"Over the past couple of decades, many progressives have found themselves in an awkward and novel position. As defenders of existing political institutions, as defenders of norms of civility and moderation, as technocratic policymakers shifting policies at the margin in response to past evidence." Ben Ansell argues that the left has ceded political radicalism to the right.
Lorna Finlayson defends universities as a 'space for exceptions': "The perception is that students and academics do nothing all day but doss around and mull over the meaning of life. It’s not really true – academics work on average far more than their contracted hours, while many students have developed concerningly puritanical tendencies – but, in my view, things were better when it was truer: people not only had a better time, but probably did better and more interesting work, when they were less pressured and given more slack."
Peter Jukes on the leaked documents that show the Kremlin’s influence machine now combines paid influencers, fake citizens and "cognitive strikes" to inflame tensions and shape European politics.
"Dead of Night exerted its greatest power through the manipulation of time. By sliding temporal planes over each other and curling events round to their beginning, the film found a fiendish new way to mess with a viewer’s head." Malcolm Gaskill praises Ealing Studios' 1945 portmanteau horror film.
"It’s hard to imagine so many being spooked by a soft-spoken woman who didn’t consume alcohol, smoke, or even drink caffeine, but in an industry so used to dominating over female singer-songwriters, dealing with a forthright black woman who had no intention to follow the rules probably sent a few industry bigwigs over the edge." Stephanie Phillips salutes Joan Armatrading.
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