I can still remember the first time I got drunk. I was around 13 years old. A friend had stolen some of his dad’s whisky, and we got through half a bottle together. The experience wasn’t particularly extraordinary, apart from one thing: even then I was astonished, terrified, by just how much I enjoyed being drunk. The rush, the feeling of the alcohol coursing through my veins, the way it made my worries and anxieties dissipate for a few blissful hours. I subconsciously realised something that, years later, I would spend countless hours grappling with; whatever joys I could experience sober, they would be even better with a bottle in hand.
The next few years went by relatively normally. The lack of independence borne from still living at home meant my alcohol use was kept in check. All that happened was that every week or two when me and my friends were out drinking, I’d always end up getting absolutely shitfaced – far more than anyone else.
Then I arrived at Oxford University. It only took a few weeks for my alcohol use to absolutely soar. I was 18 at this point, and without my parents breathing down my back, I was free to drink as much as I pleased. In the Michaelmas and Hilary just gone, I drank an average of around 100 to 150 units a week. I drank virtually every day – and I mean drank, enough that almost every night ended with me stumbling up the stairs to my accommodation and collapsing in bed, drunk out of my mind. I spent well over a thousand pounds on alcohol, leaving less than half of my money for other expenses.
There are probably very few environments worse for would-be alcoholics than Oxford University. The atmosphere of constant stress, the omnipresent ‘work hard, play hard’ undertone, the fact that almost every society runs countless boozy events, combined with virtually every college having a cheap and accessible bar, meant that I stood little chance. It’s true that, regardless of where I went, alcohol problems would have probably arisen. Of the three factors often leading to alcoholism – a family history of alcohol abuse, beginning drinking at a young age, and past mental health problems – I tick every one.
But Oxford undoubtedly exacerbated my issues. It doesn’t have much of a drug culture (in my experience, at least), but it has one hell of a drinking culture. Very few people seemed to notice how out of hand my drinking was getting. In a society where getting drunk regularly is a common occurrence, it’s hard to differentiate between someone who likes to drink and someone who needs to drink. When I finally began the long and painful process of seeking sobriety, the lack of support provided by the university was shocking. My addiction advisor suggested I seek out alcoholic support groups within the University. As far as I can tell, no such group presently exists.
The solution isn’t, however, some sort of puritanical clamp down on drinking among students. The vast majority of you reading this article will be perfectly capable of drinking healthily and in moderation – and I am deeply envious of you. College bars and drinking events provide most with a hugely enjoyable social space. Some alcohol free alternatives would be nice, but that’s all. Instead, the University needs to do more to assist those students who are struggling; and we all need to be more ready to look out for the warning signs of alcohol dependency. There’s nothing wrong with wanting to drink; but when we start noticing that ourselves, or others, need to drink, alarm bells should be raised.
The writing of this article marks the two month anniversary of my sobriety. These past few weeks have been tough, much tougher than I could have ever expected. But they’ve also been incredibly rewarding. Getting over an addiction requires a complete life reset; it requires reconnecting with the friends and passions that you lost to booze. The constant urge to drink still hasn’t left me, if it ever will. Knowing that you can’t under any circumstances do the thing you want to do more than anything else is torture. But finally, for the first time in many months, I’m able to appreciate the beauty of our world, the simple joys of friendship, without the distorting lens of the bottle – and that makes it all worth it.
But if there’s one piece of advice I want anyone who relates to this article to take to heart, it’s this: don’t go cold turkey. Alcohol is one of the few drugs whose withdrawal can be fatal. For me, it was so bad that I was rushed to the John Radcliffe emergency unit, suffering from delirium tremens – a condition arising from alcohol withdrawal with symptoms like tremors, delirium, hallucinations, and even seizures which could potentially lead to death. Talk to your doctor, or any other NHS resources, so you can withdraw with the help of medications to protect you.
Drinking in moderation can be great fun, but if you notice yourself or anyone else unable to put down the bottle, becoming dependent on alcohol to get through the day, it’s time to take a break. And if that’s too hard, speak to a pastoral adviser or counsellor. Alcohol nearly ruined my life. For many years to come, I think, I’ll still be grappling with its consequences. I don’t want it to ruin yours.
During exams, my friends and I formed a study group. While it took us three years to realise that studying might be important even for a History degree, the dread for our upcoming exams eventually sunk in. Amidst the panicked conversations about misogynistic late-Roman chroniclers (looking at you, Procopius) were the study breaks at some point in the day to visit a café. A European-style working day with a long lunch break was essential to feeling like a real humanities student, and spending on coffee or cake proved to be an excellent means of coping with exam stress.
Now that exams are long gone, I have found time to consider what I could write about that would allow me to reflect on my experience of Oxford as a city, and I was torn between pubs and cafés. However, having been teetotal for the first year of my degree, in lockdown for the second and a finalist for my third, my pubbing credentials are well below par. Being a sugar-addict, however, my café CV is brimming with relevant experience, and I felt the need to pay some kind of tribute to the coffee shop scene here.
Bored witless by the Law Library, I applied for a loyalty card at the adjacent coffee shop, Missing Bean, and I also occasionally resorted to the suspiciously cheap coffee in college, where the exciting catch is that the oat milk is off and the coffee tastes burnt. As Exeter’s Cohen Quad is in Jericho, Tree Artisan, located on Little Clarendon Street, became our most-visited café. To find out what coffee shop life is like in Oxford from the point of view of the owners, I decided to interview Tree Artisan’s founder and owner, Graziella Ascensao.
Tree Artisan Café now feels like a fixture of the Oxford coffee scene, but it faced challenges from the very start. Graziella moved to Oxford from Brazil at 18, and later worked in the service sector, as both a barista and a waitress, and began to save up until she could afford to open her own café. It seemed as if fate had conspired against her when the COVID-19 pandemic hit as soon as she had secured the lease for the premises.
However, consistent with the rest of her attitude connected to her work, Graziella approached the challenge with a positive mindset and turned it into an opportunity. ‘At that time, I saw it was the time to open,’ she says. ‘When people were in front of their computer all day, they wanted to pick up a coffee and go to the park’. While, due to COVID-19 restrictions, she found it harder to cultivate the atmosphere she wanted within the physical space, she managed to generate a small community of regular customers who appreciated the friendliness and good coffee on offer. ‘I found positivity in that. I am always trying to be a warm person’.
This attitude is Graziella’s main take on the difference between the culture of chain cafés and that of independent ones. She takes pride in buying everything from independent suppliers, from bread to coffee beans, not wanting to compromise the culture of a small local enterprise. ‘There is more love, more passion. With chains, whoever you are, you are a number. The staff are a number, the customers are a number, everybody is a number. It is completely different to when you have a focus on the people’.
This focus is arguably what makes Tree Artisan Café unique. After exams, my friend and I worked there one afternoon, while the café was quiet. As we worked, we noticed that the staff recognised and talked to almost every customer who walked through the door. For a generation that appreciates the personal experience afforded by food vendors, this kind of human interaction sets Tree Artisan Café apart from chain cafés, where the staff often seem stressed and keen to hurry along to the next customer. The feeling that you’re part of a community is a huge appeal, and one that makes sitting in Tree Artisan much more appealing than, for example, sitting in Café Nero.
While the independent café market in Oxford is crowded and competitive, Graziella does not feel this is a hostile environment, and rather sees a market where independent outlets do not have to try and beat each other down to stay in business. ‘Honestly, I respect all of them, because I believe in this world there is space for all of them. Tree Artisan has my biometric, it is different from all the others. It is my personal imprint on them. It is like my baby. I am not comparing to others; I love it because it is mine’.
This ‘personal imprint’ is a huge part of independent coffee outlets in Oxford, and Graziella’s experiences definitely shape how Tree Artisan operates. Having been vegan for three years, she ensures there are multiple dairy-free, gluten-free and vegan options on the menu. As a lifelong member of the allergy club myself, it is welcome to have actual choices, especially when they’re genuinely delicious and likely to even be bought by someone who isn’t allergic to the other options. The menu is also rotated regularly, according to which options prove most popular, which allows Tree Artisan to be customer-driven, rather than constantly supplying the same, bulk-bought generic options available at a chain.
Graziella’s enthusiasm talking about running her own café is infectious. ‘It is hard work,’ she tells me at the end of our interview. ‘I’m here at 4:30 in the morning every day, and I have gratitude to be here. It is my passion, I am happy to be here’. It is this highly personal desire to create a positive experience for every customer that sets Oxford’s independent outlets apart from their corporate competition, and Tree Artisan Café is the perfect example of this alternative, people-focused approach to growing as a café in Oxford.
Friday 2nd September is creeping ever closer and with a government that seems to be set on inaction until then in the midst of the biggest cost of living crisis in decades, for millions it can’t come soon enough. Before then though, 0.3% of the population will decide who the next Prime Minister is and all signs now seem to suggest that that person will be Liz Truss.
Personally, I see it as a tragedy on several levels but, above all, I cannot cease to be totally baffled by the polls that show Truss will win by such a landslide. Not only is it now with seeming daily regularity that a new independent report, financial expert, or ‘Tory grandee’ points out her economic plans are both unfundable and inadequate. More than anything, the Conservative Party Members seem set to condemn themselves to losing the next election by electing a leader and resulting cabinet that is beyond impalpable for the general population.
I suppose the first step in trying to get inside the mind of Tory members is understanding who they really are, something that is notoriously difficult and explains why opinion polls in leadership contests vary so much in comparison with those of general elections. Although the information is not officially published, Tim Bale, professor of politics at Queen Mary University, concluded nearly ten years of study on this and told the FT last month that “There hasn’t been much change in the demographics of the Tory grassroots since we began our research on party members back in 2013.” The research found that, rather unsurprisingly, that members are disproportionately older men. 63% were male (compared to roughly half of the UK population), their median age is 57 (the national average is 40), and 80% fall in the so-called ABC1 category of the most highly-paid demographic group (this makes up 53% of the country). They also match the classic stereotype of being white and right-leaning on issues, with 76% voting for Brexit and 95% identifying as White British in a country where that makes up just 83% of the population. Now, that is a lot of numbers, but the fact that those voting on our next leader come from such a small and narrow segment of society is not only plainly a crazy and scarcely believable part of our democratic system but goes some way to explaining how and why they have leaned so heavily on Truss over Sunak. They have rewarded her ludicrous attempts to evoke Thatcherite policies which don’t fit the current economic climate and, much like the Foreign Secretary’s desperate efforts to emulate Thatcher’s personality and dress sense, are outdated.
Despite this, in fact for this very reason, one would think that the constant comments from some of the Tory party’s oldest, most successful, and most well-respected names, about just how baseless much of Truss’ economic policies are, would have swayed more of the base towards Sunak. Kenneth Clark has described her approach as “nonsense and simplistic” and related it to techniques that might be used by a Venezuelan government. Former leaders Michael Howard and William Hague, as well as well-respected current MPs such as Dominic Raab, Jeremy Hunt, and Michael Gove, have all taken to the airwaves and newspapers in the past few days to speak against the idea that tax cuts can resolve the crisis. Even Lord Lamont, Treasurer in the Thatcher government remembered so fondly by much of the conservative party base, has publicly backed Sunak over the holes in Truss’ plans. It isn’t only individuals who think that her plans are misguided either: the IFS joined countless other economists last week in pointing out that her current ideas are simply unfundable unless they are accompanied by spending cuts.
What makes all of this even more crazy and difficult for me to get my head around is that the members seem blissfully unaware of just how unelectable Truss is for the electorate as a whole. With a general election looming in 2024 you would think that there would be an appetite for a relatively inoffensive leader who appeals to as broad a base as possible. Whereas Sunak has at least shown his ability to appeal to a large spectrum in the past, earning himself the nickname ‘Dishy Rishi’ during his Eat Out to Help Out glory days, Truss has never shied away from bulldozing ahead with unpopular policies and divisive comments. Whether that is upsetting Scots by saying that the best way to deal with their democratically elected leader is “to ignore her” or regular workers by telling them to put in some more “graft”, Truss trails Keir Starmer and rival Sunak in every poll of the general population. And if recent leaks of her planned cabinet are to be believed, placing Jacob Rees-Mogg as Levelling-up Secretary, she hardly appears to be planning a change of course on this front.
So – why? What is it that appeals? It might well be a case of Johnson continuity – indeed in surveys, many have said that they feel Sunak betrayed their leader by resigning and becoming one of the major catalysts for the Prime Minister’s downfall. In reality though, I think it is more of a case of the members being genuinely detached from the real world themselves. For whatever reason they don’t seem able to see their impending decision risks disaster for millions of people across the country by worsening current financial pressures as well as putting them in a catastrophic position ahead of the next general election. Two years is a long time in politics, but right now I struggle to see why on earth the turkeys are voting for Christmas.
CW : mention of disordered eating, fat phobia, body dysmorphia
Have you ever wept in a toilet stall—maybe during a particularly rough school day, maybe during a night out that went wrong—thinking that you were completely insulated from the world outside, only to realise that there’s a giant gap in the door – so whoever is walking past can definitely see you, all puffy-faced? Grace Olusola’s Vessel spoke directly to my teenage self and my current self alike, as I found myself in that exact situation after the show: watching the play felt like having my private, internal feelings about my body and food externalised and projected onto the stage at the Old Fire Station this Trinity. I felt seen.
Last summer I vented my frustrations at feeling like the only fat person at Oxford on Twitter, and my notifications pinged more than normal for a little while. Initially, I worried that a play seeking to address themes of bodies and food in the Oxford community would centre the experiences of people who are afraid of looking like me. While I do not seek to invalidate the experience of people who are insecure and conventionally attractive, there’s a difference between being insecure about having rolls when you slouch and, as the Comedienne comments, “the world decid[ing] whether you’re ugly or not for you”.
Yet Olusola and her team of six other directors have taken the wide-ranging diversity of such relationships with body image into close consideration. Vessel is made up of twelve discrete episodes, each drawing inspiration from student survey responses on questions around bodies and food. The episodes differed significantly in tone, managing to tackle these issues with sensitivity and humour, and reminded me of scrolling through TikTok: we see a spoof of 2000s fatphobic TV shows, titled ‘Formerly Grotesque Fat People Bake On Blind Dates While We Watch’, and a monologue on different kinds of Reese’s peanut butter cups, among others. In ‘Not Like other Girls’we even see a girl sniffling in the school toilets, not unlike me after the show.
The episodic structure and use of several directors is certainly a strength of the show, reflecting how our relationships with food and our bodies has as much to do with class, race, gender and sexuality as with what we see when we look in the mirror. I particularly enjoyed how the show played around with form and structure to reflect this: in ‘Femi’, Tariro Tinwaro sings of a best friend with an eating disorder “outrunning bodies like mine”, while in ‘The Comedienne’ we see Chloe Ralph hilariously enact the awkwardness of mediocre standup about her friend group and conclude “with friends this fucked up, this may be one of the few situations in life where being the fat one is actually the best status in the group.”
Olusola cites her experience as a welfare officer at St. Catherine’s College, as well as her own body image struggles, as a catalyst for Vessel: this certainly shows throughout the production, albeit not in a way that feels patronising, didactic or reductive. At the beginning we hear a voiceover announce the show’s trigger warnings, and that if at any point an audience member needs to leave and take a break, they are welcome to do so. Likewise, at the end the crew offered pens and index cards to audience members as a chance to reflect on what they had just seen.
While I did sometimes find myself wishing for more cohesion between the writing of the episodes, I enjoyed the way that each episode was announced by the pinning of a poster or a graphic with its title to a board at the back of the stage, creating a sense of collaginess and accumulation. This imagery of food wrappers and containers was neatly alluded to in ‘Motherhood’, an episode where a woman tidying the house for a date discovers her daughter’s binge-eating stash concealed between stage blocks. During the interval, a friend remarked that the episodic nature reminded her of opening a door at a house party and accidentally walking in on a conversation between strangers that you were not meant to overhear, as alluded to perfectly in a scene where we watch the awkward reconnecting between old friends gradually tip over into a painful conservation about responsibility when one is mentally ill. Olusola’s skilful writing shines through in lines like “I had a brain that betrayed me–you were the collateral”, and “sorry, force of habit, when you’re at death’s door [so often] you start leaving a key under the doormat.”
The presence of fat actors and explicitly working-class characters, albeit only a handful, on a student stage was particularly refreshing to see, although I did find myself wishing for more than a few of the twelve episodes in a show about bodies to centre their experiences.
Overall, Vessel’s careful balancing of sensitivity and humour in its treatment of the subject matter of body image and food made it an important and worthwhile watch; I can only hope that we see more stories and actors with these experiences on the Oxford student stage in the future.
Where do we go from here? Reflections on a day of unprecedented chaos in Downing Street…
The past few years in British politics have repeatedly defied belief but Thursday 7th July will go down in history as the most chaotic, bizarre, and extraordinary day that our country has seen in decades. This morning, it was barely possible to make a cup of tea before returning to the television to learn of another ministerial resignation or letter from newly appointed cabinet ministers calling for the Prime Minister to go. Chris Mason taking the phone call from Downing Street to confirm Boris Johnson’s resignation live on BBC Radio 4’s Today programme perhaps perfectly summed up the incredulous nature of the morning’s proceedings. The big question now though is what on earth happens next? Where do the Conservative party and the country go from here? As it stands, the PM insists that he will stay on until a new leader is announced, but is that really feasible? Who is best positioned to succeed him? One thing is certain, the turmoil is far from over…
Who Next? The Runners and the Riders
The main reason why Johnson has survived in post for so long in spite of countless scandals that would’ve buried leaders of the past has been the lack of an apparent successor. Now the Conservative party is facing a leadership election with contenders from across the political spectrum, as it tries to decide its future.
Liz Truss
Bookies odds – 7/1
Long-time favourite of old-time party members but counting many enemies among fellow MPs, the outspoken Truss has never been afraid to make her leadership ambitions clear. Much like Johnson, she has been happy to bend her political beliefs to fit with her rise to power after backing remain in 2016 only to become one of the biggest supporters for a hard Brexit in recent years. Brash and brazen with political stances branded by many as ‘Thatcherism on steroids’, she certainly wouldn’t offer the dramatic change in tone and direction needed if her party is to stand any chance of rescuing themselves at any approaching election. She may also struggle in early stages of the leadership race, with several MPs declaring privately that they wouldn’t back her.
Nadim Zahawi
Bookies odds – 8/1
Zahawi was centre stage in the political chaos of the last 48 hours after being appointed Chancellor of the Exchequer on Tuesday night, doing the media rounds defending the Prime Minister on Wednesday morning, and then calling for his resignation on Thursday. His political stock rose substantially as vaccines minister during the pandemic and, popular amongst his colleagues, he now appears to be one of the favourites to succeed Johnson. The only thing standing against him may turn out to be his relative inexperience in government.
Rishi Sunak
Bookies odds – 4/1
There are few men in history who have had such a dramatic rise to fame and fall from grace as Rishi Sunak. An unknown among the public when appointed as Chancellor he attracted fans throughout the pandemic with generous furlough and ‘Eat Out to Help Out’ schemes before becoming embroiled in the Partygate scandal and brought down by questions over his wife’s non-dom tax status. There’s a chance that his shock resignation on Tuesday night might just have saved his chances and he is sure to be a front runner if he can convince MPs of his credentials. Equally, his resignation letter suggested that his could be ‘his last ministerial job’ and a return to pre-political life could certainly prove to be an attractive proposition for the former banker.
Sajid Javid
Bookies odds – 7/1
Having already failed twice in leadership elections could it be third time lucky for the man who initiated the final chapter of Johnson’s prime ministerial career? Although his dramatic move and speech after PMQ’s will appeal to some, few can really doubt his own personal motivations for moving against the PM when he did and that kind of ‘snakery’ as Number 10 likes to call it has been enough to see others named Michal Gove get the sack. Javid would offer something different in terms of a political direction and would appeal as a more stable set of hands but his flip-flopping hasn’t won him many fans amongst MPs and party members.
Penny Mourdant
Bookies odds – 5/1
Who? I hear you ask. The bookmakers’ favourite that’s who! Mourdant finds herself in the bizzare position where not having any experience working in recent cabinets will be seen as one of her biggest strengths. If you are in search of a metaphor for the dire state of the Tory party then this is it. Being a long-time Brexit backer makes her palpable to the right of the party and the ERG but her membership of the liberal Conservative ‘One Nation’ caucus means that she has a fairly wide reach. She has perhaps the fewest enemies of any of the obvious contenders. Then again that is inevitable when you consider that she has never held a post of significance within government.
Tom Tugenhadt
Bookies odds – 14/1
‘The rebels’ choice’, Tugenhadt is one of the few likely runners who has spoken out against Johnson from the start. The Chair of the Foreign Affairs Select Committee slammed him for his performance as Foreign Secretary and has remained critical ever since. His rhetoric always focuses on a renewal of traditional conservative values, the meaningful substance of that rhetoric unsurprisingly remains in the dark.
Jeremy Hunt
Bookies odds – 11/1
Hunt will undoubtedly frame himself as the man who stood up to ‘Johnson the bully’ and never served in his cabinet. In reality, insiders suggest that his close relationship with Theresa May meant that he was never invited to – a quite extraordinary thing when you consider the amount of ministers Johnson went through. Hardly a superstar as health secretary Hunt would represent a return to the more traditional style of government of Theresa May and although that be unexciting to some MPs, large swathes of party members could be convinced by a reassuring return to relative normality.
Ben Wallace
Bookies odds – 5/1
The defence secretary never resigned from the cabinet but did just about manage to squeeze in a letter calling for Johnson to go before the final decision was announced. The former soldier is broadly seen as reliable and undramatic, both potentially very attractive characteristics at the moment. He has won international acclaim for his dealing with the Ukraine crisis and the general public would be sure to back him on that but he is notable for his lack of experience in all other areas of government. Despite his popularity, he has also previously stated his desire to take on the role of UN Secretary-General in the future and that may yet prove to be his next step.
So, in conclusion, the race remains very much open. Dozens are sure to declare their leadership bids over the coming days and countless campaign websites will no doubt be launched within hours but the stark reality is that none of the options are pretty for the Conservatives. The party is in a mess, politics is in a mess. Opposition parties insist that Johnson cannot remain PM whilst the process continues and any caretaker would get the chance to audition their potential on the biggest stage. It still remains to be seen how long the elected leader will stay in post. Can any of those listed above really stake a claim to Johnson’s record-breaking mandate from 2019? A general election may very well be on the cards and, if that is the case, then the calculations change all over again for the MPs with the fate of the nation in their hands…
Your Thoughts
We asked you to sum up your thoughts about our departing Prime Minister’s time in office and departure itself – it’s safe to safe that the responses were mixed and I am happy to report that you didn’t hold back!
Charlie Aslet on the nature of Johnson’s departure:
“Boris Johnson’s resignation had as much dignity as a streaker at a football game. He clung to power until even his unkempt reflection was telling him it was time to pack it in. Some people would have thought it honourable to jump before being pushed. Not Boris. He was beaten up by all his closest friends and colleagues, his trousers hoisted around his ankles and then given a mighty boot up the buttocks before stumbling over the cliff. His only consolation as he tumbled down that rockface was that he managed to give Michael Gove a final slap in the face before he fell, giving him the sack when everyone else was resigning. In a way, I feel a bit sorry for Boris. His resignation was like the assassination of Julius Caesar, except this time it felt like he also managed to stab himself a few times before he died. But, then again, the man seems incapable of telling the truth. Even when he says he’s leaving it’s difficult to believe it will actually happen. When he says he’s actually staying, that’s when I’ll be ready to believe he’s really going for good.”
We then asked you for reflections on Johnson’s premiership:
“Good riddance babes”
“One word – joke”
And your predictions for the future:
“Same circus different clown”
“There is an unfortunate possibility that the Tories may be redeemed in the public eye”
“No chance anyone else will have anywhere near the decision-making prowess of Boris – prepare yourselves for an era of catastrophic indecision”
“I’m just sad for the people of Ukraine. Their future is now in doubt more than ever.”
“Someone equally bad or worse will become Prime Minister, there is no winning!”
UPDATE: On the 29th June, The UK Government announced a new round of sanctions on several high profile Russian figures including Potanin, with the aim of “hitting Putin’s inner circle”. A government statement read: “Potanin continues to amass wealth as he supports Putin’s regime, acquiring Rosbank, and shares in Tinkoff Bank in the period since Russia’s invasion of Ukraine.”
As the Western world moves to sanction overseas Russian money, Cherwell has found that St Edmund Hall and the Saïd Business School accepted donations from Vladimir Potanin, the oligarch and metals tycoon who is the second richest man in Russia.
Potanin, 61, has a net worth of $27 billion, as estimated by Forbes. In 2020, he was included on the US Treasury’s list of 210 Russian oligarchs, businessmen and politicians under considerations for sanctions, dubbed ‘Putin’s List’. He is widely known for regularly playing ice hockey with Putin. Potanin’s fortune fell by $3 billion on the day that Russia invaded Ukraine. Potanin also served as the Deputy Prime Minister for 7 months between 1996 and 1997.
In 1999, Potanin founded the Vladimir Potanin Foundation to “implement large-scale humanitarian programs” in the fields of “culture, higher education, social sport and philanthropy development”. The foundation donated £3 million to St Edmund Hall in 2018 to endow a research fund for Earth Sciences, and to jointly establish the Vladimir Potanin Associate Professor and Tutorial Fellow in Earth Sciences with the University of Oxford. The endowment also funded the three-year Vladimir Potanin Tutorial Fellow of Russian Literature and Modern Languages.
The foundation also granted $150,000 to the Saïd Business School in 2017 for a fellowship scheme for the Oxford Social Finance Programme. The school selected 15 Russian charity workers to attend this programme between 2017 and 2019.
The collapse of the Soviet Union in the 1990s allowed well-connected individuals to profit from the bloc’s transition to a market economy by gaining control over newly privatized state assets. Many of these deals were done privately, without competition. While in office, Potanin proposed the controversial ‘loans for shares’ scheme, which is seen as having furthered the rise of the oligarch class. This scheme effectively caused the consolidation of oligarchs’ control over the Russian economy. ‘Loans for shares’ encouraged wealthy businessmen to loan money to the Yeltsin government in exchange for state-owned shares in companies, many of which extracted and processed Russia’s abundant natural resources.
Of the programme, he told The Financial Times: “It is the biggest PR tragedy of my career. Of course, the privatisation process has to be transparent. And in our case it was not. My plan was different. I wanted to privatise the companies with banks and qualified people, raise their value, and then sell them.”
Through this scheme, Potanin and his long-term business partner Mikhail Prokhorov acquired a 54% share in Norilsk Nickel (Nornickel). The two businessmen separated their assets in 2007, leaving Potanin with 34.6% of the shares in Norilsk Nickel. The company’s total assets amounted to $20.7 billion in 2020.
On top of being the world’s largest producer of nickel, Norilsk Nickel is one of the world’s largest industrial polluters. In 2020, the company produced 1.9% of total global sulphur dioxide emissions. The company has announced that it intends to reduce suphur dioxides from its plants in the heavily polluted Norilsk region by 90% by 2025 from a 2015 baseline.
Potanin is the only Russian to have signed The Giving Pledge, in which the super-rich pledge to give a majority of their wealth to philanthropic causes. Other signatories include Elon Musk, Mark Zuckerber, and George Lucas. He said his decision was motivated by a belief that “wealth should work for public good”, and as a way to “protect [his] children from the burden of extreme wealth”.
A spokesperson for St Edmund Hall told Cherwell that the gift was accepted “in good faith and at a time when relations with Russia were in a substantially better place. This was a one-off donation and the College does not anticipate any further funding from The Potanin Foundation.
“The College is deeply concerned at the events happening in Ukraine and sincerely hopes that a peaceful outcome will soon be reached,” they added.
The Saïd Business School told Cherwell: “The grant went through the University’s robust approval process and the partnership ended in 2019. The focus of the programme is to improve the social impact and philanthropic work of charities and non-government organisations (NGOs) across the world. As a global business school with students and alumni from across the world, we have been deeply saddened at events happening in the Ukraine and hope a peaceful outcome is soon reached.”
The University of Oxford, Interros, and The Vladimir Potanin Foundation were approached for comment.
A couple of hours before watching Track 2, I saw a friend’s Instagram story pointing out the comments on a post from the official 10 Downing Street account. The post celebrated the ‘extraordinary contribution of LGBT’ people to Britain, but the comments were full of the kind of vitriolic homophobia that it’s hard to believe still exists in public spaces. It is this kind of hate, as well as the prevalence of outright racism, especially in online spheres, that makes projects like the Black Lives Playlist essential.
Track 2 is, primarily, a monologue about the experience of being Black and gay. It centres around The Speaker’s complex inner turmoil between shame and pride in his sexuality. Whilst we may now fortunately live in a world where homosexuality is far more accepted, this play serves as an important reminder that prejudice still very much exists in our society,and that microagressions can have serious consequences especially where marginalised identities intersect.
In spite of this, Track 2 never feels like a PSA about homophobia or racism. Instead, its character-driven nature is relatable to anyone who has ever felt out of place at a family party; anyone who’s questioned what they really want from life; anyone who’s kissed someone they didn’t really like and regretted it; anyone who’s looked at themself in the mirror mid-breakdown and thought, actually, they look kind of hot. This is the play’s greatest strength: writer Sam Spencer manages to both convey a very specific life experience and connect with universal feelings of anxiety and difference.
The Speaker tells us about a day spent visiting his sister’s boyfriend’s family for the first time – an experience that sparks complex emotions and difficult memories. This central narrative introduces us to the story of his ex-boyfriend, and a rendez-vous with a man from the gay hook-up app Grindr who asks The Speaker some difficult questions. Each of these narrative strands ties together cohesively. Credit must go to Spencer for creating a plot that plays out in such a satisfying manner, and to director James Newbery and assistant-director Grace Olusola for translating it onto the stage so effortlessly.
The different visions of the show’s team work flawlessly together. With one-person shows, especially those performed and directed by different people, it’s easy for conflicting creative visions to come across in the finished product, but no such issue exists here. The use of music adds to the piece brilliantly, and the colourful lighting accentuates the vivid narrative, although the lighting could perhaps have been used to accentuate key moments to a greater extent, and mark transitions between time periods more clearly. Yet, the collaborative nature of the project translates into a show that knows what it wants to be, and executes this vision immaculately.
The greatest strength of the direction is its simplicity: the story is allowed to speak for itself, which is essential to its success. Spencer’s script never tries to be overly clever or conceptual, instead relying on its innately heartfelt character development and engaging humour. He has a talent for visceral description, making both messy hookups and family dinners crystal clear in audiences’ minds, despite the minimalist staging: The Speaker remains sat alone in a dark space throughout. The script is structured very cleverly, with the hook-up acting as a frame that gains new meaning at the end, and the sister’s boyfriend storyline leading us craftily to an emotional climax. In addition to this, Spencer’s mixing of personal anecdotes with general thoughts on the likes of Stonewall statistics and making out with girls helps the writing sit so perfectly on the line between specific and universal. If I were to be especially fussy, it could be said that the script becomes slightly repetitive at times. Some elements, such as the use of the Grindr sound effect, could do with verbal clarification for audiences less familiar with the app, and the ideas around religion could have been fleshed out further. It remains, however, a remarkable piece of writing.
Spencer also performs his writing with a real honesty, transitioning smoothly between a public-facing cheekiness and moments of serious emotional depth – there are points where we feel genuine concern for him. The only things subtracting from the performance are some issues with awkward cuts and poor sound quality – the choppy switches between cuts takes us out of a few important moments, and dialogue with the off-screen voice in the first scene is at times hard to make out. These flaws can be easily forgiven, though; the show would work seamlessly in person, but we are unfortunately still gradually exiting the age of online theatre.
Like every other theatre fan, I’ve watched a lot of filmed monologues over the last year and a half. The influence of the likes of Fleabag can be felt within this piece (what would a review of a monologue be without a reference to Phoebe Waller-Bridge or Michaela Coel?), but it’s clear that the team have taken into consideration the limits and possibilities of the form and made it work for them. With its cohesive structure, engaging character and unfaltering honesty, Track 2 takes its place as one of the best examples of what has become an era-defining genre.
As the editors of Russell Group student newspapers, we are writing collectively to request a reversal of the Russell Group’s statement, 7 January 2020, ‘on ensuring fair assessment and protecting the integrity of degrees.’
As editors, not only are we students or recent students ourselves but we are also in constant contact with the students at our respective universities, as part of the function of our extracurricular roles. Apart from sharing in their collective experiences, we have a unique insight into their attitudes, viewpoints and beliefs. We speak and listen to them every day – and every day since the beginning of this academic year, we have heard students calling for more understanding, cooperation and empathy from university management.
The statement shared by the Russell Group on 7 January showed the inconsistencies between what they and we understand to be adequate teaching. Whilst we enormously appreciate the hard work of teaching staff under these challenging circumstances and understand the complications ‘blended learning’ has presented, students have repeatedly said they have not been adequately supported throughout this pandemic. This is by no means to disregard the tremendous efforts of university staff, but it is simply a consequence of the realities of a year like none other in living memory.
The lack of a ‘no detriment’ or ‘safety net’ policy has been a miscalculation by the Russell Group. Students across the UK have been left feeling abandoned by both the government, devolved administrations and universities themselves.
As the editors of 28 student papers, we pick up and record the views of our students on a regular basis. What many are telling us, as a result of personal and shared difficulties, is that they do require the support a clearer ‘no detriment’ policy would deliver.
We object to the assumption made by the Russell Group that ‘emergency measures’ are no longer ‘necessary’ or ‘appropriate’. We are living through what are undeniably unprecedented times – this is a global emergency. The Prime Minister has labelled these weeks of the third lockdown as the critical point in the UK’s fight against the pandemic – death tolls are high, hospitals have reached capacity, we are still just in the early days of administering vaccines. Students, locked down in various levels of economic and social stability across the nation, are facing some of the most important exams we have sat in our lives to date – under some of the most difficult circumstances many will have faced. International students, too, have been working all term from various time zones around the globe, detached from the support of their student communities.
If anything, this point in the pandemic is perhaps the most urgent. We are now facing a mental health crisis amongst young people. Figures by WONKHE and Trendence have shown that more students feel lonely and isolated on a daily basis as a result of the pandemic. Additionally, surveys of undergraduates by various higher education policy advisers have found that over 50 per cent of students say their mental health has significantly deteriorated during the course of the pandemic.
Students are attempting to sit assessments with a lack of resources, varying internet connections and mixed home environments. There are students without desks, who share bedrooms with siblings, who have caring responsibilities when they’re at home. Across the country, there are students from wide and varied backgrounds who are struggling to study for their final year assessments, many also affected by illness and bereavement owing to COVID-19. Students from lower income families as well as estranged students are disproportionately affected in their learning experiences this year and less able to receive the traditional means of support. They do not deserve to be dismissed.
Yet, no one from the Russell Group denied the emergency of the situation when metal fences were erected around halls at Manchester. Universities even went as far as to declare their own local emergencies by locking down individual residences during outbreaks amongst first years. There was no denial of ‘emergency’ when students were being blamed in the media for spikes in national COVID-19 cases.
A-level and GCSE exams have been adjusted to as if this were an emergency – so why aren’t the Russell Group responding in the same way for university students?
It should also be noted the UK government have voided themselves of much of the responsibility for the problems students face. On January 15, the Minister of State for Universities Michelle Donelan tweeted that ‘if universities want to continue charging full fees, they are expected to maintain the quality, quantity and accessibility of tuition’. A government who demands this from its universities should put support systems in place to enable it.
You have explained to our respective Student Unions that it is more appropriate for universities to provide ‘a range of policies and tools’ to ensure fair assessment for students. Whilst we agree some universities will need to adapt their policy on an individual basis, the Russell Group’s collective position against ‘no detriment’ or ‘safety net’ policy does not match the reality of what many students have faced, and are continuing to face, this year.
In principle, a ‘no detriment’ or ‘safety net’ policy should ensure a student’s grade is not worsened as a result of the pandemic. Currently, many of your universities’ mitigatory policies amount to simply offering more time for assessments. Frankly, a matter of extra days or a week is not sufficient for the challenges that we have outlined above, which students are facing in real time.
We understand that an algorithmic approach is not entirely viable due to the lack of benchmark data for many students at this stage of the 2020/21 academic year – that’s a mathematical given. But it is by no means impossible to support an alternative ‘no detriment’ policy built for the circumstances. The University of York, for instance, is implementing a comprehensive policy, attempting to take into account the unique challenges posed by this pandemic, as opposed to reshuffling and extending existing policies.
By readjusting the weightings of each year towards a student’s overall degree and choosing the better of the two for penultimate- and final-year undergraduates, as well as allowing first-years to re-sit up to 90 failed credits in exams, the University of York have worked to try and introduce an appropriate and fair policy. Postgraduates, who should not be forgotten in any such policy, have also been offered an assured ‘safety net’. Overall, it is certainly not perfect but it at least strives to fulfill on the principle of ‘no detriment’, allowing students to simply focus on their studies, with some confidence they will not be impacted by COVID-19, whilst preserving the value of their degrees to employers.
We urge all Russell Group universities to introduce similarly comprehensive policies.
Whilst we understand that every subject, university and student is different, showing the understanding and empathy to their students embodied in York’s approach should be a basic requirement.
Presently, there are a small number of universities, such as Cardiff, that have recently implemented similar policies. Yet their commitment to this editorial is on the basis that students from all Russell Group universities should have the same level of assurance.
Overall, many students will of course respect and largely agree with your desire to maintain degree standards comparative to other years and to ensure, as you say, that they still ‘command the confidence of employers and professional bodies’. However, where other aspects of society have shifted or seen unprecedented measures introduced over the course of the last year, we believe a reweighting or rescaling of degrees is certainly possible. The students we write for and hear from daily are not asking for a policy that allows them to stop working or learning, but one that simply acknowledges the reality of the pandemic and its wide-ranging impact.
Ultimately, you claim you want to uphold the integrity of our degrees. Yet a university’s first responsibility is to its students and acting with integrity ought to mean upholding this responsibility. Many students across the country have not received the ‘blended’ or ‘hybrid’ learning experience they were promised; many are now separated from their campuses, with its facilities and libraries, due to a third national lockdown brought about largely by an unforeseen variant; many are facing personal, long-term hardship as a result of the virus, and/or extreme difficulties at home.
The integrity of a degree, too – students would hope – should encompass a focus on the opportunity to learn and study as well as a focus on rankings and outcomes. The integrity of university institutions should entail safeguarding the mental wellbeing of its students. Under the current plans laid out by most Russell Group universities, students are reporting to us loudly that neither of these are currently in line.
Students have not been quiet about their concerns. With exams fast approaching, and some already underway, now is the time for Russell Groups universities to act compassionately and responsibly.
It is an understatement to say that we are living in extraordinary times. Last March, the UK, along with the rest of the world, came to a grinding halt at the onset of the COVID-19 pandemic as we tried to cope with a crisis that was entirely without precedent. The Prime Minister told us then that “things are going to get worse before they get better” – but the reality of this warning has only now been fully realised.
Ten months later, the UK has entered the worst stage of its crisis so far: tragically, cases and deaths have soared and, once again, students have been asked to study from home with Hilary term teaching moved online. However, many are highly concerned about the limited and restrained adjustments recently made by the University of Oxford to account for the deterioration of the coronavirus crisis and its impact on the upcoming term and students’ education as a whole.
It is not unreasonable to expect that students should not be disadvantaged by circumstances wholly beyond their control. That is why the editorial boards of The Oxford Blue, The Oxford Student and Cherwell are calling on the University of Oxford to introduce a fair ‘no-detriment’ policy for finalists.
While the scale of this tragedy has been devastating in terms of loss of life, the quality of students’ education has also suffered enormously. Students have raised serious concerns in recent days and weeks about issues at home: different time zones to Oxford in their home location; a lack of space; noise; and an absence of essential work tools including a desk, books, a computer and a stable, high-speed internet connection. Furthermore, international students are faced with additional (and unpredictable) challenges, such as having to make travel plans, negotiating complex and changeable immigration policies, undergoing mandatory periods of quarantine (either in private accomodation or specialist facilities) and/or firewalled internet access. Students who are materially more privileged than others in these areas are thus at a significant advantage compared to their peers.
Many students have also felt lonely, confused and anxious throughout the pandemic. Like the rest of the population, students have had to contend with self-isolation and the emotional impact of being unable to socialise normally with friends, family and partners. Some students have been ill with COVID-19 themselves or had to care for sick household members and loved ones whilst keeping up with the famously rigorous, unrelenting pace of an Oxford degree. The pandemic’s asymmetric demands on students means that a one-size-fits-all approach cannot be feasible and a ‘no-detriment’ policy is crucial for student success.
In such extraordinary circumstances – and ten months into the UK’s COVID-19 crisis – students deserve better than inflexibility and an insistence that it is possible to study as normal in such tough conditions. It is crucial to recognise the circumstances that led to the establishment of the ‘no-detriment policy’ last spring have only been prolonged and exacerbated over the course of recent months. If students are to pay full tuition fees for a severely diminished university education, it is right that the University at least intervenes to accommodate the impact of COVID-19 on our learning experience and academic attainment.
Last year, in light of the rapid spread and impact of COVID-19, the University listened to student feedback and implemented what they called a no-detriment policy, designed to ensure that finalists did not suffer from the consequences of a global issue outside of their control. Whilst by no means perfect, this policy was executed well in many respects. The optionality from last year should be continued further given the nature of the ongoing crisis. Imposing any one formula on the entire student body will unfairly disadvantage a significant number of its members. If we prioritise simplicity, we may unintentionally neglect the nuances of the situation which we face. Decentralising choice to students means that assessment will consider principles of fairness and equity, and ensure that each student can face the challenges we all find ourselves facing on their own terms, in a way that is right for them. That is what a no-detriment policy must guarantee.
There is undoubtedly a shared interest amongst the entire staff-student body in not wanting the value of an Oxford degree to be diluted, and everyone understands the importance of ‘academic rigour’; it is why many students apply to study here. However, it is unavoidable that students will be affected to varying degrees by the pandemic. Some will feel unable to be examined at the end of this calendar year if, for example, they or a close family member fall ill and/or they have been struggling with mental health issues. Others may be able to undertake exams, but will have to do so in extremely difficult conditions. More still will need to fulfil academic conditions to begin postgraduate courses but may or may not be able to be assessed next term. It suffices to say that no one solution can accommodate all students in a satisfactory manner and, therefore, a solution similar to last year must be implemented.
Yesterday’s email from the University, however, is not only a disappointment but an insult to the entire student body. By refusing to implement a clear ‘safety net’ policy, the University is downplaying the real-world impact that the pandemic has had on students’ learning – both in terms of access to teaching and resources, and of the effect of this crisis on students’ mental health. Some individual departments have also introduced policies that represent a ‘business as usual’ approach to exams and assessments, despite students’ loss of library access, resources and study spaces. A reliance on examiners’ personal acknowledgement of the past year’s unique circumstances cannot replace a formal framework that can evaluate and mitigate inequalities in learning and attainment.
The University has said that it will announce “additional measures” to ensure fair degree outcomes in “the middle of Hilary term”. The only way to ensure fairness is for the University – in conjunction with departments and faculties – to commit, as soon as possible, to a no-detriment policy for all those taking exams and submitting other assessments, Such measures can ensure that no individual Oxford student is unjustly disadvantaged by the effect of the pandemic on their learning in the last year and during the next.
Oxford’s Student Union, which serves as a voice for a student body of over 22,000, has said that the University should “recognise the academic challenges by reassessing workloads and assessment practices”, calling for a “fair outcome policy” defined as “a system of policies put in place to mitigate the detrimental effects of the pandemic on students with exams and coursework this year”. This will involve the re-scaling and re-weighting of exams and coursework to reflect the impact of the pandemic on the whole cohort. At an individual level, the Student Union has called for students to be able to file for mitigating circumstances and deadline extensions – without needing to prove that the pandemic has affected their studies – and to access better financial, academic and mental health support. We wholeheartedly endorse these demands and encourage students to find out more about the Student Union’s campaign and services and attend the online workshop taking place this evening (13 January), which will address these issues.
Other universities in the Russell Group, such the University of York, have also started to implement similar ‘safety net’ policies, and the Universities of Leeds, Lancaster and Bristol are considering similar approaches. A petition by Oxford students to the Vice Chancellor to implement “fair safety nets” has already attracted almost 800 signatures at the time of writing.
On Tuesday, the University ruled out the possibility of a ‘blanket safety net’, but given the disruption caused to the last two terms – which will likely endure even beyond Hilary term – it must now act to introduce a fair no-detriment policy which will also reflect the impact of the pandemic on assessments, just as last year’s safety net did. To fail to do so will present an entirely unfair disadvantage to Oxford students, directly undermining the University’s commitment to student welfare and academic success.
The effects of the COVID-19 pandemic on a whole generation of students can not even begin to be graphed on a curve. This crisis is, as we are so often reminded, ‘unprecedented’ – but extraordinary times surely call for equally extraordinary measures.
A fair, robust no-detriment policy is one of those measures – and it must be implemented now.
Editors-in-Chief and Managing Director, Cherwell, The Oxford Blue, and The Oxford Student
Come Christmas, what’s on your table? Are there bowls overflowing with cranberry sauce? Plates filled with pigs in blankets? A prize bird gleaming on its platter? Traditions differ, but some dishes find their feature every year.
For most, the star of the Christmas feast is the turkey: the plump, golden-skinned bird that takes pride of place. But different birds have had their place; peacocks, pheasants and ducks all had their time on the table and before Victorian times, a goose was the typical centrepiece of the Christmas meal.
Henry VIII, a man then synonymous with decadence, may have been the first in England to try a turkey, but it did not come into fashion until Charles Dickens chose to emphasise the immense philanthropy of Scrooge’s gift to the Cratchits by swapping their traditional goose for turkey. No expense would be spared, and thus the Christmas turkey fell into vogue. Isabella Beeton, author of Mrs Beeton’s Book of Household Management, and the Victorian authority on all things to do with housekeeping, bolstered this new trend by proclaiming that Christmas for the middle class “would scarcely be a Christmas dinner without its turkey”.
Two of the more controversial members of a Christmas dinner, Yorkshire puddings and Bread Sauce, both find their origins in leftovers. Although many would argue Yorkshire puddings should only be eaten with roast beef, they actually originated from the drippings of fat off mutton as it roasted. As dripping fell into a pan filled with a batter, a Yorkshire pudding – enormous by today’s standards – would grow. Anyone with a food-strict upbringing similar to my own would never imagine a Yorkshire pudding on their plate come Christmas, yet this favourite continues to divide the country. It takes just a quick google search to discover the years of articles that have piled up from yuletides arguing pro-YP or against!
Yorkshire puddings’ more traditional, but stranger cousin is bread sauce. The beige, lumpy, liquid-like substance is not much more than gloop to those who haven’t been brought up with it. But to a fan, it’s a haven of stodgy delight. Bread sauce also originates from leftovers. In the Medieval period, soups were thickened with leftover bread, rather than flour as used today. These soups were prepared for Christmas feasts and evolved into the bay/nutmeg/clove flavoured slop (can you tell I wasn’t raised on it?) that so many will douse their turkey with this week.
As with anything that has its roots in the dinners of yore, the veg on our plates at Christmas have been shaped simply by whatever our ancestors managed to grow. Brussel sprouts found their way to the UK from Belgium, being the only cold-hardy green around. Parsnips, the preferred partner to sprouts, are harvested in the winter. Their first frost causes sugars to be released from their starch stores, giving them their characteristic sweetness (you won’t find that fun fact in your cracker).
Christmas desserts may be the most reliably underwhelming part of the day. Dessert has the opportunity to hold such creativity and glee, and yet the dry, misshapen lumps turned out year after year hold nothing but an unbelievable amount of fruit. They also hold a considerable serving of history.
The myth of each of the thirteen fillings of Christmas cake representing the 12 apostles and Jesus is a fun tale, but the most interesting story is with mince pies. First, let’s clear it up – yes, mincemeat did once contain real meat. Dating back to the crusades when meat/spiced/fruit pies found their way back to Europe, mince pies evolved from rectangular “coffins” to round Christmas Pyes that were often found at bountiful Christmas feasts. They were famously held in disdain by Cromwell’s Puritan government because of the ‘more-gluttony-less-Jesus’ they seemed to represent. By the Victorian period, mincemeat was being prepared and jarred earlier and earlier in the year to allow flavours to mature, and hence, meat was left at the wayside – thankfully for us.
These Victorian mince pies largely look like those we have today – buttery pastry, spiced fruit (and suet) filling, decoration with festive designs on top. Though their status as a delicious treat may be divisive, mince pies, with their undeniably Christmassy aroma, remind you it’s a special time of the year, and for that they fulfil their role as a Christmas food tradition.
Whether you guzzle gravy or put away potatoes, your food has been through a lot to make it onto your table – so forget the Queen’s speech and tune into your food come Friday.
Some colleges are reducing the availability of residence for students over the Michaelmas vacation. Oxford SU is lobbying to ensure international students are guaranteed accommodation for those who wish to remain, and has criticised the impact on care leavers, estranged students, and independent students.
Oxford SU passed a motion in 3rd week resolving to ask the University to guarantee all international student residence in Oxford over the vacation. The SU also resolves to push for vacation residence to be offered at 15% of usual vacation rent.
College policies do not currently fulfil Oxford SU’s requests. St John’s College has said that their vacation residence and grant scheme “will not operate as usual” during this vacation. All students have to leave, except international students whose home borders are closed and students with extended terms for their subjects.
St John’s told students that this was to ensure staff get a break from a difficult term, and students get a break to spend some time in a “different environment” before next year.
Queen’s College emailed students saying they “strongly urge” and “expect” all UK-domiciled students to return, noting that for students with welfare concerns, the welfare services would be closed for a period over the vacation.
They also told international students that the requirement to quarantine in their home country and in the UK is “unlikely” to be a “compelling reason” to be granted vacation residence. Queen’s said that, if borders for students’ home countries are closed, students should consider asking friends to stay at their homes. Queen’s reminded students that “there is no automatic right to stay in College”.
Oxford SU Class Act Campaign told Cherwell: “This is an issue not only for international students, but also for care leavers, estranged students, and independent students. Colleges consistently fail to provide these students with security, instead leaving individuals to negotiate with them for the right to have somewhere to stay. This is a difficult situation for everyone, but many students call Oxford their home, and must not be forgotten in this pandemic.”
One anonymous student told Cherwell: “The vacation residence policy email I received from my college was a disappointing read that placed unnecessary anxiety upon estranged students. For some of us, home life is not safe: it does not matter if this has always been the case, or if this is recent. Trinity Term lockdown was hard enough to suffer because students from other colleges were able to return – hopefully we can stay this time.
“I, like many other students, am incredibly grateful for my time at Oxford because of the freedom it gives me. It is also one of the reasons students take advantage of the vacation residence system: escape. To put it plainly, studying in college is better than working at home. We already try so hard to learn to live independently, study efficiently and strike that balance needed to be happy that if we are forced back into our older unhealthy environments no good will come of it.”
Oxford SU will further ask the University to ensure students who are required to quarantine upon return to Oxford get free accommodation, and receive food at the average price of their college’s home food.
Students who were required to quarantine upon arrival at the beginning of Michaelmas faced very varied college policies. Oxford SU’s motion stated that students were “in some cases charged extortionate rates for their accommodation”. Cherwell reported at the beginning of the term that Oriel College charged self-isolating international students over £700, including a nearly £30 per day food bill. Some colleges, including Hertford, Magdalen, Queen’s, and Worcester College, made accommodation free.
Freedom of Information requests submitted by Cherwell have revealed that Oxford University accepted at least £726,706 from the Atomic Weapons Establishment (AWE), the designer and producer of the UK’s nuclear warheads, during the years 2017-19 alone.
The majority of this money was awarded to the Oxford Centre for High Energy Density Science (OxCHEDS), which advertises AWE as one of its “national partners” on its website.
AWE’s funding is mostly used by OxCHEDS to fund individual research projects and studentships, with a substantial portion (£82,863 in 2019) funding the department’s William Penney Fellowship, named after the head of the British delegation for the Manhattan Project and ‘father of the British atomic bomb’. According to the AWE website, William Penney Fellows “act as ambassadors for AWE in the scientific and technical communities in which they operate”.
This fellowship is currently shared by two professors, Justin Wark and Peter Norreys, both of whom collaborate closely with US state laboratories that develop nuclear weapons, the Lawrence Livermore National Laboratory and the Los Alamos National Laboratory.
AWE donations have also funded projects at the University’s Departments of Chemistry, Engineering, and Physics, a number of which are directly linked to the design of nuclear weapons. One AWE-funded paper, published in 2019, investigated fusion yield production, a vital way of testing the destructive power of a warhead prior to manufacturing, whilst another project researched methods used by nuclear weapons designers for simulating the interior of a detonating warhead.
This research also has civilian applications, and does not in itself point towards the development of nuclear weapons. A spokesperson from Oxford University stated: “Oxford University research is academically driven, with the ultimate aim of enhancing openly available scholarship and knowledge. All research projects with defence sector funding advance general scientific understanding, with a wide range of subsequent civilian applications, as well as potential application by the sector.”
However, AWE is not a civilian organisation. As Andrew Smith of Campaign Against the Arms Trade told Cherwell, “the AWE exists to promote the deadliest weaponry possible. It is not funding these projects because it cares about education, but because it wants to benefit from the research and association that goes with it”. Mr. Smith concluded: “Oxford University should be leading by example, not providing research and cheap labour for the arms industry”.
Responding to Cherwell’s findings, Dr Stuart Parkinson, Director of Scientists for Global Responsibility, described Oxford University’s ties with AWE as “shocking” and called for the work to be “terminated immediately”. He said that the findings “point very clearly to Oxford University researchers being involved in the development of weapons of mass destruction”.
In the face of this criticism, the University spokesperson claimed: “All research funders must first pass ethical scrutiny and be approved by the University’s Committee to Review Donations and Research Funding. This is a robust, independent system, which takes legal, ethical and reputational issues into consideration.”
However, there are growing concerns over the ethics and efficacy of this process, which has seen controversial donations from the Sackler family, Wafic Saïd, and Stephen Schwarzman given the green light despite internal and public protests. The committee’s deliberations are frequently subject to Non-Disclosure Agreements, meaning that they are not accountable to members of the University and to the wider public. Moreover, Freedom of Information requests submitted earlier this year revealed that the committee accepts over 95% of the funding it considers, with congregation members describing the committee as a “smokescreen” and a “fig leaf”.
In recent years, the University has faced increased opposition from student groups such as the Oxford Climate Justice Campaign and Oxford Against Schwarzman over the companies Oxford chooses to affiliate itself with through investments and donations. From this term onwards, a newly formed student group, Disarm Oxford, will be campaigning against the University’s numerous ties with the arms industry. Oxford Amnesty International is working with Disarm Oxford on the global Campaign to Stop Killer Robots, and to strive for the disarmament of the University more broadly.
Dr Rowan Williams, the former Archbishop of Canterbury and Chair of the Trustees of the Council for the Defence of British Universities, told Cherwell: “The recent publicity around university divestment from fossil fuels has highlighted the need for university bodies to be transparent about the ethical standards they apply to their funding, and it is encouraging to see this crucial question being raised also in the context of armaments-related funds and research.”
The combination of Brexit and the coronavirus pandemic has created a particularly difficult time for university research finances. In a marketised higher education system, seeking and welcoming money from industry partnerships seems like an inevitability. However, while some industries rely on academic research to save lives, others are predicated on taking them. With the UK confirmed this year as the world’s second biggest exporter of arms, the University’s significant ties to the development of weaponry has an alarming global significance which is now beginning to be called into question.
A trial led by Oxford University has discovered that
dexamethasone, a cheap steroid, can help reduce deaths in seriously ill COVID-19
patients.
The drug reduced the risk of death by one-third for patients
on ventilators and by one-fifth for patients on oxygen.
Oxford University says: “Based on these results, 1 death would be prevented by treatment of around 8 ventilated patients or around 25 patients requiring oxygen alone.”
Chief Medical Officer Professor Chris Whitty has described it as “the most important trial result for COVID-19 so far”.
The British government has immediately authorised use of the drug in the NHS, saying “thousands of lives will be saved”. The government has secured supplies of dexamethasone in the UK, meaning there is already treatment for over 200,000 people.
Prime Minister Boris Johnson has said this is “a remarkable British scientific achievement” and that the government “have taken steps to ensure we have enough supplies, even in the event of a second peak”.
It was discovered as part of the RECOVERY trial, the Randomised Evaluation of COVID-19 Therapy, which has involved over 11,500 patients at over 175 NHS hospitals in the UK.
About 2000 hospital patients were given 6mg of dexamethasone
per day and compared with more than 4,000 who were not.
For patients on ventilators, it cut the risk of death from 41%
to 28%. For patients needing oxygen, it cut the risk of death from 25% to 20%.
The drug costs £5.40 per day and treatment takes up to 10 days. Professor Martin Landray, one of the Chief Investigators, has said: “So essentially it costs £35 to save a life.”
Chief investigator Peter Horby has said: “This is
the only drug so far that has been shown to reduce mortality – and it reduces
it significantly. It’s a major breakthrough.”
The UK Government’s Chief Scientific Adviser, Sir Patrick Vallance, said:“This is tremendous news today from the RECOVERY trial showing that dexamethasone is the first drug to reduce mortality from COVID-19. It is particularly exciting as this is an inexpensive widely available medicine. This is a ground-breaking development in our fight against the disease, and the speed at which researchers have progressed finding an effective treatment is truly remarkable. It shows the importance of doing high quality clinical trials and basing decisions on the results of those trials.”
Peter Horby, Professor of Emerging Infectious Diseases
in the Nuffield Department of Medicine and one of the Chief Investigators for
the trial, said: “Dexamethasone is the first drug to be shown to improve survival
in COVID-19. This is an extremely welcome result. The survival benefit is
clear and large in those patients who are sick enough to require oxygen
treatment, so dexamethasone should now become standard of care in these
patients. Dexamethasone is inexpensive, on the shelf, and can be used
immediately to save lives worldwide.”
Martin Landray, Professor of Medicine and Epidemiology at the Nuffield Department of Population Health, University of Oxford, one of the Chief Investigators, said: “Since the appearance of COVID-19 six months ago, the search has been on for treatments that can improve survival, particularly in the sickest patients. These preliminary results from the RECOVERY trial are very clear – dexamethasone reduces the risk of death among patients with severe respiratory complications. COVID-19 is a global disease – it is fantastic that the first treatment demonstrated to reduce mortality is one that is instantly available and affordable worldwide.”
Public Health England (PHE) has confirmed that a student at the University of Oxford has tested positive for coronavirus (Covid-19) after returning home from a specified country.
The university has said that “Our immediate concerns are for the affected student and their family, along with the health and wellbeing of our university staff, students and visitors. The student is being offered all necessary support.”
The university has established that the affected student did not attend any university or college events after they felt ill, when they subsequently self-isolated.
PHE has advised that the risk to other students and staff is very low and that university and college activities can continue as normal. They have also advised that the university and colleges do not need to take any additional public health actions in the light of this specific case.
A university spokesperson has said “We have worked with PHE to make sure that anyone who was in contact with the student after they fell ill have been notified and that they are able to access support and information as needed. PHE do not consider individuals infectious until they develop symptoms.”
The university is providing support for students, staff, and the wider community.
Oxford University has announced that more than 69% of undergraduate offers have been made to students attending state schools. The increase of 4.6% is the “best percentage increase the University has ever seen.”
30.9% of offers were made to students from independent schools; this is over 12% higher than the 18% of students who attend independent sixth forms, according to the Sutton Trust (2018), and dramatically higher than the 7% of all UK students attending independent schools.
78% of offers were made to UK applicants, 7% to EU applicants and 15% to Overseas applicants. The University specifies that ‘UK applicants are more likely to receive an offer.’
The University was unable to provide a breakdown of the split between Grammar, Comprehensive, Academy and other forms of state schools as they do not currently collect that data. The data on the inter-state school split is not published in the University’s annual data report either, however the May 2019 access report published by the University highlighted that ‘In 2018, 11.3% of UK students admitted to Oxford came from the two most socioeconomically disadvantaged groups (ACORN categories 4 and 56).’
Oxford’s successful UNIQ programme has led to 250 students being made offers this year. The offer rate to students who attended UNIQ programmes is 33.6%, in contrast to the offer rate of 21.5% across UK applicants. The increase in offers to UNIQ participants comes after the expansion of the scheme last year, which saw more than 1,350 pupils take part in the programme – an increase of 50%. This is the largest number of UNIQ participants to receive offers in the programme’s history, thanks to the dramatic development in 2019.
This year, Students from POLAR4 quintile 1 accounted for 6.4% of UK offers – up by 1.4%. These students represent the areas with the lowest progression to higher education.
Dr Samina Khan, Director of Undergraduate Admissions and Outreach at Oxford, said: “We are delighted by this record number of offers to state school students, and to students from under-represented backgrounds. This creates a strong foundation for what we aim to achieve. We know that students from some backgrounds are not as well-represented at Oxford as they should be, and we are determined that this should change. Having taught in state schools during my career, I know the wealth of talent that lies there. We wish the students every success in their studies, and hope they flourish at Oxford.”
The number of offers made to young people from areas with the lowest progression rates to higher education have increased. Students from POLAR4 quintile 1 accounted for 6.4% of UK offers – up by 1.4% from 2019 offers.
In 2015 the University made 56.7% of their offers to students from state schools. Across the past five years, there has been an increase of 12.4% in state school offers. This comes after pioneering Oxford schemes have taken place, from the UNIQ programmes to Lady Margaret Hall’s Foundation Year and University College’s bridging scheme. It also coincides with the University’s formation of the Foundation Oxford and Opportunity Oxford schemes.
Opportunity Oxford launched at the end of the previous academic year, and this week more than 100 candidates from under-represented backgrounds received offers to study as a part of the scheme. Dr Andrew Bell, Coordinator of Oppertunity Oxford and University College Senior Tutor, has stated:
“Opportunity Oxford is a major new initiative to increase the number of offers made to UK students from under-represented backgrounds, and to provide academic support to those students to ensure that they have the best possible start to their university careers. This year, more than 100 offers have been made under the scheme across 28 colleges. We anticipate making 200 offers per year under the scheme from 2022 onwards. We’re really excited to have launched Opportunity Oxford, and we very much look forward to welcoming our first cohort to Oxford later this year.”
This article was updated at 20:02 15.1.20 to clarify POLAR.
Further clarification was made at 00:11, 16.1.19 concerning Opportunity Oxford.
White curtains quiver in the non-existent breeze that haunts
the clinical interior of the Hayward gallery. With that slight movement, too,
the image projected onto the curtain sways – Victoria Sin’s wide eyes flicker
involuntarily as the camera slowly zooms into their face. In sparkling lingerie and full drag inspired
by Cantonese opera, the model, laid out demurely across
a satin curtain, stares back at the starers; sometimes sultry, sometimes vulnerable,
always, somehow, piercing.
“Look. Look. Look – At her.”
Victoria Sin’s A View from Elsewhere, Act 1, and She Postures in Context, three film-art pieces projected onto a curtain-enclosure, embody the spirit of the Hayward’s latest exhibition Kiss My Genders. The exhibition, made up of over a hundred artworks by thirty different international artists, centres around gender identity and fluidity. Physically enclosing their viewers in the wavering medium of cloth and projection, Sin appears to comment on the insubstantiality of gender boundaries, but in subverting perspective and viewing experience, also draws attention to the role of performance, presentation and spectatorship in all elements of identity. Hayward claims the exhibition focuses on “content and forms that challenge accepted or stable definitions of gender.” Paintings of hunter-gatherer tribes with drag elements question the West’s suppression of third-gender narratives, while sculptures made of artificial oestrogen and testosterone break down, biologically, what it means to be “male” or “female”.
But more than just gender identity, the exhibits are an expression of the individuality and the internal or cultural conflicts of the artists. Amrou Al-Kadhi teams up with Holly Falconer to explore what he describes as the “disorienting” experience of being drag as a person of Muslim heritage by modelling as drag persona Glamrou wrapped in a Persian carpet. Cloned in different poses through triple exposure to express the incongruence of these disparate cultures, Al-Kadhi demonstrates their successful unification in the persona of Glamrou. Meanwhile Juliana Huxtable’s photographic self-portraits deflect identity-labels entirely; using makeup, costumes and fantasy backgrounds, she deflects the reductive categorizations ascribed to her as a “black intersex artist” by creating personalized embodiments of mythology, sci-fi and super-heroes. Kiss My Genders thereby becomes an exploration not only of the boundaries perceived in gender – but of individuals’ cultural identity experiences.
With this exhibition, an art assistant explains, the Hayward is attempting to break the mould of LGBTQ+ and gender-related exhibitions, which often focus on the violence and oppression experienced by these communities. Instead they want to celebrate different identities. Nonetheless, the exhibition is palpably political: Zanele Muholi explores black lesbian and transgender experiences in South Africa through photography – and acts of violence are still an all too present component of that. In her series Crime Scenes she stages the aftermath of brutal murders, photographing the upturned feet of model corpses buried in sheets of plastic and litter. Paintings like YESSIR! Back off! Tell me who I am, again? combine illustration and collage to satirize the way gender transition is spoken about. The artist, Flo Brooks, depicts a fictional cleaning company scrubbing away at a therapist’s room, reflecting his experience of the “hygienic spaces” he experienced while transitioning; “spaces designed to clean, conceal and correct” things socially considered “dirty, abnormal or other” – but also addresses the way transgender issues are generalised and “sterilized” through neat clinical terms. Artists in Kiss My Genders marry the intensely personal with the social, emotional with the playful, and at the same time evoke all the contrasting feelings of pride, comfort, fear, frustration, belonging and exclusion.
The exhibition succeeds in its “celebration” and “expression” of identities – but the presentation, at times, is confusing. The works of some artists are split across multiple floors, the labelling unclear, and it is generally worth asking the art assistants to talk you through the rooms – difficult, when the gallery is at its busiest and a shame for an exhibition set on “opening doors.” Perhaps this is all the more noticeable as the exhibition appears to be catered towards an audience that identifies with binary genders – many of the artworks require the context of the theme or artist in order to be appreciated. Often, however, this is used in a positive way; many of the exhibits are truly thought provoking.
Most strikingly, Something for the Boys takes us through a spiral of ruched curtains in metallic pink – as if we are walking into a private adult show, yet at the same time, as if we were walking onto a stage. In the centre of the spiral we find ourselves in a circular womb-like room with a screen. Cutting between various LGBTQ+ spaces in Blackpool, the projected film shows an increasing disconnect between sound and image; a drag queen mouthing to “I am who I am” off-sync, interjected with a club-dance choreography, stills of gay clubs, the camera panning over pornographic videos and fetish-wear, and back to the drag queen – except this time she just mouths, and all we can hear is industrial sounds – once again connecting gender-identity and sexuality to cultural identity as a whole. But there is also something intimately performative about the display – the gesticulations and dances, unhinged from their appropriate music, seem to point to a theme of performance and spectatorship at large. And suddenly, that circular room no longer feels like a private theatre. It starts to feel like a stage, and the question crosses our minds – who is really the performer here, the drag act, or us, playing up to our female/male expectations? Just as Victoria Sin’s insistent murmurs, Kiss My Genders seduces its audience into truly looking – and becoming aware of the instability of their perspective in the process.
The National Union of Student’s annual conference took place between Tuesday and Friday of this week. Five of Oxford’s seven elected delegates were present and voting in Glasgow, with two not voting on any motions.
The voting records of all delegates are available for viewing online, whilst a list of the motions discussed over the three day event can be found here.
This conference saw the election of Zamzam Ibrahim as NUS President. Ibrahim, the former president of the Salford University students’ union, vowed in her manifesto to hold a National Student Strike, calling for free education, an improved student maintenance allowance and the return of the post-study work visa for overseas students.
Among the motions discussed, Oxford SU delegates voted to support the Mental Health Charter. This would seek to improve standards of mental health provision and funding across universities, acknowledging alarming rates of student suicide and the ongoing “mental health crisis”.
All Oxford delegates voted against the motion to revoke gender quotas within the SU. The proposer highlighted the now-increased presence of women in the organisation, since the rule’s creation in 2014, as well as the potential harm to non- binary individuals that a 50% female quota poses. The last 5 NUS presidents have identified as female, with racial discrimination featuring more often than gender inequality in this year’s manifestoes.
The conference itself was marked from the outset by sitting president Shakira Martin’s admission of the NUS’s financial trouble. Telling the conference that “we should have run out of cash”, Martin stated: “We are having problems that we need to sort out”.
This follows the November announcement that the NUS was unable to pay off a £3m deficit, cutting half of its jobs as a result. However, all Oxford delegates voted against a review of the NUS’s finances.
Closer to home, Oxford SU is continuing the hunt
for a VP for Charities and Community, a position unfilled by Hilary term’s
election. President Joe Inwood also penned a letter this month, calling for the
university to revoke the honorary degree given to the Sultan of Brunei.
Oxford SU has been contacted for comment on the proceedings.
It is a Sunday and some weeks since Tracey Emin’s latest London solo show at White Cube Bermondsey first opened to the public. Yet the people of south-east London have emerged in droves, so that at lunchtime the gallery is still milling with visitors – the fullest I have ever seen it. It is testament to the magnetism and celebrity of an artist like Emin that people continue to flock so dutifully to the austere, white-lit and grey-walled gallery to see a show entitled A Fortnight of Tears, when outside it is one of the sunniest days of the year so far. Outside, the faint hum of pop music floats down from the nearby park, while a yellow Labrador lolls out into the sunshine on the corner opposite. The scenes inside Emin’s exhibition, however, tell a starkly different story.
Emin’s show is a broadly autobiographical survey of love and loss. It is a tour de force in sculpture, neon, painting, film, photography, and drawing. The artist’s uncanny ability to stage life’s ordinary tragedies, and to be entirely candid about the experience of female pain, is on display as masterfully as ever in the demanding spaces of the White Cube. Decades of dirty laundry are paraded through the gallery; the horrors of a 1990 botched abortion, rape, and the death of her mother are the dominant topics of expression. Though much of the language and subject matter has been a constant throughout her career, it is evident that Emin has come some way from her days as a party-girl enfant terrible of contemporary British art. There is a discernible grown-upness about this exhibition; familiar, ugly subjects are returned to with a new seriousness and sensitivity, though the bite is doubtless still there.
The South Gallery I houses ‘Insomnia Room Installation’. Huge Gilcée print iPhone selfies of the artist reveal a tormented Emin in various states of physical and mental injury over four years of sleepless nights. The pictures are double hung almost up to the ceiling in a manner that falls somewhere between a teenage girl’s bedroom and a French salon. Unframed and pinned in each corner, they lift off the wall slightly, a pencil signature just visible on each bottom-right corner. We are invited to share the unhappy bed. As the first room of the show this sets the tone for the rest: sad, intimate, and earnest.
Alongside the ‘finished’ works further on in the gallery, four cases containing sketches and writings on paper, maquettes, and memorabilia are exhibited from the artist’s archive. These sketches – some on notepad pages branded with the names of hotels – are reminiscent of those doodles we draw out on paper absent-mindedly, while taking a phone call or sitting in a lecture. They have a day-to-day feel about them. The cabinets are organised thematically under the topics of love, sex, death, and fear. Indeed, these are the subjects to which the artist returns obsessively, and which percolate through every room of the gallery, bleeding into each other at the edges.
Paintings around the cabinets line the wall like the Stations of the Cross. But Emin’s protagonist keeps falling down, stumbling with her proverbial cross with little sense of any eventual redemption. We are inclined to believe that these are self-portraits, though the women’s faces are almost always obscured. Emin’s girls have soft, protruding (pregnant?) bellies, clubbed feet and hands, blurry faces, and masses of dark pubic hair. The viewer is struck by the way that the swollen nipples, breasts, and genitals always seem to be most in focus.
‘I Watched You Disappear. Pink Ghost’ is the first picture in a brilliant triptych of portraits in the Ashes Room. Blurred as if captured through tears, steam, or the fogging lens of memory, a soft rosy body floats behind the canvas, which itself perhaps imitates a shower curtain. To the right a painting about the death of Emin’s mother, ‘I Was Too Young to be Carrying Your Ashes’ ruptures any impression of shy, warm womanhood that might have been offered by that tipsy pink. Thick red paint then erupts through the curtain-canvas; with a sudden and regrettable violence, this is the moment the Hitchcockian knife wielder plunges his weapon. The picture is an open wound, a bloody, weeping sore. ‘You Were Still There’ then resuscitates a dissected body. The womb is darkened with movement like the impact of a punch. The colours shift throughout from the pink-red blushes of the Madonna to the grey blackish-blue bruised body of Christ. A punishing and merciless life-cycle is acted out.
Emin proves herself here as a painter and a sculptor of bodies, rather than figures; her subjects are not idealised forms that exist outside of the self, but those that are an extension of it. In the best of these works, the intimate understanding of the body and of a personal psychology comes out beautifully raw. They are positioned firmly within the artist’s own identity, and in the bodily violence that is the source of so much of her trauma. The bodies that Emin paints are much better than the large sculptures that dominate the space because they still feel alive – trapped between soft and hard lines, pushed and pulled and beaten out on canvas and paper. Corporeal suffering is not only acted onto the body, but oozes out from within it into art.
Love, desire, and violence are intimately linked in Emin’s world. The interactions between bodies in the paintings are like the kiss in Giotto’s frescoes, where two faces collide into one, eyes open; somehow unromantic, while still wholly passionate. The word ‘longing’ seems to have come up in titles and prose again and again throughout the exhibition. In her 1996 film How It Feels – a fitting endnote to the show – Emin comments on her abortion: “I will never really get over it”. This sits at the core of all the artwork – the wanting, the not getting, and the not getting over.
“What this whole show is about is releasing myself from shame. I’ve killed my shame, I’ve hung it on the walls,” Emin claims. Women wracked with grief and desire, aching and desperate, contort themselves with it, she seems to be saying. Everything is deeply felt and then neatly hung up. The exhibition is entitled A Fortnight of Tears because, Emin claims, that is the longest she has ever cried. For all its wailing and thrashing, this grieving process has produced an exhibition of staggering emotional complexity.
An Oxford University professor has come under public scrutiny after contributing to a front page story in the Times criticising the use of hormone blockers on young people as “an unregulated live experiment on children.”
Professor Carl Heneghan, a fellow at Kellogg College and the director of the Centre of Evidence-Based Medicine, provided a comment piece to the newspaper as a supplement to an investigation into the Gender Identity Development Service Clinic, which the Times described as “the only NHS gender clinic for children”.
Professor Heneghan’s appeal was made on the basis of medical skepticism over the practice, writing that: “the majority of drugs in use are frequently supported by low-quality evidence about their use beyond the usual age for puberty, or in many cases no evidence at all”.
The piece to which Professor Heneghan contributed sparked a significant outrage, with prominent figures criticising the Times for its coverage. MP for Cardiff South Stephen Doughty tweeted: “It’s not just the shocking 1980s style headline – @thetimes @TimesLucy have given us a bumper edition of prejudice against the #Trans community today. Do they have *any* idea or even care about the harm this risks causing?”.
Speaking to Cherwell, Professor Heneghan stood by his comments, saying: “the development of these interventions should occur in the context of research. Treatments for under 18 gender dysphoric children and adolescents remain largely experimental.
“There are a large number of unanswered questions that include the age at start, reversibility; adverse events, long term effects on mental health, quality of life, bone mineral density, osteoporosis in later life and cognition.”
Responding to the issue for Cherwell, transgender campaigner Fox Fisher wrote: “The University of Oxford has a responsibility to make sure all students feel safe to attend the school – behaviour of this sort should never be tolerated and jeopardises the well-being of students and the integrity of the institution.
“Look at any modern research in anthropology, sociology, biology, psychology or psychiatry – all indicates that trans children benefit massively from being allowed to express themselves.”
In a public statement regarding the article, the Oxford Student Union LGBTQ+ Campaign condemned the article and urged both members of the LGBTQ+ Community and its allies to launch official complaints to the Independent Press Standards Organisation (ISPO).
The statement read: “Transphobic, fear-mongering articles being given priority in national news is unacceptable. Although the article includes information and statements from the Gender Identity Development Service (GIDS) that refutes its own main line of argument, emphasis is still placed upon unsupported and dangerous viewpoints.
“The prominence of this article within the issue of The Times clearly means to stir up misinformation which will exacerbate the difficulties transgender and gender nonconforming children and teenagers face in the UK.
“The article additionally relies on a statement from Carl Heneghan, who is a senior tutor at Kellogg College. His words attempt to give credibility to a transphobic rhetoric which is harmful to transgender people both within and outside of the University. It is deeply concerning that Dr Heneghan’s attempt to sow confusion about the treatment of trans children by conflating different treatment methods and rejecting information from the GIDS itself is being legitimised by the name of the University in this way.
“Conspicuously absent from both pieces are the voices of transgender people who have used the services provided by GIDS. Ignoring the perspective of the people who matter most in this issue, transgender children, is entirely unbalanced reporting.
“As such, both pieces fail to contribute to any kind of representative discussion on gender dysphoria, perpetuating only a transphobic editorial line.”
This article will be updated as we receive more information.
On a sunny but very windy afternoon on Sunday 10th March, the Women’s Football Blues faced Cambridge in their annual Varsity match at the Hive Stadium in Barnet. The stakes were high – with their BUCS season drawing to a close, this game was the climax the team had been preparing for all season. Perhaps the fact that Oxford had already faced Cambridge twice in their BUCS run this season made the competition even fiercer; a 0-0 draw between the two sides in late January demonstrated that Varsity was either team’s for the taking.
Both teams got out of the
blocks fast at the start of the game, making for an exciting first half.
Although Cambridge did seem threatening at times and were putting Oxford under
a lot of pressure by playing a particularly high line, the Dark Blues were able
to keep them at bay and captain Lucy Harper led her defence well to snuff out any
hope of glory for the Cambridge attack.
Oxford were equally keen
to apply the pressure in the Cambridge half and wingers Erin Robinson and Katie
Plummer made some great runs down the pitch which were difficult for the Light
Blues cut out. However, with the Oxford forwards often being found offside, it
was hard for them to break the deadlock and consequently the teams went into
halftime with the score still at 0-0.
However, early in the second half, Cambridge were able to break Oxford’s resolve, and after a fumble in the box the ball came out to the edge of the area for Cambridge’s Ashcroft to propel a shot into the top right of the goal and put the Light Blues ahead. Two minutes later, the Tabs extended their lead after a corner that was not cleared up by the Oxford defence.
Despite this, Oxford did
not let their heads go down and the next ten minutes of the game were extremely
tense, with the Dark Blues desperately trying to close the gap between the two
teams. Eventually, first-year duo Taiye Lawal and Rani Wermes were able to link
up in Cambridge’s box, before Wermes went down from a foul and earned Oxford a
penalty. Substitute Monique Pedroza stood up to the plate and smashed the ball
high into the net to put Oxford level, much to the delight of the Dark Blue
crowd.
Unfortunately for the Oxford
team, as the match drew on they were unable to find any more luck in the
Cambridge half, and at the other end of the pitch, Cambridge were awarded a
penalty from a rather dubious handball and were able to make it 3-1,
effectively sealing the deal and winning the game.
As the final whistle blew, Oxford were clearly filled with despair over their loss. However, such a valiant performance gave them much to be proud of, and the Dark Blues will be hoping to work harder than ever next season to claim back the trophy.
Despite this loss, the
Women’s Reserves (the Furies) were able to find success against Cambridge
Reserves (the Eagles) on home turf at Iffley on Saturday of 7th Week.
The Furies found themselves 1-0 up after a through ball from Jasmine Savage
reached the feet of captain Rebecca North who slotted the ball firmly in the
back of the Cambridge net. However shortly after, Cambridge managed to breach
Oxford’s defence, and after a two on one situation with Oxford’s last woman,
were able to equalise with a short range shot on goal.
Going into the break the
score remained 1-1, but neither team had any luck in the second half either,
meaning at the end of the 90 minutes, the game went straight to penalties. The
tension in the stadium was riding high, but Oxford kept their cool. After four
goals from four Furies and three goals and a miss from Cambridge, the final Eagles
penalty taker was hoping to keep her team in the game. However it was not to
be, and an admittedly easy save from goalkeeper Emmie Halfpenny saw the Furies
win Varsity for the second time in a row.
As the whole of the Oxford team sprinted from halfway to celebrate with their keeper, it was easy to see just how much this Varsity win meant for the Furies, who had worked so hard throughout the season for this moment.
With one cup spending a year at The Other Place, and the other cup held firmly in Oxford’s hands, all we can do now is wait until next year to see if OUWAFC are able to do the double over Cambridge.
The
co-chairs of Oxford University Labour Club have issued a statement to committee
members demanding that all contact with the student press be approved by the
executive, Cherwell can reveal.
Aiming to centralise the executive’s control over the club’s relationship with student media, the co-chairs recently claimed that committee members were constitutionally required to consult the co-chairs on statements to the press.
In a
message sent to members of the club’s committee, co-chair Grace Davies said: “If
any of you guys are approached by OxStu or Cherwell please please [sic] let us
know.
“We’re
keen to have a say in all communication going to the media and the constitution
says that you should consult the co-chairs – I’ll be quite sad if I see peoples
quotes in papers and me and Arya didn’t know about it first.”
Despite Davies’ claims that it is a constitutional requirement for members to consult the co-chairs before approaching the press, Cherwell could find no evidence of such a rule in the club’s constitution.
The club’s co-chairs responded to a request for comment by claiming “The comment regarding consulting co-chairs was intended to extend to, but only to, members of the club speaking on behalf of the club. The position of co-chair is the only position which has the mandate and official capacity to speak on behalf of the club.
“There was no intention to limit comments to press when speaking on individuals’ own behalf and in a personal capacity, and the intention was instead that any comments made officially by the club were decided by the entire committee, with both co-chairs being able to gauge the position of the entire club.
“Individual members of the OULC executive making comments on behalf of the club, does not follow the convention of the Labour Club, and can lead to confusion about the official position of the club.”
“We’re upset that a member of the club felt it was an attempt to censor their personal expressions of their views and would reassure them that this in no way our intention.”
“The publicity officer is elected to manage media and communications, and as such their role is to oversee comments made to the press, working alongside the co-chairs.
“This is a well established convention. Whenever possible, we try to reach agreement about statements to the press within the OULC committee so that the entire committee has a say in our official position, rather than individuals who do not have the mandate to decide OULC’s official position to the press.
“The established interpretation of the constitution and other documents referred to in the constitution, is that only co-chairs can be ultimately responsible for any pronouncements made on behalf of the club.”
Despite this claim, no mention is made of members speaking on the club’s behalf in the original message.
One OULC member, speaking anonymously, told Cherwell that: “Though of course I understand why the Labour chairs want to centralise a lot of communication to the press, to act as though it is a formal rule is misleading and unfair.
“Moreover,
on certain issues the ability to voice dissent via the press is valuable, and
the Labour club will ultimately be weaker for the absence of honest
disagreement with the party line.”
Oxford University Boat Club (OUBC) and Women’s Boat Club (OUWBC) this morning confirmed their crews at the City Hall, London for next month’s Boat Races.
The Men’s boat is
identical to the crew that was named for last weekend’s fixture against Oxford
Brookes, a race that was postponed due to high winds.
The crew weighs in at 719.6kg, 19.6 kilos lighter than the 2018 crew but nonetheless a shade heavier than their Cambridge counterparts, who weighed in at 718.3kg.
OUWBC will head into
the race with 2 returning members of last year’s defeated crew, naming both
Beth Bridgman of St Hugh’s and Keble’s Renée Koolschijn, although both have
shifted position in the boat, with Bridgman moving from Stroke to position 6,
and Koolschijn from Bow to position 3.
The situation is
mirrored in the Men’s boat as OUBC president Felix Drinkall and Christ Church
student Benedict Aldous – who last year replaced Joshua Bugajski at the
eleventh hour in a decision shrouded by illness – are the only survivors in a
youthful-looking crew.
The average age of the
Oxford Men’s boat is 21.8 years-old, a historically low figure accentuated by the
presence of four undergraduate scientists in the aforementioned duo of Drinkall
and Aldous, as well as Charlie Pearson and Tobias Schroder.
This is in stark contrast with the CUBC crew, who sport an average age of 26.3, after the decision to include two-time Olympic gold medallist James Cracknell in the boat. Cracknell qualifies for selection as he is studying for an MPhil in Human Evolutionary Studies at Peterhouse College, floating the idea on Twitter as early as July 2018 alongside the hashtag “#NeverTooOld”.
The OUWBC crew have an
average age of 23.9 years-old, slightly younger than the 24.3 years-old of the
Cambridge Women’s crew.
The Light Blues
comprehensively swept all 4 races last year, including a first victory in eight
years for the Cambridge reserve boat Goldie over Isis, a dominance hitherto
unseen since the move to stage each race on the same tideway in 2015.
Cambridge now lead the
standings in the Men’s race 83-80, whilst they boast a greater advantage in the
Women’s race, notching 43 to Oxford’s 30.
This year’s Boat Races take place on Sunday 7th April, with the Women’s race commencing at 2:15pm, followed by the Men’s race an hour later at 3:15pm.
The bookmaker William Hill has priced up the Men’s Race on their website, rating it a closely-fought affair, going 8/11 about Oxford and evens for Cambridge, with the possibility of a dead heat rated a 50/1 chance.
Corpus Christi College’s JCR Executive Committee has sent an open letter to the Vice-Chancellor objecting to the proposals for a new postgraduate college. The letter argued the University had failed to engage sufficiently with University members regarding the proposals, and suggested that “this college has no goal other than increasing student numbers.”
Parks College, a new postgraduate college proposed by the
University to begin accepting undergraduates in 2020, aims to “draw together
researchers from different disciplines to explore some of the big scientific
questions of our time.”
The new college will use the Radcliffe Science Library site as part of the library’s redevelopment. The college will also aim to provide accommodation elsewhere. The Corpus Christi Executive Committee believe that “The “co-location” of Parks College and the Radcliffe Science Library will undermine both. Every space is temporary: a room will one day be a library, the next, a seminar room, the day after, a public exhibition.
“How can academia flourish without a permanent space? The students and fellows of Parks College will instead remain confined to their respective Departments, defeating the ideal of interdisciplinary studies.”
Students also
raised concerns about their opportunities to engage with the University on the
Parks College proposals. During a JCR meeting about the letter, its author, Ed
Hart, said: “I think it’s important to push against the lack of communication. It
is a huge project and was pushed through within three months.”
In the letter, the committee wrote: “The proposal has been made with little to no attempt to engage with University members. The proposal was first mooted in August, in the provisional 2018–23 strategic plan, and it was presumed the creation of any college would be closer to 2023 than today.
“The plan was confirmed after the end of Michaelmas term 2018, after the publication of the final Gazette of the year, preventing serious discussion of it.
“Now, it is to be rushed through Congregation, with plans to hire fellows in just three months’ time. Meanwhile, student and faculty publications fume incredulously and faculties have been left expressing surprise that an important laboratory may become a dining hall.
“We find it concerning that such a monumental decision has been made without adequate consultation of the students you claim to represent.”
The committee also raised concerns about the purpose of the college, since it does not have an overtly outreach focus.
They said: “The proposed college fails to embrace Oxford’s long history of founding colleges to include those from marginalised backgrounds and to improve the lives of those outside the College system. Consider the foundation of the women’s colleges, the foundation of Mansfield College for non-conformist Christians and the foundation of St Catherine’s and St Cross for those without college affiliation.
“Parks College fails on both counts, its website paying lip service to “[embracing] internationalism and diversity” and the benefits of college life.”
“120 years ago, Ruskin College, Oxford, was founded to expand education access to adults with few or no qualifications. It embodies many of the qualities admired in the University’s own colleges. Parks College has none of them.
“The University offers nothing – a half-hearted college, cynically preying on outsiders’ unfamiliarity with Oxford – in return for self-aggrandisement and tuition fees. This proposal demeans the University and the Colleges. It must be reconsidered.”
Responding to the letter, Professor Lionel Tarassenko, Senior Responsible Owner for the Parks College Project, said: “Parks College addresses one of the key education priorities in the University’s Strategic Plan, which is to increase the intake of graduate students across all four divisions by up to 850 a year by 2023, while maintaining quality.
“It will enable the University to grow the number of graduate students, but without upsetting the balance between undergraduate and postgraduate student numbers in mixed colleges or imposing unrealistic targets for growth in the existing graduate colleges.
“The proposed new graduate college will actively promote interdisciplinary exchanges between researchers from across the four academic divisions. It will offer graduate students a rich and stimulating intellectual and social experience, on a par with that at the other graduate colleges.
“And, as with other graduate colleges at Oxford, it will have an outward-looking and inclusive ethos, which embraces internationalism and diversity. As with St Cross College when it was founded, the Fellows of the college will be University professors and researchers who do not currently have a college affiliation.
“Far from leading to a loss of library facilities, the Parks College project presents an exciting opportunity to redevelop the science library and its services to align more closely with the needs of scientists in the 21st century – students, researchers and other academics.
“The proposals for the new college have been discussed with graduate student representatives, the staff of the Radcliffe Science Library, and at meetings of numerous University committees, including the Curators of the University Libraries, Education Committee, Conference of Colleges Graduate Committee, Conference of Colleges, Finance Committee, Personnel Committee and Council. Throughout this consultation process, the plans have been gradually evolving to take on new ideas and to ensure that concerns raised are understood and addressed.
“The
plans for the new college and the allocation of space were approved by Council
on 11 March, and will now be put before Congregation in early Trinity term. The
OUSU VP for Graduates is a member of the Programme Board which is responsible
for the development of the plans.
“We are actively encouraging students
to participate in the planning for the new college. We have been running
Q&A events for students in partnership with OUSU, and we are inviting
students to help shape the academic blueprint of the college at a series of
focus groups, which will take place in late April and early May.”
In the motion for the JCR Committee to sign the letter, the Corpus JCR President Rhiannon Ogden-Jones was also mandated to discuss the issue with other JCR presidents and the Corpus MCR to seek their support. The motion was passed with 13 votes for and 2 against.
Cherwell can reveal that Nigel Farage is expected to speak at the Oxford Union on Thursday’s eighth week debate on Brexit.
The announcement of Farage’s appearance had not yet been made by the Oxford Union, but instead was pre-empted by Labour peer and People’s Vote supporter Andrew Adonis, who this morning tweeted: “I’m debating Nigel Farage at the Oxford Union on Friday. Can’t wait”. Given that Oxford Union debates are, under normal circumstances, held every Thursday of term, and that the Union’s term card places the Brexit debate on Thursday 7th March, it is not known whether the date announced by Lord Adonis is correct.
The specific motion that will be debated at the upcoming Brexit debate and which speakers would be attending has been kept a secret from the Union’s members throughout the term. The Oxford Union’s website has for weeks read “speakers to be announced”.
Cherwell has contacted representatives of Nigel Farage, Andrew Adonis, and the Oxford Union for comment.
It is not yet known which other speakers from the student body or elsewhere have been confirmed to speak at the event.
Along with the Union debate, Adonis also announced on Twitter he would be speaking at Leeds, Eddisbury, Oxford, Llanelli, Swansea, and Wrexham in the upcoming week.
The Oxford Union organised a now-famous debate on Britain’s membership of a European community in 1975, two days before the referendum which saw Britain’s voters consent to membership of the EEC. Speakers in proposition included Edward Heath and Jeremy Thorpe, while Barbara Castle and Peter Shaw spoke in opposition.
There has been significant disagreement between staff at Queen’s College over the decision of the college to fly an LGBTQ+ rainbow flag in recognition of LGBTQ+ History Month, after the college Provost, Professor Paul Madden, opposed the move.
In a meeting on the 13th February, which was attended by representatives from the JCR and MCR and a number of college fellows, the Governing Body passed the unreserved motion to raise the flag for the remainder of the month with a vote of 18-3.
The vote came after the Provost had excused himself from debate on the matter.
However, Cherwell understands from sources present at the meeting that, following the vote, the Provost ruled against the majority, instructing that the flag not be raised for more than the originally planned one week.
No statement has yet been given to explain this decision.
Upon the Provost’s overruling of the vote, Cherwell understands that a fellow left the session in protest at the decision, not returning for the duration of the meeting.
A few days later, an email was sent to the JCR President and Vice President by the Dean, informing them of a change of college policy, stating that the flag would fly for the month as a whole.
When contacted for comment, the Provost did not offer any explanation of his decision. Both the Senior Tutor and Dean also declined to comment personally.
Speaking to Cherwell, a spokesperson for the college said: “As has been customary for a number of years, instruction was given by the Provost to fly the rainbow Flag in the first week of February.
“After it was taken down, the Provost received representations that, in view of the observation that it had become customary among the colleges for the flag to be flown throughout February, the College’s position seemed anomalous.
“He therefore reviewed the decision and gave the instruction that the flag should fly for the whole month and it was remounted on the morning of Thursday 14th February.”
The decision stands in the context of the fact that all other colleges on the high street have flown the rainbow flag for at least a week in February, with many flying it for the whole month.
The disagreement comes just a couple of weeks after Cherwell’s revelation that more than 100 serving Oxford clergy have signed a petition opposing a call by local bishops for “an attitude of inclusion and respect for LGBTQ+ people,” with staff from two Oxford colleges among the signatories.
Responding to the issue, Queen’s JCR President Ebrubaoghene Abel-Unokan said: “The original decision not to fly the LGBTQ+ flag for the entirety of LGBTQ+ history month was, in my opinion, an oversight by the College. It was an anachronism from the College’s past that does not reflect our varied and inclusive community of students and staff or acknowledge and value the contributions they make to the life of the College.
“It is a de facto tradition for the LGBTQ+ rep of our JCR to request that the College fly the flag for the entire month, and I’m incredibly pleased to see that this year Florence Darwen was successful in lobbying the College to change its policy.
“I’d also to thank the Senior Tutor, Nicholas Owen, and the Dean, Chris O’Callaghan for the roles they played in securing the change.
“The JCR has always championed progressive political beliefs, and I would like to think that this is but one step in the consolidation of those views into the College’s practices.
“I have little doubt that this will continue as Queen’s welcomes Dr Claire Craig CBE later this year, who will be the first woman in the College’s history to hold the position of Provost.”
Oxford University LGBTQ+ Society told Cherwell: “While we haven’t been contacted directly by Queen’s students regarding this issue, and are therefore uncertain about the nuances of this particular situation, we as a Society strongly encourage colleges to fly the LGBTQ+ Flag for the duration of pride month.
“It is an important symbol of tolerance and acceptance, which promotes the wellbeing of LGBTQ+ students.
“It is extremely disappointing when college officials do not understand the value of celebrating their LGBTQ+ students and sending a welcoming message to potential applicants.
“We run a campaign service to help students enact change in their colleges, and would strongly encourage Queen’s students to get in touch with us, with the aim of improving provisions for LGBTQ+ students by rectifying this issue.”
Brendan McGrath will be Union President next Michaelmas after receiving 84 more first preferences than rival James Lamming.
Candidates on McGrath’s ‘Together’ slate also secured the positions of Librarian-Elect (Mahi Joshi), Treasurer-Elect (Shining Zhao), and Secretary (Amelia Harvey).
Three out of the four Standing Committee candidates nominated by the ‘Together’ slate also won election, compared to two of Lamming’s six candidates for the ‘Engage’ slate.
Two independents, Mo Iman and ex-Logistics Officer Nikhil Shah, complete the seven-member standing committee.
However, ‘Engage’ had some success in the election, as the most popular candidates in both the Standing Committee election (Spencer Cohen) and Secretary’s Committee election (Chengkai Xie) were from the slate.
Speaking to Cherwell about the result, James Lamming said: “Whilst this obviously was not the result the Engage team had hoped for, I can without any doubt say that Brendan will put together a fantastic term card, as one of the most diligent and dedicated members of Union committee I have ever worked with during my time at Oxford.
“I am immensely proud of the team myself and my officers put together.”
The election of Brendan McGrath as president of the Oxford Union comes after a turbulent term for the current Librarian, after members saw a motion for impeachment being filed against him, and his first candidate for Treasurer, Lee Chin Wee, being disqualified from running for the position.
McGrath declined to comment to Cherwellon the election result.
Those members elected will be expected to follow through with the pledges made in their manifestos. The ‘Together’ slate claimed that it would introduce member-speaker roundtable events, make the Union’s financial accounts transparent by publishing a fully audited account online, and implement a strict ‘zero tolerance’ policy on bullying. The ‘Engage’ slate’s pledges included a bar happy hour with pints costing £1, livestreaming events on the Oxford Union app, and holding more female-led debate events.
McGrath, Joshi and Zhao will serve their terms as officers in Michaelmas Term 2019, while Secretary-elect Amelia Harvey will assume her post next term in Trinity.
New data shows that 8.7% of female postgraduates suspended their studies in 2016/17, one-third higher than the rate for men (6.5%). The gender discrepancy was mirrored in withdrawal rates, which were 1.37% for men compared to 1.64% for women.
The data, obtained from the University by Cherwell, reveals a consistent gender disparity in suspension and withdrawal rates over the previous 8 years.
Suspensions are when a single student pauses their study during a given year, with one student potentially accruing multiple suspension ‘counts’, in the rare event that they do so more than once.
Withdrawals are when a student completely withdraws from their programme of study. This does not include those that have been transferred to a different programme of study.
A spokesperson for the University told Cherwell: “These numbers are relatively low so we should be careful about drawing conclusions from them without understanding the context. We offer high levels of academic and pastoral support to our graduate students through their departments, colleges and central University services.
“There are many reasons why a student’s status might be suspended, including health, maternity or paternity, personal circumstances, academic difficulties and disciplinary matters. Suspension is often a voluntary decision by a student, and in most cases students return from periods of suspension to successfully complete their course.”
A History Masters student at St Catherine’s, Hannah Grange-Sales, told Cherwell: “Women are conditioned to believe they are less intelligent than men, therefore there is both a real and imagined need to work harder to be considered men’s intellectual equals.
“Girls and women are also taught from an early age to internalise ‘unbecoming’ emotions, such as anger, frustration and hopelessness.
“Considering the historic argument against women’s right to education that they do not hold the mental rigour to undertake study, there is a double pressure to overcome this stigma and maintain a facade of capability when, for a variety of personal reasons not linked to their intellect, this may not be the case.
“The increased pressure for women to prove themselves intellectually coupled with the internalisation of emotion can surely be considered a factor in the higher rate of mental health issues amongst female students.”
The overall suspension rate for all postgraduate students has also increased year on year from 2013/14 to 2016/17 from 5.98% to 7.93%, although there was a slight decrease last year to 7.5%.
The withdrawal rate has remained consistent at about 1.5%, peaking in 2013/14 at 1.82%.
There was also a marked contrast between those on research and taught postgraduate degrees, with the former having consistently higher levels of suspension and withdrawal. In 2016/17 just under 10% of research graduates suspended their studies compared to 6% of taught graduates. This figure decreased slightly to 9% last year.
Cherwell understands that the disparity in the figures could be due to the length of postgraduate research degree, which are typically three years. Taught degrees can be as short as 9 months, meaning that there is less opportunity for students to suspend or withdraw from their studies. Just under 52% of enrolments in 2017/18 were in taught degrees.
Oxford SU VP for Graduates, Alison D’Ambrosia told Cherwell: “It is a ticking time bomb the issue of graduate student welfare. With a huge increase in graduate numbers over the past several years, we have seen minimal investment in their welfare provision and support.
“From a counselling service that is only open during term time to students been pushed from college to department to seek help, more needs to be done to properly support the graduate student body. It seems that the first call of action is for students to suspend rather than tackle the causes of suspension and offer proper support for students.”
According to the SU’s recently published counselling report, postgraduate students were proportionally less likely to seek help than undergraduates, with 10.8% of postgraduate researchers and 9.2% of taught students receiving counselling to 12.3% of undergraduates.
The report added that the lower take up of provision could be due to cultural differences. In 2016/17, 64% of graduates were non-UK students.
The University has released advice for EU staff and students
in preparation for a no deal Brexit.
The new website explains that the University is now “making
preparations” for the possibility that Britain leaves the EU without a deal,
which will go ahead if no withdrawal agreement is in place by March 29th.
A no deal Brexit would be likely to include EU citizens
entering the UK being treated as third country nationals, no longer subject to
EEA immigration rules and requirements. This would mean EU students would pay
higher tuition fees than they do now and may need new visas to conform with new
immigration laws.
Research staff may lose the opportuning to access EU
research funding, which totalled £78 million in the academic year 2017/18. The University
may also lose the opportunity to participate in pan-European collaborations.
Given the growing uncertainty, the University is now advising
EU students to ensure they have all relevant paperwork up to date.
The University stresses that EU citizens will still be able
to apply to study at Oxford, and that “all Oxford University staff from the EU
will have the same right to work in the UK whether a withdrawal deal is agreed
or not.”
A spokesperson for the University said to Cherwell: “Given the ongoing uncertainty
about the implications of the UK leaving the EU, the University is working hard
to understand and manage the impact on our staff and students.
“Dedicated web pages with the latest information about the
implications of Brexit have been set up for staff and students and these will
be updated regularly. The pages consider all possible outcomes of the current
negotiations, including the possibility of the UK leaving without a deal.
‘Whatever the outcome of current negotiations, the
University of Oxford is, and intends to remain, a thriving, cosmopolitan
community of scholars and students united in our commitment to education and
research.
“The departure from the EU will not change this; our staff
and students from all across the world are as warmly welcome as ever.”
The Students’ Union reaffirmed the need for advice, stating:
“Students need guidance as soon as possible. If a no deal Brexit does happen,
students want the University to quickly provide information about the impact
it’s going to have on them.
“Graduate students from the EU could face serious
disruption, particularly those studying for 1-year masters programmes. There
are major issues outstanding, especially around the future of the Erasmus
programme and future prospects for research students. The only way to avoid
this mess is a People’s Vote with the option to remain.”
With just over six weeks left until the Brexit deadline, the
University will continue to update their page with more information as it is
available, and individual colleges may be providing specific information
directly to students before the end of Hilary Term.
For more information, or to keep up to date on the
University’s advice, visit the University’s Brexit advice page for students
and for staff.
Brendan McGrath, against whom a motion for impeachment was filed on Thursday 7th, has won his vote not to be impeached by 400 votes to 189.
A notice has been pinned on the Oxford Union noticeboard that reads “The Librarian remains in office. The Motion of Impeachment is unsuccessful”.
The 68% vote in favour of McGrath comes after the 12 hours of deliberation that an impeachment motion in the Oxford Union entails. On the day of the vote supporters and allies of McGrath mobilised a “Vote No” campaign on Facebook, posting social statuses that presented McGrath’s potential impeachment as symptomatic of ‘toxic politics’.
A greater proportion of women and those from BME backgrounds hold fixed-term contracts at the University.
In 2018, the proportion of women in fixed-term contracts was consistently higher across the academic divisions, with the sharpest disparities in the Social Sciences where 56% of women were in fixed-term contracts compared with just 45% of men.
In the Medical Sciences Division, 85% of those from BME backgrounds were found to hold fixed-term contracts in 2018 in comparison to just 68% of those who identify as white.
For Social Sciences the respective figures were 66% to 45%, and in the Maths, Physical, and Life Sciences, the figures were 74% to 43%.
Overall, the proportion of all those of fixed-term contracts has increased significantly from 2008 across all divisions apart from Medical, with the Humanities Division seeing the biggest increase in the use of fixed-term contracts, from 23% to 32%.
In 2018, just under 50% of staff from the Maths, Physical, and Life Sciences, Social Sciences, Medical, and Humanities divisions, were on fixed-term contracts.
The University’s policy on ending fixed-term contracts requires dismissal to be “fair and transparent.”
Employees are informed three months before the end of their contract is “at risk”. When it is not possible to extend or renew the contract, an employee will be informed of the fact a month before its termination.
A University spokesman told Cherwell: “Oxford is the UK’s most successful University in attracting external funding to support our world-leading research. The funding packages support jobs for researchers at every career stage, including fixed-term posts. The larger number of fixed-term contracts results from this increased funding success, opening more opportunities for the next generations of world-class researchers. We have had particular success in attracting talented women to progress their careers with us, including those areas of the sciences where they have been traditionally under-represented.
“We do recognise that fixed-term work can create uncertainties and practical difficulties. We make extensive efforts to support staff on these contracts, including through personal and career development opportunities.
“All staff at Oxford, whether on permanent, open-ended or fixed-term contracts, benefit from our generous employment packages and support for future development. We are also working hard on moving staff onto open-ended and permanent contracts wherever possible. A growing proportion of these contracts are held by women, while the proportion of all staff on open-ended contracts in the sciences is now growing faster than those in fixed-term posts.”
The University’s policy is to ensure departments are “keeping contracts under active review and transferring staff to permanent or open-ended contracts wherever funding permits.”
The proportion of staff working on open-ended contracts in the sciences is now growing faster than those on fixed-term contracts. For example, in 2008, 75% of staff in Medical Sciences were on fixed-term contracts and 4% on open-ended contracts; By 2018, fixed-term contracts had fallen to 72% and open-ended contracts risen to 8%.
The proportions of women in permanent and open-ended positions has increased in some sectors. In Medical Sciences in 2008, 45% of permanent contracts and 53% of open-ended contracts were held by women. By 2018, women held 52% of permanent and 57% of open-ended contracts.
However, in a 2016 report the UCU also included open-ended contracts within their definition of insecure contracts, because their “employment is dependent on short-term funding.”
Their report read: “Employers like to emphasise the degree of choice and agency available to workers on casual or as they like to call them ‘flexible’ contracts, but it is obvious that your enjoyment of choice and flexibility will be shaped by which category you are in.
“It’s simply impossible to imagine that a workforce of this magnitude is comprised entirely, or even largely of the people who conform to the employers’ caricature of the jobbing professional who relishes the flexibility.”
Oxford UCU representative Patricia Thornton told Cherwell: ”Regardless of whether the University wishes to accept the UCU’s calculation of the HESA data on precarious contracts or not, it’s clear that in many divisions, the numbers of staff on casualised contracts have been rising.
“It’s important to note here that “open-ended externally funded contract” staff, whilst sometimes not counted as casualised, effectively face the same level insecurity: their employment is terminated if and when the external source of the funding is withdrawn. The key difference here is that, whereas a fixed-term contract employee is given an end date at the point of hire, the staff member on an open-ended externally funded contract is not; which is arguably even less secure for the member of staff, whose employment can come to an end suddenly and without sufficient warning if the funding is withdrawn.”
Just under 5% of staff in the Medical, Maths, Physical and Life Sciences, Social Sciences, and Humanities cumulatively are in open-ended or externally funded contracts in 2018. The figure was just 2.3% in 2008.
Thornton continued: “Casualised contracts not only create a two-tier workforce within the university, with casualised members of staff effectively carrying out many, if not all, of the same duties as their permanent counterparts on a day-to-day basis, paid lower salaries and afforded a greatly reduced level of protection (and fewer benefits), but they also magnify pre-existing inequalities within the workforce, like the gender pay gap and the persistent underpayment of minority ethnic staff.
“There is a significantly higher proportions of women than men in fixed-term contracts across the divisions, and, disappointingly, that proportion has actually increased marginally since 2008 in the Social Science and MPLS Divisions, and increased significantly in the Humanities Division.
“Equally disturbing is that, despite Oxford UCU’s persistently raising this issue with the administration, and despite various commitments that have been verbalised across the university, the percentages of staff on fixed term term contracts have instead risen since 2008.”
One representative of the ‘Academic Precariat’ group, pointed out that these figures fail to account for those that have already left the sector due to casualisation.
They told Cherwell: “There are plenty of us around, but very little data or interest in us. I left the sector for a range of reasons, but most of them related directly to insecure employment and its consequences: a two-tier system in which casual teaching and research staff undertake work that mainly just enables senior academics to bring in big money projects, lack of respect for intellectual ownership of teaching/research materials produced on these contracts, feeling and being utterly disposable, lack of investment and interest in supporting career progression (why should they, when to offer us more secure employment would be to remove the props fora system which values REF and big grant money above all else?).
“Another big factor in my decision to leave after my short-term postdoc was the minimal prospect of ever being able to secure a contract long enough to actually qualify for maternity pay in the near future.”
CS2 skins are cosmetic items, but the market around them behaves like a real digital economy. Players buy, sell, collect, trade, and track weapon finishes whose prices can range from a few cents to hundreds of thousands of dollars. That has created growing interest in CS2 skins as an investment.
The idea is simple: buy a skin, case, sticker, or other item at one price and sell it later for more. In practice, however, making money is much harder. Players who want to sell CS2 skins for profit need to consider supply, demand, rarity, weapon popularity, float, pattern, stickers, market liquidity, Valve updates, and the platform used to sell.
A successful CS2 skin investment requires research, patience, and risk control. Skins can increase in value, but they are not regulated financial products and do not guarantee returns.
Can you actually make money trading CS2 skins?
Yes, some players make money through virtual item trading, but profit is never automatic.
A trader can earn money by:
Buying items below their usual market value;
Holding discontinued or limited-supply items;
Identifying skins with growing demand;
Trading rare floats or patterns;
Buying older cases before supply becomes more limited;
Selling after a price increase;
Finding undervalued sticker crafts;
Using price differences between marketplaces.
The difficult part is that every transaction includes risk. A skin can increase in value, remain unchanged for years, or lose demand. Even when the visible price rises, fees and cash-out discounts can reduce the real profit.
For example, buying a skin for $100 and later seeing listings at $130 does not automatically mean a $30 profit. The item still needs a buyer, and the seller may pay marketplace fees or accept a lower cash price.
Why do CS2 skins have value?
Skins do not increase damage, accuracy, movement speed, or recoil control. Their value comes from scarcity, appearance, demand, and collectibility.
The main price factors are:
Rarity grade;
Weapon popularity;
Case or collection supply;
Exterior condition;
Float value;
StatTrak availability;
Pattern index;
Stickers;
Professional esports exposure;
Collector demand;
Trading volume.
A popular AK-47 skin can have stronger demand than a similarly rare skin for a weapon that few players use. This is why rarity alone does not determine price.
The CS2 skin market values both scarcity and visibility. Players are often willing to pay more for items they will see frequently during matches.
Rarity does not always mean profitability
Counter-Strike uses rarity tiers such as Consumer, Industrial, Mil-Spec, Restricted, Classified, and Covert. Knives and gloves belong to special rare item categories.
Higher rarity usually means lower supply, but it does not guarantee higher returns. A Covert skin can perform poorly if demand is weak, while an older Restricted skin can rise because its collection becomes difficult to obtain.
Investors should study:
How many items are available;
Whether the case still drops;
How often the skin sells;
Whether demand is increasing;
Whether the current price reflects real sales.
A rare item with no buyers can be difficult to sell. Liquidity matters as much as scarcity.
CS2 skin liquidity: why it matters
Liquidity describes how easily an item can be sold without reducing the price heavily.
Popular skins for AK-47, AWP, M4A1-S, M4A4, USP-S, Glock-18, knives, and gloves usually attract more buyers. That can make pricing easier and reduce the time needed to sell.
Less popular skins may show high listing prices but have low sales volume. In that situation, the seller may need to wait or lower the price.
Before investing in CS2 skins, check:
Recent sales;
Number of active listings;
Buy orders;
Price spread;
Sales frequency;
Cash-out value.
A liquid skin can sometimes be a safer choice than an extremely rare item with very few potential buyers.
Float and exterior condition
Every weapon skin has a float value within a defined range. Float affects the exterior condition:
Factory New;
Minimal Wear;
Field-Tested;
Well-Worn;
Battle-Scarred.
Lower float often means less visible wear, but the effect depends on the skin. Some designs remain attractive in Field-Tested condition, while others lose important details.
Special float values can receive collector premiums. An extremely low Factory New float or unusually high Battle-Scarred float may be worth more than a standard item.
However, rare float does not guarantee profit. The seller still needs to find a buyer who understands why the item is special.
Pattern index and rare variations
Some finishes change significantly depending on pattern index.
AK-47 | Case Hardened is one of the best-known examples. Its surface can show different combinations of blue, gold, and purple. Blue-heavy patterns, known as Blue Gems, can sell for much more than ordinary versions, so players who plan to buy CS2 skins from this category should always check the pattern index, float, and recent comparable sales before making a purchase.
Pattern investing requires specialist knowledge. Two skins with the same name, exterior, and rarity can have completely different values because of pattern placement.
Before buying a pattern-based skin, check:
Exact pattern index;
Visible pattern placement;
Comparable sales;
Collector demand;
Specialist price references.
Do not assume that every Case Hardened item is a valuable Blue Gem.
Stickers and crafts
Stickers can increase the value of a skin, especially rare tournament stickers such as Katowice 2014 Holos. But sticker value is complicated.
A sticker applied to a weapon usually does not add its full unapplied value. The premium depends on:
Sticker rarity;
Placement;
Number of matching stickers;
Visual combination;
Weapon popularity;
Collector interest.
A four-sticker craft may attract a large premium, but a random collection of expensive stickers can be difficult to price.
Conclusion
CS2 skins as an investment can generate profit, but success depends on knowledge, timing, liquidity, fees, and risk management. The CS2 skin market rewards players who understand rarity, float, patterns, stickers, collection supply, and real transaction prices.
Tanjil Rashid is currently the Culture Editor of the New Statesman, although he has worked previously as a bookshop assistant and a civil servant and even, unfortunately, endured torrents of abuse as a comprehensive-school supply teacher. Having grown up in Ilford in East London, he now lives marginally to the north in Walthamstow. “I haven’t moved very far in life,” he jokes. In fact, he has been on quite a journey.
Rashid was born in 1990. “My parents had quite modest lives and I grew up in an immigrant Muslim Bengali family. My father immigrated to Britain to provide labour in the post-war economy, working up north in factories and then worked as a waiter and eventually getting an office job. My mother has been a housewife all her life. But they stressed education, as families like mine tend to; I went to a grammar school and became interested in literature and the arts. Public libraries were very good back then, they had lots of old books that you don’t find there anymore.”
He got into Cambridge and had a very good start in journalism at the Financial Times. After that he ended up landing in television, which he didn’t enjoy, and remained a freelance writer for many years until he was chosen to become the Culture editor of the New Statesman. He is doubtful, however, that people from backgrounds like his would in the future end up with such a prestigious position in the literary world.
“I grew up in a world that was changing and was still pretty analogue. The first fifteen years of my life were pretty much internet-free. Children from families like mine probably don’t have much exposure to print culture anymore. Children in intelligentsia families, the kind where they get the London Review of Books in the mail, probably still do. When I was growing up, my father was a great reader of newspapers, he’d sit there reading the paper while my mother was doing the shopping, and she also enjoyed reading Bengali newspapers.”
It was the early exposure to print culture which, though not a unique experience, turned Rashid towards the world of letters. “There are two kinds of people who go into journalism: one, people who really love news and current affairs; the other, people who like the written word. I’m someone who loves words, likes reading and writing. It’s hard to say why I specifically became interested in culture, art, fiction – I just for some reason got interested in that.” He pauses. “In some way literary journalism is a strange career to have. It’s not really a real career. It’s really too fun to be taken too seriously.”
Rashid, who has been a journalist for over a decade, is ruminative about the state of his chosen profession. “Fifty or a hundred years ago, it was in book reviewing and literary journalism that the great journalists were to be discovered.” Indeed, his predecessors as literary – now Culture – editors of the New Statesmen include V.S. Pritchett, Claire Tomalin, and Martin Amis.
While he does not agree the literary world is in the crisis some make it out to be in, he accepts changes are afoot. “The novel, like the epic poem, is no longer as central to the culture as it was. It’s impossible to know what new literary forms will take the place of the novel. The old ways of writing and understanding the world are changing. Critics must respond to this in a critically intelligent way. The people who are just being born or will be born in ten years’ time will express themselves as humans always do, but perhaps not writing novels. We recently did a piece, for instance, on how AI is reshaping the opera.” He stresses, however, that continuities remain. “Even now there are brilliant writers coming through in journalism. That supply of literary talent is proliferating. I’m constantly being amazed by youngsters who want to write about literature, and are remarkably well-read and write impressively.”
Identity is a recurring theme in Rashid’s writing. When I ask him about this, he reflects that this is not a conscious choice. “It happens to be the case that I am Muslim, I am British, and I am many other things, and these things inevitably shape what I write. These things are probably just noticed more because I have an – unusual identity. There aren’t many Bengali journalists in the media. There are so few of us that we often get mistaken for each other. For instance, I’m always getting mistaken for Faisal Islam, for some reason.” He laughs. “There are probably only two or three British Muslims in literary journalism. So, if you read my writings you’ll probably notice I have a slightly different identity, different perspective because of it. My identity doesn’t completely determine my perspective, but it certainly informs it.”
Earlier this year, Rashid interviewed Salman Rushdie. “Certainly, when it comes to a writer like Rushdie, a British Asian of Muslim heritage, there will be a way that I relate to his work and his life in a way that others don’t, because we share something of the world. There has been a lot of talk about diversity in the last decade or so but actually I don’t see the literary world becoming any less parochial. Things probably were better in decades past. In the decades after decolonisation you had Commonwealth writers such as VS Naipaul and Salman Rushdie being widely read and acclaimed, but today, even though we like to think of ourselves as more modern and contemporary and open, a novel such as Midnight’s Children would not be understood or read as widely.”
Identity certainly informs the multicultural Britain depicted in Rashid’s fiction. (As well as literary essays, articles, interviews, he has turned his hand to short stories, too.) “The Fanatic”, is particularly funny in the way it turns tropes and stereotypes on their head: it is the story of an imam who is expelled from his mosque for being a dangerous fanatic, but the fanaticism of which he stands accused is an inflexible, irrational love of Manchester United. “It was a wonderful thing to have short stories published in magazines and that sort of thing,” Rashid admits, “but it’s not a living.”
I ask him about his future ambitions. He pauses and looks down at the magazine – guess which one – that lies on the table. “My ambition, really, is to keep producing good literary coverage, good writing by the famous and brilliant writers I’m already publishing as well as finding new ones. The New Statesman has always been a venerable institution but since Tom McTague became editor the magazine has become absolutely essential to the national conversation – see the coverage of the Labour leadership contest, for instance. I would like to keep the literary pages of the New Statesman among the best in the world.” On the question of whether he might follow up his short stories with a novel, the reply, hesitantly given, is, “No comment.”
Many Cherwell readers – and certainly most Cherwell editors – are mulling over the prospect of a journalistic career, and will be seeking tips as to how to thrive in the profession. Rashid advises: “Have a day job: at this point in history, writing is an amateur sport, not a career. More importantly: Read. Read everything. Don’t just read what’s fashionable. Read science writing, travel writing, the Bible, read all kinds of words. Go back in time and read Shakespeare and Dickens. If you want to be a writer you have to understand language in all its subtleties, and to do that you have to read omnivorously.”
Fresh off the back of Our House and Macbeth, Cross Key Productions presents an original three-hander focused on the complexities of grief and young love. Produced by Madi Boutcha and Adam Peterson, the show is Louis Bennyworth’s first dalliance with the art of writing musicals. The show offers a heartfelt premise and a talented cast, and is set to move to the Edinburgh Fringe once its run in Oxford is complete.
In Oxford’s Michael Pilch black box theatre, we meet Euan in the midst of his grief, faced with the mammoth task of preparing a eulogy for Helen, his mother. The stage is set with a wooden set of ladders, mugs dotted, and half finished notes fanned across the floor in piles, the result of Euan’s inner turmoil. His girlfriend, Isla, seeks to aid him in this journey, but struggles to meet his needs whilst remembering her own. Over the course of the play, we learn more about Euan’s relationship with Helen, and in turn her relationship with Isla. We find a complex woman, at times too independent and brusque, who has raised Euan to be a man of great moral strength but also great anxiety.
The show’s greatest credit is undoubtedly the earnestness with which it portrays grief. Thomas Perry’s performance captured the simultaneous pain, anxiety and guilt that characterises loss, and provided an engaging centre for the show. As a character, Euan seems lost, turned young again by his mother’s death. We also get to see Isla’s grief (portrayed by Katie Gill), a more subtle and shared pain, both at the death of a woman she once knew, and the impact that had on the man she loves. The most thoughtful performance of grief, however, was that of Helen herself. Nicole Palka’s astute portrayal of Helen’s willful ignorance of her own ill-health, and her decision to keep that from Euan and Isla for as long as possible is one of the heavier points of the musical, and arguably the one that stays with you the longest after curtain call.
The production flourished in its depiction of childhood wonder and lent the play an added element of thoughtfulness. The prop department offered a visual display that invited us into the mind of Euan as he visualised his mother’s stories. As he shares these tales with Isla, the production does well to exaggerate the contrast between Euan’s childlike ignorance and Isla’s increasing discontent with the story’s overall message.
The use of shadow, though underutilised, was effective in reminding us of the looming figure of Euan’s mother in his life, for better or for worse. It also served well in displaying the nature of memory, as her stories invaded his brain and sailed through, whilst conversations and moments carry on in real time.
Bennyworth’s first foray into the musical genre is commendable. The ending polyphony in particular serves to show the beauty of the three-hander, with Perry, Gill and Palka offering emotive harmonies for a fitting final flourish. Yet, the lyrics themselves demand a more thoughtful reconsideration. Some lyrics felt clumsy (“we focus on it superfluously”), whilst others leant too heavily on overused metaphors that cheapened the emotive meanings behind them (“like a kite flying high on the evening breeze”).
This thought should be extended to the story more broadly – in part, it felt unfinished. Whilst the eulogy is finally delivered, and conversations are had, the denouement feels surface level, and largely a pretence. Strings of plot that were pulled out over the course of the show were left unaddressed. Isla’s critique of Euan’s mother triggers a collapse in their relationship: but only for five minutes. By the next scene the issue remains unresolved and yet the characters have moved on – Isla’s comments feel pointless, offering no real material change to the way Euan views his mother. What could have been a tale of coming to terms with the reality of inconsistent parenting and its legacy, ended up uncertain where it stood.Similarly, the mother’s character remains underdone. So intense is Euan’s mythologising of her, and so little time is devoted to her character, that she feels more like a plot device than a character in her own right.
By far the most fleshed out character, Isla, does not receive a fitting ending either. Working at an internship during the day, she is uncertain where her life will lead, and the role Euan will play in it. At times unlikeable, her character feels most realistic out of the three. Euan’s grief places her in the position of carer, and though she loves him and wants to support him, she fears the relationship will swallow up her life, leaving her with nothing that is her own. The conflicted feelings are captured beautifully by Gill. Still, the play sets a perfect grounding for a study into how to handle the grief of a loved one, and how it interacts with relationship dynamics, and yet offers only a surface level commentary on both its difficulties and its solutions.
Through the course of an evening the relationship ebbs and flows from places of safety to places of real distress and uncertainty. The extent of the disharmony between them at times makes the ending unbelievable. Though they both sing of a new certainty and hope, little has been done to address their resounding fears. In the final few moments, the ending felt like one of forced hope, where really there were deep wounds temporarily glued together.
I wasn’t too sure what to expect when I went to see Wide Eyes Productions’ The Slip in Week 7 (written and directed by Orla Wyatt and produced by Milo Ghiandai). In two years at Oxford, I had somehow never made it to a piece of original student writing, and I arrived armed with all the usual, slightly cynical expectations: clunky, over-earnest monologues, low-budget visuals straining under ambition, and an audience politely disengaged.
However, opening night of The Slip immediately dispelled all those assumptions. From the moment I entered the Burton Taylor Studio, I was gripped. It is not a large space, but its intimacy only heightened the emotional stakes of Wyatt’s story, bringing the audience uncomfortably close to every revelation, accusation, and fracture in the group’s relationships.
Based on a true story once heard by the writer-director, The Slip centres around a fatal car accident on a country road. The premise is deceptively simple: Archie (Callum Beardmore) is driving friends Christina (Maisie Lambert), Billy (Sam Drury), and Daniel (Alex Smith) back from a house party during the early hours, when they hit a woman walking by the side of the road. As police questioning unfolds under the scrutiny of Inspector (Cait Kremenstein), the truth emerges piece by piece. What initially appears to be a tragic accident is gradually revealed to be something darker: Billy, drunk and reckless in the passenger seat, had grabbed the wheel and swerved towards a pedestrian with the chilling joke: “ten points for a pedestrian”.
The strength of Wyatt’s script lies not in this final revelation, but in the moral fallout that follows. Rather than constructing a conventional whodunnit, The Slip asks what happens when a group of friends become bound together by a secret. That a fox crossing the road had caused the car to suddenly swerve. The tension comes not from discovering who is responsible, but from watching each character negotiate guilt, loyalty, and self-preservation, all complicated by alcohol-fuelled uncertainty and a tangled web of personal relationships.
Callum Beardmore’s Archie carries much of this emotional burden. While the police investigation provides the play’s structural framework, Archie’s simmering resentment towards Billy provides its emotional core. As layers of their shared history are stripped away, we learn that Billy has long occupied the role of the charismatic golden boy: more popular, more confident, always seemingly one step ahead. Archie, by contrast, is left wondering why he has remained in Billy’s orbit for so many years, even after leaving university. Beardmore impressively navigated this transition from controlled anxiety to explosive anger, culminating in a final act that felt genuinely unsettling.
Sam Drury’s performance was equally compelling. While it would be easy to play Billy as a straightforward villain, the performance avoided this generalising caricature. Billy’s recklessness is undeniable, yet the play also exposes his insecurity and self-destructive tendencies. Drury excels at capturing the contradictions at the heart of the character: the effortless charisma that draws others into his orbit, alongside a deep immaturity that ultimately proves destructive both to himself and those around him. As his confidence is gradually stripped away, moments of vulnerability begin to emerge, complicating the audience’s response to him without ever excusing his actions. The result is a character who remains frustratingly human even as the audience’s sympathy evaporates, embodying the play’s wider exploration of toxic friendship, masculine insecurity, and the devastating consequences of thoughtless cruelty.
Caught at the centre of these tangled loyalties is Christina (Maisie Lambert), perhaps Wyatt’s most tragic figure. Blackout drunk at the time of the accident, she is kept in the dark by the others for much of the narrative. As a result, she becomes a focal point for the group’s collective dishonesty. Chrstina’s complicated relationships with both Billy (her ex-boyfriend) and Archie (who she has been sleeping with) contribute to this, adding another layer of messiness to the group’s dynamic. Whether her involvement with Archie is genuine affection or an unconscious attempt by him to wound Billy remains unresolved, and the play is stronger in its refusal to provide a definitive answer. Lambert brought real depth to the role, conveying Christina’s mounting moral unease as she gradually realises that those closest to her may be concealing the truth about the accident.
Meanwhile, Alex Smith’s Daniel functioned as the uneasy mediator of the group, caught between competing loyalties and increasingly aware of the moral cost of silence. His constant back and forth between truth and lies provides an important counterpoint to Archie and Billy’s increasingly volatile rivalry, grounding the play’s larger questions of guilt and accountability. As an ensemble, the cast succeeded in creating a web of friendships that felt genuinely lived-in long before the audience’s arrival. Their interactions carried the easy familiarity, private jokes, and unspoken tensions of relationships forged over years, making the gradual disintegration of those bonds all the more compelling to watch. By the play’s conclusion, not only the mystery had been unravelled, but also the friendships themselves.
The technical elements of the production deserve equal praise. Juliet Taub’s lighting design made particularly effective use of the Burton Taylor’s intimate space, helping to delineate shifts between police interviews the night before and the present moment. At key points in plot, changes in lighting and colour subtly heightened the sense of unease without ever becoming distracting. Ice Dob’s sound design complimented the production’s visuals, building tension and underscoring the emotional weight of the play’s most dramatic revelations. Together, these elements elevated the play from an Agatha Christie-like whodunnit to a psychologically-charged thriller.
Opening night of The Slip demonstrated an impressive confidence from Wyatt, who serves as both writer and director. The play as a whole had a remarkable command of both character and atmosphere. The result was a tense and morally complex drama that explores not only the consequences of a moment’s recklessness, but also the fragility of friendship, the corrosive effects of guilt, and the stories we tell ourselves to avoid confronting the truth.
Wyatt’s script handled the pacing of these weighty themes and gradual revelations with remarkable assurance. This was no mean feat given the play’s fragmented structure, which moves fluidly between interrogations on night of the accident, its aftermath, while also shifting between competing perspectives and imperfect recollections.
As the lights came up, I found myself still turning over the production’s questions – perhaps the strongest endorsement a piece of theatre can receive. The Slip is proof of the calibre of Oxford’s original student writing and theatre, as what could have been a simple mystery became a compelling study of guilt, friendship, and the consequences of a single reckless decision. Sharp, unsettling, and emotionally intelligent, The Slip is a striking showcase of the ambition and talent behind Wide Eyes Productions, while establishing Wyatt as a writer-director to watch.
The UK rail network connects cities, towns, and rural areas across England, Scotland, and Wales, but the system can confuse first-time visitors. Unlike many European countries where a single national operator runs most services, the UK splits its routes across multiple private companies. Ticket types, pricing structures, and station layouts vary between operators, so a short amount of research before the first journey will save you time and money.
How the System Is Structured
Different train companies operate different routes. One company may run services from London to Edinburgh, while another covers London to Manchester, and a third handles regional routes in the southwest. Despite this, all operators share the same stations and tracks, and tickets can be booked through any major booking platform regardless of which company runs the service.
Checking live departures, platform changes, and delay alerts is easier with a reliable data connection on your phone. A Holafly UK eSIM gives you mobile data across the country, which is useful when you are navigating busy stations or rebooking a cancelled connection on the move.
Booking Tickets
Advance tickets, booked days or weeks before travel, are significantly cheaper than walk-up fares bought on the day. The cheapest advance tickets are released up to 12 weeks before the travel date and sell out quickly on popular routes. Booking early on long-distance journeys, such as London to Edinburgh or London to Manchester, can reduce the fare by more than half.
Walk-up tickets are available at any time and do not require a reservation, but they cost considerably more. If your plans are flexible, search for off-peak departures on the same route so you can find cheaper options without needing to book far ahead.
Peak and Off-Peak Fares
Most operators charge higher fares during peak hours, which generally run from 6:30 to 9:30 in the morning and from 4:00 to 7:00 in the evening on weekdays. Travelling outside these windows qualifies you for off-peak pricing, which can reduce the cost of the same journey by a noticeable margin.
Some tickets are labelled “super off-peak”, which restricts travel to quieter midday or weekend slots for an even lower fare. Check the specific conditions listed on the booking platform, since the exact hours vary between operators and routes.
London’s Multiple Stations
London does not have one central train station. Different stations serve different parts of the country.
Euston handles services to the northwest and Scotland. King’s Cross covers the northeast and Edinburgh. Paddington serves the west, including Bath and Bristol. Victoria and Waterloo cover the south coast, and Liverpool Street runs services to East Anglia.
For areas directly north of London not covered by Euston or King’s Cross, St Pancras International handles the Midland Main Line. It also serves international Eurostar routes, southeastern high-speed trains to Kent, and Thameslink routes.
If you are connecting between two mainline stations, make sure you have enough time for the transfer. Most major stations are linked by the Underground, but crossing the city can take 30 minutes or more depending on the route.
On the Train
Seats on advance tickets are usually reserved, with a specific coach and seat number printed on the ticket. Walk-up tickets do not include a reservation, so you may need to find an unreserved seat or stand during busy periods. Reservation labels are displayed above or beside each seat, either on a screen or a paper slip.
There are no strict luggage limits on most UK trains, but storage space is limited, especially on older rolling stock. Keep luggage near you or use the overhead racks, and store large suitcases in the designated areas at the ends of the carriages.
Delays and Cancellations
Delays are common enough that it is worth knowing the process. If your train is delayed by 15 minutes or more, you may be entitled to a partial refund through the operator’s delay compensation scheme. Keep your ticket and check the operator’s website after the journey to submit a claim.
If a train is cancelled, station staff and platform screens will usually show the next available service. Live departure boards in booking apps often update faster than some station screens, so having data on your phone will help you react quickly.
Getting the Most From UK Rail
The UK rail network covers more of the country than most visitors expect. Book early for the best fares, travel off-peak where possible, and confirm which London station your train departs from before heading across the city. A little preparation before each journey will ensure you have a smooth experience.
The market for AI creative tools has gone from a handful of options to an overwhelming buffet in a remarkably short space of time. New products launch almost weekly, each promising to be the one that transforms your marketing, and for a small business owner or a marketer trying to make a sensible choice, the sheer number of options is more paralysing than helpful. Cutting through the noise starts not with the marketing claims but with understanding what actually separates one tool from another.
Look Past The Brand Name
The first thing to understand is that the brand on the box often matters less than what is inside it. Many creative tools are powered by the same handful of underlying AI engines, which means two products with very different names and price tags can produce surprisingly similar results, while two that look alike can perform completely differently. The quality of your output depends heavily on which engine is actually doing the work.
Tools that expose a selection of Adobe Firefly partner models give marketers room to test which engine produces the cleanest product shots before committing budget to a particular workflow. Understanding this saves you from chasing brand names and marketing hype, and lets you focus on what really matters, which is the quality of the output you can actually achieve for the jobs you actually need done.
Match The Tool To The Task
There is no single best tool, only the best tool for a given job, and grasping that will save you a lot of wasted money. An engine that produces gorgeous, atmospheric lifestyle imagery may be surprisingly weak at clean, simple product visuals, and one that excels at illustration may struggle with anything photorealistic. Performance varies enormously by task.
So be clear with yourself about what you actually need most. Is it social media graphics, product imagery, illustrations for blog content, or something else entirely? Identify your primary use case, then judge every tool against that specific need rather than against a general impression or an impressive demo built around someone else’s requirements.
Test Before You Commit
Most tools offer a free trial or a limited free tier, and you should always make full use of it before paying for anything. The best test is a simple one. Run the same realistic brief, ideally one drawn from your actual work, through every option on your shortlist and compare the results honestly, side by side.
The differences are usually obvious once you see them laid out next to each other, and a short, structured test like this prevents an expensive mistake. It is far better to spend an afternoon comparing tools than to commit to a subscription and discover three months in that it cannot do the one thing you most need.
Factor In The Practicalities
Output quality is important, but it is not the only thing that should drive your decision. Think hard about ease of use, because a slightly weaker tool that your whole team can operate comfortably often beats a powerful one that only you can drive. Consider how well it fits into your existing workflow, the licensing terms for commercial use, which genuinely matter for a business, and the ongoing cost as you scale up your usage.
The Content Marketing Institute has long argued that consistency and a good fit with your wider strategy matter more than any individual piece of software, and that wisdom applies neatly to AI tools. The best choice is the one that supports your overall marketing plan and that you will actually use, not the one with the most impressive feature list or the flashiest launch video.
Keep Your Brand Front Of Mind
Whichever tool you ultimately settle on, the goal is content that looks like you, not generic AI output that could belong to anyone. This is where a lot of businesses go wrong, producing technically impressive images that have no connection to their brand. Establish your style, your colour palette, and your tone of voice, then apply them consistently across everything you generate. The technology is the means, and your brand identity is the end it should serve.
A Simple Way Forward
If you feel paralysed by the sheer variety of choices on offer, the answer is to simplify rather than to keep researching endlessly. Pick one realistic task that you do often, test two or three options against it properly, and commit to the best fit for now. You can always reassess later as your needs grow and the tools evolve, which they will, quickly.
The marketers who win with these tools are not the ones who chase every shiny new release or agonise over finding the theoretical best option. They are the ones who choose deliberately, based on their actual needs, and then get on with using their choice well. Clarity about what you need beats endless comparison every time.
Somewhere between freshers’ week and finals, most students end up with an email address they signed up for years before they ever set foot in Oxford. Scholarship applications, references from tutors, internship offers, bank details for student loans and even health correspondence with the university all tend to pass through that email address.
Add in the habit of using one login for almost every society sign-up, society mailing list and online account going back years, and it becomes clear why a growing number of students are starting to think more carefully about where all of this information actually sits, and how secure it is.
Why students are rethinking their email account
A student’s email account carries more weight than people often assume. It is the address attached to graduate job applications, references, visa paperwork for study abroad, and increasingly, financial details tied to student finance and part-time work. If that account is compromised, the fallout goes well beyond a few spam messages. Switching to an email service built around encryption means that even sensitive correspondence with tutors, colleges or future employers stays private, without changing how you actually use email day to day.
It is a particularly relevant shift for anyone applying for jobs or further study, where personal statements, references and offer letters often sit in an inbox for months before anyone gets round to deleting them.
The data you’ve forgotten about
Think about how many forms ask for your university email address: library accounts, society memberships, internship portals, even some banking apps for students. Each of those is a small thread connecting your identity to that one inbox. Most students have no idea how many services still hold their data years after they stopped using them, and a single breach at any one of those services can expose far more than people expect.
A periodic clear-out is worth doing, even if it feels tedious. Search your inbox for old confirmation emails, work out which accounts you no longer use, and either delete them or at least update the password to something unique.
Protecting applications and correspondence
For finalists in particular, this matters more than it might seem. Graduate scheme applications often involve sharing passport scans, references and personal statements over email, sometimes to addresses that turn out to be less secure than expected. Cherwell’s own coverage of has touched on how students can be targeted by cyber criminals, and email is very much part of that picture, even if it gets far less attention than social media.
Setting up two-factor authentication on your main accounts takes a few minutes and makes a real difference, particularly for anything connected to finance or job applications. It is one of those tasks that feels unnecessary right up until the moment it isn’t.
Building better habits before you need them
The good news is that none of this requires becoming an expert in cybersecurity. The UK government’s guidance on staying secure online lays out the basics in plain language, and most of it boils down to using strong, unique passwords, keeping software updated and being cautious about what you click. For students juggling deadlines, societies and a social life, a secure inbox is one less thing to worry about.
Whether you’re sending your dissertation to a supervisor at midnight or applying for a graduate role you have had your eye on since first year, your email account underpins a huge amount of what happens next. Giving it a bit more thought now is a small investment that pays off long after you’ve left Oxford.
Sarah Outen was seventeen when curious seals surfaced beside her kayak off the coast of Scotland: “I remember very clearly having seals follow the boat and try and nibble at the toggles on the boat, and I just love that interaction,” she says. “It was as close to the water as you’re going to be. You’re never going to be off the water, but it was a way to be in that world.”
The desire to immerse herself in the natural world without trying to conquer it has shaped almost every chapter of her life. Outen is one of Britain’s most accomplished endurance adventurers: the youngest person and first woman to row solo across the Indian Ocean, later the first woman to row solo across the Pacific from Japan to Alaska, before completing a 20,000-mile, mostly human-powered journey around the world by rowing boat, bicycle, and kayak. The expeditions earned her an MBE, a Fellowship of the Royal Geographical Society and several Guinness World Records, yet when she talks about adventure, records barely feature. Instead, she returns to the sea itself: its unpredictability, its wildlife, and the quiet relationship it demands.
“I was very active, doing lots of sports at school,” she says. “I was very lucky. I had lots of opportunities through school for different sports and the Duke of Edinburgh’s Award, and then through a local kayaking club.” She first learnt to kayak at around eleven or twelve, before discovering Ellen MacArthur’s account of sailing solo around the world as a teenager. “These different things kind of just led me to a sense that one day I would like to do a big journey somewhere, somehow, but I didn’t know what it would be.”
At home, “there was a lot of encouragement for trying new things. I don’t feel there was ever anything that we were told: we don’t want you to do that, don’t have a go.” The greater influence, however, came from watching her father live with rheumatoid arthritis: “I saw him not be able to do lots of things that he used to love doing. I saw him not be able to walk as much and become wheelchair bound.”
For years, she interpreted that experience in the only way she knew how. “I’ve got to go and make the most of it, and at all costs will push through,” she says. Looking back, she sees something more complicated: “I’ve got one go in this body, and I need to really honour it, value it. Yes, push myself, and do things that I want to do, but I’ve got to really look after it. Because actually, I’ve experienced a lot of health challenges, in part driven by how I’ve pushed myself in the past, and sort of just ignored all the signals from my body.”
The University of Oxford arrived almost by accident. She had applied to Worcester College without really understanding the admissions process and instead received an offer from St Hugh’s. This became one of the happier accidents of her life: “Just the idea of not being able to walk on the grass felt really formal,” she says of Worcester. St Hugh’s, by contrast, felt immediately welcoming: “There was something really relaxed about the atmosphere… it’s got these lovely big gardens that you can walk all over.” She still describes ending up there as “a total gift.”
But Oxford was also harder than she had anticipated. During her gap year, she had been diagnosed with hypothyroidism. Only in retrospect did she realise how much it shaped her experience: “Some patterns that were playing out whilst I was at Oxford, they actually just weren’t being managed properly.”
What kept her grounded was the water: “I loved being a part of the boat club, especially, and the fact that that, for me, was a way to get out and about pretty much every day of the week on the water.” She still laughs about one race against the men’s crew. “We won, we beat the boys… One of our crew members made us some T-shirts afterwards, saying: ‘Making boys cry since 2006′, because it was alleged that there were some tears in the boys’ crew.”
However, a ruptured cruciate ligament during her first term ended previous hopes of an army scholarship: “I couldn’t do that anymore and I didn’t really have a plan at that stage. So I thought in my head, oh, okay, I’m going to row across an ocean.” Then, during her second year, the idea began to crystallise. An email advertising an Atlantic rowing race arrived just as Ben Fogle and James Cracknell’s crossing was being shown on television: “I was just blown away by the idea of it. I thought, wow, this is a really cool equation. I love oceans and I love rowing. Put these together.”
Just before her second-year exams, her father died suddenly: “It was a real shock, and very quickly again, I knew that I still wanted to go and row across an ocean, but that actually I did want to do it solo,” she says. “Nobody knew my dad. Like, as in the people that I was chatting to that might become the team, didn’t know him. It felt like a very personal mission. The ocean was this big, unknown, sometimes scary place that I had to cross. And grief was also this big, unknown, sometimes scary place that I needed to find a way through and to sort of live with.”
Turning that decision into reality took another three years: “To graduate, fundraise, build a boat, learn what to do with the boat, get sponsors, raise money, train, figure it out.” She describes it as solving a giant jigsaw puzzle: “Starting out with a mind map… okay, I’m here, I need to get to here, what are these different bits that I’m going to need?” What made it feel achievable was its ordinariness: “I had a real sense in that first journey that this isn’t rocket science. Other people have done it, so therefore I’ve got a good chance of doing it.”
She puts a lot of emphasis on the beginning: “We all have things we would like to do. And also, we can sometimes get a bit caught up in all the reasons why we can’t, why we shouldn’t. So, often, I think even just getting to the start of any project, be it an ocean or a degree or whatever it might be, it’s a big deal.”
Training for the row was surprisingly simple compared with organising it: “I focused on building an endurance base, so I borrowed a rowing machine and put it in my mum’s greenhouse, and I would go and row for a few hours at a time,” she says. First aid, radios, navigation, “how to fix bits of the boat,” took priority, on the theory that fitness would build itself at sea. What she hadn’t anticipated was the relentless mental load of being entirely responsible for herself: “The boat’s moving in some way, all of the time… you always need to be switched on, because you need to make sure you’ve closed the door so that if you were to capsize, suddenly you’re not flooded with water. It was a big adjustment, and I think that took me by surprise a little bit, was just how much of an adjustment that was.”
To survive months alone at sea, she learnt not to think in terms of the ocean: “I was reminding myself that I was as prepared as possible, and just taking it a little bit at a time, cutting down the overall journey… What about the next couple of days? What about the next hour? Sometimes, just what about the next minute?” It is a philosophy that now extends far beyond her expeditions: “We can get really overwhelmed when we look at everything that we’re trying to manage. There’s something going: okay, what can we control? I can’t control the weather. But I can control the thoughts that I’m having, or how I’m relating to those thoughts. I can control how I’m looking after my body, what I’m eating, and when I am sleeping. Bit by bit, then we can find a way through the stormiest of times, or the biggest of obstacles, when we kind of break it down into little bits.”
The ocean tested that outlook almost immediately. Her first attempt lasted just eleven days before deteriorating weather forced her back. “I looked at it as a warm-up lap,” she says. “Yes, I had failed. I had not made it across the ocean, but I was looking at it as: great, I’ve just survived eleven days at sea. I looked after myself. I still want to go back and have another go.”
The second crossing took 130 days. It made her the first woman to row solo across the Indian Ocean and only the fourth person ever to do so, although she dismisses the records almost as quickly as they’re mentioned. “It was more about what the journey meant to me than it did about any statistic or record,” she says. “For me, it’s more about the experiences… certainly with that first journey, it was about honouring my dad and honouring my grief and my healing, really.” Her emphasis is on sincere gratitude: “I just feel extraordinarily privileged and lucky, fortunate to have had the support of so many people… whether it’s a big sponsor putting in money, or Joe Bloggs at the end of the road encouraging me.”
She expected to miss the water when she landed, yet “about a month before I was due to land, I didn’t want to go back to land,” she says. “I was so comfortable in my boat world that I was a bit scared about what it would be like to transition back to being on land.” The landing itself, in Mauritius, was dangerous. “I ended up crashing onto a coral reef, essentially,” she says. Once she was safe, the adjustment turned out to be its own ordeal. “It was quite mind-boggling. It was quite stressful to try and keep tabs on things,” she says, remembering watching other people move her belongings around.
“At sea, I had very limited battery supplies that were charged by the sun. It was a real matter of life and death that I managed that battery supply… whereas on land, I had people who haven’t had those experiences, and they are leaving lights on, they’re wasting some food.” Confronted by a supermarket shelf of ten kinds of orange juice, she says it “was really stressful in new ways”. Alongside all that, there was real pleasure too. “It’s lovely to see friends and family. It was great to be able to walk on land and appreciate all the different foods… It was great to get a massage, my muscles were happy. I got to see my mum’s dog again.”
That heightened sensitivity has never quite left. On her later round-the-world journey, she watched wind patterns shift: “seeing disruption to that, which was having a direct impact on what I was doing and plastic pollution, which was really worrying”. What troubles her most is the distance most people keep from it: “There’s still quite a lot of blind spots for a lot of people. It feels like there’s this kind of ‘Oh, it’s out there somewhere, my activities don’t matter, or it’s not impacting me yet.’ That feels bothersome and is really worrying to me.”
The pace of human-powered travel transformed the way she experienced the world: “You feel a mountain range very differently when you’re chugging up it slowly on a bike… you would have felt the changing of the seasons, the changing of the landscapes.” The bicycle, she discovered, was also a universal conversation starter: “Even if I didn’t have the same language, we would see bikes, and there would be this sort of shared sense of ‘Hi, yeah, we’re on this thing together.’”
Image credit: Sarah Outen, with permission.
The biggest challenge came in the North Pacific: a typhoon, subsided to a tropical storm by the time it reached her, which she chose to ride out: “Knowing what I know now, in that wonderful thing of hindsight, I wouldn’t have stayed. But that was who I was at that time. I kind of looked through all the information that we had, and I thought that we had a good chance of getting through it.”
What followed was chaos: “It was so violent and so chaotic and so frightening to be a part of that.” Three days strapped into her bunk in a racing harness, watching through the cabin door: “All of these waves, these huge waves, topping out at fifteen metres, just looked like the Alps. Everything was white, and there was spray going everywhere, and I saw an albatross just soaring over the top of it. And I just thought, wow, I wish I were the albatross. I have never been so frightened in my life, certainly not for a sustained period. It was horrible and very uncomfortable.”
The Japan Coast Guard rescued her, but her boat, Gulliver, could not be brought with her and was cast adrift. “To me, it felt like I had sort of let my boat down somehow,” she says. “When you’re solo with a boat, you’re a little team, you look after each other.”
The sheer weight of emotional aftermath came after: “My way of coping was to sort of almost get on with it, and kind of put it to one side, what had happened, and just focus on moving forward, because I wanted to go back to sea.” Months later, the reckoning was almost forced: “I was having nightmares, I was crying all the time. I was scared all the time. I was really struggling.” When Gulliver herself turned up years later in the Philippines, during the making of a documentary about the journey, it started again. “Lots was being stirred up, and around that time, Gulliver turned up in the Philippines, which brought up lots of memories and emotions. It was like, okay, there’s another layer of healing to do here. We need to deal with this in a more proactive way.”
By the time she finally came home for good, something had to change: “So much of the journey had been about pushing forwards, going, keeping moving, going, getting to the next bit, going,” she says. “And actually, what I came to understand with hindsight, a few years later, was that it took quite a few years to process, to settle, to unwind some of the energy that was in my body from those journeys… now I needed to learn this whole new way of being that was more about softness and yielding and gentleness.”
She laughs gently at who she used to be: “I laugh at my younger self that she was so audacious to put together something as complex as that and as massive. I definitely didn’t fully comprehend just what it would take, emotionally, physically, financially, logistically, energetically.” Asked what she would tell her eighteen-year-old self, she says: “I wish I had known more about the impact of stress and food on my health, and on my autoimmunity and had more softness, and that I paid more attention to things like stretching.” Then she lets herself off the hook: “Some things you have to go through stuff to learn the lessons, I think. You’re not ready to know them until the point at which you’ve learnt them for yourself.”
That difficult year, 2018, is also what led her to psychotherapy. She had been advised, coming off the journey, to take her time before deciding what came next. Working with a couple of different therapists, one of them an equine therapist, something became clear: “I thought, I want to be alongside people as they explore their worlds.” Indeed, the parallel with her old life feels obvious to her now: “It does feel like it’s an adventure to sit alongside somebody exploring their world. We don’t know what’s going to come next. We don’t know what’s going to happen. I feel similar senses of awe at the tenacity of the human spirit. What humans can navigate, and how we can find meaning and healing out of some of the darkest times, blows my mind.” Some of her sessions happen outdoors now: “I love that nature becomes my teammate, and the donkeys are my teammates.”
Listening to Outen now, it’s striking that the oceans themselves almost fade into the background. The crossings were extraordinary, but they were never really the destination. They became the landscape through which she learnt to live with grief, embrace uncertainty and, eventually, exchange relentless endurance for the courage to meet both the world and herself with softness.
King Charles III officially opened the Schwarzman Centre for the Humanities and unveiled a plaque to commemorate his visit. His Majesty was greeted by the University of Oxford’s Chancellor, Lord William Hague, Vice-Chancellor, Professor Irene Tracey, and Stephen Schwarzman, whose donations funded the £185m building.
During the visit, the King spoke with individuals involved in the building’s construction, academics from the humanities faculties, and community organisations which use the site. He met representatives from the Centre’s Cultural Programme and the Leys Festival, an ongoing collaboration between residents and the Centre to celebrate creativity. A choir of secondary school children from across Oxford performed during the visit.
His visit also included a showcase of historic musical instruments from the University’s Bate Collection, selected by representatives from the Faculty of Music, and a rare Bach manuscript from the Bodleian Library.
In a short speech, the King said it gave him “great pleasure” to celebrate the opening of the building, which brings together the University’s humanities departments under one roof.
Stephen Schwarzman, the philanthropist and businessman after whom the building is named, said: “ Throughout decades of public service, His Majesty King Charles III has been a thoughtful and prescient voice on many of the defining questions of our time, all the while championing dialogue across disciplines, cultures, and generations. It is my hope that the Schwarzman Centre will contribute to this dialogue by advancing scholarship that addresses humanity’s most pressing challenges and fostering global collaboration here in the heart of Oxford.”
Lord Hague said: “It was a privilege to welcome His Majesty The King to mark the opening of the Stephen A. Schwarzman Centre for the Humanities, a moment that celebrates both an extraordinary new addition to Oxford and the enduring importance of the humanities.
“At a time when the world is changing with extraordinary speed, the study of history, languages, philosophy, literature, music and the arts helps us understand who we are, how we have arrived here, and how we might shape the future. This remarkable centre is a powerful statement of confidence in the ability of the humanities to illuminate public life, enrich our culture and equip future generations with the judgement and imagination every society needs.”
The Royal Visit included receptions at Oriel College, which is celebrating its 700th anniversary, and University College.
The Schwarzman was closed for two days as a security measure agreed with Thames Valley Police and the Proctors’ Office. Faculties informed students of the building’s closure to minimise disruption. In an email sent on 25th June, students in all faculties located in the building were told that the Centre would be closed to all staff, students, and the general public for a “VIP Visitor”.
Performance spaces at the Schwarzman Centre have been open since April 2026 for the Cultural Programme, which “aims to welcome audiences and communities into the heart of the research process at Oxford University through public engagement.” The Centre is also home to the Bodleian Humanities Library, as well as seven humanities faculties and research institutes.
Funded through £185 million in donations from Stephen Schwarzman, the Schwarzman Centre is the largest building project the University has undertaken “since the Renaissance”.
Since its announcement, the Centre has been subject to debate about the role of billionaire benefactors within the University. Schwarzman, an American billionaire, is the founder, chairman, and chief executive of Blackstone, an investment firm best known for its private equity business. His connections to Republican politicians, including financial support for President Donald Trump’s presidential campaigns, provoked the formation of the campaign Oxford Against Schwarzman. At the time of his initial donation, an open letter signed by 27 Oxford academics opposed the University’s decision to accept Schwarzman’s philanthropy. Citing a UN report which singled out Blackstone for its contribution to the global housing crisis, the letter stated that the Schwarzman Centre “will be built with the proceeds of the exploitation and disenfranchisement of vulnerable people across the world”.
At the Centre’s opening in 2025, a University spokesperson told Cherwell: “Oxford University has robust and rigorous guidelines regarding the acceptance of donations and research funding … All significant new funders or new gifts or grants from existing funders are reviewed by the Committee to Review Donations and Research Funding (CRDRF) … Those donating money or sponsoring programmes at the University have no influence over how academics carry out their research or what conclusions they reach.”
Somewhere around the fifth week of Michaelmas, it starts. Not with a formal announcement, not with any kind of pastoral guidance — just a creeping anxiety that spreads through staircase WhatsApp groups and over hall dinners, usually introduced by someone who heard from someone in second year that if you haven’t found a house by Christmas, you’re finished.
This is Oxford’s least-discussed rite of passage: the second-year housing scramble. Everybody goes through it. Nobody really prepares you for it. And in the last few years, it has gotten considerably worse.
The queue
In November 2025, students had queued outside a Finders Keepers letting agency for over 48 hours to secure properties for the following academic year. More than a hundred students. Tents. Winter coats at 5am. Forty properties released at 9am on a Tuesday, gone within hours.
It sounds absurd. It isn’t. The queue has become a fixture, notorious enough that the BBC covered it the previous year, when a first-year Brookes student waited 24 hours for a lease. In 2025, the wait had doubled.
According to one Oxford student, she and her prospective housemates had viewed ten properties through another agency the week before. All ten were snapped up before they could attend the viewings.
This is not a fringe experience. It is what finding a house in Oxford now looks like for the majority of students who leave college accommodation after first year.
What nobody tells you at the open day
The college system creates a comfortable illusion. You arrive in October, your room is ready, your battles are paid termly, the heating (mostly) works. For eight weeks you live in a building that has housed students for centuries, and the logistics of accommodation simply do not require your attention.
Then Michaelmas ends. And someone in your year group sends a message that a good house in Cowley Road just went under offer and maybe you should all have a serious conversation about who you want to live with next year.
The pressure this creates — to lock in friendships that are barely twelve weeks old, to commit to people you haven’t yet fallen out with or become inseparable from — is its own particular stress that sits alongside the academic one. “You feel like you’re making decisions about your entire social life for the next two years based on who you happened to sit next to in a freshers’ week dinner,” says Maya, a second-year reading History. “And then simultaneously you have to decide on a neighbourhood, a budget, whether you want to live with five people or three, all before Christmas collections.”
The market they step into
What Oxford students enter when they leave college is one of the most expensive private rental markets in England. According to the ONS Price Index of Private Rents, the average monthly private rent in Oxford reached £1,956 in April 2026 — the highest of any area outside London. In the same period, the weighted average college rent for undergraduates was around £950 per month.
That jump of more than 100% is not a London premium that students have been warned about and can plan around. It is a local market that has quietly become London-adjacent in price while remaining entirely un-London in terms of wages and support structures.
The agencies know this dynamic well. Finders Keepers, the letting agent at the centre of last year’s queue, operates a policy in which viewings are not conducted before leases are signed — at which point students must put down a holding deposit of a week’s rent. One medical student described it as: “effectively a viewing costs £700.” She added: “Just because we need houses as studentsand letting agencies know that, doesn’t mean they should be able to treat us like this.”
The friendship geometry problem
Underneath the financial pressure is something stranger and harder to articulate: the way the scramble reshapes social dynamics in a place where social dynamics are already unusually high-stakes.
Oxford friendships in first year exist in a bubble — the college bubble, specifically. Everyone is fifteen seconds away from everyone else. You eat together, you socialise in the same JCR, you walk past each other’s doors. The question of who you want to live with next year is therefore being answered before you’ve had the chance to experience what spending real, sustained time with these people actually looks like.
“I ended up in a house with people I chose in week six of first year,” says Tom, a third-year classicist. “By the end of second year I was barely speaking to two of them. But you’ve signed a twelve-month lease. So.” He trails off in a way that suggests the rest of that sentence is too long to complete over coffee.
The problem is structural. The scramble happens at exactly the moment when bonds are newest and the pressure to form them is highest. It accelerates decisions that, in any other context, people would take much longer to make. And unlike most decisions made at eighteen, it has a legally binding contract attached.
The medical student exception
A specific subset of Oxford students has it worse: medics in third year, transitioning to clinical placements at the John Radcliffe Hospital in Headington. College accommodation, for those who have it, is typically in central or north Oxford — geographically useless for early morning hospital starts. So clinical-year students enter the private market not by choice but by necessity, often at the precise moment their academic workload is at its highest.
“This is routinely the year that people find the most challenging, just because of how big of an adjustment it is to be in the hospital,” said one third-year medical student last year, standing in the queue outside Finders Keepers in November. “So, having this looming over my head plus this whole organisational crisis with trying to find a house is not great, and I know that there’s a lot of people in the same boat as well.”
It is hard to think of a worse moment to be spending your evenings on Rightmove.
The quiet divergence
What the scramble reveals, more than anything, is how differently Oxford students experience the same institution depending on a variable almost entirely outside their control: how much accommodation their college offers, and for how many years.
Some colleges guarantee rooms for all three years of an undergraduate degree. Others offer two. Some allocate on ballot; others on financial need. A student at one college may never touch the private market. Their friend at another college down the road may have been in it since second year, navigating twelve-month leases and absent landlords and the particular misery of discovering in October that your new house in East Oxford has no working boiler.
None of this is made legible to students before they choose a college — a choice that, for most undergraduates, happens at seventeen, on the basis of subject suitability and open day impressions. The financial consequences of that choice, compounded over three years in one of England’s most expensive rental markets, can be enormous.
The college system is Oxford’s great strength and, in this specific respect, its great inconsistency. The quality of someone’s housing experience should not be a lottery whose outcome is determined before they have even sat their A-levels. But right now, more often than not, it is.
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