Posted inOxford News The niche, the funny, the outrageous: Halfway Hall 2024 in review by Lottie Newell February 19, 2024February 19, 2024
Posted inCulture Kaye Donachie’s Song for the Last Act Exhibition: A Retrospective by Ella Myers December 20, 2023December 19, 2023
Posted inCulture The Brit Awards Nominations: Insincere Inclusivity? by Charlie Bowden January 28, 2023February 1, 2023
Posted inIdentity ‘Under Siege by Women’: Everything We Take for Granted at Oxford by Lucy Heywood June 29, 2022June 29, 2022
Posted inColumns The problem with reclaiming femininity by Iseult De Mallet Burgess April 2, 2022April 2, 2022
Posted inThe Second Sex Neurosexism: the myth of the male and female brain by Iseult De Mallet Burgess February 11, 2022February 12, 2022
Posted inColumns Disability Looks Like This: On disability, misogyny, and performing womanhood wrong by Ellie Redpath May 2, 2021May 2, 2021
Posted inColumns More than a Fairytale: the (s)hero complex by Jessica Steadman April 11, 2021April 11, 2021
Posted inRelationships Maneater: why the ‘femme fatale’ is more destructive than empowering by Bethan Draycott March 30, 2021March 30, 2021
Posted inColumns Nice To Meet You, I’m A Slut: ‘Post Nut Clarity’ versus ‘The Dick Haze’, Gendered Responses to Sex by Alice Garnett January 26, 2021February 11, 2022
