Tuesday 2nd December 2025
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Bloomberg investigation sparks scrutiny over Oxford’s handling of sexual misconduct

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CW: Sexual harassment; sexual assault

Oxford University is facing mounting media scrutiny after a Bloomberg investigation alleged that the University has consistently mishandled sexual harassment complaints involving senior male academics. The investigation, which took place over nine months and drew on interviews with almost 50 people, describes an environment in which complaints were often addressed slowly, quietly, or not at all. Several of the individuals interviewed by Bloomberg said they feared retaliation or other repercussions for coming forward, particularly given the significant power imbalances within departments.

A University spokesperson told Cherwell: “Sexual harassment has no place at Oxford. Our sympathies and thoughts are with anyone who has experienced harassment or misconduct. We strive to ensure that Oxford is always a safe space for all students and staff. We take concerns seriously, applying robust procedures. 

“Support for those affected is a priority, and we take precautionary and/or disciplinary action where justified. We reject any suggestion that the University tolerates harassment or puts reputation before people’s safety. While we cannot comment on individual cases, we are committed to continuous improvement and have strengthened our approach over recent years.”

The Bloomberg report outlines numerous cases in the past two decades, revealing what many staff and students characterised as a persistent pattern of institutional inaction. According to the investigation, seven women reported alleged rapes or sexual assaults across the University in the past five years, while more than 30 women described direct experiences of harassment or bullying during the past 20 years.

Over the course of this year, Oxford has become the subject of two legal actions concerning harassment, while also conducting three internal inquiries. Cherwell understands that one of these concerns a senior figure at the Institute for Ethics in AI, as well as a senior figure at the Saïd Business School.

Cherwell also recently reported that Professor Mette Morsing has been named interim Dean of the Saïd Business school, following the resignation of Professor Sourmitra Dutta. A five-month internal investigation upheld three harassment allegations against Dutta made by a female academic. At the time, the University had stated that it would address concerns via “established procedures” and maintain a “strong framework of support… for staff and students… subject to harassment.”

Some of those interviewed told Bloomberg that action was frequently taken only after a series of complaints, rather than in response to the first allegation. In several cases, outcomes of investigations were kept confidential, enabling accused individuals to move to posts at other institutions without the circumstances being known. Two women further alleged that the University had breached their privacy during the handling of their cases. Staff quoted in the report described a culture in which the public standing of prominent academics often seemed to be prioritised over the well-being and safety of students and junior researchers.

Bloomberg’s investigation also touches on safeguarding concerns within individual colleges. At New College, five people told reporters that several academics were well known for predatory behaviour towards more junior women. At Balliol College, interviewees described unsympathetic attitudes toward alleged victims and flawed safeguarding practices. The collegiate structure, in which responsibility for welfare is divided between colleges and the central University, was cited by several people as exacerbating these issues.

In response to the article, New College circulated an email to all students addressing the concerns raised. The message, signed by Tutor for Welfare Jonathan Black, described the behaviour detailed in the Bloomberg article as “distressing” and encouraged any student affected to contact the College welfare team or the chaplaincy. New College made a point of stating that it was not aware of the details of the historic allegations described in relation to a 2018/19 University-handled case and therefore could not comment on them. A spokesperson at New College told Cherwell: “New College cannot comment on any individual allegation, but the College takes allegations of sexual harassment very seriously, has robust procedures in place and invests in both training and welfare in support of this.” 

Social media reaction to the Bloomberg investigation further amplified concerns about Oxford’s handling of misconduct allegations. Several academics publicly shared their experiences and frustration, including one former Oxford researcher who wrote that his wife had been sexually harassed by a senior social psychologist during her PhD. One high-profile Oxford professor who was referenced in the Bloomberg report also issued a brief statement denying the allegations and noting that he was pursuing legal remedies, while expressing gratitude to those who had supported him.

If you’ve been affected by issues in this article:

• You can access the University’s Sexual Harassment & Violence Support Service for confidential, specialist support (no report required). The service includes an Independent Sexual Violence Adviser (ISVA).  Sexual Harassment and Violence Support Service | University of Oxford

• Reporting options: Under the Student Disciplinary Procedure (Non-Academic Cases) student cases are handled by the Proctors and the University’s disciplinary panels. You may choose whether to make a University report or a police report; University support is available regardless. See the summary page Supporting Students at Oxford: Preventing and Responding to Harassment and Sexual Misconduct | University of Oxford and the Non-Academic Disciplinary Procedure. 

• Statute XI (Student Conduct): guidance on how conduct cases are assessed and the Proctors’ role is set out on the University website Student conduct | University of Oxford 

• Independent advice: Oxford SU Advice can support students considering a University or college process. 

Oxford Canals reopen following long drought

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The Canal & River Trust has announced that the southern section of the Oxford Canal has been fully reopened for navigation following a long period of drought.

It is the first time since July that water levels have been high enough to allow for boats to move through the locks. Storm Claudia’s prolonged rains earlier this month have helped this recovery following an extremely dry spring and summer.

A spokesperson for the Canal & River Trust, a registered charity which maintains the canals and rivers across England and Wales, told Cherwell: “The Oxford Canal felt the effects of the drought and prolonged dry weather across the country this summer and autumn. Our charity’s teams and volunteers worked round the clock to manage water levels but, with reservoir holdings dwindling, some locks had to temporarily close to boats. This helped us save water to keep boats afloat, protect the wildlife that lives in the canal, and safeguard the canal infrastructure itself. 

“After such an extended dry period, sustained rainfall over several weeks was needed to top up the reservoirs that feed the canal. As soon as water levels allowed, we got the locks back open for boating. We know how frustrating navigation restrictions are and we’re grateful to boaters for their support.”

The stretch of the canal from Claydon Top Lock to Aynho Weir Lock via Marston Doles is now accessible to boaters. Somerton Deep Lock and Dashwood Lock will remain closed for planned winter works.

The closure has heavily impacted businesses along the canal. Historic drydocks, such as Tooley’s Boatyard in Banbury, have seen an estimated 80% loss in business since the beginning of summer. The lifting of restrictions will come as a relief for both boaters and businesses, with the canal likely to see an uptake in pleasure cruises and trade.

The annual social and economic value of England and Wales’s canals is estimated to be worth £6 billion, with thousands of businesses benefiting from the waterways. The trust estimates that more boats are using their canal network today than at the height of the Industrial Revolution, sparking a so-called “second golden age of canals”. 

The Trust’s spokesperson also told Cherwell that “any decision to close navigation on any of the 2,000 miles of waterways our charity cares for is a last resort, and would be based on a range of data”. This data includes real time electric monitoring of water levels as well as weather forecasts. Combined with the Trust’s centuries of experience and knowledge of lock usage, the teams who run the waterways are able to predict how much water is needed to keep navigation open.

The spokesperson added: “Knowledge gathered in previous droughts allows us to identify improvements in water management, but there is no doubt that climate change is making what were previously unusual drought or flood conditions happen more frequently.”

Why More Entrepreneurs Are Moving Their Startups to Cyprus

The global race to become the next big tech hub is always evolving. A fresh breed of entrepreneurs is looking to venues beyond the conventional tech hubs with a holistic enablement and better quality of life instead of only financial incentives. A prime example of this is Cyprus, which has transformed from a Mediterranean treasure into a vibrant launching pad for international startups. 

This movement is driven by strategic business advantages and an evolving cultural landscape, shaped by forward-looking companies dedicated to creating exceptional life experiences. These organizations are building the very infrastructure for a sophisticated lifestyle. A visit to the official website of PUNIN GROUP provides a clear case study of this ecosystem approach, showcasing how the company develops premium, interconnected projects across gastronomy, real estate, and culture.

The Strategic Advantages: More Than Just Sunshine

While the island enjoys an idyllic climate and a beautiful landscape, the increasing number of entrepreneurs relocating here does not happen for just those reasons. Cyprus has designed a business-friendly environment to attract creative business opportunities and provide a competitive advantage on a global basis. This foundation makes for a nice place to live and a smart place to do business.

The benefits mentioned above can help startups scale efficiently.

  • Cyprus is a full member of the European Union and as such it provides access to the single market of one of the world’s largest economic blocs. Being at the intersection of Europe, Asia and Africa itself makes it a key operational hub for global aspirants.
  • Cyprus has a flat corporate tax rate of just 12.5%, one of the most attractive in the European Union. With various tax benefits for innovation and investment, startups can reinvest more profit back into the business for growth.
  • Cyprus offers a legal system which is based on English Common Law. This provides a transparent and reliable framework, which is familiar to international entrepreneurs and investors. These areas should be fairly stable to facilitate business agreements.
  • The island has educated personnel who are bilingual in nature with a high percentage of English speakers. In this way it becomes easy to put together a varied international team who can work across many markets.

As a result of these factors, a secure and highly efficient operational base will be created. Startups can take advantage of the stability found in an EU nation, while leveraging options that are precious and necessary in the early days of development so that precious resources can be focused on innovation and marketing.

Building Connections: The Community Aspect

The advantages on paper are not the whole story. What makes a real difference is the community. Cyprus has a compact and connected business scene where expats and local innovators mix easily. This makes networking feel natural, not forced. The vibe is more collaborative than cutthroat. Regular tech meetups and industry gatherings feel less like formal obligations and more like a gathering of peers. This supportive atmosphere is a powerful asset for founders. This close-knit environment helps new startups find support and integrate quickly, a personal touch that larger, more anonymous tech hubs often lack.

The X-Factor: Quality of life and a Thriving Ecosystem

Cyprus stands out in its combination of business environment with quality of life. Today’s entrepreneurs are beginning to understand that a good work-life balance is not a luxury, but is essential to remain creative. The laid-back Mediterranean style of life, low crime rates and welcoming people create an environment that enables the founders and their teams to flourish.

This is where the vision of certain firms becomes so integral to the island’s appeal. By creating a network of high-end restaurants, luxury residential and commercial properties, and cultural institutions, they are creating high-quality jobs, actively developing the Cypriot economy, and directly contributing to the quality of life that makes the island so attractive.

The focus on aesthetics, quality and curation, and a spirit of experience, ensures that the living infrastructure of the island keeps pace with its development as a business centre. For an entrepreneur, this means access to a world-class outside-of-office environment essential to attracting and retaining talent.

A Hub for Innovation and Growth

The positive impact of this unique combination is clear in the results. Cyprus’s startup scene is not just growing; it’s exploding. Tech companies have flocked to the island, especially in the fintech, software and entertainment sectors. Both private initiatives and a commitment from the government are behind this momentum. The state actively fosters innovation through a clear national strategy, and the country enjoys global recognition for its business‑friendly environment and efficient procedures for startups.

Transferring a startup to Cyprus is ultimately more than just one benefit. It is about selecting a site where strategic advantages harmonize with a unique lifestyle to create a fertile ground for innovation. The more entrepreneurs discover this powerful combination, the more Cyprus will become a preferred business destination.

Simple Pleasures That Feel More Luxurious Than Any Resort

Luxury doesn’t always cost thousands of dollars per night. Sometimes the most expensive feelings come from simple things. Morning coffee on the balcony with a city view. A drive on an empty highway at dawn. A conversation with a stranger who unexpectedly becomes a friend. Five-star hotels offer comfort, but real luxury — these are moments that can’t be booked in advance.

Dubai taught many to look at pleasures in a new way. Here you can find lamborghinis for rent in Dubai and feel like the hero of your own story without spending a fortune on staying in a luxury room. Car rental Dubai opens freedom of movement that no hotel transfer can replace. You go where you want, when you want, stop where your soul asks.

Why simple things are sometimes better than expensive resorts

Hotels sell service packages. Breakfast from 7 to 10, pool works until 22:00, spa by appointment. Everything is organized, but there’s no spontaneity. Simple pleasures work differently — they happen when you don’t expect them.

Rentals understands the value of freedom. New cars with minimum mileage, 2024 models, car delivery to any place. Wanted to go to the desert at three in the morning to look at the stars? Please. Decided to drive around all the emirates in one day? No problem, 300 km already included in car rental per day.

Moments you can’t buy with money

Some things just happen. They can’t be planned or added to the itinerary:

  • A sunset that caught you off guard in the middle of the road, when the sky turned orange and you stopped just to watch.
  • A random meeting with a local resident who showed you a place that’s not written about in guidebooks.
  • A moment of silence in the car when the music ended and you’re just driving, thinking about nothing specific.

These moments give more than any spa massage or dinner in a Michelin-starred restaurant. They stay in memory for a long time.

Freedom to choose the route

Hotel excursions follow a schedule. A group of thirty people, a guide with a flag, stops by the minute. Everything is predictable.

With a car everything is different:

  • You can turn not where you planned and find something unexpected.
  • You stop where you want, as long as you want.
  • You change plans on the go without penalties and worries.

Luxury cars turn the road into pleasure itself. When you drive in a comfortable cabin with good music, the journey becomes more important than the destination.

Early mornings are worth more than late breakfasts

Hotels are proud of late breakfasts until noon. But there’s something special about getting up before dawn and going to meet the sun. The city is empty, roads are free, the air is still cool.

Luxury car rentals allows you not to depend on reception working hours or driver schedules. Want to leave at five in the morning? The car is already yours, the keys are with you.

These early trips give the feeling that the city belongs to you alone. Skyscrapers haven’t woken up yet, there are no tourists, just you and the road.

Food not from restaurants is sometimes tastier

Yes, Dubai has world-class restaurants. But sometimes shawarma from a street cart or fresh dates from the market give more impressions than seven courses of a tasting menu.

With a car you can:

  • Find local cafes where residents themselves eat, not tourists.
  • Buy products at the market and have a picnic somewhere with a view of the bay.
  • Try street food in different districts of the city in one evening.

Conversations on the road

Hotel animation entertains according to a program. Conversations at the pool bar are often superficial. But when you drive with someone in a car for several hours, conversations become deeper.

For some reason people open up on the road:

  • There’s no pressure to maintain small talk.
  • Landscapes outside the window give pauses for reflection.
  • Joint travel creates a sense of team.

Sometimes it’s nice to drive the car yourself and control the speed. Sometimes you want to sit as a passenger and just observe the city.

Night drives through an empty city

Dubai at night looks fantastic. Skyscrapers are glowing, roads are almost empty, temperature is pleasant. Car rental Dubai for several days gives the opportunity to explore the city at different times of day.

At night you can:

  • Drive along Sheikh Zayed Road without traffic and enjoy the view of Burj Khalifa.
  • Stop by the embankment and just sit, listening to the sound of water.
  • Find a 24-hour cafe in an unexpected place and drink coffee at three in the morning.

These spontaneous trips are more memorable than pre-planned excursions.

Silence as luxury

Resorts are noisy. Animation, music by the pool, conversations in the corridors. Silence becomes rare. But sometimes it’s exactly what you need most.

A trip to the desert gives this silence. You turn off the engine, get out of the car — and around there’s nothing except sand and sky. No sounds of civilization, only wind.

Exotic cars are created for such moments. Powerful, beautiful, but capable of taking you to places where there’s nothing but nature. Lamborghini for rent in dubai — this is not only about speed and status, this is about the freedom to choose where to go.

Ability to make mistakes and change plans

Hotel packages are rigid. Booked an excursion — cancellation with a penalty. With a car, mistakes aren’t scary. Went the wrong way — turned around. Got tired — stopped to rest. Found an interesting place — changed the route.

Prestige class gives not only comfort but also confidence. Reliable cars that won’t let you down even if you decided to go off the usual route. And if something goes wrong, the personal manager is always in touch.

Sense of ownership for the rental period

When you rent a car, it becomes yours. For several days this is your space, your rules. You can leave a jacket on the back seat, adjust mirrors for yourself, choose a radio station.

In a taxi or transfer you’re a guest. In a rented car — the owner.

Spontaneity instead of schedule

Hotels live by schedule. Breakfast, lunch, dinner, entertainment — all by the hour. But the best moments in travel often happen spontaneously.

Examples of spontaneous pleasures:

  • Saw a sign of an interesting place and turned to look.
  • Met someone and went to show the city.
  • Just decided not to go anywhere and spent the day exploring one district on foot, and the car waited in the parking lot.

300 km per day that are included in the rental give freedom to experiment. No need to count every kilometer and worry about extra charges.

You create memories yourself

Resort impressions are often the same. The same pools, the same shows, the same excursions. You tell friends later — they’ve already heard similar stories from others.

When you travel yourself by car, the stories turn out unique:

  • How you got lost and found an incredible place.
  • How you met the sunrise in the desert completely alone.
  • How you tested lamborghini for rent in dubai on an empty road and understood what real power is.

These stories are more interesting to listen to because they’re real. Not rehearsed, not photoshopped, not from a resort’s Instagram.

The luxury of being yourself

Maybe this is the most important thing. Hotels have dress codes, behavior rules, expectations. Sometimes you just want to be yourself, without the need to meet someone’s standards.

In a car you’re free. You can drive in shorts and a t-shirt or in a suit — as comfortable. You can sing, you can be silent, you can stop in the middle of the road because you saw something interesting.

Simple pleasures beat expensive resorts because they’re real. They’re not sold in a service package. They happen when there’s freedom, time and desire to notice the good. Car rentals in Dubai can give exactly this freedom — to do what you want, when you want, with whom you want.

It’s beginning to look a lot like Oxmas

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I begin listening to Christmas soundtracks in September. I theorise decorations in October and, by November, I have made my way through a few chocolate Advent calendars. I have been this way for as long as I can remember. Being born in late November means either embracing Christmas early or rejecting it entirely. I am a firm believer in the former. Each year, my birthday present was a Christmas tree in the corner of my bedroom, aglow with small golden lights and rosy-pink tinsel. I would wake to it, the sound of baubles rustling from wagging tails, my dogs excited by the commotion. 

Each of my new years, new starts, begins with Christmas. I was born in London, where Christmas is celebrated so beautifully. I was raised in a loving family, where Christmas is spent enjoying each other’s company. And so the idea of finding myself in an unfamiliar place for the beginning of the holiday made me feel a sense of unease, another reason to dread the move to university. That is, until I experienced Christmas in Oxford.

Michaelmas term of my first year was laden with gaping holes. On the day I moved to Oxford, I spent the morning crying. I loved my hometown, I loved my school, and I loved the people I waved to everyday as I passed their windows. I loved my friends and my street and my childhood room. I spent the day rattled with nostalgia. University, to me, was a rug pulled out from under my feet too fast. I spent the first few weeks blurry-eyed, a feeling of homesickness mingled with lonesomeness that seemed to colour my every interaction. When late November came, I rushed home, determined to find some familiarity. I fell asleep the night before my 19th birthday with the genuine wish to wake up aged 13, or 15, or even 18 again, anything that meant I didn’t need to leave when the weekend was up. My birthday was spent safely within the confines of my comfort zone, the familiar Christmas lights blinking in the corner of my room, telling me I made the right choice.

I spent the train back thinking of the postcard of Oxford that has been pinned to my corkboard for years. How determined, how courageous, how passionate I’d been to have applied. How delighted I’d been to know my dream was becoming a reality. But I was filled with fear, terrified that I hadn’t found a home here yet. The walk between the station and college was silent. I remember the wheel of my suitcase getting stuck as I crossed to Broad Street, but when I turned, I saw the Christmas market for the first time. Music was playing, a song that looped around my living room on Christmas day, and I could smell a mixture of sweet and savoury, festive scents I knew from markets in London.

The first time I felt at home in Oxford was that very week. I remember walking into Blackwell’s and being enveloped by warmth, the kind that induces a sigh of relief and thaws frozen noses. I remember shopping for Oxford-themed gifts to bring back to my family, and the act brought a haze of excitement to sixth week that I hadn’t felt before. I remember dressing as reindeers with friends, laughing over shared make-up and cheap wine. While, throughout first year, I continued to feel slightly out-of-place and tentative, the Christmas season was a kind of olive branch, a gentle nudge from the city to take just one more step outside of my comfort zone.

Michaelmas term of my second year has been a slightly different story. Last year, I stood in awe of my college’s carol service, tucked away in the back row; this year I am performing. I walk to the chapel, bundled in a coat from last year’s wish-list, each and every step taken for that fearful girl on the train. This year, I attended Oxford’s ice-skating society from the very first week of term and have loved every moment of it. I hug friends tightly and play Christmas music while I brush my teeth. I stop and notice the fading light behind the Ashmolean and delight in sending letters through the post-boxes I know so well. I perform in a nativity and sit in the wings of dreamy theatres and spend my welfare week making medieval princess crowns. I choose to stay in Oxford for my 20th birthday. I feel at home.

So, as I set a small Christmas tree in the corner of my room – the one my grandmother sent with love – I feel an acute longing to reach across the divide of time. To that train, to the birthday girl of last year, to tug her hand firmly and, even for the briefest of moments, have her experience her new reality. The ups, the downs, and the Christmas lights that still warm the scene.

‘Everything is constantly emotion’: An interview with the cast and crew of ‘Doctor Faustus’ 

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Seabass Theatre has carved out a niche for itself producing original takes on canonical texts, most memorably last year’s plant-inspired Hamlet staged at the former Music Faculty. When discussing their interests as a production company, Director Seb Carrington says: “Part of our ethos is presenting works that centre around one or two very psychologically complex characters.” Describing their approach, Carrington goes on to state a preference for contemporary aesthetics, explaining that for her this “strip[s] everything away that is restrictive to time or place and strip[s] away things that may be unnecessary to putting forwards a very impactful psychological take, while still offering something interesting interpretation-wise.” Audiences should certainly expect an original take on Faustus and one which the entire creative team is clearly united behind. 

Last week I met online with the director (Seb Carrington), the composer (Lucian Ng) and the actress playing the Good Angel (Amber Meeson) to discuss their thoughts about the production. It was immediately clear that they have a strong vision for the play, controversial as it may be for readers who find Faustus at least a partially sympathetic character: “We are interpreting the character of Faustus as a distinctly fascist character. The word omnipotence in the first soliloquy really struck us as the deciding factor of what this production is all about: his kind of quest seeking for infinite power, infinite money, physical/sexual gratification, everything that comes into what does the fascist mindset do.” Carrington is very clear about how she considers the text to be particularly relevant to the present moment, citing the rise of people like Trump and the Tate brothers in the United States: “It is terrifying how much of the play draws an almost direct parallel to current events such as the climbing of the social ladder and the weaponisation of moral things in a very selfish way.”

You may be thinking: what does this actually mean for the performance? Many OUDS shows start off with daring ideas that end up translating poorly onstage, but the team clearly broke down how their conceptual concerns would be communicated onstage. Carrington certainly comes off as a strong leader, with a cast and crew clearly dedicated to bringing their ideas to life. 

Although the set designer was not on the call, Carrington briefly described what seemed to be an interesting set-up: “There’s two projectors we are using that are constantly changing the landscape of the play aesthetically with words that snake in and out of the scene or different graphics, different colours. There’s different stage effects with blood and liquids that get thrown around the floor and cleaned up, etc. Everything is constantly emotion.” Beyond the visual effects, the set – I am told – will be very minimal consisting of a white sheet and altar. Carrington explains that this makes lighting and sound crucial in the production to evoke “what the situation is” along with the acting. 

Like a lot of bigger venue OUDS shows recently, Doctor Faustus boasts an original score composed by sound designer, Lucian Ng. In explaining the choice to have an original score, Carrington emphasises that the play is written in verse which “itself has a very musical quality” and that the events of the play themselves lend themselves to musical accompaniment. The score is sprinkled throughout and will not accompany the entirety of the action. Ng points out that the play is “inherently very religious” and that a lot of the music that he has written is “liturgical music that is based around plain chant”. He is using “the original plain song melodies” but warping or corrupting them by the way that they are harmonised, drawing on “atonality”. Seabass Theatre has a live choir which will sing  “arrangements of plain song melodies” at different points of the show. Carrington explains that “the play as originally conceived by Marlowe was about Catholicism versus Protestantism and Marlowe [was] taking a cynical, agnostic point of view criticising both sides” and so the melodies chosen will relate to the events happening onstage. They explain that “melodies of the Church decay” along with the decay of the space of the play. 

As for wider questions of sound design, I am told that all of the actor’s voices will be amplified in order to “explore the full range of the actor’s voices”. Ng explains that “the sound world of the play is a lot more than the original score”. He describes the sound design as intense, using lots of drones and found sounds to “underscore tension on a really subtle level, in the sense that you have something playing at a really low level and it slowly rises and you only realise it’s there maybe five minutes after it’s started playing.” Ng argues that sound design in OUDS is often reduced to single sound effects like shots or door slammings but for him “sound is so important to how you can cultivate a world”. 

When looking up information about the show on the Seabass Theatre page before the interview, I noticed a long list of trigger warnings as well as a recommended minimum viewing age. Similarly, crew calls mentioned pails of fake blood. My memory of Doctor Faustus, from reading it years ago, contained more psychological horror than body horror, but a quick search revealed that recent productions of the play seem to lean into gore, especially for the finale. Student shows have a tendency to avoid using fake blood or attempting realistic depictions of violence because of how hard it is to pull it off convincingly so I was curious why this decision had been made here. Carrington explained: “The use of violence as a dramatic technique is incredibly helpful and pertinent, especially for something like this where we’re tapping into the theatrical extremities of the subconscious. You get the invasive thoughts, the subconscious thoughts that lead to this and we are essentially putting those thoughts onto the stage.” 

Carrington acknowledged that this is a tough line to walk, the danger of veering into gratuitousness being ever present, but she reassured Cherwell that this wasn’t being “edgy for edgy’s sake”. The director argued that being graphic about the violence is crucial in “situations where we talk about violence that is deeply rooted in misogyny”, hinting at a finale which involves the culmination  “in a very horrible and twisted way” of the relationship between Faustus and the Good Angel. Carrington explains: “In this way, it does not strike itself as gratuitous, it strikes itself as an incredibly necessary conversation to be having about the impacts of fascism, about the impacts of this mindset on people who are victims.” She explained that about 90% of the crew is made up of women, non-binary, queer people, and global minorities and so that the show really comes “from a place of rage”. 

Carrington had described the Good Angel as a “symbol of female rage” and later told us that she is the only “female-presenting figure in the show”. I asked Amber Meeson how this impacted her performance and she explained that eventually they came to the decision to play the Good Angel as a maternal figure: “It was difficult to tow the line between having this divine figure and also having this figure who all that she wants to do is make sure that Faustus repents and goes to heaven. But there still needs to be some detachment from him in that it has to be his decision, she can’t physically influence him and so, this maternal tone was quite helpful.” She said that playing the Good Angel as a maternal, made it easier to understand how Faustus views her as someone that “he doesn’t really need to listen to”. 

After a 30 minute conversation with the three, it is clear that Seabass Theatre’s production is incredibly ambitious and that a lot of work and thought has been put into bringing this vision to life. You have enough descriptions, it is time for Cherwell readers to go and find out what the show looks like!

You can watch Doctor Faustus at the Keble O’Reilly from 26th-29th November.

Pembroke accommodation ‘Highly Commended’ at Oxford Preservation Trust awards

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A renovation project, retrofitting and refurbishing student accommodation at Pembroke College, was “Highly Commended” at the 2025 Oxford Preservation Trust (OPT) awards earlier this month. At the awards ceremony, which took place at St John’s College, Pembroke was recognised in the “Adaptive Re-use” category. 

The renovations of 21 to 24 Pembroke Street, comprising four grade II listed cottages in Pembroke’s North Quad, took nine months to complete. They included fabric improvements to the buildings’ facades and the restoration of heritage features, including fireplaces which were lost in previous renovations during the 1960s. 

The OPT Awards acknowledge excellence in design, conservation, and sustainability in Oxford, celebrating projects which enhance the city’s landscape and demonstrate a communal focus. This year, plaques were awarded to eight projects, with thirteen runners-up. Harris Manchester College won in the “Adaptive Re-Use” category for their College chapel renovation. Merton College also took home a winner’s plaque in the “Building Conservation” category, awarded for work done on the stained-glass windows of their Old Library.

A spokesperson for Pembroke told Cherwell: “Everything we do at Pembroke is underpinned by our core purpose, which is to serve the common good through the provision of education and the promotion of scholarship and research, but we know that today this involves adapting to a changing world around us.” 

While the refurbishments have enhanced the buildings’ original character, the installation of a low carbon enabled heating system reflects the College’s commitment to sustainability. Other areas of the College’s site have also been decarbonised. 

Throughout the refurbishment, Pembroke emphasised the importance of student satisfaction. One first year undergraduate who now lives in the renovated staircases told Cherwell: “I love the building. The recent renovations have made living in a college dorm feel more like living in a holiday resort. The rooms, the living areas, the kitchen, the bathrooms, all of it is done to an excellent standard. The price of the accommodation is the second cheapest at Pembroke and yet by far the best accommodation here.”

The renovation plans were drawn up by Ridge and Partners, a built environment consultancy whom the college has worked with previously. Subsequent building work was completed by Benfield and Loxley, the principal contractor for the project.

COP30 sees launch of Oxford TIDE Centre’s Nature’s Intelligence Studio

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The COP30 summit, which concluded on 21st November in Brazil, saw the launch of a project from Oxford University’s Technology and Industrialisation for Development (TIDE) Centre. The Nature’s Intelligence Studio aims to observe and imitate natural principles in biological systems to advance renewable energy goals, environmental monitoring, and sustainable mobility. 

This process of imitating nature is known as biomimicry, which is an innovative branch of science, drawing from nature’s ways of creating natural solutions for problems such as energy efficiency, material strength, and climate adaptability. The goal is to study natural processes and structures to create new technologies, without involving living organisms – instead studying the mechanisms they use. The development of some wind turbine blades to mimic the shape of humpback whale flippers due to their natural aerodynamic form is an example of biomimicry. 

The creation of the studio has been supported by an investment of around £1 million from Oxford University, philanthropic foundations, and the Development Bank of Latin America and the Caribbean (CAF). Initially, the Nature’s Intelligence Studio will operate between Oxford and Belém, Brazil, with plans for future expansion to other regions.

The Nature’s Intelligence Studio sets out to treat the planet’s biodiversity not just as a conservation priority but as a source of innovation. TIDE Director Amir Lebdioui said: “the developing world holds most of the planet’s biodiversity, which is a vast library of biological intelligence built over 3.4 billion years of evolution.”

Lebdioui further told Cherwell that the project “will incentivise students and faculty to join a community interesting [sic] in bio-inspired innovation. Students are more than welcome to reach out in case they want to contribute”.

The Studio aims to launch three initial programmes. The first of these is an ‘energy atlas’ of nature’s innovations, to be developed in collaboration with the startup Asteria. This platform will use AI to analyse over 4 million scientific articles to map biological solutions to industrial energy challenges.

The Studio is also planning an ‘ideathon’: in partnership with CAF, they will aim to identify promising innovations from the global south, focusing on biologically inspired prototypes in real-world field conditions. Finally, Studio aims to share these benefits, recognising that many biological insights originate from indigenous and local communities. The Studio plans to ensure these communities share in the value created. This approach fosters new economic and scientific opportunities amongst indigenous groups.

Derelict Debenhams store to be turned into innovative laboratory space

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The former Debenhams department store on the corner of George Street is to be turned into a 9,000m2 laboratory space. Construction will begin next year and will be completed and operational by 2028.

The store, which closed down in early 2021 and remained boarded up ever since, is to be transformed into a “life sciences and technology space”. After the Crown Estate launched a search for a company that could redefine the department store, their £80 million bid eventually resulted in a partnership between Pioneer Group and Oxford Sciences Enterprises (OSE). 

Pioneer Group has built a reputation for life science growth facilitation in Britain and in Europe. Oxford University has been marked second globally for Life Sciences Research, which the current Debenhams project is set to contribute to. Richard O’Boyle, Executive Director at Pioneer Group, commented: “With the UK’s largest network of life science experts, cutting-edge labs, and robust support systems, we are poised to redefine industry standards and foster a vibrant scientific community.” 

Oxford Sciences Enterprises is a venture capital firm and one of the world-leading builders of university spinouts; since 2015 it has built an investment portfolio worth up to £2 billion, within what it calls “Oxford’s innovation ecosystem”. CEO at Oxford Science Enterprises, Ed Bussey, spoke of the difficulties of accessing “the right lab or start-up space – which can be a significant barrier to entry for companies as they scale”. The repurposing of the former Debenhams store hopes to remedy this lack of available spaces for early-stage businesses in supply-constrained locations, such as Oxford. 

The Crown Estate told Cherwell: “The transformation of this site will ensure the next generation of pioneering science and technology companies have the necessary space to grow their operations in the heart of Oxford, benefitting the local and national economies, while unlocking subsequent social value for the community.”

The former Debenhams store is currently being stripped out by contractors BibbEgan, who are preparing to hand it over to The Crown Estate, ready for the next phase of construction.

Azeem Zakria: The face behind Scriptum

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For anyone who has ever wandered down Turl Street, it would be impossible to miss the elaborate window displays of Scriptum, the fine stationary shop which has become a staple of Oxford since its creation in 2003. Whether it be the miniature hot-air balloons which hang from the shop’s ceiling, the Hungarian marionettes which adorn the upper floor, or the cast iron paperweights shaped as toucans and tortoises, anyone who enters the store will be sure to find something which sparks their curiosity. Yet despite its universal appeal, Scriptum is a shop reflective of the interests and passions of one particular individual: Azeem Zakria. I spoke to Scriptum’s owner and creative director about the origins of the store, the vision and values which define his business approach, and the reasons why Scriptum is so much more than just a stationary shop.

The creation of Scriptum was by no means something which Azeem ever anticipated. His first career was as an air steward, a line of work which appealed to his love of travel, but which ultimately could not fulfil him in any long-term capacity. “I really wanted to move on to do something a bit more serious, you could say”. As the youngest of six children, all of whom were already employed as engineers or architects, he felt mounting pressure to find his purpose in life.

It was during a trip to Florence that Azeem came to the realise that running a stationary business was what he wanted to do. “Florence had these amazing stationary shops, with really beautiful products which I had never seen before.” With £45,000 of savings, Azeem made the decision to take a risk: he moved to Oxford and opened Scriptum. Despite not knowing “a single person” in the city and having no experience of running a business, he tells me that “within days the magic would start”. Twenty-two years have since passed and Scriptum has grown and flourished, becoming a much-beloved fixture of Oxford for citizens, tourists and students alike.

The commerce of Florence might have been the short-term catalyst for opening Scriptum, but Azeem’s choice to sell fine stationary was not entirely unprecedented. He developed a love for stationary at a young age, recalling his purchase of his first “leather bound journal” from Selfridges at the age of 15. “I remember I paid £70 for it. And this must have been in the early 90s, so that was a lot of money back then. But more importantly, it was a lot of money for me. I came from a very large family who lived in a small house. We didn’t have a huge amount of money.” It is therefore no surprise that the journals sold by Scriptum are one of Azeem’s most treasured products. “They are really special to me […] they have this longevity; they’re going to be here after we’ve all gone perhaps”.

It is also a matter of great sentimentality and importance to Azeem that Scriptum’s journals are designed by the people who work in the shop. “When I have young people joining the team, I always encourage them to design a product, find their skill […] Within a few months, they’re seeing something that they’ve converted from their artwork into a product, which they’re actually then seeing being sold as well”. 

Azeem’s efforts to allow his employees as much creative freedom as possible is part of his belief that “delegation” is the key to running a successful business. “I don’t think of Scriptum as my baby, because I think that’s really unhealthy to hold on to something. I prefer to see myself more as a custodian of this business.  You have to have trust in people:  [..,] that way, I think you get to keep them longer. All the staff at Scriptum are really overqualified […] That’s something I personally find quite humbling”.

In order to allow his employees to take on as much responsibility as possible, Azeem spends most days at the shop “in the basement, unpacking deliveries”. Yet he is always looking for new ways to connect with his customers. Over lockdown he hosted a men’s letter writing club, with the aim of reducing isolation during such a difficult time. However, it is through his appreciation for opera and that he has been able to have such frequent and meaningful encounters with his clientèle.  I love opera myself. And I think that opening a shop is very easy. You have a space, you put things in it, and then you wait for your customers to come and buy them. But a stationary shop requires a bit more than that. It requires a bit of soul”. No matter the hour of the day, you will be sure to hear some of the greatest arias playing in Scriptum. “I’ve found customers in the shop crying because the music evokes a memory. And I’ve often spoken to people who will say things like ‘this aria reminds me of my father’, or something of that sort”.

Although Scriptum works with the best atelier workshops and suppliers across the United Kingdom and Europe, Azeem remains firmly opposed to the term “luxury” when it comes to describing the products he sells, assuring me “it’s about quality more than luxury”. His reluctance to this term stems from the way it could “exclude” certain people, namely Oxford’s student population. He realised during lockdown that “we needed to do a bit more for the young population in Oxford” and came up with the idea of selling paper by the sheet. “As a student, you might have to write one important letter every now and then […] Instead of having to buy an entire box of writing paper, which might be costly, you can just purchase one”.

Azeem strongly disagrees with the current view that letter writing is a dying art. In fact, he identifies “a resurgence” in this practice and rejects the idea that that writing things by hand and utilising technology are mutually exclusive. “When the typewriter came out, people were concerned that letter writing would stop. It doesn’t, it increases”.

He hopes that Scriptum can play a role in encouraging students to start recording their time here in a material way, whether that be via letter-writing or journalling. “I certainly think as a student in Oxford, it’s nice to have something tangible years later. When I was your age, I wasn’t told about these things. It’s only years later I’ve realised the importance of it”. He admits that “it’s really not my job to tell the students that ‘this is such a magical time in your life, you need to write something down’” but remains steadfast in his opinion that you would be “missing out” to only retain ‘paperless’ memories from your Oxford days.

You can visit Scriptum at 3 Turl Street.