How could TV about boardroom skullduggery possible be quite this involving and exciting?
Which wasn’t what I expected when my friend Toby recommended it to me a few weeks ago. ‘It’s about this media dynasty, a bit like the Murdochs. And the kids spend their whole time scheming and competing as to which one is eventually going to take over the company from the bullying patriarch Logan Roy,’ he said. This all sounded a bit grown-up, earnest and worthy to me.
‘Hands up which other university parents are bloody glad to have got rid of their lumpen, food-gobbling, space-invading kids…’
When I tweeted this the other day having just dumped my offspring at Durham I got accused of being a bad father. But I don’t think I am. A bad father wouldn’t have been labouring in the dark at 12.30 a.m. getting the car packed for the long trek north. A bad father wouldn’t have forked out so liberally and uncomplainingly for all those things they spring on you when you arrive — 30-odd quid for the week’s JCR induction entertainments; 25 quid (50 if you’d been naive enough to buy new) for a gown they’ll probably only wear about twice…
Is the drug/gangs genre the last island of authenticity and candour on TV?
Sir Lenny Henry, the former comedian, is wont to complain to anyone who’ll listen that there isn’t enough ‘diversity’ on TV. Really, he should watch Top Boy (Netflix). Apart from the odd token walk-on whitey — skanky crack addicts, nasty immigration officers — it’s wall-to-wall BAME casting opportunities. The protagonist, Dushane (Ashley Walters), is black. So are all his friends, family and associates (his mandem, as they are colloquially known). So, mostly, is the urban music soundtrack, the work of various grime artists curated by the show’s co-producer, Canadian rapper Drake.
It’s not often that you come across a book that completely transforms your understanding of the world. Just recently I’ve read two. One, Tom Holland’s Dominion concerns the debt we all owe — not just vicars and popes but atheists and social justice warriors — to Christianity’s revolutionary (and frankly still shocking) message that the last shall be first and the first shall be last. The other, China, Trade and Power by Stewart Paterson, is about a seismic event in 2001, three months to the day after 9/11, which shook the world to a degree few remotely comprehend.
Almost none of us is familiar with that epochal moment, yet it changed everything and explains everything: the Blair/Brown spending bubble; Australia’s prosperity; Mexico’s gangland hell; the 2008 crash; the rise of Donald Trump; Momentum, Antifa and the only problem with communism being that it hasn’t been tried properly yet; Brexit; your smart phone; protectionism; the price of houses; the crowds at Bicester Village; the riots in Hong Kong…
Its treatment of the Nazis, and of George Soros, shows that the channel is no longer interested in objectivity.
Back in the day, the BBC might have been content to strive for an objective take on the subject, perhaps with a voiceover by Samuel West and lots of period footage. But the danger of that approach, the BBC has since realised, is that it runs the risk of viewers making up their own minds what to think. Some of them might not be aware, for example, of the obvious parallels between Hitler, Nigel Farage, Donald Trump, Brexit and, to a lesser extent, Michael Gove.
You know that awful, gnawing, depressing feeling you’ve got right now? The one that notices how shockingly early the sun is setting and how shabby and played out and autumnal the borders are looking and how listless and flat everything feels what with no holidays to look forward to and the house empty of kids? The one that groans at the thought of all those uncompleted tasks and the mountain of hassle and nose-to-the-grindstone grimness which must be negotiated, somehow, between now and Christmas?
Well, I hate to say this but I haven’t got it. For possibly the first time in my life since my parents shipped me off to that horrid, spartan boarding school I called Colditz, I’m experiencing early September without the faintest urge to want to kill myself. I’m not thinking back wistfully to those calamari in the taverna by that secluded inlet or the fat, red ripeness of those Italian tomatoes or the azure stillness of the Mediterranean on that first morning dip because this summer hols, for once, I didn’t do any of that stuff.
Sky One’s comedy drama is an x-rated Last of the Summer Wine but the lead character’s mental illness is sadly what excites most reviewers.
Brassic (Sky One) feels like the sort of TV comedy drama they last made about 15 years ago but would never get commissioned now, certainly not by the BBC. Almost all of the main characters — apart from love interest Michelle Keegan — are white, male and heterosexual. And it’s set in the kind of Lancashire market town surrounded by rolling sheep country where the opportunities for plausible diversity casting are really quite limited. So how come it has been getting such glowing notices from all the previewers and reviewers?
Now that my youngest has got her A-level grades, I’m finally free to say just how much I have loathed the past 20 or so years I have spent helping my children with their English homework.
This is a sad admission. After all, I studied English at university and still love reading classic literature and learning poetry by heart. But when I read that the number of 18-year-olds taking English A-level has plummeted to its lowest level since 2001 I wasn’t at all surprised. If I were that age, I’m not sure I’d choose to do English either.
The artist’s BBC4 documentary Everybody in the Place: an Incomplete History of Britain 1984-1992 was a plea for tolerance and understanding
Jeremy Deller’s Everybody in the Place: an Incomplete History of Britain 1984-1992 (BBC4) began with some footage of kids queuing up outside a warehouse rave in Stoke-on-Trent in 1991. It was at once banal and extraordinary: everyone was white; nobody was overweight; none of the clothes were designer, expensive or branded; nobody wore facial hair. This was the England of my late youth and I remember it vividly. But it feels so remote from the present that it might just as well have been a lithograph of extravagantly side-burned men in stiff woollens captioned: ‘The Camp before Balaklava’.
Deller is probably a bit more left-wing than me — how could he not be? He’s a conceptual artist whose most famous work is a meditation on the miners’ strike — I do agree with his thesis that the birth of acid house was the revolutionary moment that changed Britain forever. He illustrated this with scenes of Northern ravers clubbing in disused factories, marking what he called the ‘death ritual transformation of Britain from an industrial to a service economy’.
Though autumn is happily still some way off, we’ve already reached that stage in the shepherd’s calendar when full-grown lambs loud bleat from hilly bourn. In fact they now look bigger than their mothers. The easiest way of differentiating the ewes from the lambs is that the latter still have their fleeces while the former are shorn and look thoroughly careworn and knackered from having to feed their demanding and needy adolescents long after it’s strictly necessary.
What’s rather spoiling my nature notes at the moment, though, is the nagging fear that next time I venture out into the fields on my morning walk with the dog, our pastoral idyll will have been reduced to a bloody shambles of discarded entrails and severed heads.