The word 'Leveller' entered the English lexicon long before it described a coherent political movement. It had first originated as a term of abuse directed at rural rebels resisting the enclosure of common land during the Midland Riots of 1607. Wealthier farmers fenced off fields with hedges to prevent common use. In response, villagers tore down these hedges. To “level” in these riots meant to remove barriers that denied access to what was believed to be rightfully held by all.

By 1647, a new radical political group had inherited its implied insult. Where they differed from the levellers of old, though, was that they set their sights beyond garden hedges and on the national governance of the country. They called for the removal of political barriers between classes – equality under the law and suffrage for all. They called for a constitution which all men were bound to.

Before, the Levellers were the name of a disorganised group of rebels in the English countryside. Now, it described a cohesive movement that threatened the dynamics of an already weakened English society.

Absurdist films walk a dangerous tightrope. Below them, there is the mile-long chasm of insincerity and reliance on cutting humour that even the deftest writer can fall victim to. Above them, the sun blazes seductively – like Icarus, directors like Paul Thomas Anderson were overambitious and went soaring into it, then falling, falling, until they fell into the same chasm that claimed countless of his counterparts.

After watching the four-part Netflix series Adolescence, Prime Minister Keir Starmer expressed his distress at the premise; a 13 year old girl murdered, a 13 year old boy suspected of it.

In his interview with BBC, Starmer said: "There's a reason why the debate has suddenly sparked into life - a lot of people who work with young people at school or elsewhere, recognise that we may have a problem with boys and young men that we need to address."

Idiosyncratic, post-modern, bizarre and intellectual; all of these words can be used for or against Slovenian philosopher, Slavoj Zizek. In gaining mainstream popularity, he is known for often outlandishly profound commentary on the political and cultural mainstream; his scathing criticism of political figures perfectly cordialized with a playful kind of humour.

Here, in this listicle, it is my job to give you the best quotes from the prodigal son of Diogenes - quotes that point to his signature style, rhetoric and what we can uncover beneath the zany and ever-unorthodox character.

Warwick George received his PhD in 2024, specialising in Church history. A working class gentleman, he is currently employed as a porter in St Richard hospital in Chichester. I joined him over a pint, or six, to discuss postmodernism - a school of philosophy originating from the mid 20th century and popularised in academic circles in the 1980s.

Rapid cuts of a knife being sharpened, a chicken to the slaughter, another chicken observing. This chicken escapes, but a gang of children give chase, armed with guns too large for their scrawny hands. A pursuit through trash-laden favelas, documented by a shaky camera; the subject too frantic, and too kinetic, for care of a steady grip. The chase reaches its climax, ending with a young adult man, camera dangling from torso, alongside the chicken. The children and their ringleader, Lil Ze, catch up and occupy one side of the street. The other, the Military police.

“if you run, the beast catches you; if you stay, the beast eats you.”

City of God opens with this cutting adage from our protagonist, Rocket. Throughout the film, we see its credence again and again.
On one hand, those who run are chased down by the beast. Characters like Shaggy try to escape the burgeoning gangster lifestyle that coincides with the birth of the favela Cidade De Deus, but are shot down by the police. Benny tries to escape too, as the violence of the competing drug trade heightens, but is shot as a collateral victim to it.
On the other hand, we have those who stay in the lawless favelas. Knockout Ned, once one who abstained from participation in violence, dies as a victim of his own perpetration of it; as does Lil Ze, after being the primary proprietor of violence in Cidade de Deus. His death signals the beginning of a new generation of gang violence, the runts executing him just as he had done to Goose as a child.
But then, how does one survive the maw of this beast? Are all in the favela fated to fall into its mouth? Well, perhaps there is one way to survive and escape the cycle of violence, to leave behind the death and the hopelessness of being on the fringes of society, as Rocket shows. Take a photograph of it.
In Meirelles’ 2002 crime epic, Rocket, an aspiring photojournalist raised in the favela, is our narrative viewpoint. He guides us with his omniscient voice, providing exposition to help us, the outsiders to this story, comprehend the intricate web of characters and backstories. Always a spectator to violence, coinciding with its occurrence, but never contributing or detracting in its trade.
Furthermore, Rocket has little impact in the narrative of the film as a whole – he does not act as the catalyst to any major plot points, or is of particular relevance to the core conflict in the story. That is, with the exception of being the reason that the story is documented in the first place.

The Real Cidade De Deus

But first: to understand City of God’s story, we must understand City of God itself.
Rio De Janeiro in the tail end of the 20th century was a melting pot of a newly emerging economy, classism and a deeply unstable political economy. The first of multiple Institutional Acts in 1964 were created by the military dictatorship who were now in power, after overthrowing the previous democratic government in a coup d'état. This led to a restriction of political liberties in favour of economic development: but, indeed, the economy did grow. In the late 60s and early 70s, the economy grew 10% per year, and was regarded an “economic miracle” as the third world country rapidly industrialised with the city.

Throughout history, many a great advancement has been made in the development of human understanding; of the world around us, and the world inside our minds. So much so, that it is easy to feel overwhelmed by a plethora of, oftentimes, very abstract ideas. If you're a newcomer, where do you start?

Fans of Steel Ball Run, part 7 of acclaimed manga series JoJo's Bizarre Adventure, have shared their excitement following the announcement of an anime adaption.

The announcement came during the Warner Bro's Japan livestream for JoJo day this 12th April, described as a "fan event connecting both past and future" for the franchise.