Monday 13th July 2026
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‘This House’: An Interview with the Cast and Crew

Kobi Mohan
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‘This House’: An Interview with the Cast and Crew

This House is a timely and relevant political comedy, exploring Westminster and the 1974 hung Parliament. In the run up to the General Election, pressure mounts as squabbling whips attempt to attract key regional votes. As it becomes clear that the results will be closely balanced, the play tracks the formation, perils, and consequences of a coalition government — including the compromises, conflicts, and power games needed to win control of Parliament.

One Sunday morning, I sat in on rehearsals with the cast and crew of This House at the Oxford Union to find out a bit more about Clarendon Production’s version of James Graham’s sensational play.

PART I: CREW (and a bit of cast)

Why did you choose to put on This House?

Ava (producer): The Union actually came to us with This House. I think about 10 years ago, the Union used to do a play almost every year in the chamber, and Charlie wanted to revive this tradition with his presidency this—

Lucas (director): With the 200th anniversary of the Union—

Ava: Yeah, so he chose the play ‘This House’ by James Graham, which is kind of the perfect play to put on at the union because it’s so political and being in that space — in the chamber — since it’s based on the House of Commons, so that really adds this perfect dynamic to it. It’s really exciting to be back in the union and using that amazing space for some drama instead of for some politics. 

What drew you to audition for the cast of the play?

Caitlin: I think definitely the space was something that drew me in because I hadn’t really heard of a play being put on at the union (…) I also was drawn to the fact that it was going to be a big cast and I would be working with lots of different people and that was something that was quite exciting.

Ava: Yeah, we’ve got 14 people,

Lucas: which is a large cast by OUDS standards, and they’re all fabulous!

Caitlin: Yeah, they’re all so nice.

Lucas: As Caitlin has said, the scale of the production — it’s quite an ambitious show (…) Its timeliness as well, I think is very interesting. I suppose it could have appeared at any time in the last ten years really, but it really suits our current political climate — as a play which I suppose relishes the grubby reality of politics instead of just putting politicians in the pillory for their inconsistencies and failures, it’s one that really appreciates it. 

Ava: And I love James Graham (…) I just love the way he brings the audience through these quite confusing political machinations but it makes it so clear what is going on without being condescending. So yeah, I think he’s a really talented writer so it’s lovely to put this play on.

Lucas: I suppose he’s really good in that regard because at the centre of the play is this profound belief in the political process, the parliamentary system. Underneath all the kind of wrangling and wheeling and dealing, there is this established belief in the strength of parliamentary democracy. I think that really resonates.

We’ve kind of touched on this already, but were there lessons you’ve personally taken from this play having worked on it?

Caitlin: Definitely learning more about the political system and its inner workings. But also, I think it was really humbling from the position of a woman. This is set in the 70s, there’s a moment where we touch on how women couldn’t breastfeed in the house, and if we hadn’t cast this gender blind, then I think it would’ve been mainly dominated by men. In the play, the fact that one of the characters is a woman is a massive deal. And I think that I sometimes have to remind myself because we’ll be in rehearsals and I’ll look around and think “okay, yes we have a lot of women involved in this project but that’s because we’ve chosen to make that change” which I think is really refreshing. For example, I play a man, but I obviously am not—

Lucas: —Caitlin plays our lead, Humphrey Atkins. We thought it would be a bit revisionist to change it to Humphrina or something.

Ava: For me it was a period of politics that I really knew nothing about. And (…) well, can I talk about the end? The vote of no confidence? 

Lucas: Well, I suppose it’s history isn’t it, so there are, unfortunately, spoilers.

Ava: Well, it basically shows the run up to how Margaret Thatcher comes to power. It was quite shocking to discover that in this way… but I guess stay tuned!

Lucas: It stretches from 1974, to the end of 1979, right from the fall of Ted Heath’s government to the rise of Thatcher.  So it’s got this massive scope — so much to do in two hours on stage. I think that will be a really interesting thing for people to come and see (…) Please come and see our show!

Is there anything you hope that your audience will take away from your version of This House? 

Lucas: I think this play offers a really nuanced portrayal of what happens ‘behind the scenes’ as such, whilst still maintaining that satiric verve — it’s a funny play — so I think, treading that balance between being eye-opening but at the same time keeping it fun and enjoyable I think it treads the line really well.

Caitlin: I think it does a really good job of critiquing bad decisions that were made whilst also noting that this job has taken over this person’s entire life. Even if you are critiquing them, you understand a bit more about how much this job has taken over everything else in their life.

Ava: So, when Lucas and I were originally talking about how to put it on, one of the things we kept in mind was to not lean too heavily into stereotyping Conservatives vs. Labour, and how we were going to portray those whips. I think it will be interesting to see what the audience does take away from it in who they side with at different points in the play, because I think you really change allegiances throughout. 

Lucas: Or, if anything, at the end of the play you reach a point where you no longer see sides as much as individuals.

Caitlin: Completely true, there are a number of people in both parties that you find you actually like.

Ava: I agree, I think the labels of Conservative vs. Labour become less important as you go on.

So, this is a fill-in-the-gap question. ‘If you like X you’ll like This House.‘

Lucas: If you like The Thick of It then you’ll like This House— 

Ava: —the amount of times Lucas has mentioned The Thick of It during rehearsals—

Lucas: I occasionally like to direct through references. So like “It’s giving very… Season 2”. I don’t want to discredit myself publicly, but you know, yeah, I have been guilty of that.

Caitlin: If you like Have I got News for you you’ll like This House.

Ava: I’d say also, I guess it’s not quite the same industry but, if you like Succession — that kind of high-powered, taking you through these kinds of complicated twists and turns in a really funny way, and all these people are kind of awful but in a fun way. 

Do you have a favourite line from the play?

Caitlin, Lucas, Ava (in unison): There’s so many! 

Lucas: Well so many of them require context as well — they’ll make sense in the grand scheme of things but .. 

Caitlin: I have one — it’s not a favourite line, it’s more like three (…) So, he says he doesn’t like his office and says “there’s this ugly painted thing in there” and I reply “that’s the member for Gloucester, Colonel, he’s sharing your room”, and that always makes me chuckle.

Lucas: It’s also the obscene kind of situations we find ourselves in. I mean, Midway through act 1 Caitlin is just firing a gun in the Houses of Parliament. 

KM: As you do. 

Lucas: As one does! Funnily enough they did use to have a shooting range, but I think apparently because it kind of reflected too much of the landed gentry vibes that was gotten rid of.

Yep, I think maybe we might be fine without that.

Lucas: Oh Boris with a gun (…) an image I don’t want to think about (…) But also worth noting it’s very profane as well — it’s a naughty, naughty play!

This is more of a personal question but, well, what’s next for you? Anything to plug?

Lucas: Not currently, but there are thoughts.

Ava: Lucas and I were kind of brought together in this and we started a production company together; Clarendon Productions, and we found, quite luckily, that we work really well together so that’s really nice.

So, I’m hearing that there are things in the pipeline? 

Lucas: There may be!  

How exciting! Well, that’s pretty much it. Is there anything else you’d like the audience to know? 

Caitlin: The only thing I would say is that, and this is nothing to do with the play itself but, it’s just been so fun, it’s just been really nice because everyone is so talented, really talented — like it’s quite scary, and the crew, cast, everyone is just lovely. Honestly, I do look forward to rehearsals even if I’m waking up early on a Sunday morning and I’m really hungover, I’ll be there.

Lucas: Yeah, I have been testing the limits of that punctuality! 

Caitlin: But genuinely, it’s been so fun, and I’m going to miss it.

Lucas: And also, come to the last night — we’re having a meet and greet with John Major. 

Ava: He’s going to come watch the play. We hope. 

Lucas: Well, that’s pending.

PART II: THE CAST (or at least some of them)

Note to reader: these interviews are more of a hodge podge of a few conversations with various cast members conducted in the moments between the rehearsing of scenes. For the slightly chaotic formatting that follows, I can only apologise. 

KM: First of all, who are you?

Misha: I’m Misha, I’m a second year PPEist at Exeter, and for the duration of the play I am various different MP’s because I’m part of the Members Chorus as it’s called, which is a sort of amalgamation of 20 or so MPs that 6 of us are sharing the parts of. 

Floss: I’m Floss, I do English and German and I’m a first year at Catz, and I play several different MPs, one of which gets to say “breasts” in the union, which I’m super excited about.

So, what drew you to This House?

Floss: Well, I’ve worked with Lucas before. He was assistant director on Blithe Spirit which I was in last term and I really admire the way he works, and I like the play, so I was just kind of like, ok cool! 

And what do you hope the audience takes away from seeing your version of This House?

Floss: I want the audience to have a good time, and to be able to appreciate the amount of effort and time that has gone into this, but also just for people to see how incredibly talented everyone involved is. 

Do you have a favourite line in the show?

Misha: There’s a fantastic one that Purav delivers quite early in the play where he’s talking about how he hates this constituency that he’s been sorted with, Redditch, known for their needle manufacturing, and he fantastically delivers the line “you can’t find a haystack in Redditch because of all the fucking needles!”

Do you have a favourite moment from rehearsals and working on the show?

Misha: Moo.

You’re going to have to expand on that.

Misha: Well, we had a game of zip-zap-boing, you know the one- you do your zaps, you do your boings and then you gradually whittle yourselves down to two and in order to decide who’s to win of the two, because you can’t zip zap boing one-on-one… that would be ludicrous, so—

Floss: —that sounds like a euphemism.

Misha: —and so to decide the winner of the two, you get down on your hands and knees—

Oh you do, do you? 

Misha: —you face off, and you take your turns mooing at each other, and the first person to break loses.

Floss: Iconic. 

Question number one, who are you?

Alex: Oh, that is a deep philosophical question to start us off, who am I? Who am I. I’m Alex, I’m a second year at New College, I play Bob Mellish who’s the Labour Chief Whip in Act 1, so yeah, having a good time of it, you know? 

Ella: Ella Cradock, also New College, French and German, and playing Michael Cocks, who — spoiler alert — eventually becomes the Labour Chief Whip.

Alex: News to me.

Have you learnt anything from your time on This House?

Alex: Well, I’ve learnt my lines or something like that. 

Hey, would you like to introduce yourself?

Lydia: Hello, my name’s Lydia, my pronouns are she/her and I’m part of the members’ chorus for this play. 

What have you learnt from being part of the show?

Lydia: I’ve learnt about what happened in the 1970s in parliament. I didn’t know that this scandal occurred. I’ve learnt that the debate chamber is quite a cold room.

All equally important pieces of information! So, do you have a favourite line from the show?

Ella: I do really like “she’s a woman, Walter, not an invalid.” I think that’s great, it makes me giggle.

What do you hope audiences will take away from This House? 

Ella: Historically, you definitely learn something, and yeah, it’s just a bit of fun, having a look at how the government works.

Alex: I hope they’ll enjoy it.

This House is on at The Oxford Union Chamber from Monday 6th March to Wednesday 8th and will be showing each night 7:30 pm – 10:00 pm. Union membership is not needed to book tickets and attend this event.

Frankenstein and Me

Sonia Riasat
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Frankenstein and Me

By the time 5th week rolls around, I, like many of us, am struck by the melancholy of the aptly called ‘Fifth Week Blues’. With essays overdue, reading lists getting longer, and a general air of misery, I find myself struggling to tolerate each never-ending day. Alas, as a chronic romanticiser, I put my phone on ‘Do Not Disturb’ and turned to my Pinterest boards of dark academia, played Lana Del Rey’s Ultraviolence, and read Plathian poetry in an attempt to glamorise my suffering. It was in the midst of this melodramatic angst last week that I decided to reread one of my favourite books – Frankenstein. 

I first read Frankenstein in my Year 10 GCSE English class. We would just about scrape through a few pages every lesson as our frail English teacher attempted to communicate the importance of an old horror novel to a group of indifferent teenagers. Personally, much of the 19th-century prose eluded me – I thought it sounded beautiful, but I just had no idea what it meant. It certainly left its mark on me though because I would continue to return to Frankenstein in the years after this first encounter, whenever I wanted to read something ‘familiar’. 

Even now, as I open the book, it takes me back to sitting in that classroom with the people who, I didn’t know at the time, would be the most important people of my life. I think that’s one of the most captivating things about literature – how it takes you to different places, whether those be physical places from your memory or the imaginative spheres of your fantasies. It was a great comfort for me in the despair of 5th week to be transported home by turning over a few pages. 

When Frankenstein opens, it sets the scene of an explorer who against all unassailable barriers persists to accomplish the voyage of his lifetime. The voyager, travelling to the North Pole, narrates to us the rest of the novel. He writes, “I try in vain to be persuaded that the pole is the seat of frost and desolation; it ever presents itself to my imagination as the region of beauty and delight”. It’s these words that stay with me throughout, despite the tragedy that will be woven into the story that follows (which I won’t spoil!), as it inspires a sense of fortitude against whatever may come.  

Frankenstein is a story, ultimately, about what it means to be human. Throughout, Shelley brilliantly explores the dangers of scientific ambition, the responsibility that comes with creating life, and the role of society in shaping individuals. The premise of a creator who rejects his creature’s desire to be accepted challenges readers to consider the humanity of all individuals, regardless of their appearance or circumstances. The important ethical issues and imaginative storytelling are more than enough to stimulate your mind in the middle of a dreary academic workload. 

Beyond the philosophical issues raised, Frankenstein is an incredibly electric and exciting book. There’s a reason it has inspired so much media in the centuries since it was published – the supernatural elements feel like magic, the horror is thrilling, and the anticipation leaves you anxious – all features that add up to a plot with ingenuity that rivals modern-day literature. 

It was this ingenuity that helped me forget the deadlines and burnout of 5th week, as I escaped into Shelley’s exhilarating world, which despite all its tragedies left me feeling comforted and inspired. Much of this inspiration comes from Shelley herself – who as the daughter of Mary Wollstonecraft, ‘the mother of feminism’, carved out her own legacy as a trailblazer with the invention of the science-fiction genre through Frankenstein. Shelley’s ideas were rebellious and original, yet when she first published Frankenstein, she had to do so anonymously. Like many women of her time, she was subject to society’s attempt to suppress, discredit, and anonymise her – but still, she wrote, and did so excellently. 

Her fierce writing, “beware; for I am fearless, and therefore powerful”, is beautifully defiant as well as thought-provoking to read. It’s reminiscent of something every woman knows perhaps all too well – at Oxford, feeling underrepresented has given me the need to prove myself and the feeling that I often have to fight harder to have my voice heard. But like Shelley’s persistent need to keep writing, it is a voice immune to being silenced. 

Oxford researchers predict automisation of nearly half of household chores within next decade

Anika Gupta
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Oxford researchers predict automisation of nearly half of household chores within next decade

Recent collaborative research from the University of Oxford and Japan’s Ochanomizu University conveys that almost four in ten hours currently devoted to unpaid housework and caring responsibilities could be automated in the next ten years. 

During the project, researchers from the universities asked 65 Artificial Intelligence experts (29 from the UK and 36 from Japan) to predict trends in the future automation of common household tasks.

On average, experts agreed that grocery shopping is the most automatable household activity. They predict that grocery shopping time in the future would fall by nearly 60% in 10 years, in comparison to current statistics. On the other hand, experts believe that care for children or the elderly is the least likely to be impacted by AI; with research suggesting that time spent on physical childcare would only be reduced by 21%.

According to Dr Lulu Shi, a postdoctoral researcher and lecturer for the Oxford Internet Institute: “[O]nly 28% of care work, including activities such as teaching your child, accompanying your child, or taking care of an elderly family member, was predicted to be automated. Yet 44% of housework, including cooking, cleaning, and shopping, was thought to be automatable.”

Strikingly, previous studies have highlighted that the UK’s population, aged 15 to 64, spends nearly 50% of their entire work and study time on household errands such as cleaning, cooking and care. However, the recent research suggests a potential increase in the prospect of leisure time, due to the fact that there would be less to do manually around the house.

To this day, the burden of undertaking household labour has fallen disproportionately on women. Ekaterina Hertog, an associate professor in AI and Society at the University of Oxford argues that this has negatively affected women’s earning ability, savings and pensions.

Evidence illustrates that in the UK, the majority of working age men do around half as much of domestic (unpaid) housework as the majority of working age women. In Japan, using the same parameters, the men do just 18%, which is less than a fifth.

Having increased automation and more “smart homes” would therefore also free up working time for women, and could lead to strides which help achieve gender equality. However, technology is still relatively expensive and more extensive and diverse research is needed to be undertaken.

The complete research is published in the journal PLOS ONE. This research project was funded by ESRC in the UK and JST-RISTEX in Japan.

Just Stop Oil protestors stage banner drop at Torpids

Stephanie Nourse
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Just Stop Oil protestors stage banner drop at Torpids

Student supporters of Just Stop Oil staged a banner drop on the final day of the Torpids boat race to draw attention to the escalating global energy crisis and climate emergency.

At approximately 1pm on Saturday 25th February, a large orange banner with the Just Stop Oil logo was hung from a bridge next to the racecourse. The student protestors are demanding that the government commit to ending all new oil and gas projects in the UK, and are also keen for the University and its members to join the movement in peaceful civil resilience. 

Daniel, a biochemistry student at New College who was involved in the banner drop, told Cherwell: “We were hoping to announce our presence to the student community and encourage students to join our group. We find the apathy of many students shocking and saddening.”

When asked whether there would be further Just Stop Oil action in Oxford, Daniel told Cherwell: “There will be plenty of protests and events over the next few months. The banner may be reappearing around Oxford over the next few weeks and a slow march is coming in the next month, but the date is unconfirmed right now.”

First seen in London last year, the group’s ‘slow march’ tactic is a form of protest designed to block roads and bring traffic to a standstill.

Ollie, a biology student at Keble who was also present at the protest action, expressed his frustration with the UK government’s approach to tackling environmental issues: “Inaction on the climate crisis threatens everything we know and love. If the government continues to license new oil projects, we will not have a future in which to enjoy sporting events such as Torpids. I am taking direct action because it’s the only way to force the change that we need in the short timescale that we need it.”

Extinction Rebellion Oxford also displayed their support of the banner drop. April Jones, Extinction Rebellion’s Oxford coordinator, told Cherwell: “There are a range of views on Just Stop Oil within Extinction Rebellion Oxford, but broadly, we have respect and gratitude for their efforts to halt the climate and ecological destruction that threatens us all. Every action that brings attention to the crisis, such as the banner drop on Saturday, is appreciated.”

The Just Stop Oil campaign was launched in February 2022 and has waged non-violent civil resistance through tactics such as strikes, boycotts, mass protests and disruption across the country. Among the most notable acts of resistance by the group are incidents of vandalism, such as the throwing of tomato soup at one of Vincent van Gogh’s Sunflowers paintings in London’s National Gallery, and the spray-painting of the exterior of the Aston Martin showroom on Park Lane.

Protestors have also attempted to disrupt football matches, the BAFTA awards and the British Grand Prix. According to the group, more than 2,000 arrests have been made during their protests over the past year.

Determined that the national reliance on fossil fuels needs to end in the next eight years, Just Stop Oil believes that energy demand needs to be cut by insulating Britain and providing free public transport across the country, enabling a switch from fossil fuels to clean energy. This year alone, the government plans to issue at least 100 new oil and gas licenses across the country, and UK subsidies for the production and consumption of fossil fuels have recently amounted to £12 billion a year.

Just Stop Oil will host a talk in Oxford on Thursday 9th March titled ‘Our Responsibilities at This Time’. The talk will focus on “civil resistance to climate chaos in 2023” and will be held at the St Aldates Tavern from 7pm to 9pm.

The Death and Resurrection of Z-Library

Deborah Ogunnoiki
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The Death and Resurrection of Z-Library

Deborah Ogunnoiki explores the fall of ‘Z-Library’, the infamous online library.

It’s 30°C, a rare blazing summer in England. You’re stuck indoors for fear of heatstroke and to escape from the geezers with their beer bellies and sun-burnt tomato skin. You’ve read all the books on your shelf, and even if you haven’t, you’re in no mood to read your ‘to-read’ list. You’re looking for spontaneity. A book that will answer your needs right now. So as you scroll on TikTok you find the perfect book. Something you can read as you laze around the house slurping up your melted Asda-brand ice lollies. But is it worth spending £4.99? You’re broke. You’ve spent all your money at the beginning of summer and you know if you ask your mum for book money she’s going to kiss her teeth. But how could you be denied such an adventure? Where do you turn to? Z-Library.

That was then. A seemingly past life where you could get any book from the online library and delve into any adventure without the financial barriers holding you back. Until November 2022 when the online library was shut down by authorities. The two Russian nationals connected to the domain were arrested in Argentina on charges of money laundering and fraud. It is alleged that it was a Colleen Hoover fan that caused this mess, but I would argue that Colleen Hoover and her Vacuums (I made up this name for her annoying fanbase) are the sources of all problems in the book community. Nonetheless, this article is not about them, it’s about us, and what online libraries mean to us.

Z-Library was mainly used in emerging countries where access to international literature is restricted due to trade, legal, or economic barriers. It was also used heavily by academics who praised the service for its use in opening up access to academic spaces. It’s true that I myself used Z-Library to download a copy of ‘Four Views on Free Will’ by  Robert Kane, John Martin Fischer, and Derk Pereboom. The book was required reading for Theory of Politics and yet I couldn’t find it on SOLO. The other option was to buy the book, but for £30 on Amazon, I’d rather fail philosophy. 

Z-Library brought back the spirit of the library. To share a book then was to send a link. Suddenly your friend, who lived on the other side of the country, or even the other side of the world, no longer had to wait 2-5 business days for you to post your favourite book. Now all that was needed was a copy and paste. 

One might circle back and point fingers at us online library users. You might accuse us of pirating literature or stealing from authors. And perhaps you’re right, maybe it is stealing. Though some authors themselves don’t think so. Alison Rumfitt, a trans author known for her book of poetry, T(y)ranny, voiced her support for the use of Z-Library in an article for Dazed. In regard to the accusation of stealing, in the article, she writes: “Mostly they’re people trying to get books they want to read for no money. But even then, I’m not sure I can call that stealing – the hunger to read is something to be encouraged, something which, in my opinion, is a societal good; even as publishing grows ever more overtly capitalist and monopolised, reading still thrives, and piracy allows it to take place despite borders and Digital Rights Management. Not everyone has access to a library, and not every library in the world is well-stocked.”

Z-Library opened up doors for people who were barred by too many locked doors. For me, being able to access Z-Library meant that I could access the plethora of books that weren’t available in my tiny village library in the Essex countryside. Am I, then, a thief? Perhaps. But to call me a thief for the crime of stealing literature, stealing words and phrases from the minds of others, is poetic at best, uninspiring at worst. 

I have not been able to find Z-Library anymore. According to Wikipedia, it has been diminished to the deepest, darkest part of the internet: the dark web. That doesn’t mean we weren’t inspired by the Z-Library message. There are dozens of Z-Library alternatives out there on the web if you know where to look. And trust me, from one bookworm to another, we always know where to look. 

In Conversation with “Women Behind the Wheel”

Kevin Lee
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In Conversation with “Women Behind the Wheel”

CW: sexism, misogyny, mentions of rape

In this modern day and age, it is easy to be optimistic about the future of gender equality; the Western world especially has made great strides in promoting women’s rights and interests. However, the fight for female empowerment is far from over. The structures of Western society are still tainted with the unwashed stains of patriarchal oppression, while other countries display proudly repressive regimes.

The creators of Women Behind The Wheel—Cat and Hannah—looked to explore stories of women in Central Asia, taking a 3,000km drive along the Panir Highway across the southern Uzbek deserts, through Tajikistan’s Pamir mountain range, and into Kyrgyzstan capital of Bishkek. Through their grueling journey, Cat and Hannah were able to converse with women from all walks of life, from women’s rights activists against domestic abuse to a 78-year-old gynecologist who lived under the Soviet regime. The editors of Cherwell had the opportunity to interview the creators of the documentary, which screens at the Ultimate Picture Palace, Oxford on Sunday, 5th of March at 3 PM.

Firstly, what motivated you to focus on the lives of women from Central Asia in this documentary? 

Cat: Initially, Hannah and I were really curious about wanting to visit [Central Asia]; it’s not a region that many people travel to, and it’s not talked about often or in the press that much. When we started to do research into the region, we came across stories on Instagram and social media about women who were doing quite cool things to empower themselves. We also read about how this region used to be a part of the Soviet Union—how women had relatively good rights for that time period—but with the collapse of the Soviet Union, a lot of these countries have reclaimed quite a firm grip on Islam, which also greatly impacts the role of women. So we felt this was quite interesting: the dynamics of these two forces of Islam and the Soviet Union. 

That’s where the idea was born. Then we discovered this road—the Panir highway—that goes across the region, so we wanted to combine the idea of us as two women traveling along this road, getting behind the wheel and getting behind the camera, while using our journey as a vehicle or an opportunity to meet local women and gain access to their stories. 

So the motivation definitely evolved over time. 

It’s clear that Social Media plays a large role in your documentary—both in your motivation and how it allowed people to reach out to you with their stories. While many other documentary makers are also adopting social media to communicate with people in repressive regimes, do you personally feel that social media provided an adequate channel for individuals to disseminate their stories in these regions? 

Hannah: Social media played a huge role; we expected most young women to have Instagram. So while social media didn’t certainly open access to older women, younger women we would meet on the road, would end up connecting us to older people. And therefore, Instagram ended up being one of the best avenues for finding people in the initial stages of our journey. 

Cat: But that being said, there were very rural pockets, especially in Tajisktan in the Wakan Corridor, where a lot of the women in the communities we came across we didn’t find on social media. They were actually just women we picked up hitchhiking on the side of the road, and it was very organic how we found these women. There was a lot more disconnect with the internet in these regions, so I would say it was fifty-fifty. We mostly had great success, and I think maybe we assumed wrongly that social media wouldn’t be so important, but it was hugely important to meet people, and allowing us to stay in touch with a lot of the women even now.  

There was certainly a wide range of people and stories present in the documentary; were there any particular shocking or unexpected stories for you? 

Hannah: We kind of read about before, but when we were actually having conversations we were shocked still about stories of bride kidnapping. We had a conversation with a young woman who features in the film, but she talks about [kidnapping] in such a matter-of-fact way as if this is a cultural practice that has been going on for so long it’s not surprising to her, that her sister had been bride kidnapped and forced to marry, essentially, her rapist. The whole story was pretty shocking, talking to someone so young, who was nineteen at time as if that’s just part of life. 

How comfortable were women opening up their stories to you?

Hannah: We were quite taken aback. A lot of women really did open up. We were two 22-year-old women with a small camera and no crew, and that meant that a lot of the conversations that we had ended up feeling quite intimate and frank. We were quite overwhelmed at how brave people were talking about quite difficult experiences. That being said, there were definitely instances when we were told,  “This isn’t a zoo. Put the camera down”, and I think that was quite an important learning curve for us—to not make any assumptions and to not put any pressure to share quite traumatizing stories. 

Cat: There was real importance to build trust before we started filming, or before we started asking questions. I think when we built that trust people really opened up to us. A lot of people were like “why are you asking these questions? Nobody asked these questions before”, and really enjoyed answering our questions. 

Thank you so much for your time! Finally, what is the main message that you would want Oxford students to take away from the documentary? 

Cat: We went on the trip expecting a grandiose, big story—big picture feminism—but when we reflected on the footage and the interview it was really women doing potentially small things in their local communities that moved us. When we take a step back and examine the little actions these women are taking, it’s clear that while they might be small in isolation, they can form an almost a mini-revolution when we put them together. These small changes are what are causing a gradual empowerment of women in the region. These small gestures mean a lot. 

Also, we found that these stories resonate with women all around the world. There is solidarity—a connection between women, between people irrespective of culture and language. There’s always more common ground to be found rather than differences. Especially in the world and the UK, where there is a lot of xenophobia and anti-foreigner sentiment, we hope that this is a nice opportunity for the audience to open their eyes and look at other cultures and look at what we have in common with others.

Women Behind The Wheel will be showing on Sunday 5th March at 3pm – Ultimate Picture Palace, Oxford, followed by a Q&A.

Fake professor dismissed from Oxford apologises for misogyny at fraudulent book launch

Cherwell News and Investigations Section Editors
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Fake professor dismissed from Oxford apologises for misogyny at fraudulent book launch

CW: racism, misogyny

Onyeka Nwelue, a Nigerian author, has had his Academic Visitor status at Oxford University terminated after misusing University logos and premises for commercial purposes, an investigation by Cherwell has found. Nwelue is also facing complaints of misogyny towards students and the spread of racist, classist, and sexist content online.

The Fake Professor

Nwelue, a self-published author and filmmaker, held Academic Visitor status at Oxford’s African Studies Centre from Michaelmas 2021, until its removal in early February this year. During this time, he represented himself as a professor at both the University of Oxford and the University of Cambridge, but has been unable to provide Cherwell with evidence of an academic PhD. He was not credited as a professor by either institution in the course of his associations with them, and Oxford confirmed to Cherwell that he has never been a professor at the university. This week, the University of Cambridge also told Cherwell that Nwelue’s connections with Cambridge have been terminated following investigations into his conduct.

On 31st January 2023, Nwelue’s Instagram bio described him as “Prof of African Studies & Academic Visitor at University of Oxford & University of Cambridge” and on 1st February 2023, his Twitter bio said “Professor + Academic Visitor”, tagging the accounts of both universities. He also tweeted: “I am a university professor, attached to two of the top best universities in the world”, along with many other tweets where he referred to himself as a professor.

However, when asked to clarify his academic affiliations in light of this, Nwelue told Cherwell: “I have never ever posed as a professor at Oxford and Cambridge. My card says I am an Academic Visitor and that is exactly what I tell people. The accusation that I say I am a professor at Oxford is baseless.” 

At Oxford, Academic Visitorship is set up on terms agreed between an individual and the University. The University confirmed that it does not employ Academic Visitors – they do not get paid, and are not expected to undertake duties for the University.

In his social media bios, Nwelue has also described himself as a Research Associate at the School of Oriental and African Studies (SOAS) in London, but SOAS confirmed to Cherwell that he is not listed as one of its Research Associates.

When asked by Cherwell to provide further details of his academic certifications, Nwelue said: “I have the equivalent of Master’s as a filmmaker. I also have an Honorary Doctorate. I have been Visiting / Research Fellow in other universities. Prior to Oxford, I made award-winning films and published a lot of books. [sic]”

At least twenty-two books have been published in Onyeka Nwelue’s name. Twenty of his books were either self-published or published by companies owned by Nwelue. Nine of these have been published since 2021, and of the seventeen listed on Amazon, thirteen have no consumer reviews.

The Tweets

During his time as an Academic Visitor at Oxford, Nwelue posted content on Twitter which was racist, classist, and misogynistic. These include Tweets where he stated: “being raised in a poor family chains you mentally to be stupid.”; “no poor person has any value”; “African women look like masquerades when they wear wigs and make up”; “Arabs are known to relish slavery and servitude”;  China “is poor, filthy (smells a lot!) and overpopulated”;  “Eastern Europeans…only produce pick-pockets and scammers”.

When asked about these tweets, Nwelue told Cherwell: “It was a social experiment to get feedback for a book I was working on. Apologies that they came off wrongly.” He denied being racist, misogynist, or classist. 

The University of Oxford has not confirmed whether any background checks were carried out on Nwelue before he gained status as an Academic Visitor.

The James Currey Society

The event leading to the termination of Nwelue’s association with Oxford University was a book launch, which he hosted for the Nigerian blogger and author David Hundeyin in affiliation with the James Currey Society. 

The James Currey Society was founded by Nwelue and incorporated as a for-profit company in May 2022, under the name of James Currey International. It is named after the South African book publisher James Currey and has sponsored African authors to attend both Oxford and Cambridge, through awards of the James Currey Fellowship. Nwelue told Cherwell that “[the Society] was established in partnership with the University of Oxford”. However, Oxford clarified: “The James Currey Fellowships are not awarded, funded, or run by the University”. 

The current holder of the James Currey Fellowship at Oxford is Mitterand Okorie, who in 2022 authored a hagiographic account of Nwelue’s life titled, Onyeka Nwelue: A Troubled Life, published by Nwelue’s own publishing house Abibiman Publishers.

Meanwhile, the 2023 holder of the James Currey Fellowship at Cambridge was David Hundeyin, who maintains a controversial social media presence and has been a significant supporter of populist politician Peter Obi in this week’s Nigerian elections.

Cambridge told Cherwell: “Onyeka Nwelue and David Hundeyin are no longer associated with the University of Cambridge. Their connections were terminated following an investigation into their conduct”. They added: “The James Currey Fellowship is not administered, awarded, or funded by the University of Cambridge.”

The book launch

On 31st January, Nwelue and Hundeyin ran a book launch together on Oxford University premises for Hundeyin’s most recent book, also published with Abibiman Publishers. This was marketed through the James Currey Society and tickets were priced at £20 for Oxford students. One attendee told Cherwell: “I signed up to attend the event, and was surprised I had to pay £20 to attend. Events run by the African Studies Centre are usually free as they are catering towards students.” In addition to charging £20 for entry, copies of Hundeyin’s book were also on sale for a further £20 at the event.

The book launch was originally advertised as taking place in the African Studies Centre, but the location was changed at short notice to a room in the Faculty of Modern and Medieval Languages at Wellington Square. 

Attendees of the event told Cherwell that misogynistic remarks made by its organisers and other audience members made them feel “incredibly uncomfortable”. One student said: “Explicitly sexist comments were made throughout by the speaker and audience which were not challenged and were in fact encouraged. … Comments made suggested that women slept their way to the top, which oppressed men, and that marrying a woman held you back in life”.

Another student added: “A key point of concern occurred when a question was asked by an attendee to Hundeyin concerning the issue of sexism and sexual harassment that African female journalists endure. Hundeyin replied with the implication that women who were of a fair complexion, tall and had long legs would not face hurdles to their career advancement in journalism.”

A third student said: “Nwelue laughed and agreed with [an audience member’s] comment about women being controlling. This made me feel angry and upset.”

When asked about the event, Nwelue told Cherwell: “I am very sorry if the students felt uncomfortable. About sexism and misogyny, I will never condone that. I am apologetic if that happened. Really sorry.”

In the marketing of the event, Nwelue used the Oxford University logo, the African Studies Centre logo and the MML logo without permission. Oxford told Cherwell: “The [Modern Languages] Faculty logo was used on the event publicity without authorisation. Once it was brought to the Faculty’s attention, the Faculty contacted the organiser to request removal of the Faculty’s logo from the publicity.”

What next?

On 20th February, Nwelue stepped down as Director of the James Currey Society, announcing his replacement as the Zimbabwean actor Charmaine Mujeri. He confirmed that he resigned following the termination of his Academic Visitorship, “so that [his] personal affiliation with the University of Oxford can end there”. It is unclear if the James Currey Fellowships at Oxford and Cambridge will continue or be awarded again in future.

Nwelue has also written a letter to Oxford’s Vice Chancellor Professor Irene Tracy, seen by Cherwell, in which he unsuccessfully appealed the termination of his Academic Visitorship.

Yesterday, Nwelue locked his Twitter account after tweeting: “I am leaving social media this evening. It will be for long. [sic]. I might delete all my accounts as well. Bless you all!”

Investigations into Nwelue’s conduct during his time at Oxford University are ongoing. 

Of Libraries, With Love

Yii-Jen Deng
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Of Libraries, With Love

Libraries: at university, they suggest study spaces and endless repositories of knowledge. They are “gates to the future“, in Neil Gaiman’s words, though lately, they have also been warm havens for visitors seeking shelter.  

What with dissertation season, I have retreated to these familiar rooms more often than ever. My favourites in Oxford are complete opposites. There is Duke Humpfrey’s in the Bodleian, which preserves its atmosphere of studied mystery even though it famously doubled as the Hogwarts library in the Harry Potter films. The other is the Oxfordshire County Library near Westgate – modern, glass-fronted, recklessly reaching outwards.  

A term and a little more left, then perhaps I shall never see them again. It’s funny how in this city of libraries, it does not feel like enough. This is not about the libraries of Oxford, but the trail that leads to them.  

The first library I lived in and loved looked huge and never-ending then, and so it remains, for I have not gone back. Torridon Library in Lewisham with its red brick, high ceilings, and stained-glass windows gave one the confused sense of a church. When I was small, I assumed all libraries were like that – cosy yet imposing, treasured but free. There were fancy columns by its smart wooden door and a dome giving way to the sky. Gaston Bachelard, that old philosophising romantic, writes of the ‘compact centre of daydreams’ in the childhood home, which informs one’s later experiences of space; I think there is something similar to be said for the first library, in its harbouring of dreams. 

Libraries provoke you to reach further. Bachelard was right about the details that “have engraved in our memories a slight difference of level” in the childhood home, where a room “was not only a door, but a door plus three steps”. In the first library too, memories of spaces and paths are heightened – though there was but a single step into my childhood library, though a vivid one. It was the library, you raced to get there first, you leapt up and waited, knowing you were there. Inside, the proud triumph of having read all the Rainbow Fairy books on that second shelf in all their sparkling colours, the dull dismay when a friend passes airily by and says, ‘Oh yes, I read those ages ago’. For words are tricky, slippery things, and I took longer then – having reading sessions while others were at Assembly, and language support classes where one learnt perplexing words like ‘tadpole’. 

You learn greed at the library. They aid and abet you, those librarians: Take what you want, they say, with genial smiles that know very well what they are doing. 

To make you love books – they take up the goal with relish. “This, a brilliant book, and have you read…?” Summer reading challenges where, for whatever reason, you end up with a pack of monsters: Top Trumps cards with round teeth and too many eyes. Racing through Tintin comics and Jacqueline Wilson paperbacks, while Dad disappears into one of those clunky computers at the side. Freedom of obsession is allowed and to be cherished.  

School libraries were in on the plot, and I remember the library in junior school, which you were allowed to enter with a laminated orange pass – like a Golden Ticket but mostly for skiving off class under the guise of virtuous literary quests. You can’t help discovering things even so, and near the door is the exciting ‘New Books’ shelf where once, rashly taking up the first book I saw, its cover deep red with a green jewel, I found Eva Ibbotson. 

Birds sometimes flew into my secondary school library – a pair of doves, beady-eyed and perpetually confused, hopping along the books. They were not meant to be there, of course. “Should shoot them”, a teacher grumbled once, but the librarian always managed to coax them out. A storybook librarian, cosy and kindly with an endless supply of chocolate biscuits which she called, with a touch of delicious eeriness, ‘brain food’. The shelves were placed so the light fell unevenly between them. I like libraries where one’s allowed to hide. 

Mrs Dalloway was there, concealed in a worn blue book without its cover. Woolf pointed slyly to Dostoevsky on a high shelf, a line of Jane Austen, those heavy red volumes of War and Peace peering challengingly down at you from all the way up there. Read. Memorising page numbers so you could finish the book next time, before the bell.  

The local library at home, after we moved, is incredibly tiny but still manages to have an endless supply of Agatha Christie novels. The Central Library in town feels labyrinthine, a huge box of mystery sweets, daring you to try them all.  

You learn greed and stay hungry. 

Here we are in a city of libraries, and it is never enough. But I owe so much to those old libraries; I would not have made it to Oxford without them. 

Meet the candidates! Cherwell Town Hall HT23

Cherwell News
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Meet the candidates! Cherwell Town Hall HT23

Each term, the end of 7th week heralds Oxford Union elections. Cherwell sat down with this term’s candidates for the presidency to learn more about them, their reasons for running, and visions for the Union. 

Disha Hegde, St John’s College, 2nd year History

What’s your main motivation to run for President of the Oxford Union?

I got my Union membership after watching its debate videos on YouTube and thought it would be a great opportunity to meet inspirational people. I decided not to get involved for the first few weeks at Oxford because the Union reputation is not great. But, I gave it a go and it’s given me access to amazing opportunities: I’ve debated alongside Stephen Fry, met Anthony Joshua, and questioned Matt Hancock. So I saw the problems in the Union but I also saw the things the Union does really well. Now I want to improve outreach and inclusion, the quality of our events (we rarely hold controversial speakers to account adequately), and our financial stability. As well, I’m the only candidate who serves as an officer and I’m from a “non-traditional” background.

What commitments and experience do you have outside the Union and how do you think that would impact your role as President?

I served as Co-Chair of the Women*’s Campaign, where I’ve lobbied colleges to improve their policies regarding women and gender minorities. This has given me a really good insight into the institutional problems women* face. The same problems exist in the Union; we do need policy change. I’m also a trustee of the mental health charity, The Mix which has helped understand how to tackle mental health from an institutional perspective.

Every president has a manifesto, but lots of voters won’t read them. If you could highlight two manifesto points that you think every Oxford student should hear, what would they be?

I want to improve the experience of the Union for the ordinary member. I’ve done that partly through introducing Member Question submissions and changing the way the interview process works. I want to do it further by introducing suggestions, open surgeries so the people who decide how the Union works aren’t restricted to the friends of the committee.

I also want to make the Union less of an exclusive society and integrate it more with Oxford life. So I want to work with more societies and run ‘how to get involved’ workshops to help reach under-represented groups. I want to help more people to get access to the incredible opportunities I’ve had access to. 

If you could invite any three speakers to the Union, who would they be?

  • Rihanna
  • Alexandria Ocasio-Cortez
  • Emma Raducanu

Juan Dávila, St John’s College, 4th year Engineering

What’s your main motivation to run for President of the Oxford Union?

I like fixing things and I think the Union is broken. I’m running under #Come, funny as it is – and I do think it’s hilarious. The Union used to be more at the centre of Oxford life, so we should continue to drive membership to make it the case again.

Every president has a manifesto, but lots of voters won’t read them. If you could highlight one manifesto point that you think every Oxford student should hear, what would they be?

I have entered the Union building more than any other candidate. I like that pledge because I had to prove it; it shows something. I’ve got 905 more proven instances of entering the Union than any other candidate. It demonstrates how much I want this. 

What commitments and experience do you have outside the Union and how do you think that would impact your role as President?

I’ve been alive more than any other candidate so, in some sense, I’ve got more experience than any of them. I’ve been a member longer than anyone else as well. I’ve seen good and bad presidents; I’ve seen it all.

I do have one claim in my manifesto which literally says “INSERT CLAIM HERE”. Hilarious, but what does it mean? It means that I want to listen. I won’t be a complete candidate until you tell me what you guys want. It is a commitment to have an open-door policy. My manifesto is built around as many people as possible.

If you could invite any three speakers to the Union, who would they be?

  • The Pope
  • Lee Mack (he is the fastest brain I’ve ever seen)
  • The MythBusters (they’re the reason I’m an engineer)

Chloe Glynn, St Anne’s College, final year Geography

What’s your main motivation to run for President of the Oxford Union?

I got involved in the Union after Hilary in my first year, after a term went by when I wasn’t going to get involved at all because the society didn’t have a good reputation. But I would rather change the Union from the inside, I’d rather see it be more representative of people, and uphold free speech in a way where we have a right to free speech and others the right to be offended. The best way to do that now would be to have better relationships with people outside and be able to collaborate with people and other societies. I got involved in Committee because I wanted to find a way to uphold free speech where everyone could feel comfortable with it. And play my own part in making free speech for everyone. Not just the one side.

Every president has a manifesto, but lots of voters won’t read them. If you could highlight two manifesto points that you think every Oxford student should hear, what would they be?

Anyone can write a manifesto. I think the difference between me and the other candidate is the fact that I’ve run the daily operations. My slate, it’s not a slate of hacks, which we have seen time and time again, it’s myself, who has run the operations and knows the events inside and out, and the staff and committee management. This is a slate of competence, and that experience is useful. I hope there’s an appeal in trying to find a different way of running the union with members first, because you’re voting for somebody who has been around the members and had those one-on-one conversations with them everyday. 

Also, I’m really excited to pledge more alumni networking events and mentorship, to make a formal mentor program to aid social mobility and the perks of being a members club. 

What commitments and experience do you have outside the Union and how do you think that would impact your role as President?

I think that I have had certain personal experiences and my background is quite interesting. My Mum is Indian, but I’m very white presenting. I came out as gay and it was a sort of thing where overnight you’re suddenly viewed differently, and you get different comments. Debates should go ahread, we should have those conversations, but in a way that’s respectful to everyone. My background was not a background where you would think she’s going to come out and get into Oxford. But, I don’t want that to be the reason that people vote for me. It’s about competence. I think those experiences lend themselves to an immense desire to want to do more for the members, to do more for people from non-traditional backgrounds. I think when you have more members from diverse backgrounds that only helps free speech, because it’s free speech for everyone.

If you could invite any three speakers to the Union, who would they be?

  • Boris Johnson
  • Taylor Swift
  • The English Lionesses
  • (Maybe also Jean Whitehorse, a Native American anti-sterilisation activist if I can slip in a 4th!)

 Voting will take place in the Union on Friday, March 3rd.

‘Korean Lunch Tray’ and superstar chefs come to Oxford

Oliver Hall
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‘Korean Lunch Tray’ and superstar chefs come to Oxford

South Korean TV channel JTBC made the trip to Oxford earlier this month to film their new show, ‘Korean Lunch Tray’. Accompanied by star chef Lee Yeon Bok, comedians, actresses, and K-pop stars from the group Monsta X, I got a chance to sit down with the stars and chat all things food. And that was before they cooked for hundreds at Lady Margaret Hall the next day…

The programme has a fascinating concept. Celebrity chef Lee Yeon Bok, Monsta X singer Joo Heon, supermodel and comedian Hong Jin Kyeong, comic duo Nam Chang Hee and Heo Kyeong Hwan, and YouTuber Peter Bint form the cast. Together, they travel around the world, reproducing Korean food and school lunches (served in the trays pictured) for different people around the world. So, after Wolves FC the day before, the 75-strong crew took over Lady Margaret Hall for three days of planning, interviews, filming, and an Asian lunch extravaganza!

On the first day I was invited to appear on the programme, conducting an interview with the full cast of stars on a huge variety of topics from fish and chips to how Korean food is viewed in the UK. Over the course of 45 minutes, I was struck by the genuine fascination and interest in British food and culture. All of the team are big foodies and they were desperate to try classic British dishes such as fish and chips. 

Image courtesy of Sungwon Han

I wasn’t surprised to hear about the perception of British food in South Korea. Descriptions included ‘bland, flavourless, and boring’, and it was hard to disagree! However, I was also able to provide an insight to them into the ‘new British cuisine’ that is currently flourishing across the country. The plethora of farm-to-table sites and the embracing of different cultural influences was something alien and fascinating to them.

In terms of Korean food in the UK, they had been shocked by how receptive people had been. They found students especially were more than keen to sample Korean specialities and the queue at lunch the next day certainly backed that up! In London and Wolverhampton they noted that people were more reluctant. We also got into the nuanced differences between Asian cuisines and how pan-Asian high street chains such as Wagamma’s and Banana Tree have led to the British market often becoming unaware of just how much dishes vary from country to country.

The next day, LMH dining hall played host to the main event — lunch. The crew got in the kitchen and managed to provide a remarkable selection of dishes for the hundreds of students and staff from across the university. On the menu were many of the Korean classics. Korean lettuce wraps and sticky rice formed the base and the perilla leaves and radish alongside the lettuce made them stand out as genuinely unique. The staple of beef bulgogi came with them and tables had guides about how to wrap and eat for the most authentic experience!

The lunch tray

Elsewhere, the handmade kimchi came with cucumber and added a whole different level of flavour and crunch to the normal cabbage. Aside from that was the Korean take on fish and chips — suffice to say I prefer it to the English! Lightly dusted in breadcrumbs the flavour of the fish was allowed to flourish. Tornado potatoes were of course not left out — the new festival food staple crisp and dusted in onion salt, simply perfect.

We did of course reciprocate the favour with a collection of English foods and treats of our own. An obligatory Collin the Caterpillar and a bag of Percy Pigs were far too sweet for the Korean taste buds though! Hot cross buns were slightly better received but the blue cows and goat cheeses from the Oxford Cheese Co. went too far the other way with salt proving a problem.

In all, the few days were a truly surreal experience. It was an absolute pleasure to get so much time interviewing such big stars and I was genuinely impressed by their interest and fascination with food culture in the UK. No doubt the programme will go down well, but in the meantime, the crowd at Lady Margaret Hall certainly enjoyed the show!

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