Dealer's Choice at the Donmar Warehouse review: savagely comic study of blokes playing poker
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Daily Mail
a day ago
- Daily Mail
Controversial new rom-com on Netflix sparks OUTRAGE and boycotts for glorifying disturbing relationship
A new Netflix rom-com is drawing backlash over its portrayal of an uneven and, some say, problematic romance. My Oxford Year, which premiered on the streaming service August 1, has received mixed reviews from critics and audiences. Starring Sofia Carson and Queen Charlotte breakout Corey Mylchreest, the film is based on Julia Whelan's novel of the same name. According to IMDb, the story follows 'Anna, an ambitious young American woman, [who] sets out for Oxford University to fulfill a childhood dream, [and] has her life completely on track — until she meets a charming and clever local who profoundly alters both of their lives.' That 'clever local,' however, turns out to be Anna's college lecturer — and that plot point has ignited fierce debate. Kaelyn Grace Apple, a PhD candidate currently studying at Oxford, posted a video titled 'Stop Romanticizing Student/Professor Relationships' in which she explained why she refuses to watch the film. 'I am boycotting My Oxford Year, and as somebody who in 2019 experienced sexual harassment at the hands of a lecturer who was meant to to be my educator, I will say that seeing a student-professor relationship being promoted on the big screen as a romance is something that I do not support and don't think that you should be supporting either,' she said. She explained that when the novel was published in 2017, professors could still have romantic relationships with their students, but her activism and that of others resulted in that policy being changed. 'In the book, in order to justify the relationship between himself and a student, Jamie, the male character and lecturer, says that, no, students are not off limits. Reading from the novel - 'Unlike some, Britain is not a nation of Puritans when it comes to matters of carnality between two consenting adults.' 'Let's talk about consent, shall we?' she asked. 'The idea of consent is all good and dandy until you're in a position in which the student in this relationship decides that they no longer consent to this relationship,' she explained. 'The person that they've had a relationship with, their lecturer, their professor, the person responsible for their grades and education, has control over their reputation, their destiny, their treatment in the classroom, as well as their determinative grades at the end of their term.' Sharing her own experience Apple claimed, 'I filed a sexual harassment claim against my professor, along with three professors that stood in support of me, and two students that also joined the complaint.' 'My circumstance was upheld and when I see books, movies, TV shows that romanticize these types of relationships, I feel deeply concerned for the potential exploitation of students.' She concluded by adding, 'So I am boycotting My Oxford Year. I will not be watching this film, and I would consider whether or not it's worth you watching it as well.' In the film Carson's character Anna has a Goldman Sachs job lined up and wants to study poetry for a year. After a meet-cute, in which she is splashed by Jamie's car on the way to class, the pair quickly discover she will be Jamie's student. Both appear to be similar in age, although in actuality Carson is 32 and Mylchreest is 27, which may explain why the teacher/student relationship has not been a focus in interviews promoting the film. Instead, the plot twist is that Jamie is suffering from cancer and the two must decide how to navigate their relationship knowing it will not have a happily ever after ending. Star and exec producer Carson explained her involvement in the film. 'I've always been drawn to love stories, especially the timeless classics like The Way We Were and Love Story and it felt like this generation, we hadn't had one quite yet, 'she said on CBS Mornings. 'Anna and Jamie's love is so beautiful and so sweeping and also felt like a classic and it's always an honor to be part of something like that.' The film has done relatively well on Netflix and was the third most popular film on the streamer on Sunday. Several other women did not see it that way and shared their own experiences on Apple's Instagram page. 'As a fellow PhD student who has recently been obligated to report on a situation of an abuse of power, it totally turned my stomach against this film.' one woman wrote. 'From the student's side as well not only does this make them more vulnerable,' she continued, 'but also can encourage them to not look at or treat their lecturers/professors etc. as the professionals they are. It's a lose lose situation.' 'I saw this film advertised and did a double take, then read more about it and thought it's highly inappropriate to say the least!!!' wrote another. 'I know about the transforming silence campaign and I applaud you and everyone involved in it and will support the boycott of the film.✊'
The Herald Scotland
2 days ago
- The Herald Scotland
Platonic posh school Gordonstoun aims to mould society's new elites
Royal alumni include Charles III, a king; Prince Andrew, the much admired Duke of York; and leading diplomat, the late Prince Philip. Common or garden alumni include Jason Connery, Sean's wee laddie; Duncan Jones, formerly Zowie Bowie, son of David of that ilk; Adrian Utley out of Portisheid; tomb raider Lara Croft; and the late Roy Williamson of yon Corries (note to subs: please check that last one at least 10 times). The aforementioned Charles called Gordonstoun 'Colditz in kilts'. Writer William Boyd likened it to 'penal servitude'. Where there's a Gordonstoun, there must once have been a Gordon, and this joint is named after Sir Robert of that ilk, owner of a 150-acre estate north-west of Elgin, in the 17th century. The British Salem School of Gordonstoun was established in 1934 by German-Jewish educator Kurt Hahn, based on the Schule Schloss Salem for boys he'd founded in Baden-Wurttemberg in 1919. Hahn fled Nazi Germany after being arbitrarily arrested following the Reichstag fire. Previously, he'd written to Salem's old boys, telling them to disregard Hitler or break off relations with the school. After his arrest, he was released through the influence of Prime Minister Ramsay MacDonald. Kahn had spent time in Morayshire while a student at Oxford. At Schule Schloss, pupils had to go for a run before breakfast, drink milk at mealtimes, do 45 minutes of athletics during their mid-morning break and, after lunch, lie flat on their backs for 45 minutes while a teacher or older pupil read aloud to them. All Greek to me SIMILAR sensible ideas were introduced at Gordonstoun. Hahn was influenced by Fred Plato, the Greek philosopher and founder of Platonic relationships. This classical influence was seen in the title 'Guardian' for the head boy and girl, a Greek trireme as the school's emblem, and a Spartan regime. Hahn believed freedom and discipline were 'not enemies'. Seeking to preserve children's 'inherent spirituality', he belonged, he said, to a secret organisation called 'the Anti-lout Society'. He identified six areas of personal decline in society: physical fitness; initiative and enterprise; imagination; craftsmanship; self-discipline; compassion. 'Twas ever thus. In 1930, he'd set out eight laws of Salem: root out suspected witches; provide opportunities for self-discovery; experience triumph and defeat; be self-effacing; enjoy, as it were, periods of silence; train the imagination; make competitive games important but not predominant; free sons of the wealthy and powerful from the enervating sense of privilege. Fair enough (ignore pathetic witches joke). The idea was to take pupils out of their comfort zones, blending outdoor activities and skills with a traditional private school ethos, modelled on his experiences at Eton and Oxford. Unsurprisingly, Gordonstoun had a total of two pupils at the start of its first year, but the number steadily increased until, by 1940, it had achieved its primary target of 250. Today, it has roughly 500 full boarders and 100 day pupils between the ages of 5 and 18. The school became co-educational in 1972. As is usual in traditional British private schools, a third of the pupils come from wealthy foreign families. Every pupil is required to participate in outdoor programmes, including seamanship. More deplorably, mountaineering is a must, though occasionally put to good use in rescues. (Image: PA) Cold Comfort GORDONSTOUN emphasises experience, as distinct from just sittin' aboot and, while cold showers are no longer compulsory, physical challenges still feature. The school believes exercise improves the brain and also claims to serve a diet that similarly benefits the old cerebrum. So, if you fancy oven chips, yir tea's oot. Another form of torture involves The Project, a practical assignment of the student's choosing, possibly a handmade boat, restored car or piece of music. They might also join an international project, building schools in Africa, digging wells in Thailand, helping orphans in Romania. The school's ethos inspired the Duke of Edinburgh Award Scheme, which encourages ingenuity and independence among young people desperately trying to avoid it. On top of their academic curriculum, students can do karate, horse riding, skiing, shooting things, athletics, cooking, debating, astronomy, performance arts, film and, sickeningly, golf. It has a football team, which puts it ahead of my pretentious state school, which only allowed rugby, hence my abiding detestation of that skill-free game. All children at Gordonstoun must exercise daily which, combined with all the other activities listed above, leaves just 10 minutes a day for a quick call to The Samaritans. With a motto of 'Plus est en vous' (There is more in you [than you imagine]), the school is mission statement mad, listing four pillars of its 'holistic education': internationalism; challenge; responsibility; service. Despite being named one of the best posh schools on the planet – and the ninth most expensive in Britain at £48,990 a year (Spear's School Index) – it has always had detractors. W.B. Curry, headmaster of Dartington Hall, thought Hahn's ideas 'incompatible with a really liberal civilisation' and 'the product of the tortured German soul'. Private schools are best known for child abuse and, in 2017, Gordonstoun was one of the establishments investigated in a Scottish inquiry chaired by Lady Smith. READ MORE Rab McNeil: Get your Boots on, we're going shopping for unicorn hair gel Rab McNeil: No wonder the whole Scottish nation loves Nicola (no, not that one) Scottish Icons: William McGonagall - The poet who right bad verses wrote still floats some folk's vessel or boat Scottish Icons: There is a lot of tripe talked about haggis – so here's the truth Already, writing in the Guardian in 2015, respected campaigner Alex Renton had highlighted cases, including that of a girl at Aberlour House, a freezing cold – ice on the blankets – prep school for younger children. The girl arrived there aged 9 on a bursary and was bullied for being poor and having a Scottish accent. Undaunted, she went on to become a prefect but, aged 12, fell victim to a 'serial rapist' teacher during a camping trip. Offences IN 2018, another teacher, Andrew Keir, was jailed for offences involving 13-year-old pupils. In 2021, the school acknowledged 11 cases of pupil abuse and 82 claims of bullying between students, particularly in the 1970s and 1980s. Last year, Lady Smith's inquiry ruled that abuse occurred unchecked for decades. She said: 'It was assumed the declaration of good intentions by founder Kurt Hahn was enough to ensure the school could be entrusted to provided appropriate residential care. 'At Gordonstoun, the assumption proved to be ill-founded, largely due to poor leadership.' Leadership: one of Gordonstoun's key aims. And not as easy as it sounds in a mission statement.
Scotsman
3 days ago
- Scotsman
Fringe Theatre: Out of My Head – Alan Watts is Alive and Well… Dead
Sign up to our Arts and Culture newsletter, get the latest news and reviews from our specialist arts writers Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... Out of My Head – Alan Watts is Alive and Well… Dead Pleasance Courtyard (Venue 33) ★★★★☆ Seemingly risen from the grave after his death in 1973 in the Californian hilltop hippie enclave of Druid Heights, the author and self-proclaimed 'freelance philosophical entertainer' Alan Watts is here to tell us his story. Embodied for the purposes of this play by actor Jeremy Stockwell, that story at first appears as conventionally told as the real-life Watts was unconventional. Jeremy Stockwell in Out of My Head – Alan Watts is Alive and Well… Dead | Contributed Amid a jumbled living room stage set in which we can almost smell the patchouli oil, Stockwell's Watts gives us the straight biography, from his birth in Chislehurst in 1915 to his middle class upbringing and boarding school education, before he wilfully failed to win a scholarship to Oxford and began to pursue more alternative avenues in life. At first his religious leanings led him towards Episcopalian Christianity, then towards Eastern religion, in particular Buddhism. Advertisement Hide Ad Advertisement Hide Ad That Watts was undertaking this journey in the years immediately after the Second World War, long before the Swinging Sixties brought such ideas into the mainstream, made him a pioneer and an early brand of the kind of Western guru who would later flourish. So far, so educational, until the point where Stockwell himself, by subtly clever and inventive means, intrudes upon the story he's telling and provides his own parallel narrative. Where Wells is grandiose, exuding a self-conscious air of above-the-fray wisdom, Stockwell himself is creaking, his thoughts turning to his own health and mortality. One man is self-aware and conscious of the world turning around him, and Stockwell illustrates his own concerns with honesty and humour. The other appears to mould reality to his own desire through sheer force of will and charisma, as exemplified by a wonderful sequence in which Stockwell-as-Wells takes questions from the audience and improvises profound but largely meaningless answers. It feels like a reckoning with the counterculture that shaped so much of Stockwell's generation, revealing a later-life realisation that even gurus are just making it up as they go. DAVID POLLOCK until 25 August Enjoy Your Meal Summerhall (Venue 26) ★★★☆☆ Advertisement Hide Ad Advertisement Hide Ad Thanks to series like Boiling Point and The Bear, culinary dramas are all the rage right now. In those shows, though, the chefs can cook. In this alternative comedy from American writer and performer Cory Cavin, the cuisine is a long way from haute. Cavin plays Wayne Swingle, a chain-smoking head chef whose restaurant is failing. We, the audience, are his diners for the evening. He introduces himself, flicks through a funny slideshow of his culinary heroes – Gordon Ramsay, Guy Fieri, Paul Hollywood – then sets about serving us some food from a station at the front of the stage. Things do not go to plan. First, he repeatedly fails to make a cocktail, so hands out beers instead. Next, he makes a wrap containing most common allergens – shellfish, peanuts, dairy, and more – then has a reaction to it himself. Sporadically, he steps outside for a cigarette and a stressful phone conversation with the owner, who wants to fire him. It is a great concept – Fawlty Towers meets Saturday Kitchen – but Cavin does not quite pull it off. The show feels underwritten and his performance underpowered. Still, the food, when it sporadically comes, is actually nice enough. And you might get a free beer. FERGUS MORGAN until 25 August Lapdog Just the Tonic Nucleus (venue 393) ★★★☆☆ Advertisement Hide Ad Advertisement Hide Ad How long can you keep up a fantasy before you start to lose yourself? Rachel Frost explores that question in her honest, deeply personal telling of life as a stripper in New York City. She discusses grappling with morals, the tension of giving more of herself to gain more, and shares secrets she has kept from herself and others. A struggling actress, Frost became a stripper to help pay the expensive rent on her NYC apartment. But she reflects frankly on if it was ever really about the money. Was it her desire to explore her sexual fantasies? A search for validation? A mission to define herself? Frost doesn't just tell the story, she performs it. She brings her experiences to life with vivid yet grounded portrayals of encounters that avoid being overly sexual or graphic, but still convey the intimacy, complexity, and occasional absurdity of her world. The show touches on everything from early sexual curiosity and teen intrigue (like buying her first thong) to more layered sections on identity and secrecy. It also showcases the beauty and strength of pole dancing as an art form whilst staying truthful to her relationship with it. It is an insightful story about identity, fantasy, and reclaiming your narrative. SUZANNE O'BRIEN until 24 August Advertisement Hide Ad Advertisement Hide Ad Confessions of a Lunatic theSpace on the Mile (Venue 39) ★★★☆☆ This new take on Dracula by Lewis Mullan clearly values novelty — a gender-flipped Count(ess) who's looking to buy property in Scotland rather than London — but it's at its best focusing on secondary characters from Stoker's novel who can often be given short shrift in other adaptations. This centres on the relationship between Renfield (Mullaney) and Lucy Westerna (Elliot Shaw) the glamorous debutante who's customarily Dracula's first victim. Here, Lucy is given an actual character rather than simply being pretty and sought after. Unsatisfied with the expectations of Victorian society and having at the attention of Dr John Seward (Aydan Macdonald) her sympathetic nature finds her drawn to Renfield — and by proxy Dracula (Arzaneira Deepsri). This is an interesting sideways method of tackling the story and it's telling that Mullan's invented scenes are stronger than the ones pulled from the book. Deepsri gives an interesting, almost Lugosi-esque, performance — rolling both her 'r's and her eyes — and it's certainly novel to have a Dracula noticeably shorter than the rest of the cast. Lucy's resurrection as the 'bloofer lady' should be chillier or more grisly (or both) and the ending isn't as effective as it could be, but this is still good gothic fun. RORY FORD until 22 August Wenches! Greenside @ George Street (Venue 236) ★★★☆☆ Three lively performances and some inventive video effects go a long way to keeping this sly medieval satire fizzing. Set in Berlin in 1423, two peasants, Bertegilde and Nortburga (played by co-writers Maya Le Roux and Bianca Waechter) are feeling a little down after watching one of their friends burned at the stake. Deciding to visit the local witch (a perfectly cast Derya Celikkol) in an attempt to say a final farewell to their late bestie they get rather more than they bargain for when they unwittingly rip open the gates of space and time and gaze upon the sum total of human knowledge — the internet. Advertisement Hide Ad Advertisement Hide Ad Produced by the Berlin-based, female-led Hysterie Theater, this is funny and absurd without ever really becoming absurdly funny. The script isn't quite as sharp as it could be, but it's fun to watch Le Roux and Waechter as they embrace feminism, post-feminism, performative hashtag political activism, and Crocs. While the satire is handled about as lightly as you could wish, the conceit of Bertegilde and Nortburga hosting a podcast is a bit of a drag on the show's momentum in the latter half. Even so, it's still a bright and funny hour, stylishly directed by Antonia Reinisch – and Celikkol's disarmingly modern witch is a hoot. RORY FORD until 23 August The Forum C aquila (Venue 21) ★★☆☆☆ It's seldom a good sign to come out of a show unsure of what you've just seen. And not in a pioneering-experimental-theatre kind of way. In the case of Desmond Devenish's fraught solo play, it's simply a case of heavy accents, swallowed words and quick but uneven rhythms obscuring the details of his dark tale of ambition, extremism and justice. Its themes are timely and provocative, but The Forum needs some substantial pruning and clarifying, and its delivery stripping back to basics, before it can make its mark and achieve the potential it surely has. DAVID KETTLE until 24 August
