A Timeline of Activism: Recapping LSE Students’ Fight for Divestment
Melissa Limani News Editor
Photographed by @lseliberatedzone
LSE appoints new VP and pro-Vice Chancellor, page 5
2024 National Student Survey results released, page 3
Features
e Fall of the (Straight White Male) Finance Bro, page 6
e GO LSE Gamble, page 7
Opinion
Last we reported at e Beaver, LSE’s administration had declined further meetings with LSESU Palestine Society.
At the time (March), the society was urging LSE to reassess its nancial investments, particularly
concerning companies pro ting from weapons, fossil fuels, or violations of international law in Gaza.
Since then, students have made signi cant strides in pressuring
LSE to divest from companies tied to such activities. Continued on page 4
‘Will girls ever be considered true music fans?’, page 11
Brat Politics, page 9
Executive Editor
Janset An executive.beaver@lsesu.org
Managing Editor
Oona de Carvalho managing.beaver@lsesu.org
Flipside Editor
Emma Do editor. ipside@lsesu.org
Frontside Editor
Suchita epkanjana editor.beaver@lsesu.org
Multimedia Editor
Sylvain Chan multimedia.beaver@lsesu.org
News Editors
Melissa Limani
Saira Afzal
Features Editors
Liza Chernobay
Mahliqa Ali
Opinion Editors
Lucas Ngai
Aaina Saini
Part B Editors
Silvia Cassanelli
Jessica-May Cox
Review Editors
Arushi Aditi
William Goltz
Sport Editors
Skye Slatcher
Jo Weiss
Social Editors
Sophia-Ines Klein
Jennifer Lau
Illustration Heads
Francesca Corno
Paavas Bansal
Photography Head
Celine Estebe
Podcast Editor
Laila Gauhar
Website Editor
Rebecca Stanton
Social Media Editors
Krishav Arora
Su a Jafri
e Beaver...Us
Janset An Executive Editor
During my handover to settle into this role,
Alan, the Executive Editor of e Beaver 2023/2024 and my friend, said something that really stuck with me. is is the rst year in a long time that this newspaper will not be dealing with any global pandemics (hopefully) or life-threatening funding cuts as was the case in 2023. He made me realise that we will have the privilege of solely focusing on how we envision developing the Beaver (thank you Alan for all your support).
at got me thinking, what is our vision for the year? What reputation do we want to help construct and come to be associated with?
I will be honest. ese questions brewed in my mind for months culminating into an uncomfortable blend of overthinking, stress, self doubts,
and fear. But then, I remembered a speech made at the 75th anniversary celebration by an alumni who had been an editor for the newspaper as a student.
He said e Beaver is the ‘memory log’ of LSE.
is was the moment of clarity for me. Turns out, the expectation I had put on myself to construct some sort of metamorphosing vision for the year was baseless.
Yes, it is true that this year we will be looking into changing some things, whether that be a di erent design for the front cover, expanding our membership or holding more collaborations with other societies. But fundamentally, our job will remain the same.
We will continue the rich 75year legacy of this newspaper. We will continue to expose the brushed-under-the-rug mismanagements of this university and silenced scandals
towards its own students or sta . We will give a space to young people, so o en neglected as unserious, to develop into analysts of the cultural, political, or economic climate of our society. We will continue to be an outlet of artistic expression for aspiring poets, movie critics or illustrators. We will be the log of student creativity and thinking as well as campus happenings of the academic year 2024/2025.
is year, the ower that is this student newspaper will grow into new petals, leaves and vibrant combinations of colours. But it will always stay anchored by its wide reaching roots. e Beaver will always be grounded by the strong foundation that was studiously built by generations a er generations of writers and editors.
In short, we will continue to be a beacon of light in pursuit of truth.
And we will always be the Student Voice.
is Space Is Mine and Yours to Take
Oona de Carvalho Managing Editor
When I rst started university, I had to actively remind myself that I was allowed to take up space.
I sometimes felt as a fresher that some spaces on campus, and in London, were not yet mine to take. I had to earn them with time.
sprawl and chat; the SU gym where people con dently li ed weights; the George IV that seemed exclusively reserved for postgrads. Even the bustling Media Centre seemed at rst out of reach. I found myself becoming small when I wanted to expand outwards and grow.
Taking up space is an important theme in this issue as it has been throughout e Beaver's history.
Meet our Beavers (if you write for us you can take one as a sticker)
Social Secretary
Sahana Rudra
e blue couches on the fourth oor of the library where third-years would is Beaver is opinionated is Beaver is Emma (our Flipside Editor) is Beaver is a nance bro is Beaver is broke (all of us) is Beaver is you right now is Beaver has your dream ass is Beaver has a social life
I am now entering my third year at LSE, recognising that these spaces had been mine all along to take. ey do not have to be earned, but simply explored and enjoyed.
Whether you are new to LSE or have been here for a few years already, I hope that you nd the courage and the comfort to wander around campus, make use of everything it has to o er, and use your voice for issues that matter.
Because this space, ultimately, is ours to shape.
Any opinions expressed herein are those of their respective authors and not necessarily those of the LSE Students’ Union or Beaver Editorial Sta
e Beaver is issued under a Creative Commons license. Attribution necessary.
at Ili e Print, Cambridge
2.02
Swee Hock Student
2024 National Student Survey Results Released
Saira Afzal News Editor Illustrated by Sylvain Chan
This year’s National Student Survey (NSS) results were published in July by the O ce for Students. Every university in the UK takes part in the NSS, gathering students’ views on the quality of teaching at their place of study. e survey is completed by students across England, Wales, Northern Ireland, and Scotland. Across all subjects full- time undergraduate students at LSE responded most positively to the quality of learning resources.
Respondents were asked a series of questions about teaching aspects and provided answers on a Likert response scale. e overall results use a positivity measure (%) which represents the proportion of students who gave a positive answer (‘Very Good’ or ‘Good’).
Across all subjects LSE scored the highest positivity measure (88.6%) on learning resources, such as IT resources, library resources, and subject specific resources. LSE also scored highly on academic support (87.7%) and course teaching (87.5%). However areas where LSE received the lowest positivity measure were assess-
ment and feedback (73.2%) and student voice (74.1%).
Both Language and History students responded most positively to the quality of learning resources at LSE, particularly LSE Library’s archival resources (93%). Economics and Politics students also ranked the quality of learning resources highly (91.1%, 90.8% respectively). Business and Management students considered academic support from LSE teaching sta to be the most positive area (93.5%).
Psychology students responded highly positively to their course’s quality of teaching and to learning opportunities (92.2%). In particular, most Psychology students felt they had the opportunity to integrate ideas and concepts from di erent topics and they appreciated the teaching sta were e ective at explaining ideas.
e lowest scores were from students of Geography, Earth and Environmental studies, who responded least positively to assessment and feedback on their courses (61.7%). With regards to assessment and
feedback, students were asked to assess the fairness and clarity of marking criteria, the time it took to receive feedback, and whether assessments progressed their learning further. Another area that returned low scores was student voice, particularly among Politics, (66.7%) Sociology, Social Policy and Anthropology students (64.3%). On the matter of student voice, respondents were asked whether they feel their opinions are valued by sta , and if they feel student feedback is clearly acted upon in their course.
Compared to four other London-based Russell Group universities (Imperial College London, Queen Mary University of London, King’s College London, University College London), LSE received the highest number of positive responses in multiple aspects of teaching. Across all subjects LSE ranked highest for student voice (74.1%), organisation and management (82%), academic support (87.7%) and assessment and feedback (73.2%). Imperial College and UCL scored the highest on learning resources (89.1%, 88.6% respectively), with LSE
following close behind.
Vice President and Pro-Vice Chancellor (Education), Professor Emma McCoy said: “ is year’s NSS results show excellent performance in key areas with LSE ranking top across all Russell Group universities nationally for Organisation and Management. In London, the School has been ranked rst amongst London Russell Group institutions in the categories of Teaching on my Course, Assessment and Feedback, Academic Support and Student Voice."
“Student satisfaction levels have increased signi cantly across every single NSS measure, and LSE has risen from 17th to 4th place across all Russell Group universities in the category of Student Voice."
“ ere is still more we can do, and these results are helpful in identifying areas where we can improve; for example, working to ensure consistently excellent performance across departments and programmes, and raising student awareness of our mental wellbeing support services.”
Former University of Pennsylvania President Liz Magill Appointed at LSE Law School Despite Recent Backlash
Melissa Limani News Editor
Nine months a er her resignation as University of Pennsylvania's (Penn) president, Liz Magill is set to take on research-focused positions at Harvard and LSE. According to her CV she will serve as a visiting professor at LSE Law School from 2024 to 2027. Her role will be primarily research-based, temporary and unpaid, without any teaching responsibilities.
Magill, named Penn’s ninth president in January 2022,
previously worked at the University of Virginia, where she held the roles of provost and executive vice president. However, her presidency at Penn was cut short in December 2023 a er substantial criticism and pressure from community members, key donors, and politicians.
e controversy stemmed from her handling of the Palestine Writes Literature Festival and escalating tensions related to the Israel-Hamas con ict.
e festival, which took place last September and celebrates
itself as the "only North American literature festival dedicated to celebrating and promoting cultural productions of Palestinian writers and artists”, sparked fear and outrage amongst some Penn students, alumni, and community members as well as national Jewish groups who criticised the inclusion of speakers with alleged anti-semitic histories.
As evidence of their anger, on 22 September 2023 over 200 Penn community members, including students, signed a letter claiming the event breached University standards and would foster a “hostile”
environment for Jewish students.
e situation intensi ed following Hamas' attacks on Israel on October 7 2023, culminating in a congressional hearing where Rep. Elise Stefanik repeatedly questioned Magill about whether “calling for the genocide of Jews” would violate Penn’s code of conduct, to which Magill responded, “If the speech turns into conduct, it can be harassment, yes.” When pressed further, she clari ed that it was “a context-dependent decision”.
In response to her statements,
Magill faced widespread criticism from the White House, Pennsylvania Gov. Josh Shapiro, members of Congress, and university donors. One major donor, Ross Stevens, threatened to pull a $100 million gi unless Magill was replaced, citing Penn’s “stance on antisemitism”. is ultimately led to her resignation on 9 December 2023.
In the a ermath political gures like Rep. Jason Smith have continued to press universities, including Harvard, for plans to ensure the protection of Jewish students from anti-semitic harassment.
A Timeline of Activism: Recapping LSE Students’ Fight for Divestment
Melissa Limani News Editor
Photographed by @lseliberatedzone
Last we reported at e Beaver, LSE’s administration had declined further meetings with LSESU Palestine Society. At the time (March), the society was urging LSE to reassess its nancial investments, particularly concerning companies pro ting from weapons, fossil fuels, or violations of international law in Gaza. Since then, students have made signi cant strides in pressuring LSE to divest from companies tied to such activities.
14 May: Students Occupy the Marshall Building
If you were an LSE student, you likely noticed the encampment set up in the Marshall Building atrium following a rally the day before. is was not an isolated event; similar encampments had appeared at universities across the UK, US, and Europe, with students demanding their institutions cut ties with Israel.
Ethan Chua, a member of LSESU Palestinian Society, told BBC News that LSE students had previously presented the “Assets in Apartheid” report, which highlights LSE’s investments in companies linked to “egregious activities” in Gaza, before adding “we refuse to attend a university that is materially complicit in the destruction of our planet and the death of Palestinians.” In terms of what these egregious activities are, student protestors claimed that LSE has invested £89 million in 137 companies involved in the
con ict.
In response an LSE spokesperson responded: “We will carefully review the report and respond in due course. We remain open to peaceful dialogue.”
14
June 2024: Encampment Faces Legal Challenge
By early June LSE initiated legal action to remove the protesters, seeking a court order to dismantle the encampment. Following a hearing at the Central London County Court, District Judge Kevin Moses issued an interim possession order (IPO) requiring the group to vacate within 24 hours. While acknowledging the students’ right to protest, he ruled: “ is does not grant an unfettered right to occupy university property.”
Representing LSE Riccardo Calzavara argued the students had “stormed the building” posing an “intolerable re risk” and causing “considerable disruption and cost”. He emphasised LSE’s aim was not to end the protest itself but to remove the unlawful occupation.
An LSE spokesperson said: “ e interim possession order (IPO) and subsequent possession order were applied for following careful consideration, including in relation to the safety of the protestors. is decision was taken a er exhausting all other options.”
Daniel Grutters representing three of the students, stated that the protesters were willing to address safety concerns— aside from vacating the prem-
ises—and were not obstructing access to the building. Grutters stressed that the protest was intended to educate LSE about its complicity in what the students termed “crimes against humanity, genocide, and apartheid”.
A further hearing was expected at a later date.
17 June: Students Comply with Court Order
ree days later the encampment was peacefully dismantled. Pro-Palestinian protesters held a rally before removing their tents and signs, exiting through the building’s windows just 30 minutes before the court-mandated deadline. According to LSE, the legal action was a last resort a er “exhausting all other options”. Annabelle, an undergraduate involved in the protest, described the rally as “energetic but peaceful”. Ethan Chua expressed disappointment, calling the university’s legal move “shameful” as the university had decided to “criminalise them” instead of engaging with their demands.
During this time, it was agreed by both parties that negotiations would continue following the dismantling of the encapment. However LSE’s administration ended negotiations. An LSE spokesperson explained, “LSE was committed to continuing negotiations, provided the protestors le peacefully. Unfortunately, this did not happen. Five members of the LSE security team sustained injuries while the protestors were entering and leaving the building a er the IPO was served. As a result, negotiations were suspended.”
28 June: Court Bars Future Encampments
At the end of June, LSE was granted a court order indenitely barring any future encampments in the Marshall Building. At the hearing on 14 June, District Judge Morayo Fagborun-Bennett issued a
permanent possession order, preventing similar protests at the location. Olivia Davies, representing LSE, con rmed that the defendants did not dispute the order and had vacated in compliance with the interim decision.
9 July: Announcement from the School Management Committee
LSE Council that met on 25
June decided on a full review of LSE’s ESG policy and to increasing the transparency of the university’s investment and endowment holdings.
Recently the LSESU Palestinian Society expressed their frustration with the Council’s announcement and called for a reconsideration of their decision.
Welcome Week 2024
Saira Afzal News Editor
Photographed by @lsesu
On Day 1 of Welcome, National, Cultural, Faith, Charity, and Campaigning Groups set up their stalls in the Marshall Sports Hall. LSESU’s Knot In My Name campaign set up their mural outside the Saw Swee Hock Student Centre.
On Day 2, Sport, Special Interest, and Media Groups advertised their societies in the Marshall Sports Hall and the Athletics Union hosted their freshers party at O2 Academy Islington.
On Day 3, Academic and Careers societies set up shop in the Marshall Sports Hall. All week long, the Welcome Marquee in Centre Building Plaza
hosted numerous stalls such as LSE Careers, Data Science Institute, LSE Events, and Faith Centre. Over a span of three days, 5,314 students (nearly 50% of the student body) visited the Welcome Fair.
At the end of the week, LSESU hosted a closing celebration to Welcome Week with the Freshers’ Festival at the Ministry of Sound.
Announcement from Sabbatical O cers
LSE Council has set up a Review Group with experts from across the LSE community to analyse LSE’s Environmental, Social, and Governance (ESG) Policy. is will include a Consultative Group composed of three academic sta , three professional services sta , and an opportunity for three students to provide feedback and insights to the Review Group. is is to ensure that the review is informed of diverse voices.
Both the Review Group and Consultative Group will receive training on how LSE manages its endowments and will be briefed on legal responsibilities, divestment, and investment decisions.
Deadline for student application will be 30 September.
LSE Appoints New VP and Pro-Vice Chancellor
Saira Afzal
News Editor
Photographed by Saira Afzal
LSE has appointed Professor Alex Voorhoeve as the next Vice President and Pro-Vice Chancellor for Faculty Development, beginning 1 September 2025. According to an LSE-wide broadcasted email Professor Charles Sta ord will remain as the current Vice President and Pro-Vice Chancellor for Faculty Development until 31 August 2025, a er which Professor Voorhoeve will assume the position.
Professor Alex Voorhoeve joined LSE in 2004, specialising in political philosophy and public policy with a particular focus on distributive justice and the allocation of resources for public health. His research specialisations include decision theory and moral psychology. Professor Voorhoeve was previously Head of the
Department of Philosophy, Logic and Scienti c Method, and during his time at LSE he developed three interdisciplinary degrees: BSc Politics and Philosophy, MSc Philosophy and Public Policy, and BSc Philosophy, Politics and Economics.
Further, Professor Voorhoeve has held positions at Harvard, Princeton, and the National Institutes of Health. He has also served on the WHO Consultative Committee on Equity and Universal Health Coverage.
Before assuming his new position Professor Voorhoeve will be a visitor at the Political eory group at Nu eld College, Oxford. He will also shadow and learn from Professor Sta ord over the course of the next year in preparation for the role.
In the broadcasted message Professor Voorhoeve described LSE as his “intellectual home for two decades”,
cultivating his “fruitful interdisciplinary collaborations in research, policy advising, and teaching”. Professor Voorhoeve emphasised he will “ensure LSE is a place where we hire and retain the world’s top social scientists”, and where LSE sta feel supported to work at
their best.
LSE President Larry Kramer praised Professor Voorhoeve as an “exceptional scholar” and “dedicated School citizen” whose leadership will further improve academic sta experience. President Larry
Kramer also thanked Professor Charles Sta ord for his “dedicated and exceptional service” as VP and Pro-Vice Chancellor for Faculty Development.
FEATURES
e Fall of the (Straight White Male) Finance Bro: Are Diversity Spring Weeks Really ‘Reverse Discrimination’?
Suchita Thepkanjana Frontside Editor
Illustrated by Sylvain Chan
Iwish I were a queer Black woman,” said Andy*, a straight, middle-class, male Economics student. Out of context, this sounds absurd–at no point in world history was being queer, Black and a woman the winning combo for privilege and success. But perhaps times have changed, with the implementation of diversity-promoting initiatives.
Andy was applying to Spring Weeks, the prestigious, highly-coveted investment banking internships that invite students to the industry’s top rms. But with the rise of Diversity Spring Weeks, systemically disadvantaged groups have become the top pick over people like Andy.
Gone are the golden days of wealthy, straight, white male ‘Finance Bros’ being the only players in the corporate game. Ironically, they are now excluded from many opportunities, resulting in outraged claims, that “nowadays, discrimination is going in the opposite direction”.
But are men really being oppressed, and are queer women of color really getting success handed to them on a silver platter? Ultimately, are Diversity Spring Weeks genuinely dismantling a system rooted in inequality, white supremacy and patriarchy, or just hiding it better?
Students interviewed by e Beaver unanimously agree: Diversity Spring Weeks give an undeniable advantage to targeted candidates. Much less unanimous are opinions on whether this is justi ed.
“At the end of the day, getting a Spring Week is a very big numbers game: the more
programmes you apply to, the higher the probability you get in somewhere,” says Nathan*. And because diversity candidates are eligible for both general and diversity-only programmes, they naturally have more chances.
“As a man who isn’t eligible for any diversity programmes, I missed out on at least 10 Spring Week opportunities,” Eric* laments. Unsurprisingly, he and all other male interviewees feel that they have been unfairly subjected to ‘reverse discrimination’.
“I understand that diversity programmes are trying to compensate for oppression in the past…but I never oppressed anyone! So why am I being punished for it?” Eric asks exasperatedly.
Even some diversity candidates themselves believe they have an unfair advantage, such as Gina*, a South Asian woman who deliberately discloses her gender and ethnicity in application forms, hoping it will increase her chances of success. “Being a woman of color is such a valuable weapon…It’s terribly unfair. e most talented people I know have gotten rejected purely because they’re not diversity candidates.”
Yet ‘diversity’ does not necessarily mean ‘less quali ed’, and ‘woman of colour’ does not automatically equal ‘easy, undeserving success’. Nara*, a South Asian woman who got into Morgan Stanley’s general programme, disagrees that she owes her accomplishments to her diverse background. “Just because I’m a woman of colour, doesn’t invalidate the fact that I actually did the work and got the Spring Weeks myself.”
She adds: “if you don’t t into diversity programmes, then apply for the general ones. You still have opportunities.
You may not have as many, but at the end of the day, there’s a reason for that.”
“It’s important to give people the opportunity, to make them feel like they have a ghting chance. A lot of people who come from lower-income or racial minority backgrounds might feel like, ‘I have no chance, why bother applying?’ But if you see a program that aims to empower people like you, then you’ll be more inclined to.”
But diversity programmes may not be transforming the industry to the point of “reverse discrimination”. In fact, the most signi cant change caused by diversity initiatives may be in the rms’ reputations, while the ruling elite of the nance world remains largely the same.
According to interviewees, rms have become xated on scoring well on ESGs, which explains why they promote diversity so emphatically. For Roy, “diversity programmes are happening more because of how the company wants to represent itself and less because they actually care.”
Most diversity Spring Weeks that students have seen are actually non-convertible or have low conversion rates. Interns from many such programmes are still not given access to the famed ‘Spring Week to graduate job’ pipeline. For Gina, this defeats the “whole point” of applying for Spring Weeks in the rst place.
Furthermore, interviewees allege that despite diversity initiatives, well-connected, wealthy white men still carve out places for themselves in the nance industry. Patrick* claims that he knows several white men who got Spring Weeks and, uncoincidentally, “they are all from very wealthy backgrounds and have had internships since
You guys are clearly not doing patriarchy very well.
We’re doing it well, yeah. We just... hide it better now.
they were in highschool.”
As it turns out, the nance world has not been completely overturned the way some suggest. Disadvantaged groups are not quite taking over boardrooms; they might not even get a summer internship. In spite of ashy new implementations, the core of the industry remains the same: the most special privileges are still sectioned o for dominant groups, and the wealthy, most elite Finance Bros are still doing perfectly ne.
Diversity initiatives have ended up being extremely divisive. While they create new opportunities for certain people, they simultaneously create “gaps” between everyone, as Patrick puts it. e diversity programme bandaid does not x the systemic inequality bullet hole.
“You’re a girl, you’ll de nitely get in”, or “I should pretend to be gay or Black or a woman to get a Spring Week”, are real
passive-aggressive remarks from LSE students that make these ‘gaps’ starkly clear.
Instead of creating a level playing eld for everyone, it appears that diversity initiatives have created a ‘blame game’ where individuals of di erent backgrounds judge, criticize and discredit each other based on who they are, pointing ngers at those they believe are undeserving or unquali ed.
Ultimately, how upli ing are these diversity-exclusive opportunities if they exacerbate how ‘woman’ and ‘ethnic minority’ are used to further discredit individuals in ways rooted in patriarchal, imperialist ideology? How much genuine equality is being promoted if humans are still pitted against each other based on their gender, ethnicity and skin colour?
*Names have been changed to preserve anonymity
e GO LSE Gamble: Exploring the Bene ts and Barriers of Studying Abroad
Sebastien Grech
Contributing Writer
Illustrated by Paavas Bansal
The idea of travelling abroad with GO LSE maintains an allure among students. e unique academic experience, sandwiched in between the penultimate and nal years of the standard three-year undergraduate degree programme, o ers a chance to spend a year abroad at a top-quality partner institution. Aside from cultural immersion, this programme is an opportunity to delay impending graduation and entry into the job market, attracting many applicants.
e application process itself is competitive. Will BreareHall, Deputy Head of Student Recruitment, wants to expand the programme as there are currently more students applying than places available. “Our target number is 300 students, inbound and outbound, by 2030,” says Breare-Hall–a big step up from the 51 students currently enrolled to spend a year abroad this academic year. “ e hope is that any eligible student is able to take advantage of this opportunity.”
e study abroad team seeks to increase the number of applicants for GO LSE even further to create more opportunities and expand the programme’s reach. Out of the 1,700 undergraduates entering their third year, only 158 applied in 202324. Could the low application rates re ect LSE’s approach to marketing the programme?
According to Breare-Hall, this is something the team also plans to improve. “We want to make sure every incoming undergraduate is aware of this opportunity,” he explains.
However, the idealised nature of the programme may clash with its realities. Time com mitment, nancial consid erations and general anxiety about spending a year away from home all play a role in in
uencing applicant decisions.
Both physically and practically, moving abroad poses a hurdle which many applicants struggle to overcome. Emma, who rejected her o er to study at Sciences Po in France this academic year, expressed her fears of completing hernal year at LSE alone. “Most of my cohort would have graduated and I would have to live at home in my nal year.”
Amy* echoes these fears, describing her experience of returning to LSE from her year abroad as “challenging”.
“People have moved on. You don’t get much support or communication from LSE and it’s very much up to you to adjust and, in e ect, start over.”
James* switched his exchange destination midway through the application process from University of British Columbia to Sciences Po, having realised the challenges of spending a year so far away from home. “It was a di cult, but probably correct decision in hindsight,” he says.
Financial considerations are also a worry for many students. At UC Berkeley, for instance, basic accommodation starts at around $20,000 for one year, demonstrating how costly the exchange programme can be. While ex
cess government grants and their overall tuition fees are considerably reduced (they are not required to pay direct fees to the host institution), adding an extra year of study amounts to a sizable cost, which not every undergraduate is able to a ord.
Lily, currently on the GO LSE programme at IE Business School in Madrid, expressed concerns about nancing her studies whilst also making the most of her time in Spain. She noted that needing to get a job in Madrid could prevent her from fully immersing herself in the city if she had to work high hours. ‘’It’s partly a personal choice, as I wanted to fully embrace the excitement of being in a new city, without being tied to work,’’ commented Lily.
e study abroad team is aware of the daunting prospect of a year-long exchange program, and o ering a more condensed study abroad option may be a way around this. However, the feasibility of this strategy depends on LSE shi ing towards termlong half-unit courses, as fullunit courses disrupt semester-based study.
Breare-Hall also highlights that a semester-long study abroad could extend accessibility to nancially disadvantaged groups. Such a
possibility appealed to Emma, who says it o ers “the best of both worlds” where she can “enjoy the bene ts of studying in Paris, whilst not missing out on [her] nal year”. She explains, “If I feel out of my depth and like I’ve made a mistake, I’ve only lost a few months.”
e current setup is likely to remain unchanged, as the study abroad team nds that the structured design of the threeyear LSE degree programme makes introducing a credited year abroad too complex. Nevertheless, Lily prefers the more pedagogical approach at IE compared to LSE, nding that
‘Being surrounded by so much talk of Spring Weeks, grad-schemes and internships [at LSE] bogs you down in this idea that your life has a timeline in which you need to progress as quickly as possible in order for success.’
However, expanding the programme requires more partner institutions. Breare-Hall says that there’s no shortage of universities wanting to establish a relationship with LSE, but conducting due diligence on each of them is a meticulous and time-consuming process.
“ e School takes responsibility for a student’s year abroad and we want to ensure students are stretched academically.” is year, the department has included four more exchange partners, including University of Tokyo and University of British Columbia.
LSE students can freely choose courses whilst on exchange, and their grades remain independent of degree outcome (with the exception of PPE). is way, studying abroad allows students to experience a di erent way of teaching, without the academic pressure. is is different for General Course students, where module grades impact their home institution classi cation.
students are more engaged in seminars. For Lily, this is partly due to graded class participation across most courses and varied seminar structures.
Progressive plans underway, GO LSE is gearing up to take on a more prominent role at undergraduate level. Despite the many worries faced by students, its fundamental appeal stands strong because of its uniqueness in the opportunity to embrace a di erent culture, educational approach at such a formative age. Amy* says that she’ll be returning to UC Berkeley for a short time this year, having had an “irreplaceable” experience.
In Lily’s words, “Being surrounded by so much talk of Spring Weeks, grad-schemes and internships [at LSE] bogs you down in this idea that your life has a timeline in which you need to progress as quickly as possible in order for success.” GO LSE emerges as a unique gateway out of this mindset: “the opportunity to live and study in a di erent country is something you may not come across again.”
*Names have been changed to preserve anonymity
How to Write About China
Aristides Hall
Contributing Writer
Illustrated by Sylvain Chan
“The empire, long divided, must unite; long united, must divide. us it has ever been.”
is quote will be well-known to any who have read the famous Romance of the ree Kingdoms, describing the legendary clash during the Han dynasty between the tripartite kingdoms of Wei, Shu-Han and Wu. It is also as wellknown to anyone who takes an interest in Chinese political affairs and has the misfortune of reading an article published in the majority of Western media. e phrase appears as part of a deep dive into Chinese classics to understand the (apparently) overwhelmingly complex system of power that governs that vast realm of China. e only way to truly understand China, according to these writers, is to delve into its history and nd precedent upon precedent for the actions that the Chinese state undertakes today, leading to enlightening but worryingly basic conclusions such as ‘China will prioritise its internal security’.
is begs the question: why do Western analysts feel the need to reach deep into the bag of Chinese legend, mythology and history to ‘understand’ the People’s Republic, when the same standards are not applied to other countries?
Henry Kissinger, one of the most proli c Western authors
on China and realpolitik, is responsible for this mysticism. He mentions the ‘mandate of heaven’ 14 times in his work. e ‘mandate of heaven’ essentially acts as an orientalist metaphor that replaces political legitimacy with celestial authority. None, however, discuss the loss of the Bourbons’ ‘divine right’ as a major contributing factor for the French Revolution nor the English Crown’s absence of celestial backing in the American Revolution. Rather the emphasis of this metaphor appears to be reserved only for China. Revolutions in Europe are given political agency and understood to be progressive, with the end goal to bring about status-quo change through the use of power. In China, it seems to be implied that the goal of revolution is to gain power and little else. How could one possibly interpret the idea that power in China is unshi ing based on only one true legitimating factor? is is the vicious double standard imposed on scholarship about China. It is di cult to think of the decades-long e ort by the CPC to win the Chinese Civil War as succeeding primarily because the Guomindang lost the ‘mandate of heaven’, a party rife with crisis and instability due to distinctly human, not celestial, factors.
Another characteristic of contemporary journalism about the PRC is its excessive reliance on Xi Jinping as representing the entire Chinese political system. While explaining systems and ideology through the medium of “great men” serves as a useful introduction to the basic concepts, it has the result of condensing an entire era nite complexities into a glori ed obituary. While some Western political journalists sco at the idea of collective leadership and continue to argue that the entire system is run by one man, we see various examples throughout
history demonstrating that decision-making in China is an incredibly complex process that does not t into neat little biographies of singular gures. However, not every senior gure is an amicable, incredibly talented diplomat such as Zhou Enlai, or the martyred liberal Zhao Ziyang. Western journalists seem to miss the age of Mao, and all of his poetry and constant references to classical Chinese literature, which acted as a con rmation of their own preconceptions of China as a civilisation. ey would write about the Chinese classics, and Mao would echo their words in a speech that same year.
Chinese think their country is the centre of the world. erefore, all its e orts at becoming a great economic power since Deng’s reforms are an attempt at rebuilding a Chinese empire. However, ‘Middle Kingdom’ has been in use since 1000 BCE–longer than Rome has been called Roma in Latin. Additionally, the US, China’s greatest political rival, literally translates to ‘beautiful kingdom’. Does this mean that the United States has an exceptional beauty, or is it just a character that both phonetically matched the syllable ‘me’ and carried a nice connotation? e reader can decide.
Now this is no longer the case; the PRC is a well-established state and no longer reliant on charm and psychological warfare on Khrushchev to position itself internationally. e era of charismatic communists has ended, replacing these fascinating characters with a cast of boring bureaucrats. Such apparatchiks do not make for loud and exciting headlines, as Mao frequently did (most famously joking that the world could sustain nuclear war, as it would surely result in the victory of communism). eir headlines are more mundane, such as the dismissal of former MFA Qin Gang due to his public adultery, rather than as the culmination of an exciting power struggle. Nowadays, taking Mao’s dry humour literally is not possible, so more must be made of the Chinese political system. It must be the Romance of the ree Kingdoms again, lled with villains, heroes and larger-than-life characters. While entertaining, this journalistic sensationalism results in heavily distorted analysis that fails to contribute to the landscape of information about the PRC.
Another fault of Western journalists is in its assumption of Chinese chauvinism. When they learn that the literal translation of its Chinese name is ‘middle kingdom’, journalists then believe that
To answer the question posed at the beginning of the article, the reasons Western writers feel the need to adopt such an approach to China are manyfold. China is emerging as a new superpower, and latent Western anxieties about this fact are emerging throughout our media. China is an ideologically communist state with thousands of years of civilization under its belt. is gives it a European ‘civilisational he ’ that boasts a multitude of technological achievements and expansive empire-building. China only fell to the wayside in terms of power during the 19th and early 20th centuries, and its ascension to the global stage marks a return to form. China represents a threat to Western economic hegemony due to its Belt and Road Initiative and dealings with African nations that supersede the West’s own. ere is no room for an ascendant China in the current global order, which means, as many scholars argue, that we are approaching a ‘ ucydides Trap’. Con ict with China will be inevitable, so it is time to both understand and vilify China in a new bout of orientalism.
To conclude, this new orientalism has taken hold everywhere. Culturally, there is much fear about the impact of TikTok on Western youth, with the app’s greatest crime not being the the of data
(rich coming from the collective nations home to Facebook, Amazon, Apple, Net ix and Google), but seemingly being owned by ByteDance, a Chinese company. Not to mention the West’s di culty with identifying Asians correctly, as many will remember from the farcical March 2023 Congress. Chinese cultural products are still treated with suspicion in most areas of the internet. Netizens will frequently decry what they view as CPC interference in games, as in the case of Hoyoverse, a Chinese game company that publishes hits like “Genshin Impact” and “Honkai: Star Rail”. A move to make female character out ts less revealing in Genshin Impact received heavy backlash online, with the decision attributed to CPC censorship. One may also remember the reaction to the spread of Covid, with terms like ‘Kung Flu’ being thrown about by senior Western politicians. is, along with other racist presumptions, led to a 339% increase in anti-Asian hate crimes in the US. e wave of racism has still not ended, with 32% of Asian Americans having faced racist verbal abuse since May 2023. It is not di cult to make the link between increasing anti-Chinese sentiment and greater Asian hate. It would appear that the West is sinking further and further into sinophobia.
In all Western scholarship on China, it seems that there is really only one person in which we can truly invest our trust. His words are perhaps the only truly insightful encapsulation of China. As De Gaulle once said: “China is a big country, inhabited by many Chinese.” Instead of treating China like a di erent planet, where mysticism reigns supreme and court politics still play out day-today, it is time to bring scholarship back to square one. It is time to open the Chinese-language books, earnestly study the Chinese political system and remember that China is a nation of people with the same expectations of their political system as we have.
Brat Politics: Just a New Phase in Political Iconography or a Warning Sign?
Sebastian Daniels Contributing Writer Illustrated by Lucas Ngai
Political memes are nothing new. For years, both supporters and mockers of the Donald Trump campaign have made an icon of his cult of personality. Yet it is hard to ignore that Kamala Harris’ ‘brat era’ is a marked turn from previous Democratic Party strategy. Just hours a er Biden’s presidential dropout, an endorsement from CHARLI XCX was quickly followed with the album’s signature ‘brat green’ plastered over with ‘Kamala HQ’ on X/ twitter.
Charli XCX’s ‘brat girl’, described as “that girl who is a little messy and likes to party and maybe says some dumb things sometimes”, is undeniably hard to interpret politically. If Harris’ adoption of ‘brat’ is political, it’s undoubtedly more indirect than her rival. Trump’s virality with slogans like “Build the wall” and “Make America Great Again” appealed to con ictingly xenophobic, patriotic sentiments that America is perceived to have been ‘le behind’. What does Brat appeal to? Distraction, mostly.
e album, praised for its “defensive self-awareness,” is as sombre as it is gossipy and relatable. emes of trauma interlaced with a carefree attitude and a nostalgia for club classics provide a realism unmatched in the mainstream. Young voters’ distrust of politics leaves many wanting to shut it out altogether. Perhaps the most interesting thing Harris can do is suggest that she too, just like Brat’s party-girl persona, can play the game.
e incentive for Harris to broaden her appeal is clear. Biden changed little for younger Americans. Despite Democrat control of both House and Senate, abortion rights were never enshrined into law, student loans are largely unforgiven, and all at a time
when housing is becoming una ordable. Add a debate where he struggled to speak in complete sentences, and it’s easy to see how Biden might seem out of touch.
By contrast, Harris gets it. She understands that you want to live your life, and so does she. Sure, she’s not perfect,- but oh –“you think you just fell out of a coconut tree?” (another Harris meme)–nobody’s perfect. e relatability serves as a welcome distraction from the previous two old white men, who you would be forgiven for thinking couldn’t care about what happens to anyone below 50.
Debate viewership is stagnant as younger voters opt to watch highlights on TikTok and Instagram instead. As the medium changes, the message must, too. It’s hard to see a better way to cater to a new generation than through Brat.
Why does this matter? Political iconography appealing to cultural trends is certainly nothing new. However, Harris deviates from precedent by not linking these symbols to campaign promises. Her supercially divergent ‘brat summer’ doesn’t change the fact Harris’ policy appears to be remarkably similar to Biden’s.
ing for because of these associations with actionable policy. Whether or not voters check these policies, they feel their impact directly.
ese are vital information shortcuts, crucial for trust and accountability in a democracy.
So what does Brat symbolise? Its apathy and messiness are perhaps not unreasonable reactions to the current state of politics in the US. ough, it’s not what you’d want to promise America. Brat marked the beginning of a social media campaign with remarkably vague policy links. Recently, many TikToks boasted
and ‘working on’ ending the siege, but nothing of Israel’s war crimes. is isn’t something that the average younger voter likely knows much about. Instead, they see coverage of her ‘brat era’ as it disseminates over social media. Distractions are a powerful force. If Harris can use this ‘apolitical’ iconography to gain the trust of the youth vote without promising much, how will she ever lose it?
It’s true that Brat might not be entirely irrelevant. Some have linked Brat to the rejection of the ‘clean girl aesthetic’ as a feminine ideal. e previous trend emphasised being ‘put together’, requiring altogether inhuman perfection and docility from women. e aesthetic has been criticised for being restrictive and overly controlling.
ese associations matter because they allow voters to easily tell when promises aren’t kept. Ordinary Americans were able to see through Trump’s wall slogans when only 80 miles of new ‘wall’ were built, and deportations remained similar or lower to the Obama era. ey can also check Biden’s ‘return to normality’ pitch against his mask mandates and vaccination drives, just as they can see that Biden’s deportations are set to match Trump’s. e important thing is that, to an extent, voters knew who they were vot-
about Taylor Swi ’s endorsement. Much of Harris’ limited policy content is simply parts of speeches that aren’t particularly compatible with the short-form, stimulation-prone platform. ese are vastly outnumbered by TikToks mocking Trump. For the casual viewer, learning what Harris is about isn’t straightforward, especially with a short attention span.
With scarce information on what to expect from Harris policy-wise, younger voters have very little to keep her accountable for. e permissiveness should be worrying. For example, over half of Americans support stopping military aid to Israel, a gure that is likely higher for younger voters. Yet, Harris remains reserved on the issue. She rea rmed a vague position that committed herself both to Israel’s right to ‘defend itself’
pointed these feelings towards tangible enemies—immigration, foreign competition, and political elites.
Both sides use gut feelings, but they used to direct those feelings towards speci c issues. Harris, too, has policy, but Brat, like many of the vague symbols and memes of her relatable campaign, acts like a smokescreen. By playing into a self-aware cynicism, Harris panders to the growing distrust voters have for the political establishment. Still, it doesn’t o er them anything concrete to hope for or oppose. e attention it captures from voters comes at the expense of their knowledge of a candidate’s position.
Abortion rights are a pivotal issue this election, so rejecting a symbol of restriction over women’s lives and bodies must carry some meaning. Harris distancing herself from aesthetics, complicit in this control does, to an extent, di erentiate her from Trump.
Regardless, any allusion Brat could be making shouldn’t worry us any less. It still leaves Harris’ campaign promises unclear in the eyes of younger voters. e subtlety is distracting. Brat does not embody any promise that voters can complain about when Harris falls short of ‘becoming’ a brat. Brat appeals to a ‘gut feeling’ - one that feels remarkably populist.
While politicians have always appealed to feeling, in the past, they were never so unclear about where these feelings were directed. Trump was admittedly vague about the ‘greatness’ upon which he wanted to make America great again. However, he
Harris’ ‘brat era’ is a perfect example of how frustration with politics can be weaponised in an era of over- stimulation. Voters have never had more access to information, but it also overwhelms them. It’s easy to switch o the news when snippets of it are just a tap away. It’s even easier when younger voters feel little hope the political establishment will change anything. If housing continues to be bought up by Blackstone to jack up rents regardless of the candidate, why not choose the relatable one?
Suppose Harris can win over our generation using symbols of political apathy and vagueness. What does this say about the future? It is easy to be apathetic. But if frustration with bad policy leads to voters ignoring policy altogether, then policy will never change. If the pattern continues, what reason do politicians have to make any rm commitments at all?
Political parties have long constructed policies that cater to ignorance, but it seems that now, more than ever, voters are at risk of not voting for policy at all. Are elections at risk of being increasingly in uenced by false vibes that have nothing to do with policy? Hard to say, but Brat wouldn’t be a bad distraction.
OPINION
e Chronically Online Epidemic
Juliette Warbington
Contributing
Writer
Illustrated by Luoyi
Shen
From ‘Brat Summer’ to ‘Very demure, very mindful’, this summer has seen yet another rotation of viral trends take over our social media platforms. is cyclical tradition has grown in the past years, whether intentionally or not: every few weeks, we are introduced to a new short snippet of a song or a sentence, and its repeated use grows so overwhelming that it soon becomes obsolete—until the next one arrives. Yet, during its brief moment of relevance, it reigns as the ultimate symbol of vogue—the most de nitive marker of social awareness any self-respecting social media user can have. Our obsession with this has touched all areas of our society, from marketing to celebrities and even politics. Two things are certain: the growth of social media has allowed publicity to become constant and inevitable in our environment, and I have had more than enough.
e concept of Internet trends has been around for as far as I can remember—such is the curse of being a child of the 21st century—but since 2020, there has undoubtedly been a marked shi in their frequency, their reach, and most notably, their audience. Gone are the times of the occasional joke or reference that could be shared between a younger, online-present generation. Today, it seems that every other brand and celebrity is pouncing onto the next hot trend with the same urgency as a stockbroker onto his ringing phone. For years, the separation between these entities and their audience was untouchable: brands connected with consumers through radio ads, billboards, and TV spots, while celebrities remained shrouded in an almost mythic distance, o ering only carefully curated glimpses into their lives through magazines and interviews. at separation
has since been breached; the backstage has been revealed through an intentional drop of the highly controlled curtain, if only to cater to what the public is asking for.
Which celebrity hasn’t been seen on TikTok with a bare face, in their sleepwear, in an attempt to mimic the candid lming style of the average user? Should we o er them the same status of untouchable royalty, now that they have lowered themselves to the same playing eld? If there is a bene t to this lens that has been placed in the lives of both public gures and everyday users, it is that we have been given the power to choose whom we give importance to, instead of being carefully directed by the hidden garden wall of Hollywood and other industries. It has allowed us to see that the celebrities who we once venerated are no different to our own selves, with the only exception being the wealth we still enable them to accumulate.
is has caused a shi role, in which they now need to constantly chase a er their followers’ atten tion instead of set ting the trends on their own terms— unless it is simply another highly elaborate mar keting technique, executed with the goal of staying relevant.
speculations are ever present, es pecially when every other video seems to be a sub tly camou advertisement for another unnec essary product. While celebrities have always been companies’ most trusted tools to promote merchan dise, it seems that their role has been reduced to that very thing, their
‘One of the greatest resentments I harbor is never having been given the choice to function without the high-speed world of socialmedia—rather, it has been imposed on me.’
personalities increasingly manipulated to become instruments of consumerism. But although the danger posed by Internet celebrities stays rather mild, this shi has not spared the other public gures to whom we grant in uence.
e fact that political gures have bought into this is therefore no source of comfort. Giving them a total, un ltered medium of direct communication with the general audience has been a cause of unnecessary controversy and con ict, as seen with former United States President Donald Trump Jr.’s frequent tweets on the platform X. O en aggressively worded or simply untrue (e.g: an AI- generated image of US-presidency can-
communist ags, posted on 18 August 2024), it is concerning how much free reign we allow our leaders. If even a public gure with the ability to gain relative power over the largest economy in the world can manipulate his audience with arti cial intelligence, how are we supposed to distinguish the real from the fake? And how are we meant to gain any agency over the information we choose to believe?
One of the greatest resentments I harbor is never having been given the choice to function without the high-speed world of social-media—rather, it has been imposed on me. Indeed, arguing that it is a choice and that there is nobody to stop us from deleting every so-
handicap to social activity. In my own circle, the handful of friends and acquaintances who were known for not owning any form of social media did not last long before giving into the feeling of exclusion.
And who can blame them? I likely would not have gured that the Welcome Week events needed to be booked, if I didn’t follow the LSESU Instagram account. And I wouldn’t have known that e Beaver was open for submissions, had I not seen their post. Certainly, LSE has only chosen to dri through the same tech-stream as the rest of the world has, and there is no shame in that. But the reality is undeniable: our dependency on social media isn’t so much a choice as it is a necessity. Still, I am not to be mistaken for a Luddite: the technology of our century is one of the greatest comforts we have been allowed, and it is not to be taken for granted. I have not, however, consented to being permanently tethered to my smartphone, destined to stare at the same ashing advertisements at a day’s length, for the simple security of knowing I can stay socially relevant. Without truly realizing it, I have traded autonomy for convenience, and at times, it seems impossible to reverse.
But all is not lost. Awareness is the rst step toward reclaiming control. We can’t eliminate the in uence of social media, but we can reduce its grip on our lives, and the solution is simple, radical and audacious as it may be: put down your phone, go outside, and only pick it back up if you really, really must.
‘Name
ree of eir Songs’: Will Girls Ever Be Considered ‘Real’ Fans?
Niamh Hughes Contributing Writer
Growing up I always listened to songs meticulously curated by my own father. Yes, I still loved One Direction and Taylor Swi , and perhaps always will, but I would also listen to older songs from the 60s up until my birth. It then felt natural to wear T-shirts with these bands’ members or logos. As a young girl I wore these with pride, desperate to make clear that I was ‘educated’ on e Greats before my time. With such con dence in my knowledge, I would not have expected the disrespect of an older music fan’s classic retort: “Oh, you’re a fan? en, name me three songs.”
Is this simply music snobbery, or is this something di erent? Dare I say, would a man wearing a similar T-shirt be faced with the same scrutiny? Having asked my peers, this seems to be the case exclusively with girls, rooted in the idea that it was worn simply for ‘fashion’. at the male gaze has become so embedded that girls aim to simply give o the impression that they listen to this music to act ‘cool’. ey crave male attention, but never truly embody the adoration and knowledge of a ‘real fan’.
Such an example could be seen with Oasis’ recent reunion. With Ticketmaster, dynamic pricing and thousands disappointed missing out on tickets, one would naturally deduce this is due to the popularity of the band. From Britpop devotees of the 90s to teenagers belting Wonderwall at any given karaoke opportunity, everyone wanted their hands on a chance to witness them live. With many failing to get tickets, backlash and frustration was to be predicted. However an unexpected scapegoat emerged: young girls.
Narratives such as the following TikTok post, epitomise this attitude:
“Imagine waiting 15 years for Oasis to reform only to lose out on tickets to Chloe, 20, Fiat 500 driver, from Stockport who just wants to hear Wonderwall live.”
In some ways this could be justi ed. A er all, why should someone who has been a fan of their music for years miss out on a ticket to a mindless teenager who only knows their most popular songs, who didn’t live through the great years of britpop, who didn’t debate with their friends on whether Blur was the better band?
But are there deeper sentiments behind this? Is this simply an example of harmless gatekeeping fuelled by passion, or another subtle but long standing prejudice against women?
In response to backlash, Noel Gallagher’s daughter, Anaïs commented online:
“One thing I won’t stand for is the ageism and the misogyny around people getting tickets. Sorry, if a 19-year-old girl in a pink cowboy hat wants to be there, I will have my friendship bracelets ready.”
Not only is there an explicit ‘calling out’ of behaviour here, but also a nod to Taylor Swi ’s sold out Eras tour in which trading friendship bracelets and wearing pink cowboy hats was commonplace. e true irony is, the girls who in their own right, choose pop music such as Taylor Swi are equally as belittled. One can only look to the comment sections of any Eras tour content to see opinions on fans being ‘cringe’ or ‘hysterical’.
So where is the winner? Pop music is hyperfeminine and as such fans are mocked. It is perceived as frivolous and e eminate. ose girls who choose to display a passion for alternative, rock, or indie, are in danger of being told they are doing such for show. If they fail the test of proving genuine interest, they are ‘pick-me’ and simply looking to present
tioning are simply reskinned: “Name three songs” shi s for example to “Explain the Oside rule”. e cycle of scrutiny repeats. Where male passion for football seems to pass, female interests are either supercial, or instead the opposite, obsessive and hysterical, o en with connotations linked to the so-called ‘fangirl’.
irrationality, female interests are not taken as seriously.
ere are certainly more pressing issues of systematic misogyny to be addressed, but there is also still a need to recognise the danger of these presuppositions, or simply even acknowledge the inconsistencies within them. We need to ask the question: why is pas-
‘The male gaze has become so embedded that the main aim is to simply give off the impression girls listen to this music [...] but never truly embody the adoration and knowledge of a “real fan”.’
as the ‘cool girl’ to male counterparts.
On a broader scale women’s interests are trivialised from music, to gaming, or sports. With the latter, lines of ques-
While this sexism is seemingly not explicit, internalised biases come to light. Whether authenticity in interests being questioned or passion being obscured into hysteria, rooted in preconceived perceptions of sion for music still simply not enough to escape judgment? Why can’t we let “Chloe, 20, Fiat 500 driver, from Stockport” enjoy listening to Oasis?
Reading
Mandatory sweet treats after class :]
We asked the student body what they miss most about life at LSE. Check out what the characters have to say!
Hare Krishna meals <3
Reuniting with friends again!
Being surrounded by fellow losers who go to LSE, so my relative loserism is lower.
Nabbing the CBG 8th oor as a study spot!
? Nah, the library and its stairs are where it’s at.
Cheap Three Tuns drinks!
The Beaver, of course!
HOROSCOPES!!
By M. M. (De nitely Not the Raccoon)
Aries 21/3 - 19/4
Taurus 20/4 - 20/5
Gemini 21/5 - 21/6
Cancer 22/6 -22/7
Leo 23/7 - 22/8
Virgo 23/8 - 22/9
Libra 23/9 - 23/10
Scorpio 24/10 - 21/11
Sagittarius 22/11- 21/12
Capricorn 22/12 - 19/1
Aquarius 20/1 - 18/2
Pisces 19/2 - 20/3
You may nd yourself overthinking in the next few days, give yourself patience. Make time to dig through your emotions.
Consider engaging in something more adventurous. Explore the nooks and crannies of the area you live in.
Revisit places, activities, and memories from your childhood. You could try building a den, or climbing a tree.
One man’s trash is another man’s treasure. Have another look at some “trash” and you might nd something to help you in this time.
You want to become nocturnal so, so, badly, don’t you? Stop resisting. is is who you are.
You might have been feeling uncertain about something recently. Now is the time to be self assured. Hiss, screech and shout if you mustbut be bold.
It’s okay to take a break. Huddling up in your own nest for a few days might be a good course of action.
You may nd joy in unexpected places in the coming days. Look out for a furry friend to make merry with.
Try something new. Have you considered changing your hair? A few stripes of black and white may be just the change you need.
Make sure you’re getting enough rest - someone might start pointing out your dark circles…
You might nd yourself feeling a little mischievous… channel that feeling into creating something a little silly.
You may be resisting the urge to forage through your cupboards for a snack. Indulge yourself - everyone deserves a treat… fruits and nuts may be particularly delicious this season.
BEAVER COMIC STRIP 1:
Flu Origins
By Sylvain Chan
A Norwegian’s favourite nightclub in London, perhaps Unit of
abbr. Boring and meaningless
“Feeling better” A programmer’s favourite nightclub in London, perhaps Tall and thin One word fútbol chant Lose these, and you’ll probably lose your ands and buts too
By Clubbing Beaver
SPORT
EDITED BY SKYE SLATCHER AND JO WEISS
A Conversation with Kyle Kothari: Olympic Diver and LSE Grad
by SKYE SLATCHER & Photography from KYLE KOTHARI
Summer 2024 was lled to the brim with sports. e global highlight was surely the Olympics and LSE too was represented this year. I recently spoke to Kyle Kothari, an Olympic diver and LSE alumnus (Geography, 2019). He reached the nal for the 10m platform at the Paris games - an incredible achievement.
Kyle was candid about the Olympic experience: “I would say it is stressful… But when you’re in the bubble, you don’t really quite realise how big it is until you nish.” With the nals now just over a month ago, he re ects on it with a bit more distance. With the bronze medal score being the same as what he had achieved at the World Championships, he said it was hard for it not to feel like a missed opportunity.
Aside from the important sporting side of things, these games were lled with some viral moments. He replicated the internet-famous Turkish shooter’s pose when he walked out for his nal. He even got started on a crochet tie with Tom Daley’s expert help, but never got around to nishing it. But what we all want to know: Kyle’s verdict on the chocolate mu ns. “Bang average. Overhyped.”
His sporting career started in gymnastics when he was three. Growing up he tried a number of sports, thanks to his dad’s sportiness. At 11, he su ered a major injury during a competition - a snapped elbow. Around that time he saw some talent lea ets at his primary school: “Crystal Palace Diving Club in South London was looking for talented kids to train and take to the next Olympics - at the time, London or Rio.” Of 70,000 applicants Kyle Kothari was one of the four selected. From then on diving gradually became his sporting focus.
Having achieved gold at the European Championships, silver at the Commonwealth Games, and various other accolades, his successful career has not been without hurdles, which took the form of a series of major injuries. In 2019, he ruptured his right Achilles but he remained hopeful for his
chances at Tokyo when the games were delayed due to COVID-19. Six months later he ruptured his other Achilles. Tokyo was no longer a possibility. To have reached the Paris Olympics and to be aiming for LA is an incredible feat.
I would be remiss not to talk to him about his LSE experience. He recalled being “on a ight to Malaysia for a competition and writing [his] GY100 essay or GY212 essays, and submitting it as [he] landed, and then having to go straight into training”. He is one of few high-level athletes to come out of LSE, and when I asked him whether he thought LSE helped his career, he was honest: “short answer: no.”
A er LSE and having dealt with his injuries, Kyle found himself at JP Morgan like many grads of this uni. “I decided to apply for that internship at JP Morgan to set up a career just in case I couldn’t return to sport… I had the intention of staying there.” Nonetheless he had been training, and a er seven months of Treasury Services, he returned to full-time diving. “ ey o ered me a full-time role, but I was like, ‘well, I would love to do that but I can’t not take this risk’.” And so he dived back into the world he was never sure he would fully return to.
I asked him whether the thought of representing Team GB ever entered his mind when competing on an international level. To this he gave a simple no. While it is a nice thought, individual divers are rarely thinking about the team. He elaborated: “You might have watched some of these Netflix documentaries that have come out recently about the sprinters and all that stu . Diving is not quite that cutthroat, but still, every person is ghting for their career, for their sponsorship, for their salary. ere’s a lot of pressure.”
One of my last questions to him was about his sporting idols. He has never admired someone “just because they’re good at kicking your ball or good at falling o a board”. Instead, he spoke to me about the diving team’s physio, Gareth Ziyambi: “He’s got an amazing story about being a Black physio in sport and how di cult it was for him to be taken seriously, and what he’s done for the sport behind the scenes that no one will ever see is super inspiring… It’s those kinds of stories that don’t really get the media attention that they deserve - they’re the people that are inspiring to me.”
He nished with a message I think a lot of us could learn from. e sentiment is that comparison is the thief of joy. It is undoubtedly something I am still grappling with. He explained that he believes that once you reach the top levels of sport, talent is what separates you and talent is beyond your control. I think Kyle put it best: “When you realise that that’s okay, you become very xated with yourself and what you are capable of. You have to be happy with how far you can push yourself with what you have.”
At 26, he knows he’s in his ‘prime age’. He will be 30 for the next Olympics, and while it is impossible to know what will happen in the next four years, LA 2028 is in Kyle’s plans. e next four years will not be full-time training. at’s a lifestyle Kyle has had since 2019, which he now says is “just so dull”. Beyond working toward LA28, his goal for now is bringing back some “childlike play” to his training.
In the meantime, I’ll be guring out how to get myself to LA for 2028.
Waves of Change: Teohupo’o’s
Sur ng Legacy in the Modern Day
by JO WEISS
When the Tahitian native and surfer Peva Levy reminisces about the Teahupo’o of the past, he remembers it as a pristine, idyllic location for sur ng. e tranquil environment, framed by untouched volcanic beaches, impacted Levy to the extent that he said to have felt the powerful, supernatural force known in Polynesian culture as “mana” when he rst surfed Teahupo’o. “We loved this place because it was still wild, there were not many people over here. ere was a lot of sh all around, and that good mana,” Levy said. However, news of such immense natural beauty coupled with unparalleled conditions for sur ng was fated to spread across the world. “It was a secret spot,” Levy mused, “but it was not a secret spot for long.”
Arguably the largest factor transforming Teahupo’o from a local paradise to a globally renowned surf hotspot lies in the capacity of its geographical conditions to generate powerful waves. For waves to form, ocean swells created by faraway storms must make contact with the sea oor. What is usually de ned as a gradual process can be achieved in a matter of seconds in Teahupo’o. is is because Teahupo’o ful lls these conditions perfectly, with the swells of its waves originating from strong Antarctic storms that crash into a reef situated less than a meter from the surface.
mising environmental impact. e most pressing concerns centered around the construction of an aluminium tower to accommodate judges and media place from previous sur ng competitions, it was considered to be unsafe by the Olympic Committee and Moetai Brotherson, president of French Polynesia. Building the new tower required drilling into the fragile reef, raising fears among environmentalists and local residents of lasting damage. ese included the possibility of ssures in the reef attracting the microscopic algae ciguatera, which infect sh inducing sickness in humans if consumed, as well as changes to the shape of the wave if the reef were to crack. Yet despite an ISA-supported petition against the construction reaching 257,000 signatures and the collation of numerous scienti c evidence highlighting the potential damage of the choice, the tower was ultimately built.
Photographer Tim McKenna insists the movement to protect Teahupo’o was not in vain, stating “the fact that they did have that movement really helped us to get the authorities to be careful and downscale and do things right.” Certain concessions were indeed made, such as housing the Olympic athletes on a cruise ship rather than assembling an Olympic village. Yet this decision could have also had repercussions on the critical ecosystem of the reef, not to mention the damage caused by a barge colliding with the coral during the construction of the tower.
Despite attracting many tourists and international sur ng competitions, Teahupo’o could in many ways preserve the essence of its former self. Avoiding the usual developments that are present in popular surf destinations, Teahupo’o maintains a close connection to the natural environment and a distance from consumerism. For example, though attracting numerous prospective customers, it is entirely devoid of surf shops. Such harmony with the environment echoes the Polynesian origins of sur ng, where the sport was imbued with religious meaning and a deep reverence for the ocean.
In the modern day, the spiritual and environmental signi cance of sur ng remains central to many proponents of Polynesian culture. President of the environmental organization Via Ara o Teahupo’o Cindy Otcenasek explains how “in Polynesian culture, gods are present everywhere, in the coral, in the ocean.” ese views hold particular signi cance for surfers, especially those native to the area. Tahitian Olympian Vahiné Fierro, for instance, describes Teahupo’o as a sacred “temple,” rooted in “a spiritual belief, living incarnation of our heritage, and our ancestral land.” Her words underscore the enduring legacy of Polynesian culture, and the desire to uphold a symbiotic relationship with the natural world. In a similar vein, fellow Olympian and Tahitian native Kauli Vaast emphasized that “magical things happen here, you feel this energy and you must show respect,” as “this is so important [in] ...places where you face Mother Nature.” While not necessarily anchored in religious or spiritual meaning, values of environmental stewardship resonate throughout the wider sur ng community. e International Sur ng Association (ISA) serves as a prime example, with its mission “to make a better world through sur ng” and a vision centered on fostering “a connection to the environment” by promoting “the protection of Sur ng resources worldwide.”
However, the decision to host the 2024 Olympic sur ng events in Teahupo’o has jeopardised this balance by presenting signi cant challenges to mini-
e clash between hosting an international sur ng event and preserving the integrity of Teahupo’o’s environment mirrors the paradox of sur ng as both a multimillion-dollar industry and a sustainable pursuit. In their Critical Surf Studies Reader, Dexter Hough-Snee and Alexander Eastman de ne sur ng as “a profoundly complex global practice, rife with contradictions,” that can be understood as “religion, cultural practice, ludic pursuit, countercultural iconography, competitive sport, multinational industry, and consumer culture.” ough its resistance to being con ned to a single identity can be seen as re ecting the freedom o en associated with sur ng, this complexity also introduces its own set of challenges. As sur ng becomes increasingly multifaceted, there is a risk that its diverse identities may erode, allowing one to emerge that aligns more closely with the demands of today’s fast-paced, consumerist society.
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SOCIAL
EDITED BY SOPHIA-INES KLEIN
AND JENNIFER LAU
A Letter on Sensitivity
by EMRE YIGIT KOC & Illustrated by SYLVAIN CHAN
Dedicated to the woman who taught me to value sensitivity.
I have seldom felt pride in my sensitivity, especially in a culture that values indi erence. In a dating world that promotes shallow, hasty connections and industries that prioritise productivity, apathy is placed above empathy. For a long time I saw my sensitivity as a fault, some sort of weakness I was condemned for. In a society that praises those who seem una ected by emotion, being sensitive made me feel awed. I was taught to shy away from my sensitivity. is fostered a sense of doubt in my character.
at was until a conversation with my mother this past summer, which sparked my thoughts to write this letter. I put it quite simply: “Why am I so sensitive?” to which she answered, “Because you are the son of two very sensitive people.”
I had always seen my mother as an enduring woman, so hearing that she shared a quality of mine I regarded as a weakness disturbed me. I saw her in all her vulnerability. Not as a resolved gure, but rather as someone who struggled with a similar shame. If those I admired shared my sensitivity, perhaps there was value in it.
I’ve come to nd that in relationships, sensitivity leads to a profound sense of empathy. It allows for a more intricate understanding of others. My fondest memories are those in which I’ve allowed myself to be vulnerable. While others may take your sensitivity for granted, it is this vulnerability that fosters authenticity to build relationships that last.
Sensitivity continues to prove valuable in professional settings. It fosters empathy for diverse perspectives, and under standing factors that in other people’s decisions. Be yond minimising con ict, sensitivity promotes the generation of better ide as, and improves perfor mance and trust for e ective collaboration.
Looking back on my mother’s hes itance to articulate the importance of sensitivity, it becomes clear that its value isn’t always understood. While it may be di cult to celebrate, sensitiv is never shameful. It should be em as a source of connection and under ough overwhelming at times, it nur ness in relationships for more ful For that, I no longer feel condemned; lucky.
Are Trends the Enemy of Taste?
by SOPHIA-INES KLEIN & JENNIFER
Our closets are revolving doors of social media-induced fashion fads. Like it or not, we’re stuck in an endless race to appease social media’s stylistic standards. As our retail choices are guided by raging digital trends, the lines between the digital space and real life have become blurred. Are we blindly mistaking the algorithm for taste?
Now, we’re all victims of this. See above: Soph and Jen’s microtrends col lection. It’s no secret that social media is the biggest trend catalyst, shi ing our xations from Y2K to minimalist chic within a month. Lucky for us, fast fashion brands adapt just as quickly. While other brands release two to four collections with 12 styles a year, super-fast fashion brand Shein releases 10,000 new products daily. At this rate, we’re starting to wonder if even the trends need a breather. By mass-producing a ordable pieces to the beat of eeting fads, brands like Zara and Shein pro t from our insatiable desire to stay à la mode.
Not only can trends make us disillusioned from taste, we also become vulnerable to trend fatigue. With the oversaturation of transient products, fashion begins to feel like a shallow pursuit of what the herd deems as stylish rather than a development of individual style.
is begs the question, why are trends so convincing? Maybe it is the collective validation of style, or the fear of FOMO? In short, following trends is a fast pass to the in-crowd.
Honestly, we think that it’s an easy way for someone to get away with having style. But that’s not to say that wearing a trendy item completely negates fashion sense. Trends become popular for a reason (even if we can’t tell why) but that’s where style comes in. While o en used interchangeably, we must be careful to distinguish taste and style. Taste is a preference that frames pieces of clothing or accessories as desirable, while style is how one expresses themselves through fashion. Give two people one trendy item, and you may nd two completely di erent looks.
But as trends crowd the vision of our Instagram ‘It girls’, threats to individualism creep in. With trends framing the universal calibre for fashion, the perception of style narrows. In short, trends homogenise style. When the desire to stay trendy and the access to low-commitment fast-fashion purchases overshadow personal style, scrolling through Instagram begins to feel like a headache of micro-shorts, leopard print, and cowboy boots. However, trends don’t need to be the enemies of style. As fast fashion brands quickly pick up on new trends, they allow people to a ordably access new designs to expand their own style. Arguably, the combination of trends and style are what drive fashionable success.
Take a look at the London Fashion Week spring/ summer ‘25 shows and we’ll see how tapping into past and current trends can launch design ers’ work to the top of consumers’ wish lists. 1960s trend of all things sheer made a strong return tember, showcasing the use of colour with an interplay of translucent and opaque. Nensi Dojoka x Clavin Klein delivered just that with models robed in sheer skilful constructions. Look further to the likes of Zara and ASOS and you’ll nd that mesh is just as prominent.
As trends return every few years, and designers leverage them in their designs, we see how we can capitalise on trends to de ne or enrich our own style. So sure, wear your leopard print and cowboy boots, just be careful not to be a clone of the person next to you!
Bye-Bye Banking! Re ning Summer Internships
by EVANGELINE QUEK
As summer comes to an end, many of us come back with stories of our summer internships. While most of us drone on about our time in IB and consultancy, we dive into how some LSE students embrace unconventional work. From online political commentary to the sun-soaked party boats, Victor and Robin have spent their summers blending passion with professional growth.
VICTOR DESTANG (3rd Year BSc International Relations)
With over 67.6K followers across TikTok and Instagram and a whopping 1.5M likes, Paris-based Victor Destang has carved out a niche in political commentary. His mission? To make complex global issues digestible for the social media generation.
As we sit down with Victor on a balmy a ernoon, he shares insights into his journey, creative process, and the challenges in bridging the gap between academia and social media.
EQ: How did you leverage the summer to grow your online presence?
VD: I think my strategy was to be bold, aware, and quick. I secured press access to political rallies and rapidly produced breaking news content. I offered unique perspectives on events like the Olympics, di erentiating my content from mainstream coverage.
EQ: How did your collaboration with political commentator Farah RK shape your content?
VD: We collaborated on a livestream at the France Unbowed meeting. Her experience and connections secured us exclusive access and interviews with key political gures, while our dynamic partnership attracted over 150,000 viewers for our live commentary, a signi cant achievement given we were the only ones amongst 50 journalists with this opportunity.
ROBIN CHENG (3rd Year LLB Law)
textbooks don’t teach?
RC: Travel with an open mind, be spontaneous to adventures no matter how silly they sound, and meet as many people as you can. ere is lots to see and learn from the places and people around us!
EQ: Agreed! In that case, if you had to create a legal contract for party boat etiquette, what would your top three clauses be?
RC: Jumping o the boat is not only allowed but compulsory (bonus points for a ip), get drunk as fast as possible - the faster you get drunk the less seasick you get, and make ve new friends or you will not be allowed o the boat.
*this interview has been edited for length and clarity
‘If He Wanted to He Would’: Social Media’s New Relationship Calibre
by ANANYA SHARMA & Illustrated by SYLVAIN CHAN
‘If he wanted to he would’, ‘the red nail theory’, ‘feminine energy’ - what on earth? Social media loves simple buzzword solutions for complex relationship woes. Oh you’re super single and sick of it? Just paint your nails red hun xx. But wait, before that make sure you manifest in your journal and tap into your feminine energy.
…I think I might just manifest celibacy for now.
‘If he wanted to, he would’ is a clas example of catchphrase solutions that brush o the complexities of relationships. Sure - in an ideal world if someone really liked you they would move heaven and earth for you. e real world is more disappointingpeople o en want to, but can’t. e point is that catchy TikTok buzzwords and slogans can never fully capture the realities of dating in the real world - despite echo chambers online making you think otherwise.
Over a thousand kilometres away in Croatia, was Robin Cheng, an adventurous spirit with a penchant for new experiences. Driven by a desire to embark on a solo journey that would satisfy his love for meeting people, exploring new places, and partying, Robin stumbled upon Worldpackers, a work exchange platform that o ers a unique proposition: a chance to work on a party boat in the stunning coastal city of Split, Croatia, in exchange for commission and free accommodation.
EQ: Share your most memorable experience.
RC: Living in a three-bedroom, one-bathroom apartment with 15 other promoters for a month and nding out mid-way that the little black insects crawling around the house were bed bugs. We quickly got evicted because the apartment was infested.
EQ: What’s the biggest lesson you learnt on the Croatian party boat that law
e existence of social media’s impossible standards isn’t anything new - what’s new is how they’ve taken over dating. According to some TikTokers, you need to be looking for “high value men with a provider mindset” or a “woman in touch with her divine feminine”. Ignoring the exclusion of those who don’t t into this binary, these creators are also usually single. Maybe it’s proof that the only people who actively care about these generalisations and standards are those who are so chronically online they can’t connect with anyone in the real world.
Online dating advice and social media’s standard for a ‘good’ partner isn’t always ridiculous - lots of people realise they’re in toxic relationships a er getting an uninvolved stranger’s opinion (usually via chaotic Reddit threads). But most of the time, uninvolved strangers tend to make curt judgements of a situation, informed by little fact and plenty of emotion.
I’ll end this critique with my own advice - put the phone down. Connecting with (and eventually dating) people is a lot easier without the added pressure of social media’s unattainable standards. Going outside to meet new people will make you realise no one cares about the small things like how you hold a glass or tie your shoelaces. What matters is how well you connect on a human level.
So, go forth and touch some grass. Do some soul searching or get a new hobby (apart from social media doom scrolling). Dating’s hard enough as it is in real life - don’t give someone behind a screen the power to make it harder.
REVIEW
EDITED BY WILLIAM GOLTZ AND ARUSHI ADITI
It Ends With Us FILM
by ARUSHI ADITI
A Sociological Review of Mean Girls
by JESSICA-MAY COX
Tina Fey’s Mean Girls is more than just a quotable teen comedy; it’s a sharp commentary on female identity construction, particularly on how teenage girls navigate their place in a world shaped by the male gaze. Beneath its humour and camp high school tropes, the movie looks at how young women are socialised to view themselves and one another through the lens of patriarchal expectations, making it relevant to this day.
Based on Colleen Hoover’s 2016 novel, the lm revolves around Lily Bloom (Blake Lively) as she meets the ideal man (or so it seems), Ryle Kincaid (Justin Baldoni). As they move forward with their relationship, a nexus of physical oppression seems to repeat itselffrom her parents’ relationship during her childhood to the present. Her story accentuates the unidenti ed struggles of domestic violence, as well as the dormant e ects of childhood trauma and its role in the choices we make as adults.
To those unfamiliar with the novel, it can be a nice watch. 2 hours and 11 minutes of excitement, love, despair, and heartbreak a melange of emotions conveyed through Lily Bloom’s life journey and her battle with domestic violence. Justin Baldoni’s portrayal of Ryle’s character is strong and well-executed, especially in scenes where we see a darker side to him. We feel the strength of Allysa’s friendship with Lily, alongside her humour which brings a sense of light-heartedness to the lm. Lily’s wardrobe however is di cult to watch (especially considering Blake Lively’s reputation for some of the most incredible fashion choices). e pace of the lm is a little confusing–while it seems like forever that Lily and Ryle settle into their relationship, the actual important scenes of the violence and its a ermath seem to be sped up in the last 30 minutes of the lm and thus, not very impactful.
For those familiar with the book, the lm feels dissapointingly at. e direction focuses way too much on the owers, fashion, romance, and friendship, rather than the true essence of the con ict: the pain of loving those who are not good for you. Furthermore, Atlas’ character (Lily’s second love interest) seems rather redundant as his role in her recovery from the abuse is completely underplayed. Brandon Sklenar’s acting does not arouse the same sense of endearment as the paperback Atlas Corrigan does. On the other hand, some of the cinematographic choices were quite intelligent. For instance, lming the abuse as a little questionable, where even the audience wonders whether Ryle intentionally hurt Lily, puts us in the victim’s shoes. We are blinded by the same sense of denial as Lily to view Ryle as a ‘good’ person, until the end where the abuse scenes are replayed in full clarity through which we get a better sense of the reality, as does Lily.
Overall, it felt as if all the plot points were hastily lmed to get a basic synopsis of the book, with thoughts only given to the sets, wardrobe (yet, somehow still disastrous), and the build-up of the relationship between Lily and Ryle. ere was insu cient attention to emphasise the important parts, which would have allowed viewers to travel through the emotional journey alongside Lily. erefore, I must agree with Blake Lively when she says, “Grab your friends, wear your orals, and head out to see it!” - only if you want to watch an incredibly mediocre attempt to replicate one of the most popular romance novels in the past decade.
Cady Heron’s transformation from an innocent outsider to a ‘Plastic’ is a key representation of how women are fundamentally conditioned to adopt a certain image - one dictated by Western beauty standards that prioritise thinness, sexualisation, and ultimately consumerism. As Cady begins to wear tighter clothing, more pink, and makeup, she embraces hyper-feminine ideals, mimicking the super cial markers of success dictated by a male-centric culture. is re ects the pressures girls face to conform to a certain mould - one that prioritises how well they ‘ t in’ to arbitrary rules, such as wearing pink on Wednesdays. While this ideal appearance may have been started by men, girls are the ones who police it and ensure it is upheld. e creator of these rules, Regina George, consistently uses patriarchal norms to maintain her ‘Queen Bee’ status in this way.
Patriarchal society’s ideals of female sexuality also facilitate division and toxic friendships between girls. Regina, for example, uses the male gaze as a tool of control over Karen Smith, as she believes she is more attractive than herself. Regina’s slut-shaming towards Karen allows her to maintain her Queen-like standing, but also re ects how patriarchal views of women can o en shape the interactions between them; reinforcing patriarchal standards of a pretty girl who is also ‘pure’.
One of the most striking moments of Mean Girls is Ms. Norbury’s lecture to the girls: “You all have got to stop calling each other sluts and whores, it just makes it okay for guys to call you sluts and whores.” is line speaks to how internalised misogyny shapes female relationships, encouraging girls to compete for male attention by devaluing each other. is is portrayed best in the scene where Regina kisses Aaron Samuels in front of Cady, and her rst reaction is to call her a ‘slut’. While the movie highlights the bottom-up approach women can take to combat a society that values them only for their sexual purity or availability, it also does not villainise anyone (even Regina) because teenage girls, even when complicit, are ultimately caught in a system designed to pit them against each other.
Cady’s eventual rejection of the ‘Plastic’ identity suggests a deeper reckoning with these societal pressures. She sheds her markers of popularity and control by wearing less revealing clothing and more of the blue she wore at the beginning. However, she retains some aspects of her transformation, e.g. her more re ned hair and makeup, signalingsignalling she isn’t rejecting femininity altogether, but redening it on her terms. is nuance raises questions about Western feminism in an increasingly consumerist world: Is the answer to reject these standards entirely, or is true empowerment found in reclaiming them?
By examining how female identity is constructed and policed in a male-dominated world, Mean Girls o ers more than just laughs. It’s a smart critique of the impossible expectations placed on young women. Ultimately, the lm shows us just how di cult it is to be a teenage girl.
MJ Lenderman - Manning Fireworks
by WILLIAM GOLTZ
Manning Fireworks, the fourth studio album and ANTI Records debut for rising alt-country hero MJ Lenderman might, at the very least, be the best-named piece of art to come out this year.
Even before the album was released, its title had become a source of passionate online debate. From its June announcement fans were le to ponder, in the most Lenderman way, just what kind of ‘manning’ they were waiting for. Was this going to be Manning with a capital ‘M’, another take on the strange humanity of American pop culture from a songwriter who had, almost unbelievably, managed to spin bangers from Michael Jordan’s “Hangover Game” or from the advertising career of Miami Dolphins legend Dan Marino? Was it Peyton’s turn? In the end, however, what makes Manning Fireworks such a damn good title is that it actually describes what feels like a pretty huge thematic leap for Lenderman.
Manning Fireworks is not another album on the humanity of sports stars but instead, a record that obsesses over lame, peripheral dudes, standing limply at the sidelines, manning reworks. Its stories are pathetic, wry, and achingly pretty. ey are, as Lenderman himself has explained, largely ctional, character studies written with removed empathy, taking in everything mid-life crisis sorrow on “She’s Leaving You” to the strictures of priesthood on “Rudolf”, probably the only song on my ‘bangers’ playlist with the word “seminary” in the chorus.
Crucially though, these literary exercises never come across as grandiose or self-indulgent. As easy as it would be to call this a result of MJ’s slacker image and personal unwillingness to take himself too seriously, Lenderman deserves better. What keeps Manning Fireworks unpretentious is the fact that nothing is profane in his world. Even if it now seems less focused on sports, Lenderman’s continuing obsession with the absurdity of American popular culture keeps his stories real. Relationships fall apart under “halfmast McDonald’s ags” and “Lightning McQueen black[s] out”. Rudolf gets run over. Self-deprecating as he can be, MJ takes everything seriously.
Jin Hao Li - Swimming In A Subma-
rine at Soho eatre COMEDY
by SAIRA AFZAL
A er selling out his debut Edinburgh Fringe run at the Pleasance Below, including multiple extra dates, rising star Jin Hao Li brought his surreal show Swimming in a Submarine to London’s Soho eatre, September 2-7. is playful and melodic show takes the audience on a journey, exploring Jin Hao Li’s colourful subconscious through childhood dreams and nightmares. Having received a slew of positive recommendations from the Guardian, Chortle, the Scotsman, and the Times, this debut show sets Li up for an incredibly promising comedy career.
e core of Li’s show is an exploration of his nightmares and dreams, where the ostensibly mundane meets the imaginative with sketches about a ladybird and spider’s untimely meet cute, or a rap feud between a doctor and an apple. His gentle and innocent cadence lulls the crowd into a dreamlike state, who buy into every word. Some bits sweetly express Li’s desires and hopes, like wanting to join the Yakuza, and others describe slightly disturbing scenarios. Yet, he always seems to teeter on the edge of complete ab-
surdity before reeling the audience back into reality with tales about a racist coworker or coy observations from serving in the Singaporean military as a boy.
Li is a master of pacing - every word is carefully planted into the place it belongs, and he maintains a steady and practised rhythm throughout. No syllable feels wasted, and Li keeps the tension tight with awkward audience participation throughout the show. A worthy nominee for the Best Newcomer prize at the Edinburgh Fringe, Li’s talent can only take him to bigger and better things and I am excited to see where this gi ed comedian will go next.
Brat, with a Taste of Diet Pepsi
by ANGELIKA SANTANIELLO & illustrated by LUOYI SHEN
When we think of pop music nowadays, our minds tend to reach for singles with eeting success and repetitive choruses. Brat, Charli XCX’s sixth studio album, o ers an antithetical suggestion. rough her hyper-pop album and consequent remixes, Charli XCX has marked the return of a subgenre that balances pop’s personalised subject matter with energetic, even electronic, sounds.
What de nes Brat is not a speci c sound, but rather the vibrancy it inspires; we are captivated by the album’s simultaneously cyclical, yet disjointed aural journey. Magnetic tracks characterised by percussion-based electronic beats (“Von Dutch”, “Club classics”) propel listeners’ vigorous desire to experience Charli’s music. However, we see deeply personal subject matter and slower tracks–such as “Apple”, “Sympathy is a Knife”, and “So I”–cleverly embedded between more animated pieces. It is this range of di erent musical elements that allows us to conclude that Brat embodies the broader spirirt of pop music.
One may wonder: what has made Brat more successful than other 2024 albums, namely Taylor Swi ’s Tortured Poets Department and Billie Eilish’s Hit Me Hard and So ? Arguably, it is not only the album’s distinct disco rhythms and staccato lyrics that have been enmeshed in the colloquial lexicon. Brat, its remixes, and extended edition have transformed into an umbrella encompassing the return of dynamic, escapist music.
is becomes clearer when listening to Brat in conjunction with other notably successful pop music released this summer. In Sabrina Carpenter’s album Short n’ Sweet, we see a similar focus on upbeat rhythms and strippedback lyrics, as Carpenter takes listeners through an experiential journey enveloped in escapist, lively pop. Pairing Carpenter’s album with Brat tracks like “Girl”, “So Confusing”, and “Rewind”, listeners don’t only want to dance, they want to share the energy and identity of the speakers.
Brat’s impact extends to rising artists, facilitating their pop breakthrough, as is with former social media in uencer, Addison Rae. e success of Charli XCX’s “Von Dutch” remix, featuring Rae, signi cantly shaped her identity as a musician, distinguishing her from a stigmatised social media career. In her single, “Diet Pepsi”, we see an artist more closely aligned with the image of the speaker in Brat. Rae’s single is bold, sensual while boasting a similar dynamism as expressed in both Short n’ Sweet and Brat.
Perhaps Charli XCX’s album has revitalised the ‘365 party girl’ in all of us, listeners and artists alike. e album has undeniably paved the way for a return to escapist pop music that is deeply personal while rejecting sombre introspection. But will this be a trend or something that continues for merely the next 365 days?
PART B
EDITED BY JESSICA-MAY COX AND SILVIA CASSANELLI
‘What is Part B?’
by JESSICA-MAY COX & Illustrated by SYLVAIN CHAN
… is a question I have already been asked many times. I searched for the origin of the name Part B but its meaning has evaded me. Instead of focusing on its unknown past, we’re embracing what it can become - a room for everything else, where art, culture, and expression collide.
Virginia Woolf’s A Room of One’s Own emphasises the profound need for a personal, creative space free from distractions and societal expectations. Woolf wrote that having “a room of one’s own” was essential to unleashing the full potential of one’s creativity. It wasn’t simply about physical space; it was about carving out a mental and emotional room to explore ideas, experiment, and push boundaries. Inspired by this idea, Part B o ers a modern interpretation of our community.
For Woolf, this “room” was essential for women writers to nd their voice. We extend this idea to anyone who feels the is section is not bound by convention or one medium. As Woolf advocated for in writing, we welcome every form of sion. Whether it’s through poetry, photography, or illustration, Part B allows you to express yourself without constraint.
is section is more than just words on a page; it’s a plat form for what humans are best at - telling stories. It’s a room to engage in all forms of art and culture through poetry, photography spreads, cultural experiences, artist pro les, exploring social issues, reconnecting with students abroad, and more.
Welcome to your room. We can’t wait to see what you bring.
reveals the vulnerability of human experience. Having spent the summer in Prague, a city steeped in history yet fragile in its remembrance, this notion became particularly clear to me. As I walked along the Vltava, amused by couples dri ing in boats beneath the bridges, I recognised how easily moments, even those soaked in beauty, slip into the currents of forgetting. How could a place so alive with history feel so exposed to the erosion of memory?
Prague’s charm lies in this very tension - its cobblestone streets and strong Gothic towers standing stubbornly against political upheaval: a de ant reminder of what has endured. Still, like any memory, the city is vulnerable to time. My brief stay there was a eeting chapter in my life, made more precious by its impermanence. Kundera’s work suggests that memory, in its selectivity and impermanence, both shapes and distorts the past. Laughter accompanies our most treasured moments but it does not stop them from fading.
Life rarely follows a neat chronology in Kundera’s fragmented narratives, just as our memories are never fully intact. What we recall is partial, sometimes morphed, sometimes forgotten. Looking back on my time in Prague, I know I will not remember every detail, but rather a mosaic of eeting impressions: the shadows cast by the spires, the old-world charm of its knobbly cobblestones, the grandiosity of the castle.
I both laughed and forgot in Prague, but I le it laughing, and probably forgetting, yet somehow feeling that what was lost doesn’t negate what was experienced. Kundera’s paradox endures: forgetting is inevitable, but it does not erase meaning or spirit. Even as my memories of Prague blur, what remains will continue to shape me, quietly persisting, like the city itself.
Oasis or Mirage? What the Oasis Reunion Shows about the Accessibility of Music
by ANGELIKA SANTANIELLO & Illustrated by SYLVAIN CHAN
Laughter, Forgetting, and the Ephemeral
Nature of Memory (in Prague)
by SILVIA CASSANELLI
“Forgetting is a form of death ever present within life.”
Milan Kundera’s e Book of Laughter and Forgetting explores the paradoxes of memory and erasure, capturing how laughter both conceals and
Is the Oasis reunion one to look back at in anger, or is it simply a re ection of the UK’s live music scene? is is the question the Britpop band Oasis now faces following their anticipated reunion tour. e Oasis-Ticketmaster dynamic pricing scandal dangerously separated the band from what it has been known to be: for everyone.
e artists behind renowned tracks like Wonderwall pioneered alternative music by reshaping the sounds of rock and 1960s British pop to envelope a more introspective, raw, subject matter. What separated Britpop bands from their musical predecessors was an authentic appearance; live music
was no longer about bold performances but about the livelier atmosphere generated by a crowd.
It was this sensitivity to listeners that allowed Oasis to dominate Britpop. eir music is both ordinary and unconventional, clearly for a community. Taking the group’s debut album, De nitely Maybe, listeners experience the reality of working-class life masked in a memorable rock rhythm. “Rock ‘n’ Roll Star”, the opening track, presents a harsher truth about pursuing one’s dreams. e line “they’re not concerned about the way we are” is captivating and poignant, serving as a counterweight to the idealised lifestyle of a rockstar. We hear an ambitious speaker who refuses to be constrained by a city with “no easy way out”, which becomes a recurring theme throughout the album.
What we grasp from Oasis’s pieces is a departure from glamourised rock and pop - with these genres being vessels to provide a wider social commentary. While it may be dangerous to tie an artist’s music to a wider social context, with Oasis it is almost inescapable. We hear the voices of the lead singers raised in atcherite Manchester, an area characterised by economic deprivation rooted in politics. Even with the band’s persona, Oasis lacked the quintessential stage presence categorising British rock at the time. eir relaxed appearance, with the Gallagher brothers wearing casual sports attire on a minimalist stage, attracted more listeners desiring the raw music experience Britpop promised.
Oasis therefore portrays a ‘working-class’ band de ned by their concerts’ atmosphere and music their crowds resonate with. But how does this translate to a contemporary live music scene?
At the height of their fame, Oasis exhibited their emphasis on creating a music community in their more accessible concerts. e Knebworth Park (1996) concert hosted a crowd of 125,000 people per night, with standing tickets costing £22.50. Similarly, the July 2009 Wembley performance cost fans £38.10 per oor standing ticket. However, it is unlikely that Oasis can continue its legacy as a ‘working-class’ band accessible to all music fans as the 2025 reunion tour sparked a resurgence in the Ticketmaster dynamic pricing controversy. In the case of concert ticket sales, dynamic pricing usually takes the form of increasing ticket prices with a surge in demand almost instantaneously. Ticketmaster, through which Oasis sold tickets to their 2025 tour, introduced this to allow artists to increase the nancial
Yet on 31 August 2024, when Oasis fans were purchasing tickets through Ticketmaster, they were faced not only with queues of up to six hours, but an incongruous use of dynamic pricing too. For example, standing tickets at the Wembley shows were initially priced at £151.25 but surged to over £350 a mere two hours later. is inevitably leads to Oasis’ live music becoming more out of reach with fans’ expectations and losing its purpose. What propelled Oasis’ music was the predominantly working-class crowd’s immersion in it, echoing British 1990s working-class culture. But this dissipates with inaccessible concerts as signi cantly fewer fans can access Oasis’ live music and only those willing to spend more on tickets can attend. is compromises the atmosphere de ning the community Oasis’ music
inspired, not only undermining the group’s legacy, but also the purpose of their music – to be for everyone.
It is ‘de nitely maybe’ the case that music is becoming more elitist by the moment. De nitely, this will lead to music being most accessible on online streaming platforms. But, only maybe, can listeners truly experience what music was intended for.
e Pieces I Have Le of Fleetwood
Written & Photographed by EMMA DO
Looking back at my Sixth Form, it was one of a kind. I don’t think I will ever fully grow up from the version I le in Fleetwood. Fleetwood was like a summer dream. It was vivid, full of life, like the air hot on your skin, or the hydrangeas in their full bloom, pastel pink and blue by the school theatre. e sunsets were bright orange, coral, dark purple, and sapphire blue; occasionally brimmed with laughter, others somewhat melancholy. I remembered days when I took my houseparents’ dogs out for a long stroll along the sea wall, felt the salty wind threading through my hair, the rain soaking up my jacket. But the ocean smell was rich–a remedy spreading in my lungs. Moments like that made me feel conscious, out of a trance, like I was here, by the water, and that was enough.
‘WHEN YOU LOVE WHAT YOU DO’ ‘WHEN YOU LOVE WHAT YOU DO’
A conversation with Helen Bourne
A conversation with Helen Bourne
interview by EMMA DO photography by OLIVER CHAN
interview by EMMA DO photography by OLIVER CHAN
When I rst met Helen, we were freshers in a small classroom discussing sociology in social policy. Two years later we nally sat down together again, both of us keen for a much-needed catch-up, now speaking from vastly di erent perspectives than when we rst started university. Helen had nished her term as President of the LSESU 93% Club 23/24 in August and was also a Student Volunteering Ambassador at the LSE Volunteering Centre. Yet, there was one thing that remained unchanged since those early days of sharing our lecture readings: Helen’s unwavering passion for social justice and her big heart for the community. I knew then, as I do now, that she was destined to go far.
Helen is a perfect match for her degree. She is a so -spoken young woman, yet incredibly determined, as I heard her speak about her experiences volunteering, both before and during LSE. For Helen, choosing LSE and studying Social Policy was a no-brainer. “I think LSE has a community of inspiring leaders who advocate and work towards making a positive impact in the world, and I wanted to be part of it.” Indeed, Helen truly shines in everything she does, whether it is participating in formal discussions or engaging in casual conversations. She is genuinely thrilled to contribute to this community, which now feels like her second home.
We started o by mentioning Helen’s rst year and getting involved with the LSESU 93% Club. “I rst came across the society when I joined LSE. I have always been interested in social inclusivity and mobility and this was one way to work in this area and create a positive impact. e LSESU 93% Club 23/24 was dedicated to state-educated students and those who have faced barriers or adversity during their educational journey. A fundamental principle underpinning all the events was to create a safe space for attendees, where safeguarding and inclusivity were the utmost priorities, and a welcoming sense of belonging was nurtured.” e LSESU 93% Club, which largely went inactive in the academic year 2022/23, saw a transformative shi when Helen became the President. Fact check: they even received the Society of the Year Award for the 23/24 academic year!
“ ere was one criterion that ultimately decided what events took place and how the society was managed, organised, and run, and that was the members and their needs. Several themes came up, such as imposter syndrome, challenges from the cost of living, community cohesion, access to the arts, and career development, for example. I tried to shape the society during the year to address these areas.”
We speci cally discussed the LSE Social Mobility Summit 2024, the rst agship event of its kind at LSE, organised by Helen and Tanzila, the LSESU Class Liberation O cer for 2023/24. e LSE Social Mobility Summit brought together LSE students and representatives from high-prole organisations across di erent industries. “ e event began with inspirational speakers, followed by a networking session providing informal discussion opportunities. During the networking session, complimentary dinner was available for all attendees, as well as stalls from di erent social mobility-focused charities.” Needless to say, the event was a resounding success, with around 100 attendees and representatives from over 20 organisations including KPMG, Google, BCG, and PwC.
“When you love what you do, you want to dedicate all your time to it, and that’s how I felt man-
aging the society.” When Helen said that, it truly resonated with me—we’ve both stayed deeply connected to the society we love since our time at LSE began. Balancing academic life while trying to make the most of this experience is a constant juggling act, a journey of trials and errors. Helen said, “Time management was the biggest challenge as unexpected situations did frequently arise with the society, some requiring immediate attention and consuming all the time I had that day, while others demanded an unexpected amount of long-term commitment that I didn’t plan for at the start of the term.” Yet, Helen managed to do all that, still carving out time for herself and her loved ones.
Naturally, our conversation transcended Helen’s time at LSE. Helen has been a part of the Penpont Project since its launch in 2019. Spanning an impressive 2,000-acre estate, it is the world’s largest intergenerational nature restoration project of its kind. I could hear the excitement in her voice when she talked passionately about the achievement the project has already created, demonstrating how youth leadership and collective action across generations, sectors, and knowledge systems can achieve the intertwined recovery of nature, culture, and community. “In my role I have worked in partnership with farmers, landowners, conservationists, and local stakeholders, to restore habitats and ecosystems and explore innovative farming and forestry approaches, providing a healthy support system for people, biodiversity, and agriculture.”
It seems like for Helen, volunteering has been an unmoveable part of her life, a goal that she has been faithful to, her own letter to the community written with love and dedication. During our conversation, Helen re ected on her volunteering journey which started back in middle school. “I always get emotional when I talk about the impact of the [Penpont] project on my life. Visiting the Penpont Estate and being involved in such a positive initiative with amazing people had provided a light in my life during some tough times in my school years. In terms of personal growth, I would not be where I am or the person I am today without it.” It is clear that through her volunteer work Helen has not only contributed to her community but also experienced profound personal growth. Her dedication serves as a reminder that volunteering is not just about giving back; it’s also a powerful avenue for self-discovery and transformation.
“ ere isn’t a one-size ts all approach to volunteering”, Helen shared when discussing the sustainability of volunteering. “Not everybody has the capacity to take part, however, steps can be taken to make volunteering opportunities more accessible to a wider range of people.” As an example she highlighted the LSE Volunteer Centre’s one-o volunteering opportunities for those who
don’t feel they can commit to long-term volunteering but can spare a few hours.
Helen’s passion for inclusivity in volunteering is why she became a Student Volunteer Ambassador. Her role is to enable more students to get involved in volunteering during their time at LSE and she has particularly valued the opportunity to design and run her own initiatives for others. “Several times, I have discussed ideas I have for making changes on campus, and they are always willing to provide the support and tools I need to make those ideas happen.” Helen is also a member of the Student Advisory Group, an initiative provided by LSE Careers to ensure the voices of students are represented in their decision-making processes. “I have enjoyed sharing my views, opinions, and experiences on a wide range of strategic and operational aspects of service delivery.”
When I asked Helen about what lies ahead a er a successful year, she mentioned that her plan is to embrace her remaining time at LSE and make the most of every moment. “I am really enjoying my degree, so I plan to immerse myself in the study of social policy—I’m particularly excited about conducting research for my dissertation because I really enjoyed my research project last year. I will also enjoy continuing with my ongoing volunteering commitments of course.”
Helen’s advice to student leaders was to “think boldly, but with sensitivity. Innovative ideas come from innovative thinkers, but turning those ideas into positive and transformative initiatives requires a holistic mindset. As a leader, you have a duty of care to those around you, so to me, leadership involves combining visionary thinking with a thorough understanding of intersectional impact.” She added, “My passion for the work I do drives me, and my advice is to lead from the heart and be intuitive. However, it is also essential to ground that intuition in principles, values, and a commitment to best practices. Together, these elements create a powerful foundation for positive change.”
In her nal remarks, when I asked what message she would give to incoming students, Helen said, “ ere are so many opportunities at LSE, but it’s impossible to do everything. It is easy to experience FOMO, so it’s important to stay true to yourself and pursue what truly interests you. Don’t hesitate to get involved in student life, particularly societies and volunteering, as these provide amazing opportunities for personal and professional growth. And have the courage to try something new or maybe even initiate something new—LSE provides a wonderful learning environment in so many ways, so make the most of it!”
