Helen Charman

The entire contents of the Centre for Contemporary Arts in Glasgow were auctioned off by a commercial asset sales company on 30 July. In the days leading up to the sale, it was promoted in the Herald as an exciting opportunity to ‘purchase a major piece’ of Glasgow’s ‘creative heritage’. But the heritage of a civic arts centre belongs to the community it serves.

One slogan used to promote the hotel protests on social media, often emblazoned over a Union Jack or St George’s Cross, is ‘Safety of Women and Children before Foreigners’. There is a clear distinction being made here between British women and children and ‘foreign’ women and children. The category of the vulnerable always already excludes the marginalised group being targeted.

Most of the responses to Emily have focused on sex and death; nobody told me it was a film that hates teaching.

On 10 October, the Sunday Times ran a story about Murray Edwards College, one of the two remaining women-only colleges at Cambridge University, offering ‘fertility seminars’ for its students. The college’s new president, Dorothy Byrne, was quoted as saying that fertility was a ‘forbidden subject’, and implying that the classes would be a kind of aide-mémoire: young women, she said, might ‘forget to have a baby’. The piece was widely shared, and the backlash was swift.

Reading interviews with Paul Verhoeven on the publicity trail for his latest movie, Elle, you get the sense he might be disappointed at the relative lack of outrage over his ‘psycho-thriller’. The film, based on Philippe Djian’s prize-winning 2012 novel, Oh…, stars Isabelle Huppert as Michèle Leblanc. It begins with her being raped by a man in a ski mask, who has broken into her house.