Issue 4: The Timeless Issue

The Timeless Issue

Editors’ Letters

‘The Timeless Issue’ relates directly to our previous print ‘The relevant Issue’, but perhaps gets us thinking more philosophically. I often think about how our generation will be remembered and how we will reflect on ourselves in 50 years time. Will the 2020s ever be ‘the good old days’? What do we really have to offer that could possibly compare to 80’s disco and the Juicy tracksuits of the 90’s? Even the 2016 Tumblr aesthetic has become a moment that we seem to miss! Nostalgia is a major theme throughout this issue, an important one that we must recognise and consider in our day to day lives. From yearning for that summer seven years ago or political actors gaining support through appealing to glamorized ideas of the past, nostalgia well and truly shapes us! As someone who keeps a diary, I am more than guilty of yearning for the past, whether this be for the weather, a particular feeling or a lack of essay deadlines! I hope that you enjoy The Orbital’s ideas on diary keeping, grief and remaining timeless in the fast paced decade that we live in. I ,for certain, hope that if you are reading this that The Orbital ,and all it represents, remains timeless, and that you reading in 2060 enjoy all that the 2024/25 team has to offer!

Madeline Sidgwick- Editor-In-Chief

Evelyn Fernandez-Jarvis- Deputy-Editor-In-Chief

I think we are all guilty of looking for Timeless issues, products, clothes, books, the list goes on and on. And it is usually what people are trying to find in modern society. Whenever I open social media sites, I find that some of the most watched videos are normally along these lines. Either we are going back to what we know is irrevocably timeless or we are looking for a new look that could potentially be the new timeless aesthetic. It becomes extremely tiresome sometimes trying to stay within the lines of what the timeless threshold looks like. As this issue came to life it was clear that people are broadening these boundaries and making what they like to be timeless. One of the best analogies of time that I have grown up with and still love is Alice in Wonderland. I think it is because Alice is able to look in a different lens, this manipulation of time is a trait that I believe that everyone should be able to do, mainly because even though something that is considered timeless should still be appreciated, it shouldn’t be the only thing that we see. I hope that as you read through the Timeless Issue, you can look through this lens too.

1. Editors’ Letters

3. Editorial Board- Contact Us NEWS

4. Around the Munich Security Conference 2025: Sweeping Statements and Media Focuses OPINION

6. Grief will be Forever- And I hope it Stays Forever

7. Doctor Who: Is Televised Time Travel Truly Timeless?

9. Is Procrastination Curabe?

10. A Timeless Teaching

11. Chasing Time: The Bittersweet Allure of Nostalgia

12. Timeless or Time Wasted

13. Over-tourism is demolishing your Favourite Destinations CULTURE

15. The New Archival: Thoughts On Diary-Keeping in the Digital Age

16. ‘In Here, Life is Beautiful’

18. How Grief, Love and Magic Manifests: Bridget Jones: Mad About The Boy

19. Let’s Talk about Slowdive’s ‘Souvlaki’ The Children Yearn for Theatre: Spectacle, Sensation and Provocation in current culture

21. Celebrating Out of the Blue: Electric Light Orchestra’s Timeless Masterpiece

22. Resurgence of the Vampire.

23. Meditations on Vouge World: London 2023

25. A Look Back on Pop Culture: What Have I Missed? LIFESTYLE

27. Growing Up and Speaking Up

28. The Beauty of Becoming

29. The Pursuit of a Timeless Wardrobe

30. Meet my long-distance relationship, New Zealand.

31. Love, What is it?

33. Facing the Unknown THE GREEN CORNER

35. Student Meals on a Budget SPORT

36. Campus and beyond: What does life look like as an Off-Campus Sport?

37. The Timeless Art of the Real Madrid Galacticos CREATIVE WRITING

39. The leaves, they are changing!

40. Fluorescence

40. Girlhood Resurrected

40. A Saleswoman 100 Years Too Late

42. Toothbrush Legacy

43. Timeless Love

44. Thornes

DEAR DAVIDSON

45. Agony Aunt’s Response

Editorial Board

Editor-In-Chief: Madeline Sidgwick

Deputy EIC: Evelyn Fernandez-Jarvis

Senior News Editor: Alex Robson

Associate News Editor: Sakeenah Waqas Butt

Senior Opinion Editor: Tahseenah Khatun

Associate Opinion Editor: Ella Hearn-Zhang

Senior Culture Editor: Ruby Day

Associate Culture Editor: Kiera Garcia

Senior Lifestyle Editor: Sophie Fairey

Associate Lifestyle Editor: Isobel Carnochan

Senior Sport Editor: Issy Trapnell Hoyle

Associate Sport Editor: Harkomal Shoker

Senior Creative writing Editor: Aminah Rahman

Associate Creative Writing Editor: Ruby Saggers

Senior Agony Aunt: Ruby Caballero-Roff

Associate Agony Aunt: Keira McTernan

Head Illustrator: Isabelle McFarlane (Cover)

Deputy Illustrator: Lucy Griffiths

Want to get in contact?

You can email us orbital@royalholloway.su or message us on any of our social media accounts.

Alternatively, we have an anonymous contact form in our instagram bio @orbitalmagazine.

The views expressed within this magazine are not representative of Royal Holloway University of London, or Royal Holloway Student’s Union, or any author/editor except the invidividual who wrote the particular article.

News

Around the Munich Security Conference 2025: Sweeping Statements and

Media Focuses

By Madeline Sidgwick Editor-In-Chief

Image Via Unsplash by Sam Szuchan

February 2025 saw the 61st annual Munich Security Conference dominate global headlines. From questions on the Russian-Ukraine war to extreme statements made by a certain president across the pond to that JD Vance speech, the conference was a lot to digest, especially in relation to the conference’s nature and place within media tactics. Here I aim to simplify the conference, remove unnecessary dramatics, and focus on who said what, and why it is significant.

A natural place to begin is with the ongoing War in Ukraine. The conflict is significant for both European military strategy but also in wider political discourse, specifically the February 23rd German Election. The constant conversation on whether Western European powers should keep funding Ukraine, or even send troops to the conflict, came back into mainstream conversation

because of the conference. The reasons on whether to keep funding the conflict or not is not my focus here.

The JD Vance speech, however, is not something that the media, nor myself, could not ignore. Vance’s referral to “fundamental values” and “the threat from within”, raised a few eyebrows to say the very least. As a wave of far-right populism engulfs the western world such phrases are not profoundly surprising. But the illusion to Ukraine, or even Europe as a whole, being the bigger global threat than Russia, the country that I must remind you began and planned the initiation of the war in secret, has baffled the UK press. Vance and Volodymyr Zelensky did have a meeting at the conference, yet Ukraine was still left out of talks later in the week.

US Secretary of State Marco Rubio, met with Russian Ambassador Sergey Lavrov, in Saudi Arabia to discuss the conflict. Russia’s demands that concessions be lifted

being a focal point here. The fact that Ukrainian representation was missing from the talks is questionable and led to statements in the media overshadowing what both these talks and the Munich Security Conference sets out to do; “offer an unparalleled platform for high-level debates on the key foreign and security policy challenges of our time”.

Ezra Klein, a New York Times opinion columnist, presents that “focus is a fundamental substance of democracy”. Klein presents how overwhelming the media has become, and is a key strategy of the Trump administration, as well as many other controversial world leaders. Through dominating headlines, politicians are able to take up space in people’s minds and thus make it nearly impossible for an effective opposition to be formed. It is all about what political actors WANT you to think and consume on a daily basis.

Vance’s controversial speech is a direct example of this tactic to

overwhelm. Mainstream media focuses on outrageous claims rather than what action is needed to protect lives. This example can be extended to President Trump’s recent claim that Zelensky is a “dictator”.

There is redundancy in throwing around such rhetoric. Such sweeping statements, that hold no weight, corrupt political discourse. The Trump administration is more than aware of this fact. With former White House Chief Strategist, Steve Bannon labelling the tactic “muzzle velocity”. By using such tactics the White House is able to prevent the emergence of any real opposition and thus dominate political spheres. If you really think about the last two months, when have you read a headline on what the Democrat party is up to? This strategy will become even more important as America looks towards the 2026 Midterm elections.

However, extreme statements come from both sides of the political spectrum. The accusations of Nazism towards the far right often become reductive, the average intelligent voter often switching off when seeing such allegations in headlines. It is also important, specifically in relation to labels of ‘Nazism’ to ensure that the label does not lose its weight. Although not in the living memory of many, the Nazi’s spread real terror, a terror that shouldn’t lose its meaning due to the mainstream media’s accusational tendencies. No matter the extremities of either side of the political system, labels become toxic and alienate healthy political conversation and debate, both at the conferences of large organizations, and in debates among friends at university. Andrew Marr has recently summed this up in a recent piece in The New Statesman, we must “remember who we are; and face the new world open-eyed, than to shudder, “Well,

they’re all Nazis,” and think no further.”

Relating this back to the Munich Security Conference, it has been made evident by sweeping statements from Trump to tik-tok comments accusations, that it has become increasingly difficult to understand diplomatic politics. Although media strategies and the ‘shock-factor’ are significant and crafted by policymakers, I urge you to plough through the media jargon and form opinions based on what YOU believe in and not what politicians are telling you too.

When writing this article, I used the New York Times Instagram reels as a useful source. If you are looking for a way to consume media away from all of the jargon and accusation, their platform will be extremely helpful.

Opinion

Grief will be Forever – And I hope it Stays Forever

By Tahseenah Khatun Senior Opinion Editor

TW: Mentions of Death and themes of Grief

When I think of the future, I think of still having my loved ones around. My friends, my family. They’re all still a part of this vision I have of the future. But this vision changed around two months ago, when my mum suddenly passed away. There was a time when I thought my mum would be around forever. But now, I have to navigate a new reality without her.

It’s been nearly two months since she passed, and I still have the image of her in the hospital in my mind. That was the last time I saw her in this world before she left. That image of her in the hospital, the state of her, has haunted me ever since. It follows me wherever I go, whenever it wants. It pops up when I least expect it. When I’m in class, when I’m talking to a friend. Nothing triggers it, that’s the thing. It’s a memory that will never leave my mind, one that I’ll never get rid of, it will always lurk at the back of my mind and jump out when it wants to. That’s the thing grief does with time, you last remember how you saw your loved one, and it stays with you forever. And it becomes a lasting memory of that loved one of that period in their last moments. You’re unable to do anything but watch them go.

Anywhere I go, I’m entering a new world, one I’m not ready to enter just yet. I can feel her absence wherever I go, whatever I do. It’s all these firsts without her.

From birthdays, to weddings, to Ramadan. I don’t get her daily calls anymore. I can’t eat her food. I can’t go to Tesco and shop with her. Every little thing in my life has been impacted, even in ways I wouldn’t think until it comes to me. It’s just an empty space in my heart I deal with. And this empty void will continue to exist for the future, I fear, for nothing can really heal it.

I envisioned a life with my mum seeing me graduate, being there when I get my first proper job. Everything I hoped for has been taken from me without warning. The spiralling starts. I dwell on a future that is not available anymore. I dwell and dwell and dwell, thinking my mum can still have some space in my life somehow. But the reality comes crashing down when I’m reminded that she can’t come back. That the closest I can get to her is her grave. And that will be the norm for the rest of my life.

I then try to fill in that empty void by thinking about what should have happened. You tend to focus on the regrets, the bad things. You wish you spent more time with her, did this or that with her. You dwell so much on the past, on what you should have done. I should have taken her to the doctor, could all of this have been prevented? Regret and guilt slowly creep up on you and take hold over you for such a long time, creating a cloud that forms over you. You’re a terrible person, a horrible daughter. Random thoughts like

this come down from the cloud. It slowly starts to control you, and it seems like you’re unable to escape it, there’s no way out.

But sometimes, a random memory unlocks a way out of that toxic mindset. Her framing the paintings I did. The cardigans she would always gift me for my birthday. Memories of who she was as a person. Sometimes the bad moments will consume my consciousness for a while, and impact the way I think about myself. But rather, thinking of my time with my mum as a whole lifts that cloud over my head. I’m reminded that I had an amazing relationship with my mum, one where she encouraged me and accepted me for who I was. And that’s what I want to remember when I think of my mum now.

The future will still have my mum, but in a different way. She will always be in the pictures, in the hobbies I do that she loved, in the little things that remind me of her. She will always be everywhere. Whilst it’s not the future I expected, it’s the one that I now have. One where I will honour her and keep her memories alive. I’ve been wanting to get over this period of grief. But I don’t think I will. And that’s okay. Grief is just the love I had for my mum, unable to expressed anywhere else. And in that sense, I hope my grief will never leave me. Death doesn’t stop love. Rather, it encourages you to keep the love going on, and to make it last in whatever way you can.

Doctor Who: Is Televised Time Travel Truly Timeless?

By Matthew Gibbons Staff Writer

‘Timeless’ is a cliche adjective for British literary classics, the texts they made us study for Englishthink Dracula, Frankenstein, or Sherlock Holmes. Characters such as these are undeniably memorable though, inspiring endless reimaginings for over a century. Despite the many stylistic changes in popular adaptations basing the original concepts around contemporary trends and culture, there is always a recognisable identity to these characters. Dracula will always be the definitive vampire, Sherlock Holmes will always be the genius detective, and ‘Frankenstein’ transcends context completely! This kind of legacy merits a ‘timeless’ status.

To be timeless then, is not to be unchanging. Something can still be timeless so long as it has an identity that is unaffected by the passage of time, even if it does undergo changes in expression… so what could be more timeless than the everlasting journey of a mysterious traveller, exploring all of space and time with ordinary humans like us?

Doctor Who, the British science fiction television show that launched on November 23rd 1963, remains an influential cult classic to this day. Although considerably younger than the aforementioned Intellectual Properties (IPs), at the time of writing it has over 62 years of real-world history. Within that time it has demonstrated a unique timelessness that sets it apart from other IPs:

Firstly, Doctor Who has infinite potential by nature. Although generally a sci-fi show, the TARDIS (the titular Doctor’s time

machine) can go anywhere and anywhen in spacetime, from the birth of the Earth to the end of the universe - and it has! From faraway alien worlds to the Stone Age, Victorian London and near-future colonies in space, the Wild West and William Shakespeare, the possibilities really are endless! One glance at any given series on BBC IPlayer will prove that Doctor Who has immense narrative freedom - for example, in just the first three episodes of 2008’s Series 4 we go from Partners In Crime, an alien conspiracy story set in present-day London, to The Fires of Pompeii, a historical doomsday epic, and then Planet of the Ood, a far-future adventure on a planet colonised by humans. Series 4 also features Midnight, the popular psychological horror episode almost entirely set in a single room!

Secondly, Doctor Who is uniquely interconnected, with a single continuity spanning almost all of its official media (if you can clearly draw a line between what counts as ‘official’ or not!) Fan projects are abundant, but even if we exclude them, Doctor Who is different. Unlike most other IPs, instead of undergoing reboots and remakes every ten years, Doctor Who retains its past, even if there is supposedly no canon. From its humble beginnings as a family show with educational elements, to the ups and downs in viewership and production budgets over the years - even outright cancellation of the show and a 16 year hiatus - Doctor Who perseveres as a concept that entertains and inspires a fanbase of millions.

Even if Doctor Who is a timeless

idea that can infinitely return in new ways, it is still a fictional IP subject to criticism, controversy and contemporary culture and politics. Like any good science fiction, Doctor Who reflects its audience - and in over six decades the values, beliefs and attitudes of both audiences and creators have changed significantly. At its best, Doctor Who transcends context and provides meaningful stories for multiple audiences, but many parts of the show have become dated. This can happen because of lackluster special effects, obvious references to things that aren’t relevant anymore, or offensive language that was normalized at the time of production. Even as recently as 2024 we can find blatant examples that won’t age well, from the uncanny CGI animated mouths of the cringeworthy Space Babies, or the repeated mentions of ‘Bridgerton’ in Rogue, so painfully on the nose that they have broken the proverbial proboscis. When there are repeated examples of moments that don’t age well, it defines the show more negatively for most audiences, and especially fans.

Fans are the audience most affected by Doctor Who’s timelessness (or lack of it) because the problem with Doctor Who’s timelessness is also its greatest appeal: it can never end. As they are the most charmed by the endless possibilities of the show, fans are also the most disillusioned when the show changes. Imagine becoming deeply invested in the world(s) and characters of a story for years, only to have it all lost with a replaced cast, a different writing direction and a changed production style, mimicking the same idea but

without the things you became attached to. The longevity of the show guarantees that it will keep receiving new fans, often children, but at the same time many older fans become distant and move on.

Impermanence is one of the only permanent things about the IP. Fan frustration is heightened when new storylines actively undermine previous stories or outright contradict established lore, and online discourse surrounding the show seems to have become increasingly divisive in the last decade. When you have decades of history and generations of fans comparing and judging whatever is happening now to the version of Doctor Who that they grew up with - be that ten, twenty, or even fifty years ago - the fanbase becomes more tribalistic. To some, ‘Classic Who’ (1963-1989) and ‘NuWho’ (2005-2022) are incomparably different things, and the current run of the show has often been cited as the worst content the IP has ever produced. Even the very ‘vibe’ of Series 1 (2005) is different from Series 5 (2010), owing to the literal differences in camera resolution - they fundamentally look and feel different because of

the filming, never mind differences in writing and direction. Even for the most dedicated fans who like every part of Doctor Who, the show has undeniably transformed many times, and in longer time spans that will inevitably harm the timelessness of the show as the world changes.

So, what this article considers to be ‘timeless’ must be the idea of Doctor Who, not Doctor Who itself. As such, the subjective experience of Doctor Who will be entirely different for everyone, being passed onto different writers and actors every few years. The style and genre of the show will change, creating different first impressions for different audiences experiencing the show for the first time, in different years.

However - if all of these subjective experiences of the show are so memorable, creating long-lasting feelings...is that not itself timeless? Does that not mean that every interpretation of the show is timeless, even if only to a single person? Perhaps the objective timelessness of the show is rooted in the most basic iteration of its

concept, but if a particular version of the story, a particular version of the character stays with a person’s thoughts, values and ideas for being memorable, inspiring, even educational…then is that not also a subjective timelessness, in that the impact of that particular Doctor Who lasts forever?

In a sense then, all of Doctor Who is Timeless - every single different incarnation, every single different run, every single different interpretation. I think there’s a beauty in that which we could find valuable in a time when derision, division and extremism dominate public discourse on something as trivial as everybody’s favourite British sci-fi show. Doctor Who is timeless, because it can be more than one thing.

‘We’re capable of the most incredible change. We can evolve while still staying true to who we are. We can honour who we’ve been and choose who we want to be next. Now’s your chance’ -The 13th Doctor, The Woman Who Fell To Earth

Image Credit: Mathiew Stern, via Unsplash

Is Procrastination Curable?

By Chiara Koca Staff Writer

The legacy:

Procrastination has been alive, from ancient minds like the Egyptians extending their deadline in building the pyramids of Giza, to Harry Potter and the Philosopher’s Stone’s creation thanks to 5 years of Rowling’s procrastination. To me, procrastination is a villain, making me stay up past 3 AM writing an essay with only an owl as my audience. It has depicted a timeless way of… well… wasting time! Unfortunately, there is nothing we can do to escape it, no matter how much we promise ourselves to stop next time.

The First Stage:

The doctor asks me, what are my symptoms for procrastination. I say it begins innocently, with a task that I keep extending, and instantly the bolt of procrastination strikes. The deadline looms, miles away, but future me can handle that. The doctor tries to blame it on hours of rampaging through TikTok, before all the Americans get banned and humour ceases on the app. This has made me oblivious to the disease standing in front of me. The doctor jots something down, ‘denial’. The doctor asks, how are you feeling as this task is approaching? I reminisce about the moments when Love Island All Stars calls my name and entices me to watch a 36-yearold struggling to find love. (I was

unaware it could take that long.) The doctor shakes his head in disapproval, he closes his notebook and leaves. Needless to say, I open it and my body gets goosebumps: ‘treatments for procrastination’.

The Second Stage:

Procrastination is laughing in the back of my mind, not even one apology, no care for me. The doctor comes back, announcing I have a lifelong condition. Full panic mode hits me, why did I decide to book cheap flights and escape during reading week instead of focusing on the deadline? At least I know now it’s procrastination’s fault. The doctor notices my face; I rage at what has happened to me, I begin to match with the colour of my cherry red coach bag. I try to hide my smile as I ,yet again, put off the fact that I am perpetually going to suffer from procrastination. The doctor tells me not to worry, for procrastination is a timeless condition connecting many of us. Instantly I feel a bond with Shakespeare who was also diagnosed with this, likely spending many endless nights writing his plays. Old me would not compare myself to the greatest author of all time, but I guess the new camaraderie between us makes it an exception.

The Third Stage:

The doctor examines me and pro-

vides the treatment on a prescription. I read ‘Acceptance’. My first thought, what a waste of money, I should have spent it on a trip to Bali and meditated my procrastination away. My acceptance commences through taking an extension for the deadline I had already missed. Just what I needed. I continue to damage my circadian rhythm through sleep deprivation instead of finding balance, as I have welcomed procrastination’s timelessness and treat it as a companion instead of my nemesis. I feel at ease, even Hamlet delayed his avengement, at least I am not alone in this, and procrastination is as old as time itself.

The Final:

Once again, I find myself in a follow up appointment, the Doctor enthusiastically asks how my procrastination is doing. I tell him I’ve accepted it, and life couldn’t be greater. Their eyes gleam as they explain they have developed a cure once and for all. After I triumphantly accepted my flaws, this is what I get? I do not need a cure, avoiding assignments through playing Dress to Impress will suffice, and I will continue to be a procrastinator instead of rivalling against it.

As expected, I’ll finish writing this article… later.

After finding out the theme for the magazine; a timeless issue, I was twiddling my thumbs as to what to write. Usually, topics come to mind relatively swiftly but this one left me a little stumped. As a philosophy and sociology student, much of my writing comes from my experience and interest in this doctrine. Therefore, when thinking about a timeless, repeating topic of discussion within my studies, philosophy peered through, as it usually does. Philosophy being one of the oldest teachings should be a great line of discussion for this issue - hurray I finally stumbled across my theme for this article. But then there’s another problem I faced; philosophy is a huge topic. How on earth am I supposed to pick one small, tiny aspect to discuss in the limited space I have? After a mental block, it became clear, of course, the discussion should be on the one and only Stoic teachings! Stoicism has been an underlying topic in both my personal and academic life. Therefore, it seems a perfect fit to align the timeless issue with a timeless teaching.

The beauty, I find, with Stoicism is the adaptability to modern life despite its ancient origin, the teachings appear so simple as they have been integrated into a plethora of life and wellness teachings. For example, a core theme and backbone of Stoicism is the reminder that you are in control of

A Timeless Teaching

By Keira McTernan Associate Agony Aunt

very little in life, things that we think we can control we simply cannot. The parameters of our control often only stretch to our perceptions and reactions, this may come as an obvious thing to many people but this is because it came from the ancient Stoics. I am sure you have heard countless times that you cannot control the weather, trains being cancelled or an angry customer, you can only control your reaction to the event. Of course, some of our reactions we cannot help such as stubbing your toe, it would be silly of me to preach that you should react in a calm manner after your toe has an unexpected hit, obviously, a primary reaction would be an *ouch* and some other phrases which I probably should not write down. However, after the initial, primary reaction has happened which usually lasts only a few seconds we can control how we view this situation. We can go around the whole day with a sad put-on limp and tell everyone the tragic story of the battle our toe experienced, or we can accept that it hurt for a few seconds or minutes and then get on with our day because in hindsight it really was not that bad. Admittedly the Stoics did not use stubbing your toe as an example as they frequently experienced much worse things in life however I am sure we have all experienced a toe subbing, maybe some more than others (if you are clumsy like myself). Nevertheless, it demon-

strates what we can control, basically not a lot.

As I mentioned previously much of Stoic teachings is reiterated in motivational and self-help guides in modern society. Another key element in Stoicism in the reminder to stay present, again this may sound familiar. Many self-help guides to manage anxiety or depression or even sleep guides, frequently get you to focus on your surroundings and your breathing, encouraging you to only focus on the present. Much anxiety comes from the overthinking of the past or future, but the Stoics remind you that the only thing that you should concern yourself with is the present. These are only very few of the teachings of the Stoics and their examples are much better than my own, it is a vast topic and has helped many people positively alter their outlook on life. Maybe you are or could try being a Stoic.

Chasing Time: The Bittersweet Allure of Nostalgia

By Giovanna Paganini Staff Writer

By definition, ‘time’ is ‘the indefinite continued progress of existence and events in the past, present, and future regarded as a whole.’ So why is it so difficult to stay grounded in the present? Why is it that our minds travel between past and future so seamlessly but can never rest upon and find solace in the present?

Time is paradoxical by nature. It stems from the dichotomy between the literal ‘time on the clock’ and the subjective perception of time. As Virginia Woolf puts it; “The mind of man works with strangeness upon the body of time. An hour, once it lodges in the queer element of the human spirit, may be stretched to fifty or a hundred times its clock length; on the other hand, an hour may be accurately represented by the timepiece of the mind by one second. This extraordinary discrepancy between time on the clock and time in the mind is less known than it should be, and deserves fuller investigation.”

Time encompasses everything— we exist in it, move through it, and are shaped by its passing. Yet, despite its omnipresence, we remain fixated on stopping it, slowing it, capturing it, or somehow controlling its fleeting nature. Nowhere is this paradox more deeply felt than among the young, who live under the illusion that they are already running out of time before life has truly begun. This sensation—that life is slipping away even as it unfolds—has become a defining anxiety of our generation, aggravated by a world that never pauses and a culture that demands we always look ahead.

Why do our twenties feel like a deadline rather than a beginning? A time when we should feel most free is instead burdened with the weight of expectation—career, success, social life, relationships, and the vague but urgent pressure to “secure the future.” Has social media exacerbated this longing for time to sit still? Or have we always internalised the White Rabbit in Alice in Wonderland? Social media has not created this fear, but it has certainly amplified it. This endless cycle of scrolling – we are all victims of, as much as we don’t want to hear it – is plaguing our sacred moments of being. And we are letting it happen. The curated snapshots of our peers seemingly excelling in every aspect of life fuels the illusion that time is a race, and you are already falling behind. But have we always been haunted by the ticking clock? Perhaps social media is merely the mirror reflecting our innate fear of time, an outlet for anxieties that have always existed.

We have become obsessed with preserving moments, hoarding memories – in a box with bits and bobs of your life that you can’t bring yourself to open – in an attempt to freeze time. Nostalgia, once a gentle ache, now dominates our lives –one summer song too painful and nostalgic to play, a childhood home we long for but can never fully return to, a past we romanticise because it is already out of reach, and a feared future that feels already lacking. Of what? You don’t know. Everything. The fear of time slipping away drives us to document everything, to grasp at the ephemeral with photographs and videos, as if capturing a moment could make it last.

But in our frantic attempts to hold onto time, are we actually losing it? Are we so preoccupied with archiving our lives that we forget to live them?

Last autumn, the song ‘End of Beginning,’ and especially the phrase “and when I’m back in Chicago I feel it, another version of me I was in it,” was trending on TikTok. It got me reminiscing of the different versions of myself, the versions different people knew me as and perceived me as, and I inevitably fell down the all too familiar rabbit-hole of comparison. I found myself comparing the latest version of myself with childhood, little me, imagining these two selves side by side. In an era where comparison is the oxygen we breathe, how can we escape it? Even when you end the cycle of comparison with other people, the comparison with yourself lies deep. How do you subdue the comparison with the old versions of yourself? How do you stop comparing yourself to what little you had envisioned for you? And the relentless question: if you have lived up to it?

Time moves like water, it rushes like a waterfall indifferent and relentless to what it leaves behind. We watch it ripple away in small, ordinary ways—the memory of your grandfather’s perfume that is slowly fading away as is his seat at the Christmas table. It is now occupied by his little nephew who only knows him through spoken stories. A fleeting sunset we rush to photograph instead of absorbing its iridescence of red. Yet, in doing so, we risk becoming mere spectators in our own existence. We chase time like a balloon that

is lost in the hands of a kid and watch it float above us, out of our reach.

As university comes to an end, and the ‘real world’ is waiting for you, you don’t feel up to the standard. But perhaps the standard is just a point of view. At every family gathering the dreaded question is uttered without fail, it hangs in the air like a hook; “So what’s next? What are your post-grad plans?” You freeze. You wish you had the answer. How can you explain you want to travel the world,

be a filmmaker, be a writer, be an artist all at once, which means you are inevitably stuck to your seventy-year-old uncle? The future looms, heavy and uncertain, while the past tugs at you, unforgiving. We feel suspended, stuck like a rock fixed in place while boats bob forward as the waves thrust them.

To live in time without fear of losing it–that may be the real challenge of our generation. Perhaps the key is to step away from the White Rabbit’s frantic race, to let nostalgia exist without letting it

consume. To accept, as much as we loathe the inescapable truth, that we can’t control time is the first step of many to enjoy the present and welcome what the future has in store for us. If we embrace Woolf’s notion of the ‘time in the mind’, we could be freed from the constraints of time and the pressures it postulates to do everything at once or else.

But perhaps the answer is not in trying to stop time or in chasing after it, but in surrendering to its rhythm.

Timeless or Time Wasted?

By Grace Ross Staff Writer

“At least you have so many good memories with them to be grateful for!” The screaming matches, the quiet manipulation, being convinced that you are the problem before being wrenched free from the brutal mess left behind, with years of trauma and heartbreak to contend with? Or, your close friend of years, that you just ‘drifted’ from, but they still broke your heart in indescribable ways. Is society downplaying our relationship breakdowns as something to be grateful for? And rather than it being helpful, surely this invalidates our pain?

Whilst moments like these are a valuable lesson for us, I despise the idea that you must be grateful for something ending because it is a ‘timeless lesson’ or because of the memories attached. This modernised philosophy, whilst well-meaning, devalues a pain that needs to be felt, and places importance on relationships that are simply just not worth it or so worth it you didn’t want it to end at all.

Some relationships can be so worthwhile, that even past their

ending, reducing the person lost to a memory is invalidating. Whilst it is beyond my control how often thoughts of these lost relationships occur, I can control the significance of these memories to me. This acceptance has been an integral part of my development. However, losing someone so important to your life, someone who has supported you for so long, is so worth your development and their, albeit temporary, place in your life is something you’ll always be grateful for. In fact, the idea of them being reduced to a memory manifests such a pain inside you, you’re unable to see this as a positive. So no, I am not ‘grateful’ for my memories with someone if it means this pain of losing them. Maybe one day, but I fear I haven’t reached that level of maturity yet, so that day is not today.

Yet, some situations are just not worth it. Sometimes, years of good memories just aren’t worth the ending, because, from that moment on, there are not any memories around that person that make you feel ‘good’. If the

relationship isn’t timeless, neither should the memories be. Whilst painful, these memories do in fact hurt less with time, but they will never become something to be grateful for. Almost every one of my relationships that have ended, I am so thankful for that. Because, time really does heal, and you realise what is right for you and what isn’t. And, if those people are so wrong for you, are the ‘timeless memories’ of them worth any importance placed on them? The lessons attached, absolutely, but the memories themselves are no longer significant to who I identify as now.

However, it is not the phrase itself I disagree with completely; it is rather the sentiment behind it. While I fully support trying to create a more positive mindset to combat the ‘bed-rot’ content that is so prevalent these days, the ending of relationships is something you should feel pain about, to grow as a person. And sometimes, it really is too soon or just shouldn’t be said at all! “Yeah, I wish I never met them, but at least I have tons of timeless memories

to look back on and remind me of the worst time of my life!”.

Whilst I appreciate the good intentions of the idea of timeless memories and lessons after the breakdown of a relationship, and

the fact that I am an over-thinking young adult pre-frontal lobe development, sometimes giving someone space to feel their pain without these unnecessary phrases is what is best. Some memories and feelings are just made to be

temporary, not timeless. And if my memory of a person is meant to be a ‘timeless’ learning curve for me, my god, please don’t inform me of this immediately post break up.

Over-tourism is demolishing your Favourite Destinations

By Nia Videnova Staff Writer

Traveling has become an intrinsic part of the way we enjoy our free time. Border relaxations, savings from the Covid pandemic, and mind-blowingly cheap flight apps have converted travelling into everyone’s hobby, dream, and entertainment. Nowadays, it is hard to find someone who doesn’t have the goal of “traveling around the world” on their personal agenda. What is challenging, however, is for us to realise how detrimental our common traveling interest could be. We, as innocent tourists, are responsible for 8% of the global emissions, the rise of prices in normal cities for normal people such as in Paris and Barcelona, and the lack of access to basic resources such as water in places like Kenya. Pleasure and entertainment that have been positively associated with exploration, cultural development, and historical enrichment have transformed themselves into something more threatening and controversial.

This article is certainly not aiming to take away your holiday plan for next summer or claim that I, myself, follow religiously the principles of non-traveling. Exploring the world is, indeed, a beautiful and enriching activity. However, the repercussions of traveling excessively could help us recognise how watching a football match in the stadium in Barcelona rather than from home is a luxury and not a necessity.

Many of us are most likely familiar with the protests in Spain over tourism that took place in popular destinations such as Barcelona, Palma de Mallorca, and the Canary Islands last year. These places, famous for their cultural wealth and environmental lavishness, have sadly lost their authenticity due to the act of touristification – a process under which a place changes to appeal to tourists and cater their needs rather than the needs of its permanent inhabitants. For Spain, this has led to the prioritisation of tourists when it comes to accommodation forcing Spanish people out of their properties, making it more difficult for them to purchase one, or even making them sleep in their cars in some instances. Prices in these regions have skyrocketed to take advantage of tourists, while sacrificing the workers living there. Cuisine has been altered to appeal to the international taste favouring pizza, pasta, and burgers. Overcrowding has made daily moving and transportation way more challenging for local people. Some tourists have displayed loud and disruptive behaviour as well as played a substantial role in the contamination of beaches. Looking at tourism from this perspective is definitely more helpful to understand the frustration these people have been experiencing.

Unfortunately, using the argument that tourism is good for the economy of the country is insufficient

to justify our guilty pleasure. Most of the workers in the tourism and hospitality industry receive minimum wage and their working conditions are not the most favourable. Think about hotels in exotic destinations such as Bali or Cancun! Some of these buildings are constructed in isolated areas that are difficult to reach for working-class people, who have no car and public transportation in those areas is scarce. The excess of luxurious hotels in many holiday islands have contributed to water and electricity shortages for local people taking away their basic rights while prioritising the tourist. This is not sustainable economic growth, nor a fair way to use landscapes.

Another factor we should keep in mind is how the charm of these holiday destinations has been lost. We, as tourists, claim to be deeply intrigued by foreign culture, history, and landscapes, while failing to appreciate it. It feels like if I had been blindly dropped into the high streets of Rome, Nice, Split, Vienna, Berlin, or Barcelona, I would not be able to tell the difference. The distinctly cultural place we wanted to visit ended up being quite similar to the previous one thanks to the constant presence of large chains and multi-national corporations such as Adidas, Zara, and McDonalds. If I wanted a Pandora moment of the Eiffel Tower, would I really need to go to Paris to grab one? Would that be

the main reason for my visit to France? Did I come to France to have McDonalds? Am I going to drop by Zara to have a look at the sale? Am I going to end up buying Lindt from Vienna as a present for my boyfriend as if I could not get it from my local Tesco? I went to Rome, but I can’t speak a word in Italian? And finally, not to forget the duty-free perfumes at the airport on the way back! These franchises and the habits we have adopted have destroyed the real value of the cultural places we visit. Even if we claim to make the most out of sight-seeing, museums, and tasting local cuisine, we tend to sight-see the Americanised culture that has overtaken many touristic areas.

Selfie culture is another sad motivation that has driven many of us into excessive traveling. We have all seen many of our friends posting a selfie in front of the Eiffel tower, on a Venice bridge, next to New York skyscrapers, or with the breath-taking view of Mount Fuji.

Strikingly enough, some people wait in a queue for hours to take the perfect selfie on one of Venice’s most famous bridges. Sacrificing so much of our time abroad suggests that we are more concerned about our image online and proving we’re having fun, rather than enjoying the moment!

Traveling should be a mindful and considerate act of recreation and should not happen at the cost of other’s lives, cultures, and natural habitat. Consider putting in practice some of these suggestions on your next holiday trip:

1. Ask yourself how many times you have travelled this year and if you really need to go abroad on every holiday! Remember, traveling is a luxury and not a necessity!

2. Consider going somewhere closer or to a place that doesn’t involve flying! You can surely relax in many lovely places other than the Maldives.

3. Go to a place that is not so pop-

ular for tourism! There are thousands of beautiful destinations around the world that have simply been underrated.

4. Travel when your desired destination is not too busy!

5. When visiting, be mindful that you are a guest and don’t disrupt the locals!

6. Don’t get swayed away by popular brands when being abroad! You probably didn’t go to Barcelona for new Nikes.

7. No need for selfies of everything and everywhere! Just enjoy the moment!

Excessive tourism proves to have repercussions not only on our bank accounts, but also on the local people living there, the authentic culture in those places, and the environment. This is not to say that we should drastically stop traveling and stay in the same place! Try to follow some of those tips so your next trip is a more conscious and sustainable choice. Aim to conserve the beauty of your favourite destinations!

Culture

The New Archival: Thoughts On Diary-Keeping in the Digital Age

By Ruby Day Senior Culture Editor

Recently, I read an article on Substack about the typography of band names on old concert tickets. The piece mourned this specific art form in the wake of QR codes and nylon wristbands, but what really caught my attention was the name of the newsletter itself: ‘The Casual Archivist’. Using the term ‘archivist’ invokes images of innumerable shelves and dusty books and white plastic gloves, but when I really got to thinking about it, the words ‘archive’ and ‘archivist’ were cropping up again and again in unexpected places. Namely, the bios of various blogs and Instagram accounts I like to keep up with.

They vary in content, based on similarly varying interests. A few favourites include an account dedicated to the daily exploration of a late father’s record collection, an assortment of ‘Personals’ ads from 20th century newspapers, which describes itself sentimentally as “a journey through the search for connection in the pre-digital age”, and a fan page of Carolyn Bessette-Kennedy. Constant streams of high-velocity content are dispersed with little windows into the lives of singles in 70s Chicago, or a Prada collection from 1997, or Nicole Kidman’s unreal Getty Images catalogue. What charms

me is the individuality of these pages, how people are choosing to express their interests in a visually curated way. Presented almost as online galleries and museums, tailored to your liking, this accessible format easily allows for interaction with contemporaries, or the indifferent passerby. As a result, many of these accounts present themselves in this pseudo-professional terminology: archivists of today.

In some ways, these archives represent a yearning for when collections had meaning, especially in today’s transient consumerist culture. The discourse around ‘personal’ archives (diaries, knickknacks, clothes, etc) is a convoluted one, in which guilt over materialism in the age of landfill competes with an intrinsic need to immortalise lived experience. This dichotomy presents us with a future of two outcomes; potentially, future archivists will look back on our time and access personal information about individuals easily, making full use of the way we document our lives online. Whilst the concept of someone combing through my social media is seemingly hellish, it’s nothing, in my sentimental worldview, compared to the other possibility. Because of our reliance on digital media we neglect to leave anything of

ourselves behind, physically. If there comes a day where the world forgets the phone, a significant part of modern human expression, communication, and memory is erased, point-blank. It’s a hypothetical dystopia, I know, but one that nonetheless terrifies me. Whilst this concept of our lives being forgotten behind a screen is disturbing (and albeit farfetched), I admire the internet archivists. They bare the soul of the diary, the purposeless trinket, the act of keeping the receipt, through a medium so fleeting as social media.

I am a proud useless-object owner, diary-keeper, CD enthusiast, and polaroid taker. I believe such things are unequivocal windows to the soul. Physical media is a conduit for the intangible; there is a fulfilment in leaving something behind beyond the obvious academic or career achievements, something personal and durable that reflects human nature. This profound normality is an enduring concept in daily life, one captured by buying that sexy red notebook and writing how you’re feeling in it, for fear of being lost like the art on a concert ticket, remembered only on a niche blog by a practitioner of new archival.

‘In Here, Life Is Beautiful’

By Kiera Garcia Associate Culture Editor

Cabaret at the Kit Kat Club is one of the most critically acclaimed productions worldwide and I was able to see it performed on the West End this January. The production promises to draw you in with colorful numbers and enigmatic characters, and to leave you with a heightened awareness of how quickly one ideology can take over a country.

For those unfamiliar with it, the play is set in Berlin in the 1930s, focusing on ‘The Kit Kat Club’, its host of dancers, enigmatic Emcee, and those who frequent it. The characters include Clifford Bradshaw, an American author, Sally Bowles, a British performer at the club, Fräuline Schneider, the woman who runs their boarding house, Herr Schultz, a boarder who ends up courting her, and Ernst Ludwig, a man Clifford meets on the train to Berlin who smuggles money in for a vague ‘political cause’. Now, if you have any knowledge of Berlin in the 1930s, you’d know that this story is set during the prelude to World War II, specifically the rise of the Nazi party in Germany. Even if you don’t, the play insists that you are aware by the end.

All of this is narrated and observed by the Emcee of the club. I had the privilege of seeing Adam Gillen in the role of Emcee and he truly set the tone of the performance. His interpretation of the Emcee as lively and playful ,with a few screws loose, falls in line with the expectations of the character. However, as the play progresses Gillen steadily adds an aire of mania and hostility to the previously peculiar yet enchanting character. This is reflected most specifically

in the phrase that the Emcee uses to introduce the Cabaret girls and boys every night: ‘We have no troubles here. In here, life is beautiful.’ At the beginning of the performance, this is easy to believe. There are dancers swirling across the stage in colorful outfits, lively music, and the individuality of each performer takes precedence. By the end of the play, the Emcee is not just saying it, but insisting upon it, yelling it at the audience as if to say ‘do not question this’.

The Kit Kat Club itself serves as a thermometer for the outside world, despite its goal of remaining a place where everyone can come and forget their troubles. It is first introduced as a queer-friendly, if not almost exclusively queer, space; a sort of home for those that are ostracised in mainstream society. As the play progresses, the performers lose their uniqueness, each slowly beginning to dress more and more uniform.This identical, almost militaristic portrayal of the performers signifies the extent to which the Nazi party had pervaded all levels of German society. It shows that fascism has slowly crept into the workings of the everyday until somewhere that once was a prominent counterculture becomes as militaristic and ordered as everywhere else.

This is not only seen in the club, but in the everyday lives of the characters. Herr Schultz and Fräuline Schneider’s engagement party is interrupted by Ernst Ludwig’s as he states his disapproval of their union on the basis of Herr Schultz being Jewish. In tandem with this disapproval, he removes his coat and his Nazi armband

is revealed. Throughout the play there have been signs of change but this scene in particular at the engagement party strikes as the true change of the play’s direction from a study of eccentric characters to a clear commentary on the presence of the Nazi party and its ideological domination in Berlin.

This reveal is meant to be especially shocking for Clifford, as he had earned some money working for Ernst Ludwig’s political cause. He had said, upon taking the job of smuggling funds from Paris to Berlin, that he did not care what it was for and simply was doing it to earn extra money for him and Sally. His ignorance and lack of care has led to him smuggling in funds for the Nazi’s, an organisation he strongly detests. As Ernst goes to leave from the party due to his disapproval of Fräuline Schneider marrying a Jewish man, Fräuline Kost, one of the borders, tries to convince him to stay by singing ‘Tomorrow Belongs To Me’. Although this song was created for the musical, it is clearly meant to represent a Nazi propaganda song, as many of the German characters begin to sing it alongside her. It is only Sally, Clifford, Herr Schultz, and Fräuline Schneider who do not take part, looking around the stage at all of their friends and neighbours who are suddenly taking part in such a sinister practice.

In a prior conversation between Sally and Clifford where Clifford is starting to show concern over the political happenings in Berlin, Sally asks him ‘What does politics have to do with us?’. This is a perspective shared by quite a few of the characters who seem to be blissfully and intentionally

ignorant to the effects of the rise of fascism and ignorance in the country. The scene at the engagement party shows that this reality of the rise of the Nazi party is unable to be ignored, whether it is the attitudes towards Herr Schultz by those he once called his neighbours or the fear that becomes palpable within the Kit Kat Club.

As the play ends, there is a sense of despair that envelopes all of those on stage. Sally, a character who has previously been portrayed as flighty, oblivious, and typically a bit drunk suddenly comes crashing down to earth. Clifford, who had previously said they should raise the child she is pregnant with together, tells her that they need to go back to America as it is no longer safe in Berlin. She refuses and ends up having one last manic, chaotic performance at the club before going to the doctor to have

an abortion. She changes from this aloof performer and instead quickly becomes a very real and troubled person.

Every production of Cabaret has its own take on the ending. One of the most famous endings was Alan Cumming’s performance in which the show ends with the Emcee appearing to be in a concentration camp. This production took a very opposite turn with the Emcee, right as Clifford leaves on the train to Paris, appearing on stage with all of the performers. Those who were once in frilly bloomers and personality based costumes end in identical beige suits, marching around the Emcee. He seems to take a sort of enjoyment out of seeing this fate and the curtain drops with a certain horrifying realisation that, like many other characters in the show, he has sold out to the Nazi party and the

descent to fascism is ever quickening.

Cabaret has always been a musical about warnings and cementing the idea that the atrocities committed by the Nazi’s must be discussed and remembered so as not to repeat them. In this day and age, with the rise of far-right extremism across Western Europe and America, we must actively remember these atrocities and the consequences that came with them. To see a billionaire appear to give a Nazi salute upon the election of a far-right leader who instills the belief of out-groups as the cause for the country’s economic failings, is far too explicit to assume that we will not see a return of the oppression that fascism brings. Heed the warning of Cabaret and be sure to always, always pay attention.

Illustration By Lucy Griffiths

How Grief, Love and Magic Manifests: Bridget Jones: Mad About The Boy

By Evelyn Fernandez-Jarvis Deputy Editor-In-Chief

Charismatic, undoubtedly relatable and truly a heartwarming feeling. This is what Bridget has brought to many viewers throughout the years that this franchise has been going.

Valentines this year has brought the gift of the fourth and final film of ‘Bridget Jones: Mad About The Boy’ and whilst I was upset that there would not be any more hilarious moments with Bridget, I did not expect for this film to be as emotional as it was. It is safe to say that if you have not watched it, then please bring your tissues with you!

Bridget Jones is a movie series that started all the way back in 2001, and since then has released a total of 4 films. It is crazy to think that many of us were not even alive at this time, and yet this movie franchise has truly affected many generations. The release of this film had me and many of my friends eager to see how Bridget would finally end her story. What I was not expecting was to be in tears by the end of the film. It took the grief that Bridget was holding with the loss of her husband Mark Darcy and showed all the viewers in my cinema room and those that are yet to see it, how living with a loss is a lot harder than it seems. Advice is swirled at you from so many directions and it is difficult to choose what path to take. In the age of self help books and podcasts I found this to be extremely relatable. What path do we exactly take in this scenario?

One of the main takeaways that I got from the film was the idea that just because a person is not standing in front of you, they are still

around with the memories that they have formed in every single person that they have spoken with, shared love and laughed with. In this phase, we see Bridge move through the world, whilst working through these feelings of loss and this raw view was an extremely relatable display of how grief can manifest in so many different ways. How it is okay to let out the emotions that may build up and admit to missing someone that we no longer have with us.

Watching the film it brought me back to a quote that was given by the iconic Taylor Swift, the idea of catch and release. How we can learn from our past and release things or people that have not treated us well in any shape or form. Or contrastingly, we need to catch and hold on to the people that are closest to us for as long as possible. One moment in the film we saw Bridget release a love interest called Roxter, played by Leo Woodall, when he was not treating her in the way that she deserved. This healthy release of a relationship was a powerful scene that demonstrated how it is okay to release relationships that no longer serve us. On top of this we saw how this loss may actually be a big sign to many to reach out to people that we may have lost along the way. During the film Daniel Clever, who was brought back from the grave, decided to reconnect with his son. This signified that it is never too late to reach out to people in fear of rejection. Relationships are difficult and sometimes we actually have the most complicated relationships with the people we care about the most. This reconnection ignited

a new love, and the idea of fresh starts that can be reignited at any point in someone’s life. However, it goes without saying that this movie truly encapsulates the feeling of a new love and making new bonds, with a side of humor. This film had an amazing ability to have a bright and cheerful feel to it, with the lighthearted humor that was expressed throughout. That sheer ability to laugh with the people surrounding you was really special and allowed the movie to solidify this idea that laughter really is the cure to all remedies.

At the end of the film we saw a scene of all of Bridget’s friends celebrating New Years Eve together. Immediately during this montage the feeling of nostalgia and happiness filled the theatre. In my opinion, this profound effect was because it is in these moments that we look back on many of our closest relationships as ‘one of the good times’. And whilst the people we may have lost might not be in the room with us, it is okay to still go out and have fun. We saw Bridget continue a promise that was made to her late father. That after he passed she would not just survive, but live. And this is something that I believe many of us should remember. To not forget the love that is still around us and that can still be made, and whilst we do, the people that aren’t in the room will be cheering us on. The era of Bridget Jones has come to an end, but will be remembered through the one idea: that the love we have for others can truly be magical.

Happy Valentine’s Day!!

Let’s Talk about Slowdive’s ‘Souvlaki’

By Lucy Griffiths Deputy Illustrator

I first listened to Slowdive when I was 15 years old, after coming across the music video to ‘Shine’ on YouTube. Other than being completely obsessed with the band Ride, I hadn’t previously heard of any other shoegaze bands. I was transfixed by Slowdive’s sound from that moment on, with Rachel Goswell’s ethereal vocals and the mesmerising vastness of everlasting guitar effects; this catapulted me into a sound world that guided me through the turbulence of growing up.

Souvlaki was Slowdive’s second studio album released by Creation Records in 1993. For a bit of context, the front duo Rachel Goswell and Neil Halstead had recently broken up, having been together since the formation of the band, and knowing each other since childhood. The break-up not only inspired the melancholic lyrics found in songs like ‘Dagger’ and ‘40 Days’ but provided a driving force to a new and progressive sound that will forever be timeless. Much of the album’s atmospheric

essence is provided by the help of ambient composer Brian Eno. Eno co-created some of the songs most recognisable in the track ‘sing’ with the water droplet synth sounds and distant and haunting vocals by Goswell.

Souvlaki is not just a break-up album. Though much of the music was impacted by this, it will never be consumed by it; in fact, Rachel and Neil still work together to this day. The making of the album was also turbulent due to the manager of Creation records, Alan McGee, scrapping about 40 songs that had been inspired by David Bowie’s Berlin era, Joy Division and Echo and the Bunnymen. Undoubtedly the record would have been completely different if McGee hadn’t scrapped these songs, but what came instead shaped the distinct sound that has defined Slowdive’s sound and image.

The most compelling track of the album is ‘Souvlaki Space Station’. In my eyes the song is an accumulation of all the others, put into

one, evoking a sense of euphoria every time I listen to it. Neil Hanstead was inspired by Dub and Aphex Twin’s Selected Ambient Works, which is shown in the deep and driving bass and the everlasting delay.

Back when I was 15 Souvlaki provided me with a place to feel all the frustration and sadness that came hand in hand with being a teenager. ‘Alison’ and ‘When the Sun Hits’ will always hold a strong emotional weight for me. Reflecting on moments spent lying on my bed, after school, in a state of stillness whilst these tracks were playing on my record player.

Yes, the album is pretty sad, however it’s an album that makes you feel like you can let it all out. That’s how most music should make you feel. Souvlaki will always leave me in a state of suspension and total immersion, and as I get older, I hope that the album’s meaning will grow in a way that is intertwined in my development.

The Children Yearn for Theatre: Spectacle, Sensation and Provocation in current culture

By Rhian Kille Staff Writer

The 67th Annual Grammy Awards included show stopping performances from artists like Chappell Roan, Sabrina Carpenter, Doechii and Charli XCX that are all considered to have had breakthrough years in 2024-5. These artists have found mainstream success after at least a decade of hard work. But in many people’s eyes they have abruptly burst onto the scene, complete

with a curated and distinct brand for music consumers to latch onto. This is a phenomenon that might seem to be the result of the increasing role that internet virality and eye-catching aesthetic now play in the music industry. But their performances speak to something much more timeless: theatrical spectacle.

In their one-off performances,

Chappell Roan strides a 10 foot tall pink pony surrounded by farmer-clowns, Sabrina Carpenter has several costumes changes and a faux-tap number, Charli XCX is accompanied by a cast of raucous party-goers on stage and Doechii’s celebratory performance is inspired by Broadway itself. Other than reflecting just how much audiences expect from artists financially and creatively in 2025

retain their attention, to me this also demonstrates a true revival of sensation. In a decade where young people are giving up night life but popular concerts sell out in minutes– the children yearn for the theatre, they just don’t know it.

Theatre is in many ways the antidote to the fast-moving, blood thirsty cycle of micro-trends that has young people in a vice grip. As a medium it is much more resistant to the urge to be contemporary and current, instead it has a tendency to thrive on timeless themes. The most successful musicals enjoy runs that last for decades - productions more typically repeat, reiterate and are revived rather than being released and quickly forgotten. This is largely thanks to the very nature of live theatre, like a concert, part of the game is being able to replicate something over and over for a different audience, which requires that it must endure and retain people’s interest over time. Musicals also undoubtedly take so long to create that they don’t attract people looking for quick success, not to mention the high financial investment required. Not to overgeneralise, musicals definitely aren’t exempt from cash grabs and commercialisation. It is definitely common at the moment for big production companies to use existing intellectual property, like films or the work of famous musicians as the basis for their productions. This attracts more theatre goers and a wider audience with less work than a wholly original project, which would be the equivalent of trendy ‘fast-theatre’. Largely, these musicals do not tend to last or accumulate cult followings in the same way – the impact of the spectacle and sensation is often dulled by the stale material, if it is not creatively and

specifically adapted with passion.

I have recently been lucky enough to attend performances of two different musicals that currently have a home on the West End, ‘Hadestown’ and ‘Moulin Rouge’. ‘Hadestown’ is a wholly unique Jazz-Age inspired tragic romance based on the ancient Greek myths of Orpheus and Eurydice and Hades and Persephone. The tickets were super affordable making it very student friendly, and I have not been able to stop thinking about the poignant messages of love, hope and the importance of telling the right stories time and time again. ‘Moulin Rouge’ on other hand, takes the ideas of spectacle and sensation extremely literally, and pulls out all the stops. With all the extravagance of the overstimulating 2001 Baz Luhrmann film but live. The songs have been updated in this 2019 revival and I’m honestly not sure if I’ve ever experienced a purer thrill than a Bad Romance-Seven Nation Army-Toxic medley with full burlesque ensemble dance number. Maybe that’s just the ‘Glee’ fan in me, but it doesn’t disappoint. The expertise and dedication of the cast and crew in creating not only a performance but a spectacle, is unquestionable on the West End. The pure theatricality of these performances really stayed with me as something that people are clearly craving at the moment, with clips of concerts and festivals constantly going viral what feels like every week, whether its Sabrina Carpenter’s Juno positions or Chappell Roan latest concert look. But how many people sharing and liking these videos are willing to endure live venues, gathering uncomfortably all together and spending money on something so transient? Especially on something they cannot record and share. These

‘slower’ mediums that repeat themselves in all their specificity really last in a way that is becoming rare. Both ‘Moulin Rouge’ and ‘Hadestown’ are beautiful stories of love and hope that are bound to always resonate with audiences. The sensation of a tragic love ballad or the energetic spectacle of an expertly choreographed ensemble are always a thrill. It is a human feeling, something you feel in your body. The performances provide a potent mixture of artistic spectacle, sentimentality and sensation that coalesces into theatricality in its purest form. It is this, when executed well, that endures with such longevity, despite popular complaints that it is over-the-top and just too much.

As pop culture starts to welcome bold and flashy spectacle back into the spotlight, cinema is changing too. People demand more and more reason to leave their houses to see a film. For many, provocative and shocking moments that create buzz on social media is a large, if not completely necessary, motivating factor. I’m not sure if you have noticed, but recently movies are getting notably freakier to get attention. Notable recent examples include ‘Babygirl’ (2025), ‘Nosferatu’ (2024), ‘Challengers’ (2024) and ‘Saltburn’ (2023). Or even the success ‘Wicked’ (2024), which had people either coming out as musical theatre fans, or eating their words. Shocking scenes like the Saltburn bath water create cultural moments. Internet content in general is rewarded for being extreme and provocative, and now that the internet is starting to influence cinema the same is starting to happen. Films seem to be looking to elicit visceral feelings like shock, scandal, arousal and disgust. At the moment, I think that this is having a positive

nfluence on cinema, as it rewards more creative, transgressive and strange cinema as opposed to endless reboot franchise slop (as enjoyable as it sometimes can be). When art is challenging and generating discussion is when it is at its best. But this is a careful line to walk - provocation for the sake of provocation is a slippery slope towards extremism. As it stands, cinema is trending towards spectacle and sensation in the fight for its life to maintain its century old secure footing in the culture.

The sweethearts of the 2025 Grammys appear to have risen to popularity as just another product of some kind of Gen Z-internet hysteria or whim. It is easy to perceive their impact as all super-

ficial surface and no substance. The truth is precisely the opposite. These women and their teams understand the art of spectacle and sensation, they understand how to fill a room with dynamic artistic energy in such a tangible way that people can feel it on the other side of their screens. Audiences and viewers are called equally for them to dance, rather than continue to let themselves stagnate in stillness. It’s no coincidence that these artists make music made to be played in night clubs and in concerts.

Especially for students here at Royal Holloway, West End tickets are the best kept secret for a great night out. Cheap tickets to musicals and an easy train into London is a no brainer. Disappointed you

didn’t snag tickets to Chappell Roan’s London tour dates in September after queuing for ages and coordinating all your friends? Why not see ‘Moulin Rouge’ for all the same fun of burlesque leotards and a performance of Lady Gaga’s Bad Romance, but with much less stress? Sure, you won’t have concert videos to post and your friends might not be jealous, but you might surprise yourself at what a spectacular time you have. And if you won’t take my word for it, take your favourite artists, because there’s no doubt where they are pulling their inspiration from.

Celebrating Out of the Blue: Electric Light Orchestra’s Timeless Masterpiece

By Grace Leech Staff Writer

Electric Light Orchestra (ELO) are a rock band formed in 1970s Birmingham by Jeff Lynne and Roy Wood, both multi-instrumentalists, and drummer Bev Bevan. Their style is a fusion between rock and classical with futuristic stylings, such as vocoding and synthesisers, and a generally retro-futuristic aesthetic. They produced 15 studio albums, most notably their self-titled debut album (1971); A New World Record (1976); Discovery (1979); Time (1981); and Out of the Blue (1977), which is today’s topic of discussion.

Out of the Blue is the band’s 10th

studio album, a double LP composed of 17 un-skippable masterpieces. Each track is intricately carved out of lush instrumentals, soaring synthesisers, playful, catchy melodies and brilliant lyrics; due to the number of tracks I only have room for a handful.

The album is primarily known for the hit Mr. Blue Sky, which has been included in a countless number of films and TV shows, so widely known it is almost guaranteed that everyone in your life knows the lyrics. On paper, it is an upbeat song about bright weather, simple as that. However, it is so much more than that, with

its lush orchestral backing, endlessly catchy lyrics, smooth riffs, and iconic crescendo towards the end. Each little detail is crafted with such care that the whole song becomes electric. One detail I find particularly enjoyable is the vocoded voice at the end saying, “Please turn me over” a result of the song being the last one on side A of the second LP. Also, the orchestral melody at the end echoing back to a vocoded melody in the opening of the track Big Wheels.

The track Starlight contains a similar sweeping orchestral backbone, however, feels much more intimate and dream-like than Mr.

Blue Sky, mostly due to its slower pace and less bombastic drums. The futuristic synthesisers blend with the instrumentals to create an ethereal sound which, in turn, works wonderfully with both the futuristic aesthetic of the album as a whole, and the theme of ‘Starlight’ throughout the song. Indeed, the lyrics involving stars depict them as an omniscient, generous force that connects the speaker and his long-distance lover. Whilst Starlight is a slightly mournful song; it is not as explicitly dour as Believe Me Now.

Believe Me Now is a slow, melancholic track which foregrounds the grand lamenting orchestra. It is a unique track, in the sense that the only lyrics are ‘Can you hear me’ at the start of the track,

and some vocoded variations of the same phrase towards the end. The track stands as a testament to ELO’s mastery of not only rock but classical too. The Whale is similar due to its lack of lyrics and foregrounding of the band’s orchestral skills; however, is more explicitly futuristic in its style, hopeful in its tone, and upbeat in its pace. As such, both songs are distinct enough from one another to exhibit ELO’s musical prowess.

Completely contrary to Believe Me Now’s dour tone is Jungle, a song so catchy and so goofy it might just be happiness distilled into a song. The lyrics of the song are so bizarre: they involve the speaker dancing with animals and a talking lion, with a dance break in the middle. Despite this strangeness,

the song is phenomenal and so immensely catchy, it is impossible to stop thinking about for weeks on end. It is such an upbeat and joyous song with a phenomenal soundscape of jungle sounds, an orchestral backing, and rock stylings that comes together to build a brilliant track.

Out of the Blue is where ELO are at their most artistically diverse and masterful, which is high praise for the album, since ELO only ever produces phenomenal music. Each song exhibits the band’s skill, and is so unique that nothing else like it can be heard today. The whole album is a timeless masterpiece, a testament to ELO’s vital place in music history and irreplaceable style.

Resurgence of the Vampire.

By Jessica L. Smith Staff Writer

With the recent release of Robert Egger’s ‘Nosferatu’, the timeless figure of the vampire has once again come to prominence. These blood-sucking, immortal, nocturnal figures have captured and haunted imaginations for centuries. Take Count Dracula in Bram Stoker’s late nineteenth-century epistolary novel Dracula, or the mysterious, camp vampires that plague a small Californian town in the eighties cult classic ‘The Lost Boys’, to the compelling Cullen family in the infamous ‘Twilight’ series. We are no stranger to vampires, who have been meticulously explored throughout various forms of media and literature.

Yet, if the vampire is already so well-explored, why are we still gripped by them?

Vampire narratives can gather huge cult followings. Devoted and passionate fans ensure that the legacies of vampire narratives live on and are enjoyed throughout the generations. I have already named ‘The Lost Boys’ as a cult classic due to its’ undeniable lasting legacy on film audiences since its release. Quintessentially the eighties, ‘The Lost Boys’ both garners nostalgia for a bygone era and is celebrated for its queer undertones, such as through its’ punk and over-the-top costumes. The young gang of vampires, the

‘outsiders’ of the film, subvert stereotypical expectations of the vampire as an old and grotesque figure, and celebrate the beauty of being ‘different’; it’s no surprise that ‘The Lost Boys’ cult following remains strong today.

More recent takes on the vampire have also accumulated somewhat of a cult following. One example is Ana Lily Amirpour’s 2014 noir film ‘A Girl Walks Home Alone at Night’, which explores a young, female, Iranian vampire and provides an ultimately new take on the vampire figure. Amirpour’s protagonist, Shirin, is a punk vampire, who grapples with her ‘outsider’ status by prowling

the streets at midnight to hunt down evil men. Whilst the title of the film evokes a certain anxiety, conjuring images of a vulnerable woman, Amirpour subverts these expectations by ensuring Shirin is a powerful figure as a female vampire, leading to a celebration of female autonomy. ‘A Girl Walks Home Alone at Night’ received rave reviews and has gathered an, albeit small, cult following, particularly due to its subversion of stereotypes towards the veiled Muslim woman.

With vampires comes the wider notion of the Gothic genre, which continues to grip us today. The Gothic genre itself is timeless, channelling our fears and anxieties, and particularly aligning

with the Gothic literary traditions that have intrigued and captivated readers again and again. Take Shirley Jackson’s Gothic novel The Haunting of Hill House adapted recently into a hit TV series by Mike Flanagan, which blurs the lines between the supernatural and the psychological to draw upon the Gothic sense of fear from within. Today, we incorporate the Gothic genre into much of our media and literature. We are not afraid to indulge repeatedly into creepy gothic figures like the vampire, ghost, or zombie, such as in the recent HBO TV series ‘The Last of Us’, based on the video game of the same name.

With the twenty-first century creating a lasting impression upon

the Gothic, as well as the cult followings that surround the genre, it is no wonder that the vampire continues to surge to popularity. Egger’s ‘Nosferatu’ is simply one case of this resurgence occurring. A haunting and provocative Gothic story of obsession, released over a hundred years since the nineteen-twenties version, ‘Nosferatu’ resurrects the legend of the vampire to once again capture our imagination in an innovative way. With fluid camerawork, chiaroscuro lighting, topics concerning sexuality and unalignment with society, Egger’s film undeniably adds to the timeless image of the vampire. Now, we can be on lookout for the next vampire narrative that enthrals us once again.

Meditations on Vogue World: London 2023

By Elyas Yusuf Staff Writer

It is a bleak September morning, and my room is flooded with a cold, bright light of 9am, along with a ping of my Outlook messenger app next to me.

Before understanding my place in the world, I had already unlocked my phone and was reading an email with sleepy eyes. My university had put me forward to be alongside invitees for Vogue’s ‘Vogue World: London, 2023’ event, taking place in eight hours ‘between 5pm and 6pm... Last entry is strictly 6.30pm.’ I paint this is a fancy; I had shadowed production and admin preparation for the event sometime prior, however, it had not been clear whether I could expect a ticket for myself upon the actual day.

My morning routine is to count the hours I slept. This morning, I counted back from nine, and this was quickly overshadowed by the time ticking by in which I had to plan my journey to the event, then realise I did not have a suit, let alone know the dress-code. I have a carelessness for numbers and keeping time, however, this time, I was proactive to contact a stranger I had found on TikTok who seemed to have bought her own ticket. I sent her a DM, and she told me the dress code which I now fail to recall, but think ‘Open Night’, cocktail dresses, suits, and the like) which affirmed my need for a suit. It was time to stun the masses in a borrowed, ill-fitting suit from my friend.

I had thought of contacting fellow attendees Stormzy or James McAvoy to find out what they were planning on wearing for reference, but was unsuccessful in reaching them, so I opted for a trip to Primark for nice shoes. I could not be so sure that Stormzy’s stylist would be as mundane and circumspect as I was, so in an attempt at creativity, I called on my housemate to imprint red lipstick stains on the collar of my shirt, befitting of an event that would have bouquets of equally red roses in the name of decor. Stuck in my juvenile mindset of an early-year University student, I am embarrassed to admit the thought of a pre-drink before attending, or whether alcohol would be provided, did cross my mind before leav-

ing the house. I thought it sensible to assume that this event would not turn out to be like the house parties I’m used to going to. After arriving at the Theatre Royal Drury Lane, my collar looking like I had been attacked by a lipstick-wearing mob, I collected my ticket then walked the red carpet (or rather, given my status, walked across the carpet that was red.) I was met with dozens and dozens of fresh, extra-large roses, exaggerated in abundance, and littered across every banister, every pillar, and every staircase. I’m sure I heard the clink of a glass from somewhere, and given my nerves, I hunted this sound like a wolf upon trail and was led to a gallery room serving constant circuits of fine champagne.

As always, I’m careless with numbers so I choose here to skip past the exact number of glasses I had

handed to me, and swiftly move along to illuminate my adventures of dawdling upon balconies, gazing through floor to ceiling windows, chewing on devilled eggs, and chatting with well-dressed men and women, from internet influencers to business creatives. I will be completely transparent, some of them were painfully snobbish. I retired to my seat in the theatre, feeling warm and inspired, there were TVs broadcasting A-list celebrities walking the red carpet and having photographs taken. A projection of the Big Ben clock face announced the commencement of the show, and Kate Moss graced the stage wearing a silvery, custom John Galliano lamé dress before Stormzy, dressed better than myself, performed ‘Crown’ which, quite frankly, was one of my favorite performances of the night.

After enchantment after enchantment, the show drew to a ‘Fin’ after being strapped to a seat and fed the magic of supermodels, British Royalty, singers, and actors who might never recognise me, I might have left feeling bewildered, dazzled, maybe humbled, envious, small, in awe. However, at least this time, I felt empowered and inspired from this celebration of British fashion, art, and opulence. After taking my leave, convincing a staff member to let me take back some Vogue roses to give to my friends back at home, my time here had come to an end. Truly, I feel that a celebration so precisely and immaculately orchestrated as this will have left a mark on the morale of the city as a whole –rendering it a timeless affirmation and experience.

Photo Credit: Elyas Yusuf

A Look Back on Pop Culture: What Have I Missed?

Since becoming The Orbital’s culture editors, we have wanted to make a section that reviews and recommends three main staples of popular culture: a book, an album, and a film. Ideally, this would have been for new releases, keeping up with the most basic of cultural developments. However, what we both rapidly realised after scanning their shelves and music collections, is that we hardly ever engage with music, books, or films from after the millennium. Then the Timeless Issue came around, and inspiration struck. What if we put together a book, an album, and a film in need of more recognition here and now? Which led us to this, a short look back on the pop culture you might have missed! - Ruby Day and Kiera Garcia

Ruby’s Recs:

In The City – The Jam (1977)

“But you’d better listen man, because the kids know where it’s at.”

The Jam are hardly an underrated band. As major influencers of mod revival, punk, and British ‘jangly guitar’, The Jam’s music, fashion, and politics were giants in the late 70s and early 80s. In The City was their first studio album, and mirrors the society that produced it. Union strikes and rising unemployment had intensified the music scene, enabling bands like the Sex Pistols, with their ‘safety-pins and hepatitis’ brand of anarchy, to become the face of the youth by 1979. Whilst The Jam mirrored these sentiments of anti-establishment revolution, they approached it with a uniquely suburban frustration that lends In The City a relatability that hardcore punk often misses. This album encapsulates what it is to dream of urban utopias in which “young ideas” and free thinking aren’t limited by the mind-numbing constraints of suburbia and Neighbourhood Watch. As a result, this album is a lesson in the diversity of punk as a genre, in which adolescent dissatisfaction can manifest itself either as despairing nihilism, or semi-naïve optimism. Paul Weller, The Jam’s frontman until their split in 1982, has since remembered the sheer possibility that London represented at the time, as a land of metropolitan promise. Hundreds of young angry people were inspired into affecting change through music and art; a cultural movement that holds increasing relevance in today’s world, and is captured perfectly by In The City.

Alias

Grace – Margaret Atwood (1996)

“A woman like me is always a temptation, if possible to arrange it unobserved: as whatever we may say about it later, we will not be believed.”

Margaret Atwood is also a name that needs no mention. However, Atwood’s 1996 novel Alias Grace is, to my mind, criminally unappreciated. Whilst The Handmaid’s Tale is deservedly praised as a hallmark of feminist literature for reevaluating real-world oppressions in a speculative setting, Alias Grace uses a nearly 200-year-old murder case to the same end, with similarly haunting results. Alias Grace follows the story of Grace Marks, an Irish-Canadian maid who was accused of murdering her employer, Thomas Kinnear, and his housekeeper/lover, Nancy Montgomery, in 1843. In true Atwood fashion, the story is non-linear, skipping from Grace’s youth, her time in Kinnear’s service, and her various incarcerations as a convicted ‘murderess’ with seemingly no cohesion. What makes Alias Grace so disturbing is the grim powerlessness that follows Grace continuously; there is never a point in which she has autonomy over her situation, and never a point where the reader is explicitly certain of her innocence. The story is not about the murder at all, at least not in a detective fiction sense, but impressively manipulates every fact of the case to create an utterly immersive, utterly unsettling world that lingers long after you’ve left the last page. If The Handmaid’s Tale left you craving for more like it, Alias Grace is a chillingly refreshing alternative.

Local Hero: Bill Forsyth (1983)

“I thought all this money would make me feel different.”

Local Hero is a film that, on a personal level, means the world to me. It was shown to me by my dad at an impressionable age, with the declaration that it was his ‘favourite film of all time’ as an imposing precursor to my viewing. Whether I was swayed by this or not, Local Hero also became one of my favourites of all time within 15 minutes. The plot follows negotiations and interactions between a Texan oil and gas company employee, Mac, and the locals of a coastal Scottish village that the company plans to replace with an oil refinery. It’s a simple concept, and a simple film in many respects. Minimalistic cinematographic choices, understated comedy, and subtle commentary on the pleasures of life; Local Hero is a detox for the soul. It bears watching

time and time again, the jokes get funnier, the characters become more real, your heart aches harder at the visual of a red phone box on a remote harbour. What it lacks in fast pacing, it more than makes up for in humanity and empathy. A contemporary review from 1983 asserts that it ‘offers more hope than any other film in the last 40 years.

Kiera’s Recs:

Back

to Black (Deluxe Album): Amy Winehouse (2006)

Now, Amy Winehouse’s album Back to Black is by no means old nor does it lack recognition, however it always deserves revisiting when discussing the timelessness of art. Winehouse’s music always held an element of inspiration from old jazz and blues music, but in this album, specifically songs such as ‘Me & Mr Jones’ and ‘Valerie’, that influence bleeds through in the instrumentals. ‘Valerie’ live from BBC Radio 1 will always be my favourite from the album, with the very simple guitar in the background allowing her vocals to take centre stage. It has been almost 20 years since the release of the album and yet many of the tracks are still some of the most recognisable and well-loved songs in England. Her incredibly honest lyrics, often pointed towards a lover or her own actions in a relationship, speak to the inherent imperfection of being human. ‘You Know I’m No Good’ details her infidelity in a relationship, acknowledging that she is the one messing it up but also points out that the one she is being unfaithful to knows and yet stays. The album continues to translate across generations with Winehouse’s honesty and lack of want to portray herself as a perfect person. All this over instrumentals that could be from anywhere in the last century add an element of timelessness and soul that only Winehouse really can.

Beloved: Toni Morrison (1987)

Beloved by Toni Morrison is a novel I read a few years ago but has truly stuck with me since. It details the lives and struggles of an African American family across generations, with present day being set around the post-Civil War period in Cincinatti, Ohio. Sethe and her daughter Denver are met with a young woman who calls herself Beloved in their front yard. They believe that she is the physical reincarnation of Sethe’s oldest daughter who was killed as an infant with a handsaw, as Beloved has a large scar across her neck and speaks with a raspy, gravelly voice. The magical realism that Morrison weaves throughout this novel asks the reader to suspend belief in what is possible and instead get lost in a new age urban legend. Beloved’s presence isn’t meant to comfort the family, instead it reads as a cautionary tale about how when you feed trauma and give it power instead of confronting it, it will destroy the comforts you believe you had. This novel truly changed the way I think about storytelling and the structuring of a book, and Morrison leaves you with a sense of having experienced the haunting that Beloved delivers. Morrison speaks truth to the longevity of generational trauma and in turn creates a story that everyone in every time can learn from.

Moonstruck: Norman Jewison (1987)

Moonstruck is one of those movies that feels as if it has transported you into a dream. Whether it is the story itself or the unique 80’s camera quality that softens everything around it, it is a film that I might not list as one of my favourites initially, but when reminded of it I cannot help but feel relaxed. The characters in it feel like everyone’s weird family or nosy neighbours, with my favourite being the grandfather who has six dogs, and it seems as though the only thing he does is walk them, feed them from the table, or curse everyone in Italian. It translates across generations with the simple message of people being unable to help who they fall in love with. Whether it is Loretta, played by Cher, falling in love with her fiancé’s brother, played by Nicholas Cage, or her mother being unable to help loving her father despite his affair, it addresses love as an unstoppable and terrible thing that demands to be felt. The nostalgic and dreamy landscape of 80’s New York City only adds to the beauty with the little bodegas and Grand Ticino, the restaurant the Castorini family frequents, leaving you wishing you could go back to that era of timeless and simple living.

Lifestyle

Growing Up and Speaking Up

By Isobel Carnochan Associate Lifestyle Editor

A few days ago, I turned twenty. I’m a firm believer in the fact that getting older is a blessing, but by hell it’s scary. At eighteen and nineteen - still, by definition at least, a ‘teenager’ - I could repress the anxiety of being an adult with a little more ease than I can now. Of course, turning twenty didn’t spark an overnight change in who I am or what my life consists of, but it did spark a lot of reflection on how I’ve changed as a person over the past five years.

I’m not sure many people look back on their teenage self with pride and satisfaction, but I do. Sure, I made mistakes, but I was pretty happy with who I was. I was endlessly ambitious, able to create fun out of even the most mundane tasks, and I stood up for myself with a ferocity that never failed to surprise people. Nowadays, though, I’m beginning to find it harder and harder to advocate for myself with as much effectiveness as I did when I was younger, and I believe this to be the case for many other young adults too. Living on your own, being solely responsible for your own health and wellbeing, cast into the adult world with a finality you don’t quite feel prepared for, these are inherently scary times for us. Given that speaking up for yourself is inherently a bit uncomfortable already, there’s no wonder why it can feel so difficult at this age. The anxious young adult is a tale as old as time, but I’m not satisfied with being just that. I want to advocate for myself with the same unashamed confidence and effective-

ness I did at 17, and I’ve done the research to figure out how.

First and foremost, I think the first step for standing up for yourself is simultaneously pretty obvious and pretty easy to forget: figuring out what you want. You can’t make your voice heard until you actually know what your voice is. With the entire world at your feet and endless opportunities in front of you, it’s undeniably hard to narrow this down. But no one is asking for a grand life goal and a twenty-year plan just yet, all you need to do is figure out what you want in each situation as it presents itself. For example, imagine your housemates have proposed getting takeaway for dinner. All of them want to order Italian, but you’re in the mood for a simple kebab shop veggie burger. Knowing what it is that you actually want in that situation is the first step in making your voice heard. But when you’re on your own, and it feels like the whole world is opposing you (or even just your whole house), it’s not enough to just choose a goal and voice it aloud. Unfortunately, the world does not work like that. To effectively advocate for the changes and events you want to happen, you need to actually convince others as well.

Obviously, this can be tricky. But psychological research done into a phenomenon called ‘minority influence’ can help us, as it found three specific things you can do to increase your chances of convincing others and getting the end goal you’re hoping for. Naturally,

this research was regarding small political groups who wanted to implement changes that went against social norms –something like environmental activists who wanted to have plastic straws replaced by paper ones. But I can’t see any reason why this research can’t be applied on a smaller scale, to help us young adults advocate for ourselves and the things we want. Subsequently, the three things you must maintain whilst advocating for yourself are commitment, consistency, flexibility.

Commitment to the goal you want to achieve is easier to understand in terms of large political protests, but surely applicable to everyday living too. If we return to the hypothetical situation at hand, in which your housemates want to order Italian whilst you’re in favour of the local kebab shop, you need to show them just how committed you are to the cause. Perhaps, you would offer to cover the delivery fee yourself, or pay for some chips for everyone to share. If people can see that the cause is something you believe to be worth committing to, they may find themselves considering it a little more seriously.

Then we have consistency, which has two facets to it. The first is consistency of argument, and the second is consistency between arguers. Say that your commitment to the local kebab shop manages to sway one of your housemates onto your side, the two of you then need to be making arguments that are consistent with

what one another has said. If one of you argues that the kebab shop food isn’t brilliant but is cheaper, and the other argues that your kebab shop serves the best food in the country… Well, you won’t be convincing anyone. You can’t convince people unless they know what they’re being convinced of. Equally, that’s why consistency of the argument itself is so important: if one second you’re agreeing to just get Italian and the next you’re bringing up the kebab shop again, no one is likely to be compelled by your argument.

And, finally, flexibility. I know it sounds counterintuitive to be both consistent and flexible, but I suppose it’s the careful balancing of both that really makes or breaks an argument. If you just chant ‘kebab! kebab! kebab!’ at your house

over and over again, they’ll probably just write you off as stubborn and difficult. If, however, you are willing to show some flexibility and concede to a different kebab shop, but a kebab shop nonetheless – you may just about wear them down and get your veggie burger after all.

Eventually, if you implement these into your arguments, people will begin to see your side of the situation. As the number of people in agreement with you increases, eventually you will find yourself as no longer a minority voice but a champion of the majority. Your voice will be heard, and you will have not only advocated for yourself and the things you believe in but you will have done so effectively.

Standing up for yourself is scary, perhaps even more so as a young adult than ever before. Personally, I definitely felt more confident doing so as a teenager, knowing that once the situation was over I would be going home to parents who could help. Now that an empty room and a facetime call is all that awaits me at the end of most days, standing up for myself doesn’t come so easily. But it’s important that we as young adults continue to do so, despite how uncomfortable it can feel. Making our voices heard, whether from dinner plans to large scale political revolutions, is key to getting the most out of life we possibly can. It may not make our first steps into adulthood any less scary, but it’ll make them worth it.

The Beauty of Becoming

By Ruby Caballero-Roff Senior Agony Aunt

For most of us, throughout our lives we have always been given the advice of what to invest in. Not necessarily the stock markets, but those long-lasting boots, the thick winter coat, a one-of-a-kind handbag, homeware, and a whole array of other expensive essentials. The notion tends to be that if you manage to save up and splash out a bit more on the item with the expensive version, you’re making a better decision than opting for the cheaper alternative and having to purchase multiple. But why does this notion only seem to apply to inanimate objects or mere materials?

You, are you. Despite thinking you have many different versions of yourself they all stem from the same being, you. There is no option to get the cheaper alternative and replace it constantly, you’re consistent and deserve the maintenance that goes with it.

Forget about investing in timeless pieces whether that is jewellery, handbags, shoes, cars, absolutely anything and instead redirect that attitude to the perception of yourself. The process, planning, and preparation all play a vital role in the life you lead; it is ok to sit back and enjoy the process of becoming before you celebrate who you have become.

All too often, and far too easily people are swept away in the mindset of working towards something, that they have not yet met their goals, or they are still planning the blueprint. It is a proud feature to be consistently driven and motivated until you have reached the desired goal, but you do not start living after crossing the finish line. Everything you are doing now and up to the point of achievement is meaningful and should be appreciated in the present and all that needs to be done

is take a step back and enjoy the process of becoming. A marathon runner is not praised for their ability to run, they are praised for their determination, perseverance, and self-discipline that they have executed consistently for months prior to the marathon and are then rewarded with the achievement of running the marathon. There is no doubt that hard-working individuals will reach their goals with ease, but they should not have to be accomplished to raise a toast to their past-self for their hard work, so appreciate it now. Enjoy the process of becoming the version of yourself you have always dreamed of, enjoy how hard you are working now, and if you are not working towards anything at the moment then enjoy being content with what you have and what you will become all while you are in the process of becoming.

The Pursuit of a Timeless Wardrobe

By Ruby Caballero-Roff Senior Agony Aunt

The fashion industry is fast growing and ever changing, which means that the expenses soon stack up when you’re trying to fit in with the latest trends. The capsule wardrobe is the ideal solution to the whirlwind of changing trends, giving you the ability to create more outfits with less pieces.

The first step is to take a look at what is already hidden in your wardrobe. Everyone will start with different basic items depending on what you wear most often, and you absolutely do not need to throw everything out and start from scratch! Organise your clothing to see what you are missing and identify whether your style includes more casual wear pieces or bold, dressy garments. Start to think about what colours you wear the most: are you into bright, vibrant shades? Or a more subtle neutral tone? If you’re struggling to decide then use the basic base colours of either white, black, navy, or brown. It is also helpful to understand what skin tone you have, either warm or cool, as that will help unlock your correct colour palette for flattering clothing. Once you have decided on the base colour and identified what clothing items you are missing you can purchase

those staple pieces. For example, if you have a distinct wardrobe full of bright, bold garments but noticeably lack T-shirts, then it is a great idea to purchase some in those base colours. The basic clothing can then be paired with your eccentric items to dress the outfit down, enabling you to get the most wear out of your clothes. It may also be helpful to discover the best colour of accessories to accentuate your features and your outfit! For example, cool skin tones tend to go well with silver jewellery whereas warmer skin tones are best suited to gold. This is definitely worth considering in order to help kick your outfit up a notch.

Curating the capsule wardrobe to fit in with your personal style is essential for expressing your individuality so do not feel as if you have to stray from what you love to wear. The idea of the capsule wardrobe is to give you a variety of interchangeable items that you need to amplify your current style and give you the chance to wear your favourite pieces timelessly. This concept fits with each individual’s own sense of fashion, for example, if you are someone who naturally acquires more clothing that goes with the maximalist style but find yourself lacking

everyday street-wear then the capsule wardrobe will enable you to dress down your noisy pieces to give them a quieter, more casual tone. This means that your favourite ‘special occasion outfits’ no longer need to be saved for a special occasion. Even the Princess of Wales has been famously praised for rewearing some of her most elegant outfits to royal events so, if a royal can do it then so can you!

The timeless wardrobe has many other benefits, for example, sustainability. It encourages the act of re-wearing outfits and pieces instead of buying into fast fashion and placing large online orders, reaffirming the notion that a wellstocked wardrobe does not mean having a surplus of clothing. Not only will you have a cleaner conscience but a happier wallet too! Knowing you have ample clothing at home will undoubtedly have you reassuring yourself that no, you do not in fact need those ridiculously expensive shoes you have just seen in the shop window on your way home from work –even if it is payday.

Image: Piotr Szulawski via Unsplash

Meet my long-distance relationship, New Zealand.

By Habiba Khalil Staff Writer

Where to begin? We met when I was eleven and instantly clicked. You may credit that to the innocence of a year seven friendship, but we stood against all trials and tribulations throughout the years.

We survived the mean girls and apocalyptic GCSE maths, celebrated 11 to 19 together, and witnessed each other’s experimental phases (glad those are over). For seven years it felt like nothing was going to change. Until one day, she packed her bags and moved to New Zealand.

Okay, I lie. It was not that dramatic. I had known for some time that it was going to happen. It was difficult to process at first because I had moved to university a few months prior and I was overwhelmed with all of that. And before I knew it, she was already there.

Communication was not a problem. Yes, we were those friends who would spam vlog each other on snapchat: ranging from what we cooked for lunch, Asos hauls and complex life changing advice.

That was until life got too busy and the videos would pile up. There was a severe backlog and it only got worse and worse as the days went along. I personally couldn’t stop. The withdrawals were too much.

We decided enough was enough on our girls trip to Prague. The friendship needed saving and with all the help of her mum, we came up with a brilliant plan. We decided to move our nine

year tradition of vlogging to... Instagram! If you were expecting me to pack my stuff up and move to New Zealand immediately, who’s being dramatic now? No, but seriously, if I could, I would.

The new method is essentially focused on gratitude. Any long-distance relationship cannot function on heaps of information every single day. We unfortunately had to limit our yap sessions to key things happening in the day and Sunday rundowns of the week. She may be on the other side of the world, but I know everything (in a noncreepy way of course).

Celebrating our twenties in separate countries made me realise how important maintaining friendships truly are. For us, the three crucial aspects of a friendship are: the importance of being heard, understanding and reciprocation. Of course, there are many more, but in our humble opinion and experience, without these three, a friendship does not last.

There is an unspoken expectation within our friendship that we should be heard. What is the point in having a friendship where you cannot openly speak your mind for fear of rejection or judgement?

A lack of a mutual understanding will be very clear in the way a friend proceeds to handle certain situations. Personal and non-negotiable effort is required, which after nine years of friendship we definitely have sorted. It is visible within advice and

the stance we choose to take within each other’s lives. Actions speak louder than words.

Understanding does not only have to be in complex situations, but within our daily lives through knowing each other’s likes and dislikes - like what makes us comfortable and how to support one another through difficult times. To be loved is to be known and all that jazz.

All of this is pretty straight forward. Challenges arise when we expect reciprocation. I am very grateful that within this friendship and in more friendships than not, I have been blessed with reciprocation. However, sometimes we can be left questioning whether our vulnerability is heard.

As we grow and change, it is crucial to create an inviting, warm, toxic-free environment where you can dream away with your friends and be there for one another in the present and future.

My long-distance relationship with New Zealand has taught me friendship doesn’t need to be in your own back garden, or the same country for that matter, for you to want to make an effort. A true friendship is timeless, and it can be nurtured no matter where.

‘Love’ means something different to everyone and exists in such a variety of forms that this article seems like an almost pointless endeavour. Almost. Although, I do love an impossible task. So, let’s define the undefinable. Nobody has managed to do so to everybody’s satisfaction, but maybe I can.

I interviewed different people and found several recurring ideas that encapsulate our contemporary understanding of love. In order to find an answer, I will evaluate each one and decipher whether any approach can effectively define the term. The first is…

Cynical love:

Sign my contract on love- Stevie Wonder

I would describe myself as a moderate cynic: just sceptical enough to not to fall into the trap of optimism, but far too passionate to suffer from pessimism. But damn. The cynics I met took this thing to a whole new level. Here, I will call them H and S. H, who has studied contract law, described love as an agreement instead of being a ‘magical’ thing. However, the point seemed to be a comment on relationships rather than love itself. They acknowledged love to be ‘beautiful,’ and when asked if they were indeed a romantic or a cynic, they said a romantic. Perhaps there is a ‘romantic’ in us all.

Although, actually, S seemed to possess no element of the ‘romantic’ whatsoever. They were keen for their answer to be the same for every question I asked- ‘evolutionary hoodwinking.’ When I referenced ideas of spirituality, they, with complete conviction and in

Love, What is it?

By Verity Stow Staff Writer

an almost accusatory manner, declared ‘why do you have to… introduce some weird cliche into it?’ As if these ideas were some novel and absurd product of the human imagination. I considered whether this straightforward interpretation devalued the idea of love in some way, but S was quick to correct me with: ‘No, Why does it take some of the value out of it? It even adds value to it...It has purpose.’

I started the interviews from a place of relative cynicism, conscious of these facts, and hoping to insist, for my own amusement if nothing else, that love was only oxytocin and endorphins. But most interviewees acknowledged this, and the role of evolution, yet were confident that it did not belittle the concept in any way. No matter its reason, and even if a spiritual dimension was secondary or even non-existent, the value of love remained the same. However, I still didn’t feel that the cynical approach was best, and hoped instead that the definition of love could be found in the secret to its longevity. Next is…

Lasting love:

‘Will you still need me, will you still feed me, when I’m sixty-four’ - The Beatles

I interviewed a couple, G and B, who have been married for almost 60 years. G and B cited ‘patience’ and ‘luck’ as responsible for the longevity of their love for each other. When I asked how they knew they wanted to get married at such a young age, and how they knew their love would last, they said that they didn’t. It was the bravery of youth and an ‘optimistic guess.’ I asked if they believed

in love at first sight and it was met with an immediate ‘yes.’ G referenced a ‘spiritual’ aspect to that first moment, stating that it is your ‘spirit, your energy, your soul… That other bit of you which is timeless.’ It is clear that this approach can lead to lasting love, but I also wanted to explore a love that seems both logical and spiritual. Next is…

Pragmatic love:

‘It’s only love and that is all’ -The Beatles

I interviewed a 23-year-old Oxford graduate, A, who has been with their partner K for five and a half years. A presented themselves as a pragmatic romantic, defining love as being chemical, but also describing it as ‘having the same essence’ and ‘core’ as someone else. They recognised that an element of ‘the romantic’ is necessary from both partners for maintaining a relationship (as well as sensible things of course, like being from the same socioeconomic background, and finding your intellectual equal). They described K as a romantic, stating ‘He likes sweet things. He likes baby animals and La La Land.’ Of course, a love of baby animals is not a necessary prerequisite for a loving relationship, but openness and sensitivity are important so that a love can continue to blossom. As long as the necessary practicalities are met of course. Every love starts somewhere, so I interviewed three university students together, to get their ideas on the topic. Next is…

Young love:

‘A lovestruck Romeo sings the streets a serenade’ - Dire Straits

I asked students C, S, and H, if they believed in ‘love at first sight’ and received an immediate consensus: ‘yes.’ I expressed my disappointment at the lack of controversy. I was also surprised. I expected these young adults to share my cynicism, and rage against the prevailing cliches. But no. It seems that our generation is just as naive and optimistic as those that came before us. The idea sounds a bit ridiculous to me. All three acknowledged that love is built on trust and friendship, so how is it even possible? H stated, ‘it’s not that I believe in it, but I think if two people think they fall in love with each other at first sight, end up together, who are we to say that it’s not the case?’ I found it hard to disagree but was still convinced that this immediate connection must just be attraction. C’s parents met at an early age, and all three students have parents that are still together. Romance seemed very much alive for all of them, and has not been shot dead by the age of casual relationships and non-com-

mittal DMs. There is another form of love that is anything but young, so next is…

Spiritual love:

‘But anyone who does not love does not know God, for God is love’- John 4:8, The Bible.

I interviewed C, whose Christian faith is integral to their interpretation of love. The answer to my search for a definition came in three words: ‘God is love.’ A discussion ensued in which C was quick to denounce my lack of specificity, insisting that I pay close attention to my ‘terminology,’ and referring to the variety of Greek definitions, lest my questions return a generalised ‘wash’ of responses. A pedantry I greatly admire, don’t get me wrong, so I pushed forward, taking care to keep to the topic. They explained that in Christianity the highest form of love is Agape.This is the love of God, and sacrificial love, like that of Jesus. Therefore, sacrifice is the ultimate act of love.

Although, not everybody is religious, and it didn’t seem to offer a universal definition. However, after considering all these views I finally found the answer.

The answer: ‘What is love?’- Haddaway

I thought about how I might end the article, with an inofensive comment about love being a deep connection, or that it is different for everyone. And that’s true. But the more significant answer to the question of ‘love, what the hell is it?’ is- it doesn’t matter. Whatever love - whether it is cynical, lasting, pragmatic, young, or spiritualthat holds a place in your heart, the emotion is of no less value regardless of the way in which we view it. I couldn’t care less about what love is. It doesn’t matter what it is. What matters is that it’s there.

Image: Freestocks, via Unsplash

Content Warning: Mentions of Sexual Assualt, Mentions the writers experience at the Sexual Assualt Referral Centre.

The fear of the unknown, that psychologists call xenophobia, can be paralyzing. For survivors of sexual assault, this fear often becomes a significant barrier to seeking help. In the UK, 69,958 rapes were recorded by the police last year. This staggering figure only represents a fraction of the cases, as only 1 in 6 women report their assaults.

While media coverage of sexual assault often focuses on the incidents themselves, few discuss what can be the most traumatic part for some: visiting a Sexual Assault Referral Centre (SARC) and navigating the police reporting process. Many questions arise: What happens at a SARC? What will they ask me? Is it worth reliving the trauma? Will this actually help?

I was the 1 in 6 who did end up going to the police, and for that reason I want to share my experience, in the hope that it might ease the fear of the unknown for at least one other person. I know I would have massively benefited from hearing someone else’s experience before I went.

What Happens at a SARC?

On October 2nd, 2023, I visited a SARC called Grange Park in Stoke on Trent. I had called two days earlier to make an appointment. Most SARCs have a 24-hour phone line where you can share basic details of your situation to access the right support. Unfortunately, I called when the triage nurse was unavailable, so I had to

Facing the Unknown

By Kiera Sule-Shingadia Staff Writer

wait 48 hours. During this time, as part of the forensic process, I couldn’t wash myself or drink hot liquids, something that was unbelievably hard, but ultimately worth it.

When I arrived, a crisis worker met me outside and took me to meet the nurse. The building felt secure, like a hospital, with key card access to every room. We sat in a cold room with children’s toys, colorful pictures, large sofas, and an overwhelming scent of lavender. I was offered tea, water, and biscuits as the nurse and crisis worker introduced themselves and explained the process.

First, I signed several consent forms, allowing different forensic exams and permitting information sharing with my GP and my place of education for support. Then came recounting the incident. The crisis worker wrote down everything I said, taking at least an hour, with breaks as needed. I was asked to describe the incident in detail, which would be stored and shared with the police if I chose to report it. The crisis worker wrote word for word what I said. Afterward, we took a break, had more tea and biscuits, and I collected my emotions for the next stage of the process.

The nurse then walked me through the forensic process once again, reiterating that I’m allowed to stop at any point, but sometimes it’s easier to just ‘power through and get it over with’, as she said. Then we moved to a different room, this one colder and more clinical, a lot like a hospital room. I was given a medical gown and privacy to change

before I was asked to lie down on the bed. Much like getting a pap smear, I had to put my feet in stirrups and stare at the ceiling. The crisis worker stood by my head, holding my hand while the nurse went around me collecting swab samples. She started with my face, lips, mouth and neck, and then continued downwards. As you can imagine, this is incredibly uncomfortable, especially less than 30 minutes after you’ve recounted the worst night of your life to two complete strangers. When I started getting emotional, the crisis worker kept me calm, talking to me and stroking my hair to distract me. The swabs were damp with saline (to collect cells) so there was very little discomfort, other than in my head. However, she then went on to use a probe, about the size of an internal ultrasound, to take internal images. There’s no way to sugar-coat it, this is about as uncomfortable and upsetting as it sounds.

When it was over, I was given a self-care kit filled with toiletries (some of which I still haven’t got through 2 years later!) allowing me to shower and finally feel clean for the first time in 48 hours. Then back in the comfortable room, the nurse and crisis worker provided more tea and biscuits while discussing support options. They explained how my forensic samples would be stored for up to five years and how the police would handle them if I decided to report the assault. They also detailed how notifying my GP would grant easier access to counseling and mental health services, which proved very useful to me later that year.

The clinic also offered emergency

contraception and treatment for STIs if needed. I was referred to Women’s Aid, a charity supporting women who have experienced either domestic or sexual abuse. I was fortunate to access their services quickly, which played a major role in the speed of my recovery.

Physically, I felt drained when I left the SARC, but mentally, a weight had been lifted. The hardest part was over, and I had given myself time to recover before deciding whether to go to the police. I felt relieved, knowing I could focus on my mental health without the pressure of immediate action for this.

I realize not everyone feels the same way, and everyone processes trauma differently. However, knowing what to expect at the SARC helped me immensely. Because of my NHS background, I had a clearer picture of what the experience would entail, and this helped me manage my fear. For those who don’t have this insight, the fear of the unknown could prevent them from getting the help they need.

If sharing my story helps even one person feel more prepared and less afraid, then it’s worth it. I am eternally grateful for the support I received, and I hope that this insight

might offer comfort to someone else facing a similar journey.

If you live in and around Egham, the nearest SARC is in Cobham, called the Solace Centre. Their 24/7 phone number is 0300 223 0099

Cobham Community Hospital 168 Portsmouth Road Cobham Surrey KT11 1HS

It may seem hard to reach out, but I promise you it is worth it in the end.

Wellbeing Support:

If you are effected by any of these topics please access the wellbeing support team that is offered at Royal Holloway University.

You can Join a daily in person drop-in session between 11am-2pm term time, held in Founders East, room 133.

Or email at: wellbeing@royalholloway.ac.uk

some budget friendly meal ideas as an extension of our previous top 5 tips on staying Green. We hope you indulge and most importantly enjoy! - Lucy Griffiths- Deputy Illustrator

Happy porridge

Cost: Approx £3, duration 15 minutes.

Ingredients:

- 1 cup of Oats

- 1 Banana

- Small handful of frozen fruit

- Honey

- 1 teaspoon of ground Cinnamon

- Pinch of Salt

- Milk

Method:

To begin, pop the kettle on! Whilst your water is boiling, turn your hob on a low medium heat, 4, 5 is best. Next pour your boiled water into a small pan, and put your oats in and stir for about 5 minutes until absorbed. Swiftly add a big dash of the milk of your choice, it all depends how thick you like your porridge so the quantity is up to you, however go easy and pour bit by bit. Add a pinch of salt and a teaspoon of cinnamon and honey and keep stirring for 5 minutes, you want the consistency to be thick so persevere! Finally, pour your porridge into a bowl, chop a banana, sprinkle it on top, and for an extra sweetness, pop your frozen fruit in the microwave for about 30 seconds and drizzle it on your porridge! This gives a very satisfactory taste that balances out the other textures. Lastly, add a drizzle of honey on top and jobs done! If you’re feeling extra, add a sprinkle of chia seeds (I see you health freaks).

A Comforting and Tasty Stew to purge your winter cold away!

Cost: Approx £10 for 4 portions. Duration: 1 hour 20.

Ingredients:

-Diced beef (if vege cancel this out)

-2 decent sized red onions

-2 carrots

-3 cloves of garlic

-2 Large potatoes

-2 celery sticks

-Beef & vegetable stock cubes

-Seasoning: salt & Pepper, dried rosemary

-Slice of bread

-Olive oil

Method

Firstly chop and peel all your vegetables! And remember to wash them! Once you have done that, dash some olive oil into your pan at a high heat and throw your diced meat in there and season with salt and pepper. When your meat is cooked, put your pan to the side. In a separate well greased pot, put your vegetables in and cook at a medium heat for 15 minutes until soft. Pour the leftover meat juice (if you have any) for extra flavour. Next, boil some water! Find a measuring jug and get your stock cubes in there, and stir through until dissolved. Next pour that concoction over your vegetables and add in your beef as well, whilst seasoning with salt and pepper and some dried rosemary. Let your stew simmer away for about 30 minutes until boiled and then turn the heat down to low for another 40 minutes. Cool down and serve with a slice of buttered bread and you’ve got a meal my housemates call ‘peasant food’, but they love it really and are always asking me for some! This stew is not only incredibly comforting but purges winter colds away, and also you have a ton of leftovers!

Sport Campus and beyond: What does life look like as an Off-Campus Sport?

By Issy Trapnell Hoyle Senior Sport Editor

For many of us who play sport here at Royal Holloway, the walk to training is a given. With the Sports Centre at the bottom of the hill being the base training location for many sports from Lacrosse to Rugby, sometimes those who must travel further afield to pursue their sporting passions can be forgotten. Here at Royal Holloway, we have a great many sports that train off campus, from Cheer and Dance to Motorsport, many students must travel into Egham and further afield to undertake their sport of choice.

I spoke to one such student, Edward Instance, about the struggles he has faced as both a squash player and now President of Royal Holloway Squash Club over the past three years. When Edward first joined the University in 2022, Royal Holloway owned their own Squash courts located in the former accommodation, Kingswood. However, since the closure of Kingswood, Royal Holloway Squash Club have had to relocate to external facilities in Staines. I asked Edward what he felt the main challenges of having to train at an external venue are and he explained to me that ‘the main difficulty is funding the activities we want to do while being fair to our members’ as ‘Each year we want to host more events to help us grow but we need to prioritise our funds for training and matches’ as ‘If we wanted to do more we would have to increase membership costs, which would be unfair on our members’.

He described what as well as he believes, the effects of being an off-campus sport to be on the club’s recruitment in recent times. He discussed how, ‘Trying to get both members and new people to come to sessions and to support matches is a big issue, especially since members have to pay

outside of membership fees just to participate’ and how ‘To mitigate this we try and host socials on and around campus so that it incentivises people to come, as well as that we occasionally split costs to get to training’. I was curious to see where, as president, he envisioned the club in a few years’ time. Edward explained to me that, ‘The club has grown really well and I’m proud of what my committee has accomplished’ and that he believes ‘The club will continue to grow, and I know the people we will leave the club to will do a great job, even though there will still be the challenges we have faced as well as new ones’.

I was lucky enough to join the Squash Club for one of their initial training sessions at the start of the academic year and it was clear that there is a great interest for the sport despite the travel involved. Running both team trails and beginner sessions, the club was balancing both competitive and recreational interests within their start up sessions, a trait that should hopefully stand them in good stead going forward. Throughout the year, it is evident many of those who attended the initial sessions have since become members of the club.

It is clear that while off-campus sports perhaps do not have the easiest time in comparison to those of us who are lucky enough to train on campus, Squash are nevertheless undeterred in their mission to both maintain their current membership and expand in the future. While questions of uncertainty do still loom over many of those who train off-campus, it is clear the Royal Holloway spirit is not confined to the grounds upon which we study.

Royal holloway’s Squash Society

Images taken by Issy Trapnell Hoyle

The Timeless Art of the Real Madrid Galacticos

Real Madrid, the 15 time champions league winners, are the dominating force in football- no club can compare to their European success. In their 123 year history Real Madrid have won 36 Spanish league titles, 5 fifa club world wins, 20 Spanish cup wins, 13 Spanish super cup wins and many more. They have built their club to be the biggest force in football, Santiago Bernabéu Stadium is one of the biggest stages in European football, having seen some of the best players.

The best players playing at Santiago Bernabéu Stadium is a very common occurrence for Real Madrid. These players are called Galacticos. Featuring players like: Cristano Ronaldo, Ronaldo, Zinedine Zidane, Luis Figo, David Beckham, Kylian Mbappe, Jude Bellingham, Vinicius Jr, Gareth Bale, Kaka, Eden hazard, Roberto carlos, Luka Modric, Toni Kroos, Michael Owen, James Rodriguez and many more. It didn’t matter how good or bad these players were for Real Madrid, they were brought in as stars already and were supposed to shine at the biggest stage in the world. Galacticos’ trend at Real Madrid started when they appointed their new president, Florentino Perez.

Florentino Perez became president in 1996 and his first Galactico was Luis Figo. When Perez needed to get more votes to become president again in 2000, he promised everyone that he would use Luis Figo to help against their biggest rivals Barcelona. This promise helped Perez win the election and as president he brought Luis Figo from their biggest rivals

By Harkomal Shoker Associate Sport Editor

Barcelona. Real Madrid paid 60 million euros for the Portuguese international. This was one of the immensely controversial transfers in history, the amount of hate Luis Figo had for signing real madrid was extreme, but Florentino didn’t stop there as the next year he broke the transfer record with the signing of Zidane.

The transfer cost Real Madrid 77.5 million euros, and the next year they signed Ronaldo. These three players defined generations with the help of other players like: Roberto Carlos, Casillas, Raul, Fernando Hierro. With extraordinary sportsmanship, these players were able to win the 1x champions league, 2x Spanish league titles and 1x Spanish super cup titles between 2000 and 2003. After this incredible run Florentino Perez would buy the biggest superstar and one of the biggest brands in the world at the time: David Beckham.

Beckham arrived after being kicked out of Manchester United and got signed for 37.5 million euros. In the same summer Florentino Perez sold Claude Makelele, one of the most important players for Madrid during this time. He was the defensive midfielder that held the team together, for a very attacking team Claude Makelele was the defensive piece that helped give the team balance. Without the defence the team was left without any protection, this period showed the downfall of Madrid. Demonstrating that lack of knowledge of strategy by the football club can have detrimental effects to winning. Even though it clearly was not their best run of

the season they still managed to win the 1x Spanish league title and 1x Spanish super cup title.

After 2007 it was clear that a complete restructure of the club was needed. However, with Florentino Perez only returning in 2009 after leaving in 06, he’d learnt from last time but still believed in buying Galacticos. In 2009 Florentino Perez spent big. They splashed 67 million euros on 2007 ballon d’or winner Kaka, then they continued with 94 million euros on 2008 ballon d’or winner Cristiano Ronaldo. They spent 35 million on Benzema, a future ballon d’or winner but Florentino Perez knew how important defensive players were and he signed champions league winner Xabi Alonso from Liverpool. He would spend 35 million on the defensive midfielder.

The next season Real Madrid would sign future champions league winner and future world cup winner Angel Di Maria. They spent 33 million euros on the right winger as well as the 18 million euros on the future world winner Mesut Ozil, but they also spent money on a defensive midfielder, Sami Khedira. Floretino perez understood that his team needed that balance. With Sami Khedira and Xabi Alonso in the club the defence had the balance that the club was wanting. The next season they would sign young French superstar Varane. The centre back was one of the world’s best youngsters. After that they would sign Luka Modric, a future ballon d’or winner. Even considering the previous money spent they carried on into the following season and would break the bank signing

Gareth Bale, for a staggering 101 million euros.

After all these signings they would eventually reach their goal and win their tenth champions league title. After this season they would win three more champions league which would transpire to be the 3rd win in a row, this was extremely exciting considering no other team has done it before. During that time they signed important players like Toni Kroos, Keylor Navas, James Rodriguez and Casemiro. These players helped the team overall and helped the forwards shine. This period was one of the best in Madrid’s history. Between 2009 and 2018 they won 4x champions leagues. After the 2018 Cristiano Ronaldo the star player, the best player to play for real madrid was sold to Juventus for 117 million euros, this came as a shock to every Madrid fan. Cristiano Ronaldo became the world’s best player at Real Madrid and still was one of the best when Madrid sold him, but this was the start of a new Madrid. 2009 to 2018 made legends for Madrid’s: Sergio Ramos, Gareth Bale, Varane, Benzema, Kroos, Modric, Casemiro and many more. Some of these players were brought in as galacticos like Bale, Kroos, Ronaldo, Benzema- but players like Modric, Ramos and Navas became stars at Real Madrid but never Galacticos,

but why?

Well, the answer lies in the fact that a Galactico is a player that is one of the best in their position already and then when they go to Madrid they are already superstars. Modric, Ramos and Navas needed time to grow into the team. In the new rebuild, Real Madrid changed the way we see Galacticos, after Madrid sold Ronaldo they signed a youngster called Vinicius Junior for 45 million euros and signed Thibaut Courtois for 35 million. After this season they signed another two youngsters Éder Militão and Rodrygo. Two seasons later they signed another youngster, Eduardo Camavinga and brought in David Alaba for a free transfer. The next season they acquired another young person called Aurélien Tchouaméni, with another free transfer with Antonio Rüdiger. The next season they signed English star Jude Bellingham and Turkish wonder kid Arda Guler.

Keeping up with this momentum, the following season after they signed young Brazilian superstar Endrick and signed world cup winner Kylian Mbappe on a free transfer. Between 2018 and 2024 Real Madrid have won 2x champions leagues, 3x Spanish league titles, 3x Spanish super cup wins and a Spanish cup title. Real Madrid changed the way

we perceive Galacticos again. We used to see Madrid buy the best players and the biggest brands, then they changed into buying the best in every position and then they changed again and bought the best youngsters and turned them into the Galacticos. Every generation of Galacticos has changed the way we perceive them, we used to think it’s the biggest brands but now in the new generation it’s all about creating their brand through Real Madrid. Which enriches their club along the way.

Real Madrid now buy their experienced players through free transfers, waiting until their contracts end. Madrid were getting players like Rudiger, Alaba and Mbappe for no transfer fee. They let these players run their contracts and lured these players by using their legacy of past Galacticos. Real Madrid players have sold this dream to players that they can be the next Galacticos and thus these young players that used to watch the old Galacticos want to become that and the free contracts players want to be part of that brand. The Galacticos have become a timeless brand for Real Madrid that will bring them the most talented players in the world and no club will do it like them.

July 21st 1311

Creative Writing

The leaves, they are changing!

By Ruby Saggers Associate Creative Writing Editor

I am walking, feeling awfully childlike as I observe – take it all in. It is summer, and I am warm. This longing, yearning for that incandescent celestial body hanging above me to shine brighter than it has done all year – it is gone. Yes, I adore the beauty of it. The leaves are a gorgeous green, I could eat them! But they lack the crunch, the browning as though left to crisp atop a fire. I want to feel the corners between my toes, brushing the crumbs off as they stick to my planta pedis. Autumpne is calling to me, I desire it.

October 11th 1311

My goodness, I made it through the summer! Sweat to shiver, green to hazel, soft to crunch. The crunch hath come! It is Autumpne, and I am relieved. Footsteps feel dreadfully sly, I feel as though I am being watched –thus, I creep. The hazel crunch I so desired is flustering me, I am avoiding the lust of my husband to seek my own – a lust for something natural, something everlasting, something that I can touch and feel and sing to. The nights are lengthening, and I can feel time slipping away. I am not ready to meet my Lord and Saviour yet, not until the seasonal cycle is complete. Hasten, wynter!

February 26th 1312

Nowe is wynter comen, and my time here is expiring. I gave my husband my flesh, let him feast on it. Wynter has not been kind. I have been nibbling at the slice of brown bread Aunt Emeline made, a whole slice is rather generous! It is to last me seven days. My breath is stertorous, I must catch it in my hands and swallow it again – there is not a lot of air now, too many people spoiling the broth. The forest is beautiful, a blanket of snow and a little more still falling. It covers the droppings, the mess, the bodies. People are suffering here, and I fear I am next. My only solace is the crunch of leaves, though the crunch is a little sloshy. The leaves are few, I do not know where they went, only that somebody else now has the pleasure of treading amongst them. O, wynter! I desired you much, you have starved my people! I long for the green once more.

May 5th 1312

Today is my last. I lay here, naked, delivered in my entirety to my husband. Springen tells me that I must create, do my duty. I always believed that my duty was to love the leaves, to help them grow. Today, I am full of seed. Life is to be taken from me, as I feed him another. I pray he looks after them, I pray they grow up to feel the leaves as I had done – between their little toes, their delicate fingers. Lord, I shall meet with you when the leaves have run their course – green, to brown, to vanished, to green once more. Ich am on mine journey to thee.

Image: Unsplash, Manuel Torres Garcia

Fluorescence

By Dorothy Banaityte Staff Writer

It’s not the passing of seasons that I mourn, The way the swallows sing just out of earshot, The way I turn my head like a lost child

Searching for that last piece of hope. It’s the way everyday drives the wedge deeper. I pace in silence and the walls shrink, I say these words and all expectation is destroyed, I’m sorry, I always get the timing wrong, You said it ruins the moment.

I’m sorry.

You turned the page, yet I’m still writing on this one. You put on a coat, every new winter that I’ve never seen, The years hum a melody I have turned my back on, I was unimpressed at the time. But idealisation leaves you empty-handed, The light of a sun turning out to be a fluorescent lamp.

Girlhood Resurrected

By Sophie Fairey Senior Lifestyle Editor

I hid underneath the dining table, climbed trees I could not climb down, learned to write my name backwards.

I heard the wood pigeon in the orange garden yesterday, the breeze lifted linen into the air

with a melancholy twang, a tune I struggled to remember but my fingers could play in their sleep.

It was a dusky pink sunset when I decided to peel away the rot, venture from the cave of my imaginary death and onto the verge of the horizon. From the other end of the cliff, a girl paints a yellow daisy.

Her smile is unmaddened, no sugar stuck between her teeth, except a smudge of her mother’s lipgloss.

Her knees are grazed, mine are bruised.

A Saleswoman 100 Years Too Late

By Alana Bowen Staff Writer

The sales assistant shuffled into the boutique, fumbling with an umbrella. When she finally got it closed the shop was there to greet her. The bracelets and earrings on the jewellery table glistened – winked – as if to say “good morning”, and the draft that came in under the door ruffled the sleeves on the dresses, making them wave “hello”.

The boutique was only small; its front and back fifteen paces in between. The assistant got to work setting everything up for the day. Leopard print lamps sat above the clothes railings on glass shelves. After turning them on their sepia shades transformed the harsh light behind them into a cosy glow. And for music, the assistant spent a while deciding, flicking through dozens of artists on the stereo before selecting Chambermaid Swing by Parov Stelar. She picked it because the album cover had a cheetah on a leash and she thought it would match the lamps, not that any customer would know it. But she would.

Everything in the shop had a purpose. A role. The Boss wanted to make everyone that walked through the door feel as though they had stepped back into the 1920s. Old typewriters and vintage cameras sat beside the lamps. All the jewellery was art deco. Most of it pearl. It spilled gloriously out of the bowls and cabinets it was kept in. Flapper headdresses; masquerade masks; feather boleros; tea dresses; kitten heels; clutch bags and more waited on shelves, full of anticipation for being tried on and, hopefully, taken home by a beautiful lady. The sales assistant had been chosen too, but with a more calculated criterion.

Bosses couldn’t give a fig about what their sales team looked like, but if they could make it feel as though the world would end tomorrow if a certain necklace wasn’t purchased, then they’re pretty good. At work, the sales assistant tried not to let herself be drawn in by all the beauty around her. The temptation to try things on was stifling. But she was there to do a job, and there to do it well, so with a steadfast professionalism she stayed rooted to the spot behind the till, waiting, like how a tiger waits in the bushes, for the first customer to walk in.

It took a couple of hours, (Tuesdays were always quiet) but finally, someone popped in. The sales assistant stood to attention. Craning her neck back, she could just about see the silvery bob cut of an older woman over the railing between the till and the door. The woman went first to the jewellery table. Her eyes and hands glossed over the brooches and headbands without any specific interest.

Please don’t be a window shopper, the assistant thought. When the woman finally stepped into her peripheral vision, she wished her a good morning.

The woman jumped. ‘Goodness,’ she said, clutching her chest. ‘I didn’t see you.’

‘What brings you in here today, madam?’ the assistant asked cheerfully. The first steps to any sale were to establish rapport with a customer and identify a need; make them forget they were talking to someone who wants to sell them something. It was a verbal sleight of hand. A sleight of mouth.

‘I’m off to an art deco-themed wedding.’

The assistant fought not to squeal. ‘Well,’ she managed to say calmly, ‘you’ve certainly come to the right place.’ She gestured all around, waggling her fingers towards the jewellery table. The woman laughed a little. ‘Who’s getting married?’

‘My daughter.’

Her baby’s getting married? Something came over the assistant. It felt like a candle was being held up to her saleswoman instincts, gently thawing it. She forgot about her drive to make a sale, and felt instead the responsibility – the honour – of helping the woman in front of her find the perfect outfit. ‘How do you feel about it all?’

‘It won’t be my first daughter,’ said the woman. ‘I’m more relieved than anything else. Her man’s been dating her for ten years and they’ve already got a son. It’s about time.’

It was the assistant’s turn to laugh. ‘I’d say so too. Is there a particular dress code you must stick to? You said it’s going to be an art deco wedding, but what about colours?’

The woman paused to think. ‘Well, not white, obviously. And the mother-of-the-groom will be in blue, so I’d like to steer clear of that so that we don’t blend.’

The sales assistant asked a few more questions, about sizing, length, and when the wedding would take place, and with all that information as ammunition she led the woman through the shop, from railing to railing, to pick some things out. The first option she selected was a forest green and velvet jumpsuit. Its wide trouser legs gave it the illusion of a dress.

The woman reached forward to touch it, but hesitated. ‘I have a thing against velvet,’ she confessed. ‘It’s a silk mix,’ informed the assistant. ‘Lots of people aren’t fond of pure velvet, so we decided to mix the fabric with some silk to make it more comfortable. And look, there’s a lining. No velvet, or velvet mix, will touch your skin.’

The woman continued to eye the garment gingerly. Say something else to her! ‘You never know until you try it on.’

‘There’s…no harm in trying I suppose.’

It was a tiny victory, but a victory nonetheless. Putting the jumpsuit to one side, the assistant repeated what she had done before, this time showing off a flapper dress. ‘Something perhaps to change into for the reception?’ She kept going and going, until she had picked out an additional two tea dresses with geometric patterns, and a cocktail dress with a sweetheart neckline that screamed Marilyn Monroe.

The lady fidgeted and grinned; antsy to try it all on.

‘Do come and give me a twirl when you’re ready,’ said the assistant, placing all the items into the fitting room. Plant the seed for them to come out, said her Boss’s voice. It will give you the opportunity to accessorise and link sell.

‘Only if I look alright,’ said the woman. Five minutes passed. The assistant waited anxiously. She tapped her fingers in the till to the beat of It Ain’t

Right by Jamie Berry that played on the stereo, when the curtain flew back and the lady stepped out in the jumpsuit. The assistant gasped. She looked like something out of F. Scott Fitzgerald’s The Great Gatsby. ‘I wasn’t expecting it to fit so well,’ the lady said, staring at herself in the mirror. ‘Although, I might need to take a friend to the toilet to help with that zip at the back.’ The assistant gawked. ‘H-How about some accessorising?’

‘“Some”? Go crazy, dear.’

“Dear”? thought the assistant. It was like a totally different woman stood before her. More confident.

Toothbrush Legacy

By Natasha Elizabeth Staff Writer

Content Warning: Mention of Death

You told a girl once about brushing teeth and memory in the space where no one remembers–I recall my own collectable legacies from the underbelly of my knee, a softness no girl should ever shave or lend, so I was told–In silence of names it is a toothbrush that sits boldly in the mouth of a girl for decades–We can only hope for small deaths in the mouth of others, discovering birth dusty and frail between words–

Timeless Love

By Maya Rogers Staff Writer

What if I told you

That I cannot stop thinking about you?

The way your beautiful brown eyes capture my attentionEspecially in the sunlight, where an array of colours create a picture perfect sceneOnly to be admired by my own eyes: A connection between us Uninterrupted.

Or your curly hair that wraps round my fingers every time I push it out of your face, And how I long for the curls to hold on tight, To not let go, To pull me closer in, So that you and I can be in this space Together Forever.

What if I told you

That I cannot stop thinking about you?

How I secretly caught you looking at me that first night, And I know you caught me too, Our eyes, both far too shy to be seen, But also aching, to see. Yet, it seems our bodies weren’t as shy

For I remember how we slept togetherNot like that, it never would have been like that, but I like how it wasGentle; Soft;

Secure,

Two people so wrapped up in the moment

To realise that they are also wrapped up in each other.

What if I told you

That I cannot stop thinking about you?

I sit with my phone never too far from reach Because I’m afraid to miss the notification; your name lighting up my screen, And I need to reply to you, Not too soon to seem obsessed,

But soon enough for you to know that I like you.I Then in the time between your messages, I use the silence to imagine a world where you and I are together, Two halves made into one whole, Inseparable and uninterrupted, Rooted and secure

Just like the connection between us.

What if I told you

That I cannot stop thinking about you?

Would you tell me

That you’ve thought about me, too? Or is it only my love, that remains timeless?

Thornes

By Lena Zeller Staff Writer

Content Warning: Mentions of self-harm and Suicide

The thorns always come first.

I can feel them growing under my skin weeks in advance. But inside me they could still be anything. Could be nothing. Could be cancerous.

They don’t hurt before they pierce flesh. They only incubate. Some twinges here and there. Growing pains. Contractions. Nausea, every time I touch where I think one may be. I am not supposed to pull them out to get it over with faster.

I drink a cup of herbicide every morning.

I always think I know when they will cut through skin. I never do.

I collapse on the floor of the grocery store like a child throwing a tantrum. I forget people can see me. The whole world is sharp, and my body is the whole world.

The doctor says there is nothing he can do. I show him a clinical study I found on the internet, and he says they aren’t testing on women yet, and I don’t spit in the face of the messenger, but I want to.

I say, Take all of my punctured organs and make me empty and clean.

He says, Keep drinking your poison. You know it will work eventually. Don’t mind if it kills anything you actually need. As a kid I didn’t understand why people put down their dogs. Isn’t it better to be alive, and to suffer? Isn’t it better to be alive? I miss the naivety of childhood. I am my own dog, and I will cradle myself to the end.

I go to work and do everything I normally do, except sometimes I have to run to throw up saplings, and sometimes I have to lie down—only my body won’t move, so I just sit stiff as taxidermy.

It hurts to swallow through my pierced throat. People say I look beautiful. People say, Have you lost weight?

The vines grow, thorns piercing flesh piercing skin, piercing my organs, and allegedly I will survive this, allegedly I have before.

I am grotesque.

I fantasize about the hospital, about making my body somebody else’s problem. But the reality of the shame and the IV drip and peeing in front of a nurse is worse than lying on the kitchen floor.

There are others who are like me. In online forums, and medical studies, and hiding in doctors’ offices. Only I have never met any of them, so they aren’t real, and I am alone.

My body eats itself, cannibalizing nutrients for the vines that grow in me. My body won’t allow me to eat it. I bite the plants, and they are poisonous, and at the ICU they asked me why I bit into the plant they told me was poison, and I tell them, Because it is my poison, and then pass out.

I try to disassociate from my body, but the pain cannot be tricked.

Assisted suicide seems too mortifying to bear. All my insides bare, spilled out for everyone to see. Regular suicide will do. If I ever get up from pressing my face against the tiles.

Thou shalt not suffer it to live and by it I mean my body. My body is not me. They should suture the nerves in my brain that signal pain. I bite into my arm until it bleeds and the nerves in my brain are too busy screaming at everything else to take note. I make myself throw up bile. I hit my head against the wall, but that mechanism that prevents me from biting my own finger off prevents me from bashing my skull in. They should suture the part of my brain that keeps me from bashing my own skull in.

I grieve my body, my alive body, my vile, autonomous body.

I take a knife to it.

Dear Davidson...

“I am spending all my time writing essays to eventually get my results and they aren’t that great. I feel like I’m working twice as hard as everyone but getting half as far.”

By Ruby Caballero-Roff Senior Agony Aunt

Firstly, Breathe. The January exam period has well and truly passed and now it is time to take in all the exam feedback and make use of it for the summertime. Everyone has different abilities and different techniques they use to combat their exams. You should take a lot of pride in the effort you are putting into your studies and although it is incredibly frustrating when you feel that your grade isn’t reflective of the work you have submitted. While most people seem reluctant to do so, I would definitely recommend reaching out to your module convenors and requesting to talk directly with the marker of your work, this allows you to understand why you missed out on those extra marks.

As always, it is crucial not to compare the marks you are receiving with those your friends and course mates are receiving. Each individual is striving towards a different goal, some need their degree to pursue their dream career, some are not too bothered with their grade as they have their graduate job lined up in an entirely different sector, and many are just praying for a pass mark because everyone has other priorities and obligations they are juggling simultaneously. So, there really is zero point in comparing yourself to people when you’re going to be in completely different places in a couple of years from now.

Crossword

Across

2. The Past

5. Opportunity to share your ideas

8. Feeling of reminicing

11. Time Keeping Device

12. Famous French Artist

Down

1. Desire Strongly

2. Something you should be critical of

3. Reccommeneded BBC Series in our last issue

4. Time for a break

6. Section with the most submissions

7. Something you should always participate in

9. Once Upon a...