to the election in order to present their vision to Jewish students across in the UK.

Edward Isaacs secured a comfortable margin of 150 votes over the next candidate and more than 50 per cent of the overall votes to seal his victory in the rst round.

Isaacs, a former pupil of the Haberdashers’ Aske’s Boys School is the current Treasurer of Bristol Debating Society and a serving Trustee of UJS

He congratulated his fellow candidates and said he is looking forward to the task ahead of him as he represents the interests of Jewish students across the country. Speaking exclusively to Epigram, Isaacs pointed out that:

‘UJS has been a huge part of my life over the last 3 years and it is such an honour to now have the opportunity to lead an organisation that means so much to so many people.

It was a privilege to run alongside Abel and Gav. Joel Rosen is leaving enormous shoes to ll with Jewish students being better o for his leadership of UJS. I am really looking forward to getting to work!’

Motion on making the Students’ Union 100 per cent plant-based debated at AMM

• The vote was debated at Annual Member's Meeting on Monday

Mark Ross Co-Editor-in-Chief

Students will vote on a motion to make 100 per cent of Bristol’s Student Union's partnerships plant-based by 2025.

The vote will take place at the Annual Member’s Meeting, which is scheduled for Monday 13th February from 4-7 PM.

The motion has been tabled by Bristol VegSoc, who have argued that the legislation will be a key step towards achieving the SU’s Sustainability goals.

The motion calls for ‘on-campus vending machines and giveaways to be 50 per cent plant-based by the next academic year and 100

per cent plant-based by 2025.’ It also demands that ‘all union-catered events’ must o er 100 per cent plant based foods by 2025.’

The second section of the motion calls upon the SU to endorse the ‘Plant Based Universities Campaign’. As part of this, the SU would need to ‘lobby internally for university-wide 100 per cent plantbased, and a ordable food at UoB’

The AMM is the SU’s largest student democratic event. Individuals can vote on motions which SU o cers then have to enact for the next three years.

Other motions up for debate at this year’s AMM include one to establish a ‘new and improved prayer room for muslims on campus’ and ‘supporting Trans and Non-Binary Students & Campaigning for Gender Justice’.

The AMM will have taken place on Monday 13th February, a few days before print.

Dr Alix Dietzel: Bristol University

Holocaust survivor shares testimony as University of Bristol marks Holocaust Memorial Day

event from Pugsley Lecture Theatre at the Queen’s Building were handled by Daniel Grossman of the University of Bristol Jewish Society.

Milan Perera News Reporter

Holocaust survivor Paul Sved delivered a moving testimony of his experience during the Holocaust at the official Holocaust Memorial Day event organised by the University of Bristol Jewish Society (JSoc) under the auspices of Holocaust Educational Trust.

Mr Sved, who joined the event via a Zoom link, spoke of his experience in his native Hungary when the European Jewry was under the threat of a complete extermination by the Nazis.

The event consisted of an address by Paul Sved followed by a Q & A session moderated by Gerry Dillon of the Holocaust Educational Trust while the technical aspects of the

Continued from page one...

...industrial action in November where members from the UCU and Unison protested against working conditions.

Commenting on the strikes, UCU general secretary Jo Grady said: 'The university sector in the UK has over £40bn sitting in reserves, but instead of using that vast wealth to deliver a cost-of-living pay rise and reverse devastating pension cuts, university vice-chancellors would rather force staff to take strike action and see campuses shut down.

'There is a clear route out of these disputes, but at present vice-chancellors lack the political will to take it. They are failing staff who want to get back to work, and students who want to get on with their studies. A system that relies on low pay and the rampant use of insecure contracts is a system which fails everyone.'

Further strike action is next scheduled to take place on February 16th, 21st, 22nd, 23rd, 27th, 28th and March 1st, 2nd, 16th, 17th, 20th, 21st and 22nd and all fall within the academic spring term.

In his address Mr. Sved, who is 84, recalled how he was forced out of his home in Hungary with his mother when he was just six years old, narrowly surviving the Nazi genocide as the ‘Red Armies’ of the Soviet Union halted the advance of the Nazis which later turned out to be a turning point in the WWII.

During 1944 life became more difficult for Sved and the fellow members of the Jewish community in Budapest as they were forced to wear a yellow star on their clothing as a moniker of their Jewish identity. He and his mother managed to secure a space in a Swiss protected house known as ‘The Glass House’ where they were safe for a few weeks before having to move on. Even after the defeat of the Nazis in 1945, Sved and his mother were not out of danger as they were considered ‘Class Enemies’ by the Communist government of Hungary which com-

pelled Sved to seek for a safer exit. He concluded his address by recounting his two-day train journey to England where he was greeted with warmth and acceptance. In a lively Q & A session Mr. Sved expanded on many aspects that he previously touched upon, especially the lessons to be learned from the Holocaust in order to avoid similar atrocities in future.

Speaking to Epigram about the event, JSoc President Harry Issacs pointed out that:

'This event is a staple piece of the Jewish Society calendar and we wanted to mark Holocaust Remembrance Day with the respect it deserves. We were so fortunate to have Paul Sved BEM share his testimony.'

He further reiterated that:

'Hopefully this talk will act as a reminder about the atrocities of the Holocaust and that Holocaust education is also not just limited to this day once a year.'

Bouncer attacks clubber outside Mbargos

• The incident is under investigation by Avon and Somerset Police

Oscar Hunter

Creative Director

On January 28, footage and images emerged of a security guard outside Mbargo, a club popular with students, being violent towards students.

One video shows a clubber being aggressively pushed to the ground, and pictures have emerged of people with bloody faces, after altercations with said security guard. This inci-

dent has led to widespread outrage among the student community, with many people reposting the video on Instagram, leading to further questioning of night time safety in Bristol.

A spokesperson for Mbargo said: 'Overt is an external company who are responsible for the security. Mbargo does not condone any violent or threatening behaviour and are appalled by the actions of the member of security involved. We will be reviewing our current security immediately following this incident and Overt are dealing with the person in question.'

Avon and Somerset Police are investigating the matter, but have said that the investigation is in its early stages.

Images: Paul Sved: Milan Perera Puglsey Lecture Theatre: Milan Perera

• 'Holocaust education is not limited to just once a year'

• Holocaust survivor delivers testimony

Twitter: @EpigramOpinion

Why is the NHS on a path to privatisation?

After years of austerity and a pandemic, the NHS is in a state of crisis. Is a privatisation agenda the only solution to the problem?

Milan Perera Arts Critic Columnist, Third Year

The National Health Service, the crown jewel of Great Britain, is under more strain than ever before.

To use a colourful phrase which has been swirling the airwaves recently, ‘it is bursting at its seams’. Is the NHS fit for purpose in its current state? Is it under an increasing threat of privatisation?

In Great Britain there is one hallowed institution which is beyond reproach: the NHS. With all its warts and imperfections, it remains central to British social fabric, more so than a state religion. Governments

The NHS has endured sustained underfunding which has resulted in an underprepared and ill-equipped service

are elected and defeated on the strength of their manifesto policies regarding the NHS. Yes, there are exceptions of course. After the global financial crisis of 2008, which was largely attributed to the collapse of Lehman Brothers in the United States, the incumbent Labour government suffered its lowest ebb of popularity and crashed out of the office in the 2010 General Election. This gave way to a Conservative-Liberal Democrat coalition government.

The Chancellor of the Exchequer, George Osborne, in his emergency budget, resorted to blood curdling warnings and severe austerity measures which the Institute of Fiscal Studies (IFS) described as ‘the longest, deepest sustained period of cuts to public services spending at least since the second world war’.

Over the course of their time in office, it is estimated that the average annual growth rate in healthcare spending under Labour was around

5.6 per cent – even accounting for inflation. Since 2010, annual growth in the health budget has significantly stunted. The IFS indicated: ‘UK public health spending grew in real terms by an average of 1.3 per cent per year between 2009-10 and 2015-16.’ This sustained underfunding, under the pretext of austerity, is resultant in the NHS being unprepared and ill-equipped to deal with a situation of COVID-19's magnitude.

The NHS has been gradually dismantled so that it is no longer fit for purpose. It has a litany of unaddressed shortcomings: dysfunctional GP practices, overburdened A & E

which are already overstretched. According to the British Medical Association (BMA), GP practices

Does this seem like a stealth route to privatisation? It reads more like a fast track to privatisation

across the country are experiencing significant and growing strain with declining GP numbers, a rising demand, struggles to recruit and retain staff and knock-on effects for patients. This last year, the NHS has lost 393 individual GP partners and 269 salaried, locum and retainer GPs.

Sowerby Eve Bentley-Hussey

What the collapse of Britishvolt means for the UK

and a promise of future funding should strict conditions be met.

The route to meeting these conditions is entirely reliant on investment from the private sector.

Maggie Kelleher Law, Second Year

Such practice is not conducive to success in such a competitive market and this industry is one where success is necessary.

services and extensive waiting lists for screenings and surgical procedures. Those that can are beginning to steer towards private healthcare.

This crisis had been dormant for a substantial period of time, but the onset of COVID-19 in 2020 burst open the floodgates. It is almost inconceivable that the politicians blamed the poor performance of the NHS to the United Kingdom’s membership in the European Union in the lead up to the EU Referendum in 2016. Brexit has yet to deliver the promised cash boost of £350 million a week or bolster staffing in the public sector.

The primary care of the NHS is severely eroded. As a result, minor health issues that should have been treated by GPs have had to be treated by the A & E units,

Sajid Javid, one of the most senior figures of the Conservative Party and the former Secretary of State for Health and Social Care, declared that ‘the 75-year-old model of the NHS is unsustainable’ and ‘too often the appreciation for the NHS has become a religious fervour and a barrier to reform’. Despite the warm words of Mr. Javid regarding the NHS, recounting his earliest memories of it while living in Bristol and his father’s end of life care more recently. The former minister pointed out that patients are going to be charged for GP appointments and A & E visits to make the NHS a working model. Does this seem like a stealth route to privatisation? It reads more like a fast track to privatisation. It appears that the idealist vision of 1948, under which the NHS was founded, has dissipated into fine smithereens. To quote the immortal words of Dr. Seuss ‘Don’t cry it’s over, smile because it happened!’

When Britishvolt was founded in 2019, the battery start-up was hailed by the Government as Britain’s new hope for industry post-Brexit and a pioneer in levelling up. Three years later, the company has collapsed without any product to sell and £120 million in debt. This failure raises serious concerns about the future of British industry. Why was this product so unattractive to investors? Why is the Government failing to invest in greener energy strategies?

Britishvolt’s ‘big hope’ was the manufacturing and sale of batteries for electric cars. Boris Johnson told us that such batteries would be the new frontier of British industry, creating “thousands of jobs in our industrial heartlands” whilst forming part of “our green industrial revolution”.

Britishvolt thought so too. A presentation given to investors asserted that by 2029, European battery demand would support the creation of 15 Britishvolts. The company was valued at $1 billion.

Why then did it fail? It is easy to blame the management of the company whose profligate spending began in 2019, before they were generating sales, let alone profits. Moreover, the company was starting from nothing, already behind foreign firms such as CATL, the Chinese supplier of most of the world’s electric batteries. Yet, similar companies have been able to sustain themselves. Northvolt, the Swedish battery company received major investments from BMW and Volkswagen, despite also starting from scratch in this high-risk field. The firms differ in the funding they received. Northvolt received €350 million in EU funds, whereas Britishvolt were promised £100 million by the British Government only after their production had begun. Of course, they never received this funding. In this, lies the route of the project’s failure.

The UK Government’s strict adherence to free market thinking is diminishing the nation’s industrial prospects. In the case of Britishvolt, they simply provided a field

If it is the Government’s ambition for Britain’s manufacturing industries to prosper (and to reach net 0 carbon emissions by 2050) they must invest in these initiatives. In the United States, 70 specialist battery companies have been formed since the Inflation Reduction Act.

This act requires manufacturers to buy batteries locally to qualify for consumer subsidies.

Without similar intervention from the UK Government, their energy and levelling up promises are empty.

It may be true that the company was doomed from its inception, and that an earlier £100 million investment would be a waste of taxpayers’ money. This does not let the Government off the hook. The business minister at the time, Jane Hunt boasted that Britishvolt was a Brexit success just months ago.

We need honesty about the implications Brexit is having on British industry, not false hope thrust on a project and no support to keep that project going.

As it stands, the site is likely to be bought by a Chinese or Australian battery company. Greybull Capital are also reportedly pushing for a bid. Both would be controversial outcomes. Greybull capital, the private equity firm is best known for its British Steel takeover in 2014 and the collapse of British steel three years later. The Bankruptcy cost the UK Government millions.

Ultimately, it is the town of Blyth that will suffer. Management at Britishvolt spent three years taking private jets and providing the team with expensive company years.

The Government were able to distract from the failures of Brexit and make extravagant levelling-up promises. The business minister promised 3,000 direct jobs from the project and greater investment across the town. Those jobs do not exist, and this investment will never come.

Britain’s future in the electric battery market looks fragile. UK car production has fallen to its lowest in 66 years. The Government’s reluctance to support businesses from the ground up is killing British Industry.

The NHS has been gradually dismantled so that it is no longer fit for purpsose

Why the collapse of Britishvolt has shocked Britain

Grey-area adulthood: Should 16-yearolds have the vote?

In light of Nicola Sturgeon's recent comments, Gracie asks: at what age should we be able to excercise our right to vote?

Gracie Adelina May English Literature, Third Year

Should sixteen-year-olds have the vote? The response I felt instinctively was a pretty certain "yes", but being so close to the age of those-sixteen-year-olds in question, it's worth unpacking intuition. Adulthood, maturity, and responsibility are some of the issues that come to the surface when considering what constitutes the right to vote. Who has earned it? Age being the determiner is a slippery concept. Alongside the increased volume of information at today’s youth’s fingertip, there is now mass-media exposure of current issues. The world is getting faster and information is reaching younger audiences. The socio-political issues I still feel most passionately about were first presented to me in aesthetical-

ly pleasing Instagram feeds when I was fourteen. The responsibility I feel to vote started forming when I was young. Would I vote similarly now to what I would have then? Yes. Have other people drastically changed their political opinions since they were a young teenager? Definitely.

It is not fair to say that all young

Information, news, and media are reaching younger audiences more than ever before, and yet the electoral weight is held by those who this new media often misses

people are more politically charged due to social media. It would be oversimplifying the matter to state that YouTube videos or Instagram feeds play a part in someone’s vote (or believe they are purely reliable sources). However, there are political undercurrents in most, if not all, of the media we consume. There is always an intended audience, an algorithm warping viewer’s perception, a social media footprint forming. No post is made in a vacuum.

Occupying the other end of this spectrum, there are predictions that

there will be over 13 million people aged sixty-five and over in England and Wales by 2032. People are concerned that, for the first time in almost a century, we have an aging population. Birth rates are falling, and life expectancies are increasing. Information, news, and media are reaching younger audiences than ever before, and yet the electoral weight is held by those who this new media often misses. There is what feels like an increased space between political awakenings and political agency.

The question at the core of this issue is this: what is it about giving sixteen year olds the vote that threatens the institution of democracy? Is it the elusive term, the 'Age of Adulthood', defined only by laws, that is undermined? Or would society, for the first time ever, be polling the votes of the most trivialised group?

What I am most interested in here is the problem-group ‘youngsters’. The young-adults in the grey-area; between the boundaries of accountability and respect. Adulthood or maturity are never quantifiable numbers on a page. Being able to drink legally does not necessarily bestow an overwhelming sense of wisdom or gravitas upon people. It is more useful to consider that the notion of ‘adulthood’ is only concrete through the laws upholding it. Some of these include:

buying a lottery ticket; joining the military, using a meat slicer at work, adopting a child and skydiving. The same level of ‘maturity’ is supposedly required for all the above-listed actions. In legislation and in the individual, there are different responsibilities available for the adult.

By enabling people under the age of adulthood to vote, the accepted notions of ‘maturity’ or ‘adulthood’ begin to wobble.

As Nicola Sturgeon's recent gender reform law suggests, not only should sixteen-year-olds be able to change their gender, they could also be allowed to drink. Sturgeon then backtracked: as evidently the age of alcohol consumption is too fraught an issue. This is perhaps saying more about Britain’s drinking culture than the responsibility of the youths involved.

The question at the core of this issue is this: what is it about giving sixteen-year -olds the vote that threatens the institution of democracy

That is really the core of the issue. Young people want agency over the laws that will affect them for the rest

of their lives. This would balance the

Young people want agency over the laws that will affect them for the rest of their lives

majority held by the growing ‘greyvote’ that dominated elections (like that of 2019) and result in a more comprehensive political education in schools. This should matter with or without the vote. Even those who can vote at eighteen do not necessarily do it with an informed view. It is often adults dismissing the cause for a younger voting age, as it appears young people are apathetic or indifferent to the voting systemnot utilising their right. Yet surely responsibility and maturity should be proved instead of decided - and responsibility breeds where it is given. It is unlikely the young adults in Scotland, Northern Ireland and Wales are more ‘mature’ than those in England. It seems, however, that what is left unsteady in this debate is the very construct of adulthood. There is always fear regarding who earns the elusive notion of responsibility. Perhaps this ‘problem’ group will have more respect for the voting system and its policies once it is shown in return.

Why Bristol Students should care about Chinese New Year

Do students have an obligation to educate themselves about other cultures’ festivals?

Maria Mudler

Fourth Year, Spanish and Portugese

Throughout the year in the United Kingdom, we often hear about events important to other cultures, even if we never participate in them ourselves. The ones that immediately come to mind for me are Ramadan, Hanukkah, Diwali, Notting Hill Carnival and of course this season, the Chinese New Year.

Whenever such events roll around, we may feel inclined to turn away and disengage if we do not have any cultural connection to them ourselves. Certainly, when it comes to the Chinese New Year, I personally never saw any reason to get involved or learn much about the festival. Its symbolisms never resonated with me, but I felt no fundamental connection to it as a Westerner regardless. I imagine that many Westerners tend to take this approach when we confront unfamiliarity, which to a point, I can sympathise with. However, after reflecting more thoroughly, I have concluded now that this attitude could stunt our capability of understanding and working successfully within the societal framework in which we live today. This is particularly true if we analyse the demographics of the UK in the 21st century. The most recent census (2021) has shown that it the country is more diverse in terms of ethnic makeup and spiritual/religious belief than ever before. Possessing a limited degree of knowledge and awareness of our fellow citizens in an increasingly multi-ethnic and multicultural society can stimulate and feed into a cycle of social decline.

Possessing a limited degree of knowledge and awareness of our fellow citizens in an increasingly multi-ethnic and multicultural society can stimulate and feed into a cycle of social decline.

To provide just a few explanations of how this may be the case, specifically in relation to professional contexts:

imagine yourself as an employer. Consider the approach you would choose to respond if an employee from say, a Jewish background, contacts you to request time off for a Jewish observance. Would you have the kind of cultural awareness required to be able to successfully navigate the situation whilst avoiding legal troubles caused by accusations of discrimination? It is easy to see that an absence of respect for and understanding of other groups’ beliefs and norms would have influenced your response to this scenario.

But the benefits of cultural sensitivity go beyond employers’ relationships with their employees in the professional world. In order to maximise workplace harmony, productivity and growth, it is in the best interests of employees to have this competence. Think of the kind of damage to employee morale that would be caused by cases of har-

But the benefits of cultural sensitivity go beyond emplopyers' relationships with their employees in the professional world

assment and bullying based on ignorance of each other’s differences. Consider also, beyond mere malice, the unconscious bias that many of us have towards others and how this influences our treatment of those we work with. For example, consider the exclusionary nature of alcohol-centred social occasions. A colleague at a given company who abstains from drinking may feel as though they do not belong; they could eventually conclude that they are better off seeking opportunities elsewhere. How would the departure of a dis-

enchanted employee (who may otherwise have had been an asset) help the reputation or success of said company?

In the grand scheme of things, many of us attend university as a steppingstone to a (hopefully) solid career.

Whether your university is regarded as diverse or not, universities are ultimately spaces where we are supported in preparing ourselves for the workplace. When we, again, take into account that we live in both a pluralistic society and a globalised economy, building cultural awareness should absolutely be a crucial aspect of this endeavour. One of the easier and more enjoyable ways of doing so is taking a step out of your comfort zone and participating in cultural events marked by celebration, positivity and inclusiveness. Joining that Carnival would well be another gate -

way to self-development!

So, to answer the question: is it an obligation as a student to educate yourself on other cultures’ rituals, such as their festivals? Perhaps ‘obligation’ is a strong word. But for many cases, in order make the most of both your university experience and to equip yourself for the future, it is wise to do so.

When we, again, take into account that we live in both a pluralistic society and a globalised economy, building cultural awareness should absolutely be a crucial aspect of this endeavour

Matt Biddulph/Flickr

SPAIS is equipping students to question the status quo

Epigraminvestigates

Daniel Hutton Features Subeditor

The movement to decolonise universities has come under signi cant criticism in recent years, with Michelle Donelan, previous Minister of State for Higher and Further Education, describing it as ‘Censoring history.’ Many critics share this sentiment, viewing the movement as an e ort to conceal the past. This, however, misses the fundamental point of decolonising the way our universities operate.

Calls to ‘decolonise the university’ gained momentum in 2015, with student protests in South Africa that ultimately changed the way in which their national curriculum for higher education was structured. A summit was arranged in response to these protests, in which the Minister of Higher Education called for curriculums to focus more on African sources of knowledge.

This is important for post-colonial states because, as Professor Ndlovu-Gatsheni describes it, ‘Even when you push back colonisation as a physical process, colonialism as a power

structure continues as a metaphysical process… [it] invades the mental universe of a people, destabilizing them from what they used to know, into knowing what is brought in by colonialism.’ For universities in South Africa, decolonising their curriculums meant moving away from European sources of knowledge and re-centring attention on African ones to break away from the enduring e ects that colonisation had on their country.

Since the e orts to decolonise higher education in South Africa, there has been considerable academic attention on the topic, and it has motivated universities around the world to rethink the way in which they deliver knowledge to students.

The University of Bristol describes its approach to decolonisation as ‘An active process of critical scrutiny of our curricula and teaching practices

important to note that he was also an investor and shareholder in the Royal African Company, a mercantile trading company that orchestrated the enslavement of African people and paradoxically denied them the rights that Locke saw as fundamental to every human being.

It is therefore important to place him in the colonial context from which he was writing. Being a bastion of equality and basic human rights whilst pro ting from the largest slave trading company in the world might illustrate that his philosophical ideas were intended only for his own race.

While Michelle Donelan viewed this process as ctionalising history and ‘taking bits out we view as stains’, for the University of Bristol, decolonisation is the opposite of censoring history – it is the exploration of the atrocities of our past and the analysis of how they have constructed the realities we see today.

aimed at understanding this legacy and beginning the work of dismantling it.’ The approach to decolonising the literature is additive, in the sense that it adds new methods of exploration into how the past a ects the sources of knowledge we rely on today. This can include recontextualising the ideologies of white authors that dominate our reading lists, to allow students to fully engage in the critical analysis of political texts. When John Locke — often credited as the founder of liberalism — talked of the ‘inalienable rights to ‘life, liberty and

Epigram spoke to academics from the University of Bristol’s School of Sociology, Politics and International Studies (SPAIS), who highlighted that much of the motivation and ideas for decolonising the department have come from students. Dr Cathy Wilcock, a lecturer in Politics and International Studies, told Epigram: ‘Most of the best changes have come from students themselves.’

One notable change is the inclusion of non-academic texts in reading lists which, in her view, brings a ‘Bottom-up and humanist angle to our engagement with politics.’

Dr Wilcock emphasised that historically accurate novels can provide a more holistic view of the country in which you are studying. For instance, the reading list for the module Nationalism and Ethnic Con ict in South Asia includes a large number of novels, providing excellent accounts of topics such as the politics of ethnicity in Pakistan. All of them were written by people who lived in the countries studied.

More than just reframing white authors in a colonial context and providing indigenous non-academic texts, the SPAIS department has included entirely new modules focused on teaching the development of mod-

ern politics from a de-colonial perspective. Modules like the Politics of the Global South focus on the history of colonialism and how it has created the power structures we see today.

Unit directer Dr Egle Cesnulyte, expressed her belief that it is critically important for her students to have ‘Not only fuller knowledge of global histories that shaped the contemporary capitalist system we live in, but also theoretical and conceptual tools to question the status quo.’

This module is one of the rst that politics students will take at the university, and learning about the contribution of colonialism to the development of our current global economy is an important rst point of contact.

As the course progresses, current world events are debated on whether they represent a form of neo-colonialism.

For example, the IMF and world bank's ‘Structural Adjustment Programmes’, hand out loans to developing countries in return for a signi cant degree of control over the operation of their economic system.

These programs usually include austerity measures on welfare services like education and healthcare to reduce spending de cits and a broader restructuring of their economy to t in with the global capitalist system currently in

place. Actions like this can be reframed as continued control by the West on their former colonies.

The aim is that these perspectives will equip students to make connections between previous and current forms of exploitation – an important tool for people living in a country that still battles racism at the core of its institutions.

In England and Wales, black people are nine times more likely to get stop and searched and BAME individuals are twice as likely to die in police custody.

Alongside this are inconsistencies in the accountability of law enforcement: less than one per cent of o cers with more than one accusation of discrimination has been red since 2013.

With this information at hand, it is then troubling to see the government issue a report that has found no evidence of systemic racism in the UK.

Educating every university student — especially those who may pursue careers in government — from a decolonial perspective allows them to look deeper into the causes and locations of racism in our society.

Perhaps with the progression of these e orts, we might produce governments that address these issues and seek guiddance in an e ort to correct them.

e orts by the School of Sociology, Politics and International Studies to decolonise their curriculum.

'The aim is that these perspectives will equip students to make connections between previous and current forms of exploitation'

Unsplash : William Chang

Economic forecast

Students face becoming the forgotten group' in the UK recession

Sophie Brassey

Third Year Philosophy

As the economic recession continues into 2023, university leaders voice their concerns about how inflation will affect students.

For 2022/2023, maintenance loans were determined based on a forecasted inflation rate of 2.3 per cent. However, by November 2022, inflation had reached 11.1 per cent. This meant that by the end of 2022, maximum loan values had already decreased by 7.2 per cent.

This is the lowest maintenance loans have been in seven years, with students from low-income families losing up to £100 per month.

On the 11th of January, Robert Halfon, Minister of State for Skills, Apprenticeships and Higher Education, announced a financial package to help students tackle the cost of living crisis. The maximum level of tuition fees will be frozen at £9,250 for the 2023/24 academic year in an attempt to keep the cost of higher education down.

The response from the government has not done enough to protect those struggling

The minister also announced that £15 million would be added to this year's student premium, in an effort to aid the most vulnerable students.

However, there are still growing concerns that this government has not responded adequately to the cost of living crisis.

The Chief Executive of Universities UK, Viviene Stern, has argued that the package does not make up for the ‘real terms cut to maintenance that students have experienced.’ Like -

wise, Tim Bradshaw, Russell Group Chief Executive, has called the government response disappointing.

This reaction is familiar, given the national uproar over the government’s overall response to inflation. Citizens across the UK have felt unprotected by their government during the cost of living crisis, and students are no exception. The freeze in tuition fees, which had already been announced last February, does not help with the current issues regarding maintenance loans, which may be insufficient for many to withstand the rising cost of living.

Speaking to Epigram, students at the University of Bristol echoed the disappointment felt by university leaders.

A third-year Medicine student said that her rent for next year has gone up by £50 per month: ‘The number of houses offering bills included has gone down significantly […] It’s practically impossible to find one in Bristol.’

She also noted that, despite working part-time alongside her studies, she is still struggling to make ends meet: ‘Doing extra shifts and getting extra work is having less of an impact.’

This demonstrates that the rise in the cost of heating and rent has made it much more difficult for students to access the increasingly unstable housing market.

The recent announcement by Robert Halfon has not assured many of the students attending the University of Bristol with one, in particular, believing that freezing payments is ‘Just a drop in the bucket for what they need to do.’

She believed that to respond adequately ‘They need to increase wages dramatically, starting with the public sector.’

Frustration is felt not only by students themselves, but on behalf of everyone struggling with the cost of living crisis this winter, and it is clear that the response from the government has not done enough to protect those struggling to keep up with rising prices.

Fair pay for nursing? The wages war for Bristol nurses

will reportedly accept a rise of ten per cent. This characterises the motivation of these strikes, with the resounding message of ‘Fair Pay for Nursing’ pervading social media as part of the healthcare unions’ campaign tagline to rally the protests.

Bristol has been inundated with signs of industrial action encompassing university staff, postal service workers, public transport, and local healthcare workers. The Bristol Royal Infirmary is a visible presence for students, both in the University’s medicine courses and due to its proximity to campus and student accommodation, but what is the significance of the ongoing NHS nurses’ and ambulance staff strikes?

In December 2022, nurses across the UK took part in strikes for better pay and working conditions, in an attempt to preserve their profession and protest staff shortages. A momentous show of solidarity, this was the first time in history where nurses partook in industrial action. The largest collective NHS strike action began at the start of February, again breaking records as the biggest walkout for the NHS to date.

After last month’s prolific strikes incorporated 55 NHS trusts, nine of which were Southwest based, appointments and surgeries across the country were affected. This has exacerbated into increased tensions between the key unions, The Brit ish Medical Association, The Royal College of Nursing, Unite, as well as GMB and the government, especial ly with regards to emergency calls. In order to match current pay rise offers made in Wales and Scotland for nurses, current strikes will only be called off if a further pay rise is offered of five per cent above infla tion, an increase from what was ini tially proposed to healthcare unions.

As emphasized by Dr Giorgos Gou zoulis, a Lecturer in Human Resource Management and Future of Work at the University of Bristol Business School, this is an ongoing and critical issue: ‘Frontline healthcare workers have put their lives at risk over the last three years, especially during the pandemic, despite the worsening

working conditions they face. Adjusting their salaries to inflation and hiring more staff is essential, not only as a means of restoring justice for these people, but also key for every citizen to receive decent healthcare services.’

Speaking to Epigram, Dr Gouzoulis outlined the historic issues of wages and patient wait times fueling the strikes: ‘Currently, the inflation-adjusted wage of the average nurse in the UK is almost six per cent lower compared to 2010/11, while one in nine nurses have quit since 2021. At the same time, after

Green Party Co-Leader and Bristol West MP candidate Carla Denyer has been consistently vocal in her support for the strikes, directly blaming government inaction: ‘The Tories are allowing the NHS to disintegrate before our eyes. After twelve years of Conservative underinvestment, real cuts to funding and the loss of thousands of beds, our hospitals are in meltdown.’

Denyer attended last month’s nurses’ strikes in Bristol and relayed the impact this had: ‘Visiting the nurses’ picket line recently, I heard so many stories of nurses working in dangerously understaffed hospitals. Nurses are rightly standing up for fair pay for themselves, but also, crucially, for a safe NHS. The government must agree to negotiate with them.’

decades of de-funding the NHS, data shows that since 2010 referrals-to-treatment waiting lists have been growing dramatically, reaching over six million patients in 2021.’

It is therefore crucial for students to be informed about the industrial action occurring in our city and the national implications, as we benefit from both student healthcare services and Bristol’s healthcare services, which suffer from deep-rooted, systematic issues within the structure of the NHS. This has resulted in a daily crisis of hospital delays and rising ambulance wait times, although emergency procedures have continued to operate.

There are indications of some productive conversations occurring as a result of strike action, with emergency care now recognised as a priority by the government. £200 million has been invested in social care following the Downing Street’s NHS Recovery Forum in early January.

This was seen by representatives of the RCN as a positive start but has not resolved the ongoing battle between healthcare workers and the government, hence the continued strike action scheduled for the coming months.

For the RCN, real change requires more long term, sustained investment as a solution to the bedding crisis in hospitals, beyond increasing care home capacity

Marine Saint Deputy Editor and Features Columnist

It is crucial for students to be informed about the industrial action occuring in our city

Carla Denyer on the picket line: Bristol Green Party

With understaffed hospitals, growing waiting lists and underpaid nurses, something has to change.

Minimum Service Levels Bill — students and lecturers express concerns

Committee) representative of the UCU’s Bristol branch, to discuss what minimum service levels could mean for teachers and students at the University of Bristol.

Charlie Gra MPhil English

As the government’s new bill to impose minimum service levels on key industries approaches its third hearing, the UCU prepares for industrial action. Epigram speaks to lecturers and interviews students on whether they support the strikes, in order to discover what this bill could mean for higher education.

If passed, the bill would allow the Secretary of State for Business — Grant Shapps — to legislate minimum service level regulations across six sectors, including education.The Trade Unions Congress (TUC) have called the bill ‘wrong, unworkable and almost certainly illegal’; meanwhile the government maintains that the bill is in compliance with international law, and necessary to safeguard the ‘life and livelihood’ of the British public from industrial action in essential services.

One of the unions facing the possibility of minimum service requirements is the UCU (The University and College Union), which took the rst of 18 days of industrial action on the rst of February to coincide with the TUC’s national ‘protect the right to strike’ day.

The UCU is striking for pay restorations, an end to workplace casualisation - which employs sta on short-term rather than permanent contracts - and the reversal of pension cuts, which will see the average lecturer lose 35 per cent of their retirement income. The University of Bristol says that it has ‘made progress’ on casualisation and advocated for increases to sta pay in the universities’ national bargaining arrangement, but was out-voted. Bristol is one of many UK universities that supported the pensions proposal.

Epigram spoke with Dr. Tonia Novitz, Professor of Labour Law at the University and JCNC (Joint Consultive and Negotiation

Dr. Novitz does not agree with the government’s claim that the bill is in compliance with international law. She says that the bill is not compliant with ILO (The International Labour Organisation) and ECHR (The European Court on Human Rights) de nitions of essential services, and contradicts ILO protocol that workers’ organisations must be permitted to participate in de ning minimum service levels. She worries that this might harm industrial relations and working conditions.While the Bill has seen considerable pushback from the public due to the e ects it could have on the NHS, Dr. Novitz expressed concerns about the visibility of issues facing university sta : ‘I don’t think it has registered with the general public that the majority of academic sta now are on insecure contracts and working across numerous di erent universities and are earning very little. [...] What is happening to my younger colleagues is just unconscionable.’

Despite the University of Bristol’s claims that it has ‘made progress’ on casualisation and the

sta at the university still ‘tend to be more highly casual, tend to be female and are very unlikely to even begin to get on the payscale to be promoted.’ She sees this as part of a national ‘standard practice’ devised by universities to divide university sta . Though Dr. Novitz fears the bill’s e ect on working conditions and industrial relations could prolong the dispute between the UCU and universities, she hopes a resolution will come soon:

‘People go into academia because they want to support students. Most of us just don’t really want to strike at all, but the quality of the sta ’s working conditions also impacts the students.

‘It seems that acting collectively about this is a way to protect student interests in the long term, and to preserve universities as a genuine place of learning.’

Caught in the middle of the minimum service levels debate are medical students. They face both UCU industrial action and will graduate into an understa ed NHS, which is also experiencing industrial action, with ambulance workers, nurses and junior doctors striking. Epigram sat down to talk with a fourth year medical student to hear their views on the state of the NHS and the impact of the minimum service level bill on the institution.

From their perspective, the government’s deteriorating relationship with the NHS has had a considerable e ect on the motivation of medical students:

‘The reasons why people in this country tend to become medical students, myself included, are ones that are very rooted in the ideals of

the NHS. To be a medical student is very much to be a student of the NHS.’

Asked about the working conditions medical students are exposed to, they said: ‘I had a day of placement in a psychiatric ward in which I saw a meeting with all of the psychiatric juniors and middlegrade doctors. The overwhelming feedback was people saying ’ I can’t keep doing this, this is unsustainable.’

‘One of the doctors I was there with spent the whole day on the verge of tears [...] She’d had to send her son to school, despite knowing that he was ill, because there was no senior cover on the ward. She couldn’t have a sick day because, if she did, the ward would then be operating under its minimum level of supervision.’

that’s the whole point.’

Asked whether they believed the government was justi ed in proposing minimum service levels in higher education to protect students’ ‘lives and livelihoods’, one student said: ‘No, because my life and livelihood isn’t just the next two or three years that I am studying here.

'If there's one thing the government has shown with regards to NHS sta ng, it's that they're not willing to listen to input from healthcare workers'

My life and livelihood is the people around me, it’s my professors who would be able to put more e ort and be more passionate about their subject. And it’s about me, ten, fteen years down the line when I’m the one working.’ Another added: ‘I want the University sta to be happy and healthy and able to live on what they make, now and later in life. So this is the complete opposite of what is in students’ and my own interest.’

The student shared the concerns of Dr. Novitz regarding the e ects the Bill could have on working conditions and industrial relations, saying that ‘If there’s one thing the government has shown with regards to NHS sta ng, it’s that they’re not willing to listen to input from healthcare workers and professionals.’

'Of the eleven interviewees, all supported the UCU strikes and none supported the Minimum Service Levels Bill'

To gauge reaction amongst Bristol’s student population, Epigram spoke to students on campus about whether they support the UCU strikes, and if they were concerned about the impact upon their learning.

When asked for their views on the 18 days of industrial action, one student expressed their approval, saying: ‘If it’s an inconvenience,

Multiple students echoed this support for University sta : ‘At the end of the day, you remember a good teacher and you want them to be well o .’ ‘I think that striking is a very important part of any sort of labour force because it ensures equal rights, fair wages, fair working hours.’ When questioned on whether they supported the UCU strikes or felt frustrated by the disruption, one student said: ‘I stand with my teachers, I stand with my professors.’

Another added ‘I’m not frustrated. Pro-strike.’

Of the eleven interviewees, all supported the UCU strikes and none supported the Minimum Service Levels Bill.

Epigramspeaks to lecturers and students about the government's bill to impose minimum service levels on key industries.

'The overwhelming feedback was people saying "I can't keep doing this, this is unsustainable."'

Epigram / Lily Farrant

Epigram / James Dowden

'One of the doctors I was there with spent the whole day on the verge of tears'

In conversation with Eulinda Antonette Clarke-Akalanne

Windrush generation who were treated so horribly.’

Third Year Film and English

Eulinda Antonette Clarke-Akalanne, 81, recently graduated from the University of Bristol with an MA in Black Humanities, having achieved her BA in Anthropology in 2018. Antonette - as she is known - embodies the fact that age should

In England, Antonette worked as a nurse in Derby. She lived in a nurses’ home alongside mainly Irish women, who also faced discrimination, it being the era of ‘no Irish, no blacks, no dogs’. She then worked as a health visitor until 2007, when she retired. In retirement she was a respite foster carer and Citizens Advisor, but always felt that something was amiss.

worked as a general nurse, social worker, midwifery sister, senior psychiatric charge nurse and a nurse prescriber. She was in her early 70s when she decided to enrol in an Anthropology BA, catching the 6.15am train from Bridgwater four days a week to attend university, and has found the experience incredibly rewarding.

not stand in the way of achieving your goals.

Antonette was born and raised in Barbados, before moving to England aged 18, in 1959, following the UK government’s recruitment campaigns. In conversation with Epigram, she explains that Enoch Powell, former Government minister renowned for his anti-immigration stance, visited her school.

‘He seemed like a nice young man, she said. ‘It just shows how people change. When you’re useful to people you’re the best thing after custard, and when you’re no longer useful you’re trash, like the people of the

Antonette was schooled in Barbados while it was still under British sovereignty, and this was re ected in the teaching content, which was steeped in British history, culture and literature. While she acknowledges that it was a good education, she explained that she learnt nothing about slavery or the history of Barbados and its' people.

In her twenties, during her time as a nurse, she became interested in African history and anthropology, drawn to the exploration of the origins of mankind and the development of society. She considered pursuing further study at The Open University but, despite these interests, she had to prioritise earning a living and raising her three children over enrolling in further education.

Through the degree, she could gain easy access to otherwise highly expensive journals and articles, and she found it invigorating to be around young people. Rather than feeling awkward or uncomfortable, she found that going to the library and sitting amongst young people gave her energy.

‘I love learning and mixing with younger people. The energy they have, the feeling that they are all going somewhere is a type of vibration, a shoot of electricity,’ she said.

Her university work has explored colourism in the UK and Barbados, something that she explains she has experienced in her life.

'Her poetry volume, Euanca (2021), is available in the Arts and Social Sciences Library'

During the course of her life, she

As a girl in Barbados, she was aware that her lighter skin tone a orded her better opportunities than those with darker complexions. Her most recent project, ‘Bristol: Capital of Enslavement’, in which she is involved with eight other people, explores the city’s history with slavery.

She has convinced eight friends to enter university as mature students, and she recommends it to anybody. ‘Age is not a barrier to university studies. It is only thinking that makes one think, so have cour-

further education] is not only possible, but well worth it.'

brary, and features the likes of 'The Fulani Woman', 'The Windrush Generation and the Hostile Environment Bill', 'Things Change', 'I Am Afrikan' and 'When I Came to England.’ She previously performed her poem 'Windrush' in 2018 in the Houses of Parliament.

Many prospective mature students worry that they don’t have the necessary quali cations or knowledge to enrol in further academic study, but many universities and colleges have a exible admissions policy, taking work and life experience into account.

If you know anybody who is hes-

and happiness. And if I can itant about whether or not to pursue further

age and go for it. Achieving your goals, at any time in life, brings contentment, a sense of achievement and happiness. And if I can do it, then so can you!,’ she said.

Amongst her other talents, Antonette has been an avid poet, actor and short story writer throughout her life, and has previously performed for Arts Matter Bristol and participated in the Swindon Festival of Literature.

Her writing is often autobiographical, and also addresses issues in contemporary politics. Her volume of poetry, Euanca (2021), is available in the Arts and Social Sciences Li-

Epigram / Lucy O'Neill

‘I love learning and mixing with younger people. The energy they have [...] is a type of vibration, a shoot of electricty'

'Age is not a barrier to university', 81 year-old poet and postgraduate of the University of Bristol tells Epigram.

Mateo Cruz

‘Age is not a barrier to university studies. It is only thinking that makes one think, so have courage and go for it'

University of Bristol

Epigram: Lily Farrant

'Antonette exempli es that [pursuing

& Wisdom

Auntie Oscar's Advice...

The University of Bristol’s third most insu erable homosexual is here to o er his words of wisdom to all who ask! This month’s theme? 4 tips for how to get a date...

1. Be confident, but not cocky!

Everybody loves confidence, it’s sexy! But don’t mistake your ego for confidence. Remember you are asking them to give you a chance, so please phrase it as a question. Often the easiest way to go about it is to be simple and to the point, e.g. “hey, I really like you, do you want to go on a date some time?”, it’s confident, clear and to the point (and the worst they can say is no!) Another bonus tip: if they say no, please be respectful, no one likes a d*ck.

2. Have a plan

This goes for the asking and the date. Think about a good time to ask them, don’t yell it in the middle of a quiet seminar, for example. Think about what to suggest; are they a drinks, co ee or dinner person? Do they value their independence? If so, maybe let them choose. Which brings me on to my next point…

3. Always be thinking of them

I want to preface this by saying, don’t do anything you don’t want to do! What I mean is, make sure that your cutie is comfortable. If they get cold, put a jacket around them, if they don’t like the place you’re in, get the bill and go somewhere else. Also, before the date, ask them what sort of stu they like. Maybe they’re better suited to a Spoons than a fancy restaurant, or a takeaway co ee and a walk through the park rather than a few drinks and heading back to you place ;)

4. Be yourself!

Yes it’s corny it’s cheesy it’s overdone it’s a cliché but it’s also TRUE! Now, should you burp the alphabet and answer “what do you do in your spare time?” with: “play video games, cry about disabled cats on TikTok and masturbate too much for a grown adult”? NO OF COURSE NOT! A little bit of lying and embellishing is necessary, but you shouldn’t pretend to be a di erent person entirely. After all, if you guys date an idea of each other, when that illusion shatters, so will the relationship. Also, I guarantee that people will find your authentic self, charming or sexy or cute or fun, or all of them, so go get ‘em tiger!

Dating is hard and scary, but I hope that this has helped. You didn’t want it, you didn’t ask for it, so here you go!

THE EPIGRAFT

A new blind dates series exclusive to Epigram

First impressions?

First impressions were good. She was friendly and we had quite a bit in common.

Any highlights?

It was nice to find out that we were headed to the same party later that evening!

Describe your date in three words

Friendly, chatty, hippy. Awkward moment

I don't think there was one - the conversation flowed quite well Any red flags? No!

Second date?

We haven't organised one yet but it would be nice to see her again.

Location: The Highbury Vaults

Year: Elliot: Master's student Isabelle: 3rd year

Second date?

Elliot: Yes

Isabell: Yes

Be our next blind date... Send a description of yourself to editor.epigram@gmail.com

First impressions?

Even before the date I thought he would be fun and outgoing - you have to be do go on a blind date! First impression was that he was really friendly, attractive and made me laugh

Any highlights?

When we realised that we were mutual friends

Describe your date in three words

Fun, easy going spontaneous.and

Awkward moment

When I first arrived, I approached two guys to ask if either of them were my date - they weren't!

Any red flags?

He doesn't drink hot drinks, if that can be counted as a red flag

Second date?

I would like to, we need to organise something though x

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Any drawings, sketches or artistic ventures vaguely relating to university/world a airs are welcome.

"I'm trying to convince my dad to timeshare a

"Uni? In the Midlands? You're going to die"

"Babe, would it be so hard for us to go one night without the racism?

Poetry Get involved...

Want to spread your lyrical love? We accept all forms of poetry (up to 200 words, although exceptions can be made!)

Satire

Hold those in power accountable with your words (but only up to 200 of them).

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"My cousin is so posh, he won't eat bolognese but he'll scran an oyster and he's not even 9"

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An arts perspective on the UCU strikes: In conversation with John McTague

Rachel Bronnert interviews senior lecturer

John McTague to gain insight into an arts perspective on the UCU strikes

Rachel Bronnert

Second year English

After the recent announcement of another eighteen days of industrial action, many students will be left feeling concerned and angry at the loss of almost half their teaching hours this term.

This article explores the reasoning and reality behind the last five years of industrial action. Why are arts courses typically more affected than other degree subjects? How, as a student, can you respond to these strikes, even if you feel powerless to influence any change?

The UCU (the university and college union) represents over 120,000 academics and support staff and works to advocate for better working conditions, pay increases in line with inflation, and the reinstatement of staff pensions. Pensions have been devalued by twenty per cent, 42 per cent of staff on casualised contracts struggle to pay bills and there is a large race and gender pay gap.

John McTague, a senior lecturer in the English Department and co-Vice President of the Bristol branch of the UCU, spoke to Epigram and gave an interesting and crucial insight into striking culture within university.

What’s one thing you would like students to know?

‘Sometimes, not just students, but those who are not active in trade unions don’t realise that people don’t get paid when they go on strike… going on strike for eighteen days means I will lose about two grand as a sen-

ior lecturer.’

‘We have been on strike for five years and students don’t always have the big picture… the progress we made from the pension dispute in 2018 slid back and we’ve been in the same dispute for five years.’

‘In the pay, equality and working conditions disputes we have made very little progress, so these eighteen days come as an escalation that we hope will get movement from employers. There’s also an assumption that being a university lecturer is a comfortable middle-class position, but the higher education sector in general works on casualized labour.’

is this penalizing students for something they can’t control?

ence and lobby other universities. Talk to your lecturers, I’m always happy to answer questions; if you support the action, tell them. We are all worried about how this damages our relationship with our students.'

'However, we feel we have no other choice as there are many more students to come. Come to the picket lines and join a staff and student solidarity group. Ultimately vice chancellors have the power to shift things, as academics have limited power.’

Whilst almost all of the teaching in the Arts department is cancelled due to industrial action, those who take other courses are often less affected. Why do you think this is?

‘Since the cap was lifted on student numbers, most humanities subjects have expanded from 60-70 to over 200; the number of staff hasn’t increased in line with the number of students, meaning much higher workloads.’

Do you think an agreement will be reached?

‘We will get an offer. Demand of the union for an above inflation pay increase is reasonable; we have had below inflation pay increases since I’ve worked in the sector. We are being paid 25 per cent less for more work than people were fifteen years ago.’

This has been a long-term issue; do you believe the strikes are effective or

‘They were effective in 2018. Employers have learnt a lot about how they can mitigate strike action, they believe they can adjust assessments and manage things so the University can keep running. I think when they see disruption of this scale, they are likely to move; we may have to move to a marking and assessment boycott

in the summer and employers know this is on the cards. We don’t want to penalize students but there are very few ways we can bring employers to the negotiating table that don’t affect students.’

What can students do to feel heard and help influence change?

‘They can email the Vice Chancellor and ask them to use their influ-

It is clear that the disruption from industrial action is a difficult situation for all those involved. It is evident that most academic staff feel they have no choice but to strike.

However, what is key is that students and academics should be on the same side. Students should consider at whom their anger is directed at and find a productive way to voice their opinion.

'Pensions have been devalued by twenty percent, 42 per cent of staff on casualised contracts struggle to pay bills and there is a large race and gender pay gap'

'We are being paid 25 per cent less for more work than people were fifteen years ago'

Epigram / James Dowden

Confronting taboo: The importance of fanfiction as a form of escapism

Isabel Williams discusses the popularity of fanfiction in the literary world

Isabel Williams

Second year English

Have you ever read a book or watched a television show and found yourself longing for more time with the characters? Ever craved an escape from the gruelling mundaneness of everyday life? Ever wanted to read a sequence in which the fictional children’s book character Harry Potter has sex with a dragon? If your answer to any of these is yes, then you are not alone: with more than one hundred million readers and writers worldwide, fanfiction is a hugely popular enterprise that shows no signs of faltering anytime soon.

being said, the best fanfictions are usually formatted like traditional novels: they are immersive with well-rounded characters, have good pacing and dialogue and are (at least for the most part) grammatically accurate.

emotional attachments. Despite its popularity, fanfiction is rarely discussed openly in the same way other supposedly “nerdy” pursuits (e.g. videogames, cosplay, board

whom the main character falls in love, despite his aggressive and manipulative tendencies. This portrays an unhealthy example to readers, as the majority of fanfiction consumers are young women and girls.

Much of the appeal of fanfiction is derived from sheer escapism; like any story, it offers an opportunity to immerse oneself in fictional worlds and the lives of fictional people. Sites like Wattpad and AO3 offer individuals the benefit of publishing their work anonymously, for free, and without a secondary editor, meaning writers have the freedom to explore their ideas without the pressures and specifications that come with more traditional forms of publishing. That

The main difference between fanfiction and regular fiction resides in the fact that fanfiction aims to explore fictional variations of already existing stories, such as building a narrative for less-explored side characters or changing the dynamic between already existing characters. However, there are also a great number of fanfictions written about real-life celebrities, some of which can be seen as promoting parasocial relationships, the likes of which we see in much of celebrity culture. In these relationships, an individual has an emotionally invested, one-sided relationship with a celebrity figure that is totally unaware of their existence, at times glorifying them to a godlike status. These parasocial relationships even exist to some degree in stories about fictional characters, to which readers and writers may also form close

games). Much of this is due to the fact that fanfiction has a reputation for being sexually explicit. Many fanfiction stories contain what is referred to as “smut”: vividly erotic scenes in which every action is described with painstakingly intimate detail. Some stories even take things a step further; those with titles such as “HARRY STYLES X READER” address the reader directly as “you”, including abbreviated terms such as y/n (“your name”), or y/h/c (“your hair colour”), during which the reader is expected to insert their own personal characteristics so as to solidify the sexual fantasy.

It may be partly due to this largely female readership that fanfiction harbours the stigma it does; whilst it is societally accepted that young men and boys will consume large amounts of pornography, historically and societally speaking female sexuality is much more of a taboo topic. Feminine infatuation with celebrities has also been historically regarded with disdain, as with Beatlemania in the 60’s. But although there is some validity in the concern over exposing young girls to misleading depictions of sex and relationships when they are at a more impressionable age, fanfiction offers a discreet way for female readers to explore their sexuality safely in a non-judgemental environment.

the assumption that these examples are representative of the majority, when in reality this is not the case. Many fanfictions are more focused upon “fluff”- romantically intimate or “cute” scenes - or negate the subject of sex altogether. Such fanfiction is popular with asexual readers who may feel that sex scenes in more traditional forms of media detract from the main plot.

Some of these stories include depictions of relationships that could be seen as romanticising abuse, such as the notorious fanfiction After; originally a Harry Styles fanfiction, in which Styles was portrayed as a brooding bad-boy character with

Much of the stigma surrounding fanfiction is blown out of proportion; many will reference the more infamous or sexually ludicrous fanfiction and make

In this way, fanfiction offers a kind of freedom that traditional fiction does not, in that people are able to rewrite their favourite narratives to suit their individual preferences. Ultimately, fanfiction is a fantasy, and we have all indulged in fantasy at some point, sexual or not. When the real world seems too intense, the fanfiction community offers a form of solace for many, with creativity and artistic interpretation at the core of its passion for story-telling.

Epigram / Isabel Williams

'Historically and societally speaking female sexuality is much more of a taboo topic'

'Writers have the freedom to explore their ideas without the pressures and specifications that come with more traditional forms of publishing'

'the fanfiction community offers a form of solace for many, with creativity and artistic interpretation at the core of its passion for story-telling'

Gypsy: A Musical Fable: In conversation with Music Theatre Bristol

colour were represented in such a positive way. It was such a pivotal moment in my head that completely resonated with me. I saw a representation of myself and thought ‘Wow! I enjoyed that!’. The ember of passion grew into a bright ame over the years for Sayan.

Milan Perera catches up with Music Theatre

Bristol to discuss their recent production of Gypsy: A Musical Fable

Milan Perera

Arts Critic Columnist

It is undoubtedly the crowning jewel of American musical theatre. It became a benchmark role for music theatre performers. It was music theatre’s answer to King Lear, which captured the emotions dictating human existence. Gypsy is a tour de force from the rst downbeat to the nal curtain call, as the proceedings move at a breakneck pace, punctuated with some of the most memorable show tunes. Music Theatre Bristol (MTB) has not been shy when it comes to tackling musical theatre leviathans and Gypsy: A Musical Fable is no exception.

In the run up to the main event of their performance calendar, Epigram had the chance to catch up with the director Sam Sayan and the lead cast Abi Wander. When we met at the Beckford Cafe on a cold afternoon in December, Sam Sayan and Abi Wander were in the middle of an intense rehearsal session in the Senate House building.

Epigram managed to catch a eeting glimpse where a dedicated cast and crew have already spent good number of hours perfecting every facet of the production.

My rst question to the duo was a curt curveball: ‘In this day and age of Net ix and Spotify why should anyone care about musical theatre?’ To which Abi Wander provided a measured and composite answer where she elucidated that: ‘I know that it’s not everybody’s cup of tea, but for me

as a music student I nd it magical. When you sit down and listen to an album, they’re all di erent and that’s great but when you sit down for a musical it all weaves together beautifully. There are motifs and moments that keep coming back and draws the story. It shows how music can tell a story in a special way. Musical theatre can mirror so many things which we experience in a clever way much like Shakespeare. For example, in Gypsy there are moments you could laugh or cry or feel angry. The whole spectacle is moving and uplifting.’

This was not the rst time Sam Sayan and Abi Wander joined forces in a major production. The 48-hour production of Heathers last summer where Sayan directed the proceedings and had Wander in the lead role garnered critical acclaim including a ve-star review.

Then we turned to their own musical journeys and shows which red their imagination. For Sam Sayan it was Rocky Horror Picture Show, which they saw as a ten-year-old in costume!

It seared on to them and made an inerasable imprint.

When I askedSayan what was special about the show, they commented that: ‘I’m gay and a person of colour. This is a show where I saw queerness and people of

Abi Wander’s natural air for singing was spotted at the age of seven years old by her deputy headmistress, who was a retired opera singer before turned to teaching. She received singing lessons and joined a myriad of choir groups including a semi-professional vocal ensemble.

She also joined various drama groups during her school days in London where she honed her stage craft. When I asked about her rst encounter with musical theatre, she said: ‘It’s probably going to be a boring answer. It was a performance of Wicked. I loved it so much and my love for the theatre grew from then on. Watching it for the rst time I thought ‘this is what I really want to do’. She burst out laughing and added ‘my musical taste has developed a little since then’.

When I turned their attention to the casting, both said almost in unison that they were under no illusion that the production is not some watershed moment in representation or diversity. What mattered according to them is at least attempting to cast actors based on their artistic merit irrespective of colour, sexuality or gender, bypassing the identity fea-

tures of a character. Wander, who is proud of her Jewish heritage added that: ‘we operate in a student sphere and if we can’t at least try to achieve it in a space like ours, how could you expect the industry to be more inclusive and diverse?’

Sam Sayan, who is an accomplished musical theatre performer in his own right, starred in the National Youth Music Theatre production of Ragtime where they portrayed Tateh, a Jewish immigrant travelling to America for a new life with his young daughter. The role required both empathy and nesse which Sayan had in spades.

his infectiously catchy lyrics of West Side Story only two years prior to Gypsy. When Sondheim was asked of the secret recipe for his memorable lyrics in an episode of Desert Island Discs on the BBC, he broke down his ‘magic’ with a disarming candour and said he treated musical numbers as one-act plays infused with the corresponding mood and emotions.

As an actor, Sayan was fully aware of the intricacies and complexities of the roles assigned to cast members, but they rmly believed in sharing their creative vision for the project with the cast and drilling it down to a tee in rehearsals.

Gypsy: A Musical Fable (1959) is considered by many as the most complete musical theatre expression in the history of Broadway, which featured the skills of two advocates in the industry: the composer Jule Styne and the lyricist Stephen Sondheim. The latter was on a crest of creative prowess where he became a household name for

Gypsy recounts the tale of Gypsy Rose Lee, unarguably the most popular burlesque and striptease artist in history, and her mother Rose. Rose is the pinnacle of all stage mothers and a character whose complexities and challenges have been explored by a long line of theatre luminaries, including Angela Lansbury, Bernadette Peters, Patty LuPone and Imelda Staunton. Abi Wander relished the challenge and was determined put her own spin on this iconic character. According to Sam Sayan, the set design for Gypsy was both detailed and extravagant, capturing the opulence of Post-Depression America, which included a fully equipped kitchen, a dressing table, a large neon sign, pyro, smoke and a rotating piece of set.

Sayan was quick to point out that it was a huge collaborative e ort with some other SU groups and individuals such as Walter Hall of the Bristol Operatic Society, David Simkins of the Bristol Symphonia, Sustainable Fashion Society, Marketing Society, DramSoc and the Pole and Aerial Society. The latter had advised the cast with the terminology and the artistic nuances surrounding burlesque.

As they were about to resume the rehearsals, I took my leave after being enthralled by an engrossing conversation on musical theatre and performing arts. Gypsy: A Musical Fable ran from 1 Feb – 4 Feb at The Winston Theatre.

Courtesy of Music Theatre Bristol

'In Gypsy there are moments you could laugh or cry or feel angry. The whole spectacle is moving and uplifting'

What's on in Bristol's galleries, theatres and museums this new year

A compilation of what's on across Bristol's art scene within the first few months of 2023

Grace O'Sullivan

First

Year English and Theatre

In Bristol, we’re spoilt for choice, with many wonderful arts organisations churning out new experiences on our doorsteps - it can get overwhelming trying to choose which ones to add to your calendar. While it would be impossible to cram every museum, gallery and theatre trip into the next few months, I’ve tried to give you a neat package of some of the most eye-catching events.

Theatre

Bristol Old Vic has a selection of exciting events - the talented students of the Acting School will perform in Shakespeare’s classic comedy As You Like It, but spun into a drastically modern setting; the acid-house music soundtrack may not be the obvious choice to accomplish the Bard, but it definitely doesn’t sound boring. A Midsummer Night’s Dream is also being revamped - if you’re an English student tackling Shakespeare, why not use this as useful

procrastination? As You Like It will run from the 9th-11th of Feb, and A Midsummer’s Dream will run from the 1st-3rd of March, both at the Malcolm X Community Centre.

The Staff takes pride of place in the annual Winston Theatre slot, the biggest venue of the year in the DramSoc calendar. A new, exciting piece of student writing by the brilliant Eleanor Hall, the play follows the imagination of schoolteacher Sheena as she attempts to rewrite the story of her school, which is beginning to split at the seams. With influences from Frantic Assembly, the play hasn’t a dull moment, and deeply questions the failing systems that support state schools; dashes of humour keep audiences entertained. Get affordable tickets via the Student Union website! The Staff runs from the 16th-18th of February at the Winston Theatre.

For some dreamy romanticism, check out the touring production of My Fair Lady, running at the Bristol Hippodrome from the 15th-25th of Feb. Starring renowned actors and singers, the production has already racked up five-star reviews. Promising more than just theatre, the Tobacco Factory has a range of events to brighten up the chilly days ahead. The Factory hosts a Market every Sunday, where you can amble around and discover stalls selling handmade art pieces, delicious food, drink and more.

From the 13th of February - 25th of March, the Tobacco Factory will also put on the Dominika Wenz exhibition, a Polish-based artist who uses images of the urban landscape to create striking abstract art. If this leaves you feeling inspired, why not attend one of the venue’s Drink'n’Draws (upcoming on 7th of March) or Life Drawing classes (upcoming on 23rd of February)?

Art Galleries and Museums

Bristol Museum and Art Gallery will be hosting ‘Switchboard’, a new LGBTQ+ History Month show by performance artist Astro-Zenica. The performance will pay tribute to the way queer people communicate and connect, drawing from The Bristol Gay and Lesbian Switchboard which was set up in 1975 as a support system for the

community. With zines to purchase after the show, book now for this Valentine’s Day.

A gorgeous hub for art, books and coffee, the Arnolfini introduces ‘Garry Fabian Miller: ADORE’, a free exhibition running from the 18th of February - 28th of May. Deeply connected to nature and its processes, Miller’s work is a reminder to us to be appreciative of the softness, lights and colours that we often miss as we hurtle through daily life. Subtle and delicate, the exhibition is perfect for those looking for a space to feel clear and relaxed.

If you’ve never stepped through the doors of StrangeBrew, now is the time - the venue always promises stunning decoration and quirky events. On the 23rd of February, prepare for the unexpected as ‘Doozy’ looks to subvert the traditional exhibition party. An independent Bristol arts collective, they have compiled the work of 28 artists from across the country, and will be presenting them alongside their zine launch. The event consists of a live painting jam, a film room, immersive performances,

animation, sculptures, and all other kinds of chaos. Tickets begin at £8, or £11 if you fancy the afterparty.

Looking to support smaller local galleries? Take a look at the Centrespace Studios and Gallery, located near St Nicholas Market, who are putting on a series of events that look to step back from digital art and celebrate the humble craft of lino prints. As well as the opportunity to admire and buy work from some of Bristol’s talented creators, the calendar includes a Giant Lino Printing Event and Social on Saturday, 18th of February.

Book Nook: New year new me

Forget self-help books, this is the book to read to feel inspired this new year

Amelia

Jacob Film & TV Digital

Editor

When I type ‘wild’ into google, it spits out the following synonyms: natural, native, indigenous. In January, I often find the deluge of self-help books in shops overwhelming and useless. Forget Atomic Habits, The Subtle Art of Not Giving a F*ck and Big Magic – even the new trend towards ‘non self-help’ self-help books is just a slightly altered

version of exactly the same thing. My recommendation this month is therefore a read I find inspiring as opposed to deliberately helpful; a story that reminds me to disentangle myself from my phone and appreciate the outdoors this new year, and help myself in an alternative way.

Into the Wild – Jon Krakauer

Jon Krakauer’s biography of Christopher McCandless – a name iconic in my household growing up, but one I haven’t heard very often with other people – originated in Outside magazine, a picaresque adventure story I have been quietly obsessed with for many years.

It was also made into a film direct-

ed by Sean Penn, which was, incidentally, Kristen Stewart’s film debut, though the book is far more intricate.

Into the Wild documents Christopher McCandless’ evolution from an idealistic college student who donates $24,500 of his savings to Oxfam, all the way up to his ill-fated trip across the Stampede Trail in Alaska as a seasoned adventurer. McCandless was an unusual man, staunchly individual and possibly plagued with mental health issues (depending on who you ask). He changed his name to Alexander Supertramp and became an urban legend, hitchhiking and foraging his way across America like the heroes of the novels written by his favourite authors.

The book was criticised upon its release, as many debate whether McCandless’ story should be viewed as inspiring at all, given its unhappy ending.

However, regardless of the ethics of his departure from traditional society, it is undeniably inspiring to take control of your own life, choosing an unconventional path out in nature, on the road ‘less travelled by’.

In an age where smartphone addiction and reliance on the Internet to complete daily tasks intrudes on mental health more and more, it seems like even more of a radically political decision to turn your back on modern

life now than it was for McCandless in the 1990s.

Jon Krakauer’s personal observations of McCandless’ journey contribute to the quality of the book, particularly as Krakauer is an accomplished climber and adventurer himself.

Not only does he describe McCandless’ journey with immense sympathy, but also includes stories of other young men inspired to return to the wild. His writing style is compulsively readable, the correct mixture of journalistic and descriptive, making for a story that has followed me closely ever since I read it.

It isn’t a traditional self-help book, but try not to feel inspired after reading MCandless' story. I dare you.

Epigram / Grace O'Sullivan

Epigram / Grace O'Sullivan

'A story that reminds me to disentangle myself from my

Babylon is Damien Chazelle's love letter to cinema, and hate letter to Hollywood

Happy New Year old sports!

What better way to kick off 2023 than with Damien Chazelle's raunchy and boisterous whirlwind of a film, Babylon?

An expose of 1920s cinema, his latest work is quite the cinematic experience.

Evelyn Heis, Film & TV Editor

Ladies and gentlemen, he’s back. After nearly five years since we last saw his work on the big screen, Damien Chazelle has made a grand return, showcasing what I believe to be one of his most innovative works yet. As an avid La La Land (2016) and Whiplash (2014) lover, I have to say that nothing could have prepared me for what Babylon (2022) had in store.

Interweaving multiple narratives, Babylon follows a crowd of Hollywood actors, singers, writers, and directors looking to find their big break in the industry and, most importantly, remain relevant.

Conscious of the futility of their careers, everyone involved is looking to amount to something bigger: to contribute to cinema and have a lasting impact as they move from silent, black and white films to the roaring twenties and its technological advancements.

In other words, Hollywood is one big, boisterous party, and everyone is dying for an invite. The star-stud-

ded Babylon crowd trails the life of Manny (Diego Calva), an aspiring actor and first-generation Mexican immigrant who longs to work on a film set and consequently falls for the up-and-coming ‘it’ girl Nellie LaRoy (Margot Robbie), the overnight acting sensation whose hidden talents are her rock-hard (and definitely not iced) nipples, as well as crying on cue.

Her emergence into society as ‘new money’, with a crude sense of humour, a voracious sexual appetite, and numerous cocaine-frenzied outbursts (at one point, she wants to fight a snake), leads to a fizzle in her short-lived career, something which Manny is desperate to help her resolve. Simultaneously working for Jack Conrad (Brad Pitt), Hollywood’s most famous- and borderline alcoholic- highest-paid actor, Manny finds himself swept into the lavish lives of the industry’s ‘it’ stars overnight.

But it doesn’t end there. The film revolves around their fleeting encounters with Elinor St John (Jean Smart), Hollywood’s cut-throat and renowned journalist, who takes the role of Conrad's mentor; Lady Fay Zhu (Li Jun Li), a queer actress, performer and singer who is bound to seduce every woman in the audience with her brilliant solo ‘My Girl’s P*ssy’ and her cloud of smoke. And Sidney Palmer (Jovan Adepo), whose memorable trumpet-playing and jazz career happens to be one

of the most poignant: faced with the blatant racism in the industry as a Black man, Sidney is torn between wanting to play for a wider audience or back at home, for himself.

These larger-than-life characters are all interconnected, even if not directly, at first, as they all inevitably cross paths with one another, whether it be in these lavish drug-filled, sex-crazed parties or in sweltering film sets.

It was extremely entertaining to watch these encounters unfold throughout the course of the threehour film– yes, that’s right, three hours– and without giving too much away, an honourable mention has to go to Toby Maguire for his performance as James Mackay, a callous mob leader whose grin alone is bound to give you nightmares.

The scene in which they develop the first 'talkie' (sound) film and need absolute silence for it to work was one of the funniest moments in the whole film.

In contrast to the stifling and blistering film set where everyone had to be quiet, the whole cinema was continuously breaking out into laughter with every interruption.

The best way for me to describe the immeasurable cinematic experience that watching Babylon is like is The Wolf of Wall Street (2013) meets The Great Gatsby (2013), Once Upon A Time In Hollywood (2019) and Boo-

gie Nights (1997), while still retaining glimpses of Chazelle’s earlier musically-driven works, like La La Land (2016).

It was dizzying, and innovative, and exhausting, seamlessly capturing the whirlwind of the industry, the rise and fall of their careers: the decadence and the depravity of the era.

Babylon’s cinematography was mesmerising, with every scene having been perfectly captured and full of colour, life, and emotion. It was visually hypnotising, and only further enhanced by Justin Herwitz’s dazzling musical score. From tranquil jazz notes in the film’s rare slow mo-

of critiquing the industry today, for the incessant production of Netflix films and low-quality ‘bingeable’ shows mean people have lost touch with the craft. Films and cinema are no longer what they used to be, and that is something that should be mourned; for Babylon, though hidden under the drama, glamour and excess of these Hollywood rising stars, tells a story about the love and passion these individuals have for cinema.

Babylon showcases different genres, experiences, and innovative ways of filmmaking that only exemplify how much he has pushed himself to

ments to the exuberant and eccentric brassy trumpet rhythm that was ever present at every party, there was no better soundtrack to have accompanied this work of art. I still can’t get the jazz theme out of my head.

The acting, the cinematography, the music, and the storyline hit 10s all across the board.

That being said, I don’t think this is a film that will be appreciated by everyone due to those exact reasons. But, I believe that it’s not meant to be appreciated nor understood by all. Its message is clear: we will all die, but what we create and our impact will remain long after we are gone.

And perhaps this is Chazelle’s way

reach a new level. But, what I loved the most was seeing glimpses of characteristics that are evident in his other films, showing that, perhaps, Babylon is not so different after all, evoking his evident love for filmmaking and cinema, bringing these projects to life.

Though often graphic, excessive, and bizarre, as well as brilliant, raw, and magnetising, this was certainly an experience I urge everyone to try.

With all of its glitz, glam, and grotesqueness (I believe every bodily fluid made an appearance), this was an impressionable love letter to cinema, which cinephiles, and those looking to have a good time, are sure to appreciate.

What Does 2023 Have in Store for Film & TV?

At a time when the abundance of content is so readily available to all of us, it is endearing to see the great works that are being produced in 2023. Chris Leonard rounds up a few gems you should keep your eye out for this new year.

Chris Leonard

Third Year, English

Through the messiness of modern life, cinema and television persevere. 2023 has a lot to enjoy. Creative and interesting works are being produced and getting recognition even in an over-saturated and unstable environment. After the pandemic, economic hardship, and a developing attention economy cultivated by social media, advertisers, and corpo-

rations, people will still watch what they love. As we enter the New Year, I am optimistic about the perseverance of the creativity of cinema. Six films stand out as potentially landmark releases.

1. Tar (Out Now!)

Dir. by Todd Field, stars Cate Blanchett in a psychological journey of fame and cancel culture.

2. Barbie (TBC July)

Dir. by Greta Gerwig and in collaboration with Noah Baumbach, this film has a celebrity-stacked cast, including Margo Robbie and Ryan Gosling.

3. Oppenheimer (TBC July)

Dir. by Christopher Nolan and stars Cillian Murphy as a leading physicist who builds an atomic bomb.

4. Asteroid City (TBC June) Dir. by Wes Anderson.

5. Women Talking (18th Feb) Dir. by Sarah Polley. Follows how women communicate about s/a in religious spaces.

Featured Images: Courtesy of Scott Gar -

field : Paramount Pictures on IMDB.

The acting, the cinematography, the music and the storyline hit 10s all across the board

Avatar: The Way of the Water is a simply spectacular sequel to James Cameron's Avatar

Thirteen Years ago, James Cameron wrote and directed the highest-grossing lm of all time, Avatar (2009). To say its sequel was highly anticipated, would be an understatement.

Sayoni Ghosh, MA English

Thirteen years after James Cameron wrote and directed the highest-grossing lm of all time, Avatar (2009), he's come back with a sequel, Avatar: The Way of Water (2022).

The lm follows the life of Jake Sully (Sam Worthington) fourteen years after the Na’vi were able to defend their sacred land of Pandora under his leadership. We nd him as the chief of the Omatikaya clan and as a family man, raising ve children with Neytiri (Zoe Saldana). But trouble looms over them as the Resources Development Administration (RDA) or, in other words, the Sky People return, this time to colonise Pandora.

Stephen Lang reprises his role as antagonist Miles Quaritch, who has been revived by transferring his memories to a new avatar. He is the leader of the paramilitary security division of the RDA and wants to kill Jake Sully regardless of the cost. To protect his clan, Jake leaves with his family to take shelter under the Metkayina clan, the reef people.

and Kiri (Sigourney Weaver), their adopted daughter, who struggles with discovering her identity.

James Cameron takes us on a sensational ride to show an exquisite and immersive world of Pandora’s ocean life and how the battle between mankind and the children of Eywa continues. Russel Carpenter’s masterful cinematography makes the lm a heroic and extraordinary theatrical phenomenon.

It is truly breathtaking how well Cameron has interwoven environmental storytelling into this spine-tingling adventure and so many thoughtful and emo-

truncated, but the massive scale of the franchise does not steal from the intimate and raw moments of each character. It did not fail to give me goosebumps or make me shed a tear and it was a powerful way to end 2022 in the world of cinema.

Returning characters from the rst lm are developed; we see an empathetic side of Jake Sully in his determination to protect his family and how he copes with being a father; we see Miles come to terms with his son; we see Neytiri ght the internal battle of accepting humans. We are also introduced to new characters in Jake’s children, who have such distinct personalities that it is di cult not to get emotionally attached to them. My personal favourites are Lo'ak (Britain Dalton), their second eldest son, who struggles to win his father’s approval,

I gazed with awe at an entirely different way of living life for our main characters, whether it be their relationship with various animals of the reef world, learning the art of breathing underwater, or the cultural context of intelligent herds of majestic whale-like creatures called tulkun. Every frame of the underwater scenes is mesmerising, and we are introduced to an entirely new world in this already-existing universe.

clude an epic underwater chase sequence and ght scene, are jaw-dropping. The lm’s stunning score by Simon Franglen gives due credit to the late James Horner’s unforgettable soundtrack from the rst lm during the intense moments, beautifully capturing the tension.

We can see the love and passion of thirteen long years oozing from every scene, every storytelling choice, every action sequence, every dialogue delivery and every character transformation.

Its runtime of three hours and twelve minutes does feel long at certain points and could have been

Tar is a film about orchestrated corruption and abusive power dynamics

Todd Field wrote and directed Tar with Cate Blanchett in mind for the lead. It tells a tale of misconduct, manipulation, and a power-hungry conductor who abuses her position of power in the music industry.

Frankie Raudnitz, Third Year, English

Tár (2022) is set in the intriguing international world of Westen classical music. The– entirely ctional– Lydia Tár (Cate Blanchett) is widely regarded to be one of the most successful living composers/conductors of her time and a trailblazer for female conductors. Slowly, allegations of misconduct begin to surface, whilst her abusive, manipulative and sel sh personality does her no favours. The lm follows her dramatic fall from grace.

At its core, Tár is a commentary about the recent surge of the #MeToo movement and ‘cancel culture’, but to reduce it to just that would be oversimplifying it entirely. The lm is two hours and forty minutes of stunning visuals, gut-clenching tension and scintillating performances.

Much of Todd Field’s masterpiece dips into points of abstract horror, with unexplainable moments littering the lm and building a sense of unease and darkness.

The most impressive element of the lm is Cate Blanchett’s performance.

Written solely with Blanchett in mind, Lydia Tár combines enigmatic con dence, control and talent with a very dark side.

She belittles her assistant (Noémie Merlant), whom she knows is vying to become a conductor herself, hanging her on a

string without ever letting her go.

Tár will do anything to get what she wants, from purposely choosing a cellist she nds attractive to be in her orchestra to rigging a solo in order to spend time alone with her. Tár’s con dent inconsistency shocks throughout the lm, but the conductor carries it o with such con dence that you barely notice it happening.

She is known for commissioning work by female composers but insists that bias against women has ceased. She sets up a programme for budding female conductors but uses it to unfairly favour and exploit (mostly younger) women who she nds attractive.

Blanchett handles the topic of female abusers with care and nuance, embodying a sense of masculinity and dominance in the lm. You cannot take your eyes o her.

Despite being central to the plot,

the allegations against Lydia Tár are never fully embellished beyond a badly-edited Twitter video or a one-sentence newspaper clipping. The vagueness of the allegations that Lydia has ‘enticed and groomed young women’ leaves almost everything to the imagination.

Krista Taylor is Lydia’s most prominent victim in the lm, but we only ever see the young woman’s desperate emails and the back of her head as she watches Lydia in an interview. The lack of attention on these allegations makes Lydia Tár a mere symbol of how corrupting power can be, and the lm is far more focused on her complex personality than an elaborate court case.

Alongside Lydia Tár’s emotional intensity, the unrelenting brutalist spaces created by production designer Marco Bittner Rosser

don’t give you an inch to breathe. The visuals are angular, cold and sparse, re ecting Lydia’s inner world.

As her stony exterior gives way to a woman cracking under pressure, sound is the main thing that haunts her; a rogue metronome, the fridge light buzzing in the middle of the night, or a mysterious ‘dinging’ sound.

The moments of silence are also crucial in the lm. They are even more haunting in comparison to the booming orchestra or detailed background sounds.

Tár is an incredible lm. The rigorous attention to detail is what makes it so special - Lydia’s idiosyncrasies, the framing of each shot and the subtlety of each individual look from the actors. Fundamentally, Tár is about power, control and corruption, and you will be left thinking about it for days after.

Image by Amelia Jacob, Courtesy of 20th Century Studios on IMDB.

RuPaul’s Drag Race Season 15’s message is clear: You better walk that duck

Rupaul's Drag Race is back for another season, this time bringing the biggest cast to date of sixteen queens. Although only a few episodes are out at the moment, read Jake Tickle's review and predictions for the season!

Jake Tickle, Deputy Film & TV Editor

This year’s drag race brings us the biggest cast to date of sixteen queens, including drag legend Sasha Colby as well as twins Sugar and Spice, and it all begins with a double premiere, topped o with forty inches of human hair and duck walking. Consider my engine well and truly revved.

The rst episode begins with the rst eight queens walking into the workroom: Irene Dubois, Luxx Noir London (with apparently forty inches of human hair…), Aura Mayari, Marcia Marcia Marcia, Anetra, Malaysia Babydoll Foxx, Princess Poppy and Sasha Colby.

For those of you who don’t know, Sasha Colby is a drag legend in the states, and across the world, she is someone to truly keep your eye on this season. After talking for a while, the queens

are greeted by none other than Ariana Grande, before RuPaul whisks them o for their rst challenge, where they will have to model whilst being hosed down by the pit crew. Hot.

Then, we are taken back to the workroom to meet the remaining eight queens: Salina EsTitties, Amethyst, Jax, Loosey LaDuca, Mistress Isabelle Brooks, Robin Fierce, and the twins, Sugar and Spice.

Now that’s over, this group of queens also have to do a modelling challenge, except instead of water, they have to deal with wind. Shortly after, both groups

formance for the Talent Show Maxi Challenge – yes, all sixteen of them.

Now onto the main stage for the second episode/part of the season fteen premiere. RuPaul and Michelle look amazing as always, Ross Matthews is, well, himself, and Ariana Grande is the guest judge. The queens begin with their lipsync, which they choreographed themselves, and it’s… OK.

Now onto the Talent Show. It would take far too long to go through all the queen’s performances, but here are my highlights: Sugar and Spice surprised every-

ous Britney-Esque performances, which were truly a treat to watch, whilst Marcia’s performance harked back to Willow Pill from season fourteen in a hilarious and smart piece where she pulls out some of her ballet moves in front of a portrait of the hilarious Ross Matthews.

Jax also did a great job at lipsyncing whilst doing something we haven’t seen before – rope jumping with her own hair – which had everyone up on their feet.

And that brings me to Anetra. Words cannot describe how obsessed I am with this performance.

ters, three vowels’, telling us she is here to ‘wear your pussies out’ and that she did. She duck walks to the front of the stage, quacking, of course, and vogues to a techno beat.

But that’s not all! She also chops wood with her hand and then kicks the other piece of wood, chopping that in half too, all while walking the duck. Anetra blew my mind, her performance was equal parts hilarious, catchy, gaggy and actually good. The phrase ‘you better walk that f*cking duck’ has been living in my head since the premiere.

The episode concludes with an actual elimination (unlike other seasons where a queen hasn’t gone home until around four episodes in), and I have to say, this was one of Drag Race’s best premieres to date, but maybe I have Anetra to thank for that. You better walk that duck.

are joined together and are told they have to choreograph a perone with their catchy and hilari- She comes out spelling her name whilst reminding us that it’s ‘six let- sons where a queen hasn’t gone

HBO's The Last of Us makes an infectious first

Taking a beloved video game franchise and turning it into an equally loved TV series is no mean feat. Barney Johnson assesses whether HBO has what it takes to make The Last of Us (2023-) a success.

Barney Johnson, Third Year, Film and Television

The beloved and acclaimed The Last of Us (2013) stands among the pantheon of great video game narratives, with imaginatively visualised worldbuilding, a relentlessly morose tone and two of the most celebrated and compelling characters in the medium’s rich history. When it was announced that creator and writer Neil Druckmann would be at the helm to bring the soul-shattering journey of hardened smuggler Joel and boisterous teenager Ellie to the silver screen, fans were initially quite hesitant to be excited. The track-record of video game

adaptations into TV series and lms leaves much to be desired; notable disappointments such as Doom (2005), Assassin’s Creed (2016) and the Halo series (2022-) are all key examples of why video game fans have lost faith in seeing their favourite franchises introduced and retold to wider audiences. Excessive alterations and a lack of faith to their respective source materials upset and aggravate fanbases. Recent successes such as Castlevania (2017-2022) and Arcane (2021-) inspire some hope, proving that the vehicle of serial episodic television can portray a faithful, yet unique, rendition of popular video games.

However, there was still much speculation over whether The Last of Us could be e ectively adapted into a series, as well as whether said adaptation would be ultimately worthwhile.

Fortunately, both fans of the game and curious viewers who’ve no idea what lies ahead will nd the opening episode of HBO’s latest drama a visually arresting and thematically pro-

vocative watch. Undoubtedly, some of this quality must be accredited to co-creator Craig Mazin. His Emmy winning project Chernobyl (2019) provides all the context one needs to understand that Mazin is a masterful showrunner and world builder.

Perhaps the most crucial element for the pilot is that it stands on its own merit and does not ride on the coattails of the game’s success. Although there are occasional moments of fan service sprinkled throughout the episode, the dynamic lmmaking and well-measured pacing allow viewers to become accustomed to the central characters and the threats that linger over them, regardless of prior familiarity or otherwise.

The production value that typi es HBO’s high budget series is on full display; with plane crashes, burning houses and an, already iconic, nal shot of collided skyscrapers all exemplifying the stellar work that the set design and visual e ects teams needed to pull o to bring this universe to life.

Fans will have rejoiced at the opening title sequence, as composer Gustavo Santaolalla’s main theme from the original game rightfully returned to sonically supply the show with a resonant and melancholic identity.

The horror elements are well realised and, in some instances, even excel their source material. One particularly memorable shot exclusively focuses on a character in the foreground to obscure what’s happening behind them, in a moment that will send shivers up the spines of unsuspecting audiences. E ective use of prosthetics and sound design make the initial outbreak of the infected a harrowing and disturbing experience, even for those who have played through it numerous times before, and raises anticipation for future threats that we can expect to encounter as the series progresses.

Pedro Pascal and Bella Ramsey both strike a ne balance between paying homage to the stunning performances of Troy Baker and Ashley Johnson

from the original game, as well as bringing their own wrinkles of characterisation to Joel and Ellie. If the opening episode was any indicator of the quality and tone that awaits viewers for the rest of the series, it is practically undeniable that HBO will have yet another hit on their hands. I, for one, cannot wait to see the evolution of Pascal’s and Ramsey’s chemistry as they traverse the wasteland together.

Image by Amelia Jacob, Courtesy of WowPresents on IMDB.

Sam Mendes' The Empire of Light fails to truly sparkle

Nominated for a number of awards, including an Oscar, Empire of Light is the latest offering from acclaimed director Sam Mendes. Tara de Mel illuminates whether or not it deserves the praise.

Tara de Mel Second Year, English

and Philosophy

Sam Mendes’ Empire of Light (2022) has been heralded as ‘a love letter to cinema’, with Mendes drawing upon his own childhood and the mental health struggles of his mother to craft his first solo-written screenplay. Whilst there are moments of warmth and tenderness within this film, it sadly fails to connect with audiences in its attempt to explore too many heavy themes without adequate depth and originality to fully capture our attention.

picture palace on the south coast of England circa 1980, the film follows the relationship between Hilary Small (Olivia Coleman), the cinema’s duty manager, and Stephen (Michael Ward), a young new employee.

Hilary lives largely as a recluse, quietly struggling with a psychological disorder that leads her to bouts of fury and the resurfacing of past traumas; Stephen is a 20-something-year-old black man in a country that hasn’t quite accepted him.

deco interiors. In his sixth collaboration with Mendes, Deakins's striking set design manages to evoke the glamour of cinema’s golden age yet maintains the melancholic atmosphere integral to the overall lostsoul feel of the film. The magical and sometimes wonderfully ironic score by Trent Reznor and Atticus Ross re-enforces the film’s quiet beauty.

done enough to reconcile this major disconnect. The script tries to tackle so much but ends up doing little.

es that don’t quite fit together make this a film that just misses the mark.

The overall intended message of the film of the unifying magic of cinema seems lost in the rubble.

That is not to say that themes of racial and sexual inequality, mental health, loneliness, and generational trauma cannot be explored within a single script, but it is the lack of cohesion between them in Empire of Light which ultimately lets the film down.

The two begin a relationship, seemingly drawn to each other’s despair, finding solace in the cinema’s derelict upper floors and (almost comically) ruminating on the life of a poor little pigeon with a broken wing.

There is much to love about this film, including veteran cinematographer Roger Deakins’ dazzling tableaux of seaside promenades and art

This beauty is unfortunately let down by a mediocre script full of one-dimensional characters and an over-reliance on heavy-handed metaphors. The relationship between Hilary and Stephen never feels entirely convincing, as they seem more like vehicles to uphold the film’s themes than fully fleshed-out characters to which an audience can connect.

Ward is charming, and Coleman is glorious in capturing Hilary’s downward spiral, but neither could have

Late additions to the story, such as Stephen’s mother and ex-girlfriend, as well as projectionist Norman’s (Toby Jones) regret-filled past, only add to the convoluted multitude of ideas that are in want of greater depth in order to contribute meaningfully to the plot.

With some very memorable scenes and a hugely competent ensemble cast, Empire of Light is well-intended and entertaining. However, its flimsy attempt at intersectionality and clumsy creation of puzzle piec-

Three Minutes: A Lengthening is a touching tribute to the importance of memory

Having found unseen film footage from the town of Nasielsk, where thousands of Jews were murdered during WWII, Bianca Stigter attempts to recover as much information about the lives of the people present in that short clip.

Sean Lawrenson, First Year, English

Bianca Stigter’s latest film pays tribute to the massacred town of Nasielsk, and the attempts to find fragments of memory from 180 seconds worth of film.

Stigter’s film takes hold of you. The whole three minutes are played straight away, but over the course of the following hour, every little detail is picked apart and analysed meticulously. There are searches for people, places, and eventual-

ly stunning observations of minute details in the background. The filmed footage comes from a home video found in 2009 by Glen Kurtz, and what follows is his (amongst others) journey to find forms of life.

The film, narrated superbly by Helena-Bonham Carter, does not focus solely on the atrocities committed against the people of Nasielsk but instead focuses on finding the lives they had before the war – given that the footage was shot in 1938.

In every face, identified or not, there is a trace. Every spiral that untangles, from unsuccessful attempts to identify simply the town to eventually the arduous process of finding some of the people in that film, is a wholly mesmerising one.

Whilst the film leans further into trying to recognise the lives these

people lived, there is a section, which recounts how the people of the town were treated, which is gut-wrenching and harrowing, and although we never see these events, it is almost more impactful to see what there was before.

It reminded me at times of Alain Renais’ Night and Fog (1956). Seeing these vast, empty spaces and thinking, as an audience, about what happened there makes the film all the more impactful.

Days after having seen it, moments keep creeping up into my mind, and that is a testament to every aspect of this film: it stays with you.

From the narration, collation and direction, it all comes together to leave a lasting impression.

This isn’t by any means an easy watch, but it does pose a beautiful depiction of what it means to be alive

As the film recognises, finding out any of these people’s names won’t bring them back to life, and it won’t prevent the atrocities inflicted upon them, but it may help to remember the people they were. The lives that they lived, the people they met and fell in love with. The happy memories they had.

This is what the film concerns itself with, and that is what I find so remarkable.

It is an essential watch. I mean that in the way some teachers are showing Schindler’s List (1993) because it is so deeply ingrained in cultural memory. Not as daunting as the ten hours posed by Shoah (1985), the film offers a gaze into people, not events.

The population of Nasielsk was 7500 in 1939, of whom 3000 were Jewish, and it is of these 3000 Jewish citizens that only 100 survived the Holocaust. The film embodies their memories expertly, highlighting that they lived real lives, and what is left is nothing short of a masterpiece.

So, if you have an hour (and ten minutes) to spare, I highly suggest you watch Three Minutes: A Lengthening. I doubt you’ll be able to watch a film as impactful in that space of time as this one.

Set in the Empire Cinema, a fading

Image by Roger Deakins Courtesy of SearchLight Pictures on IMDB.

Three Minutes: A Lengthening was shown at the Watershed to commemorate Holocaust Memorial Day.

Love Saves the Day Festival announces its full 2023 line-up

From Groove Armada to Hybrid Minds, Love Saves the Day is back with a line-up to fall in love with.

Bristol’s biggest independent festival, Love Saves the Day, has announced a star-studded line-up in what promises to kickstart the 2023 Bristolian summer in explosive fashion. The festival will make its return to Ashton Court on May 27th and 28th this year, with an expansive line-up that spans ten stages. Encompassing headlining household names, to the local, Bristolian talent that Love Saves the Day has always championed, the festival o ers something for everyone.

Requiring zero introduction, Saturday will see the legendary Fatboy Slim take over the main stage. Following her meteoric rise in 2022, jungle revivalist Nia Archives is also set to perform on the Saturday. The list of star names is seemingly endless, with the likes of Groove Armada, Andy C, Kelis, Kettama and Salute all set to play on the rst day of the festival in what can only be described as a massive line-up.

The Sunday of the festival sees British electro-pop band Years and Years headline. SG Lewis is also set to peform on the main stage on the day. Joining them is an eclectic lineup of artists across the electronic genre; the likes of Overmono, Shy FX, Interplanetary Criminal and Folamour will all take to the stages on Sunday. A further standout is Four Tet, who after an incredible 2022 will bring

his immersive show to the festival. Excitingly, the festival has announced a brand-new stage for 2023 named ‘The Big Top’. The Saturday will see the stage taken over by RUN, who have curated an electrifying lineup of drum and bass, which sees Hybrid Minds and Tempza headline in the evening. Other acts set to play the stage across the weekend include the likes

of Koven, Eliza Rose as well as Sub Focus b2b with Dimension. Love Saves the Day founder, Tom Paine, has said:

“Love Saves the Day has become such a staple in the festival calendar, and we can’t wait to bring it back for 2023.

"We’ve got one of our strongest line-ups we’ve ever had with some of the top drum & bass artists on the scene. Andy C and Hybrid Minds are some of the most iconic gures in

global dance music and it’s going to be a highlight of the festival”. Tickets for the festival are available to purchase now and with the event expected to sell out as usual, it is recommended that you don’t wait around. Payment plans are also available for those who’d prefer to pay for the festival in instalments.

Album Review: Five Easy Hotdogs - Mac DeMarco

First Year, English

On paper, the latest musical foray from Mac DeMarco isn’t exactly what you would have in mind. Following on from his 2019 record Here comes the Cowboy, DeMarco’s instrumental only project is, well, interesting. The concept for the album, to record each of the instrumentals in their corresponding city is an unusual one, with DeMarco himself saying it was: The result of this, however, are fourteen songs beautifully encompassing the journey DeMarco went on. From the outset, you can

just tell this is a Mac DeMarco record. The instant recognisable nature of the guitar licks have gone nowhere, and whilst at times it does feel like the record may have benefitted from some form of vocality, to really draw out the impressiveness of the instrumentals, that is perhaps the only marginal criticism I can have.

As with all his previous records, this suits a particular time and place.

is perhaps the best way to sum up the album from a listening point of view.

It is a record you find easy to fall into, before you know it all thirty-four minutes have gone and Spotify’s back on ‘Gualala’ as round two comes calling. Asides from the fact that the music itself is composed to a very high standard, the records worth your time for a few simple reasons. For starters, if you are a Mac DeMarco fan, you’ll want to listen simply for seeing a progression of sorts, but it also feels incredibly accessible to people who may never have come across his music before.

The relaxed nature of the songs makes the album ideal for anyone in need of relaxation. It is an album to fall asleep to, an album to wake up with, Mac DeMarco’s latest project shines in so many lights and leaves you wanting more.

This isn’t a record you should listen to before going on a night out, it is your Sunday Morning record, which

Mac's latest record is for breezy Sunday morn- ings and re ecting on journeys past.

Sean Lawrenson

Josh Templeman Co-Deputy Music Editor

Epigram / Julia Riopelle

'Kind of like being on tour, except there weren’t any shows, and I’d just be burning money'

Amazing live music in Bristol this February

him at Bristol’s Trinity Centre later this month.

Caroline Polachek – 16th Feb –Marble Factory

Josh Templeman Co-Deputy Editor

New month, new gigs – you know the drill at this point. With 2023 in full flow and the bleakness of January behind us again for another year, Bristol’s selection of gigs is only getting more exciting. Here, we break just a fraction of what the city has to o er this February.

t l k & Barney Sage – 8th February –The Gallimaufry

If t l k isn’t already on your radar, then that needs to be changed quickly. One of the most exciting experimental artists in the South West, the Bristol

Caroline Polachek is a name that should need little introduction. The American singer-songwriter has been making serious waves in music in recent years with her unique brand of art-pop receiving widespread critical acclaim. She heads to Bristol’s Marble Factory this February following the release of her 2022 EP Welcome to my Island.

Ezra Collective – 18th Feb – O2 Academy Bristol

Spearheading the revival of London’s jazz scene, Ezra Collective have quickly become one of the genre’s most acclaimed groups. Modern

Kerala Dust – 28th Feb – Strange Brew

Since their formation in 2016, Kerala Dust have created a unique sound that combines the member’s shared history within indie-rock alongside their deep

FIFA 21, or maybe you recognise them from the abrupt end you brought to their hit single “Don’t Let the Light In” when you threw the remote through the TV. Great band, I would highly

local is rapidly evolving from one of the city’s hidden gems to one of its worstkept secrets. Later this February she’ll be performing alongside producer and multi-instrumentalist Barney Sage at Gloucester Road's Gallimaufry. Head down this month for an ethereal night of music that pushes boundaries and de es genre. Did we mention it's free entry?

Sainté – 16th Feb – Trinity Centre

Since scoring his first viral hit with 2021’s ‘Champagne Shots’, Sainté’s ascendance to prominence has been nothing short of meteoric. Since then, the Leicester-based rapper has carved out his own lane within UK rap, consolidating a unique sound that is doused in an e ortless swagger. Catch

yet sophisticated, the quintet have crafted a unique sound, which is deftly demonstrated through their stellar 2022 e ort: Where I’m Meant to Be. The track ‘No Confusion’ from the project, which features UK rapper Kojey Radical, can only be defined as a certified banger. This one is not to be missed.

Young Fathers – 26th Feb - SWX

Mercury Prize winning group Young Fathers make their long-awaited return to Bristol this February. Blending soul, pop and hip-hop, the Scottish band can often be hard to pin down, but what is unmistakable is their infectious energy that they bring to their music and indeed their live performances. With their latest album, Heavy Heavy, released just this month, expect to see many of their brand-new tracks in full force.

adoration for club music. Returning to Bristol this month with a show at Strange Brew, attendees should expect a night of experimental yet chilled-out tunes that wouldn’t go amiss at your next afters.

Editor’s Choice:

Low Island - 25th February - Strange Brew

In the mood for some indie-electro grooves? Low Island is the band for you, with electrifying stage presence and hypnotic layers of synths, guitar and pulsating drums that capture your attention.

You may recognise some of the electro-pop quartet’s songs from that time you got beaten 5-0 on

recommend seeing them live, I’ll see you there. - Oscar

Drug Store Romeos

IDLES' homecoming gig. Epigram / Mia Smith

Josh is back with a whole new set of gigs this month, so get your tickets fast, you don' t want to miss out.

Pictured above: Young Fathers / Richard Saker

Pictured below: Ezra Collective / Aliyah Otchere

The best debut albums of all time

Avalon guides us through their list of the greatest debut albums

Avalon Vowles

Second Year Theatre and Performance

I recognise that this is a topic subject to opinion, but I believe these albums paved the way for the future of their genres by originating a sound that was new, rousing, and revolutionary right from the get-go. We must acknowledge their humble origins. These artists did it right the first-time round.

The Velvet Underground and Nico - The Velvet Underground

(1967)

reception after the early death of Buckley, with his tragic passing amplifying its emotional significance for listeners. Buckley’s soulstirring lyrics, along with his four-octave vocal range, generate an evocative and tender intensity delightfully bathed in vibrato. Songs like 'Mojo Pin' and 'Grace' are distinguished by howling guitars which jangle their way through intricacy and complexity. The opening harmonium chords on 'Lover, You Should’ve Come Over' were enough alone to warrant this album in my top five; Buckley passionately yearns his way through the song, lamenting on dying emotion and lost love.

His atmospheric songs of lust and heartache will enchant you, as the album’s journey lulls you into drowsy relaxation before throwing you back into its exhilarating hubbub of noise. Better put in Buckley’s own lyrics from the song 'So Real', the album ‘sucked me in and pulled me under’.

Songs of Leonard Cohen - Leonard Cohen (1967)

song congregating together to form a complete and seminal sound.

The ingenious duo of Chris Bell and Alex Chilton share the song writing credits equally, as they alternate vocals on each song, collectively showcasing a detailed and impressive thick bed of vocal harmonies. 'Thirteen' and 'Watch The Sunrise' serve as an innocent reminiscence of the fragility of youth, through tight harmonies and bright acoustic twelve strings, where songs like 'Feel' and 'The Ballad Of El Goodo' rapture into an upsurge of ri s, rhythms, and refrains.

Emerging out of Memphis, Tennessee, but immortalising themselves as rock and roll revolutionaries, this album is a testament to classic rock and its ceaseless splendour.

Five Leaves Left - Nick Drake (1969)

Enrolled at the University of Cambridge and just 20 years old, Nick Drake met American producer Joe Boyd and consequently Five Leaves Left was the first product of their friendship.

Surging with nihilistic and avant-garde commotion, The Velvet Underground’s 1967 debut album is arguably a fundamental influence on countless sub-genres in the rock and alternative scene: namely krautrock, punk, garage, and shoegaze.

Under the management of iconic pop-artist Andy Warhol, this hybrid art-rock album enthuses themes of sadomasochism, drug abuse and general experimental deviancy with mesmeric melodies and rhythms. Recorded with the primary formation of the band (Lou Reed, Sterling Morrison, John Cale, and Moe Tucker) and joined by German singer Nico, I honour the album for its tangled instrumentation, which is pleasurably accompanied by Reed’s dispassionate and relinquishing voice.

It speaks for the untamed sensibilities of New York City, and although it is noted for its controversial lyrics, a few of the songs provide a tender complement to its overarching umbrella of merciless concerns, such as 'Sunday Morning' or 'I’ll Be Your Mirror'. Aching with distortion, drones, and detuning, songs like 'Venus In Furs' and 'The Black Angel’s Death Song' will equally hypnotise and violate you, making it an intrinsic selection for my top five.

GraceJe Buckley (1994)

Grace is not only the debut album of Je Buckley, but also his only full studio album. Wistful of failed relationships, desire, and loss, this harrowing 1997 album is eternally hungry and energetic. Concocted with ingredients of classical, jazz, grunge and so much more, the album rose considerably in critical

Aged 33 and already established as a Canadian novelist and poet, Leonard Cohen decided to venture into the occupation of music and thankfully got caught in the introspective web of New York City’s folk scene. Wrapped in a sensitive blanket of nostalgia and longing, Songs of Leonard Cohen was released in 1967 and is an immensely reflective and poetic debut album which explores life’s quarrels of romance, religion, politics, isolation, and loss.

Cohen masterfully plays the heartstrings on the guitar of the soul in songs like 'Suzanne' and 'So Long, Marianne' and narrates to the listener an acoustic story of woe in his gravelly baritone voice. Nancy Priddy furnishes a selection of the songs with haunting, feminine backing vocals which supplement Cohen harmoniously. It is notable to mention the range of instrumentation which colours the album, with added flute, mandolin, jaw harp, violin, and an assortment of Middle Eastern instruments.

This album compels you to doze in the evening sun and bask in its sentimental lyrical and musical beauty. It is an album which I believe probably has life’s answers hidden in its melodies.

#1 Record - Big Star (1972)

Although American rock band Big Star were only originally together for four years in the early 70s, their formative accumulation of work never ceases to inspire and influence preceding generations.

#1 Record is a debut album enthused with the authentic essence of rock and roll and power pop, as the band tightly weave through robust and intoxicating ri s that establish their tough rhythmical sound. The record’s driving power is best heard in full, with each

Moody, morose and melancholy, this album is an acoustic masterclass as Drake’s fingerstyle techniques sway gently on a riverbed of dense and rich strings. Encircled by an ensemble of instrumentalists, Drake recorded this album live along with the string section and that atmosphere resonates into the organic and sonorous final product.

Acting as a grievance of England’s doldrums, Drake’s lyrics are pensive and contemplative as he troubles over ephemeral happiness and ruminates in the dark corners of the mind. The numerical rhythm of the double bass and the precision picking

of the acoustic guitar on 'Cello Song' entwine mythically with Drake’s velvety voice as the cello fluidly twirls in and out. Songs like 'River Man' will wash over you in a mediative wave.

His wickedly plaintive folk stands the test of time, as the album still feels fresh and pertinent. It is an album worth listening to loudly in headphones, and is well deserving to be in my top five.

Album Art courtesy of Discogs

Gig Review: Kate Bollinger @ The Louisiana

Bollinger's shoegazey records were stripped back to their roots in an intimate acoutsic set at Bristol's Louisiana

Oscar Ross Music Editor

Asmall herd of Carhartt and corduroy-clad indie-pop fans found some warmth at Louisiana on a January Sunday to hear indie up-and-comer Kate Bollinger’s set.

To those who don’t yet know, talented singer-songwriter Kate Bollinger’s discography is filled with sun-washed, dreamy indie pop with her latest album Look at it in the Light being a standout release, at least for me. The project is back-to-back plucky yet melancholic songwriting, laced with this addictive mix of warbling, stereo-bouncing guitars, distorted keys, and ethereal vocals.

This is all underpinned by beautifully full-bodied drums with just the right amount of grit, cutting

right through the arrangement to make your head bop. I absolutely recommend this album, as well as Bollinger’s recent single ’Running’ and her amazing appearance on 70s musical time traveller Drugdealer’s latest project: Hiding in Plain Sight.

Opening her set with one of her album’s standout tracks ‘Lady in the Darkest Hour’, Bollinger already had the crowd shouting as she took the stage on a solitary rickety barstool.

Bollinger’s vocals were lightly sung, throwing an intimate, silent blanket over Louisiana’s small venue space. The crowd seemed to either lean forward to hear more or lean back into the relaxing acoustic set. Dressed in a pu y pink dress, live band member Tani who goes by Legwurk, opened with a short set, radiating Still Woozy energy and setting the tone for the rest of the evening.

The crowd was treated to three unreleased tracks, all falling under Bollinger’s whimsical songwriting style. The singer told the audience little about these new songs, except one: ‘Boys in my Head’, which she described as “about going to California”. Chatting to Bollinger at the merch stand after the show, I learned she

had recently moved to L.A having been shown around a bit by California based artist Drugdealer while they were working on their absolutely awesome collab track ‘Pictures of You’.

Bollinger was also handing out some neat little Look at it in the Light matchbooks so, yes I bought a T-shirt. I’m a sucker for merch and am wildly irresponsible with my money when it comes to music, so now I have yet another white tee with another cool artist’s name on it. Money well spent in my opinion.

The singer-songwiriter also played her latest cover of Jaques Dutronc’s ‘Jaime les filles’,. “I’ve never tired this without a band” nervously laughed Bollinger, “And I don’t want the first time I try it to be in France so I’m gonna try it out”, which was followed by peels of lighthearted British, naturally Francophobic laughter.

As the stripped-back acoustic set went on I began to realise something about Bollinger’s songs which I hadn’t considered as I listened to her tracks. The secret to Bollinger’s tracks is the intimacy and ease they have. This is

Editors' Picks: Best new releases

Find Out

by Liv.e

Oscar Ross, Editor

Moulding crooked, shifting, jazzy sample beats with smooth R&B vocals, Liv.e represents the cutting edge of alt-R&B in this small project. Released ahead of her upcoming album “Girl in The Half Pearl” on February 10th, “Find Out” is only three songs, yet it gives you a great look into Liv.e’s style and range. Both “Find Out’ and “Wild Animals” flaunt intricate production, beautiful melodies and altogether immaculately laid-back, relaxing feels. Liv.e then throws you head first into her telephone-filtered, feverish vocals over manic break-beat drums and hypnotic synths with “Ghost”. Both weird and wonderful, “Find Out” is the perfect foot in before Liv.e drops “Girl in The Half Pearl” so don’t miss out.

Let’s Start Here

by Lil Yachty

Josh Templeman , Co-Deputy Editor

A Lil Yachty musical redemption arc was perhaps the last thing I’d have predicted for 2023 and yet that is somehow exactly what he achieves with Let’s Start Here. Even more unexpected was Yachty dropping a psychedelic-rock-inspired album that sees a marked transition away from his ‘Soundcloud rap’ roots to a new genre-defying sonic domain. Working with the likes of Alex G, Mac DeMarco and Nick Hakim on the project, the soundscapes that Yachty crafts on tracks like ‘the BLACK seminole.’ and ‘IVE OFFICIALLY LOST ViSiON!!!!’ are almost otherworldly, making it even more ba ing that he released ‘Poland’ just last year. This artistic maturation from Yachty genuinely needs to be studied.

Late Developers by Belle and

Sebastian

Jake Paterson, Co-Deputy Editor

A surprise release given that the Belle’s last record arrived only last year, Late Developers builds much on the twangy power pop that has been synonymous with the group since ‘I Want the World to Stop’. Though much of the idiosyncrasy of their classic records of the early nineties have somewhat faded, the new bloom of energy from a band so full of humanity is a welcome arrival for anyone traversing the darkness of winter.

what Bollinger brought to the stage, just her, a guitar and her songbook, bare of the dreamy accompaniment you thought was what you liked about her music. It’s like you’re looking Bollinger’s songs in the eye, rather than speaking to them over the phone.

Bollinger’s set was like hearing her songs sung whispered into a dark bedroom, as if not to wake the next room as she wrote them. Bollinger’s voice throws you up in the air with gentle lifts and lands you on the playful strums of nylon strings and the tut of her lyrics on the mic.

Overall, it was an acoustic night of personal, well-written songs from support to finish. Defineitly keep your eyes peeled for when Kate Bollinger is back, as she closed her set saying “Next time I’ll be back with my band and it’ll be awesome, so come back and see us”. I very much intend to, and so should you.

Photography: Oscar Ross

Heavy Heavy by Young Fathers

Sam Cox, Digital Editor

Young Fathers have always de ed easy categorisation. Theirs is a heady mix of polyrhythmic, pulsating beats, hypnotically charged chanting and sobering lyricism that falls somewhere between hip-hop and noise pop. While their last LP - 2018’s Cocoa Sugar - stripped these disparate elements down to their bare essentials, Heavy Heavy answers it by instead embracing excess. The Edinburgh trio’s fourth studio album almost creaks beneath the weight of its own lavish scope, but this is a group who, by this point in their career, are experts at turning divergences into a glorious, uni ed whole. 'Geronimo' typi es this formula as a slow, sparse instrumental and murmured voices make way for grand, frenzied yelps, lush, sweeping pianos and pounding drums, before being once again tempered just before it boils over completely.

"Girl in The Half Pearl" / Cinque Mubarak Let's Start here / Quality Control Music, UMG Late Developers / Matador

SciTech explores the science behind advertising and the ethical concerns around it.

Lila Horne

Second year, Biology

Advertising is an inescapable part of our lives. It is often impossible to leave the house or use the internet without encountering an advert of some sort. It has been around since at least the ancient Greeks, with remains from Pompeii having been found decorated with marketing ads for political campaigns, goods, and ser-

Editor Deputy Editor Digital Editor Investigations Editor

The science of advertising

teed, benefitting not only the company who has made the sale, but also the host app who will likely maintain a relationship with that company.

Theoretically, there is nothing wrong with this.

In fact, previous surveys show that around 54 per cent of the UK have stated they would rather see relevant ads than ones they care little about.

The problem is that the data is not always collected or shared by these companies consensually, which many users believe violates their privacy rights.

Emily Barrett Dhristi Agarwal Carla Rosario Tiberiu Toca

referendum, alongside many others However, legislators are pushing against the exploitation of users and for the protection of data. After the Cambridge Analytica scandal, the UK government responded by introducing the Data Protection Act 2018 which aims to implement strict guidelines and rules for data collection, with emphasis on safeguarding more personal information such as

vices. Whilst the world has changed dramatically since then, advertising still plays a prevalent role in our society. The art of bringing attention to a commercial good is supported by a multi-billion-pound industry, of

which every individual and available resource is looking for the best and easiest way to decrease the money spent outwards while increasing the in-house rewards.

A common method of modern advertising is using data-driven analysis to highlight individuals who would be more susceptible to buying the product. This method has been around for years, with TV adverts being shown at specific time slots depending on what type of show was being aired to match the target demographics. As technology and social media have become more advanced, so has this technique. Algorithms can be made using internet users’ data to show them the ads they are most likely to buy from.

The algorithms start by ranking the

adverts that companies have paid to be promoted based on their appearance and how previous users have engaged with it. As hundreds of companies can be fighting to reach the same demographic, this ensures that user participation is maintained. If a company’s ad does not rank high on this scale, then they will have to pay more for their desired outreach, or create a better ad.

These algorithms then rank the most likely users who will be responsive to the ad based on their previous search and engagement history and present them accordingly.

With some apps like Instagram and TikTok giving rise to extremely niche groups, the advertisement can be so specific that a sale is almost guaran-

This is a particularly important issue, especially when considering how political campaigns have used this data to target specific voters and influence election results, such as in 2018 when Cambridge Analytica was being found to be using personal

art of bringing attention to a commerical good is supported by a multi-billion-pound industry

data that they had collected from Facebook users without their consent. The data was then employed to help the political campaigns of Donald Trump during the 2016 American presidential election and the Vote Leave campaign during the UK’s EU

race, political opinions, and health.

The debate surrounding algorithms typically does not focus on them specifically but instead on how and who is collecting the data for them.

Overall, algorithms are here to stay; they successfully complete the role of advertisement efficiently and more effectively than ever before. Despite increased laws against not consensually storing user’s data, it is probable that another privacy scandal will arise in the near future. When living in a capitalistic society where the profit margin is the most important thing of all, exploitation is almost guaranteed.

How to unlock the human mind

Methods to understand the enigma of the human mind

Lucinda Hamilton-Burns

Third Year, Biomedical Sciences

Science Fiction has long toyed with ideas of memory erasure and creation as a demonstration of power over the much-revered human mind. Yet these seemingly fanciful concepts may be closer to reality than we previously thought, with evolving knowledge of memory formation and the cellular processes involved.

The concept of synaptic plasticity, the ability of the brain to change and adapt throughout life, began with the foundation of the neuron doc-

up of cells called neurons which communicate via connections called synapses.

Our current understanding expands this to include the electrical transmission of information along these neurons, and the chemical transmission between them via neurotransmitters.

When something is learnt, a memory is formed through the creation of a new synapse. These connections are constantly made, strengthened with repeated use, and removed if left idle; and it is this dynamic process that holds the key to memory alteration.

Researchers at University of Bristol have identified areas of the brain associated with object recognition memory and continue to explore the effects of artificially inhibiting or reinforcing these signals on an animal’s ability to remember or forget familiar

objects. Studies demonstrate that by mimicking signals indicating familiarity in the brain of rodents which have never seen an object, the animal behaves as though it recognises it. Likewise, by stimulating signals associated with an unfamiliar response, in animals which have seen the object, the animal appears to forget it. This provides evidence that the regions studied indeed play a role in object recognition memory but also, by altering the signals transmitted

within them, we can exert bidirectional control on the manifestation of the memories stored.

Optogenetics is another way in which we can control the mind by intervening with neuronal processes. Invented in 2015 by Karl Deisseroth and Ed Boyden, optogenetics enables us to control neuronal activity using only a beam of light, making it possible to turn neurons on or off at a cellular level. Organisms, such as rodents, used in behavioural tests can be genetically altered and bred to produce a protein channel called a Channelrhodopsin inside their neurons.

Channelrhodopsins open in response to blue light wavelengths, and, if present at the surface of a neuron, allow ions to flow in.

This leads to a process called depolarisation which underpins signal firing.

By shining a pinpoint beam of blue light onto the specific cells we want to control, we can cause this neuronal firing to occur; allowing us to turn that neuron on at will.

These are just a couple of many new methods used to mimic or disrupt neuronal activity while the rodent can be kept alive to perform tasks.

A practice which enables us to link specific brain regions and patterns of activity to animal behaviours with more certainty than ever. Methods such as these may hold the key to understanding the enigma of the human mind and the specifics of learning and memory encoding. This could lead to new methods of treatment for memory deficit conditions such as amnesia and bring us one step closer to cracking the enigma of the human mind.

The

Featured image : Unsplash / Joshua Earle

It is often impossible to leave the house without encoutering an advert of some sort

Algorithms are here to stay

The science behind stress and how to manage it

Milan Perera Arts Critic Columnist

As inhabitants of the 21st century where our lives move at a breakneck pace, largely due to the dizzying heights we achieved in science and technology, we would be forgiven to think that stress is a by-product of our time. But the fact remains that since the dawn of humanity we have been tagged, stymied and propelled by stress in various shapes and forms.

According to the great historian Arnold Toynbee, the rise and fall of civilisations could be understood in terms of external pressures individuals faced at speci c points in history and the way they responded. This law, which he coined ‘Challenge and Response’, galvanised warring Greek city states to front a response which could defeat the mighty Per-

sian armies. The energies released during this response elevated Greeks to unprecedented heights in science, philosophy, drama and mathematics. A similar response was mustered by the English when they were threatened with the fearful Armada. The response of the English laid the foundation for a renewed self-identity and national pride.

One might ask what stress has got to do with the Greeks or the English. It is a manifestation that stress has been an integral part of our existence since the days of hunter gatherer societies. But, recently words such as ‘cortisol’, ‘serotonin’ and ‘dopamine’ have been swirling the airwaves as we appear to have a better grasp of the science behind what is loosely referred to as ‘stress’.

tuitary-adrenalcortical (HPA) axis because it comprises the hypothalamus, pituitary gland, and the adrenal cortex.

Stress has been an integral part of our existence since the days of hunter-gatherer societies

The stress response system regulates hormones, particularly the stress hormone cortisol by rapidly increasing glucose levels, speeding the heart rate, and increasing blood ow to the muscles in our arms and legs; this enables us to respond to a stressor. After the danger has passed, the system works to return hormone levels to normal.

ant psychiatrist who comes across patients, especially students, who su er from stress and anxiety regularly, they pointed out that: ‘A certain amount of stress in your life can be a constructive driving force for personal development but when the stress levels reach a chronic threshold it could become a precursor to anxiety and further down the line, depression. It is important to identify it rst and acknowledge it.’

When we are startled or frightened, the ‘fear centre’ of the brain, called the amygdala, activates our central stress response system. This is known as the hypothalamic-pi-

What happens when someone is su ering from chronic stress raises a series of red ags such as digestive distress, weakened immune system and change of sleep patterns. As a result of this, one is susceptible to viral and bacterial infections easily that could take much longer to recover than someone with an optimum level of stress.

When Epigram spoke to a consult-

According to the science writer Arash Emamzadeh who maintains a psychology blog, managing stress requires learning about factors that in uence the stress response, and then identifying and altering modi able in uences on stress, such as unhealthy thinking patternsand dysfunctional communication patterns. As for reducing stress more directly, one possibility is to stimulate the parasympathetic nervous system (e.g., breathing techniques) to counterbalance the e ect of the sympathetic nervous system.

More than ever before employers have invested time and resources

into the wellbeing of their employees, as it bene ts the employers in the long run with the increased productivity of the workforce. What was dismissed as ‘cool’ and ‘fads’ a few years back have now become mainstream methods of helping people to tackle unhealthy levels of stress in their lives. One such practice is mindfulness meditation whose ability to lower stress is widely discussed in scienti c forums and research papers. According to Psychology Today magazine, meditation is associated with reduced markers of stress—reduced cortisol, blood pressure, and C-reactive protein (an in ammatory marker).

Not only mindfulness meditation but also a simple adjustment to your lifestyle could have a vast impact on your stress levels: regular exercise, a healthy diet low in sugar and saturated fats, and consistent sleep patterns will vastly reduce stress reactivity as well as depressive symptoms. Stress is nothing to be avoided but a helpful and life sustaining force that needs to be kept in check.

Noise pollution impacts dolphin cooperation

Bristol research nds human-generated noise impacts dolphins.

Alice Bullard

Third year, Biology

Agroup of Bristol University researchers, along with international colleagues, released a recent study on how anthropogenic noise impacted cooperation behaviour in bottlenose dolphins. It was found that dolphins altered whistles to be longer and louder in high noise levels, but this was insucient in superseding e ects of noise pollution on success rate.

Human-generated noise, also called anthropogenic noise, is caused by a variety of sources in our oceans, such as commercial shipping, military sonar, oil exploration and recreational activities. It is known to impact reproduction, development, communication and physiology of a wide range of animals- with some species learning to mitigate e ects of anthropogenic noise by altering

their calls or leaving the area.

A recent Bristol-led study, published in Current Biology, revealed just how detrimental the e ects of anthropogenic ocean noise can be on bottlenose dolphins.

Bottlenose dolphins are extremely social creatures that rely on verbal and non-verbal gestures for communication within their pods. They can be found in many types of marine habitats, like bays, harbours and estuaries as well as open ocean. They can even be spotted around the UK in coastal waters like Cardigan Bay (Wales) as well as Dorset and Cornwall. Their verbal gestures include a vast array of clicks and whistles that aid in important coordinated behaviours like foraging and reproduction.

Pernille Sørensen and colleagues, funded by the Branco Weiss Fellow-

ship, examined how the coordination behaviour of bottlenose dolphins was a ected by increasing levels of anthropogenic noise, and whether the dolphins used any mitigation strategies to overcome these e ects.

It was found that coordination was impacted by anthropogenic noise as when in louder conditions, the dolphins signi cantly increased whistle duration and amplitude. However, these alterations did not result in similar success of coordinated activities as when in ambient noise conditions.

Sørensen from Bristol University's School of Life Sciences and lead author of the study said: “For years we have known that animals can attempt to compensate for increased noise in their environment by adjusting their vocal behaviour. Our work shows that these adjustments are not necessarily su cient to overcome the negative impacts of noise on communication between animals working together.”

Senior author Dr Stephanie King added: “It also shows us that dolphins

can exibly modify their vocalisations in an attempt to continue cooperating with their partner, revealing that this species is capable of actively coordinated collaboration.”

This new nding sheds light on how dolphin cooperation could be impacted by anthropogenic noise on a bigger scale. On an individual level, human-generated noise is already known to lead to less reproductive success and increased risk of death.

According to the WWF, bottlenose dolphins are also at risk from habitat degradation, coastal development and bycatch.

Like all native species, bottlenose dolphins play an important part in maintaining the healthy balance of their food chain and ecosystem. Any new losses or additions to these sensitive and complex systems can have undesirable and unpredictable e ects on many other species. Therefore reduction of risk to bottlenose dolphins caused by anthropogenic noise, pollution and climate change is important.

The future may seem bleak for bottlenose dolphins, but projects such as JONAS (Joint Framework for Ocean Noise in the Atlantic Seas)

hope to make it brighter. JONAS, a three-year long project that ended in 2022, aimed to address threats to biodiversity from underwater noise pollution and gure out ways to better monitor and manage these threats. They suggest eight ways to reduce ocean noise on their website:

• Reduce vessel speed

• Give incentives to use ships quieting technologies

• Create 'quiet zones' and move shipping lanes

• Restrict sonar usage

• Use airgun alternatives

• More monitoring of oceanic noise pollution

• Implement public-private partnerships

• Increase public support

Dr King noted: “We show that human-made noise directly a ects the success of animals working together. If noise makes groups of wild animals less e cient at performing cooperative actions, such as cooperative foraging, then this could have important negative consequences for individual health, and ultimately population health."

Students are no stranger to stess- what is the science behind it?

COP27 in 2022: Looking back on climate science and policies

reach ‘1.5°C between 2030 and 2052’ according to the Intergovernmental Panel on Climate Change (IPCC).

The urgency of climate action has skyrocketed over the years, which was reflected in COP27’s agenda.

Seochan Jeon

Third year, Geography

It has been nearly three months since the 27th UN Climate Change Conference (Conference of the Parties in UN Framework on Climate Change (UNFCCC)’s legal term; COP27) which took place in Sharm el-Sheikh, Egypt. Human-induced climate change is still happening, whether it is visible or invisible to us.

In the UK, the annual average temperature was higher than previous records, which is unsurprising given our summer heatwaves in 2022. Plus, the global temperature was ‘1.06°C warmer’ than pre-industrial levels.

The world is currently aiming to limit the global temperature rise to 1.5°C , above which the planet loses its sustained ecological resilience and extreme climatic events become more and more extreme.

No matter what the aimed temperature threshold is, the climate crisis is already globally observed, especially through 2022’s destructive floods in Pakistan for example. The global temperature increase will likely

Notably, through years of discussions and debates, global climate action has developed from target-setting to the implementation phase. The Sharm el-Sheikh Implementation Plan ‘resolves to implement ambitious, just, equitable and inclusive transitions to low-emission and climate-resilient development’.

Loss and damage funds

A loss and damage fund recently established by COP27 refers to the consequences of climate change that go beyond what people can adapt to, or when options exist but a community doesn’t have the resources to access or utilise them.

For example, if a community in a small island nation is affected by climate changes such as sea level rise, that counts as loss and damage. This type of fund is necessary as climate change impacts emerge differently

according to the impacted regions’ geography, economy and the capacity to deal with them.

The UN revealed its plan to provide $3.1 billion for loss and damage for the next five years, to be opera-

The Glasgow Climate Pact requests that countries ‘revisit and strengthen’ their climate pledges by the end of 2022.

This is in accordance with ‘reducing global carbon dioxide emissions by 45 per cent by 2030 relative to 2010 level and to net zero around mid-century’, as stated in Article 23 of the pact.

Climate finance

tional by COP28.

Climate adaptation

Climate Adaptation refers to adjustments in ecological, social or economic systems in response to climatic stimuli and their effects. At COP26, the Global Goal on Adaptation (GGA) was established to ‘enhance adaptive capacity, strengthen resilience and reduce vulnerability to climate change’. However, the commitment towards doubling adaptation finance from 2019 levels by 2025, which was decided as part of Glasgow Climate Pact, was insufficient.

Climate mitigation

Climate Mitigation, on the other hand, means decreasing the emissions released into the atmosphere and the concentration of carbon dioxide (CO2) by enhancing sinks.

Climate finance refers to financing drawn from public, private and alternative sources of financing that support climate mitigation and adaptation.

COP27 established the Global En-

the opinions about support from the developed nations are quite divisive.

Higher-income countries have better adaptation with their resources, which are followed by less climate risks, although many other factors such as the geographic locations should be considered in that sense. It seems to be highly important to collect more centralised voices to address the issue as the magnitude of climate impacts is becoming severer. This is all about ‘justice’ and morality for the affected people and communities.

Eventually, also, countries like the UK will be hit socially and economically with the incurred costs in developing countries.

vironmental Facility (GEF) and Global Climate Fund (GCF) were established to provide resources to Parties of developing countries. The previously mentioned Adaptation Fund is also a part of climate finance.

COP27 could not fully tackle developed countries’ commitment to provide $100 billion annually for developing countries. In fact, developing countries would need to spend $2.4 trillion every year on climate-related problems by 2030, half of which

It is imperative that we do not perceive the annual climate change conference as if it was just another international conference that involves influential figures.

We need more political ambitions and civil actions to cope with physical impacts, social impacts caused by climate disaster, and to bring better local and national-level action changes.

Note from the author:

This article was to introduce the University of Bristol community to the climate action agenda being discussed at the global stage.

would have to be funded domestically.

There have been some advancements in the international climate talks about help for the most vulnerable countries to climate change impacts, however, we can see that

I went to the 17th UN Climate Change Conference of Youth (COY17) as the Delegate of South Korea, which is held as part of COP27. At the conference, I discussed with other delegates how we the youth (along with marginalised communities and Global South countries) can be better included in the climate policies in the name of 'climate justice.' With COY17, the youth delegates produced 'Global Youth Statement', official climate policy demands submitted to UNFCCC to refer to in decision-making for youth.

A Bristol student who attended COP27 looks back at its objectives.

Human-induced climate change is still happening, whether it is visible or invisible to us

We need more political ambitions and civil actions to cope with the impacts caused by climate disaster

Higher-income countries have better adaptation with their resources, with less climate risk

Fusion and the future of energy

Could nuclear fusion solve our energy crisis?

Tiberiu Toca

SciTech Investigations Editor

The process that creates the energy that powers the universe, fusion, takes place in the centre of stars. Bursts of energy are released when light nuclei combine to form a heavier nucleus. The nuclear ssion reaction, which is currently used in nuclear power plants, releases energy when a nucleus splits apart to form smaller nuclei. Deuterium and tritium, two types of hydrogen, are heated to extremely hot temperatures to conduct fusion here on Earth. An exceedingly small portion of the mass is converted into "fusion" energy as the gas transforms into plasma and the nuclei combine to form a helium nucleus and a neutron. From tiny amounts of fuel, plasma with millions of these reactions per second can produce a signi cant amount of energy.

Methods to start and control fusion reactions in the 1940s to generate useful energy on Earth was studied. Since fusion reactions require temperatures of hundreds of millions of degrees, which are too hot to be contained by any solid chamber, it was challenging. Instead, physicists attempted to contain the hot plasma using magnetic elds. This strategy was known as ‘magnetic con nement’.

In the the 1970s, American administrators made the decision to concentrate all magnetic con nement research on the tokamak, a device developed in the Soviet Union which is a magnetic chamber in the shape of a ring.

Plasma, a special type of matter that is involved in fusion. You might have seen plasma in everyday life, such as in lightning, neon lights, and uorescent lights. Plasma is created when gases are heated to extremely high temperatures, causing the electrons and atomic nuclei to separate. In order for fusion to occur, three things are needed: the plasma must reach a speci c temperature, be dense enough, and be maintained for a certain amount of time.

The rst of these requirements is heat. Fusion takes place in the sun's core at a temperature of 15 million degrees Celsius, but temperatures on Earth must be much hotter due to the lower pressure which gives the nuclei enough energy to overcome repulsion and fuse.

Secondly, density: many atoms are required. For a fusion reaction to be self-sustaining, there must be enough of them occurring in the plasma at any given time. The sun burns more than 600 million tons of hydrogen per second. Plasma produced in a tokamak is loaded with

enough fusion fuel to speed up the reactions.

The more time, the better. Time must be enough for fusion reactions to occur and maintain the plasma at a stable temperature and density. The number of reactions multiplies as the plasma heats up, producing more energy.

Fortunately, fusion energy science has been well understood for a long time but to make fusion power a reality, there are still many engineering and teamwork obstacles to overcome.

Fusion is much more than physics. It ought to be a key weapon in the struggle against the most pressing issues facing the globe, such as combating climate change and eradicating poverty. Health, economic growth, and social stability all bene t from greater access to energy.

But given that a billion people still lack access to electricity and that many more only have sporadic power, more energy is urgently needed.

At the same time, the window for slowing down climate change is closing. According to the Intergovernmental Panel on Climate Change, the world must reduce greenhouse gas emissions by at least half by 2030 to achieve one of the objectives of the Paris Cli-

mate Agreement, which is to keep global warming to less than 1.5 degrees Celsius this century. It is necessary to phase out fossil fuels as soon as feasible and implement much cleaner forms of energy.

The con ict between the need for more energy and the need to cut carbon dioxide emissions may not be able to be resolved with current technologies. An issue like climate change is a justi cation for making bets on a variety of far-reaching energy solutions, but fusion technology may have the biggest potential gains. Additionally, it may be a practical solution on longer time scales.

The key, according to Troy Carter, a plasma physicist at the University of California Los Angeles, is to ensure support for fusion remains steady. ‘Given the level of importance here and the amount of money invested in energy, the current investment in fusion is a drop in the bucket,’ Cart-

er said. ‘You could imagine ramping it up orders of magnitude to get the job done.’ He continued by saying that funding for fusion does not need to come at the expense of other clean energy sources like nuclear, solar, or wind power. ‘We need to invest across the board,’ Carter said.

The large-scale fusion experiments at NIF and ITER will currently proceed slowly. At NIF, researchers will keep advancing their technique in the direction of energy-positive fusion. ITER will start operating in 2025, and experiments involving hydrogen fusion will begin in 2035.

The planet may not be illuminated by arti cial star power for decades, but the groundwork needs to be done today through research, development, and deployment. Fusion power might very well be the pinnacle of human achievement.

Featured image : Unsplash / Frederic Paulussen

Mathematical puzzles: triangular numbers

Can you solve SciTech's mathematical puzzles this month?

Lucy Anthony

Second year, Maths

Are you looking to exercise your brain now that exams are over? SciTech has the solution: here are some mathematical puzzles to occupy you. See the end of the article for solutions.

These puzzles are all about triangular numbers.

This picture shows a triangle with base 3:

Next, here is a triangle with base 4:

1. How many dots would there be in a triangle of base 6?

2. How many dots would there be in a triangle of base 10?

3. What is the general pattern for a triangle base N?

Bonus:

The triangular numbers form a sequence: 1, 3, 6, 10, 15...

Can you nd a formula for the Nth term in this sequence?

We can see that it contains six dots.

Can you do it without counting?

The planet may not be illuminated by arti cal star power for decades, but the groundwork needs to be done today

In conversation with UBAFC captain Pat Gibbs

The mid elder talks to Jordana Seal about the club's community spirit and charitable endeavours

Jordana Seal

Third Year, English and Theatre

I sat down with the University of Bristol’s Football Club Captain to understand how one of Bristol’s largest sports teams has become a community built upon ‘passion, dedication and success.’

The club must thank Gibbs’ parents who encouraged him to trial for the team despite an injury in 1st year.

A year later he was given his rst senior role; Social Secretary, in which he wanted to encourage an inclusive and fun environment on nights out.

‘I always wanted to make sure the guys who came in always had a good time, I’ve never agreed with the freshers/ senior dynamic and wanted to make it clear that if your good at football it doesn’t matter who you are I want you to enjoy yourself and become a part of the community.’

He is now Club Captain, but his leadership style remains the same.

‘I’m no di erent to anyone else, I play football and happen to do the admin, most of the time everyone makes it so easy I can be their friend, help them out and do everything I can to make their lives easier.’

Pat’s attitude demonstrates why he has reached this role during his university career, he is humble, professional, and dedicated.

This season the team’s coach Alan Tyers has become the Sports Co-ordinator of Bristol Football.

‘This is his 21st year at the club, he’s such a great guy and this opportunity came up in April. Having a member of sta solely dedicated for football who works for the uni, means that he has access to all the sports group coordinators, and they can ow ideas o each other and be more collaborative.’

One of the bene ts of Tyers new role is the club, is that he has been able to implement the maroon scholarships.

'We want football to be a reason why people choose to study at Bristol, Tyers has been speaking to local schools and scouting people who are talented players applying to

university in the next 1 or 2 years.’

The scholarship o ers extra sports psychology sessions, strength and conditioning, nutrition and a fully paid club membership and BUCS. A commendable opportunity o ered by the club.

The team has also done amazing things for ‘mind’, a charity that Pat described as ‘close to our hearts and I don’t want that to ever change.’

In 2022, they created a tournament in memory of Olisa Odukwe, the former student and UBAFC player who tragically passed away in May 2021, called the Olisa Odukwe Cup.

‘The tournament was a great day and will be a yearly tradition so that the club can always commemorate our dear friend.’

This conversation highlighted that Pat truly loves the team and describes the members as ‘such academic guys who are keen to work hard and enjoy themselves by playing football.’

‘I love the club and it’s such a massive part of my uni experience and the same for everyone involved, we are a community of people who are likeminded and love the same sport. It’s such a great thing.

New Year, new gym

meeting its carbon net-zero target by 2030, with the new machines being energy e cient models.

Eddie McAteer & Joe Green Investigations & Sports Editors

Users of the University’s main gym will have enjoyed returning to their workout in 2023 after the facility underwent a £180,000 refurbishment over the Christmas holidays.

The Indoor Sports Centre (ISC) on Tyndall Avenue, which was last refurbished in 2018, now possesses new cardio machines, weights machines and free weights.

These additions include a 30% increase in weight plates and bars as a result of increasing interest in free weight use, particularly among women.

While most of the changes are like-for-like swaps, there is new machinery for students to try out in the form of an arm curl machine and a calf press machine.

As well as bene tting students in the short term, the refurbishment will also aid the University in

This will save a minimum of 10kWh of electricity, or 2.33kg in CO2 emissions, per day.

Gordon Aitken, the ISC’s Facility and Operations Manager, told Epigram: ‘the new kit will enable SEH to continue to provide an excellent experience on the most up-to-date equipment that the industry can o er.’

‘There are less machines which require power to operate and the others are now energy saving models, so these changes will greatly reduce our energy consumption.’

James Rowntree, the University’s Group Health and Fitness Manager, said: ‘We want gym-goers to have access to rst rate, modern equipment.’

‘The old equipment had been well used so we wanted to make the change in time for the New Year and new semester.’

‘In the last ve years we’ve seen a big increase in people lifting weights, including many more women which is fantastic to see.

‘We hope everyone likes the changes and can't wait to

Bristol Women's First XV lose to strong Cardi side

ised defence for long periods of the game, the attacking quality and pace of the Cardi backline proved to be too much for them in key moments.

Jojo Lewis Deputy Editor

On the 1st of February, under the Wednesday night lights of the Coombe Dingle astroturf pitch, the University of Bristol Womens Rugby rst team took on the Cardi University Womens rst XV. The game ended in Cardi ’s favour, with a dominant second half taking the score to 57-14.

With Bristol in their white kit, and Cardi in black and red, Bristol started the game strongly with lots of pressure and dangerous territory. This didn’t last long though, and a breakaway try by Cardi ’s fullback made the game 7-0. The game followed a similar pattern, with Bristol struggling to make the most of possession of the ball in the opposition's half, being caught on the counterattack.

Cardi had scored 3 tries by the end of the rst half, thanks to three moments of individual brilliance. Despite Bristol putting up a well organ-

Some strong passages of play from Bristol in the late stages of the rst half paid o in the form of a yellow card for Cardi ’s number 13, taking the visitors down to 14 players for the rest of the half. In a game of few moments to celebrate for Bristol, number

7 Caitlin Trevithik capitalised, scoring a well worked try just before the halftime whistle, converted by Chloe Fletcher. At the halfway point, the score was 19-7 to the visitors.

perhaps the scoreline did not re ect the overall pattern of play. Bristol scored a consolation try in the closing minutes, giving the homesupport a moment to cheer, and converted once again by club captain Chloe Fletcher. Overall, Bristol came up against strong opposition in the Cardi rst team, and will have both positives and negatives to take into their next match and for the rest of the season. For those interested in following the activities of the club, including the results of all three women’s rugby teams, the @ubwrfc instagram is perfect to give a follow.

Bristol

Halftime is a perfect opportunity for a drink in the Coombe Dingle clubhouse. In the upstairs, reasonably priced pints are poured by the friendly sta of Harry’s bar. A journey to the university’s sports ground is worth it not just for the entertaining rugby, or sport in general, on show, but also for the bar.

In the second half, the visitors ran away with it, scoring 6 tries in 40 minutes. Bristol continued to ght, and

The club became o cially the largest women's university rugby team in the UK after reaching more than 110 members prior to the COVID-19 outbreak. Bristol is one of the only universities in the UK to have three full womens teams competing in BUCS, playing their games on Wednesdays. The club stresses their commitment toward inclusivity and a supportive environment, with Head Coach Steve Gazzard encouraging anyone to take a place on the team.

A tough night for a side that has otherwise impressed in recent years

came up against stronger opposition but will have positives to take into their next match

University gym undergoes £180,000 refurb

From the corridors of Woodland Road to working in La Liga - A conversation with Nischal Schwager-Patel

How a Bristol languages undergraduate carved out a career in spanish football

James Dowden Co-Editor-in-Chief

The way it came about was kind of very basic. I got in touch, and I said, hey I would like to work for you.’

It’s early 2021 and Politics and Spanish student Nischal Schwager-Patel is hunting for a placement for his upcoming year abroad. Many languages students often study or teach English whilst abroad but Nischal had his sights set on ful lling a dream - working in the world of Spanish football.

Having accumulate experience in sports journalism here in England, he wrote emails to every professional football club in Spanish football asking if he could work for them.

Most clubs never got back to him.

Some had the courtesy to send polite rejection emails.

Eventually, however, his persistence

forms. He attends matches in person and also works at the training ground to create match reports, features, interviews, live broadcasts and video content as well as helping with marketing campaigns.

At rst glance it might seem strange that a Spanish football club would employ someone to run English language social media accounts but as Nischal explains, it is a key strategy to help grow the club’s support across the world.

‘Internationalization for football is huge. We have players from across the world with a mix of languages. While Espanyol are really known within Spain, outside of Spain we don’t necessarily have that.

The Internationalization of the club is really important because football is a sport that unites the world.’

Having helped to launch the Twitter account, Nischal’s rst match at Espanyol’s 40,000 capacity RCDE Stadium was a Friday night clash underneath the lights against Rayo Vallecano – a world away from the language classrooms on Woodland Road.

It was an unforgettable experience for the former sports editor of Epigram.

‘I think the rst feeling was denitely one of being surreal. Putting on my club kit for the rst time. Making the journey to the stadium. Having my accreditation. It was very much a pinch myself moment. I thought I’ve made it to where I want to be!

paid o and RCD Espanyol, a topight La Liga team from Barcelona, o ered him a position as their newly created head of English content for the 2022/23 season. A hastily organised year abroad contract between himself, Espanyol and the School of Modern Languages later and Nischal was soon swapping Bristol for Barcelona, where he was quickly thrust into action, tasked with launching the club’s new o cial Twitter account in English @RCDEspanyol_EN.

‘It was daunting. There was no English content being produced so it was doing something completely new. I joined in August, and it was straight into it. The season was already under way. It was a very busy time for the club.’ Nischal’s o cial title as head of English content means that he is responsible for all English content that the club produces across their website and social media plat-

‘It was only 6 months ago. It's not that long ago, but since then, because I've been to so many games it's really own by. But I remember that night very vividly.’

As with any job in social media there is a constantly changing work pattern to meet the demands of a long footballing season.

‘There's no normal day when you're working in football. Every day is completely di erent. It's so unique, and it changes every single day.” The year abroad student works with the squad every day, rubbing shoulders with La Liga players and full internationals such as Martin Braithwaite, who played for Denmark at the recent Qatar World Cup.

However, it is not just the rst team

stars that get the attention but also the reserve team RCD Espanyol B and the women’s team RCD Espanyol Femení.

The challenge of running one social media account to cover three di erent teams in three di erent divisions of football is no easy task, and often means that Nischal is reporting live from up to three games a weekend. Yet, it is one that he relishes noting how this focus across all three team allows a whole club perspective and was something that was very important to him from the start.

‘I think it's so important. If we're giving this visibility and this coverage of a men's rst team, the women's rst team deserve exactly the same.’

Among the highlights so far for Nischal was the derby match against their city rivals FC Barcelona at one of the most iconic stadiums in world football, the Camp Nou.

‘In 2016 I went as a fan [to Barcelona v Espanyol at the Camp Nou] and I never could have imagined six and a half years later I would be at the

same stadium working for the club and working as a journalist. There were moments when I was standing pitch side at the Camp Nou in my Espanyol shirt representing the team.’

It prove to be a successful away day for Los Pericos or the Parakeets as Espanyol are nicknamed, coming away with a very credible 1-1 draw, the rst time that the club result away from home at the Camp Nou since 2009.

As we round o our chat, Nischal adds that there was one moment where it really hit home the importance of football in Catalonia and speci cally the link be-

tween Espanyol fans and their club.

‘I was leaving the o ce at the stadium one day with my Espanyol hoodie when a kid came up to me and asked if I worked for Espanyol. When I said yes, he looked up at me and shook my hand. That it's a unique feeling that you don't get in many other clubs.’

And it this unique feeling that Nischal best summarises his connection to the club. An ardent Chelsea fan he will always remain, yet ‘within two weeks I was calling myself an Espanyol fan’ he nishes by saying. The club, the players and the fans all having helped play their part.

'I think it's so important. If we're giving this visibility and this coverage of a men's rst team, the women's rst team deserve exactly the same'

'There is no normal day when you are working in football'

It's a unique feeling that you don't get at many clubs

Bristol Men's 1s edge 4-3 cup thriller against Hartpury 1s

ter-attack after an accurate clearance from Taylor looked to have put Bilbruck in a promising position, only for Hartpury to recover defensively.

that hadn’t come from a set piece. Bristol would have several half-chances in the nal minutes of the rst half with sever-

The mid eld pairing for Bristol started to take more control of the game in an attempt to avoid letting yet another lead slip, while

Joe Green

Editor

Bristol Men’s 1st XI’s hopes of lifting silverware this season remain very much alive after the side emerged victorious in a seven-goal cup classic against Hartpury’s 1st XI.

A rm challenge from a Bristol defender on the edge of the box prompted a strong reaction from Hartpury and saw them awarded a well-positioned free-kick by the referee despite the centre-back seeming to get the ball as well as the man.

failed to be cleared, with the ball falling favourably to Hartpury who were able to poke home from close range and tie the game at 3-3 as normal time neared its conclusion.

With extra time looking likely in order to nd a winner, Bristol largely relied on counter-attacking in the closing stages as Hartpury came closer to taking the lead.

Bristol took the lead on three occasions only to be pegged back each time by a resilient Hartpury, before a last-minute winner from striker Joe Taylor nally secured Bristol’s passage to the next round.

Thankfully the free kick was blasted well over but it wasn’t long before the Gloucestershire side were causing Bristol’s defence more problems, after a long punt from their keeper put Hartpury’s no. 9 only to collide with Bristol’s recovering last man.

The lead was short-lived however after Bristol were nally punished for their ill-discipline on the edge of the penalty area

The 1st XI had come into the game hoping to build on several impressive performances in recent weeks including a 2-0 away win against local rivals UWE at the end of January, while also defeating the same opposition 3-2 in the previous round of the cup back in December.

Bristol certainly started the brighter team despite both sides failing to retain possession for extended periods in the opening minutes, until an excellent team move saw Bristol break the deadlock after just 5 minutes.

An excellent pass from halfway by captain Pat Gibbs was followed by some quick passing around the edge of the box that put Jack Bilbruck in the position to clinically slot the ball

The incident went unpunished however, and Bristol’s high pressing continued to force Hartpury into giving the ball away, while several well-worked moves from the home team down their right ank maintained momentum without creating any tangible chances.

The long ball from Hartpury proved to be their most dangerous weapon in the rst half hour with the tactic winning them another free kick on the edge of the box after their striker was brought down, although they were again unable to capitalise.

Bristol’s success at winning the second ball ensured much of the rst half was played in Hartpury’s half, but they would come unstuck ten minutes before halftime when Hartpury were given the space to cross in from the left wing and

Bristol led on three occasions before a late Josh Taylor goal nally secured the win

in o the right-hand post from ten yards out to give Bristol an early lead.

The game remained fairly even without the visitors posing any real threat on goal, and a Hartpury corner gave Bristol the chance to coun-

their forward was able to direct a glancing header into the bottom right corner and tie the game.

The equaliser was not entirely against the run of play but was Hartpury’s rst opportunity on goal

al dangerous deliveries from Pat Gibbs unable to be converted.

Hartpury started the second half the brighter team but it was Bristol who would retake the lead in spectacular fashion six minutes after the restart, after a Hartpury defender’s attempt at clearing a bouncing ball twenty ve yards out inexplicably looped over the Hartpury keeper’s head and into the net following considerable pressure from Alex

Bristol had to work hard for the cup victory with momentum changing throughout

Lindley. It was unclear whether Lindley got the nal touch but his e orts were certainly enough to restore Bristol’s one-goal advantage.

The lead was short-lived however after Bristol were nally punished for their ill-discipline on the edge of the penalty area, with Hartpury converting a close-range freekick at the third attempt to make it 2-2 with sixty minutes played.

A low-driven e ort to the side of the wall caught the defence o -guard leaving keeper Jack Dennehy with no chance to prevent the ball from reaching the net via the bottom right corner.

In a game of unique goals, there was none more impressive than Josh Gordon’s excellent nish after seventy minutes, as the left-back curled the ball perfectly from the left edge of the penalty area into the top right corner, with the Hartpury keeper rooted to the spot.

Gibbs also continued to create chances after a wide free kick nearly found its target at the back post only to be put out for a corner.

Bilbruck continued to be a bright spark, stretching the Hartpury defence with his pace and linking up with Taylor on a number of occasions to keep their opponents under pressure.

At the other end of the pitch, Bristol’s No. 2 ensured the increasingly impatient Hartpury were kept at bay by making a decisivelast-ditch tackle after another long ball stretched the Bristol defence and threatened to put the Hartpury attacker through on goal.

However, Bristol were again unable to hold onto their lead after a long throw-in from Hartpury with just ve minutes remaining

But it was the persistence of Taylor in the nal minute that proved to be the di erence between the two teams, after Hartpury’s last man was forced o the ball by Bristol’s no. 9 who then slotted home past the keeper into the bottom left corner to make it 4-3 and seal the victory.

Pat Gibbs nearly extended the winning the margin with the nal kick of the game after his free-kick looked set to nestle in the topright corner only to be brilliantly tipped over by the Hartpury keeper in an acrobatic fashion.

Bristol certainly had to work for this cup victory with the momentum of the contest ebbing and owing between the two sides throughout, although the home team generally played with more of a rhythm and were able to force several key errors out of the opposition thanks to their workrate.

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Free kicks, own goals and excellent nishing provide plenty of cup drama

Sports

Epigram / Joe Green

The persistence of Taylor in the nal minute proved to be the di erence between the two teams, after Hartpury's last man was forced o the ball by the no.9