Issue 730: Awaken by Pi Magazine

Magazine Issue 730 Winter 2021 AWAKEN

editors’ foreword Dear readers, Like the theme of this edition, Pi Media is also awakening after a long dormancy on campus. We wanted this edition to reflect these changes that students and our society are facing, as the world slowly emerges from the initial devastation of the pandemic. This dormancy halted many activities, but it also provided the grounds for innovative endeavours, some of which will be introduced in this magazine.

Evie Robinson President

Our journalists and contributors discuss a wide range of topics from UCL’s approach to climate change to the masterminds behind the infamous UCLove page. The designers and editors gave the final polish, perfecting this edition which is now presented to you. As we roll out this printed edition, the first of its kind in almost 2 years, we hope that its stories will inspire our readers to explore and engage. And if you do achieve something exciting or run into a juicy story, do tell us. Your awakening can easily become a wake-up call for others.

Gabrielle Sungailaite Online co-EIC

Happy reading! Your Editors-in-Chief, Vanessa and Colin

@uclpimedia

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Ludovica Ardente PiTV co-EIC

Irene Mavrantonaki Welfare Officer

2021/22 Committee

Vanessa Tsao Magazine co-EIC

Deepali Foster Online co-EIC

Alexia Mihaila PiTV co-EIC

Nadia Freeman Diversity & Inclusion Officer

Colin Lee Magazine co-EIC

Nell Wedgwood Social Media Officer

Zsofia Lazar Co-Events Officer

Zsofia Bekker Treasurer

Hasha Dar Photography Officer

Akriti Gajre Marketing Officer

Hannah Chen Co-Events Officer

Manca Rakun Design Officer

Design Assistants: Mandy Meng, Chaya Steinsaltz, Lily Wielar

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CON T E N T S features

science

Trump’s TRUTH soon available on the App Store: a weapon for the 2024 election by Ludovica Ardente

The Dormant Ones: Vaccine hesitancy amongst ethnic minorities by Sarah Tefera

Behind the Scenes: UCL staff and their response to Covid by Yujung Ro

Your Carbon Footprint is showing by Antara Basu

The Grieving of my antagonist by Dorottya Eszter Szij What is the Green Claims Code and (how) will it end greenwashing? by Zsofia Bekker

culture A Reawakening of UCL’s arts and culture by Isabelle Osborne

opinion The climate awakening: how civilians do politicians’ jobs by Vaania Kapoor Achuthan How TikTok has revitalized the debate on the female gaze by Samira Lily Chowdhury

Novels of New Beginnings by Evie Robinson

lifestyle A Conversation with UCLove – The Anonymous Domain of Connection by Helena Oh

Photo by Zhengze Zhang Front cover by Winnie Sae Sung Back cover by Hasha Dar

TRUTH Back

Profile

Follow +

Trump's TRUTH soon available on the App Store: a weapon for the 2024 election? In his long awaited comeback, Donald Trump is about to launch his new social media platform TRUTH. The app will be available in 2022 as part of a wider media network called Trump Media & Technology Group (TMTG) which is aiming to give everyone a voice and offer a more ʻtruthfulʼ commentary. The name itself is ironic as Trump has frequently been criticised for reporting false information or distorting the truth. A CNBC analysis of Trumpʼs tweets in January 2021 found his most-liked tweets contained falsehood and spread disinformation and distrust on the platform. “Fake news” was one of the most recurrent themes in his tweets and certainly a weapon for undermining information, as respected news publications often flagged out. Indeed, out of Trumpʼs 100 most popular posts over 30% presented false election-related claims. TRUTH social can be understood as a direct response to Trumpʼs ban from mainstream social networks. Following the storming of Capitol Hill on 6 January 2021, Twitter permanently banned Donald Trumpʼs account “due to the risk of further incitement of violence”. After losing the election in 2020, he never conceded to President Biden and instead

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repeatedly and falsely claimed on social media that the election had been stolen from him due to voting fraud. One of the main ways Trump backed up his claim was by emphasising the role of social media platforms. He accused them of having a strong political bias in favour of Biden and alleged that he had suffered censorship. Yet, research has consistently found no evidence of anticonservative bias from the most popular social media platforms. He refused to give up his position of power after being shut out from the platforms and reduced to media silence. Hence the decision to launch TRUTH to challenge Facebook and Twitter. In his own words he created it to "stand up to the tyranny of Big Tech". Arguably, he tries to present himself as a champion of free speech who seeks to challenge the dominance of the established social media channels. This is not Trumpʼs first attempt at creating a platform. In May 2021 he launched “From the desk of Donald trump”, a website which promised its users “a place to speak freely and safely.” The site featured a series of blog posts from Trump commenting on various political and social issues. However, it did not include any interactive features

TRUTH Back

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such as commenting or creating an account, which arguably defeats the purpose of open debate. According to Trumpʼs senior aide, Miller, this was just an experiment “auxiliary to the broader efforts [they] have and are working on”,a clear hint to the development of TRUTH. Although Trump had tens of millions of followers on his Twitter and Facebook account, the blog struggled to gain popularity and amass engagement. With a little over 212,000 engagements during the siteʼs first week, compared to the hundreds of thousands of retweets he would previously get on a single post. The site was forced to shut down only a month later. Seemingly acknowledging the role lack of engagement played in the shutdown of his previous site, Trumpʼs new approach is to create a direct competitor to and replica of the social media sites that banned him. According to a 50 second preview video on the official TMTG website, the app features an interface highly reminiscent to that of Twitter, including tweet and retweet functions, which have been renamed “Truths” and “Retruths” according to the apps profile on the App Store. There is also a news feed, similarly titled the “Truth Feed”. The app's description envisions a “big tent” approach, depicting a platform where “staunch conservatives” and “diehard liberals” alike can share their viewpoints free from interference. The reality will likely be less rosy however. When browsing the Terms of Service for the platform, it soon becomes clear that many of its policies read like Trump-favouring versions of those enforced by mainstream platforms. For instance, the “User Representation” section states that any accounts that post content deemed “untrue, inaccurate, not current, or incomplete” may face suspension or even termination. Although other social media platforms use similar regulations, in the case of TRUTH there is a clear political affiliation. Hence, this set of loose criteria can theoretically be applied to anything that Trump, as a Republican, views unfavourably or which does not align with his values. An additional clause prohibits usage of the site as part of any effort “to compete with us” or for any “commercial enterprise”. This will essentially strip other social media companies of the opportunity to join this platform the same way Trump was removed from all of their sites.

TRUTH Social claims it will be a place that "encourages an open, free, and honest global conversation without discriminating against political ideology." Nevertheless, the Terms of Service forbid users from using the platform to "disparage, tarnish, or otherwise harm, in our opinion, us and/or the Site”. This is especially noteworthy considering that Trump has openly flirted with the idea of running for president in 2024, continuing to hold campaign-style rallies and sending out fundraising emails as he remains the centre of gravity for Republican politics nationwide. Although he said he will "probably" wait until after next year's midterm elections to officially announce whether he will run for president in 2024, the timing of the launch of this new social media indicates he may already be planning ahead. This app can be regarded as part of a wider political move and could become the most strategic campaigning machine. It would be the first time that a presidential candidate has such a monopoly on a platform, with virtually no restriction on the information that he decides to circulate. If this new platform succeeds in scope, then it might be his trump card. The support from his base could become even stronger if the community migrates to their own, self-hosted platform following community-level moderation implemented by Facebook and Twitter. Recent research on cybersecurity has found an increased possibility of toxicity and radicalisation as a result of these measures, often in the form of bans, as these “problematic communities” progress to their own dedicated sites. The app could be Trumpʼs first step towards a very likely re-election campaign. After a period of relative quietness, this is the strategic return he raved about. It is also a continuation of the ever-deepening ties between social media and political activity. In the past two years, the unprecedented shift towards online platforms meant giving significantly more power and influence to social media, and Trump is portraying this awakening in his first powerful move since his presidency came to an end.

Written by Ludovica Ardente Photo by John Cameron

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Behind the Scenes: UCL staff and their response to Covid

No doubt, the unprecedented pandemic has affected all, from those closest to us to large institutions. The temporary closures and social-distancing measures have indeed reshaped the standard of normality. Following the campus reopening and the return to a closer sense of normality, UCL has adjusted itself to welcome students to its physical campus. Yet, we often pay less attention to those who actually run the school and ensure safety on campus. When freshers are lost on their way to classrooms or roaming the building forests of UCL, where do they go?— it is often security and the caretakers that students head to. Meet our staff: Clive Laws, a security team leader at the student centre, shares his experience. Working at UCL for three years, Clive and his team keep the students safe and secure. The pandemic situation has brought changes that “we were not used to it,” says Clive. Without a doubt, the UCL student centre is by far one of the most covid impacted places on our campus. In fact, the building itself is solely built for students: to create a safe working space and social environment. This, however, had completely vanished at the start of the pandemic with the absence of students and a series of government lockdowns. Clive described the student centre as so empty that “if you drop a pen, you could hear it from the top” of the building. One could hardly imagine the student centre without students, especially now that spotting individuals wandering up and down the stairs for vacant seats has become commonplace. Essentially being the only service linking the public and emergency services, the security team faced greater challenges as an industry than others. Although the covid situation was a burden for all, they have been under more assumed responsibility yet lacked clarity on what was expected of them nonetheless.

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Clive explains: “without proper instruction nor clear protocols, the security officers had to undertake the compliance role, enforcing distancing measures and keeping the students safe around the campus”. One anonymous staff member also comments that the safety procedures implemented— including one-way systems, use of masks, and sanitisation—have indeed created a “new way of life”. The idea of ʻconnectivity,ʼ Clive comments, is largely missing in this era of covid. What used to link students and the staff members has changed; the social distancing measures have not only imposed physical distances but also made studentstaff relationships more distant, though now slowly returning to their place. Such practice ensures safety for ourselves and loved ones but leaves students and staff members disconnected with reduced interaction and communication. The post-covid, in part, has restructured the meanings of personal space and our campus areas. Yet, he also notices that the biggest difference is in studentsʼ confidence. Beyond a mere study facility, the student centre served more. Clive describes it as a space where students could come in and easily talk to one another and grow in confidence. Indeed, the covid infection fears have greatly escalated stress and anxiety amongst the public, leaving individuals to become further reserved. But, as we learn to co-exist with Covid, “it has only just come back now,” Clive says. Another staff member, who wishes to remain anonymous, has been part of UCL for the past decade. Largely working as a cataloguer in the IOE library, she talks about her experience. The pandemic has changed the nature of her work: from physical cataloguing to managing e-books and online data collections. She recalls last November during the second lockdown. “It was very different. I had hardly seen anyone,” she says. The buildings and halls were, in most part, closed with lectures switching online and the world practically going dormant. She further notes, “It was incredibly quiet. The library, the campus, and just London felt very quiet”.

“It was incredibly quiet. The library, the campus, and just London felt very quiet”. However, now that the campus has reopened and started to regain its vibrancy, there have been a lot of changes. One thing she points out is the busier, livelier environment. Sitting in the IOE, she can hear the students laughing and talking again— something we had lost from the emerging pandemic. She says “[to have] the interaction with the students, it feels more normal to have back what belongs to the campus”. On a further note, Clive says, “donʼt be scared of Covid, but at the same time, do respect it”. Still in our very earlier stages of breaking out the shell, we stand in the process of slowly returning to what was normal and regular. The unprepared pandemic has forced the UCL community to shift and adopt new lifestyles. Yet, the university staff—security, caretakers, and janitors—who work closest with the students are often not recognised despite their increased burden. To understand the redefined normalities, we should consider the sacrifices made by our UCL staff members and their effort to maintain safety and wellbeing, enabling us to enjoy our campus environment. Written by Yujung Ro Photography by Yujung Ro

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The grieving of my antagonist A writer grapples with the loss of an unlovable father. If I had to name the worst thing about loss, it would be the unbelievability thereof. Grief is like a circling vulture; it may fly out of sight, but it is bound to come back exactly as one surrenders to forgetting. My fatherʼs suicide had struck me as a long-awaited surprise, even though I had been seeing death in his face for years. It rendered me feeling utterly purposeless in my life. Time has gone on since, but it has somehow left me behind, sitting in the very same window frame where I first began to grieve the very person I had hated most in this world. And along with him, strangely enough, I began to grieve myself too. The last time I saw him was in his ordinary drunken state, proclaiming that I had abandoned him, and he would die on my account. This was only the last of many times my father had unleashed his wrath on me. I can't tell if my father was a bad or a broken person, but he certainly chose bad deeds. He lived at the expense of others and consciously harmed his supposedly beloved ones. Ever since I began imagining him dying, I would invent scenarios of his suicide, which I believed would finally materialise the anguish that has accompanied me for years. A world had bloomed from these peculiar, dark thoughts. My imagination gave way to infinite scenes of death, in alternate places, with alternate audiences, at alternate times but always with the very same ending.

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Either he or I would die, because I felt that I could not coexist with him. I had translated my struggle with my father into a fictional battleground whose narrative I could rewrite and replay to feel the satisfying heartbreak of his death. I longed for the resolution of our hateful entanglement and hoped that my hatred would turn to sorrow with his death. I was swept away by this imaginary world where I could fill the blanks of life; unfinished narratives, and reasonless feelings. I had to channel my anger and allow myself to feel entitled to my sorrow, then nothing felt more agonising than senseless suffering. I had to justify an agony, whose reasons lived in me merely as faint memories of my childhood. I could not bear to suffer for a past so bygone, whose impact was no longer tangible, which is no longer spoken of and thus may not be real at all. I felt compelled to assign sorrows of the present to tragedies of the present. And so, his death became a daily presence. It was the only path out of the paradox of my feelings, and thus, my fantasies had soon become a source of comfort for me, a dark daydream that I could escape to. I fabricated this romanticised image of my father as my archenemy whom I had to defeat and whose end of life would be the beginning of mine. It is fascinating how our minds cater to the needs of our hearts.

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How ironic that it would be his actual death which would leave this void in my mind? A void, which was formerly filled with the idea of his death. When my father took his life, I felt irrevocably defeated. His death was nothing like my imaginations; it was an irreversible event that brought no glint of satisfaction, but merely loss, and desperation. It truly felt like I had partly died with him. In the mayhem of my emotions, one stood out strikingly: I had never wanted the struggle between my father and me to end. I realised that our antagonism was all I had left of him, and it had preserved him as a father figure in my life. My father, I had tried to hate him so firmly, for he was undeserving of my love, and yet I had loved him so profoundly. Somewhere in a profundity where love is not a choice but a compulsion. I had thought my fantasies of his death were an enactment of revenge and condemnation, but really, they were my only instrument to love him. By hating him actively, I could hold him closer and integrate him – or the idea of him - into my life. He had become a mirror reflection that revealed to me what kind of person I wanted to become; one who is nothing like the image before their eyes. I so desperately wanted to be the opposite of him, hoping that I could thus distance myself from him, but it only drew us closer together. Even as his teachings were incidental, merely a byproduct of his harm, I still considered him the master of my character. He had raised me with his alternating absence and unbearable presence. He had become my lens through which I examined and interpreted the world. And I, for a lack of love, had chained him to myself by means of hatred.

For as long as he lived, I struggled to admit my love for my father. I had always thought of myself as a rational person who based her decisions on values, all of which he had continuously violated. My love for my father transcended my rationality, and I endeavoured to hide my guilty, shameful love for him in a romanticised antagonism. Envisioning him as my enemy seemed easier than accepting that I loved him despite his abuse. Now that his death has ended our feud, I no longer have an antagonist who can act as my “other half”. I fear that it will be a daunting journey to reconstruct myself without him, yet I am ready to accept that I loved him without having approved of his actions. I loved my father not with reason but because of sentiment. My grief goes to a father whose love was missed, and to a devalued childhood, but above all, my grief goes to an identity that inevitably had to be founded on a destructive father. My father left me in life, now he leaves me on our fictional battleground; perhaps allowing me to finally let him go too.

Written by Dorottya Eszter Szĳ

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What is the GREEN CLAIMS CODE and (how) will it end GREENWASHING? W rit

ten by Zso fia

Bekke

g en yM d n a yM b k r Artwo

The pandemic shed an uncomfortable light on our unsustainable, and harmful practices. As humanity struggles to contain a crisis caused by human activity, another crisis anthropogenic climate change - is creeping upon us. As we emerge from the pandemicinduced lockdowns, we must make a conscious effort to create a new, sustainable normal. One aspect of this is conscious consum erism, which was taken on by the UK Government. In the months leading up to COP26 in Glasgow, the Green Claims Code (GCC) was finalised and implemented into Consumer Protection Law. The governmentmandated document came after studies found that up to 40% of sustainability-focused claims on consumer goods and services could be misleading. It intends to help consumers make informed decisions and to keep businesses accountable, guiding and legally binding companies to make truthful claims regarding their environmental credentials.

More and more people are opting for sustainable choices, but with the growing willingness, scepticism towards green claims is also on the rise. Demand has been hijacked by greenwashing, the practice of deceiving customers with false, or misleading advertisements about the eco-friendliness of a product. With overused adjectives describing sustainable lifestyles, and with recycling emblems decorating almost all boxes, the GCC intends to give a fresh start to sustainable claims. Just as with reducing emissions, the responsibility to check claims fell onto the ordinary people in the past, which the GCC is supposed to change. So, is the new regulation really an opportunity to put an end to greenwashing and make more informed choices? We will only know once investigations commence in 2022. There is cause for hope, nevertheless, and the GCC can guide consumers too. Its essence can be summarised in 6 principles on how to make claims, which translate to things to look out for to avoid falling victim to greenwashing.

Finally, a sustainable consumer protection document?

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1 Claims must be truthful and accurate. Under new regulations, it will be an offence to claim your product is ‘organic’ without specification, for with only 5% organic components, should it be branded organic? Everything will have to be substantiated, and data should be made available for consumers’ reference. Make sure to fact-check claims. They should not be misleading even if they are true: some harmful materials, such as CFCs are already banned, therefore a ‘CFCfree’ label rudely overemphasises the effort made.

4 Comparisons must be fair and meaningful. The code will regulate claims made in relation to competitors: being the ‘most sustainable drink’ will now have to come with sufficient supporting data. Change will not come overnight, and brands will need to be genuine about their progress towards sustainability. Endorse clearly set targets and plans to get there, alongside progress reports. Shop around and see competitors’ claims, policies, and prices to uncover false comparisons.

2 Claims must be clear and unambiguous. Full disclosure is especially important to avoid greenwashing, as absolute and vague claims, such as ‘most sustainable’ or ‘eco-friendly’ are deceiving. The first have to always be true, while the latter often have no meaningful definition. Be wary of any ambiguous claims that are not elaborated on. The GCC especially deters emblems that give the impression of an environmental certification, when in reality, are just part of the greenwashed design. Look for clear communication, and references to international standards, such as the ISO. Jargonised marketing is a red flag, as claims need to be transparent and simple.

5 Claims must consider the full life cycle of the product or service. For a business or product to be carbon neutral, many things need to be considered. Carbon neutrality, in reality, entails the net-zero emissions produced throughout the whole lifecycle of a product. From sourcing materials, through manufacturing, transportation, maintenance, and disposal, environmental impacts must be considered when making claims. Search for information on where materials are sourced from and reflect on the delivery options when buying online. Check the recycling instructions against claims on impact.

3 Claims must not omit or hide important relevant information. Under the GCC, overexaggerating the extent of recyclability or environmental impacts is not legal. A 90% organic t-shirt leaves 10% to be accounted for. All aspects of an item should be disclosed and material component charts that do not add up to a 100% are to be avoided. Additionally, claims must be made in the context of the product in question and a company’s values must not conflate with information on the impact of a product. The office running on clean energy does not mean a clean manufacturing process.

6 Claims must be substantiated. All of the above boils down to one thing: facts. To avoid greenwashing, do not believe claims without substantial evidence and transparent reports of data. There is a reason why slow fashion is called such, as fact-checking will take time. All this still puts part of the work on the consumer, but not the bulk of it! The information under the GCC will have to be made available, and if UCL students can read 70-page chapters for Friday seminars, you can certainly take the time to ensure that the product you are buying is environmentally friendly. Becoming a conscious consumer naturally comes with buying less and buying planned. Environmental claims will be required to be displayed on websites and so, before purchasing, make sure you are supporting a legit business. The post-covid and post-GCC era should be one where we make informed purchasing decisions keeping our impacts on others and the environment in mind.

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Photography by Johara Meyer

The Climate Awakening: How Civilians Do Politicians’ Jobs Written by Vaania Kapoor Achuthan The seriousness of the climate crisis cannot be overstated—by the time you finish reading this article, another species will go extinct, further jeopardising our ecosystem. We are on the verge of a climate breakdown, with sea levels rising faster than climate mitigation, it seems as though the growing effects of the climate catastrophe are unavoidable. Some, however, choose to challenge this. One such group which challenges the government’s willful complicity to industries that directly contribute to environmental degradation by prioritising shortterm gain and profit is Extinction Rebellion (XR). XR finds its philosophical basis in Martin Luther King’s Kingian Model and draws inspiration from the Civil Rights Movement and the Indian Salt Marchers that all employed non-violent civil disobedience to raise public awareness. Founded in the UK in 2018 by www.uclpimedia.com

student Roger Hallam and fellow scientists, farmers and parents, XR has three main demands: “tell the truth”, “act now- net zero by 2025” and “beyond politics”. The Overton Window is a theory in public policy that seeks to explain which ideas are politically viable and which may be considered unthinkable (Mackinac Center for Public Policy, 2010). XR has been successfully able to shift the overton window by triggering social learning as prior to XR’s launch, the failure of the Copenheigan talks, the 2008 financial crisis and a decade of Conservative government rule in the UK pushed climate change further away from mainstream political discourse. In April 2019 however, XR launched a 10 day long Rebellion by occupying five major places in London, resulting in

OPINION mass political unrest and great financial burden to the Metropolitan Police, drawing attention towards them as well as their cause (ibid). This compelled the UK parliament to debate on the urgency to act on the current climate crisis. The continuation of the Rebellion post these debates further compelled the UK government to declare a climate emergency, the first nation to do so. On Twitter, right after the Rebellion, Members of Parliament referenced XR more times than the IPCC report as a key climate influencer. Similarly, XRs actions in October 2019 was cited 70,000 times in media reports. This increased the issue saliency of climate change, with YouGov pollsters finding that

“One thing we know for sure is that people’s power works”

amongst the public, worry about climate change was “boosted by the XR protests”. Haas’s (2011) research on political responsiveness shows that the Government is only likely to act on the science of climate change if it is publicly acceptable to do so. Thus, XR triggered social learning, thereby shifting the overton window on climate change from “acceptable” to “popular”, shaping public opinion in favour of climate mitigation policies, in turn making climate policy the norm. What started out as a movement by 15 people in the United Kingdom has now grown, with tens of thousands of people joining XR in more than 72 different countries. Despite this growing support for climate change policy, Governments across the globe and specifically in the UK still fail to implement strategic climate mitigation policies. Taking the recently held COP26 as a reference point, the mere fact that 60% of the menu was not plant-based indicates the Government’s willful ignorance to the effects of animal agriculture on the climate crisis. Similarly, last minute negotiations which changed the wording in the final document from “phase-out coal” to “phase-down coal” shows the sheer lack of understanding of the growing detrimental effects of the dirtiest fossil fuel that exists. In Boris Johnson’s own words- “we can lobby, we can cajole, we can encourage, but we cannot force sovereign nations

to do what they do not wish to do”. Clearly, sovereign nations are not interested in fighting the climate crisis, and would rather put profits over people. One thing we know for sure is that people’s power works. When 1000s of people take to the streets, history has shown us that the Government often chooses to comply with the resistance, rather than repress. The logic behind this goes as follows: when there are 1000s of people engaging in direct action and willing to be arrested, as is the case for XR, it makes it more costly for those in power to resist than to give in. Similar to Labour strikes, XR hits the Government where it hurts them the most: in their pockets, forcing the Government to respond to XR and their cause. For example, until October 2019, XR cost the Metropolitan Police a total of 37 million pounds. Thus the police have a choice to make - either allow the peaceful protests to continue or engage in state repression. Often the latter is chosen- for example the police have drawn batons at activists, forcing them into a headlock and punching at them. As a result, “an act of sacrifice [like getting arrested], can help to foster an empathetic reaction: they convince the undecided to side with communities in resistance rather than forces of repression”. Therefore, XR has been successful in capturing the zeitgeist of political polarisation, increasing the issue salience of climate change. This level of rebellion against the Government goes beyond XR. Groups such as Insulate Britain that urge the Government to implement a national programme to ensure homes are insulated to be low energy by 2030 as well as Animal Rebellion, that insist on the need to ban animal agriculture and transition to a just and sustainable plant-based food system to tackle the climate crisis also highlight various ways in which individuals take to the streets to show their desperation for urgent and impactful climate action. Guilermo Fernandez, a father and hunger striker from Switzerland further sheds a spotlight on the lengths individuals are being forced to go to due to Government level climate inaction. So far, there seems to be a dichotomous climate awakening; on the one hand individuals are attempting to increase pressure on the Government to take actionable steps in limiting the climate crisis, on the other hand the Government still blissfully ignores people’s demands through greenwashing. For how long will this blissful ignorance continue? Only time will tell. www.uclpimedia.com

How

TikTok has revitalised the debate on the female gaze Written by Samira Lily Chowdhury

“Timothée Chalamet is written by a woman.” “POV: you stopped dressing for the male gaze.” If you are an avid user of TikTok, chances are you have seen these phrases before. Or if you are on so-called Straight TikTok (consider yourself lucky if you have no idea what I’m talking about), you may have seen an army of myth-busting women shaking hypermasculine men to the core; by saying, “girls don’t even like big muscles.” These TikToks of flabbergasted men questioning their dating prowess have amassed millions of views: they chronicle Gen Z entering the fray and deciphering the age-old mystery of what women want. These #girlbosses are spreading their gospel on how Loki is preferable to Thor, eyes and hands are what’s important, black nail varnish over abs and don’t men know that all their bodybuilding is only impressing other men? The Daily Utah declared this trend a “birth of an ideology” as TikTokers venture to pin down the elusive female gaze. www.uclpimedia.com

But where did all this debate originate from, and precisely what legacy are Gen Z contributing to?

To unravel this, unsurprisingly, we have to start with men and understand the male gaze. The male gaze originates from film theorist Laura Mulvey’s seminal “Visual Pleasure and Narrative Cinema”. Mulvey argues the Golden Age of cinema’s camera perspective is a tool of the patriarchy, leering over women to cater to the heterosexual male fantasy. The camera literally becomes the male gaze, through its deliberate slowpans over breasts and legs, dismembering Hollywood starlets for the voyeuristic pleasure of men. The female gaze was coined in response, with feminists indignant that there should be an antithetical term representing the desires of the female audience.

OPINION This term thrived in the early 2010s, plastered all over ‘pioneering’ blockbuster hits like Magic Mike and Fifty Shades of Grey for championing women as “sexual beings”. These films were praised for portraying men as objects of “female pleasure” instead of focusing on how women can best serve male sexual needs. But rather than oiled up gyrating men epitomising the female gaze, Gen Z argues the inversion of the male gaze is accomplished not by objectifying men but rather by humanising them. Asking UCL students what they thought, I got a myriad of responses, from “it’s all about the aesthetic: dreamy, enigmatic and intimate, depicting women in all their beauty, depth and strength without any sexualisation or gender derived expectations” to “showing someone’s qualities as a character rather than focusing on [their] physical features.” The trending videos for #thefemalegaze affirm how it personifies, not objectifies, with rather poetic comments such as “it’s about things that betray his inner world- hands, voice, the scrunch of his eyes as he smiles”, getting thousands of likes. TikTok indeed corroborates that the female gaze in film is more “idealistic and romantic, based in emotional response” rather than concerned with the physicality of men.

“Rather than oiled up gyrating men epitomising the female gaze, Gen Z argues the inversion of the male gaze is accomplished not by objectifying men but rather by humanising them.” TikTokers are even pushing the boundaries of the female gaze outside of film. The trend of “Dressing for the male gaze vs the female gaze” has girls proudly declaring they have abandoned their short skirts and tight tops to stop pandering to the male gaze. However, is it reductive to equate how women choose to present themselves to them seeking male validation? Haven’t we surpassed the time of “but she wears short skirts, I wear T-shirts” Pick-Me binary that thinly veils internalised misogyny? Perhaps Gen Z are approaching a time of negating female autonomy by focusing on the male consumption of female appearances rather than their desires.

“Some argue Gen Z are navigating us back to pre-sexual revolution times by taking the ‘sex’ out of female sexuality.” Like many TikTok trends, a countercultural pushback is evolving: the “POV: you never stop dressing for the male gaze because you’re obsessed with your tits” trend. @franksaystwentyeight’s now viral video describes how the original “POV: you stopped dressing for the male gaze” trend “[was] just a way to intellectualise sl*t shaming” by “imposing a feminist hierarchy to fashion trends”. Although, if all this discussion of how titillating hands, collarbones and eyelashes are seems fairly Edwardian to you, you’re not the only one. Some argue Gen Z are navigating us back to pre-sexual revolution times by taking the ‘sex’ out of female sexuality. After all, this is the generation labelled “Puriteens” by GQ after causing a “sex recession”. What started as harmless TikToks challenging stereotypical portrayals of women on screen has evolved to countless girls spiralling that they will never escape the male voyeur inside them: immortalised by that cursed Margaret Atwood quote “you are a woman with a man inside watching a woman”. But perhaps Gen Zs are actually galvanising us forward with their take on the female gaze, and the rest of the world are daring to catch up. Their fancams of Hollywood’s token nice guy, Paul Rudd, seems to have manifested into him being crowned People’s magazine ‘2021 Sexiest Man Alive,’ befuddling older generations: the Telegraph stated he’s following “more conventionally handsome stars” and The New York Post’s “Paul Rudd is many things — but ‘Sexiest Man Alive’ is not one of them.” Whatever direction this debate takes, perhaps the focus should be on celebrating any discussion about female sexuality, a topic historically neglected.

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The Dormant Ones:

Vaccine hesitancy amongst ethnic minorities Written by Sarah Tefera Artwork by Valeria Fernandez-Soriano

The UK is opening up once again and is showing no signs of slowing down, despite the number of Covid-19 cases increasing dramatically day by day. Borders are opening; our favourite cafes are opening for indoor dining; big groups are allowed to congregate once again - it’s all a very welcome feeling. We can largely thank the successful vaccine rollout in the UK through which more than 50 million people in the UK have had their first vaccine dose and almost 46 million people have had both doses. Yet as the UK awakens, there remain several groups left behind, dormant, unable to move at the pace of the health regulators and government. One such group are ethnic minority communities in the UK. It is evident that there needs to be structures put in place so that these marginalised communities can rebuild their trust in the healthcare system. Who is refusing to take the vaccine and why is it so much of a problem? A UK-wide survey conducted in late 2020, investigating attitudes towards Covid-19 vaccinations showed that Black and Black British respondents had the highest rate of vaccine hesitancy (71.8%), followed by Pakistani and Bangladeshi respondents (42.3%); a stark comparison to the relatively low hesitancy seen amongst White British or Irish respondents (15.2%). Data from January 2021 shows substantially lower rates of Covid vaccinations among elderly ethnic minority populations (white people 42.5%, black people 20.5%) and deprived communities (least deprived 44.7%, most deprived 37.9%) in England. Similarly, data from an NHS trust shows lower Covid-19 vaccination rates among ethnic minority healthcare workers.

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Covid-19 has been described impact clusters with pre-existing c economic, and social factors to wo first coined this term in the 199 and its drivers, focusing on the violence, and AIDS. Similarly, C health conditions such as hyperte diabetes, and a range of other which are already disproportionat The aggregation of these comorbid of social and economic disparit including overcrowded housing an the UK’s most deprived areas. Fu in seasonal influenza and pneum uptake in more deprived areas, so that needs to be addressed.

cine hesitancy can vary geographically, t vaccines due to a range of factors d the disease, convenience of access and lf. However, it is particularly concerning ccine hesitancy is predominantly being are at a greater risk of getting covid; England, minority ethnic groups were s more likely to die due to Covid-19. Bank, from 2019 onwards, reported an lated hospitalisation in Black and Asian oups.

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SCIENCE

Why are ethnic minority groups hesitant and how can we regain trust? One major theme that consistently emerges is the concern over the safety of the vaccine. Due to the speed of the Covid-19 vaccine development and under-representation of minority ethnic groups in clinical trials, people fear the possibility of currently unknown, long-term side effects. Older individuals cite concerns about potential blood clots, whilst younger women are apprehensive of its effect on fertility. According to WHO, misinformation about the safety of vaccine has increased dramatically during the pandemic via social media and messaging platforms, which are infamously difficult to monitor. The Department for Digital, Culture, Media and Sport has attempted to target the spread of misinformation by releasing a series of shareable online videos, which include trusted community figures calling for people to check information before they share. It has introduced limits on WhatsApp which has led to a 70% reduction in highly forwarded private messages. Although encouraging, this toolkit, and any other future health communications from the government surrounding the vaccine, should also be translated into multiple languages. This will allow for correct and verified information to reach ethnic minority groups, whose first language may not be English. Secondly, there should be a platform which does not simply talk at these groups through a series of videos, but proactively engages with communities to reassure them, and dispel misconceptions or anxieties arising from anti-vaccine propaganda. This must be done in a targeted manner that matches the personal characteristics of specific communities, as this is more likely to be effective in changing beliefs, attitudes and behaviour. There is also longstanding lack of trust in the government amongst these communities due to systemic racism and discrimination in healthcare, which has allowed unethical medical research in black populations; under-representation in health research and vaccine trials; and negative experiences with healthcare professionals. And this historical marginalisation appears to have increased during the pandemic. Residential segregation, which largely affects Bangladeshi and Pakistani populations, is still on the rise and can have impacts on healthcare accessibility. The syndemic nature of Covid-19 means that in order for its spread to be contained, we don’t need to just address vaccine hesitancy, but each of these very serious socio-economic disparities that have contributed to long-standing poor health outcomes for many. Developing and rolling out COVID-19 vaccines has been one of the biggest public health achievements in the current century, but while the rest of the UK quickly moves on, the pandemic continues to deeply impact ethnic minority groups. There’s still a long way to go in order to declare that the rollout has been a complete success, particularly if those most at risk are refusing to take the vaccine.

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Your Carbon Footprint is showing Written & Photography by Antara Basu

A year of dormancy had awakened hope for climate action following drastic declines in global carbon emissions. But as society springs to life, emissions are outpacing our slow returns to normalcy. Although the pandemic has drawn considerable attention to the climate crisis, it has done little to reduce the acceleration of climate change, as is evident in the United in Science 2021 report. The rise of climate awareness has largely involved shifting focus and blame. With only 100 companies responsible for 71% of global emissions, targeting individual action rather than developing a policy framework to limit collective emissions is ineffective. Sustainable lifestyles develop healthier and more stable communities, but they can’t match the reduction of emissions by big corporations.

“The last numbers show that there were around 50,000 people in the protests. This to me seems like an amazing accomplishment. The purpose of these rallies and protests is to show our discomfort with the global elite and the international bourgeoisie as well as with their completely watered-down measures. COP26 is just a show, a facade to justify the continuous destruction of nature by the capitalist system.”

As part of the student body at UCL, it can be encouraging to see several policy initiatives being implemented across campus. These range from waste segregation across UCL halls to sustainability fairs and opportunities for climate-centric volunteering. Contributing to the fight against climate change, UCL’s Students’ Union cafes have financial incentives for students using reusable cups and all Union establishments propagate the policy of ‘we choose Amid the coinage of terms such as ‘carbon footprint’ planet over profit.’ and the ongoing United Nations Climate Change Conference of the Parties (COP26), the global UCL achieved another milestone in 2019 with its first netcommunity continues to fall behind to deliver on zero carbon event, ‘It’s All-Academic’, which combined climate action objectives. Many hail this conference cutting-edge climate research with biodegradable as the last chance to act on climate goals. But it has glitter. Last year, ahead of World Environment Day drawn sharp criticism from environmental groups and on 5 June, UCL announced its collaboration with the individuals alike. They see it as a political circus and UN Environment Programme to focus on achieving the a photo-op for world leaders, who’ll continue a futile 2030 Sustainable Development Goals. cycle of discussions concerning climate advocacy with no action. It certainly can’t be denied that a climate Notably, the Youth COP on 23 October 2021 action conference that sees people like Jeff Bezos saw students participate in mock climate change in attendance says a lot about its credibility and negotiations. Their cumulative reviews and solutions commitment to sustainable development. were forwarded to researchers at UCL who were attending COP26 in Glasgow. To protest against the ongoing conference, the UCL Such platforms facilitate productive discussions Marxist Society joined the London branch of Socialist and give students a chance to engage with climate Appeal, the British section of the International Marxist advocacy. Green initiatives decidedly play a role, but Tendency, in a demonstration on 6 November 2021. are they capable of making a substantial change in the Sergio Inglan, a second-year HPE student attending absence of institutional support? Institutional change is the strike commented, necessary. www.uclpimedia.com

SCIENCE The Portico lit up green, 9 November 2021

“COP26 is just a show, a facade to justify the continuous destruction of nature by the capitalist system.” UCL, however, balances its sustainability rhetoric by partnering with organisations that are among the largest climate polluters. Recently, a petition called for the shifting of Union funds from the bank Barclays, citing the company’s ties to fossil fuel investments. Responding to the petition, the Union passed Policy 2103 in November 2021, which states, “Barclays Bank is the largest funder of fossil fuel infrastructure in Europe.” This is an ongoing policy, which wants the Union to curate a list of alternative banks and to develop criteria upon which they’ll be judged. It hopes that shifting Union funds from Barclays will represent the Union’s consistent sustainability policy and encourage students to do the same. Even then, this isn’t the full extent of UCL’s ethically contentious partnerships. UCL proudly publicises its sustainability practices, which only takes a few hours of scouring UCL websites to find. Yet, this rosy picture fails to acknowledge years of coalitions with arms trading companies and corporations notorious for their lack of climate-friendly policies. Ironically, the Centre for Ethics and Law at UCL used to be sponsored by a British multinational arms company, BAE Systems, whose equipment has been used in the Saudi Arabianled bombing of Yemen. Further, in 2019, a number

of human rights groups named BAE Systems in a complaint to the International Criminal Court (ICC), citing its active contributions to war crimes in Yemen’s civil war. The student body is increasingly calling upon UCL to uphold the institutional values that it claims to be committed to. One of the founding principles behind sustainable UCL 2019 - 2024 includes integrating sustainability into its planning, processes, and culture. But if these behind-the-scenes alliances continue to thrive, UCL’s work towards sustainability is contradictory. Bhuvaneshwari Prasad, a first-year law student, talks about the sustainability bags given by the Faculty of Laws: “It may look performative, but it directly engages with the students. Rather than initiating substantive action in the background, UCL is choosing to put the onus on the student community. This isn’t necessarily a bad thing, but at the end of the day it can’t replace the bigger picture.” Amidst the Covid-19 calamity, followed by COP26, the climate crisis is being pushed into the spotlight like never before. Working to rigorously sustain private interests can’t be worth the existential threat that climate change represents. This simultaneously calls for us to hold institutions accountable to what they claim to practice Calls to action, alongside grit and determination alone cannot save the planet. But relevant stakeholders instituting effective change and those seated at the top of the societal hierarchy supporting such changes can. The deadline for performative action has passed and we’ve lost the privilege of filing for an extension. Enabling change is as important, if not more, as perpetuating it. www.uclpimedia.com

U C L’s A T

R I

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REAWAKENING The reawakening of the arts scene at UCL this year has perhaps been more pronounced than ever before. Since term began, we have seen live performances ranging from ‘battle of the band’ competitions to open mic nights. At the artsUCL mixer during freshers week, clubs and societies showcased the breadth and depth of the arts scene at UCL. www.uclpimedia.com

Written by Isabelle Osborne Photography by Hasha Dar

Such is a testament to the vibrancy and diversity of UCL’s arts scene and a distinct resurgence of community-based live arts projects. After so long of enjoying predominantly virtual artistic opportunities, it has been refreshing to observe and experience the rejuvenation of creative projects and see how the spirit of the arts has been captured so exquisitely at UCL.

CULTURE Reflecting on the plethora of opportunities, UCL’s creatives and supporters alike have displayed determination and dedication to ensuring students can explore the arts and culture scene outside of their academic pursuits. Since September, UCL’s Student’s Union has welcomed 5,800 arts members. Seyi, UCL’s Arts Officer, spoke of the importance of the arts: “[It] is for everyone. Art is something that can be appreciated by everyone, on any level. It’s rare to find someone who doesn’t have any interest in the arts, because it’s so varied.” When working alongside her predecessors Anna and Sam, Seyi saw the potential for artsUCL - the arts equivalent of Team UCL - as a brand, and saw the role of Arts Officer as an opportunity to promote and maintain the arts at UCL, particularly after the sector’s experience under COVID. At the heart of artsUCL is a commitment to inclusivity within the arts community and ensuring it remains an open, safe and welcoming space for everyone to explore their creative interests.

The demand for the arts has never been higher. Perhaps the arts scene has seen less of a reawakening and more of a continuation, as the arts remained alive and energised even at the height of the pandemic. The National Theatre’s ‘NT at Home’ initiative, whereby 17 productions screened via YouTube during the national lockdown, saw more than 15m views from across over 170 countries. Considering the fact more people attend the theatre than go to a league football match each year, this is just one example of how the arts have remained a core part of our culture.

Whilst UCL’s arts community is working hard to keep creative opportunities alive, there remains a bittersweet note in regards to the country’s arts scene. The government’s support package for the arts sector in 2020 was described as ‘vague and slow-coming’ by the House of Commons Digital, Culture, Media and Sport Committee, a discourse that is punctuated by the reality that public investment in arts per head of the population has fallen by 35% in the last decade.

The arts sector, in all its mediums, fosters unity and connection. It sparks conversation, provides access to a community, no matter where we are, and gives us an outlet from the hustle culture our society is perforated by. The escapism, the creativity, the enjoyment - the arts holds an undeniable presence in our society, one that cannot be replaced.

Seyi spoke of the necessity of funding for the arts, not only on a university level, but a government level, noting that ‘there are so many terrifying news articles about arts funding being cut.’ The 50% funding cut for arts and design courses including music, drama, dance, media studies and journalism, in favour of increasing funding for STEM subjects, demonstrates the alarming dismissal of educational arts opportunities for young people. It sets a precedent that largely ignores the arts sector’s role within our society and the tireless contributions it continues to make in building and maintaining the country’s cultural individuality.

Creative organisations at UCL thought outside the box about how they could continue their work within the community during the pandemic, taking to the online platform with resolve. We adapted, because we could not imagine a world without the arts; even in a world plagued by a virus that changed the way we interact with one another, the arts are indispensable.

Now, more than ever, it is integral to support and fund arts communities, so they can continue to foster creativity, nurture talent and provide a platform for people to use their voices and showcase their artistic work. Arts opportunities also encourage us to consider new perspectives about the world and foster a unique sense of education and learning, as Seyi reflected: ‘You can just go to any part of London and google something artistic, and you will learn something completely new about that part of London that you had no idea about. Just imagine that on a larger scale of the world.’ The arts also offer the chance to meet new people from different walks of life, to explore new avenues, and collaborate on creative initiatives. Reflecting on how her work as a producer for UCL projects has led to her working as a theatre producer professionally, Seyi encourages interested students to give the arts a go: ‘You have nothing to lose.’ She reminds us that ‘[UCL] societies are composed of students who like the same things as you’, and that ‘We’re all just trying to have fun and bond over something we all really like.’

It is shameful that Britain ranks fourth highest in terms of overall culture (determined by our ‘exciting contemporary culture’) out of 50 nations, when there is a blatant discrepancy between how our arts sector - which Seyi notes is integral in ‘showcas[ing] and promot[ing] cultural aspects of society’ is perceived and how it is treated in reality.

If the reawakening of the live UCL arts scene has shown us anything, it is that the arts are a necessity. Has there ever been a more pertinent time to keep the arts alive than today?

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Novels of New Beginnings So much of literature is about new beginnings. From classics to contemporary works, change is a current that runs throughout many of the most famous and popular novels in the English canon. Here are some of my favourite novels, many of which are contemporary works of literary fiction, that centre on growth and starting anew. 1. The Waves, Virginia Woolf Woolf’s classic Modernist novel is heralded for its figuration of life and all its unexpected avenues. Considered to be Woolf’s most experimental work, the novel follows six central characters, whose stories are told through soliloquy. Each speech is broken up by a thirdperson interjection, which always details the image of a coastal scene - the position of the sun in the sky throughout the day signifying the stage of life in which the characters find themselves. Though each section of the novel deals with a new beginning in the characters’ journeys - early childhood, school, adolescence, navigating adulthood, experiencing tragedy - their speeches are always pervaded by a sense that the past haunts them. As their lives evolve, some friendships are strained, and others renewed. Through each distinct voice of the six characters, a kind of single consciousness is often formed. The novel is a poignant depiction of how individuals and communities navigate change.

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2. The Flat Share, Beth O’Leary The Flat Share was a novel I read at the beginning of 2021, at the height of the winter lockdown. And I remember being utterly compelled by it - I couldn’t put it down, and finished it within a few days. As a young woman navigating life in London, it spoke to me in many different ways. O’Leary’s novel follows Tiffy, a literary editor who is dealing with the aftermath of a toxic relationship with her obsessive ex-boyfriend. A new flat signifies a new start for Tiffy, though her less-thanconventional tenancy arrangement with the owner Leon proves to be more complicated than she bargained for. Tiffy’s past continues to plague her efforts to begin a new chapter, as the novel prompts us to question whether we can ever truly start over, and whether holding onto parts of our past is what makes us who we are in the present.

Written by Evie Robinson Artwork by Manca Rakun 3. Eleanor Oliphant is Completely Fine, Gail Honeyman This charming novel is one that deals with new beginnings, though not in the way we might first expect. Eleanor, nearly aged thirty, lives her life in a pattern of the same mundane days, keeping herself sane through a strict routine and reliance on addiction. It’s only when she strikes an unexpected friendship that Eleanor begins to confront the trauma of her past that wields such a grasp over her present life. With her simultaneous depiction of humour and tragedy, Honeyman presents us with the question of whether change is a good or bad thing. Like a magnifying glass examining the tribulations of everyday existence, the novel celebrates the promise of a new beginning that can be prompted by a simple act of kindness.

CULTURE 4. Dear Mrs Bird, A.J Pearce Though set against the sobre backdrop of the wartime Blitz, Pearce’s novel puts a light-hearted and hopeful spin on how to deal with life’s tragedies. Protagonist Emmeline Lake longs to become a war correspondent, and starts off by taking a new job for a women’s magazine in London, typing up letters for renowned advice columnist Henrietta Bird. Defying instructions from her boss, who strictly prohibits the coverage of particular subjects in the magazine, Emmeline heralds a new chapter for the column by resolving to answer the questions herself. Pearce’s humorous novel is a charming work of historical fiction, championing the bravery of one young woman’s desire to help those in need of advice, whatever the cost of that choice might be for her future career prospects.

Reading as well English she felt

is an act that unites many people across the world, as across the student community at UCL. Third year BA student Isabelle Osborne recommended a novel that most captured these ideas about growth and change:

“Matt Haig’s ‘The Midnight Library’ tells the story of Nora, who enters a library which exists in the space between life and death. Each book represents a different life that Nora could have led, if she had made different decisions. The novel is a fascinating insight into how small choices can affect the direction of one’s life, but it also shows us that you can start anew in your current life there is always the possibility of a fresh start or new beginning, without having to change anything at all. Haig explores the value of change, and poses the question of whether grass is always greener on the other side. Nora certainly feels awakened by her experiences in the library, as did I after I finished the book” (trigger warning - The Midnight Library contains references to suicide).

Anyone who loves reading will probably relate to the sense that it nurtures a kind of awakening power. It gives us a way into exploring many of the issues facing modern society, allowing us to understand more about each other and ourselves. Perhaps we read to discover - to create and foster new beginnings of our own. Have you ever felt a sense of awakening after finishing a book?

“The novel is a fascinating insight into how small choices can affect the direction of one’s life, but it also shows us that you can start anew in your current life - there is always the possibility of a fresh start or new beginning, without having to change anything at all.”

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A Conversation with

UCLove

– The Anonymous Domain of Connection Written by Helena Oh

“There was a niche that could be filled. We just happened to have the initiative to take it. The branding that the page originally had certainly helped, and we didn’t need to advertise UCLove’s return for people to notice it was back.” - UCLove Admin The theme of the magazine centering around an awakening, the student mind immediately goes to the re-emergence of social life following the extended period in isolation. While the pandemic has detrimentally affected human connection, one aspect of university life at UCL that should not have been affected by a move to the world of technology is UCLove: the infamous student opinion page run by anonymous admin where students freely post anything ranging from romantic confessions to political debates, the comment section often used to share advice or criticism in response. Yet unexpectedly, at the beginning of the pandemic, amid the chaos of moving to online university and students traveling back home, the UCLove page turned inactive for a brief period of time. With newly materializing meme pages and social media groups attempting to sustain a level of connection between the student body, there was still an aspect of the original university experience missing without the notorious confessions page posting a continuous stream of student diatribe and sparking up debates on a small but lively corner of Facebook (no matter how trivial they may seem).. As the world slowly emerged from dormancy, so did UCLove. By contacting the mysterious new group of admin, I was able to obtain their perspectives on the role the page plays on student life. www.uclpimedia.com

The original UCLove page seems to have closed during the pandemic, what made you want to pick it up and reconstruct it? “There was a niche that could be filled. We just happened to have the initiative to take it. The branding that the page originally had certainly helped, and we didn’t need to advertise UCLove’s return for people to notice it was back.” The page reopening could be seen as a heroic attempt on the new admins’ part to help regain the lost sense of engagement; it has once again become a platform for those who feel that they are missing out on the action to feel as though they are in the middle of stimulating conversation. How do you feel UCLove contributes to the student experience at UCL? What do you think is the allure of confession pages? “UCLove is somewhat like a student forum of public opinion. It’s one of the ways to keep up with current events regarding the university, and so is somewhat like a newspaper. Though, of course, the information that is disseminated is rarely verifiable. Other than that, it’s a fun way to express what you might not say in real life (say, to a crush, for example).” Everyone wants to be in on a secret or part of an exclusive group, and everyone loves drama (especially if they are not at the center of it). Gossip

LIFESTYLE

is the result of the human desire to feel belonging or intimacy – a glimpse into a world where they feel as though they belong through secondhand reports. UCLove operates under the same mechanisms of the human mind: unconsciously, students are all looking for a sense of community. Or, simply, somebody who will listen. While this could result in quite dramatic or in some cases, problematic, conversations – the admin reveals behind-the-scenes insight on how they keep the page in control. Could you briefly describe the mechanics behind the page? How do you filter certain posts? “The vast majority of posts get approved without any problems. Hate speech, threats of violence, etc., or submissions that are maliciously targeting individuals are all rejected. We’ve made mistakes in the past and a few have slipped through but it’s a learning process. We also do not weigh in, hence ‘admin’s notes’ are quite rare; we prefer it that way.” Have you ever had to delete a post because it was causing problematic conversations? “We’ve been approached by individuals asking us to delete certain submissions, and we comply in the vast majority of cases. We try not to stifle debate too much but sometimes, controversial debates have gotten out of hand and we step in. Though we tend not to delete submissions that have already been posted, we will stop any new submissions regarding the debate from being posted. People tend to take the hint and stop submitting things.”

Has running the page ever been exhausting? Do you have a posting schedule? “There is no posting schedule. Running the page can be draining at times, especially when a huge batch of submissions come in at once, or a particularly controversial debate is happening. However, it can also be fun to help people spread their shower thoughts to a wider audience.” Especially in a university like UCL, where the campus remains quite disconnected, the page acts as glue that bonds students together under the umbrella of a shared online space. Post-pandemic, these notions prove to be more valuable: with all students having missed an entire year of university life, the charm of such a social network radically escalates. Alongside the reawakening of the world, the corner of the internet that was left unattended opened its eyes as well. How do you feel UCLove helped regain a lost sense of connection between students that resulted from the pandemic? “A lot of the frequent commenters are known well throughout the university, partly because of their involvement in UCLove. We do recognise that the pandemic has made the page somewhat toxic at times, as people debate a lot when there’s not much else to do. The toxicity of the submissions has markedly decreased since university restarted in-person activities. UCLove perhaps created a community between the students of pandemic.”