THE LITTLE DRUMMER GIRL – “Who started it? The British”

THE LITTLE DRUMMER GIRL

TX: BBC1, Sundays, 9pm, 28/10/2018 – 02/12/2018 (six episodes)
w: Michael Lesslie & Claire Wilson; John le Carré (novel – 01/03/1983), d: Chan-wook Park, p: Laura Hastings-Smith, m: Yeong-wook Jo (The Ink Factory & AMC Networks & BBC & Endeavor Content)

Yep, us British, we started a lot. As well as apologising for our role in the Amritsar Massacre of 1919, we should recall that we instigated the military-led coup against the democratically elected PM Mohammed Mosaddegh in Iran which strengthened the monarchical rule of the shah and backed the dictatorship in Brunei in its inception in 1959, enabling it to stamp out democracy in that country too. Thus, we bear some historical responsibility for a country whose laws currently punish homosexuality with death by stoning.

Recent dramas, too, have portrayed the after-effects of the British involvements in history. The Little Drummer Girl is a rich, engrossing version of a JLC novel, previously and less sure-footedly adapted for film by director George Roy Hill in 1984. This is another drama that explores the tensions and dangers of leading a double-life and develops at leisure JLC’s J.L. Austin and Erving Goffman influenced preoccupation with the performativity of language. What’s more, Park, Lesslie & Wilson ambitiously create an even-handed portrayal of the intractable Israel-Palestine conflict, sadly every bit as relevant in 2018 as in its late-1970s setting.

Florence Pugh is one of a formidable phalanx of women who head the casts in 2018/19’s BBC drama season. Insouciant, idealistic yet at times devil-may-care, her Charlie feels right in a way that Diane Keaton’s rendition of the part just didn’t. With the story crammed into a 130-minute duration, Keaton is forced to become more of a passive object and loses control with several instances of hysteria. Pugh neatly creates an intelligent and slightly hedonistic Charlie, who moves in left-wing circles not that far from the 1970s milieu of Howard Schuman’s Rock Follies (Thames, 1976-77). Charlie performs a radicalism that is perhaps only partially faked; her divided loyalties and angst cut a bit deeper than some of JLC’s more standard Cold War characters, with their ultimately hegemonic pro-deterrence Atlanticist stances – as identified by Toby Manning.

There is an attention to detail in the trappings of tradecraft – bugs such as a rigged-up radio – that evokes The Americans (2013-18), and this is much closer to that programme’s murky tone than to The Night Manager (2016). That significant Eminent Dragon-packed hit drama featured to an embarrassing extent in The Guardian and other publications’ lifestyle, fashion and holiday sections. The Little Drummer Girl’s inability to attract the same sort of ‘soft coverage’ was reflected in its lower ratings and, while Florence Pugh’s background is fairly elite – independent boarding school St Edward’s School in Oxford – she shares this with none of her fellow cast members. As well as Laurence Olivier, its alumni includes figures like newsreader Jon Snow and the late, defiantly anti-establishment art critic, novelist and broadcaster John Berger.

Naxos, Greece. Vini Reilly. Vistas. Bottles. Pebbles. Words.

Like Killing Eve, there’s a relish in selecting unfamiliar music tracks – presumably to most British ears – to signify a cosmopolitan connoisseur-ship absent in TNM and Bodyguard. This is part of how these programmes are attuned to different audiences. As well as vintage Greek disco and the like, there’s The Durutti Column’s ‘Sketch for Summer’, perhaps mildly anachronistic as a January 1980 release being played in the summer of 1979 when it was recorded, is nevertheless wonderfully evocative of euro-romanticist radicalism. Vini Reilly’s band’s very name alluded to both anarchists in the Spanish Civil War and the Situationist International. Situationist theory enabled links between the 1960s-birthed ‘Psychedelic Left’ that Charles Shaar Murray was proud to be part of (as Mark Sinker’s A Hidden Landscape Once A Week details) and the Post Punk underground from 1978.

Unlike the film version, we are also shown Gadi Becker reading a book about Salvador Allende on the beach, notably in the same scene as we hear Reilly’s plangent music. Presumably such explicitly political touches would have been too close to the bone: the film was released in the UK in July 1985, not long before the Iran-Contra affair began. Referencing Allende implicitly anchors the TV version in justified left-wing outrage over the US backed coup against an elected socialist government in Chile in 1973.

From early in The Little Drummer Girl (d. George Roy Hill, 1984)

Hill is also much keener to show the Palestinians as a fearful ‘terrorist’ threat, using the iconography of the black balaclava used in so much 1970s-80s news footage. Park shows us proportionately much more of Khalil’s visage and other Palestinian faces. Park’s version is also repeatedly explicit in highlighting British culpability and, like detached BBC journalists in the Falklands War, ‘we’ are designated as ‘The British’: ‘The British always have the solution to other countries’ problems’, ‘The War of Independence, 1948. What do they call it? The Catastrophe. Or… Disaster. Who started all this? The British.’ It’s notable that the drama is set in 1979, a ‘theatre of the real’ that evokes the docudrama Death of a Princess (ATV, 1980) and Hanging Fire (BBC1, 1981) – controversial television addressing Saudi Arabia and Israel respectively, which JLC might have been aware of while writing his novel. Middle east controversies were definitely utmost in British news and culture of the early 1980s, along with the Troubles in Northern Ireland.

Over six episodes, Lesslie and Wilson are able to give much more time to the Israelis, the Palestinians and Charlie’s urban, left-wing drama milieu, who barely appear at all in the film. We also have more time given to the British intelligence establishment and its distrust of the Israelis, through Commander Picton (Charles Dance, evocative of two facets of 1980s ITV drama, having appeared in bothThe Professionals (LWT, 1977-83) and The Jewel in the Crown (Granada, 1984)). Like Killing Eve, this is a plush transnational drama, just as rooted in European signifiers; the eclectic soundtrack also includes the European Classical canon. The architecture includes not just the Parthenon but 1960s-70s brutalism which grounds us in ‘grim 1970s’ terrain, especially with the last episode’s associative use of it as a staged terrorist incident is manufactured by the British and Israelis.

Both sides in the Israel-Palestine conflict have a point from their own perspectives, rooted in historical circumstances; in this drama, both are shown to commit objectively bad, subjectively understandable acts. Which is maybe a bit much for complexity-averse British audiences in 2018. As well as its many incidental pleasures, this drama does far more to immerse us in unpalatable realities than the 1984 film version did.

Brexit Britain: Day #1023 – Basil Fawlty to EU: “Give us a No Deal or you’ll be CRUSHED!”

So, the Brexit soap opera – series 4 is it, or 41? – has drawn to a close. Pleasingly, there has been much compelling television which engages with not just metropolitan London (the engrossing, zeitgeist-chasing Fleabag on BBC1) but also: down-at-heel Bognor Regis (the aptly discomfiting, sour Don’t Forget the Driver on BBC2), 1990s Northern Ireland (the magnificently refreshing Derry Girls, on Channel 4), 1970s-80s Yorkshire (Liza Williams’s astute, damning record of a society’s grim misogyny The Yorkshire Ripper Files: A Very British Crime Story on BBC4; why not BBC1?) and our very own Newcastle upon Tyne (David Olusoga’s A House Through Time, on BBC2, tracing a representative our-story of class, power, knowledge and culture).

It has also been a week when the Radio Times has proclaimed Connie Booth and John Cleese’s Fawlty Towers (BBC, 1975-79) as the UK’s favourite sitcom, which has also been interpreted as a warning about the isolated Little England mindset. One that wasn’t heeded. Somehow, many people have clearly overlooked Booth & Cleese’s encoding: laid-back liberalism and open-mindedness about women, the working class, the Irish, the Germans, black GPs and other professionals (not of the Bodie-Doyle kind!). Instead, they have aberrantly decoded Fawlty Towers as meaning that a besieged island mentality, angry paranoia and obsession with class status are desirable ends.

Speaking of Fawlty’s influence, what about that long-time MAY’S BRITAIN… favourite Mark Francois? This abuser of Tennyson and the English language (Europe will be “facing perfidious Albion on speed”, apparently), has not been tipped for the knacker’s yard of clapped-out Gammonry but for the Tory leadership…! By Telegraph columnist Charlotte Gill, who seems to have a latent desire for Tory oblivion, which would be just about the only positive by-product of an actual No Deal scenario. “A No Deal”, planning for which has been finally halted this week, is manifestly not the most popular option for the public, whatever IDS and Boris Johnson have claimed this week.

Gill’s unhinged punditry arrives amid inconveniently cautionary voices about the whole “Brexit” enterprise; not from usual suspects but from the Daily Mail‘s Peter Oborne on Open Democracy and James Kirkup in Brexiter-haven The Spectator. Oborne stresses the threat to the UK and regrets his lack of consideration for Northern Ireland back in 2016; Kirkup assiduously dismantles the myth that we would have ‘control’ or ‘freedom’ if we “go WTO”. Both reflect on actual scenarios we face now, not on the illusory fantasy Brexits that were hatched in many bonces in June 2016.

These were fantasies ludicrously indulged by the Prime Minister, as this January 2017 rhetoric captured on the front-page of The Times attests:

Somehow, the innate glory of Britain as a country put us in the driving seat, in a negotiation ‘against’ 27 other nation-states working in tandem and supporting each other… Somehow, for Brexiters, EU claims about not doing a trade deal without the backstop are bluff, yet a self-harming No Deal is not a bluff, but a desirable end!

As the second “Brexit Day” passed with barely a whimper; instead of mass public discontent, I sense rather tired annoyance and indifference. There was a whimper, an “off-grid”, “blackout” protest of maybe 3,000 (at best) social media diehards. Do they actually believe their propaganda that staying off work and sitting in the house with the TV off for one day could “bring the country to its knees”?

They exclaim: “No cars, no shopping, no TV, no phones!” Until we get our way and we get No free roaming on holiday, No EU food imports, No jobs from companies who have settled here over our 46 years of membership! No United Kingdom!

Well, I’m sitting in the house now, writing this and listening to house. Through the TV is playing ACID: MYSTERONS INVADE THE JACKIN’ ZONE, a compilation of Chicago Acid & Experimental House from 1986-93. A CD I bought in London two Saturdays ago. After having listened to Jens Lekman & Annika Norlin’s epistolary album Correspondence via the internet. I have played Mr Fingers’ ace ‘Washing Machine’ and also used a washing machine. Beat that! While they are free to listen to their Arthur Askey and Strawbs records on gramophone or vinyl and re-read Enoch Powell’s ‘Rivers of Blood’ speech for the thousandth time without so much showing a leg… I think my activities will have as much effect on the world as theirs.

I seriously hope that this is my last Brexit post for a while, and the “Francois for PM” and “Blackout” incidents constitute an appropriately hapless, desperate damp squib with which to end this series of the Brexit soap opera. Sadly, I fear “Brexit” is going to be with us for at least the medium term. A nation has grown used to shouting at itself for three years, and, bizarrely, it likes it! Or, many do: especially those Leavers who like saying “get over it” and claiming to speak for “the 17.4 million”, but also that curious niche of Remainers who are desperate to rewind the clock to Cameron-Osborne’s neoliberal political programme of 2015/16.

As we enter a “Brexit Lull”, desired by all but those true believers in traitors and betrayals, there are other issues we might consider important. Greta Thunberg’s Friday climate change protests continue; David Attenborough is to broadcast on the subject on BBC1 next week. We might focus our minds on what happened one hundred years ago today in Amritsar, India, and while welcoming the fact that the Prime Minister raised the issue in Parliament, we should all urge her to apologise on behalf of the UK for what we did.

In writing about the 1978 Play for Today ‘Destiny’, I noted that the scene from David Edgar’s earlier stage play mentioning the killing at Amritsar of 400 unarmed Indian protesters by British troops ordered by Brigadier-General Reginald Dyer was excised from the television version. This showed a certain historical timidity in the BBC, which, while backing the play’s complex and even-handed dramatisation of many political voices, and showing the poignant death of Major Rolfe’s son in Northern Ireland, excised the historical facts concerning many more deaths in India in 1919.

We must remember, we must apologise. We must see ourselves as others see us, whether we want to do free-trade deals with India or Europe, or both or neither. I believe in the choice of a new generation and insist that we can leave Powell and Francois behind and heed the lessons of Fawlty Towers.

MRS WILSON: “March for Victory!”

MRS WILSON

TX: BBC1, Tuesdays, 9pm, 27/11/2018 – 11/12/2018 (three episodes)
w: Tim Crook, Anna Symon & Alison Wilson, d: Richard Laxton, p: Jackie Larkin, m: Anne Nikitin (Snowed-In & PBS Masterpiece & All3 Media – for BBC One)

Mrs Wilson is the only docudrama among these BBC dramas I’ve addressed, being based on real events, with Ruth Wilson playing her own real-life grandmother. It is, to refer to Derek Paget’s definitions in his excellent No Other Way to Tell It: Dramadoc/docudrama on television (2011), very much a docudrama rather than a dramadoc, with the facts informing a drama that attempts to get to deeper emotional truths.

As Joseph Oldham has commented on Twitter, ‘It is like James Bond but as seen from the Bond Girls’ perspective’, with the shadowy Alec Wilson seen as charming rogue but only seen partially and with the roguery not passed over. Iain Glen is excellent as the dubious spy and novelist (24 novels, 1928-40), coming across as like a corrupted Roger Livesey. Ruth Wilson is exceptionally engaging as the tortured, betrayed Alison Wilson, equally able at suggesting her severity and plausible emotional repression as well as the necessarily volcanic eruptions as she comes into greater knowledge of her husband’s bizarre life.

Patriotism and its associated myths are seriously questioned, as we see things from Ruth’s perspective and Alec’s genuinely held patriotism may just be a desperate cover for his myriad infidelities. We see a “maverick” from the perspective of her wronged wife, and the precise nature of his dealings in the likes of Egypt and India in the 1930s and 40s remains opaque, even mystifying. Is he even an Oscar Wilde style ‘sphinx without a secret’? He definitely is a father whose guidance cannot be trusted, as in the repeated scenes of him reading one of his patriotic adventure stories to one of his sons: “Gordon was a brave soldier. He wasn’t afraid of the enemy, was he? No! He was going to win the war for his country. He led his soldiers over the highest mountains, across the widest rivers, marching onwards — march, march, march! March to victory!”

Episode 3: Alison, very impressed with her husband’s jingoistic bedtime story…

This scene is a more naturalistic docudrama variant on ‘Once upon a Time’ in McGoohan and Markstein’s The Prisoner (TX: ITV, 1967-68) with its pay-off that James Bond style escapist adventure that we have just watched is just a children’s story, used as diversionary propaganda to indoctrinate children in the Village. Compared to Bodyguard, which does have its scene of Budd harshly remonstrating with his child – “Don’t show weakness!” – it is a deeper questioning of “Sturdy Oak” masculinity and traditional militarism. Ruth Wilson, interestingly enough appeared in several episodes of The Prisoner’s 2009 revival, the same year as appearing in the adaptation of the late Andrea Levy’s Windrush narrative Small Island.

We have the now relatively rare case of a TV drama engaging with religion – these aren’t the days of Adam Smith (TX: Granada, 1972-73)! Though I am aware of Jimmy McGovern’s Broken (TX: BBC1, 2017), which I haven’t seen. Ruth finds faith as a way to come to peaceful terms with her shattered life – caught in the maelstrom of Alec’s labyrinthine existence, it seems to make perfect sense, as well as emphasising religion’s relatively greater centrality to British life in the 1960s, where the ‘current day’ scenes are set. Mrs Wilson does veracity well; the period décor, costumes, furnishings and hairdos are all present and correct and this explicitly feels like a plausible version of the 1940s and 1960s, with no transplanted 2018 dialogue.

The focus is on the domestic, cast into doubt and mutilated by the glare of the public world. This sense of disruption is conveyed by the intrusion of Alec’s past into Ruth’s present, following his death. We are treated to visitations from recent Terrorscapist TV fictions: Keeley Hawes, much more incisive as the luminously bohemian actress Dorothy Wick than as the Home Secretary in Bodyguard and Fiona Shaw conveying enigmatic gravitas as Alec’s snaking intelligences services “handler” Coleman, much as she did in Killing Eve. Dave Hill, always a welcome presence, is a Landlord, and has form in terms of appearing in film and television that interrogates national identity: A Day Out (1972), Bill Brand (1976), Britannia Hospital (1982), Remembrance (1982) and The Monocled Mutineer (1986) are just some of his previous credits.

Mrs Wilson is exactly right at three hour-long episodes, it doesn’t outstay its welcome or become overstretched. The ending, with its shift to the real descendants, speaks of a pragmatic decency in our national character that seems all the wiser in this age of inflated culture wars between liberalism and conservatism.

Now, to examine, after Raymond Williams and John Ellis, its place in the British television flow of 2018: after its end we are immediately told that ‘Poirot is here’. Following trailers for the now-traditional BBC Christmas Agatha Christie of The ABC Murders (BBC1, 2018), as well as Death and Nightingales (BBC2, 2018) and Luther (BBC1, 2019), we have grim-faced Huw Edwards reading the BBC News at 10 O’Clock on Tuesday 11 December.

The soap opera just keeps going… Unlike Mrs Wilson

This was the day that there was supposed to have been a vote on Theresa May’s Withdrawal Agreement with the EU, but the Prime Minister had bottled it, fearing a heavy defeat. Edwards speaks about a possible vote of no confidence by the Tory Party in May’s leadership – which later happened, revealing a fraught 63-37% split. There is a trailed story about lowering unemployment figures, but most prominent is domestic gloom (BBC London reporting more train fare increases) and international realpolitik through the EU spokesperson on the WA: “It is the best deal possible. It is the only deal possible.”

You are left wondering about the enigmatic, adventuring Alec, but far more about the consequences of his actions, and, inevitably, thoughts are drawn to many current day would-be British “buccaneers” and the likely consequences of how they wield power.

Brexit Britain: Day #1016 – Ever Decreasing Tory Circles & the Boothroyd-Ardern antidote

So, we are now six days away from a possible “No Deal” that would represent a colossal failure of governance. May cosmetically opens talks with Labour without seemingly being willing to give an inch.

Mark “French Mark” Francois leaves us in no doubt that Brexit is on the side of the angels by appropriating the language of the “good book”: “Forgive them, father, they know not what they do”, implying very ironically a lack of epistemological awareness on the part of MPs with a different view to him.

Meanwhile our favourite “haunted Victorian pencil” shows his mettle:

So is the Mogg-man an obstructionist happy to forever snipe and undermine the EU from the sidelines? Or, is he the ambitious would-be Tory power-broker feeling he has to look like he supports compromise and gesture towards economic realities by backing May’s deal at MV3? He is now trapped between these two stances, but instinctively veers back towards his comfort zone.

At least the army are all well behaved and not in any way evoking memories of GB75!

Whenever anyone claims that Labour are “just as divided”, show them this fascinating graphical representation of the voting patterns on Brexit, from The Economist magazine:

It shows that the Tories now consist of at least ten significant caucuses (maybe 13, if you count a 5-6 MP cluster as a caucus!). None of which has enticed a single MP from another party to join it other than self-styled “maverick” Frank Field.

The Tories move in ever increasing numbers of ever smaller circles. Apologies to Esmonde and Larbey!

Who should we listen to and learn from? Jacinda Ardern, in her response to recent events in her country, showing compassion and leadership. Betty Boothroyd, Dewsbury-born former Labour MP and Speaker of the House of Common, who was 21 days old at the time of the Wall Street Crash, quoting wise words here from Harold Wilson on the European question in British politics and using some of her own regarding Boris Johnson.

PRESS: “Our front page may have been a contributing factor…”

PRESS

TX: BBC1, Thursdays, 9pm, 06/09/2018 – 11/10/2018 (six episodes)
w: Mike Bartlett, d: Tom Vaughan, p: Paul Gilbert, m: Natalie Holt
(Lookout Point Ltd. & BBC Studios & Deep Indigo Productions & PBS Masterpiece – for BBC One)

A steady grower of a series, Press was pleasantly verbose and took its time in exploring the particular milieu of journalists on two papers: the Sun-style tabloid The Post and the broadsheet The Herald – Guardian-esque, as strongly implied in episode 1: ‘The Herald started in 1936 as the Yorkshire Herald’. Writer Mike Bartlett was unafraid to expose the particular venal nastiness that has been increasingly prominent in our tabloid media discourse since Rupert Murdoch took over The Sun in 1969. David Suchet does a good job as George Emmerson, The Post’s owner and CEO of Worldwide News, suggesting the transnational power behind the scenes, exerting control over even his very self-possessed editor Duncan Allen (Ben Chaplin). Chaplin is the stand-out performer, wringing an uncertain note of pathos in his portrayal of Allen’s private life, as well as his monstrous marshalling of his newsroom. Wisely, Bartlett complicates his amoral ruthlessness by creating other characters who seem to possess even less of old Gordon Brown’s compass.

It has its flaws. The This Life-style private life entanglements of the work colleagues across both papers are far from riveting. Paapa Essiedu does his best with the amoral reporter Ed Washburn. Ellie Kendrick is lumbered with the stereotypical hapless liberal Leona Manning-Lynd, a journalist air-headed enough to leave her notes and phone around when out for a drink with rival reporter Ed, when she goes to the toilet. Brendan Cowell – Steve Pemberton would’ve been better! – and Priyanga Burford have a relationship that I couldn’t care less about. Things are much more interesting when revolving around the idealistic northern tough nut Holly Evans (Charlotte Riley) and Duncan Allen, who encapsulates the broiling, manipulative cynicism of 2018 Britain’s true elite: the right-wing press. Riley, so adept at deadpan comedy in Swimming With Men (2018), is as good here playing grim tenacity.

Compared with the warm, northern provincial newsroom of Arthur Hopcraft’s Play for Today ‘The Reporters’ (BBC1, 1972) or the bustling Junior Gazette in Steven Moffat’s Press Gang (Central, 1989-93), Press suggests it’s a bleak time for “Fleet Street”, besieged by social media and dwindling circulations – as well as being physically dispersed beyond its Fleet Street locale for over thirty years. In the last episode, in a bid to persuade him to do the right thing, Evans reminds Allen of his old editor and mentor, who Allen then reveals was very much part of the fabled drink-sodden culture of old Fleet Street.

The people aren’t as stupid as he thinks…

The contemporary newsroom is presented as either mildly dysfunctional and reactive (The Herald) or ruled on fear and proactive (The Post). Allen’s attitudes are shown in his patronising of his Geordie assistant Lucy Redford (“She’s not the sharpest”), who in a notable scene in episode 5 breaks cover and reveals sardonically to Holly: “There was a reporter here who started leaking stories to other papers. When Duncan found out, he put the reporter’s mam on the front page. Labelled her “benefit scum”. (Quietly) He thinks I’m stupid. That’s what I want him to think.” It’s a shame that Lucy (Laura Jane Matthewson) doesn’t get any further truth-telling opportunities, but maybe that is the point: such voices are closed down. With such newspapers, you only really hear one voice – Emmerson, mediated by Allen, who discourages any distinctive voices among his staff.

Bartlett negotiated such ground successfully in his TV play – formerly on stage and radio – King Charles III (TX: 14/05/2017), which portrayed a fair few commoners’ outlooks alongside the dominant royals, even if it did have tendency to portray a baying mob rather than a passionate crowd.

The best episodes were 5 and 6, with the intertwining plots around terrorism – as symbolised by MI5’s shadowy “Resonance” surveillance project – and the suicide of school bully Danny Lyons, 17, who it is implied was hounded to kill himself by the paper’s disproportionate coverage of him as a ‘MONSTER’. The drama becomes less predictable; the scenes in the newsroom become ever more charged, after earlier episodes resembled a rather pedestrian equivalent of The Hour (BBC2, 2011-12).

Mercifully, Press never seems to see itself as a film, but a leisurely, unfolding television text – and the final episode bluntly dramatises the increasingly hysterical tenor of our baying press since 2017. It is a gripping, ethically engaged intervention against the terrorscapism of Bodyguard, rubbing our faces in the frightening world Paul Dacre and the Mail’s political editor James Slack have helped to mould.

There’s a nobility in standing against this tide; remember which paper broke the story of the Windrush scandal and consider this: would the likes of Duncan Allen have gone anywhere near it?

RIP, Scott Walker: the Outsider’s Champion

RIP, Scott Walker (1943-2019).

He was a transformational voice and exploratory musical modernist; no one has gone further into the ugly and beautiful. No other musical oeuvre has spanned ‘The Sun Ain’t Gonna Shine Anymore’ to the 22 minute-opus of oddity ‘SDSS1416+13B (Zercon, A Flagpole Sitter)’. Only Bowie (and maybe Hollis) is remotely comparable, in making “the journey of a life” in music so fascinating. In the 1960s, he popularised Brel and chanson and produced some of the best music to listen to for heartbreak; I’ve lived through it with Scott 3 (1969), believe me…! Later, he detonated the ‘song’, culminating in the wondrous masterpiece Tilt (1995). His music is immersed in history and humanity, in its horror, ribaldry, melancholy and humour.

In addition to Bowie and Hollis, he stands beside Leonard Cohen, Robert Wyatt, Peter Hammill, Sun Ra, Joni Mitchell and Kate Bush as a musical force that will endure.

‘Bouncer See Bouncer’ is at the summit of where music can go. It will resound in 200 years’ time. ‘Cossacks Are’ is the avant-pop cut-up of our dreams, Burroughs in the age of the Iraq War:

“A rare outcry makes you lead a larger life”
“You could easily picture this in the CURRENT TOP TEN”
“Medieval savagery, calculated cruelty”
It’s hard to pick the worst moment, it’s hard to pick the worst moment

Here’s a current top ten, nah twenty, of my favourites by Scott Walker. Bit pointless as you really need to listen to it all…

‘Jackie’ (1968)
‘Cossacks Are’ (2006)
‘The War is Over (Epilogue)’ (1970)
‘It’s Raining Today’ (1969)
‘The Old Man’s Back Again (Dedicated to the Neo-Stalinist Regime)’ (1969)
‘The Electrician’ (1978)
‘Butterfly’ (1969)
‘Montague Terrace (In Blue)’ (1967)
‘Plastic Palace People’ (1968)
‘Boy Child’ (1969)
‘Farmer in the City’ (1995)
‘If You Go Away’ (1969)
‘The Sun Ain’t Gonna Shine Anymore’ (1966)
‘Epizootics’ (2012)
‘I Don’t Want to Hear it Anymore’ (1965)
‘The Seventh Seal’ (1969)
‘Tilt’ (1995)
‘Blanket Roll Blues’ (1984)
‘Lullaby’ (2014) (w/ Sunn O))))
‘Bouncer See Bouncer’ (1995)

Brexit Britain: Day #1009 – Red Ed versus the Eton Mess

So, how’s Brexit going? We’ve had Jehovah’s Witnesses at the door trying to save us (from what?), we’ve stockpiled the ginger beer and sparkling water. Yet, a day after the fabled, written-in-stone ‘Independence Day’, we are ever less certain what is going to happen…

The Prime Minister has managed a successful… mutation from a robot into a zombie. When asked why the Prime Minister was holding a third vote this week, which she knew she was going to lose, one cabinet minister this week was reported as saying: “Fuck knows. I’m past caring. It’s like the living dead in here.”

You are seeing the bizarre spectacle of brass-necked Tories trying to blame Labour when they themselves are the government, and, at third asking, 28 ERG “Ultras” rebelled; if all Tories and the DUP had backed the Deal it would have passed.

You are also seeing the right, finally, turning on their ‘own’. James Forsyth in The Spectator claimed that this was likely to have the cataclysmic impact on the Tories’ reputation for competence that Denis Healey’s going to the IMF for a loan had for Labour in the winter of 1976 – which, as Forsyth rightly notes, was based on a miscalculation and needn’t have been done. If it’s a “No Deal” or a supplicant Brexit – with a Customs Union, or such – they are going to carry the can with both Remainers and disappointed Leavers. For different people, both options have the ring of “national humiliation”.

For the Tories, it will be deeply worrying that The Spectator is turning on them, as it didn’t just back Brexit in 2016, it backed withdrawal from the EEC in 1975.

When the supposed “centre” represented by May has failed to be in the least bit competent, then, in the words of W.B. Yeats, “the centre cannot hold”. Which may not be so good for the public – both Leave and Remain – if it leads to a Canada or Singapore style free-market Brexit seemingly desired by most Tory leavers. It will be a bit more bearable for all but the ERG & Tim Martin cult if it leads to a Norway style arrangement with a socialist turn in domestic policies and a proper end to austerity. Which could happen, if Remain ‘liberals’ and Corbyn supporters can find a workable alliance.

Ah! But it is alright for us, the British people, as we’re keeping the Tory Party together, which is what really matters…! Aren’t we?! Witness events in Beaconsfield. While another Tory austerity backer, Dominic Grieve is obviously far preferable to those who have forced him out of the Beaconsfield Tory party by 51 votes (only 313 voted). These are people presumably happier to stand alongside Stephen Yaxley-Lennon than an intelligent and serious MP who they disagree with on one issue. They are obsessed with this one issue and the man who proposed Grieve’s de-selection stood for UKIP in 2017.

Which brings us to… Erm, Change UK. Anti-system? They sound like some sort of soulless and convoluted public-private finance initiative! If they are the answer, I am really not sure what the question is. Maybe: “Do you feel nostalgic for the bland corporate aspect of the late-1990s?”

Didn’t quite think I’d ever really be saying this, but the DUP come out of Thursday’s events with credit compared with a certain two leading Tory Brexiter politicians… If you cannot base your vote on principle in something as important as this, then when can you? We knew already, but it gives final confirmation that they cannot be trusted.

I know Labour have been vacillating madly over this, but they’ve just about held the central line for a customs union style Brexit… Which only got five fewer votes than May’s deal in MV2.

The two sons of journalists and newspaper editors have just ceded their principles for pure (hypothetical) personal gain. This situation is so blindingly obvious that the penny has even dropped with Piers Morgan, perhaps the last man in the UK to realise that the de Pfeffel one is a **** and deserves all the articulate ire he got from Jonathan Meades. Now, the penny is dropping even with fellow shallow, power chasing fools! (albeit one who can get it right very occasionally, see his editorial stance at the Mirror over the Iraq War).

Think of that, these Tories are giving Piers Morgan the chance to pose as a sage commentator on events… Ed Miliband, meanwhile, has the last laugh.

KILLING EVE: spying as psychopathic screwball comedy

KILLING EVE

TX: BBC1, Saturdays, 9.15/9.25pm, 15/09/2018 – 03/11/2018 (eight episodes)
w: Phoebe Waller-Bridge, Vicky Jones, George Kay & Rob Williams; Luke Jennings (novella series), d: Harry Bradbeer, Jon East & Damon Thomas, p: Colin Wratten, m: David Holmes & Keefus Ciancia (Endeavor Content & Sid Gentle Films – for BBC America)

It is no surprise that Killing Eve has become a major cult; it is just a shame that we don’t live in a Britain where its playful absurdities are more widely enjoyed than the po-faced actioner Bodyguard. It is deftly attuned to our age of minutely demarcated tastes in music, fashion and pleasure. If he was still around, Bourdieu would no doubt have much to say about its lively parading of high European bohemianism and plush bourgeois trappings. In the LRB, Alice Spaws had wiser words than I could offer about clothing, noting Villanelle’s ‘Miu Miu bomber jackets and pink tulle dresses, power suits and Doc Marten boots and turquoise pussy bow blouses. They’re models’ clothes, worn with insouciance: the kind of clothes women pay attention to, rather than men. They’re sometimes sexy, but mostly as performance. Sometimes they’re very masculine. Villanelle’s naughtiness, her eccentricity, seems modelled on a modern sort of model, Cara Delevingne perhaps.’ Killing Eve has more strongly etched, materially notable characters. The difference between Villanelle and David Budd is like between those contrasting prose stylists Charles Dickens and Iain Duncan Smith. Or should that be between Angela Carter and Barbara Cartland?

Waller-Bridge is an excellent writer, as we are currently seeing with the impressive series 2 of Fleabag (BBC1). Jodie Comer’s Villanelle is an amoral puzzle for our times: deadpan, wry, sensual; enriched by a sense of the absurd. This is a staggeringly good performance from Liverpool-born Comer who uses a stylised, fatalistic Russian accent and deploys unpredictable, compelling facial gestures. This is the most fruitful Scouse association with Russia since Film On Four’s Letter to Brezhnev (1985). Beside the picture of an opulent mise-en-scène under attack and Comer’s domineering performance, the plot and its details barely seems to matter. There are particularly able supporting performances; for example, prolific TV spy Fiona Shaw and David Haig, retaining some of the rattled quality he had in The Thick Of It, but more urbane. There are especially tense and riveting moments such as the rural pursuit in episode 4 and Villanelle’s stint in prison in episode 6 – by which time we are firmly rooting for this screwball psychopath.

Its focus on lifestyle and interchangeably plush locations means this lacks detailed social specificity or attention to the local. It reflects the limits, but also the possibilities of transnational, co-produced dramas in the Netflix age. It doesn’t say an awful lot, there are few ideas, but there is a veritable smorgasbord of incidental delights. It goes further than The Night Manager (2016) in poring over the rich’s conspicuous consumption and their living for style, but has a more mocking edge. It could go further in its rightly inevitable subsequent series’.

There’s something of a ‘feminist James Bond’ ethos about Killing Eve, a gambolling Tarantino flippancy that works very well in small doses, but cumulatively you want a bit more geopolitical importance and thematic heft. Ultimately, though, it is no bad thing to have such a lively, unconventional re-framing of the spy genre away from tropes of grim bleakness and portentous gravitas. Its offhand sass and an invariably well-selected eclectic soundtrack offer considerable pleasures, along with, above all, Jodie Comer’s magnetic, askew performance. Despite its lack of overt social significance, it would be folly to deny the life and zest that pervades this series: amid increasingly fearful parochialism its transnational pleasures are not just desirable but necessary.

Brexit Britain: Day #1003: Patients revolt, Portillos dance

So, how is Britain readying itself for Brexit, now possibly postponed to 12 April rather than in five days? Just how is the great, patriotic rebirth and throwing off of the ‘totalitarian’ foreign yoke going?

Well, we have seen Mark ‘French Mark’ Francois misunderstanding Will Self when Self had the temerity to claim, feasibly, that ‘probably all racists and anti-Semites’ voted for Brexit. In the context of hate crimes having more than doubled in five years, it is incumbent on the many decent Brexiters to disown and condemn their fringe ethno-nationalist element. Self only faltered in not adding Islamophobes to that list.

Even absurder than Francois’ umbrage, was noted Brexiter commentator @PrisonPlanet with this bombast:

“Activate the Queen”! This theatre of the absurd is just getting out of Beckett gear, and heading towards Ionesco… I’ll get the chairs…

Well, we do live in a country when 8% or so in polls claim they will back UKIP, a now avowedly Islamophobic party led by Gerard Batten, who claimed the Queen committed treason against herself in 1992 by signing the Maastricht Treaty, in a bizarre act of lèse-majesté…!

On Friday, as part of a dozen-‘strong’ pro-Brexit protest in Plymouth – that bizarrely aimed to disrupt the 8.30pm arrival of the Brittany ferry – 62-year-old spokesperson Karen Gadd was disheartened enough by the reality that followed promised social media ‘support’ to advocate a very patriotic flight from the country: “People on Facebook were saying they’re coming – but they haven’t turned up. I feel sorry for people having to to grow up in this country. I’m advising my kids to leave the country – to go to Greece or somewhere.”

A return to the sort of 1960s/70s ‘brain drain’ that provided ballast for our entry to the Common Market, anyone? I’ll get me coat.

Gadd also bemoaned Remainers getting “very nasty” while presiding over a protest that included the burning of EU flags. A day later, death threats to Margaret Anne Georgiadou, who founded the popular ‘Revoke Article 50’ petition were reported.

In Sunderland, there have been sightings of A4 bits of paper attached to walls claiming that if we don’t get Brexit on 29 March, then the anonymous scribe won’t pay his or her council tax.

Amid such banal absurdity, what better than scenes Michael Portillo, Andrew Neil and Liz Kendall engaging in a ‘Brexit danceathon’ on the BBC’s bastion of political analysis: This Week? That the great veteran reggae DJ David Rodigan decided to involve himself, and reggae music, in this spectacle is genuinely baffling.

SINKING GIGGLING INTO THE SEA (c) Jonathan Coe

You can feel that this is the twilight of the No Dealers not just in the drenched squib of Nigel Farage’s march – as drolly assessed by Hannah Jane Parkinson – but also in the fact that the pro-No Deal petition is outscored by the Revoke Article 50 petition by a factor nearly 10:1: 519,942 to 5,097,195, to be exact (as of 3:16pm, today). In Boston and Skegness, Lincolnshire, the strongest ‘Leave’ bastion of 2016, only 1.42% of constituents have signed the pro-‘No Deal’ petition, while 2.18% back revoking Article 50. I am not saying there has been a massive shift, but there has been some and Remain opinion is getting more deeply entrenched – and is slowly growing – the longer this process goes on.

Even by most Tories, ‘a No Deal’ is seen as a necessary ‘bargaining chip’, not as a desirable way forward. Maybe only 20 ERG-ultra MPs are sufficiently headbanging to want it. Others know their party’s reputation would be widely destroyed by presiding over at least a decade long economic decline and the national enfeeblement of No Deal. WTO terms would be an act of self-relegation comparable to exchanging a well-stocked, reliable emporium you’d been using for decades for Del Boy’s stall on the market. A stall manned by an 80-year-old Del Boy who should have retired years ago.

No Deal tends to get around a quarter of public support when the three options (May’s deal, No Deal and Remain) are given. It loses by 14% when it is just Remain v. No Deal (57% to 43%) protests don’t gain traction because it is a ‘way forward’ of masochists, desiring pain for intangible gains such as ‘taking our country back’ and blue passports. Never do they actually engage with or address the valid concerns itemised across 29 areas by Swati Dhingra and Josh De Lyon here.

We have witnessed Luxembourg’s Prime Minister Xavier Bettel aptly diagnosing that Brexit was like waiting for Godot “and Godot is never coming.” For the sort of Brexits many were imagining in 2016 simply are not coming, as they were far-fetched pipe dreams planted by a populist anti-immigration campaign. They rule out misguided but actually feasible Brexit plans like Richard North’s ‘Flexcit’ plan (2013), because that plan involves compromise, the EEA and the recognition that any divergence has to be long-term to have any chance of ‘success’.

Frankly, we are in a pitiable state. And the public can see it; only 7% – probably UKIP and ERG ultras – blame the EU for what are self-inflicted wounds. Objectively, we can all see that it is May in the driving seat, who has been pandering to Gove, Johnson, Davis, Fox and Farage with ‘red lines’. The British government have achieved the unlikely and brought Viktor Orban closer to the EU consensus, giving the authoritarian Hungarian leader the chance to pose as a sage moderate. As reported by Rankin and Boffey, they have enabled one EU head of state to say the UK needs to be taken care of, “like a patient”.

A patient who might be better treated by EU doctors than by certain British journalists.

BODYGUARD: A terrorscapist drama of our times…

BODYGUARD:

TX: BBC1, Sundays*, 9pm, 26/08/2018 – 23/09/2018 (six episodes)
w: Jed Mercurio, d: Thomas Vincent & John Strickland, p: Priscilla Parish & Eric Coulter, m: Ruth Barrett & Ruskin Williamson (World Productions / Netflix Distribution)

“Whose ideology will really win out, the Prime Minister or the Home Secretary?” – Laura Kuenssberg, Bodyguard, episode 3, 02/09/2018

Bodyguard was by far the most successful British television drama of the autumn 2018 season in terms of viewing figures; its significance is in its popular reach and how we see the world through this drama serial. Bodyguard is a hi-octane Bourne and Bond-style thriller which is deliberately foregrounded in political consciousness today. This review recognises the popular as important, perhaps even more so, as Mercurio’s British outlook is being projected internationally via Netflix.

Bodyguard is successful at retaining interest and generating excitement through the first five episodes; it contains suspenseful plotting and nurtures the sort of establishment conspiracy narrative that British television drama was especially good at in the 1980s. However, this troubling vortex is forsaken in episode 6 for a pat resolution, revealing one single bed egg in the police force was behind it, in league with petty criminals. We’ve landed adrift in Touch of Frost (ITV, 1992-2010) terrain, not the sort of current-day take on Edge of Darkness (BBC1, 1985) or A Very British Coup (C4, 1988) that was potentially suggested.

Lead character David Budd is also a sphinx without a secret; a sort of everyman come ‘troubled family man’, showing little inkling of Scottish identity despite his accent. He lacks the depths initially suggested through his friendship with the maverick former army Sergeant and member of ‘Veterans for Peace’, Andrew Apsted (Tom Brooke, giving one of the best performances). Afghanistan is simply where Budd and Apsted served together and the cause of Budd’s PTSD. The complex geopolitics are elided as Mercurio provides us with a straightforward dialectical binary of the arguments: bad politicians led us into it for ‘nothing’ (Apsted) vs. ‘I can’t see any justification for believing the Taliban would govern Afghanistan in peace and harmony, or Iraqi insurgents would ever have formed a stable democracy, or Isis would ever form a state with which the world could have diplomatic relations. And, Andrew, I certainly do not miss the tyranny of Saddam Hussein.’ (Budd, who could be Alastair Campbell’s latest mouthpiece). In addition, the resolution, wherein it is proved that Budd simply needed to open up about his feelings and admit weakness in order to re-join the nuclear family, is too simple by far.

While the trope of using actual BBC journalists within a fictional drama was fresh and amusing in Russell T. Davies’s revival of Doctor Who (BBC1, 2005-), it is here deployed with a routine, annoying inevitability.** Witness the roll-call who appear in image or voice: Laura Kuenssberg, Sophie Raworth, Martha Kearney, Nick Robinson, Andrew Marr, John Pienaar, the absurd John Humphrys. This BBC drama’s use of BBC journalists is seemingly to create verisimilitude, appealing to the ‘real’, in an era when the Corporation really is being assailed from the left for being too close to the Conservative-DUP government. Former BBC employee Owen Bennett-Jones is right in the LRB to characterise the BBC’s actual position as: ‘We can’t afford to tell the truth if it means alienating a politician who could in the future have power over our funding’ – which he evidences by BBC journalists’ lack of serious questioning or correcting of Brexiters’ erroneous on-air claims. The BBC has, for better or worse, a role in promoting consensus about national identity and tends towards the ‘received wisdom’ and ‘centre ground’ of the day – making its job all the harder in polarised times.

When the actual UK Prime Minister now is the former Home Secretary, Mercurio and the BBC’s blending of fact and fiction becomes concerning. Indeed, the only ideological divergence depicted is within the governing party, as Kuenssberg asserts. The opposition may as well not exist in this ‘family quarrel’ between PM and Home Secretary, as no dissenting individual voices or characters are presented – instead, the civil liberties protesters are presented as an angry mob and are merely given a glib and not so catchy chant: ‘RIPA-18! No police state!’ Ominous shots of everyday London locations are backed by the familiar voices of the BBC journalists, delivering portentous ‘news’:

NICK ROBINSON: We’ve had confirmation this morning from the Home Office that Home Secretary Julia Montague will go ahead with her speech at St Matthew’s College.

MARTHA KEARNEY: Civil liberties groups plan a major protest outside St Matthew’s College later today.

JOHN HUMPHRYS: Julia Montague was, of course, the target of a recent assassination attempt and she’ll use today’s platform to address the challenges in the fight against terrorism.

It is easy to imagine founding Director-General John Reith’s incensed bafflement at the casual, glibly relativist involvement of this roster of BBC journalists, whose already battered credibility is not exactly enhanced by their insertion into a sensationalist fiction. The BBC doesn’t just have to fear its perception by the political right as hapless, ‘inclusive’ liberal-left bureaucrats (W1A) but how the political left perceives its cautious cleaving to an unstable “centre-ground” rather than its former – broadly Suez-Secret Society era – spirit of independence, inquiry and truth-telling to power. Unfortunately, the BBC has been ‘brought to heel’ too many times – the sackings of DGs Milne (1987), Dyke (2003) – to give us any confidence that it’ll start standing up for genuine plurality and truth above following the power.

Bodyguard’s cavalier use of the journos-in-fiction trope is part of its terrorscapist essence. Terrorscapism is a new sub-genre of sensationalist topical drama based around exploiting fears of terrorism in the collective unconsciousness for the purposes of vicarious entertainment. In it, morality is usually painted in broad brush-strokes. Hare’s relatively successful, if more infernally plodding Collateral (TX: BBC2, 12/02/2018-05/03/2018) is merely a more liberal-left variant, with its more ‘concerned’ portrayal of Syrian refugees and shadowy MI5 dealings. Terrorscapism tends to eschew overt, complicated politics, with caricatured figures like Collateral’s John Simm playing David Mars MP (a Peter Hain-esque exemplar of New Labour’s liberal side) and Bodyguard’s Keeley Hawes playing Tory Julia Montague MP (a composite of Theresa May and Amber Rudd’s authoritarian stints in the Home Office). These figures are presented as ‘above’ the fray in being more ‘principled’.

This terrorscapist drama’s most entertaining and tense sequence is its first: the attempted suicide bombing of the train, a crisis shrewdly defused by the empathetic Budd. His human interaction with would-be bomber Nadia is compelling while we feel the latent threat of horrific pyrotechnics. Unfortunately, the silent, scared Nadia is about the best that we get from her character. As the series progresses, too many scenes revolve around the dull likes of Anne Sampson (Gina McKee), Counter Terrorism Head in the Met, speaking in clipped terrorscapist clichés. We hear much of “national security” (9 mentions), somewhat less of “civil liberties” (4), which is admittedly a good measure of where our political discourse is at.

Worse, Bodyguard lacks ideas. It gets by on thrills and suggested depths for five hours, but the final 75 minutes amounts to one ponderous, drawn-out ‘spectacular’ set-piece, followed by banal ‘revelations’ of ‘culprits’. A disgraced police officer is cuffed; conferring retribution. Nadia is revealed, in hackneyed ‘wolf in sheep’s clothing’ style, as an ‘empowered’ Islamist mastermind behind the terror attacks; confirming prejudices. This is unforgivable not just for its self-congratulatory smugness, but for its irresponsibility in the current political climate of Islamophobia and increasing far-right terror activity, given that she is the primary Muslim woman in the drama. One other particular drama in BBC’s Autumn 2018 season does it significantly better, and avoids such easy Other-ing. We will come to it later.

This absurd ‘surprise’ revelation functions as a comforting sop to our all too sour Britain of 2018 – and even more so, six months on. Yes, Jed, challenge the stereotype of the submissive Muslim woman victim, but not in aligning her with Jihadi ideology without there being any additional in-depth individuation of Muslim characters. The Muslim terrorist is thus affirmed in a certain viewer’s mind as a quiet, but definite threat to British values and security.

Ultimately, Jed Mercurio had 375 minutes which he could have used to explore a few ideas alongside the suspense and set-pieces, or engage with political complexities like W. Somerset Maugham, Eric Ambler or Graham Greene or John le Carré. However brilliant much of it is a thriller, episode 6 leaves a profoundly nasty taste in the mouth as a drama of today. In a documentary on radical television drama, Jimmy McGovern once said, semi-jokingly, that he hoped that, on Judgement Day, God would let him into heaven, “but that bastard over there who wrote 282 episodes of Casualty with his talent, and counted the money, he can go down there…”

Now, where does that leave Jed Mercurio?

*Episode 2 was on Monday 27/08
** Conspiracy drama academic Joseph Oldham has rightly told me that Spooks (2002-11) uses this device three years before RTD: Joanna Gosling appears in series 1 episode 4. Also, Lez Cooke’s history of British television drama has reminded me that an actual TV journalist appears within the fiction of Edge of Darkness (1985), interviewing Craven on TV, as well as pro-CND Labour MP Michael Meacher, which rather reflects that drama’s greater political radicalism compared with Bodyguard.