Friday 20th February 2026
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‘Fresh energy’: Corpus Christi’s Owlets on their revival

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Owlets, Corpus Christi College’s drama society, has existed since the 18th century. Until COVID, Owlets was incredibly active, producing regular shows both in Oxford and at the Edinburgh Festival Fringe. Cherwell sat down with Clara Woodhouse, Owlets President, to discuss their resurgence.

“[Owlets was] properly big scale. Then, lockdown happened and kind of nerfed it,” says Clara.

Cherwell’s online archive holds two positive reviews of pre-COVID Owlets productions. Shakespeare’s As You Like It was directed by John Retallack and Renata Allen back in 2017. A playful, original satire, for legal reasons titled Redacted Arachnid, was put on in 2019. Redacted Arachnid was described by the reviewer as “one of the most enjoyable things I’ve watched all year.”

Post-COVID, Owlets was no longer producing its own shows, let alone staging original scripts. It did, however, continue to fund external productions, such as Analogia Productions’ Suddenly Last Summer in Trinity 2025. Clara’s predecessor, Logan Allen, told Cherwell: “after lockdown, the society seemed to slump […] it never waved the Owlets’ banner.”

Owlets made its “re-debut”, to borrow Clara’s words, in Trinity term 2025: a production of Euripides’ The Bacchae, with Logan Allen at the helm as President. Inevitably, with an inexperienced team attempting to resuscitate the poor dying Owl(et), there were some… hiccups. Saul Kesteven, actor and Owlets Treasurer between 2024 and 2025, calls the final result “an accidental comedy.”

“We had last minute substitutions, cast members dropping out the day before […] all sorts of technical and logistical issues which we didn’t have the experience to predict,” says Saul. “Originally, I was not intending to take an acting role [but] I ended up filling in the roles of Tiresias and a member of the chorus, something which I ended up enjoying immensely.”

The Bacchae was… something,” says Logan. “Very much our first pancake. It still did well financially, but we were all going in blind. It was a key learning experience for the whole committee and a starting point for what can hopefully be a revival of Owlets. [As President,] I wanted to reignite Owlets as a uni-wide drama name.”

After The Bacchae, it seemed like the revival might be over before it really began. “It seemed like Owlets was going to fall flat on its face moments into us bringing it back,” Saul explains. “Many of us on [the] committee were set on dropping it as soon as The Bacchae was done.” 

Instead, realising they “actually had a lot of fun”, the team committed to another production in the new academic year. In MT25, Owlets put on Shakespeare’s Richard III. “We’d already been through the fires of a fairly poor production and come out stronger for it,” Saul recalls. “We also had a variety of more experienced cast and crew members, including Clara [director of Richard III], who were an immense help.”

For Logan, who played Richard, there were still some challenges. The big problem? “The lines, mainly. I was definitely overconfident,” he recalls. “Our dress rehearsal was awful.” Regardless, Richard III brought a fresh energy to Owlets. “It set a precedent for what Owlets can do on a relatively small budget, and [it used] a majority Corpus cast, many of whom had not acted before or only had little experience.” 

One such Corpuscle was Nicko Lawrence. The first-year Classics student played Edward IV, and described how responsive Owlets was to scheduling demands: “The team involved in the production was incredibly flexible concerning the demands of our degrees.”

Owlets isn’t just for Corpus students: Clara highlights that anyone can audition for Owlets productions. Plus, a recent change in the constitution has meant that now only 50% of the committee must be Corpuscles.

In Trinity term 2026, Owlets will put on Tennessee Williams’ The Magic Tower. Clara describes “the disconnect” between the “dreamland escape” of Jim and Linda compared to their actual experience of abject poverty. “We’ve got a good vision,” she teases. “I want to keep tackling new things. We’ve done a Greek tragedy. We’ve done Shakespeare.” Owlets is keen not to get into a rut, so it seems.

When it comes to advice for anyone keen to get involved but unsure where to start, Clara says it’s about putting yourself out there even when it’s scary. “Just get involved and get applying for things,” she says. Describing the first time she applied for a crew role, she recalls: “I was so nervous. But everyone was so happy to help.” Corpus Christi students are offered more specific advice: “For Corpuscles, literally just send me a DM.”

On the future of Owlets, Clara sees things as a lot less bleak than post-Bacchae. “Everyone is quite keen for Owlets to be revived,” says Clara. Interest has been registered by Corpus alumni, who have fond memories of watching and performing in Owlets productions. “It comes with a lot of pressure. It’s [all] these years of history and it’s sat,” she puts her hands on her shoulders. “Here.”

Clara might be nervous, but it appears that Corpuscles have full faith in her. “I’m really excited to see what Clara and her new committee have planned,” says Saul. “It is likely that the next Owlets production takes a completely different approach, which I am very excited to see.”

Logan describes the Owlets’ ethos as one which balances quality with fun. “[It’s] a student drama group that is enjoyable and [puts] on developing productions whilst not taking itself too seriously all the time.” Logan embodied this as Richard during Richard III. As closing-night audience members may recall, Logan once improvised a shirtless fight scene. “We want to put on good, enjoyable productions, whilst also not expecting everything to be perfect […] there’s a playfulness in what we put on. They’re often passion projects for the committee.”

Logan’s goal as President was to build a new foundation for Owlets, centred around the Corpus community. “I think a lot of my time was, hopefully, setting a groundwork that can take Owlets into a positive direction,” says Logan. 

On his successor, he’s nothing but lauding. Clara joined Owlets as Secretary in Hilary term 2025, but immediately became a standout contributor. “She had already worked on productions with OUDs before and her experience was incredibly helpful,” Logan explained. “I have no doubt she will bring success to [Owlets].”

Oxford University and Google expand AI partnership

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The University of Oxford and Google have announced a major expansion of their collaboration to embed advanced artificial intelligence tools across the University’s academic and administrative activities. Following a successful pilot, Oxford is now rolling out enhanced access to generative AI models, including Gemini for Education and NotebookLM, to students, faculty, and staff. The full rollout will begin this year. 

The initiative builds on a six-month pilot involving hundreds of University academics. During this period, participants presented case studies on using Gemini Pro, NotebookLM, and Google AI Studio to support work ranging from structured documentation and research to technical problem-solving.

Under the new arrangement, Oxford’s colleges and departments can secure Pro licences through their Google Workspace for Education accounts, giving users access to more features such as Deep Research, an AI assistant capable of developing multi-step research plans, scanning hundreds of sources, and synthesising findings into detailed reports with citations. The University emphasises that all AI tools will be made available within its secure enterprise environment, a key factor for protecting data and ethical use.

A central component of the collaboration is Gemini for Education’s Guided Learning mode, which is designed to promote “deep understanding through probing questions and tailored, step-by-step guidance rather than simply providing an answer”. This feature reflects a broader shift in AI integration: rather than replacing traditional study methods, tools like Guided Learning act as interactive companions that help users engage actively with material.

Oxford’s Head of the AI Competency Centre, Alwyn Collinson, said the tools will help ensure researchers and students can “harness AI’s potential to accelerate high-impact research, facilitate breakthroughs, and drive innovation” while using the technology “safely and responsibly” for study and work.

Ruth Chang: ‘If we keep going down this road, we are definitely going to get AI misalignment’

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How do we make hard choices? Not the choices which are hard for us to make – because the right choice is psychologically difficult – not choices between options which we have incomplete information about, or choices that are incomparable. No. Hard choices are decisions between options neither of which is better, nor are they equally good. Let’s say, should I become a commercial lawyer or a philosopher? These options – in the words of Professor Ruth Chang – are on a par.

Chang is the Chair and Professor of Jurisprudence at the University of Oxford and a Professorial Fellow of University College. Law students will be familiar with some of the previous holders of her post at Univ: H.L.A. Hart, Ronald Dworkin, John Gardner. Before coming to Oxford, she was Professor of Philosophy at Rutgers University in New Jersey, United States. She has held visiting positions at Universities of California, Los Angeles and the University of Chicago. She holds an AB from Dartmouth, a JD from Harvard, and a DPhil from Oxford, during which she held a Junior Research Fellowship at Balliol. 

We had lunch in Univ’s beautiful SCR on a soggy Wednesday in the middle of Week 3 Hilary, where I had some chicken and potatoes, and a very delicious chocolate pudding.

“Take this pudding you’re eating”, she says. “What’s another dessert that you really like?” “Strawberry ice-cream”, I said. “Let’s imagine I asked you to choose between these two, what would you do?”, I’m not sure which I would pick. Neither seem to be obviously better than the other. Yet, Chang says, it also cannot be that these two desserts are equal in tastiness. Contrary to what some philosophers say, it does not seem right that we should simply flip a coin. These two desserts, then, are on a par. As there is some qualitative difference between them, I’m not simply able to say that one is better than the other.

This may seem intuitive. However, if she is right, the implications of her theory are enormous. 

“Our entire landscape of normativity is wrong”, she tells me. Everything from ethics, law, to economics rests on this fundamental assumption of “trichotomy”. That, given two values, one must be better than, worse than, or equal to the other. This might be true of quantities such as lengths, weight, and volume, but it is not true of values. Chang says we should instead be tetrachotomists, that we should allow the possibility of parity alongside greater, equal to, and less than.

What does this all have to do with AI? To understand the implications of her work, we must first understand what is known as the Value Alignment Problem. In other words, how do we make sure AI is not misaligned to our values? To grossly oversimplify, researchers are having a hard time making sure that AI systems behave in an appropriate way. For example, having been told it will be removed, Anthropic’s Claude resorted to blackmail. ChatGPT appears to amplify global inequalities. xAI’s Grok has continued to generate non-consensual sexualised images despite curbs. The most extreme example is that, one day, these models could be used to make weapons of mass destruction (if they are not capable of it already), and AI companies are struggling to make sure that they won’t. 

The goal, therefore, is to make sure that AI systems, as they get increasingly powerful and intelligent, have the same values that we do – values like honesty, compassion, fairness – and respect us and our lives so they won’t come around to destroy our world. This might all sound fanciful and sci-fi-y. However, the risk is real. It is serious enough that loss of control of AI systems was included as a potential threat in the Security Service’s (MI5) annual threat update in October of last year. Philosopher Nick Bostrom has called it “the essential task of our age”.

Chang doesn’t pretend that she has the solution to the entire problem. “No, what I’m working on is a very small part of it.” But she’s not optimistic about the current trajectory of AI research. “If we keep going down this road, we are definitely going to get AI misalignment.” Why? Because current AI systems fundamentally assume value trichotomy, she explains. They don’t recognise hard choices, and they simply force a solution, which may not be the solution that we want or that we would have made. 

I push back on this. I ask her, “okay, let’s say you’re right. But even in this misaligned world, isn’t it true that the AI will only make ‘misaligned’ or bad decisions in hard cases, and its decisions will be fine in most cases, or the easy cases?” But that’s not right, Chang replies. “Think of your parents.” We’re both Chinese. “Your parents, whilst well-meaning, might have this idea of who you are and what type of person you should become: you should grow up to be a doctor and make lots of money and make your family proud, you should marry this girl, or you should move to this city.”

It’s not that these are bad choices. Indeed, if the options are on a par, it would not be irrational for us to choose either. Rather, it is that we would not be living up to our fullest potential if we simply listened to our parents on everything: we are in some ways sacrificing our rational agency. Instead of fullest versions of ourselves, we would be the version of ourselves that our parents want. This might be okay, but it is certainly not a good idea if we swap parents for AI. When options are on a par, forcing a ranking is itself a kind of value distortion; and acting on that distortion at scale becomes misalignment. 

Chang insists this isn’t all doom. “Even though it is going to be expensive, there is a way to fix this.” How? She explains that we need to teach the models to first recognise hard choices, and to present them to us. The technical details are unimportant here, but she says that “the fix to design so that AI recognises hard cases is a necessary fix for alignment to be achieved”. Once we are presented with these choices, how are we to choose? After all, isn’t the whole point that these choices are hard? 

“Commitment”, Chang says. By committing to one of the choices of two that are on a par, we are able to generate reasons which weigh in favour of one option over the other, even if the objective reasons ‘run out.’ Once I am committed to becoming a philosopher, I have more reasons to be a philosopher than a lawyer by virtue of that commitment, which itself creates a (will-based) reason. We are able to do this, Chang says, because of our rational agency. Machines, however sophisticated, can’t exercise that normative power for us. We don’t have to commit, however. We can also just drift into a choice of least resistance. “But that would be a shame”, she says. 

I then asked her, if Sam Altman (CEO of OpenAI) walked into the room right now, what would she want to tell him? “The fundamental structure of these models are wrong”, she explains. They need to recognise that values, unlike things like lengths, can be on a par; this requires a fundamental rewiring of their architecture. “Think of it this way”, if we made these models without the possibility of equality, so that one choice always has to be better or worse than the other, we would obviously change their structure so that it recognises that sometimes two options are equally good. If she is right about parity, then we should make the same sacrifices, no matter the cost.

From topping charts to ‘The Traitors’: An ode to Cat Burns

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The hilariously chaotic new season of The Traitors made me reflect on the celebrity version, and my personal favourite contestant, singer and songwriter Cat Burns. I remember being excited to see her on the line-up as she’s made my Spotify Wrapped top 10 multiple times now, and I liked the idea that a stint in the castle would enhance her fame. 

It was interesting to witness her in a reality TV show given the highly personal nature of her songs. Naturally, everyone interprets her lyrics according to their own experiences, but her songs in particular manage to spell out the way personal relationships affect her, while at the same time aiming for universal relatability.When interviewed, she is candid in explaining that her best music arises from her worst days. It was interesting, therefore, to watch her on The Traitors so poker-faced.

What I like about Burn’s lyrics is that they are not subtle. They outline typical student and young adult experiences without quite reaching the manic candour of Lily Allen. Rather than cloaking the song’s meaning in flowery language (which other similar pop artists fall prey to, sorry Taylor Swift) it feels like crystallised thoughts come straight out of her head.

Burn’s fame originated from her track ‘go’, which narrates her rushing over to a guy’s ’uni hall’ to find out he “f*cked up on a night out” – it starts blunt and no-nonsense and devolves into a really quite sad section about her concerns about meeting someone new. She has an equally candid song on the same album, ‘people pleaser’ in which she essentially self-therapises about her tendency to form opinions based on what others want to hear. It serves as a kind of wake up call for anyone who acts in the same way, as she is so clear with what that means for her: “When you say something’s wrong, I just want to make it better”. 

A common theme in her music is finding comfort in the things you still have after loss. The songs come across as if she’s trying to tell herself and her listeners that it will be ok. Naturally, this is not unique – songs in general are more likely to deal with pain than joy, and Cat Burn’s ‘indie pop’ genre is crowded with sadder lyrics (look at Olivia Dean’s The Art of Loving, for instance). Her music stands out because she pairs raw depictions of her own emotions with straightforward advice, as if she’s reflected on where she faced challenges and wants to share how she overcame them with those in need. 

I love the song ‘live more & love more’ – basically an exhortation to do whatever you want, since no one really cares, with the lyrics “if there’s something you want to do, just do it, don’t let your head stop your heart from moving”. It also makes a point about how much we all learn from others: “Maybe speak less and listen more.”. As the winner of Keble’s Biggest Yapper award, this is a personal favourite piece of advice. 

A more recent dimension to her musical voice has been the embrace of her queer identity. Her most recent album, How to Be Human, includes a range of releases reflecting on queerness and grief, choosing to collate songs on the challenge of coming out with those about the passing of her grandfather. Again, the lyric choice is hardly subtle, with one titled ‘GIRLS!’ – I’m sure you can guess its themes. Like her earlier tracks, the songs speak directly to those who need it. This album was released shortly after her Traitors experience was televised, meaning her personal experience was given a particularly large platform. Interviewed at the time, Burns mentioned the increased opportunities for queer representation that social media, which she sees as a relatively safe place for self-expression, provides.

The light-hearted tone of ‘GIRLS!’ is a counterweight to less hopeful tracks like ‘today’, depicting her first attempts to get back to regular life after a period of struggling to leave home. She tackles grief by appreciating the connections that helped her through its initial sharpness, again in a song with the obvious title ‘All This Love’, in her usual stream-of-consciousness style – “been going out more, I’ve been seeing friends more” and “lately I’ve been crying more”. It feels like a much more subtle, refreshing version of Taylor Swift’s ‘I Can Do It With a Broken Heart’. 

A great thing about the stories her music tells is they’re intended to make her audience feel seen, and feel good. Interviewed on Jamie Laing’s podcast Great Company , she spoke about the messages and shows of support from her recent album from others becoming comfortable with their queerness. 

Her music brings a definite sense of community, speaking directly to the listener as a kind of advice figure. So many mini-scenarios that she describes – anxiety at a social event, heartbreak, the difficulty of staying in touch with friends – are without doubt relatable to students.

I think Cat Burns is a great recommendation for this period in life, the university experience, because she doesn’t beat around the bush: her straightforward approach to explaining her emotions is revitalising. Music has long been heralded as a way to process emotions. Without veering into cliché, she reminds us to be kind, to ourselves and others. Amongst Sabrina Carpenter, Taylor Swift, and other overplayed pop ‘icons’, Cat Burns stands out because of her ability to outline her emotions in real depth. Listen if you like indie pop, if you need a reality check, or if you love The Traitors

Spoonerisms and malapropisms: ‘You Got Me’ in review

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Oliver Martin (co-founder of Silent Tape Productions)’s new play You Got Me takes cues from Waiting for Godot’s nonsense dialogue and Woolf’s nonlinear narratives. The result is a hard-hitting story about memory, powerlessness, and the cyclical passing of time.

Alex (Cohen Rowland) and River (Charlie Heath) are stuck in a room, slowly losing their memories. Alex thinks they’re in hell. River believes the pair are being watched for entertainment. In River’s words (mocking the unseen audience for their depraved tastes) “put two idiots in an unmarked room”, and watch them go mad. Martin’s standout style is constant linguistic slippage. Alex and River, slowly losing their cognitive function, invert syntax accidentally, resulting in spoonerisms and malapropisms aplenty.

The pair put forward theories. Is this purgatory? Do they have “sementia,” despite their youth? To quote Martin, while the play “explores some of the comedic potential of memory loss”, it also acknowledges “the cruelty and horror of real diseases like dementia.” The show is dedicated to the memory of Kathleen Harrison. Martin describes her as “ a loving mother, grandmother, and spouse, and one of the best people that I have ever known. She was taken from the world in 2025, but dementia stole her life from her much earlier than that.”

As the play goes on, Alex and River grow more accustomed to one another, yet this progress is undone when, at the end of the play, their initial meeting is repeated word for word. The cyclical structure indicates Alex’s and River’s chronic amnesia, but it also alludes to the repetition of theatre as a medium, where actors repeat the same things to fresh minds each night. 

Ambiguity, therefore, abounds in two senses. There’s the basic facts of the story, which remain unclear. Alex and River are in the same boat as the audience; they don’t understand how or why they ended up in the room, and have limited access to their memories before entering the room. Then, there’s linguistic ambiguity, since Alex and River are constantly “flucking” up their lines (“if you can’t handle the Keats, get out the kitchen”). It was fascinating that these grammatical, syntactical, or semantic errors usually amounted to nothing more than a dialogic quirk: the audience laughed, but were always able to identify what was meant.

At first, Anna Ewer’s set leans into the domestic: two wooden chairs, a Persian rug, a coffee table. A large pile of vintage Penguin Modern Classics are strewn haphazardly across the table and floor, while a half-dead bouquet of roses lies on the table, dead petals littering the floor. Throughout the play, the Figure (portrayed by Maddy Howarth on opening night and then after by Saffy Hills), removes props. The stage becomes bleak, the eerie emptiness of the black box encroaching on the actors. The Figure, a Grim Reaper type clad in a wispy black gown and veil, seemed to be made of the same stuff as empty space. 

The play was filled with allegorical yet farcical moments, modernist in its broken logic and evident disinterest in the suspension of disbelief. Alex and River repeatedly try to leave the room, but always end up walking straight back in. Sometimes, when they re-enter, their state of mind has been altered. At various points, Alex and River slip into Woolf-esque characters. They assume the role of husband and wife arguing about their daughter Clarissa in an allusion to Mrs Dalloway. Alex (disgruntled mother) calls River a “deadbeat dad”, which River defends in a bread-winner diatribe.

Almost as soon as the episode starts, it’s over: neither Alex nor River can recall having slipped into their Woolfesque personae. I can understand audience members leaving this play feeling disoriented, even alienated by the slippage. Personally, I found the ambiguity incredibly alluring, a puzzle that demands scrutiny.

Cohen Rowland and Charlie Heath gave fantastic performances. Rowland’s character, Alex, is sensitive. He speaks French intermittently, sentimentalising the few memories he can remember. Heath’s character, River, is acerbic and discerning, scribbling in a red leather-bound notebook that his past self has filled with literary quotes. The pair had a captivating chemistry onstage. A testament to Martin’s expert direction, the actors kept the audience on their feet, creating variety in tone, body language, and volume. Together, they sold Martin’s premise successfully, absorbing the audience entirely with their distress.

Alex and River’s memory loss seemed to be imposed by some kind of distant dystopian authority, rather than be the result of a genuine physiological symptom. Whenever their memory hits a block, Méryl Vourch’s lighting design flickers in distress. The play is linguistically allegorical and resolutely playful. In one scene, Alex and River compete with each other for best proverb, mangling words along the way. 

A linguistically playful production on a stripped-back stage, You Got Me was a top-notch mind game which I’ll be pondering for some time. 

Opening of Global Leadership Centre in Osney Power Station further delayed to summer 2026

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The Saïd Business School’s new Global Leadership Centre (GLC), located at the Osney Power Station, is set to open this summer after significant delays. The project was first mooted in May 2015, discussions with local residents took place in 2018, and the project was approved by Oxford City Council in 2019.

Plans resulting from the 2018 meetings set a target timeline for construction starting in spring 2019 and finishing in spring 2021. However, construction only began in 2021, with the opening successively pushed to 2024, spring 2026, and summer 2026.

At a price tag of £60 million, the GLC has cost twice the amount Wafid Saïd donated to establish the business school in 1996. According to construction company GRAHAM, the GLC is intended as a “mini campus”, cultivating “close links between business and management research and practice”. Complete with more than 120 ‘hotel-style’ bedrooms, various teaching rooms, leisure facilities and a gym, the building will house “short-stay residential courses for company executives”.

GRAHAM explained how the business school’s existing residential facility “no longer reflects its ambition”. They claim the new site would “inspire the next generation of global leaders through a space that blends heritage, innovation and sustainability”. 

Roger Goodman, Warden of St Anthony’s College, asserts that the GLC will provide a model for the development of executive education programmes across other University departments.

The Osney Power Station, which opened in 1892, is a Local Heritage Asset and powered the first electric lightbulb in Oxford. Located around a five-minute walk from the train station, the power station closed in 1968 and has since been used sporadically by the University’s engineering department and for museum storage.

The GLC is among a series of new built additions to the University, some of which have attracted criticism. A proposed three-storey lab in Headington was decried by Headington Heritage and the Highfield Residents Association, who pointed to potential decreased “quality of residential living” due to flood concerns and light spillage. 

Perhaps anticipating these criticisms, Environmental consultancy firm RIDGE has claimed that the development of the GLC will “form part of the regeneration of the west end of the city of Oxford, creating jobs and opportunities for the local community.” Based on meetings with residents in 2018 and the Considerate Constructors Scheme codes of practice, no works, deliveries or waste removal are to be undertaken during the early mornings, evenings or weekends. In addition, the GLC will not allow for car parking, instead encouraging visitors to use public transit or walk.
The University has argued that bringing a historic building back into active use “will be securing its long-term future for the benefit of the city”.

John Radcliffe Hospital hosts new institute for trauma, emergency, and critical care

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A new Kadoorie Institute of Trauma, Emergency and Critical Care has been established within the University of Oxford. Based at the John Radcliffe Hospital, the new institution formalises a long-term collaboration between the Oxford Trauma and Emergency Care at the Nuffield Department of Orthopaedics, Rheumatology and Musculoskeletal Sciences (NDORMS) and the Critical Care Research Team at the Nuffield Department of Clinical Neurosciences (NDCN).

The Kadoorie Institute’s close collaboration with its host, the John Radcliffe Hospital, is designed to enable research into clinical effectiveness. Matthew Costa, Professor of Orthopaedic Trauma Surgery at NDORMS and one of the Institute’s directors, told Cherwell that the department aims to streamline research into Emergency Departments, trauma operating theatres, and Intensive Care Units. The institute will analyse “these three acute care specialities together so that our research spans the whole patient pathway”.

Both research and education form the focus of the Kadoorie Institute. Professor Costa told Cherwell: “Our educational work aims to provide the ‘outputs’ from this research in a way that is easily accessible to healthcare professionals and patients, whether it be online materials or face-to-face teaching.”

The Kadoorie Charitable Foundation, the Institute’s namesake, has played a pivotal role in its financial support. Professor Costa told Cherwell: “The Kadoorie Charitable Foundation has been supporting acute case research and education in Oxford for 20 years… Without their support, the Institute would not have been possible. We hope to continue this incredible relationship for many years to come.” 

The Institute’s launch comes at a time of increasing strain for the NHS, particularly in the field of emergency medicine. Costa told Cherwell: “Acute care in the NHS is seldom out of the press. Research to improve the outcomes for patients who need urgent treatments is therefore a key priority for the NHS. With ever increasing pressure on NHS resources, there is also a need to make sure that all new treatments are cost-effective as well as better for patients’ recovery.”

Rusu, Farhan, Quan, Kola-Balogun elected to SU leadership amid low turnout

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The Oxford Students’ Union (SU) has announced the results of its 2026 election. Roxi Rusu, who ran unopposed, has been elected President for Communities and Common Rooms. Zagham Farhan was elected President for Undergraduates alongside David Quan, who was elected President for Postgraduates. Catherine Kola-Balogun will be the new President for Welfare, Equity, and Inclusion. 

The elections saw a turnout of 2,862 individual voters. Although this is higher than the turnout for last year’s elections, which was 1,471, this year’s turnout is significantly lower than the 2024 election, which had a turnout of 4,206. The SU represents 26,000 matriculated students at the University.

The incumbent President for Postgraduates, Wantoe T. Wantoe, who stood for re-election on a platform of continuity, was unsuccessful. Alisa Brown, the incumbent President for Welfare, Equity, and Inclusion, has been elected for the position of Student Trustee.

The election occurred amid concerns about the SU’s ability to carry out its democratic functions. At the end of last term, the Conference of Common Rooms – the SU’s main representative body – was unable to pass a motion due to insufficient participation from college JCRs. At the time, an Oxford SU spokesperson told Cherwell: “On this occasion, voting did not reach quoracy (30 common rooms) for this vote to be carried.”

Rusu ran unopposed on the promise of connecting Common Rooms, societies, the local community, and individuals through a shared contact list and calendar, and more informal social events. This is the first time in recent years that this role, which took over many of the responsibilities of the abolished SU sole presidency, has seen a candidate elected unopposed. Last year, two people ran for this role. 

Farhan, who ran his campaign with Quan and Morris, aims to “demand more” and promises to fight for a “serious external review into the sexual misconduct processes, greater disability support, [and] an online library capacity tracker”. This follows the recent probes by the media into the University’s mishandling of sexual misconduct cases. Quan, whose manifesto is built on the idea of “#OneOxford”, will undertake to advance “student food support” and “hardship transparency”. 

Quan, Farhan, and Henry Morris ran in a slate called “Demand More”, as joint campaigns are now allowed by SU Election Regulations. Morris ran for President for Welfare, Equity, and Inclusion, and was not elected. The slate was supported by various student political groups, including Oxford Labour Club and the Oxford Students Liberal Association.

Kola-Balogun’s campaign aims to “push for Welfare that Works, Equity that Delivers, and Inclusion that Lasts”. She has worked as JCR Access Officer at St Hilda’s, was the President of Oxford Law Society, and is a current Undergraduate Admissions and Outreach Ambassador. 

Commenting on his unsuccessful re-election bid, Wantoe told Cherwell: “For me, this election was never about a title. It was about raising the standard of postgraduate representation. That work continues, and I remain deeply committed to it.” 

Speaking about his successor, Wantoe added: “David is passionate and experienced, and I am confident he will bring energy and commitment to the role. I will ensure a smooth and comprehensive transition, sharing insight into ongoing committee work and institutional processes so that progress continues without disruption.”

A number of part-time officers, which are voluntary representative roles, were elected as well. Valerie Mann was reelected as LGBTQ+ Officer. Sthapatya Saketh Kotamraju was elected International Students’ Officer, alongside Regn Pooley, who was elected Disabled Students’ Officer, and Janet Wang, who was elected Societies Officer. 

Apart from the International Students’ Officer role, all ran unopposed. The SU will hold by-elections for six roles, as no one was nominated to stand, including Class and BAME Officers. These officer roles are the primary form of advocacy within the SU for underrepresented communities, following the SU’s decision to discontinue student campaigns as part of its transformation period. 

Alisa Brown, Honcques Laus, and Isabel Hetherington were elected as Student Trustees, a two-year, unpaid position. The Oxford SU Trustee board oversees the SU and has overall legal responsibility for the charity. 

This was the first set of elections for the four Presidential roles, who will take up their roles in July. Last year, the four positions were elected as Officers, and were later renamed ‘President’. The SU leadership used to comprise six full time sabbatical officers. However, after a transformation period in 2024-25, this was replaced by the current flat structure with four sabbatical officers. 

A spokesperson for the SU said: “We have been delighted to see so many students engaging with the SU Leadership elections and thank all students who took the time to run for and vote for all roles, at a time where democracy and representation matter more than ever. We look forward to welcoming the President Elects to their roles in July 2026.”

The story will be updated as voting numbers for each candidate are published later today.

Reporting by Mercedes Haas, Archie Johnston, Arina Makarina, Gaspard Rouffin, and Stanley Smith.

Additional reporting by Joseph Rodgers.

The article previously stated: “Alisa Brown, the incumbent President for Welfare, Equity, and Inclusion, was also not re-elected despite having stood for the unpaid position of Student Trustee.” In fact, Alisa Brown did not stand for Presidency for Welfare, Equity, and Inclusion and was elected as the Student Trustee

Oxford study projects population experiencing extreme heat to nearly double by 2050

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Climate researchers at Oxford University have published a study in Nature Sustainability, according to which the population experiencing extreme heat is projected to “nearly double” by 2050 compared to 2010 levels.

According to the study, 41% of the global population will live in extreme heat regions by 2050, defined by the number and severity of cooling degree days, compared to 23% in 2010. This new data will be crucial for predicting energy demand for heating and cooling buildings as climate patterns change due to global warming. The data shows that heating demands will decline while cooling demands will increase as the average global temperature rises.

The data is essential for planning climate change adaptation, assessing geographic inequalities, and identifying vulnerable populations. According to the study,  the 20 countries with the most drastic increase in cooling needs are all developing nations, with the Central African Republic, Nigeria, and South Sudan topping the chart, whose socioeconomic development will further suffer from global warming.

Most increases in cooling demand will occur by the time the planet reaches 1.5 degrees Celsius of warming compared to pre-industrial temperatures (i.e. within the first half a degree of global warming going forward).

The study used heating and cooling degree days as quantifiable representations of human response to global warming. Heating degree days refer to colder-than-usual temperatures, which prompt people to use heating technology such as radiators to warm buildings. Cooling degree days refer to the opposite – warmer temperatures that prompt the use of cooling technology like air conditioners. This benchmark also reflects the energy use and emissions associated with heating and cooling systems.

The researchers visualised the dataset with 30 different maps that depict heating degree days and cooling degree days around the world according to three hypothetical increases in the average global temperature: one degree Celsius, one and a half degrees Celsius and two degrees Celsius, each compared to a pre-industrial baseline. The average global temperature increased by about one degree Celsius between 2006 and 2016. 

The data set is particularly flexible because it is temperature-dependent, rather than time-dependent: The results are not affected by when the warming happens, only by how much warming occurs. The findings are therefore especially helpful to policy-makers for planning, adapting, and preparing infrastructure in the face of uncertain futures; the data will remain relevant regardless of how quickly the planet warms.

The results can also pair with existing time-specific models of climate change. The researchers chose to cross-reference their data with Shared Socioeconomic Pathway (SSP) 2-4.5, a popular moderate prediction of future climate change which sees a decline in emissions – without reaching net-zero – by the end of the century.

The Oxford research team included lead author and Associate Professor in Engineering Science Jesus Lizana alongside Senior Researcher Nicole Miranda, Associate Professor in Environmental Impact Sarah Sparrow, Professor in Informatics David Wallom, Associate Professor Radhika Khosla, and Professor of Energy Systems Malcolm McCulloch.

All buttered up: Broche, and the art of the perfect croissant

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During these cold winter months, in which – thanks to that pinnacle of British construction, breathable walls – I wake up in a freezing room, I find great solace in hiding beneath my blanket. Very much aware of my spatially limited happiness. Beyond the edge of my bed, however, I have found another place of naïve joy, one that offers a time-out from some nuisances of everyday life: a tiny hole-in-the-wall coffee shop in Jericho called Broche.

The moments of concentrated happiness sold at Broche take the form of unbelievably good pastries. Here is my ranking of those I have tried, from great to most incredible: Danish Three Cheese (£4.80), Croissant (£3.50), Pain au Pastrami (£5.60), Bostock (£4.40), Cinnamon Bun (£3.80), Chocolate & Cherry Croissant (£5.60), Pain au Chocolat (£4.00). But it is the Vanilla & Raspberry Croissant (£5.40) which stands out as my favourite. The crisp outside, the illegal quantities of butter folded into its dough, the luscious vanilla custard, the sweet-acidic raspberry jam with seeds: any Frenchman would be happy to claim Broche’s pâtissier as one of their own. Knowing that they must have worked relentlessly to learn the craft – and then to make these pastries daily before sunrise – the brazen price might very well be justified. But I don’t think we’re paying £5.40 for the croissant; rather, we are paying for the luxury of engaging in that luxury. This may be a little cynical, but it puts the Vanilla & Raspberry croissant into a different perspective, and perhaps a more honest appreciation. At least, I hope so.

The pastries at Broche are not only damn good; they are also highly aestheticized objects of status through which customers define themselves. The evidence I have of this is some unprofessional observational ethnography I attempted, from which I can report that the ‘posh croissant’ functions as an accessory for the following: middle-aged women in knee-length down parkas (extra points if they are walking a dog; additional extra points if it’s a Chihuahua in designer dog-wear); elderly men in colourful trainers, sometimes accompanied by their sons in Japanese denim, beanies, French workwear, and the last remaining hipster beards; young professionals in body-toned kits with sleek £10k carbon racing bikes, who order V60 pour-over coffee. It is also a place where people who would ordinarily meet their future partners on LinkedIn meet them in person, I’m told. If Notting Hill had an official outpost, it would be the five square-meters making up the tiny shack that is Broche.

None of this is to say that you shouldn’t go. You should. If it happens to be sunny, cross the street and lean against the neighbour’s garden wall, as I usually do – Broche, unfortunately, sits in its own shade. Be cheap; get a plain croissant. Have a matcha latte. Enjoy a brief, luxurious moment of immunity from all things troubling. Like a retired man in a Minneapolis mall, vegetating on a vending massage chair while US politics unfolds outside. It’s awfully nice under the warm blanket, isn’t it?