3 Heads Agency is a family-run video production and social media agency.

On working with established names such as Chelsea FC, Champneys and Lego, Ross is “proud of the work we deliver, the clients we work with, and where we’re going”, and says what continues to motivate him is the team that comes in everyday.

Ross Testa is the Founder of 3 Heads. The name of the business reflects the family and their Italian culture. Their origins are in Italy, and there are three members of the Testa family who are a part of the company - Roy, Jodie, and Ross. Jodie is Ross’s sister, and Roy is their dad. Their surname, when translated into English, means ‘Head’, creating 3 Heads Agency.

Ross says: “there is a lot of respect between my sister and my dad, just like any other business partnership.” Family is an integral part of Italian culture. “You get to answers quicker because families are direct and honest. They will tell you when something could be done better. I feel very lucky to have that, and there is a lot of mutual respect.” When talking about Roy, who is managing director, Ross says “he brings huge value to the team and the dynamic of the business”, and is a “great asset”.

Whilst starting up the business, Ross was balancing with university and a full time job. When reflecting on his journey, he said: “we started at a time when social media was really taking off. Back then it was Facebook, Instagram and Twitter, and Instagram didn’t even have video yet. What we discovered was the huge demand for content, especially video.”

“Companies were struggling to produce high volumes of video for social media and websites, so we positioned ourselves as the partner to do that.” Looking at social media platforms now, there are apps such as TikTok that have taken over, and you can see that 3 Heads have moved with the times.

The business stays in touch with evolving trends and landscapes “through industry events, training, and relationships with the platforms themselves.” Additionally, “spending time with platforms like Facebook, TikTok, Instagram and LinkedIn helps us understand what’s coming.” They stay at the forefront of video production through ongoing industry training.

An example of a case study success story taken from the 3 Heads Agency website, is Bebeto. Bebeto is a popular Turkish sweet brand. Their aim was to grow brand awareness in support of the first UK store launch. In a year, 3 Heads Agency had grown the TikTok from 0 to 43,300 followers and reached over three million people with the content they produced.

In addition to video production and social media, the business also offers other services such as podcast production, live streaming, and personal branding.

3 Heads have worked on personal branding for clients such as Touker Suleyman (Dragon on Dragons’ Den), David Haye (Former World Heavyweight Boxing Champion) and Charlie Sloth (DJ and TV presenter).

Robin Deller, Founder and CEO of Imagine Cruising has previously said, “the quality of the product from any video agency is obviously vital to us. You’ll clearly see and very quickly see from the interaction we have with 3 Heads Agency that they take extensive personal pride in all the work that they deliver.” “That need for them to deliver you with the most amazing outcome is definitely something that they strive for every single time and we find that makes a significant impact on the final results that we see.” Imagine Cruising have found over time that customers want to know more about the holiday they are going to travel on, before they go ahead with the booking.

“If you’re serious about getting great results from your video content I cannot recommend 3 Heads Agency enough.” A fine example of a happy client, and work that 3 Heads have delivered on.

There was a campaign with Simba Sleep that Ross’s other family members took part in. “My niece and older sister were involved, and we’re a very close family. Seeing my niece involved in that campaign made me really proud.” This shows just how much Italian culture revolves around family and the importance that is placed on it.

Combining business and family have created an incredible force. “We’re partners to some of the biggest brands in the UK, including Lego, TUI, and others.” Supported by their clients’ testimonials, this is a testament to the repertoire that 3 Heads Agency have built.

Ross says: “I’m most proud of the fact that I genuinely love going to work every day. It doesn’t feel like work, and my team says the same.”

There is a growing epidemic of loneliness worldwide with recent reports from the World Health Organization (WHO) highlighting the severe health risks associated with human disconnection. We looked at this dilemma closer, a dilemma in which you might find yourself right now.

You’re reading this on a screen. You’re talking to your friends through a screen. We can access the whole world through our screens, and connect with anyone around the globe.

And yet, young people are feeling lonely. “I knew lots of people, but I didn’t feel close to anyone,” is what an international student from India told Cassandra San Carlos for our lead story:

But being alone doesn’t necessarily mean being lonely. Increasingly, some travellers are deciding to go solo. And thus, solo travelling has developed into a business for influencers, as Anna Savage explores:

No matter where you travel, people are not only struggling to connect with each other but also with our mother nature. Our writer Jon Miller tried to reconnect to the wild:

Human Connection goes so much further than our daily interactions, it touches all areas of our lives. Caitlin Tkach considers how women are navigating the arts as an area of Balancing Gender Inequality.

Fran Seabrook talks about how fangirls feel like it’s an act of rebellion to find belonging through a mobile when many claim it takes away from human connection.

Sungmin Ahn shows us how it’s ok to fall in front of others and keep persisting. Further afield we see how Japanese cinema is received in the West and creating connection between cultures.

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‘What was that?’ I ask, spinning around, binoculars at the ready, expecting to spot whatever creature made that shrill cry.

‘That’s a tree,’ says Neil Bucknell, a lifelong birder who has spent most of his sixty-nine years honing the craft.

He nods toward the wind, which has set a pair of willow branches rubbing together. ‘That’s the problem when you’ve got weather like this.’

We continue along the muddy path. Our Wellingtons sink to mid-calf as we search for birds brave enough to face the winter storm.

‘That noise you hear is a redwing. And that’s a magpie,’ says Neil, reeling off identifications like a human Merlin app. ‘You’ll probably recognise magpies — I think that’s one both we and you get.’

‘Actually, we don’t have them,’ I say with certainty.

I later learn — via Google — that Magpies do inhabit my home country of Canada.

Whoops.

A recent University of Derby study found that Britain — where my father was born and where I’m currently based — and Canada — where I’ve lived most of my life — rank among the least nature-connected nations in the world.

How could this be?

I’d seen enough David Attenborough documentaries to know the UK isn’t exactly short on wildlife. The same goes for Canada, particularly British Columbia, where I’m from, with its towering pines and orcas peppering the coast.

Also, in both countries, I know plenty of people who spend time outdoors, whether running trails, cycling up mountains, or paddling in kayaks.

But instead of dismissing the findings outright, I decided to see just how connected to nature I am.

‘Sounds like a bunch of something,’ I say, trying to take the birdspotting burden off Neil.

I ask what the secret to recognising them is. He says it’s all about matching the bird to the sound — but our lesson is interrupted by a barbed-wire fence across our path.

We climb over it gingerly and carry on.

Eventually, we come across a redwing — by ‘we’ I mean Neil — perched high in a tree.

Like an eager student trying to impress a sommelier at a wine tasting workshop, I offer: ‘It’s almost like a chestnut brown,’ surprised by how little red there is in a bird named after the colour.

Perhaps in an attempt to build my confidence, Neil points to a group of birds settled in an open field.

‘You’ll probably recognise these boys,’ he says.

‘Canada geese!’ I cry, relieved to see a reminder of home — and to finally get something right.

Neil explains that Canada geese are an introduced species, so these are likely UK-born.

I’m thankful for the clarification. I was about to ask if this might be the very same flock I’d seen flying in a V formation back home, some 5,000 miles away.

Watching Neil move so effortlessly through the landscape, I couldn’t help wondering how our relationship with nature in this county has changed — and when we first began to appreciate it.

A little online digging seemed in order.

In 1889, Lancaster-born Emily Williamson was appalled by the slaughter of birds to feed a fashionable trend: feathers adorning hats, clothes, and accessories.

In response, she gathered a group of women to discuss how to stop the plumage trade and had them sign a pledge to ‘wear no feathers.’

That small meeting grew into what is now the Royal Society for the Protection of Birds, while the pledge became the Importation of Plumage (Prohibition) Act, which banned the trade in exotic feathers.

Attitudes were also shifting elsewhere.

A decade after Williamson’s campaign began, British ornithologist Edmund Selous — who was then in the habit of shooting birds for study — had his own epiphany.

While observing what he first took to be a piece of tree bark, he realised it was a nightjar, perfectly camouflaged.

Astonished, he wrote in his journal:

‘Let anyone who has an eye and a brain (but especially the latter), lay down the gun and take up the glasses for a week, a day, even for an hour, if he is lucky, and he will never wish to change back again.’

‘So where would most of the birds be hanging out?’ I ask as the landscape grows eerily quiet.

Neil explains that most birds hunker down in vegetation when it’s cold and windy to avoid heat loss, though those in open country — like geese and ducks — don’t have that luxury.

‘I see them on really cold days,’ I reply. ‘They always look so miserable just hanging out on the water.’

Even so, if you lined up a row of mallards, I doubt I could tell the content from the unhappy.

‘I can hear another kingfisher,’ Neil says, picking out a faint, high-pitched call nearly lost beneath the rush of the river and the rain beginning to fall.

‘Really? You can hear it through the water?’ I ask.

‘Well, I might be nearly seventy,’ he says, laughing. ‘But I’ve still got my hearing.’

If my birdwatching debacle was any indication, the gap between me and the natural world was only growing.

At a loss, I turned to Miles Richardson, the University of Derby professor behind the nature connectedness study, to see where I was going wrong.

‘Being “in” nature can be passive,’ he says. ‘Nature as a backdrop while doing other things.’

Nature connectedness, on the other hand, is a measurable psychological relationship with the natural world.

‘So it’s possible to be connected to nature when you’re not in nature,’ he adds.

The good news? Getting started, Richardson says, is easy:

‘Simply taking a moment each day to note the good things in nature.’

‘We don’t want you being swept away,’ says Neil, guiding me along a stretch of towpath not yet swallowed by the rain-swollen river.

As we head back, the darkening sky drawing our day to a close, I take comfort in knowing that if I were to tumble into the Thames, he could relay my location to rescuers, distinguishing my distant hollers from the Canada geese squawking in the field beyond.

There is something counterintuitive about skateboarding. It asks you, again and again, to fail in full view of others, to fall awkwardly and visibly with no easy way to disguise it, and to persist where progress is slow, uncertain, and often painful. By most measures, it makes little sense to get on a piece of wood and go on a war against the g-force.

Yet, it endures, not just as a sport, but as a culture that takes shape in public, carrying traces of resistance to structure, authority, and the expectation of staying in designated places.

For Nicholas, an artist and coach within the Melanine Skate Gals and Pals(MSGP) community, the process itself is central. “Skateboarding is mostly failure. It’s about falling, getting back up, and trying again - over and over,” he says.

Once internalised, he adds, the logic extends beyond the board. “What I liked was the process: figuring things out, making micro-adjustments, reflecting on what you’re doing right or wrong. You can repeat something endlessly, but unless you reflect, you won’t improve. It forces you to think. It’s almost like a creative process.”

Where keeping your head down is culturally rewarded, skateboarding runs directly against that logic. It is less a matter of noise than exposure. To step onto the board is to accept being seen, even in failure.

“To skateboard, you have to take up space. You can’t shrink. You make noise. You fall. You get back up. In a world where people of colour are often told to blend in, especially in the UK culture of ‘keep calm and carry on,’ skateboarding forces you to be visible.” Says Marie-Ermelinda Mayassi, the founder of MSGP skate collective, known as ‘Maz’ within the community.

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MSGP began simply, with a Facebook post and a few informal meet-ups in London’s Olympic Park. At first, it was merely flat ground skating. No infrastructure nor formal structure. People showing up, trying, and staying.

Then it quickly became clear why it mattered. Many who came had never felt comfortable in traditional spaces. Not because they lacked spaces, but because they lacked a space within them.

“Skateboarding became a way to create joy and emancipation for black people and people of colour. It’s about play, creativity, and meeting others outside the 9-to-5. It challenges limiting beliefs and the everyday impact of racism. It builds solidarity,” says Maz.

Even though that purpose took shape, it went largely unrecognised. “For a long time, the wider skate scene didn’t fully recognise our work,” she adds.

Whereas, on the ground, something was already building up. “When National Geographic listed the Olympic Park among the top ten skate spots in the UK - even though it wasn’t technically a skate park, just flat ground we activated - it showed the power of community.”

“Later, working with partners, we helped build an actual skate space in Olympic Park. That gave us a safer, more permanent home. Adult beginners, especially, can feel exposed in traditional skate spaces. Having our own space changed that.”

As more people showed up, informal sessions turned into lessons. Those who stayed were encouraged to teach. After enough sessions, potential coaches were supported through formal Skateboard GB qualifications, creating pathways that hadn't been spotlighted before.

Over time, the community expanded beyond the sessions themselves. Workshops, creative projects, and paid opportunities began to take shape, often led by members of the group. What began as a gathering became more deliberate. Visibility turned into structure. And structure into opportunity.

“Since we started, we’ve worked with around 3,000 to 4,000 people. We’ve provided over 400 paid opportunities - coaching, DJing, creative roles - often hiring directly from our community.”

That presence now carries into other spaces. At 33 Manor Place, a free indoor skate space developed with Nike and Palace, weekly Sunday sessions continue, drawing in new skaters and first attempts.

What keeps them there is not simply access, but the process of the struggle itself. As Nick puts it, “Being unafraid to scrutinise yourself, to reflect deeply; that’s essential in both skating and art. Skateboarding taught me how to deal with failure. Nothing else feels as overwhelming. You understand that struggle is just part of the process of getting better.”

Skateboarding, today, is no longer confined to the margins. Olympic inclusion, global brands, and commercial growth have brought it into wider view. But not everyone has been brought into that visibility equally. The gap is not always explicit. It exists in who is seen, who is supported, and who is expected to belong. In that context, spaces like MSGP do more than create access. They shift the terms of visibility itself.

Meanwhile, the question of who gets to be seen extends beyond London. In other parts of the world, skateboarding continues to grow under different conditions. MSGP’s work across African countries reveals a landscape rich with talent and energy, yet less visible within the global conversation.

For Maz, the aim is not simply to diversify skateboarding but to shift awareness. By 2030, she hopes that skaters in the UK will know their counterparts in places like Senegal, Ghana, and South Africa. Not as distant scenes, but as part of the same culture.

Back on the concrete, the rhythm is familiar. A board slips forward. Someone hesitates, steps on anyway, then either falls or rolls away.

Here, to stay is to learn. To learn is to be seen.

Perhaps this is because the arts tends to be discussed as a softer and more feminine feild compared to other sectors, like business or science, that are often stereotyped as serious and a man’s domain.

Nonetheless the Making their Mark Forum, created by Komal Shah and Gaurav Garg, brought inequality facing women in the arts to the forefront.

The forum hosted a panelist of guests from an array of backgrounds. A mixture of CEOs, artists, journalists and academics all speaking on the inequality currently facing women - the consensus that the art world was still falling short on equity for women artists.

Shocking facts were discussed at the forum illustrating massive inequality in the rate of womens share of the art market. If it continues at the rate it is currently increasing, parity with men will not be reached until 2053. In terms of 21st centuary feminism, this seems outrageously arachiac.

Anecdotely, I asked Isobel Parry, third year Fine Arts student at Oxford Brookes’ University, about her exposure to female artists in her studies. She smiled and said, “Although our class is almost all girls, a lot of the artists we are taught about over the course are predominantly male.”

On The Current Landscape

As an attempt to understand the data behind this inequality, I spoke to one of the Making Their Mark panelists, and professor of finance at Oxford Univcersity, Dr. Renee Adams. Dr. Adams explores topics of gender inequality and stereotypes in both her work as an artist and as an academic.

In her art work, she investigates power structures that control our society. Dr. Adams jokes that she is the longest serving student at her school, Warehouse Art School, and that she ‘will probably never graduate.’

Last year, Dr. Adams’ end of year project looked at ‘men of action or men of inaction.’ She explained that to make this piece she placed small paper mache figurines of men infront of concave mirrors so they appear to themselves as being larger than they are in reality. Dr. Adams anecdotes this project by joking:

“So basically it was about the guys thinking that they’re much bigger than they actually are…so I was a bit worried that it was too obvious…but I just had to do it you know?”

Are these the power dynamics at play in the art world? I wondered. Systemic economic oppression of women, accumulating in men obtaining spending power in the art market and supporting male artists over females? I have seen reports by large art platforms, and messaging on social media that more women are entering the market and will attract a new wave of feminism and equality.

When I asked Dr. Adams about these trends that I perceived she responded, “There is a story out there…suggesting that women are now going to come in and solve all of the womens problems…which is problematic in some sense because that means that there is no responsibility.”

Dr. Adams is an expert in data analysisation in her academic career - until there is transparent data from a concrete methodology the idea that women will come in and solve womens inequality in art may just be, as she puts it, ‘a nice story.’

This is made me question, how are young women in art navigating through this world of gender inequality?

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On Changing The Narrative

Female art collectors have a specefic relationship to gendering within the art world. By profession, art collectors have power to control a narrative. So how do women navigate this power in a world that undervalues and underrepresents womens work?

I spoke to Tia Tanna, 25 year old founder of the Tia Art Colllection, on how she views the industry, and social responsibility, as a young woman collector. Tanna is not naive to the power and responsibility that comes with her reach and impact. She effortlessly synopsises her role as a young woman collector by stating,

“Access doesn’t just validate the work; it creates visibility and shapes what gets historicised.”

Tanna agrees that there are few women in the collecting space, but mentions that the most exciting young collectors she is currently encountering - who are thinking seriously about meaning and community rather than just market value of a piece - are women!

“The boundaries between fashion, design, and fine art, which have often been policed in ways that neatly map onto gender, start to feel less fixed. That feels like genuine progress to me, not just for women but for the field.”

On Making The System Work For You

The value based gendering that Tanna discussed between fine arts and couture, was mirrored when I talked to 22 year old Oxfordshire artist, Freya Mizen. I asked Mizen if she saw the arts as being a financially viable option for her career, her answer was succinct and spoke volume:

“To be honest, no. That is why I chose to do physiotherapy instead, so I could have a stable income and do art on the side.”

Mizen says she see’s the most value in using her art to make creative art campaigns in global health and to communicate new research and innovations.

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As the age-old saying claims: where there will be musicians, there will be a flurry of fangirls following. Whilst ‘beatlemania’ could be considered the birth of the modern fangirl, the term was first used in 1943 by A.P Herbert, and fangirl behaviour was labelled in 1844 as ‘lisztomania’, in reference to composer Franz Liszt.

Yet, despite this consistency, being a fangirl has transformed from a solo endeavour, with fan clubs prioritising keeping fangirls informed rather than connected, to a welcoming group experience, thanks to the rise of social media. And whilst concerns about social media and a potential ban for under 16s has been raised in the UK, it is difficult to not see the appeal of what this generation of fangirls has to offer.

‘Stan’ Twitter (now ‘X’) and TikTok in particular, named to differentiate the casual fan from the true, dedicated ‘stan’, has become a home for many to openly share their intense love for an artist without fear of being labelled strange. Online fandoms come in all sizes with wide diversity, yet a sense of belonging is inevitable through having a debatably insignificant thing in common.

Online listening parties and planning how many dates you absolutely need to be at for your favourite artists’ next tour are essential fangirl bonding experiences. Making ‘mutuals’, a term used to describe when two accounts mutually follow each other, grows to being a part of groupchats, allowing fans to discover similarities beyond their love for the same artist and grow a genuine friendship.

Posts are swapped for messages, messages for long facetimes, until the friendship transitions to real life, where fangirls can barely imagine their life without the people they would not have known existed, if it weren’t for social media.

This is the case for Lara Mountford, a proud fangirl who entered online fandom spaces at the age of 12, and is now 21. She explained to me that while getting into fandoms young, “at the time, I thought, this is just what I need. And to be fair, it was.”

She stated how group chats are born out of fans going to the same tour date, propelling online connections straight into the real life sphere.

“I’ve seen The 1975 in Birmingham, with some people from a group chat who we’d never met before the show, and we just met up and went together, and it was great. It felt like I’d known them for ages, and I literally never met them until that day.”

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In an age of loneliness, for many fangirls it feels like an act of rebellion to find belonging through a device that many claim are taking away from the value of human connection.

With the distance from real life, fangirls become a safe space for each other to both share any worries, and escape the baggage of real life. Finding successful, long-surviving friendships can feel easier online too, due to the instant filtering of people through interests and the lack of location as a barrier.

Lara found this aspect of fangirl spaces invaluable, due to her living far away from London, where a lot of concerts, thus fangirl activity, take place.

“There’s not a lot going on [in Devon]. So in the evenings, especially when I was younger as well, before I could drive, I didn’t have much to do, so I would either watch films and listen to music or talk about films and music.

“When I was younger, it was definitely an escape from school. And when you’re a teenager, you need to escape somehow.”

The appeal of escape in online fandoms can be especially true for those in minority communities, for example people of colour, the LGBTQ+ community and neurodivergent people, who may struggle to relate to those in their real lives.

Dr. Eva Cheuk Yin Li, a media and cultural studies researcher at Kings College London, explained:

“These spaces often feel safer because they allow people to experiment with identity and desires, find validation, and build relationships around shared passions rather than conforming to social norms.

“While online platforms and intra-group fan dynamics can be far from perfect, the ability to curate community and participate can make fandom a profoundly affirming space for those who don’t always find that recognition offline.”

Minority communities within fandoms are embraced through hashtags to celebrate particular groups of fans within communities, from black women to autistic people. Pride flags appear in profile pictures, and the complete normalisation of featuring pronouns in profiles reduces fear of being misgendered.

Fangirls’ support grows by coming together to fundraise, aiming to make a larger impact beyond their community. For example, Harry Styles fans fundraise to celebrate his birthday every year, for non-profit organisations such as Black Girls Rock, Transline and Islamic Relief.

This generosity extends to fellow fangirls, with Lara explaining how one of her online friends “had a house fire and she tweeted about it, and she ends up getting a lot of money in a GoFundMe, because all of her merchandise and everything’s obviously destroyed.”

Being a fangirl is no longer something to indulge in by yourself. Social media has become an integral part to the fangirl experience, allowing many to feel loved, accepted and develop a strong identity of who they are even outside of being a fangirl.

Lara continued that without this 9 year experience, she thinks her life “would be really boring.

“I think I would just act completely different. I think I would be a lot more introverted, a lot more quiet and keep myself to myself.”

No matter how loud a fangirl may scream when their favourite artist comes on stage, or how many tissues they use when listening to a new album, it is safe to say being a fangirl means so much more than love for an artist. It means being truly part of something, and whilst there are valid concerns surrounding social media, it is important to not forget its value.

What comes to your mind when you hear a Japanese film?

Perhaps it is not easy to define exactly, since manga and anime culture have been deeply ingrained in people’s minds.

Regarding Japanese artifacts, there was a boom of Japanese art in Western culture in the late 19th century, when Ukiyoe was exported.

After that, Japanese cinema suddenly emerged into Western consciousness in the 1950s, according to Dr.Alexander Jacoby, Senior Lecturer in Japanese studies at Brookes University.

Such cinema was considered an elite and prestigious pastime at that time.

“There is definitely a new populism to the way in which Japanese arts are received in the West, especially among the young people” he said.

He told Hybrid Magazine how students react to Japanese artifacts.

“Perhaps engage with the image of Japan that’s created by manga and anime, and maybe they’re less certain about what the reality holds for, if they go there.”

The Japan Film Tour Programme 2026

Then what is the reality of Japanese culture through films?

Changing such a uniform image of Japanese films, the Japan Foundation started a project called “The Japan Film Tour Programme “.

This project has been continued for 23 years, and this year’s theme is “Knowing Me, Knowing You”.

In a divided world, the self-image is easily distorted by others and social media, so having one’s true self is crucial. Junko Takekawa, Senior Arts Programme Officer of the Japan Foundation London, carefully selected films that fit the theme.

She raised one of the selected comedy films, “Strangers in Kyoto ぶぶ漬けいかがどす” to explain the core theme of this programme.

Kyoto city is one of the traditional and popular tourist destinations, located on the island of Honshu.

One of their culture is not speaking directly, and the famous phrases is “Would you like some bubuzuke?” actually means “Please go home early” when the guest is not favourable. This phrase is used for this Japanese film title as well.

“This illustrates the gap between the surface and the true intent”, she added.

“This film also shows the gap between the ‘image’ of Kyoto held by outsiders and the reality of the residents who might find it difficult to live in. Ultimately, there is a gap between ‘the constructed image’ of Kyoto and the reality of those who inhabit it.” she explained.

In this programme, one of the notable comedy films is “The Hotel of my Dream 私にふさわしいホテル”, whose original work was Yuzuki Asako, who is famously known as the author of “BUTTER”.

The Japan Foundation once teamed up with her at the Cheltenham Literature Festival, so that she contributed the text from program notes.

BUTTER is famously known as one of the translated Japanese novels successfully in the UK, for example, this crime and culinary fiction won the Waterstone prize in 2024.

Polly Silk, Senior Lecturer in Publishing at Brookes University, shared why BUTTER got popular with Hybrid Magazine because it was clever marketing, such as book covers and positioning of genre.

“The feminist satire angle is also likely to have played a role as this is a theme that UK readers seem to look to East Asian voices for — the recent growth in UK sales of Japanese and Korean fiction has seemed to favour female authors and feminist perspectives. In the past, this area was dominated by male voices.” She analysed the reasons.

The Japan Foundation is also putting effort into introducing Japanese literature as well.

“Today, many exceptional films are being made based on novels, much like in the past. Given the current boom in translated Japanese fiction, we are passionate about introducing diverse authors alongside their cinematic adaptations.”

She also shared the unchangeable goal to reach new audiences who have not seen Japanese films before.

“We value those regional venues even if the audience numbers fluctuate. As long as the venue is willing to take a risk and collaborate, we want to continue” she added.

The commitment by the local cinema

The Ultimate Picture Palace (The UPP), one of the independent and community-owned cinemas in Oxford, makes it possible to achieve it.

This theatre screens unconventional films, including international films, so that it nurtures the bond between audience and theatre.

“Our audiences in particular love being exposed to different cultures, filmmaking, and storytelling as well.” Tom Jowett, a Head of Programmes and Partnerships of the UPP, spoke with the Hybrid Magazine.

With only around a dozen Japanese films shown in the UK per year, the UPP tries to encourage audiences to take a chance on films which they might not otherwise see.

The partnership between the Japan Foundation was established three years ago out of a commitment to screening a broader range of Japanese films.

Over the last two years, they organised Q&A sessions with the director as well.

Furthermore, they have started teaming up with Japanese film club which screens mainly 1980’s and 90’s classical films over the last summer.

Will, having eight years of experience as a filmmaker in Japan, was selected for the screenings.

Both Tom and Will empathise with the same core values: the importance of building community and the power of cinema as a medium for artistic expression.

The UPP is undoubtedly to say that it is one of the few cinemas dedicated to bringing a wide variety of Japanese films to the audience; however, it has faced closure.

This leads to losing one of the places for social connections and hubs for not only Japanese films but also international films.

Cinemas are key cultural institutions that keep art accessible while playing a crucial role in strengthening community bonds.

It is time for us to stop and reflect on what we are losing.

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“I really hope that it opens up everyone’s eyes to travel, and makes them fall in love with it, the way I did.” These are Briana Morger’s hopes for her first group trip to Costa Rica.

Briana is a content creator who documents her solo travels on Instagram. Social media is awash with travel influencers sharing the highs and lows of solo travel, their favourite destinations, and recommendations with their followers.

AirBnB described solo travel as experiencing a renaissance in their travel predictions for 2026. Solo travellers are focusing on self-discovery and prioritising “me time”, using their holiday as an opportunity to slow down.

But solo travel doesn’t always mean travelling alone. Group travel operators have offered solo-friendly options for a while. Intrepid Travel launched their first tours designed for those travelling alone back in 2018 due to an uptick in solo bookings.

Influencers are presenting a new offering to would-be solo travellers and invite you to take that trip with them. Instead of joining an anonymous group trip, here is a guarantee that there’ll be a familiar face - one you’ve seen all over your socials.

Caroline Edwards reports on online trends for CORQ, an influencer intelligence service. She thinks that influencers are using group trips as a way to diversify their revenue stream.

“Creating a community and having an offline community has been really key, especially that they don’t have to rely on algorithms,” she observed.

Travel solo, but not alone

Whatever their motivations, the trend seems to be resonating.

One of the reasons is that there is still hesitancy to travel alone. Almost a third of Americans are afraid of solo travel according to a survey by Talker Research - and among those who haven’t tried solo travel yet, safety concerns were the top reason.

Laura Ericson runs her own travel company and takes small groups to destinations all over the world. Interest is growing so much that she predicts she will no longer be able to attend every trip herself.

“I realised I could kind of fill my own need and desire of wanting to travel to more off- the-beaten-path destinations and not have to go alone,” she said.

Combined with a reluctance to travel alone, there’s strong demand for long-haul travel destinations. The ABTA Travel Trends 2025 survey suggested that over a third of UK adults planned to visit locations outside of Europe.

Long-haul trips require more planning, and for some, this is off-putting. If you’re travelling alone, there’s additional pressure to get it right.

Caroline Edwards at CORQ thinks it’s no coincidence that influencer trips are often to far-flung destinations, “places that… you potentially wouldn’t want to go to alone because the culture is so different and there might be safety concerns.”

Group trips come with an itinerary and the reassurance that someone else is organising everything on your behalf.

“There’s that ease … and that peace of mind. Like, okay, everything’s taken care of. I don’t have to lift a finger,” says Briana Morger.

Find someone you trust

Briana thinks it’s sensible that some might be doubtful about trusting an influencer they’ve never met in real life.

“You’re trusting a stranger on the internet, essentially, to go across the world and meet up with them. I fully understand it,” she said.

However, most influencers are working with a reputable travel agency like TrovaTrip or, as in Briana’s case, Worldpackers. These companies are doing the planning, while the influencer-host brings the group together and takes the lead while you’re actually there.

Briana’s advice is to ask for a call with the influencer for reassurance. She thinks that reputable creators should make the time to meet and discuss if you request it.

She adds, “If they’re just all about the sale, or just don’t feel reputable, follow that intuition.”

Krystina Smith has lost count of how many trips she has taken with Laura Ericson. She likes that Laura always visits a destination before, which is not always the case with influencer-led trips.

“I feel like, when I travel with Laura, I’m going to be in good hands,” she said.

Find your niche

Another common concern is that influencer-led trips will be hyper-focused on getting content for social media feeds. And these trips do exist. Some travel influencers organise trips that are a crash course on how to make engaging content and become a successful content creator.

Laura Ericson said “You’re bringing people that have the same interests… who won’t be annoyed by everyone having their phones out, filming their dinner.”

She continues, “You know you’re all in the same place and you have this common goal.”

But there’s other types of trips, such as wellness retreats, and it’s about finding something you identify with. For example, Lindsey Holland (@marnierays_) hosts women’s surf retreats, which welcome women with all levels of surfing skills.

Find new friendship

You might instinctively look for a trip with people in your age bracket. However, intergenerational trips do exist, and they can be a surprising way to connect with people.

Laura Ericson’s group trips generally attract travellers in their 30s and 40s. But her oldest traveller was 77 years old.

She said “I’ve just seen a lot of friendships form between different generations, and I haven’t found that it [age] matters.”

The online relationship between influencers and followers is one-sided, a type of parasocial relationship according to experts.

Dr Hannah Yelin has written extensively about women in the public eye. Her research into parasocial relationships suggests we should be doubtful about whether influencers, always accessible online, can form genuine friendships with followers. This online exposure can be dangerous, according to Dr Yelin.

She says “This is a fantasy of absolute access that is inevitably impossible to deliver on.”

Briana Morger is more optimistic.

“I think that it’s so special, and I think that’s why most people go on these trips to have that connection and friendships. It’s like built-in friendships… it’s just going to happen naturally.”

For a growing number of university students, it doesn’t look like loneliness. It looks like full calendars, busy groups chat, last minute plans. It looks like a crowded kitchen in the student halls, music spilling into the corridors, people laughing over cheap drinks. It looks like a connection.

But behind that noise, something else is quietly taking hold. A December 2025 study by PfP Students found that 70% of students in the UK have felt lonely or isolated, with one in three saying they feel this way often. Nearly half struggle to make friends where they live, and 43% say they feel isolated in their own accommodation.

These concerns start even before university begins. Government research shows that more than half of students (52%) worry about loneliness more than money, academic pressure, or even fitting in.

In cities like Oxford, where something is always happening, this reality feels counterintuitive. Students are constantly surrounded. By people, by notifications, by opportunities to connect.

And yet, for many, something doesn’t quite translate. Connection is everywhere, closeness is not.

Student loneliness in university halls in England

“I knew lots of people, but I didn’t feel close to anyone”

We have never been so connected. Messages are instant. Our social lives are on full display. Apps promise friendships, romantic relationships, and endless opportunities to meet people.

But being connected does not mean being close.

Loneliness isn’t simply the absence of people. It’s the gap between the relationships we have and those we’d like to have. You can be surrounded by acquaintances and still feel that nobody really knows you.

Mahesh Singh, 29, is an international student from India. He arrived in Oxford hoping to have a busy social life. “At first, it was exciting. I was constantly meeting new people. In lectures, at events, and through societies.”

His days were soon filled with socialising. On the surface, he was far from isolated.

“But after a few weeks, I realised something was missing. I knew lots of people, but I didn’t feel close to anyone.” This feeling became more apparent in those quiet moments. “You go out, you talk to people, you laugh… but then you go home, and there’s only silence.”

Maintaining relationships with loved ones back home brought him some comfort, but also highlighted the distance. “You lead two lives at the same time. One where everything is familiar, and the other where everything is new. And sometimes, you don’t fully belong to either.”

“You have loads of conversations, but they remain superficial”

We often think of loneliness as a state of isolation. But for many students, it manifests itself in the midst of a very active social life.

Shirine Rabbat, 20, a second-year Swiss student, describes herself as an extrovert. She goes out regularly, is a member of several societies and rarely spends a weekend on her own. “I’m always busy. I know lots of people, I go to events, I’m constantly surrounded by people.”

But that doesn’t necessarily translate into closeness.

“It might sound strange, but you can be surrounded by people all the time and still feel quite lonely. You have loads of conversations, but they remain superficial.” She describes a pattern familiar to many students: superficial conversations and fleeting interactions.

“You meet people, you say ‘we should meet up’, but it rarely leads to anything deeper. It’s as if you’re socially busy, but emotionally not really connected.”

If there’s one thing that should make relationships easier, it’s technology. Students are constantly reachable. Via Instagram, WhatsApp, dating apps or never-ending group chats. But this constant connectivity often creates the illusion of closeness rather than the reality.

A study by the University of Manchester published in July 2025 suggests that passive use of social media (scrolling, watching, comparing) can actually heighten feelings of loneliness and inadequacy.

For international students, this challenge is often compounded by cultural and language barriers, making it harder to move beyond superficial interactions.

“Social interaction is essential. But it has to be meaningful.”

For mental health researcher Rosemary Chigevenga, these experiences reflect a broader shift. “Loneliness is not simply about being alone. It’s about lacking meaningful social support.”

She points to the environments students are navigating, often highly individualistic, fast paced, and digitally mediated. “In more collectivist cultures, there is a stronger emphasis on togetherness and everyday interaction. In more individualistic contexts, people can become more isolated, even when they are surrounded.”

She also highlights the role of digital habits. “If a platform makes you feel worse, it’s important to step away. Students need to be intentional about who they surround themselves with. People who genuinely support them.”

Her message is clear: connection requires more than proximity. “Social interaction is essential. But it has to be meaningful.”

Part of the difficulty lies in what the students leave behind. The friendships forged over the years cannot be recreated overnight. Back home, bonds formed naturally. An inside joke, an eye contact; at Oxford, it’s back to square one. Phone calls help, but they also highlight the distance.

“You’re constantly maintaining your old life whilst trying to build a new one. It’s exhausting” explains Mahesh. This in-between space, neither quite here nor quite there can heighten the feeling of isolation.

Some students are actively working to change this dynamic. William Nadin, member of the French society, explains that loneliness has become a recurring theme.

“We’ve noticed that people come to events, but still struggle to form lasting connections.” To address this, his society has started organising more intimate and targeted gatherings: coffee meet-ups, alcohol free events and discussion groups.

“The idea is to move away from large, noisy events. These are great, but they don’t always help people form deeper connections.” Instead, the focus is on creating environments where conversations can last longer than a few minutes. “When you give people time and space, they open up more. That’s when real connections start to form.”

‘Punk is dead’

The punk rock band Crass declared these words to the world through their new song. The raw lyrics of this song such as ‘It’s just another cheap product for the consumers’ head’ expresses frustration over the very rapid commercialisation of the punk rock movement since its emergence in the mid-1970s. The band claimed that punk had been turned into a simple and ‘empty’ mainstream fashion rather than a foundation for new ideas and a movement that defies societal establishments. This song released in 1978 showcasing that commodification of the movement and ergo irritations surrounding this started very early in the movement’s lifespan. Now in 2026, we are entering the 50th anniversary of Punk. This year will be filled with events celebrating the history, music, figures and iconic moments of one of the most influential explosions in music. Most notably, punk legends Sex Pistols will return in December 2026 for a UK and Ireland tour in commemoration of the milestone titled “Anarchy In The U.K. Tour”. Reminiscing 50 years later, how accurate is Crass’ statement today? Is Punk still an unfortunate victim of commodification?

British punk was credited to be born in 1976 through the opening of SEX in London (the fashion store established by renowned Vivienne Westwood and Malcolm McLaren) and vulgarised through the notorious work of the Sex Pistols leading the scene’s musical emphasis. Inspired by these two icons, punk rapidly spread and became a movement that opposes pretty much everything, becoming easily identifiable through its focus on DIY (Do It Yourself) production, anti-authoritarian messaging and distinct fashion. During a time of political and economic turmoil, punk was a youth culture that negated the current societal state of living aiming to prompt change through raw music and action.

As previously mentioned, there have been multiple claims of punk going against its anti-establishment identifications due to its absorption into the mainstream whether it be accidental or deliberate from as far back as the late 1970s. This belief is mainly due to big, fast-fashion, street brands adapting the scene into their lines as a response to the sudden explosion.

Punk history Professor Matthew Worley at Reading University spoke about this phenomenon recollecting that “Back in the day, in 77, it was incredibly quick how brands like Topshop and whatever brands in Topshop were repurposing punk style. And even on a very general level, it was incredibly quick how people went from wearing flared trousers before punk to wearing tight trousers after punk.”

Due to this commercialisation it is very easy to claim that ‘punk’, as in the negation of everything conventional, is dead. “I think one of the ways in which punk was appropriated and the way in which punk is diluted or contained is when its signifiers, whether that’s its fashion or whether it’s its sound, becomes familiar and and it becomes codified and is reproduced,” says Worley.

It is not wrong to claim that punk isn’t as predominant in the 21st century as it used to be. However, punk is certainly not dead and never was. In fact, as a response to the previously mentioned song by Crass, a rallying call was created that belted ‘Punk’s not dead!’ The claim that punk has ‘died’ is a consistent cycle within punk history in which the scene constantly adapts to fight against. Worley states that “There’s a great Sex Pistols slogan that they stole from the Spanish anarchist Durruti, which is ‘don’t be afraid of the ruins’. Make something out of the ruins, make something better.” When the punk scene seems to be in ‘ruins’ due to its death claims, the most punk thing that you could possibly do is to take advantage and define something new.

Punk has diversified with time and an active scene truly still exists in the UK 50 years later. Protest and political engagement remains more relevant now than ever. There are always new bands emerging into the punk rock scene, filling up music venues across the country. Matthew Worley talks about his home town of Norwich giving insight into the current activeness of the scene. He has observed the mixed involvement of the older generation and younger generation disputing claims that punk thrives solely off nostalgia. 25-year-old Lexxi has been attending punk gigs and events for 5+ years and notes that the scene exists mainly underground with audiences between 18 and 50 years of age however noting that there is a significant imbalance with the older generation dominating.

“I really hope that because more younger people are facing hardships due to society, the government, politics, etc. a lot of people in my generation and younger are more leftist and more likely to join non conformist subculture. Punk is not dead and will not die anytime soon, concerts and such are still very much thriving,” they said.

Along with this, there has been a revival of DIY ethics through online platforms such as TikTok and Pinterest. One way in which DIY punk culture continues to thrive is through zine creation. Elleanna Chapman from the Grrrl Zine Fair spoke about this overlap.

“We are living through an unprecedented crisis of capitalism, with many young people, being termed the ‘crisis generation’ having known nothing other than war, austerity, and unrest.” Chapman says, “I think punk, if it wants to continue the lineage of its anti-establishment origins, will have massive potential to grow in this next period, as people look to communities, grassroots organisations, and subcultures, for a way to fight back. As long as punk stays DIY and politicised, it should be here to stay.”

Punk’s core characteristic is the ability to adapt and shift. As Worley says, “The punk thing to do is to adapt, adopt, reimagine a way of being that’s different and this distinct.” Due to this punk will never truly die no matter what people claim.

‘Punk’s not dead!’

You walk into shops nowadays and can’t miss the shiny protein bars and powders that fill shelves. I think many younger generations feel more pressure to eat protein than they do to drink alcohol.

Since the pandemic, there has been a huge increase in healthy eating and exercise, not to mention the introduction of weight loss injections. More pubs and clubs are closing down, and the younger generation are getting more slack than ever for not going out. But how much of all these diets that we see influencers promoting all over social media, can we really trust?

The science is correct, yes, protein increases muscle mass and is vital for recovery when lifting weights. But how surprised would you be to find out that a lot of this research is tested on men? The 1.5g-2g of protein per kg of bodyweight is only studied on men who exercise and lift weights. Nicola Cunningham, a food nutritionist looks more closely into how food and nutrition affect the female bodies and the essential food groups required when women train, and some may surprise you!

All of us women know the cravings you get for sugar the week before your period, when you’re searching through your cupboard and regretting your ‘healthy food shop’ because there is now no chocolate in the house and you need a sweet treat.

Nicola explains, “this is when your progesterone is rising, so it is important to eat fruit, vegetables and nuts.” In your diet it is key to have “complex carbs, simply because your body makes progesterone from carbohydrates.” This is why your body craves sweet things as it is trying to create more progesterone.

A good option Nicola suggests is dark chocolate as it doesn’t contain as much sugar but will take away that chocolate craving.

Women can struggle a lot more when exercising than men, due to their monthly hormonal cycle, which isn’t discussed about enough. Now I’m not saying men don’t have hormonal cycles, obviously they do, but these cycles are daily, whereas women have monthly cycles. Very different. Women may beat themselves up about not getting a PB or not being able to lift as heavy weight in the gym as they could the week before. Nicola explains the best times in your cycle to attempt these PB’s, that you can show off on your strava.

Women’s sports nutritionists say “altering your gym routine throughout the month is important.” Nicola says “The first part of your cycle, when oestrogen is rising, you have loads of energy. This is the best time to get those personal bests. If you are weightlifting, you can lift heavier during this time as well. The boost of energy is rising oestrogen ready to release an egg to possibly have a baby. The second half of your cycle, your body is in ‘go steady’ mode, it’s telling you to take it easy.”

Nicola, being an expert in this field, has really noticed the lack of research into this and women specific diets when it comes to exercise. Women don’t need to eat as much protein as men as they physically don’t have the same amount of muscle mass that men do. Unfortunately, that is just our genetics.

As Nicola kept informing me, life is about balance, an 80/20 diet if you will. 80% of foods your body will thank you for, and your gut will love you for, and 20% of foods your eyes can’t resist. Life is too short to not enjoy your favourite foods, but you want to be fit and well enough to be able to enjoy these foods, and for a long time.

Fats are a food group that people often fear but they are really essential for muscle health, the health of your tendons, ligaments and your brain. I’m talking about healthy fats unfortunately, not chocolate and crisps. Fats such as nuts, seeds, avocado, olive oil, that sort of thing. Obviously, too much of anything is never healthy, but fats and protein will help you stay fuller for longer.

“Your body also needs fibre as it feeds your microbiome”. I’m sure you have all seen as many times as I have on social media, the importance of gut health. There are easy daily swaps that Nicola recommended. This includes swapping your carbs for whole grains. Things like bread and pasta, rather than getting white, get wholemeal instead! This follows closely behind the protein craze in supermarkets, with labelling ‘good for your gut’ on products.

Better protein products to eat instead of protein bars and powders include - eggs, meat, greek yoghurt, fish, beans - such as chickpeas and lentils are a much better idea. Nicola interestingly informed me, “You can actually have too much protein which can have a knock on effect on your kidneys. A gram per kilo of protein for women is enough for most people unless you are really lifting heavy weights.”

@milliethenutritionist a student studying nutrition at Oxford Brookes university looked into why protein has become a big topic in the media. Millie says this is because of “heightened awareness of health benefits as well as people being unsure if they eat enough in their diet.”

Interestingly, Nicola taught me about a key phrase to look for in ultra processed foods is “words ending in OSE” . These contain lots of types of sugars. Also, long ingredient lists with words you don’t recognise are best to avoid.

The media is beginning to take more awareness of women’s health and adaptations in diets in recent years. Don’t forget your 80/20 diet. You are still allowed to enjoy your favourite foods… in moderation.

The tradwife trend where domesticity is rebranded as empowering, has quietly embedded itself into Gen Z feeds. Creators like Nara Smith use #tradwife and #feminieenergy to turn everyday labour into something aspirational and increasingly luxurious. And the more you watch, the more the lines blur between lifestyle and expectation. So why is it always womanhood that receives such restricting parameters placed around it? On TikTok, these restrictions are presented as effortless, so subtly that users may not even realise they are consuming it. But the question remains of why tradwife content remains appealing to Gen Z audiences?

Oxford Brookes University lecturer Alon Lischinsky said,

In a post-pandemic world, where we have economic, environmental and political instability, what lies in between is an impending fear of doom for the future. Certainty has become its own currency in this world, one in which seems impossible to attain. “Looking at the past is a way of taking distance from that doom and looking at a time that still had a future and that still believed that the future was going to be easy..” Lischinsky said.

It is clear that nostalgia seems to overpower aesthetics. This allows TikTok to become a place for emotional infrastructure, and the tradwife trend can thrive as it appeals and adheres to this sense of restorative nostalgia. But, the thing with nostalgia is, it never arrives untouched. We don’t realise the political and cultural impact consuming content passively has. Pathum B Rathnayake, an Educational Technologist wrote in an article for Information Matters, “Passive social media use, which involves mindless scrolling… has been consistently linked to negative mental health outcomes”. And, on TikTok where everything is filtered, literally and ideologically, what we consume has a real effect.

The tradwife trend is not a direct return to the 1950s. However, it remains appealing through language and visuals. A return to the past that feels safe even when we all know it never was. When you sit at home ‘doomscrolling’ you think content is neutral but everything has a message. And with the tradwife trend, the message is motherhood is a defining expectation of womanhood. That domesticity is the expectation. And, more importantly, this does not apply to what is expected of fatherhood. Lischinsky explains,

Lischinsky, addresses the larger issue surrounding this trend, which just marks this chapter in late capitalism. When speaking to Oxford Brookes University students, they were shown a video of Harrison Butker’s graduation speech from Benedictine College, where he claimed, “to the women who have had the most diabolical lies told to you…but I would venture to guess that the majority of you are most excited about your marriage and the children you will bring into this world”. 20 year-old Oxford Brookes student, Rose Jovanovich responded to this video saying, “I think it’s quite outdated, I think the standards are different now”. She is right. But online, these unrealistic ideals are being repackaged and reinforced. And, as long as we keep making this content popular, the more it feeds narratives like Harrison Butker’s.

This asks the question of how language plays a role in a larger cultural narrative, one presenting traditional gender roles as desirable and more importantly, attainable. Attainable through its masking of effortlessness. Even when this is far from the reality in which most people live. Where the cost of living is at an all time high and “the cost of raising a child to 18 is £250,000” says, the Child in Poverty Action Group. This is why it’s unrealistic and can cause extreme expectations that can be harmful to younger audiences. The tradwife trend is far from effortless, it’s inaccessible. TikTok enforces these impossible capitalist fantasies by presenting them as soothing.

The TikTok ‘For You Page’ reinforces this type of content that aligns with users preferences through its algorithmic reward systems. Overtime, this repetition may normalise content that may have once seemed extreme. In a world where uncertainty is widespread, these clearly defined gender roles can become especially appealing when

Everyone can understand this, when the world feels so disconnected at the moment. This content allows “People who feel a serious lack of hope… to escape into almost a fantasy alternative reality”, Lischinsky explained. But we need to see through this capitalist agenda, and not neglect the clear implications this may have on a Gen Z audience. Because it’s always political.

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In the first 15 minutes of Euphoria’s third season we see the following: two young women frantically gagging as they attempt to swallow down several lubed-up bags of powdered fentanyl; women intending to retrieve these bags from their faeces using a colander on the other side of the border; women dying from an overdose due to the balls bursting; women farting from stomach pain; women with faeces trickling down their leg when they don’t make it to the colander in time; and then, as if this wasn’t enough, a dog licking the faeces off of the woman’s leg.

Welcome back to TVs most unsettling show- kind of. The HBO teen drama has never been an easy watch, in Season 1 its target audience was disputed due to a single scene which included a total of 30 penises, but it seems the creators are going to extra lengths this new season to create shock value on drugs. The trailer is centred around the objectification and sexualisation of women, Cassie is dressed up as a baby with her legs spread in the air, and in another scene she’s a dog on a leash being told to perform acts as part of her OnlyFans content, before being shamed by boyfriend Nate as a “Prostitute”. Leaving the question: Are we watching fetish content without even knowing it? University student, Markela Thomaidou, reflects on the season’s focus on shock value over developing a story.

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“Some aspects feel less like a critique and more like they are reinforcing the very issues the show originally set out to challenge, particularly in how the female characters are portrayed.”- Markela Thomaidou

We see sex work as a theme in almost every plot line: Hunter Schuffer’s character Jules is a sugar baby; Cassie is performing borderline Pedophilic content for instagram, while considering a career on OnlyFans, which Alexa Demie’s character Maddy seems to be helping her achieve and Rue toys with the idea of becoming a pimp.

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“It can feel like female experiences are being used for dramatic effect rather than being explored genuinely” - Markela Thomadiou

Aside from that, there are an array of sex workers who appear in a strip club in the scenes in Tijuana. What’s noticeable is these scenes aren’t shot from the perspective of the sex workers themselves, but instead from the men who are hiring them. We don’t hear their experiences or comprehend their reasons; we don’t humanise or empathise with the women. Student, Markela, also reflected on this: “They are merely props, not even plot devices that contribute in any way to the episode’s story. Their sole purpose is to enhance the show’s visual appeal and perverse provocation.”

Director Sam Levinson has responded to criticism about his portrayals of sex in the past, in 2023 he told Vanity Fair: “We live in a very sexualised world. Especially in the States, the influence of pornography is strong in the psyche of young people. We see this in pop music.” But, from what we’ve seen so far, his work isn’t critiquing it, it’s reflecting it.

Image by Caitlin McDonagh

Over a Google Meet call I had the chance to sit down with Mia McNeill-Filmer, a young Gen-Z woman, who describes herself as a “lover of all things media and culture”. I asked Mia what ‘Euphoria’ is to her today:

CM: Hi! How are you?

MM: Good, How are you?

CM: Good thank you. When did you first watch Euphoria and what were your first impressions of the show’s themes?

MM: My first impression was remembering that it was very intense. It reflected real life, but it was very dramatized, to the point where it didn’t feel like normal teenage representation.

CM: How would you describe the show in three words now, ahead of the new season, to someone who’s never seen it?

MM: I think intense would be one of the words, unsettling, definitely for a lot of scenes and stylized, like I said, it’s the aesthetic that is a big part of why the show is successful.

CM: Do you think that the show is empowering young women, or does it create a kind of pressure or glorify a certain lifestyle?

MM: I think that’s one of the main discourses, isn’t it? I think in season one, it was more about self expression and exploring different styles of women and how these very different women express themselves. With the new seasons the show’s creators are kind of taking advantage of a shock factor. Instead of empowering and showing diversity, now it’s showing all these women under a very sexualized perspective and light that perhaps wasn’t as strong as the first seasons.

CM: Some critics and general conversation around the show say that euphoria glamorizes more taboo subjects such as sex, drugs and mental health. What do you think of this? What is your opinion? What would your input be?

MM: I can see why people would say that. I think the visuals and the way that the show portrays these topics is so stylized and aesthetic that it can make a lot of serious issues and not necessarily healthy things in life look almost beautiful and encourage almost individuals towards certain choices.

CM: If you had to sum it up, do you think euphoria is more harmful or helpful, and why to audiences?

MM: I would say it’s a mix, but definitely, maybe a bit more harmful. It’s helpful in starting conversations about mental health or identity and self expression, I would say, but it could glamorize some harmful behaviors and create unrealistic expectations in a lot of cases, especially when it comes to its aesthetic. So yeah, it could be, It could come off as harmful for especially younger audiences.

For us viewers it’s quite clear the level of degradation Sam Levinson wishes to present- and it’s hard to stomach, almost as much as those lubed-up fentanyl balls.

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Kenya is a country with a deep, rich culture, brimming with heritage. Its vast scenic landscapes and complex ecosystems of wildlife with more than 40 national parks are truly a wonder of planet earth. Located in East Africa it’s savanna is famous from movies and books and is an iconic landmark of Africa’s natural beauty. However, Kenya is also one of Africa’s more cosmopolitan countries with large cities such as Mombasa and Nairobi, and as technology develops we are seeing a change in Kenya’s communities.

Kenyan communities in both rural and urban areas have been adapting to a period of change and progression. Tribal communities such as the Massai, Rendille and Turkana, have adapted and flourished with new income opportunities and wildlife conservation. A documentary team for ‘Tipping Point’ ,directed by Matthew Jeffrey and produced by Alex Crowton, wants to show the current social climate and point in development of Kenyan communities in different areas. They also hope to aid the progression in crowdfunding for them to supply filming equipment and workshops to schools in Kenya. ‘Culture is passed down by singing and dancing, little is written down’, the creative industries are a perfect way to bring tradition to the future by sharing culture through creative mediums.

Tipping Point:

When speaking with the director of the project Matthew Jeffrey, it was immediately clear of his passion for the project. With a projected production date in July the project is currently still in its development stage.

’We’re observing these three different generations of Kenya, which is the past, present and future. So we’re currently trying to cast a young person that’s a student, a working professional and then we’re going to be focusing on someone from a tribal background…Together, these characters form a triptych- illustrating past, present, and future in a society at its tipping point.’

The project is a collaboration between both British and Kenyan creators and is described as a ‘poetic documentary’ as they document how the communities across Kenya are adapting to the rapid change that is currently underway. Matthew previously stayed with the Massai tribe located in southern Kenya who live and protect the Massai Mara, a national park. ‘I got to see how they live. And I was just surprised that people are living like that, and then not far away, you’ve got people living like a city life. I just found it quite strange that you’ve in a very small sort of radius, you’ve got people living completely differently’. Viewing it first hand, Matthew was struck by the stark contrast between the old and the new and the documentary is an integral tool in allowing different nations to witness the culture just across the ocean.

A Period of Change

Technological advancements is just one of the many environments rapidly modernising in Kenya. The Tipping Point creators are currently crowdfunding and partnering with NGOs (non-governmental organisations) to provide schools with filming equipment and workshops to aid in the development of the blossoming creative industries in Kenya. Creatives throughout Kenya are embracing the new technology and Kenya now hosts the annual Africa Media Festival in Nairobi to celebrate the new talent.

‘Through film we can show we’re all human. And I guess that’s my approach to filmmaking in general, is that kind of message? It’s really important to me to kind of break down those barriers’- Matthew Jeffrey

According to Hawa Ali, a contributor for Tipping Point, Kenya was the first country in the world to have online money transfers with the development of M-PESA, which was created with the strong knit community values in mind as those in the cities needed to safely transfer money to their families in rural areas.

One concern of such great development is that the rural communities and those outside the main cities get pushed out and left behind. Whilst valid, the rural and tribal communities are embracing modernisation in their own way. With the creation of carbon neutral camps, great leaps in tourism with the development of guiding schools, animal conservation and the progression of female roles within these communities, it truly shows these communities admirably working together to protect their traditions whilst adapting to new ideas and income opportunities.

‘Of course, culture is part of us — this is more about diversifying so they can have a different source of income, and value conserving the environment in the process.’- Spokesperson for tribal communities (National Geographic)

Community is a key part of Kenyan culture and how social justice perseveres to allow opportunities for all. Kenyan people have a strong sense of pride for their communities spanning across the country, which is something that we in the west seem to be falling short on.

‘Community is a massive thing there which is, you know, something that in the West, we’ve kind of lost. They were just so interested and intrigued in everything, and they’re all so dedicated to improving themselves and their country.’- Matthew Jeffrey

When speaking to a contributor of the project, Hawa Ali, she spoke of the strength in communities throughout Kenya and how it is ‘embedded in African culture’, using the African proverb of ‘it takes a village’. Whilst speaking to Hawa and what she found in her own experiences and the participants that the documentary follows is that throughout technological advancements Kenyan people are still protecting their traditional values and bringing those with them through everyday life.

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The Ultimate Picture Palace makes a powerful first impression. Its impressive Art-Deco exterior, box office and all, stands out amongst the rest of Cowley Road’s corner stores, kebab shops and student flats. The gorgeously maintained white facade leads inside to a cinema that just feels right. WIth 108 bright red seats, fresh popcorn and professional film projectionists, everything about the experience feels like the quintessential cinema, and the East Oxford community agrees. The UPP has been a standout success, with ticket sales continuing to rise and a unique community owned structure that divides responsibility between over 1200 shareholders. But like so many historical independent venues, they’ve been forced into a fight for their survival.

For Sam, a former Oxford resident, the UPP was never the most convenient option. Living across town in Botley, Sam and his partner would make the journey up throughout the year to catch screenings of Studio Ghibli classics, indie darlings like the Green Knight, or for the simple fact that this place had something most cinemas didn’t. “It has an atmosphere and a mood that you couldn’t buy,” he says, “and you couldn’t just install it somewhere.

It’s important to establish that this fight isn’t because the UPP is failing. Ticket sales actually rose 29% last year - defying trends across the wider national industry, which has failed to return to post pandemic levels - but because of a dispute with their landlord. Oriel College, the current leaseholder for the land on which the UPP is built, is refusing to commit to an extension over the existing lease which expires in 2037. Without a longer tenancy, the UPP cannot secure funding to progress with improvements it already has planning permission for.

Lucas, a film student at Oxford Brookes who has been visiting the UPP since his first week at university, told me that the situation is alarming. “I’m worried that [Oriel are] using their level of influence for profit and private use” he says, telling me that he believes they should instead focus on “helping the UPP grow and thrive as a community owned cinema.” Speaking with ITV, the college stated that they “have no plans to extend the lease at this early stage in the tenancy”. This surprisingly dismissive answer obviously strikes cinema-goers like Lucas as a problem, one that The UPP has decided to take into their own hands.

On March 13th 2026, the cinema launched a public campaign to raise awareness and push back against Oriel’s firm stance. Save The UPP is the cinema’s chance to fight back, and it’s safe to say the campaign hasn’t gone unnoticed. In just over a month, the petition launched alongside the campaign has gained over 20,000 signatures and support from the local government and industry figures such as producer Dame Pippa Harris. Support amongst the local community has been palpable. It’s hard to go far in Oxford without spotting one of the vibrant Save The UPP posters adorning a community noticeboard, stuck in the window of a cafe or behind the bar in a pub. And many locals, even those that don’t go to the cinema often are aware of the campaign.

The UPP’s continued impact on its community is hard to overstate. Built in 1911 as the city’s first purpose built cinema, and aside from a brief stint as a furniture warehouse, the cinema has remained an important part of the vibrant Cowley road area. Members of the Oxford community have formed strong relationships with the cinema. Lucas told me that he “tries to go to the UPP as often as possible” and that the unique atmosphere makes it “genuinely feel like you’re stepping back in time”. Sam echoed this sentiment, and despite having not visited the cinema in a few years, he could picture it clearly: “Nowhere else looks as much like a cinema as that place looks like a cinema.”. The community owned nature of also stuck out in my conversation with patrons, with both telling me that it was an important part of its identity, and that for Lucas its a “drive to try and go there”.

When I asked them about the campaign, and the threat to the UPP’s continued existence, Sam told me that “It’s poor show. I think you know, people have clearly made over the last few years a concerted effort to maintain something that has cultural value. And if the university all those parties that own it [the land] through the university aren’t sharing willing to protect something of actual cultural value then we’re we’re in real trouble”.

Sadly, the unfortunate predicament the UPP has found itself in is not a unique problem. Independent venues up and down the UK have been facing increased pressures ever since the pandemic. A 2025 Independent Cinema Office survey found that 31% of cinemas and arts venues would be unable to remain open without further investment, and that 28% were unsure about their continued viability. Some of the most commonly cited essential investments were for upgrades to equipment, furnishings and building repairs, all things the UPP is also looking to enhance.

The continued issues facing cinemas and other arts venues around the country highlights why the Save The UPP campaign is so important, and why many have thrown themselves behind it in support. Birmingham’s Electric Cinema shut its doors in February 2024 following an eerily similar tenancy dispute, and the continued decline in investment and support for many small cinemas shows why the UPP’s fight is so important, and why so much of the local community has thrown themselves behind it.

Below is a short video produced to accompany the piece, asking some more members of the public how they feel about the cinema:

Being a student doesn’t have to mean Pot Noodles and skipping meals to save money. With a little creativity, meals can become affordable and genuinely delicious. From tasty one pot dinners to bigger meals that you can cook in bulk, there are plenty of options that deliver flavour, fullness, and have fantastic financial benefits.

With this guide, whether you’re cooking in a tiny shared kitchen, you’ve just graduated, you’re working a 9-5 trying to meal plan, or just trying to stretch your food a little bit further, these recipes will help you to make the most of your money, without sacrificing taste.

7 sensational seasonings and spices for the kitchen:

1. Paprika

A mild, slightly sweet spice made from dried red peppers, emphasising colour and warmth.

2. Salt and Pepper

Essential seasonings to enhance flavour. Salt brings out taste, while pepper adds underlying heat.

3. Chilli Flakes

A spicy addition to your kitchen cupboard, adding heat and bold flavour that ranges from mild to intense heat.

4. Mixed Herbs

A blend of dried herbs (such as thyme, oregano, and basil), adding a balanced aromatic essence.

5. Cumin

A warm and earthy spice with a slightly nutty taste, common in savoury meals.

6. Tumeric

A bright yellow spice adding colour and more of a bitter taste.

7. Garlic and Onion Powder

Finely ground seasonings adding savoury depth and strong aromatic flavour.

Meat Menu:

Comforting Chilli Con Carne (Serves 6)

A hearty, spicy stew known for its rich flavour and warmth, making it a popular comfort food all over the world. Perfect for batch cooking and putting in the freezer for later dates.

Each serving provides 420 kcal, 43g protein, 22g carbohydrate (of which 9.5 sugars), 12g of fat, 9.5g fibre, and 1g salt.

Dairy-free, Nut-free, Egg-free

Ingredients:

• 2tbsp olive oil

• 2 onions

• 2 garlic cloves or alternatively garlic powder

• 1kg/2lb 4oz beef mince

• A dash of red wine (optional)

• 2x 400g chopped tomatoes

• 2tbsp of tomato puree

• 2-3tsp of chilli flakes

• 2tsp paprika

• 1 red pepper (optional)

• 2tsp mixed herbs

• Salt and pepper

• Shake of Worcestershire sauce

• 1 beef stock cube

• 1x 400g of kidney beans

• Rice to serve

Method:

1. Heat the oil in a large pan and fry the onions and garlic until softened. Add in the mince and break it up, cooking it on an increased heat until brown all over. If using red pepper, add this in now along with the red wine, then boil for another 2 minutes.

2. Stir in the chopped tomatoes, tomato puree, chilli flakes, paprika, mixed herbs and a shake of Worcestershire sauce before crumbling the stock cube into the mix. Season well with salt and pepper.

3. Bring to a simmer, and cover the pan with a lid allowing it to cook on a lower heat for around 30-40 minutes, mixing occasionally until the mixture is thickened.

4. Add in the kidney beans and cook for an extra 10 minutes, before adding in any extra seasonings if necessary.

5. Serve with rice.

Approximate price per portion (Aldi Prices): £1.70

Colourful Chorizo and Bean Stew (Serves 2)

Bursting with vibrance and bold flavouring, this dish provides satisfaction and is able to be adapted as served with rice, pasta, or bread, depending on your preference. Spice up your average stew with chorizo and cannellini beans for a super dinner on a budget!

Each serving provides 517 kcal, 30g protein, 45g carbohydrates (of which 13g sugars), 21g fat (of which 7g saturates), 17g fibre, and 2g salt.

Ingredients:

• Splash of oil

• 110g of spicy Spanish chorizo, cut into pieces

• 1 onion

• 1 garlic clove

• 400g chopped tomatoes

• 1 tin of cannellini beans in water, drained

• 2tsp of paprika, salt, pepper, mixed herbs

• 1/2tsp chilli flakes

• Pasta, rice, or crusty bread to serve

Method:

1. Heat oil in a large pan over a medium heat, add in the chorizo, and cook until the oil starts to run from the chorizo.

2. Add the onion and garlic and cook until soft.

3. Add in the chopped tomatoes, beans, and seasonings, and then let simmer for 10 minutes.

4. Add a splash of water if the consistency is too thick.

5. Serve with pasta, rice, or bread.

Approximate price per portion (Aldi Prices): £1.85

Chicken Wraps (Serves 2)

Juicy chicken wraps are super quick and easy, filled with tender chicken, tasty vegetables and flavourful sauces all tucked into a soft tortilla. Easy to customise and ready in minutes, they’re perfect for a delicious and balanced lunch or dinner.

Ingredients:

• 2 chicken breasts

• 2 peppers

• 1 onion

• 2 garlic cloves

• Salad leaves or lettuce

• 6 tomatoes

• ⅓ of a cucumber

• Tortilla wraps

• Paprika, cumin, salt, pepper, chilli flakes

• Grated cheese

• Sauce of your choice - I personally love mayo, ketchup, and sriracha!

Method:

1. Slice up all of the vegetables to your liking. For this recipe, the salad is uncooked in the tortilla. However, for more of a fajita style wrap, fry up the vegetables in a pan.

2. Once the veg is chopped, add it to the sides of the two plates.

3. Put oil in the pan, and on a medium heat add in the chicken, seasonings, and garlic and mix together.

4. As the chicken cooks through fully, warm up the oven and place 4 tortillas in there, so that when the wraps are assembled your tortillas are nice and warm.

5. Once the chicken is cooked, dish it up onto the other side of the plate and remove the wraps from the oven.

6. Assemble the wraps together using both the salad and cooked chicken, adding sauces and cheese on top for a delicious finish!

Approximate price per portion (Aldi prices): £3.53

Pork Stir-Fry (Serves 2)

This stir-fry is a quick, flavour-packed favourite, with tender pork tossed with vibrant vegetables in a sensational savoury sauce. Perfect for busy weeknights, as it comes together in minutes, delivering a delicious meal that you just can’t refuse.

Each serving provides 359kcal, 40.3g protein, 12.4g carbohydrate (of which 10.1g sugars), 15.4g fat (of which 4.8g saturates), 4.7g fibre and 2.41g salt

Ingredients:

• 250g pork tenderloin cut into chunks

• 150g button mushrooms, sliced

• Soy sauce

• 2 peppers, sliced

• Mangetout (sugar-peas)

• 1 garlic clove

• 4 spring onions

• Black pepper

• 1tsp paprika and turmeric

• 1 stock cube, either vegetable or chicken

• Noodles or rice (to serve)

NOTE: For cheaper vegetables, shops now sell ‘stir-fry’ packets of vegetables able to be cooked immediately for a faster, cheaper approach!

Method:

1. Season the pork with ground pepper, paprika, and turmeric in a pan on high heat.

2. Add in soy sauce and fry the pork for 1-2 minutes.

3. Add in all of the vegetables and reduce to a lower heat so that the pork can cook through.

4. Add water so that the meat is not dry and add in a vegetable or chicken stock cube.

5. Serve with noodles or rice.

Approximate price per portion (Aldi prices): £2.15

Vegetarian Menu:

Egg Fried Vegetable Rice (Serves 2)

A perfect meal for using up vegetables in the fridge in the most delicious way possible that elevates a rice bowl just that bit more. Perfect for lunch and easy to batch cook.

Vegetarian, Nut-free

Ingredients:

• 1tbsp vegetable oil

• 2 peppers

• 4-5 spring onions, OR 1 large brown onion

• 3 garlic cloves

• 3 free-range eggs, beaten

• 100g of peas

• 250g rice

• 1 vegetable stock cube

• 3tsp of paprika, salt, pepper, cumin

• 1tsp of chilli flakes

• Mushrooms

• 1tsp soy sauce

Method:

1. Bring a small pan of water to a boil and cook the peas for 1 minute, then set aside.

2. Heat 1tsp of oil in a non-stick frying pan and cook the peppers, garlic, mushrooms, and spring onions for 4 minutes. Add in the seasonings to the mix and stir consistently.

3. Add in the vegetable stock cube and mix again.

4. Push the vegetables to one side of the pan and add oil to the other side. Pour the beaten eggs into the pan away from the vegetables, and scramble them over a medium heat.

5. Add the cooked rice and peas to the mix and stir. Cook together for 5-10 minutes or until everything is steaming hot. Add some soy sauce and toss together before serving.

Approximate price per portion (Aldi price): £2.16

Sweet Potato Soup (Serves 3-4)

Sweet potato soup is a creamy, comforting dish often encompassing a naturally sweet and earthy flavour that can be enhanced with spices such as ginger, cinnamon or chilli for extra warmth.

Dairy-free, Egg-free, Gluten-free, Nut-free, Vegetarian, Vegan

Each serving provides 234kcal, 3g protein, 43g carbohydrates (of which 16g sugars), 4g fat (of which 0.5g saturates), 9g fibre, 0.5g salt

Ingredients:

• 1tbsp olive oil

• 1 onion, chopped

• 2 large carrots, peeled and chopped

• 4cm, or 1 ½ of fresh ginger, finely chopped

• 1 garlic clove, crushed

• 1tsp chilli flakes

• 700g sweet potatoes, peeled and cubed

• 1.2 litres/2 pints of vegetable stock

• Salt and pepper

Method:

1. Heat the oil in a large pan over a medium-high heat. Add in the carrots and onion until softened. Then stir in the ginger, garlic, and chilli flakes and fry for 2 minutes.

2. Stir in the sweet potatoes and stock, turning up the heat and bringing to a boil. Reduce the heat and let simmer for 15 minutes, until the sweet potato is tender.

3. Remove the pan from the heat and blend the soup until smooth. Taste and then season accordingly to serve.

Approximate price per portion (Aldi prices): £3.30

Vegetable Curry (Serves 3)

Infused with aromatic herbs and fresh flavours, this vegetable curry offers a satisfying balance of heat and sweetness in every bite.

Egg-free, Gluten-free, Nut-free, Vegan, Vegetarian

Each serving provides 335kcal, 9g protein, 41g carbohydrates (of which 14.5g sugars) 12.5g fat (of which 1.5g saturates), 10g fibre, and 0.5g salt.

Ingredients:

• 2 medium potatoes (around 350g) peeled and cut into 2cm in chunks

• 1 large carrot, peeled and sliced

• ½ broccoli or cauliflower cut into small florets and halved

• 3tbsp vegetable oil

• 1 large onion, finely chopped

• 1tbsp medium or hot curry powder

• 1 x 227g tin chopped tomatoes

• 1tbsp of salt and pepper

• 300ml vegetable stock

• 100g frozen peas, or two large handfuls of spinach leaves

• Plain yoghurt or a vegan alternative to serve

Method:

1. Fill half a saucepan with cold water and add the potatoes and carrots. Bring to a boil and cook for approximately 8 minutes then add the cauliflower or broccoli and boil for 2 minutes more. Drain and set aside.

2. Heat oil in a large pan on a medium heat. Add in the onion, stirring regularly for 8 minutes or until softened. Sprinkle the curry powder over and cook for 30 seconds more.

3. Add the tomatoes to the mix and cook for 2-3 minutes, stirring consistently. Add the stock and salt and pepper and bring to a simmer.

4. Add the other vegetables and peas or spinach and simmer gently for 5 minutes. If the sauce thickens too much, add some water.

5. Serve immediately with yoghurt.

Approximate price per portion (Aldi prices): £1.56

Arrabbiata Pasta (Serves 1)

A fast and spicy supper ready in 20 minutes. Infused with garlic, chilli flakes, and fresh herbs, this meal delivers bold and satisfying flavours in every bite.

Ingredients:

• 100g dried pasta

• 3tbsp oil

• 4 garlic cloves

• 1tsp chilli flakes

• 400g tin of chopped tomatoes

• Salt and pepper

• 25g cheddar or parmesan to serve

Method:

1. Half-fill a medium saucepan with water and cover with a lid. Place over a high heat and bring to a boil. Add the pasta and stir. Cook for 10–12 minutes, or until the pasta is tender but retains just a little ‘bite.’ Stir occasionally as the pasta cooks, so it doesn’t stick.

2. Heat the oil in a frying pan. Add the garlic and cook over low heat for 2 minutes, stirring regularly. Add the chilli flakes and cook for a few seconds more, stirring constantly.

3. Remove the pan from the heat and gently stir the tomatoes into the garlic-infused oil. Place the pan over a medium-high heat and bring to a simmer. Cook for 5–7 minutes, stirring regularly until the sauce is fairly thick and glossy. Season with a little salt and lots of pepper.

4. Drain the pasta in a colander, then add to the tomato sauce. Toss together and sprinkle with the cheese to serve.

Approximate price per portion (Aldi prices): £1.25

I hope that this guide will help to adapt your meals, whether when cooking for the first time or trying out any of these new recipes.

All recipes/recipes similar can be found at: https://www.bbc.co.uk/food/budget

Trending on Tiktok, UK creators are wishing for Carolyn Bessette-Kennedy’s wardrobe, original 1970s ‘501’ Levis jeans, and the return of the Calvin Klein and Ralph Lauren fashion girls.

Are we celebrating a new fashion era, or are we celebrating the reinvention of the past, longing for the quiet confidence of a simpler time?

What is Coming Back?

After many years of maximalism – statement silhouettes, bold patterns, and viral micro trends, fashion seems to be taking a collective breath. The mood has shifted to a quieter, more neutral and tailored style, in light of the ‘analogue’ trend that has taken to social media this year.

Why would clothing from 36 years ago popularise? The 1990s emphasised restrained fashion. Clean lines and tailored simple pieces replaced excess, fabrics were elevated but not complicated, and styling was intentionally sparse. Rather than loud branding, trends fell on cut, quality, and proportion – much different to today’s era of fast fashion.

Clothes radiated attitude and confidence without performance, and were a framework, rather than a focal point, allowing the consumer, rather than the clothing, to take centre stage.

Designers such as Calvin Klein and Ralph Lauren endorsed this aesthetic, building pieces around timeless staples such as slip dresses, crisp white tailored shirts, and midi skirts.

Today, these pieces have resurfaced online, with previous fashion workers turned mothers, modelling these vintage must-haves on their daughters, while spilling all of the industry’s beauty secrets that they learnt while working as the ‘IT-girls’ back in the day.

Tiktok’s Minimalist Mood

Tiktok is playing a significant role in this revival. Carolyn Bessette-Kennedy, the late wife of JFK Jr. and previous American Calvin Klein fashion publicist, has become a digital icon for this movement. Videos recreating her looks and inspired mood board outfits have been appearing online. Her sleek yet simple wardrobe, consisting of black slip dresses, long sleeve fitted tops, and minimal accessories, is representing a necessary elegance that feels aesthetically pleasing in an era of constant visual noise.

Rather than chasing the next hyper-fast set trend, many users are embracing a slower, minimalist, and deliberate approach to their everyday wardrobes, with simple tops, vintage denim and tailored jackets dominating the fashion scene.

Fashion Fatigue and Our Uncertain Universe

Over the past few years, the fashion cycle has increased dramatically. This has led to ‘trend fatigue,’ which is the overwhelming exhaustion caused by the constant rapid cycle of new fashion, led by social media trends.

In an age where digital identities are expressed and influenced through this constant visual presence, this quieter approach is extremely powerful.

The media can produce and exhaust these trends within weeks, so many believe that it may just be a matter of time before this is also considered ‘micro’ too.

However, minimalism offers an anecdote. Simplistic pieces of denim and tailory imply permanence as they do not rely on seasonal relevance, meaning that logically, it exists out of the trend cycle completely.

In uncertain cultural moments, fashion tends to mirror the nation’s feelings of instability, gravitating to other things that we desire. In this case, structure and clarity, and the controlled sense of silhouettes that the 1990s encompassed brings exactly that.

Reinvention, Rather than Repetition

Recent years’ shifts towards sustainability and re-selling apps have allowed for original pieces to be sold again, meaning that the past is not just inspiration, but is actually being worn once more.

At the same time, designers are reinventing original pieces with new proportions, fabrics, and gender neutral styling.

So perhaps the answer is both. Maybe we are reinventing ourselves through a new fashion era inspired by vintage looks that feel easier, because 90s style implies that fashion doesn’t have to move forward. Instead, it circles back, a timeless capsule of elegance, intention and stability, reminding us that sometimes the most effective modern way for excellence is to simplify.

Earlier this month, Oxford Brookes offered its Media, Journalism & Publishing students the opportunity to join Dutch students at the Amsterdam University of Applied Sciences for four days of guest speakers, workshops, and networking.

I was lucky enough to be one of the students on the trip; an opportunity which is now allowing me to share Nancy Steeman’s (one of the guest speakers) advice on how to step into the fashion industry.

Nancy is a freelance stylist and fashion coordinator for Vogue NL with more than a decade of experience in the industry. She is also the founder and creator of Wild Monarchy, a brand that champions women and empowers them to feel worthy.

With Paris Fashion Week coming to a close on Tuesday, which finalises the ‘Big Four’ Fall/Winter 2026 collections, now is an ideal time to discuss how to prepare for stepping into this vast industry.

Be Respectful and Friendly

Basic manners and a simple smile can get you very far. And make small talk. People are more likely to remember you if you show interest in them, not just their position. You never know who you’ll end up working alongside with in the future, so be respectful.

Incorporate your Passions into Work

You’ll be more motivated to work on something you enjoy rather than something you don’t really care about. Take inspiration from your passions and hobbies and bring them into your work. Let the world know what your interests are and create something beautiful out of it.

Be Unique

Bring your own style into your work. Make sure everything you create has personality. No matter what sort of project you are working on – be it something written or tangible – ultimately, you have to see yourself within it; always add a personal touch.

Internships

What better way to understand the industry than to work in it? Take any opportunities available to you. Look up people from the industry, email them, DM them on Instagram, connect with them on LinkedIn; don’t be discouraged by lack of responses. Keep trying until that one person replies. They might be your way in.

Don’t be afraid to try something new. Step out of your comfort zone and be proud of yourself for doing so, no matter what the outcome is.

Ask Questions and Listen to Everyone Around You

The best way to learn is through mistakes. When you are unsure of something, ask!

Once you get that internship opportunity, take advantage of it. Listen to what is going on around you, learn from others, absorb the skills of those around you by watching and listening.

Don’t just show up to an experience for the sake of it. Make the most of it. Volunteer for any task available, ask questions, make those mistakes to learn from them.

Bruno Mars released his fourth solo studio album, The Romantic, on Friday the 27th of February, 2026. Ten years after his previous solo album, 24k Magic, this album was long-awaited. However, Mars has kept himself busy with his 2021 duo album Silk Sonic with Anderson Paak. In addition, Mars released top-charting duo hits ‘Die With A Smile,’ featuring Lady Gaga and “APT.,” featuring Rosé.

Teasing his fans with new music but still no album, this solo return was highly anticipated. On the 5th of January, 2026, Mars announced his solo return on X, stating, ‘My album is done.’ This simple, out-of-the-blue announcement left me feeling an overwhelming excitement. Growing up listening to 24K Magic, Unorthodox Jukebox and Doo-Wops & Hooligans on my MP3 player and iPhone SE, I was over the moon to hear he was releasing another album. A buzz of anticipation flooded social media as fans celebrated his return.

Following this, on the 7th of January, Mars announced on Instagram and X, ‘New music this Friday🫂 The Romantic coming 2.27 🌹♥️’ including his album’s cover image. The black-and-white cover is simple yet bold, featuring an illustration of Mars with his signature bandana. From the front cover visuals, it is clear this is a more intimate, personal project. Contrasting his previous vibrant albums, this aesthetic sets the tone for how soul-baring this album will be. Mars leans into his Puerto Rican and Latin roots, seen through the framed chains and roses, a symbol used in Chicano art.

The following day, on the 8th, Mars announced ‘The Romantic Tour’ for North America, Europe & the UK. Featuring Anderson Paak as DJ PEE WEE, with supporting acts Leon Thomas, Raye, and Victoria Monet in select cities. Fans went wild for this announcement; the ticket war prep had officially begun. At that moment, I knew I had to get tickets, and I would do anything to get them.

‘I Just Might,’ the lead single, was released on January 9th. After hearing this for the first time, I immediately knew this album was going to be amazing. Instantly queued and on repeat, this song was addictive. This high-energy, feel-good song is playful and funky. With notes of disco pop, this flirty song ‘do do do’d’ its way into my heart. The groovy, repetitive start was an instant hit, and its rhythm stuck in my head for days to come. ‘I Just Might’ revolves around the idea that rhythmic chemistry is an important factor in dating, with lyric, ‘But what good is beauty if your booty can’t find a beat?’ This song flirted its way into the audience’s hearts and, as of March 5th, is number eight on the official singles chart.

Simultaneously, Mars released the ‘I Just Might’ music video on January 9th. Co-directed by Mars and Daniel Ramos, this will be their fifth music video together, collaborating previously on ‘APT’ ft. Rosé, and ‘Die With A Smile’ ft. Lady Gaga. This 1970s-inspired video was funky and nostalgic. Mars’ one-man band was a hit, and as Mars’ five clones jammed out, a fun, groovy atmosphere was created. It makes you want to get up and join them in dancing immediately. The audience is drawn in by Mars’ pleading request, ‘You better show me now, show me now, show me now’ as he asks the DJ to ‘play a song for this pretty little lady.’ This teaser into what the rest of the album will sound like left fans hungry and counting down the days till the album’s release.

On Friday, the 27th of February, the full album was released. Mars co-wrote and co-produced The Romantic album. Alongside D’Mile, who co-produced the entire album, his 70s influence is evident throughout. Full of soul, funk, and retro vibes, D’Mile helped shape this nine-track album into a ranging success.

When listening to ‘Risk it all,’ I felt like I was personally being serenaded as the mariachi trumpet blasted through my speakers. I knew instantly I would love this song. This devotional love song is elevated by percussion and acoustic guitar. Pairing perfectly with Mars’ glorious voice as he sings to us what feels like a personal love letter.

Following this, ‘Cha Cha Cha’ is a Latin pop song fusing funk and soul, making you feel as though Mars is singing just to you. As soon as the song started, I felt like getting up and having a boogie. The blend of procussion and ensemble instruments creates a harmonious tune. Heavenly to your ears, Mars has created another hit, instantly making you want to get up and ‘Cha Cha Cha’ with him. The theme of romantic pursuit is clear. Mars referenced his cocktail lounge, The Pinky Ring. This flirty song makes you want to party with him in Vegas.

Shifting from flirty to emotional, ‘God Was Showing Off’ is a soulful ballad that speaks from the heart. There is a clear shift in Mars’ music with this album, though flirty, gone are sex-infused tunes, as we see a deeper, more personal side of Mars. With lyrics, ‘Is heaven your name? / Or is it divine?,’ this masterpiece describes Mars attraction and gratitude for this lucky lady’s beauty. ‘The way you’re put together, only God can do,’ sets the bar as far as compliments go. God was showing off when he gave Bruno these heavenly vocals. This song was, no pun intended, music to my ears.

“Why You Wanna Fight” is the fifth track of the album. This plea for love marks a shift in tone for the second half of the album. From attraction to desperation, Mars’ standout vocals are raspy and soulful on this track. Similar to his Silk Sonic hits, the layering of lyrics and soft vocals adds to the song’s vulnerability: ‘I’m beggin’, baby / Ain’t too proud to say it, I admit, I was wrong.’ This pleading song received mixed reviews, with some fans loving it whilst others criticised it for its unoriginality and repetitive structure.

Shifting from begging to committing, ‘On My Soul’ is upbeat; this funky song gets you back in the groove. The electric guitar throughout keeps the tempo fast; this energetic song makes you want to get up and move. ‘I’ma love you like you’ve never been loved before’ shows Mars’ charm. It feels as though this song should be sung from the rooftops as Mars proclaims his love. It’s a celebratory song that feels vibrant, like a shot of adrenaline.

‘Something Serious’ taps into Mars’ Puerto Rican roots. This Latin-inspired song is full of percussion and rhythm. The catchy song has faced criticism for its cringeworthy lyrics, ‘you should be my boo thang, my boo thang'.’ There seems to be nothing poetic about this. Although the composition is strong, the lyrics let this song down. However, some are finding the song comical with the lyric ‘Do you want some pretty brown Bruno babies?’ This metaphoric approach to commitment is playful. Contrastingly, some may see it as immature, but the irony behind the song title ‘Something Serious’ is undoubtedly comedic.

The second-to-last song, ‘Nothing Left,’ feels more rugged than other songs on the album. With a rock influence, the distorted electric guitar paired with emotive vocals makes this song numbing. This song carries a lot of emotional weight in contrast to the previous tune, ‘Something Serious.’ There seems to be no more begging, but rather an acceptance that there is ‘nothing left to hold on to,’ the ‘magic’ that was once there is long gone. The vocals aren’t as clear as on other tracks and feel distant, as if the love is fading away. With a similar feel to ‘When I Was Your Man,’ this raw emotional side of Mars has fans in awe of this modern poetry.

The final song of The Romantic album is ‘Dance With Me.’ With a clear narrative, this stripped-back song is simple yet touching. This emotional closing track leaves listeners feeling sad yet hopeful, with the prospect of being able to ‘fall in love again.’ This contrasts with previous songs in the album that mention dancing with a flirty, sensual tone, whereas in ‘Dance With Me,’ it feels like a last hope as Mars reflects on the past relationship.

The continuous back-and-forth between pleading, loving, begging, and accepting creates a whirlwind of emotions. Listening to this album felt like a journey. Although this album has overall been well received by fans for its funky groove and catchy lyrics, there has been some backlash on Mars for imitating other songs. However, I am nothing but impressed and in awe; everything is on repeat, and I believe it was well worth the wait. I can’t wait to hear it live! Giorgia 1 – Ticket Master 0.

This realisation may have been more noticeable and unwelcome for those employed in sectors where formal attire, such as suits, heels, and ties, is more common. Although we had been drifting away from these dress codes for years before the pandemic, Covid may have been the final driving force, as people engaged in more flexible, otherwise known as ‘remote’, work from home.

At first, many employees were encouraged to dress up for work video calls anyway, in order to boost a sense of productivity and purpose. Instead, people began to wear what was comfortable, as they would be productive regardless of their fashion status. This was a far cry from the saying ‘dress well, perform well,’ which dates back to the Victorian era when the professional, educated, and wealthy wore extravagant fabrics, such as fur and velvet, to signal financial position.

We are seeing some change…

In 2026, many people still work remotely, so there is less need for smarter clothing. However, a new trend has taken to Tiktok over the past few years, emphasising the ‘office siren’ look as more of an aesthetic, rather than a necessity. The trend blends 1990’s/ early 2000’s corporate attire with sensual, empowered edges, including narrow ‘Bayonetta’ glasses, pencil skirts, and tight long-sleeved unbuttoned blouses.

This provides more of a ‘sexy’ edge to corporate fashion, representing a ‘chic’ shift often described as a romantic way of power dressing in the office that is borderline controversial with HR. This has lead to online debates on what is appropriate to wear to work.

Today, corporate clothing is evolving, incorporating elevated business casual with soft power tailoring — instead of returning to the rigid uniforms of the past. Power dressing is therefore changing with the times, pairing comfortable pieces with smarter silhouettes and more over the top accessories, such as chunky belts and scarves, to add personality to ‘formal’ looks.

High heels haven’t made a complete comeback, but instead ‘kitten’ heels and smart pumps are surpassing trainers, bringing elegance back into comfort.

As for suits, in 2023 ‘Yougov’ reported that between 7-10% of people wore a suit to work in the UK, while in the 1990’s, wearing a suit to work was the standard for many white collar office roles.

While ‘stiff suits’ are less common today, retailers such as John Lewis are noticing a resurgence in demand. By December 2025, tie sales were up 16% while suits were up 68%, showing some rebellion against casual wear.

What will the future of office wear bring?

It is unlikely that the majority of the workforce will return to the pre-pandemic levels of formal dressing for work, despite some companies insisting on it. While many other companies are pursuing ‘smart casual’ as the standard, the definition of smart dress is becoming more flexible, tailored to specific days and personal tastes.

Corporate styles have however made it into everyday wear, with more uniformed looks appearing on recent runway shows, and more structural pieces in high street shops suggesting a complete shift of purpose in formal dressing.

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