Monday 23rd March 2026

Culture

‘Comedy is very deceptive’: Seán Carey on ‘Operation Mincemeat’

As a history student, you occasionally come across stories so strange they feel almost fictional. Operation Mincemeat is one of them.
Culture Hattie Simpson -

How 2025’s biggest films made their mark through music

The recent Oscar nominations have allowed us to reflect on how fundamental musical scores are to film, and the highlights of last year’s film soundtracks.
Culture Ruaridh McEwen -

Translating Oxford into Urdu

It’s a different emotion whenever I read the Urdu language. I’m not a native speaker, nor have I actively pursued learning the language, but as someone who finds solace in reading shayari (Urdu poetry), I wanted to follow it even in Oxford.
Books Manya Singh -

Stitching the world together: GFC’s London Fashion Week show

A few weeks ago we, the Cherwell fashion editors, were lucky enough to be extended an invite by the Global Fashion Collective to their London Fashion Week show.
Culture Cherwell Fashion -
Latest

Interview: Calvin Klein

Sonya Ribner sits down with the celebrated designer and businessman. Photography © Alexandra Sharp | alixspics.com

Me Too and Music

TW: Sexual assault, r*pe When I was first asked to be involved with the discussion of Me Too and music, my first thought was that...

Review: The Crucible

Francesca German feels the power of Arthur Miller's classic 'The Crucible' at the Pilch.

Review: The Lovely Bones

This adaptation of Alice Sebold's classic novel strikes an emotional chord at Oxford Playhouse.

Review: F*@king Hell

Political satire makes make Brexit the most interesting it has been for years in Tasha Saunders’s biting new comedy.

Review: Radiant Vermin

Something Punchy Productions' take on Philip Ridley's darkly comic satire intrigues audiences at the BT Studio.

There’s No Place Like Home

There was a time when it was essential, if you were an Oxford man, to own an oxford cloth button down shirt and leather brogues....

Review: I Was Meant to Love – Leon C

Why all new music lovers should be listening to Leon C

Review: Spector at The Bullingdon

9pm, The Bullingdon, a Tuesday evening. Those three ingredients are pretty much guaranteed either to produce an awful or a brilliant night. Thankfully for...

Review: MAGDALENE – FKA Twigs

A delve into the concept of an unmissable new album

Review: The Treasures of Recycled Sculpture

At a first glance, Reinvention ‘The Treasures of Recycled Sculpture’ was a breath of fresh air from the chaos of fast-fashion, pollution and upheaval. It demonstrated the possibilities of recycling and sustainability in the production of works of art.

Review: Uncomfortable Oxford Tour

The tour began at the Carfax tower with tales of the town-gown divide in the early days of Oxford University. A third year undergraduate led the group of students and tourists around the town centre.

Review: Hamlet

Cosmic Arts' present a deeply human production of 'Hamlet' at the Keble O'Reilly.

Dystopia in and amongst trash: Beckett’s Endgame

Beckett symbolically employs trash to reflect physical and philosophical reality of a post-apocalyptic world.

Review: Giambattista Valli x H&M

A metaphoric and literal representation of high-low fashion

Webtrash

We live in a society that values things that are quick to buy, quick to use, and quick to dispose of.

One man’s trash

The mere mention of ‘high’ and ‘low’ art can make us feel uneasy. Such distinctions are often branded as pretentious and as the work of the elitist in their desperate attempts to preserve tradition and exclude diversity within the literary canon.

Preview: The Crucible

Miller's classic sees a new lease of life in Rose on a Rail Theatre Company's new adaptation.

Review: Talking Maps

The first wall of this Weston Library exhibition focuses on Oxford, offering the visitor visions of Oxfords which could have been and those which remain in the past.

In Vogue

Vogueing is having a moment. Again. The last time saw Madonna’s 1990 hit “Vogue” soar to the top of the charts in America and was supposed to herald a period of greater exposure for the New York ballroom community. It didn’t.
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