The Boar - Volume 47 Issue 2

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Leamington Spa a student ‘ghost town’

Sebastian Smith, he/him Head of Business & Sales

Royal Leamington Spa, with its regency architecture, the 19th century bathhouse, museums, and quaint little parks, has enjoyed a steady history of curious visitors. It is home to many a Warwick University student, Warwickshire locals and business owners, and 10 different high streets that, like many similar parishes, represent the lifelines of the Warwickshire town. But with the ebb and flow of tourism and funds in the post-COVID tumult, the high streets now, for some, represent a new, sobering reality. What exactly Leamington can do about

this new reality still appears to be up for discussion.

Seventy-one. That amount represents the total number of closures seen in Leamington between 2020 and 2022 as COVID gripped the UK, noted by the Leamington Observer. Despite a small boom in beauty-related services, Leamington lost 18 retail outlets and 34 clothes shops, the latter of which represents an 18% fall. There was even a 9% drop in food service businesses, going against the 4% rise seen nationally. That’s 71 altogether – all for a town not even

one-third the population of Kensington and Chelsea, the smallest borough in London.

“There’s nothing that really makes Leamington unique” — Dhruv, third year student

Some locals have been particularly sensitive to the symptoms of high street decay. A recent Daily

Express article by Alycia McNamara featured Elaine Fitzpatrick, who runs a local flower shop in Leamington. She echoed the dire sentiment, referencing the boarded-up shops on the high street as taking the blame for what appears to be a large cut in tourist traffic, and as a result, the shop’s earnings. “There’s nothing to entice everybody into Leamington anymore.”

A third year Warwick student, Dhruv, who spoke to The Boar agrees. “I agree with [Alycia]. There’s nothing that really makes Leamington unique.” And in dis-

cussing with him the presence of the chains such as H&M and Starbucks, he sees them as counter-productive to what has generated Leamington’s organic appeal. “You can’t rely on these chains and a sort of ‘Londonisation’. Lean into the small-town selling point.” What’s more, the tourists that do end up coming, writes McNamara, reportedly ask what exactly in Leamington there is to do. Other than have a gander and a trip to the park, Elaine and her sister Linda don’t have much to recommend.

From the team

Luke Chapman, he/him and Archie Clarke, he/him Co-Editors-in-Chief

Term 1 is now in full-swing, and it’s hard to believe it’s nearly Reading Week already. As campus braces itself for Halloween, we bring you this special issue packed with all things spooky season. Whether you’re dressing up for a night out or staying in for a horror film marathon, there's something here to get you in the Halloween spirit.

Co-Editors-in-Chief

But that's not all this edition has to offer. As October ends, so does Black History Month, and we're excited to cover the impactful things Warwick's societies have been doing to celebrate it.

Looking ahead, November marks the start of ‘Movember’, and this edition features some special articles about opening up the conversation on men’s mental health.

It’s a big time for change here at The Boar too. As advertised in our

Editor-in-Chief: Luke Chapman (he/him) editor@theboar.org

Editor-in-Chief: Archie Clarke (he/him) editor@theboar.org

Deputy Editors-in-Chief

Head of Communications: Yusra Babar (she/her) communications@theboar.org

Head of Physical Media: Jesse Hitt (she/her) physicalmedia@theboar.org

Head of Digital Media: Anna Bickerton (she/her) website@theboar.org

Chief Sub-Editor

Chief Sub-Editor: Katie Bevan (she/her) subeditor@theboar.org

previous print, we’ve welcomed over 30 new deputy editors who are already making a massive difference to our team.

For anyone who missed out, The Boar is always looking for people to join the team, including section columnists, writers, and even more deputies for our senior team.

Special thanks to our ever-expanding team for making this print possible. We hope you enjoy reading it!

Business Team

Head of Business & Sales: Sebastian Smith (he/him) business@theboar.org

Head of Social Media: Abbie Fox (she/her) @warwickboar

Head of Events: Freya Bennewith (she/her) events@theboar.org

Physical Media Team

Head of Physical Media: Jesse Hitt (she/her) physicalmedia@theboar.org

Deputy Head of Physical Media: Zak O'Brien (he/him)

The NoticeBOARd

HIRING

1x Physical Media Deputy

1x Business and Sales Deputy

1x Social Media Deputy

1x Deputy Sub Editor

Physical Media Deputy

- Assist editors and senior team during lay up

- Design print pages Required: InDesign

Social Media Deputy

- Create content for social media

- Promote socials

theboar is the University of Warwick’s editorially independent student newspaper produced entirely by and for students. theboar.org

Business and Sales Deputy

- Manage finances - Find advertisements and sponsorships

Deputy Sub Editor

- Assist with sub-editing

- Assist with managing our editorial team

News pages 4 to 7

Features pages 8 to 11

Opinion page 12

Finance pages 14 to 15

Culture Arts, Books, Lifestyle, Travel pages 16 to 23

Media

Music, Podcast, TV, Film, Games pages 25 to 30

Science SciTech, Climate pages 33 to 35

Sport pages 37 to 40

Our Senior Team Picks

Features | PAGE 10

Lucy Gibbons, she/her Music Editor The ghosts of Halloween past and present: How has Halloween at Warwick changed?

Travel | PAGE 23

Year abroad: A trip to Gotland, Sweden

Hannah Colechin, she/her Travel Sub-Editor

Music | PAGE 24

Halloween hits: The essential October playlist

Zoe Mudd, she/her Music Sub-Editor

CLIMATE | PAGE 34

Pattie Gonia: The drag queen breaking new ground in the name of queer climate justice

Jasper Young, he/they Writer

Black History Month @Warwick

(Q)ulture through society events and spotlights

The (Q)ulture is a student-led group made for and by black queers, aiming to create a community for all black and queer students on Campus. We believe this was needed at Warwick, as there has never been a clear space for Black Queer students on Campus, and we wish to be that space! As a group, we offer a multitude of events that allow us to foster this kind of community, specifically our very popular ‘Black&’s, and our ‘(Q)linic’ events. ‘Black&’ is a series of socials that we run that speaks on the intersectionality of being black, queer and many other things, such as black, queer and neurodivergent, Christian, and how our identities may interlink with culture. Our (Q)linic events, often run by our wonderful Welfare Officer, allow our members to get involved with mindful and peaceful activities, allowing a break from the difficulty of student and personal life.

This Black History Month we are running a ‘Black&: Culture event’ on Tuesday 29th, so keep an eye out for the post on Instagram! It will focus on the Black Queer history of the UK!

Warwick Popcult

Celebrating Black History Month, Warwick Popcult society honours the extensive legacy of Black artists, innovators and trailblazers whose influence continues to shape the landscape of music, film and fashion. Too often in contemporary popular culture, we see the presentation of Black media through a single lens that tells the same story, undermining the diversity and complexity of Black experiences. But there is so much more; Black History Month is more than just a reflection on the adversities of the past—it's a colourful celebration of the culture, creativity and resilience that has both shaped and driven today's world.

This month, Popcult highlights the intersection of Black art, activism and identity, through film screenings in a series we've accordingly named 'Not a Monolith'. We want to change the narrative, showing four influential Black films and documentaries which demonstrate the vast richness of the Black experience. So, join us this Wednesday for our last screening as we view and commemorate the Black genius, style and untold stories that continue to ever inspire pop culture.

For Black Boys serves as a platform for Black men to unite, educate themselves, and engage in meaningful discussions about their experiences. Recognizing the unique challenges faced by Black men, the Community creates a safe space where individuals can explore and rediscover different facets of their identities. This supportive environment encourages members to reflect on their personal growth and strive to become the best versions of themselves during their time at university.The Community hosts a diverse range of events tailored to various interests and needs. From creative 'paint and sip' nights that promote artistic expression to career-focused workshops that equip members with essential skills, there is something for everyone. Additionally, welfare-oriented activities, such as group therapy sessions and barbershop-style educational discussions, offer valuable opportunities for personal development and mental well-being. To celebrate Black History Month we will be hosting a Pub Quiz in the Dirty Duck and another interaction of our Barbershop! By fostering connection and support, For Black Boys enriches the lives of its members and strengthens the university Community as a whole. This initiative underscores the importance of solidarity and empowerment among Black men, paving the way for a brighter future.

The Black Women's Project

Established in 2015 as the first Black female oriented university society in the UK, the award winning Black Women's Project (BWP) exists to protect and nurture the welfare of Black women at Warwick. BWP’s founders, once disgruntled undergraduates seeking representation on campus, are now esteemed alumni, with integral influence over BWP’s success almost 10 years after its inception. It’s through mentorship from Kinsis, the social enterprise ran by BWP’s founders, that BWP developed the philosophy “Be well, Do well, Lead well.” Using this, exec members past and present have centered the society around these aims, winning the Society of the Year Award and Women’s Society of the year from the Bright Network in 2019.

BWP has become identifiable for its flagship events, like Bring Your Own Bonnet, the BWP Careers Conference and Welfare Conference, and the annual ball hosted with the Black Girls Space at the University of Cambridge. And whilst these are popular, the “Big Sis Little Sis” mentoring scheme, “Melanin Minds” series and welfare drop-in sessions have fostered a necessary sense of sisterhood within the society. Shared understandings of hardship and exclusion, and equally, sentiments of pride and empowerment are the beating heart of the Black Women's Project.

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Editor: Martin Day (he/him) news@theboar.org

Deputy editors: Tom Ryan (he/him) Mairi Humphreys (she/her)

Casie Osborne Gen Z face mortgages twice that of earlier generations, stats show theboar.org

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Haleeqa Hashmi (she/her) Elmira Aliieva (she/her)

Caleb Tye Foreign student visas slump following stricter rules for dependents

Council blunder leads to wave of public boozing

Abhay Venkitaraman, he/him Finance Editor

Councilpowers to tackle antisocial behaviour were restored earlier this month after an admin error caused an increase in public drunkenness within Coventry city centre.

Coventry City Council introduced a Public Service Protection Order (PSPO) in 2017, which allows antisocial behaviour to be tackled even when no crime has been committed.

Behaviour that falls under the guidelines includes public drunkenness and the use of laughing gas.

With the PSPO in place, council enforcement officers and police had the right to issue fines and confiscate items like alcohol and canisters.

However, the Council failed to renew the PSPO in July, leading to its expiration. Whilst it was restored at the beginning of October

following a City Council meeting, cases of public drunkenness and other forms of antisocial behaviour have surged in the interim.

“There is a feeling among councillors that it has caused an element of reputational damage”

— Cllr Gary Ridley

Council Inspector David Mason, of West Midlands Police, received documents detailing a “sharp rise in problems”, particularly in Broadgate.

The spike in public drunkenness has also been noticed by those living and working locally – a survey of 294 people by Coventry City Council found overwhelm-

Top UN advisor to become Chancellor

Anna Bickerton, she/her

Deputy Editor-in-Chief

TheUniversity of War wick has appointed former United Nations (UN) Under-Secretary-General and anti-apartheid activist, Bience Gawanas, as its new Chancellor.

Due to take on the job in January 2025, the Namibian lawyer and anti-Apartheid activist, 68, will act as ceremonial head at Warwick, leading major events including graduation ceremonies. Gawanas was forced into exile for her activism during Apartheid South Africa’s occupation of Namibia before coming to Warwick as a refugee for an undergraduate law degree. Later, she returned to Namibia where she worked on issues of social justice and development including women’s health.

ity and opportunity, aligns perfectly with Warwick’s mission to inspire and nurture the next generation of leaders.”

Gawanas also expressed her own gratitude and excitement for the role:

In January 2018, Gawanas was appointed as Special Adviser on Africa for the UN by Secretary General António Guterres.

In a University press release, Vice Chancellor Stuart Croft commented: “Bience brings a wealth of international experience and a deep commitment to education and global development.

Her leadership on the world stage, particularly in promoting

“Education is a powerful tool for transformation, as I found out from my own time at Warwick. I arrived at Warwick as a refugee and left knowing that Warwick has empowered me to contribute to an independent Namibia and to an equitable and just world.”

Ms Gawanas will replace outgoing Chancellor and House of Lords peer Catherine Ashton, who has served in the role since 2017.

Kara Evans Graduate salaries falling in real terms, figures show.

ing concern about public drinking, with more than 90% supporting the restoration of the PSBO.

Aleksandra Beska, a worker at the Lady Godiva News newsagents, noted that staff have had to hide alcohol to prevent shoplifting, with drunk people shouting racist abuse at them and vomiting in the street.

Beska argued: “The police and the Council don’t do much to prevent this kind of behaviour, and I can tell that it’s scaring people.”

Nikolai Morton (he/him) Kara Evans (she/her)

Ben Tanguy Portugal splashes on tax breaks for the young in bid to woo talent

The expiration of the PSPO sparked outrage among members of the Conservative opposition on the Council. Cllr Gary Ridley, the Conservative leader of the opposition, branded the admin error an “extraordinary lapse of oversight”.

“Certainly, there is a feeling among councillors that it has caused an element of reputational damage.

“Once word gets around that powers have lapsed, it does encourage people to behave in a way that isn’t appropriate.”

Labour Cllr Pervez Akhter, Deputy Cabinet Member for Policing and Equalities, rebuffed Conservative critics, saying they were “talking our city down” and arguing the Council takes antisocial behaviour “very seriously”.

One million students

vaping

yet many have never smoked

Sofia Drake-Perello, she/her Writer

Newestimates suggest that, since disposable vapes became available in 2021, one million adults have started vaping, despite never having been regular smokers.

This surge is driven by young adults between the ages of 16 and 24; about one out of every seven, roughly 1.1 million, are now using e-cigarettes, even if they have never regularly smoked.

The most alarming factor in this trend is the additional increase in children who vape. While it is illegal to sell vapes containing nicotine to under-18s, figures by health charity Action on Smoking and Health (ASH) show that nearly 8% of 11-17-year-olds vaped in April 2023.

“Vaping regularly over a sustained period poses more risk than not vaping”

— Dr Sarah Jackson, UCL

This is an increase of 4% from 2020, and within that age group, 20% had tried vaping, with cheap brightly coloured disposable vapes driving the increase from 14% three years ago.

While the hike in vape use

continues to stagger upwards, the number of smokers in the UK has declined greatly in the past 12 years. Fewer than one out of every 10 young adults in the UK smoke cigarettes, compared with a quarter of 18-24-year-olds 12 years ago, according to official estimates.

Although smoking is known to be drastically worse for health than vaping, Dr Sarah Jackson, lead researcher at University College London, stated: “For those who would not have gone on to smoke, vaping regularly over a sustained period poses more risk than not vaping.”

Therefore, despite e-cigarettes and vapes being nowhere near as harmful as smoking cigarettes, in the absence of smoking, regular vaping by itself can cause just as

much damage.

According to doctors, vaping has the potential to lead to long-term lung, heart, and brain damage, due to the inhalation of chemicals including nicotine. Campaigners have called for action to minimise vaping among young people and adults with no history of smoking. However, a complete ban on disposable vapes has proven to be ineffective, with reusable vapes still available to purchase with similar colourful marketing and prices.

Hazel Cheeseman, Chief Executive at ASH, argued: “The aggressive marketing of products to young people means the government urgently needs to bring back the Tobacco and Vapes Bill, to regulate vape flavours, marketing and branding.”

» The Coventry skyline looking north from the cathedral | Image: Martin Day / The Boar

» Image: Flickr / Vaping360

Sebastian

Smith, he/him Head of Business & Sales

RoyalLeamington Spa, with its regency architecture, the 19th century bathhouse, museums, and quaint little parks, has enjoyed a steady history of curious visitors. It is home to many a Warwick University student, Warwickshire locals and business owners, and 10 different high streets that, like many similar parishes, represent the lifelines of the Warwickshire town. But with the ebb and flow of tourism and funds in the post-COVID tumult, the high streets now, for some, represent a new, sobering reality. What exactly Leamington can do about this new reality still appears to be up for discussion.

Seventy-one. That amount represents the total number of closures seen in Leamington between 2020 and 2022 as COVID gripped the UK, noted by the Leamington Observer. Despite a small boom in beauty-related services, Leamington lost 18 retail outlets and 34 clothes shops, the latter of which represents an 18% fall. There was even a 9% drop in food service businesses, going against the 4% rise seen nationally. That’s 71 altogether – all for a town not even one-third the population of Kensington and Chelsea, the smallest borough in London.

“There’s nothing that really makes Leamington unique”

— Dhruv, third year student

Some locals have been particularly sensitive to the symptoms of high street decay. A recent Daily Express article by Alycia McNamara featured Elaine Fitzpatrick, who runs a local flower shop in Leamington. She echoed the dire sentiment, referencing the boarded-up shops on the high street as taking the blame for what appears to be a large cut in tourist traffic, and as a result, the shop’s earnings. “There's nothing to entice everybody into Leamington anymore.”

A third year Warwick student, Dhruv, who spoke to The Boar agrees. “I agree with [Alycia]. There’s nothing that really makes Leamington unique.” And in discussing with him the presence

Leamington Spa a student ‘ghost town’

Decisions

by Warwick District Council have sparked concerns from students and residents alike, Sebastian Smith reports.

of the chains such as H&M and Starbucks, he sees them as counter-productive to what has generated Leamington’s organic appeal. “You can’t rely on these chains and a sort of ‘Londonisation’. Lean into the small-town selling point.”

“We should invest in more things to do, not H&M”

— Alice, Leamington student

What’s more, the tourists that do end up coming, writes McNamara, reportedly ask what exactly in Leamington there is to do. Other than have a gander and a trip to the park, Elaine and her sister Linda don’t have much to recommend. “We should invest in more things to do, not H&M,” says Warwick student Alice. She admits to loving living in Leamington, but still sees it as “a bit behind”. Dhruv concurs: “Leamington should focus on hosting more events, otherwise there’s no reason to come here.” Both referred to the recent Eurovision gathering in the Pump Room Gardens as an example of the community events they want to see more of.

“It definitely is a town [whose] beating heart is student”

— Isaac, Leamington student

The importance of such events for the health of the town is magnified when considering Leamington is Warwick University’s

primary student town. Isaac, another Warwick student, was adamant in saying “it definitely is a town [whose] beating heart is student.” However, in the wake of COVID, the initiative taken by Warwick District Council was seemingly one not in favour of community events or high street restoration, but a burgeoning digital and creative scene.

In an effort to rise above the fog of 2022 Leamington gloom, it was announced the council would work with commercial property developer Complex Development Projects to introduce a “Creative Quarter” in the town – a 10year initiative to rejuvenate and better equip Leamington for 21st century work, particularly in the digital and creative spheres. It even received a £10 million government grant from the Future High Streets Fund.

Phase One of the programme involved an architectural makeover for the Grade 2 listed United Reformed Church on Spencer Street. Grade 2 listed buildings are those which are of historic interest or are culturally significant. The Church, now called The Fold, is renovated office real estate with a project cost of £5.5 million and, as of January 2024, was being rented by marketing agency Cogent. The adjacent nursery and dole offices are also included under Phase One, and Waterloo Place and Holly

Walk House – both Grade 2 listed buildings – are also set to be refurbished. Aside from this, the shopping centre owners, La Salle, were also set to spend £8 million in creating a new 30,000 square foot office scheme in what was the former M&S unit. The House of Fraser store on Parade was planned to have the same treatment.

In speaking to the BBC, Deputy Council Leader Chris King said these buildings were “previously neglected and underutilised”, though Elaine still went as

far as to tell the Express that the town is “dying”. In the context of a wobbly high street economy, investments like The Fold might be seen as economically productive for Leamington Spa. But with multiple perspectives at play, including those students and tourists itching for something to do, it’s unclear whether the council’s bet on a “Creative Quarter” will reap the rewards it needs for the town.

Tory leadership contenders take aim at universities

Kara Evans, she/her Deputy News Editor

Universities have come under fire from the leading candidates in the race to succeed Rishi Sunak as Leader of the Conservative Party.

Both Kemi Badenoch, the Shadow Business Secretary, and Robert Jenrick, the former Immigration Minister, have criticised British universities during the contest, which ends on 2 November.

Ms Badenoch, 44, claimed in a

speech at the party’s annual conference in October that she had been told by young party members that they were afraid to share their political beliefs with other students for fear of being “attacked”.

She further claimed that young Conservatives were being marked down by universities because of their political beliefs.

Mr Jenrick, 42, her rival in the contest, made a similar swipe at higher education

in his own speech to conference attendees, suggesting that universities were not working as they should be.

That universities would become the subject of criticism during the leadership race was widely anticipated by analysts, with suggestions of an academic bias against right-wing

beliefs being voiced in a previous leadership contest in 2005.

A paper published by the Policy Exchange thinktank in 2020, which suggested freedom of speech was being undermined by students and academics ‘self-censoring’, led to suggestions from right-wing commentators that academics felt a pressure to conform to a ‘woke’ left-wing culture at universities.

A Times Higher Education

survey earlier this year found that almost two in three UK academics were expecting to vote Labour in the general election, while only 4% were expected to vote Conservative.

This apparent lack of Conservative-voting academics has been suggested to stem from rhetoric used by the party and its supporters, which has increasingly seen universities caught up in culture war debates.

» Kemi Badenoch and Robert Jenrick, the finalists in the contest. Image: Flickr / The Conservative Party

» Images: Martin Day / The Boar

In

true-blue Connecticut, Travel Editor James Watson speaks to students preparing for the most important vote of their lives.

US election Boarlletin

Since1992, the US state of Connecticut (CT) has consistently voted for Democratic candidates in presidential elections. The total population of the state in 2022 was 3.6 million, making it the 29th most populous state in the country – yet, as the third smallest, behind Rhode Island and Delaware, this makes it one of the most densely populated states across America.

At the last election in 2020, a total of over 155 million people voted

The University of Connecticut, the state’s flagship university, boasts a population of over 30,000 students who are mainly sources from intra-state towns and cities. Although Connecticut has become a decidedly blue state in recent history, students there are still keen to get out and vote. The nearest polling station to the university is in Mansfield, Connecticut, approximately 15 minutes away from the central campus. This gives students easy access to the ballot on 5 November.

As of 2022, those aged 20-34 make up the largest proportion of the US electorate, comprising 20% of the US population. Far from an orthodox semester, this is one wrapped up in the events of the 2024 presidential election. At the last election in 2020, a total of over 155 million people voted.

coming election.”

He qualified however that, despite the 2024 race being a “decisive election”, “students are not engaging with politics as much as he would have hoped”. He attributed this to what he felt was a tendency by college students to put focus behind “momentary trends” in politics, rather taking a broader view on the state of the country in four years’ time.

process.” Aged 20, and a firsttime voter himself, he knows the important role that those within this demographic will play in the election’s result. He also affirmed that he is “more optimistic about the fate of the country’s political future”, adding that “we need to make a change.” He tacitly described himself as an undecided voter. This is the very group that both parties need to reach in order to win the election.

Elsewhere at Warwick

Houseplant sales wither

Among other staples of the start of term, students this month were tempted with an exotic array of miniature greenery at the annual houseplant pop-up sale. Browsing the selections, The Boar spied shrubs including cheese plants, bonsai trees, and even tiny, spidery pineapple plants — though no pumpkins, sadly.

Yet perhaps the wonder has faded somewhat for other students: Ben, a Warwick alumnus whose family have run the pop-up sale for years, remarked that this year’s sale hasn’t been nearly as successful as previous iterations, something he attributed to there being less people on campus than usual. Perhaps student priorities have shifted away from having a leafy, green co-dependent in their accommodations – but that certainly would be a shame.

Unshackled bears beware

This marked a record turnout of over 66% of Americans voting – the election’s major-party can didates, Joe Biden and ald Trump, received highest and second highest ever number of votes cast for a presidential candidate. There are similar expectations this time round, with commentators on both sides calling the ballot the most im portant election in US political history.

An NPR poll taken in the final week of September suggested

Last year, a total of 43% of voters identified as being independent. This makes it consistent as the largest single voting bloc in the United States, adding a significant amount of unpredictability to the contest given these voters could swing either way on polling day.

“I view Harris as a little smarter than I used to”

— Ben, swing-state student voter

With a general mood of uncertainty prevalent across the electorate, there is a level of election-related anxiety present in the state.

A Senior majoring in journalism, Jay Allen, expressed his belief that: “The votes of young people will be extremely important in the up-

the momentum of their respective campaigns towards this demographic, as one of the most mobile and dynamic voting groups across the US.

Harris has a definitive lead in CT, and this plays out in the majority of students’ own political viewpoints. Ben, a student from the University of Michigan, suggested: “I view Harris as a little smarter than I used to just because of the Tim Walz pick [for Vice Presidential candidate], especially compared to Trump picking JD Vance, who I really don’t like and have a lot of issues with.” As a swing state, the voice of voters in the 18-25 age bracket will have a decisive impact in Michigan.

Although Connecticut is a more conclusively blue state, its votes, and the voices of its students will still matter greatly in the electoral outcome. Senior at the university, Kevin Baffour, thinks: “It is important to have first-time voters involved in the

Student organisations such as the Undergraduate Student Government (USG) are trying to encourage electoral participation among members of the UConn community as much as possible. An early voter registration drive has already been set up at the university bookstore, one of the major student hubs on campus. As well as this, in-line with other recent congressional elections, there will be transportation arrangements to polling stations arranged by the university.

Speaking on behalf of his fellow students, Kevin predicted the final month of the election would have the highest level of engagement and interest among the student body. Now with less than two weeks left until election day, students across the UConn campus will now be thinking about how to cast their ballot in what could be the most important vote of their lives.

Those at the University charged with overseeing Warwick’s rebrand ahead of its 60th anniversary will no doubt be hoping for a smoother transition than the last time this was tried. Though it was long before the time of any current students, staff may recall the outcry that greeted the introduction of Warwick’s current two-triangle logo in 2015.

Back then, the innovative new design was slammed by students as child-like, embodying “an offshoot of the Weinstein Company”, and resembling “a logo for some mountaineering warehouse”. Having cost some £80,000 to create, there was dismay at the amount spent, with one observer noting they “would have done this on MS Paint for less than a fiver”. A petition started to cancel the rebrand ultimately spawned some 5,400 signatures, though the University was not swayed.

Notably, this campaign to terminate the new logo was started by Hiran Adhia, none other than The Boar’s Editor-in-Chief at the time. Clearly moved by his marketing misadventure, Adhia has gone on to work in brand implementation for companies including H&M and Gillette. No aubergine triangles there, The Boar would assume.

Library rebrand leaves students seeing pink Unshackled bears aren’t the only gamble being taken by Warwick this winter, as the start of term also saw the unveiling of a new ‘Forum’ outside Café Library. The new space is in many ways an improvement on the old, with new seating, umbrellas, shrubbery, and herringbone tiling. Much to the puzzlement of students, however, the entire area is also coloured completely bright pink.

In a Boar survey, students have decisively rejected the design, with 81% of respondents deeming the space “awful”. One response wailed that the University had “gentrified the library smoking area”, whilst another mused that “it looks like the Uni took the Barbie trend and ran with it”. Katie Todd, a second-year student, was blunter. Surveying the pink-plastered piazza, she declared to The

: “It

James Watson, he/him Travel Editor

Boar

looks like the Barbie movie s**t on the library.” Quite.

» Fears over Trump's rhetoric towards democracy have sparked student-led protests | Image: Flickr / Ted Eytan

» Women's rights are a key concern for young voters. | Image: Flickr / Joe Piette

» Image: Flickr / Vince Reinhart

» Images: Flickr / Gage Skidmore + Flickr / Formulanone [edited]

Arizona students flee dorms after rabid bats overwhelm university

Edward Croisdale-Appleby, he/him Writer

TheHalloween season arrived early for university students in Arizona who have had no choice but to evacuate their dorms following a rabid bat infestation.

Videos posted to Instagram [...] show hundreds of bats swarming the outside of buildings on campus

Around 550 students at Northern Arizona University (NAU) were moved out of Mountain View Hill over the last weekend, according to AZ Family. The accommodation, which predominantly houses first-year and second-year students, is to remain closed until the situation is resolved.

MailOnline has reported that at least five bats have been spotted flying around the dorm in the last few weeks, as well as one sighting of a bat sleeping on the building’s ceiling.

Videos posted to Instagram by students have seemed to show hundreds of bats swarming the outside of buildings on campus.

Whilst there is no confirmation that all the reported bats are in fected, Coconino County and Human Services has confirmed that another bat, found in the dorm in Sep tember, tested positive for rabies.

fected animal. The CDC has found that around 70% of Americans who have died from rabies were infected by a bat.

According to the World Health Organization (WHO), the virus is virtually 100% fatal once clinical symptoms appear. However, becoming infected in the US is rare, with fewer than 10 deaths a year.

Rabies is a deadly virus that affects the central nervous system and is spread by the bite of an in-

Warwick Uni professor helps convict gunmaker

Hannah Iqbal, she/her Writer

AUniversityof Warwick professor has been praised for his help in working to convict an illegal arms manufacturer of 3D printing weapons.

Professor Mark Williams, Director of the Centre for imaging, Metrology, and Additive Technology (CiMAT) at Warwick Manufacturing Group (WMG), played a key role in the conviction of David Biddell-Portman for gun making in June 2023.

As part of Operation Captiva, a campaign to reduce gun-related violence, West Midlands Police seized 3D-printed weapons from David Biddell-Portman’s in December 2020. Professor Williams, an expert in 3D printing and scanning technologies, provided critical forensic analysis.

His examination used 3D scanning machines, which are 100 times more powerful than a medical CAT scanner, to reveal that the guns contained a combination of metal and plastic components. This proved their status as posing

a serious threat, evidence that was key in securing Biddell-Portman’s five-year prison sentence.

Professor Mark Williams noted: “It’s satisfying to see justice served, and I’m glad to use our technology in any way we can to help the efforts of West Midlands Police.”

He added: “By making this sort of technology available to the public sector, we’re ensuring it’s not just big companies that have access to cutting edge techniques.”

While 3D printed weapons can often defy categorisation due to their homemade nature, West Midlands Police were able to use the scans to compare the seized items to professionally made firearms, fortifying the case against Biddell-Portman.

Michelle Painter, Deputy Head of Forensics at West Midlands Police, praised the collaboration, stating: “This partnership is invaluable to West Midlands Police. The strength and commitment is truly unique, and the boundaries are limitless.”

The scanning technology provided by Williams has been utilised in over three hundred cases, reinforcing the crucial role of cutting-edge technology in modern investigations.

guidance to residents on health and safety and initiated

Spot

mitigation protocols throughout the building supported by a pest control contractor.”

Advice included suggestions such as “shaking out clothes,” [...] “looking under every corner,” and “patting sheets and pillows down.”

No injuries or infections have been reported, but a few students have received the rabies vaccine out of precaution.

As well as relocating affected residents to nearby accommodations, students said that the university sent them an email detailing the correct measures to undertake if they come across a bat in their dorm.

This advice included suggestions such as “shaking out clothes,” “moving items around rooms,” “looking under every corner,” and “patting sheets and pillows down.”

It is unclear when the situation will be resolved, with the university vowing to engage in “comprehensive and permanent bat mitigation efforts” until the infestation has been removed from campus.

of bother: Acne

rates

for

UK teens are 'among worst in world'

Elmira Aliieva, she/her Deputy News Editor

Arecent

study revealed that the United Kingdom ranks among the top 10 countries worldwide with the highest rates of diagnosed acne in adolescents and young adults.

95%

— Estimation of the proportion of British teens with acne

The research, published in the British Journal of Dermatology, analysed data from 204 countries. It concluded that 14.65% of British teens and young adults were diagnosed with acne in 2021. This figure is up from 13.57% in 1990.

The British Association of Dermatologists (BAD) suggested that due to the study's focus on healthcare data, these figures might only reflect cases that reached medical professionals.

This means that individuals managing acne without seeking medical advice are excluded from the statistics.

The BAD estimated that the actual percentage of teens and young adults dealing with acne in the UK may be closer to 95%. This figure underscores the questions of what acne is and what factors have

driven such striking rates.

Acne is a common skin condition that affects millions of people worldwide.

It occurs when hair follicles become clogged with oil, dead skin cells, and bacteria, leading to the formation of pimples.

The severity can range from a few spots on the face, neck, back, or chest to painful lumps under the skin.

»

Research indicates that acne rates have increased across many countries since the 1990s. But why does the UK rank so highly?

“Friends and family have an important role to play, [...] in providing emotional support”

increased exposure to pollution due to urbanization, or simply a greater likelihood of seeking treatment".

Whichever it may be, acne remains a significant concern for the well-being of those affected.

Acne is not physically dangerous but can lead to emotional and psychological challenges for those dealing with the condition.

Professor Michael Ardern-Jones, Vice-President of the BAD, wrote: "Acne is a common condition, but it can be severe.

BAD

— Michael Ardern-Jones, Vice-President,

Lead author of the study, Dr Zhou Zhu, noted that it "could be linked to lifestyle factors such as diet, stress, rising obesity rates,

“Friends and family have an important role to play, as do health professionals, in providing emotional support, as it can have a negative impact on mental health, especially for teenagers."

» Videos posted online showed hundreds of bats around campus. | Image: Instagram

» Image: MUSE / Matteo De Stefano

Image: Pexels / Cottonbro Studio

» Prof. Mark Williams (left), and David Biddell-Portman | Images: WMG + West Midlands Police

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Rites of passage or dangerous hazing: UK Universities' Initiation Culture

Hasan Islam, he/him Writer

While more commonly associated with American ‘Greek Culture,’ hazing and initiations have been present at British universities since at least the 16th century with ‘salting’ ceremonies taking place at Oxford and Cambridge. These practices have evolved in recent years, taking on more extreme forms, with some even resulting in student deaths. Incidents at institutions such as Harper Adams, Gloucestershire, and Newcastle universities have reignited calls for the system of higher education to act against these types of initiation ceremonies.

This August, Harper Adams University in Shropshire made headlines. The university was compelled to suspend the rugby team, whose violent hazing incidents led to claims of sexual abuse. The investigation was triggered by a whistleblower who spoke out about an incident involving three of his peers. They were sexually assaulted with a wine bottle as part of a post-match ritual. He also went on to claim that older students pressured their peers to drink from “The Baby” – a bucket filled with alcohol and “bodily fluids” that included vomit and urine.

Incidents like this have led to many universities like Warwick and Cardiff acting against such practices, yet the effectiveness of these policies has been called into question. As a result, universities have released formal statements on the matter and updated student behaviour policies.

The concept of initiations in the UK can be traced back as early as the 16th century. Initiations took place at Oxford and Cambridge in the form of ‘saltings.’ These ceremonies consisted of the humorous introductions of first years into university – introductions included witty comments about the appearance of individuals, as well as comical anecdotes. While a few texts regarding these speeches have been identified, little is known about what went on in these ceremonies. We do, however, know that these events were famed for drunken behaviour. One report stated that, at a Pembroke salting in Cambridge, "a great deal of beer, as at all such meetings, was drunk," and that after an evening of overindulgence, an individual “got but a little restless at night.” Cambridge explicitly prohibited saltings during the Elizabethan period, yet this ban was ignored – a trend that is upheld in the present day.

The fact that initiation practices continue, despite centuries of attempted regulation, highlights

the deep-rooted nature of these traditions in university culture. The background to adoptions sets the stage for understanding the ongoing challenges universities face in addressing dangerous initiation practices, as exemplified by recent events at institutions like Harper Adams University.

The ongoing debate surrounding university initiations reached a fever pitch in August 2024 when Harper Adams students were temporarily banned from playing rugby, following allegations of sexual and physical abuse during initiation ceremonies.

hot curry sauce. Another student spoke of being “stripped naked and abandoned in unknown locations.”

Despite these claims, West Mercia police have ceased investigations into the matter, citing insufficient evidence.

The Rugby Football Union (RFU) expressed deep concern over the allegations, leading to an interim suspension order issued by the Student Rugby Football Union (SRFU). This ban effectively halted all organised rugby activities at the university, including competitions held by British Universities and Colleges Sport (BUCS).

The situation at Harper Adams is not an isolated incident

The university, where Princess Anne serves as Chancellor, faced accusations of allowing "endemic physical abuse" during rugby club initiations. An internal investigation revealed disturbing claims including sexual abuse, students being lashed with belts, and the forced consumption of bodily waste.

Whistleblowers spoke of rituals that included, but were not limited to, drinking bodily fluids, being sprayed in the eye with livestock marker, and being doused in

The situation at Harper Adams is not an isolated incident. In 2022, both Warwick and Cardiff Universities took decisive action against hazing initiations following revelations of traumatic student experiences.

Former students from these institutions shared accounts of humiliating and dangerous practices on TikTok. At Warwick, rituals included "The Seed" where students were forced to curl up naked while beer was poured over them, and the "Fountain of Youth",

where students would drink alcohol that had been poured over a teammate's genitals.

Cardiff University faced similar issues, with reports of new members being locked in cupboards with strobe lights and loud music, alongside other destructive behaviours during social events.

In response, both universities have implemented strict bans on hazing activities, warning of severe consequences for students found to be involved. Warwick have explicitly stated that “they do not tolerate hazing,” and that “all students who join the university comply with [the] dignity at Warwick policy.”

Cardiff University also responded, stating: “Clear initiations or similar behaviour have no place at Cardiff University. The University and Students’ Union have policies in place related to conduct and behaviour. Any student found to be in breach of those policies will be subject to disciplinary action.”

In Cardiff’s Student Behaviour Procedure, the university states that students must “treat all members of the wider University Community with dignity and respect,” and that they are also required to “take personal responsibility for their own behaviour as well as the safety of themselves and others within the wider University Community.”

» Image: Tklages / Wikimedia Commons

continued on page 9

To get an understanding of initiations at Warwick, I spoke to Jiang [not his real name], a thirdyear student at the University of Warwick, who offers a nuanced view on university initiations. Describing himself as "a bit of a lad," Jiang approves of mild initiation practices, likening their purpose to traditional hierarchical structures in society like hunting groups and corporate environments. He believes these activities build trust among team members and create shared experiences.

Jiang asserts that he would actively intervene to prevent anyone from being placed in an uncomfortable or non-consensual situation

From Jiang's perspective, initiations are more than just rituals. Initiations are a departure from normal society that appeal to those drawn to high-testosterone en-

vironments. He notes that none of his acquaintances who have wholeheartedly participated in initiations have expressed regret. Instead, they often describe the experiences as a way of having “fun” and “bonding” with other society members.

However, Jiang is quick to emphasise the importance of consent and personal boundaries in these practices. He draws a firm line at non-consensual hazing, insisting that explicit consent must be given for any activity. When asked about social pressure to participate in certain activities, Jiang humorously but firmly states his personal limits, stating that no amount of pressure would make him cross his own boundaries. Not all students have such self-assurance when it comes to the peer pressure associated with hazing.

Jiang asserts that he would actively intervene to prevent anyone from being placed in an uncomfortable or non-consensual situation during initiations. This stance highlights the potential for peer protection within these environments, despite the somewhat intense group dynamics.

When describing the most extreme initiation practices he has witnessed at Warwick, Jiang's examples seem relatively tame compared to reports from other universities. He mentions activities like performing dances, wearing silly costumes, and downing pints – a far cry from the more severe hazing practices reported elsewhere.

He acknowledges that those unwilling to partipate in initiations are often viewed as "spoilsports", and may be seen as a poor fit for sports societies

Yet, Jiang's perspective also reveals the potential for social exclusion in these practices. He acknowledges that those unwilling to participate in initiations are often viewed as "spoilsports", and may be seen as a poor fit for sports societies. This observation underscores the complex social dynamics at play in university sports culture –participation in initiations can be

seen as a test of one's commitment to the group.

Despite these complexities, Jiang maintains that initiations can be both fun and beneficial when conducted responsibly. His view suggests that the key lies in finding the right balance – preserving the bonding and trust-building aspects of these traditions while firmly respecting individual boundaries and consent.

The practice of university initiations in the UK presents a complex and contentious issue that has evolved significantly since its origins in the 16th century. From the relatively benign 'saltings' at Oxford and Cambridge to the extreme and sometimes dangerous practices reported at institutions like Harper Adams, Warwick, and Cardiff, the nature of these rituals has changed dramatically over time.

The persistence of initiation practices, despite centuries of attempted regulations, underscores the deeply ingrained nature of these traditions in university culture. This resilience poses ongoing challenges for institutions seeking to balance student safety with the

perceived benefits of team bonding and tradition.

Recent events, such as the suspension of Harper Adams University's rugby team, and the bans implemented at Warwick and Cardiff, highlight the urgent need for universities to address the darker aspects of initiation culture. These incidents have brought to light disturbing practices that go far beyond harmless fun and raise serious concerns about student welfare and the potential for abuse within sports teams and societies.

However, as evidenced by students like Jiang at Warwick, opinions on initiations remain divided. Some students continue to see value in milder forms of initiations, arguing that they build trust and create shared experiences. This perspective emphasises the importance of consent, personal boundaries, and responsible conduct in maintaining the positive aspects of these traditions.

Moving forward, universities face the challenging task of enforcing bans on dangerous practices while acknowledging the social and cultural significance of initiations to many students.

Leamington Spa Student Apartments

The ghosts of Halloween past and present: How has Halloween at Warwick changed?

Lucy Gibbons, she/her Music Editor

Halloween

is a staple in any student calendar. Students up and down the country get dressed up in a variety of different outfits to celebrate the supposedly scariest night of the year. And at Warwick, this is no exception. It is near impossible to go through October on campus without at least one conversation centred around the festivities, and even the U1 is wishing people a “Happy Halloween!”. But just how has Halloween at Warwick been celebrated up until now?

Historically, Halloween originates from the ancient Celtic festival of Samhain, a pagan religious celebration to say goodbye to the end of summer and welcome the harvest and the beginning of winter. In celebration, people would light bonfires and wear costumes to ward off ghosts and evil spirits, hence we have adopted the dressing up tradition. Additionally, the word ‘Halloween’ is adapted from ‘Hallowed Eve’, or the evening before All Saints’ Day, which took place on 1 November.

Social media has been a critical tool in transforming Halloween into the holiday that we know today

Over time, the holiday has adapted and changed, and inevitably become more commercialised, to turn into the festivities that we know today. For example, trick-ortreating has become a much-loved tradition by children: in a poll by The Guardian, 68% of respondents said that they would buy sweets for trick-or-treaters and this number has been steadily increasing each year, emphasising how the celebration is beginning to be embraced by the wider popula tion. In addition to this, pumpkin sales have risen every year, and it’s not unusual to have an Instagram feed full of people visiting their local pumpkin patch. Indeed, so cial media has been a critical tool in transforming Halloween into the holiday that we know today: seeing in fluencers at extrava gant gatherings in creative costumes has sparked other young adults to do the same. Given the commercialisation of Halloween, it is no surprise that the celebrations have been adopted by universi ty students, perhaps because they offer a chance to be creative and

dress up, aside from Wednesday nights’ POP!, of course.

It is certainly not a new concept that Halloween is one of the biggest student nights of the year.

31 October has long seen students around campus dress up to trek to different celebrations. If anything, the celebrations have become more elaborate, and more prolonged, over time.

If anything, the celebrations have become more elaborate, and more prolonged, over time.

Just as Halloween celebrations have changed over time, so has the Halloween festivity at Warwick. Delving into the archives, Halloween has been entrenched in the key dates section at the university since its opening. A Warwick RAG timetable from 1979 reveals that the Halloween Ball took place in Westwood on 30 October, while a Students’ Union Handbook from 1990 briefly mentions the “fancy dress Halloween night” sandwiched in between the “London Rag Raid in Week 2” and Children in Need under the Charities and Community Affairs pages.

In fact, Warwick’s Halloween celebrations can be traced back to the earliest publications of The Boar, when it was printed weekly!

An edition of The Boar published in 1978 advertises the Halloween Ball taking place on Saturday 25 October in the Westwood Site. Promised to provide “excellent entertainment for all,” the Halloween Ball featured a performance from Liverpool band The Yachts. The pop band had just finished touring with singer-songwriter Elvis Costello and had a repertoire of, according to the article, “witty, snappy, and melodic” songs such as

wood Campus, it was certainly a selling point for the ball. However, the advertisement finishes with its biggest selling point of all: tickets only cost 80p.

Although The Yachts were unable to withstand the test of time, Warwick’s annual Halloween Ball certainly has. Advertisements for the Halloween Ball continue yearly through past editions of The Boar. An October 1987 paper details the Halloween Ball headlined by punk-rock band The Damned, a music group which experienced much more success than the pop band that had the headline spot nine years earlier! The addition of live music at Warwick’s Halloween Ball nowadays most definitely would not go amiss.

While the Halloween Ball may no longer take place on Westwood Campus, and unfortunately no longer costs 80p, it is still held each year in the relocation of the Copper Rooms. Though the SU promises that it will be a “night to remember,” when discussing the Halloween Ball with other Warwick students, it appears that the event has started to fly under the radar. “I didn’t even know that Warwick held a Halloween Ball!” says a second-year Warwick student. “I think the events off-campus are more appealing to students nowadays.”

At Warwick, Halloween-themed circles are popular during week 5, including with The Boar

As the holiday has become increasingly commercialised, so has the attraction of leaving campus to celebrate elsewhere. Off-campus venues have much to offer, the most popular being Coventry’s nightclub Kasbah, which is hosting a Halloween-themed night on 31 October. Inevitably one of their wick.

Moreover, although the Halloween Ball may have lost its appeal over time, students’ willingness to dress up for Halloween has not wavered. Costumes are more inventive now than ever. It is impossible to open social me-

While the preferred Halloween festivities at Warwick have shifted from on-campus to off-campus, the willingness to celebrate on 31 October certainly hasn’t

dia around ‘spooky season’ without coming across a costume idea. In addition, group costumes have become more popular, and it is not unusual to see flatmates or friends coordinated as different film or video game characters. However, elaborate costumes are certainly not a new tradition at Warwick. Previous editions of The Boar reveal that there used to be prizes for the “most inventive costume” at the Halloween Ball. Maybe the SU should bring back prizes for “the most inventive costumes” to reward people’s efforts… Spooky costumes are not just restricted to this one night of the year. At Warwick, Halloween-themed circles are popular during week 5, including with The Boar! Additionally, while off-campus events have become increasingly popular, Warwick’s campus still has much to offer, and it’s not just contained to one night of the year. Societies are putting on their own Halloween-themed events: this year, Warwick Student Cine-

ma is showing different Halloween-related films, including cult classic Coraline and the very aptly titled Halloween, during the week commencing 27 October. Halloween is an integral part of the university experience. This is not just the opinion of Warwick students – many universities are conducting Halloween-themed events at the end of October. For example, the University of Birmingham offers a guided tour of the university’s campus to reveal a selection of ghost stories associated with the university’s past. It seems that the Halloween spirit has not just permeated the West Midlands – up in the north east, the University of Newcastle is promoting “Ghost Walks” and the “Tyneside Cinema All Nighter,” while the University of Sunderland is taking a leaf out of Warwick’s book and celebrating Halloween with a party in the SU, encouraging people to arrive in costume by giving out rewards for “the scariest costume,” “best group costume,” and the “funniest costume.”

While the preferred Halloween festivities at Warwick have shifted from on-campus to off-campus, the willingness to celebrate on 31 October certainly hasn’t. If anything, students’ enthusiasm to embrace Halloween has grown. With people more inclined to join in with the festivities year after year, it will be interesting to observe how Halloween celebrations grow both on and off campus in the coming years.

» Image: Parijat Bhattacherjee / The Boar (top right); Andy Salis / Attractions Near Me (bottom middle)

"I hope in 50 years time people think it was a joke that my book had to be written":

An interview with Katy Hessel

INTERVIEW

Grace Goodwin, She/Her Features Editor

Speakingwith Hessel, it’s difficult to imagine her not as an authority on women’s art. Yet the inspiration for her book, The Story of Art Without Men, reflects on a time when women were ‘missing’ within the artistic space, especially within popular culture. Hessel asks the questions: “Could I name twenty women artists off the top of my head? Ten pre-1950? Any pre-1850? The answer was no. Had I essentially been looking at the history of art from a male perspective? The answer was yes.” This is certainly no longer the case.

Hessel is the Encyclopedia Britannica of knowledge on women artists, creating a space that puts women back on the walls of an international gallery, one overwhelmingly comprised of men. She is also the founder of Instagram account @thegreatwomenartists (her very own gallery, of which she is a constant curator), writer for The Guardian, historian, broadcaster, podcaster, and Harper’s Bazaar’s new contributing editor. But, even with the work Hessel puts into her field, she stresses to Vogue that the book is only one story of art, a “fraction of a fraction of a fraction” of the broader scene.

The need to continue exploring the story of women in art is tireless for Hessel - her newest fascination with Classics is a window into this. Her aim is to trace back the reasoning for the suppression of women artists, particularly regarding why the inception and progression of women’s art has been so limited.

“I’m very interested in creation stories and in the subjects in art history. So, I’m very interested in why the story of art was the story of art without women, and how we got to that point, and what was it about art that made people not take women seriously in art?” she questions.

Hessel suggests this could be due to the portrayal of feminine

It's not to say that the Rodin's or whatever shouldn't exist. They should absolutely exist. They're part of the story, but it's about adding more stories to make us all feel included. Becuase musuems are so, over there, and they should really be the beating heart of communities

-Katy Hessel

subjects in artworks, and how they were “just sort of objectified.” She hopes that understanding the stories of these subjects, “the Susannas, the Judiths, the Joan of Arcs, the St Catherine of Alexandria, the Virgin Mary, the Mary Magdalene, the Eves, the Athenas,” and getting to the bottom of their history as removed from the male lens, will provide a sense of “justice”.

Alongside Hessel, women in all areas of research have been producing work highlighting the cultural gender disparity: from Susan Tomes’ Women and the Piano: A History in 50 Lives, Cat Bohannon’s Eve: How the Female Body Drove 200 Million Years of Human Evolution (featured in Hessel’s podcast), Claire L. Evans’ Broadband, and more.

Hessel highlights the ludicrousness of this movement needing to happen at all. Of course, it’s exciting to see women be venerated for their achievements, but Hessel hopes that “in 50 years' time people think it was a joke that my book had to be written.” She also emphasises that in no way does the writing of these books and stories undermine the men we know of in these canons, but she asserts that everyone should feel they have something to ‘resonate’ with. Hessel adds: “It’s not to say that the Rodins’ or whatever shouldn’t exist. They should absolutely exist. They’re part of the story, but it’s just about adding more stories to make us all feel included. Because museums are so, over there, and they should really be the beating heart of communities.”

After three years, the amount of women artists and women sitters drastically increased. It felt like a museum for now, in the 21st century

-Katy Hessel

It’s important to separate women from other male artists for this reason. In Bohannon’s book, she identifies that, paleontologically speaking, women weren’t crafted from the rib of Adam – we have a whole evolution of our own that makes us unique and important, in the same way that women’s art doesn’t exist because of its association with male art.

In galleries, books, and across the media, women seem to be reduced to the wife, lover, daughter, friend, or sister of somebody –and it is through this connection that they are deemed important enough for a mention. Worthy of attention. Hessel is often asked about this, and it’s understandable why. In Lee Krasner’s obituary by The New York Times, she is written up as: “the wife and artistic partner of Jackson Pollock,” as though this increases the significance of her art. In the same way, Lee Miller

was not primarily the wife of Rolan Penrose, and Dora Maar was not simply the partner of Pablo Picasso. Hessel’s view is different, she describes her book as a “dream party, they’re all in it, and they’re all there, bound in this art form, and they’re all just there on their own terms…even though I sort of hate ‘on their own terms’ as a phrase.”

The result of removing women from the story of art directly reflects how much of this art reaches the public. In The Story of Art Without Men, Hessel highlights that: “A study published in 2019 found that in the collections of eighteen major US art museums, 87 per cent of artworks were by men, and 85% by white artists. Currently women artists make up just 1% of London’s National Gallery.” She mentions that some galleries are taking notice of the imbalance now, and many are making impressive changes, including the National Portrait Gallery: “When that opened after three years, the amount of women artists and women sitters drastically increased. It felt like a museum for now, in the 21st century.”

I think that I love my work because I can just talk about women, and I don't have to include them, and I don't have to call them muses, and I don't have to compare them to their male counterparts

-Katy Hessel

In my view, there is a certain irony in women subverting their history, particularly in the ‘luxurious Ladies Lounge’ featured at the Museum of Old and New Art (Mona), which highlights the history of misogyny by excluding men. Hessel smiles, saying: “I think people can do what they want in good spirits[… ] I think that I love my work because I can just talk about women, and I don’t have to call them muses, and I don’t have to compare them to their male counterparts.”

Over the last century, more women have been researched and celebrated. Considering that many women weren’t allowed to exist in the artistic space, or were undervalued in it, there are many who have taken on a more ‘Emily Dickinson’, ‘sheltered genius’ kind of existence alongside some wonderful, trailblazing women. I ask Hessel, in the book, who is her favourite recluse and rebel. She draws attention to Gwen John’s quote on Celia Paul: “I have learned from John that you don’t need to shout in order to make an impact. I thought that was so incredible. Because of this idea, what does greatness and power have to mean?” Hessel adds that power “doesn’t mean blow-

ing up countries in such horrific, inhumane ways, it doesn’t have to be like that. I think what Gwen John shows us is that, actually, introspective viewing is very powerful.” She compares this powerful feeling of introspection to “reading a book” and how “there’s nothing greater than just having conversation with you in your head.”

Hessel’s rebel could be Lee Miller, hopefully on everyone’s radar because of the book written by her son, Anthony Penrose, The Lives of Lee Miller, and her biopic, Lee, directed by Ellen Kuras. Hessel describes Miller as someone who “kept on reinventing, just kept going forward, and what a body of work and life she left.” She also cites her love for Frida Kahlo, and Tracey Emin, who she interviewed on International Women’s Day this year.

People have been very responsive to the work of Tracey Emin. Her 1998 piece ‘My Bed,’ which shows an ‘absolute breakdown’ that she had, is a time capsule of that emotional space and perhaps a self-portrait. I ask Hessel if she has an equivalent – what is ‘Her Bed?’

In literal terms, Hessel’s actual bed is a display of her books [image above], or more books for her bed given that “the books literally go up to the ceiling.” But in self-portrait terms, Hessel cites her “desk” as a representation of her-

self. Given the clear effusiveness in her book and her conversation, this is unsurprising. Hessel confirms this, expressing the joy to “stick stuff everywhere, like a Lee Miller quote or a Georgia O’Keeffe postcard, and then you’d have a note from your friends and maybe a wristband, or a pass. I love that. I love the sort of debris.”

Hessel also suggests that “a portrait by Chantal Joffe” might feature in her desk self-portrait, which may be her own piece of vulnerability in the joyful chaos. In one of Hessel’s more personal articles, from 2023 – one of my favourites found in the research binge – Hessel says of Joffe that: “She has painted a record of the conversation. A record of that time that turned from winter to spring, from heartbreak to healing, from 28 to 29. How she saw it, and how she saw me.” It seems significant that Hessel cites it almost as an afterthought, like someone is returning the favour for her – someone memorialising Hessel in the story of art too. But I think she’s already cementing that.

» Image: Katy Hessel / Lily Bertrand Webb

OPINION

@theboaropinion

Editor: Ruby Deakin (she/her) comment@theboar.org

Deputy editors: Annalise Smith (she/her)

Sub-Editor: Ananya Singh (she/her)

Aliyah Jaulim (she/her) Clea Le Borgne (she/her)

Virtual Vigilance: AI-generated activism in the ‘All Eyes on Rafah’ campaign

Kritin Rajpal, he/him Writer

Inan age where social media is so ever-present in our lives, its influence seeps into every aspect of our collective society. Activism is no exception. From the Arab Spring to the #MeToo movement, social media has transformed how our voices are heard, enabling individuals to exert influence on a global scale. Historically, only the most powerful have been able to tell their side of the story. Today, social media has created an environment where everyone, though not on equal footing, has a chance to express their perspectives.

The ongoing humanitarian crisis in Palestine is a notable example. For the first time, we are witnessing a heavily documented genocide in real time. This unprecedented visibility allows global witnesses to stay informed, amplifying awareness and urging action. Yet, with this power comes responsibility. Social media activism is often criticised for being superficial or performative, as illustrated by the recent "All Eyes on Rafah" AI-generated Instagram stories.

The

increased use of AI could blur the lines between reality and fiction, discrediting genuine social media posts

Social media activism is far from a new phenomenon. The Arab Spring in the early 2010s demonstrated the power of platforms like Facebook and Twitter in mobilising groups and organising largescale protests. Similarly, the Black Lives Matter movement used social media to organise protests, raise awareness, and inform individuals on a global scale, extending beyond the reach of traditional media like news outlets and television. In a unique way, the #MeToo movement used social media to showcase personal stories, shedding light on silenced perspectives, and creating a powerful narrative against sexual harassment and assault.

Palestinian activism continues this evolution, mobilising groups, informing individuals, and telling unheard stories simultaneously.

The recent “All Eyes on Rafah” campaign marks a shift, highlighting the impact of AI by using AI-generated images instead of

real photos and videos. This raises questions about authenticity and the role of digital tools in modern activism.

The introduction of fake images risks creating a more sceptical audience

With the rise of AI, the influence of AI-generated images in activism is unprecedented. While these images capture the attention of millions, this ‘trend’ has prompted several ethical considerations.

Real reporters and journalists risk their lives to capture authentic images of Palestinian struggles, and seeing their work overshadowed by AI content diminishes their efforts. Moreover, the increased use of AI could blur the lines between reality and fiction, discrediting genuine social media posts. In a space where the harsh reality of adversity is meant to motivate the masses, the introduction of

Beyond the impact of AI images, the scale of this campaign raises further questions. Many celebrities have reposted AI-generated images as their first post about the cause, perhaps finding it easier and more palatable than the countless devastating real images we see daily. This calls into question the authenticity of their activism and their willingness to stand by their beliefs.

Recent trends in minimal-effort activism are particularly problematic in these situations. They overshadow other posts due to their popularity and palatability, while offering no substantial impact on the movement. The Black Lives Matter movement saw a similar phenomenon with the viral spread of black squares. While the intention was to show solidarity, these squares were criticised for being performative, with many users posting them without deeper action or understanding of the movement’s goals. The "All Eyes on Rafah" campaign may follow a similar pattern, emphasising the need for more meaningful

Association, highlighted the fleeting nature of social media trends While social media can spread information rapidly, its reliance on algorithms that prioritise trends creates an environment where sustaining movements' ‘popularity’ becomes challenging. For "All Eyes on Rafah," the challenge will be maintaining interest and pressure on policymakers long after the initial wave of posts diminishes.

fake images risks creating a more sceptical audience. This scepticism could undermine the credibility of genuine activism, making it harder to mobilise support and drive meaningful change.

Social media is one of the quickest ways to mobilise large groups, but the long-term impact of social media activism is widely debatable

involvement beyond social media posts. These circumstances call into question the effectiveness of social media as a whole. Social media is one of the quickest ways to mobilise large groups, but the long-term impact of social media activism is widely debatable. The #MeToo movement led to significant conversations and some legal changes, showcasing the potential of online activism to effect real-world outcomes. However, the viral spread of the Ice Bucket Challenge, despite raising funds for the ALS

Despite its limitations, social media’s power to raise awareness and mobilise support is unmatched. It can bring attention to causes overlooked by mainstream media. However, social media should be part of a broader strategy to accomplish real-world goals. Posting AI-generated images should be the starting point, not the endpoint, of one’s activism. Protests, lobbying for change, donations, and direct support for affected communities should be the ultimate goal. Specifically, for "All Eyes on Rafah," this could involve

sharing more detailed information about the situation in Gaza, highlighting the work of local activists and organisations, and providing tangible ways for people to get involved.

This campaign reminds us that while digital tools are powerful, they must be used responsibly and in conjunction with real-world actions

The “All Eyes on Rafah” campaign highlights the complexities of social media activism and the significant impact individuals can have on a cause. While AI-generated images can raise awareness quickly, they are not always the best approach. Educating oneself, sharing relevant information, and engaging in meaningful actions can have a much more profound impact. This campaign reminds us that while digital tools are powerful, they must be used responsibly and in conjunction with real-world actions. By balancing online efforts with meaningful engagement, the full potential of social media can be harnessed to create lasting change.

» Images: IDF Spokesperson's Unit photographer / Wikimedia Commons (Top); rajatonvimma / Wikimedia Commons (Left)

» Rafah, May 2024

Alex Marke | Basingstoke

Abbie Fox Sherbourne Accommodation

Luke Chapman | Windmill Hill

Amna Salahuddin Jephson Gardens

Dhru Solanki | South Leamington

Louise Mingard Outside of Canley

FINANCE

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Eoin Wright EU's Apple ruling leaves Ireland with 'too much money' theboar.org

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Rachel Reeves and her double-edged sword

Samaira Singh, she/her Writer

The Autumn Budget is around the corner, and many are speculating about what Labour Chancellor Rachel Reeves will announce. Her plan must further the Government’s economic strategy without frightening voters.

At the Labour Conference in September, Reeves said: “Growth is the challenge, and investment

is the solution” highlighting that her main focus in the Budget will be to raise money for investment. Unfortunately, it isn’t that simple. The Labour Party is not known for its wise, long-term investments, and investors believe that to ensure prudent, sensible investments in the long term, guardrails must be implemented – something Reeves is seeking to ensure. Bad investments are worse than a lack thereof.

Moreover, Reeves looks set to raise taxes, aiming to fill a £22 billion hole she has identified in the public finances and take pressure off government departments. However, increasing taxes will not help stimulate growth. Another concern is that if Reeves doesn’t raise enough funds for investment, she will have to borrow more to invest, and the UK has already reached a debt-to-GDP ratio of 100%. This would bury the UK in even more debt, leading to less and less capacity for expenditure in the future. It could also reduce reliability and faith in the UK as a country, as it would prove that it is unable to repay its debt.

Reeves has limited her options by agreeing to so many guidelines

Reeves has limited her options by agreeing to so many guidelines. By promising to abide by roughly the same debt rules as her Tory predecessor, she has reassured people about Labour’s fiscal probity

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Lex Gillard China's stimulus promises leave investors disappointed

but also risks compromising her ambitions for higher investment. To make matters worse, she has vowed not to raise Income Tax, VAT, National Insur ance Contributions, or Corporation Tax – and previ ously signed up to Hunt’s ex tremely tight spending enve lope for public services, which implies real-term cuts to funding in areas such as prisons and local governments. These places have already been short of money and shall now be suffering even more. She has stuck herself between a rock and a hard place here.

Tax will have to be raised to excessive levels, or the UK will sink into even more debt

Restrictions such as these mean that Reeves is seemingly unable to carry out her plans for investment and raising funds. However, sneaky loopholes could give her a way out. One includes redefining the official definition of debt to give her more leeway with borrowing. This could increase the Government’s capacity to borrow

by over £60 billion over the course of this Parliament. Also, while she might stick to her word on not increasing particular taxes, she could sneakily increase the number of people who they affect or raise different ones. One way she might do this is by closing the tax loopholes in private equity. Rather than being ideological about taxing the wealthy, Reeves has realised that since private equity managers are paid partly through carried interest, a form of performance-related pay, much of their compensation is treated as capital gains and therefore subjected to a lower tax rate. Reeves will reform the tax treatment of carried interest, increasing the total amount of tax received by the government. They may also impose national insurance on employers’ contributions to pensions, which in itself would raise £9 billion. This will subtly increase tax revenue without explicitly violating Labour’s manifesto commitments.

All in all, Reeves’ investment plans will find a way of backfiring. Either the investment will be insufficient, or it will be too much. Taxes will have to be raised to excessive levels, or the UK will sink into even more debt. A double-edged sword awaits her.

The terrifying effects of Halloween

Eoin Wright, he/him Writer

Halloween has strayed from its Christian and Pagan roots, becoming yet another baseless day of unrestrained consumerism. Gone are the days of eschatology and making peace with unearthly spirits: Spiderman costumes and off-brand confectionery are here to stay. Of course, like any other holiday, it causes an increase in spending in numerous sectors, leading consumers worldwide to spend billions on the celebration. This begs the question: how does the economy react to the spookiest of all the holidays?

Inflation has been hitting chocolate hard this year

In the past, Halloween was a consistent boost to the economy. Buyers got sweets and a good time, businesses got the cash and a little extra in Q4, and it also created jobs for workers. It was a win-win situation for everyone, or so it seems.

As a holiday, it is uniquely profitable. It can sell new costumes every year to children who grow out of their old ones. It provides sweets and chocolate in numbers large enough to tempt even the most saccharine-averse investor. Chocolate sales usually peak within the winter and autumn months, when more people spend money on confectioneries. This year’s festivities,

however, coincide with a strange inflation of the costs of chocolates.

As we’ve all read our economists, we know that that is partially due to the law of supply and demand, but could this also be something more sinister? The success of confectionery companies around the holiday also coincides with subtle changes in pricing, often at the expense of the consumer. Inflation has been hitting chocolate hard this year, with Sainsbury’s No Added Sugar Milk Chocolate doubling in price between the three months leading up to August 2023 and the same period this year.

‘Greedflation’ is a term used to describe how companies hike prices up far above what increases in input costs would need them to, allowing the company to rake in record profits. Companies like Shell and Kraft Heinz both managed to reap more profit than in previous years under the guise of accounting for inflation. This is bad for the consumer, who, more than an ything, wants quality goods for the cheapest

price. In-house economists from the Bank of England found that the top 10% of firms were making meagre profit margins, on average below 20% in 2005, and now that average has risen to a whopping 28%.

The scariest thing this Halloween may not be the ghouls, ghosts, or goblins, but the bill at the end of it

This year’s Halloween has been ravaged by such a malady. Everything that Halloween now stands for is backed by some sort of commerce or company.

Costumes, confectionary, decorations, alcohol, and all the bells and whistles that are usually part of the holiday are all affected by the current economic trends, and for the first time, the average American household spends more than $100 (£76.50)

on Halloween per year. People are paying more money for fewer products due to shrinkflation, greedflation, and inflation. Mars, the multinational manufacturer, shrunk Maltesers, M&Ms, and Minstrels between 2016 and 2017 to maintain their profit margins. On the sweet road of selling chocolate, it seems you have to make some bitter decisions for the good of the company.

It isn’t all dismal. People still enjoy Halloween, but it is not looking good for the consumers of the future, where these practices will be more commonplace. Unlike many consumer products, the degree to which Halloween is ingrained into our cultural world means that it is unlikely that one can avoid falling prey to capitalistic practices by ignoring them. Its ubiquity has left it prominent as a regular secular holiday available for most. So maybe the scariest thing this Halloween may not be ghouls, ghosts, or goblins, but the bill at the end of it.

The eagle has landed?

Joseph Brennan (he/him) discusses the path ahead for US monetary policy

Itis impossible to predict the future, and American monetary policy is no different. US growth, inflation, and unemployment are all close to target, placing the economy in a nuanced position. With this data, the Federal Reserve sits at a mid-cycle crossroads, uncertain about how the economy will fare.

It is very clear that the federal funds rate is trending downward. In the September FOMC meeting’s ‘dot plot’ – which reflects Federal Reserve officials’ projections for the short-term interest rate – all dots, bar one, were below 4% in 2025, compared to the 5.25–5.5% it currently ranges within. This demonstrates an almost unanimous assessment that the federal funds rate is set to fall further. Similarly, the CME FedWatch Tool, which estimates market sentiment using federal funds futures data, assigns a 90% probability of a November 25bps cut, pricing in five cuts in the next six FOMC meetings.

The Fed will first be looking at inflation, with one of its mandates being for the US economy to reach its 2% inflation target. The annual inflation rate has slowed for the past six consecutive months, reach-

ing 2.4% in September, although this was still above market expectations. Removing volatile food and energy data, we see that core inflation rose to 3.3%, driven by services inflation, which remains stubborn despite the interest rate hikes of the past few years. The Fed’s preferred measure of inflation, the annual core PCE price index, increased to 2.7% in August 2024, which follows previous stubbornness in the July reading.

A key

unknown remains the ongoing conflict between Israel and Iran

While the trend has been downwards, a key unknown remains the ongoing conflict between Israel and Iran, which could send energy price inflation higher. An important comparable here is the path of inflation in the 1970s, where inflation subsided but then resurged to over 10% following two major oil shocks. The Fed will be keen to not repeat this by cutting too quickly. The Fed will also have an eye on the labour market, with its other mandate being to achieve

maximum employment. The recent Non-Farm Payrolls (NFP) print, a key employment report, showed that the US economy added 254,000 jobs in September 2024 – far above forecasts of 140k and the strongest job growth in six months. We also saw the unemployment rate fall to 4.1%, below market expectations, which hints that the US economy could successfully have a “soft landing”, where inflation is reduced without a recession. Whilst unemployment has risen, this has been linked to a growing workforce caused by immigration. It is likely that recent strikes and two hurricanes will muddy future labour market data.

The ongoing release of US corporate earnings reports will signal whether this labour market and economic strength can persist. But more importantly, this data pushes back against the overly aggressive market expectation of rate cuts and feeds into a bigger picture of mixed data for the Fed to digest.

It is unlikely that the Fed will meet market expectations

Despite all of this, US economic exceptionalism continues, with 3% year-on-year GDP growth in the second quarter of 2024. On the back of the NFP report, the decline in the November rate cut probability from 100% to 90% is reflective of a creeping market view that inflation could return. It is unusual for a cutting cycle to begin

with a 50bps cut, raising eyebrows about the underlying strength of the US economy, particularly with growing economic and geopolitical uncertainties.

With the US election upcoming, market concerns will rotate into the worsening fiscal situation in early 2025, which is inflationary by nature. Longer term, the growing debt burden will force monetary policymakers to keep real interest rates negative to service massive debt payments. Other moving parts like geopolitics, demographics, and the energy transition will all play a role in influencing future inflation data and what the Fed decides is the new “neutral rate of interest” – the interest rate that is neither inflationary nor disinflationary.

For now, though, it is clear US rates will continue to fall. Recent NFP data and ISM Services PMI have reignited the belief that there will be a soft landing. Until more data comes through that suggests otherwise, the probability of a recession (or ‘hard landing’) seems low. With growth elevated, and a resilient housing market, it is also possible that the economy has “no landing”, where monetary policy remains restrictive with elevated inflation levels. With the market pricing cuts aggressively, but uncertainty remaining high, it is unlikely that the Fed will meet market expectations.

Trump and Harris’ economic showdown

Katie Bevan, she/her Chief Sub-Editor

Inthe patchwork blanket of our lives, choices are the thread. From the seemingly inconsequential – ‘What do I wear today?’ – to the very consequential – ‘Who do I vote for?’ – each choice, and the subsequent decision we make, patches together the trajectory of our lives. And right now, the American people are hurtling towards a crucial fork in the road: on Tuesday 5 November, they will head to the polls to vote in this year's presidential election. For some, the choice is clear. Most of those in California, a Democratic stronghold, will be hoping that the Californian native, Kamala Harris, will become the 47th President of the United States. Likewise, Florida, the nation’s largest former swing state that now sits at the heart of the GOP ecosystem, will be voting red on election day.

But the ultimate outcome of the election will rest on the

shoulders of those yet to decide.

The swing states – Arizona, Georgia, Michigan, Nevada, North Carolina, Pennsylvania, and Wisconsin – remain the sites of fierce political battle, with each candidate trying to win over the undecided voters caught in the middle of the two-party tug-of-war. And as they head into the eve of their campaigns, it would serve both candidates well to remember that in presidential elections, the economy is the factor that makes all the difference.

That Trump and Harris have drawn up strikingly different blueprints for the economy they’d seek to build is a given. But what policies have they proposed? And, importantly, what are their implications?

For better or for worse, the world has already seen Trumponomics. Characterised by tax cuts, deregulation, and protectionist trade policies, Trump’s first shot at economic management left an economistic hung jury.

For big businesses, there was success: the 2017 tax cut saw corporate tax reduced from 35% to 21%. In the wider economy too: robust growth prior to the pandemic can only be credited as an economic success.

But as a history of ‘trickle down’ economics has demon - strated, the foretold financial flows that such policies engender trickled no fur - ther than the pockets of

the already-wealthy, raising concerns about the expanding income inequality in the States. Similarly, import tariffs did little more than threaten international trade relationships.

Now, as the possibility of a second Trump term dawns, so does Trumponomics 2.0. Having proposed higher import tariffs, lower tax rates, and a blank cheque to coal and oil companies, Trump’s ‘new’ vision for the economy remains rather 2020.

For example, at the centre of his 2024 agenda is an extension of the law passed in his first term and due to expire in 2025 – that saw tax rates for businesses and individuals slashed. Likewise, Trump is looking to lower the corporate rate even further – from 21% to 15%. Commenting on the election campaign, Maya MacGuineas, President of the Committee for a Responsible Federal Budget, said: “This is the Oprah tax environment: ‘You get a tax break, you get a tax break, and you get a tax break.’”

Else - where,

Trump is doubling down on his all-American approach to industry, proposing baseline 10% or 20% tariffs on all imports, raising them to 60% if they come from China. Further tariffs have been threatened on cars from Mexico and any country that abandons the US dollar.

As for tackling the biggest threat to the US economy – inflation – Trump would open new land for oil drilling, offer coal and oil companies tax relief, and speed up the approval process for permits and pipelines, discarding the environment in favour of cheaper energy.

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» Images: Flickr/The Brookings Institution (top); Wikimedia Commons/Senate Democrats (bottom)

CULTURE

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The Boar presents the Culture section, featuring Lifestyle, Arts, Travel, and Books.

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Articles you can find online...

Aanya Sisodia, Arts Rome-ing around in Parisian chic: Emily in Paris season four fashion commentary theboar.org

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Arts

Simon Morales, Travel The Lost City of the Tayrona: A Trek Through Time and Jungle

Izabella Goodall, Books It Ends with Us - a romance novel?

Zahra Jazmina, Lifestyle Staying conncted to family abroad

A new twist on Shakespeare arrives in Coventry: An interview with Stacey Norris ahead of their production of A Midsummer Night's Dream

Emilia Sullivan, she/her Arts Deputy Editor

ThisOctober, the touring Shitfaced Shakespeare company will be coming to Coventry, with their performance of A Midsummer Night’s Dream. As the company’s name suggests, this is going to be a Shakespearean performance unlike any other, with one of the cast members performing drunk. I was lucky enough to interview the producer/ director of Shitfaced Shakespeare, Stacey Norris, who will also be playing three roles herself in this season’s show. Norris gave me a personal insight into life on the (drunken) stage, as well as speaking about her own journey into acting and some of the show’s best anecdotes to date.

Norris has watched Shitfaced Shakespeare flourish in popularity

For this performance, Norris will be playing Helena, Oberon, and Compere. She remarked: “There are ten of us in the cast playing seven parts. We all rotate, which keeps it exciting and fresh for the drunk because they don't know what's going on.” With the rotating of characters and spontaneous selection of the drunkard, you can be assured that no two performances will be the same.

within education and follow your career dreams. Norris went on to do her postgraduate course at Drama Studio London, with Shitfaced Shakespeare being her first audition out of drama school. Norris recalls: “I thought, ‘Is this something I should do? I'm a serious actress, what am I doing? Do I really want to do this job?’ And actually, it's the best decision I've ever made in my life. I've been with the show now for 13 years, I think. I've been all over the world, some of my best friends are from the show, I’ve made some incredible connections and just had a great time along the way.”

they're going to let you make a fool of yourself because that's fun, but only in a way that you would be happy with!” Perhaps there is a lesson for all of us to take from Norris’ insight into drunken vulnerability. It is evident that the company know exactly how to lessen the ‘hangxiety’ of their colleagues with reassurance, support and love.

In Shakespeare's time, the standing audience would have been drunk

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As we discussed Norris’ route into the world of acting and early career life, she claimed, “I went to university, and I read English language. I came from quite an underfunded state school, and I didn't even know that drama school existed! So, it was very much: ‘You go to university to do something like English, Maths, and History.’ (If you're lucky enough to get into one of them.) Then, it was through university that I realised: there's this thing called drama school!” Norris’s degree in English Language is a testament to the

many careers

English can lead to, but her story also proves that it is never too late to change direction

Having joined the company in its very early days, Norris has watched Shitfaced Shakespeare flourish in popularity and gain its reputation. As we discussed some of the company’s first appearances, Norris commented on the Edinburgh Fringe Festival experience, saying: “We were very lucky, to be honest. People just couldn't believe what we were doing. We immediately sold out, and we sold out for that entire run […] It's turned into a Fringe staple that everyone goes to see every year!” The Edinburgh Fringe Festival continues to provide a spotlight for up and coming artists. With a reputation for all things wacky and wild, it is no shock that Shitfaced Shakespeare is so well received every year, especially when the audience members know they are in for something completely original compared to any previous show. Learning Shakespearean scripts from the perspective of three different characters would be a daunting task for many actors. However, for Norris and the cast, this must be done, and with only three weeks of rehearsals. Despite the time-crunch, Norris embraces this immersion, exclaiming: “It's lovely to watch somebody else play the same part as you and go, ‘Oh, love that, that's genius!’ and, ‘I'm stealing that bit!’” No one ever wants to go on a drunken night out with people who can’t seem to have fun, and most importantly, can’t look out one another. For the Shitfaced Shakespeare crew, the same applies. Amidst the humour of the performance, Norris discussed the importance of supportive cast members and what the company looks for in their prospective thespians: “Somebody that wants to mess around, create chaos, have fun, but at the same time, is kind. […] You're putting yourself in a very vulnerable position; being drunk on stage in front of however many people, and you're not going to remember what you've done the next day. You need to feel comfortable that the people around you love you and have your back, and

Of course, however, along with shots and cocktails come stories that you just can’t write. Norris recalled some of her favourite anecdotes, saying “there's been very simple things like actors finding stagehands’ bikes backstage and cycling them onto the stage; fire extinguishers being brought on; just very naughty things! Crowd surfing through the audience, climbing over the audience in the chairs...” Discussing these moments made me even more excited to see A Midsummer Night’s Dream and reiterates how unique each performance promises to be. Norris continued: “We had one of the Helenas decide that she was going to be a dominatrix and make (Demetrius and Lysander) do whatever she wanted them to do. They were on the floor, barking for her, rolling around on the floor. They were doing whatever she asked them to do and that was brilliant.”

Rambunctious moments such as these can leave us wondering, “what would Shakespeare think of all this?” Norris discussed how, in Shakespeare’s time, the standing audience members in The Globe would have been drunk (due to dirty water and cheap beer). She continued, “We know from soliloquies that Shakespeare is expecting the actors to speak to the audience directly, and at that time, they would have had replies from the groundlings.” This attention to Shakespeare’s roots brings an almost traditional element to Shitfaced Shakespeare’s performance – one that is often lost in the seriousness of many modern Shakespearean adaptations. Stacey Norris concluded: “I think he would probably love it. I think it would look more like what a Shakespeare performance would have looked like in his day than some of the more stuffy performances nowadays.”

Thank you to Stacey Norris for taking part in this interview. As we attend A Midsummer Night’s Dream this October, I wonder what the drunk will have in store for us on the night. We wish you, the cast and crew the best of luck for the tour!

Artists who inspire me: Celebrating Black History Month through artwork

Stephanie Okeyo, she/her Writer

Name

a painter, any painter, off the top of your head. Normally when we engage in discourse concerning art, we praise the likes of Picasso, Michaelangelo, and Da Vinci. In truth, one cannot help but be bewitched by Monet’s playful yet skilled manipulation of imagery or be transported to an alternate dystopian reality when gazing upon the work of Salvador Dalí. Although these artists have made extraordinary contributions to the art world, many others had their brilliance overlooked for a long time. This month, we will celebrate Black artists who brought about profound change within a system designed to work against them.

British Black Arts Movement

For much of history, the art world was dominated by white men. Women's voices in art and religion were declared obsolete, and those with darker complexions were marginalised and excluded from these spaces. In the words of Haja Marie Kanu: “Black British identity was born out of survival”, which is emphasised in the prominence of the British Black Arts Movement.

In the 1980s, young artists from the West Midlands united to spark what is now known as the British Black Arts Movement. This radical political art movement emerged shortly after the First National Black Art Convention, held at Wolverhampton Polytechnic, with the goal of bringing attention to Afro-Caribbean artists. It was championed by the direct descendants of the Windrush generation, who used their artwork to examine issues of race, gender, and colonialism.

Sonia Boyce: Pillow Case, 1990

‘Pillow Case’ is a vibrant, post-colonial depiction of youth. Using fabric dye, pen, and crayon, Boyce creates a visual dialogue inspired by conversations with young parents, exploring their desires and insecurities. In 2022, she became the first Black woman to represent Great Britain at the Venice Biennale, one of the world’s largest and most prestigious contemporary art exhibitions.

Lubaina Himid: The Carrot Piece, 1985

‘The Carrot Piece’ is a profound illustration of a white man dangling a carrot over the head of a Black woman, who looks back in dismay. Himid uses acrylic, plywood, wood, cardboard, and string to explore the patronising nature of cultural integration for Black indi-

viduals within white institutions. Now a professor at the University of Lancaster, Himid won the prestigious Turner Prize in 2017.

Other iconic artists

Augusta Savage

Born in Florida, Savage began her career by modelling figures from red clay. She received a scholarship to study in France, but it was withdrawn by the awarding committee upon discovering she was Black. Subsequently, she relocated to New York, where she founded an art studio and became a teacher. One of Sav age’s most prominent works is ‘Lift Every Voice and Sing (The Harp)’, created in 1939. The plaster sculpture was inspired by James John son’s poem ‘Lift Ev’ry Voice and Sing’ which was later adopt ed as an anthem of solidarity by the National Association for the Advancement of Colored People (NAACP). It depicts a choir of singers arranged along a gently curved arm like the

string of a harp; at the forefront, a man on one knee rested against them. This imagery resonates with the Civil Rights Movement, as the group of singers surrounding the man symbolizes strength in numbers and may also allude to the spiritual guidance of ancestors. The original sculp ture was bro ken due to the fragil ity of the material.

up during the height of Apartheid in the 1970s. Dedicating their career to documenting and celebrating the lives of South Africa’s queer communities, Muholi has effectively captured themes of labour, racism, Eurocentrism, and sexual politics. Through their ID crisis portfolio series of 2003, Muholi uses black and white images to depict a South African person binding their chest. The dimly lit corner shot conveys a sense of secrecy, creating an intimate atmosphere related to gender.

Black art now

While it would be a disservice to disregard the contributions of artists who have fought for the recognition of Black art, we must also acknowledge that the system remains flawed. The art world continues to be elitist, limiting access to opportunities for many talented individuals from lower socioeconomic backgrounds. Although significant progress has been made, there is still much work to be done.

Muholi Photographer and visual activist Zanele Muholi grew

Fallen straps and broken mirrors: The scandal of Sargent's 'Portrait of Madame X'

Anna

Bickerton,

she/her

Head of Digital Media

"Mr

Sargent made a mistake if he thinks he expressed the shattering beauty of his model… we are shocked by the spineless expression and the vulgar character of his figure,” read French newspaper L'Événement in the days following the unveiling of John Singer Sargent’s now-iconic work. Another suggested that one “would hear every curse word in the French language” had they stood before the painting at its first exhibition in 1884.

The ‘Portrait of Madame X’ now has pride of place in New York’s Metropolitan Museum of Art, but its initial reception not only earned Sargent such an infamous reputation, fleeing to London in response, but also prompted him to hastily repaint it to salvage his tarnished image. It would forever alter the trajectory of his career.

A study in opposition, the artwork features a striking, porcelain-skinned woman in an elegant black gown, with a paleness that glows against its dark background. In parallel, the dress’ modest length stood opposed to the revealing straplines that suggest an alluring sensuality. In fact, the original ex-

hibition depicted one strap scandalously dropping from the figure’s shoulder. It was perhaps the most outrageous detail of all to contemporary audiences, so much so that it was later repainted by Sargent. Some critics even highlight the inclusion of the table the figure rests her hand on as a means of accentuating the curves of the subject that angered 19th century audiences so intensely.

The portrait was not a commission, but rather the subject of an obsession of Sargent's

Do not be fooled by the apparent anonymity of Sargent’s ‘Madame X’: its title only served as a thin veil for the identity of Virginie Amélie Avegno Gautreau. A New Orleans-born Parisian socialite, she had gained notoriety across Parisian society for her stunning beauty and impossible pallor that art critics would later label “ghostly”. One American painter, Edward Simmons, said of his fascination that he “could not stop stalking her as one does a deer”.

The portrait was not a commis-

sion, but rather the subject of an obsession of Sargent’s and involved a pursuit of the socialite likened to a “full campaign” by art historian Deborah Davis in her 2003 book Strapless. Thus, the opportunity to paint Gautreau was a prize in itself for the artist, but neither anticipated the firestorm that would follow.

The socialite’s resistance to being painted did not end upon agreement either, supposedly restless, impatient, and unconvinced by John Singer Sargent’s determination throughout the process. In one letter to a friend of his, Vernon Lee, he lamented that he was "still in this country house struggling with the unpaintable beauty and hopeless laziness of Mme.Gautreau.”

Over one arduous year later, it would come time for the debut of the then-called “Portrait of Mme ***”, whose perceived vulgarity would horrify the public and attract allegations of attempts to manufacture scandal. For Sargent, French commissions dried up almost entirely pushing him to eventually move to London to attempt, admittedly with a fair degree of success, to revive his tainted career.

Gautreau herself was not spared from the fierce public outrage either, with the anguish leaving the

figure so unable to bear looking at herself that she reportedly destroyed every mirror in her own home. Her portrayal by Sargent had confirmed an image of promiscuity that only served to amplify previous Parisian whispers of her affairs with prominent French statesmen. She ultimately retreated from Parisian society for the rest of her life.

Today, the legacy of the painting itself is somewhat disputed

32 years later, in 1916, Sargent himself would describe the infamous portrait as “the best thing” he had ever done, offering to sell it to the Met where it now hangs, yet the scandal refused to fade from public memory.

Today, the legacy of the painting itself is somewhat disputed; Sargent’s artistry has continued to be overshadowed by these stories of the intense public furore and challenges to late 19th century standards on modesty. Not everyone has been willing to elevate the portrait to masterpiece status: one mid-century American critic

Hilton Kramer didn’t see the portrait as having any “significant aesthetic merit” at all. Nonetheless, it is perhaps in the fashion world where Sargent has left his greatest artistic mark. The elegant dresses that featured not only in this portrait but many of his works, continue to inspire fashion today, even motivating a dedicated Tate Britain exhibition this year.

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Zanele

» Images: Augusta Savage, Flickr / Fritsch (top), Zanele Muholi, Flickr / Thomas Quine (bottom)

Image: laBellefox, Unsplash

A guide to Magical Realism: An exploration of an underrated genre

Naomi Pandey, she/her Writer

There are moments where our mundane lives might start feeling ever so slightly magical. Meeting a person who understands us perfectly well, better than we understand ourselves, on a disastrous night out – the next morning, realising they never existed. Or one morning, embarking on a woodland walk, strongly believing we can hear the trees talking. The genre of magical realism takes inspiration from this very same feeling. It ties in a hint of fantasy in an otherwise unremarkable and uneventful world. Importantly, many texts in this genre tie in pertinent philosophical or political messages through the ‘magic’. It is difficult to point where this remarkable genre stemmed from, as different texts under the magical realism category have different authorial intentions.

Magical realism can veer towards the imaginative and whimsical

Czech author, Franz Kafka has been attributed as being the predecessor of this genre. Kafka’s The Metamorphosis, for example, features a salesman who, one morning, discovers that he has turned into a beetle-like creature. The philosophical message here is tied into Samsa’s character, who feels burdened and uncomfortable in

his skin – both formerly as a human, and even now, as this insect.

However, magical realism can also veer towards the imaginative and whimsical. Attributed by Penguin as the ‘father of magical realism’, late-Cuban novelist Alejo Carpentier published The Lost Steps in 1953. This contemporary-classic novel revolves around an exhausted corporate employee, who decides to travel to South America to connect with indigenous music, and ultimately, with the natural world.

Let us now delve into some key authors and texts that have informed and fostered the realm of magical realism.

Gabriel Garcia Márquez and contemporaries –One Hundred Years of Solitude

Carpentier’s work has undoubtedly had an indelible impact in pioneering this genre. This is ev ident through the fantastic and beautiful works of Gabriel Garcia Márquez – another important figure in contemporary magical realism. Having written several novels in this genre, Márquez held a Nobel Prize in Literature for his influential

works. Some of his most profound magical realist texts include Love in The Time of Cholera and One Hundred Years of Solitude.

Márquez most notably blended elements of Latin American culture with magical realism. His works often feature the supernatural, and the fantastical. From appointments with ghosts to cities of glass, One Hundred Years of Solitude is a deeply immersive text and can be considered required reading for those interested in this genre.

Along with Márquez, there are several other Latin American authors who have shaped the scope of magical realism. Mexican Author, Laura Esquivel’s Like Water for Chocolate includes a fantastical twist on the classic Cinderella tale. Isabel Allende in The House of the Spirits merges magic with the Chilean political landscape.

Toni Morrison – Beloved Morrison was an -

ism library. Beloved is set in 1873 in Ohio, United States, and details the struggle of single-mother Sethe, her daughter Denver, and her lifelong struggles during the days of the slave trade. Having lost her first daughter at a young age, Sethe struggles with grief and depression. However, one fine day, it appears her daughter, Beloved, has been resurrected.

Beloved is a deeply moving and beautifully written text, one which won Morrison a Pulitzer Prize in literature. It grapples with slavery, depression, and abuse through magical realism, and is definitely an important text to read in the genre.

Salman RushdieMidnight’s Children

rican-Americanerary criticism. While she has written books in several genres of fiction, is an instrumental part -

Haruki Murakami – Kafka on the Shore Japanese author Haruki Murakami is known for blending magical realism with other genres, such as science fiction and fantasy. One of his most profound works include Kafka on the Shore which details two different, yet interdependent plots. The magical realism in this text is especially compelling as it is intertwined between two plot lines. Be it reconnecting with the wild, or interactions (again) with ghosts, Mwurakami crafts a medley between magical realism and the metaphysical in this remarkable novel.

A deeply evolving, profound and compelling genre

The top underrated horror reads for this Halloween season

Rosie Lambert, she/her Writer

Autumnis a season that seems to invite reading. As the weather gets colder and the world gets darker, it is the perfect time to settle down in a cosy café, a dark corner in the library, or under the covers with a good book. And what better genre of books to read in autumn than horror? Whether you like grizzly tales of ghosts and murder, or the feeling of terror from the gradual build of unnerving suspense, horror has something to offer everyone. So here are five underrated horror books to read this season.

Salt Slow by Julia Armfield

A monstrous puberty, feral fan girls, a dangerously close bond to a wolf, the ideal man made from

dead body parts, and a city haunted by their own sleep, Salt Slow is a collection of nine hauntingly beautiful stories. From the author of Our Wives Under the Sea, Salt Snow explores the gruesome and grotesque elements of girlhood through the body. Armfield masterfully combines abject terror with gothic elements to show how despite the prevalence of monsters and magic, sometimes the scariest thing is simply being a woman, carving a space for feminist, queer tales within the genre of horror.

Carmilla by Sheridan Le Fanu Vampires are icons within horror, and with 2024 seeing a revitalisation of vampire stories seen in popular media such as, What We Do in the Shadows, Interview with a Vampire, and Abigail, it is the perfect time to return to a forgotten classic within the genre. Carmilla written in 1872, has been overshadowed and overlooked by Bram Stoker’s Dracula published in 1897, but Carmilla deserves the same acclaim as Dracula. The story of a lesbian vampire, the novel explores themes of love, lust, and

the repression of women within the Victorian era, whilst also offering biting criticism on class structure and how the aristocracy feed on the poor. Carmilla deserves iconography treatment yet remains woefully unnoticed within the genre.

Monstrillo by Gerardo Sámano Córdova

How far would you go for love? Gerardo Sámano Córdova asks this question in his debut novel Monstrillo. The novel is a poignant exposé on grief and loss, and how one copes with the death of their child. The story follows a grieving family in the wake of their child’s death, and the mother in desperation saves her son’s lung in hopes that her child will regrow from it. Instead, what grows from it is a monstrous being, hungry for blood. Córdova’s blended use of folklore, horror, and magic realism allows the novel to explore what is means to be human in a subversive way that reality would not have allowed, making the book an emotional powerhouse.

Grabs you by the throat and doesn't let you go

The Hole by Pyun Hye-Young Oghi lives a relatively successful and happy life with his wife, until a tragic accident leaves him completely paralysed and his wife dead. The only person left to care for him is his mother-in-law, who Oghi is completely dependent on, but as more and more things go wrong, and secrets about his wife and his marriage slowly come to light. Oghi grows more and more untrusting of his mother-in-law, particularly as she now spends her time digging holes in his wife’s once beloved garden for an unknown reason. The Hole by Pyun Hye-Young grabs you by the throat and doesn’t let you go until the final page, filled with constant twists and turns that leave you unsettled and deeply disturbed. An absolute must-read for those who love a fast-paced horror book that draws fear from the suspense of the unknown, and the brutality of being a prisoner in one’s own body.

Salman Rushdie is a key figure in the post-colonial literary movement with many notable and polarising texts. Midnight’s Children is set in newly independent India, after having undergone several decades of British rule and being deeply impacted by the partition between India and Pakistan. The titular ‘midnight’s children’ are born on the midnight when India is independent, and are, as a result, gifted with supernatural powers. Midnight’s Children masterfully explores post-colonial theories with magical realism and was also awarded the Booker Prize in 1981. To conclude, magical realism is a deeply evolving, profound, and compelling genre worth exploring. Not only does it merge the lines between the real and unreal, it also, on numerous occasions, allows us to understand the political and philosophical landscape of our world. If critical thinking, compelling world-building, and captivating narratives is something that sounds exciting, pick up a book from this list, or indeed, a completely new one!

Let the Right Ones In by John Ajvide Lindqvist

Let the Right Ones In is a gory Swedish vampire book, and whilst it received great acclaim from other parts of the world, it remains underappreciated in England. The story follows a twelve-yearold boy named Oskar, who is socially ostracised due to bullying. As a result, Oskar spends his day fantasizing about ways to brutally murder his attackers, until one day he strikes up an unlikely friendship with a strange girl called Eli. The book gives a voice to the horrors of growing up and finding a place for yourself within the world, through unflinchingly looking at the worst humanity has to offer.

» Images: Debby Hudson / Unsplash (right top); Marie and the sea / Unsplash (left bottom); Erol Ahmed / Unsplash (right bottom)

» Images: Natalia/Unsplash (top), Alicia G/ Unsplash (right top), Girl with red hat, Unsplash (centre)

Beyond the pages: examining the fine line between literary escape and obsession

Melissa Page, she/her

Writer

Ina world where reality can often feel overwhelming, books offer a unique refuge – an escape into worlds of fantasy, adventure, and profound human emotion. We immerse ourselves between the

pages, seeking solace in the lives of fictional characters, distancing ourselves from the harsh realities of life. Literature provides us with a door into worlds unknown: into warm, fire-lit living rooms where little women laugh, into hedonistic parties seeping with indulgence and chaos, and into forbidden forests filled with eerie silence, untold dangers, and ancient magic. But what happens when this form of escapism exceeds a mere hobby?

When does the line between literary indulgence blur into actuality?

Allow me to dive into the fine line that distinguishes healthy literary escape and the consuming pull of obsession – exploring why we read, how stories captivate us, and the dangers of getting lost beyond the pages.

Literature provides us with a door into worlds unknown

For many, reading is a form of relaxation. Books provide an escape from the ongoing tension and unpredictable nature of life itself, allowing us to explore new concepts, perhaps within both academia and fiction. From childhood through adulthood, the desire to escape through literature is almost instinctual. Very often, reading fulfils a deeper human connection, fostering empathy as we nav-

Reading fulfils a deeper human connection

igate the struggles, emotions, and triumphs of fictional characters. This element of fulfilment may, however, ‘fill’ a void moulded originally for real human experiences. Amid the Covid-19 pandemic, book sales and reading rates spiked worldwide. Lockdowns and social isolation meant that many people turned to literature as a coping mechanism, nurturing this notion of escapism. This allowed readers to transport their minds to alternate realities where life was predictable, for example, where they have the option of skipping several chapters ahead and spoiling the ending. However, much like other forms of escapism, such as daydreaming or potentially overeating, this ‘healthy’ habit of reading can spiral into something less healthy. The reader soon becomes immersed too deeply into fictional tales and loses their ability to engage with the outside world, fixating on fictional characters and storylines to the detriment of their realities. Because reading is perceived as such a productive or even virtuous activity, this literary obsession can go unnoticed.

As reading experienced a resurgence during the Covid-19 pandemic, social media contributed to this significant role in shaping the way that people consume and share literature. Platforms such as

TikTok or even Instagram Reels became breeding grounds for book-related content, particularly through the phenomenon known as BookTok. BookTok created this sense of community, allowing users to exchange book recommendations, reviews, and connect with others who share their passion for literature. However, BookTok’s rapid social nature crafts an extreme sense of urgency, leading to a cycle of overconsumption (and severe FOMO). Readers may feel obligated to read certain books, which adds to this incessant pressure of keeping up with the latest trends leading to overabsorption of content, which majorly contributes to this notion of indulgence, crossing the boundary between literary escape and obsession.

The reader soon becomes immersed too deeply into fictional tales

Within this space, a specific trend that gained momentum was DracoTok, a subsection of BookTok where readers obsessed and romanticised the character of Draco Malfoy in ways that went far beyond J. K Rowling’s original portrayal – I’m talking borderline insane. His character was glorified

to new extremes which encouraged this unhealthy fantasy regarding relationships, skewing the reader’s views on real-life dynamics. This mention of DracoTok leads me to focus on the broader fascination that people have with the Harry Potter universe. For many readers, the seven books, the eight movie franchise, and excessive Primark collection were not enough. No, for some fans, their connection to the characters and the world has grown so deep that they engage in a practice known as ‘shifting’. For those of you blissfully unaware of shifting, shifting is a form of lucid dreaming or meditation where people claim to ‘shift’ their consciousness into fictional universes, particularly into the world of Harry Potter. The seductive nature of ‘shifting’ into alternative fantasies to escape reality, fosters the notion that nothing is harmless if consumed in excessive quantities. This indulgence in literature can lead to compulsive reading habits and an unbalanced relationship between reality and fiction, where the joy of reading is lost to the pursuit of withdrawing from the real world. turning this unique refuge into a fatal obsession.

An investigation into the romanticisation of Fall reading

Kate Jordan, she/her

Writer

Itis easy to picture our own ideal reading scenario in autumn – the crisp temperatures, bundling up or settling by a cosy fireplace with a book in hand (and maybe a sneaky hot chocolate in the other) whilst outside the window trees are a beautiful auburn and a gentle wind blows… And that is just one example!

Romanticisation [...] has become quite the social phenomenon

Romanticisation, the process of seeing things through a romantic lens, has become quite the social phenomenon, especially if we think about the focus on reading in the autumn months. During a season where the temperature plummets, the rain seems to enjoy making a daily appearance, and the days are getting shorter, not only does that give us a reason to stay inside with a cosy blanket and an even cosier book, but it’s also fair to say that romanticising your autumnal read ing is a great way to keep away the seasonal blues.

The popularity of this is evident across social media platforms such as TikTok or Instagram, where users like to post their own ver sions of a romanticised, ‘aesthetic’ autumn season and, spoiler alert,

books are almost always involved. Reading lends itself well to romanticisation, since both allow us to use our imaginations, with romanticisation going that one step further in that we don’t have to follow an author’s depiction, rather we can make our own, based on personal preference. Both are forms of escapism and allow us to take the edge off some of the stresses of everyday life, enhancing reading in particular as something to enjoy and look forward to.

But why autumn? Especially for students, the autumn term is the start of a new academic year, a time for renewing academic interest and engagement – what could compliment this more than a cosy reading sesh? Even the books themselves seem to have a similar agenda, with works such as M.L. Rio’s If We Were Villains and

Donna Tart’s The Secret History being particularly fitting, with their depictions of Dark Academia, an aesthetic matched with a popular romanticised version of autumn. Of course, while reading is key, the enjoyment of it is further emphasised through autumnal fashion trends, especially related to Dark Academia. It reminds us that we don’t have to read massive manuscripts or academic essays in order to be well-read and cultured – fiction books work too!

However, your autumnal reading doesn’t have to follow that particular academic line of thought. In fact, one thing that makes the romanticisation of autumn reading so widespread is its versatility. It is a completely personal action, based off what you find enjoyable and how you want to feel when faced with those cold autumnal days, when it’s a little too early to start thinking about the Christmas holidays. Halloween, for example, is a key part of the season, and it helps to see all the pumpkin-spice flavoured treats start appearing in the coffee shops nearby, alongside all of the themed decorations ready for 31 October. As much as it may be great to read books like Dan Angels and

Demons to make you feel just that bit more intelligent and in line with the academically romanticised season, it is just as enjoyable (if not more exciting) to pick up a horror, thriller, or murder mystery book just as it gets dark – see how the darker days become something to look forward to and enjoy? No wonder the romanticisation of reading in autumn is so popular! This social phenomenon yet again proves how it can appeal to the masses, with all sorts of people being catered for. Maybe try reading Stephen King’s Pet Cemetery or Mary Shelley’s classic Frankenstein if you dare!

Even on the soggiest and greyest of days, reading [...] could improve your mood

Other media can also influence our view of the season, with TV shows such as Gilmore Girls taking the warm autumnal aesthetic and absolutely running with it – which could lead more people to romanticise that version of autumn, where pumpkin pancakes and reading in cosy coffee shops are the norm. Even on the soggiest and greyest of days, reading Stephenie Meyer’s Twilight books under a warm blanket could improve your mood, with the dark Forks-esque weather allows for even greater immersion

into the book.

So, what makes autumn the season of reading? Well, it can be put down to a few things: not only is it a great way to distract from and even learn to enjoy some of the drearier aspects of the season, but alongside that there is something for everyone – so many types of books or genres can be related to autumn, it depends completely on your own personal perspective and how you want to enjoy the season! On that note, grab the books that fit your ideal autumn, a nice hot drink, and romanticise away –happy reading!

» Images: Natalia Y / Unsplah (left); Ksenia Makagonova / Unsplash(centre); Ioana Mark Kuznietov / Unsplash (right)

Why men's mental health still needs our attention

Gabrielle Parkhill, she/her Writer

WhenI hear about men in my life struggling with their mental health, I always ask myself the same kind of questions. How could I not have known? How could I have missed the signs? And when I hear of the men in my life taking their own life, the aftermath is always devastating. The people closest to them wonder if there was anything they could have done differently to change such an outcome. The confusion, guilt, and sorrow are passed on from one person to another in an instant.

Campaigns like Movember have raised over £598 million and have funded over 1,250 men's health projects

November is Men’s Mental Health Awareness Month. It’s as much of a time for us to celebrate the victories we’ve had in confronting mental health issues as it is a time to reflect on how much work still lies ahead. As a society, we’ve begun the long-overdue process of dismantling the stigma surrounding men’s mental health. We’re finally acknowledging that, like with physical injuries, there’s no strength in ignoring and persevering through mental health issues as if they’re untreatable or are any less real.

Campaigns like Movember have raised over £598 million and have funded over 1,250 men's health projects globally. Longterm plans from the NHS indicate their ambition to increase funding for mental health at a faster rate than the overall NHS budget. The NHS has pledged to allocate at least £2.3 billion a year to support mental health and to expand its services to students and those under 25.

Society has falsely allowed men's silence regarding their mental health to be seen as a virtue

Despite the progress we’ve made, suicide remains the leading cause of death for men under 50. The World Health Organisation states over 700,000 people take their own lives each year – the equivalent of one person every 40 seconds. In the UK, approximately 75% of those suicides are by men. Among univer sity-aged students, studies show that one in five men experience mental health issues, yet many are reluc tant to seek help.

Of the many studies concern ing men’s mental

health, some of the most notable reasons for not talking about it are that men have learned to cope with their mental health without seeking support. Another common reason is that men don’t want to be a burden to a friend or even to a therapist.

The fact that we allow people to feel this way about their mental health is appalling. Society has falsely allowed men’s silence regarding their mental health to be seen as a virtue. We gain nothing by ascribing virtue to internalising deadly mental health issues. It’s clear, that by keeping quiet, we allow poor mental health to be a silent killer that runs rampant among young men. This November, let’s set about changing that.

There’s still an urgent need for awareness and support regarding men's mental health, and the university can play a crucial role in providing this. The Wellbeing and Student Support Services are based in the Senate House, and they’re easy to reach both in person and online. In my experience, brief consultancy and therapy can be arranged efficiently and they have a wide range of services available to specifically prioritise the mental wellbeing of students. They’re equipped to provide support for more serious issues but equally willing to help with smaller concerns and enquiries. Many resources are also available on their website to facilitate students’ engagement with external support services.

We should reflect on the victories and ongoing battles but also do something to continue their success

There’s also a lot we can do as a student body to create meaningful change through a culture of open dialogue. While many campaigns and workshops are run to bring awareness to mental health, its importance should become part of our everyday conversation. By addressing mental health openly, we can make the conversation surrounding it a lot less isolating and intimidating.

So, as we observe Men’s Mental Health Awareness Month, we should reflect on the victories and ongoing battles but also do something to continue their success. The statistics remind us of the urgent need for change, the conversations we must have, and the support we must provide. We should strive to break the silence and isolation that prevents us from supporting one another. This way, we can build a future where men won’t have to suffer alone, and we can begin to break the cycle to create a better future for all.

Remember,

remember the fifth of November: A brief history of Guy Fawkes Night

Zahra Jazmina, she/her Deputy Lifestyle Editor

Over400 years ago, on 5 November 1605, 36 barrels of gunpowder were discovered in a storeroom beneath the Palace of Westminster. Protecting these barrels was a man named John Johnson. Upon the guards’ inspection of the man, they found fuses in his pockets, and John was promptly arrested. It was only after days of endless torture that the ridiculously plain name of John Johnson was revealed to be a farce. His real name was Guy Fawkes. Whether you believe he was a misunderstood anti-hero, or the dirt beneath your shoes, it is a result of his history that we hold an evening of fireworks to welcome autumn. With a steaming drink to warn the cold away, as you wait for the festivities to begin, perhaps you could tell the story of the man whom this night is named after. You will discover who Guy Fawkes is, so you can share with friends and family this 5 November.

The triumph of discovering and foiling the ‘Gunpowder Plot’ is a story of rebellion, religion, and riot

Fawkes and his associates dreamt of sparking a Catholic uprising 70 years after King Henry VIII declared himself Supreme Head of the Church of England and broke from Roman Catholicism in 1534. This uprising was deemed the ‘Gunpowder Plot’ of 1604. The triumph of discovering and foiling the ‘Gunpowder Plot’ is a story of rebellion, religion, and riot. But who were these conspirators, and why did they decide to desecrate one of the most influential buildings in Britain?

England was a steadfast Roman Catholic country before the 16th century. At the time, translating the bible from Latin to English was seen as radical, and questioning the Pope’s figure as Christ’s representative on earth was punishable. Yet, as the 16th century began, Protestantism gained popularity as the Roman Catholic Church came under political attack. Henry VIII had continually defended Catholicism and was named ‘Defender of the Faith’ by the Pope, even as

Protestantism gained popularity across northern Europe. However, this quickly flipped after the church stood between Henry and another woman. The king was unhappily married and pining for another woman, Anne Boleyn, and so, requested an annulment from his first wife, Catherine of Aragon. When the church declined, he split away from Rome and ended the Pope’s religious authority in England. Suddenly, translations of the Bible were being made, and the Pope had been stripped of authority. Although the King seemed happy, what happened to the devout Catholics in England?

Catesby’s plot was simple. Well, as simple as blowing up a very large and verypublic building could be

Guy Fawkes was raised a protestant who converted, under his stepfather’s influence, into a devout Roman Catholic. At 21, Fawkes fought for Catholic Spain against Protestant Dutch reformers in the Eighty Years War. It is theorised that Fawkes became very familiar with explosives in his service. 15 years later, on May 20 1604, in a London pub called Dog and Duck, a group of devout Catholics, most notably Robert Catesby, Thomas Winter, John Wright, Thomas Percy, and Guy Fawkes, stepped through the doors. Inside, they plotted. Guy Fawkes was not the mastermind as the name of the festival suggests, but rather, it was

Robert Catesby. By October 1605, more plotters joined the fold, now a group of 13 – an unfortunate, unpropitious number.

Catesby’s plot was simple. Well, as simple as blowing up a very large and very public building could be. All he wanted to do, was explode the Palace of Westminster during the opening of Parliament, assassinating the newly appointed King James I and his heir, Prince Henry. With King James dead, chaos would arise, allowing plotters to travel to Coventry in search of the King’s young daughter, Elizabeth. By installing her as queen with a Catholic nobleman ruling on her behalf, Catesby and his associates hoped to return England to Rome. Parliament officially opened on 5 November. Guy Fawkes made his penultimate check on the gunpowder on 30 October. Lord Monteagle received an anonymous letter on 26 October. According to the Natural Archives, it read: ‘God and man hath concurred to punish the wickedness of this time… they shall receive a terrible blow this parliament and yet they shall not see who hurts them’. King James was informed of the breach, and through Monteagle’s servants, Catesby was told that the plot had been betrayed. Catesby, stubborn and confident that the letter was too vague, urged the plotters to continue. The night before Parliament opened, Guy Fawkes was discovered. Tortured and quartered, Fawkes relinquished the names of his associates.

In triumph, Parliament passed ‘An Act for a Public Thanksgiving to Almighty God every Year on the Fifth Day of November’. Although the act was dissolved in 1859, the 21st century carries on this tradition through spiralling showers of colours, over toffee apples and bonfires. On the fifth, most of us will gather with our families and friends, bundled in warm clothes, necks craned to the exploding sky – the same sky Guy Fawkes and his associates wanted to paint red over 400 years ago.

The ultimate guide to celebrating Halloween as a student

Izabella

Writer

TheGoodall, she/her

autumn season has rolled upon us quickly, and that means cosy nights in, falling leaves, and of course, Halloween! Many of us, when we were younger, would have enjoyed trick or treating around our neighbourhood. Now, as university students, I think it’s safe to say we have outgrown that tradition. However, that does not mean we have to miss out this spooky season. Halloween is the perfect addition to student life, and everyone can get involved in their own ways. So, what are some ways we can celebrate Halloween as students?

One of my favourite Halloween traditions that I have carried from my childhood to my life at university, is pumpkin carving. Although slightly messy, it is a fun way to spend time with friends and flatmates and can be excellent entertainment. I also like it because you can be really creative. If, however,

this is too messy for your liking, I would recommend painting your pumpkins instead. This has been a major trend on social media this season and I can see why. Once carved or painted, you can display your pumpkins in your accommodation which makes for great Halloween decorations.

Jamie Oliver has some amazing Halloween recipes on his website, from pumpkin curry to zombie brains

You can also buy or create your own Hallow een decorations to get your accommoda tion spooky-season ready. This is another great way to bond with flatmates and to bring a bit of character into your rooms.

Halloween-themed nights at home are a perfect way to stay warm and are great if you prefer this over going out. Scary movie marathons with friends are a great way to keep up the spooky spirit. You can pair this with Halloween snacks and treats. And, if you’re feeling adventurous, you can even make your own food and drinks to suit the theme. Jamie Oliver has some amazing Halloween recipes on his website, from pumpkin curry to zombie brains. You can pick your favourites and spend time making a great Halloween meal. As for the drinks, I think making cocktails or mocktails is a great idea. My personal favourite is a Witches Brew. If you have done all these activities leading up to Halloween and you are left

wanting more, a Halloween night out is great for university students. Many surrounding bars and clubs will have events on for Halloween as well as the nights leading up to it. The venue will usually be decorated, and everyone always comes in their scariest costume. You can have some fun picking out a costume and getting ready with friends before heading out.

From cocktail masterclasses to Halloween baking sessions and quizzes, there is something for everyone

Halloween is also a very popular time for house parties. Like a night out, the house will be decorated and will hopefully have more games than going out. Whether you’re invited to one, or you want

to host your own, it is a great way to spend Halloween. If you fancy hosting your own house party, you can decorate your house, make Halloween punch, and include some scary games. Lastly, it is important to remember that many societies will be hosting their own Halloween events on or near campus. This is a great way to meet new people and still join in the Halloween fun without too much hassle. From cocktail masterclasses to Halloween baking sessions and quizzes, there is something for everyone! Halloween can be such a fun time of year for students, as there is so much to do from cosy nights in, to big nights out. I would definitely recommend getting involved in Halloween as much as possible, because it is always a great part of the student experience.

The trendiest Halloween costume ideas for students

Emilia Sullivan, she/her Deputy Arts Editor

WarwickUniversity students have never needed an excuse to dress up. As Halloween draws near, the stakes are even higher than usual, and the costumes promise to be the wildest we’ve seen all year. Whether you plan on attending a pub crawl, a circle, a club event, or a flat party, here is some inspiration for cheap and easy, but nevertheless iconic costumes, tailored around the clothes you may already have in your wardrobe. You might even need a couple of costumes to rotate over the Halloweekend, so get ready to take note.

You definitely know at least three friends with rogue cowboy hats lying around, and with the recent surge in cowboy boots, you might already have everything you need

After a recent burst of incredible blockbusters, we’ve got plenty of film character costumes on the horizon this October, inspired by both the classics and the new re-

leases. Film-inspired costumes are also great for a group of friends wanting to synchronise. As Pharell Williams sings in Minions 4: “Who will you be tonight? / That’s the question”. For those of us with denim dungarees lying around, perhaps going as Gru’s minions could be the perfect group get-up. With the success of the 2024 musical film adaptation of Mean Girls, I think we can also expect plenty of Reginas, Cadys, Gretchens, and Karens to haunt the streets. Bring out those plaid mini-skirts, strappy vests and cardigans. Halloween might not be on a Wednesday this year but be sure to wear pink for this iconic dress-up choice. For the couples out there who loved Greta Gerwig’s there is a fountain of inspira tion to be taken from the many looks modelled by Barbie and Ken. From unbuttoned Hawaiian shirts to leotards and legwarmers, the op tions are near-limitless. To take a trip down memory lane, couples could also be inspired by the mov ie Brokeback Mountain and replicate one of the most iconic Western and LGBTQIA+ duos. You definitely know at least three friends with

rogue cowboy hats lying around, and with the recent surge in cowboy boots, you might already have everything you need. To travel just a bit further into the past, why not look to the movie Fight Club, especially those with a killer red leather jacket at the ready, and go as Tyler and Marla (or the Narrator). These iconic couple costumes can be sported by any combination of genders with a bit of creativity. After all, isn’t creative license all part of the Halloween fun?

Instead of the overdone ‘black cat’, reach for your printed goods and bounce off those

As well as our favourite media characters, it’s important not to forget the well-loved, traditional figures we associate year after year with Halloween. Many of the Halloween classics can be created with clothes and makeup you already own. So, let’s run through some of the ‘old-but-gold’ costumes you could consider

this year. Clowns: they can be scary and horrific, but also chic. With the stereotypical makeup consisting of an extended smile, triangles above and below the eyes, and perhaps a red nose, the look can be very beginner-friendly for makeup novices. Pair a striking clown-inspired makeup look with any combination of stripes, checks, or ruffles to complete costume. Next, with deep cherry red being the colour of the season, perhaps you have the perfect crimson attire to go as a traditional Halloween devil. Again, with some spooky, blood-inspired makeup, you may not need to buy any additional accessories to portray this time less costume. Anoth er incredibly simple costume is the corpse bride: a white dress and makeshift veil can make this a quick and comfortable choice. A pale base makeup and darkened eyes will tie the costume together, and extra points are awarded for a haunt ing bouquet of dying flowers. With the rise in pop ularity of animal print, you might have a super easy animal costume at your fingertips. Instead of the over-done ‘black cat’,

bra-striped jumper? Maybe even a pair of cow print trousers? Once you’ve found your statement piece, you can get practising with some animalistic makeup. You might go for a simple nose and whiskers or take it even further by bringing the animal print into your makeup. There’s nothing a bit of eyeshadow and liner can’t achieve with practice. Whatever you get up to this Halloween, hopefully these costume ideas have provided you with some inexpensive inspiration. Enjoy this year’s spooky season and above all, be sure to keep yourself and your friends safe during the festivities.

» Images: William Warby / Unsplash (pumpkin), Kaboompics.com / Pexels (ghosts), Nataliya Vaitkevich / Pexels (drink)

» Images: T Leish / Pexels (witch), PickPik (cowboy hat), Sierra Koder / Unsplash (corpse nride)

Destination of the Month: Los Angeles

Facts:

Population:

3.9 million people (2023 estimate); the second-largest city in the U.S.

Tourism:

Welcomes over 50 million tourists annually, with a peak season in October due to pleasant weather (average high: 79°F).

Economy:

LA generates $1 trillion in GDP annually, with the entertainment industry contributing 11.5% of jobs.

Halloween Events:

Hosts over 100 major Halloween events, attracting 1 million visitors to key attractions like Universal Studios’ Horror Nights.

Film Industry:

Approximately 60% of U.S. film and television productions are based in LA, and the city sees a surge in production during fall, especially for horror and holiday-themed content.

Sports:

October is a prime month for LA sports, with both the MLB playoffs (Dodgers) and NBA preseason (Lakers, Clippers) drawing significant attention.

Beaches:

October water temperatures average 18°C, making LA beaches still attractive for tourists despite it being fall.

Summary:

In October, Los Angeles thrives as a vibrant cultural and economic hub. Its rich entertainment offerings, and major events make it an attractive destination for tourists and the film industry.

Dark tourism: Where history and mystery collide.

Ivanna Keane, She/Her Writer

Itis one thing to go on holiday and marvel at the beauty of coral reefs, the architecture of Florence, or the grandeur of ancient temples, but quite another to visit places laced with tragedy, death, and suffering. Such is the nature of ‘dark tourism’. From ancient battlegrounds to disaster zones, these destinations are steeped in a haunting history that attracts travellers who seek a deeper understanding of humanity’s darkest moments.

One of the most prominent examples of dark tourism today is Chernobyl, the site of a catastrophic nuclear disaster. On the 26 April 1986, an explosion at the Chernobyl Nuclear Power Plant released radioactive particles in the atmosphere, killing people and contaminating not just the surrounding area, but also affecting much of the northern hemisphere with fallout.

The psychological appeal of a visit to Chernobyl stems from a deep-seated human fascination with death and destruction

A symbol of devastation for many visitors, Chernobyl represents the opportunity to stand in the shadow of one of the greatest man-made disasters in human history. The eerie silence of a city frozen in time provokes an emotional and psychological response unlike any other, its allure blending curiosity and a confrontation with mortality. But as nature reclaims the abandoned city, the ethical questions surrounding the dark tourism trend continue to grow: are we genuinely learning from these tragic sites, or are we commodifying suffering for curiosity’s sake? This fascination, is it a form

of reflection – or simply a romanticisation?

My late grandfather was a Chernobyl liquidator, one of the thousands of civil and military personnel called upon to deal with the aftermath of the disaster. From June to July of 1986, he was tasked with leading a small battalion in building 10km of the 30km exclusion zone that surrounds the radioactive area. He describes the arduous process in his memoirs, writing that the radioactive particles were constantly being transported by people, animals, and weather, forcing the work process to halt every 24 hours for decontamination and re-measurement of the zone parameters. Amid this, they were also carrying out burials of anyone and anything that had been contaminated. By early July, he had moved to the examination of Pripyat, the abandoned nearby city, and while travelling on a personnel carrier, he remembers the radiation monitors reaching astronomical levels. Fifteen years later, the invisible scars of Chernobyl showed. In 2003, he underwent multiple surgeries for melanoma and other cancers, and until his death in 2021, the battle never stopped. Chernobyl was not just a moment in a history – it left a permanent mark on those who lived through it. The effects of the disaster lingered long after, with people refusing to buy goods from what they believed were contaminated areas for years to come.

Dark tourism’s future will depend on the balance between education and exploitation

The psychological appeal of a visit to Chernobyl stems from a deep-seated human fascination with death and destruction, and the consequences of human error. Tourists are drawn to the prospect of witnessing, firsthand, the aftermath of a disaster on an apocalyp-

tic scale – a setting now more than ever dramatized by Hollywood, but far more unsettling when experienced in reality. Furthermore, what sets Chernobyl apart from other dark tourism destinations is the lingering, invisible danger of the remaining radiation. The deserted city of Pripyat with its empty streets and decaying buildings, evokes a haunting sense of isolation, marking it as an eerie monument to the fragility of life and civilisation.

Moreover, Chernobyl seems to fulfil tourists’ desire to connect with history on a personal level allowing visitors to visualise the magnitude of the disaster more profoundly than any documentary or history book could achieve. While some may experience a voyeuristic thrill, others are driven by a wish to pay respect to the past and undergo a moment of deep introspection. For these travellers, visiting Chernobyl is not an adventure; it is a means of connecting with the tragedy on an intimate, human level.

While the psychological appeal is undeniable, the ethics surrounding dark tourism at such a site are complex and often controversial. A key concern is the exploitation of suffering for profit. The Chernobyl disaster caused immense loss, from workers and emergency responders to the countless people displaced and affected by long-term health issues. Turning the site into a tourist attraction and an instagrammable location risks trivialising the event, reducing it to a spectacle rather than honouring it as a place for reflection and remembrance. The boundaries between education, awareness, and spectacle can blur, leaving some to question whether dark tourism is an ethical form of travel.

The commercialisation of the site has taken tasteless forms, from vandalism, such as graffiti, and love locks to companies merchandising souvenirs such as glow-in-thedark radioactive animals. Worst still, are the fans of the show who re-enact scenes from TV shows in the plant’s control room, wearing technician costumes and turning the tragedy into a form of insensitive entertainment.

While currently closed for tourism, ultimately, sites like Chernobyl will always serve as a reminder of humanity’s capacity for both destruction and resilience, offering lessons that resonate far beyond the boundaries of the exclusion zone. Deterioration will only continue, and one day the site may be demolished forever. It’s a time capsule that is destined to become a legend and therefore should be used as a powerful tool for education and reflection. Yet, it must, forever and always, be treated with respect.

» Image: Unsplash / Viktor Hesse

» Image: Unsplash / Ruben Gutierrez

Year Abroad:A Trip to Gotland, Sweden

Where've you been?

Of the many Swedish islands I’ve visited while on my year abroad, none have quite captured the charm of Gotland, Sweden’s largest island located in the centre of the Baltic Sea. I signed up to this trip with ESN (Erasmus Student Network) and just spent the entire weekend exploring the island’s stunning landscapes and historic sites, along with many other exchange students. Here’s how it went…

Our journey started in Stockholm where ESN students from the universities of Gothenburg (me), Linköping, and Stockholm all met to begin our adventure. After filling up the 50-seater coach with our luggage and ourselves, we set off towards Nynäshamn to catch the ferry. Pulling into the harbour, we were met with a giant herd of children, all of whom were taking our ferry to Gotland to compete in a gymnastics competition. This meant our three-hour journey to the island was very loud and full of energetic chatter with the occasional gymnastics demonstration in the aisles.

During the summer, the town hosts ‘Medieval Week,’ where you are expected to dress up in period costumes

Upon arrival, we were met by Jan, a local tour guide of the town of Visby. This fairy-tale-looking place is a national treasure of Gotland being one of the best-preserved medieval towns in Scandinavia. During the tour, I was able to capture many pictures of the cobblestone streets, colourful houses, and impressive medieval city walls. The town’s walls were built in the 13th century and are about 3.4km long – Visby is a UNESCO World Heritage site where you’ll find ruins of medieval churches and beautiful rose gardens. During the summer, the town hosts ‘Medieval Week,’ where you are expected to dress up in period costumes and engage in jousting tournaments, markets, and other events that celebrate the town’s medieval heritage. However, we were lucky enough to experience the town in its peaceful, autumn period, so were very appreciative of the quiet streets and beautiful sunsets. Surrounded by green hills and the Baltic Sea, a tour of Visby was a great start to our trip.

Next up, we drove to our accommodation located right next to the coast. We were all allocated cabins

and spent the evening cooking our group meals. My cabin went with a classic pizza-making night where we all introduced ourselves to each other before wandering down to the beach-front and finishing the day with some stargazing. We were up bright and early the next morning to set off on a daytrip to Fårö, a much smaller island just north of Gotland. The island is separated from Gotland by the narrow Fårö-strait, and connected by two car ferries, one of which we had to cross on our coach. Our first stop was the English Cemetery, a grave in Ryssnäs which contains the remains of 20 British sailors of the Royal Navy – Fårö served as a British navy base during the Crimean War. Our next stop was the medieval Fårö Church, parts of which were built in the 14th century. Almost the entire nave and tower are medieval, but the church has lost much of its original look through subsequent reconstructions. In the church cemetery, we were pointed in the direction of the grave of film-maker Ingmar Bergman who lived and died on Fårö with several of his films being filmed on the island. Next up, we hiked 5km along the island’s northeastern beach with our end destination being Fårö lighthouse, a 30-metre-high building built between 1846 and 1847. Our final stop of the trip was the Blå Lagunen (the Blue Lagoon), where the bravest of our group decided to have a brief swim. The coach ride back to the cabins was completely silent, with everyone fast asleep, exhausted from the day’s adventures.

It was yet again a very early start the next morning for our final day of the trip. We started the day with a peaceful walk along Ekstakusten, located on the Western coast of Gotland, one of the island’s most scenic coastal stretches. It’s known for its rugged, windswept beauty and offers stunning views of the Baltic Sea and nearby Karlsö Islands (Lilla and Stora Karlsö). With its rocky beaches and sparse

Travel Article Competition

Hannah Colechin, She/Her Travel Sub-Editor Jacob Olie, He/Him Writer

40 minutes out of Bogotá in the state of Cundinamarca, I found myself nestled in the sleepy Colombian town of Bojacá. Sleepy, however, was an understatement, despite being a town of over 10,000 people, it would be more accurately described as dormant.

vegetation, it truly felt like we had been dropped off in the middle of nowhere, almost like the middle of an apocalypse. Our hour walk along the coastline was accompanied by the sounds of crashing waves, birds, cows, and sheep –much more peaceful than the cities we had all come from. The area was also dotted with a few fishing huts and remnants of old coastal villages which added a historical element to our relaxing nature walk. Next up, was Högklint, one of Gotland’s most stunning viewpoints. Perched about 48 meters above sea level, Högklint offers sweeping panoramic views of the Baltic Sea, with the rugged coastline and medieval town of Visby in the distance.

Our day ended where it all began, back in the town of Visby where we were given three hours free time to explore. My group stopped by a cosy café for a break, wandered through the charming shops, snapped photos of the picturesque streets, and finally made our way down to the coast to catch the ferry back. To our delight, we were once again sharing our journey with the kids from the gymnastics competition, all of whom had medals slung round their necks and energy levels ten times higher than when we’d last seen them. Despite the lively chatter and excitement, it felt as though everyone eventually succumbed to sleep after a long weekend of walking and adventuring.

From exploring the medieval streets of Visby to hiking along rugged coastlines and visiting historic landmarks, Gotland had shown us its incredible blend of natural beauty and rich history. This trip with ESN was not just about seeing a new place, but about sharing unforgettable experiences with fellow exchange students from all over the world – an adventure that left us all eager for what the rest of our year abroad might hold.

Cashless and armed with very limited Spanish, my wanderings around the town involved little more than avoiding stray dogs and staring into shuttered up shops. It was lonely and it was boring; a far cry from the wondrous appeal that travelling had been sold to me as.

But then Sunday rolled around. The town arose from its hibernation and this weekly market suddenly breathed life, dance, music, and colour into Bojaca’s centre.

I sat down on a bench to observe the festivities and, if I didn’t already stick out enough as the only white person in a rural Colombian town for miles around, I cracked out my film camera and snapped away, just to really hammer home that I was the foreigner here.

A crowd slowly started to gather as four men and four women adorned in bowler hats, ponchos, and frilly dresses took centre stage, dancing along to the buoyant vocals that rang out around the square. The men weaved in and out of the women in theatrical attempts to win them over before eight unwitting audience members were picked out and partnered up to finish off the performance.

With a second round of dancing underway I was keen to learn more. I had managed to wangle myself a spot on a bench next to 3 generations of a Colombian family.

After rehearsing a possible Spanish conversation in my head so as to not make myself look like a fool, I asked the grandma sitting beside me what type of dance we were watching. She responded briefly, telling me it was a traditional folk dance typical to this region. Then she paused, tending towards her grandchildren for a moment, and then all at once the conversation came flowing out of her.

Gushing over her beautiful country, she told me that she frequently travels to Bojacá from the capital to come to the market with her family. I was told of the country’s troubles and turmoils and used every inch of my Spanish-speaking brain to understand the wisdom being laid bare in front of me. She asked what I was doing there and was eager to know what I thought of the place, listening intently and seemingly comprehending my Spanish bumblings. She was particularly curious to know how I thought Colombian people differed from those in England, and, to her shock, I said the English are colder and that the warmth of Colombians is apparent from the get go.

This warmth was affirmed in her goodbye to me, as, rising shakily upwards, she clasped my hand and said with such heartfelt, genuine candour: "promise me you will return. " I nodded yes, and waved her family off.

I may not have learnt her name, but I came to see her affability and good-natured attitude was emblematic of all the Colombian people I was to meet and set the blueprint for an amazing holiday.

Images: (Bottom Right) Unsplash / Ricardo Gomez Angel; (Top Left) Unsplash / USGS

MEDIA

@theboarmedia

The Boar presents the Media section, featuring Music, Podcasts, Film, TV, and Games.

Music Editor: Lucy Gibbons (she/her) music@theboar.org

Sub-Editor: Zoe Mudd (she/her)

Deputy editors: Ruby McDowell (she/her) Meera Nair (she/her)

Podcasts Editor: Matthew Randell (he/him) podcasts@theboar.org

Sub-Editor: Amira Neminathan (they/them)

Deputy editors:

Millie Hatfield-Grossova (she/her) Hasan Islam (he/him)

Film Editor: Parijat Bhattacherjee (she/her) film@theboar.org

Sub-Editor: Kaitlyn Luckie (she/her)

Deputy editors:

Gemma Rice (she/her)

Helen Trappelides (she/her)

TV Editor: Hayden Waller (he/him) tv@theboar.org

Sub-Editor: Anya Mittal (she/her)

Deputy editors: Matthew Titterington (he/him)

Games Editor: Gabriela Jozefowicz (she/her) games@theboar.org

Sub-Editor: Callum Morar (he/him)

Deputy editors:

Ethan Delcroix (he/they/she)

Sunehar Aneja (she/her)

Articles you can find online...

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Hayden Waller, Film

The Streaming Model: limitless potential or creative cage?

Music

Zoe Mudd, Music Yeat, rave, repeat: rising star thrills at Birmingham

Matthew Randell, Podcasts The Kiki of Queens: The Bald and the Beautiful with Trixie and Katya

Gabriela Jozefowicz, Games

A non-gamer's guide to gaming lingo

Halloween

hits:

the essential October playlist

Zoe Mudd (she/her) Music Sub-Editor

Aseveryone basks in all the pumpkin carving, costuming, and cobweb adorning of the autumn season, there is absolutely no better way to get into the Halloween spirit than crafting the perfect, most ghoulish, playlist. From haunting gothic classics to thrilling party anthems, this comprehensive guide to October’s essential tunes will usher any and all listeners into the freakishly festive spirit.

‘A Forest’ – The Cure

You can’t make a Halloween playlist without mentioning The Cure. A gothic rock classic, Robert Smith’s haunting vocals and one of the band’s most memorable basslines make ‘A Forest’ an unmissable song on any Halloween playlist. With a ghostly vocal delay, Smith’s mysterious and eerie lyrics, and a melodic battle between the dark bass and upbeat synths, this track plays perfectly at any October parties.

‘Lucretia My Reflection’ – The Sisters of Mercy

Unmistakeably the song with the best, most prominently dark bass on this list, the howling guitars of ‘Lucretia My Reflection’ would force even the least festive person into the mood for Halloween. With its incredible electric guitar led instrumental and Andrew Eldritch’s distinctly gothic and strikingly deep vocals, this eight-minute tale of destruction and terror was meticulously crafted to be heard on a dark Autumn night.

‘Dead Souls’ – Nine Inch Nails

This cover provides a much moodier version of the original Joy Division song, with the slowed tempo and Trent Reznor’s strained, impassioned vocals resulting in a distinctly haunting sound – the perfect combination for any Halloween playlist. Made for the soundtrack of gothic cult classic film The Crow, which features some other fittingly heavy songs from the likes of The Cure, The Jesus and Mary Chain, and Rage Against the Machine, this incredible ‘Dead Souls’ cover is a quintessentially angsty Halloween must-listen.

‘Spellbound’ – Siouxsie and The Banshees

One of the most influential postpunk bands of the 20th century, even serving as sonic and aesthetic inspiration for The Cure, much of Siouxsie and The Banshees’ gothic-

driven discography would be an apt fit for this list. However, the 1981 electric masterpiece ‘Spellbound’ in particular shines out as a track with all the makings of a Halloween classic. With Siouxsie Sioux’s eerie, witchy lyrics paired with punchy drums and an unforgettable guitar riff, this haunting song will perfectly soundtrack any chilly October evening.

‘Sugar’ – Bladee

Moving towards some more modern picks, this distinctly vampiric 2016 track from Swedish rapper Bladee presents a punchier option for those looking for some higherenergy Halloween picks. ‘Sugar’ offers some quintessentially haunting lyrics, with Bladee’s autotunedrenched vocals delivering a catchy yet grisly chorus about longing for the sweet taste of his lover’s blood. Perfect for any late-night Dracula rewatches, this intense and quirky track is sure to bring the goosebumps on any playlist.

‘Psycho Killer’ – Talking Heads

It’s all in the title with this one. Truly a Halloween party classic, this debut hit for the Talking Heads provides a groovier break amidst some of the heavier gothic tracks on this list. Perfect for a solo dance session and an inevitable crowd-pleaser at any party, the macabre lyrics and driving bassline of ‘Psycho Killer’ make it an essential playlist addition.

‘Personal Jesus’ – Marilyn Manson

This heavier cover of the Depeche Mode classic takes the iconic haunting sound of this song to another level. With the amped-up, screeching electric guitar ringing out the unforgettable riff of ‘Personal Jesus’ and Manson’s raspy vocals perfectly complimenting the daring lyrics of this track, this gritty cover is an absolute must-listen this Halloween season.

‘Freaks Come Out at Night’ – Whodini

Another crowd-pleaser, this massive 1984 electronic hip-hop classic was made for those curating an upbeat, but still aptly spooky, Halloween playlist. With an unmistakeably 80s sound, an irresistibly catchy hook, and Whodini’s playfully eerie lyricism, ‘Freaks Come Out at Night’ is perfect for any macabre singalongs.

‘Scary Monsters (and Super Creeps)’ – David Bowie

A David Bowie classic, the quick driving guitar and quirky lyricism of ‘Scary Monsters (and Super Creeps)’ make for an undeniably fun festive listen. Just as fitting on a Halloween playlist as it would be on the soundtrack of The Rocky Horror Picture Show, this song provides a perfect blend of spookiness and campiness that will add some excitement to your blend of haunting tracks. ‘Monster’ – Kanye West feat. Jay Z, Rick Ross, Nicki Minaj, Bon Iver

A star-studded collaboration and one of Nicki Minaj’s best verses, this iconic song is the perfect mix of dark and playful to get you excited for some upbeat Halloween festivities. The quintessential October party song, all the twists and turns in ‘Monster’’s many features are sure to bring the thrills to any playlist this season.

‘Thriller/ Heads Will Roll’ – Glee Cast

Whilst few people may long to have the Glee Cast make an appearance on their Spotify Wrapped, this energetic mashup provides the unmissable opportunity to listen to two absolute Halloween classics at once. The most upbeat entry on this list, this brilliant ensemble track features all the over-the-top background screams, wolf howls, and demonic voice effects that any Halloween-loving heart could desire.

» Images: Flickr/ Pedro Ferreira (top right), Creazilla (bottom right)

Pale Waves' Hugo Silvani talks Smitten: A rollercoaster of sounds, emotion, and evolution

INTERVIEW

Abigail

Mableson (she/her) Arts Editor

Acouple of weeks ago when I got to chat with Hugo Silvani, the lead guitarist and contributing producer for alternative rock band Pale Waves, the band were getting excited for the release of their newest album, Smitten. Following the release of their debut single ‘There’s a Honey’ in 2017, the Manchester-based band have gone from strength to strength in cultivating their own sound and voice. Now, with their fourth studio album having been released on 27 September and receiving a multitude of promising reviews, the world is their oyster as they set to embark on a nationwide tour throughout various venues in the UK.

“What matters is how people react to [the album]”

Hugo Silvani

From an outside perspective, the idea of releasing a new album seems exciting, nerve-wracking, and somewhat scary, a sentiment with which Silvani completely agreed. “I am really excited, as for me personally, I like having more involvement on this album”, states Silvani, especially through becoming a producer on the album, including for songs such as ‘Gravity’. Silvani remarked that this time round he feels “more invested in the songs”, truly valuing the output the band has created through their hard work. However, Silvani also regards the importance of wider opinions and feedback, sharing the importance of pleasing their fanbase and attracting a wider audience across the globe.

“I might have spent six hours on one bass line and people might not necessarily hear it, but they’ll feel it”

out into the world. However, he is excited by the idea of celebrating this monumental musical release and personal achievement for the band, and to “hear all the amazing stories”, which come through resonance with the album.

The world of producing, as an offshoot of his guitar career, is a new world of depth for Silvani. “It kind of all started about a couple of years ago, when me and Heather started talking back and forth from LA and London”, states Silvani, deciding to keep their production close to home, allowing them to share their influences and produce an album with the most authenticity. The true aim of the album was to explore how they could develop Baron-Gracie’s lyrics in an emotionally representative way, in a musical format, as embodied in the personal poetic lyricism of songs such as ‘Thinking About You’ and ‘Miss America’, which allow Baron-Gracie’s artistry to truly flow. From Silvani’s perspective, being a guitarist conceptually and experimentally, allows the album to be bolstered into a new world.

Silvani found himself questioning “how can we best showcase this sonically”, and visualising the music, which is perfectly expressed in the punchy guitar track in ‘Perfume’. Music is often seen to be produced in the manner of a movie, relying on storytelling and structure to find the ultimate meaning.

“Going deep on sounds” lets Silvani delve into a deeper world of the album, with the ability to “leave no stone unturned”, even the smallest sounds from the bass or guitar, which some people may not notice, produce the most exciting product. “I might have spent six hours on one bass line and people might not necessarily hear it, but they’ll feel it”, Silvani remarks, with care and attention to sounds being the aim for production.

“What matters is how people react to it”, states Silvani, which is ultimately the “most nerve-wracking” part of an album release, after going through the process of putting your heart and soul into the music and hoping it will resonate. To avoid these fears, Silvani pushed the album release to the back of his mind, hoping to not get “too obsessed” with the dates and times the album is set to be put

The world of Pale Waves relies strongly on inspiration and musical influences. When Baron-Gracie found the idea for the album, Silvani stated the band resorted to “what they know and love”, including music by: The Cranberries, The Cure, and the Cocteau Twins. The band have previously had the pleasure of supporting The Cure as promotion for their first album, finding this era of music to be a truly inspiring part of their journey. “Having an eye on the music that you love” will always seep through, states Silvani, and the important influences always remain. Silvani also finds personal accomplishment and joy in working with the people who have inspired the band so greatly, relishing in being associated with such talents and being lucky to experience such exciting things.

Hugo Silvani, Pale Waves

I was excited to ask Silvani about his personal feelings about being involved in the music industry

The music industry is something most of us don’t have the pleasure of being involved in. Only aware of certain stories and tales, the music world felt like a far-off planet to me. I was excited to ask Silvani about his personal feelings about being involved in the music industry. “You know, it’s a privilege and I think it comes with its challenges”, states Silvani. Although the band has been through various setbacks, he is thankful that Pale Waves has gotten through, and been able to have such wonderful experiences, from supporting well-known artists to attending “every festival under the sun”. However, Silvani does not take his privilege lightly, being in a personally “fortunate position” and acknowledging that many who he believes have more important voices undergo more difficult experiences. “It’s an interesting place for sure”, states Silvani, and he will always be grateful for doing music as a full-time job.

“Touring is the most fun part, but the most draining” comments Silvani. Moving from his early to his late twenties has seen Silvani desiring to spend more time with his loved ones, however, the prospect of going on tour this autumn is nevertheless exciting. Silvani states that touring is where the job aspect of the music industry comes into play but it’s forever fun. “The first night of a tour is terrifying”, with so many questions going around in Silvani’s head. Silvani likens it to hosting a party, hoping that his fans will have fun and enjoy themselves. The people in the audience matter the most, which is

REVIEWS

Albums:

Neon Trees' Sink Your Teeth is an acquired taste

Naomi Pandey (she/her)

Deputy Books Editor

Sink Your Teeth is a largely impressive addition to Neon Trees’s discography, with some evident musical experimentation, and tracks that allow all members to demonstrate their talent. However, it is very much an acquired taste. To enjoy this album, or to appreciate it, more than one listen-through is necessary.

part of the Pale Waves ethos and ultimately their job.

I finally asked Silvani to pitch his album to the fans. “It’s a roll-

“[The album] is a rollercoaster of emotions and truth"

Hugo Silvani

ercoaster of emotions and truth” states Silvani, merged with the classic sounds of Pale Waves. Expect more “experimentation”, “maturity”, and fun. This sentiment has truly been developed, especially for the fans, who have taken to the album very well. Receiving a four-star review by NME, Smitten has been described as a “loved-up liberation”. Silvani’s wishes for the album have been widely received, and the future of Pale Waves looks bright. Pale Waves' new album, Smitten, is out now.

Smitten is a successful turning point for Pale Waves

Luke Evans (he/him)

Writer

The courage to decry pessimism in an album that could so easily be a revolt against romance makes Smitten stand out. There’s no sense of defeat in Heather Baron-Gracie’s songwriting, just an acceptance of her pain. While perhaps less theatrical and with fewer standout hits than their previous album, Smitten continues to deliver stunning, emotive vocals, and masterful musical accompaniment – even its quiet moments improve upon the low points of past releases. However, the album diverts from the band’s previous style, representing a successful turning point in their ten-year career.

Live: Yeat, rave, repeat: rising star thrills at Birmingham

Zoe Mudd (she/her)

Music Sub-Editor

As the wave of fans covered in vodka, sweat, and loose string from Amazon balaclavas begins to pour out of the venue, I’m left endlessly curious about Yeat. With little to no words spoken between songs and a masked face onstage, it speaks to his insatiable energy and dominating stage presence that Yeat is able to captivate the crowd, nonetheless.

» Images: Kelsi Luck (bottom left, middle, bottom right, middle album cover)

» Images: Press (top), Kelsi Luck (middle), Zoe Mudd/The Boar (bottom)

Celebrating Black History Month through music: Essential listening for Black History Month

Jack Thompson, he/him Writer

Irrespectiveof period or genre, black musicians have continuously and consistently made waves in the music industry – redefining the musical hegemony, breaking barriers, and making history. Numerous dominant black artists have achieved well-deserved levels of success – such as SZA, Doja Cat, and Kendrick Lamar. This article, however, will introduce you to black artists, spanning across genres, that you may not have heard of before.

Nova TwinsSupernova

Debuting in 2015, with the single ‘Bassline Bitch’, Nova Twins are an English rock duo featuring vocalist/guitarist Amy Love and bassist Georgia South. Love, of Nigerian descent, and South, of Jamaican descent, are a genre-defying duo – fusing grime and punk with killer bass lines and sonic mayhem. Previously, collaborating with Bring Me The Horizon in 2020 on track ‘1x1’, anyone who listens to BMTH or Linkin Park will undeniably enjoy their work and benefit from giving their album Supernova a listen. Supernova, being shortlisted for the 2022 Mercury Prize, and leading to the duo being nominated for two BRIT Awards in 2023, is the duo’s

strongest work. It further demonstrates the duo’s ability to blend a range of genres with punk, rock, pop, and rap influences to conjure tracks rich in moods, textures, and layers. The 11-track studio album effectively demonstrates the Nova Twins’ dimensional range. Notably, ‘Fire and Ice’ highlights the duality in their vocal techniques – with sections of singing, screaming, and spoken word – while further demonstrating duality in sound with ranging intensities.

Hemlocke

Springs –

‘gimme all ur luv’

Nigerian indie-pop artist Hemlocke Springs is an undeniably unique and refreshing music artist.

She presents an incredibly distinctive sound with lo-fi, EDM, and K-pop influences – and yet creates punchy, playful 80s flavoured pop. The track that sparked her career, ‘gimme all ur luv’, while no longer her most popular, is a good place to start when discovering Springs. The song, when first put on SoundCloud, was compared to the earlier works of Grimes, so if that sound appeals to you be sure to check it out. The single perfects the bedroom pop sound, which can be attributed to the special quality of Springs’ vocals. The ever-changing cadence of her voice highlights the unwavering vulnerability and expressive nature found within her work – a nature which cannot be replicated and thus must be appreciated.

Dean Blunt – BLACK METAL

A British singer-songwriter, musician, producer, and contemporary artist with a long history in the music industry. Dean Blunt has a broad discography as a soloist, a member of the avant-garde duo Hype Williams, and hip-hop group Babyfather. In this sense, he is a master of genres, and in his direction of ‘art pop’ presents a sound reminiscent of an immersive art experience. His 5th album, BLACK METAL, is arguably his strongest work, featuring his most popular

track ‘100’. The album includes elements of indie and folk-pop, alongside American, dub, ambient, grime, drone, and dancehall. The album is incredibly well thought out, with artistic intention within the track listing which encourages a truly immersive listening experience. The album, inspired by black artistic liberation towards something undefined, is split into two halves – centring around the 13-minute track ‘FOREVER’ – to appropriate ‘white’ images, achieved through sampling, in the first and exploring something new in the latter.

FLO - ‘Check’

Jorja Douglas, Stella Quaresma, and Renée Downer came together and debuted in 2022 as a British girl group under the name FLO. FLO’s style draws upon classic R&B and hip-hop from the early 2000s – with inspiration from artists Aaliyah and Ciara. The single ‘Check’ is a dreamy dance track, featuring seductive vocals and a more pop-heavy sound with Miami Bass beat – this playful and simple track is smooth and engaging. It will feature on their album Access All Areas which will be released on November 15, alongside the track ‘Walk Like This’. FLO represents a new wave of black girl groups, following in the footsteps of iconic groups Mis-Teeq (best

known for ‘Scandalous’), Cleopatra, as well as legends TLC and Destiny’s Child.

Honourable Mentions

Kaypaige: ‘Gibberish’ – an incredibly soft-sounding track with nonsensical lyrics.

Dreamer Isioma: Sensitive – a strong hip-hop-based EP with hypnotic elements.

DelaXOZ: ‘don’t do it’ – a track mixing spoken word poem and a chanting anthem.

Sampha and Lil Simz: 'Satellite Business 2.0' - an example of musical chemistry.

Flowerovlove: ‘breaking news’ – an enchanting and addictive upbeat love song.

» Images: j-No/ Flickr (left), Erin Cazes/ Wikimedia Commons (right)

Successes, snubs, and surprises: Who will win big this awards season?

Ellen Bray Koss, she/her Writer

Withthe opening for Grammys submissions officially closed, music lovers and critics alike can finally begin their speculation as to who will take home some of the industry’s most coveted awards this winter. Big releases from so many artists at the peak of their game mean that the 2025 award season is sure to be a momentous occasion.

Sabrina Carpenter’s ‘Espresso’, with its iconic hook and pitch-perfect production, is the obvious frontrunner for Song of the Year

Firstly, we can’t talk about award season without talking about Taylor Swift. Although her most recent album, The Tortured Poets Department, was met with mixed reviews, she holds a dominant position in popular culture that awards committees love to reward, as they did in February when she claimed her record-breaking fourth Album of the Year title. She’ll be contending

with many other popstars at the height of their game: Billie Eilish is notorious for sweeping up trophies, and her latest record Hit Me Hard and Soft will likely be appearing in the big categories, same with Ariana Grande, with her most cohesive work to date, Eternal Sunshine

Other big categories are harder to predict. Sabrina Carpenter’s ‘Espresso’, with its iconic hook and pitch-perfect production, is the obvious frontrunner for Song of the Year, but this category always allows for variety, and with variety comes unpredictability. If the judges can get over the less-thanPG subject matter of ‘Not Like Us’, then Kendrick Lamar may be

in with a good chance, and other acts such as Teddy Swims, Shaboozey, and Hozier are also potential nominees.

Another close and controversial race we may see is between Chappell Roan and Sabrina Carpenter

While the huge volume of projects released by highly successful artists has made for an exciting year for music, it also unfortunately means that a lot of underdogs might be shut out of the major categories (Troye Sivan, Kacey Musgraves, or Childish Gambino, for example), as well as the many hip-hop, funk, and rap artists who usually struggle to break into the so-called ‘Big Four’. Even artists who have already established themselves as powerhouses may struggle – Dua Lipa’s Radical Optimism, which was met with underwhelming reviews, is the most notable example, but additional acts such as Pearl Jam or Peter Gabriel might feel their star power muffled.

The country genre is most likely where we’ll see the most controversy this season – the Country Music Awards’ complete shut-out of Beyoncé, despite it being the

first album by a black woman to reach No.1 on the country charts, as well as the Grammys’ long history of snubbing her in the major categories, has sewn pessimism among champions of Cowboy Carter. For the first time, Post Malone will be a contender in the country categories, but artists such as Chris Stapleton and Zach Bryan are favoured by the bookies. Another close and controversial race we may see is between Chappell Roan and Sabrina Carpenter, both frontrunners for the coveted Best New Artist awards. Roan took home the Moonman at the VMAs, but Carpenter’s near-perfect rollout for her newest album Short ‘n’ Sweet, as well as some technicalities that allow her to compete in the category despite releasing her first project in 2015, might push her into the top spot.

Every award is unique, and each voter will be looking for something different that makes a project a winner

Indeed, every award is unique, and each voter will be looking for something different that makes a project a winner. For example,

Charli XCX’s revolutionary brat will likely fare better at the BRIT awards in March, where tastes tend to sway more in favour of the alternative underdogs than the Recording Academy. Nobody else captured the cultural zeitgeist like her, with the vulnerable yet adrenaline-infused album finding everyone from partygoers to politicians, from teachers to TikTok. It’s for that reason that, out of anyone this year, she deserves to win big and take home a trophy as the perfect lime-green cherry on top of her extraordinary summer.

» Images: Paolo V/ Wikimedia Commons (left), James Dillon/ Wikimedia Commons (right).

Parasocial relationships in podcasting: Problem or privilege?

Izabella Goodall, she/her Writer

Thepopularity of podcasts has greatly risen in recent years, with many influencers and celebrities moving towards podcasts as their main platform. I would suggest that the social media world we operate in, as well as the long-lasting effects of the Covid era, has allowed podcasts to flourish and to capitalise on a more intimate space in media. It has been reported that 'listening to more podcasts per month and higher social engagement with podcasts was tied to greater presence of meaning in life.' This shows the power of podcasts in creating meaningful bonds with their audiences. Many people also say that listening to their favourite podcasts feels like hanging out with friends. Does this mean that podcasts are likely to create parasocial relationships?

Since the '50s, the modes of forming parasocial relationships have increased dramatically

Forbes defines a parasocial relationship as 'a one-sided connection in which an individual imagines a personal bond with someone in the public eye'. It was a term originally coined by Horton and Wohl in 1956 to describe these situations that became present across radio, television, and cinema. But, of course, since the '50s, the modes of forming parasocial relationships have increased dramatically and the way we interact with media has also increased, becoming a part of our daily lives.

How do these parasocial relationships work for podcasts? Podcasts definitely have an intimacy that fosters a place for parasocial relationships to grow. The conversational flow of podcasts, their regularity, and their ability to be able to be listened to anywhere at any time creates a sense of kinship between the podcasters and the lis-

teners. Moreover, with many influencers who already share their lives on social media platforms creating their own podcasts, it creates a feeling of friendship since it can feel like the listener knows every aspect of their lives. And indeed, with the variety of podcast topics available, they can tap into each individual interest which promotes a more concrete connection.

With many podcasts, these relationships can build a real sense of community

This can be a positive effect on mental health since it can fulfil people’s need for social connection. With many podcasts, these relationships can build a real sense of community. A recent example is Sophia and Cinzia, who went on tour with their podcast The Girls Bathroom. Their crowd interactions, use of real-life dilemmas from listeners, and an opportunity for the listeners to engage in a community of predominantly girls has allowed their relationship with listeners to flourish. Their tour went viral, with many taking to social media branding them as their "unpaid therapists" and congratulating them for creating a safe community. This shows how parasocial relationships are able to form in the podcast community. These parasocial relationships with podcasts also provide a form of escapism for listeners.

It is clear that these relationships in the long run can be damaging and are ultimately based upon falsities

On the other hand, parasocial relationships with podcasts also have negative effects. Due to their one-sided nature, they cannot be

used to replace real-life relationships. The “lopsided dynamic can create a false sense of intimacy, leaving fans emotionally attached to individuals who are essentially strangers”, said Nalyn Tindall in Youthquaker. Despite initially appearing to be beneficial, it is clear that these relationships in the long run can be damaging and are ultimately based upon falsities. This connection can also be exploited by brands and adverts since the individual is in a vulnerable position.

The way in which podcasts are set up exploits people’s desire for social connection

So are podcasts more susceptible to forming these parasocial relationships in comparison to other mediums? I would come to the conclusion that the answer is yes. As mentioned previously, the way in which podcasts operate creates an intimacy in itself. This intimacy therefore replicates that of a real-life friendship. Especially if an individual is listening to the same podcast regularly, they recognise the voice of the podcaster, and it can make them feel like they are catching up with a friend. The way in which podcasts are set up exploits people’s desire for social connection.

Ultimately, podcasts are highly likely, in comparison to other mediums, to produce parasocial relationships. Whilst seemingly beneficial at first, if not managed by the individual, these relationships can spiral out of control and lead to negative consequences. Podcasts are great in creating a sense of community and providing escapism for its listeners, but listeners should definitely be wary about forming unhealthy attachments to them.

» Image: Pexels/Freerangestock

Podcasts to help you settle in at university

Ellen Cassidy, she/her Writer

Itseems inevitable that the daunting prospect of at least one aspect of univer sity life will make you, as a first year, doubt yourself at one time or another in the coming weeks. Throughout my first few months of university, when the moments of silence whilst alone in my room seemed especially unnerving, my unwavering oasis was provided by a multitude of podcasts. Al lowing myself to be drawn in by an interview, a histo ry lesson, or an intimate conversation; any thing that seemed to provide a level of comfort whilst I simultaneous ly completed the more mundane tasks that occupied my day. These podcasts became a tool with which I could tune out the world.

[The] triumphant combination of light-heartedness and real insight that creates a delightful listen

One podcast I frequently gravitated towards was Off Menu with Ed Gamble and James Acaster. Celebrity guests are brought on to discuss their dream menus: starter, main course, side dish, drink, and dessert. The structured format of each episode, and the seasoned comedians and hosts, Acaster and Gamble, make the guests promotion of their latest project feel almost natural. As opposed to a stereotypical interview style the ease of being in the presence of not one but two comedians, allows the walls of the guests to be lowered, as they are able to partake in the humour and engage in the amusing fantasy that comes alongside the selection of their dream menu. Similarly to the ways in which the acclaimed podcast Desert Island Discs unveils their guests most treasured songs, there is something comparatively distinctive about a podcast that exposes a guest’s favourite meals. Whilst it seems slightly farfetched to say so, the divulging of a celebrity guests’ favourite, and most distinctive meals offers an arguably intimate insight into their personhood, in the same way that choosing only eight pieces of music establishes a consummation of your life. It is this triumphant combination of light heartedness and real insight that creates a delightful listen.

Whilst Off Menu provides the listener with a series of entertaining, witty episodes ideal for someone looking for brief moments of laughter in amidst the overwhelming first few weeks of university, there can be value found in podcasts that offer advice or delve into certain common setbacks.

This is where Pretty Lonesome with Madeline Argy interesting-

subject, as Argy presents her own thoughts having overcome emotions such as loneliness, jealousy, and self-loathing. Often times without addressing the stigma surrounding any of her chosen topics, Argy seems to effortlessly draw the listener in to her own experiences, addressing such topics as ‘Having no friends is fine’. Recording from inside her car, she seems less guarded, like a friend, as without the backdrop of a curated podcast studio, Argy lets listeners into her life by sharing personal stories and experiences without the fuss and feathers, ultimately making her seem more relatable and thus the solutions she presents far more achievable.

To find a podcast that interests you or takes your mind off something or allows you to not take things so seriously

In those first few weeks of university life, it’s natural to feel overwhelmed, I assure you. I found it incredibly difficult to learn and adapt, to get to know myself as an adult living away from home for the first time, whilst balancing studying and socialising. When all your senses are inundated by unfamiliarity my one recommended remedy would be to be unafraid to search for things that give you a sense of contentment in amongst the newness. To find a podcast that interests you or takes your mind off something or allows you to not take things so seriously. When everything at the beginning of university life seems immense don’t be afraid to take a couple of minutes out, or even an hour and switch off. Freshers’ week, and the weeks that follow, are demanding in every way, it requires an endless supply of energy and although it is exceptionally fun, and if I could go back I would take every opportunity offered to me, an hour to yourself is going to serve you well in recharging your batteries.

» Image: Matthew Randell / The Boar

Baby Reindeer

TV's obligation to the truth

WhenRichard Gadd premiered Baby Reindeer in its original form as a one-man-show at the Edinburgh Fringe, he could have no idea that five years later, the subject of his piece would be suing him for $170 million. On 27 September, US District Judge, Gary Klausner

ruled that Gadd’s former stalker Fiona Harvey could follow through with her defamation suit against her depiction in Netflix’s sleeper hit limited series Baby Reindeer

The series saw Gadd playing a semi-fictionalised version of himself as he dealt with an increasingly unhinged stalker named Martha. Internet sleuths did not take long to uncover that ‘Martha’ was in fact a pseudonym for Gadd’s real-life stalker, Fiona Harvey.

This ‘unveiling’ led to a media frenzy as Harvey was given the opportunity to tell her side of the story, notably through a tellall interview with Piers Morgan, supposed patron of the truth. However, this interview only further solidified Gadd’s depiction of events, with Harvey’s incoherent ranting and mannerisms having more than a little overlap with the character of Martha.

However, in spite of Baby Reindeer’s largely authentic depiction of the overall events, Harvey succeeded with having her lawsuit accepted thanks to specific plot points in the series. This included a scene in which Martha gouges the eyes of Richard Gadd’s character Donnie, as well as the series’ ending in which Martha gets criminally convicted of stalking.

For the purposes of entertainment, it is clear why these scenes

were added to the series. Martha’s acts of violence manage to convey the rising stakes of the situation. Her climactic conviction makes for a far more definitive denouement than the real story, where it is believed that the mere threat of legal repercussions warded Harvey off. However, when a show is based on real events, the use of artistic licence becomes a murkier issue.

It is important to note Gadd's background in stand-up

It is important to note Gadd’s background in stand-up comedy, an artform where a bending of the truth is accepted if utilised for the sake of a joke.

However, when this distortion is used for more serious subject matters it becomes morally ambiguous. Stand-up comic Hasan Minhaj recently came under fire for a similar bending of the truth, after The New Yorker’s Clare Malone investigated specific anecdotes from his then-recent special The King’s Jester. In one story, he tells of he and his wife’s panic after a mysterious powder from a package received in the mail spilled onto his daughter. While Minhaj greatly embellished the story, he justified the differences as being based on ‘emotional truth’.

In both his play and the series, Gadd followed a similar reasoning of ‘emotional truth’ with the character of Martha and her acts of violence. Although it may not be fully grounded in reality, it still successfully conveys the potential danger she possessed.

Furthermore, a key difference

between the play and the series is that, in the latter, Gadd’s character is given the name Donnie Dunn. This fictionalisation implicitly suggests that what is depicted is not supposed to be taken as completely factual.

Conversely, the show undermines this by having every episode open with the words ‘This is a true story’. The Sunday Times reported that this opening sentence was added at Netflix’s request, despite Gadd’s reservations.

With the public’s growing obsession with true-crime stories –which Netflix itself had played a big part in propagating through now-iconic series like Making a Murderer and The Tiger King –there is no doubt as to why these words were attached to the series. This hook ensured that Baby Reindeer’s success was not restricted to that of a British dark-comedy series but a true-crime series that managed to capture the zeitgeist for a brief moment.

Gadd takes on an empathetic point of view

The nature of truth in genre of true-crime television genre has often been a subject of debate, with a common accusation being that it exploits the real-life figures at the centre. One of Netflix’s most recent successes has been their series Monsters, created by Ryan Murphy, with its two seasons focusing on Jeffrey Dahmer and the Menendez Brothers respectively. A key criticism levied at both series has been Murphy’s refusal to talk to the real figures portrayed.

In defence of reality TV

viewers with some of the most jaw-dropping, must-see moments television has to offer.

Tears,tantrums, scandals, and the highest level of drama – no not a summary of British politics over the last 10 years – but the explosion of reality TV shows which have dominated modern popular culture.

Since its big arrival on British shores with the inaugural series of Big Brother nearly 25 years ago, the much-maligned genre has had various ups and downs. From finding its feet in the noughties, with risqué forms and concepts, often at the abuse and exploitation of contestants and to the disdain of critics and some audience members alike, the genre has since reached, what I see, as its zenith.

It would be a hard ask to flick through the main TV channels today and not find at least one reality show slipped into one of the primetime slots. There are classics like The Apprentice or Love Island, or new hits like The Traitors or BBC Three’s I Kissed a Boy/ Girl franchise – not to mention the wealth of reality shows available across streaming sites. But more important than the quantity of these shows, is their quality, something which in recent years has shone through and provided

X, sharing reactions to iconic moments such as the revelation of the son of retired teacher and reigning gay-icon Diane (“…but Ross is!”).

Mixing a diverse, interesting bunch of people The show

In the winter of 2022, British audiences were to get their first taste of a certain Scottish Highland castle, which would become an annual fixture in the TV calendar. The Traitors, hosted by an effortlessly charismatic Claudia Winkelman in an increasingly oversized turtleneck, became a masterclass in how to make the perfect reality show. From a diverse cast of 22 strangers representing a true make-up of British society, to a ridiculously exceptional premise, dripping with all the drama, secrets, and inevitable betrayal that audiences simply can’t help but lap up from their sofas, the show really has it all.

In the age of on-demand streaming, it’s so rare for a show to create such a buzz and sense of anticipation for the release of live episodes. Yet The Traitors did just that, achieving a monumental peak audience of 6.9 million during the airing of the series two finale. Thousands committed to a live commentary of the show via

The show is reality television at its best, putting ordinary people into the spotlight and creating heroes and villains out of random strangers we may bump into along the street. Its success, mirrored by the enrapturing Race Across the World series made by the same production company, has had a notable impact on the industry, particularly in the realms of casting.

In contrast, Baby Reindeer is written by and stars the victim himself, Richard Gadd, and effectively allows the audience to relive his experiences, conveying the panic and paranoia from his experience of being stalked. As an artist, Gadd’s responsibility is to effectively portray his experiences, in a way that is both thought-provoking and entertaining. Here, Gadd succeeds.

It is Netflix, in their role as commissioner, that have failed to effectively protect the series from legal consequences. The tendency to turn a blind eye to the truth in order to provide their audience a voyeuristic thrill, is a part of their model for true-crime television, a through-line extending from Baby Reindeer to Monsters

Ultimately, the importance of truth when it comes to television, and art in general, is a question without a clear answer. In the series, Gadd takes on an empathetic point of view that does not fully vilify the character of Martha; the series finale provides the viewer a brief insight into the neglectful childhood that shaped her.

However, when the series broke into the wider culture where simple messages tend to travel faster, the nuance of the writing became lost. This coupled with the sloppy fictionalisation of true events, which Netflix’s undoubtedly proficient legal team should have been prepared to deal with, has led to how things currently stand between Fiona Harvey and Richard Gadd. Once again, Gadd’s stalker has been brought back into his life, enabled by a culture where the ‘truth’ is often a guise for gossip, outrage, and scandal.

The revival of Big Brother on ITV2 last year experienced similar success with their diverse cast, creating a comparable online buzz and community that would rally around their favourite housemates each week for the drama-fuelled live eviction. BBC Three also took note of this, taking a gamble with their I Kissed a Boy/Girl series, which gave a platform to ordinary LGBTQIA+ people in a way that arguably no other British reality show had done before.

Simply put, mixing a diverse,

interesting bunch of people from all sectors of society is a recipe for drama and success, creating compelling characters whom we may root for (and at times detest), and storylines we can absorb ourselves in, much like the primetime TV drama.

Reality shows are wine and pizza

But what about other shows with more specific casting, like Love Island, The Apprentice or Married at First Sight? Well, within them, there’s still fun and engaging personalities who we can enjoy and lose ourselves in. And at their heart, that’s what these shows are – unashamed, raw, escapism into the real lives of others. We can escape to the world of 20-something influencers negotiating the turmoil of vying for love and a teeth-whitening partnership in a five-star Spanish villa. We can jest at the efforts of a young entrepreneur trying to design a logo for baby food which inadvertently suggests it will kill your child. We can discuss the inner workings of the sham marriages of strangers who met five minutes ago, with friends over white wine and pizza! If dramas are a three course

Reality shows have an edge that

dramas don't

Michelin star meal, reality shows are wine and pizza. They might not be as good for you, but God are they tasty. They’ll fill you up, leave you unable to move on the sofa for 30 minutes, until you find yourself reaching for more and more... Reality shows have an edge that standard dramas don’t have – these are real people. They could be our friends, our family, our neighbours. They could even be us. And whilst that is a troubling, sometimes scary double-edged sword, it allows us to get lost in them in a way many are unable to with a compelling drama we must invest our attention and dedication into. We can have reality shows playing as we send emails, cook dinner or indeed, sit on the toilet. As their contestants invite us into their lives, we too invite them into the background of ours and sometimes, that’s all we need. Whilst the care and concern for the wellbeing of contestants must be improved, the entertainment, joy, and community that reality TV brings to many is undeniable. It showcases characters the best television writers could only dream of being able to create, and produces moments that at times can truly leave a whole nation sweating and breathless. Just like wine and pizza.

Mithun Muraleetharan, He/Him Writer

Jasper Young, He/Him Writer

The call is coming from inside the house: The domestic unease at the centre of A24's horror films

Jasper Young, he/him

Millie Hatfield-Grossova, she/her

Writers

Whenwe initially think of the traditional horror film, images of the leering monster, often mask-wearing, disfigured, and chainsaw-wielding, spring to our minds and creep into our nightmares. The monster then, was always on the outside, looking in. The monster breaks through the door and invades our places of comfort, warmth, and safety – our homes. But what if he is joined by a more sinister type of evil? A monster that waits and lurks in the shadows. A monster that we can’t run from – a monster that is already inside the house. A common theme in the horror films of A24 is just this: horror that doesn’t invade but reveals itself from within. Hereditary and Midsommar are prime examples of this, exposing the terror inflicted upon families stricken by grief and generational trauma.

A common theme in the horror films of A24 is just this: horror that doesn’t invade but reveals itself from within

The Graham family in Hereditary, are torn apart by such experiences. Annie (Toni Collette), spirals into a storm of obsession and madness

after the loss of both her mother and child, threatening to tear her family apart. As she uncovers the dark secrets of her ancestry, light is also shone on disturbing personal truths which shake her present familial relationships to the core. This is demonstrated when she reveals she once covered her children in paint thinner whilst sleepwalking, only to wake up holding a packet of matches, and that she told her son she wishes she was never his mother. The monster then comes out of the shadows.

their obsession with the young adult TV show, The Pink Opaque. This TV show follows Tara (Lindsey Jordan) and Isabel (Helena Howard), two girls who after meeting at a summer camp, discover their ability to telepathically communicate with one another. The comfort Maddy and Owen find in this show offers an important escape from their dysfunctional family lives. The TV show provides bright light in homes that are marked by darkness and this pink brightness infiltrates the entire film, only briefly leaving when the show is cancelled after its fifth season.

One of A24’s most recent contributions to horror, Jane Schoenbrun’s I Saw the TV Glow, offers a gruesome twist on the nostalgia of childhood TV shows

In Midsommar, Dani (Florence Pugh) is victim to a similar monster, as the psychological trauma of the loss of her family manifests itself in the comfort she finds in the commune. Robert Eggers’ The Witch performs another dismantling of the family unit, again suggesting that what we should truly fear, is what lies within.

One of A24’s most recent contributions to Horror, Jane Schoenbrun’s I Saw the TV Glow, offers a gruesome twist on the nostalgia of childhood TV shows.

The film follows two teenagers, Maddy (Brigette Lundy-Paine) and Owen (Justice Smith), and

been in the show, and that the two of them are in fact the main characters, Tara and Isabel. She pushes Owen to enter the show with her, an act that Maddy suggests could save him from the parallel suffocation of Isabel in the show and himself outside of it. Yet, Owen cannot go through with it.

On the same day the show is cancelled, Maddy disappears, fleeing her abusive father. The next years follow Owen’s angsty inability to “open [himself] up and check” what is inside. It becomes clear that it is not only the home that is unfamiliar to Owen (his mother has died from cancer and his father is distant at best and emotionally abusive at worst), but the body as well – his is a body that is no longer recognizable to himself.

Sorin88/DeviantArt (Midsommar)

The Pink Opaque offers more than an escape from reality; it allows Owen to recognize the oppressive gender ideals that surround him

The Pink Opaque offers more than an escape from reality; it allows Owen to recognize (without being able to put into words) the oppressive gender ideals that surround him. When Maddy questions his sexuality early in the film, his answer – “I think I like TV shows” – is an obvious nod to this. His enjoyment of this TV show that his father suggests is “for girls”, and his later appearance as the character of Isabella (wearing her dress), encapsulates the tension between his need to explore his identity and the traditional masculinity that is expected of him.

Horror exists in our familial bonds, our childhoods, and the secret, darkest facets of our lives

Owen’s inability to express his ‘self’, or even to see it on screen once the show is cancelled, leads to a physical and emotional decline. The final scenes convey the true horror of the home and of the body. Owen remains in the same town, having kept the family house after his father’s death. On rewatching The Pink Opaque, he discovers it is cheaper and sillier than he remembered – nothing more than a kid’s show. And in the final moments, working his same, unfulfilling cinema job, he opens himself up and discovers the only soul that ever existed within him: the TV static.

For Owen, this realisation is both horrific and comforting: The Pink Opaque (his escape from home within the home) reflected his identity and experience more than his own reality ever could.

A24 subverts the traditional horror narrative that the monster is on the outside of the house, looking in. Instead, their films point towards a more frightening, disturbing prospect; that horror exists in our familial bonds, our childhoods, and the secret, darkest facets of our lives. We can’t kill it, we can’t run away, and it doesn’t jump out at us – we simply must wait until it reveals itself from the shadows.

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Eight years later Maddy returns and informs Owen that she has

» Image: A24/YouTube (A24 Title Sequence Midsommar Trailer)

Fangs and feelings: A review of Vampire Therapist

Zoe Mudd, She/Her Music Sub-Editor

Whilst‘vampires’, ‘cowboys’, and ‘therapy’ may not immediately spring to mind in any games of word association, Little Bat Games’s Vampire Therapist will leave you questioning why this eclectic list of topics has never been made into a joyous combination before. For

All the lust, gore, and sensuality that any haunt-loving vampire fiend could desire

a visual novel to strive for an accurate depiction of Cognitive Behavioural Therapy (CBT), whilst simultaneously providing all the lust, gore, and sensuality that any haunt-loving vampire fiend could desire, sounds admittedly absurd. However, Vampire Therapist isn’t a game you’d regret sinking your teeth into.

Upon opening the Vampire Therapist, the player is greeted by a message explaining that the game was produced in consultation with licenced therapists, and isn’t long before this focus on proper, accurate, and integral education begins to shine through. First, you are introduced to the player character,

Sam Walls: a downtrodden, rough around the edges, ceaselessly empathetic vampire. Complete with a thick Southern American accent, cowboy hat, and supernaturally pale complexion, Sam endears almost immediately, musing about his goals of bringing emotional ease to vampire kind.

It is in this quest that the player is introduced to Andromachos, a wizened 3000-year-old undead, that much more embodies the hedonism and sexuality that have become increasingly common tropes of a contemporary vampire. Andromachos (or, as country bumpkin Sam dubs him, ‘Andy’) is the vessel for all the therapy knowledge that the game wields. In a long, but vampire pun infested, educational session, Andromachos provides Sam with five cognitive distortions ranging from those as complicated as ‘Nosferatu Thinking’, essentially meaning viewing the world in black and white, to ‘Labelling’, the act of branding oneself and others with names or, more simply, labels.

The ease with which Vampire Therapist is able to teach players about these rather complex foundations of CBT is nothing to smirk at, but this tutorial section, ridden with several examples that the player must match to the correlating cognitive distortion, does feel like rather a sludge to

get through. Although high quality, in-depth writing is intrinsic to the genre of visual novels, there are times in which Vampire Therapist’s dialogue feels unnecessarily long, particularly in the heavy backand-forth during the tutorial, with certain moments transporting me back to some stale Psychology A-Level classroom discussions. This is not aided by the visuals, as whilst the art is undeniably striking, Sam feels incredibly static for a character that almost never leaves the screen, leaving the feeling that even three more poses would have gone a long way to make him feel more alive… in spite of his undeadness.

The game, however, really springs into action once you begin to meet your first few bloodsucking clients. Ranging from short-tempered Italian aristocrats, to undyingly passionate thespians, the colourful cast of clients you encounter are the lifeblood of Vampire Therapist. It is in these clients that the incredible voice acting the game has to offer is best flaunted, with each voice offering all the pompous, overexaggerated vampiric action you could wish for. Sam in particular, with his Western drawl and general cowboy gruffness, is voice acted brilliantly, with the Southern slang going a long way to make him an intrigu-

ing and appealing protagonist. Irrespective of its dense tutorial, once you finally begin your consultations, Vampire Therapist it is eager to ditch any handholding, dropping you straight into a session with nothing but your notes. Whilst Andromachos will occasionally telepathically beam in the event that you incorrectly diagnose a cognitive distortion. The progres sive scaling up of the difficulty of the game turns what could feel like a yawningly repetitive gameplay loop into an engag ing educational experience.

Perfectly playful, cozy visual novel

tion that I gathered the most value from Therapist, finding my self catching myself doing some ‘la belling’ of my own in the days after I started the game. Whilst the humour of the game is appealing, citing iconic comedies such In The Shadows ries

tion of genuine therapy techniques that truly makes this game unique. Whilst there are times in which Vampire Therapist can feel static or a little lecture-like, overall, this is a perfectly playful, cozy visual novel to pick up when you’re in need of some quick and heartwarming Halloween haunts

A guide to horror games this Halloween

Jay Jones, They/Them Writer

Aswe enter the month of October, what better to help you acclimatise to the spooky atmosphere than learning about horror games and their subgenres? In this article, we’ll discuss some popular categories of horror games, providing examples as well as the beloved tropes, mechanics, and aesthetics that they feature.

Slower pacing, disturbing clues, and unreliable narrators

Action Horror

These games favour fast, intense gameplay as opposed to more atmospheric and subtle genres. They feature common elements of horror like unsettling locations, disturbing narratives, and creepy en-

emy designs, but their protagonists are usually more equipped to deal with the overwhelming threats they face, meaning that the player is able to confidently mow down any foe that crosses their path.

Mechanics: first or third person shooters, QTEs (quick time events), fast pacing, intense combat, weapon upgrades, boss fights. Tropes: hordes of enemies, zombies, military or trained protagonists.

Aesthetics: abandoned cities, spaceships, labs, guns, military gear, wilderness.

Examples: Left 4 Dead, The Last of Us, Dead Space.

Survival Horror

This horror genre features limited sources, with an emphasis on inventory management and ammo conservation. The protagonists of these games are often alone in hostile environments, and may need to solve puzzles in order to progress. Protagonists are often resourceful, relatable to the player, and put on a brave face despite their unfortunate circumstances.

Mechanics: Limited resources, puzzle solving, stalker enemies.

Tropes: Detectives, civilians, zombies, experiments gone wrong, mutations.

Aesthetics: Mansions, castles, mental asylums, science labs, military facilities, abandoned places .

Examples: Resident Evil, The Evil Within, Fatal Frame.

Psychological Horror

This horror genre focuses on scaring the player in a more subtle and atmospheric way than other genres, making use of slower pacing, disturbing clues, and unreliable narrators. They often explore deep-seated fears and mental illness. The main characters are often alone, encountering little to no NPCs during their journey, and anyone they do encounter may be untrustworthy.

Mechanics: Subtle tension, disturbing settings, fourth-wall. breaking, environmental storytelling, few NPCs. Tropes: Plot twists, mental illness, physical manifestations of distress, guilt, ghosts, hallucinations.

Aesthetics: Isolated and claustrophobic locations, memories, nightmares, familiar locations such as schools and homes that. have become distorted and unsafe Examples: Silent Hill, Amnesia, The Mortuary Assistant.

Stealth Horror

Whereas many players are used to shooting down everything they encounter, these types of games encourage the player to hide from enemies which are way too strong to fight. This creates moments of

heightened anxiety when players are almost discovered and wrenched from their hiding places. Mechanics: Hiding, suspense, strong enemies, minimal combat, breath-holding.

Tropes: Hiding under the bed!, monsters, aliens, torturers, small spaces, labyrinthine maps.

Aesthetics: Sci-fi labs and spaceships, abandoned hospitals and mental asylums, seemingly innocent homes with a dark secret… Examples: Outlast, Alien: Isolation, Hello Neighbor.

Jumpscare Horror

Jumpscares feature in many horror games at least once or twice, but some games are based around them. These usually involve players being given a simple task to complete, such as collecting items or surviving the night, hindered by limited resources (e.g, stamina, battery life) and marauding enemies which suddenly pop up and scare the player, often initiating a ‘game over’ message and forcing them back to the title screen. These enemies tend to have iconic designs, tying into their backstories as urban myths.

Mechanics: Sudden frights, quick ‘game over’s, limited resources.

Tropes: Missing children, urban myths, mascots, costumes, iconic villains.

Aesthetics: Toys, lost media,

drawings, forests, restaurants and other familiar ‘fun, family friendly’ locations after dark.

Examples: Five Nights At Freddy’s, Slenderman, Poppy Playtime.

Reverse Horror

Reverse horror is sometimes known as asymmetrical horror. It is multiplayer, where participants may take on the role of antagonist and hunt down the other players. These games are renowned for their repetitive, yet engaging and fun, gameplay loops, and remain popular even with gamers who don’t normally enjoy horror games. Mechanics: Multiplayer, asymmetrical, repetitive gameplay, many playable characters with different abilities.

Tropes: chase sequences, serial killers, civilians, sabotage, team goals, in-universe lore.

Aesthetics: Horror movies, unique character design.

Examples: Dead by Daylight, Friday the 13th, Among Us. It’s important to remember that almost all of these genres overlap with each other in terms of inspiration, features, and aesthetics, and many games belong to multiple genres, and act as homages to the games that have come before them. We hope this breakdown helps you pick out the kind of horror games you want to play this

» Image: Flickr / Gwaar

PUZZLES

Crossword

Sudoku

Across

1 Town on the river Avon (7)

5 Concentration (5)

8 Short written composition (5)

9 Raise (7)

10 Temporary laying-off of employees - hug flour (14) (8)

11 Be seated (3)

13 SI unit of plane anglea nadir? (14) (6)

15 Pester (14) - adjusted in advance (6)

18 Speck - point - spot (3)

20 Anaemics (14) - relating to loss of memory (8)

23 Romantic suitor - married (14) (7)

24 Beneath (5)

25 Surrey town - poems (14) (5)

26 Greet (7)

BoarPAD:

Down

1 Seven days (4)

2 Echo - undoers (14) (7)

3 Dilly (14) - a charming scene (5)

4 Continue (the good work, say) (4,2)

5 First-year university student (informal) (7)

6 Group of pupils (5)

7 Watch - test pace (14) (8)

12 Receive a degree (8)

14 Word formed from the letters of another (7)

16 Unpleasant person (informal)(2-3-2)

17 One after the other (2,1,3)

19 Multiply (a number by) - smite (14) (5)

21 Head skeleton (5)

22 Gratis - without charge - for nothing (4)

Across: 6 Vie, 7 Havoc, 9 Oat, 10 Leotard, 11 Tie-up, 12 Feather duster, 14 Green-fingered, 18 Crete, 19 Dracula, 21 Ice, 22 Signs, 23 Due.

Down: 1 Oval, 2 Verona, 3 Evader, 4 Rodent, 5 Step, 7 Headhunters, 8 Cat burglars, 12 Fog, 13 Rid, 15 Exeter, 16 Indigo, 17 Rounds, 18 Chic, 20 Ages.

The Bubble

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The Boar presents the Science section, featuring Climate and SciTech.

Articles you can find online...

Climate Editor: Amy Adshead (they/she) climate@theboar.org

Sub-Editor: Sanskriti Thakur (she/her)

SciTech Editor: Ranudi Kudellage (she/her) scitech@theboar.org

Sub-Editor: Odette Dyer (she/her) 1 7 3 9

Deputy editors: To be confirmed

Jakob Reid, Climate What is Great British Energy? The solution to energy dependency? theboar.org

Amelia Thomas, Climate It’s hotting up! How rising temperatures threaten human health.

Anna Bickerton, Climate As the West turns green, the Global South goes red: why meat consumption is on the rise

Will microwaving food in plastic give you cancer?

The science will have you binning your tupperware – but is there any point to panicking?

Martin Day,

News Editor

he/him

Afewweeks ago, after coming home from a night out, I set out to make a meal from scratch. To help me with this, I had a fantastic cheat in the form of a plastic microwave rice cooker. All I had to do was slam the grains into the microwave for 12 minutes, and at the end of this process, there would be perfectly cooked, perfectly formed rice. Until that night, I had never even cooked rice on a hob, a fact I had grown to become immensely proud of. And yet, on this occasion, my rice cooker did not in fact produce fluffy, golden rice. Instead, it caught fire. As the flames filled my microwave, briefly, before my thoughts were drowned out by the twin, shrill screaming of my smoke alarm and my roommate, I didn’t panic. Inhaling the choking, acrid smell of burning plastic, all I could think of was a rebuke that I’d received on many occasions from my mother: “Don’t heat that up in the plastic container, it’ll give you cancer.” Later, whilst trying to chisel carbonised grains out of the ruins

of my cooker with the back of a spoon, the thought wouldn’t leave my mind. Was that true? When considering how much the diet of the average student centres around meal-prep dumped into plastic tubs, how doomed would that leave all of us?

Well, unfortunately, the science really isn’t great. Since the 1990s, experts have been aware of the uncomfortable truth that plastic containers have a habit of leaching – especially when subject to the extreme conditions found inside of a microwave. Bisphenol A (BPA), a chemical synonymous with plastic food containers, may well be considered synonymous with humans as well. Studies have detected it in over 90% of Americans. The compound, whose properties mimic that of estrogen, is now thought to disrupt hormones in the body, metabolism, fertility, and – yes –even the progression of cancers. Thankfully, it’s no longer used in baby bottles, and now looks set to be finally banned outright by the EU. But is that too little, too late? BPA was a key chemical in the inside coating of canned goods, for instance, and given cans last

forever, who knows how long its chemical-laden produce will be kicking around?

Of course, it doesn’t stop with BPA, and nor do the possible effects. The laundry list of potentially hazardous chemicals populating your containers is so long, in fact, you begin to wonder how on earth anybody could have let this happen. Phthalates, for example, a substance used to make plastic bendy, may cause premature births. Although, that won’t particularly be an issue because as it turns out, they may also wreck your libido. PFAs, the so-called ‘forever chemicals’ (reassuring) seem to play havoc with the liver, may delay the onset of puberty in girls, and could actually reduce the density of your bones.

All in all, it’s thought that the total number of different food packaging substances making their way into the human body could be somewhere in the realm of 3,600, according to a Swiss study published last month. And with such an impressive array of different chemicals, we naturally don’t have anything close to resembling a complete picture of what might be

"If I could offer any advice, it would be to make peace with the fact that, at this point, each of us is probably, at least, a little bit plastic."

happening to the human body as a result. Professor Joseph Braun, a researcher at Brown University, Rhode Island, summarised the picture in a grim interview with Popular Science: “We’re exposed to a chemical soup of these things.” He added that scientists know even less about what happens when these various assorted chemicals mix, but that initial research does seem to suggest they worsen one another’s effects.

If, by this point, you’re only still reading in the desperate hope of a positive ending, here’s the closest approximation of one. Popular Science lists a range of ways you can attempt to limit plastic exposure in your life: avoid storing meals in plastic containers while still hot, and generally try to stay clear of foods with a high surface area – think grains or soup. High-fat and high-acid foods, like vinegar, oil, and cheese, are particularly reactive with plastic’s various chemicals, so you can shun purchasing these products when they’re stored in plastic containers. However, I’d like to venture my own radical solution: don’t bother!

The world of today is so swarmed with plastic, that attempting to cut

World's largest pumpkin as heavy as 14 wild boars

Martin Day, he/him News Editor

OneVauxhall Corsa. 14 wild boars. 307 first-year physics textbooks, and 1,535 copies of The Boar. That isn’t the Editor-in-Chief’s slightly perplexing shopping list but is instead a list of items equal in weight to the world’s largest pumpkin.

The titanic vegetable was crowned on 14 October at the annual World Championship Pumpkin Weigh-Off in California. Grown by teacher Travis Gienger, the real-life Great Pumpkin weighs in at a monstrous 1,121kg.

The gargantuan gourd is Gienger’s third consecutive win in the contest, and fourth win overall. It wasn’t enough to break the world record, however, set by his previous entry last year which

weighed 126kg more.

Gienger credits the creation of his gigantic jack-o’-lantern, rather modestly, to simple healthy soil and nutritious plant-food. Transporting the super-sized squash from its home patch in Anoka, Minnesota was a Herculean 35hour drive to the contest’s location at Half Moon Bay, near San Francisco.

The work has paid off for Gienger, though, who will now enjoy prizes including a cash pot of $9 per pound of pumpkin, two nights at The Ritz-Carlton, a ’Pumpkin King Champion Ring’, and a custom-made Champion’s Jacket. His pumpkin, named Rudy, will take pride of place at a Halloween exhibition in southern California later this month after a team of experts have carved it into the mother-of-all jack-o’-lanterns.

The possibility of even growing such colossal pumpkins is down to the biology of the vegetable, which grows with a naturally thick and wood-like skin. Where other plants like grapes or tomatoes would eventually split from the sheer weight of the water inside, pumpkins can stay intact.

The girthy gourds are further aided by their remarkably long growing cycle, which can last over 100 days, as well as the fact that they grow on the ground, eliminating the risk of snapping off the vine early.

All this has meant the growth of truly prodigious pumpkins, which seem set to only grow with every passing year as farmers exchange seeds from the greatest pumpkins of years past. The genetic lineages are closely-tracked to ensure success – some pumpkins have ances-

Amy Adshead, Climate 1.6°C is the new 1.5°C. That’s (kind of) a big deal.

down your consumption in any meaningful capacity would quickly dominate your life entirely. Phthalates, case-in-point, are found in plastic containers, but are also a common agent in shampoos and conditioners. Studies have noted their harm on the body and have observed that women tend to have a far higher phthalate doses than men because they use hair products more frequently. When you drink water from a plastic bottle, cut vegetables on a plastic chopping board, or boil water in a plastic kettle, you’re almost certainly consuming trace amounts of plastic particles called microplastics, and these never leave your body. The implications of that are terrifying: microplastic particles have been found absolutely everywhere, from bone marrow to reproductive organs, to blood samples, to even the placenta (meaning they’re present before birth). A study of brain tissue samples in August, came to the astonishing conclusion that as much as 0.5% of our brain is made up of microplastics. There’s no way to know what that’s doing to us, and frankly, there’s nothing we can do about it either

If I could offer any advice, it would be to make peace with the fact that, at this point, each of us is probably, at least, a little bit plastic. I fully intend to buy a new microwave rice cooker – apart from anything else, it turns out I’m incapable of actually cooking rice. If I’m ingesting a little bit of plastic on every occasion, so be it! At the end of the day, we are what we eat, and today, that rings truer than ever.

tries tracing back to the 1980s. The possibilities seem endless. Speaking to Popular Science, Andy

Wolf, another giant pumpkin grower, said: “I don’t really see any slowdown in how big these pumpkins are getting.

“I hope there isn’t a limit to it. I hope it just keeps going.”

» Image: The 51st Annual World Championship Half Moon Bay Pumpkin Weigh Off 2024 (Weigh Off Press Kit: Winner Travis Gienger celebrates win)

Pattie Gonia: The drag queen breaking new ground in the name of queer climate justice

Jasper Young, he/they

Contributing Writer

It’sOctober and we’re well and truly into spooky season, but whilst many will be kept up late by zombies, vampires, and ghosts, a drag queen from Nebraska has an even scarier nightmare on her mind.

Pattie Gonia has made a name for herself by fostering a community of over 1,000,000 queer environmentalists. Six years ago, she went viral for click-clacking her heels along a mountaintop trail. This internet fame helped her discover a unique intersection between the fight for both queer and climate justice – a marriage of her two great passions. At a time when extreme climate events, like the recent hurricanes Helene and Milton, are leaving swathes of the US devastated, and anti-drag bills are being proposed across the nation, Patti fights for the protection of natural spaces for all, championing the need for the climate movement to be inclusive to all.

She is a prime example of how art may be used to inspire people to make a difference. She seamlessly weaves the political roots of drag into her climate activism, describing to TIME Magazine how: “Drag’s history has always been activism […] I’m just trying to use my art and fight for what I love.” Pattie’s drag is a big, bold, gender-bending, sustainable spectacle, involving recycling fabric, wigs and accessories, and complete with her signature moustache. In 2022, challenging herself to find the scariest Halloween costume, Pattie set her sights on designing an outfit that would represent the horror of the climate crisis. The result was an exceptionally crafted, eye-catching, 100% sustainable fish-tail dress, made from fabric scraps depicting melting ice caps, choking birds, an oil rig, and of course – Taylor Swift’s private jet. It’s a wonderful, dazzling example of how drag can provide not only a bold look, but also a poignant message and centre itself at the forefront of political activism.

“Drag’s history has always been activism […] I’m just trying to use my art and fight for what I love."

Founder of the Outdoorist Oath, a charity encouraging BIPOC and LGBTQIA+ people to explore the outdoors through community and education, Pattie and her community have collectively raised over $1.5 million dollars for her cause.

– Pattie Gonia

More recently in September this year, Pattie took over New York Climate Week with her all-singing, all-dancing, environmental-themed drag show, Save Her! The aim of the show was to spread awareness of environmentalism

through entertainment, and in a show packed full of joy, laugh ter, and education, it certainly did just that. Performers and audience members alike were challenged to come dressed in their most glam orous, sustainable looks for the event, fittingly around the theme of Mother Nature’s Disco. There were lip-syncing butterflies lamenting about their 1,000-mile migration, saucy stripteases to Nelly’s 'Hot in Herre' with a backdrop of re cent forest fires, and a rendition of 'Firework' by Katy Perry made up solely of the song’s first line: “Do you ever feel, like a plastic bag”.

The show was also not afraid to launch scathing criticism at the billionaires and cooperations that profit from the climate emergency. Pattie blasted out a powerful ballad of resist ance and struggle against these profiteers, whilst also delivering a sizzling lipsync, titled 'Big Oil Crim inals', to Sam Smith’s 'Unholy', dressed in high-fashion corporate attire, as the faces of big oil were projected onto the screen under the headline: 'These are the men who are killing us.' These numbers ranged from ridiculously camp, to more sombre and stripped back, com plimenting each other nicely to provide the light and shade neces sary to both entertain and educate on such a serious and pressing issue.

An attendee of the event, Saige Middleton describes: “You can lose people’s attention pretty eas ily when you talk about climate change, because who wants to hear the same thing all of the time? This

Pattie Gonia represents something we can all aspire to be, authentic to ourselves and to our passions.

Can you change the minds of climate deniers?

Amelia Thomas (she/her)

Contributing Writer

Doyou believe in climate change? Statistically, the chances are you do. Around three in four people in the UK believe and are worried about the effects of climate change, according to the 2021 Census. But for something that may seem obvious to most, there are still a significant number of people who believe climate change is a made-up concept. It is largely understood that

humans have contributed to and worsened the effects of global warming, with a desire to increase economic production regardless of the environmental costs. Now, we are at a point in our collective development where we are beginning to understand the harm both large-scale production and everyday actions cause. In the past year, Trainline released a Spotify-wrapped-esque 'sustainability story', where users can find out how much CO2 they’re saving with every journey. Whether you look at the increased public awareness of the detrimental fast fashion industry, or the wider understanding the impact our own carbon emissions have, information on our output has never been easier to find.

The rapid increase in global temperatures and sea level rise simply cannot be attributed to natural factors alone. Although in the past there have been periods of

similar warming and subsequent cooling, the alarming rates we have seen generally cannot be pinned purely upon the natural cycle of climate change – human actions have consequences. Even today, there are hardcore sceptics who argue that climate change is still up for debate, with views that often stem from a place of misunderstanding. Between 97% to 99.9% of climate scientists agree that climate change is happening, and that the primary cause is human activity. The capitalistic pursuits that we chase are finally catching up to us, and we still are not sure what the future holds for us, nor what our reality is going to be.

Even today, there are hardcore sceptics who argue that climate change is still up for debate

In the past 10 years, researchers have begun to study the effects of effectively communicating the overwhelming scientific consensus about the current climate reality. A study conducted by the University of Amsterdam and University of Vienna found that prior to being told the correct information, most people believed the scientific consensus on climate change to be much lower than in reality. Participants in the study then adjusted their opinions in response to the data. Increasing awareness of the consensus has, therefore, been shown to provide a positive change. Although, most opinions on public action towards climate change did not change as a result of the data, the study did find that people became increasingly worried about it as a crisis – at least a step in the right direction for now. However, any added information relayed to the participants regarding the specific crisis data on

climate change did not have nearly the same impact in changing opinions. In this instance, the difference between the knowledge and their perception of the knowledge was less shocking.

Evidently, the grandiose nature of climate change as a concept, and the harm we have caused until this point, cannot be undone on a small scale. But there are certainly things that can be done on an individual level to try and ‘do our bit’. Supporting more eco-friendly incentives such as not using single-use plastics when you grab a takeaway coffee next time is as good a place to start as any other.

Climate change as a concept should not be up for debate. But ensuring that correct climate information is shared is essential in helping everyone stay more up to date on the right facts and figures and create a better attitude towards the crisis overall.

» Image above: Pattie Gonia / X Below image: Paul Becker / Wikimedia Commons

The end of the coal power party

After 142 years, the UK has finally moved on from coal. And not a moment too soon.

Martin Day, he/him News Editor

Inits 300-million-year history, coal has obtained a plethora of uses, and not just the ones you’d think. In the tradition of British theatre, for instance, it is considered good luck to throw a lump of coal off the stage of a new venue to ensure the theatre’s success, whilst Scottish Hogmanay customs dictate the new year must be greeted with a gift of coal from a ‘handsome stranger’. Coal and its by-products can be found in a bewildering array of products ranging from soap, to fishing rods, to aspirin, and even to kidney dialysis machines. It’s also Santa’s gift of choice for misbehaved children. Yet, astonishingly, as of 30 September, there’s one thing British coal won’t ever be used for again: generating electricity.

A hundred years ago, the number of workers in the UK coal industry stood at almost 1.2 million

In what represents a genuinely seismic step, the UK has become the first major global economy to move on entirely from coal power with the closure of Ratcliffe-onSoar, the last coal power plant left in Britain. 142 years after the first such facility opened here in 1882, staff at Ratcliffe gathered in the

canteen to watch a livestream of the control room, as the facility’s generator units were switched off forever. 170 people remain employed by the plant – a hundred years ago, the number of workers in the UK coal industry stood at almost 1.2 million. The sheer scale of change experienced by the UK’s energy sector is, by any stretch, colossal: in 1925, coal power accounted for 98.8% of the country’s energy generation. Fast-forward a hundred years later, and the practice will be gone in its entirety.

In many ways, it’s fitting that the country who pioneered the Industrial Revolution off the back of coal power should be the state that

now leads the way in the jump to a coal-free future. And for a nation so frequently criticised for its failures on the world stage, it’s impossible to over-emphasise just how ahead of the curve the UK is on the issues of green energy. Britain is the fifth country in Europe to exit coal: Belgium became the first to achieve this in 2016, but it’s an entirely valid point that it would take the energy generation of three Belgiums to meet Britain’s annual energy consumption. They were followed in 2020 by Austria and Sweden, and in 2021 by Portugal. A sixth nation, Slovakia, has also pledged to be coal-free by this year, although their final progress

appears unclear.

The UK’s move has only been made possible through a relentless pursuit of green energy policies, that meant that when the end came for coal, it came quick: it was only 2015 when then-Energy Secretary Amber Rudd announced her country’s intent to jettison coal power by 2025. Two notably aggressive policies – a carbon pricing system that made coal more expensive than gas, and emissions limits heavily restricting the opening hours for coal plants – made the UK a rapidly hostile place for coal power generation. In 2017, the country experienced its first ever coal-free days off the back of vast expansions in renewable energy. This included what current Shadow Energy Secretary Claire Coutinho has championed as the most construction of offshore wind farms for any country besides China. In the modern day, renewable power sources comprise over half of the country’s energy generation, with the other half sustained largely by natural gas production.

Uncertainty over the security of this sector during the start of the Russo-Ukraine War briefly sparked fears of a return to coal power, with the shutdown of several British stations including Ratcliffe delayed by several years. Yet, although other countries like Germany were forced to reopen coal plants to keep the lights on, the UK avoided this fate, and

has reached the pivotal shut-down milestone a year ahead of 2015’s schedule.

The country's reliance on natural gas will have to be expunged at a rate twice as fast as the campaign against coal, experts have warned

The future is no less ambitious: Britain’s new government is committed to achieving net zero by 2030, a goal for which the necessary work has been described as “Herculean” by Chris Stark, the man in charge of the project. The country’s reliance on natural gas will have to be expunged at a rate twice as fast as the campaign against coal, experts have warned. The keys to success will lie in the planned creation of vast new offshore wind farms, Hornsea 3 and 4, which will be the largest in Europe once completed, as well as huge investment in solar farms, “mini” nuclear reactors, and even more esoteric proposals like a tidal barrage across the River Mersey. Energy generation has never been so advanced, and arguably so exciting, as right now. But it’s crucial to stop and pause to look back on the immensity of what came to an end on 30 September, when the UK finally came of-age and said goodbye, at last, to coal power.

Climate burnout and its unwanted offerings

Yusra Babar, she/her Head of Communications

Asawareness of the climate crisis grows, so does the phenomenon of "climate burnout." This form of emotional exhaustion is increasingly affecting many, especially students, who feel overwhelmed by the scale of the problem and frustrated by the lack of meaningful action. The sheer scale of environmental disasters, melting ice caps, extreme weather events, and, most importantly, political inaction have led many to feel overwhelmed, anxious, and ultimately burnt out. Unlike traditional burnout, which stems from overworking or chronic stress, climate burnout occurs from one’s awareness of the growing environmental threat and the perception of personal insignificance in addressing it.

Climate burnout becomes a state of menal fatigue brought on by prolonged, draining engagement with the climate crisis

Climate burnout becomes a state of mental fatigue brought on by prolonged, draining engagement with the climate crisis. It can bring on feelings of hopelessness, powerlessness, and frustration – particularly when individuals feel their personal efforts to help the crisis are ineffective or unsubstantial. As active participants in climate activism and advocacy, students often feel a heightened sense of responsibility. From a young age, students have been given the added burden of championing the ‘future generation’. This tells us that ultimately, it is up to us to undo all that has come before. It is unsurprising then, that the dissonance between students’ desire to make a difference and ineffective governmental and corporate actions exacerbate feelings of frustration, anxiety, and hopelessness. This disconnect leads to emotional withdrawal, making it difficult to remain motivated in the fight against climate change whatsoever.

A major contributor to climate burnout is the sense of insignificance. As an individual, I, often feel like no matter how much I try to recycle, protest, or reduce my carbon footprint, the impact be-

comes minuscule compared to the larger systemic forces at play. This sense of powerlessness is paired with frustration over the sluggish pace of policy change. The lack of prompt, radical action makes it easy to question whether personal efforts in helping the climate matter at all. When climate activism feels like an uphill battle, burnout and disengagement are common and dangerous outcomes.

Research on climate burnout is ongoing. Finders University notably conducted extensive research, with a new report titled “Thinking about the Future”. Their findings show that climate burnout often leads to emotional numbness or a tendency to disengage from climate discussions completely. This disengagement weakens the momentum of climate activism – the less collective pressure we place on policymakers, the harder it becomes to speed up political progress towards a greener future. Yet, the study also revealed that when forced to consider pragmatic steps alongside the collective action to push institutions for change, many felt overwhelmed and disconnected from the cause.

The research emphasises that

climate burnout is not just an individual issue but also a collective one. When entire communities, particularly those vulnerable to environmental disasters, experience repeated trauma from climate-related events, the emotional toll becomes magnified. As a result, climate burnout is being recognized not only as an environmental and psychological issue but also as a public health concern.

Frustration is also furthered by the slow pace of change from policymakers and corporations. Activists and concerned individuals often call for immediate action, only to see little movement or, worse, backpedalling on environmental promises. The disconnect between the urgent need for solutions and the reality of delayed action deepens the feelings of hopelessness, while neglecting to see climate action as a long-term fight.

Staying informed about climate issues remains crucial.

Staying informed about climate issues remains crucial. The world will not end overnight, and it is important to remember that we

still have control over how extreme climate change becomes, even if the crisis is unavoidable. To reduce burnout itself, it is important to strike a balance – while it is essential to understand the present challenges, it is equally vital to seek out stories of progress, innovation, and hope. Focusing on solutions and the positive steps being taken around the world can help maintain motivation and a sense of possibility in the face of the climate crisis.

» Image above: Leo McArdle / Flickr, Below image: Christian Erfurt / Unsplash

A look at male mental health in sport this Movember

Nikolai Morton, he/him Deputy News Editor

Youmight remember watching the emotional video released by Norwich City F.C. last year to mark World Mental Health Day on 10 October: “At times, it can be obvious when someone is struggling to cope”, the club stated. “But sometimes, the signs are harder to spot”. Movember, the month-long annual campaign which strives to amplify conversations about male health (including both testicular and prostate cancer, but also mental health) will soon begin. Last year’s viral sporting message, featuring a cheerful Canaries supporter losing a mental health struggle behind the scenes, is something we must continue to bear in mind every year; according to the Office for National Statistics, around three-quarters of UK suicides registered in 2022 were males.

It is in the world of sport, in which men are traditionally encouraged to bottle up struggles and project a stoic image, that we must be most attentive to the personal battles our mates may be undergoing. A study by The Conversation this year called for a reimagining of sport ‘to be inclusive, diverse and safe’, in order to cultivate a ‘caring’ type of masculinity. This shift has begun and must now continue; the charity Movember has played a significant role in this positive progression.

Since Movember's inception in 2003, it has now funded more than 1,320 men's health projects around the world

Since Movember’s inception in 2003 in Australia, it has now funded more than 1,320 men's health projects around the world, and has more than six million so-called ‘Mo Bros’, or donors. The importance of the Movember cause lies in its game-changing capacity to, as the organisation’s slogan reads, ‘change the face of men’s mental health’. In the UK, students across university campuses, from a multitude of sports clubs and societies, join this vital charitable cause each year, resulting in a friendly fundraising rivalry among the UK’s universities. Warwick’s history with Movember is a rich one which is set to be ex-

tended this year. The university’s 2023 campaign raised a spectacular total of £38,033, with the largest society donation coming from The University’s Men’s Cricket Club (£5,138.89).

Arguably Movember’s highest-profile outreach to date was its sponsorship of the 2021 Rugby World Cup (held in 2022), an event which elevated the charity’s platform to an international sporting audience. Campaigns like this, including Norwich City’s mental health message last year, are positive signs of Movember’s ever-widening impact.

As Warwick students prepare for a month of fundraising and moustache-cultivating, conversations about men's mental health must once more occupy the foreground

The recently publicised mental health stories of high-profile sportsmen, like footballers Dele Alli and Richarlison, have likewise proved crucial to peeling back the stigma of men’s mental wellbeing. Richarlison bravely admitted in March that reaching out for therapy may have saved his life.

As Warwick students prepare for a month of fundraising and moustache-cultivating, conversations about men's mental health must once more occupy the foreground. Several Warwick sports clubs, in continuing an annual initiative, are set to offer their support to Movember this year, so it seems we can expect yet another successful fundraising month.

Sport is an escape for all of us, as much for those who follow it as those who play - but it’s often those who are struggling silently who adopt this fantasy out of necessity. Chipping in to raise funds for Movember is a laudable thing, but so is the simple act of checking in on our male friends, encouraging vulnerability and openness rather than solitary dejection. Asking a male friend how he’s doing could, ultimately, save.

If you’ve been affected by any of the issues raised in this article, charities such as Mind and Samaritans are places you can turn to for support.

The state of England

Carsley's short stint as England manager

LeeCarsley made a positive start to life as interim England manager, which has excited fans who have a new-found hope for the England team. Carsley first took charge of England’s U21 squad in July 2021, leading them to glory in the 2023 U21 Euros. He has been given just 6 games as interim boss. Speaking on this, he said that this is something that he’s “really comfortable doing”.

Carsley's September squad introduced the uncapped Angel Gomes, Noni Madueke, and Morgan Gibbs-White

Carsley’s September squad introduced the uncapped Angel Gomes, Noni Madueke, and Morgan Gibbs-White, who all managed to retain their places and earn themselves a spot in the more recent October squad. Furthermore, Carsley gave 22-year-old Madueke his first cap against Finland. Speaking before the match, Carsley touted his “energy and his pace and directness”. Madueke had an instant impact in this match, assisting Kane’s second just 10 minutes into his debut.

Carsley did, however, make some changes from September to October

Carsley did, however, made some changes from September to October. He feels Kyle Walker can “help our younger players” and has recalled him to the squad after previously leaving him out. Additionally, Tottenham’s Dominic Solanke receives his first call-up in 7 years, while Aston Villa’s Morgan Rogers misses out.

England’s youthful attacking talents will be looking to make their mark in the upcoming games in an attempt to cement a position in the starting 11. Bukayo Saka, Jack Grealish, Anthony Gordon, and captain Harry Kane occupied the four forward positions in both of the September matches, but Carsley wants to explore rotating the squad: “It is important that it is not just a copy and a paste”.

Jude Bellingham has returned to the England camp after missing out on Carsley’s first two matches with a calf injury. It remains to be seen whether he will keep the number 10 shirt or occupy a deeper midfield position to make way for Palmer. PFA’s 23/24 Premier League Player of the Year Phil Foden will also want to impress centrally, having failed to do so when kept to left-wing at the Euros.

When questioned about England's wealth of attacking talent in similar positions, Carsley said: "I try not to get too caught up in positions, it's more about attributes"

When questioned about England’s wealth of attacking talent in similar positions, Carsley said: “I try not to get too caught up in positions, it’s more the attributes”. This comment leads fans to question what the attributes that Carsley is looking for are. Speaking on those players available to him, Carsley said: “We have really gifted wide players. Our height, pace, and width will come from our wide players.”

England were often accused of being ‘too defensive’ under Gareth Southgate’s reign. Carsley’s replacement of Walker at right-back

with Trent Alexander-Arnold was well-received. Alexander-Arnold created seven chances and won both fan-voted Player of the Match awards across Carsley’s first two matches. Carsley was full of praise for his “ability to control a game” claiming it’s “not a surprise” having seen him do so for Liverpool over the last few seasons. The continued absence of first choice left-back Luke Shaw, who missed most of the Euros with a hamstring injury, has been a problem for England. Manchester City’s Rico Lewis is an option there instead and Rico Lewis’ club manager, Pep Guardiola, claims “He does everything, and he does everything very well.”

Carsley

has managed to bring optimism back to English football

Following Carsley's takeover of English football, some have started to wonder if Southgate was taken for granted. Speaking to Sky News in September, Southgate said: “I don’t think you can have regrets [...] we made huge progress”. With a formidable 62.7% win rate after 102 games in charge, he ranks second only to Fabio Capello (66.7%). Speaking on Carsley’s start, he said football fans are seeing “the hope that change can bring”.

Carsley has managed to bring optimism back to English football but he did not do enough to earn himself a permenant job as England manager. With Tuchel taking over, fans hold onto the hope that Carsley gave them and long for a successful experience at the English Men's squad's next major tournament.

» Image: Unsplash / Jonny Gios

Hannah Guthrie, she/her Writer

» Image: RawPixel

Beyond the finish line: Black athletes who changed the game and the world

Amna Ali, she/her Writer

Octobermarks the annual commemoration of Black History Month. It is often argued that people from African and Caribbean backgrounds have been overlooked and stereotyped. However, Black History Month enables recognition and the celebration of Black heritage and culture. In particular, Black representation in sports has come a long way and is now more diverse and inclusive. Today, sports from basketball and football, to gymnastics and golf have strong Black athletic talent. These sporting heroes deserve to be praised. I’ll be taking a deep dive into four sportspeople who warrant all the admiration and love.

Kobe Bryant

Kobe Bryant was an icon in basketball, and is widely regarded as the greatest player of all time. His 20-year-long career created him the most magical, glittering legacy. Bryant is a household name, and his influence and reach were vast. Bryant was also heavily involved in charity and his most prominent work was the ‘Kobe and Vanessa Bryant Family Foundation.’

This aimed to improve the lives of people in need and work on issues such as homelessness. He worked closely with organisations to support homeless youth in Los Angeles.

Tragically, in 2020 Kobe and his 13-year-old daughter Gianna passed away in a helicopter crash. The crash claimed the lives of all nine individuals on board and the accident shocked the world. The sudden loss created an outpouring of grief and tributes from fans and athletes around the world.

Bukayo Saka

Bukayo Saka may only be 23, but his mark on history, in particular Black history, has already been cemented. The Arsenal midfielder has become a role model for many and is most definitely a British hero.

During the Euro final in 2021, Saka missed a penalty in a devastating shootout defeat against Italy. Disappointingly, after the match, the racial abuse he received was horrific. However, fans worldwide rallied around him, uniting against discrimination.

After such support, Saka has gone from strength to strength and is an England and Arsenal legend. Bukayo is inspirational to others

as he has proved that no matter the discrimination, abuse, or hatred you face, you can work hard and prove that you can overcome tough obstacles.

Dame Kelly Holmes

Legendary British Olympian Dame Kelly Holmes is inspiring to all. Despite showing signs of becoming a promising runner, Holmes gave up the sport at the age of 18 to join the army, initially serving as a lorry driver.

She returned to athletics in 1992 and in 2004, she earned 2 gold medals in the 800m and 1500m. Noticeably, she was 34 and, therefore, the oldest woman ever to win both races.

In 1998, she was awarded an MBE for her services to the British Army and in 2005, she became a Dame for services to sport.

In 2008, Holmes founded the Dame Kelly Holmes Trust – a registered charity supporting young athletes and helping young people who are disadvantaged in the UK.

Kelly Holmes is a Black athlete who deserves to be recognised for her continued support and mentoring of young people who so desperately need it.

Serena Williams

Serena Williams is one of the most recognisable names in tennis. Starting her professional career at 14, Williams has transformed the way tennis is played, perceived, and supported. Further, she has transformed how women and Black women were seen as athletes.

Williams values being authentic, and has spoken about how she and her sister Venus were unapologetically themselves, wearing braids during matches and not being “afraid to be Black in tennis.”

She has won 23 major titles and has 367 career wins throughout her career. Tennis icon Billie Jean King praised Serena, saying: “She’s going to help girls and girls of colour, women and women of colour.”

Serena has helped tennis and the diversity within it immensely.

In conclusion, Black athletes have made an enduring impact, both in sports and beyond. Their achievements and sporting commitment inspire future generations and highlight the importance of diversity and representation in all sports. Celebrating their legacies during Black History Month honours their significant influence and resilience.

Off the pitch: The push for diversity in English women's football

Image: (Bottom Middle) Wikimedia Commons / LHC88

Frida Protheroe, she/her Deputy Sports Editor

Diversityin English women’s football has been brought to the forefront of conversation many times since the game has grown, especially after the Lionesses’ European Championship win at home in 2022. In this 2022 squad, Sarina Wiegman’s had just 3 players who were not white.

After the tournament, the question of what was being done to increase ethnic diversity was proposed to both Sarina Wiegman and England captain Leah Williamson.

Leah Williamson commented in 2022 that: “The visibility to game, the accessibility to the game, all of those things from the bottom – grassroots, schools – need to be better, so that we don't lose the diversity of the game. I’m sure if you took everybody who was interested, you’d see a lot more [diversity] than that what is represented in our team. We’ve pushed the higher powers to know what they are doing.”

The make-up of the England squad is easily compared to the men's England team, which is much more diverse. However, the number of players available to the men's team is much greater.

In England currently, there are 73 Emerging Talent Centers for

young girls, which England Football claims are being used to provide greater accessibility and more inclusivity for young players in the game.

The English Football Association also has a ‘Discover My Talent’ program that they claim, ‘ensures any talented girl, from any background, can be referred onto the England radar’. In 2023, Forbes suggested that, as a result of this scheme, the number of Black, Asian, and Minority Ethnic Girls participating at U17 level has increased from 5% to 36% in the last 5 years.

In the 2023/2024 season, Arsenal Women's squad photo highlighted that their squad only included white players

However, the effectiveness of the schemes is still questionable. At club level, questions have also been raised about the diversity in prominent squads. In the 2023/2024 season, Arsenal Women’s squad photo highlighted the fact that their squad only included white players – this picture and squad certainly does not reflect the population surrounding the London club. This caused Eni Aluko to call out “lazy player recruitment

choices that reflect a narrow view of what is best and instead adopt a wider recruitment approach” in women’s football.

It can be stated that the Arsenal Girls' academy is more diverse, however, the Arsenal Girls' main academy is in Hertfordshire, which is important to note as the boy's academy is located in Hale End, East London. The diverse community of the inner city is lost in commuting to the academy for female talent, and the added disparity of financial support between the academies for travel support is notable too. This shows that the infrastructure is there but not the support of a comprehensive plan. This is an issue facing the majority of girls’ academies.

Kerry Davis, the first Black lioness, spoke to the BBC this October in an article headlined ‘Am I a pioneer?’ The Lionesses’ first

black player’. Davis, now 62 years old, made her debut with England in 1982. She then made 81 appearances and scored 44 goals, making her the 3rd highest goal scorer to date.

When looking at the Lionesses' facilities at St Georges Park, Davis told the BBC, “I thought it could happen in my lifetime, that they'd have the same facilities as the men.”

Kerry Davis, the first black Lioness was awarded a lifetime achievement award at the 2024 Women's Football Awards

Davis recalls the racism she faced growing up in Staffordshire, speaking of being in an area where there were only three or four Caribbean families. She said: “School was very painful – more so for my brother and my sister than for me – because my outlet was just go and play football.”

In March 2024, Davis was awarded a lifetime achievement award at the 2024 Women's Football Awards, finally gaining recognition under the new scale of the game.

Current England Lioness Lauren James was one of two black players in the 2023 World Cup squad.

Now in 2024, James has announced the LJ10 scholarship program. She announced the names of the five girls she plans to support on Instagram. In her post, she wrote: “I was lucky that I had the support of those around me to play... I saw girls that look like us fall away, because they didn’t have that support.”

"We need to get more diversity in the women's game"

Lauren James

She added: “We need to get more diversity in the women’s game and that starts with giving girls like you – who have the talent to succeed – every chance to do so.”

This reinforces the idea that there is a need for more girls from different backgrounds to be exposed to women’s football. The change needs to come from the bottom to ensure talent makes it all the way to the first team. James’ scholarship programme is one way to ensure that this can happen. Having a diverse range of talent in first team squads, both domestically and internationally, is vital as it will allow future young girls to see players who look like them at the top of the game, meaning that they will know they can achieve whatever they desire.

» Images from top to bottom: Wikimedia Commons / Russell Garner, Wikimedia Commons / Keith Allison

From the University of Warwick to the Olympic stage:

In conversation with Tom Hall

Rachel Gore, she/her Sports Editor

In2010, Tom Hall had just begun his second year at the University of Warwick. After trying “a lot of different sports” in his first year, Hall took a trip to the Sports Fair during Welcome Week in the hope of finding “something new to do”. Prior experience shooting in cadets led him to search for a shooting society and on the way, he stumbled upon archery; he thought, “They’ve got cool t-shirts, we’ll give it a go”.

Fourteen years later, Hall spent the summer in Paris as an archer competing for Team GB at the Olympic Games. Following this, the two-time Olympian, international medallist, and Warwick alumna spoke to The Boar Sport about his experiences with archery.

In total, 128 archers competed at Paris 2024 and Hall finished in 9th place in his competition

In total, 128 archers competed at Paris 2024 and Hall finished in 9th place in his competition. Hall shared the top finishing place out of Team GB’s archers with Megan Havers, a first-time Olympian and 16-year-old athlete.

Hall described archery at the Olympics as being “much like any other competition except it’s spread out over more days”. The first qualifying round sees archers shoot 72 arrows, then shorter matches of about 15 minutes occur.

The Wednesday afternoon of Hall’s competition in Paris was his highlight. It saw his “first couple of rounds of individual matches” and he described the Team GB archers as having one of those “magic moments”, they had three people shooting “really well”.

Outside of competing, Hall's favourite moment of the Games was the opening ceremony

Outside of competing, Hall’s favourite moment of the Games was the opening ceremony. He said: “It came across a bit mixed on the TV, perhaps, but just being on the boats is something that really sticks with you”. This echoed the words of Olympic climber Joshua Bruyns, a current University of Warwick student who spoke to The Boar Sport earlier on this year. Bruyns spoke about “absorbing the atmosphere” whilst “being on the boat” down the River Seine but

also mentioned the criticism of the opening ceremony from a “spectator standpoint”.

Living in the Olympic Village is something which Hall described as being unable to understand “until you’ve lived through it”. Hall said that the Paris village contained “streams of people everywhere” which was a dramatic contrast to his experiences at the Tokyo Olympics, which occurred under strict COVID restrictions. Hall mentioned the uncertain atmosphere surrounding Tokyo and how having supporters in Paris made an “unreal” difference.

Hall said that he likes "to

think that the Olympics was like fantasy land"

Further discussion surrounding the fans at the 2024 Games saw Hall express his belief that the Olympics “restores your faith in humanity”. He said: “In the media, there is so much news about people not getting on and conflict but for a little moment…it didn’t matter who you were or what country you came from, people were just delighted to see you”. He emphasised how that was “magical” and that he likes “to think that the Olympics was like fantasy land”.

Another element of the magic of the Olympics is the opportunity to interact with some of the world’s most prolific athletes. Hall spoke on getting in the lift with Andy Murray and having a chat with him “fairly regularly”. He also spent time “hanging out with swimmers and hockey players”.

The staff behind Team GB’s archery squad also found themselves in a “competition of who they could get to send good luck messages”. This resulted in a video from Chris Hoy and Freddie Stewart amongst others.

Throughout the Games, all sports receive high levels of attention from fellow athletes but also from the media. Hall said that having a “niche sport” like archery get intense “attention can be overwhelming”.

Preparation for the Olympics was “intense” in a different way from the Games itself. Hall spent most training days shooting or doing technical work before a gym visit. He commented on how “the easy improvements have long since dried up, so it takes a lot longer to learn anything new or make any little improvements”.

The archery calendar is also changing, competitions are getting “more tightly packed” together with world ranking growing in importance. This means that athletes were “incentivised to do more competitions” as a part of the Paris 2024 qualifying process.

Having taken up archery during his time studying at the University of Warwick, Hall had become used to having a packed schedule. He “absolutely loved” balancing training and university studies as it gave him another sense of “progression and purpose”. The archery society’s Tuesday morning sessions, which occurred during Hall’s time at university, were nicknamed “sacred Tuesday mornings” because he began his day “shooting and being with friends at the club”

Hall would encourage all University of Warwick students to get involved with a sports society. He said: “All the clubs are really well set up to take on beginners” and to not “overthink it”. Furthermore, he said: “Don’t go with too much of an agenda because I never intended to get to where I got to”.

If Tom Hall can teach you anything, it’s to give everything a go because you never know where it could take you. Who knows maybe one day you’ll end up competing on the world’s biggest sporting stages.

What's on in the local area?

Rachel Gore, she/her Sport Editor

University sport returns 2 October University of Warwick campus

The start of the 24/25 academic year will also see the return of university sport. Every Wednesday, Warwick clubs will compete against other universities at home or away.

Rugby Borough WFC

10 November

At home: Nationwide Windows Arena

Against: Hull City WFC

Rugby Borough WFC is a Coventry based women's football side who compete in the women's National League North which is the third tier of women's football.

Coventry Blaze

10 November

At home: Planet Ice Coventry

Against: Cardiff Devils Conventry Blaze is a British professional ice hockey team who compete in the Elite Ice Hockey League (EIHL).

Leamington FC

19 November

At home: Co-Op Community Stadium Against: Chester

Leamington FC is a football club based in Leamington Spa. Their men's team compete in the Vanarama National League North. Last season, they came 10th out of 24 teams in this league.

Coventry City FC

23 November

At home: Coventry Building Society Arena

Against: Sheffield United Coventry City FC plays in the EFL Championship which is the second tier of English football. Last season, the club reached the FA Cup semi-final.

Image (bottom left): Flickr / Marc

» Images from top to bottom: Leamington FC, Rugby Borough WFC, Coventry Blaze / Wikimedia Commons, Leamington FC, Amakuru / Wikimedia Commons

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‘So you’re gay?’ The experiences of being a male in the dance world

Tom Ryan, he/him

Deputy News Editor

Theballroom lights shining down, surrounded by other competitors in sparkly dresses and classy tail suits, with proud parents watching on from the sidelines – this has been my life for longer than I can remember.

I began dancing at the age of seven – a love story that began perhaps by chance. I went along to a local dance class after my parents said that I always moved along and danced around any time that I heard music – whether it was at home, in the car, or even at the supermarket. I instantly fell in love with the world of Latin and Ballroom, and thirteen years later, I’m still dancing, even now at university, where I’m the current Team Captain for Warwick Latin and Ballroom.

It was in 2019, that I remember seeing on social media that Lara Spencer, a breakfast TV host in the US, had mocked a report that revealed Prince George’s love for ballet

Although I’ve been extremely lucky to have made so many memories across over a decade on the dancefloor, including becoming World Cup formation champion and fulfilling a lifelong dream to dance in the Blackpool Tower Ballroom, I’ve also been faced with the less glamorous side of dance, the side that isn’t what others may see when they see an episode of Strictly Come Dancing and watch the professionals (and their celebrity partners) in awe.

It was in 2019, that I remember seeing on social media that Lara Spencer, a breakfast TV host in the US, had mocked a report that revealed Prince George’s love for ballet, quipping that: “Prince William says George absolutely loves ballet. I have news for you, Prince William: we’ll see how long that lasts.” Whilst many people were outraged by Spencer’s ignorance and sneering, it came as no shock or surprise to me. The grim reality for males in the dance world is

that they will always face criticism, bullying, and negative comments, simply for doing something they love. And though, often, the focus is on male ballet dancers, the problem permeates through the wider dance world too – including Latin and Ballroom.

take part in a more ‘stereotypically masculine’ sport, whether that be football or rugby. Indeed, the age-old comment that ‘dance isn’t a sport’ somewhat underpins the whole idea that men shouldn’t dance, as they should instead be doing a ‘real sport’.

Growing up around dance and spending countless hours a week training, I’ve often joked about how I’m so used to ‘being around girls’ – usually, I’ve been the only male in my formation dance teams. There’s no doubt that dance is a female-dominated sport, but this is perhaps not a symptom of girls simply preferring dance. Instead, it seems to uncover an underlying idea that boys are made to feel that they can’t dance, whether that be by their peers, family, or society as a whole. I’ve seen many boys driven out, even forced out, of the sport before they reach secondary school after years of bullying and ridicule from classmates.

Whilst I’ve been extremely lucky to have had such a supportive family who have followed my dance pursuits across the country, others are often not so lucky. Only a third of boys say that they have the support of their fathers over their choice of sport, with fathers often preferring to see their sons

Despite my family’s unwavering support, I’ve still not been immune from the culture of name-calling or teasing that surrounds dance, and lots of my favourite memories of dance are tainted or shrouded by more negative moments. One of these occasions I remember vividly is when I was in the final years of primary school and I’d started to take dance a lot more seriously, and people in my class started to hear more about my passion for dance. Whilst most people saw my passion for dance as no different to a passion for any other sport, some boys in my class – namely those who were active members of the school rugby team – took problem with it and would constantly tease me. Not only did these boys show their ignorance and clearly not listen to the style of dance I did, saying that I must be a ballerina if I’m a dancer, I was also constantly told that I must be ‘gay’, as ‘all male dancers are gay’.

I am forever grateful for one

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of my primary school teachers, Miss Wright, who stood up for my passion for dance and showed the boys in my class that dance is for everyone by making them do ‘moves’ – unbeknown to them, they were then of course dancing themselves. However, whilst I tried to let the comments pass over me at the time, it’s evident that they have continued to affect me over the years, and they still often crop up in my thoughts whilst I’m on the dancefloor. It’s easy to say that boys should just ‘get over’ comments like these, which are often passed off as childhood banter, but these remarks underlie the toxic, often heterocentric culture that surrounds dance.

Doug Risner, a Professor of Dance at Wayne State University in Detroit, explored these ideas in his essay on ‘What We Know about Boys Who Dance’ in which he said that, from a young age, males in the dance world are forced to either hide their passion for dance from others or break the ‘Boy Code’, a set of unwritten expectations which define what it means to ‘be a boy’. Male dancers, like me, are often seen to be set against this ‘Boy Code’ which drives the underlying judgement and criticism of our passion for dance and everything that surrounds it. Things which would be seen as totally normal for female dancers are almost estranged for men – a prime example of this is the make-up and spray tan culture in Latin and Ballroom, which I have been driven to hate – possibly more than anything else in dance – over the years.

I would have pubgoers shouting ‘Have you been at a circus?’ at me, outside a venue where I’d just finished a dance competition

Stepping onto a large dancefloor is a thrilling experience for any dancer, but the need for a spray tan is made all too clear under the bright ballroom lights. For a couple of years, I embraced the idea of having a spray tan – it finally meant I felt like a proper ‘part of the team’. However, this temporary thrill was soon beset by more negative quips and comments, par-

ticularly at school. Being stared and sniggered at as I walked down the school corridor, constantly being told I looked like Donald Trump or an Oompa-Loompa, feeling like I had to hide my peeling tan in the PE changing room. Something as simple as a spray tan had led me to feel so ‘on display’ at school, and, ironically, it led me to often feel so alone, not knowing who to trust or who wouldn’t judge me. I quickly stopped having spray tans for competitions, and I resorted to using lots of make-up on a competition weekend instead, thinking this would be at least a small fix to my problems. Little did I think, I would then have some pubgoers shouting ‘Have you been to a circus?’ at me, outside a venue where I’d just finished a dance competition.

I hope that one day we can live in a society where males can dance without fear of prejudice, bullying, or abuse

Prejudice and criticism for breaking the ‘Boy Code’ is a problem that males in dance know all too well, and whilst I’ve perhaps been lucky not to have faced nearly as much abuse as some males have, I have still been shaped by the comments I’ve been met with over the years. I still sometimes question myself as to whether I am doing the ‘right thing’ by dancing, and I doubt whether my love for dance makes me ‘less’ of a man. I still hate the thought of having to dance in front of other males who don’t dance, in fear that they will judge me for what I love.

Whilst some cultural shifts have definitely helped to remedy problems over the years, from the increasing ‘celebrity status’ of male Strictly professionals to films like Billy Elliot, male dancers still to this day face abuse and bullying day in, day out. One study found that 96% of boys who dance have faced either verbal or physical assaults from their peers, compared to one in four boys in general. Dance is a sport where you should be free to perform and feel liberated on the floor, but I have often felt, like many other males, that I’d rather be invisible or be able to hide my passion. A love for any sport shouldn’t make people feel like they have to hide or be someone they are not – and I hope that one day, we live in a society where males can dance without fear of prejudice, bullying, or abuse.

» Image: Tom Ryan / The Boar