Mosaic Magazine issue 2

MOSAIC

Poland Policies

EDITOR'S NOTE

Vedangini Editor-in-chief

Dear Readers,

Welcome back (or welcome!) to our second issue of Mosaic. As I sit here writing this note, I reminisce on the past two years of working with and for this incredible initiative that has given my peers and I, a safe place to write about things we are passionate about; sports, science, social issues, fashion, music and film, and so much more. What’s featured within the confines of this magazine is merely the tip of the iceberg; a small glimpse into how talented our illustrators, writers and editors are.

We have worked hard to build a team within which we feel at home, and we thank you, our dear readers, for giving us the chance to explore ourselves and grow within these pages.

I hope that our carefully curated topics give you the chance to learn something new, to see different perspectives and above all, give you the joy while reading, that we felt while writing.

We have so much to experience, accomplish and learn together, and I hope that you continue to join and support us in this little adventure we have undertaken!

SUMMARY

Poland Policies: Pro-Life Or Pro-Choice?

VEDANGINI - WRITER BONNY & ILINCA - EDITORS

It’s the twenty-first century, but somehow we always seem to land up arguing about this one question: Should abortion be legal or not?

What is abortion?

In simple terms, it is a medical procedure used to end a pregnancy.

What is the concept of ‘pro-life’ and ‘prochoice’?

- Pro-Life: opposing abortion and euthanasia (Oxford dictionary definition)

- Pro-Choice: advocating legalized abortion (Oxford dictionary definition)

Abortion policies during the 20th Century

Under Nazi rule, Polish women were allowed unlimited abortions and this law was imposed on the 9th of March, 1943. However, the dark truth behind this was that most of these abortions were

forced in concentration camps such as WaltropHolthausen and Ravensbrück. In 1956, the Sejm (lower house of the bicameral parliament of Poland) legalised abortion if the women experienced “difficult living conditions”. In the late 1950s, 1960s, and 1970s abortion was allowed on request, and women from neighbouring countries such as Sweden traveled to Poland for accessible and affordable procedures.

The most notable change to the policies occurred in the year 1990 after the end of Communist rule. The Ordinance of 30th April 1990 made it extremely difficult to access abortion, and in 1933 the law was restricted further with the removal of the clause that allowed women to have an abortion on grounds of “living conditions”. In 1996, an amendment made it possible to access abortion on social grounds (economic or social reasons) but it was quickly struck down in 1997 by the Constitutional Court.

After that, it was only available if: Threat to the life of the mother (had to be confirmed by two physicians)

Foetus was irrevocably damaged (foetal defect) Cases of rape or incest (judicial grounds)

Abortion in the early to mid 21st Century

In June 2011, Polish anti-abortion NGOs collected over 500,000 signatures for a bill that would ban abortion in Poland once and for all. Of course, these NGOs were pro-life and didn’t care about the fact that this bill could potentially ruin the lives of millions of Polish women who were carrying. These NGOs also failed to realise that the American College of Obstetricians and Gynecologists (ACOG) declared that a “fetus is not capable of feeling pain until the third trimester” which typically is around 27 weeks into the pregnancy and that most abortions typically take place in the first 12 to 13 weeks of pregnancy. Although rejected by quite a lot of the MP’s, the bill still garnered enough support to be sent to the Sejm committee for further amendments. This bill was criticised by Democratic Left Alliance, which was a liberal left-wing party. This party was pro-choice and maintained the argument that women should be allowed to make their own decisions regarding their own bodies. The leftwing party made a bid to drop the bill, which was dismissed and the bill was sent to a committee.

The Law and Justice party (right-wing ruling party) was being pressured to impose a more restricted law by the Catholic groups and Bishops, however, there was opposition in both the parliament, as well as the streets. In 2016, approximately 100 000 people took to the streets expressing their outrage regarding the unjust abortion bill that was being pushed in the parliament. However, these voices were ruthlessly crushed. Karolina Wieckiewicz, a lawyer and an activist associated with the group Abortion Without Border (Polish: Aborcja bez granic) claimed that “In practice it takes weeks, sometimes months” to obtain a legal abortion, with some people deciding to “risk the battle in Poland” as others look for alternatives.

To me, it’s terrifying to think I’m growing up in a society where women are not allowed to make their own choices regarding their own choices regarding their own bodies, and that a decision that dramatically changes the woman’s life is predetermined by the state.

Abortion policies in the past couple of months

The clause before October 2020 stated that women could request an abortion if: - The pregnancy was a result of rape - The health of the woman was endangered - There are severe foetal defects

However, on the 22nd October 2020, the Constitutional Tribunal (constitutional court of Poland) which is notably made up mostly of judges appointed by the ruling party: Law and Justice (PiS), declared that abortions carried out due to foetal defects were to be banned, with medical staff who performed them potentially facing 2-3 years of jail time. People flocked to the streets to protest this cruel law, and on the 23rd of October, the Prime Minister, Mateusz Moraweicki, enlisted the military to help the civilian police in the “protection of safety and public order” on the 28th of October when a nationwide women’s strike was scheduled.

The UN human rights experts criticized Poland for a near-complete ban on abortions and also told the Polish authorities to respect the rights of those protesting.

On the 30th of October, tens of thousands of people took to the streets of Warsaw to protest the law, demonstrating what is thought to have been the largest protest in the country since the fall of Communism in 1989. With a musical medley that included Darth Vader’s theme song and techno music blaring from loudspeakers, crowds of women filled the streets. A red lightning bolt (iconic image associated with the movement) adorned most of the women who were joined by hordes of men who believed that all the hard work that went into achieving a democratic country was being wasted under the rule of Law and Justice, which was getting more and more autocratic. Throughout the week, large-scale demonstrations with nearly 430,000 people attended the 400+ protests. While the protesters have been extremely

first was perceived as a victory. However, the public soon realised that the delay was because the government was waiting for the right time to implement this gruesome law. It seemed like the government was waiting for the anger in the protestants to fade and for the heat of the international press to be focused elsewhere.

On the 27th of January 2021, the Constitutional Tribunal published a 154 paged written justification of the restriction of abortion rights. In the ruling, the Tribunal president Julia Przylębska declared that allowing abortion in cases of fetal abnormality legalised “eugenic practices with regard to an unborn child, thus denying it the respect and protection of human dignity”.

peaceful, the nationalists and people who supported the pro-life ideology took to the streets, attacking the protesters with flares and hand-tohand combat. Some extremists have even formed their own ‘national guard’ with men clad in black, armed with pepper spray as they patrol the streets during the night confronting peaceful protesters. Two female reporters on the scene, from Gazeta Wyborcza (largest daily newspaper), reported that they had been attacked by the black-clad men.

So, what’s happening right now?

There was almost a three-month delay in the implementation of the court’s ruling which at

I, however, think that carrying a child inside your body, nurturing it for 9 months, going through hours of labour pains to give birth knowing very well that the baby was severely defected (eg: lacked a brain, or a cranium or underdeveloped lungs) is an extremely horrifying thing to force women through. Imagine the psychological and physical trauma being inflicted on the woman who was forced to carry her child, knowing very well that it wouldn’t survive. Why should we protect an unborn child who doesn’t even know what life is, rather than a woman who has lived, has seen the world, has dreams and aspirations and goals she still needs to achieve? I firmly believe that the right to abortion, under any situation, should be in the hands of the woman carrying.

What if she can hardly support herself and has no money to take care of the baby? What if she knows that her baby will not survive and wants to prevent herself from all the pain and suffering she would feel as she sees her child take their final breath?

Anti-abortion supporters claim to be pro-life, but do they not realise that they are essentially ruining the life of thousands of women across Poland?

What can you do to help?

There are multiple organisations that have formed to support the protestants: - Amnesty International Polska - Strajk Kobiet - Dziewuchy Dziewuchom - Aborcyjna Dream Team - Aborcja Bez Granic - Women Help Women

Now that you know the names, and you know the injustice that thousands of Polish women are facing, what are you waiting for?

Go show your support and help these strong, determined women get what they deserve. Help them get back their right to their own body.

I Don’t Wanna Be Like Other Girls: Girly vs Quirky

ILINCA & BRIONY - WRITERS LAURA & VEDANGINI - EDITORS

Femininity

has had a history of being portrayed wrongly in cinematography. Movie makers have the freedom of placing female characters on extremes, from the way girls have been expected to act in the far past: girly, feminine, and boycrazy, or alternatively: different from typical representation, with boyish attributes, quirky hobbies, and a deep hatred for the colour pink.

Regina George (Mean Girls 2004), Sharpay (High School Musical 2006), and Heather Chandler (Heathers 1989). What do these characters all have in common?

They are all well-off, blonde ‘girly girls’ who are the antagonists of their respective movies. Ever since Marilyn Monroe’s popularity in the 1950s, it’s more prominent than ever to see these sorts of characters in teenage movies, especially when fulfilling the role of the ditzy blonde, or the boycrazy party-obsessed idiot. While predominantly wearing pink wardrobes, these pretty and feminine girls are depicted with bad attitudes and are pigeonholed into the ‘mean girl’ stereotype; often jealous of the main character, usually due to receiving attention from boys.

In the case of Twilight, the representation of the girly girl was not given to an antagonist, but worse: an annoying side character that exists only to create background noise - Jessica. She’s all the things Bella Swan (the girl protagonist) is not, and in return has no one liking her much, even though she always tries her best to be nice to everyone and

lighten the mood. This stereotype perpetuates the idea that femininity is either inherently evil - girls who care about parties and boys are shallower and crueler than their peers - or alternatively dull and ditzy. Because of this depiction in the media, many young girls growing up view femininity to be something to be ashamed of, and choose to idolize the ‘tomboy’.

The tomboy character originated from the renouncement of feminine clothing and items during the second wave feminism movement of the 1960s. As opposed to ‘first wave feminism’ in which women fought for legal rights to vote and to own property, ‘second wave feminism’ focused on other issues as well: sexuality, domestic issues and misogynist ideals. While this wave started a trend of disregarding women’s femininity, appearing stronger and more masculine in the hopes of claiming the freedom to do so and thus creating the ideal of the ‘tomboy’ in the process, it also reinforced the idea that all people should look down on stereotypical girly things. In order to be respected, women had to separate themselves from their womanhood, and in doing so, lost respect for it themselves.

Too many coming of age movies of the 2000s or 2010s featured the ‘I’m not like other girls’ type of main character, while the antagonist character was an annoying ‘girly girl’. While at the time it seemed revolutionary for the spotlight to be given to tomboys, the exaggeration of this trope and especially the rivalry between the two types of characters resulted in a lot of hatred directed

towards the girly girls. This escalated into a long period of time in which girly girls were hated in the media and made fun of. Many teenage girls felt like their duty was to stray away as much as possible from this stereotype, given that the male love interest in movies never ends up with the mean popular girl. Regina George never got Aaron back, instead was hit by a bus; Sharpay didn’t end up with Troy; Heather Chandler was murdered.

The upside of this new wave was that hope was restored to the lives of girls all over the world who felt like they didn’t fit into societies because of their differences. Katniss Everdeen came in as a beloved female protagonist, admired and pursued by both Gale and Peeta despite her masculine characteristics, similarly to Bella Swan, caught between the love of the mysterious vampire and feisty werewolf. Katniss has trouble expressing emotions and has a powerful personality and sense of justice, while Bella dislikes shopping, doesn’t pay attention to her appearance and is a shy introvert. All these characteristics being accepted and glamourized by the media industry had a positive effect on the self-confidence of girls who stopped trying to be what society expected out of them and started embracing themselves as they were. But of course, like everything with social media involvement, it escalated into something just as bad.

Currently, the media has started to shame the ‘not like other girls’ girls, labelling them as ‘pick me girls’. This started as a way to call out the ignorant behaviour of girls that were putting others down in their attempt of appearing excessively unique and

special: the internet was flooding with pictures making comparisons of ‘other girls’ versus ‘me’, in which liking food and hating pink were considered personality traits.

However, the term ‘pick me girl’' gradually became used widely enough to be harmful to the girls who were initially excluded by societal expectations. Although the original intent was to raise awareness about the negative behaviour of people dragging down the concept of the girly girl and turning it into something basic with bad connotations, it actually ended up completing the vicious cycle of making less feminine girls feel bad about themselves.

The sad truth of movies is there is always going to be a character that fulfills a harmful stereotype, for humor, or even just because of lazy writing. In the case of female characters, there will always be something to shame them for: a blonde girl can’t be smart because men’s attention is more concerned with her body, an edgy girl who dyes her hair can’t stand up for her friends because then she's a “feminazi” who hates all the male characters, and the second two girls are on screen together they immediately despise each other, because naturally they both like the same guy, and are willing to throw hands over him.

The fact is that girls will be put down for being tomboys, will be put down for being girly, and will be put down for doing just about anything in-between. There is rarely a film about women that hasn't been accused of being made for social justice warriors, even when it's just about celebrating women (consider: Ghostbusters 2016, Birds of Prey, Ocean’s Eight, etc). The only way we can remind ourselves that these stereotypes are nothing more than stereotypes is awareness.

Awareness of what we are watching, and awareness of diversity. People are never going to be like your initial assumptions of them, despite what you've seen on TV. The next time you catch yourself judging someone because they fit into a stereotype, consider where that stereotype came from in the first place.

Do You Follow The Disney Standards

ILINCA & BRIONY - WRITERS VEDANGINI, RAFAEL & DANIEL - EDITORS

My first exposure to the medium of animated storytelling was classic Disney and their many tales, back when I was still so frightened of the villain I would curl up to hide from them. Still, I was so in love with their narratives that I’d have my grandma read Snow White and the Seven Dwarves to me over and over again with a voice so gentle that drew me into the world of this princess and the seven dwarves she meets along the way. But I also remember that to the mind of my 3 year old self, the barrier between what was real and what was just imagination was often blurred. The charm of fairytales is their whimsical feel, absent of the jarring taste of reality, but this is also what makes it so difficult to understand that these are stories and will always remain just words on paper and nothing more.

I imagine that adults are aware of how much of an impact these movies have on children with their young, impressionable minds processing everything around them. So, is there a reason for the way these fairytales usually play out? And how much of an impact did they have on us as a society, given that they must have been responsible for moulding our ideologies to some extent?

“What do you wanna be when you grow up?” There’s quite a high chance that young girls will almost instinctively respond, “I wanna become a princess.” There’s something about the way they look, their pretty dresses, pure hearts, angelic voices, long hair and slim waists, that makes us want to love them, definitely, but also worship them.

It’s almost like they’re too perfect. Without factoring their appearances too much, they still exist at an unattainable level, because they were never meant to be constructed as a human. And with little girls aspiring to be them, setting their goals somewhere where they are unlikely to reach and labelling everything else as bad, these oh-soperfect princesses seem to cause more harm than good.

So doesn’t this have an effect on children’s confidence? It convinces us that we are not good enough until we behave like princesses. Looking flawless every second of the day and night. Having only positive thoughts. Casting no judgement in our midst towards anyone, only fighting evil with more kindness, no display of anger, jealousy or frustration. So put together at all times. It’s clearly what we all want for ourselves. I remember I used to be obsessed with the idea of being unrealistically kind, just like Snow White, which was good to some extent, until it led to me repressing stronger emotions.

The fact remains that the most venerated princesses, the ones perceived as the most beautiful as in fitting the societal standards, are Snow White, Cinderella, Aurora, Ariel and Belle: chronologically the first five princesses to appear, starting as early as 1937. Are they models we should set as a standard for ourselves, considering their seemingly flawless facade? What reinforces the struggle to imitate the princesses is the easiness with which they stumble upon “true love” and “love at first sight”, principal themes in most Disney movies. While we idolize the relationships between the princes and princesses, the fact is that this ‘true love’ is neither true nor deep. Prince Phillip supposedly “falls in love” with Aurora after watching her dance in the forest for a few seconds. Ariel is head over heels for a handsome prince she rescued from a ship. In real life, we would call this falling in love with the idea of someone, which is a very damaging way to start out a relationship, unlikely to last.

In the early Disney movies, the princesses had little personality traits to call their own. Snow White being a housekeeper, but not particularly strong willed nor intelligent. Aurora being asleep for a hundred years, yet not particularly grieving over her long dead relatives. Even classic Cinderella,

who the prince falls in love with at first sight, despite the two sharing only one dance together. The lack of characterization for these girls make them two dimensional, and hard to relate to.

Disney later started to create more diverse personalities in the heroines: with Mulan being strong-willed and courageous, then Rapunzel who’s adventurous yet chaotic and Ariel who's reckless and fun. The funny thing is, these are the traits that I love in princesses the most. Mulan was introduced among the princesses in 1998, when her movie came out, and was a big step forward in attempting to break the impenetrable image that the original princesses had created, their enforcing of only one proper way of being. She was followed by strong characters such as Merida or Moana in recent years, normalizing ‘flaws’, such as Merida’s gruffness, or Moana’s rebelliousness and mistakes.

The way Disney princesses are presented is often what children correlate beauty to, and in turn, people who look like Disney princesses are seen as beautiful. This extends to personality as well. Disney's expansion of personality types, and inclusion of different types of people, enables children to see themselves as beautiful, and this carries on into adult life. The influence that the old disney princess had on the perceptions of beauty cannot be erased easily, but with more inclusion and diversity, it certainly can be improved.

Another one of the most prominent debates ongoing about inclusivity in modern fairytales, especially in todays ‘politically correct’ modern climate, is that most of the time, diverse representation isn’t seen as valued or present in mainstream fairy tale movies or books.

Racial representation has long been the subject of controversy when it comes to Disney’s fairy tales; of the 12 ‘official’ Disney princesses, 8 of them are white. And when Disney attempts this representation, more often than not is the effort extremely lacklustre. In the Princess and the Frog, (the first movie featuring an African American Disney Princess) Tiana’s time on screen was roughly 40 minutes, out of which she spent only 16 - 17 minutes as a human and was reduced to a frog for the rest of it.

In Rapunzel, the Jew-coded antagonist kidnaps a blond, green-eyed child from her caring parents, to use for her own selfish purposes. While of course, this message was not the intention of Rapunzel's

of their respective relationships to be very open to interpretation. This lack of support from Disney promotes, intentionally or not, both the habit of queer baiting as well as the idea that LGBTQA+ is ‘unsuitable’ for children and morally wrong.

creators, most evil witch-like characters stem from anti-semetic caricatures, with dark hair and hooked noses. In Peter Pan (1953), Tiger Lily and the other native Americans featured in the film speak gibberish, smoke tobacco and sing songs such as “what made the red man red”.

While longtime Disney fans may excuse many of Disney’s worse offences citing their old age and the American beliefs and ideals at the time of their release, the fact of the matter is Disney still makes mistakes even now. For example, the 2015 live-action remake of Peter Pan, while featuring the very same tribe of hurtful stereotypical Native Americans, didn’t even cast a Native American actress to portray Tiger Lily, instead giving the role to American Caucasian, Rooney Mara. A phenomenon commonly referred to as whitewashing, casting a white actor in the role of a person of colour.

While racial representation seems to be a cause of conversation in the last few decades, sparking films featuring people of colour and foreign cultures, such as Moana, or Soul, other representation such as queer representation, seems non-existent. Characters accepted as queer are side characters with little screen time or have love interests not prominent in the movie added only as afterthoughts. Characters such as Lefou (Beauty and the Beast) or Oaken (Frozen) are never implicitly stated to be gay, and allow much

Finally, the faces of Disney princesses are extremely recognisable, the button noses, the clear skin, the beautiful hair; ever since Disney’s first feature film in 1937 (Snow White and the seven dwarfs) each Disney princess has been typically beautiful. These princesses all have tiny waists and small hands, while representing the ‘good’ and ‘just’ in each fairytale. Their counterparts, the villains, are often ugly and stupid; the men large lumbering oafs while the women witches and evil stepmothers.

The idea that children understand from watching such power dynamics is that ugly equals evil, while beauty clearly means good. In a climate where the percentage of children with anorexia is rising and with many lacking significant confidence in themselves and their abilities, children should be aware that Disney movies can perpetuate harmful body standards.

The unhappy truth of representation in movies is that not everybody will be able to relate to every character. That is not to say that diversity and inclusivity don’t benefit us as a whole, because they certainly do, and children who often are unable to see themselves represented in movies are able to have princesses and heroines to relate to. But instead to be aware when watching Disney movies that there isn’t one ‘perfect’ ideal, or body type, or personality. Holding yourself to the standards set in movies is hurtful and unrealistic, and in the long run, these standards might damage your selflove and respect.

Wolfenstein

RAFAEL - WRITER VEDANGINI & DANIEL - EDITORS

Afterexperiencing a year of both separation and isolation, I decided to revisit one of the most creative and thrilling video game franchises of recent years, Wolfenstein. This video game epic takes place in a post-world war dystopia, where the Nazi party has siezed control of the globe. You play as William J. Blazkowicz: an American of Polish and Jewish descent, and Nazi Killing Machine. Raised by an abusive father, this character abandoned his home to join the military at a young age. From then on he befriended operatives from around the world and fought off the oppression with ferocity and might.

Gruppenführer: Wilhelm "Deathshead" Straße. By the end of the game, after numerous triumphs against evil, Deathshead is killed and you return to your people, but this time a broken man. In this dark world, the Nazi command employs futuristic, neo-warfare and super soldier technology. It is fitting that your character, a Subhuman in their eyes, manages to dismantle parts of their global regime alone.

The following game, The New Colossus, picks up right after where you left off. You are saved from Deathshead’s crumbling fortress at the last minute and succumbs to a 5-month long coma. As you fade back to consciousness, you learn that the home base of your revolutionaries is captured by the sadistic general: Irene Engel. You allow yourself to be captured, and awaken in Nazi capture. For the first mission, you play in a wheelchair but still massacre Nazi soldiers with sheer willpower and a formidable arsenal of arms. After you liberate the Homebase, you travel not only the globe but other planets, all in the name of Justice.

In the first game, Wolfenstein: The New Order, Nazis deploy advanced technologies, which enables them to turn the tide against the Allies. In July 1946, you, accompanied by pilot Fergus Reid and Private Probst Wyatt III, take part in a massive Allied air raid against a fortress and weapons laboratory run by his nemesis, SS-Oberst-

Following a long and hard campaign, you achieve justice, find love and even liberate America from Nazi control. The game ends on a sombre note which leaves the player satisfied, as the Blazkowicz story comes to an end

2 years ago and 2 years after the release of the New Colossus, Bethesda released another sequel Wolfenstein: Youngblood. It is an atypical co-op game whose core gameplay pillars lie in line with the previous games. You play as Blazkowicz’s twin daughters, and travel to Paris to find their father and topple the Gestapo regime in France. Not only is this game true to its run and gun origins, but the co-op aspect is also organically implemented. This paired with a vast skill tree to upgrade your character leads to an experience of effortlessly completing objectives alongside a friend.

Although ploughing through the streets of Paris, blowing up Hitler statutes and clobbering Nazi robots does sound fun, it was only possible with the incredibly talented art department. I was lucky enough to have purchased the Art Book from the New Colossus and it did not disappoint. The developers open up indepth about their design process and how they constructed a realistic and beautiful world from the ground up. Anyone interested in graphic design, automotive design, 3D modelling and character design must experience what is provided in these games.

The Wolfenstein series is available to play on all platforms. It showcases a flawless balance between exhilarating gameplay, progression, story and design. I implore anyone who has the time to purchase any one of the games and feast their eyes and minds to what these games have to offer; you will not be dissapointed.

RAFAEL - WRITER

Formula 1's Saudi Arabia Grand Prix VEDANGINI - EDITOR

Inearly March, Formula 1 (F1), the international racing competition, announced a brand new race track and grand prix in Jeddah, Saudi Arabia. This news, although received with excitement, also incited skepticism. In the previous year, Formula 1 had been pushing hard for inclusivity, human rights and acceptance throughout all of motorsport with campaigns and many marketing strategies to paint themselves as a modern and conscious institution. This new announcement that they would now race in the Kingdom came with many caveats that seem to completely negate these previous efforts of political correctness.

Ahead of the season opener in Austria, F1 pledged to:

“Say thank you to key workers and individuals around the world by displaying rainbows on the Formula 1 cars and around the race circuit with the hashtag #We Race as One. The rainbow initiative will continue throughout the season […] we will take a stand against racism. This will include visual displays of support in the fight against racism. In addition to the visual display of support we will also announce later this week clear pledges

to increase diversity and opportunity in our sport. This will include setting up a Formula 1 Task Force that will listen to people from across the paddock, including the drivers, as well as externals and make conclusions on the actions required to improve the diversity and opportunity in Formula 1 at all levels.”

This also included moments of silence before each race. Pledges to the ‘Black Lives Matter’ movement accompanied by posters and imagery all over the tracks, in respect of human rights and the struggles of the black and LGBTQA+ community throughout 2020.

At the end of the year, in the face of all this progress, F1 announced a partnership with the Kingdom of Saudi Arabia.

The Kingdom is widely known as one of the most oppressive regimes in all of the developed world. With virtually zero political freedom, acceptance or LGBTQA+ and little freedom for women and women's rights, its society is permeated with racism, prejudice and oppression from the ruling family. In January 2020, a group of young men were arrested after they appeared in a video of what the police described as a “gay wedding scene”.

In July 2018, it was reported that a gay man, who allegedly tried to arrange a date via Twitter, was sentenced to 450 lashes and three years imprisonment. It's not much better for women. They cannot choose marriage partners, travel freely, and there is no penal code for punishment of rape or the presence of laws against domestic rape. All this alongside arrests of prominent women’s rights activists in 2017, and the subsequent torture of at least four of them. This was in the form of electric shocks, whipping, sexual harassment and assault. Compounded by the disastrous war in Yemen only highlights the scale of the menace that is Saudi Arabia to the global community. Formula 1’s decision to partner with this regime after a year of painting themselves as “woke” and “ethical” is a spit in the face of their fans and the movement as a whole. We are left with the question, is it worth it to toss away progress for financial benefits and a potentially good race?

Human right implications aside, how will the racing itself be? Designed by the infamous Hermann Tilke, who designed some of F1 most famous, beloved and hated tracks in previous decades, Jeddah is unique to say the least. The racing will be counterclockwise (ironically meaning there will be little rights), and with the exception of Monza in Italy, it will be the only power circuit on the calendar, despite the fact that it is a street circuit.

rear wings they can muster in efforts to minimise the drag of air slowing the car down when it races at 230 kmph. This style of track is guaranteed to bring a unique excitement and force teams to adapt to its conditions, in turn guaranteeing and exiting race.

Unfortunately this circuit isn't without its flaws, mainly a lack of overtaking opportunities. A lack of overtaking is the achilles heel for F1 at the moment, thus killing the races and their thrill. This circuit unfortunately has only one clear spot for drivers to get ahead of each other, turn one coming off the pit-straight. It is incredibly unlikely we will see an overtaking outside of this spot or maybe a rare pass on the final corner. This significantly reduces the excitement around the track but to be sure we need to wait and watch the race itself.

The Jeddah Street circuit may be an exciting new addition to the calendar with its high speeds and power-circuit status, but it also brings perspectives on the flaws of Formula 1 as a whole. Throughout its entire history, cash has always been king in motorsport. Pay Drivers, only in the sport for their parents' cash, have polluted the upper echelon of motorsport and its honour for decades. Shady sponsorships and deals have ruined teams and careers in the paddock numerous times. And the distinct advantage the ericher teams have on the grid is impossible to ignore. The Jeddah Track deal once again exposes this dark side of the international circus and more importantly does it in the face of civil rights, a movement that dominates the news in this day and age. In other words, Formula One is better off financially, but you cannot say the same for its reputation, prestige

A power-circuit is one with long straights and flat out sectors where the driver really lifts off from the pedal, prioritizing engine power and speed unlike anywhere else. Teams will be seen with the smallest

Transgender People Competing in Sports: Is It Fair?

YASEMIN - WRITER RAFAEL - EDITOR

The discussion regarding the fairness of having transgender individuals compete in the category of their gender identity is a difficult and definitely controversial discussion that’s been argued over increasingly more recently. Do transgender women have an advantage in sports? Should they compete in the female category? Perhaps they should have their own category. Of course, the aim in sports is to maintain a fair and safe environment for athletes, while also making sure to preserve everyone’s rights. Sports bodies are trying to form regulations regarding the categories transgender people should compete in, and recently there has been more research done on the changes to transgender individuals’ bodies after transitioning through hormone therapy.

Studies found that transgender men had significantly increased muscle mass and strength after a year of hormonal therapy. Muscle volume increased by 15%. However, a shock was that transgender women did not lose muscle strength despite inhibited testosterone production over 12 months. The muscle mass lost was also much less than what researchers previously thought: only 5% of the muscle volume over thigh muscles decreased. Over the assessment period, trans men’s strength increased while trans women’s strength was maintained or slightly increased. The level of muscle volume and strength looked advantageous for transgender women.

What we classify as “unfair” seems to vary between sports. A 60kg wrestler wouldn’t be put in the

same category as a 100kg as it would be deemed unfair, but it’s not seen as much of an issue of fairness when a 6’4 basketball player is put against a 7’ player. This sparks a more complex discussion if we consider that not every athlete has identical physical strength, talent, speed or agility. The athletes who succeed and are considered to have more “talent” aren’t called cheaters but rather get praised for “having an edge”.

The other side of the argument, however, suggests that women and men are categorised separately in the first place for a reason. Thinking independently from gender as a social construct, the physical advantage men have over women can’t be blamed on discrimination. Biological gender is still a factor to be considered when deciding whether it’s fair to have transgender women compete against cisgender women. As little as the number of studies is, there are about transitioning through hormonal therapy and sports capabilities, it’s seen that transgender women still get favoured regarding muscular strength compared to transgender men. Another question raised is whether hormonal treatment for transitioning can be considered doping. Steroids such as testosterone are said to enhance performance in both males and females, although many studies suggest that it only works to bulk over time and doesn’t provide an instant jolt. This makes testosterone banned from many competitive sports, so another factor to consider is whether the hormonal treatment makes it unfair for cisgender athletes who aren’t taking hormones.

The recently recognized movement of gender equality and the acceptance of subjective gender identity rather than anatomical is pushing sport towards change. It’s a subject in which there needs to be more research and debates before any decision is made as a wrong decision could hugely harm athletes and sports communities. Fairness ensures the maintenance of meaningful competition, and that is the significance of sport.

Memories and Marigolds

BY BRIONY & ILINCA VEDANGINI - EDITOR

The sound of heels clashing against the marble floor echoed throughout the empty white room. A white so bright that her eyes would hurt if the paint hadn't been so worn out in certain places. The dusty corners, some splattered stains on the ceiling. There was a huge window behind her, but the light coming in was just so blinding that she could not bear to face it. She could only guess what the view would be like, gorgeous, so high up in the sky with cars running around like tiny ants around the city. It was so far down and yet she swore she could hear their murmurs and silent screams somehow reaching up.

The woman was simply so absorbed by the hideous pristine nature of the complex that the guide had to repeat himself a few times to get her attention.

“Miss Bennet? Can you hear me?”

She nodded briefly as a response, black dots blinking in and out of view. The man started walking down the corridor, his perfectly calculated steps leading the way. They walked and walked and the walls were just the same white for that it seemed like miles, no furniture, weirdly patterned shiny marble floors. This apartment was supposed to make her feel welcome. So far it had only done the opposite. They kept walking.

The man stopped beside a tall desk. A desk! The woman checked for wood, a desk must have wood! But it was all metal. Metal and marble and rotten paint in a room so large and empty that it made her feel claustrophobic.

“I’ll have to ask you to sign this form, miss.”

“Form? What for? I haven’t decided anything yet.”

The receptionist gave her a pitying, practised smile, seemingly one he’d given many times before, as he placed a pen in the woman’s hand.

Handing her the form.

How had she gotten here?

She couldn’t remember.

“I’m sorry, I don’t feel so well. I think I’d like to leave.”

The man grimaced.

“Where to, Miss Bennet?”

Her cottage.

Her sisters, her dog.

The iron gate she left open, spilling onto the gravel road, last springtime littered with daisies. The mailbox, spilling over with letters and magazines she hadn’t had time to open. That she wouldn’t have time to open.

Her cottage.

The kitchen, filled with sunlight and the smell of afternoon tea, forest fruits with honey.

Her dirty mugs, left out by the kettle, the dregs sat at the bottom of each, as despondent as the rest of the house.

Their last picnic.

A blanket stretched out, the last of their lemonade, jam sandwiches inside wicker baskets.

In the forest clearing, where once she had strung up fairy lights, the twinkling of stars as a backdrop for their night of celebration.

Congratulations, they said, to have your own house, your own farm. So young.

How did you do it? they asked. Their questions, as alight in her as the fireflies that held back the darkness.

But no one asked No one thought That maybe It would be dangerous

To live all alone.

Her table. Usually covered with the scattered drawings of a madman, mushrooms and frogs and lilies.

Heartfelt drawings on greeting cards and stamps. Stamps she would sell in the marketplace in town, making couples laugh and children giggle. For once, her pencils were all neatly packed away.

The same house she had once filled with laughter, her nieces sat on pillows playing with stuffed animals, embroidered with robins.

Her siblings, watering her potted plants, spilling mud onto the wooden floor, hitting their heads on the low ceilings covered in fairy lights.

Wearing dark colors as they trudge around the living room. Holding bouquets of wildflowers.

Her flowers.

The ones she had spent morning after morning preening. The petunias, the wisteria, her belladonna. Overgrown.

Her tomatoes and cabbages. Rotten.

Her daffodils and dahlias, their stems cracked and dry. Dead.

Her cottage, under a sky darkened with storm clouds.

Clouds she used to dance under.

The rain sloshing in the lily pond.

Drumming on the roof and gutter.

Cascading down her face.

Washing away her tears and sorrows.

The gate was rusted. The plants uncared for.

The house.

It looked so different now.

It was dark inside her cottage. Even though.

She had left the lights on.

“You don't understand, I have to go back.”

The curl of the unsmiling man’s lips was making her uneasy.

“My apologies Miss Bennet, there is no going back.”

The screams beyond the walls got louder and they screeched until they collided with the image of the life she’d let behind, fragments of the rain and flowers, trees and laughter attempting to resistAnd then, nothing. So she signed the form.

“Memories…Always such a bother” the man grimaced, setting the forms aside.

And just like that, all traces of the cottage vanished forever from her mind.

Vivienne Westwood: A Fresh And Daring Vision

ADA - WRITER DANIEL, VEDANGINI & ILINCA - EDITORS

DameVivienne Isabel Westwood is a British fashion designer and businesswoman whose name is instantly recognizable because of her bold vision and brand new perspective of fashion. She has designed numerous pieces that have redefined the punk style. She is not only audacious when it comes to the fashion industry, but her unique personality also shines through her life decisions. She designed pieces that took you back to the culturally rich and pleasing punk music era of the 1970s. Vivienne Westwood proved that even the most unconventional figures can become part of the establishment, gain immense support and become famous. She showed that through hard work and time you can find your path, even if people don’t agree with or understand your vision at first.

mom had previously worked as a greengrocer. In an interview, Vivienne revealed that when she was little she did not consider herself pretty, at the time an important factor for being considered beautiful was having blonde curly hair and hers was brunette and straight. She stated that she always knew that one day she could make herself look better and would be able to change her appearance. Vivienne also revealed that she had never even considered the idea of working in the fashion industry, even though she was exceptionally skilled even at the age of just 16, when she made tailored suits for herself.

At the age of 18, Vivienne went to the university then known as ‘Harrow Art School’, with the idea that art would be her main subject and if that wouldn’t work out she’d become a school teacher. After one term she dropped out saying "I didn't know how a working-class girl like me could possibly make a living in the art world". After that, she attended a teacher-training college and became a primary teacher.

Vivienne: the female face of punk, was born in Tintwistle on April 8th, 1941. Her parents had nothing to do with the fashion world: Vivienne’s dad was a storekeeper in an aircraft factory and her

By early 1960, Vivienne’s life seemed established and predictable. She had married Derek Westwood in 1962, had a son named Benjamin (Ben), and embarked on work as a teacher. However, all of this changed when she divorced her husband and met Malcolm McLaren. The two fell madly in love and had a son named Joseph later on, in 1967, but the two never actually got married . Back when they were at the start of their relationship, Malcolm had left college and needed help with a project he was interested in and that involved Vivienne making clothes.

The two were very rebellious by nature and every time they would get bored their shop would change. In an interview, she even said that they once got “busted for under the scene publications for holding an indecent exhibition”. Vivienne was in court about four times after that and even faced jail time, but luckily she stopped “being so interested in it by then so she didn’t have to go”. A factor that helped their store immensely was that McLaren became the manager of the punk band ‘Sex Pistols’ which brought a lot of attention to their shop, since the band members wore their designs. Vivienne’s last relationship occurred in 1992, almost ten years after she and McLaren split. She remarried Andreas Kronthaler, her assistant. Today, he is her design partner.

As the punk movement faded, Vivienne Westwood did not fall behind. On the contrary, she always seemed to be one step ahead, dictating the industry. She had an inclination towards historical clothing, not only because of the fabric and styles but also the way the clothes were worn. In particular, she was enthralled with the clothes that were adorned by pirates. Vivienne thought that an interesting factor of working with historical costumes was the

lust for change, especially since her work couldn't be imitated for a multitude of reasons. Vivienne Westwood confessed that the collection she was most proud of is Vive la Cocotte, as she had created a silhouette that no one had seen in that era. In an interview, she boldly stated that Chanel designs were very restricting, and only looked good on people shaped like “coat hangers”.

Her creativity was not the only reason behind Vivienne Westwood's success. Her fresh perspective of fashion, her courage to vocalise it, and her determination to add a touch of uniqueness to all of her creations gained her fame and followers as people always want to see something new.

I think she is a great example of a successful woman who didn’t follow conventional rules and carved her name into the fashion industry forever. Vivienne Westwood’s story proves that you can change your life at any moment, if you are just willing to be courageous and take risks.

CELINE: 2021 - 2022 Vision For Menswear

ADA - WRITER EMILIA & VEDANGINI - EDITORS

CELINE,

formerly spelled CÉLINE, is a French luxury brand that was founded in 1945 by Céline Vipiana. This year, as a consequence of COVID-19, the company opted to present their newest Fall/Winter collection online at the Château de Chambord, a towering castle built in the early 1500s by patron of the arts King Francis I of France.

Titled Teen Knight Poem, the collection does not fail to impress and leaves the audience wanting more.

A perfect balance is introduced through the contrast of modern casual fashion elements: leather jackets alongside beanies, and the feminine elegance added by jewelry and stunning turtlenecks. This, along with numerous other factors that have been meticulously planned, made this collection one of a kind. The location perfectly captured the ambience eluded by the clothes. Contrary to presupposition, the castle did not steal the spotlight, but rather facilitated the presentation of the collection, blending beautifully together. In addition to the serene setting, the fashion house chose to hold the show virtually, allowing the audience to experience a high-fashion event from the comfort of their home. Additionally, there were greater opportunities for creativity in the making of the presentations. The camera work was extraordinary, and the dramatic clips added to the immersion of the viewer. On an organisational and methodological plane, I believe CELINE did a wonderful job at making the best out of an unexpected situation and came through to present an unforgettable show.

Aside from the show itself, we must talk about the clothes on display. As mentioned before, avid fashion-lovers were incredibly lucky to get such a unique collection. Hedi Slimane, the creative director, took inspiration from the 90s Gothic era, and the French Renaissance, which might seem like an unexpected and dissonant combination to some. He was inspired by portraits of the court of Francois I and emphasized French luxury. The models wore clothes that referenced armour, but also the elegance of French clothing: embroidered leather and bomber jackets, oversized knits, studded knit helmet-beanies, metal-tip Chelsea boots, and beautiful jewelry. Models donned studded knights’ masks in ribbed wool as they paraded about the château’s battlements - their walk linking back to a knights’ one since it captured their bravery, dignity and decisiveness. Even in a different location, the show would have undoubtedly been a memorable one because of the exquisite designing of the clothes.

As a verdict or recommendation, I believe that everyone should watch at least one fashion show, to understand the meaning behind the clothes and the decisions surrounding their make. From a personal viewpoint, CELINE produced an appealing collection that brought back the grace and refinement of the French Renaissance, but also made it modern by presenting it through a new perspective with the help of 1990s Goth fashion. Through this, we grant exposure to various trends and styles of clothing that were once forgotten.

Mirror, Mirror on the Wall

“Mirror, mirror on the wall, Who’s the fairest of them all?” The old saying goes.

But when I look into the mirror, I see all my flaws. My aching bones, My weary soul.

The deafening silence in my head, Through which I hear, A familiar voice roaring. For years people have kept, This voice from growing.

Yet now it screams. Louder by the minute.

“Mirror, mirror on the wall, Who’s the fairest of them all?” The old saying goes.

But I know a secret now. You will never bring me down. Because this time when I look into the mirror, I don’t see, My flaws. My imperfections. A person trying to fit into society’s mould.

What do I see, you ask? This time I see me. And I’m so much more precious than all the gold.

Kanye West's 2018: Part 2

RAFAEL - WRITER DANIEL - EDITOR

Kanye

West’s 2018 is nothing short of historic and inspiring. Having already produced three exciting and critically acclaimed albums for other artists, he set his eyes on making two more of his own.

The penultimate album of the year was Kanye’s own album, his 8th studio album and my ‘on again, off again’ favourite album; titled Ye. On this record, Kanye opens up more than ever during his career; donning a tracklist rich with emotion and songwriting never seen from West before. The album starts off strong. Titled I Thought About Killing You, the first song begins with distorted chants and hums of a choir. They are sad and broken as they pitch up and down mimicking an organ. These hums are no longer vocals but instruments (only with even more emotion).

24 seconds in, Kanye joins the party. He delivers a 2 minute soliloquy about his love of himself, for others and his desire to kill said people and the way the public views him as a celebrity. He pitches down some words and pitches up others to add depth to his otherwise cold delivery; emphasising sentences or giving a sinister or sweet twist on phrases (all while the warped choir chants in the background accompanied only by a bass). He starts rapping calmly about his life but then with just over a minute left on the track, there is a drastic and surprising beatswitch. The soundscape becomes rich with drums and his rapping becomes more intense, with grunts and adlibs paired with

drums for a punchy soundscape.

The following track is Yikes, a more upbeat and catchy song with a more typical Kanye delivery and feel. The 3rd and 4th tracks are love songs, All Mine and Wouldn't Leave. The former is a grungy and filthy depiction of Kanye’s more misogynistic and animal side, contrasted with a falsetto into and outro for some spice. Then the latter, featuring RnB artist PARTYNEXTDOOR, is a slower and sedated track where Kanye speaks on his love and devotion to his wife, Kim Kardashian.

This matured look on love and monogamy talks on the more realistic aspects of love while still having the signature Kanye rapping and production. The way Kanye freely talks on these less than typical issues whilst still being catchy and ultimately making a banger is nothing short of impressive. This two track run is closed off by No Mistakes, a shorter conclusion and elaboration on Wouldn't Leave. Here Kanye talks more broadly and joyfully about his life and his successes and the mindset that brought him and his family there.

Then the 6th track on the album is, in my view, one of the best tracks put to tape, period. Ghost Town opens with a soul sample talking about how “someday” he will wear a “starry crown” and lay down “like god did on a Sunday''. Then, exactly on the minute mark, Kid Cudi chimes in the first chorus, slowly and almost desperately singing: “I've been tryin' to make you love me, But everything I try just takes you further from me”. This is followed by a hopeful verse of Kanye’s about his and his peer’s passions and ambitions in the face of adversity that ends and begins with “But maybe someday”. Cudi’s chorus repeats and the beat transitions from a basic but clean organ and drum centric backdrop into one focused on an electric guitar which mimics the singing of 070 Shake, a light female voice that clashes with Kid Cudi’s deep sorrowful delivery. She talk about freedom from life and its rules, delivering the songs signature line:

“And nothing hurts anymore, I feel kinda free We're still the kids we used to be, yeah, yeah I put my hand on the stove, to see if I still bleed”

As these lyrics play out, the guitar reaches so high up into a crescendo it is joined by futuristic synths and lasers that sound like they come from

a 90s Daft Punk song and it miraculously fits in flawlessly. She repeats the line a few times and everything fades out except for some drums. Listening to this outro is an experience like no other: the listeners transcends all and you float on the lyrical and musical bed Kanye West crafted and that feeling never truly leaves you ever again.

The final track features Kanye's rawest performance yet. Violent Crimes ponders Kanye’s deepest insecurities and fears; mainly the potential future sexualisation of his daughters and the cruel world that it is now their turn to traverse through. He spares no word throughout the entire song, rapping:

“Don't do no yoga, don't do pilates

Just play the piano and stick to karate I pray your body’s draped more like mine and not like your mommy’s”

Here he even manages to mention his billion dollar fashion house Yeezy and its influence whilst still lecturing his daughter. Throughout this track, Kanye also manages to be self-aware about his emotion, adding another layer of depth, reflection

on himself while simultaneously reflecting on his reflection:

The end of the album is a blurry and raspy voice message from Niki Minaj, where she raps one line and then makes a quip about Kanye’s songwriting. This is similar to how Nikki Minaj was the intro to Kanye's 2010 magnum opus: My Beautiful Dark Twisted Fantasy. Many speculate that this marks a closing of the Dark Fantasy Era of Kanye’s discography. He started with the Graduation Trilogy, with 808s and Heartbreak in the middle. Then came the Dark Fantasy trilogy of MBDTF, Yeezus and The Life of Pablo, with Watch the Throne in the mix. The latter era is supposedly marked by Minaje’s intro and outro 8 years apart. Following this 8 year saga, Kanye released Kids See Ghosts 7 days after Ye.

KSG was a joint project with long time collaborator and legend Kid Cudi. After more than a decade of rumors, the two artists finally release the project, on which they go toe to toe on each and every song and provide a record that will go down in history. The main theme of the album is SelfLove and Triumph. Here is where Kanye does the reverse of Ye, it is a celebration and expression of freedom and joy, while being a hip-hop rock blend reminiscent of Kid Cudi’s previous albums.

The first track of the Kids See Ghosts album, Feel the Love, is the perfect opener. Yells and loud proclamations of “I can still feel the love” fill the listeners’ ears and get you jumping right away as the percussion joins the party just over a minute into the runtime. The sound following the stretched out into is rich with booming drums and quick ratatatatata from snares, boxes and voices alike; it preps the listener for the energy that is to come. Next is Fire, it opens with an electric guitar, a tambourine, loud manly hums and Kid Cudi playfully mocking his haters which seamlessly transition into Kanye rapping as claps join the beat and there is a bridge with some rough woodwinds. Kid Cudi rejoins the music with a rustic singing and after his verse he sings the chorus where his

voice is layered repeatedly, filling in the track perfectly thanks to Kanye and his audio engineer. The track ends with a melancholy electric guitar solo that slowly brings the mood back to normal.

Then 4th Dimension and Freeeee grant the user a similar experience. Both songs are fast-paced, dynamic and certified bangers that are guaranteed to make you jump. The former is about Kanye’s sex life and animalistic behaviors, but despite this he still has immaculate wordplay and the beat is packed to the brim with fascinating samples of yells and babies yelling to keep you on your toes. Freeeee is the follow up to Ghost Town off Ye and can be described with one word: Grandiose. The guitares, vocals and drums are drawn out and massive, all you can imagine whilst listening is Kanye and Cudi as giants with giant lungs bellowing out these loooooong lines as the guitare bounces around them.

The remainder of the album isn't as fast paced or as upbeat, but it is still equally, if not more, engaging. Reborn is a cult classic and moving experience. Kid Cudi strikes again with his unforgettable hums and singing, telling the listener it's going to be ok and to “keep moving forward”, bringing you to an altered state of levitation and self-reflection. The album then ends with the underrated Cudi Montage, a grungy rock inspired ode to mental health struggles and the struggles of life. Kid Cudi’s voice on this is somber and deep, which once paired with the grimey old guitar and minimal percussion round out the track of the album beautifully. Praised by critics from publications such as Vulture and Rollingstone, this album cemented Kid Cudi as a great in today's music landscape and defined Kanye’s ever developing career and journey as one to admire.

It is not very often when an artist manages to deliver such a large quantity of consistent compositions in just one year, in any medium of art. What Kanye West achieved alongside his peers is something that should be appreciated and remembered but most importantly, enjoyed.

What MF DOOM’s Death Means To The World (The passing of the worlds most Villainous Villain)

RAFAEL - WRITER LAURA & VEDANGINI - EDITORS

MFDOOM was born Daniel Dumile, but he now goes by many names and aliases. The King of the Underground, Metal Face, Metal Fingers, The Villain, Viktor Vaughn and Your Favorite Rapper’s Favorite Rapper. But no matter what you called him he was and will always be recognised as a genius poet and a master of words, building his bars syllable by syllable and weaving words together like no other.

himself as one of the greats, by the time of his tragic passing. Whilst his artistic vision and edge remained razor-sharp throughout, he never truly reached commercial success. Despite this, he released classic after classic. Masterpieces such as Madvillany and Mmm.. Food are timeless albums still listened to and celebrated today; 16 years after their original releases.

But what did all his work amount to if he rarely ever cracked the billboard 200? Doom’s influence is not quantified by streams, hits or charts but rather by rapper word of mouth and adoration. Many rappers cite Biggie or Tupac as big influences but MF Doom has permeated every genre of rap and inspired so many of your favourite artists such as Drake, Earl Sweatshirt and Tyler the Creator.

His death in late 2020 shocked the Hip Hop world and ended up meaning so much more. Artists and fans alike poured out love for the late rapper and new admirers flooded to his music and socials in unprecedented levels. His death was hard to go through but what it also did show the world a dark side of the music industry.

DOOM’s career was similarly unparagoned. Spanning 20 years and more than 20 records by the time of his death, Doom easily cemented

At the end of 2020 when his death was announced, MF DOOM’s instagram following doubled and his streams increased by a whopping 870%. On face value this is just a testament to the sheer grandeur of MF DOOM’s discography, which to some extent it is, but it reveals so much more about the music industry as a whole.

Another perfect example of an artist exploding in popularity is the one and only Pop Smoke. His debut album, Meet the Woo, debuted at a mere 173 on the billboard top 200, and dropped off fully a week later. His second album, Meet the Woo 2, similarly flew under the radar, selling 36,000 album-equivalent units. This is typical for New York artists, Drill being a more underground and grimy style of rap popular in Brooklyn and London. However, following his death in late February, Pop Smoke’s legacy was taken under the industry's shoulder and his name recognition boomed. By the time his posthumous album was rolled out, he was world famous. His song was big all over social media and in the first week the album sold an incredible 251,000 units, winning the number 1 spot on charts across the USA.

Drill hit to significantly chart was Whoopty by CJ. However, this track was also pushed by Warner Music Group. His millionaire uncle with his numerous industry connections undeniably aided his nephew's career, securing him spots on Spotify Playlists and Tik Tok trends.

It goes without saying that Pop Smoke’s talent and excellence had a massive role to play in his success, but what is also undeniable is the exposure of the ugly side of the music industry once again. Natural growth for tracks and artists is almost impossible to come by nowadays, the power major record labels hold is unadulterated and obscene. Since Pop Smoke’s rise to fame the only New York

Industry plants, corruption, Tik Tok, and Spotify playlist negotiations are all parasites, perpetrating the increasingly punishing path to prevalence in the music world.

MF DOOM’s death was depressing and painful but it also lifted the blind to how the cogs of the music industry work. Ask yourself this. How can an artist as prolific and legendary as MF DOOM live for 20 years distant from the spotlight? All while songs such as Whoopty and Drivers License were given Spotify Playlists spots and the blessing to immediately pass into the limelight and set records, disregarding the quality of the music in the first place.

RIP the illest villain.

Misogyny In Music

ALEXIA - WRITER ILINCA & VEDANGINI - EDITORS

The representation of women in different industries has been criticised many times. However, the music industry takes the lead with the lowest percentages of women artists, producers, songwriters and so on.

A study in 2017 revealed that out of 651 producers, only 2% were females. The same goes for the performing artists of that year as well, out of which only 16% were women.

There are many organizations across the world that aim to “support, cultivate and recognize the talents of women” in music. There are three “Women in Music” organizations around the world: “Women in Music New York”, “Women in Music Canada” and “Women in Music UK”. They are separate institutions, but have common beliefs and wishes: “raising awareness of gender issues in music” and “fostering equality in the music industry through the support and advancement of women”.

Many female artists and women in the music industry have spoken up about the hardships a woman experiences while trying to succeed in getting recognition. Madonna has said "If you're a girl, you have to play the game. You're allowed to be pretty and cute and sexy, but don't act too smart. You are allowed to be objectified by men. Don't have an opinion that's out of line with the status quo.”

Taylor Swift has also responded to people complaining of the subject of her songs being her ex-boyfriends: “I think frankly that's a very sexist angle to take. No one says that about Ed Sheeran. No one says that about Bruno Mars. They're all writing songs about their exes, their current girlfriends, their love life, and no one raises the red flag there.” Often, successes of female artists get discredited by actually being seen as the success “of the man behind her”. A famous phrase that is heavily agreed upon is “10x the talent = 1/3 of the credit”, which is said to represent how a woman is treated.

In ancient times, women were considered to be the centre of family life. They played an important role in family religion and had “passes” to all sorts of rituals, in which they had the opportunity to dance, sing and play music in public. Women could play music among themselves, but only in the privacy of their own quarters. Very few women made names for themselves as musicians or professional poets in the old times.

When we look at classical music, it too, is dominated by male artists. Most of the best known classical orchestra pieces are composed by men. Female conductors are also discriminated against,

since a long time ago. In 1888, female conductor Caroline B. Nichols founded the Fadette Women's Orchestra in Boston, which later became one of the most successful women’s orchestras in American history, and encouraged other women to also start all-female orchestras.

With the new advances to make the world a more diverse place, and the music industry slowly becoming one of the most prominent industries in the category of entertainment, it feels only right to give the women of the industry the recognition and appreciation they so rightfully have earned.

The Misconception Of A Genre: K-pop

ALEXIA - WRITER DANIEL, ILINCA & VEDANGINI - EDITORS

Whenmost people hear kpop, they immediately think of “Gangnam Style” by Psy, a trendy song in 2012 that caught the attention of people worldwide. For a period of time, everyone was doing the famous dance or singing the chorus of the song, without actually knowing it was in Korean, or that it belonged to the genre of music known as “K-pop”.

It is sad knowing that many people are afraid of saying that they listen to K-pop out of fear of judgement, or the usual immediate response of “Oh so you like those Chinese girls” or similar questions and remarks. Firstly, people need to realize that the K in K-pop stands for Korean, so the artists should be respected for who they are and where they come from. Contrary to that, not all kpop idols are actually Korean. They may originate from neighbouring countries, like Thailand, Japan, China and other East Asian countries. The trainees go through rigorous training for periods of time, going from two years to as much as eight years before actually debuting, and it is not even guaranteed that they will debut in the end. During that time, they work on perfecting their vocals and performance skills and mastering the Korean language for the ones who are not fluent.

Furthermore, the term K-pop is actually an umbrella term, as K-pop holds many different genres, and it is just a name for all Korean music. In K-pop you will not only find pop, but also rap, hip hop, heavy metal, ballads, r&b and many other genres. It’s easy to find something for

everyone’s liking. K-pop videos are also filmed on an exceptionally high budget where each video of a group, band or solo artist has a concept. They have concepts like girl crush, cute, dark, jazzy, retro and so on. Every comeback, the concepts change depending on the overall message of the song or album they’re releasing.

Lastly, K-pop is most often criticised for the language that it’s in. It keeps getting judged for being in a language that many people don’t understand. I personally think that this shows how close minded people are in refusing to listen to something just because they can’t understand it at first. There are lyric videos and translations a simple web search away, so they could easily comprehend what it is said in a song if they wanted. We have to remember that everyone sang hit songs like Gangnam Style without understanding it, as well as Despacito. Music isn’t something that you should necessarily get just by listening to the words, but also through feeling it. If a song touches your soul, and you feel as though you understand exactly what it’s trying to say, then the lyrics are the least of your concern. Speaking of lyrics, a lot of K-pop songs deal with real life problems that concern young adults, such as suicide, depression or abuse, and also take on matters such as LGBTQ + rights and feminism. The lyrics have very powerful messages that are meant to comfort the listeners and highlight issues in our society.

K-Pop idols may not be conventionally “manly” due to adorning brightly coloured outfits, painted nails, and makeup but this does not mean that

they aren’t a source of joy to millions of people around the world. These idols have been dubbed “girly” and therefore receive unnecessary hate and critique, but when you really come to think of, it almost seems like there are very few things that girls could enjoy without being teased, which is an integral and very wrong part of our society.

(rap group), “Selfmade Orange” by Changmo and Superbee (solo artists)

Rock and heavy metal: “Take me now” by FTISLAND (rock boy band), “Endless Night” by Dreamcatcher (girl group with metal influences), “Blaze” by Rolling Quartz (rock girl band), “Rescue me” by Day6 (boy band, they work with many styles including rock), “Nightmare” by Yoon Do Hyun, Inlayer, Johnny, G2 and Reddy (rock collab)

R&B: “Instagram” by Dean (solo artist), “We (OUI)” by jeebanoff and sogumm (solo artists), “Cupid” by pH-1 and Penomeco (solo artists), “Right here right now” by dpr live, Jay Park and Loco (solo artists)

In the end, K-pop represents an integral slice of modern popular culture that, as with any media, aims to entertain. By no means am I saying that it is bad to not listen to K-pop, but you should at least give it a chance before deciding to dislike it or to deliberately hate on this genre’s listeners. Everybody listens to exactly what they want and prefer. K-pop is just a way to expand your horizons, listen to something new, and maybe find things that suit you and work well with your preferences.

If you find yourself with some time on your hands try out some of my personal favourites:

Pop: “Criminal” by Taemin (solo artist, also member of boy group Shinee), “Dinosaur” by Akmu (group of a brother and sister), “Reveal” by The Boyz (boy group), “Play” by Chungaha and Changmo (solo artists)

Rap/ hip hop: “Gottasadae” by BewhY (solo artist), “Gin Tonic” by Yanghongwon, 210 and Kid Milli (solo artists), “Knife” by Rhythm Power

Ballads: “Stay Here” by Gaho (solo artist, does some really good covers), “Breathe” by Lee Hi (solo artist), “Lonely” by Jonghyun (solo artist, was a member of boy group Shinee, unfortunately passed away in december 2017) and Taeyeon (solo artist, member of K-pop supergroup Girls’ Generation)

Monster Under Her Bed

VEDANGINI - WRITER DANIEL & ILINCA - EDITORS

"Best of luck.." Randal said, walking out of the office door, a wry smile plastered across his face. I looked at the file he had just handed over, and then at the ever-rising stack of documents on my desk. Sighing, I picked up the file and opened it. The word 'FAIL' was scrawled across the front in big, bright, bold letters. I flipped the page and started reading exactly why this mission was such a bust. Our missions were always easy.

I mean, how difficult is it to scare children?

You see, my job was to assign every child in the world, 'the monster under their bed' and not one, not two, but hundreds of monsters had come back from Daisy Meyer's screaming, crying or just…Numb. The first monster I had assigned to her, a One-Horned Monster, had stayed with her for two years before she came back.

Then she quit. After that, it was scores of different monsters with different abilities. A monster that forced her to see her nightmares, one that crawled all over her walls. I had even assigned her the legendary, undefeated, unmatched; Sentient Sock Selkie. He had never ever failed a mission, until this one that is. There was no option. It was time for me to get back to fieldwork. To use my charm.

So at 9:27 pm, after Mrs Meyer tucked little Daisy in bed, my body filled the space between the underside of the bed and the door. Ten minutes later, I focus my attention on her breathing. She is awake. Barely. I reach out and stroke her leg. "I'm not afraid of you!" she whispers, yet still I sense the quivering of her voice. She was afraid.

I look at the small, 'glow-in-the-dark' watch on her bedside, 9:43 pm. A door somewhere in the house slams shut, the echo piercing the halls as Daisy buries herself deeper into her covers. Daisy's steady breathing hitches. It was calm, now it comes in short bursts. 'What's happening?' I wonder, and less than a second later it starts.

The screaming is deafening. A man, then a woman. Anger then pain. It’s quiet for a minute and I sigh. “It’s over,” I whisper to myself more than anyone else.

I hear loud, heavy footsteps on the staircase and I frantically look at the door. A moment later I feel something next to me. Turning around, I find myself staring into Daisy's innocent face, her fear almost tangible.

The doorknob turns, and Daisy shuffles. Closer to me!

The door slams open and the intoxicating stench of alcohol fills the room.

Suddenly I understand.

Little Daisy isn't scared of my monsters, because she lives with one.

Martin Meyer reaches a hand under the bed, as Daisy moves behind me. 'No adult can see you' was our single, most important rule. Without hesitation, I slam my hand into his as he pulls me out. I know exactly what I’m going to do.

"You ungrateful-" Martin stops speaking as I unfurl to my full height. He has his belt slinging from his hand and I see red.

"Don't you ever harm MY child ever again. I will find you. I will find you and I will make sure you feel the same pain for eternity," I whisper in his ears, holding him up by his collar. As soon as I let go, he rushes out, his face ashen and pale.

"Thank you," a timid voice behind me whispers. I turn around, and smile at Daisy. Her eyes glistening with tears, but a shy smile is slowly forming. “Thank you for that,” she says again, this time, her voice is louder, more confident. I walk to her and pick her up. Slowly I lay her down in bed, and pull the soft, fuzzy blanket over her small body. The watch reads 10:31 pm. I turn around to leave and-

“Are you my guardian angel?” she asks, sitting up, her head comically tilted to one side. “Guardian angel? No, I-” I falter, wondering if I should tell her the truth. “-No, I am the monster under your bed.”

“Like the one that’s supposed to scare me?” “Yes.”

“But I like you. You don’t scare me at all...Will you be back? To help me tomorrow night? Not like I need your help... But it’s nice.” she adds hesitantly.

I smile and press a kiss on her forehead.

“I will be back. Everyday. No one harms my child,” I say to her and she giggles and closes her eyes. I wait until she falls asleep, until I hear her adorably quiet snoring. Her face, so beautiful, so calm but not without courage. No.

Parasite: An Examination Of Social Class Inequality

ALEXANDRA - WRITER VEDANGINI & ILLINCA - EDITORS

Ina world of growing inequalities, where the gap between the wealthy and the poor is dramatically increasing, Parasite be comes one of the most critically acclaimed films of the decade. Making history as the first non-English film to win Best Picture at the Oscars as well as receiving the Palme d’Or at the Cannes Film Festival, it masterfully depicts the effects of inequality wrapped in a layer of dark comedy.

Director and co-writer Bong Joon-ho, renowned for gems such as Snowpiercer (2013) and Okja (2017), makes use of visual effects and storytelling to critique social issues. Thematically aligned with his previous themes, his latest film resonated across the world. When asked about the fact that no other Korean film has ever been nominated for an Oscar despite the country’s influence on cinema, he states “the Oscars are not an international film festival. They’re very local”. A painfully true statement. Therefore we ask: why was this South Korean film able to surpass expectations?

I believe that Parasite’s strong use of symbols and motifs transcend culture and language, directing our focus on the film’s conflict between classes. In this article, I’ll be focusing and exploring these elements and themes; hence, before you carry on reading, I advise you to watch the movie as I delve into spoilers.

Parasite takes on a genre-bending approach that has been described as a comedy-thriller about a poor family called the Kims who con their way into the home of the wealthy Parks

through various domestic positions. The son: Kiwoo, is presented with the opportunity to tutor the daughter of the rich Park family. Due to the complete obliviousness of the Parks, they manage to masquerade as strangers and involve the whole family in the scheme of benefitting from the rich. The daughter: Ki-Jung, becomes the art therapist of their child and both parents take on other roles without the Parks being aware.

However, none of these would have been possible without their friend Min who initiated Ki-woo into this world. After gifting him with a scholar stone, Min connected him with the Parks despite Kiwoo’s lack of education implying that to climb the social hierarchy one must use deception to obtain employment. The film illustrates that the Kims are capable and talented people, however, they can’t afford education and so they are left with wasted potential. The poor are getting poorer because of their lack of social resources while the rich who profit from high-quality resources remain at the top. This is an example of how skills do not guarantee success in a world where your ability to sell your labour for income represents your value as a person. Therefore making it inevitably hard for the Kims to escape poverty.

The family discovers they are not the only ones leeching off the Parks, as revealed in later scenes, the former housekeeper has been harbouring her husband in the basement bunker. Some argue that the film isn’t about the Kims vs. the Parks, but rather about the Kims having to fight the working class to meet their financial needs. All of the characters want a better life, but there isn’t enough

room or opportunity for everyone to advance, so the lower classes are forced to compete for the crumbs that the rich leave behind. It is not possi ble to overthrow the existing dominant structure; rather, it is a ruthless and unforgiving competition between the lower classes.

Cultural hegemony which favours the ruling classes’ ideals, teaches someone who does not share the dominant worldview that it is something to strive for. The husband in the bunker builds a shrine in Mr Park’s honour, believing that his faith and devotion will be rewarded in due time. But the truth is that the Parks are oblivious to how mankind’s efforts benefit them, believing that their vast wealth will benefit the world in the long run, is a misleading ideology. Mr Park walks up the stairs, assuming that there are motion sensors that

control the lights, meanwhile, the husband under the bunker is the one who is hitting the switches. He is blinded by the fact that the luxuries he enjoys in his daily life that literally illuminate him are given to him through the toil of someone beneath him in the dark (another theme throughout the film). Bong criticises the rich for being oblivious to the labour and despair of their workers, which they often exploit to gain wealth in the first place. Leaving the audience to wonder who the actual parasites are.

I’d also like to discuss the role of the Scholar Stone that Min gifted to the family. Introduced early in the film, the stone became an obsession to the eldest son: Ki-woo, of the Kim family who believed it meant to bring good luck and material wealth. As he says repeatedly, “This is so metaphorical”,

his purpose is clear: the stone represents his illusion of joining the affluent class. After receiving the stone, he takes bold steps to pursue his desires for wealth and status. The stone reappears when the family returns to their semi-basement apartment, and finds it entirely flooded. As they gather up the rest of their belongings, Ki-woo eventually finds the stone and clutches it to his chest, and we see his pure desperation as everything is literally washed away. In later scenes, he uses the stone as a weapon against those who endanger his dream (the people living in the bunker). Regardless of his persistence, Ki-woo returns the stone to the river, signifying his realisation and understanding that he can no longer be guided by his false perceptions. The stone becomes the false promises of social mobility in a capitalist society.

The film’s ending leaves us with a feeling of hopelessness as if nothing has changed. The wealthy are secured by exploiting the working class and the Kims are left in a world where class consciousness hasn’t been attained. The ‘dream’ they had of escaping their social class turns into pure ideology as it contradicts reality. And while the poor are trapped in that system, fighting against each other and idolising those who ‘made it’, they refuse to acknowledge how rigged the entire system is. This view is supported by the director, whose initial title idea was ‘564’ - the number of years It would take for the family to gain enough money to purchase the home. This implies that they will never be able to afford it. He contradicts capitalism’s mantra, which claims that with a little hard work and determination, everyone will attain a higher economic status.

“Maybe if the movie ends where they hug and fade out, the audience can imagine, ‘Oh, it’s impossible to buy that house,’ but the camera goes down to that half-basement,” he says. “It’s quite cruel and sad, but I thought it was being real and honest with the audience. You know and I know — we all know that this kid isn’t going to be able to buy that house. I just felt that frankness was right for the film, even though it’s sad.”

Why most people have identified with the film is that it feels strangely realistic, while it escalates dramatically and ends in tragedy for all sides, the core is something that happens in everyday life. There is however a sense of faith in the newer generation as Bong reflects this through the Park’s youngest child understanding the morse code sent by the husband in the bunker. ‘Parasite’ serves as a wake-up call that we ignore at our peril.

The opinions I’ve gathered are those I understood from the director’s intentions; they can be interpreted in a variety of ways, and I encourage you to form your own.

“There are people who are fighting hard to change society. I like those people, and I’m always rooting for them, but making the audience feel something naked and raw is one of the greatest powers of cinema... I’m not making a documentary or propaganda here. It’s not about telling you how to change the world or how you should act because something is bad, but rather showing you the terrible, explosive weight of reality. That’s what I believe is the beauty of cinema.”

“It’s not about telling you how to change the world or how you should act because something is bad, but rather showing you the terrible, explosive weight of reality.”

“Making the audience feel something naked and raw is one of the greatest powers of cinema”

TV Series Highlight: Fargo, A Masterpiece Of Literary And Cinematic Work On Network TV

MATEI - WRITER RAFAEL - EDITOR

“Things of consequence rarely happen by accident.” — V.M. Vargas, Fargo, Season 3: The Lord of No Mercy

One shared universe. Four anthological seasons. Four separate yet interlinked crime stories, all linking back to the rural town of Fargo in Missouri. Any Coen Brothers’ admirers will find familiarity in the significance of the title, and they would not be disappointed with this rendition of the town. Anyone not familiar with their 1996 comedy-thriller ‘Fargo’ will obviously not make the link, but they would be subject to a great introduction of the iconic Coen Brothers’ cinematic style (and just some plain good TV.)

Created by Noah Hawley, the show creates a fictional universe at which in the centre lies Fargo, where various tales of mystery, deception, and crime occur at different points throughout its scattered timeline. For example, Season 1 is set in 2006, following the story of Lester Nygaard, a simple man whose accidental murderous actions set off a chain of further tragic events whilst Season 4 sees the rivalry between two mob groups intensify with a seemingly coincidental death in 1950. Yet, as established by the introductory quote, ‘accident’ and coincidence do not exist; they are merely misinterpretations of ‘consequence’ in the universe of Fargo.

The charm of Fargo comes from many places. The stunning and diverse cinematography which successfully emulates Roger Deakins’s masterful, every-frame-is-a-piece-of-art style. The multiple

directorial and literary nods to the Coen Brothers’ vast filmography. Jeff Russo’s brilliant percussive soundtrack and specially-designed motifs. The ensemble of actors who effectively portray the idiosyncratic personalities given to them, aiding the complex character work and stunningly satisfying dialogue (which occasionally finds itself delving into philosophy and existentialism). Despite all of the above, I personally believe the best attribute of the show is also the one which turned a lot of people away from it: the show’s choice to delve into absurdism.

The charm of Fargo comes from many places. The stunning and diverse cinematography which successfully emulates Roger Deakins’s masterful, every-frame-is-a-piece-of-art style. The multiple directorial and literary nods to the Coen Brothers’ vast filmography. Jeff Russo’s brilliant percussive soundtrack and specially-designed motifs. The ensemble of actors who effectively portray the

idiosyncratic personalities given to them, aiding the complex character work and stunningly satisfying dialogue (which occasionally finds itself delving into philosophy and existentialism). Despite all of the above, I personally believe the best attribute of the show is also the one which turned a lot of people away from it: the show’s choice to delve into absurdism.

To be blatantly clear, this show is not to be taken seriously. While the professional cinematic flair and seemingly thriller atmosphere suggest seriousness, the writing does not. Do not judge a book by its cover, what I believe to be one of Fargo’s multiple moral guidelines which dictate the progression of its tales. Events may occur in Fargo without reasonable explication, to a mindset that views the show through a lens of realism. To be able to fully enjoy the show, embrace its absurdism, prepare to suspend your disbelief and watch the show for the cinematic

construct it is. With its absurdism, not only does the show derive a lot of its dark humour, but also its biggest philosophical questions: do “things of consequence rarely happen by accident”?

“This is a true story” are words that appear on the screen at the start of each episode in the show. But to ‘suspend your disbelief’ is a concept that is contrary to that introductory statement. It's sarcastic, yet also profound. Obviously, the events that are taking place are so absurd they cannot possibly be real, so how does that statement make any sense? The show claims to portray “a true story” because the storyteller made it real by narrating the story. Despite it not having happened in real life, it’s still “a real story”, because someone is telling it. This is just one example of where Fargo charms; its consistent use of irony that not only delivers in comedy but also dictates narrative points in its story.

The show has only been seen with general and critical praise since its 2014 airing date on FX, maintaining an 8.9 score on IMDB and an abnormally high 85 on Metacritic:

“This is a series chock full of great characters, male and female, that exudes wit, intelligence and a palpable desire to entertain.” (USA Today)

“The writing in each scene, from extended banter to declarative sentence, is utterly masterful. To disagree, as Nikki Swango says, would be "unfathomable pinheadery.” (The Hollywood Reporter)

“This Fargo has a different idea of evil: the grinding amorality of capitalism, which demands more profit no matter what the human cost. In

the new Fargo, this is placed in a context that is frequently witty, and balanced with scenes of great family love. The large cast is superb.” (Yahoo TV)

Like reading four different novels from the same author, Fargo successfully emulates that feeling of familiarity which comes with a distinct artistic style, but also the originality that is essential from one story to another, separating the stories from meshing into one. Each season increases in ambition and scope, changing the position of the pawns just enough so you can tell they’ve been altered. A true hallmark of the small-town noir, murder-mystery genre that eventually becomes so much more, in the context of the story and character complexity - literary and cinematic work.

Top 2020 Films: A Non-Generic Summation

MATEI - WRITER VEDANGINI - EDITOR

Anundoubtedly peculiar year for film, last year contained no shortage of inspirational, entertaining, raw and captivating cinema, despite numerous studio delays on multiple anticipated projects. With movie festivals ramping up, revealing the ‘best’ 2020 had in film, I want to take this opportunity to respectfully voice a short number of movies that struck a chord with me personally.

Irrelevant to genre, great characters come in all forms. Filmmakers who are able to make their central character shine often succeed in making an entertaining film that will certainly captivate and keep one captive to their work. Pixar’s Soul puts us directly inside the head of Joe in his endearing and heartwarming musical redemption arc; on the opposite side of the spectrum, Riz Ahmed’s

performance as the hard metal drummer whose crumbling hearing causes the crumbling of life as he knows it in The Sound of Metal captures ones tragic and heartbreaking plumet to rock bottom, soon to be put on a path of rediscovery. No filmmaker has had me invested in a character like Clint Eastwood with his crime drama direcorial effort, Richard Jewell, following the real life torment of a security guard accused of terrorism by an overbearing and blood-hungry media after preventing hundreds of deaths at the hands of a bomb during the 1996 Atlanta Olympics. Paul Walter Hauser’s childlike curiosity gives the character a relatability and vulnerability which instantly attaches audiences to his journey; ultimately, his character is the reason why this movie’s personal tragedy works so dramatically, as the antagonistic journalists and detectives unreasonably poke at his psychological frailty in order to manufacture a ‘greater’ story.

Whilst quite upsetting at times, the film’s main link to its audience is through Richard Jewell, as we grippingly await to see his fate in the face of the media’s wrongful accusations, making Eastwood’s feature a certified memorable character drama.

scope of Sacha Baron Cohen’s Borat sequel, Borat Subsequent Moviefilm, hands down the best comedy of the year, and the most important one too. Sacha brought back his character on the streets and the big screen for one reason only: he felt as if ‘democracy was under attack’. The film takes its viewers on a journey in criticizing and exposing a politically polarized America, with Cohen taking his character undercover at big political events such as the RNC, and even to a conspiracy theorists’ bunkered household, leaving no rock unturned in his journey of dissecting the countries’ many problematic sectors. The film urges those who can vote to do so, showing its audience what they would be in for if Trump is to come victorious for a second term in office - a message for which Cohen risked his life to communicate through his outrageous comedy, and a message which thankfully succeeded with the masses.

In terms of features that had me breathless (or close to) from laughter, there weren’t too many; something explained by a recent lack of comedies presently being produced by studios. Palm Springs’s ‘raunchy comedy with a heart’ format not only solidifies Andy Samberg as a comedic talent, but it also proves the rom com isn’t quite dead yet. Get Duked!’s outlandish plot about a Duke of Edinburgh trip in the Scottish Highlands gone awry delivers a steady stream of laughs with high energy and brilliant pacing, going about its way like an Edgar Wright film. But, for me, there was nothing else quite as large on the comedic

Thrillers come in all sorts of forms; Nolan’s Tenet walks on the precipice of grand spectacle and highconcept science fiction, dazzling and confusing audiences with his reverse-time, physics-andreality defying action. The Lodge delves into the psychological aspect of thrillers, with its bleak atmosphere and haunting occult subplot challenging the perspective of its spectators, making them question whether the supernatural is responsible for the events that partake in it, making for an excellent twist ending. Begos’s VFW revitalizes and revamps campy 80s style grindhouse thrillers through his astonishing, nostalgic ensemble cast of quirky, hilarious and synergetic characters portrayed by an iconic, aging generation of old Hollywood stars. But for my taste, Jim Cummings sophomore directorial effort, The Wolf of Snow Hollow takes the reigns as simply the most tensionate and thrilling thriller of the year. Sporting a runtime of just 80 minutes, the wonderfully rapid-fire paced,

questionably supernatural, modestly gruesome and darkly hilarious feature sees a reluctant, small town Marshall facing a string of deaths all pointing to the existence of a murdering werewolf in the godless mountain community of Snow Hollow. With an ailing father and a rebellious daughter, the overworked nature of Marshall certainly brings most of the humour to the plate, coupled with his idiosyncrasies and reluctance to believe in the supernatural despite its apparent blatancy. However, the movie also boasts some outstanding suspense, with the last ten minutes of the film being, in my opinion, some of the most effective tension experienced last year in film.

Last but not least, it is important to vary a film palette - something that can be done effectively when delving into foriegn films. They offer not only a varying display of fascinating cultures and customs, but also a different structure and approach to the craft of filmmaking. The Romanian

documentary Collective entails the journalistic investigation into the real life tragedy that occured in 2015 at the titular venue, playing out like a political thriller as the journalists continue to uncover government conspiracies and systemic corruption that caused what is regarded to be one of the biggest disasters Romania has ever had. But my choice for the best foriegn film comes from Thomas Vinterburg’s Druk (Another Round), following Mads Mikkleson as a Danish history professor; with his friend group of high school teachers, he tests out a totally insupportable hypothesis by a Norwegian psychiatrist stating that human beings are born with a blood alcohol deficiency, through of course, retaining a constant blood alcohol level in their blood at all times. The existentialist dramedy sees a man coping with the realization that he has settled into nothing more than an unenergetic, brooding slump for his family and his students. Despite its depressing set up, the film manages to be exhilarating and quite amusing as we follow the comradery of the group on the

verge of self-discovery and alcoholism, leaving you feeling positively about life after viewing it.

Other honorable mentions include Sorkin’s impactful court-room drama The Trial of the Chicago 7, Guy Ritchie's cleverly structured action comedy The Gentlemen, Antonio Campos’s hardboiled southern gothic thriller The Devil All The Time and Yes God Yes, a bitingly sharp comedy following a Catholic ‘good girl’ discovering more to the world than thought before through the newly normalized internet.

On a final note, I am a human being who unfortunately cannot afford to spend all of his days inside a bunker relentlessly binging all the movies in existence, therefore I stress that I assuredly missed out on some films this year that I may have very well have enjoyed. Thank you for understanding.

Why Remy The Rat From Ratatouille Is A Positive Role Model

BONNY - WRITER RAFAEL & VEDANGINI - EDITORS

Prompt by a dear friend, Alexandra Baltazar-Hall

The 2007 Disney/Pixar film Ratatouille tells a tale of an unlikely friendship between an awkward, clumsy plongeur (garbage boy): Linguini, and an unconventional rat: Remy as the become unlikely friends in the restaurant: Gusteau’s. Remy, affectionately referred to as ‘Little Chef’ by Linguini, comes from a huge family that he doesn’t fit into due to his “highly developed taste and smell”. Whilst his comrades are satisfied with chewing up garbage, Remy prefers to savour his food slowly and combine flavours. His father, the leader of the clan, initially dismisses Remy’s

talent due to his closed mind and rationalised fear of humans, which leads his son to sneak away every day to cook in secret. I believe that Remy is a positive role model for us all because of his determination, ambition, and loyalty. Throughout the film, he experiences significant character growth and is later revealed to be a natural-born leader.

Remy exudes a genuine passion for the culinary arts during every interaction with food. His soup scene in Gusteau’s is a definite classic. First, he

lowers the heat to allow the soup to slowly simmer, consistent with his idea of slowly savouring food. He sniffs around the station, letting aroma inspire his creation. He then freely leaps around the rim of the pot, entranced by the art of cooking. However, the scene I feel best represents his enthusiasm,was right after he got electrified and fell from the roof of the Crazy Lady’s house. The first thing he did was praise the “Baboom zap kinda taste” of the cheesy mushroom that occurred as a result of the lightning. His passion is exceptionally inspiring, and gives him a sense of purpose and a taste of happiness.

However, passion alone is never enough to achieve success. It must be accompanied by ambition, which Remy is brimming with. With a little bit of push from the ghost of Chef Gusteau, Remy is always keen to prove his abilities and aims for nothing less than his personal best. Even when faced with making the challenging special order ‘Sweetbread a la Gusteau', which Gusteau himself never managed to master, Remy keeps his cool and even alters the recipe, as he always does. I’d like to mention that the ingredients of this dish include cuttlefish tentacle, anchovy liquorice sauce, and veal stomach, which certainly do not sound appetising to the slightest. Furthermore, although rats are shunned and exterminated by humans and are depicted as much inferior to humans, Remy never lets that stop him from achieving his goals; he follows Gusteau’s philosophy that “Anyone can be a cook”. His ambition drives his creativity and

resourcefulness. During the soup scene, Remy used a ladle as a ladder to reach the top of the pot. Earlier on, when he wanted to cook a mushroom, cheese, and rosemary, but didn’t have access to a kitchen, he ended up smoking the ingredients on top of Crazy Lady’s chimney.

Remy never forgets his roots and remains loyal to his family. Despite his new job as a “Little Chef”, he doesn’t disassociate himself from his family, who remain street rats. He reluctantly makes some sacrifices that go against his moral compass for the sake of his family. He knows stealing is wrong, yet he lets some of his family into the food storage after the restaurant closes at night because he can’t bear to watch them continue to feast on garbage. Later on, when his brother Emil falls into a mousetrap, he pushes him out, causing himself to be trapped alone instead. His loyalty ultimately ends up saving him, as his family tracks down the mousetrap to set him free. He also grows to become loyal to Linguini as the two work hand in hand. When he finds out Linguini is the rightful owner of Gusteau’s, not Skinner, he uses all his might to bring the documents safely to Linguini. He crosses roads and boats in a cat-and-mouse style chase by Skinner.

Remy’s character arc is not only well developed but is also subtly expressed.

“We’re thieves, Dad. And what we’re stealing, let’s face it, is garbage.”

Firstly, upon witnessing Linguini the plongeur mess about with a pot of soup, Remy forms a negative opinion of him. Chef Gusteau’s ghost gently reminds him that “Anyone can cook'', to which he snarkily replies, “Anyone can, that doesn’t mean anyone should.” We can tell that despite receiving backlash himself, he is judgemental towards Linguini. However, by the end of the film, Remy happily accepts the help of his family in cooking for the critic Anton Ego, bearing in mind that they have no culinary experience.

Secondly, throughout the film, Remy struggles with his identity. He is too human to his family of rats, but too rat for the humans. He admits that “I’m sick of pretending. I pretend to be a rat for my father. I pretend to be a human for Linguini.” This gets exhausting for our Little Chef, who has to keep switching between the two roles. Eventually, he decides that “I can’t choose between two halves of myself,” and embraces his identity as a rat who has human interests. Lastly, Remy can come off as rude or arrogant sometimes. He never views Colette’s (another chef) professional opinions as valid, and is unwilling to give her ideas a chance. Whenever Colette hands Linguini an ingredient that she thinks would work well with whatever dish they’re

cooking, Remy pulls Linguini’s hair as hard as he can so that Linguini is unable to take hold of the ingredient. This arrogance diminishes by the end of the movie, with him not only collaborating with Colette to make dishes, but also embracing her as a friend and an equal.

Remy isn’t perfect, but again, no one really is. It’s his desire to learn and grow, to take challenges head-on while hoping for the best, that makes him a good role model. We see him at his most vulnerable state, all alone in a sewer after being separated from his family in an accident, but he bounces back. He is abandoned by Linguini, who is upset with him for underestimating Colette, but he bounces back. The beauty of being at one’s lowest point is that no matter what you do, things cannot get worse, which allows for self-reflection and liberates you from the pressures to always do well.

Remy’s story starts and finishes in a matter of just two hours. You have a lifetime ahead of you. Learn to accept your mistakes and failures and no matter the circumstances, don’t give up on your passions or joy just like he does. His story is over, you should start shaping yours.

No Country For Old Men: A Quintessential Study In The Art Of Cinematic Tension And An Exemplar Feature Of The Neo-Western Genre (mild spoilers)

In 2008, the 80th Academy Award ceremony gifted the prized ‘Best Picture’ award to a film depicting a lone Texan hunter stumbling upon millions of dollars in the aftermath of a cartel deal gone wrong. Subsequently, he found himself hunted by a ruthless, and sociopathic hitman, in a game of cat and mouse. Such a premise, even given perfect execution, would not even dare to stumble in the minds of the Academy voters in today’s time.

combination of all of the above, the best aspect of the film is its masterclass in building nail-biting suspense like no other film has done. Thematically, the film reflects the source novel. Fate and chance in how Llewellyn stumbles upon the grizzly scene, sparking the chain of violent and deadly events that follow. Justice in Sheriff Bell’s nostaligizing of a past where order and law reigned. Morality in all central character’s struggles with making decisions and actions that stray away from ethics, law and religion. The themes are as central to the film as they were to the novel, yet where the film has something new to add is in the realm of the audible and the visual. This is where the Coen Brothers best excel in their cinematic adaptation: their ability to immerse the audience into the story, best done through the conjuring of suspense and tension.

Masterfully helmed by the ever-so-praised Coen Brothers, No Country For Old Men didn’t fail to impress even upon seeing the movie for the third time. The mesmerizing Texan setting captured to perfection by cinematographer Roger Deakins is definitely at fault. So is Cormac McCarthy's staggering 2005 novel of the same name, from which the screenplay is adapted. So is Josh Brolin’s effective portrayal of the protagonist, and Javier Bardem’s iconic act as the idiosyncratic, unsympathetic Anton Chigurgh. Yet, apart from a

Best example of suspense is found in the infamous ‘Gas Station scene’ near the beginning of the film. Having seen Chigurgh suffocate a police officer to death and kill a normal man for his car with an air pressure tank, we get the idea of the sort of character the hitman is; reserved, sociopathic, weird - but most importantly, unpredictable. His third encounter with another character, according to the rule of three, will most likely end in death for the doomed gas station proprietor.

In the scene, Chigurgh constantly overrides the conversation, answering questions with questions, often resulting in multiple awkward ‘beat’ moments of silence, filled by the sound of cashews being slowly chewed - threatening yet darkly humorous. “What business is it of yours where I'm from, friendo?” summarizes the character’s hostility, unpredictability, dominance and quirkiness. The questions continue as Chigurgh begins invading the Proprietor’s privacy, asking questions about how he got the gas station job in the first place. “You married into it”, Chigurgh expressionlessly repeats over the Proprietor’s evasive answers, “If that's the way you wanna put it.” He finally admits, to which Chigurgh assuredly answers: “I don't have some way to put it. That's the way it is.” The suspense builds and eventually reaches a boiling point when Chigurgh asks, “What's the most you've ever lost on a coin toss?” Here, the Coen Brothers subvert expectations: Chigurgh, using the chance of the coin toss, will decide how to advance in the situation; this becomes clear when the character states “you been putting it up your whole life” to the Proprietor. It’s suddenly not Chigurgh’s decision whether the Proprietor dies or not; rather, it’s chance.

The quick back and forth between the assured Chigurgh and the confused Proprietor builds tension, with the camera closing in on both characters. This tension bursts as Chigurgh finally reveals the coin on the heads side as called by the Proprietor, who subtly sighs in relief. Chigurgh exits the scene saying: “Anywhere not in your pocket. Or it'll get mixed in with the others and

become just a coin. Which it is.” Tension, humour and character building - all in one scene. Yet, there is some philosophical idea brewing with Chigurgh’s reliance on chance to guide his decisions. The fact that Chigurh forces his victims to choose in the coin toss speaks to the way in which we can only make choices within the limits of our own mortality, with chance and fate already predetermined. Death, if not brought upon oneself, is an inescapable choice, an idea demonstrated by Chigurgh’s life philosophy. While the coin is ‘lucky,’ in the grand scheme of life, it really is ‘just a coin.’

The film, as shown above, can evoke suspense and tension out of almost any exchange between Chigurgh and any other character - especially when closing in on the fleeing protagonist. The Coen’s have masterfully built a character that is so unpredictable and idiosyncratic, he basically becomes a beacon for tension, filling every scene that he is with suspense. This is what makes the film so special, above many of its neowestern counterparts. It is a rejection of ideals attributed to westerns despite adopting western conventionalities: good vs evil, the power of law. Yet, none of it matters, as No Country For Old Men avoids the cliches by putting the power of law in question, replacing idealism with cynicism or by having evil often triumph over good. This is because, as previously established, none of the choices the characters make truly matter; they can only hope to momentarily evade mortality.

The Oscars: Controversionality Explained

MATEI - WRITER EMILIA & VEDANGINI - EDITORS

to become an eligible Academy voter, you must simply sign up and present a list of credits that gets you past the executive board of the committee. Judging by the high increase of Academy voters, it probably isn’t as hard as it seems.

You will often hear at least one person complain about the Oscar nominations every year. Then, on the contrary, you will also see multiple media outlets publish articles titled ‘Academy makes history with new nominations’ almost every year now. You don’t know what to think with so many contrasting opinions around you. Do I support it? Do I criticize it? You may not even care in the first place, but then again, you’ve read this much into the article. I will begin by explaining how the Oscars nominate films, how they pick a winner and why there is so much controversy coupled with praise surrounding the Academy every year.

The Academy of Motion Picture Arts and Sciences, as it’s most uncommonly known, houses more than 8000 eligible voting members from all sides of the prism. Most of the categories follow a centralized and specialized nomination process; for example, categories such as ‘best actor/best actress’ are considered by a committee of actors and actresses. Editors nominate and vote for other editors. Cinematographers nominate and vote for other cinematographers. You get the gist. In order

The complicated part comes when considering the prized Best Picture category. Pictures nominating and voting for other pictures doesn’t make a whole lot of sense. This is a category in which everyone gets the vote; all 8000+ members. The method of voting here is different from the others, qualifying as something called ‘preferential voting’. Everyone gets a ballot and ranks their top choices for Best Picture, listing their top 10 films in a list from best to worst. According to new rules, a film has to get 5% of first-place votes to qualify for a nomination. Preferential voting is done here in order to avoid a film winning Best Picture with something like 10% of the votes, a result of the high number of voters in the category.

To most people, this is where it begins to get tedious; the tally begins. It takes 50% of the voters to put Film A as their number-one choice to win. This rarely ever happens, with a ‘popular winner’ typically rounding up about 30% of total numberone votes. The Academy then sets their sight on the number-two and number-three choices. Film B may squeak out a victory even if it doesn’t have the biggest number-one votes, as long as it is exceedingly popular in the number-two position. The advantage for Film B doesn’t stop there, as Film A may also be noticeably placed low in the opinion of the rest of the 70% of the voters who didn’t place it first. This assists Film B further to victory, confirming that Best Picture isn’t chosen in terms of overall top-preference, but rather just an overall agreement.

On top of this, the Academy is then additionally accused of being flat-out wrong with their choices. And well…I agree. Editors nominate and vote for other editors. They’re essentially handing out well-recognized, high valued trophies to their friends. Okay I might be exaggerating, it’s not quite like that. But let’s look at some Oscar history, and how the pattern of winning acts has changed over the years. Believe it or not, there was a time where films didn’t need to be art-house, auteur,

prestigious and social commentary works in order to score Best Picture. Lord of The Rings, a fantasy epic, won two ‘Best Picture’ awards for the first and third films of the franchise. Titanic, Braveheart, Forrest Gump, even going back to West Side Story and Ben-Hur, proved that the award is correlated to Box Office success, massive budget for production and just the epicness of the movie in general. At the turn of the century, the Academy began prizing smaller, prestige films: The King’s Speech, Argo, 12 Years of Slave, Moonlight and Green Book are all examples of just how Academy preferences have changed along the years.

Apart from the voting system, where lies the controversiality? Oscar bait.

These are essentially movies that appear to have been produced for the sole purpose of earning nominations for the Oscars as they have been creatively shepherded to fit ‘Academy Awardattractive’ conventionalities. In terms of studio and distribution, notice the amount of nominations production companies such as Paramount Vantage, A24 and Miramax - all regarded as "arthouse style films" - receive and then go on to win. Notice how low-budget dramas all released in the last two months of the year earn nominations.

In terms of story and subject matter, notice how ‘true story’ films are awfully prevalent in the nominations. Period-pieces, if not for Best Picture, surely for costume. WWII subject films, epics and dramas, were for a time in the 90s, guaranteed winners (over 1995-2000, three of the ‘Best Documentary Feature’ winners directly involved the Holocaust.) The ‘Mental Health and Capacity Department’ yields lots of Oscar bait roles for actors. Teenager Leonardo Di Caprio earned his first nomination in 1993 for playing a mentally challenged character in What’s Eating Gilbert Grape?. Angelina Jolie for Girl Interrupted. Joaquin Phoenix for Joker. This is not a criticism, but as a novelist and screenwriter, William Goldman once said that it seems to be “easy to win an Oscar playing someone mentally ill.” Punishing your body for the role is also frequently rewarded, and there are plenty on the internet for this one. Just look up “Christian Bale body transformations” and “Academy Award nominees for Best Actor” side-by-side. Follow the breadcrumbs.

company A24, perhaps the film was given the statue as an upstart for the studio, introducing them as a major force in the industry.

More controversiality lies in what many dub as political statements and sympathy votes. ‘Best Picture’ winner Moonlight gained a lot of praise for the Academy from political and social commentators in 2016, because it was the first ‘Best Picture’ winner with an all-black cast and the first LGBTQA+ film to win the ‘Best Picture’ Oscar. Some people regarded this as a “political statement”. I don’t think a film should be awarded for it’s craftwork solely to make a political statement. A deeper look into Moonlight’s win brings up more political questions. Made by newly formulated, art-house inclined production

Because every time someone wins one, someone else gets snubbed, the Academy’s top apology method is handing them the award at the next ceremony, even though it may not be fully deservant. Out of classics such as Taxi Driver, Goodfellas and Raging Bull, Martin Scorsese wins ‘Best Director’ for The Departed..really?

So, what do you learn from this?

Yes, the Oscars like to send out political messages and apologize, and not very subtly.

Yes, the Oscars like to reward the same-old recurring conventions in film.

Yes, the Oscars award Best Picture based on the average consensus of 8000 voters and not their reliable statistical output.

Are they an accurate representation of the best the spectacular world of filmography has to offer?

Definitely not; that’s just my opinion.

Only ten films make the spotlight every year. The same old actors walk up on the stage. The same acceptance speeches are made with the names modified.

It’s a smoke-filled room that sees workers hand coworkers golden trophies and momentary fame. There are so many more films that are worth infinitely more praise. Sadly, they will never get the appreciation they deserve, just because they never made the cut.

The Search

BY BRIONY

Inspired by Demain dès l'aube, by Victor Hugo

Tomorrow, at dawn, I will depart. Long since the twinkling lights have faded from the sky. The crisp mountain air basking with the morning dew. But I will not feel it.

Tomorrow, at dawn, I will move on. Down the winding paths of the hills, framed by wildflowers. Past beaches and coves, oceans cluttered with wrecks. But I will not see them.

Tomorrow, at dawn, I will persist. Passing the dark trails of mountainous forest, littered with fallen leaves. Through the smoke clogged towns bustling with people I will meet again. But I will smell nothing.

Tomorrow, at dawn, I will endure. Following deer through the woods, on the hunt for easy picking. Alongside sailboats and Canoes, sailing out for the daily catch, But I will taste nothing.

Tomorrow, at dawn. I will begin my search. For the unlucky few to be taken so young, plagued with illness and unrest. For those whose time is up. Their candles extinguished forever. And for those who have escaped my cloak for far too long. And when I come for them. When I find them. When they cry out.

I will hear them.

Accidental Miracle: The Discovery Of Penicillin

VEDANGINI - WRITER RAFAEL - EDITOR

you clumsy and unorganised and are always told to be more responsible? Well, next time someone says this to you, tell them about the discovery of Penicillin. And no, I’m not making fun of you, I’m entirely serious.

Are

The discovery of Penicillin was not a wellplanned and researched idea, contrary to what many may think. Rather, it was the consequence of a ridiculously haphazard experiment and a spontaneous vacation in the year 1928.

Sir Alexander Fleming is the Scottish researcher credited with this haphazard revelation. It all began in 1927 when Fleming investigated the antibacterial properties of staphylococcus. After looking into it for a year, he had familiarized himself with the bacteria and started looking into its variant staphylococcus aureus (S. aureus).

On the 20th of August 1928, he left London to spend some time with his family in Suffolk. Before leaving, he carefully stacked all his S. aureus culture plates in the room's corner, so that his new research scholar, Stuart Craddock, could work on his table. Unfortunately (or rather fortunately) he forgot to inform Craddock about his culture plates, and by placing them in the damp, dark corner, he had provided the bacteria with the optimal conditions for breeding.

On 3rd September, he returned only to find that a mould of about 20mm in diameter had developed on one of the contaminated culture plates. Upon

closer inspection, he noticed that the area around the mould could be divided into three rings: the first ring was clear of any bacterial growth, the second had developed degenerated colonies, and the third had developed normal colonies of the bacteria. Fleming, upon realizing his accidental brilliance regarding his bacterial experiment, began his experiments. He subcultured the mould and kept it in nutrient broth for further research. He stated that the mould grew as a “thick, corrugated, felted mass and after a few days an intense yellow colour developed in the underlying clear fluid.” For some months, he called this clear fluid “mould juice” for the lack of a better term and eventually named it Penicillin on 7th March 1929. Theories of how the spore of penicillium had reached Fleming’s culture plates floated around, yet nothing was ever confirmed, and it remained a mystery.

These series of fortunate coincidences eventually conceptualized the discovery of Penicillin. The first being that no one knew where the spore of penicillin came from initially. Many speculated

that he left his window open, but that theory was negated when Fleming himself admitted that he never opened his window, because he simply couldn’t reach it without dropping something over. The second one was more a result of a reckless decision; the mould only acted on young, still growing organisms and if Fleming had put his culture plates in an incubator (like you’re supposed to) rather than simply leaving them in the room, staphylococci would have grown at a slower rate (if it grew at all) and therefore the effects of penicillium would never have been discovered. The third extraordinary coincidence was the timing. In August, the temperature averaged between 20°C - 22.5°C, which were the optimum temperatures required for the growth of the mould. The chances of him starting his experiment in that time frame were 1/12, but everything worked out just fine for him in the end.

Whatever historians and other researchers say about Sir Alexander Fleming, they all agree on two points: first, he was a brilliant and hardworking researcher, albeit extremely careless, and second, he was a very, very lucky man.

So how did this discovery change medicine?

First, what is penicillin? Penicillin, simply put, is a group of antibacterial drugs that attack a wide range of bacteria.

Before the discovery of Penicillin, iodine, bromine, and mercury-containing compounds were used to treat wounds and gangrene. Not only was this extremely painful when applied or injected, but could also result in tissue damage. So when Penicillin came around to replace these antibiotics, it changed the landscape for countless medical procedures, sterilisations and injuries completely.

All the work put into developing penicillin into an antibacterial drug, ready for use, was well worth it. It revolutionized modern medicine significantly, as infections that were previously untreatable and often fatal, such as bacterial meningitis and

pneumococcal pneumonia, could now be treated with ease, saving countless lives.

1. Pneumonia and other respiratory infections:

Mortality data from the USA in 1928 concluded that respiratory tract infections caused about 18% of all deaths in the country. Without access to any cure, these infections are deadly; however, penicillin cures them in a week or two. The percentages of deaths due to these infections dropped by almost 11% by 1942. Deaths caused by Pneumonia in soldiers during WW2 were reduced from 22% to 1%.

2. Diarrhea:

In 1928, gastrointestinal infections caused approximately 30 000 deaths every year in the USA. These infections placed third on the ‘most common cause of death’ list, but by the midthirties, diarrhea had fallen much lower in the list and eventually disappeared from the ‘top 10’ causes.

3. Wounds:

Wounds are susceptible to infections and need to be treated with antibacterial drugs to clean them and keep them safe. The worst part of the wounds contracting infections was that even a minor wound like a bee sting could be infected and ultimately result in a slow, painful death, so you can only imagine what life must have been like for soldiers in the war. However, the discovery of penicillin meant an anti-bacterial that worked without possible tissue damage was in circulation. Not only did it save millions of lives, but also reduced the pain patients had to go through during the treatment itself.

In 1945, nearly 16 years after the discovery of penicillin, Fleming was awarded the Nobel Prize in Medicine and Physiology and all his colossal efforts were acknowledged. Unfortunately, Alexander Fleming died 10 years later, but his discovery has saved over 200 million people to date and continues to do so. Using similar discovery and production techniques, scientists discovered various other antibiotics in the 1940s and 1950s, namely streptomycin, chloramphenicol, erythromycin, vancomycin, and various others. So next time someone criticizes you for being

careless and messy, just tell them the story of Sir Alexander Fleming, the man who changed the world of medicine forever because he was irresponsible and forgetful. Also, take motivation from the fact that penicillin was discovered by sheer accident. This not only highlights that breakthroughs can happen at any given point in life but also that if something doesn’t go the way you want it to, there's always something you can do about it. Sure, it may take some work and time, but maybe you could stumble upon the next revolutionary discovery, just like how Fleming did!

“It may be that while we think we are masters of the situation we are merely pawns being moved about on the board of life by some superior power.” (Acceptance speech - December 10th, 1945)

Telemedicine: The Beginning Of A New Medical Era

KARINA - WRITER

VEDANGINI & ILINCA - EDITORS

We live through difficult times. People are afraid to go out on the streets, let alone to hospitals. Yet diseases have not stopped taking over our bodies, getting past all our well-established lines of defence, making us sick and in need of help.

Telemedicine seems like the best, most plausible solution to the ever-growing list of medical difficulties brought about by the COVID-19 pandemic. However, it hasn't been. The reasons are complex, multi-faceted, and rely on a combination of factors from the realms of diagnostic technology, treatment certainty, patient trust, and limited human interaction. For those of you who don't already know, telemedicine is the provision of remote high-quality healthcare; a two-way communication route between the patient and the healthcare provider, with the use of electronic devices. [1]

The benefits of such care are numerous, ranging from the possibility to access a wide range of care options, including primary care consultations, psychotherapy, physical therapy, follow-ups of patients with chronic diseases, and even some emergency services all from the same device, at home. Telemedicine may at the same time provide preventive care and help to slow the spread of infections, due to the reduced number of physical human interactions. It is said to be cost-efficient for both the patient as well as the professional. [2]

I have recently taken part in a research and

innovation challenge, organised by the New York Academy of Sciences, the aim of which was to improve the quality of virtual care. After numerous discussions and wide reading, my team and I recognized several imminent problems that are hindering the growth of telemedicine. These aspects include lack of accessibility/functionality, the digital divide, and the lack of patient-physician trust. These issues can be separated into three main categories: medical, technical, and distributional.

The medical aspect regards the way patients are diagnosed and looks at how the barrier created by the lack of human interaction affects the certainty of diagnosis, and ultimately how this can be overcome. The technical aspect incorporates the transfer of sensitive medical data and the ways our products could be more user friendly for both patients and doctors. And finally, the distributional aspect involves the widespread accessibility of our products and the ways in which underdeveloped areas could be helped to gain access to use telemedicine to its best potential. [3]

We researched the patients’ main reasons for not using telemedicine by running a survey. Out of 157 responses, 14.5% were very concerned with the quality of care, making this the key issue among people. After that, it was time to start thinking about our solution. We decided we were going to base it around the three main issues; with a central focus on how we could improve the quality of care. We created a three-part solution that enables a more enhanced experience of telemedicine for both patient and doctor.

The first part of our solution is the ‘QuikMed’ Website that allows the user to easily access our telemedicine platform. One of the primary difficulties that patients face is the inability to easily utilize the existing technology, specifically from the patient's side. So, in our website, we decided to tackle this issue by including features such as a storage system that easily creates and explains medical records/medical information, a 24/7 available help centre, a virtual tour of the website which also explains how to use it, a virtual assistant able to help at any time, a psychologist chatbot (Maya), the ability to create automated meeting notes that can be edited by the physician and reminders for drugs/meetings inside a general calendar.

Our website also has a Clinical Decision Support System which helps solve quality of care issues by analyzing and making decisions on the Electronic Health Record through a knowledgebased system and non-knowledge based system. [4] The knowledge-based system analyses data through an inference engine and a mechanism to communicate this information and create recommendations for the health care provider through specific guidelines. To make sure our website conforms with safety laws, we included blockchain technology which assures effective transfer and protection of medical information.

References

We also created a join secured and encrypted video calls and chats.

The second component is the Virtual Reality System. This is an advanced communication interface, enabling an intuitive mode of interacting with information in a flexible environment: the virtual world. The system was designed and integrated to aid the substantial problem of insufficient human interaction, by enhancing the feeling of physical presence during the consultation. [6] For patients using the VR system for therapeutic treatment, the doctor can also view and adjust the settings in real-time to ensure effective treatment.

The final component of our solution is our ‘Vitality Belt’. The belt is a fitness tracker designed and developed by us to monitor and record vital signs 24/7, as well as do an 8-lead ECG upon request. [7] It was created to support doctors by offering them an alternative to physically examining patients and to improve treatment certainty.

These are just the first steps in the process of revolutionizing modern medicine. We have to continue improving our systems and facilities, but also find innovative solutions for our unsolved problems. Recognizing all the benefits that telemedicine can bring about will essentially be the wheel that drives all progress.

[1] Thomas L. What is telemedicine? News Medical (2018, 23 August) Retrieved from https://www.news-medical.net/ health/What-is-Telemedicine.aspx

[2] Villines Z. Telemedicine benefits: For patients and professionals. Medical News Today (2020, 20 April) Retrieved from https://www.medicalnewstoday.com/articles/telemedicine-benefits

[3] Varsheneya R. 7 Telemedicine Concerns and How to Overcome Them. The University of Arizona (2018, 11 October) Retrieved From https://telemedicine.arizona.edu/blog/7-telemedicine-concerns-and-how-overcome-them

[4] Bresnick J. Understanding the Basics of Clinical Decision Support Systems. Health it Analytics (2017, 12 December) Retrieved from https://healthitanalytics.com/features/understanding-the-basics-of-clinical-decision-support-systems

[5] 5 Ways Medical Virtual Reality Is Already Changing Healthcare. TMF (2019, 29 January) Retrieved from https:// medicalfuturist.com/5-ways-medical-vr-is-changing-healthcare/

[6] C. Sik-Lanyi. Virtual reality healthcare system could be a potential future of health consultations. 2017 IEEE 30th Neumann Colloquium. Retrieved from https://ieeexplore.ieee.org/abstract/document/8263275

[7] Backman W, Bendel D, Rakhit R. The telecardiology revolution: improving the management of cardiac disease in primary care. Journal of the Royal Society of Medicine (2010, 1 November) Retrieved from https://www.ncbi.nlm.nih.gov/pmc/ articles/PMC2966883/

Start Your Morning In A More Productive Way

Take 8 minutes out of your day to change it for the better

Istumbled

across this morning routine that is said to, “bring a positive start to your day” so that you can continue to be more productive throughout. It has 8 easy steps that I have been following for about three weeks, and it made me feel so good about myself! It’s very flexible and easy, yet so effective!

1. Make your bed

This is such a simple task that I have struggled with for 16 years. I have never ever done my bed unless forced to by my mother because I found absolutely no purpose to it: why put in the effort to make it if I’m going to soon mess it up anyway? I was simply not able to be persuaded to do it, because I could not grasp the reason why it was so important.

This mentality that I have described is a comfortable one or bluntly said, just lazy. Making your bed first thing after you wake up, is a small but important accomplishment that can set a positive note to the start of the day: it gives you a sense of pride that sets you up to complete the other tasks of the day.

2. Drink a full glass of water

I cannot stress this enough, water is so important for our bodies, and yet so many people stay dehydrated and forget to drink water. One glass of water in the morning for starters, and then up to 2 litres of water by the end of the day. If you’re not a big fan of water, try tea, but make sure not to replace it with sugary drinks.

This is such a simple life hack: it improves brain functions such as memory, concentration, and the capacity to understand while reducing anxiety, helping with your mood alongside health advantages, like preventing headaches and clearing your skin.

3. Breath Work

Try practicing some breathing exercises for at least 1 minute, the most common one that you can follow is the 4-7-8 exercise: inhale through your nose for 4 seconds, hold it for 7 and then slowly release through your mouth in 8 seconds.

This helps calm your body down and enter a state of relaxation and peace; it works well for overcoming moments of anxiety and overthinking. While doing breathing exercises, your mind should be entirely focused on your mouth, lungs, and breathing and not stray away towards any thoughts.

4. Meditate

There's a new documentary series offered by Headspace on Netflix which I can highly recommend as an introduction to meditation and mindfulness: it’s beautifully animated and even offers some time to meditate yourself in each episode!

But why meditate? We wake up with lingering thoughts from the day before, fixed on past events, future plans, worries and problems, tasks we need to accomplish. Our minds need to be allowed a break, to get rid of all the distractions and

just do absolutely nothing. That way, we can be entirely present in the moment and avoid getting overwhelmed with emotion.

Scientifically proven benefits of practicing meditation include: physical changes to the areas of the brain responsible for memory and learning, an increase in blood flow in the areas of the brain that are responsible for well-being, and the lowering of blood pressure and heart rate.

Put shortly, in order to meditate, find something to focus on: your breath, your body, a word or a phrase, and anchor back to that every time your mind wanders away. What works for me is, I repeat to myself “I exist” in my head and then focus on my whole body gradually as I acknowledge the weight of my head, my hands, my legs.

5. Journal

The order of actions links perfectly, as meditating before journaling allows you to clear the entangled thoughts in your mind so you can prioritise them aptly by writing them down. If you have nothing to write, think again. Chances are, you do.

Check out my previous article on journal writing for this, because there are so many advantages to it from every point of view. It allows you to observe things that are going on in your life from a more objective way, it allows you to get in touch with the feelings that you wouldn’t normally be able to wrap your head around, and it ensures that every moment you write down will not be lost or forgotten in time so that you can learn and evolve from past mistakes and mentalities.

6. Gratitude

Try writing one or two things down on a list of gratitude every morning, to remind you of all the things you are thankful for.

The mind functions in such a way that we tend to forget the good parts of our lives and only focus on

the negative ones. We should combat this instinct through such a habit that makes it so easy to smile, remembering all the things that make you feel grateful.

7. Exercise

If only for a few minutes, do some stretching or keep your muscles moving by doing some star jumps. Of course, if you want to do it properly, go for those 15-minute workouts on youtube, if you trust yourself to do them right. The objective is getting your body active shortly after getting out of bed, since I know most of us usually wake up feeling like zombies inside and out. Get your blood running and make the best of this energy intake!

8. Do something that makes you feel good Read a page of your book, listen to your favourite song or a small podcast, anything to start your day and get you creative. Just try to stay away from your phone (I myself am often guilty of this). This final step is optional, but a great suggestion to get you thinking about something or start a short activity before getting on with your day-to-day life.

Having these kinds of daily habits to follow has proven to improve productivity and well-being impressively. This routine has done wonders for my daily mood, and whenever I start feeling useless, I find my motivation to keep this up as being a valid reason to feel good about myself.

Test Anxiety: The New Norm?

BRIONY - WRITER EMILIA & VEDANGINI - EDITORS

While it's easy to understand that being a teenager isn't always easy in itself, students today face greater hardships than previous generations, particularly when it comes to examinations.

With extracurriculars, special awards, and competition to attend prestigious universities, exam results become the benchmark of a child's success -- their grades signifying their value to their parents, teachers, and universities. While studying for my IGCSEs pre-Covid, I was taught that everything I studied would be for the exam, in order to achieve well on that one paper. If I had read a question wrong, or was simply having a bad day, my grade could potentially plummet: my two years of hard work disappearing as quickly as my hopes and dreams.

With Covid-19 and the introduction of teacher assessed grading, this changed. Instead of one large exam at the end of the learning period, many exam boards opted to place a higher value on coursework, as well as having teachers grading students in smaller, less overwhelming testing environments in order to provide evidence for their predicted grades. When this change was announced, most of my classmates and I were overjoyed. Instead of competing with the teacher assessed grades of UK students, we were now able to have an equal chance, and our teachers were able to assess us on our actual merits, instead of one performance.

While it is easy to paint most of 2020 and 2021’s respective stress as a product of Covid-19, the fact remains that exams have been a topic of stress for students ever since they were implemented, and teenagers in today's society seem to have some added burdens. According to the NIH, 1 in 3 teenagers between 13 to 18 will experience an anxiety disorder during their schooling, while numbers of suicide attemts commited by American teenagers grades 9 through 12 increased from 6% in 2009 to 7% in 2017, and suicide attempts that required serious medical attention increased from 1.9% in 2009 to 2.4% in 2017. While these numbers first appear as small percentages, consider the size of the US population, and imagine the thousands of teenagers that have been affected by such hardships.

How has anxiety become the new normal? Is school actually good for us? Are all teenagers anxious?

While the answers to these questions are unclear, the most prevalent form of anxiety in teens is known as Test Anxiety. While almost all students face nerves when going into tests, approximately 40% of them (Healthline) deal with some form of test anxiety, which could lead to a student’s performance being greatly impacted. While adequate amounts of nerves are known to actually improve exam performance, experiencing test anxiety is defined as both physical symptoms and emotional reactions that impair and cause extreme distress during or leading up to an examination. The American Test Anxiety

Association states that students with some form of anxiety consistently score approximately half a letter grade below their peers.

This is not to say that all exams are to some respect evil, and our schools are unnecessarily cruel by making us pursue any form of examination, but the examinations are instead something to be endured -- something that is possible to get through, and then once you are done with education, something you are likely never going to have to deal with again.

I’ve compiled three ways to be prepared for these unpleasant feelings during your exams, and maybe to score extra marks.

1. Actually Study :/

It may seem obvious and boring, but being prepared content-wise is the first step to feeling more confident in your exam abilities. This includes note taking, past papers (done under exam conditions alongside friends will mimic the exam experience, albeit with less pressure) as well as whatever you know works for you: whether it's youtube videos or rereading your textbooks.

2. Understand why you are experiencing these feelings :’0

Is it the pressure?

Is it being surrounded by any people?

Is it the time limit?

Whatever the case, it's important for you to figure out why you're experiencing this, especially if you are likely to be in similar situations in the future. This could be done through reaching out to a therapist, extensive googling, or by putting yourself in similar situations and isolating the factors which you know cause distress.

3. Reach out to your friends and family >:D

Whatever you are experiencing, it's very very likely you are not alone. Talking about your mental health with your loved ones is the best way for them to understand how to support you, and how you can support them in return. Likelihood is, many of them are experiencing this too, and maybe you can get through this together.

In any case, these exams are something that we all must endure and persevere through, and although they aren’t anyone’s favourite thing to do, they seem to be a natural part of life. I sincerely hope my article helped you as students going through exams, but also as any adults reading this, gave you an insight into the strenuous world of teenagers.

Best of luck with any exams you might have!

Meet The Team

Bonny Editor-in-Chief

Emilia Assistant Editor

Julia Designer & Illustrator Ada Writer

New Member

Alexandra Writer

With a penchant for writing and procrastination, I rarely publish a new article, but when I do, my topics include film reviews, with the occasional venture into politics and culture. Outwith the magazine, I enjoy green tea, making Spotify playlists and eating avocado toast more often than the average person.

Alexia Writer Matei Writer

Vedangini Writer & Editor

Yasemin Writer

Rafael Writer & Editor

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This student magazine does not seek to obtain any commercial or economic advantage, directly or inderectly from fair use. All rights and credits belong to its rightful owners. No copyright infringement is intended by the fiar use allowed by art. 35 of the Romanian Law No.8/1996.

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