Monday 16th March 2026
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Catherine Xu wins Oxford Union presidency for MT26

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Catherine Xu running for the #TRUST slate has been elected Union President for Michaelmas Term 2026 with 629 first preferences, by a margin of 159 votes over Liza Barkova. 1787 valid ballots were received. 

The other runners-up were Gareth Lim Yefeng with 326 first preferences and Hamza Hussain with 144.

Harry Aldridge was elected Librarian with 880 first preferences. Claire Yun Luo was elected Treasurer with 695 first preferences. Vishnu Vadlamani was elected Secretary with 530 first preferences, with DK Singh as runner-up.

The following candidates were elected to the Standing Committee, from highest to lowest order of votes: Matteo Brunel, Ea Ventura Marty, Toby Bowes Lyon, Henry Nicholls, Saara Lunawat, Shamir Aziz.

Prior to the election, Catherine Xu told Cherwell: “The Union is way bigger than its scandals, but the perceived dysfunction keeps drowning out the good. I want to help fix that.” 

In her manifesto, she proposed a new Access Membership Fund, moving procedural motions away from Thursday debates, and inviting more women speakers.

Due to over 60 Secretary’s Committee candidates, the results for this will be announced at a later stage.

This piece will be updated to include the Secretary’s Committee results when they are announced by the Union.

Sir Ed Davey: ‘Inevitably you make mistakes’

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Multiple times throughout the interview Sir Ed Davey accidentally turned his Zoom camera off. He’d hastily apologise and search to turn it back on. His daughter, and later her cat, entered the room mid-interview, but only the cat was allowed to join us, resting her head on Davey’s shoulder. By the end of our conversation, it’s very clear that Davey is not a polished politician, nor does he wish to be.

Leader of the Liberal Democrats, the third largest Parliamentary party in the UK, Davey markets himself as a “centrist dad” of “middle England”. Spending his undergraduate years at the University of Oxford, studying Politics, Philosophy and Economics at Jesus College, Davey speaks of Oxford with the faint glint in his eye so common amongst Oxford alumni. He admits with a chuckle that he came to Oxford completely unprepared after his gap year, having done no pre-reading: “I had one sleepless night thinking I’d gone to the wrong university.” Having never studied the subject before, he felt “totally at sea” with the economics papers of his course. Despite this, he threw himself headfirst into the myriad of activities Oxford has to offer: serving as JCR president, taking part in amateur dramatics (at which he was “absolutely hopeless”), and getting involved with the Oxford Ecology Movement. But as many of us will likely later reflect, he says “I wish I’d done even more”. 

Oxford was also the site of his “first major political engagement”. As Jesus JCR president during the 1987 General Election, Davey joined the ‘Tactical Voting ‘87’ campaign, which aimed to keep the Tories out of power in Oxford. Yet, despite his early political activism, and his PPE degree, a career in politics was never on the cards for Davey. His initial desire was to work in development in the global South, having had relatives involved with the World Health Organisation, the European Commission, and even Tiger Conservation. Ultimately, he applied for the role of Parliamentary Economics Researcher at what was then the Social and Liberal Democrat Party, driven by his interest in economics. This decision has undeniably shaped his life in a way he might never have imagined. At the time the party was polling at just 4% under leader Paddy Ashdown, and Davey confesses that “they only really employed me because they couldn’t afford anyone else”. 

Within a month, he had joined the party as a member. Davey describes being “totally inspired by Paddy, and his espousal liberalism” and he continued to work with the party through the 1992 General Election. Despite a momentary dalliance in management consultancy (about which his only comment was distaste for his boss), his “bug” for politics dragged him back. Standing in the 1997 General Election as the Lib Dem candidate for Kingston and Surbiton, in South West London, “more as a have-a-go than anything else”, he was elected with a 56 vote majority. Davey reflects on his entrance into politics as a move of coincidence, and seems to believe fate was on his side at that moment: “I sort of fell into politics…it wasn’t a plan, it was a whole set of circumstances, and I ended up happily in a party that I feel is a classic liberal party, and liberalism is who I am.”

Our conversation moves to an emotive issue for Davey, one which has played a significant role throughout his life: care. Davey cared for his terminally ill mother in his early teenage years, then his grandmother, and today his severely disabled son. He admits that it’s a very personal issue and one that has only entered the public sphere of his life recently: “Only when you become leader do you become more open to questions about who you are.” He reflects that he’s “gone on a journey since becoming leader in 2020”, not only speaking about it more publicly, but also engaging with it more deeply on a personal level. His book, Why I Care: And why care matters (published in May 2025) is part manifesto, part introspection – his way of reflecting on his experiences. I ask Davey how care has played a role in who he is today, and he points to the work of Saul Becker, a renowned social scientist. Becker identifies three characteristics common in young carers: resilience, empathy, and time management skills – all of which Davey relates to from his time as a young carer. “You have to really get things done, smartly. You can’t mess about.” 

Being a carer has, unsurprisingly, also informed his politics. He refers to the millions of family carers in the UK, and how “governments, councils, and public policy just don’t factor these people in”. He argues it would be “transformative…if we did care properly”; benefiting the economy, the health service, and general national happiness. 

It’s a frustration he knows well from his years on the backbenches – watching policy fall short whilst being powerless to change it. That changed in 2010, when the Liberal Democrats found themselves with an unexpected opportunity to govern.

The movement from opposition to government was life-altering for a backbench MP like Davey. For the Liberal Democrats, it proved to be a once in a lifetime opportunity. After the 2010 General Election gave no overall parliamentary majority to a single party, an infamous five days of negotiations ensued, culminating with the Lib Dems entering into a formal coalition with the Tories. “I was actually arguing for a coalition with Labour…but we ended up extracting a lot more from the Conservatives in the coalition deal than I had possibly expected.” 

He describes his appointment to the role of Junior Minister at the Department of Business, Innovation, and Skills as “exciting…if very unexpected”, and reflects proudly on his work to deliver shared parental leave that “ensured the labour market was fairer to women”. It was his promotion to Secretary of State for Energy and Climate Change, however, that excited him most, and he visibly lights up as we begin to talk about it. “It was just brilliant…we essentially created the offshore wind industry as a result of what we did.” Holding the role for three and a half years, Davey became the longest serving Energy Minister since the early 1980s. “At the time, I was convinced I wouldn’t be a minister again, and I thought ‘I just have to work as hard as I possibly can, score as many goals as I can’.” He attributes all of his successes to “a fantastic civil service”, and makes clear his outright distaste for the right-wing’s undermining of the organisation’s credibility, a clear reference to Dominic Cummings’ “blob” label for the service. 

When I ask him to reflect on these coalition years over a decade on, he’s remarkably more positive than I, perhaps naively, expected. “We achieved an awful lot – taking the lowest paid out of tax [brackets], getting investment in mental health services, keeping us in the NHS.” He admits, “politically, it didn’t go very well for us”, with the party losing nearly 40 seats, Davey’s included, but “we showed a) what Liberal Democrats can do in power, and b) that coalitions can work, and be stable”. If anything, Davey thinks the coalition acts as “a great argument for electoral reform”. “I know lots of people don’t like it…but for the country, I think it was the most stable government we’ve had in a long time”, pointing to the five Prime Ministers the UK has had in the span of less than ten years. “They’ve had big majorities, and they’ve been completely unstable, divided, frankly hopeless.” 

Despite his distaste for the First Past the Post electoral system, it’s undeniable that Davey has benefited from it. His pride in his party is undeniable, and when I ask what he brings to it, I get a single word answer: “Winning.” He admits he is bragging, but “winning is rather important in politics”. The three elections before 2024 gave the Lib Dems a respective eight, twelve, and eleven seats. With Ed Davey as leader, the 2024 General Election saw them win 72 – their best result since 1923. When I mention the recent polling, that has seen his party at just 12%, he quickly dismisses their value. “People often think about politics like we have proportional representation (PR).” In reality, it’s about vote concentration in a specific geographic area, not about the lateral spread of popularity across the country. “I look at whether we are winning.”

One thing that voters definitely know Davey for is his outrageous stunts, and when I mention them, I see a smile light up his face again: “It’s really challenging for us to get media coverage…partly because we are sensible – we don’t say crazy things, we don’t say extremist things.” It’s true that a lot of the nuanced points Davey tries to make about care and EU relations simply aren’t compatible with the clickbait media culture of today. But the reasoning for the stunts runs deeper than chasing journalists. He sees an emotional deficit at the heart of liberal politics: “People who have our liberal views…tend not to do emotion very well.” The data and analysis, he admits, are well-covered – but “if you don’t have the emotional element to what you are doing, you just don’t connect with people”. He posits this as the reason for the success of the Right, saying “Johnson, Farage, Trump, they are much better at emotions, but these emotions are often nasty emotions”. It’s a gap that’s only widened on social media where, he admits, “we have been too slow in getting our social media team together, making it a priority, and coming across well”.

It’s the question of emotion in politics that leads us, naturally, to Brexit. His time spent negotiating with the EU as a minister convinced him of the value of the supranational organisation. For Davey, “Brexit is just a total disaster…we have lost so much”, but trying to get the public to engage with it again is proving to be difficult. “It divided people, divided the country, friends, families, neighbours, work colleagues, in quite an emotional way.” As such, “even the most strongly ‘remain’ people…often don’t want to talk about it…they just have this memory of it all being a nightmare”. 

Davey is unambiguous about the party’s mission: to stop “Trump’s America coming to Farage’s Britain”. It is here where Davey’s passion is most clear to me. His smile and composure leaves him, and I see the anger beneath at the growing popularity of the Reform Party, a party he fiercely condemns as “a danger, an absolute danger”. Davey draws parallels between Trump’s protectionist tariffs and Farage’s pioneering of Brexit: “Like Trump, Farage doesn’t really believe in free trade. He wants to stop us from trading with our European neighbours.” Davey argues that, under Farage, Britain’s foreign policy would be centred on courting the favour of Trump and Putin, rather than the UK’s national interests. “The authoritarianism, anti-democratic behaviour of America goes against British values”, and, as such, he explains, Farage is “a real threat to our future”. 

It’s clear this is a man who still has plenty to fight for. But I turn our conversation away from the future, and towards the past – and the regrets that inevitably come from such a long career in politics. When I ask Davey how he handles his regrets, he has a simple philosophy, but arguably one that would not stand up to scrutiny from the public. “You learn from it, don’t you?… Inevitably you make mistakes…often it is better to go with your instincts.” Particularly when he first started as a minister, Davey felt there was “so much to learn”, so many processes to comprehend and utilise for his own agenda. 

Any life after politics will likely be defined by his family and “what I like doing – going for walks, good food, travelling”. But, for now, he certainly has ambitions that will drive him for decades to come, and is genuinely reluctant to imagine taking a step back from politics: “It’s too exciting at the moment…. When I talk to colleagues and party members, I often say we have a moral responsibility to stop reform, and an historic opportunity to win many more seats.” For a man who fell into politics by accident, he seems in no hurry to find his way back out.

Let’s go to the movies: Fennec Fox Productions’ ‘The Flick’

After their vibrant staging of Company at the Oxford Playhouse earlier this term, Fennec Fox Productions are set to return next week with a run of The Flick (2013) at the Burton Taylor Studio. Annie Baker’s Pulitzer Prize-winning drama follows three underpaid cinema attendants negotiating quotidian trials and tribulations as they rehearse the tedium of their service jobs. I sat down with Joshua Robey, the director, to discuss what it was about the play that appealed to him so much. 

Robey tells me that The Flick is a play he’s been considering for a long time; he’d previously encountered it in an academic context, but was drawn to it as “the most naturalistic thing I’ve ever done”. For Robey, the play’s affective power lies in its subtlety, featuring compellingly understated dialogue, and focusing in on the minutiae of character interactions. Within the play’s idiolect, there is “so much unspoken subtext”, such that “every moment is rich with what’s not being said.” 

After the expansive and well-equipped stage at the Oxford Playhouse, this production’s venue, the small-scale Burton Taylor Studio, might threaten to raise more than a few logistical restrictions. Yet the production promises to mine the venue for all its potential by means of somewhat unconventional staging. In order to reproduce the cinema setting, the action of the play will take place on the seating racks, with the audience positioned centrally on the stage. This arrangement is just one of the ways in which the production seems to thrive on fostering a close, yet subversive, connection between the audience and the onstage characters. 

The thematic concerns of the play are ultimately well reflected by the venue, harnessing what might have been a disadvantage to enrich the play’s emotional matrix. The intimate space, in combination with the limited cast, facilitates concentrated access to the characters as they lay bare their psyche, generating an atmosphere that Robey calls “claustrophobic in a good way”. Bound as it is by dramatic unity, the play is fundamentally absorbed in characterisation, paying close attention to the nuance of human dynamics. 

The Flick demands a different kind of attention from its audience, asking us to detune from the overstimulation of life to zero in on the compelling moments of quietude. The play’s action is slowed down by the mechanics of reality – silences are deliberately drawn out as the cinema is swept, and trivial conversation immerses you in the stasis of the characters’ everyday, producing what Robey describes as “a heightened form of realism”.

The play’s script, first performed in 2013, bears the inevitable contours of a society still weighed down by the effects of the 2008 financial crisis. The focus on the petty betrayals among the cinema employees is set against a background of widespread disempowerment, a failure of trust in the mechanisms that structure working life. Nor are these concerns frozen within their original context. The continual resonance of such themes is illustrated by their application to, say, the fraught state of graduate employment and the enforced monotony of service jobs in an environment where capitalism systematically de-skills all of its labour. The narrative may, then, resonate with a potent reflection of the artistic cost of this. 

For Robey, the play explores “how difficult it is to care about others when self-preservation is so necessary”. Yet in spite of these tensions, testing the limits of human empathy, he maintains that the narrative is ultimately about “solidarity”. 

Robey seems to approach the play as an exercise, comparing the process to restoring a painting: for him, the emphasis is on lifting out what’s already there, uncovering the play’s essence rather than smothering it with additional brushstrokes. While directing is usually an additive practice, he explains, with The Flick, it became “a process of winnowing”. Robey describes the play as one that sits and rests in the imagination. It resists playing up the emotion, and won’t necessarily devastate its audience in the moment, but lingers and accrues impact through retrospect. 

Towards the end of our conversation, I decide to torture Robey with the question most excruciatingly reductive for a thespian: how would you describe the play in three words? After offering a literal answer – “cleaning up mess” – he settled on “popcorn, betrayal, connection”, the core components of every great narrative. Expect innovation, unorthodoxy, and “a rewarding challenge for both cast and audience”. This is a play that will slowly creep up on you, grip you, and excite you. See you at the movies.

The Flick’ runs at the Burton Taylor Studio from 10th-14th March.

A deeply Singaporean play: In conversation with ‘Late Company’

OUMSSA Theatre makes their debut with Jordan Tannahill’s Late Company. While the text originated in Canada, OUMSSA Theatre’s take on it is nonetheless entrenched in Singaporean culture. This one-act play takes place in a couple’s house, at a dinner with another family which the couple arranged in order to clear the air between themselves and this family. However, the families never truly reach a resolution, and the play descends into a confusion of homophobia, politics, social image, responsibility, and blame. 

Director Garion Sim watched the play when it came to Singapore in 2019, and it was this production by Pangdemonium that inspired its choice for OUMSSA Theatre’s inaugural show. He explains how this production has been “an inspiration for how to interpret the script with a Singaporean lens and has been very helpful in shaping how we personally think of the play.” And it is this Singaporean lens which is at the crux of this particular show. Director Natalie Tan explained how the script encourages the production companies to adapt the script and make it more local. She uses the reference to a “pride parade” as an example; in Singapore, there aren’t Pride Parades as we know them in the UK. Instead, there is “Pink Dot”, an event which celebrates the “freedom to love”, and originated in support of the LGBTQ+ community. However, this particular term raised the issue of balancing the non-Singaporeans in the audience with the company’s Singaporean roots, since Tan was unsure if those outside of OUMSSA would grasp this reference. However, the Singaporean resonances remain evident in all parts of OUMSSA Theatre’s interpretation of this script. Sim believes they even transcend the content to enter into the style of the text, citing “the fast pace, family politics underneath a veil of niceness […] is a style present at every tense Chinese New Year dinner that is immensely relatable that we hope to capture in the play.”  

Social dynamics are a crucial aspect of this play. The cast were tasked with the difficult challenge of both performing their characters, and then also performing the social performances and masks that these characters wear. They successfully conveyed the stilted awkwardness of unspoken social tension in the opening scenes. Nicole Tan as Tamara gave a particularly witty performance, with her ill-placed comment about “breast-milk” heightening this awkwardly tense atmosphere. Tan explains how she “can definitely empathize with the side of [Tamara] that says things which break typical social norms, sometimes out of nervousness.” While this trait is something which “took a long time for [her] to learn to love”, it is nonetheless part of what makes playing Tamara so enjoyable for Tan. 

Additionally, the presence of the audience adds another layer to the sense of social performance. Yet Sim doesn’t believe this audience are just passive observers to the action. He sees the audience as “an unwilling judge for both families” yet in other ways, it is also “voyeuristic in nature, staring through the window into the house […] as they struggle to defend and rationalize their actions.” The domestic setting of this play does feel natural and yet somewhat violated by the presence of the audience, since this presence necessitates that everything must face outwards, in the end-on formation of the Corpus Christi Auditorium. I was able to view the set up close in all its minute detail, which contributed to the “lived in” feel of the space. The set is laden with art, both canvases and sculptures which, assistant director Grace Yu explained, were made during an art session with OUMSSA. This gives the show a bespoke feeling and acts as a reminder of the wider community behind the production, interpolating the Malaysian and Singaporean students into this production in a variety of ways. 

Sim also explains how “in current rehearsals we are very focused on movement […] trying to get the actors to interact with the set more as well, and truly act like this is a home.” This was conveyed during the rehearsal, when Nicole Tan and Meira Lee slipped out of their characters to discuss the specificities of their movements around the dining table. In a way, this also felt like an education in such social cues and showed how deeply ingrained into the play itself social performances and perceptions are. 

The OUMSSA community have thrown themselves behind this play, yet it hasn’t been an easy ride for this first time production company. Nonetheless, Late Company is shaping up to be a deeply layered show. Natalie Tan described it as “a play of discovery”, with a slow release of information that gradually alters our perspective as we learn more about the play and its characters. OUMSSA Theatre’s adaptation provides a cross section into a Singaporean household, and it is this quintessential Singaporean nature that makes Late Company feel refreshing – a taste of home for OUMSSA, and a glance across to another culture for the rest of the student population. 


Late Company runs at the Corpus Christi MBI Auditorium from 6th March – 8th March.

Why I only run to classical music, and you should too

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During my year abroad, precisely the 29th May 2025 according to my Strava, I went on the best run of my life. It was raining, and I didn’t want to go, but I dragged myself outside, and decided on a whim to put on Gershwin instead of my usual playlist. It was life changing. As I ran to the finale of Rhapsody in Blue, I had a spring in my step like I had never experienced before. That was when I realised that I had been doing running music all wrong. 

Previously, I listened to a more standard running playlist. For me this consisted of high-energy 2000s and 2010s pop classics, the sort you would find on the bop playlist of an unimaginative entz rep. Don’t get me wrong, this certainly has its place, and I do sometimes return to this playlist when I’m in the mood, but I think running to this sort of music has a few key issues. Firstly, each song is self-contained and unrelated to the ones preceding or following it. This means on runs when I was lacking motivation, I would find myself counting the songs, and discouraged when it would take me three to complete a kilometre on slow days. Secondly, you’re never going to be in the mood to run to every song on your playlist, and it can be frustrating to find yourself needing to skip and interrupt your flow. Finally, at times it just feels a bit lacklustre, sometimes you just want to feel like you’re in a film, and for this there is nothing better than classical music.

If you think about it, the standard structure of a symphony – one of the most common types of longer orchestral piece, made up of four musical ‘chapters’ called movements – is the perfect companion to a run. They usually start out lively, either matching your motivation and keeping your energy levels high, or giving you a much needed boost on days when you’re not feeling it so much. Then, with a couple of kilometers under your belt and a state of flow reached, you can settle in and enjoy a slower and more lyrical second movement. If you are starting to flag, a dancelike third movement is sure to give you a pick me up, often more light-hearted to keep you energised. You then finish with a flourish as the finale, the most epic of all the movements, leaves you feeling like you have conquered the world as you cross your imaginary finish line –  bonus points if you listen to a live recording so are met with rapturous applause. Your run becomes cohesive, tied together by the narrative arc of one whole piece of music.

But of course, not all symphonies follow this structure, and indeed, not all classical music comes in symphonies. That’s the beauty of it, you can find a piece that suits your mood for the day and the length of your run, and then you just keep running until it’s finished. You are discouraged from stopping early, lest you leave any themes unresolved, or lose out on the satisfying ending that ties it all together. It’s the ultimate motivator.

If you’re not sure where to start, I have a few tried and tested recommendations to help get you outside this dark and rainy February. If you’re only going on a short run, Boléro by Ravel is the ultimate slow burn, perfect for helping you push through to the end (or for those, inspired by the Winter Olympics, who want to feel like Torvill and Dean). For runs around half an hour long, concertos are often a good bet, and you can hardly do better than any Rachmaninov piano concerto, especially the second. Then for runs nearing an hour, you need to look for a symphony. Some personal favourites to run to are Tchaikovsky’s 5th and Sibelius’ 2nd Symphony, but you really have so many options available to you. For runs even longer, Mahler symphonies are a great choice – my first time running to Mahler’s 2nd Symphony was transcendental. Getting into half marathon territory, you could listen to an entire ballet or opera – I can personally recommend Prokofiev’s Romeo and Juliet for your next 21.1km run. Someone brave enough to embark on an ultramarathon could even listen to Wagner’s entire Ring Cycle – there really is a piece for every run!

So next time you don your running shoes, or if you’ve never run before in your life, I encourage you to put on some classical music. You’ll never be able to look back.

Oxford Union town hall HT26: Meet the candidates

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With polls open for the next set of Oxford Union elections on Friday, Cherwell spoke to candidates running to be President in Michaelmas 2026.  Cherwell reached out to all four candidates.  

Catherine Xu, Hamza Hussain, Gareth Lim, and Liza Barkova spoke about the current state of the Oxford Union, their vision for their presidency, and their reasons for running. Liza Barkova was also contacted for an interview. 

Cherwell understands that this term’s election is unlike previous elections, both because of the high number of candidates and because two of them are running independently.

Introduce yourself briefly. 

Catherine: I’m Catherine Xu. I am a postgraduate at Saïd Business School and Treasurer at the Oxford Union. I’ve worked in impact investing, and I’m also involved in community-building at Oxford through running a meditation society and actually running marathons to fundraise for charities.

Hamza: Hi, I’m Hamza, a final year History and Politics student at Christ Church. I previously served on the Union’s Standing Committee.

Gareth: Hello! I’m Gareth Lim, former Chair of Competitive Debating at the Oxford Union and 3rd year Law student at St Peter’s College.

Liza: Hey, my name is Liza and I am a second-year PPE student at Christ Church. I have served on the Union Committee three times, including Junior Appointed committee, Secretary’s Committee, and Standing Committee. 

Why are you running to be President?

Catherine: I’m running because the Union gave me a real sense of belonging when I first arrived in the UK. It was one of the first places where people cared more about what I had to say than what I looked like or sounded like. But lately, I sense many members feel that trust in that vision has eroded, and I want to rebuild that #TRUST.

Hamza: I am running to be President because I care about what the Union is meant to be: a serious forum for debate and advocacy. These are traditions worth defending. Without the Union’s values of free speech, debate, and giving a voice to all, voices like mine and my family’s would never have been heard.

I grew up in a domestic violence refuge, a safehouse for women and children fleeing abuse, and later in social housing in the area with the highest rate of child poverty in the country. From the age of ten, I also acted as a young carer to family members living with chronic health conditions. I have advocated for women and children facing domestic abuse through my fundraising of over £20,000 for the charity Refuge, in an award-winning campaign recognised by its CEO.

Gareth: I’m running because I believe that those who can serve, must serve. If the Union is to remain fit for purpose, it needs a fresh start. I’ve never run in a Union-wide election before, never sent a hack message, and am running as an independent. I believe that my competence, character and commitment make me the best candidate. 

Liza: Why I’m running – I come from a country where free speech is often suppressed by the government regime. The Union was the first place where I found that people truly believe that their opinions can matter on an international scale. That experience made a profound impression on me. The Union has an extraordinary platform, but its success ultimately depends on how well it serves the members who use it today. For me, this election is about INSPIRING a culture that genuinely welcomes all opinions. 

Which manifesto commitment are you most passionate about?

Catherine: The Access Membership Fund. Membership shouldn’t depend on your bank balance. If we’re serious about being a Union for all students, we need a real mechanism to remove financial barriers.  I’ve already begun work on securing early funding and building a structure that can endure beyond one term.

Hamza: Rather than making big promises, I want to focus on institutional stability, especially in light of the Union’s precarious finances. The focus for a Michaelmas President has to be a successful membership drive, which will only be possible with stable leadership and the avoidance of unnecessary drama.

Gareth: Pushing Competitive Debating! Not everyone needs to go to competitions, but the whole point of the Union is to give everyone a chance to sharpen their public speaking and critical thinking skills. Not many people realise that we run free training sessions every Monday at 7pm! (This includes non-union members) Of course, the Union already gives members opportunities to participate in Emergency Debates, but speaking in the chamber for a start can be a daunting experience. At Beginners training, we focus on giving everyone 5-7 minutes where they can deliver their own speech, where their voices are guaranteed to be heard before giving every speaker individualised feedback.  

I spent at least 4 terms coaching our competitive squads and I’ve seen participants grow so much over the course of a term. Students at Oxford are some of the smartest in the world and I think it’s a real shame if we don’t train to let ourselves be heard in the best possible way. 

Liza: I am most passionate about the pledge for financial revival. 

I have a number of ideas for strengthening the Union’s financial structure so that our events have generous budgets while also remaining financially sustainable. This is not a simple task and we cannot perform miracles overnight, but there are realistic steps we can take. One of the most important is building stronger long-term relationships with Union alumni. The Union has an extraordinary network of former members across politics, business, media, and academia. By reconnecting with that network we can both raise funds and create new opportunities for speakers, mentorship, and engagement with current members. Strengthening those connections would be a reliable and sustainable way to support the Union financially. 

What do you like the least about the Oxford Union in its current form?

Catherine: I think for me, it’s the loss of trust. Trust that decisions are made fairly, that concerns are taken seriously, and that the Union is welcoming to all members and not just those who feel entitled to the space. The Union is way bigger than its scandals, but the perceived dysfunction keeps drowning out the good. I want to help fix that.

Hamza: Throughout my time at the Union, I have seen factional politics come before the interests of the members. I am running as an independent candidate precisely because I want to avoid the factionalism that has led the Union to its current position.

Gareth: The Atmosphere. It always seems like there’s something brewing, just in time for the next election. I’ve had members tell me that they feel un-welcome at the Union and so they end up not utilising their membership to its fullest extent. (Which they should! It costs a fortune) 

Part of the reason is that the elections are often decided by Slate Politics and a network of close connections that have been built up over years. It’s really hard to break into that as a new member who just wants to get the most of their membership and it’s easy to feel as though you’re not really involved in the running of the society.

As a candidate who hasn’t run in a union-wide election, who never planned to run for Office and just wants to run the Union from the perspective of an ordinary member. I hope to change that and remove that cynicism.

Liza: What I like least is that some members who run for elections become too focused on winning the election itself and lose sight of what the role of an elected committee member actually is. 

Elections are part of what makes the Union unique, but they should never overshadow the core mission of the society: hosting outstanding debates and speakers for our members. 

If elected, I would try to move the culture of the Union away from internal politics and refocus it on delivering events that members are genuinely excited to attend and participate in. 

What do you admire most about your opponents?

Catherine: Their resilience and commitment. Running for Union president is probably more intense than some public offices so it takes real determination to keep showing up. I may have different priorities and a different style of leadership, but I respect the effort and courage it takes to run. You have to care for the place and be committed. I respect that.

Hamza: Their commitment to the Society and the courage they have shown in putting themselves forward for the Presidency. My fellow candidates have all dedicated time and energy to the Union, and I respect anyone who cares about the Society and is willing to serve it.

Gareth: Their time management skills! When I decided to run for President, I had no idea what I was getting into. Running a campaign is an exhausting, stressful and time-consuming experience. 

I have no idea how some of my opponents are managing to run their slates, focus on their academics and have time for hobbies and friends at the same time. The fact that the other Presidential candidates have done this multiple times is truly mind-boggling, they must have crazy productivity routines.

Liza: I have a great deal of respect for everyone running in this election. 

Catherine Xu has impressive professional experience. She entered the presidential race at a late stage and has demonstrated strong leadership in bringing her campaign team together. 

Gareth Lim is an exceptional speaker and an extremely skilled debater. 

Hamza Hussain has a clear sense of purpose and has devoted a great deal of time to charitable work, which is always important in someone who wants to hold a position of leadership. 

Give an example of one debate and one speaker event you’d most like to hold in your term.

Catherine: As someone who’s worked in social impact and venture capital, I’d like to host a serious, solutions-focused climate debate: ‘This House believes decarbonisation should be framed primarily as an economic strategy rather than an environmental obligation.’ On speakers, I’d love to invite Sir Ronald Cohen. He’s widely regarded as a pioneer of impact investment. I think he represents a model of leadership we all can learn from: leveraging ambition and resources to help deliver real-world change. 

Hamza: One debate I would love to host is ‘This House believes the British education system is not fit for purpose’. The Union is a student society and should tackle issues that directly affect students.

A speaker I would really like to host at the Union is the Oscar-winning actor Riz Ahmed. I admire his reflections on diaspora identity in Britain.

Gareth: So many possibilities! I’ve always wanted to host a good philosophy debate that tackles the cynicism of our times. Not to mention we have access to so many good speakers for such a topic right here in Oxford.

Debate: This house believes that Morality is Objective.’ 

In terms of speaker events, I LOVE Cunk on Earth.  It would be cool to bring Diane Morgan to the Union. I can’t decide if I would like her to remain in character for the interview though…

Liza: For a speaker event, I would love to host Jamie Dimon, the CEO of JPMorgan Chase. As one of the most influential figures in global finance, he has played a central role in shaping discussions around financial regulation, economic stability, and the future of global markets. An event with him would provide students interested in business, finance, and public policy with valuable insight into leadership and decision-making at the highest level. 

For a debate, I would be interested in hosting a motion such as “This House Believes there is a better solution to government than democracy” which explorespolitical polarisation, and declining trust in institutions are putting pressure on democratic systems and raising questions about their ability to govern effectively in the 21st century.

How will you make the Union a more welcoming environment for ordinary members?

Catherine: By making the Union easier to enjoy without needing to be a “hack” or insider. That means: no more pre-debate disruption, more women speakers, and more events that feel social and accessible for members who want community, fun, mentorship, or opportunities and not just late-night politics. Think a play in the Chamber, alumni socials, and networking that ordinary members can actually use!

Hamza: Members care about interesting speakers and events that run smoothly. They do not care about factional politics. I believe the best way to create a more welcoming environment is to ensure governance is about the Union and not political manoeuvring. Members pay for events, not infighting. They deserve value for their money.

Gareth: To be Seen! The winning candidate for this election will be the President in MT 26. Michaelmas is arguably the most important term as it sets the tone for the rest of the year and for many members’ first term in Oxford. In that vein, I intend to hold as many Office Hours as possible to let members know that I’m willing to hear and understand their concerns. I think it’s especially important to have a President who’s willing to walk the ground and engage with ALL members. 

It’s just as important for a President who is capable of speaking clearly and confidently to communicate the Union’s direction to its members and to put their foot down when things get unwelcoming. As the 5th best speaker in the World, I believe that I have the requisite skill-set to give a confident and welcoming image to the Union.

Liza: First, we need to improve how the Union is perceived publicly. Members do not want to feel that they are walking into an institution constantly surrounded by scandal. We should actively highlight the positive work of the Union our debates, our speakers, and our intellectual culture which will naturally attract more members and participation.  

Second, communication matters. Members should know what is happening at the Union and feel invited to attend, rather than feeling that events are designed only for a small group of insiders. I would appoint more liaison representatives who could help publicise events across different communities and colleges and try to bring in more members who tend to be less involved. 

What will you do to protect members of the Union from racism and abuse, and make the Union a welcoming space for all members?

Catherine: Racism and harassment have no place in the Union. Free speech must go together with member safety and dignity. I’d strengthen trusted reporting routes, ensure fast and fair investigations, and make sure the Union actively supports members who face abuse, so the burden doesn’t fall on the person being targeted.

Hamza: As a British Pakistani, I am fully aware of the consequences of racism and how members of this Society can be unfairly targeted as a result of it. I believe that everyone, especially elected members of the Society, should be held to a high standard and be accountable for their words and actions. No one should be subject to personal abuse, intimidation or harassment.

During my time, concerns about racism in the Union have been raised repeatedly. Statements and motions alone are not enough. Members must have confidence that reports will be taken seriously and dealt with fairly. What is needed is a change in culture, led by the President, which creates mutual respect and understanding, allowing all members to participate fully in the Society.

Gareth: I intend to never work with racists or those who work with racists and to make strong statements condemning those who engage in such statements. This is a free speech society and members are entitled to their views, but that doesn’t mean that I’m not entitled to mine that I will never work with racists. 

This one really gets my goat. The Union has mired itself in scandal and declared itself racist umpteenth times but nothing ever changes! It all strikes me as deeply performative and tokenistic. 

The core issue is that many (not all) elected officials feel the need to get votes from those who hold problematic views to get elected. So they refuse to take a firm stance when it is absolutely the right thing to do. I don’t have this issue because I’m running as an independent and frankly don’t care enough to win future elections to sell my soul for it. That way, as president, I need only listen to my conscience and the members. 

On a separate note, it’s so important to nuance condemning those who do wrong and ruining people’s lives. I’ve seen first hand how quickly we smear those who might have spoken out of turn. This is, at the end of it all, a student society. We need to condemn those who do wrong, support those who do right, leave young people with the chance to grow and move on. 

Liza: Racism and harassment have absolutely no place in the Oxford Union. 

Racism must be called out clearly and without hesitation, even when doing so may be uncomfortable. At the same time, we need systems that allow concerns to be addressed properly within the institution. 

However, this also means ensuring that reporting processes are clear, transparent, and taken seriously, so that members feel supported and confident that complaints will be handled appropriately. No member should feel that the only way to achieve change is to expose issues through the media. 

Anything else you might like to add? 

Catherine: Elections shouldn’t be about drama: it should be about whether members can trust a candidate to make the Union work. I’m running to rebuild #TRUST: financially, culturally, and practically. I want [to] make the Union feel worth joining again.

Hamza: I chose to run for President because not doing so would be a disservice to those growing up in circumstances like my own who were not afforded the same opportunities that brought me here.

Gareth: Yes! You should vote according to who you believe is the best candidate and not what someone else told you. At some point either today or tomorrow (whenever this interview is released), you might be inundated with messages from those running for elections asking you to vote for them and those on their slate. If your friend is running, you should support them with everything you’re willing to give. But you should never vote for someone else just because your friend tells you to vote for them. Read ALL the Manifestos. 

I believe that my organisational experience, character and fresh perspective make me the best candidate for the Presidency. I hope to have your vote, but will be just as happy if you let your own voice be heard through your ballot! 

Liza: I have stood through many things that happened in the Union and have seen its effects and consequences. What I found is that the culture of the Union is built around the people who contribute to it. Together with my team, I want to inspire a culture of integrity among its people, I hope that the institution as a whole can improve as well.

Find the candidate’s manifestos here: 

Long Manifestos: https://bit.ly/40H03FE
Short Manifestos: https://bit.ly/4b9KOtY

Questioning the nation’s obsession with ‘Love Island’

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Introducing myself on the Cherwell Instagram page, I claimed that the Culture section is “about the media you consume outside of your degree”. For this to be true, it’s only fair that I dedicate an article to my occasionally borderline addiction to reality content. This article shamelessly considers the arguments for and against Love Island

My personal motivation for watching reality TV is definitely comfort: there’s something reassuring about the way the extremely familiar plotlines are edited to seem shocking. Unlike certain TV dramas which release a handful of episodes at a time, reality TV producers churn new seasons out once or twice a year, thereby removing the element of choice. I also like how they become a talking point – the final instalment of this year’s season of The Traitors, for example, drew 9.4 million viewers, and provided a point of debate amongst friends for months before that. 

Naturally, reality TV takes many forms, its less family-friendly iterations being romance shows (Love Island, Love Is Blind, Ex on the Beach to name a few). Especially in an environment like Oxford, where philosophical conversations are genuinely commonplace, watching these shows feels like a bit of a contradiction. As a 15 year old, gleefully discussing last night’s recoupling the next morning at school felt normal. A few years on, I’ve realised that it’s impossible to see these shows uncritically, and wondered if they can legitimately be seen as dangerous. My instinct to rely on them for comfort becomes questionable.

Shows like Love Island profess a commitment to contestants’ mental health that constantly falls short. Where The Traitors makes bumbling members of the general public complete tasks against each other, Love Island sees highly aestheticised young people compete for each other’s affections, with far more painful results. During each episode, ‘drama’ erupts, and scenes of women crying after the news that their partner of six days wants to ‘explore other options’ are accompanied by dramatically crescendoing soundtracks. Inevitably, the situation resolves itself, the contestants go to bed, and the cycle begins again. 

Recently, these formulations have begun to seem increasingly sinister. Last summer’s season (series twelve) saw a particularly high number of viewers and a particularly high number of Ofcom complaints. In the context of a media landscape where voices like Andrew Tate’s are becoming more popular, certain Love Island scenes start to feel slightly chilling. The season highlighted the ability of articulate older men to encourage lost younger men to turn to misogynistic modes of seduction. Viewers noted how contestant Harry Cooksley, the eldest in the villa at 30, made it his personality not to commit to any of the girls. He spoke about them in largely objectifying terms and jokingly ‘taught his ways’ to younger contestants such as Harrison Solomon. Solomon’s behaviour ( breaking ties with contestant Lauren Wood shortly after sleeping with her) in turn led to 221 Ofcom complaints  in response to a single episode. No action tends to be taken by Ofcom in relation to the comments;: the watchdog argues that Love Island is beyond criticism because it does not frame the men’s behaviour in a positive light. 

Reality TV as a genre does not always create such controversy. I’d say Love Is Blind is viewed as a much more humorous, wholesome version of the show, in which contestants’ external appearance is (rightly), deprioritised. When it seems to be creating harm rather than good, there is an argument that Love Island needs banning altogether. 

The issue with this statement is that it is not directly the fault of the show that the men act that way. Love Island survives because of its high viewership. Its popularity has intensified rather than decreased now that short-form content is so popular: influencers make careers out of dissecting each episode. The producers receive almost 100,000 applications per season: while complaints continue, young people are still keen to get involved. Producers have become more creative with how they find contestants, going as far as to walk up to people in nightclubs. This tells us that people see themselves in the contestants and romanticise what the show could bring them. The ideals it represents are therefore ones that resonate with today’s youth.

Someone once joked to me that Love Island is a social commentary; given its huge popularity, I think this has validity. In context, they were justifying watching a show that is framed as such a ‘guilty pleasure’. Perhaps it retains its standing because it is in fact familiar – it magnifies the relationship worries that young people feel day to day. If the show’s misogyny is so apparent, we should assume not that the producers encourage it, but that these are attitudes towards women which are acted upon every day in society. If a man behaves this way on camera, one worries about how they talk behind closed doors. As much as we’d like to see reality TV as a falsified ‘bubble’ in which feelings are expressed in their most extreme form, the intensity of emotion expressed on Love Island can reveal how young people see relationships. Any superficiality within that is an issue wider than the show, and one which needs addressing. 

On Afghanistan, Ukraine, and honorary degrees: Christina Lamb is a story-teller like no other

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Christina Lamb started her career as the Cold War was ending. She saw the fall of dictatorships in eastern Europe and Latin America, and the end of apartheid in South Africa. “It felt like things were going in the right direction”, Lamb tells me. But in all her 38 years as a foreign correspondent covering countless conflicts –  from Libya and Iraq, to Afghanistan and Sudan – “the last few years have been the busiest”. Reflecting on Ukraine, she said: “I never imagined that I would be covering major land war in Europe.”

Lamb always had a passion for storytelling. She came to the University of Oxford in 1983 to study Chemistry at University College, a course “which I hated”. Smiling over her menu at the Queen’s Lane cafe, Lamb tells me that, initially, she was unable to change subjects, “but after the first year exams they were quite happy for me to switch”. 

Cherwell was a big part of Lamb’s time at Oxford. She edited Arts and News before becoming the paper’s Editor-in-Chief. Lamb initially wanted to switch to Philosophy, Physiology, and Psychology (PPP), but her tutors presented her with an ultimatum: she could switch to PPP, but only if she stopped her work at Cherwell. “It seemed wrong”, Lamb says. “Part of [going to] University is doing other things and I didn’t see why I should have to give it up.” So she changed to Philosophy, Politics, and Economics (PPE) instead. “PPE didn’t care that I was doing Cherwell.” I’m sure our current editor can attest to this.

Of her own admission, “I didn’t know anything about journalism when I came here. I was always interested in stories but not really the news”. But an invite to Cherwell’s infamous cheese and wine parties (an event of the 1980s which I personally believe should be revived) introduced her to the student paper. “Different editors spoke and talked about what they did. I thought ‘I really like writing and I’m really curious about people’ so it seemed like something that I wanted to do.”

When I meet with Lamb she is visiting Oxford to receive an honorary Doctorate of Letters as part of a special ceremony to mark the Chancellor’s first year in office. Lamb was the first in her family to attend University, so, for her, attending Oxford was “already very special”, and when she was contacted about an honorary degree she was “astonished”.

Lamb gave me a snippet of her recent travels before returning to Oxford. “My life’s kind of crazy”, she says. In the weeks before the ceremony she had been reporting from Iran, Ukraine, and the Chad-Sudan border. It was whilst reporting in Ukraine, only a few days ago, that she realised she didn’t have anything to wear to the ceremony’s black-tie dinner.

But, as luck would have it, she was returning to her car in Kyiv after visiting Maidan Nezalezhnosti (also known as Independence Square) when she spotted a green dress in a shop window. “Within ten minutes I bought it”, she says, “but it felt very odd because I’m in a war zone carrying all my body armour but now I’m also carrying this designer dress”. Such is the life of a busy foreign correspondent.

Reflecting on what the honorary doctorate meant to her, Lamb tells me “sometimes you feel like ‘what’s the point of doing this?’ You’re taking a lot of risks, putting other people at risk, and it doesn’t feel [like] you’re making a difference.” So, for Lamb, Lord Hague’s recognition of her work was “particularly special. It was kind of recognising all of those people that I write about – that it meant something”.

When Lamb first graduated she thought she was going to be a novelist: “My plan was to spend a couple of years doing journalism, preferably abroad, so I could have some adventures and make a bit of money. I wanted to rent a garret where I could write my novels.” But what started as a weekend invite to a wedding in Pakistan became the beginning of a life-long career.

Lamb fell in love with Pakistan and moved to Peshawar, near the Afghan border. Several newspaper editors said they would be interested in articles featuring Afghanistan, which was under Soviet occupation at the time. The conflict was covered mainly “by freelancers because it was considered too dangerous to be done by staff”.

She quickly learnt that Afghans are amazing storytellers. “So many of the people that I met were totally illiterate, but they have this great oral tradition.” Lamb said she was “fascinated and I thought, ‘I can’t actually make up stories like this – these are really interesting’. I’ve been a journalist ever since, telling other people’s stories. I feel very lucky”. Lamb has visited Afghanistan dozens of times since, earning a reputation for her focus on the effects of war on women and the use of rape as a weapon. 

Initially she didn’t think she was doing anything differently. But, after a while, she became more conscious that, in her words, “there weren’t many people writing about women”. She wondered “why is the paper only full of pictures of men? Why aren’t we writing about women? They’re half of the population and actually in a lot of these war zones they are the ones trying to protect and educate children. We should be writing about what happens to them”.

She tells me that she feels “heartbroken about what’s happened in Afghanistan”. For Lamb, the withdrawal of Western troops in 2021 was inevitable, but “it was the way that it was done, so precipitously” which was problematic. “It will be five years this summer since the Taliban took over… I don’t hear anybody talking about Afghanistan and I find that difficult to understand”.

Life in Lamb’s field isn’t easy. “I basically see the best and worst of humanity.” But, she remarks, “in most places you find really inspiring people.” For Lamb, Ukraine is no exception. “Ukrainians get annoyed about this now”, she says, “because everyone goes on about the resilience of Ukrainians. It’s probably irritating for them. But it is true”.

During Lamb’s most recent visit to the war-torn nation, the temperature hit a staggering -21 degrees celsius. But in a country where “a lot of people don’t have electricity”, people “want to show that they’re having a normal life”. Lamb described busy restaurants, theatres, and discos.

Unlike much war reporting, Lamb’s work often focuses on life away from the frontline. In Ukraine this is partly because “you can’t go anywhere near the frontline now because of the drones”. But in general, Lamb is keen to emphasise that war isn’t all about combat: “People often think there’s war and everything stops. But in fact people still go to work, get married, have babies, and go to school. All of that still happens.”

Our meeting coincides with the fourth anniversary of Russia’s full-scale invasion of Ukraine and I was keen to hear Lamb’s thoughts on how things have changed. “Four years is a long time”, she remarked, “people are very tired. Every night there’s air raid sirens and your sleep is constantly broken”. She added that “people don’t particularly see an end” to the war. “Nobody believes that Putin has any interest in peace.”

Setting her teacup down gently, Lamb’s expression became particularly serious. She emphasises that “the nature of war has changed enormously which is something I think people don’t necessarily understand. They’re still thinking of how war used to be with tanks and guns, and it’s not. It’s a totally high tech drone war”.

Although the trenches which stretch along the frontline make it “kind of look like the First World War”, there are also “people sitting there with joysticks, almost like a computer game. It’s just very different. It’s how warfare will probably be in the future. We’ll have a lot to learn from Ukraine and it’s changing all the time”.

Whilst Lamb describes Ukraine as “extremely different” to any war that she’s covered before, some things don’t change. “Like most of these wars”, Lamb tells me, “women and children are often the victims”, and Ukraine is no different. She says that “we have seen Russians using rape as a weapon” and “domestic abuse increasing because a lot of the men fighting are often traumatised and sometimes take that out on their loved ones.

“Even if the war were to end today, which would be wonderful, there’s so much destruction and trauma. Nobody really knows what it will have done to the children to have gone through this. It’s hard to be very positive.”

With the conflict entering its fifth year, I was interested in how Lamb keeps stories like Ukraine alive. As she laments, “most of what I write is very depressing. You can’t keep endlessly depressing people or outraging people”. 

So what do you do? Lamb admits that “it isn’t easy”, but “that’s our job, to find ways to make people interested”. Throughout her career Lamb always used to think of her mum as her reader “because she was somebody who didn’t know that much about the world. So I would think ‘is this something that would interest her, make her read something?’ Why should she care about Afghanistan, for example?”.

In order to keep stories alive, Lamb tries to approach them from different angles. When writing about Gaza, she got in touch with Gazan students who held offers to study at UK universities. “We sort of campaigned for them”, she said. “I went and spoke to some of them and it was a good way of writing about what was going on… if I’d just written a story about the horrors of Gaza some people might have just switched off.”

We live in an unprecedented era of conflict. There’s never been so much fighting this side of the Second World War. So I was also interested in how Lamb chooses which conflicts to cover and which stories to tell. “Sometimes something happens and so we sort of have to go. If someone’s just invaded a country or something – then it’s just reacting”, she says. 

Other times, “like with Sudan, we haven’t reported on something for ages so it’s good to go there and see what’s happening. I feel like that about the West Bank at the moment. I’ll probably go there fairly soon because there’s been all this focus on Gaza, but the situation in the West Bank is also shocking. I went and did something maybe 18 months ago but it’s been a while now and it’s gotten worse”.

One of the many things that Lamb has learned over the past 38 years is to “never go anywhere thinking that I know what the story is”. 

Of course, sometimes “people will say ‘where are you going? What’s the story?’”, but “I always think when you get on the ground, it’s there that you know”. Fortunately, Lamb reflects, “my editor is very supportive”. But she notes that that’s not always been the case. “I’ve had struggles in the past”, she says, “when I started there were very few women doing what I do”.

Reflecting on her career and the changing dynamics in global politics, for her, “it does feel like a different time”. She notes that “things that we’ve been used to – assuming that the United States was our trusted ally – we can no longer assume”. She describes being “at the mercy” of the White House with few people having any idea of what’s coming next.

“Sadly we’re seeing a lot more autocracy, a lot of democracy being rolled back”, she says. “It doesn’t feel like the world is in a good place.” But despite these turbulent times, Lamb emphasises the importance of having “confidence in doing what you believe in”, telling me we shouldn’t be “pushed into things because you feel that’s what society expects of you”. 

With a nod to her own journey, she remarks: “I just really believed that I could write and that I would find interesting people to write about. Everybody has a story. It’s just a matter of having the patience to sit and listen, to care.”

War within earshot: A year abroad in Jordan

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“I think there’ll be a war. Perhaps we’re all going to die”, my Arabic teacher announces as the engine-roar of an American fighter jet causes the walls to shudder.The class erupts with a loud, anxious laughter.

“It’s okay, we can all die together!” she says with a grin, giggling at our shock. Normally, she teases us for our absences or tardiness. She is kind and maternal, sometimes bringing us biscuits or dates. Today, her tone surprises me.

Coming to Amman for my year abroad brought the usual culture shock: new weather, new rhythms, new social codes. What I hadn’t expected, however, and what even frightened me at times, is the ambient inevitability of conflict that permeates daily life.

We are nothing if not in a bubble at Oxford. We use the word “crisis” to refer to writing our essays last-minute. Last year, during term time, my life revolved around my work. The gravest things that could possibly happen to me was that I could sleep through a morning rowing outing, perhaps I’d turn in an essay late, or forget to return a library book. I stopped checking the news, simply because I had the privilege of being too busy for the outside world. Here, I hold my breath as I read the headlines each morning.

At the time of writing, Trump had been threatening American military intervention in Iran for several weeks. Due to its precarious location between the two conflicting nations, the result is an invasion of Jordanian airspace – the country being dragged, against its will, into a proxy war for the second time in under a year. The last time this happened, I was preparing for my Prelims when my year abroad plans had been thrown into the air without warning.

Last June, Iran and Israel engaged in a brief and intense exchange of direct and proxy strikes during the Twelve Day War. Shrapnel fell in Jordan and air raid sirens blared, while the glow of American, Israeli, and Iranian missiles could be seen from rooftops across the Jordanian capital all the way to Beirut. I felt certain that I wouldn’t be coming to Amman as I had originally planned – but when the war ended on only its twelfth day, I was reassured by both classmates and tutors that everything would be fine. Fast forward to the present, and my entire cohort is currently studying in Jordan.

The first time I heard an F-15 jet was last October. Some classmates and I were sitting on a  street-side balcony in Downtown Amman, tasting Knafeh – a sweet, syrupy, Palestinian dessert – as the warm autumn sun shone down on us. Then it came. Though I had never seen a plane fly so low, low enough to darken the entire street with its shadow, the sight of it was nothing compared to the horror of the sound.

The sound of an F-15 is unmistakeable. In fact, I have been counting them. I used to hear them once a week at the very most. Now, I hear them at least three times a day. Even now, as I write, I hear one flying overhead. As they rip through the air, I think: “Keep going. Pass us by.”

Until a few days ago, I did not know the sound that would come next. I only hoped for the engine’s roars to fade away. On the 28th February, the US and Israel launched missile strikes on Tehran. In retaliation, Iran struck American military bases across the Middle East, including Jordan. Sitting on my bathroom floor, air sirens blaring, feeling the ground lurch with the crashes of intercepted planes, I was not certain they would ever stop.

On the 2nd March, Jordan announced partial airspace closures. I read this news in my break before class. Around half an hour afterwards, the air raid sirens started again and I had to take shelter in the library. Sat on an office chair between the bookshelves, away from the windows, I felt some of the biggest crashes yet. They were close enough for me to hear the ambulances racing to the scene.

I decided to go for a swim after the ‘all clear’ alert. Even though the women’s pool is underground, around my sixth lap, I began to hear the unrelenting crashes of intercepted missiles once more.  I dove beneath the water and sat at the bottom of the empty pool. Silence. Between the unwavering air raid sirens, the continuous crashes of missiles hitting the ground, the low thunder of American jets racing to Iran, and the near-constant patrol of the Jordanian Air Force; with my breath held and my eyes closed, I realised just how long it had been since I had the pleasure of hearing nothing at all. 

A few hours later, I booked a flight home for 4th March. Almost all flights out of Jordan have been cancelled. My flight cost me over five times more than I would usually pay. I have spent every penny I have saved, but I need to get home. At the time of writing, I have no idea if this flight will be cancelled too.

In Oxford, war is only ever theoretical. It is something discussed in tutorials, analysed in essays, and debated in the Union chambers. Here, it is infrastructural. When my teacher jokes that we might all die together, we laugh. Beneath the laughter, there lies recognition. She has lived her entire life within earshot of other people’s wars. I have not.

I think of my other teachers here in Jordan: one of whom is a Syrian, who spent three years in prison, where he was beaten for opposing his government. He and his wife – also a teacher of mine – are here because Jordan is the safer alternative. Like millions of others, they did not come by choice. I think of my grammar teacher, an elderly Jordanian woman, who called her sister fearfully when two jets interrupted class within minutes of each other. I think of my late father, an Iraqi who assumed an Irish name when he came to the UK to better integrate – and, I suppose, to forget. In our house, the news would play on a continuous loop. Now, I understand why.

A large part of my decision to study Arabic is owed to my father’s passing. Having now experienced life in the Middle East, including its wars, I now understand him far more than I ever could have anticipated.

When I arrived in Oxford, we began learning Arabic from Al-Kitaab – the standard textbook used in universities. One of the first words we were taught was “United Nations”. We could barely introduce ourselves, yet we were already pronouncing the language of international diplomacy. As the chapters progressed, the vocabulary darkened: “to decapitate”, “bullets”, “martyr”. I remember finding it faintly comic, as though the syllabus had skipped the banalities of daily life and leapt straight into the Security Council. We laughed about it then, a group of slightly overwhelmed first-years conjugating verbs relating to political violence. Only later did I learn that Al-Kitaab was originally designed for American diplomats. Its vocabulary no longer feels random. Just two days before the first US and Israeli strikes on Iran, American officials were describing recent negotiations as constructive and promising. As jets pass overhead and air raid sirens interrupt class, I am struck by how quickly the language of diplomacy collapses into the language of violence. The same textbook that teaches us to say “peace negotiations” also teaches us the verb “to be killed”.

I used to think of safety as an invisible constant, something so guaranteed it did not require acknowledgement. Now, I know it is a privilege – and a fragile one at that. I no longer scroll past headlines. The past few weeks, I have read them with the uneasy knowledge that they may determine whether I would remain here, or whether my year abroad would once again be suspended mid-air. I do not feel safe in Jordan anymore. The FCDO now advises against all but essential travel to Jordan and all Oxford students are now required to evacuate the country. In the worst case scenario, we are simply returning home to the UK. My teachers are not afforded this same privilege.

That said, Jordan is so much more than its geopolitics. Despite being so far away from Oxford, I really was beginning to feel at home here. In the early evening, the city softens; the swallows arc between the concrete rooftops, the call to prayer folds into the hum of traffic, and the hills glow pink under the sunset. Amman is erratic and sprawling, but it is alive. Shopkeepers press extra sweets into your hand. Taxi drivers insist on conversation. Strangers offer directions before you have even asked. The people possess a kindness that persists through the worst, regardless of what passes overhead.

Life continues with a startling normality. My teacher still brings biscuits. My classmates still complain about homework. Downtown Amman still smells of cardamom and diesel and sugar syrup. There is Knafeh to be eaten, exams to revise for, birthdays to celebrate. The jets pass overhead, and someone inevitably rolls their eyes and says, “again?”.

We continue conjugating verbs.

Home Furniture News: Latest Trends, Reviews & Design Inspiration

Whether you’re refreshing a tired living room, sourcing materials for a bespoke commission, or simply keeping an eye on what’s shaping the world of interiors, there has never been a more exciting time to follow the home furniture industry. From sustainable sourcing to the resurgence of handcrafted joinery, the sector is evolving rapidly — and we’re here to keep you informed every step of the way.

The Rise of Sustainable and Natural Materials

Sustainability is no longer a niche concern — it has become a defining force in how furniture is designed, manufactured, and sold. Consumers are increasingly asking where their pieces come from, what they are made of, and how long they will last. This shift has put natural materials such as solid oak, reclaimed pine, rattan, and linen firmly back in the spotlight.

Furniture makers across the UK are responding by moving away from flat-pack, composite materials and investing in longer-lasting, responsibly sourced timber. The result is a market that prizes longevity and craftsmanship over cheap convenience — a trend that benefits both the environment and the end consumer.

Interior designers are also taking note, specifying natural stone surfaces, hand-fired ceramic handles, and woven textiles as part of schemes that feel considered rather than clinical. The idea is not simply to decorate a room, but to curate a space that will age gracefully.

Colour Trends: What’s Dominating British Interiors Right Now

After years dominated by grey and off-white palettes, colour is making a confident return to British homes. Deep forest greens, warm terracotta, and navy blue are appearing on sideboards, upholstered chairs, and kitchen cabinetry alike. These richer tones work particularly well alongside natural wood finishes, creating spaces that feel warm, layered, and personal.

Softer earthy tones — think raw linen, beeswax yellow, and dusty sage — continue to hold strong appeal for those who prefer a more restrained approach. The key shift is that neutrals are no longer expected to be cool or stark; instead, warmth and texture are now the priority.

For furniture makers and retailers, this means a growing demand for custom finishes and bespoke colour matching. Customers want pieces that feel unique to their home, not pulled from a generic catalogue.

The Craft Revival: Bespoke Joinery and Made-to-Order Pieces

There is a palpable revival of interest in traditional craftsmanship across the furniture industry. Dovetail joints, hand-carved details, and mortise-and-tenon construction — once considered old-fashioned — are now being celebrated as marks of quality and authenticity.

Small independent workshops are thriving as homeowners seek out pieces that cannot be replicated by mass production. Bespoke kitchens, fitted wardrobes, and one-off dining tables are all areas of significant growth. For tradespeople operating in this space, having access to the right materials, tools, and finishing products is absolutely essential.

Platforms such as CWorkshop are well positioned to support this community, offering a broad range of products and services tailored to furniture makers, interior designers, and general builders who need reliable access to quality trade supplies and specialist resources.

Smart Storage Solutions for Modern Living

As more people work from home and living spaces are asked to perform multiple functions, intelligent storage has become one of the most sought-after elements in contemporary furniture design. Ottomans with hidden compartments, wall-mounted shelving systems, and modular units that can be reconfigured are all seeing strong demand.

Designers and makers are rising to the challenge by incorporating concealed joinery, pull-out mechanisms, and integrated cable management into their pieces. The goal is furniture that is entirely practical without compromising on visual appeal — a difficult balance to strike, but one that defines the best work being produced today.

For smaller homes and urban flats in particular, multi-functional furniture is no longer a compromise. It is a considered design choice that reflects how people actually live.

What to Watch: Key Developments in the Furniture Industry

Looking ahead, several key trends are set to shape the direction of home furniture over the coming year. The circular economy is gaining real momentum, with more brands offering repair services, take-back schemes, and refurbishment programmes as alternatives to disposal. Upholstery revival is another area to watch — reupholstering existing pieces rather than buying new is becoming a popular and environmentally conscious choice.

Technology is also beginning to play a greater role, with augmented reality tools allowing consumers to visualise pieces in their homes before purchasing. For retailers and designers, this is changing the way products are presented and sold online.

Finally, the integration of biophilic design principles — incorporating natural light, organic shapes, and living plants into interior schemes — is influencing furniture design at every price point. The boundaries between indoors and outdoors are becoming increasingly blurred, and furniture design is evolving to reflect that.