Student Life
The independent cinema battling Oriel College to stay open
On a freezing January evening, an eager crowd piled into a small, independent cinema just off the Cowley Road, the Ultimate Picture Palace (UPP). The event, a private screening of Chloé Zhao’s Hamnet, was hosted by the cinema in collaboration with Dame Pippa Harris, the film’s Golden Globe winning producer. Packed into the UPP’s single-screen 108 seat auditorium, the invitees were an eclectic mix of notables from the University of Oxford, including the Vice Chancellor Irene Tracey, film students from the Ruskin, and passionate local cinephiles.
At first glance, the evening appeared to be the perfect blend of ‘town and gown’, with both halves of Oxford coming together as a cohesive community to share their love of cinema. But this sense of unity belies a growing tension, as relations between the UPP and the University become increasingly strained. With the looming threat of an unrenewed lease from Oriel College, the current landlord of the premises, the independent picturehouse is appealing to the community at large for support in the struggle against the ever-clarifying spectre of closure.
A cultural hub in East Oxford
The Grade-II listed building which hosted the evening screening has functioned on and off as a cinema for more than a century. Founded by a local actor in 1911, what was then known as the East Oxford Picture Palace showcased the early offerings of the emerging medium of film, until its owner was conscripted in 1917. The cinema stood unused for 50 years, before being reopened by a pair of Oxford alumni in 1976. Under the new name of the Penultimate Picture Palace (PPP), the cinema became a staple of Oxford’s small but enthusiastic film community, cherished for its late night screenings and its adventurous, often controversial, programming choices.
After the PPP’s closure in the 1990s, responsibility for the cinema passed through several hands in quick succession. It was run variously by a former employee, local film enthusiasts, and even, in the summer of 1994, a group of squatters who renamed it the Section 6 Cinema and hosted free screenings for families. Eventually it found its way to Becky Hallsmith, a local who, in 2011, bought it in what she called an “impulse purchase”, and set about renovating the premises. After Hallsmith’s passing in 2018, a group of friends and family assumed responsibility for the venue; their aim was to transform it into a community-owned cinema, and, in 2022, they succeeded.
Despite its numerous names and many managers, the UPP has remained consistent in two respects at least: its independence as a business and its role as cultural hub in East Oxford. For this reason, it’s as much the star of the show at the Hamnet screening as the Oscar-nominated film and its celebrated producer. In a post-screening discussion, Dame Harris fondly recalled how going to the PPP as a teenager with Sir Sam Mendes, the director who would later become her co-producer, fuelled their life-long obsession with film. Nor is Harris the only one who clearly cares about the cinema. Many of the audience members were among those who donated to the UPP when the COVID-19 pandemic threatened to close it in 2020, raising £87,000 in a little over a week.
A challenge of ‘long term security’
The event was motivated by this palpable love of the UPP, as well as the sense of community pride in Oxford’s born-and-raised producer and her success with Hamnet. Yet aside from this, the primary purpose of the evening’s entertainment was to raise awareness of the latest existential threat facing the storied venue.
As Micaela Tuckwell, the Executive Director of the UPP, explained to the audience, Oriel College bought the freehold to the UPP building in 2021, with plans to redevelop it as part of a ‘fifth quad’ once the cinema’s lease expires in 2037. With this in mind, the College is refusing to grant the UPP’s request for an extension of their current lease.
“The challenge we now face is one of long-term security”, Tuckwell said when we sat down for an interview after the Hamnet screening. “As things stand, we have just eleven years left on our lease. That might sound like plenty of time, but in reality it makes it extremely difficult to invest responsibly, carry out essential renovation works, remain commercially viable, or plan properly for future generations.”
The most pressing issue, Tuckwell explained, is the imminent need for renovations. Unsurprisingly, given its age, the UPP is not fit for modern purposes. There is no flat access to the building, and the loos, positioned somewhat amusingly at the bottom of stairs directly below the screen, are not wheelchair accessible. The building’s energy efficiency likewise demands attention; renovations are required to keep a lid on heating costs and ensure that the cinema is financially solvent. Without these improvements, the picturehouse may have to close before the end of its lease.
Tuckwell said that the investors required to fund the renovations are already lined up, but that they are unwilling to commit unless the UPP secures a lease of at least 20 to 25 years. This predicament has, furthermore, prevented the picturehouse from procuring essential funding that enables the day to day operation of the cinema. Last year, the UPP was denied a major National Lottery grant because it did not meet the lease conditions. As a result of Oriel’s reluctance to commit to the cinema’s long term residence in the building, Tuckwell emphasised that the UPP “can’t modernise the cinema… to be competitive” with other venues in Oxford.
This critical juncture in the history of the UPP is inevitably coloured by the broader instability in the independent cinema sector. Seismic changes in the screen landscape at large, driven by the rise of streaming and accelerated by the market challenges that formed the corollaries to the COVID-19 pandemic, have posed significant difficulties for picturehouse owners across the country. A survey conducted by the Independent Cinema Office last year found that, without significant capital investment, almost a third of independent cinemas in the UK will close within the next three to five years. While it is not the only local business threatened by the increasing encroachment of the University of Oxford into the surrounding town, the loss of the UPP, one of only two independent cinemas in Oxford, would be particularly devastating for many of the city’s movie-goers. The fragility of the independent cinema industry, once a cornerstone of the global cultural milieu, renders the UPP’s current campaign even more crucial.

A cinema ‘for the entire city’
For Alastair Phillips, Chair of the Management Committee of the UPP, the closure of cinema would be a devastating blow for the arts in Oxford. “The UPP is an amazing cultural resource for the entire city”, he stated. “It covers all kinds of diverse programming.” It is certainly true that the UPP is willing to showcase films that others are not. This is clearly exemplified by their screening of The Voice of Hind Rajab, the ‘docufiction’ about the murder of a five year-old Palestinian girl by the Israel Defense Forces. While the film has struggled to find distribution elsewhere, despite having been showered in awards, the UPP ran it for more than two months between 2025 and 2026.
Tuckwell and Phillips see the UPP as an asset which can benefit both the local population and the University community. They emphasise that they are willing to work constructively with Oriel College and are keen to avoid playing into the ‘town versus gown’ narrative. “I feel that we all belong together in this city, and we can cooperate together”, Phillips said. “We’re here as a learning resource for the College and for the University, and there’s different ways we can kind of develop that relationship as we go forward.”
“What we’d really like to do is to be able to have a creative partnership”, Tuckwell explained. “It could be them using this as a lecture space in the day and us continuing to be able to have a public theatre cinema at night. We’ve put that on the table to them, but unfortunately, the latest thing they said to us was ‘no, we definitely can’t give you a longer lease’.
“There’s lots of examples around the country of higher education institutions working with independent cinemas or independent theatres. We were asking the College to support that vision.”
Phillips points to the example set by the University of Warwick, where he is a Professor of Film and Television Studies. He says the film department there regularly works with the local Arts Centre, which has a three-screen cinema. “We do all kinds of collaborative activities with the Warwick Art Centre cinema. We work on student events, we work on programming… we’re always involved in speaking opportunities.
“We’re very interested in developing a really close relationship with Oriel that can benefit both the cinema, but also Oriel students. Students want to be film makers, they want to interact with screen culture, maybe while they’re at university, but maybe some of them will go on into the industry. We want to give them a leg up.”
Oriel College told Cherwell: “We are proud of our heritage cinema, the Ultimate Picture Palace, and are in dialogue with the new managers about how to ensure it remains open to the wider public. We have no plans to extend the lease at this early stage in the tenancy.”


The campaign to ‘save the UPP’
In spite of all this reconciliatory rhetoric, it’s clear that the UPP are willing to take decisive action to fight for the future of the venue. On Thursday 12th March, the cinema initiated its campaign to “save the UPP”, launching a petition which already has 12,000 signatures. This was followed with a call for regulars to gather outside the cinema, with the aim of recreating a historic photograph taken of its patrons in front of the building.
The local community responded in droves, with well over two hundred people turning up – so many that they did not all fit inside the small premises. Standing amongst this crowd, the depth of feeling for this small business is unmistakable. When Tuckwell addressed the patrons and mentioned Oriel College, they loudly booed and hissed, which she rather diplomatically tried to discourage.
Regulars were forthcoming with fond memories of the UPP and their previous interactions with it. “You know what student life is like, you leave all your work to the middle of the night”, one former Oxford University student in his sixties said. “They used to screen films at midnight and the last thing you really wanted to do is to work continuously all the way through. A two hour break to go out and watch some crazy film in the middle of the night at the PPP just got you through, it really did.”
His fear for the future is palpable. “We’re facing a sycamore gap moment here”, he said, referencing the devastation felt when the iconic tree at Hadrian’s wall was felled illegally. “This beautiful thing could be taken from us, and we have one chance to talk the people who are planning to do that out of taking that from us.”
Another Oxford alumnus explained the key role the picturehouse has played in his life: “The PPP is where I took my girlfriend for our first date. She’s now my wife, the mother of my children. For me, like generations of other students, I would imagine, the PPP is not just a vital part of Oxford’s cultural life specifically, but of life in all its senses.”
One of the patrons who showed up to lend her support was Anneliese Dodds, the Labour MP for Oxford East. Speaking with us, she made a direct plea to Oxford students to support the UPP’s campaign: “Come to the cinema, enjoy it. It’s yours as well… But once you’ve come and enjoyed it, please do raise your voice. Make clear that this cinema really needs to stay right in the heart of the community”.


Nor is support for the campaign limited to local residents. It is evident that many current Oxford students, who might be supposed to be the beneficiaries of such ‘studentification’ efforts as Oriel has planned, are also concerned about the future of the picturehouse. One Oxford student described the UPP as “a bastion of what cinemas could be”, stressing that “it would be a resounding loss were it to be yet another institution gobbled up by the University.”
Despite its grounding in the local community, and relatively peripheral location to the nucleus of student life in Oxford, the UPP nevertheless continues to make a compelling contribution to the cultural lives of those at the University. One Oxford student said: “It’s my favourite cinema in Oxford, and I’ve thoroughly enjoyed every time I’ve been; the proximity to many a Cowley pub for a post-film debrief with friends is a recipe for the perfect evening. I’d be gutted to see it go, and I hope the community voice speaking up for it is enough to challenge Oriel’s over-extended reach.”
Another student emphasised the “sense of being in a communal experience that UPP gives you that just doesn’t carry over in a shopping-centre multiplex.” Without the UPP, cinema-goers in central Oxford would be furnished only by Oxford Cinema & Café on Magdalen Street, Phoenix Picturehouse in Jericho, and Curzon in Westgate, which would make the city “immeasurably poorer”.
An emblematic struggle
Above all, the campaign to “save the UPP” concretises the idea that preserving culture, in all its forms, starts at home. The art deco venue, and its variegated programme of mainstream, independent, and classic films, ensures the unique appeal of the UPP, and its endurance at the core of Oxford’s artistic milieu. The enthusiasm of cinema-goers, past and present, is a potent testament to the vibrant contribution of such independent picturehouses to the cultural lives of local communities. The UPP embodies the perilous status of these cultural cornerstones up and down the country: beloved by their communities, they are nevertheless living with the constant threat of closure. In Oxford, the issue is further aggravated by the constant development projects of colleges, forcing independent businesses into conflict with the University itself. Yet, seeing how passionate the Oxford community is about this cinema, one can’t help but feel, and hope, that the Ultimate Picture Palace will live on for another century.
Student Life
Summit calls for human rights safeguards on AI
Human rights experts called for stronger legal protections against the risks posed by artificial intelligence (AI) at an Oxford AI and Human Rights Summit, with speakers arguing that human rights standards must be embedded into AI governance and technology.
The summit was hosted at the newly redeveloped Rhodes House in Oxford and organised by the Institute for Ethics in AI. It built upon Professor Yuval Shany’s consultation on a white paper, published in 2025, on the need for and feasibility of an international AI Bill of Human Rights, which proposes ways to adapt existing human rights standards so as to better address some of the unique challenges posed by AI systems and their uses.
An opening video address from the United Nations High Commissioner for Human Rights Volker Türk outlined how AI policy can keep pace with a fast-developing technology. He said that “great power demands responsibility on the same scale, and when the two don’t match, we have a problem”. Corporate control, he explained, means that AI policy stretches beyond existing national borders. He continued to praise this summit for bringing together leaders and representatives at the forefront of the discussion.
Speakers called on the UK government to establish legislation, recalling Labour’s manifesto commitment to an AI Bill of Human Rights. The panellists broadly agreed on the importance of human rights, but appeared less aligned on what enforcement should look like in practice.
In an exclusive interview, Michael O’Flaherty, the Council of Europe’s Commissioner for Human Rights, told Cherwell that political short-termism Continued on pg. 2 risks undermining efforts to address the long-term consequences of AI. “We are infected across our societies with shorttermist responses to the great issue of our societies and politics,” he said, adding that electoral cycles make it difficult for politicians “to think beyond the next election”.
O’Flaherty also noted that younger generations no longer take the international human rights system for granted. “There is no longer an assumption that the human rights system is safe, that it will survive,” he told Cherwell. He argued that political leaders increasingly treat human rights selectively, saying: “Increasingly, leaders are treating human rights, if they are respected at all, as an a la carte buffet. We take those rights because they serve our goal. We’ll ignore others because they get in the way.
The summit also heard concerns about the effects of AI-generated misinformation on communities that may have limited access to, or awareness of, the technology itself. An audience question asked human rights experts to consider the impacts of AI on populations, such as those in India, who might be unaware of its existence. The focus on the impact of AI on populations in developing countries more vulnerable to the power of big tech was a key theme of the summit.
Eileen Carter from the South African Human Rights Commission warned that underrepresentation of African languages in large language models could exacerbate existing inequalities. She also raised concerns about the effects of misinformation and deepfakes on elections, referring to more than 360 deaths associated with unrest and the amplification of narratives.
The third panel, which offered a civil society perspective on promoting human rights in AI systems, offered some hope. Across all speakers, the potential for AI to transform the beliefs that underpin human rights, including the rights to water, education, and an interpreter, was debated. When asked about AI’s potential to unravel and alter the definition of human rights, such as what is included in the ‘right to education’ O’Flaherty told Cherwell: “The damage that can be done by AI has hit more dramatically and more visibly than perhaps any other sector within education through the phenomenon of cognitive loss, of cognitive transfer. We’re only beginning to realise the extent to which we have allowed education to be fundamentally undermined for an entire generation.
“It’s time to seize that now and engage it. I’m not sure that the classic understanding of the human right to education is particularly well-framed for this extraordinary development.”
In a discussion on different countries’ regulatory approach to AI, Suresh Venkatasubramanian, professor at Brown University and former AI advisor to US President Joe Biden, argued that AI systems should not be treated as inevitable developments beyond human control. “We continue, I think, to talk about AI as a thing that emerged out of nowhere that we just have to deal with,” he said. “We forget that these aren’t coming from an alien planet and they were built by entities that choose to build them in a certain way.” He called for pressure on technology companies to make different choices about how AI systems are developed.
Questions of accountability also emerged during discussions about AI’s potential to improve access to justice. Research presented by Philippa Webb said that only 10% of people who have access to a lawyer can get one while there are thousands of bookings for an interpreter in a court covering 150 languages. However, this progress is not cemented as “general-purpose chatbots hallucinate 58% of the time on a legal task”. The use of AI in moderating legal proceedings raised fundamental questions about humanity and authority. Thompson Chengeta from Liverpool John Moores University said that “human rights is the last line of defence so when we say we want a human rights based governance… human rights is not an idea, it is an obligation. There is a gap that can only be recovered by a legally binding instrument”.
The event culminated in a panel offering an industry perspective. Co-host Dr Caroline Emmer De Albuquerque Green questioned representatives from Meta, Google, Microsoft, and OpenAI. Michael Karimian, who works in digital diplomacy at Microsoft, discussed the role of private sectors in engaging with AI, defining corporate responsibility as something which “provides transparency and identified risks”.
All companies supported having formal programmes to ensure that they have an AI policy in place. Within their own companies, they suggested protective measures such as specialised training to ensure that policies, such as whistleblowing, are understood. Alexandria Walden from Google described how consultations with stakeholders could be used to identify when the product breached users’ boundaries. These assessments, according to OpenAI’s spokesperson, “feedback into tangible technical input” and “benchmark it”.
Fundamentally, understanding the rationale behind human rights is imperative, though lacking. Alexandria Walden from Google said: “Whether or not they understand human rights, they care enough to infuse it in their company… we might not always get it right, but it is something we care about.”
Where former panels discussed controls to ensure human rights are considered in the development and implementation of AI products, this panel focused on mitigation. A spokesperson from Google pointed out that technology is inevitably going to move faster, so multiple tools are needed. Companies, OpenAI’s representative noted, still encounter issues such as discrimination and free speech. Consequently, they regard this as an additional policy which companies have a structured model to deal with, but newer companies, and newer industries, haven’t learnt it yet.
In her concluding remarks, Green called for policy makers to “make the abstract actionable” at both governmental and corporate levels. She argued that, by framing the issues posed by AI as human rights issues, we gain a “foundation” for recognising AI’s many societal impacts.
Student Life
Oxford University launches Ebola vaccine trial in Uganda
Ugandan participants in a clinical safety study received an Oxford developed Ebola vaccine this week.
Researchers vaccinated the first participants on 6th October in Masaka, Uganda. The phase follows the launch of a first-in-human Phase I trial in the UK evaluating the same vaccine candidate.
They received the vaccine as part of an evaluation of the safety and efficacy of a ChAdOx-based Bundibugyo Ebola vaccine candidate developed by the Oxford Vaccine Group (OVG) and the Pandemic Sciences Institute at the University of Oxford.
Development for this vaccine began in May this year in response to the ongoing Ebola outbreak in the Democratic Republic of the Congo (DRC). The research, led by OVG’s Professor Teresa Lambe and Professor Simon Drysdale, is funded by the Coalition for Epidemic Preparedness Innovations (CEPI). No licenced vaccine for the Bundibugyo strain of Ebola virus currently exists.
In a statement to Cherwell, OVG said its involvement includes collaborating with the Ugandan research team to support “the study’s scientific design, clinical trial coordination, safety oversight, and evaluation of vaccine safety and immunogenicity”. The Phase I clinical trial addresses a rare strain of Ebola virus affecting communities in the DRC since May. The phase is a collaboration between the Medical Research Council/ Uganda Virus Research Institute and the London School of Hygiene and Tropical Medicine (LSHTM).
Dr Nicole Lurie, CEPI’s Executive Director for Emergency Preparedness and Response, told Cherwell: “It [the Bundibugyo outbreak] remains the fastest-growing and second-largest Ebola outbreak ever recorded – and we currently remain without a licensed vaccine or treatment.” The Bundibugyo Ebola epidemic in the DRC has surpassed 8,600 cases, with almost half of infections proving fatal.
The outbreak was declared a Public Health Emergency of International Concern (PHEIC) by the World Health Organisation (WHO) in May.
OVG told Cherwell: “For more than a decade, the University of Oxford has performed many clinical trials of candidate viral-vectored vaccines. Some of the most promising vaccines used a modified chimpanzee adenovirus, a harmless version of a common cold virus. The Oxford-AstraZeneca (ChAdOx1) COVID-19 vaccine was approved for emergency use in the UK in December 2020 and was estimated to have saved six million lives during 2021 alone, and over 3 billion doses were used worldwide.” The adenovirus vector vaccine technology trialled in this study was successfully used worldwide as part of the Oxford-AstraZeneca COVID-19 vaccine.
More funding is necessary to ensure the development and approval of the Ebola vaccine. Lurie told Cherwell: “Without sufficient additional funding, we are at risk of not being able to develop these promising vaccine candidates… CEPI urgently needs US$128M now to keep our Bundibugyo emergency R&D response moving. Without it, we are putting the DRC, and the world, at tremendous risk.”
Student Life
Why does everyone like East of Eden so much?
Spoilers Ahead!!
East of Eden is a special book in many ways. It is beautiful, for one, and loving too. John Steinbeck dedicated it to his editor and long-term friend Pascal ‘Pat’ Covici. In the preface, he describes East of Eden as though it were a box, a wrapped gift; for his dear friend, the author has packaged “the pleasure of design and some despair and the indescribable joy of creation”, there is also “on top of these” “the love I have for you”. Above that “gratitude and love,” trapped with all the “joy” and “despair,” is the empty space of human potential: “Still the box is not full.”
Steinbeck was born in 1902 in Salinas; thus, an unmistakable personal nostalgia colours the voice of the semi-autobiographical narrator. “I remember my childhood names for grasses and flowers,” he begins on the first page, “I remember where a toad might live and what time the birds awaken in the summer”. Throughout, despite, or perhaps because of, the various horrors the author explores, he always makes time for nature. In chapter eight we meet Cathy, one of those “monsters born in the world to human parents”. Amongst the schemes of her girlhood, Steinbeck remembers to mention “the young grass” that “bristled under the sun” and “the yellow dandelions”. In part, I think the explosion in East of Eden’s popularity is due to Steinbeck’s affection for Salinas Valley. The compulsiveness of his characters is present, as always, so is his ability to render any landscape powerful, visceral in prose. But there is something, ironically, lapsarian about East of Eden: it is a relic of the author’s own childhood.
Everyone enjoys beauty; a beautiful book, written in a determinedly readable style, is bound to become popular, not to mention the endless power of nostalgia. But there is something else in East of Eden, I believe, that has catapulted it from the fame of every book-tok influencer’s favourite lists to a multi-million dollar Netflix show. I read the book in 2023, perhaps a little ahead of the curve – if that’s possible for a book published in 1925. Since then, I have recommended East of Eden to everyone who asks. But, I would not say it is my favourite book; it might not be in my top five. Rather, I recommend East of Eden in the same way a film buff recommends Good Will Hunting.
It’s feel-good; it’s the ultimate feel-good book because it tells you that your life is your choice. Be good, be bad, be a little bit the one and a little bit the other: just don’t imagine for a second that it is not under your control to be so. The message emerges slowly over the first few hundred pages, but arrives suddenly at the forefront in chapter 24, through the voice of Lee, a Chinese man who cares for Adam Trask’s boys when both father and mother have abandoned them. Adam Trask, of course, embodies his biblical namesake as husband to the ‘monster’ Cathy, and father to the Cain/Abel parallel, Cal and Aran.
Lee describes the arduous process of translating Hebrew with four elderly Chinese gentlemen who live in San Francisco, smoking opium and solving whatever problems people bring them. After two years, he and the four elderly gentlemen can translate the passage – thus resolving a discrepancy in English translations of the Bible. “The American version orders men to triumph over sin… The King James translation makes a promise… But the Hebrew word, the word timshel – ‘thou mayest’ – that gives a choice,” Lee concludes, “It might be the most important word in the world”. Regardless of whether or not Steinbeck’s Hebrew translation is correct, which it likely isn’t, he’s right that ‘may’ is the most important word in the world: it is the belief in choice, the hope at the bottom of the jar, the empty space in the box that is “still not full”.
If it weren’t couched in the natural beauty of Salinas Valley, or the fascinating moral drama of the Trask and Hamilton families, Steinbeck’s message wouldn’t work so well. That said, the message is central to the book. Whilst other authors of his period reach for obscurity, designing their work to be a puzzle, a dream that requires clever interpretation, Steinbeck teaches a lesson. He delivers an earnest sermon. East of Eden is didactic; it is a fantastic book, it has beautiful language and compelling characters, but it is ultimately didactic. People enjoy reading it because it gives them a sense of control: Netflix could gamble millions on its popularity because they knew it was something that made people feel good about themselves, something they would want to watch on the screen.
East of Eden is a book like Pandora’s Box. It is well crafted, beautiful to look at. Inside, the author examines what he sees as the fringes of humanity, our best and worst parts: “Pain and excitement are in it, and feeling good or bad and evil thoughts and good thoughts.” When all this has been discarded, when we think the box is nearly empty and the indomitable Trask lies dying, Steinbeck presents us with the final gift. It is the word timshel, the choice to be good or bad in our lives: hope.
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