Thursday 14th May 2026
Blog Page 2

Hospitable cultures exist because women exist

I dedicate this piece to my maternal grandmother, to her tired eyes and overworked hands.

When guests and families sit, talk, and laugh, one person is always excluded. The same person who wakes up earlier and sleeps later than everyone else. As someone who comes from a collectivist culture, cooking, breaking bread, raising each other’s children, and caring for the elderly are embedded in our way of life. In our individualistic Western society, this is rare, hence I’d distinguish this part of my identity by how generous and welcoming my hospitable Eastern culture is. But I’ve come to realise that all this hospitality does not come from culture. It comes primarily from women. In most households, from one woman. 

Let’s think about every hospitable home that we’ve eaten and slept in, including our own. Who cooked for us? Who cleaned the house before we arrived? Who made sure that we were served and had everything we needed ? Who laid the table? And most disappointing of all, who was given the last seat on that table? 

I’m ashamed to say that, like many others, after benefiting from the unpaid labour of the women in my household, I’d instead credit and praise my culture for our family’s hospitality. 

However, it is women who are the reason why our hospitable cultures have survived. They are the reason why culture, at all, has survived. National dishes and homemade remedies can be traced back to women’s hands. Cultural attire with distinct embroidery and symbolism can be traced back to women’s hands. Songs sung to children, fables, poetry and folklore surviving generations, can be traced back to women narrating and teaching them to their offspring. 

But it is much more than this; we don’t just owe the survival of our culture to women, but our very own survival. Every homemade meal, tender embrace, wiped tear, wrapped gift, handwritten card, wise word of advice, and lullaby has raised and nourished us. With regards to the hospitality that defines our collectivist cultures, it comes with a huge sacrifice of time, energy, effort, and labour, which is almost always paid by our mothers, grand and great. They continue to make this sacrifice unpaid, unappreciated, and unnoticed. 

If roles were reversed, and a man were to prepare the home, welcome, cook for, and serve guests, we all know he’d be praised, called progressive, exceptional. His wife would be called “lucky”. So, when women do this daily, how often do you even say thank you? How often do they receive thanks from every single person who sat at the table she laid and ate the meal she prepared?

University was the first time I moved away from home. It was my mother with whom I was on the phone throughout the term. It was my mother who would text to see if I had eaten when I was away. It was my grandmother who always had a meal ready whenever I’d visit home. It was my mother who would drive me to and from Oxford, again and again, even though I could have taken the train. Before my year abroad, it was my grandmother who taught me how to cook (a proper) meal, knowing I could no longer rely on college dinners. When I came back from my year abroad, it was my aunty, who, despite having recently given birth, planned a party and “Welcome Home” cake.

While I could easily, and would love to, write an article about men’s role in sustaining the family, and the importance of the role fathers play in our wellbeing and development as adults, I write this first. Because while the survival of a family or society depends on both men and women working together, the part that women play is rarely acknowledged or appreciated. 

Across time and place, including now, “providing” is considered a masculine role, but, on the contrary, it is not a single role nor one carried out by a single person. It has always been shared, with women providing a great deal by managing the emotional and logistical labour of the household. It is their advice and comfort that provides emotional support. It is their meals that have provided physical support and nourishment. It is their commutes to and from their children’s school, clubs, and activities that have provided educational support, and facilitated the lifelong friendships that we have formed in these spaces. 

Still, women continue to provide for and look after everyone, from young babies to elderly parents and in-laws. It is their care that contributes to sustaining our families, subsequently holding wider society together. And despite all this, society continues to perpetuate the narrative that it is only men who provide, and support women.

It also seems to me that most women don’t carry all this mental and emotional strain because they want to, like to, or because they just really love guests that much. No, they do so because if they took a break from these daily tasks that keep the family home, and subsequently wider society, running and thriving, it would have consequences. The house would remain unkept, the household would remain unfed. Society has imposed this burden and an unfair sense of obligation solely upon their backs. A woman’s value has been tied to her productivity and how much she contributes to her family. God forbid these women take a break, they’d be labelled a failing mother and wife. 

It is one of my deepest desires to, even if for just one day, relieve all women, specifically our mothers, from our homes. I don’t want to see them cooking, cleaning, serving, or managing. I doubt any family would survive. I doubt any hospitable home that we take pride in would last even 24 hours. 

To quote the Lebanese poet Khalil Gibran: “All houses are dark until the mother wakes up.”

Too much, yet never enough: Is burnout real? 

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Burnout is a word I have heard one too many times at Oxford. Once you have heard something enough, it becomes just a senseless humming in your ear – a buzzword that loses all significance. The mere existence of such a term validates an experience previously dismissed, and thus can only add kindling to this frenzied obsession. Once named, burnout becomes an inescapable reality. The medal that comes after having worked ‘hard enough’ is complete and paralysing exhaustion, watching your tea grow cold while intentions swirl aimlessly on its surface.

There have always been moments when I have taken myself too seriously, but, amid the deluge of essay crises and reading lists, it can at times feel impossible not to. In Oxford, life can so easily slip away into a to-do list, a time-blocked schedule perfectly coloured in your Google Calendar. Yet even in those line breaks, every conversation becomes a self-assessment against a productivity scale, achievement measurable in hours studied, marks received, and flashcards reviewed. The weeks of term being so few in number only serves to further contribute to the need to be constantly in motion, constantly productive. A society event, that one night out: everything becomes pressurised, everything has a deadline. 

Tiredness is one consequence, but one distinct from the inherent exhaustion of burnout. Perhaps this is what leads to the disillusionment which some feel towards the phrase. You can hear it in every library after dark, in every coffee shop dotting the High Street. There is hardly a moment in which it isn’t breathed, from welfare emails to the depths of the mid-afternoon doomscroll, when even the fluorescent carousel of Reels begins to push you towards a clear and convenient answer. In its proliferation, ‘burnout’ can lose its potency. It becomes an excuse, a mask that is worn by laziness, paraded about by a culture of self-improvement. 

It is easy to denounce burnout as a masquerade if you have never watched a candle burn itself out. Every wick has an end, and it is quite satisfying to see the flame eat away at it, the wax dripping and melting, reforming in a puddle on the table below. It is a mess to be admired, a sculpted proof that you used everything you had – that is, until you try to light the candle again, and there is nothing left to burn. Melted wax seals and stays. It is this stasis that defines burnout: a sense of complete exhaustion and detachment, against which every best effort to resist is insufficient. 

However, despite intimate knowledge of this, I am often fooled by the scepticism towards this costume. Perhaps it is impossible not to be. The World Health Organisation labels burnout as solely an ‘occupational phenomenon’, not applicable to other areas of life. This definition neglects the academic, social, and emotional contexts: those especially pertinent to students. It is this pattern – one that rejects the reality of overwhelm – that encourages us to dismiss burnout as a fiction, a self-pitying justification for poor discipline. 

When we contribute to this dismissal of burnout as defeat,  an excuse to avoid responsibility, we only feed the destructive culture in which we live. Modern values tell us that success equates to productivity, busyness is equivalent to happiness, and entirely disavows difficulty. So it remains an obligation to continue to show up, to meet deadlines. Obligation, though, comes to engulf every facet of existence. Waking up in the morning (if only after the ninth alarm), attending any social event (if only to sit in silence, unhearing), becomes as burdensome as the original stressor, completely overrun by apathy.

In the self-contained environment of university life, which preoccupies itself with productivity and attendance, admitting to this exhaustion seems synonymous with defeat. Comparison is oppressive and wholly inescapable. All those around you become a measure of what you should be doing. Anything else is not enough. Yet, when it is simultaneously too much, how can we accept that we just have less capacity to work than those around us, writing the same essays, sitting in the same classes?

This is perhaps where I concede, because I cannot pretend to have these answers. I am always the first to revert to blaming my own ‘laziness’, to see exhaustion as merely a product of sufficient work. It is a cynical tendency to roll my eyes at the usual chain of uniform advice – “take a walk, take a break, just get it done” – but one that I maintain all the same. It is easier to lie in bed, to listen to the alarm ring, than to face it. Accepting this wake-up call, the necessity to change, is a daunting prospect. It involves acknowledging that our limits are not boundless, that our attention is finite, and that rest should never be a luxury. Burnout cannot be resolved not by forcing down the brakes, but by fixing patterns, remoulding the wax, and guarding the flame more steadily this time.

It may not be possible to deny that our perception of burnout has been intensely coloured by its ubiquity, but this does nothing to undermine its reality. Burnout is not a convenient excuse, a means of slacking. You may believe it to be, for all I care. But there is no shame in naming your struggle. There is no need to ask for permission to rest. 

‘Oleanna’: An imperfect but gripping watch

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Oleanna is one of those plays which could likely get banned from certain spaces on account of its sheer nuance. And given that nuance has these days been put on the IUCN List of Endangered Species, it brings me great joy to see plays like this still being produced. An open-ended message hidden behind layers of mystery, upon which one actually requires concentrated thought to base an opinion, is bound to be unpopular for many; and for that reason, I cannot but respect Charlie Lewis for directing such a fearless rendition of David Mamet’s 1992 classic.

The story follows the increasing tension between a student, Carol (played by Laura Boyd), and her university (sorry, college) professor, John (played by Alec Greene), over the course of three meetings. Given that it is a two-person play, I feel that Boyd and Greene should be the main recipients of my scrutiny; and so, let us begin with Greene. His charisma was astonishing, keeping me hooked to his performance even at John’s worst moments, and pairing well with Boyd to bring out the character’s concurrent charm and creepiness. What’s more, he did so whilst utterly convincing me that he was a middle-aged man. (And no thanks to the makeup department – that dusting of grey in his hair was pathetic.) He showed impressive range, too, gradually losing his composure over the course of the play, and becoming rather terrifying by the end.

And as for Boyd, she nailed the part of the nervous victim. Her instability was contagious, and even had me gasping for air a little during the first scene. My only issue with her performance is that it was a little one-note: no matter the occasion, she seemed to be concurrently scowling and hyperventilating. It worked at first but became grating over time, and also seemed somewhat out of place in the scenes where the power swings in her favour. By the end of the play, Carol is flaunting her power, which comes across strangely if she looks terrified. But on the other hand, one might argue that this delivery preserves the nuance of these scenes, allowing the audience to persist in their view of her as a victim should they choose to. Whether or not her slightly frustrating performance was intentional, and whether the aim of a play should be to preserve its nuance versus entertain the viewer, is up for debate. At the end of the day, one thing is certain: I will remember her performance, and probably even more than Greene’s. She made me reflect on Carol as a character, and all the while deeply aggravating me.

The only main issue with this production is its truly abominable staging. John and Carol seemed to be in a competition for who could show more of the audience their back, and frankly, I think they both won. As a fortunate resident of the centre front row, I got the full experience, but my friend who sat in one of the right-hand seats said that she could never see both characters’ faces at once. And compelling as it may be to see the back of Greene’s shirt, the audience in the left and right wings paid considerably more for tickets than I did (mine cost me a crisp £0.00) and deserved the same experience I had. I will sympathise, however, that the New College Long Room is a pretty crap place to stage a play.

To wrap up my review, I will end on a high. The stage combat was brutal and effective, and left me legitimately winded as I walked out of the show. Besides two silent kicks, which fell flat, the headbanging and choking were both terrifying to witness, especially from my front row seat (I did not feel so fortunate for my position as John throttled Carol a mere few inches from my face). The performances and direction ended the play with a bang, and had me thinking about it for the entire ensuing day.

Boulevard Productions’ Oleanna leaves something to be desired, but what it lacks in production value it more than compensates for in audacity; so much so that David Mamet would be proud, had he not completely lost his mind in recent years (see his article: ‘Why Charlie Kirk was a modern prophet’).




The Roger Bannister mile and its modern legacy

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The legacy of Roger Bannister and his famous sub-four-minute mile is etched all over the Iffley Sports Centre. This year’s celebration marked the 72nd anniversary of Roger Bannister’s achievement, and was set to be particularly special. Accompanied by perfect conditions, Olympic silver medallist Laura Muir, former world champion and current Commonwealth champion, came to grace Oxford with a stand-alone performance in the elite women’s race. With Muir’s personal best in the mile standing at 4:15.24, there was little doubt that she might renew Sonia O’Sullivan’s 2004 track record for the women’s mile, currently standing at 4:27.79. Hopes were also high for the elite men’s race, with top athletes aiming to challenge the four-minute mark. 

On the 6th of May 1954, Roger Bannister ran the mile in a time of 3:59.4. This athletic accomplishment marked a turning point in running; previously, it had been thought impossible for anyone to run a mile in under four minutes. Then, after Bannister’s achievement, it was only a matter of weeks before his feat was replicated by John Landy. In the summer of 1954, during the Commonwealth Games, these two top runners both ran sub-four-minute miles in an exhilarating final. Bannister took the victory. 

Established in 2024 to commemorate the 70th anniversary of Sir Roger Bannister’s world athletic record, Bannister Miles is an annual event, building up to its 75th anniversary in 2029. 

The Bannister Miles celebration is open to all: in the morning, a community mile sees members of the public run from St Aldates Road to the Roger Bannister track at Iffley. Later in the day, elite athletes try their luck on the famous Roger Bannister track, pushing their limits and hunting down rapid mile times while going head-to-head with the Bannister legacy. Throughout the day, Iffley Road hosted an exciting atmosphere, serving food and drinks in the build-up to the elite races. 

The atmosphere reached a crescendo around 5:45 pm; Laura Muir’s race was set to begin, the first event on her 2026 calendar. Ready to challenge Muir were some of middle-distance running’s young elite, including English Schools champion Kiera Brady-Jones and one of Oxford’s finest, BUCS 800m gold medallist Charlotte Buckley. The cheers of the crowd testified to the excitement of watching a world-renowned champion compete with some of the sport’s rising stars. 

Setting an infernal speed, the pacer was adamant to lead Muir to a new track record. This strung the race out, meaning all tactics went out of the window. Muir quickly separated herself from the rest of the field. At the halfway point, when the pacer dropped off, a track record was on the cards. Muir found herself alone at the front of the race, with no pacers or competitors to spur her on – a truly daunting position. Nevertheless, previous experience allowed Muir to maintain the pace: spurred on by the crowd, she was able to put further time between herself and the rest of the field. Finishing in 4:34.06, ten seconds ahead of her competitors, Muir had delivered an impressive feat – a strong start to her Commonwealth campaign. Buckley, Oxford University’s star, crossed the line in a narrowly contested third place, having held on to silver for the best part of two laps. 

The main event of the day was, of course, the Bannister Mile. A race around the same track, at the same time of day, during the same time of year in which Bannister’s famous achievement occurred. Every year, runners compete not only against their competitors for first place, but also against the clock. At the stroke of 6pm, the race began. The pacer set off perfectly, with the first lap completed in 59 seconds. The others followed, bunched up, three abreast along the track. This race produced not only a fast pace, but tactical interest: after lap three, the runners were exactly on pace. Some athletes made early bids, accelerating in an attempt to break down their other competitor, a physical and mental game. However, the race was decided down the final stretch, with a four-way sprint for the line. This was won by the 17-year-old Freddy Rowe, fresh from passing his driving test, as the commentators made sure to announce, with a startling time of 4:00.88. Tantalisingly close to replicating Bannister’s achievement, Rowe promises a record-breaking future.

This year also brought back the relatively new discipline of steeplechase miles. Being a relatively new discipline, specialists were expected to challenge the world’s best times for the steeplechase mile. Two former winners, Will Battershill and Mark Pearce, were to go head-to-head. From the beginning, it was clear that these two athletes were going to produce an excellent race, as the rest of their competitors steadily fell behind. Battershill and  Pearce proved especially adept at clearing all the barriers, particularly the tricky water jump. Coming into the final 200 metres, Battershill strove ahead to open up a decisive gap. With a time of 4:20.40, the athlete achieved a new world best in the relatively new category of the steeplechase mile. Pearce finished only a second later, separated from the third-place chaser by over ten seconds. A thrilling spectacle, the steeplechase mile proved deserving of long-term establishment in the Bannister Miles celebration for years to come. 

These results demonstrate how difficult mile running truly is. A notoriously challenging discipline, Muir and Rowe showed exceptional talent to win their races, despite falling slightly short of the pre-race fantasies. 

The event is rightly celebrated as a massive step beyond the bounds of human limitation. While the mile world record of 3:43.13 has not been broken since 1999, other historic records continue to fall. In the recent London Marathon, the first and second ever official sub-two-hour marathons were run. This marathon record was another ‘impossible’ barrier in distance running, which has now been shattered, mirroring Roger Bannister’s accomplishment. Years on, these races still show us just how extraordinary Bannister’s achievement actually was, and why this feat of human achievement is deservedly celebrated 72 years later.

Internet Babies: Students of Subculture

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There’s a certain kind of artist that I keep coming back to lately: artists who seem to know exactly what I want to hear before I do. Not algorithmically, but instinctively. Their music feels hyper-specific yet universal; familiar, but not quite verging on nostalgic.

I’ve started thinking of them as ‘internet babies’ – artists born and raised online, whose creative instincts have been shaped not by a single scene but by years of immersion in fragmented, overlapping subcultures. 

What defines these creators is long-term exposure to subcultures. Years of YouTube rabbit holes, Tumblr aesthetics, game soundtracks, and online music recommendations. A cultural collage of sorts, an environment in which emo sits comfortably next to UK garage, and indie sleaze bleeds into rap. Nothing feels out of place because everything was encountered together.

There’s also a practical shift underpinning all of this. Music-making has never been more accessible. Any kid with an iPad can stumble across YouTube tutorials, free sample packs and intuitive software that can quickly turn curiosity into something more structured. While barriers to music careers still exist, the act of creating music is no longer subject to gatekeeping in the same way. More self-sufficient artists are emerging outside traditional industry pipelines, marked by a notable increase in artists from working-class backgrounds – particularly female producers – breaking through via online platforms.

All of this marks a clear break from older models of music culture. Scenes were once tied to geography and gatekept by labels, with genres functioning as boundaries rather than starting points. For internet-native artists, taste is no longer shaped linearly, but accumulated and in flux. 

Jim Legxacy – a student of everything, bound by nothing

Jim Legxacy is one of the clearest examples of this shift in the UK right now. The Lewisham artist, of Nigerian heritage, makes music that on paper shouldn’t cohere, with rap, emo, Afrobeats, indie, R&B, even folk elements all pulling in different directions. And yet, on his genre-fluid album Black British Music (2025), it comes together in a kind of effortless logic.

You can hear echoes of Britpop and indie alongside more contemporary rap and club influences. The album’s title – often shortened to BBM – nods not just to Black British identity, but to the BlackBerry Messenger era that defined a specific kind of 2000s UK youth culture. It’s nostalgia, but not in a heavy-handed way; it’s embedded in his sound and aesthetics, but never allowed to define them.

What makes the MOBO-winning artist’s work land is not just the range of influences, but the way they’re carefully stitched together. UK rap, especially in its underground iterations, can sometimes risk collapsing into its own conventions; a kind of anti-mainstream becoming a new ‘box’ itself. Legxacy sidesteps that entirely. His music feels raw and unpredictable, yet intentional. It reflects a broader shift away from scene-based identity towards something more fluid.

PinkPantheress – the algorithm made human

If Jim Legxacy represents the collage, PinkPantheress represents the algorithm. Her rise was inseparable from the internet: posting snippets on TikTok and SoundCloud while still at university, initially without even showing her face.

Her music pulls from a wide range of influences: emo’s emotional directness (seen in artists like My Chemical Romance and Paramore), K-pop’s polish and melodic precision, and the rhythmic backbone of UK garage and drum & bass, all filtered through a distinctly British pop lens. The result is deceptively simple – short, hook-driven songs that feel immediate and endlessly replayable, built from a complex set of references.

Her songs feel designed for how we now consume music: in fragments, on loop, through clips and snippets – a natural extension of growing up with a musical and cultural landscape that’s constantly reshaping itself.

At the same time, PinkPantheress is acutely aware of the downsides of this hyper-online existence. In ‘Internet baby (interlude)’, she gestures towards the dissonance of being both shaped by and exposed through the internet, a tension that sits quietly beneath much of her work. Still, her impact on modern British music is undeniable. We see her breaking through to international audiences, with a recent showstopping performance at Coachella, and being the first woman to win Producer of the Year at the BRITs. She feels like a frontrunner in any conversation about defining stars of the 2020s.

Natanya – genre as a palette, not a boundary

Natanya offers a slightly different angle on the same phenomenon. She was classically trained in piano from a young age, with clear jazz influences, but also draws from Amy Winehouse, Aaliyah and even Vocaloid artists. However, her work doesn’t sit neatly within any one lineage. It moves between neo-soul, R&B, indie, even touches of grunge, without ever fully settling.

On Feline’s Return (2025), that fluidity becomes the point. The project feels ambitious and deliberately uncontained, drawing from both formal training and eclectic, internet-driven listening habits that define her generation. Her songs refuse to resolve into a single identity.

What’s striking about Natanya is that she doesn’t just draw from different subcultures – she moves between them so seamlessly that they begin to lose their boundaries altogether. In an interview with Exeposé, she said: “I think in worlds. Instead of genre, I’d rather imagine I’m somewhere”. When listening to Natanya, you are transported to the scene that she sets with her diaristic lyrics and unique sound.

From everything we’ve ever clicked on

Taken together, artists like Jim Legxacy, PinkPantheress and Natanya point towards something broader. Their work is defined by how it processes influence, reassembling fragments of culture shaped by years of online immersion. What emerges isn’t just collage, but music that feels both widely legible and unexpectedly personal.

There’s a common criticism that the collapse of traditional ‘scenes’ have flattened music into a set of aesthetic blends, with styles endlessly recycled. But what these internet-native artists are doing isn’t simply repackaging the past – it reflects a different mode of cultural consumption, where broadly ranging influences are accumulated, reworked and made intuitive.

To me, this generation has a distinct creative instinct. Their music is rooted in shared cultural memory but not limited by it. With the right level of craft and imagination, it becomes generation-defining.

It makes me think about how I listen, not just what I’m listening to. I’ve grown up on everything from FIFA soundtracks to Paramore to K-pop – a constant stream of sounds that never really resolved into one identity, but gradually moulded my taste through constant exposure. Maybe that’s why this music feels so familiar. It reflects that same way of consuming culture: scattered, overlapping, always in motion. I’m hearing it not just as a listener, but as a fellow internet baby.

Gareth Lim elected Oxford Union President for Michaelmas 2026 in re-poll

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Gareth Lim has been elected Oxford Union President for Michaelmas Term 2026 at a re-run of the election.

Lim received 299 first preference votes, by a margin of 80 votes over Liza Barkova, who received 219 first preferences. Hamza Hussain and Victor André Marroquín also contested the election, receiving 66 and 61 first preference votes respectively. Six hundred and forty-six valid votes were cast, well below the 1787 votes cast in the original poll, with Lim receiving a majority of 327 votes including second preferences. 

Speaking to Cherwell following his election, Lim said the victory shows that “the Union is able to unite around a non-political figure; that the union believes in something that’s much greater than politics”.  He thanked his “good friend” Katherine Yang, President for Hilary Term, among others, and described his supporters as a “very large coalition”. He said this election had “no slates”, meaning “people were far more able to vote [with] their conscience”. 

Gareth Lim first ran for President for Michaelmas Term 2026 at the end of Hilary Term, coming in 3rd place behind Catherine Xu and Liza Barkova. He acknowledged to Cherwell the difference between the two campaigns, his first as a “guerrilla campaign” and his second which “had the support of a lot more traditional political figures within the Union”, proving that people “can unite behind something brilliant”.

In a victory speech in the Union bar, Lim expressed his appreciation for the other candidates for their campaigns and those who backed his campaign. He told the assembled audience in the Union bar that “this victory belongs to all of us who voted for me”. He promised to “take back the Union” and change the “conduct” of the institution. 

During his campaign, Lim focused heavily on, what he described to Cherwell as, restoring “intellectual rigour”, arguing that recent terms had become dominated by controversy and internal disputes. He called for a broader range of debates and speakers, suggesting the Society should place greater emphasis on areas outside politics and international affairs.

Lim also raised concerns about the Union’s disciplinary culture, claiming that candidates had become “incentivised to use the Union disciplinary procedure as a replacement for campaigning”. He added that the Society had become “over-reliant” on disciplinary processes and criticised what he described as a wider “culture of fear” within Union politics.

The election took place in the context of ongoing backlash surrounding the Oxford Union’s invitation to several high-profile figures, including Carl Benjamin and Stephen Yaxley-Lennon, also known as Tommy Robinson. Speaking to Cherwell after his victory, Lim repeated that he would not have invited Yaxley-Lennon to the Society, but said the Union should “stand by [its] decisions” and said incumbent President Arwa Elrayess had “done a pretty good job” at deciding who she wanted to invite. He said Elrayess was considering changes to the debate format to “ensure that people like Tommy Robinson answer the questions” and that it will be “only after we see the debate” that we could judge whether the invitation to Yaxley-Lennon was “the right thing to do”.

The re-run election was triggered after President-Elect Catherine Xu was found guilty of electoral fraud by a Union Tribunal. The Tribunal concluded that Xu had orchestrated a scheme to impersonate legitimate voters during the original election, held in Hilary Term 2026, by distributing Oxford Union membership cards to individuals not entitled to vote and instructing them to cast ballots in other members’ names.

Oxford researchers trial non-invasive diagnostic scans for endometriosis

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Researchers led by University of Oxford academic Dr Tatjana Gibbons have successfully trialled non-invasive scans to diagnose endometriosis.

Published in The Lancet Obstetrics, Gynaecology and Women’s Health, the study involved 19 individuals with either strong signs of “pelvic or thoracic endometriosis”, or who had already received a diagnosis. The non-invasive scan was carried out after the intravenous administration of an imaging agent that binds to tissue, and makes endometriosis growths visible on screen. 

The study demonstrated 100% specificity, meaning no false positives were reported. As such, the scan offers a viable alternative to the existing invasive diagnostic procedures. Dr Gibbons told Cherwell: “This imaging method could support patients getting an earlier diagnosis and could help diagnose endometriosis subtypes that can’t be reliably seen non-invasively.” 

Endometriosis is an inflammatory disease, in which cells similar to those found in the uterus grow in other parts of the body, such as the ovaries and fallopian tubes, but can also spread to the bladder, bowel, and chest. Symptoms such as heavy periods accompanied by severe pain and pain during sex are triggered when endometriosis growths break down but cannot leave the body.  

The condition affects an estimated 10% (190 million) of women of childbearing age. The causes of endometriosis are unknown, though some research has connected it to immune system dysregulation. The disease can also have significant impacts on fertility, with 25-50% of infertile women having endometriosis. 

At present, there are no known cures for the disease. 

Typically, diagnosis requires invasive laparoscopic surgery, which involves directly observing tissue or taking samples for examination. The complexity and expense of the procedure often lead to delays in treatment and the continuation of suffering for the patient, with one study by the charity Endometriosis UK suggesting wait times have reached an average of nine years. Currently, around 40% of surgical procedures produce negative results. Gibbons hopes the study will tackle these waiting times, and “empower the development of new therapies”. She added that the next step for the pilot study is a larger clinical trial, which she hopes will validate the team’s findings. 

Oxford Women in STEM Society told Cherwell: “The pilot scheme is a positive step, but it also highlights how delayed progress in this area has been…Conditions like endometriosis have been consistently underfunded and dismissed, which has led to real harm.”

The society hopes that the study will not only improve treatment timelines, but also “force a shift” in attitudes towards women’s pain by healthcare companies and professionals. 

The Oxford study has made national news, and was featured in an episode of Saturday Night Live UK. As part of the “Weekend Update” skit, the study was used in a joke about the pain that has come to be associated with female health procedures.

May Morning

Smudged mascara and the curling of coffee steam. Small yawns and the shuffling of boots. Tangled hair plaited by the same girl from first-year, a crumbly pastry shared with her, too. Heads resting on shoulders, tired eyes looking skyward for the song that is coming. Fresh, crisp air and butter-yellow sunlight you could reach out and taste. There is excited chatter of stories from the night before, looks shared. A hush falls. May morning. See what the world can do before sunrise.

Sunday

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That Sunday could arrive first-class,

Wrapped in tissue and stickers with minimalist logo.

Sent anonymously (from a fan?).

It will be a crisp, sunblushed Sunday.

The first in months without rain or

Export tariff.

Sunday, with speechless morning

and an afternoon

of step-counts exceeded.

Inside, there will be boutiques browsed,

with flat whites from 

an independent coffeehouse, where we know the owner.

We could unpackage this Sunday

Share it and save the tissue

For Christmas giftwrap.

We might duel over whether

we go to yours for the holiday,

Or mine, across the sea.

We might get workaday Mondays, Milky-white Tuesdays, 

dreary Wednesdays, Thursdays with dinner parties,

Two-for-one Fridays, and dancey Saturdays.

It hasn’t quite left the depot

Though,

And you won’t be in to answer the door.

Students encounter issues with voting registration during local elections

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Multiple students across Oxford have reported being turned away from polling stations during Thursday’s local elections after discovering they were not listed on the electoral register despite believing they had registered through the University’s enrolment system.

Students across several colleges, including St Anne’s, Somerville, and Pembroke, said they had opted in to share their information with the electoral register during online enrolment through the University’s Student Self Service system at the beginning of the academic year, only to be informed on polling day that they were not registered. 

A student at St Anne’s told Cherwell: “I’m really frustrated I couldn’t vote today, especially because I’d talked directly with the candidate I was going to vote for, put up posters in my window, and tried to spread the word. I’d gotten very involved, and now it feels a bit like it was for nothing. I also find it frustrating and concerning that my registration for the county council elections last year did not carry over this year.”

In a statement to Cherwell, a University spokesperson said: “The University takes its responsibilities to support student electoral registration seriously and has an established process, developed in partnership with Oxford City Council, to help students register to vote through the University enrolment system.” The spokesperson added that the University was “aware that a small number of students reported difficulties or confusion regarding their polling location or registration status on polling day” and said it was “looking carefully into those cases.” 

Oxford City Council also told Cherwell that “a handful” of students who registered through the University were not picked up during the registration process. It added that, where students were able to confirm they had applied via the University, “all were able to vote on May 7th.” Multiple students affected told Cherwell that they were not informed of this by the polling station. Some were encouraged to call the Council’s electoral services, yet upon fully explaining the situation, were told, as one student put it, “to register through the government website next time, but nothing about being allowed to vote this time”.

The issue affected at least one student council candidate. Harry Morgan, a student at Pembroke College and candidate for Osney and St Thomas, told Cherwell that he was unable to vote because he wasn’t listed on the register despite applying via the University. “I saw my name on the ballot papers, but they didn’t give me one”, he added. 

Former St Anne’s college student and successful Green candidate for Holywell, Alfie Davis, told Cherwell that they had experienced a similar issue whilst a student after assuming the University had registered them correctly.

Other students were registered to vote by the University under their specific accommodation block rather than their college address, including for on-site accommodation, which also caused further confusion at polling stations. A student at Somerville explained how students in her accommodation building were initially turned away because polling station staff searched for them under the college address rather than their block. She told Cherwell: “It’s the kind of technicality that would have made me think the mistake was on my end, if it hadn’t happened to literally everyone in my building.”

In a statement to Cherwell, the University spokesperson notes that some students were registered at their specific term-time accommodation address rather than a “central college site”, which “may have led to confusion about the correct polling station”. Several students were ultimately able to vote after contacting electoral services and confirming they had been registered under their accommodation block rather than their college site.

Multiple students at Somerville said when they contacted electoral services, after being prompted by election workers at polling stations, they were informed that students living in halls are removed from the register annually because of “high turnover” of accommodation. 

In a statement to Cherwell, Oxford City Council confirmed that removing students from the electoral register is “normal practice” and said it had done so “for decades”. The Council said students living in university accommodation are typically removed from the register during the annual canvass in autumn, usually around October, on account of the complexity of student registration and the high turnover of addresses. It added that the introduction of Individual Electoral Registration in 2014 meant Electoral Registration Officers in university towns were expected to “delete students from the register and require them to re-register”. The Council added that it works closely with the University and Oxford Brookes during the annual registration process, including receiving lists of eligible students living in halls and contacting those who have not registered independently.

However, Cherwell found that Oxford City Council’s ‘Register to vote and the annual canvass’ webpage does not explicitly state within its student registration guidance that students living in halls must re-register annually. A link on the page directing users to Electoral Commission student guidance was also non-functional at the time of publication. Whilst moving addresses is listed as a requirement for re-registering, this does not highlight that moving between on-site college accommodation buildings constitutes a change of address requiring re-registration. 

Guidance published by the Electoral Commission and the National Union of Students similarly refers to students needing to re-register if they change address, but does not make clear that students will be removed from the register on an annual basis.

The University spokesperson told Cherwell: “We are reviewing how information and guidance can be made clearer for students in future elections.”