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Features | Reportage | Arts | Reviews | Plus Nicola Barker and 7-day TV listings
Miranda Sawyer talks to friends of the
New York street artist whose short but
explosive life transformed the art world
Jean-Michel Basquiat in front of one of his artworks, three years before
his death in 1988, aged 27. Photograph by Evelyn Hofer/Getty Images
Novelists Nicola
Moorcock and Adam Barker, Michael
Roberts celebrate
the visionary science
fiction writer
Pages 14-16
Write to us at or post your
comments online at
You can follow us on Twitter: @ObsNewReview or
A G E N D A 3-5
F E AT U R E S 6-18
On my radar Jazz musician
Courtney Pine’s
cultural highlights
Politics How the tech giants of
Silicon Valley became the biggest
lobbyists in Washington DC
Q&A Comedian and
broadcaster Dara Ó Briain
John Naughton Why US senator
Claire McCaskill is striking fear into
the likes of Google and Facebook
Nicola Barker column
C R I T I C S 23-32
B O O K S 33-37
Barbara Ellen on the return of
The Great British Bake Off
Peter Conrad on The Rise
and Fall of Adam and Eve by
Stephen Greenblatt
Mark Kermode’s verdict on
horror movie Limehouse Golem
Kitty Empire reviews Vince Staples
and LCD Soundsystem
Laura Cumming on the
Folkestone Triennial
Rowan Moore on the
problem with architecture
judging panels
Interview Sigrid Rausing talks
to Rachel Cooke about wealth,
addiction and dealing with the
tragedy that engulfed her family
Politics Ex-BBC boss turned New
York Times CEO Mark Thompson
on how failings in political discourse
have helped fuel popularism
Culture Our writers pick the
20 best portrayals of school
in the arts
Assignment – share your images
of what ‘class’ means to you at
Gallery – London art, from
Mile End to Mayfair
Claire Messud talks to Tim Adams
Rachel Cooke reviews Chris Kraus’s
biography of Kathy Acker
William Skidelsky enjoys
Daniel Mendelson’s memoir
Alison Flood’s thriller of
the month
S C I E N C E & T E C H 19-21
Showcase –
original photography
commissioned for the
Observer last month
THE NEW REVIEW | 03.09.17 | The Observer
The National’s 2010 album High Violet
helped keep me sane during a turbulent
period (Interview with US rock band
the National, last week’s cover story by
Tim Lewis). It has a unique soundscape
of gorgeous guitars and melodies, with
intricate rhythms, gracing 11 songs,
each of which is totally different yet
coherently part of the same album.
A stunning masterpiece that many
developed a profound affection for.
I’m really looking forward to Sleep Well
MereMortal, posted online
I saw the National at the Albert Hall
the night before Cameron got elected
in 2010. I remember [lead singer Matt
Berninger] drawing comparisons with
Bush, encouraging the audience to
stay together and stay happy through
whatever shit was about to come.
Brilliant band.
Ubik blew my mind when I first read
it (Writers on their favourite Philip K
Dick book, last week). Part sci fi, part
whodunnit-style mystery but without
falling into any traps of the genre, it tied
my brain into knots while remaining
completely engrossing.
There are a couple of points I always
liked about Dick: his prediction,
and loathing, of intrusive targeted
advertising; and that his heroes are
often ordinary people who get sucked
America’s most acclaimed
rock band,
the National, talk
to Tim Lewis about
making of their highly
anticipated new album
The finest writing every Sunday for arts, science, politics and culture
The National photographed
in Copenhagen this
month by
Suki Dhanda for the
Observer New Review.
in by the hallucinatory reality they
believe they are engaged in.
The reason a heroin vaccine isn’t
the full solution is that heroin is only
one of many anaesthetics (Could a
heroin vaccine cure the west’s drug
epidemic?, last week). To really solve
the problem of drug dependency, we
have to improve society so that people
aren’t left behind in the first place.
I bought an e-bike a year ago and it
has been a great investment (Philippa
Perry on the advantages of e-bikes,
last week). It has given me more
freedom than any car could.
Martin Winstanley
I ate in a trendy Italian restaurant
recently (David Mitchell’s column on
crockery, last week). They thought
it would be cute to serve the water
in spaghetti jars. They weren’t really
designed for pouring liquids, and
several accidents later we gave up and
were forced to drink the wine instead.
The irony, of course, is that it isn’t really
trendy places doing this nonsense any
more. Hipsters moved on long ago to
1960s crockery. It’s the awful towncentre, boil-in-the-bag chain places
doing it now. My personal peeve is
chips served in a mini frying basket.
Dara Ó Briain
page 4
C U LT U R E | P E O P L E | P O L I T I C S | I D E A S
On my radar
Courtney Pine
Born in London in 1964, Courtney Pine
began teaching himself the saxophone
aged 14, later adding bass clarinet, flute
and keyboard to his repertoire. One of
Britain’s pre-eminent jazz artists, Pine
has fused jazz with genres including
reggae, drum’n’bass, hip-hop and
jungle. His debut album, Journey to
the Urge Within, entered the UK top
40 in 1986; since then he has released
17 more albums, including 1995’s
Mercury-nominated Modern Day Jazz
Stories and 2015’s Song (The Ballad
Book). He was awarded an OBE in
2000 and a CBE in 2009 for services
to jazz music. His latest album, Black
Notes from the Deep, is released on
27 October on Freestyle Records and
he tours the UK from September.
Kathryn Bromwich
1 | Game
Mass Effect: Andromeda
Yes, I am a gamer, an addict, an owner of all
things Mario Bros and beyond. It was with
trepidation that I had a go at Andromeda –
I had not played the previous versions and
critics had not been won over by this sci-fi
role-playing epic. What I appreciate with
these types of games is the way you can
design your character and take ethical or
moral decisions. This game is very deep –
you don’t really start playing until after one
hour, and after about 10 hours of gameplay
is when it starts to get out there, which is
my kind of game. They’ve transferred the
experience of reading a good sciencefiction book to a games console.
2 | Sport
Anthony Joshua
Young boxer Anthony Joshua is an
inspiration. His last fight was against
Wladimir Klitschko, someone much
more experienced, a formidable Olympic
champion. Most pundits thought he’d
be too much for Anthony, but he proved
them all wrong. I have to be honest, I was
on the fence and could not see how my
man could achieve this impossible task,
so I was really nervous for him. I rushed
home from a show to see him shrugging
his shoulders and laughing something
off. History was made that night. The
man from Watford once again made
me proud.
3 | Music
Omar: Love in Beats
Omar has been an inspiring artist for a
while now, and his new album continues
with his exploration of traditional soul
and modern-day social music. The
album coincided with our collaboration;
he contributed some fine lyrics and
vocal performances to four tracks. His
album is a revelation, a must-have. There
are so many flavourful tracks but my
outstanding item is entitled De Ja Vu, which
features Mayra Andrade from Cape Verde.
Performed in 3 over 4 time, or a waltz, this
epitomises Omar’s open-minded, limitless
approach to being in music. We have been
performing live for a bit now so I can testify
to the seriousness with which this man
represents the UK through his music.
4 | Film
The Raid (Gareth Evans, 2011)
This is a modern-day classic. I actually
went to the cinema to see both The Raid
and its sequel, The Raid 2; the first one on
the strength of someone talking about
it on the band bus. What I like about it
is the constant against-all-odds sense
that makes this film a no-holds-barred,
what’s-going-to-happen-next thrill. It’s
basically about a neglected tower block
that is being controlled by criminals, and
our star is a police officer who enters
the tower block and has to fight for his
survival to get to the boss on the top
floor. It’s also a story that deals with
corruption, all the way to the top. And
the fight scenes are a bit tasty.
5 | Event
This event epitomises the spirit of Notting
Hill carnival. When the carnival first started,
a musician named Russ Henderson walked
up and down Kilburn Lane playing his steel
pan, with revellers dancing behind him.
Now Panorama is a steel pan competition
held on the Saturday, before the carnival. I
was brought up in this area and it was great
to see the different groups practising. No
music charts as much human empathy,
trust and positive spirit.
6 | Food
Carb-free frittata
I just found this recipe and it’s unbelievable.
You take six eggs, garlic, onions, parmesan
and sun-dried tomato paste and put them
in a blender, then fry in olive oil until slightly
solid. You fry peppers and sliced portobello
mushrooms until caramelised, add them to
the top, then add grated cheese and place
in the oven for 15 minutes. It’s so simple.
I must admit to improvising a bit when I
cook, as most recipes want the dreaded
bacon or potato. This is usually billed
as a pizza replacement meal – nothing
replaces pizza, but this comes close.
7 | Book
Black Genesis: The Prehistoric Origins
of Ancient Egypt by Robert Bauval &
Thomas Brophy
I am a bookworm and have been from an
early age. This is one of those hard-tofind items and it deals with a subject
close to my heart – the origins of ancient
Egypt. I am not a historian but through
my research of jazz music I have found
a need to research what culturally
was going on in Africa and how this
improvised approach to music came to be
in America. Black Genesis deals with the
astro-ceremonial culture of the people
of the Nabta region in late neolithic times,
and the early people of the southern
river Nile. This is the type of book I take to
the beach and that fuels my muse.
The Observer | 03.09.17 | THE NEW REVIEW
Q & A
Ó Briain
The comedian and TV presenter on his new
children’s book, meeting Stephen Hawking,
and why astronauts can be a real pain
Wicklow-born Dara Ó Briain, 45,
studied maths and theoretical physics
at University College Dublin. In the
mid-90s he became a children’s TV
presenter and standup comic. He has
hosted panel show Mock the Week
for 12 years, and also presents BBC2’s
revival of Robot Wars and astronomy
series Stargazing Live. He has now
written a children’s book about space.
You’re currently writing your next
standup show. How’s it going?
Slowly. I’m two months away from
the tour so I’m staring at a wall of
scribbles and half-formed ideas.
The process is driven by failure and
wine. But it basically gets written
on stage. I’ve been doing low-key
preview shows in Edinburgh, and
it’s the prospect of failure that
lights the creative fire. The cold,
unamused stare of the audience is a
great motivator.
You’re also just about to publish a
children’s book about space, Beyond the
Sky. My eight-year-old son has been
reading it and chortling away…
Oh fantastic, I’m delighted to hear
that. I’ve had very little beta testing,
as it were. It’s not like I could try it
on my own kids. They’d just roll their
eyes and walk away.
Are your children unimpressed by you?
Of course, I’m just embarrassing Dad.
The only thing that’s really clicked
with them is Robot Wars. It’s back on
TV in October, and this series there’s a
10-robot battle, so I got the kids along
to the studio for that. It was by some
distance the longest fight ever. By the
end there was a huge robot pile-up in
the pit, all still clanking and spinning.
Even my kids conceded that was
pretty cool.
people’s ideas, rather than give my
own view of my universe. Cox is the
real brains.
You’ve met a lot of astronauts on
Stargazing. What are they like?
Astronauts are the most fantastic
people you’ll ever meet but also the
greatest pains in the arse. Whatever
anecdote you tell them, they’ll have
done a similar thing – but in space.
They’re a chore to be around. To be
fair, though, I’ve stolen lots of those
stories. Like Buzz Aldrin ramming a
felt-tip pen into the Apollo 11 control
panel to replace a broken switch – he
told me that, so I put it straight into
the book.
Were you space-mad as a boy?
I used to recreate scenes from Flash
Gordon – running around a 70s
kitchen with a colander on my head
for a space helmet – but my passion
for science really took off when I was
14. I read In Search of Schrödinger’s
Cat by John Gribbin, then Chaos
by James Gleick and later, Stephen
Hawking’s A Brief History of Time.
That was what fired it all.
You interviewed Professor Hawking two
years ago on BBC1. How was that?
Mind-bogglingly brilliant. There
was none of that “never meet your
heroes” syndrome because he was a
delight. It was difficult in the sense
that it’s slow to communicate, with
these long pauses while he comes up
with a response. I was burbling and
floundering around awkwardly, but
after it aired I met some people from
a motor neurone disease charity and
they thanked us for leaving that bit in,
because it’s important to show that it
can be uncomfortable and that’s OK.
Did you stargaze in childhood yourself?
How did the kids’ book come about?
The publishers approached me
after seeing me on Stargazing. They
thought my style would fit. Obviously
I’m not going to write the sort of
book that [co-host] Professor Brian
Cox would. My job on Stargazing is
to help communicate other, cleverer
A bit. I had a nerdy little relationship
with Ursa Major. Wherever I was,
I would look up to it. When I was
putting the bins out, it was like a
scene from Annie: “Poor little me,
made to do chores, but I’ll always
have the Plough, my friend in the sky.”
There’s a weepy Irish space musical
THE NEW REVIEW | 03.09.17 | The Observer
Dara Ó Briain:
‘Driven by
failure and wine.’
Photograph by
Pal Hansen for
the Observer
in this. [Laughs] I also remember the
first time I saw the Perseid meteor
shower. I was studying for my physics
finals in the shed one night, went
out into the garden to have a think,
then looked up and saw shooting
stars over my head. That was a nice
moment. There’s your rousing finale
for the musical.
My son loved the stuff in your book
about astronauts’ toilet habits…
The way that wee gets turned back
into drinking water and poo gets
dispatched back down to Earth? If
you ever do a school assembly about
‘Lego? Hell, yeah. You
can’t beat that brickto-brick click. I still
recall selling mine to
buy a Commodore 64’
space, that’s the first thing kids want
to know. There’s real fascination for
that stuff. So poo is a gateway drug,
then I hit them with the cosmology.
Come for the poo, stay for the
black holes.
What are you reading at the moment?
I flit between lit-fic and factual. Right
now, it’s A Horse Walks into a Bar by
David Grossman, which is excellent,
and Robert Webb’s new book, How
Not To Be a Boy, which I’m also
enjoying. My all-time favourites are
Philip Roth and Peter Carey. I bought
a signed first edition of Oscar and
Lucinda in Dublin last week, then got
home and realised I already had two
copies. So I’m well served for Oscar
and Lucindas. One for every floor of
the house.
You’re a guest judge on Channel 4 contest
Lego Masters. Are you a big Lego fan?
Hell, yeah. You can’t beat that
satisfying brick-to-brick click. I still
remember the milestone moment I
sold my Lego to buy a Commodore
64. Did you see that story recently
about David Beckham making a
Lego Disney castle for his daughter?
Everyone thought that was cute but
he built it when she was in bed! Surely
the idea of Lego is that she makes it?
The whole point is building. It’s like,
“Look, I’ve finished your toy. Oh, and
I bought you some paints but I’ve
already painted a picture and used
them up.” It’s a really weird thing
to do.
Speaking of footballers, you’re an
Arsenal season ticket-holder. Are you
Wenger in or Wenger out?
I’m Wenger shake it all about.
Interview by Michael Hogan
Beyond the Sky by Dara Ó Briain
is published on 7 September by
Scholastic (£12.99). To order a copy
for £11.04 go to guardianbookshop.
com or call 0330 333 6846
Nicola Barker
The contradictions of a
very English train journey
honestly don’t have a clue what being
“English” means any more. In fact
I don’t think I ever really knew. I
suspect that I am it and that I am
not it at the same time. Which is OK.
I lived in the UK until I was nine
and then spent five years in South
Africa. When I returned, it was with
a slightly dodgy accent. My current
philosophy of life is loosely based
on Hinduism’s pair of opposites.
This theory holds that you can
be two contradictory things at
the same time, like Kali ( goddess
of creation, and destruction, no
less). In my case this allows me
to be very English/ not remotely
English, very pious/utterly devoid
of moral scruple, very tidy/ a total
slut without any sense of unease/
We are all – every last one of us
– little walking paradoxes, and the
sooner we learn to accept this fact
the easier it will be to understand
why the England football team
is such a mess (arrogant/selfloathing, brave/cowardly,
talismanic/ laughable). I did an event
at the Edinburgh book festival last
weekend and felt my bold assertion
that I was “an American writer”
generated a measure of incredulity.
My logic is that my work isn’t
remotely interested in class (well,
except for the odd novel) and the
psychological landscape I inhabit is
one of wide open spaces: the tundra,
the plain (except for the books I’ve
set on small islands – duh).
In this spirit of contradiction,
I am naturally quite private, but will
happily chat to a total stranger for
several straight hours on a train.
On a recent trip to Wales, I met a
lovely man and among the subjects
we covered were: a dream I had
about the true nature of hell (it’s
very lonely), growth hormones,
how the village of Icklesham in
East Sussex is “only really a road”,
gout, the difference between a
structure being “phallic” or “iconic”
and his experiences in Rwanda
as a soldier during the genocide.
The conversation started when I
noticed that he had folded his coat
and placed it in the luggage rack
where I needed to put my holdall.
I said, “I’m sorry, but I would hate
to crush your jacket with my bag.”
He answered, “I would love you to
crush my jacket.” I then tried to sit
down but he had moved over into
my seat so I said, “I’m sorry, but you
are in my seat. My ticket is by the
window. But if you prefer to sit by
the window then you may have the
seat.” He said, “I hate windows and I
hate sitting by windows.”
And he moved. So that was that.
On my way to Edinburgh, I was in
no mood for conversation, though.
I had what I laughingly call “work”
to do. Luckily for me, the handsome,
American boy in the seat next to
mine had no intention of talking. He
was too busy texting and watching
little films on his Instagram. As
it turned out, the train had been
criminally overbooked. There
weren’t enough seats and we were
late to leave because luggage and
people were blocking all the aisles.
Then another train broke down
in front of us. In total, the journey
took over five hours with people
standing throughout. Near to me was
a pretty young Indian woman with
her brother and her mother. Two
people offered the mother their seats
and she cheerfully refused them,
but every so often she would talk in
Hindi or Urdu to her daughter and
it was obvious to all parties that she
was ripping the piss out of us seated
folk (“Look! I can see his bald spot!”,
“Oooh! That skinny woman has
spinach in her teeth!” etc)
Especially tragic were a Japanese
couple with a Boston terrier in a
pet carrier. At one point I literally
screamed “Let me hold the dog on
my lap!” But they spoke no English
and thought I was demented
(which, in all sanity, I am). We were
actually doing fine, though. There
was a genial middle-aged Scottish
man who seemed eager to try to
create a blitz-spirit atmosphere.
The rest of us were having none
of it. He managed to nab a seat at
Then, at the next stop, a woman
got on and – by sheer force of
personality – acquired a seat next to
his. She was devouring a book about
functional health by Dr Jeffrey S
Bland, and, on discovering that her
Scottish neighbour was a Methodist,
and a doctor by profession, and that
they both deplored the Aberdeen
bus service, proceeded to discuss
her colon with him for the following
three hours. She was abominably,
quintessentially English and had
lived all over the world, so everyone
in her vicinity got to hear how
her colon had performed under
different social and dietary regimes
(Nigeria, Stockholm, Costa Rica – in
Costa Rica they eat spicy beans for
breakfast, which was apparently
fabulous, but a special vitaminimpregnated chocolate milk they
handed out free to teachers in
west Africa had been “tricky to
While ‘meditating’, I
fell asleep and ended
up in the lap of an
impeccably dressed
Japanese girl
digest”). After an hour or so the
boy next to me started to groan and
bang his head repeatedly against
the back of his seat. The Indian
girl leaned down, and, rolling her
eyes towards colon-woman, said,
“You’re a doctor, too?!” He nodded
– “Accident and Emergency.”
“Paediatrics!” she sniggered.
Of course, this was Englishness
par excellence. To be surrounded by
doctors from disparate places too
damnably polite and reserved to tell
the actual English woman to put a
bloody sock in it.
On my way home, I was seated
next to an impeccably dressed
Japanese girl who was glued to
her phone. At one point, while
“meditating”, I fell asleep and ended
up in her lap. A short while later, the
woman sitting behind us opened a
can of lager and sent a jet of foam
shooting through the gap between
the seats, drenching her with beer.
So, in brief: 1) the English should
be banned from their own public
transport. 2) Foreigners are way
more “English” than we are. Um.
Whatever the heck that means.
Nicola Barker’s latest novel,
H(a)ppy, is published by
William Heinemann (£20)
SNAPSHOTS Art of the East Enders
In the 1920s, a group of working-class
men, including a haddock-smoker
and a painter-decorator, began an art
club at Bethnal Green Men’s Institute
in London’s East End. What became
known as the East London Group
expanded and produced luminous,
sometimes haunting, realist
paintings. Reviewing their show at
the Whitechapel Gallery in 1931, the
Observer’s art critic described them
as “intensely fascinating”. Now, many
of the group’s works, some not seen
in public for more than 80 years, are
part of an exhibition at Southampton
City Art Gallery called From Mile
End to Mayfair (until 6 January).
“In spite of their daily working lives
they achieved incredible critical and
commercial success,” says curator
Alan Waltham. “It’s time to reinstate
their reputation.” Yvonne Roberts
Bow Road, 1931, by Elwin Hawthorne.
Old Houses,
Bow, 1934, by
Grace Oscroft.
1938, by Harold
The Observer | 03.09.17 | THE NEW REVIEW
Graffiti artist turned painter Jean-Michel Basquiat became the star of the 1980s New York art scene
– in spite of the critics. Since his death aged 27, his reputation – and the value of his work – has
soared. On the eve of a major UK show, Miranda Sawyer speaks to those who knew him best
t’s always tempting to mythologise the dead,
especially those who die young and beautiful.
And if the dead person is also astonishingly
gifted, then the myth becomes inevitable.
Jean-Michel Basquiat was just 27 when he
died, in 1988, a strikingly gorgeous young man
whose stunning, genre-wrecking work had
already brought him to international attention;
who had in the space of just a few years morphed
from an underground graffiti artist into a painter
who commanded many thousands of dollars for
his canvases.
So perhaps I shouldn’t be surprised that
everyone I talk to who knew Basquiat when he
was alive, from girlfriends to collectors, musicians
to painters, speaks about him as special. Still, it’s
noticeable that they all do. Basquiat – even before
he was acknowledged as an artist – was seen by
his friends as exceptional.
THE NEW REVIEW | 03.09.17 | The Observer
“I knew when I met him that he was beyond
the normal,” says musician and film-maker
Michael Holman, who founded the noise band
Gray with Basquiat. “Jean-Michel had his faults,
he was mischievous, he had certain things about
him that could be called amoral, but setting that
aside, he had something that I’m sure he had from
the moment he was born. It was like he was born
fully realised, a realised being.”
“He was a beautiful person and an amazing
artist,” says Alexis Adler, a former girlfriend. “I
recognised that from the get-go. I knew he was
brilliant. The only person around that time I felt
the same thing about was Madonna. I totally,
100% knew they were going to be big.”
Basquiat the man and Basquiat the painter
are hard to untangle. He lived hard and died
harder (from an unintentional heroin overdose),
and had more of the rock-star persona than the
art aesthete about him, a cool celebrity sparkle
that didn’t always work in his favour. Some art
connoisseurs find his work hard to take seriously;
others, though, have an immediate, almost
visceral response. To me, a non-art critic, his work
is fantastic: it feels contemporary, with a chaotic,
musical sensibility. It’s beautiful and hectic,
young and old, graphic, arresting, packed with
ambiguous codes; there’s a questioning of identity,
especially race, and a sampling of life’s stimuli
that takes in music, cartoons, commerce and
institutions, as well as celebrities and art greats.
(Not sex, though: though he had lots of partners,
his paintings are rarely erotic.). You could stand
in front of a Basquiat painting and be fascinated
for hours.
Since he died, Basquiat has had a mixed
reputation. There was a time in the 1990s when
he was dismissed as a lightweight. Museums
rejected him as a jumped-up wall-sprayer. But
over the past few years, his star has been on the
rise and even those who are snooty about his art
can’t argue with his cultural influence. A few
years ago a Christie’s spokesperson described
him, pointedly, as “the most collected artist of
sportsmen, actors, musicians and entrepreneurs”.
As one of the few black American painters to
break through into international consciousness,
he is referenced a lot in hip-hop: Kanye West,
Jay-Z, Swizz Beatz, Nas and others cite Basquiat
in their lyrics; Jay-Z, in Most Kingz, uses the
“most kings get their head cut off ” phrase from
Basquiat’s painting Charles the First. Jay-Z and
Swizz Beatz own his works, as do Johnny Depp,
John McEnroe and Leonardo DiCaprio. Debbie
Harry was the first person ever to pay for a
Basquiat piece; Madonna owns his art and they
dated for a couple of months in the mid-80s.
Left, JeanMichel Basquiat
at an exhibition
of his work in
1988; above,
Untitled (LA
Painting), which
was bought by a
collector earlier
this year for
Julio Donoso/
Sygma via
Getty Images,
A household name in the US, Basquiat is less
well known in the UK, though the sale, in May, of
one of his paintings (Untitled (LA Painting), 1982)
for $110.5m (£85m), the highest amount ever for
an American artist at auction, made headlines.
Now, Boom for Real, a vast exhibition at the
Barbican – the first Basquiat show in the UK
for more than 20 years – aims to open our eyes.
Researched and curated for four years, it follows
his career from street to gallery, acknowledges the
exceptional times he was working in, and expands
its references from straightforwardly visual art
to music, literature, TV and movies, all areas
in which Basquiat experimented. It tries to see
things from Basquiat’s point of view.
Eleanor Nairne, co-curator of the show,
explains why there hasn’t been a full
retrospective until now. Although Basquiat
was immensely prolific during his short life,
institutions were slow to recognise his talent.
“The time between his first solo show and his
death was six years,” she says. “Institutions do
not move that quickly. During his lifetime he only
had two shows in a public space [as opposed to
a commercial gallery]. There’s not a single work
in a public collection in the UK.” There are not
many in the US, either: the Whitney Museum
of American Art in New York has a couple, but
when the city’s Museum of Modern Art (MoMA)
was offered his work when he was alive, it said
no, and it still doesn’t own any of his paintings
(it has some on loan). The head curator, Ann
Temkin, later admitted that Basquiat’s work was
too advanced for her when she was offered it.
“I didn’t recognise it as great, it didn’t look like
anything I knew.”
‘We were all these
young kids in New
York… making art,
acting, making films.
That was the norm,
to be a polymath’
asquiat was born to a middle-class family in
Brooklyn. His father was Haitian – quite a
strict figure – and his mother, whose parents
were Puerto Rican, was born in Brooklyn.
His parents split up when he was seven and he and
his sisters lived with his father, including a move,
for a while, to Puerto Rico. His mother, to whom
he was close, was committed to a mental hospital
when he was 11. Basquiat was rebellious, angry,
and moved from school to school. His education
ended in New York when, for a dare, he emptied
a box of shaving cream over the principal’s
head during a graduation ceremony. By 15, he
was leaving home on and off. He once slept in
Washington Square Park for a week.
New York City in the late 1970s was utterly
unlike it is now: un-glitzy, rough, with many
buildings burnt out and abandoned. “The city
was crumbling,” says Alexis Adler, “but it was a
very free time. We were able to do whatever we
wanted because nobody cared.” Rents were cheap
(or people squatted) and downtown New York
was a grubby, exhilarating mecca for the artistic
dispossessed. The punk scene, centred on the
venue CBGB, was giving way to something more
experimental, involving art, film and what would
become hip-hop. Everyone went out every night,
everyone was creative, everyone was going to
make it big.
“We were all these young kids in New York
to carry out our Warhol fantasy,” says Michael
Holman, “but instead of being a ringleader as
Warhol was, we were in the band ourselves,
making art ourselves, we were acting in films,
making films, we were all one-man shows, with a
lot of collaborations. That was the norm, to be a
polymath. Whether you were a painter, an actor,
a poet… you also had to be in a band, in order to
really be cool.”
Basquiat was, of course, in a band, with Holman
and others including Vincent Gallo; they were
called Gray. They formed in 1979, but before
that, Basquiat made his presence felt through
his graffiti. Working with his school friend Al
Diaz, from 1978 he was spraying the buildings
of downtown NYC with their shared SAMO tag.
SAMO©, originally a cartoon character Basquiat
had drawn for a school magazine, was derived
from the phrase “same old shit”. It was meant,
in part, to be a satire on corporations and the tag
was straightforward, not decorative. Instead of
pictures, SAMO© asked odd questions, or made
enigmatic, poetic declarations: “SAMO© AS A
THAT ON FIRE”. Before anyone knew JeanMichel Basquiat, they knew SAMO©.
Basquiat left home permanently at 16 and slept
on the sofas and floors of friends’ places, including
UK artist Stan Peskett’s Canal Street loft. There
he made friends with graffiti artists including
Fred Brathwaite (better known as Fab 5 Freddy)
and Lee Quiñones of graffiti group the Fabulous
5, and made postcards and collages. Brathwaite
and Holman put on a party at the loft on 29 April
1979, as a way of bringing uptown hip-hop to the
downtown art crowd. Before the party started,
Holman remembers, this kid turned up, and
said he wanted to be in the show. Holman didn’t
know him, but “people with that kind of energy,
you never stand in their way, you just say, Yes,
go!” They set up a large piece of photo paper and
Basquiat started spraying it with a can of red paint.
He wrote: “Which of the following is omniprznt?
a) Lee Harvey Oswald b) Coca Cola logo c)
General Melonry or d) SAMO.” “And we all went,
Oh my God, this is SAMO!” says Holman. Later at
the party, Basquiat asked Holman, who had been
in the glam-rock band the Tubes, if he too wanted
to be in a band. Gray was formed there and then.
The members of Gray, which settled into the
line-up of Holman, Basquiat, Wayne Clifford
and Nick Taylor, deliberately used painting or
sculpture as references, as opposed to music.
Their highest expression of praise was “ignorant”,
used in the same way as bad (meaning good).
Holman recalls playing a gig with a long loop of
tape passing through a reel-to-reel machine and
then around the whole band. Brathwaite was at
Gray’s first gig, at the Mudd Club in New York,
and said later: “David Byrne [of Talking Heads]
was there. Debbie Harry. It was a real who’s who.
Everyone was there because of Jean…SAMO’s
in a band! They came out and played for just 10
minutes. Somebody was playing in a box.”
Gray ended when Basquiat’s painting took off.
He was always painting and drawing, initially in
the style of Peter Max (think Yellow Submarine),
but quickly found his own aesthetic, which used
writing, and had elements of Cy Twombly and
Robert Rauschenberg. Because he had no money
for canvases, he painted on the detritus he dragged
in from the street – doors, briefcases, tyres – as
well as the more permanent elements in his flat:
the fridge, the TV, the wall, the floor. About the
same time that Gray began, Basquiat started dating
Adler, then a budding embryologist. Adler found a
flat – at 527 East 12th Street – where she still lives
today, and they both moved in. There, Basquiat
painted on everything, including Adler’s clothes.
Although she and Basquiat were sleeping
together, it wasn’t a straightforward boyfriendgirlfriend thing, says Adler. “It was before Aids, a
wild time, you could have whatever relationship
you wanted.” They had separate rooms, and had
sex with other people. Adler bought a camera
to take pictures of Basquiat’s art, and of him
mucking about: he played with putty on his nose,
was interested in film and TV (his phrase “boom
for real”, used when he was impressed, came from
a TV programme), and shaved the front half of his
head, so he would “look as though he was coming
and going at the same time”.
They went out every night to the newly opened
Mudd Club, in the Tribeca district. Friends came
over until all hours (hard for Adler, who worked
Continued overleaf
The Observer | 03.09.17 | THE NEW REVIEW
BASQUIAT As remembered by his friends
Musician and film-maker
¥ Continued from previous page
in a laboratory by day). PiL’s Metal Box was on
rotation, along with Bowie’s Low and records by
Ornette Colman, Miles Davis. Adler loved Metal
Box and nailed the cover up on the wall. When
Basquiat saw it, he was full of disdain. He took the
album down and nailed up William Burroughs’s
The Naked Lunch in its place. “He found it
offensive that I would put it up,” says Adler. It
wasn’t good enough to be art in his eyes.
Basquiat lasted at Adler’s flat until the spring
of 1980. During that year, his work featured in
a couple of group shows and he played the lead
role in the film New York Beat Movie (eventually
released in 2000 as Downtown 81; the Barbican
show will play it in full). In the film, Basquiat is the
star, but it’s fun to play spot-the-famous-person:
there are cameos by Debbie Harry, Fab 5 Freddy,
Lee Quiñones; even Kid Creole and the Coconuts
make an appearance. The plot is of the day-in-thelife type: Basquiat plays an artist who wanders the
street trying to sell a painting so he can get enough
money to move back into his apartment. He sells
it, but is paid by cheque, so he club-hops, trying to
find a girl he can go home with. You can’t imagine
the role was much of a stretch.
When he wasn’t clubbing, Basquiat worked
hard – Brook Bartlett, an artist he mentored in the
early 1980s, recalls him painting incessantly – and
his shift from being penniless to rich happened
between 1981 and 1982. He was by then living
with Suzanne Mallouk, who had moved from
Canada to become an artist. They’d met when
she was bartending at Night Bird. Basquiat would
come in, stand at the back of the room and stare
at her. Initially, she thought he was a hobo – he
had shaved hair at the front of his head, bleached
baby dreads at the back, and wore a coat five sizes
too big. “He wouldn’t come to the bar because he
had no money for drinks,” she recalls. “But then,
after two weeks, he came in, put a load of change
down and bought the most expensive drink in the
place: Rémy Martin. $7!”. Mallouk was intrigued.
They were the same age and had a lot in common.
Basquiat moved into her tiny walk-up flat.
Within eight months, there was money
everywhere. Mallouk: “I watched him sell his first
painting to Deborah Harry for $200, and then a few
months later he was selling paintings for $20,000
each, selling them faster than he could paint them.
I watched him make his first million. We went
from stealing bread on the way home from the
Mudd Club and eating pasta to buying groceries
at Dean & DeLuca; the fridge was full of pastries
and caviar, we were drinking Cristal champagne.
We were 21 years old.” Basquiat would leave piles
of cash around the apartment, buy Armani suits
by the dozen, throw parties with “hills of cocaine”.
His rise coincided with a shift in the city: financiers
were looking to invest in art, and they were cruising
around art shows, snapping up new work.
The first public showing of Basquiat’s paintings
was in 1981: New York/New Wave, at PS1 in
Long Island, brought together by Mudd Club
co-founder and curator Diego Cortez. It was
a group show that included pieces by William
Burroughs, David Byrne, Keith Haring, Nan
Goldin, Robert Mapplethorpe and Andy Warhol,
hole wall, which he
but Basquiat was given a whole
he Barbican show
filled with 20 paintings. (The
recreates this, with 16 of thee original 20 on
display.) His work caused a sensation.
Basquiat gained a dealer: Annina Noseii. She
er her gallery
gave him the basement under
to work in (Fred Brathwaitee didn’t
ing in the
approve: “A black kid, painting
n”, he
basement, it’s not good, man”,
said later), which was wheree Her
and Lenore Schorr, benign and
interested art collectors, met
him. The Schorrs spent some
time in the gallery choosingg
a piece of work, without
knowing that Basquiat was
working beneath them. Once
they’d decided, he came up,
and, though other collectorss
found Basquiat threatening
THE NEW REVIEW | 03.09.17 | The Observer
or obtuse, they liked him immediately. He didn’t
explain his work – “he always said: “If you can’t
figure it out, it’s your problem,” says Lenore – but
he pointed out parts that he thought he’d done
particularly well, such as a snake.
Things were on the up. In early 1982, Nosei
arranged for Basquiat and Mallouk to move from
their small flat to the much fancier 151 Crosby
Street in Soho, and she hosted his first ever solo
show at her gallery: a huge success. Through
another dealer, Bruno Bischofberger (his most
consistent representative), Basquiat was formally
introduced to Andy Warhol; afterwards, Basquiat
immediately made a painting of the two of
them, and had it delivered to Warhol, still wet,
two hours after they’d parted. They formed the
beginning of a friendship. Basquiat was then
asked to do a show in LA, at the Gagosian gallery.
Film-maker Tamra Davis, who made the
Basquiat documentary Radiant Child (2009),
met him in Los Angeles. She was an assistant at
another gallery and a friend brought Basquiat
over. “Jean-Michel came and he didn’t have a car
and he didn’t know where to go and we showed
him around,” she says. “That was our assignment.
It was the funnest thing ever. I was going to film
school, and he really loved films, so we would
go to the movies together, talk about them. He
was the new thing in town, everyone wanted to
get to know him. He was so charming, but it was
also like hanging out with the Tasmanian devil.
Everywhere he went, chaos would occur. You
didn’t know what was going to happen next. It
was invigorating, but it was also really tiring.”
Basquiat, though, was never tired. He had
unending energy, partly drug-fuelled: he needed
it in LA, as he brought no paintings with him.
He rarely did, for his shows: instead he’d arrive
early at whichever city the show was in and
make the paintings there. “He could make 20
paintings in three weeks,” says Davis. In 1986, she
filmed him working: he would have source books
open, the TV on, music playing and worked on
several canvases at once. For this first LA show,
he created works including Untitled (Yellow Tar
and Feathers) and Untitled (LA Painting), the
picture that just cost Japanese billionaire Yusaku
Maezawa $110.5m (in 1984, it went for $19,000).
Every single one sold.
Once back in New York, Basquiat left Nosei
and joined another dealer, Mary Boone. His
reputation was rocketing. The opening for his
solo show at Patti Astor’s Fun Gallery was packed
with celebrities, recall the Schorrs, and all the
work sold on the first night.
Reviews, however, were scarce. Basquiat’s
push-me-pull-you relationship with the art
establishment was becoming evident: the
dealer he wanted, Leo Castelli, rejected him as
too troublesome; there was prejudice against
him for his youth, for having first worked as a
graffiti artist, for being untrained, and for being
black. His work was represented as instinctive,
as opposed to intellectual, though he was well
versed in art history; some held the patronising
idea that he didn’t know what he was doing.
Racism also had an everyday impact: he
would leave successful opening parties and find
it impossible to get a cab. Herb Schorr would
mak his life easier (they would
give him lifts to make
k that he should w
wear a peaked cap and be
u at’s driver). G
George Condo, an artist on the
rise at the same time, recalls going to a restaurant
with him in LA and not being allowed in. “I said:
‘Do you know who this is? This is JeanM chel Bas
Basquiat, the most important
o our time.’ The guy said, ‘He’s
painter of
comi in. We don’t allow his kind
not coming
in here.’” Brook Bartlett remembers
a trip to E
Europe in 1982 during which
a rich Zurich
socialite intimated that
she, an 18-year-old white woman,
woul be a civilising influence
on Basquiat,
who was four years
olde and already established.
No wonder
race became more
in his work: in his
seco LA Gagosian show, in
1983, Basquiat showed paintings
Above: Basquiat
with Andy
Warhol at their
joint show in
New York in
1985, which
was savaged by
the critics.
Basquiat’s Thin
Lips 1984-85.
Richard Drew/
AP, Rex/
Basquiat was born fully realised. And if
anything, that is the kiss of death: you’re
gonna burn brightly and burn fast.
We all went out [almost] every night,
till 4 in the morning. It was so important.
Not only did we go out and blow off
steam, and meet people, have sex in the
bathroom, get high, all that stuff that you
do in clubs. But within the clubs the scene
also creatively happened … all kinds of
happenings, performances, art shows …
Club 57 and Mudd Club, they fed us and
they directed us and guided us, brought us
together with crucial people, in a way that
going to openings or concerts just didn’t
do. It created a community that supported
each other. It was a special time.
In 1982, two years after Jean left [our
band] Gray, I’d become an avant garde
film-maker. I had this cable TV show, and I
asked him to do an interview. He was living
in Crosby Street and I went over there. And
he made it clear to me that I wouldn’t be able
to do this interview if I didn’t get high with
him. He was doing base, like a high-end form
of crack. I’d never done it before and, boy,
I’ve never done it since. I could barely stop
shaking, but it barely affected him. He had
such a high tolerance.
He was a sensationalist. He pushed the
boundaries of any kind of sensation, anything
that would set off his endorphins, his nerve
endings, his brain cells. He was after the
sensation of something special and brilliant
and different and electric and massive. Would
he have been good at middle age? Well, part
of middle age is the struggle of coming to this
place in which you know you’ve plateaued in
some ways. When we pass that hump and
start going down the other way, we are living
and dying at the same time. I don’t think he
wanted to go there.
Major New York collectors, the first to
recognise and support Basquiat
Lenore: We were very excited by the
first painting we saw by him. This is not
a common reaction, we’ve found, even
now! He’s a very difficult artist for many,
many people. But we just felt he was a
wonderful, brilliant artist, very, very early.
Herb: The artists understood him – some
of them. They were there first, along with
a few professionals. Basically, he had his
collector base, but they weren’t knocking
down the doors for them as they are today.
There was not this hysteria. Really, nothing
changes. We’re just finishing reading a
book called The Portrait of Dr Gachet by
Cynthia Saltzman, which is about a Van
Gogh painting, and a lot of it is the same
story as Basquiat. It takes 20 years after his
death before a Van Gogh enters a museum.
Anything which breaks new ground takes a
while for people to catch up to.
Lenore: Jean was very smart and he knew
his art history. Modernism, Picasso, right
up to the present and Jean knew it all. So we
really had a nice rapport. I could see it in his
work, Picasso, Rauschenberg, they were all
important influences, he had absorbed their
work. It was beautifully rendered, remade in
his language, with his message, with New
York at the time, his personal feelings.
Herb: We didn’t see him in a drugged
state, well maybe once, he seemed a little
angry, he wasn’t the same person. He would
call and maybe he needed more money.
Lenore: It’s so sad, he tried to get off
it. Andy Warhol tried hard with him, they
would exercise together.
Herb: We have good memories of him.
One time he said he wanted to come up
and have a white man’s barbecue.
Lenore: We expected him around three
and he shows up at eight, with friends. It
was quite a party, there was skinny-dipping
– not me! It was a great, fun evening.
Partner, 1981-1983, and lifelong friend
(pictured, right)
We immediately had this feeling of kindred
spirits. We were the same age, I left
home at 15, so did he. We were both first
generation from immigrant families – my
father was Palestinian, his father was
Haitian. Both of us didn’t fit into any racial
or ethnic group. It was very interesting, the
common histories we had. Authoritarian
fathers that saw European women as a
prize. And I think it really shaped Jean-
Michel’s experience. He was intelligent
enough to resent that European women
were somehow valued more, he saw the
racism in that, yet most of his girlfriends
were white. He was conflicted about it.
I hated that I had a job and he didn’t. I
was an artist, too – how dare he make me
work as a waitress and live off me! Often
I would come home and he would take
money out of my purse to buy drugs. We
would have terrible fights. He would say, “I
promise I’ll look after you when I’m famous,
please just let me do my art.”
It wasn’t that he only saw Andy
[Warhol] as a father figure, he also really
middle of the night and we both got up,
and said “Who is it?” “Jean-Michel, JeanMichel, is Suzanne there?” I buzzed him in
but he never came up. I ran down the stairs
to look for him, but he’d gone, and two
weeks later he was dead. I never stopped
loving him. I still feel love for him and he’s
been dead for over 30 years.
Jean-Michel was the first person I had ever
met from New York City. We were both in
art punk bands – he was in Gray and I was
in Girls. Our first gig was at Tier 3, a club in
Tribeca, in 1979, and they were opening for
us. So I saw Jean at the soundcheck, and
we started talking about electronic music
from the late 50s. I had no idea he was an
artist, nor did he know I was, we just were
mutual admirers of Davidovsky and Cage.
Music was an enormous influence on
both of us. Rap had come in and replaced
the jazz scene to a degree; artists were
using words to execute lines and phrases
that normally would have been shouted
out by people like Miles Davis or Eric Dolphy
with their instruments. Each of us had a
number of friends who were rappers and
originators of the new movement that led
to hip-hop. But he came to see me in Paris
in 85 and I showed him this VHS of Miles
playing So What with his original quintet
and that immediately set him off to do an
amazing drawing with trumpets and the
words “whole tone and hole tone” all over it.
But someone stole it.
I was heartbroken when he died. I could
see it coming, in his work and in his life, but I
hoped it was just another insane way of him
pushing the envelope to the extreme. The
last time I saw him was at [the restaurant]
Indochine; he told me, “I’m all washed up in
this town … nobody will show my work …
nobody.” He said the only guy left willing
to show him was Vrej Baghoomian. I said,
“Wait a minute – that’s the guy who’s
showing me! Even when I tried to tell him
not to.” We both cracked up and ended up
walking up to Times Square just lamenting
and singing out our blues in the streets. I
walked him all over town thinking I would
see him again soon. But I never did.
Bartlett was a young artist, aged 16, when
she met Basquiat; he became a friend and
encouraged her career
had a flirtation with him. Often when I was
with the two of them together, it didn’t
feel like I was there with Jean; it felt like I
was there with two homosexual lovers. He
once joked with me that he had had sex
with Andy, but I don’t know if it was a joke.
People misunderstand the relationship if
they just think Andy was helping Jean. Jean
was already a world-famous artist, he was
highly established. I think Andy needed
new life breathed into his career; I think the
two of them needed each other.
Two weeks before his death, I was living
with a new boyfriend in my little East
Village hovel. Jean rang the buzzer in the
Whenever I ran into him, he was always like,
“Are you working?” He was like a mom or
something, “What are you doing with your
life?” I was making music at the time and
we would fight about that a lot. He would
say, “I did my thing with music – you’re
basically a slave, especially as a black man,
there’s no respect. If I get into the music
industry, I’m just gonna be another nigger.
But as a painter, my colleagues are Picasso,
Rauschenberg.” He was very proud to be
black and very sensitive about it.
What happened to us was [all about]
money and race. He said, “I have to go to
St Moritz to see my dealer. Come with me,
it’s your 18th birthday, I hate leaving New
York, I’ve never been to Europe.”
So we met Bruno [Bischofberger,
Basquiat’s Swiss dealer]. We took a
private jet over the Alps, went to this
dinner of Count so-and-so. It was the Iran
hostage crisis at the time, [there was] a
blockade. And these people had decided
to smuggle caviar out of Iran. There were
salad bowls filled with Iranian caviar and
people put ¼ litre-sized amounts of caviar
on their baked potatoes while doing coke.
We ended up in a conversation with
one of the guys doing the coke and [he]
looked at me, just turning 18 that day and
said, “You will be important for his work,
you must show him the way, you will be
instrumental… basically talking as though I
should be taming this savage. And I was just
like, this party is revolting, I wanna go home.
On the way back on the plane, he was
nervous, he drank a lot and he was held up
for about two hours in customs. When he
got out he just said that they questioned
that he could fly in first class as a black man
with dreadlocks. We kept walking and this
black janitor, pushing a broom, like from a
movie, says to him, “What they get you for,
brother?” And [Basquiat] turned round and
said to him, “I’m not your fucking brother.”
This was the guy who would give $100
bills to any Bowery bum; any brother that
talked to him he wanted to talk to them.
That broke my heart.
Left, from top:
sleeve design
for Rammellzee
and K-Rob’s
hip-hop 12-inch
Beat Bop; at
work in the
film Downtown
81 (AKA New
York Beat
Movie), shot
in 1980-1981;
with girlfriend
Below right:
Africans, 1983.
Barbican, Alamy,
Duncan Fraser
such as Untitled (Sugar Ray Robinson), Hollywood
Africans, Horn Players and Eyes and Eggs,
featuring black musicians, actors and sportsmen.
rugs, too, were around more and more.
“Everyone in the East Village and in the
arts world in the 80s did drugs. Wall
Street did drugs, everyone did drugs,” says
Mallouk. But after Mallouk and Basquiat split
up in 1983, Basquiat got increasingly into heroin.
“He was sniffing it, smoking it and injecting it,”
says Mallouk. “There were some models that
he was hanging out with that were doing it and
that’s how he got into it.” He became unreliable,
travelling to Japan on a whim, instead of going
to Italy, where he had a show. But then, his focus
was constantly diverted. Everyone wanted him.
He was moving into a different world: his old
friends still saw him, but intermittently.
During 1984 and 1985, Basquiat’s star shot
higher and higher. There was a lot of travel, a lot
of attention. He was featured on the front cover
of the New York Times Magazine in a suit with his
feet bare. The Warhol estate rented him an even
bigger place, a loft on Great Jones Street large
enough for him to use as a studio as well as a flat,
and in 1985 Basquiat and Warhol had a show of
paintings that they’d produced jointly. Though
the poster for the show has subsequently been
constantly reworked and sampled (even Iggy
Azalea used it on the cover of her 2011 mixtape
Ignorant), at the time, the show was not a success.
One critic called Basquiat Warhol’s “mascot”.
Tamra Davis says this was hard for Basquiat.
“He really thought he was finally going to be
appreciated,” she says. “And instead they tore
the show apart and said these horrible things
about him and Andy and their relationship. He
got really sad, and from then on it was hard to
see a comeback. Anybody that you talked to that
saw him around that time, he got more and more
paranoid, his dread went deeper and deeper.”
And gradually, gradually his heroin use was
catching up with him. Alhough he was greatly
inspired by a trip to Abidjan, Ivory Coast, and
though he had shows all over the world – Tokyo,
New York, Atlanta, Hanover, Paris – it became
known among his friends that he was struggling.
Mallouk would go over to his Great Jones loft. “I
would beg him to get help and he just couldn’t
do it,” she says. “He threw the TV at me. People
would stop me on the street, saying Jean-Michel
is in a really bad way, he has spots all over his face,
he looks really out of it, you need to go and help
him… It was pretty common knowledge that he
was not well.”
In February 1987, Andy Warhol died at the age
of 58. Basquiat became increasingly reclusive,
though he still created work for shows, and made
plans, in early 1988, to revisit Ivory Coast to go
to a Senufo village. He began to talk about doing
something other than art: writing perhaps, or
music, or setting up a tequila business in Hawaii.
In 1988, he went to Hawaii to get clean: Davis
saw him in LA afterwards. “He was sober, he
was gonna do better, it was like LA had a bit of
Shangri-La about it for him.” But his visit was
strange: he brought random people to dinner,
people he’d just met at the airport, and he was
unnaturally upbeat, too happy. It made her afraid.
In 2014, Anthony Haden-Guest wrote an article
for Vanity Fair that describes in detail Basquiat’s
last night: 12 August 1988. In New York, he did
drugs during the day, and was dragged out to a
Bryan Ferry aftershow party at bank-turned-club
MK by his girlfriend, Kelly Inman, and another
friend. He left quickly, with his pal Kevin Bray.
They went back to the Great Jones loft, but
Basquiat was nodding. Bray wrote him a note. “I
DIE,” it said. Bray read it out to Basquiat, and left.
The next day, Inman went to the apartment at
5.30pm. Jean-Michel Basquiat was dead.
It was a sad end to a rocket-flight life. And
the subsequent fight between Basquiat’s estate
and various dealers over pieces of his work was
not pretty. Collectors sued for paintings bought
but never received. Dealers claimed they owned
works; the estate said they’d stolen them. There
were too many Basquiat pieces knocking around
on the market (500-600 canvasses, according
to one expert): the estate would only confirm
the provenance of a few. Then the taxman came
knocking: Basquiat hadn’t paid taxes for three
years before his death.
‘He really thought he
was finally going to
be appreciated. And
instead they tore
the show apart’
But the years have softened or resolved the
arguments, and the work has had a life of its own.
Though most of his most important art is owned
by collectors, who keep it hidden away, it keeps
seeping out, as if drawn to its public. Not only are
institutions finally coming around to his genius,
but his work can be seen on T-shirts, on sneakers
(Reebok did a Basquiat range), on the arms of
hip-hop artists. Just samples, short clips taken out
of context, snippets and hints of the full, mindwhirling Basquiat experience. “He questions
things and he references things he wants you to
pay attention to,” says Davis. “His paintings were
meant to be seen by as many people as possible.
They’re like movies or music, not just for one
person alone.”
His art is irrevocably intertwined with his life:
his charisma and drive, his race, his talent and sad
demise. But it is bigger than that. Like the best art,
it needs the world and the world needs it. And if
you stand in front of a Basquiat and look, it sings
its own song, just to you.
Basquiat: Boom for Real is at the Barbican, London
EC2, from 21 September until 28 January 2018
The Observer | 03.09.17 | THE NEW REVIEW
Sigrid Rausing
photographed at her
home in Holland Park,
London for the Observer
New Review.
sense of
Five years ago, the body of Granta owner Sigrid
Rausing’s drug-dependent sister-in-law was
discovered in her Chelsea home. Rausing’s new
book tries to make sense of a story that tore her
family apart – though not all of them want it told
n 8 July, 2012, the
philanthropist and writer
Sigrid Rausing flew with her
family to their summer house
by the sea in Sweden. While
they were travelling, everyone
was happy: even their dog,
Leo, seemed to be smiling as they pointed out the
old familiar landmarks to one another from the
plane. Once they were on the ground, however,
something changed – for Sigrid, if not the others.
The sky was blue. The policeman who checked
their passports on the tarmac was kind. But
the atmosphere was suddenly eerie. “I feel like
something is going to happen,” she said to her
husband, Eric.
The next day, she had a telephone call
scheduled, the subject for discussion being the
issue of human rights in Belarus. It began, as
planned, at 2.30pm. Soon afterwards, Eric slipped
silently into her office. He had written a note,
which he now passed to her, and which she read
as the voice on the other end of the line continued
to talk of Andréi Sannikov, the activist who had
recently been released from prison by President
Lukashenko. Five words: half expected, and
yet so utterly unimaginable. “They have found
Eva’s body,” it said. What does she remember of
this moment? That the room stilled. That she
couldn’t breathe, or move. That the shock had an
underwater quality, heavy and silent.
Everyone knows – or they think they know –
the rest. The headlines were feverish, gothic to
an almost exuberant degree. As she would shortly
find out, that morning her brother Hans had been
stopped by the police on Wandsworth Bridge
Road in south-west London, their attention
having been drawn by his driving. Following
the discovery of a crack pipe and drugs in his
car, as well as a collection of letters addressed to
his wife, Eva, his vast house in Cadogan Place,
Chelsea, was searched, and it was there that the
horrible discovery was made. On a bed in a firstfloor room that a policeman would describe as
looking like a squat, a body was found, covered
first by a pile of blankets, duvets and clothing –
these were coated with white powder, possibly a
kind of deodorant – and then by a blue tarpaulin,
several television screens and some drawers. Eva
Rausing had lain there since 7 May, when her
heart, weakened by years of drug dependence,
had finally given up. Later, Hans would say in a
statement that he had hidden her like this because
he could not face the fact that she was dead. On 1
August, he was convicted of preventing the lawful
burial of her body, and given a 10-month prison
sentence, suspended for two years.
In her powerful and spare new memoir – it
is called Mayhem, which, as well as meaning
chaos, is an old English legal term for the crime of
maiming – Hans Rausing’s sister takes a long time
to reach this horror show. Circling around it, she
is more than 100 pages in before she finally arrives
at the fact of a body. Naturally, this has to do with
dread. Five years on, and though the details are
well known to her now, she would still rather
look away. But other forces are at play, too: her
refusal, perhaps, to give in to ghouls; her natural
tendency to approach any subject in an academic
manner, pausing for thought as she goes (she
trained as an anthropologist). To be writing such a
book at all felt, she says, “very transgressive” in
a family, both famous and famously secretive,
that has its own code of omerta, so no wonder if
she drags her feet. Still, whatever her reasons,
her elisions and prevarications have a striking
effect. As the weight of her pages makes clear,
what seemed sudden to the world – flashbulbs
do not take account of a backstory – was, for
her, years in the making. And thanks to this, you
find yourself, once in her presence, thinking less
about Hans and the awful thing that he did than
about the fact that Sigrid somehow managed,
in spite of everything, to keep going, and even,
perhaps, to thrive.
When I tell her this, she laughs. “I don’t
know about that,” she says, in an accent that is
still Scandinavian at its edges (her family came
here from Sweden in the 1980s). Pressure, she
believes, expresses itself in various ways, not all
of which involve having a nervous breakdown.
“Remember, in my book I write about my horse
and a concussion I suffered when I fell [in 2009].
That gallop was dangerous, and I knew it was.
But now that I think about it, I couldn’t have
asked for a more perfect condition. It was a very
severe concussion, and concussion is about the
obliteration of memory. Under pressure, you
couldn’t ask for something better, and curiously,
it was a relief to have it.” As she also reminds me,
Mayhem is full of portents, most memorably an
adder that crosses her path not once, but twice.
“Suppressed pressure turns into superstition,
too. I noticed it in myself, the way I got more
superstitious.” Foreboding, in the dark years, was
a constant: a queasy cloak she could never quite
THE NEW REVIEW | 03.09.17 | The Observer
take off, even as she got on with her life.
Our meeting takes place at the Holland Park
offices of Granta, the literary magazine that she
owns and now edits (she lives nearby in a huge
house that is supposed to have London’s secondbiggest private garden after Buckingham Palace).
It is high summer, and everyone seems to be away;
the building is cool and quiet and our voices, even
lowered, sound unnervingly loud to my ears. She
is wearing what I take to be her uniform – white
shirt, trousers, mannish brogues – and her face,
as she’s about to remind me, is entirely without
makeup. “It’s always the same,” she says. “In every
interview I do, there’s always a line that goes:
Sigrid Rausing, the Tetra Pak heiress who wears
no makeup.” This isn’t a warning: though she isn’t
one to talk for the sake of it (it’s impossible not to
notice that she isn’t afraid of silence), her manner
is confiding, almost eager. Later, when we talk
about money, I’m not surprised when she tells
me that, in spite of her huge wealth, she finds it
perfectly easy (too easy, perhaps) to trust people.
Even before its publication, her book is causing
trouble. In the days after we talk, Eva Rausing’s
father, Tom Kemeny, will question its “agenda
and objectives” and damn it for being “selfindulgent and pretentious” and upsetting to the
family. Sigrid, though, has no regrets, at least
not in the fact of the book’s existence. Yes, there
were things that, for legal reasons connected
to Hans and Eva’s four children, she could not
say; if she’d been completely free, “it would not
perhaps have been quite so sweet… there is a
sweetness to it that now… disturbs me”. But this
cannot detract from the relief that writing it has
brought her. “It’s interesting,” she says. “I never
believed in catharsis. I thought of it as a cliche.
But the truth is that it was immensely cathartic. I
often wept as I wrote, and I did come through to
another place. When you write a book, you end
up with a tremendous grip on the story. You’ve
taken parts out, so it’s a false grip; the real story
was much worse and far more complicated.
But in the process of writing it… I suppose it’s
like knitting. You create a pattern, you stitch it
altogether, and that becomes the story, and you
feel like you’re on top of it. That discipline is
very comforting.”
Did she feel compelled to write it? “I think
I started because I was so shocked,” she says.
“There was so much grief. I’m somebody who
Continued on page 13
The Observer | 03.09.17 | THE NEW REVIEW
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house as charmed, as if out of a fairytale. And
yet, her parents seem to have been, for all their
immense wealth, quite normal. It is not as though
the place was running over with chauffeurs and
butlers: her father cooked and shopped and took
out rubbish: “I think that was to do with Sweden,
and social democracy. My mother was a radical
social democrat when she met my father.”
When did she first know her family was
different to other people’s? “It was always
there,” she says. And quiet Hans struggled with it.
“Who do you become if you are the son of a very,
very successful entrepreneur? I don’t know if you
saw Hilton Als’s piece about [the photographer]
Diane Arbus in the New York Review of Books?
She came from a very wealthy background,
and she once wrote a letter to a friend in which
she described walking through the family fur
emporium and sensing everybody’s reaction
when they saw her, the heiress: she felt a bit like
a princess, but there was also something slightly
malicious about that gaze. I think that was true
for us, too. The question of inheritance is one that
society hasn’t solved.”
In the late 1980s, while Sigrid was studying for
her PhD in London, Hans came to stay at her flat
in Islington. This wasn’t a success. By the time she
asked him to go, he had stopped washing. Again,
he went into rehab, but as he slowly recovered,
Sigrid fell into a depression that felt like a “cold
claw” at the throat. One evening, she took a knife
and cut long stripes on her arm. Sensing danger,
she went into rehab herself. “I don’t like the
word codependence,” she says. “The relationship
between my depression and his addiction is quite
complicated. But I think they weren’t dissimilar.
has always written in response to what is going
on in my life. After that, I got this very intense
urge to find out exactly what happened; it became
almost like a detective story. I needed to do it,
but very little of it ended up in the book. Then I
started to think about the broader questions to
do with addiction. I came to the conclusion that
it is more mysterious than we think: a no man’s
land, halfway between mental illness and bad
behaviour.” What, she asks in Mayhem, is the
relationship between her family’s wealth and
privilege and Hans’s addiction? Is his illness in
the Rausing genes – her great-grandfather was an
alcoholic – or has it as much to do with nurture
as with nature? Outwardly, the three Rausing
children, with their green eyes and brown hair,
were peas in a pod. But while she and her older
sister, Lisbet, became academics at first, like their
mother, Marit, Hans, who is 16 months her junior,
went a different way: at the age of 18 or 19, he met
heroin on a Goan beach. In a meritocratic country
like Sweden, was it impossible for him to model
himself on his father, Hans Sr, the billionaire? Or
was he simply more susceptible to temptation
than his sisters?
What does her family make of the book? She
is interested in how different their responses
have been. “My editor at Knopf [the American
publisher of Mayhem] kept interrogating my use
of the word “us”. “Who is this ‘us’?” he would
ask. But in fact it turns out that he was right and
the “we” is a collection of individuals. Everyone
has their own view. Some do [like it], and some
don’t, and I have to live with that.” What about
Hans? Has he read it? She shakes her head. “He
has said that he prefers not to, and I can see why.”
In 2014, Hans, who is in recovery, married Julia
Delves Broughton, a director of Christie’s and the
younger sister of Isabella Blow, the late fashion
stylist. They celebrated with a ritzy party. How
would she describe him now? “I think he is happy
and well,” she says, carefully.
While this is the case, her long-held vigilance
remains in abeyance, something that comes as a
relief: “I can feel it subsiding,” she tells me, her
shoulders visibly falling. However, it is unlikely
ever to disappear altogether, and not only because
recovery is, as she puts it, a “fragile” state. In her
book, she notes that she continues to be haunted
by the sight of such things as sweet wrappers and
plastic bottles, however innocent their purpose –
and it’s a line that she stands by. “Oh yes, I meant
it when I wrote that it seemed to me that the line
between teenage mess and a drug den was very
fine,” she says. “It is very fine – much more so than
we’re willing to admit.”
‘My depression and
his addiction weren’t
dissimilar… you come
into the world with
a vulnerability’
ans and Eva Rausing met in the late
1980s, when she was asked by the
rehab facility she had recently left
to come back and talk to him, to
persuade him to stay on (he was about to walk
out). They became friends, and some time later
– by now a couple – Hans took her to visit his
family in the country. Sigrid remembers that
first encounter well: there she was, a thin, blond,
American-seeming woman (her mother was from
North Carolina) in a pink Chanel suit, who looked
simultaneously “young and old, conventional
and wild, groomed and unkempt”. Their
wedding took place in 1992. By 1999, they had
three children. Then, eight years after they were
married, they had a “catastrophic” relapse. This
lasted for 12 years. Sigrid was 38 when it began,
and 50 when it ended.
She did what she could to help, but she
also knew – experience had taught her – that
the families of addicts are as powerless over
drugs as addicts themselves. “You can be too
understanding,” she says. “It would have been
better if everybody had taken Eric’s view [her
husband, a film producer, doesn’t really regard
addiction as an illness and saw Hans’s and Eva’s
drug taking as irresponsible and selfish]. Part of
codependency is that you start to think that you
can help.” In her book, she reproduces parts of
a letter she wrote to Eva in 2004, in which she
reassures her that she is on her side. Reading it,
it struck me as not only generous and kind, but
amazingly frank, too. “The problem is that the
descent into rock bottom is so long if you live the
kind of life we do,” she writes. “Propped up by
nannies and staff, one could go on in a twilight
existence of alcohol and pills for years.” But it
was no good. The descent would indeed be long.
“[Without their wealth] they would both have
died, or gone to prison,” she says. As it was, locked
in their room with only their drugs for company,
the names of their dealers scrawled on its walls,
Hans and Eva were like a couple of castaways,
“scavengers in their own house”.
In the summer of 2006, Eva almost died from
endocarditis, a heart infection, probably caused by
dirty needles. The family staged an intervention.
Eva stormed out, enraged. Hans listened, checked
into rehab, but stayed only a few days. After this,
social workers became involved. The couple’s
children were deemed to be at risk. In 2007, the
social workers told Sigrid and Lisbet that unless
they took measures to remove them, they would
do this themselves. And so, the sisters went to
the family court. The section in Mayhem that
covers this period is perhaps its most painful to
Top: Sigrid (left) and Eva Rausing at a party in 2002. Above: a policewoman outside Hans and Eva Rausing’s
home in 2012, following the discovery of her body. Below: Hans and Eva at a London gala in 2003. Rex, Photoshot
read. Hans and Eva would arrive for the hearings
hours late. He would be “slumped forward, eyes
half closed”. She would fidget constantly, and
then abruptly leave. On her return, she would
be swaying and dreamy. Eventually, the children
were placed in Sigrid’s care (she also has a son of
as six years old.
her own). The youngest was
“Hans and Eva loved their children,” she
sn’t that also
writes. “I know that. But isn’t
at’s the point
a cliche of parenting? What’s
of love if drugs come first?”” By her
stful, she
telling, which is never boastful,
ous aunt.
was a devoted, conscientious
Still, guilt gnawed away at her:
“People praised us for looking
after them. But removing children
ys an
from their parents is always
exercise of power.”
After this, contact was patchy.
She never saw Eva again, and she
08 until
did not see Hans from 2008
2014. Eva, though, was inclined
to text and email. Sometimes,
these notes were furious: “I despise
you with an intensity that is not
describable.” Sometimes, they were
ng to die
sad: “I sense that I am going
kers that
soon.” She told social workers
id was
Eric was gay and that Sigrid
nd that
depressed and on drugs, and
they were not suitable parents
(somewhat comically, the social
workers, even as they investigated,
felt compelled to communicate
their disapproval of Eva’s implicit homophobia).
She made a wax doll of Sigrid, for the purposes of
witchcraft. She also pursued a vendetta against
Sigrid’s father, Hans, who she insisted was behind
the murder of Olof Palme, the Swedish prime
minister who was assassinated in 1986. She even
wrote to a journalist ab
about this (the Swedish
tabloids made much of it after her death).
In January 2012, she told a friend she
was going to go into rehab – and she
did, in April
April, a week before she died.
But she was thrown out, for having
brought V
Valium with her. “I couldn’t
have pre
predicted what happened,
partly be
because I really did think it
was poss
possible that Eva was on her
way to recovery,”
Sigrid says now. “I
felt so an
angry with myself afterwards,
because I thought it would [if anyone
di be Hans. But of course
was to die]
go to be her. He was a big,
it was going
strong m
man and she was a petite
w a weak heart.” Was it
woman with
secrecy – b
by now, they were virtual
recluses – that made her blind? “Yes.
But it’s als
also about love. Its price
[is] fear of loss of the beloved. In
some sense, tthis book is a love letter
to my brother.
to my brother.”
She and H
Hans were close as children
– all three si
siblings were united in their
loathing of sschool – and their childhood
was, in the holidays at least, idyllic. She describes
the weeks they spent aat their Swedish summer
Somebody said there is a bit of survivor’s guilt in
the book, and that’s possible. Science has shown
that alcohol addiction at least is inheritable.
People think this might be true of all addictions,
and I broadly agree with that. So, you come into
the world with a vulnerability. If you’re going to
be all right, you need certain conditions. Work is
one. Love is another.”
Work has always been her balm. “In the end,
the thing that really helped me was going to
live on a collective farm in Estonia [she wrote
about this experience, fieldwork for her PhD,
in her book Everything Is Wonderful]. Before I
left, I was still having panic attacks. But within
two weeks they were gone. It was very peaceful,
and my project had meaning and purpose. I was
intellectually engaged in it.” The pleasure she
takes in editing Granta is obvious. “I love it,”
she says, handing me the latest edition. “I love
talking to writers about their ideas, I love putting
it all together, I love my team.” She is adamant
that her sense of identity is not tied up with her
money – and I almost believe her (surely a tiny
part of it is: after all, she is only, to be blunt, the
editor of Granta because she could afford to
buy it). “I’m not interested in money,” she says.
“I genuinely think that.”
Either way, she has come to terms with her
wealth, in the sense that she knows how she wants
to use it. A famously generous philanthropist,
she gives away, via her trust, millions of pounds
every year. Was it always obvious to her how she
should spend it? “I wouldn’t want to pretend it
was simple,” she says. “It was a process – and every
time I think I’ve come to terms with it, [I realise
that] I haven’t. I feel grateful and overprivileged
and there is a gendered component in that. It’s a
masculinising force. It allows you great freedom,
but it also allows you to be greatly objectified by
others.” And for all the good work that she does,
she doesn’t necessarily regard her philanthropy as
admirable: “The truth is that whatever you do with
money attracts attention – if I wanted no attention,
the best thing would be to do nothing at all.”
Mayhem, which is dedicated to Hans and Eva’s
four children, doesn’t have a conventionally
happy ending: for all that she describes her
sense of reprieve as she watches the newly clean
Hans sitting in a folding chair, eating an olive
as the swifts fly overhead, there is no moving
towards the light, no neat tying of ends. How
could there be? The legacy of what happened to
her family is, and always will be, ongoing. And
there are so many others in the same boat: while
she was writing, drugs became the leading cause
of accidental death in the US. But still, she has
sent it out into the world where, in spite of her
extreme judiciousness in the matter of words, the
headline writers will doubtless make merry with
it. How does that feel? “There is something brave
about publishing it,” she says, quietly. “But maybe
it’s also foolhardy.” At this thought, for all her
seriousness, she sounds almost giddy.
Mayhem is published by Hamish Hamilton
(£16.99). To order a copy for £14.44 go to or call 0330 333 6846
The Observer | 03.09.17 | THE NEW REVIEW
With the new academic year upon us, here are our
favourite portrayals of school life on stage, screen
and elsewhere – from The History Boys to The
Inbetweeners, Eton Rifles to Educating Yorkshire…
1 The Class
(Laurent Cantet, 2008)
Non-professional actors and deft,
documentary-style camerawork
give this portrait of a year in a tough,
multicultural Paris secondary school
its immediacy and potency. Cantet’s
Palme d’Or-winning film uses this
lively, sometimes turbulent classroom
as a microcosm to explore the
simmering tensions and resentments
in society as a whole. But perhaps
more importantly, it celebrates the
exhilarating, bracing excitement of
the exchange of ideas. It manages
to be both realist and optimist in
approach. And it leaves you with a
newfound respect for anyone who has
chosen teaching as their career. WI
2 The History Boys
Alan Bennett (2004)
Set in a northern grammar school in
the 80s, Bennett’s play about a class of
boys trying to get into Oxbridge was,
on the face of it, an unlikely candidate
for worldwide success and multiple
awards. But beyond its irresistible
high jinks, it asks what it is to be a
good teacher. Hector (unforgettably
played by Richard Griffiths) is a
faulty maverick, but his ability to talk
about poetry remains the play’s most
disarming feature. Hector believes
that what and how you read is
n any exam.
more important than
Educating Yorkshire
Channel 4 (2008)
There have now been
el 4’s
five series of Channel
n-theBafta-winning fly-on-thetional
blackboard observational
documentary, each set in
a different UK secondary
school: Essex, Yorkshire
ff and
d the
East London, Cardiff
latest run, Educatingg Greater
Manchester, which launched
last week. 2013’s Educating Yorkshire
followed the inspirational efforts of
headmaster Jonny Mitchell to turn
around ailing Thornhill Community
Academy in Dewsbury. When English
teacher Mr Burton helped shy
pupil Musharaf overcome his acute
stammer – to the extent that “Mushy”
delivered a speech in the end-of-year
assembly – there wasn’t a dry eye on
four million sofas nationwide. MH
4 The Headmaster Ritual
The Smiths (1985)
Until the Smiths, the head boys
of school-hating rock were Pink
Floyd, who pilloried the worst bits
of education in Another Brick In
The Wall. Morrissey did not relish
his time at his secondary school,
St Mary’s, Stretford, and The
Headmaster Ritual opens the epochal
Meat Is Murder with an invective
against corporal punishment and
the brutalising aspects of authority.
Barbarism may have begun at home,
but the blows came thick and fast
at school: “Sir thwacks you on the
knees/Knees you in the groin/Elbow
in the face/Bruises bigger than
dinner plates.” KE
5 Harry Potter
JK Rowling (1997-2007)
Hogwarts Schoo
School of Witchcraft and
Wizardry, home to Harry Potter
and his chums R
Ron and Hermione,
might seem lik
like the epitome of
public-schoo tradition – all
turrets and battlements, with its
system of h
houses, a lake and a
d itch pitch to boot. But in
many regards,
it’s thoroughly
and, if not
exact open to all – you
have to demonstrate at
least fledgling magic
powers – then certainly
basti of privilege. Its
not a bastion
anarchic strand
is perhaps a
THE NEW REVIEW | 03.09.17 | The Observer
clue to its name, which also appears
in Geoffrey Willans and Ronald
Searle’s Molesworth books. AC
6 Approaching the Elephant
(Amanda Rose Wilder, 2014)
“If you don’t want to do math right
now, you don’t have to do math right
now,” says one of the “teachers” at
New Jersey’s Teddy McArdle Free
School, the subject and setting of
Amanda Rose Wilder’s riveting,
maddening cinema verité debut.
There are no rules at McArdle, and
no hierarchy between students and
teachers: a child’s fantasy in theory,
and utter chaos in practice. This
black and white documentary coolly
observes bossy girls and bullying
boys (none older than 10) who call
“meetings”, talk like grownups
and have their own self-contained
ecosystem of morality. SH
7 My So-Called Life
Starring Claire Danes (1994-95)
Cancelled way too soon after a
single series, this angsty, mid-90s
teen drama has since acquired cult
classic status. Then aged 15, Claire
Danes starred as Angela Chase, a
troubled sophomore at Pittsburgh’s
Liberty High School. She searched
for her identity, rebelled against
her parents and nursed a crush on
bad boy Jordan Catalano (Jared
Leto). With its grungey soundtrack
and gritty storylines – taking in
sex, drugs, alcoholism, abuse,
homophobia and homelessness – it
was ahead of its time. Now, thanks
to a second life on DVD and Netflix,
it’s belatedly getting its dues. MH
8 Future Conditional
Tamsin Oglesby (2015)
An entertaining, sobering and
satirical play about the divisiveness
of the UK’s educational system. A
bright Pakistani girl, a refugee, is its
central character. It involves class
discussion in the fullest sense, and
its staff include a smooth Etonian
educationalist, a working-class
northerner and a struggling Welsh
idealist. The play is squirm-makingly
merciless about middle-class
parents who are precious about their
children’s education, but it is the
makers of our warped educational
policies who are placed most
damningly in detention. KK
9 Starfish and Coffee
Prince (1987)
His late purpleness was probably
best known for his overtly sexual
oeuvre, but Prince always had a
blithe, sweet side, which proved a
natural fit for The Muppets when
he guested on the show in 1996.
Forced to line up at school, Cynthia
Rose is a whimsical spirit, but
her odd socks and her eccentric
choice of breakfast fascinate her
classmates. “Starfish and coffee/
Maple syrup and jam/Butterscotch
clouds, a tangerine/And a side order
of ham”. KE
10 The 400 Blows
(François Truffaut, 1959)
Almost every kid has done it – told a
lie intended to divert a minor school
crisis which ended up landing them
in far deeper water than they would
have been originally. But not every
kid has told as huge and ambitious
a lie as Antoine Doinel (Jean-Pierre
Léaud), the central character in
Truffaut’s masterpiece about a
delinquent teenager. On a whim,
Antoine announces that his mother
is dead, a tale which doesn’t go down
well, either with the school or with
his still-living and understandably
furious mum. WI
11The Inbetweeners
E4 (2008-10)
“This isn’t Dead Poets Society and
I’m not that bloke on BBC2 who
keeps getting kids to sing in choirs.”
(Be True to Your School, et al). The
Ramones were more than happy to
appear in a cheesy 1950s-referencing
film about high school students
who blow up their school, from
which this song originates. While
scorning history and the principal
with typical surliness, the Ramones
keep it light and frothy as surf
(“fun, fun, oh baby”), imagining an
alternative education system – a
school of rock, if you will – in which
“kicks” and “chicks” both figure. KE
17 Never Let Me Go
Kazuo Ishiguro (2005)
Hailsham, the boarding school at
the heart of Ishiguro’s compelling
dystopia, has all the hallmarks of an
“ordinary” school: its pupils do their
lessons, play sports, put on shows
and form intense bonds. But little by
little, its true nature – as a home for
clones bred to provide organ donations
– is revealed, and the “art” that the
students are driven to produce takes
on a darker significance. As with
novels such as The Remains of the
Day, centred on a grand country
house, Ishiguro excels at co-opting
the institutions of British life and
reinventing them. AC
18 Napoleon Dynamite
(Jared Hess, 2004)
▲Who’s bad?
E4’s The
Those were
the days: Todd
Carty (far left)
and co from
Grange Hill.
Nikki Patel
and Rob Brydon
in Future
Nasty girls:
the cast of
1980s teen
film comedy
So said misanthropic head of sixth
form Mr Gilbert (Greg Davies) at
Rudge Park Comprehensive. The
potty-mouthed E4 sitcom (working
title: Baggy Trousers) captured
suburban high school’s heady
combo of social cliquery, utter
tedium and relentless piss-taking.
Sex-fixated misfits Simon, Jay, Neil
and Will, AKA “Briefcase Wanker”,
bunked off, went on field trips,
hosted French exchange students,
humiliated themselves at school
discos and soiled themselves
during exams. What a bunch of
bumders. MH
12 Matilda
Roald Dahl (1988)
Roald Dahl knew that nothing
is more entertaining than a
hyperbolically ghastly teacher. And
however grim your schooldays, your
head teacher is unlikely to have
been as terrifying a colossus as Miss
Trunchbull. What would Ofsted
have said about her? Dahl’s story
was splendidly adapted by the RSC
(the musical still runs in the West
End). A despot with an unnaturally
menacing bosom, “Trunch” is
contrasted by Miss Honey, Matilda’s
saintly rescuer, a teacher to give
school a good name and – whisper
it – no fun at all. KK
13 Half Nelson
(Ryan Fleck, 2006)
This downbeat spin on the
inspirational teacher genre
features a young, wan Ryan
Gosling (in, for my money, his
best performance to date) as Dan
Dunne, a lefty high school history
teacher in one of Brooklyn’s tougher
neighbourhoods. He’s also addicted
to crack. He strikes up a friendship
with African-American student
Drey (a brilliant Shareeka Epps);
not an unusual movie trope, but
revelatory here for its innocence.
Better still, the film isn’t afraid to
question (or gently criticise) the
power dynamic between the pair,
without descending into handwringing. SH
14 Heathers
(Michael Lehmann, 1988)
The mother of all mean girl movies,
this savage black comedy peels
back the polished, manicured
in-crowd hierarchy of an Ohio
high school and reveals a snake
pit of manipulation and sadism.
New girl Veronica (Winona Ryder)
plays along for a while when she is
admitted into the coolest, cruellest
clique in school – the Heathers. But
then she, and her bad-boy boyfriend
JD (Christian Slater), decide to
strike back – with a hangover cure
made of drain cleaner. WI
school soap. Set at a north London
comp and airing at teatimes on
BBC1, it ran for a remarkable
30 years, but its heyday was the
80s, when script editor Anthony
Minghella oversaw social realist
storylines like Zammo’s heroin
addiction ( just say no, kids)..
Teachers included “Bronco””
Bronson, “Scruffy” McGuffey,
“Bullet” Baxter and Bridget
“The Midget” McCluskey. As for
oddly-named cult heroes among
the pupils, take your pick
from Tucker, Trisha, Pogo,
Stewpot, Gripper, Booga and
“Row-land”. MH
16 High
The Ramones (1979)
Grange Hill
BBC1 (1978-2008)
TV freeze-frames don’t get much
more evocative than that sausageon-a-fork from the comic-style
opening titles of Phil Redmond’s
Yes, the Ramones were
New York punks, but they
were New York punks
with a soft spot for the
Beach Boys, who had a
penchant for school songs
A socially maladroit, carrottopped teenager who lives with a
grandmother who keeps llamas,
Napoleon Dynamite (Jon Heder,
below) is an unlikely hero for a high
school movie. But in Napoleon and
his best friend Pedro, this quirky
comedy celebrates the outcasts of
the classroom habitat. The film’s
central story is the timeworn device of
school elections, but it’s embellished
with such gleeful oddness that it
almost feels fresh again. Napoleon’s
climactic dance scene is a perfect
moment of nerd-cool wish
fulfillment. WI
19 The Simpsons
“Me fail English? That’s unpossible!”
Springfield Elementary plays a
central part in the yellow-skinned
sitcom, since both Bart and Lisa go
there, albeit with contrasting fortunes.
He’s the underachieving delinquent
who plays elaborate pranks, gets
Principal Skinner fired and is forever
sentenced to write lines on the
chalkboard. She’s the sax-playing
spelling bee champion who’s a Mensa
member aged eight and, during a
teachers’ strike, suffers withdrawal
symptoms from a sudden lack of
praise. The school is so under-funded
it’s riddled with asbestos, the corridor
fire extinguishers are empty and
the cafeteria serves “Malk”, a cheap
substitute for milk. MH
20Eton Rifles
The Jam (1979)
In the UK, class
cla is a theme never far
away from a school song: witness
John Lenn
Lennon’s Working Class
Hero (“Th
(“They hurt you at home
and they h
hit you at school/They
hate you if you’re clever and they
despise a fool”). Here, local
boy P
Paul Weller took aim
at E
Eton’s cadets, whose
rivalry with comp boys
was emblematic of an
ossified, us-versust
Britain: “What
have you
got against a tie and
a crest?”. In 2008,
David Cameron
he and his
Eton fellows being
big fans… “Which part
of it didn’t he get?”
fulminated Weller. KE
The Observer | 03.09.17 | THE NEW REVIEW
Mark Thompson, ex-BBC boss, and now CEO of the New
York Times, last year published a book lamenting the decline
in political discourse and warning of its consequences. Now,
after Brexit and Trump, he’s had to write a new chapter…
it over, and by the end of the week I
figured out that actually I did have
something to say, and that something
had gone wrong in the relationship
between politicians and the media and
the public.
That’s the title of one of the earlier
chapters in the book. It’s complicated,
because you want a media which holds
politicians to account. The media’s
job is to challenge. But the tipping of a
proper, tough-minded challenge into
Pavlovian cynicism is, I think, part of
the issue. The irony is, although the
self-image of the media has been that
we don’t trust any of the politicians,
it’s become clear, both in the UK
ark Thompson is the chief
executive officer of the New
York Times. He is also the
former director general
of the BBC and, before
that, the chief executive of Channel
4. Last year he published Enough
Said: What’s Gone Wrong With the
Language of Politics, a condemnation
of current political discourse that was
described by this newspaper’s Andrew
Rawnsley as “elegantly argued… in cool,
nuanced and forensic prose” but also
a “blistering flame-thrower about the
consequences of the digital revolution”.
For the paperback edition, Thompson
has added a postscript that deals
specifically with the fallout from Brexit
in the UK and the election of Donald
Trump in the US.
THE NEW REVIEW | 03.09.17 | The Observer
What made you want to write this book?
Mark Damazer [former controller
of Radio 4, now master of St Peter’s
College, Oxford], a friend from the
BBC, asked me if I wanted to give a
series of lectures on public languages,
on rhetoric. And I said no, I don’t
know anything about it and I’m not
interested in it. This was back in 2012.
And then I spent about a week turning
Are the media responsible for the lowering
of trust in politicians? I’m thinking of the
maxim made famous by Jeremy Paxman:
why is this lying bastard lying to me?
and the US, that many members of
the public regard the politicians and
the media as members of the same
elite, the same club, and the frantic
attempts of the media to distance
themselves from the politicians have
been ineffective.
You argue that it’s vital to see the other
side of the debate and also to reassert the
importance of the humanities, but we live
in an age of “safe spaces” and the growing
sense among humanities students of an
inviolable right not to be offended. Is this
overstated or a genuine problem?
The idea that institutions, whether
publications or universities, should do
their best to reflect the vulnerability of
minorities seems to me a humane and
proper thing to do. But in the end, that
open debate and freedom of speech
is the solution – or helps with finding
Elites have lost ‘the
art of listening’.
Mark Thompson
photographed last
week at the New
York Times offices
for the Observer
New Review.
a solution – to discrimination and
prejudice. In other words, freedom of
speech helps protect minorities, so I
do worry about political correctness,
which is one of the ways people lose
confidence in public language. Many
liberals in America are aghast that the
ACLU went to court to argue for the
white supremacists’ right to march in
Charlottesville. I think they should
be allowed to march, under the rights
of the first amendment. That doesn’t
mean I’m in any way sympathetic to
what they’ve got to say. Such a march is
almost bound to cause distress, but the
current state of racial tension, which
is very high and painful, exists partly
because of decades of not confronting
and arguing these issues through.
You characterise the quandary of the
left as a need to reconnect with its white
working-class base while refusing
to make the required compromises.
How can it find its way out of that
trapped position?
I mention the art of listening, and
I think they need to sit down and
genuinely listen to people’s anxieties
– and in the case of the British left,
it might well be around topics like
immigration – and try to understand
on a human level what’s going on. The
unfortunate reality is that almost all
politicians have to build coalitions
of people. In much the same way
that old TV companies struggle to
gain large audiences in an era when
cable and satellite provide micro
channels that work for narrowtargeted audiences, politicians are
stuck with a large analogue channel
in a digital moment when people like
niche entertainment.
‘The Brexit vote was
seen at the time as
being definitive.
To return to it risks
seeming like a stab in
the back by the elite’
You don’t believe that the Brexit decision
should be reversed by parliament or a
second referendum…
There are some European countries
like the Republic of Ireland and France
where, as it were, the electorates
may be prepared to countenance
being given a second chance to resit
the exam and come up with the
“right” answer. With the UK, the
referendum was regarded at the time
as being definitive by the majority
of the country. To return to it risks
seeming like a stab in the back by the
elite. But this thing is still in flight. If
the economics turn dark and people
feel they’re making big sacrifices for
Brexit, the public mood could change.
But at the moment it seems to me very
unlikely, and dangerous for politicians
to talk about it for fear of losing more
public trust.
You point out that those who saw Brexit as
a vote against spin, jargon and prevarication
are destined for disappointment as we try
to extricate ourselves from Europe. Isn’t
it the case that the public doesn’t want to
hear about complexity and compromise?
What politician wants to speak in
those terms?
I thought Macron didn’t do a bad job
of fronting some of that up during the
French election. And German politics
has a quality of realism to it. In the UK
and US there is a greater temptation
to make simple promises and simple
ideas – Corbyn on tuition fees, for
example. There has been a collective
loss of nerve in the UK and US. The
public aren’t stupid. They’re going to
know there are choices to be made. I’m
not arguing for perfection but a return
Continued overleaf
The Observer | 03.09.17 | THE NEW REVIEW
‘With Trump,
two voices
come from the
same mouth’
BOOK EXTRACT Enough Said by Mark Thompson
¥ Continued from previous page
to a minimum level of realism about
the fact that you can’t have your cake
and eat it.
The idea of an elite has lost a lot of political
credibility, but the fact is that elites are
required for their expertise, knowledge,
wisdom. Does a defence of elites need to
be made?
Certainly, if you want to carry on with
a system of representative democracy,
you can’t do it without the public
voting for people who bring something
particular to the table. The Michael
Gove “I think the country’s had enough
of experts” is fine, but what is the
alternative? Elites are always losing the
confidence of the public and always
feeling like they’re out of touch – it’s
the eternal story of democracy – but
it does feel bad at the moment. There
is a sense in the US that Washington,
meaning the entire political and
judicial establishment, can no longer
be trusted. And the president is
leading the charge. Something novel is
From your vantage point in the States,
does it seem that the American public
is beginning to get wise to what you call
Trump’s “indeterminacy”?
No. Or, rather, the country is polarised.
It looks like Trump’s core supporters
and most Republicans do not see the
dissonance. If you look at Trump’s
two recent speeches, one in Reno
and the other in Phoenix, the Reno
one was a relatively straightforward,
teleprompter-led presidential speech,
whereas Phoenix was a vintage
example of off-the-cuff extempore
Trump. You have these two different
voices coming simultaneously out of
the same mouth, which he seems at
ease about, and many of his supporters
seem to be OK with it too.
You quote Hannah Arendt on the readiness
of audiences in totalitarian societies
to believe the worst and to forgive lies
because everything is a lie anyway. Do
you see signs of audiences in western
democracies falling for that trick?
Yes, I do. I think you want a sceptical
electorate, but this business of
people almost putting their fingers
in their ears and turning away from
the conversation is dangerous for
democracy. A lot of these pressures
on western countries around
automation, globalisation, and mass
migration are probably going to get
more intense. And if we’ve got to this
state at this stage in the game, what’s
worrying is what the world will look
like in a decade, unless there’s some
improvement in the political culture.
You say that in the battle between truth and
falsehood, Silicon Valley and random voices
on the internet cannot be relied upon.
You argue in favour of newspapers, and
supporting them with subscriptions. But
will newspapers survive in an age where
people expect information to be free?
That’s a gigantic topic. Some
newspapers and some sources of
high-quality journalism will survive,
but there’s going to be a terrifying
reduction over the next few years.
There’s a real danger of proprietors
thinking there’s a painful transition
to get through, and you just need to
keep your costs as low as you can to
survive, which in a practical sense
means denuded newsrooms. That’s
really dangerous, because you can’t
ask people to pay money if the quality
of journalism is poor. Newspapers
that have already wrecked their
newsrooms, I don’t see much hope
for them.
The BBC is under pressure, from social
media to Netflix – can it justify its licence
fee in the future?
I sincerely hope so. The threat
of market failure of commercial
journalism is greater than it’s ever been.
And one piece of public policy that’s
Is Trump’s rise the result of social or economic injustices, or is it down to nationalism and ethnic hatred? Below, Piers Morgan and JK
Rowling, whose Twitter spat about Trump highlighted the vituperative and personal language used in today’s public discourse. Getty
In a speech in February 2017,
Tony Blair declared: “The one
incontrovertible characteristic of
politics today is its propensity for
revolt.” He said it to make a what’sgood-for-the-goose-is-good-forthe-gander point – given that they
revolted once by voting that Britain
should leave the EU, why shouldn’t
the British public be encouraged to
revolt again and reverse the decision?
But the word “revolt” is an odd
expression to use of voters in a
democracy. The people who voted
Leave, and those who installed Donald
Trump in the Oval Office, weren’t the
angry fans of a football club: they were
shareholders who found themselves
with a majority of seats on the board,
and the right to choose any strategy
and any manager they wanted. And yet
– to Tony Blair and many others who
found themselves on the losing side in
both Britain and America last year –
the results did indeed feel like revolts.
So how do the opposing sides
describe each other today? As luck
would have it, two British public
figures threw out some helpfully
paradigmatic adjectives when they
clashed recently on Twitter. Their
debate, if that’s the right word for it,
was about Donald Trump. When JK
Rowling tweeted how satisfying it was
to hear Piers Morgan being abused on
American TV for defending Trump,
he quickly hit back:
“The superior, dismissive arrogance
of rabid Remain/Clinton supporters
s, of course,
like @jk_rowling is,
precisely why both campaigns lost.”
utes later,
Exactly six minutes
the creator of Harryy Potter
responded with this:
“The fact-free, amoral,
bigotry-apologism of celebrity
n is, of
toady Piers Morgan
course, why it’s so delicious
to see him told to fuck
Superior, dismissive,
arrogant, versus
fact-free, amoral
and bigot. Note
how vituperative
and personal the
been foolish is the assumption that
you wouldn’t need or want a public
service broadcaster because the market
will provide. We can already see in the
UK and rest of the world that it’s not
playing out like that. The need for a
well-funded public broadcaster is going
to grow over the next five to 10 years.
What can Britain learn from American
politics and journalism?
With American politics right now
you might say: whatever you do, don’t
do this. Most British journalists, and
historically I include myself in this, find
the deliberate seriousness of American
THE NEW REVIEW | 03.09.17 | The Observer
language is. This is the sound of public
discourse in 2017.
Insults like these are flying back
and forth across the western world.
Populists and their supporters are
racist, sexist and barbaric. They have
no plan. And they lie. What about
those hated elites and their followers?
Smug, controlling, corrupt, quite
unable to understand or empathise
with the lives and concerns of average
citizens. And they lie too. As for their
supposed allies in the media, let me
briefly channel the 45th president of
the United States: “The FAKE NEWS
media (failing #nytimes,
#NBCNews, #ABC, #CBS,
#CNN), is not my enemy,
it is the enemy of the
American people!
We are every bit as bad,
in other words, as those
other “enemies of the
people”, the British judges
damned in the same terms
by the Daily Mail in the
autumn of 2016 for having
the insolence to rule that
Parliament be allowed to
vote on the triggering of article 50. In
America, the new president clearly
finds the men and women he terms
“so-called” judges almost as irritating
and inconvenient as he does a free
2016 was the year when many
people on both sides of this divide in
Britain, America and elsewhere came
to believe that they were living among
strangers – neig
neighbours, friends, family
members even, w
whose worldview
and values had b
been revealed as quite
alien and inco
incommensurable with
their own.
So how ha
have thoughtful
observers m
made sense of
these unexpe
unexpected political
Let’s call on
pai of early witnesses,
a pair
eac of whom points us
an underlying
the first
the second
by implication. The
r witness is the
Yorker magazine writer Adam Gopnik.
Through the magic of the internet,
I sat in my Manhattan apartment
and listened to him on BBC Radio
4 just a few days before the US
presidential election. Gopnik warned
fellow liberals against believing that
Donald Trump’s astonishing run
at the presidency was the result of
genuine economic or social injustices.
‘No,’ he said, we must not delude
ourselves. Trump’s rise is due to
the reawakening of deep, atavistic
passions of nationalism and ethnic
hatred among millions of Americans.
And it was capable of being
reawakened for the tragic
and not very complicated
reason that such passions
are always capable of being
reawakened everywhere in
the world, and at any time.
Elsewhere in the talk,
Gopnik described those
“atavistic passions” as a
“pathogen”. Imagine some
long-known and longfeared plague sweeping
through our towns and
cities once again for no other reason
than our susceptibility as a species. In
the Tempest, Prospero calls Caliban
“this thing of darkness”. For Gopnik,
there’s a zone of darkness in all of
us, or at least in many human beings.
His explanation for the Trump
phenomenon, then, is anthropological
– and it’s a pretty pessimistic
anthropology at that.
Contrast this with a remark I heard
ilosopher Michael
the political philosopher
Sandel make at Davos in January
2017, after he’d sat through
ssion about
a week of discussion
ulism which
the rise of populism
sapproval but
was high on disapproval
w on selfdepressingly low
reflection: Whyy is Davos
af to the
man still so deaf
legitimate grievances
ople? By
of ordinary people?
“Davos man” –
and we might
add “Davos
woman” –
Sandel meant
‘Some high-quality
journalism will survive,
but there’s going to be
a terrifying reduction in
the next few years’
journalism a bit much to take. But I’ve
come to admire and respect the sense of
public mission and determination to get
things right and check facts and really
bottom out stories.
As a member of the liberal elite in the US
and UK, what lessons have you learned
from writing this book that you now try
to follow?
I think, trying to open your ears and
listen to everyone with humility,
and to try to understand all of the
perspectives. Don’t assume that
traditional elite mode of “we know
best”. I think the “we know best”
the world’s political, business,
academic and, yes no doubt, media
elites. A rather narrower group of
people than Adam Gopnik probably
had in mind when he used the word
“we”. Close enough though.
Michael Sandel’s remark implies
rejection of at least some of Adam
Gopnik’s argument – “legitimate
grievances”, he claims, are an
important part of the story. But,
although he does not spell it out,
Sandel’s remark also directs us to
another, rather different thesis – that
one reason for the present political
disruption is the failure of the
world’s elites to listen and respond to
ordinary people. His actual question
– why, after everything that happened
in 2016, are they still not listening? –
reminds us that the underlying drivers
of the populist revolution may still be
at work, dividing not just elites and
non-elites, but different generations,
classes, regions, nations, races.
Since ancient times, students of
rhetoric have regarded an ability
to listen as a critical element in
public discourse; the philosopher
Martin Heidegger went so far as to
define rhetoric itself as the art, not
of speaking, but of listening. But our
conception of rhetoric shrank until
the term came to be used almost
exclusively to refer to set-piece
oratory, or as a pejorative to call out
false or manipulative public language.
The importance of listening was not
quite forgotten but, in the hurly-burly
of contemporary politics and media, it
became increasingly instrumental and
Real listening is not the same as
collecting and analysing data, though
it is often treated by political and
business leaders as if it is. Nor is it
the same as launching a PR-driven
“listening exercise”, as if your normal
practice, whenever the public comes
close, is to don noise-cancelling
Nor does it mean lecturing the
public without regard to the reality of
their lives. “That’s your bloody GDP,
not ours,” as an angry woman told
one political scientist when he was
discussing the potential economic
consequences of Brexit in Newcastle.
You can’t truly listen if you don’t
respect, and at least attempt to
empathise, with the person speaking.
In Britain and America, the public
only stopped respecting and listening
the establishment when they came
to realise that the establishment had
long ceased to respect and listen to
2016 was the year when elites
on both sides of the Atlantic had to
face the consequences of their own
failure to listen. There had been
warning signs of course, not just of
public alienation and distrust, but
of the use of social media to bypass
the communication channels of
conventional politics, and to organise
dissent. Weste
Western leaders had already
watched something analogous
happening during the “Arab
spring” of 2010-11. But when
the d
dam finally burst in the
UK in
i June of last year, and
i Am
America a few months
later, it still came as an
almost complete surprise.
Politicians and pundits
who had been genuinely
convinced that they
were “in touch” and had
the evidence to prove it,
were taught a brisk but
brutal lesson in humility.
impulse is at the root of a lot of the
problems we’ve got.
How long do you plan to spend in the States?
I don’t know. I’m 60, God help us all,
and I find myself in the middle of
another of the great news periods of
my lifetime. I’m not planning to walk
away any time soon.
Enough Said: What’s Gone Wrong
With the Language of Politics? by Mark
Thompson is published by Vintage
(£10.99) on 7 September. To order a copy
for £9.44 go to or
call 0330 333 6846
I D E A S , A N A LY S I S , G A D G E T S A N D B E Y O N D
The tech giants of Silicon Valley are now the biggest lobbyists in
Washington DC, buying influence – and even prime real estate – on Capitol Hill.
Olivia Solon and Sabrina Siddiqui report. Illustration by Thomas Pullin
cholar Barry Lynn worked
at Washington thinktank
New America for 15 years,
studying the growing power
of technology companies
such as Google and
Facebook. For 14 of them
everything was, he says, “great”.
Last week he was fired. Why? He
believes it’s because Google, one of
the thinktank’s biggest funders, was
unhappy with the direction of his
research, which was increasingly
calling for tech giants including
Google, Facebook and Amazon to be
regulated as monopolies.
Leaked emails suggest New America
was concerned that Lynn’s criticism
could jeopardise future funding. In one
of them, the organisation’s president,
Anne-Marie Slaughter, wrote: “We
are in the process of trying to expand
our relationship with Google on some
absolutely key points… just think
about how you are imperilling funding
for others.”
It’s a difficult story to swallow,
given that Google’s parent company
Alphabet, along with executive
chairman Eric Schmidt, has donated
$21m to New America since 1999.
Schmidt even chaired the thinktank for
years and its main conference room is
called the Eric Schmidt Ideas Lab.
Funding thinktanks is just one of
the ways that America’s most powerful
industries exert their influence over
policymakers. Much of the work
takes place a quarter of a mile from
the White House in a lesser-known
political power base: Washington’s K
Street corridor, the epicentre of the
lobbying industry.
In addition to thinktanks, K
Street is packed with slick corporate
representatives, hired guns and
advocacy groups. The lobbyists spend
their days swarming over members
of Congress to ensure their private
interests are reflected in legislation.
While the big banks and pharma
giants have flexed their economic
muscle in America’s capital for
decades, there’s one relative newcomer
that’s leapfrogged them all: Silicon
Valley. Over the past 10 years, the
country’s five largest tech firms have
flooded Washington with lobbying
money to the point where they now
outspend Wall Street two to one.
Google, Facebook, Microsoft,
Apple and Amazon spent $49m on
Washington lobbying last year, and
there is a well-oiled revolving door of
Silicon Valley executives to and from
senior government positions.
Tech companies weren’t always
so cosy with Capitol Hill. During its
1990s heyday, Microsoft accumulated
enormous wealth and market share.
Despite being one of the world’s
largest companies, the PC software
pioneer had mostly kept away from
Washington, spending just $1.9m on
lobbying in 1997.
However, the company’s enormous
scale size and anti-competitive
business practices had attracted the
scrutiny of regulators in Clinton’s
administration, whipped up by intense
lobbying of disgruntled competitors
including Sun Microsystems, IBM and
a company called Novell. In 1998, the
department of justice sued Microsoft,
accusing it of using its Windows
operating system monopoly to push
its Internet Explorer browser to the
disadvantage of rivals.
After years of legal wrangling,
Microsoft was forced to make it easier
for competitors to integrate their
software with windows. The lengthy
lawsuit left Microsoft with deep
battle scars and a more cautious, less
aggressive approach to business. Under
these conditions, rivals such as Apple
and Google were able to thrive.
The landmark action taught Silicon
Continued overleaf
The Observer | 03.09.17 | THE NEW REVIEW
‘They are overwhelming
Washington with money’
¥ Continued from previous page
Valley’s tech titans a painful lesson:
play the political game or Washington
will make your life difficult. It had a
particularly profound impact on Eric
Schmidt, who as CEO of Novell and
former chief technology officer at
Sun Microsystems had a front-row
seat to Microsoft’s public neutering.
He clung on to the cautionary tale
when he was hired as CEO of Google
in 2001. Under his leadership, Google
massively increased its investment in
lobbying to make friends and influence
policymakers in Capitol Hill.
The company spent just $80,000 in
2003; today, Google’s parent company,
Alphabet, spends more on lobbying
than any other corporation – $9.5m
in the first half of 2017 alone, and
$15.4m last year. In 2013 the company
signed a lease on a 55,000 sq ft office,
roughly the same size as the White
House, less than a mile away from the
Capitol building.
And it’s not just Google. Facebook,
Amazon, Apple and Microsoft – which
was hamstrung by its lacklustre early
efforts to court policymakers – have
been pouring money into Washington.
“They are overwhelming
Washington with money and lobbyists
on both sides of the aisle,” said
Robert McChesney, communications
professor at the University of Illinois.
“The Silicon Valley billionaires
and CEOs are libertarian low-tax
deregulation buddies when it comes
to talking to Republicans, and dopesmoking, gay rights activist hipsters
when they mix with the Democrats.”
The tech giants’ main areas of
concern include the threat of looming
action over anti-competitive practices;
anything that might lead to higher
taxation; net neutrality and privacy.
Such concerns have
led Schmidt, who
was heavily involved in the Obama
campaign, to bend the knee to Donald
Trump, despite saying in January that
the president would do “evil things”.
By June, he had changed his tune,
crediting Trump’s administration with
fostering a “huge explosion of new
“Politics is just a transaction to these
people,” said Jonathan Taplin, author
of the recently published Move Fast
and Break Things, a history of online
Beyond the direct lobbying
spend, which is publicly reported,
Silicon Valley exerts influence on
policymakers and citizens through
opaque “soft power”. This includes
funding thinktanks, research bodies
and trade associations, which
lobby the government or influence
civil society.
“It’s such a murky world,” said one
Washington insider who has worked
for several Silicon Valley companies,
including Microsoft and Facebook.
“All of these thinktanks push out white
papers about how regulations would
kill the online marketplace. That’s how
you influence policy.”
Other ways to curry favour and
influence include multi-million-dollar
events such as the secretive three-day
conference Google held in Sicily in
early August, where business leaders
were flown in by private helicopter
(or shuttled from their superyachts)
to rub shoulders with Emma Watson,
Sean Penn, Prince Harry and Sir Elton
John. The event is designed to bring
great minds together to discuss major
global problems, policy and the future
of the internet.
There’s also a revolving door of
Silicon Valley executives to and
from senior government positions.
Google alone employs 183 people
who previously worked in the federal
government under Obama, while
58 Googlers have taken jobs in
Washington, according to the
Campaign for Accountability.
uring the 1990s, in
the early days of the
dotcom era, internet
companies flourished
in Silicon Valley by skirting the law,
moving fast and breaking things. Such
techno-libertarianism was founded on
$15.43 M
$8.71 M
$4.67 M
$ 4 5 0 M*
€ 2.4 2 BN*
€ 7 3 2 M*
€4.25 M
€4.25 M
€1 M
*By EU in 2017 for manipulating
search engine results
*By EU in 2013 for failing to promote
non-MS web browsers
*By US federal court in 2013 over
e-book price fixing
the belief that borderless cyberspace
was separate from the physical realm
and therefore not subject to the same
rules. This sentiment was encapsulated
by the Electronic Frontier
Foundation’s 1996 “A Declaration of
the Independence of Cyberspace”,
which was scathing about any kind of
government intervention:
“Governments of the Industrial
World, you weary giants of flesh and
steel, I come from Cyberspace, the new
home of Mind. On behalf of the future,
I ask you of the past to leave us alone.
You are not welcome among us. You
have no sovereignty where we gather,”
wrote EFF founding member John
Perry Barlow.
The technology companies’ growth
was aided by Bill Clinton’s free-market
ideology, which created a digital freetrade zone by loosening tax laws for
internet companies. With a hands-off
government, a new form of digital
capitalism was born, enabling the
rise of “winner takes all” businesses,
which dominate entire continents
within the digital economy: Google in
search, Facebook in social networking,
Amazon in online retail. As they made
more money, they could invest in more
proprietary infrastructure, such as
data centres, collect more customer
data, hone their algorithms and buy
up or clone competitors. This in turn
gave them more scale and competitive
advantage to the point where nobody
else could keep up.
Gaining a monopoly position from
having better products or strategy is
seen as a reward for success; however,
it’s illegal for a monopoly to take
predatory steps to stop rivals. The tech
companies reject the idea that they are
monopolies on the basis that customers
Even Republicans
have mooted the idea
of regulating Facebook
and Google like utilities
– as daily necessities
lobbyists – have been clamping down
on the tech companies through a
series of legal actions, including
probing the tax arrangements of Apple
and Amazon, leaving Apple with a
¤13bn tax bill, and fining Facebook
for breaking data protection rules
in the way it handled customer data
following its acquisition of WhatsApp.
In a landmark antitrust case, Google
was slapped with a record $2.7bn fine
from the European commission in
June, for illegally favouring its own
services in its search results.
In the US, a Federal Trade
Commission investigation reached
the same conclusions as the EU had,
writing in a 160-page report that
Google’s conduct resulted in “real
harm to consumers and innovation
in the online search and advertising
markets”. Investigators urged
politicians to launch an antitrust
lawsuit, but politicians overrode their
recommendations, allowing Google
to make some voluntary updates to its
search results while avoiding serious
sanctions. How? The $25m it spent
lobbying Washington may have had
something to do with it.
Plenty of people view Europe’s
clampdown on Silicon Valley as an
example of anti-American bias and
an overbearing bureaucracy that has
stifled Europe’s ability to innovate
and produce its own tech titans.
Beckerman, for example, credits
America’s light-touch regulation for the
astronomical success of Silicon Valley’s
firms: “There’s a reason that nearly all
the successful internet companies we
see today were founded in and grew
in the US, and not elsewhere.” The
narrative is so ingrained that even Bill
Gates said of PCs in 1998: “The amazing
are free to come and go as they please.
“Competition is just a click away,”
said Michael Beckerman from the
Internet Association, which represents
Google, Amazon, Facebook and
Twitter. “If you don’t like a particular
service, switching is as easy as going to
another website or app.”
Beckerman cited a Guardian article
from 2007 titled “Will MySpace ever
lose its monopoly?” as an example
of how quickly the mighty can fall.
However, MySpace had around 100m
users at its peak; Facebook is 20 times
the size. “That’s pure unmitigated
bullshit,” said McChesney. “I don’t
think any credible economist who isn’t
an Ayn Rand lunatic would accept that
these are not monopolies.”
Monopoly power, according to the
US supreme court’s definition, is the
power to control prices or exclude
competition. “All of these companies
have that power,” McChesney said.
“Amazon sells 65% of books online
now. Google controls 80% of the search
market. If Amazon thought it was
worth it to go from 65% to 80% they
could, but 65% is the most profitable
point they operate at. That’s what
a monopoly can do. The idea they
are one click away from going out of
business is nonsense.”
European regulators – historically
less likely to be swayed by corporate
of scene
with sad
value a
bit before
verse by
page 38
THE NEW REVIEW | 03.09.17 | The Observer
Research from the Google Transparency
Project, delivered by the US public
watchdog Campaign for Accountability
(CfA) last year, reveals the extent of the
“revolving door” between Google and
UK politics. A total of 28 individuals are
shown to have moved from government
to Google, with a further eight previous
employees of the tech giant working in
government. They include:
the ethics and society team at
Google’s artificial intelligence arm,
The head of strategic communications for
the Conservative party under Cameron
is now senior director of communications
at Google.
The chairman of Google’s parent
company, Alphabet Inc, spent six
years as a business adviser to
David Cameron.
Senior policy adviser for former prime
minister Tony Blair who went on
to head up public policy at Google UK,
before moving to a similar role for
Google X in the US.
Formerly a special adviser to Nick
Clegg during his time as deputy
prime minister, Harding now co-leads
Once head of the research and
information unit at 10 Downing Street,
and senior policy adviser for both
Blair and Gordon Brown, Bertram now
manages public policy at Google.
Former adviser to Tony Blair and David
Miliband, O’Donovan now manages public
policy and government relations at
Such movement of individuals between
tech giants and government is a cause for
concern, according to Tamasin Cave, of
PR watchdog Spinwatch: “It’s old-school
influence-buying of the type that we’ve
long seen from others, like the oil and
defence industries.”
The only way to combat this issue is
to enforce a cooling-off period between
appointments, says Cave. “The system
for policing the revolving door is bust in
the UK.” Tori Blakeman
John Naughton
$8.69 M
$11.34 M
€ 1 1 0 M*
€1 M
€1.75 M
*By EU in 2017 for misleading it over
WhatsApp takeover
thing is all this happened without any
government involvement.”
However, Silicon Valley’s tech
leaders have a short memory: their
companies were built on a foundation
of government intervention and
public monies. Google and the
rest would never have happened
without the intervention of the state
– something they now conveniently
forget. From the 1960s, the Advanced
Research Projects Agency (Arpa,
now Darpa) funnelled funds into
long-term research and development
of breakthrough technologies. This
included funding the Stanford
Research Institute, founded in 1946 as
a centre of innovation and economic
development in the region, and
credited with inventions including the
first all-magnetic digital computer,
the mouse, and an early version of the
internet. Each of the core technologies
in the iPhone – including GPS, cellular
communications, internet, microchips,
Siri and touchscreens – came from
research efforts and funding support
of the US government and military.
The development of Google’s search
engine algorithm was supported by the
National Science Foundation.
“The myth of the internet is
always that it was invented by plucky
entrepreneurs, but for decades it was
entirely the creation of the federal
government,” said McChesney.
The government also played a key
role in breaking up monopolies in
the tech industry with three seminal
antitrust cases. In the 1950s, AT&T
was a powerful monopoly with an
unparalleled R&D unit, Bell Labs.
Following an antitrust suit, Bell was
forced to license its patents, including
that of the transistor, laser and
satellite, to other companies royaltyfree. This led to the emergence of
companies including Raytheon and
Texas Instruments. When IBM was
dominating mainframe computing in
the 1970s, the government sued – to try
to separate the hardware and software
parts of its business. IBM eventually
agreed to allow other companies
to create software that ran on IBM
computers. This gave way to Microsoft,
which eventually faced
its own antitrust case,
which created room
for Google,
which brings us back to Eric Schmidt.
“He knows how to play the game
backwards. He knows that the one
thing that can stop the music is a big
antitrust case,” said a lobbyist for a
small tech company, who didn’t want
to be named.
lthough attempts by Washington
to control the current generation
of tech giants have been mostly
toothless, that may soon change.
Democrats have made antitrust a core
part of their agenda over the next four
years. In a speech in May, Senator
Elizabeth Warren said: “It is time to do
what Teddy Roosevelt did: pick up the
antitrust stick again.”
The words echoed a speech Warren
delivered the previous June at an event
organized by New America’s Barry
Lynn in which Google, Amazon and
Facebook were described as platforms
that could become tools to “snuff out
Even Republicans have mooted the
idea of regulating Facebook and Google
like utilities, as they have become
necessities for daily life.
However, as Washington’s appetite
for action against Silicon Valley grows,
some question what such action
could achieve. After all, the huge fine
in Europe hasn’t changed Google’s
dominant position.
“Until you have a somewhat
unilateral approach to regulating the
internet, this is window dressing,”
said the unnamed lobbyist. “Does it
slow down Google? Yeah. Does it give
lawyers lots of money? Yeah. But it
doesn’t change the marketplace.”
He doesn’t hold much hope for
unilateral regulation under the current
administration. “The US just blew up
the fucking climate change accord.
Of all the things we might have a
unilateral action on, you’d think us not
all dying in the flames would be a good
starting point,” he said.
Nevertheless, sentiment is changing
in the court of public opinion, with
a heightened awareness of problems
such as the spread of fake news, the
exploitation of personal data, and the
link between automation and job losses
and tax avoidance.
“The immense amount of economic
and political power these companies
have will be increasingly difficult to sell
at a time of economic stagnation and
increased inequality,” said McChesney,
adding that the current state of the
economy is intrinsically linked to
these firms. “As we see AI
and robots replace jobs,
enthusiasm for the new
world will lessen.”
“People with pitchforks will
eventually come after them,”
added Hauser. “Even if they are
using their smartphone to find out
where the protest is.”
The woman who strikes
fear into the net’s big boys
ne of the things we learned in
2016 was how the internet is
affecting democratic politics.
We discovered how fake news
spreads like wildfire through social
networks, how Google’s dominance of
search and ownership of YouTube can
distort the public sphere and how “altright” political activists have mastered
the affordances of the technology to
build a formidable propaganda system.
We also discovered what we ought to
have known a long time ago, namely
that the internet holds up a mirror to
human nature, and that some of what
we see reflected in it ain’t pretty.
Throughout all of this it’s been
instructive to observe the intellectual
contortions of the internet giants.
Their pole position has always been
a claim to the freehold of the moral
high ground. They stand by the first
amendment to the US constitution
and are mere conduits for the free
expression of free citizens. It is not
for them to determine what can and
cannot be uttered on their platforms.
And if some of what is uttered is
tasteless, cruel or otherwise vile,
well, that’s just how folks are. If
Google’s search algorithms favoured
sites that specialised in hate speech,
antisemitism and worse, well that was
nothing to do with Google. After all,
none of its employees was involved in
highlighting that stuff.
The fact that the more free speech
there is, the better their corporate
bottom lines was, conveniently,
downplayed. And when the public –
and politicians – began to notice the
horrible stuff that happens online, the
companies’ first response was to poohpooh the concerns. “Of all the content
on Facebook,” wrote its chief executive,
Mark Zuckerberg, “more than 99%
of what people see is authentic. Only
a very small amount is fake news and
hoaxes.” The PR downsides of being
conduits for hate speech and worse
were viewed initially as just the cost of
doing business.
But then came Brexit and the
election of Donald Trump and it
looked as though things were getting
serious for the internet behemoths.
People were beginning to suspect
that they were messing with our
politics. Suddenly the companies
discovered that their support
for the first amendment was not
unconditional. They pledged to
Senator Claire McCaskill’s bill could tear
up internet firms’ get out of jail card over
content published on their sites. AP
take action to detect and expunge
the horrible stuff that was flowing
through their servers. Thousands of
contractors were recruited to monitor
and expunge the bad stuff. “The
bottom line,” declared Zuckerberg,
“is: we take misinformation seriously.”
Google discovered that it could, after
all, modify its algorithms so that
Holocaust-denying sites would not
figure in “autocomplete” suggestions in
searches about Jews. And so on.
So now we find ourselves in a
strange place where huge corporations
are in a position to determine what is
published and what is not. In a working
democracy, this kind of decision should
be the prerogative of the courts. It’s
as if society has outsourced a critical
public responsibility to a pair of
secretive, privately owned outfits.
And it raises a really interesting
question: why have two companies
that have hitherto always maintained
that they are mere conduits for
free expression suddenly become
conscientious censors?
The answer is that they fear that if
they are not seen to be doing something
about it, then the lawmakers will act.
Until recently, this didn’t seem very
likely. But things have changed. In June
the German Bundestag passed a law
requiring social media sites to remove
hate speech within 24 hours or face
swingeing fines. That was alarming
enough for the net companies, but now
an existential threat has appeared. A
bipartisan group of US senators led by
Democratic senator Claire McCaskill
has introduced a bill that opens a crack
in the legislation that has hitherto
provided internet companies with rocksolid legal immunity from responsibility
for what is published on their sites.
This vital immunity is provided
by section 230 of the 1996
Communications Decency Act, which
says that: “No provider or user of an
interactive computer service shall be
treated as the publisher or speaker of
any information provided by another
information content provider.” The
McCaskill bill proposes to “clarify”
section 230 so that websites that
knowingly facilitate sex trafficking can
be held liable for what they publish. It’s
cleverly drafted to target a particularly
odious use of the immunity provided
by section 230. But the internet
companies are deeply alarmed by it,
because they know it could be the thin
end of a powerful wedge – a wedge
that could, effectively, destroy their
business models (and change the
internet). But they’re in a bind because
– after all – they’re all opposed to sex
slavery. Just like they were once all in
favour of the first amendment. This
is soon going to get really interesting.
Stay tuned.
What is it?
Autonomous electric
bubble car, designed to be
shared via an app – like an
exclusive Uber.
Good points
No steering wheel or pedals;
and EQ ForTwo will drive itself
to a charging station.
Bad points
Suggests co-passengers
based on mutual interests –
Tinder-on-wheels, basically.
The Observer | 03.09.17 | THE NEW REVIEW
page 26
F I L M | A R T | G A M E S | T H E AT R E | M U S I C | A R C H I T E C T U R E | R A D I O
‘Quintessentially English’: Noel Fielding,
Paul Hollywood and Prue Leith with Peter,
the first contestant to be eliminated
from Channel 4’s Great British Bake Off.
Photograph by Mark Bourdillon/C4
The joy of advanced bun-making
Bake Off survived a change of oven, ITV served up a soggy Victoria, and Game of Thrones reached boiling point
The Great British Bake Off C4
Strike: The Cuckoo’s Calling BBC1
Victoria ITV
Game of Thrones Sky Atlantic
When The Great British Bake Off
announced its transfer to Channel 4,
with only judge Paul Hollywood
making the move, you would have
thought the very fabric of civilisation
was being threatened by cookie cutters.
How would the British public cope
without Bake Off not being on the BBC?
(Though a rival BBC1 show about
cooking is forthcoming with Mary
Berry and Claudia Winkleman.)
As it happened, the launch episode
of the new-look Bake Off emerged
from the oven with only some minor
public whingeing about ad breaks and
most of the original format (tent, pastel
kitchens, innuendoes) intact. For some,
it may even be improved. Personally, I
never warmed to the human paradox
in a snazzy bomber jacket that was
Mary (millionaire businesswoman who
gives interviews decrying feminism)
Berry. And if anyone was moaning
about her knowledgeable replacement,
Prue Leith, they must know even less
about advanced bun-making than I do.
The more controversial newbie
was surrealist comic Noel Fielding,
seen arriving at the tent with co-host,
the calmly joshing Sandi Toksvig,
in a hot-air balloon, and wearing a
top hat, resembling Willy Wonka
with a bad attack of stage fright.
While Hollywood was displaying
his own nerves (doling out too many
“Hollywood handshakes” to the
contestants), arguably Fielding had
the most to prove (and lose) – which
is perhaps why, initially, he spent so
much time hovering around with his
hands behind his back in the manner
of a counterculture Prince Charles.
However, Fielding warmed up,
and was soon riffing about “exposing
bottoms” with the best of them.
Elsewhere, the contestants (the true
binding ingredient of the show)
did what Bake Off contestants do
best – made cakes that could be both
marvelled and laughed at. While some
of the “illusion” cakes were great
(particularly a watermelon), others
resembled sponge-based roadkill.
For its part, thus far, the new-look
Bake Off appears to have survived –
still so quintessentially English that
you kept expecting Miss Marple to
suddenly appear among the kitchen
islands to solve a murder mystery.
Strike: The Cuckoo’s Calling, directed
by Michael Keillor, written by Ben
Richards, is the first to be filmed
of the private detective novels by
Robert Galbraith, aka JK Rowling.
With Cormoran Strike played by Tom
Burke (pictured below) – imagine a
charismatic human mashup of Orson
Welles and Oliver Reed – and Holliday
Grainger as Robin Ellacot, a secretary/
girl Friday/ girl-next-door type, the
first two episodes (of three) concerned
a murdered model, and a host of
sinister disreputable characters as
suspects, played by the likes of Martin
Shaw and Tara Fitzgerald.
Queen Victoria had
had her baby – treated
as an inconvenience
on a par with stubbing
her toe on a servant
It was instantly apparent that Strike
was a brilliant detective – if nothing
else, he’d managed to “detect” the only
premises in central London that were
dingy, cheap and hadn’t been turned
into a Starbucks or an unaffordable flat.
Strike himself was a one-legged army
veteran, son of a rock star and groupie,
the kind of rough diamond who drinks,
smokes, and sleeps in his office. The
result was an occasionally bumpy blend
of Ironside (disability), scruffiness
(Shoestring/Columbo), all blended with
Sherlock (frequently over-stylised).
While making Strike disabled was a
truly brilliant idea, it was somewhat
overplayed – did we really need to
see him standing on one leg in the
shower? Indeed, when a seductive
model rather clankingly purred: “I’m
quite amputee-curious actually”, I
cringed so hard for the script, I may
have suffered the first-ever recorded
TV critic workplace-injury.
Despite such quibbles, the first
of Strike’s televised outings had
a great cast, perky dialogue, and
considering the creator, a not
entirely unexpected degree of wit
and imagination. No wonder it
made ratings mincemeat out of the
opening episode of the second series
of Victoria, though this may have
had something to do with the fact
that the latter was a tad dull.
The episode opened with
the news that Queen Victoria
(Jenna Coleman) had had her
baby – an event she seemed to
treat as an inconvenience on a
par with stubbing her toe on a
servant. Despite the best efforts
of her husband, the megaGerman accented Prince Albert
(Tom Hughes), Victoria was
more concerned with running
the country and dealing
with the turmoil in Afghanistan.
“I’m not a woman, I’m a queen,”
shrieked Victoria, bustling about in her
crinolines. Victoria seems to be one of
those series conceived to appeal to the
kind of anglophile American audiences
who are doomed to one day visit these
shores and tour stately homes on a
hellish, illusion-shattering coach-trip
holiday. Saying that, it isn’t entirely
without merits: the cast (including Alex
Jennings and Diana Rigg) have fun,
camping it up. In one memorable scene
Victoria was seen scurrying under the
covers, whispering to Albert: “I’m sorry
I was rude about your helmets.”
Game of Thrones delivered a brilliant
(inventive, entertaining, satisfying,
ratings-smashing) season finale
that rather showed up how
lacklustre the rest of the series
has been. Frankly, I’ve been
struggling, and not just
with the spelling of
characters’ names.
It was as though the
sense of humour
had evaporated –
even the reliably
naughty Tyrion
(Peter Dinklage)
had gone all deep
and meaningful.
Jon Snow (Kit
Harington) was
Continued overleaf ¥
The Observer | 03.09.17 | THE NEW REVIEW
¥ Continued from previous page
‘Brilliantly vile’: Cersei (Lena Headey) sits
on the iron throne in Game of Thrones.
disgracing northerners with his
constant whining, and – even clinging
to the back of a dragon – Daenerys
(Emilia Clarke) was morphing into a
soppy hippy-queen. I missed the likes
of psychopathic Ramsay (Iwan Rheon),
and only Lena Headey’s brilliantly vile
Cersei and the magnificent Army of
the Dead (some of us are on their side)
continued to deliver.
All this was forgiven as the episode
unfolded, with all the prime movers
and shakers assembling in a kind
of dragon-themed United Nations
to discuss defeating the Dead.
Elsewhere Sansa (Sophie Turner)
and Arya (Maisie Williams) outwitted
and executed the manipulative
Littlefinger (Aiden Gillan), and
the undead dragon fire-blasted the
supposedly impenetrable wall. Most
sensationally, the Three-Eyed Raven
(Isaac Hempstead Wright) blurted that
Snow was actually Ageon Targaryen,
which makes him Daenerys’s nephew.
As the youth say, “Awks!” Perhaps the
all-seeing, all-knowing raven could
have mentioned this before Snow and
Daenerys got naked in front of an open
fire, to “merge their dynasties” (if you
want to get euphemistic, and, in a
family newspaper, I think we must).
Thus were viewers introduced to
Game of Thrones’s second big incest
storyline, to rival the ongoing sisterbrother act of Cersei and Jaime
(Nikolaj Coster-Waldau). Dragons be
damned, Game of Thrones is revealed
as a huge soap, a fantasy-themed
Bouquet of Barbed Wire, just with a lot
more snow, mud, straw, unparalleled
human suffering, and warm winter
clothing. What’s going to happen in the
next series – will the undead dragon
be incinerated by its siblings? After
this excellent finale, my appetite is
re-whetted to find out.
Euan Ferguson is away
Let there
be gaslight
Bill Nighy’s detective leads a fine cast in this
deliciously atmospheric adaptation of Peter
Ackroyd’s Victorian murder mystery
The Limehouse Golem
(109 mins, 15) Directed by Juan Carlos
Medina; starring Bill Nighy, Olivia Cooke,
Eddie Marsan
All the world’s a bloody stage in this
gothic Victorian East End melodrama,
splendidly adapted from a 1994 novel
by Peter Ackroyd. A tale of theatrical
murder drenched in the rich hues of
classic-period Hammer, this gaslit
treat sets Bill Nighy’s Scotland Yard
detective on the trail of a grisly killer
in 1880s London. Swinging between
the ghoulish gaiety of the music hall
and the grim stench of the morgue,
the second feature from Insensibles/
Painless director Juan Carlos Medina is
a deliciously subversive affair, nimbly
adapted by super-sharp screenwriter
Jane Goldman and vivaciously played
by an impressive ensemble cast.
“Let us begin, my friends, at the
end,” drawls our host, drawing back
the curtain on a city terrorised by
a killer named after a beast from
Jewish folklore. Inspector John
Kildare (Nighy) is the investigative
fall guy, assigned to an apparently
unsolvable case that has gripped the
public imagination but baffled the
police. A connection to the Ratcliffe
Highway murders, about which
Thomas De Quincey wrote, seems to
offer a lead. Tantalisingly, the killer
has scrawled accounts of their crimes
among the pages of De Quincy’s
satirical text, putting four potential
readers at the British Library in the
frame: novelist George Gissing (Morgan
Watkins), philosopher Karl Marx
(Henry Goodman), music hall favourite
Dan Leno (Douglas Booth) and the
enigmatic John Cree (Sam Reid,
channelling Richard Chamberlain).
The last of these is a journalist-turnedplaywright whose board-treading wife,
Elizabeth (Olivia Cooke), now stands
accused of poisoning her husband.
Kildare is convinced of her innocence,
but the noose of guilt is gradually
tightening around both their necks.
From the first crimson-soaked
murder to the blackly comic curtain
call, The Limehouse Golem revels in
the bawdy interplay between fact and
fiction, between real life and staged
death. An early crime scene is overrun
by “locals looking for entertainment…
cheaper than a ticket to a shocker”. A
scrawled Latin inscription (“He who
observes spills no less blood than he
who inflicts the blow”) implicates the
Hats off to the mercurial
Eddie Marsan who adds
an unexpected smack
to the backstage
audience in these murders, while the
Golem’s first kill is likened to the work
of “an understudy, not yet ready for this
great stage”. When John woos “Little
Lizzie” with talk of saving the heroine
of his maudlin play Misery Junction,
he intentionally blurs the line between
his fictional heroine and his real-life
muse. Later in the dock, the actress is
ironically accused of “playing a role”.
Unfolding in unreliable flashback
to crowd-pleasing musical
accompaniment (What Did She Know
About Railways? makes a boisterous
appearance), this narrative leads us a
merry dance. Cinematographer Simon
Dennis contrasts the warm colours of
the theatre with the misty shadows of
the streets, while drained tones paint
the courtroom scenes as little more than
an empty sideshow. As for the graphic
crime re-enactments (dramatised
readings of the killer’s diaries), they
keep the horrors at a distance through
a carefully constructed air of artifice.
In this world, all boundaries are fluid
– performance and reality, past and
present, male and female.
It’s notable that Lizzie first charms
her audiences dressed as a man, while
her mentor, Leno, is an accomplished
female impersonator (Douglas Booth
reportedly won the key role partly on
the strength of his portrayal of Boy
character, 25-year-old aspiring rapper
Patricia Dombrowski (Australian actor
Danielle Macdonald), aka Patti Cake$,
aka Killa P, this first feature from
writer/director/composer Geremy
Jasper is a triumphant air punch of a
movie. The fact that it’s a formulaic
underdog story – poor, white and
podgy, Patti is not obvious rap star
material – which dutifully hits all
the required story beats, matters less
than you would imagine. This is what
feelgood cinema looks like, and it’s
plus-size, trashy and full of attitude.
Jasper brings a music video
aesthetic of neon, graffiti and bling
into a story that regularly trips out into
Patti’s vivid daydreams. But the real
strength of the film is in the writing.
Not just the characters, but also
the complex relationships between
them: all are persuasively drawn.
In particular, the troubled love that
simmers between Patti and her harddrinking mother (Bridget Everett) is
abrasively credible. And Patti’s rhymes
are sharp enough to convince us that
she has a chance to make it, and catchy
enough that you might later have to
have them surgically removed from
your brain.
Cooper stars as John Stratton, member
of an elite band of commandos called
the Special Boat Service. Their
skills involve causing international
incidents, exchanging casual banter
while wearing wetsuits and holding
their breath for a really long time.
The acting is chiselled and stubbly
– most of the characters look as if
they are more interested in launching
their own range of personal grooming
products than in the weapon of
mass uninterest that is the plot.
Two performances stand out: Derek
Jacobi is utterly bizarre as a salty sea
dog who lives on a Thames barge
and quotes limericks, and Connie
Nielsen is staggeringly bad as Stratton’s
boss. She sounds like a drunk person
trying to do a posh accent to get out of
being breathalysed. At times it’s almost
as if she has forgotten how sentences
work. A career low.
God’s Own Country
(105 mins, 15) Directed by Francis Lee; starring
Josh O’Connor, Alec Secareanu, Gemma Jones,
Ian Hart, Naveed Choudhry, Stefan Dermendjiev
Rural Britain is fertile ground for a
generation of new British film-makers.
A waterlogged Somerset provided the
backdrop for Hope Dickson Leach’s
The Levelling. And now the Pennines
glower over the family farm in Francis
Lee’s equally impressive feature debut,
God’s Own Country. It’s the kind of
world in which bone-aching toil is a
way of life and secrets are buried deep
beneath the damp sod.
And there are plenty of secrets here.
Following his father’s stroke, Johnny
Saxby (a terrific, stoically anguished
performance from Josh O’Connor)
has been forced to take over the daily
running of the farm. Surveying his
efforts with thin-lipped disapproval
are his grandmother (Gemma Jones)
and his dad (Ian Hart). With vowels
as flat and hard as flagstones, they
pass judgment on his efforts. It’s hard
to say which weighs him down more
– the responsibility or the massive
chip on Johnny’s shoulder. To numb
his dissatisfaction, he binge-drinks
and engages in angry bouts of gay sex
with strangers.
Then Romanian worker Gheorghe
‘Terrific’: Josh O’Connor and Alec Secareanu in God’s Own Country. Picturehouse
(Alec Secareanu) arrives to help out
over the lambing season. Limpid-eyed
and almost painfully handsome, his
presence unnerves Johnny, who finds it
hard to unpick the difference between
aggression and attraction. Their first
sexual encounter is all sweat and
spit, dirt and urgency. But Gheorghe
brings some of the tenderness he
shows to the animals into what soon
becomes a relationship fuelled by Pot
Noodles and stolen moments. Through
Gheorghe, Johnny can once again see
the beauty in the land he had started to
regard as a tomb.
Lee has a lovely eye for symbolic
detail – a single light in the farmhouse
window glowing through a dawn the
colour of slurry emphasises just how
THE NEW REVIEW | 03.09.17 | The Observer
alone Johnny is. The film has drawn
comparisons with Ang Lee’s Brokeback
Mountain, but for me there were closer
parallels with Eytan Fox’s Israeli drama
Yossi & Jagger, about the relationship
between two soldiers. Both stories take
place in a macho world between men
who find the physicality of love rather
easier than articulating it. But when the
words are finally spoken, it’s a moment
to make the heart swell.
Patti Cake$
(109 mins, 15) Directed by Geremy Jasper;
starring Danielle Macdonald, Bridget Everett,
Siddharth Dhananjay, Mamoudou Athie, Cathy
Moriarty, McCaul Lombardi
As generous and fleshed-out as its lead
(94 mins, 15) Directed by Simon West; starring
Dominic Cooper, Connie Nielsen, Gemma Chan,
Tom Felton, Tyler Hoechlin, Derek Jacobi
Less an action movie, more a direct
breach of the Geneva conventions,
Stratton is a wannabe Bond knockoff with water on the brain. Dominic
(92 mins, 15) Directed by Benedict Andrews;
starring Rooney Mara, Ben Mendelsohn,
Riz Ahmed, Ruby Strokes, Tara Fitzgerald,
Tobias Menzies
Outstanding central performances
from Rooney Mara and Ben
Mendelsohn can’t quite ease the
tricky transition from stage to screen
of this uncomfortable drama by
David Harrower. It explores a young
woman’s complex and, frankly, very
unsettling response to the abuse she
suffered as a child at the hands of the
neighbour who claimed he loved her.
Mara plays Una with an unblinking
‘Drenched in the rich hues
of classic-period Hammer’:
Bill Nighy and Olivia Cooke
in The Limehouse Golem.
Photograph by Nick Wall
Marvel at this
space romp
I’ll say this for Marvel film culture: its
commitment to franchise maintenance
and integration has significantly
reduced the letdown factor of
inevitable sequels. To say two films
have been drawn with the same stencil
is perhaps the wrong analogy for
Guardians of the Galaxy Vol 2 (Disney,
12): rather, this loosey-goosey, eyesearingly spangly new instalment of
“Star-Lord” romping has been drawn
by a restless, fanciful child with no
hand on the template.
That’s a good thing. Even when
its silliness tilts toward outright
obnoxiousness, this remains the most
characterful series in Marvel’s empire,
actively delighting in the broad banter,
why-not cameos and extra-extra-extrasnazzy action spectacle it splashes all
over the screen. As in the first, what
actually happens between gags is
practically incidental, as a cosmically
grizzled Kurt Russell (pctured) arrives
on the scene to blow the mind of Chris
Pratt’s dudeish space warrior with news
of his past. Yeah, yeah, whatever, we
say; just give us more popping octopus
fights and random, upbeat intrusions of
70s dad-rock. We aren’t disappointed.
Here’s a blockbuster franchise that
intensity that makes you want to flinch
away from the screen; Mendelsohn
is slippery and charming as Ray, the
man who ruined her life. Flashbacks
are elegantly threaded through the
highly charged reunion between Una
and her abuser. It’s an encounter
that is captured with hard, cold
photography and divisive framing.
Pacing issues are the main problem
here – the airless tension dissipates as
soon as Una is left alone.
Back to Burgundy
(113 mins, 15) Directed by Cédric Klapisch;
starring Pio Marmaï, Ana Girardot, François Civil,
Jean-Marc Roulot, María Valverde, Yamée
Story strands intertwine like vines
in this engaging family drama about
three siblings who inherit their
family’s winery in Burgundy. Jean (Pio
Marmaï) returns from Australia,
leaving his wife, son and
vineyard to visit the
dying father whose
influence he fled 10
years earlier. His
sister, Juliette (Ana
Girardot), now runs
the wine business, but as
a woman she struggles
to be taken seriously.
The youngest brother,
Jérémie (François
Danielle Macdonald in the title
role of Patti Cake$: ‘a triumphant
air punch of a movie’.
experimental imaginings as a mentally
troubled cop (the fine Tom Meeten)
faces the possibility of supernatural
interference in a perplexing murder
case – or not, as scene after scene
second-guesses what has gone before.
I was never going to make it dryeyed through Nick Broomfield and
Rudi Dolezal’s documentary Whitney:
Can I Be Me (Dogwoof, 15), and it duly
got me good, though this despairing
emotional autopsy didn’t quite go
for the jabs at the heart I expected.
Rather than a simple elegy for a ruined
talent, the film rather boldly reframes
Whitney Houston’s story as one of
thwarted queer identity, centred on
her conflicted allegiance to toxic
husband, Bobby Brown, and protective
childhood friend Robyn Crawford.
The film makes a convincing
case for the greater
intimacy of the two
women’s relationship,
though Broomfield isn’t
on full provocateur
duty here; it’s a mostly
melancholic inquiry.
Finally, popping up to
stream on NowTV after
hitting cinemas last year
and skipping a DVD release,
Anne Fontaine’s The Innocents (15)
deserves greater exposure. Stately,
disciplined but never dour, this study
of a collective crisis of faith, set in a
post-second world war Polish convent
plagued by decidedly non-immaculate
pregnancies, handles potentially lurid
material with a rigorously questioning,
subtly spiritual intelligence. It would
make a fine companion piece to Ida,
though feel just as free to pair it with
Guardians of the Galaxy Vol 2 as a kind
of cinematic detox.
life has taken her from the marshes to
the mansions and who can play to the
stalls and balconies alike.
There are echoes of the strange case
of James Maybrick (considered by
some to be Jack the Ripper), but there’s
something altogether more mythical
about this moderately budgeted yet
very handsome movie. Over the years
Ackroyd’s novel has been variously
attached to everyone from Merchant
Ivory to Terry Gilliam and Neil Jordan,
and is now dedicated to Alan Rickman,
who was once earmarked to play
Kildare. Like its subject, the book has
proved a slippery subject, but these
players do it proud.
Civil), is browbeaten by an overbearing
father-in-law. Wine flows through
the veins of all three; the episodic
storytelling has something of the
rambling, well-lubricated quality of a
bar-room anecdote. Very watchable,
but perhaps lacking in real drama, this
is an easy-drinking vintage of a movie
that won’t challenge the palate of the
Moon Dogs
(91 mins, 15) Directed by Philip John; starring
Jack Parry-Jones, Christy O’Donnell, Tara Lee,
Chris Donald, Tam Dean Burn, Tanya Franks
A comic road movie flings together
two mismatched stepbrothers (Jack
Parry-Jones, Christy O’Donnell) and
a charismatic girl (Tara Lee) on a
journey from Shetland to Glasgow,
with sexual tensions threatening to
derail the journey. Unfortunately
this underpowered story is neither
funny nor sexy enough to generate
much narrative momentum. Lee’s
effortlessly cool Caitlin is the
film’s strongest presence. Of
the teenage boys, Michael
(Parry-Jones) is too
irritating and Thor (Christy
O’Donnell) too inert to
justify spending much
time in their company.
Music – both Thor
and Caitlin are
musicians – should
be one of the stars
of the film, but it
feels more like glue
than a character.
The natural
to such
should be
raging like
a demonic
Agony aunt
George in the BBC’s Worried About
the Boy). As for Kildare, rumours
about his sexuality (“not the marrying
kind”) have apparently stymied
his career, although Daniel Mays’s
down-to-earth Constable Flood
significantly takes such stories in his
stride. Nighy and Mays make a terrific
double act, their relationship nicely
balanced between formal frostiness
and bickering affection. It’s a pleasure
to watch them together. Hats off, too,
to the mercurial Eddie Marsan who
adds an unexpected smack to the
backstage shenanigans. As for Cooke,
she rises admirably to the chameleonic
challenge of Lizzie, a woman whose
demands precious little of its audience,
yet gives abundantly in return.
Sticking in a cheerfully loopy
register, we move on to Mindhorn
(Studiocanal, 15), writer-actor Julian
Barratt’s bumptious, meta-uponmeta send-up of 1980s British TV
procedurals. The title refers to the
ludicrously psychic fictitious detective
played, all too long ago, by washed-up,
egotistical ham Richard Thorncroft.
Whether Barratt is more cringeingly
hilarious as the actor or his creation
is a close-run thing. His obtuse
deadpanning is a thing of versatile
comic beauty. The film itself, which
sees Thorncroft drafted into a reallife serial killer hunt for reasons that
more capable seniors swiftly regret, is
less spry with its shtick, stretching a
few running jokes until they no
longer twang. Still, it’s affable,
mischievous nonsense.
Would that anyone
or anything could
be described as
playful in The Promise
(Entertainment One, 12),
a mealy historical love
triangle set in the looming
shadows of the Armenian
genocide. It’s a backdrop that
dictates a tone of tight-jawed dourness,
yet the film’s engagement with history
is on the skimpy side. Even the usually
electric Oscar Isaac seems sluggish,
weighed down with portent and a
hummus-thick accent.
Also scarcely cracking a smile,
though to much more enticing dark
effect, is The Ghoul (Arrow, 15). A richly
strange, darting psychodrama from
British newcomer Gareth Tunley,
it moves from spiralled thriller
mechanics to more Lynch-inspired
The Observer | 03.09.17 | THE NEW REVIEW
‘Seems to have fallen to Earth on the East
Cliff’: Marc Schmitz and Dolgor Ser-Od’s
Siren. Below: Richard Woods’s Holiday
Home. Photographs by Thierry Bal
All around the houses – or all
The third Folkestone Triennial is at its best when artists such as Richard Woods and Bob and Roberta Smith tailor
Folkestone Triennial
Various venues, Folkestone; until 5 Nov
A small house sits marooned on the
beach at Folkestone. It has a seasick
tilt, as if washed up by tides to the
shore. Children try to peer through
its tidy windows, but they are just
blanks, illusions painted on a brightly
coloured structure that turns out
to be somewhere between diagram
and sculpture. It’s a sight gag, this
cartoon beach house – a threedimensional joke.
Another house, almost identical, lies
adrift in the harbour. A third is jammed
in among the subtropical plants in
the park. Richard Woods’s Holiday
Home sequence plays upon desirable
locations and second homes by the
sea, but also upon jerry-built houses,
too small for actual families, and
tight spots such as cliffs and carparks.
Folkestone faces Calais over the
water; some people apparently think
the house in the harbour might have
arrived on an immigrant boat.
Woods has got the measure of the
Folkestone Triennial. His houses
are visually and politically acute;
they speak directly to the place
and the times; and they’re visible
at considerable distance. This is
significant in what amounts to an
elaborate treasure hunt that sends
the visitor, armed with a map, all over
the town and wider coast every three
years, searching for contemporary art.
Way along the shore, past the bodies
sizzling on Sunny Sands, you clamber
the cliffs to Bob and Roberta Smith’s
message on the high Martello tower.
“Folkestone is an art school,” the
painted declaration insists, in icecream colours. The golfers on their last
hole are paying no attention. “But what
does it mean?” asks a tourist.
Four miles in the opposite direction,
past the Lubaina Himid Jelly Mould
Pavilion and what will one day be the
stainless steel Bill Woodrow sculpture,
if the welders ever finish, David
Shrigley has concealed a neat quip.
Among the Victorian lamp posts that
run along gracious Clifton Crescent,
he has planted one more, a bit stunted
and angular, definitely missing the
Any art trail is affected
by the journey. A hunt
for Amalia Pica’s shells
makes them seem
even more trivial
THE NEW REVIEW | 03.09.17 | The Observer
globe and the general elegance. It
is made from memory – a modern
version of the past, low and very
slightly cheapened.
Folkestone’s economic base,
according to the gaseous hype, is “in
transition from seasonal tourism to
creative industries” (Shrigley’s lamp
perhaps sends up the latter). This
once-faded town is certainly awash
with studios, galleries and assorted
“spaces”, many of them along central
Tontine Street, bombed in the first
world war and still showing signs of
a run-down past. Having failed to get
planning permission to build a visitor
centre – local opposition apparently
centred on perceived disrespect to the
bomb victims – the triennial has set
up HQ in the Quarterhouse, halfway
down the street, with an installation by
Studio Ben Allen.
Allen, who once worked with Olafur
Eliasson, has erected a gothic cathedral
of plywood traceries, mirrors at each
end, so that the fan vaulting seems to
run on for ever. This is beautiful, but
too many architectural interventions
in the 2017 Triennial put design some
way before art.
The Balinese-British artist Sinta
Tantra has applied geometric forms in
seaside poster colours to the exterior
of the Cube on Tontine Street. This
concrete box certainly needs cheering
up, but a coat of paint hardly cuts it.
Wong Hoy Cheong has added a false
facade of minarets to the Islamic
Community Centre. Gary Woodley has
painted black and white polyhedrons
on one of the beachside tunnels
on Coronation Parade, a glum and
negligible experience not improved by
being tricky to find.
That’s the problem with any art trail;
the outcome is affected by the journey.
The pilgrimage to the Rijksmuseum,
say, can enhance every second spent in
front of the paintings, whereas a hunt
among the pubs and net-curtained
windows of Folkestone for Amalia
Pica’s many shells, configured in postsurreal arrangements, makes these
sculptures seem even more trivial.
“Folkestone is an art school”: the
legend is printed over and again, on
banners, posters, billboards at the
station and beach. To some extent, Bob
and Roberta Smith – AKA Patrick Brill
– has a serious point. Brill has amassed
a directory of classes, facilities, talents
and events in Folkestone: ideal for the
would-be art student, simply outside of
an institution. But more than that, his
words urge you to look more closely
at the town itself, at the earthworks
on the beach, the classical arena in the
Cinematic games can still
create small-screen magic
The two female leads
of Uncharted: The
Lost Legacy break
new boundaries for
filmic gaming, and not
just the Bechdel test
at sea?
striking works to the town’s geography
Leas, the variegated colours of the Old
High Street, even the bubble-bright
buoys festooning the boats.
Of course, Brill’s piece alludes to itself
as a triennial commission (and performs
as a marketing ploy, what’s more). It
is as temporary as Lubaini Himid’s
lovely pavilion on the beach, a giant
jelly mould – starred inside like the
Alhambra – standing on twisted
sugar pillars. People sheltering inside,
incidentally, may have no sense of the
Rose Finn-Kelcey:
Life, Belief and
Beyond Modern
Art Oxford; until
15 Oct Quizzical
and compelling
films, sculptures
and installations by
this philosophically
acute British artist.
Plant Scenery
of the World
Inverleith House.
until 29 Oct
Celebrating 50
years of the Royal
Botanic Garden’s
great glasshouses,
through new art by
Charlie Billingham,
Ben Rivers and
Laura Aldridge
among others.
Painting Pop
Abbot Hall, Kendal;
until 7 Oct
anthology of
British pop art from
David Hockney and
Richard Hamilton
to Patrick Caulfield
and Peter Blake.
connection Himid is making between
the history of slavery and sugar. But still
the sculpture succeeds on its own terms,
with its end-of-the-pier connotations.
Whereas Antony Gormley’s loan
of two rusting Gorms, stock still and
staring out to sea, aren’t such a perfect
fit. One of these iron men can only
be seen from the Harbour Arm when
the tide is out, no doubt making it this
year’s biggest draw. But the other is
hidden in the last of the Coronation
Parade chambers, viewed through
dozens of linked and sea-weathered
arches. Gormley is not short; his body
cast of himself is too high and mighty
for these modest surroundings.
The Gorms will go, but some of
the glories of past triennials are
still present all over town – most
wonderfully, Christian Boltanski’s park
benches, where you may sit and hear
readings from the letters of first world
war soldiers who passed through
Folkestone on their way to almost
certain death in the trenches. Perhaps
some of this year’s strongest works will
also be kept, specifically those with the
keenest sense of place – Marc Schmitz
and Dolgor Ser-Od’s giant shell-cumgramophone, for instance, that seems
to have fallen to Earth on the East Cliff.
This puts you right on the spot. Lend
it your ear and the sound of distant
oceans is marvellously magnified; talk
into it and your voice carries out and
away into the wild blue yonder.
‘A masterly sense of pace and poise’: Uncharted: The Lost Legacy. Sony
There is no Thelma and
Louise of gaming. But
this is much more than
a mere gender-swap
buddy game…
male-fronted attraction) told the story
of two teenage girls, negotiating not
only the perils of a postapocalyptic
American landscape, but also the
shifting sands of their adolescent bestfriendship. It was a tale that the video
game critic Keza MacDonald cited as
the first mainstream, big-budget game
to depict a meaningful and believable
relationship between two adolescent
girls, a moment, MacDonald wrote at
the time, that “I didn’t even know I’d
been waiting for until it happened”.
Cinematic video games in the
Uncharted style are often criticised for
sidestepping the medium’s strengths
in their earnest, cleaving tributes
to cinema. There is little room for
nonlinear stories, freedom of control
or those unscripted moments of
unexpected delight and humour that
bejewel the best video games. Yet
The Lost Legacy shows the value and
power of this increasingly rare mode
of game-making and its ability not
only to ape, but occasionally outplay,
cinema’s efforts.
Dad-todad, we
the fact that
our kids
were never
there when
we needed
An ice-rink
collision with
Jude Law
‘Too high and mighty for these modest surroundings’: Antony Gormley’s
Another Time XXI, above. Below: Lubaina Himid’s Jelly Mould Pavilion
‘succeeds on its own terms’. Photographs by Thierry Bal
Throughout the latter half of the 1990s,
video games were often talked about as
a looming threat to cinema. The advent
of CD-Rom technology promoted
the medium’s blocksome characters
from avatars to actors, complete
with lines of dialogue written by
professional scriptwriters and spoken
by performers loaned from TV and
film. Soaring orchestral soundtracks
backed three-act structures and, as
games popped from 2D to 3D, the
composition of scenes, lighting and
lines of sight became concerns for
digital directors as well as film.
At some point the trajectory
shifted. Games still borrow filmic
techniques, but the truly cinematic
video game – that which seeks to
mimic the characterisation, structure
and run-time of a blockbuster movie
– is endangered, squeezed out by
world-conquering, team-based
eSports on one side and, on the other,
everlasting online worlds where the
game’s geography expands to match
the player’s wanderlust. Naughty Dog
remains one of the few purveyors of
the filmic game. The American studio’s
flagship Uncharted series remains
the final bastion of this expensive,
sophisticated form of game-making,
earning plaudits from Hollywoodpreeners such as Bafta and the Writer’s
Guild of America.
To date, the Uncharted series has
principally followed the exploits of
Nathan Drake, a stubbled, quipping
tomb raider in the Indiana Jones
matinee mould. Drake has been
followed by an orbiting constellation
of women, who have often vied for
his attention as love interests or
scolded him for his behaviour in
disapproving mother-wife roles.
Last month’s add-on chapter to the
Uncharted universe, The Lost Legacy,
changes all of that. Focus is ceded
to Chloe Frazer (former Drake love
interest) and Nadine Ross (former
Drake adversary), a pair of rival
treasure hunters forced to co-operate
in a race with a notorious war profiteer
to recover a fabled Indian artefact.
At a glance, The Lost Legacy seems
merely to follow Hollywood’s example
again, albeit a couple of decades too
late. Many commercial video games
are fronted by women, but few feature
a pair of female leading characters.
There is no Thelma and Louise of
gaming, for example. The Lost Legacy
seems, then, to fill a long-vacant
commercial spot. In fact it’s anything
but. Chloe and Nadine neither like one
another, nor, when taken in isolation,
prove to be especially likable. They
bicker and snipe, jostling for both
the best lines and the best headshots.
This is, it transpires, much more than
a mere gender-swap buddy game.
The relationship between the women
warms pleasingly and briskly, showing
a masterly sense of pace and poise in
the writing and understatement in the
voice actors’ performance.
It’s not the first time that Naughty
Dog has sought to suckerpunch its
way through the Bechdel test while
presenting a cliche-ducking on-screen
relationship. 2014’s The Last of Us: Left
Behind (another smaller postscript
game notably released after the main,
The Observer | 03.09.17 | THE NEW REVIEW
The farce is
strong with
these ones
‘If ever there was
a cast to deliver
Orton this is it’:
Anah Ruddin (Mrs
McLeavy, in coffin),
Sinéad Matthews
(Fay), Ian Redford
(McLeavy) and
Sam Frenchum
(Hal) in Loot at the
Park theatre.
Below: Russell
Dixon, Leigh
Symonds, Louise
Shuttleworth and
Antony Eden, ‘finely
tuned’ in Taking
Steps at the
Stephen Joseph
Revivals of Joe Orton and Alan Ayckbourn
comedies show how the form can contain
both biting satire and innovative stagecraft
Park theatre, London N4; until 24 Sept
Taking Steps
Stephen Joseph theatre, Scarborough;
until 5 Oct
Remarkable Invisible
Theatre By the Lake, Keswick; until 4 Nov
Gabriella Slade’s design looks fabulous
but it very nearly mutes Loot’s thunder.
Half the fun of any farce lies in the
counterpoint between the ordinary
and the extraordinary. Joe Orton’s
1966 black comedy is no exception.
In a room in a house stands a coffin,
complete with corpse. In a cupboard
in the same room is hidden an illegal
secret. The swapping places of the
contents of these two containers is
only one element in the increasingly
outrageous plot.
Instead of a room in a house, though,
Slade presents a shiny, black, highceilinged chapel of rest, with doors
opening on to domestic interiors,
decorated in drab, late-1950s style.
In such an absurd set, why not have
absurd action? Orton’s castigation of
the hypocrisies of church, state and
social conventions threatens to turn
into a piece of wacky humour.
Happily, Orton’s writing is designerproof. The necessary contrasts of scale
are built into language constructed
from platitudes, banalities and
officialese. Provided the actors are up
to the job, lines that raise laughs also
pack a punch. And if ever there was a
cast to deliver Orton this is it – under
Michael Fentiman’s direction. As
murderous nurse Fay, Sinéad Matthews
is a deadpan dynamo. Without ever
losing the comic touch, Ian Redford
as McLeavy is almost Lear-like in his
Daniel Draper, 30, is a documentary
maker from Liverpool whose first
feature-length film explores the life of
Dennis Skinner, the outspoken veteran
Labour MP for Bolsover in Derbyshire.
Draper met Skinner in 2014 and spent
the next three years making the
documentary, supporting himself with
a part-time job as a chef. Shot for just
£2,400 and completed with £21,009
raised on Kickstarter, Dennis Skinner:
Nature of the Beast is released on Friday.
What prompted you to make a film about
Dennis Skinner?
I made a short documentary in 2014
called Still Ragged, about Robert
Tressell’s novel The Ragged Trousered
Philanthropists, and Dennis agreed to
be in it. Before we started filming, he
was talking about trees and collecting
chestnuts, and I thought: there’s more
here than meets the eye, it’s not all
politics. After the project was finished,
second-half suffering, his ordinary
feelings orienting the wildly fluctuating
situation. Christopher Fulford’s
Truscott is a mutated reincarnation of
Eric Morecambe – buffoon-cum-ogre.
Sam Frenchum and Calvin Demba (as
bank-robber son and lover-accomplice)
are charmingly childlike in their
thuggish self-interest; while Anah
Ruddin, as the deceased Mrs McLeavy,
raises as many laughs as any actor
playing a dead body could wish to.
Orton named Ben Travers as one of
the sources for Loot. The great farceur
is also cited by Alan Ayckbourn as
an inspiration for Taking Steps. But
Ayckbourn, not content with the
inherent difficulties of the form, posed
himself a puzzle: how to make a farce
without doors? His solution: locate
the action on three separate floors of
one house – and locate all three floors
on one level (this explains the, at first
peculiar-seeming, jumble of beds and
sofas of Kevin Jenkins’s design). Have
two sets of banisters marking two
imaginary staircases. Give the action
a slow, steady start until the audience
twigs what is what and who is where.
Then let the fun begin.
One instance: in a first-floor
bedroom a woman (Louise
Shuttleworth) practises dance steps. In
the ground-floor drawing room below
stand the husband she means to leave
(Russell Dixon) and the builder (Leigh
Symonds) from whom the couple rent
this supposedly haunted house. The
men look upwards, wondering what is
making the noise – they think they are
alone. In reality what we actually see
on the stage is a woman jumping up
and down between two men. Plaster
falls from the imaginary ceiling. The
audience howls. This is the extra level,
the one without which no Ayckbourn
play is complete: the complicity of the
audience in the game of make-believe.
Ayckbourn describes Taking Steps
as his only really classic farce. In a
collapsing house, relationships are
falling apart. Four selfish characters
Photographs by
Tristram Kenton;
Tony Bartholomew
No Ayckbourn play
is complete without
the complicity of the
audience in the game
of make-believe
I sent him a letter saying that I didn’t
understand why a film hadn’t been done
with him before, and would he trust me to
do it – because he’s very wary of what
he calls “media types”. He called me back
one Sunday morning and we talked for
two hours. We just really got on. He was
even singing to me over the phone.
Daniel Draper: ‘I’m working-class
myself, and I feel Dennis is fighting
for my class.’ Below: Dennis Skinner,
‘a joy to work with’.
He’s got quite a fearsome reputation.
Were you intimidated?
Not really. Everything I suggested, he was
up for. I got the feeling that he didn’t want
to sing on camera but I had to ask him. His
nickname is the Beast of Bolsover, and I
thought he might tell me to fuck off, but
he never did. He was a joy to work with.
I found it interesting to see how
differently he’s perceived on his home
turf, compared to Westminster…
Yes, people in his constituency don’t
see him as a leftwing rebel. He’s just
someone who speaks like them. He’s
a product of where he’s from, of a
working-class upbringing and a mining
background, and he’s never really
changed. It’s sad that that’s seen as
being unique in politics.
THE NEW REVIEW | 03.09.17 | The Observer
get their just deserts, two deserving
characters get theirs. On the night I
was there, the clockwork mechanism
of the construction seemed to turn just
a little too slowly to release the gales of
laughter that famously accompanied
the first production, but the ensemble
(including Laurence Pears as the wife’s
brother; Laura Matthews as his former
fiancee; and the delightful Antony
Eden as the husband’s tongue-twisted
solicitor) are finely tuned by the
director: Alan Ayckbourn.
Brooklyn-based Laura Eason is an
acclaimed writer with notable hits to
her credit, including the Netflix series
House of Cards. But she also took a
critical lashing earlier this year for
her two-hander Sex With Strangers.
Remarkable Invisible, given its world
premiere in Keswick, occupies a middle
ground between these extremes.
The situation is ripe with dramatic
potential: a family reunion. Adult
brother Chris (materialistic, something
in construction), and sister Astrid
(a Unitarian minister), return from
New York and San Francisco to help
Does he seem to you like a man from a
different era?
Not at all, no. I’m working class myself,
and even though I’m from the city and
he’s from the countryside, I feel he’s
fighting for my class and continues to do
so. He’s as relevant now as he ever was.
He doesn’t talk about Jeremy Corbyn. Did
he share his thoughts with you?
The interview about his political career
was filmed in 2014, before Corbyn [was
elected Labour leader]. But we made a
conscious decision throughout not
to mention anything that would
instantly date the film. What
Dennis represents is that
working-class fight. Being
a Corbyn fan myself, it’s
reassuring to know he’s got
an ally like Dennis Skinner.
Last year, when the right wing
of the Labour party was trying
to overthrow Corbyn, Dennis came
over to him in the chamber, shook his
hand and put two fingers up to the rest of
the Labour MPs. That was quite emotional
for me. That gives me hope.
Did shooting the film make you feel
better or worse about British politics?
their downsizing parents pack up
the family home (so that they can
move to a place called the Pines
– coincidentally, the name of the
house in Taking Steps). Time is short.
Tensions surface, confrontations
loom. Scenes in the family home are
bracketed by discourses delivered to
an unseen audience by father Peter,
an astrophysicist turned paranormal
researcher. Against a backdrop of a
starry night sky, he ponders the impact
of each individual on the cosmos.
Setting (designed by Bronia
Housman) and dialogue are realistic
but the drama never quite takes off,
in spite of clear direction from Zoë
Waterman and sensitive performances
from the four-strong cast. Clashes
and exchanges of confidences feel
contrived, as does the mystery of the
universe/individual metaphor, but the
situation will strike a chord with any in
the audience who have been through
a similar family upheaval. Eason aims
high but doesn’t quite achieve lift-off.
Susannah Clapp is away
It made me feel better that we’ve
got someone like Dennis Skinner
representing us. He’s not interested
in patronage, only in representing his
constituents, which I think MPs should
do. Sometimes people on Twitter
criticise him: What’s he ever achieved
in parliament? But you go there to
represent the people who voted for you.
It’s refreshing to see that his fire’s still
Has he seen the film?
He says he hasn’t but I think
he has. He’s not really
good at talking about
stuff like that. I sent him
a link and followed it with
an email saying, “If you’ve
got problems with it, let me
know.” He called me up and we
spoke about everything but the
film. We spoke about the 80s movie
Midnight Run for about an hour, but not
our film. That’s just his way. But the
premiere’s on Friday in Derby and he’s
coming along, so I’ll definitely know he’s
seen it then.
Interview by Killian Fox
‘Electrifying intimacy’: the Monteverdi Choir and English Baroque Soloists conducted by John Eliot Gardiner, above, in L’Orfeo. Right, top: Michael Barenboim, Elena Bashkirova and Julian Steckel. Below: François-Xavier Roth
conducts the Mahler Chamber Orchestra. Photographs by Peter Fischli; Manuela Jans; Priska Ketterer/Lucerne festival
Classy, whichever way you say it
Lucerne has identity on its mind, and delights including Riccardo Chailly and John Eliot Gardiner’s Monteverdi tour
Lucerne festival
KLL, Lucerne, Switzerland; until 10 Sept
Take an abstract noun. Cast it over
the turbulent waters of your chosen
art form. Gather it in. Bingo, you
have a theme. “Faith” works well,
as does “belief”. Or, as one top
London orchestra had it last year (my
favourite), “belief and beyond belief ”,
which leads you as far as you can go in
any direction, including up.
The 2017 Lucerne festival has
chosen “identity”. Another capacious
term, until you consider the nature of
this cosmopolitan Swiss city. River,
lake, mountain and plain converge
on the north-south axis of Europe.
Its name is pronounced in five
different ways by its own GermanFrench-Italian-Romansch-speaking
inhabitants. A quarter of its population
is foreign. Questions of identity are of
its essence, whether you yoke them
to music or not. The festival began
in 1938. Its early history is a tale of
European fragmentation, of musicians
in flight from Nazi Germany or fascist
Italy, determined to meet and perform
together on one platform.
The politics may be different today
but the goal is the same. Three years
after his death, the visionary if exacting
spirit of Claudio Abbado still guides
this month-long event. He founded
(with the festival’s director, Michael
Haefliger) the flagship Lucerne
Festival Orchestra, now under the
baton of Riccardo Chailly, who as
a teenager learned his conducting
technique at Abbado’s elbow.
Last week in Switzerland I heard
Chailly in his other role, as music
director at La Scala, Milan. Identity
does get a bit entangled here.
Abbado also once held that title, and in
1982 established the Filarmonica della
Scala – essentially the company’s opera
orchestra out of the pit and on stage
playing symphonic works. They
performed Brahms and Respighi before
heading to the Proms and Edinburgh.
This musical forging of rock and
honeycomb was as odd as it was
intriguing. Brahms’s Violin Concerto,
played with compelling seriousness
by Athens-born Leonidas Kavakos, is
weighty yet compressed and majestic.
Lucerne’s beautiful – in all respects
– KKL hall slightly favoured the
soloist. Having followed Kavakos’s
every supple trill and pliant detail, I
was aware that the orchestra had not
commanded such close attention.
Respighi’s Pines of Rome and Fountains
of Rome, two parts of an orchestral
trilogy of polychromatic extravagance,
gave the Filarmonica its moment or, in
these episodic works, an awful lot of
moments to excel.
Here, the string sound was mellow,
the brass bright and clear, the woodwind
elegant. Written between 1916 and 1928,
almost the only compositions for which
this Italian oddball is remembered,
they positively drip with sensuality on
an epic scale. Yet this music still needs
more dollops of vulgarity to leave its
mark. It culminates in a gargantuan
march down the Appian Way at dawn,
a show of imperial Roman power. It
was noisy enough to waken the living
and the dead. In either state, I would be
happy not to hear this music for quite
a while. For an encore the musicians
switched mood, becoming once again
the exemplary opera orchestra they
are. Verdi’s overture to La forza del
destino was tense and incisive.
These days spent in Lucerne were
crammed with highlights: music by
featured composer Michel van der
Aa played by the young Lucerne
Festival Academy; all three Brahms
trios, executed with fire and cogency
after his
death, the
if exacting
spirit of
still guides
by Michael Barenboim (violin), Elena
Bashkirova (piano) – mother and son –
and Julian Steckel (cello): two Haydn
symphonies made properly vital and
thrilling by the Mahler Chamber
Orchestra (another Abbado-inspired
ensemble), conducted by FrançoisXavier Roth.
Yet the chief purpose of going was
to catch the Monteverdi Choir and
English Baroque Soloists in all three
Monteverdi operas in the composer’s
450th anniversary year: L’Orfeo
(1607), Il ritorno d’Ulisse (1639) and
L’incoronazione di Poppea (1643), the
first written for the court of Mantua,
the other two for the public theatre
in Venice. John Eliot Gardiner –
using his own edition of L’Orfeo, and
a collaborative one, made with his
musicians, for Ulisse – has been touring
this trilogy, all or part, since April, with
Berlin, Paris and New York, among
others, still to come.
The rapport between voices and
ensemble resulted in performances
of electrifying intimacy. The
instrumentalists deserve several
paragraphs of their own. Rich with
the dark-light colours (think aural
Caravaggio) of lutes, theorbos, harp,
dulcian, harp and more, their agile
playing supported the drama with
a restless repertoire of whispers,
dissonant groans, sighs, outbursts
and exclamations. Any regular reader
may have noticed my unapologetically
repetitive shout-outs for Kati
Debretzeni (violinist and leader) and
Elizabeth Kenny (lutenist), in hope of
drawing attention to at least a couple
of these under-celebrated period
Riccardo Chailly
conducts the
Filarmonica della
Scala in Lucerne.
Photograph by
Peter Fischli
instrument musicians, all tireless in
their virtuosity.
A core of some 15 singers, equally
supple and responsive, take roles
across the trilogy, joining forces
to make a generous chorus. Hana
Blažíková, Kangmin Justin Kim,
Francesca Boncompagni, Robert
Burt and Anna Dennis each shone in
multiple contributions.
The operas – semi-staged, with
elegant, adaptable costumes and
an understated but telling lighting
design – are co-directed by Gardiner
and Elsa Rooke. From nine hours of
unforgettable music-making, a few
arresting moments: in L’Orfeo, the
Polish tenor Krystian Adam conjured
every nuance of suffering and grief as
the bereft Orpheus, urgently coaxing
that ferryman of the dead, Caronte
(top Italian bass Gianluca Buratto),
to take him to the underworld. The
veteran Monteverdian, Italian baritone
Furio Zanasi, brought rewarding
complexity to the title role in Ulisse
– a work powerfully concerned with
identity and recognition – with French
mezzo-soprano Lucile Richardot as the
exalted, sorrowing Penelope.
And so from the sobriety of Ulisse to
the carnal greed of Monteverdi’s final
opera, Poppea. The characters who
pierce the heart are those innocently
wronged: Ottone (the striking
countertenor Carlo Vistoli) tormented
by the perfidious Poppea; Drusilla
seduced into crime out of love for
Ottone; Seneca forced to kill himself;
and above all Ottavia, abandoned by
Nero for no other reason than that he
cannot keep his hands off Poppea.
The language of this libretto
in particular – all three texts are
remarkable – has the emotional cadence
of Shakespeare, especially in the role
of Ottavia, impetuously and thrillingly
sung by the Italian mezzo-soprano
Marianna Pizzolato. In one soliloquyaria she describes how her unstoppable
tears are like a flood of mirrors in which
her husband may “behold my suffering
amidst your happiness”. Does any
composer express pain better than
Monteverdi? The closing moments,
the rapturous, sexy duet Pur ti miro,
were perfectly staged and exquisitely
sung by those reckless lovers, Nero and
Poppea. It ended in darkness, before a
standing ovation yanked us back to our
senses. More or less.
The Vanishing
Judith Weir’s opera
is performed by
British Youth
Opera. Peacock
theatre, London
(Wed, Fri).
The Sixteen
Choral Pilgrimage
Poulenc and
Palestrina. St
James’s Church,
Spanish Place,
London (Wed);
Wells Cathedral
(Fri); Tewkesbury
Abbey (Sat).
Daniel Harding
conducts Mahler’s
Symphony No 6
at the Proms.
Royal Albert Hall,
London (Thur).
The Observer | 03.09.17 | THE NEW REVIEW
Lean rapper with a west coast bounce
Vince Staples
Kentish Town Forum, London NW5
Hip-hop in the 21st century so often
presents as a music of excess – large
crews, busy production, bling. Into the
maximalist melee steps Long Beach
rapper Vince Staples: tonight, a lithe
cypher silhouetted against a glowing
backdrop, intense to the point of
abstract expressionism. He might be
wearing trainers and black jeans and a
T-shirt; it’s hard to tell. Non-hip-hop
audiences might recognise Staples’s
voice from Ascension, a standout cut
from the most recent Gorillaz album,
which – against the odds – actually
slots into Staples’s electrifying set
without friction.
Honed by festival appearances,
and backlit for an entire hour or
so, Staples is a masterful absence,
a compelling ascetic who delivers
fat-free banger after fat-free banger.
There’s no support act, no hype
man; there are no dancers and
no pyrotechnics – just juddering
banger after
Vince Staples
at Kentish
Town Forum.
Photograph by
Katherine Anne
Rose for the
electronic playback, clever lights,
tightly wound kinetic energy and
Staples’s deadpan, nasal California
delivery, imbued with a west coast
bounce that harks back to Snoop
Dogg and Dr Dre but is beholden
to no one.
From the first bars of Party People
– lifted from his most recent album,
Big Fish Theory – the entire venue is
on its feet. “Party people, I like to see
you dance,” runs the chorus. Despite
setting off two moshpits, the song is
no mindless anthem to hedonism.
Rather, the verses reveal how
Staples is still occasionally suicidal
despite his success.
Staples identifies as a “Norf Norf
soldier”; his gangland backstory in
North Long Beach – as told on his
official debut, Summertime ’06, and
since – is at once chilling and heartrending. Staples’s music, though,
transcends many hip-hop cliches,
and Big Fish Theory shifted Staples’s
unflinching gaze away from his
time as a Crip to hip-hop’s many
contradictions, not to mention wider
issues such as race and politics.
There’s an anthem still waiting to
happen in the hard-hitting BagBak.
“Tell the 1% to suck a dick because we
on now,” Staples yells in the chorus.
“Tell the president to suck a dick
because we on now.”
These newest Staples tunes borrow
widely from UK rave and electronica.
Stark, springy sounds come in thick
and fast from left field. Big Time – off
Staples’s intervening Prima Donna EP
(2016) – boasts bass that rattles both
hair and clothing. Its series of bloops,
clanks and rattles are the production
work of our own James Blake. Not
long after comes Samo, and an even
His newest tunes
borrow from rave and
electronica. Stark
sounds come in thick
and fast from left field
more abstract set of trap signifiers
that squeak and tickle, the work of
London pop deconstructor Sophie.
Somehow, a party atmosphere holds
out throughout, thanks to the
rubberiness of Staples’s delivery.
When Staples isn’t rapping, he lets his
songs play out, often with his back to
the crowd, giving the music and the
colours ample space to breathe.
Many of the better-known
Summertime ’06 tunes get the bigger
reactions – Lift Me Up, for one, with
its powerful depiction of how Staples’s
“pain is never over”. There is no encore,
but the set ends with the mighty
Norf Norf, a barely-there tune that
showcases Staples’s pitiless flow. “I ain’t
never ran from nothin’ but the police,”
he offers in the chorus. The song gained
greater notoriety last year when a
Christian woman went on a Facebook
rant against it, exemplifying mainstream
America’s ignorance of the realities of
racism. (Typically, Staples defended
her right to react as she saw fit.)
But Big Fish – the album’s (nearly)
title track – supplies an onomatopoeic
thrill that is nothing short of sublime.
The hook is Juicy J’s, but Staples excels
on the verse. He is “reminiscin’, sitting
in that Benz, of the 22 bus stop way
back when”. Specifically, on one of
the best lines of the year, he’s looking
out for anyone likely to pull a gun on
him. Live, Staples’s syllables ricochet
around the room, worth the ticket
price alone. “With the 22, five shot eyes
on scan/ For the click, clack, clap or the
boop, bop, bam.”
THE NEW REVIEW | 03.09.17 | The Observer
James Murphy of LCD
‘pin-sharp musings on
death and music’.
A warm welcome to the abyss
LCD Soundsystem
American Dream
LCD Soundsystem had rarely put a
foot wrong before they announced
a huge farewell in 2011 – and then
reformed, with what many felt was
indecent haste, in 2015. But LCD main
man James Murphy had a good excuse
for bringing back the band: his idol,
David Bowie, thought he should. (If
you took Bowie’s passing badly, just
imagine how Murphy must have felt,
with his three albums riddled with
Bowie tributes, and a dream-cometrue contributor credit on Blackstar.)
On this evidence, Bowie was not
wrong. Tonite – released ahead of the
album – is as succulent an iteration of
LCD’s core squelch as fans could wish
for. Accompanied by guitarist Al Doyle
(Hot Chip), Murphy sets up a motorik
disco groove mighty enough to carry
the weight of Murphy’s pin-sharp
musings on death and music.
Pop stares down the abyss, Murphy
seems to be saying, so carpe diem –
except, this being LCD Soundsystem,
it’s more about seizing the night,
where three minutes can unfurl into
for ever. “And we’re frankly thankful
for the market psychology you’re
hipping us to,” he offers, notably less
sarcastic than of old.
It takes five tracks to get to this sweet,
propulsive midpoint. The journey
there – through the late 1970s and early
80s – is slow, but well worth it. Few of
these latest LCD songs land perfectly
on the first listen; seismically, there are
10 of them on American Dream, one
more than usual. What’s Murphy doing,
crooning a simple love song, Oh Baby,
the album opener? Why the oblique
post-punk of Change Yr Mind, when
we could be dancing? But each song
accrues heft the further in you go.
Play Other Voices three times, it
starts to sound like a classic. Nancy
Whang, a sorely underused LCD asset,
contributes vocal sass here while some
Middle Eastern synth countermelodies
weave majestically in and out, Dopplerlike and disorienting, as Murphy builds
himself up into another tizzy.
American Dream’s title feels political,
but little here really addresses the
wider state of the nation – unless you
count the bewildering rise of “the
bullying children of the fabulous,
raffling off limited edition shoes”.
Ever since LCD’s debut single, Losing
My Edge, Murphy has been writing
music about music, and fretting about
change and age; American Dream finds
him, at 47, not so much worried about
cutting it with the younger set but
with an ever more acute sense of time
slipping away (“that shit’s a dictator”),
of the passing of “the Leonards and
the Lous”, the friendships lost. How
Do You Sleep? is uncharacteristically
direct and vicious, a take-down of a
one-time friend.
It’s instructional to note that one
of the reasons Murphy broke up
LCD in the first place was to avoid
getting too famous. The dirgey
12-minute closer, Black Screen, is
part of an insurance policy. But Black
Screen is, in all likelihood, about
Murphy’s friendship with Bowie,
and all the more intriguing for it.
Quite how Murphy manages to turn
all this sombreness into a great LCD
album defies logic, but he has landed
on his feet, yet again. Kitty Empire
DJDS ft Khalid &
Empress Of
Why Don’t You
Come on
Two of the most
beguiling voices in
pop team up with
Kanye’s erstwhile
producers for an
ardent, garagey
summer crush.
Frank Ocean
A low-key track
that makes
reference to Aphex
Twin and Stanley
Kubrick, released in
a surprise episode
of Blonded Radio.
Jorja Smith x
On My Mind
All glitzy production
and luscious vocals,
this collaboration
recalls the halcyon
days of UK garage.
Follow our
playlist at tiny.
Hercules and Love Affair
Every Country’s Sun
Disco has long been about more than
dancing. Hercules and Love Affair (2008)
was born of mainman Andy Butler’s first
recovery from addiction. Success plunged
him back into the lifestyle. Omnion, this
New York outfit’s fourth album, finds
Butler living clean again, producing slinky
club bangers alongside off-plan songs
with greater undertow. From Anohni
onwards, guest singers have figured; here,
the Horrors’ Faris Badwan gets sultry on
the synth-pop of Controller, while Sharon
Van Etten voices Butler’s tremulous side
on the title track. The overall impression
is still a kind of fretful hedonism, in which
Butler’s beats percolate relentlessly on. KE
Some albums need a centrepiece, a
standout track that encourages repeated
listening and contextualises the surrounding
songs. Don’t Believe the Fife could play the
part here - everything from a weakly punned
title to its move from moody atmospherics
to cathartic rock climax feels definitively
Mogwai. Instead, it illustrates how poorly
structured the rest of the album is. Songs
meander between uninvolving minimalism
and introverted stadium prog without raising
any of the necessary joy or transcendence.
Old Poisons raises some of the 90s indie
furies the band seems to have outgrown, but
elsewhere music that’s supposedly sparse
ends up feeling hollow. Damien Morris
Jake Bugg
Mary Epworth
Hearts That Strain
Jake Bugg’s last album, On My One
(2016),was an ill-advised bid to engage
with a new crowd. The Nottingham singer’s
fourth set, recorded in Nashville, abandons
the rapping and Kasabian-friendly rock
in favour of dusty country-folk. Dan
Auerbach of the Black Keys contributes
to three tracks and Miley Cyrus’s sister
Noah duets on Waiting, but Bugg is most
convincing when his guests take a back
seat. The delicate title track, which evokes
Bert Jansch, is rich in imagery and bristles
with intent. And though the faster songs
are largely throwaway, Bugg is inching
closer to a sound that is both familiar and
very much his own. Paul Mardles
Micah P Hinson
Presents the Holy Strangers
Daunted by writing the follow-up to her
feted 2012 psych-pop debut Dream Life,
Mary Epworth (sister to producer Paul)
set herself free to play without limits. The
result is starkly different, a more austere,
violent electronic soundworld, opening with
the dark, low-synth arpeggios of Gone
Rogue, punctuated by outbursts of raw sax.
Beyond the poppy bounce of Stereolab-ish
lead single Me Swimming and the romping,
kraut-rock pulse of Burned It Down, Elytral
lacks the sort of direction or structure
that linger in the mind, but has a delightful
exploratory freedom, as seen in the
analogue ambience of Surprise Yourself:
“No judgment, no fear”. Emily Mackay
Trio da Kali and Kronos
Quartet Ladilikan
The story of a wartime family, Micah P
Hinson’s self-described “modern folk
opera” drifts with the mesmerising quality
of an old-time train. The choir on The
Years Tire on, the striking spoken-word
interlude of Micah Book One, and the
enriching strings that career throughout
all help weave tales of life, love and loss
with an engrossing, cinematic edge. The
Texan’s mournful, lilting vocals temper the
predominantly instrumental album, which,
at an hour long, risks feeling indulgent. But
Hinson has largely succeeded in creating
a bewitching Americana record that is
quite his own and his most accomplished
work to date. Tara Joshi
Not every Kronos Quartet collaboration
emerges a triumph – their recent Folk Songs
album is a case in point. This encounter with
three outstanding Malian musicians dazzles,
however, partly because the quartet hush
their chamber strings and let the African trio
strut their formidable stuff. There is no point
crowding the voice of Hawa Diabate, whom
Kronos founder David Harrington likens to
the late gospel diva Mahalia Jackson, handing
her a pair of Jackson’s most famous outings
to spellbinding effect, with Ladilikan featuring
Lassana Diabate’s balafon pyrotechnics.
Kronos’s string parts are alternately urgent
and sinuous, and Nick Gold’s production
has a winning vibrancy. Neil Spencer
Wendy Kirkland Quartet
CPE Bach
Piano Divas
Fantasias, Sonatas, Rondos,
Solfeggios Alexei Lubimov
(tangent piano) (ECM)
For her debut album, Wendy Kirkland
has mostly chosen songs recorded by
other piano-playing singers, but wisely
avoids any hint of imitating their styles.
Indeed, she has a fully fledged vocal style
of her own that is more than capable of
doing justice to material ranging from
Leonard Bernstein to Hank Williams.
She plays proper jazz piano, too, and her
excellent band has the settled-in sound
of a regular working unit. I particularly
enjoyed the version of Some Other Time,
virtually a duet between her and guitarist
Pat Sprakes, and the scat vocal unison
with piano in Slow Boat to China. A very
classy debut. Dave Gelly
Arguably the most innovative composer of
the mid-18th century, Carl Philipp Emanuel
Bach had an incredibly vivid imagination,
which resulted in music that one mean critic
said had “the too-easy surprises of a style
where anything can happen”. Now his vision
has found a new voice in the wonderfully
acerbic textures of the tangent piano,
mingling harpsichord, fortepiano and harplike sounds. The veteran Alexei Lubimov
draws the maximum in sprightly vitality
from his replica of a 1794 instrument,
with some exotic effects in the ethereally
chiming Solfeggio in C major, the famous
C minor Solfeggio, the eccentric fantasias
and two powerful sonatas. Nicholas Kenyon
Fauré The Complete
Tippet Rise Opus 2016: Domo
Yevgeny Sudbin, Stephen Hough
Verlaine Settings Tony Boutté
(tenor), Emily Kilpatrick,
Roy Howat (piano) (EPS)
Yevgeny Sudbin is one of the most
interesting pianists around, and his intense
playing of Scriabin’s visionary Fifth Sonata
opens this disc. It’s his one contribution to
an evening of live music-making from the
Tippet Rise Art Center, north of Yellowstone
National Park – clearly an inspiring country
retreat like Aldeburgh or Dartington in this
country. Rachmaninov (the Suite for two
pianos, the Vocalise in a version for cello and
piano) rubs shoulders with contemporary
music by Antón García Abril. A gem of a
Chopin encore by our own Stephen Hough
leads to the Scriabin bookend: a weird
arrangement of The Poem of Ecstasy for
two pianos with solo trumpet. NK
Gabriel Fauré found perfect inspiration
for his own intensely emotional and often
highly charged compositional style in Paul
Verlaine’s perfumed poetry, producing
some 17 songs over seven years. The five
“Venice” songs (Op 58) led some friends
and colleagues to suggest that Fauré
should find another source, but spurred by
his devotion to the soprano Emma Bardac,
he created the ecstatically romantic cycle
La Bonne Chanson (Op 61). Both sets are
sung here with passionate urgency by
the American tenor Tony Boutté, expertly
supported by pianists Emily Kilpatrick
and Roy Howat, editors of a new edition of
these classic art songs. Stephen Pritchard
The Observer | 03.09.17 | THE NEW REVIEW
And may the best plan win
The competition process that once enabled hungry young architects to design iconic public buildings has given
way to a climate of caution in which judging panels are more likely to favour celebrities over bold new talents
to the subject? They couldn’t, because
the competition brief demanded
impossibly high levels of previous
I’ve written before about the
competition for Olympicopolis, a
cultural project of astonishing scale
and ambition in east London, a
potential Pompidou or Sydney Opera
House, whose talented and perfectly
reasonable winning team nonetheless
failed to match the scale of the
opportunity. Here the problem was that
Olympicopolis, if it is to happen at all,
needs a chunk of property development
to help pay its bills, so that commercial
considerations come before cultural, to
create a typically British combination
of madcappery and caution.
There’s also the ongoing competition
for the Holocaust memorial next to
Parliament, where an ill-considered
brief that is badly adapted to its site
makes it hard for any of the glittering
line-up of practices to do a good
job. There’s the competition for the
Museum of London’s new location in
Smithfield market, where an intriguing
shortlist ended up – and, granted, this
is a personal opinion – with the most
middle-of-the-road choice. It happens
often: bets are hedged, and everybody’s
second choice wins.
In the end, the most important
issues are about the value given to
architecture. That is, how seriously is
it asked what is at stake with a project
and what a design team can contribute
to it. This is more than a question of
problem-solving and adding a stylish
gloss. For example, in the recent
Illuminated River competition for
lighting 17 Thames Bridges, the identity
of central London was at stake – is it
for tourists or locals, homogeneous
or diverse, managed or spontaneous
– yet the briefs for such competitions
tend to speak in generalities: “worldclass”, “outstanding”, “distinctive”,
“exciting”, perhaps “sensitive” where
historic buildings are concerned.
It’s also a matter of the makeup of
the jury. In countries like Germany
and Switzerland, as used to happen
in Britain, there are at least two
architects sitting alongside clients
and other interested or expert parties.
In Britain you get grandees, media
figures, politicians, celebrities and
intermediaries, many of whom will
not be able to read an architectural
drawing. The 14-strong jury for the
Holocaust memorial competition
has three people from the media and
one architect.
Malcolm Reading, responsible
for the memorial, Illuminated River,
Museum of London and Olympicopolis
competitions, says you have to
“represent all the different factors”,
and of course you want to balance lay
and professional views, but set-ups like
the memorial jury are not balanced. If
jurors don’t fully understand what they
are judging, they tend to choose lowerrisk, more consensual options, or at
least those that appear so.
Mention of the Sydney Opera House
and the Pompidou could be taken
as justification for caution. These
were famous for their fraught and
expensive gestations, even though the
almost unanimous view is now that
they were worth it. But thoughtful,
informed competitions don’t have to
lead to a white-knuckle masterpiece.
In many European countries they
enable architects to grow by designing
public buildings. They don’t have
to have designed the same type of
building several times previously to be
considered. And everyone, especially
those who use and experience those
buildings, benefits.
David Schwimmer, who co-stars with
Catherine Keener and Oscar Isaac.
The key to Colin Belfast, and to most
of the characters, is status. We hear
conversations in bars, on doorsteps,
on the phone (a lot) and in each case,
Belfast changes his demeanour, moving
himself up and down the status bar,
depending on who he’s talking to. He’s
wily, condescending and triumphant
with those he considers beneath
him; pleading and officious with
those above him. He flips between
scenes, and sometimes even within
scenes, revealing everything simply
by changing his attitude. No need to
spell out motivation or intention; it’s
there in the voice.
It’s not just him; the acting (and
writing) is uniformly great – nothing
is flagged up, everyone comes with
a realistic and believable outlook,
with baggage that reveals itself
as conversations progress. It’s
an excellent series and, as ever, a
showcase for just how slick and
absorbing audio drama can be.
The very opposite of slick, but
also weirdly absorbing, is 5 Live’s
Tuffers and Vaughan Cricket Show. Here
are Phil Tufnell and Michael Vaughan
chuntering on, trying to sound cross
but failing, trying to sound ecstatic
but failing at that too, grumbling a bit,
analysing a bit. England are not doing
well (I gather), but there isn’t the
despair or vitriol of football analysis.
Even though the show opened with,
“The West Indies have pulled off a
stunning victory to win a Test match in
England for the first time in 17 years!”,
nobody seems that bothered in Tuffers/
Vaughan world. “If you’re bowling
well and you can swing the ball away,
it doesn’t matter if you’re running up
doing jazz hands,” reports Tuffers.
Chappers (Mark Chapman) is
here, too, keeping things in line and
on time. He asks stats questions, like:
“In total, three different England
head coaches have had 14 picks, in
terms of specialist batters. Name the
coaches. And how many of those 14
have become permanent?” God. It’s
all very pub quiz, three middle-aged
blokes having a chat and a laugh.
Amiable, informed, comforting. A good
accompaniment to sorting out the
washing or doing other little jobs. And
yes, that is a compliment.
What do Coventry Cathedral, the
Houses of Parliament, Sydney Opera
House and the Pompidou Centre
have in common? They are all wellloved buildings, landmarks for their
cities, dare one say “iconic”? Their
architects hadn’t designed a cathedral,
a parliament, an opera house or a major
arts centre before. They were all the
result of architectural competitions that
attracted dozens or hundreds of entries.
The architectural competition is
an appealing concept – that designs
and ideas can be offered up and the
best chosen without prejudice – and
the fudging of the competition for
the defunct Garden Bridge project
shows what can happen when they
are disrespected. Its backers might
have found a more viable and sensitive
design if they had looked harder.
In the past, competitions launched
careers and gave opportunities to
young architects, such as 28-year-old
Charles Rennie Mackintosh with
Glasgow School of Art, and 22-year-old
Giles Gilbert Scott with Liverpool’s
Anglican cathedral, or indeed Renzo
Piano and Richard Rogers, 34 and 38,
with the Pompidou.
Competitions worked for everyday
buildings as well as monuments – some
of the best postwar housing, such as
the Golden Lane estate in the City of
London, and Churchill Gardens and
Lillington Gardens in Westminster,
was the result of competitions won by
architects often in their 20s. They could
crystallise a debate, generate ideas or
mark a change in direction – the one for
the Chicago Tribune tower in 1922 was
famous more for the entries that didn’t
win, for example by Walter Gropius and
Adolf Loos, than the good-looking but
conventional one that did.
Times have changed. There are
still plenty of competitions – under
European Union law, some sort of
competitive process is required for
public buildings. A lot of the time they
work well. One outfit in particular,
called Malcolm Reading Consultants,
has done well by organising them
professionally and thoughtfully, to
the extent that the consultancy now
manages the majority of high-profile
competitions. It has nudged the
Clockwise from main image: London’s
new Holocaust memorial as imagined
by Lahdelma & Mahlamäki Architects and
David Morley Architects; opportunities
lost in the winning Olympicopolis plans;
and the ‘most middle-of-the-road
choice’, designed by Stanton Williams
and Asif Khan, for the new Museum of
London. Queen Elizabeth Olympic Park;
Stanton Williams
They have become
encased in regulation
and risk avoidance,
and varnished in PR
processes of selection so that younger
practices have a bit more of a chance
than they might have done otherwise.
But the chances have shrunk of a
Mackintosh, a Pompidou or a Golden
Lane emerging, or of changing the
direction of architecture. Competitions
have become managerialised, encased
in regulation, procedure and riskavoidance, and varnished in PR.
Take, for example, the shortlist for
the Centre for Music, proposed in
response to Simon Rattle’s urging for
an acoustically outstanding concert
hall in London. Half the six shortlisted
practices are led by the octogenarians
Norman Foster and Frank Gehry, and
Renzo Piano, who turns 80 this month,
and all are well established. You can
see that when they really, really want
an auditorium that works, the Centre
for Music would go for experience,
and it would be good to see what
Gehry – whose New World Center
in Miami shows him to be someone
who really thinks about music and
performance – would come up with.
But could they really not have found
one or two younger practices, who
might have brought some new thinking
It’s all coming
back to me…
Homecoming Gimlet Media
The Tuffers and Vaughan
Cricket Show 5 Live
Oooh, Homecoming is back. Actually,
this podcast drama has been back for
a few weeks now, but I deliberately
didn’t listen: I enjoy binge-listening
when it comes to my favourite shows,
rather than having to wait a week for
my fix. (I’m not alone in this, of course,
and many podcast producers have
noted it: S Town and Jon Ronson’s
The Butterfly Effect released all their
episodes at once. With a non-newsy,
finite yarn, it often makes sense to
do so.) Anyway, I plugged in while on a
long drive and was immediately sucked
back into the strange world of the
Homecoming memory programming
scheme of Walter Cruz, Heidi Bergman
and horrible Colin Belfast.
Should I do a recap of series 1? You
don’t really need to have listened (I’d
forgotten everything until I heard
the new series), though you should,
because it’s really good. Both series
of Homecoming have the same things
going for them: a mystery gradually
revealed, a sense of time running
out, fallible heroes who can’t always
remember what actually happened
to them and the old-fashioned
notion that there are companies and
governments running sinister secret
systems that can draw in innocent
people as collateral.
This last concept reminds me of The
Prisoner, or Nineteen Eighty-Four, of
those old fear-of-communism stories
that assumed that, in the future,
people in power would bother to keep
minutely detailed information on every
THE NEW REVIEW | 03.09.17 | The Observer
Homecoming stars David Schwimmer and
Catherine Keener. WireImage
aspect of your life, when in fact, no
one seems able to locate your repeat
prescription even when you turn up
in person with your NHS number
tattooed across your face.
So, Homecoming 2. I’m not going
to reveal the plot, or tell you who our
heroes are, but it’s clear who we’re not
rooting for: Colin Belfast, played by
Claire Messud talks to Tim Adams about
her fears for the future of the novel
Page 34
Chris Kraus’s biography of Kathy Acker
leaves Rachel Cooke scratching her head
Page 35
William Skidelsky hails Daniel Mendelsohn’s
Homer-inspired memoir about his father
Page 36
Where did it all go wrong? Adam and Eve, the beasts of the earth and the fowl of the air in Jan Brueghel the Elder and Peter Paul Rubens’s The Garden of Eden With the Fall of Man, c1615. Peter Horree/Alamy Stock Photo
Fanfare for God’s first couple
Stephen Greenblatt gives Adam and Eve the benefit of the doubt in this enthralling study, writes Peter Conrad
The Rise and Fall of Adam and Eve
Stephen Greenblatt
The Bodley Head £25, pp432
We may be a godless lot, but our
world remains hopelessly religious.
As Stephen Greenblatt demonstrates
in his enthralling, thrilling book about
Genesis and its afterlife, myths that once
compelled belief have dwindled into
make-believe, but in the “post-truth”
era fiction and fantasy still determine
the lives of many – Islamic fanatics,
members of the Jedi church, Trump
loyalists – and make them bow down
before false gods.
Greenblatt – a professor of humanities
at Harvard, academically celebrated
as the biographer of Shakespeare and
the founder of the new defunct fashion
in literary criticism known as the new
historicism – here picks apart the most
invidious and onerous of myths. Genesis
devised a story that told us where we
are, why we are here, and established
rules for our conduct. Human history
in the Christian west has been a long
battle to come to terms with that tale,
whose inflictions include a drastic
ban on acquiring knowledge and a
baleful sexual morality, with the pain of
childbirth and inevitable death imposed
by God as penalties for disobedience.
Greenblatt follows Adam and Eve out
of the garden and shows how they
were loaded with an extra burden of
guilt by St Augustine, who invented
the vile notion of original sin to make
us all take the blame for an impromptu
erection that embarrassed him in the
public baths. Greenblatt welcomes
the redemption of Adam and Eve by
Renaissance artists such as Michelangelo
or Dürer, who saw them as ideal physical
specimens, not the harassed victims of a
repressive God. Finally, a little relieved,
he has Darwin kill them off.
Along the way, there is an often
hilarious account of scholastic efforts
to rationalise the myth’s illogic, and an
array of entertaining heresies. From
the evidence of fossils, a 16th-century
French mathematician estimated
that Adam was 123ft tall; another
addled expert calculated that he lived
to be precisely 930 years old. In the
Talmud, a rabbi speculated that –
before asking God to create a female
partner for him – Adam tried sex with
all the other animals. Iconographers
worried whether he should be painted
with a navel, since he had no mother.
Luther asked why he followed Eve’s
example and ate the forbidden fruit,
and concluded that he did so to reject
a slavish life of prayerful gratitude: in
Luther’s dangerous words, it was his
way of declaring “I hate God.”
What gives Greenblatt’s “intellectual
adventure” its tension and excitement is
a sense of his own divided loyalties. He
begins, as if in Eden himself, with two
youthful acts of rebellion. He ignores his
mother’s warning that he must never
cross a busy Boston road on his own,
and even more wickedly he opens his
eyes in the synagogue during a rabbi’s
benediction because he wants to look
God in the face. The first experiment
passes off without accident; the second
results in disillusionment. God, after
all, was nowhere to be seen. Greenblatt
realised he had been told a lie, but at the
same time he discovered that mental
development depends on breaking
ancestral rules. Even so, he may have
defrauded himself: wouldn’t it have
been more comforting, despite the
implicit threat, to go on believing that
God was visible above the heads of the
That worry haunts this book. Is its
research transgressive, putting at risk
not religious belief but Greenblatt’s faith
in the literary imagination? He is torn,
as Milton and Darwin were, between
respect for clear-eyed knowledge and
reverence for the grand fabulations
with which we redesign the messy,
cheerless world. The more Milton
humanised Adam and Eve in Paradise
Lost – writing for them a quarrel which,
Greenblatt says, will ring true to anyone
with a spouse – the more he challenged
God’s insistence that we should “know
to know no more”. Darwin did not mind
that his theorising about evolution
undermined theology; what dismayed
him was that his brain, now “a machine
for grinding general laws”, could no
longer appreciate Romantic poetry and
found Shakespeare “intolerably dull”.
Greenblatt resolves the problem by
effusively reaffirming his first love. He
calls Paradise Lost “stupendous”, says
that it is “impossible to account for
rationally”, and even recommends that
we should “take seriously” Milton’s
claim that it was dictated to him by
a celestial muse who made nightly
visits to his bedside. Coming from an
academic, this worship of genius is
every bit as unusual as literal acceptance
of Genesis would be.
Though Greenblatt knows that the
biblical story is the source of our abiding
unhappiness, he still wants to cling, as
he says, to “the peculiar satisfaction that
the ancient story provides”. His book,
however, is written not to glorify God
but to extol the defiant endeavours of
human thinkers, and more generally
to admire the self-help of a species
that, rather than being created fully
fashioned and set down in a fruitful
garden, spent arduous aeons slowly
acquiring “the fathomless complexities
of toolmaking, art-making, language,
and the capacity to reason”.
The journey is not only cerebral.
Greenblatt is right to call his project an
adventure, because it takes him from
an ethnological museum at Harvard,
where he inspects the skeletal remains
of our remotest simian forebears, to the
desert south of Tehran where he visits a
replica of Eden – a dusty square planted
with gnarled cedars, miraculously
irrigated by a spring that gushes into
a turquoise-tiled pool. It concludes in
another, more savage Eden, a jungle in a
Ugandan national park. Here he studies
the social and sexual habits of another
family of Adams and Eves. They happen
to be chimpanzees, and in Greenblatt’s
view they enviably remain in the state of
innocence, free from the onus of shame
that Genesis imposed on humans.
He ends with an account of an
adulterous coupling by two chimps,
which after their secret assignation
gently touch each other’s rumps and
disappear into the thicket. The scene
provokes Greenblatt to quote, as his
book’s final line, Milton’s encouraging
farewell to Adam and Eve on their
expulsion from paradise: “The world
was all before them.”
There’s an ironic reminiscence here
of his earlier description of the weeping
humans evicted from paradise by a
bossy angel in a Renaissance painting
by Masaccio: stripped, abject, “utterly
unprepared” for a harsh future in an
alien place, this Adam and Eve look
like refugees, boat people on dry land.
Greenblatt’s chimps, by contrast,
scamper into a lush, fertile world that
belongs to them. As we approach the
end of human history, it’s good to be
reminded that other species do not
suffer from our neurotic hang-ups
and our mortal dread. May they have
better luck when, in our absence, the
long travail of evolution resumes.
To order The Rise and Fall of Adam and
Eve for £21.25 go to guardianbookshop.
com or call 0330 333 6846
The Observer | 03.09.17 | THE NEW REVIEW
the attention for it,” she says. “Then
you feel like it’s like a last trace of a
culture, like the Lascaux paintings or
something. When I am teaching, I first
give out Tolstoy’s Childhood, his first
published book. It is so transparent.
It gives you exactly what it was like to
be on a Russian estate in 1830. You are
there. And that is the hope when you sit
down and write still, I think – that you
can transmit something of what life is
like now.”
Her most successful book, The
Emperor’s Children, was a big social
novel, reflecting New York at the turn
of the millennium. Since then she has
narrowed her focus. I wonder if the
current politics at home are something
she would like to address directly in
her fiction?
‘Maybe in 50
years there
won’t be novels’
As her fifth novel is published, Claire Messud
tells Tim Adams that shrinking attention
spans could prove the death of long fiction
When you are a child, Claire Messud
suggests, you never imagine you might
not really know the people closest
to you. The shock of that realisation,
which perhaps comes to us all in early
adolescence, is the drama of Messud’s
fifth novel, The Burning Girl. The book
dwells on the unravelling of a lifelong
friendship between two teenage girls
in small-town Massachusetts. It is
a distinctive and subtle fable of lost
innocence told in the voice of one of
the girls, Julia, whose middle-class
shyness and prized sensitivity prove
inadequate as the more disturbed
family and life of her wilful friend
Cassie violently capsizes.
“My mother assures me that it
happens to everyone, sooner or later,
for reasons more or less identifiable;
everyone loses a best friend at some
point,” Julia tells herself. But the
reassurance isn’t quite up to the reality.
In an office at her publisher, Fleet
Books, Messud and I compare notes on
how we have experienced something
of that reality, first in our own
teenage years and then in those of our
children. Messud, and her husband,
the New Yorker critic James Wood,
have a daughter aged 16 and a son, 13.
“I remember the brutal friendship
break-ups from my own youth, and I’ve
watched it again,” she says.
“The strangeness is a bit like a
relationship with an ex-lover, in that
you know everything about your
friend, but you suddenly don’t know
their daily life any more.”
That we can’t fathom other people,
or ourselves, is the engine of fiction, and
Messud, who teaches creative writing at
Harvard, has an emotional intelligence
steeped in that literary history. She
is at once a bold and careful writer,
whose previous novels have taken her
in unexpected directions and to diverse
tones. Most recently they include The
Emperor’s Children (2006), a telling
dissection of the lives of a group of
friends in uptown New York in the years
leading to 9/11, and 2013’s The Woman
Upstairs, a tale of jealousy and betrayal
between a frustrated artist and her
younger, talented friend.
The books are linked by Messud’s
forensic eye for the small currents of
tension in human relationships; her first
novel was titled When the World Was
Steady, but the present of her fictional
worlds never quite holds still.
The daughter of a Canadian mother
and a French father who worked for
a multinational corporation, Messud
lived on three continents as a child.
The story of The Burning Girl, she
says, is rooted in one of the first
real-life stories that affected her, and
made her want to write. When she
was nine she moved from Australia
to Canada and kept in touch with
her best-friends-forever by sending
airmail letters. A girl who had been
part of their group went through a
‘If you took my
reading and
writing out of my
head, I don’t know
who I would be’
Claire Messud: ‘The pace of the madness is so intense. We’re like Linus and Snoopy in
front of the TV with our hair blowing back.’ Photograph by Antonio Olmos for the Observer
disturbing series of events like Cassie
in the novel: she grew up not knowing
who her father was, and then found
out and ran away to meet him, a story
that ended in tragedy.
“The thing about it, though, was
that I didn’t experience it first-hand,”
Messud says. “I had three or four
friends who wrote me their versions of
it. It was like the gospels or something.”
In many ways, she suggests, it was her
first experience of unreliable narration.
“Girls, in particular, use storytelling to
establish hierarchies, a pecking order.
There is a sort of jockeying of who is in
charge of shared history.”
As a novelist, Messud dramatises that
tendency, and points out the cracks in
it. She gives the impression of writing
being a vocation, a way of finding her
voice. Can that be taught, I ask, thinking
of her day job at Harvard? “No,” she
says, “but there are things about writing
that can be taught. I would say there
are fewer people who want to read
seriously now, and more people who
want to write. But if you can use writing
to get people reading, that is exciting.”
Teaching also means that her own
creative space in the year is quite
limited. She laughs. “I think there are
eight weeks when I am not teaching
and the children are in school,
which narrows it down a bit, but also
concentrates the mind.”
Does it still feel as necessary as ever
to do it, in our world of distractions?
“In the last few years I have come
to feel that maybe in 50 years there
won’t be novels, that people won’t have
“There’s too much,” she says. “One
of the things that seems difficult
at this point is that the pace of the
madness seems so intense. We are all
like Linus and Snoopy in front of the
TV with our hair blowing back. It is
somewhat sapping.”
For her, though, fiction remains the
best means we have of understanding
that madness, the ways in which we fail
to connect. “If you took my reading and
writing out of my head,” Messud says, “I
don’t know who I would be. The people
who don’t read, who are they? How do
they make sense of things?”
She references a pivotal passage
in her novel, which sounds as good
an explanation as any of divisions
in our world: “All those years we’d
been friends, since forever, we’d used
the same words and perhaps meant
different things – sometimes slightly
different, but other times radically
dissimilar; and we’d never known it. As
if I’d been holding an apple and thinking
it was a tennis ball, all this time.”
“That is like the people who don’t
read,” she says. “I don’t know what they
mean when they say things.”
The Burning Girl by Claire Messud is
published by Little Brown (£16.99) on 7
September. To order a copy for £14.44
go to or call
0330 333 6846
A world where
honesty is the
last policy
The Lies of the Land: A Brief
History of Political Dishonesty
Adam Macqueen
Atlantic £14.99, pp352
Politicians lie. As statements of the
obvious go, for most people that one
ranks alongside the pope’s Catholicity
and the toilet habits of bears. Never
mind that many MPs are perfectly
straightforward, or at least no more
prone than the rest of us to fibbing their
way out of a tight corner. For millions,
the default response to anything any
politician says is, “Why is this lying
bastard lying to me?’’, as the Times
correspondent Louis Heren once put it.
So Adam Macqueen’s book, a
compendium of great political
whoppers past and present, is sure
to find an eager audience. All the old
favourites are here, from the Profumo
affair to Jonathan Aitken impaling
himself on his “simple sword of truth”,
right through to the bare-faced fibs of
this spring’s Brexit campaign, alongside
a few unedifying episodes that might
more accurately be described as
overenthusiastic spin, catastrophic
failures of understanding or promises
on which ministers couldn’t deliver.
THE NEW REVIEW | 03.09.17 | The Observer
Like a sort of giant supermarket
sweep through the dodgier aisles of
Westminster, in which the author
dashes round collecting up all the best
reasons never to trust the establishment
again, it’s lively enough entertainment.
But that’s all it is, because this is
basically a glorified loo book. It consists
almost entirely of fairly well-worn
stories, seemingly rehashed entirely
from cuttings rather than informed by
original research, which the author
has done little more than group by
theme and bookend with brief essays.
It’s perfect for casually dipping in and
out of, since they’re still riveting tales,
and occasionally Macqueen does bring
out something more contemporary in
them – for example, by focusing not on
the section of Enoch Powell’s “rivers of
blood” speech everyone knows, but on
a dubious story he told about the last
white woman supposedly living on the
street where all the other white families
had moved out. Such deliberately vague,
apocryphal stories are all too prevalent
today (remember Nigel Farage’s train
journey from London to Kent on which
he supposedly didn’t hear a word of
English?) and the parallels are striking,
if not particularly fleshed out. He is
right, too, to note the grim irony that
mistrust of mainstream politicians is
driving voters into the arms of crackpots
who are even more hopelessly detached
from the truth.
But most of these scandals are so well
known that there’s nothing new to say
about them. What makes the cursory
final chapter on how to stop politicians
lying so unsatisfactory, meanwhile,
is that the author barely bothers to
construct an argument about why they
do so in the first place.
The deeper motives we all have for
lying, the extent to which the media
enable it, the pressures under which
politicians operate and the crucial
question of how voters respond when
they’re actually told hard truths (such
as that their taxes need to go up, or
that they can’t have their Brexit cake
and eat it), are all skimmed over in the
briefest of fashions. It reads, to be blunt,
as if it was assembled to meet a raging
demand for stories about how awful
politicians are, ho ho.
But the idea of lying politicians isn’t
a joke now that Donald Trump is in
the White House. It’s either a subject
for really biting satire or for serious
examination and the trouble is that
this book falls somewhere between the
two. Yes, politicians lie. But on its own,
that observation is no longer enough.
Gaby Hinsliff
Peddler of the ‘deliberately vague’ story.
Enoch Powell, in 1975. ITV/Rex
To order The Lies of the Land for £12.74
go to or call
0330 333 6846
‘Diana and I: an intelligent
alternative to the recent
welter of hagiographies’
TV, page 40
All life is here
or maybe not
Chris Kraus’s regard for post-punk provocateur
Kathy Acker is mystifying, writes Rachel Cooke
After Kathy Acker: A Biography
Chris Kraus
Allen Lane £16.99, pp352
Chris Kraus, who is nothing if not
artful, begins her strange and ultimately
futile book about the writer Kathy
Acker by noting that what follows
“may or may not be a biography”. As
statements go, this sounds unerringly
postmodern: in an instant, we’re on the
alert, wondering what Kraus, a novelist
whose fictions might be described as
warped memoirs, might have done with
the facts of someone else’s life. But do
not be misled. Its function is, in reality,
more prosaic than this. While most
biographers regard the unpicking of
untruths as central to their work, Kraus
has a different approach. As the reader
will shortly discover, her opening line is
a get-out clause. If Acker did indeed lie
“all the time”, as she also asserts, Kraus
doesn’t necessarily see it as her job to
dismantle those deceptions. At best,
she is too credulous. At worst, she is
haphazard, even lazy.
Nor is she precisely clear about her
relationship to Acker. Her publisher,
Allen Lane, trills that she and her subject
were friends as well as contemporaries.
Is this true? Kraus doesn’t go into
it, though she does write rather
breathlessly of having seen Acker read
in New York in 1980 (“with porcelain
skin, deep-red lips, eyes made even
wider with heavy black makeup, she’s
both of this crowd and above it”).
Nevertheless, the two women were,
and are, intimately connected. Among
Acker’s many lovers was Sylvère
Lotringer, the cultural theorist to whom
Kraus famously used to be married (and
who appears, like Dick Hebdige, the
sociologist and another friend of Acker’s,
as a character in Kraus’s controversial
novel, I Love Dick). Kraus often quotes
Lotringer, whether on the subject of
his and Acker’s supposed experiments
in sadomasochism (“Lotringer has no
recollection of these BDSM sessions”) or
on the period when she was dying (“her
legs were like sticks”). But nowhere that
I could find does Kraus note that he is
her ex-husband.
Kraus is clearly fascinated by Acker:
no one in their right mind would spend
so long in Acker-land, where German
sadists can train women to orgasm at
their command and vibrators are an
essential writing tool, unless they were
to some degree beguiled by her. But read
on and the suspicion grows that there is
a weird tension between her admiration
of the alternative scene of which Acker
was once part – in the early 80s, Kraus
writes, “the Lower East Side was a
quadrant of culture beamed all over
the world” – and Acker herself. It’s not
only that so many of the stories she tells
about her are so hilarious. Rather, it’s
that she singularly fails to make a case
for Acker the writer. “Incredibly, critics
of all kinds have embraced discursive
first-person fiction in the last years as
if it were a new, post-internet genre,”
she writes, in what will be her best shot
at a summary of her subject’s place
in the world of letters. “[But] these
contemporary texts owe a great debt to
the candour and formal inventiveness of
Acker’s work.” This isn’t just feeble – it’s
barely even halfway true.
But I’m running ahead of myself.
Who was Kathy Acker? Born in 1944,
she grew up on New York’s Upper
East Side, where she was raised by
her stepfather, Albert Alexander, and
her mother, Claire Weill Alexander
‘Performing was what made her tick’: Kathy Acker in 1995. Bob Berg/Getty
(she never knew, and seemingly
never wanted to know, her father,
who abandoned her mother when
she was pregnant, though the absent
father would become a theme both in
her writing and perhaps in her busy
sex life, too). Privately educated, she
attended Brandeis University, a liberal
arts college in Massachusetts, which
is where she met Bob Acker, her first
husband and first escape route. Bob,
now a retired attorney, “graciously”
replied to Kraus’s emails, but apparently
had very little to say about Kathy, for
which reason it is left to her to imagine
her subject’s “ambivalence” at finding
herself “a young wife during the Peyton
Place era”. The word “ambivalence”,
however, hardly seems to cover it.
By 1971, Acker was back in New York
where, in order to fund her writing, she
was performing with her boyfriend, Len
Neufeld, in a live sex show. Well, it beat
filing and at least there was a certain
creativity in coming up with scenarios
(in a favourite routine, she played a
patient confessing her Santa Claus
fantasies to her aroused psychoanalyst).
Acker would come to regard this
work as exploitative, but that didn’t
stop her working, later, as a stripper. As
one friend put it: “I never saw Kathy
work a [regular] job. Ever.” It wasn’t
only that she was entitled. Stripping
was performing and performing – the
various versions of Kathy Acker – was
what made her tick. She lived a restless,
itinerant life, moving ceaselessly
between the west and east coasts of
America, Paris and London (where
she shacked up, briefly, with the music
journalist Charles Shaar Murray). What
was she looking for? Fame, mostly. One
day, she would long to be known as
more than the “post-punk plagiarist” –
her novels, with their themes of sex and
violence, are random assemblages that
combine both pastiche and elements
of the work of others – but in the
beginning this would do just fine and
she made sure her look matched the
description: buzz cut, leathers, muscles,
tattoos (also, labial piercings).
You could say that hers is a story of
style over substance and you’d probably
be right. Wading through Blood and
Guts in High School, the 1984 novel that
(oh so briefly) made her – Penguin,
having moved the goalposts for
Morrissey, has now seen fit to republish
it as a modern classic – I wondered
again at Acker’s reputation: so high with
the likes of Jeanette Winterson and
other groupies, so low with everyone
else. All I can do is line myself up with
the non-groupies. “SUCK ME SUCK
ME SUCK ME… President Carter needs
to ORGASM…” Dear God, it’s dire.
Acker died at an alternative cancer
centre in Mexico in 1997; following a
mastectomy the year before, she turned
her back on western medicine, putting
her faith, instead, in alternative healers,
astrologists and an antioxidant diet.
“Her reasoning here wasn’t flawless,”
writes Kraus, drily, of Acker’s insistence
that American chemotherapy was too
expensive for self-employed writers
(in fact, she had plenty of money,
having inherited quite a lot from her
grandmother). At this point, I thought I
saw – again – the flash of Kraus’s knife.
It was shocking, but sort of delicious,
too. But perhaps I was mistaken.
She ends (and what a relief it is
when that moment comes) with what
I can only describe as a little hymn of
identification with Acker. In a book full
of baffling, queasy-making things, this is
surely the most befuddling of all. Kraus,
whose own novels are rather good, is so
much the better writer, even if, this time
around, her id seems sometimes to have
wrestled her ego to the floor.
To order After Kathy Acker for £15
go to or call
0330 333 6846
My outsider family and other talking animals
My Cat Yugoslavia
Pajtim Statovci
Pushkin £14.99, pp255
Kosovo-born Finnish writer Pajtim
Statovci’s debut novel begins with
a chap called blackhetero-helsinki
prowling the internet in search of
“fun and games”, continues with a
lonely immigrant student getting
into a relationship first with a boa
constrictor and then a haughty cat
he meets in a bar singing along to
Cher’s Believe, and ends with a series
of ruminations about the violence
of men, of memory, of migration. If
this sounds whimsical, don’t worry;
My Cat Yugoslavia is a striking work
about dislocation and estrangement that
moves between science fiction, comic
fable and trauma narrative without ever
settling snugly into any of them.
The lonely student is Bekim. His
parents came to Finland from the
Balkans during the 1990s. When
people ask him his name he often makes
one up. Sometimes he pretends to be
Russian. He’s mostly gay, obsessed with
cleaning, and disconnected not only
from his fellow students but from his
mother, Emine. She too is struggling:
brought up in a conservative village
near the Kosovan capital of Pristina, she
was married off to a man whose name,
Bajram (“celebration”), belied his fierce
temper, and it has taken her decades to
pluck up the courage to leave him.
Their stories unfold in parallel.
Emine, growing up at the tail end of
Tito’s regime, is lively and hardworking.
She’s indifferent to the news on the
radio and dreams of being an actor.
During her wedding she is one; her
mother teaches her how to emote
properly, although, always prone to
heretical feelings, she admits wanting
“to pull my hands away and wipe them
on the hem of my skirt, because my
hands soon stank of the grime on the
guests’ hands, of ingrained sweat and
old grease”.
Nearly 30 years later, Bekim also finds
himself struggling with desire. His cat
companion isn’t the winsome moggy
of internet memes; he may trill along
to Bruno Mars’s Grenade and be an
astute literary critic (of Günter Grass’s
Cat and Mouse, he yawns: “I’m bored
with such absurdity”), but he’s also
lazy, patronising and homophobic.
Bekim is effectively in an abusive
It’s tempting to think Statovci’s
interest in migrants and animals is
fuelled by a belief in their shared
marginality. The snake that Bekim
brings into his apartment is both foreign
and fear-inducing; most of his days he
spends cooped up in a terrarium, just
as many of the Kosovans in Finland felt
penned in at their reception centres
and gawped at when they stepped
outside. Is the cat really aloof or is
it afraid of exposing its neediness?
These relationships are as visceral as
those of family and home country. War
destabilises and mangles identity, and
it’s in these bizarre, intense interactions
with animals that the reader gets a feel
for the hybrid nature of migrant life.
All of the characters have mixed
feelings about Finland. It’s a refuge from
the bloodletting back in Kosovo and
a prosperous nation to which locals
say they should feel gratitude. To
Emine, though, “Finnish sounded like
a colourless, inexpressive language.
The words seemed to crack like
brittle, unhealthy bones.” There are
religious tensions with Bajram, who
identifies as a Muslim more than he
ever did back home, and is forced out
of a teaching job after he objects to his
school’s multi-faith syllabus.
There are passages in which My Cat
Yugoslavia verges on the folksy and
anthropological. More often, and in
no small part due to David Hackston’s
elegant translation, this is a memorably
disconcerting novel, a kind of literary
Let the Right One In; a book about
skin and sweat and the ruptured blisters
of history. Sukhdev Sandhu
To order My Cat Yugoslavia for
£12.74 go to or
call 0330 333 6846
The Observer | 03.09.17 | THE NEW REVIEW
Homer is where the heart is
The Odyssey proves an inspiring model for Daniel
Mendelsohn’s gentle memoir about reconnecting
with his distant father, writes William Skidelsky
An Odyssey: A Father, a Son,
and an Epic
Daniel Mendelsohn
William Collins £18.99, pp304
Daniel Mendelsohn is an American
academic and critic known for his
lofty broadsides against the prevailing
cultural consensus. A few years ago,
in the New York Review of Books, he
memorably laid into the TV series
Mad Men, describing the writing as
“extremely weak” and the acting as
“bland and often amateurish”. More
recently, Hanya Yanagihara’s muchgarlanded novel about sexual abuse,
A Little Life, came in for a similar
drubbing. I was therefore struck,
on reading An Odyssey – a memoir
in which Mendelsohn explores his
relationship with his father through
the prism of Homer’s epic – by its
soft, delicate tone. Mendelsohn the
stern critic is absent from these
pages. This is a gentle, at times almost
nostalgic, work.
Mendelsohn had an awkward, if
never exactly turbulent, relationship
with his father, a research scientist and
maths professor who died, in his 80s,
in 2012. Jay Mendelsohn was one of
those American dads who believe that
the world is a brutal place – the odds
overwhelmingly stacked against the
“little man” – and that, to get on, you
have to be tough. He believed, his son
writes, in an “irreducible hardness”
at the centre of things. Daniel wasn’t
tough – or at least not in the way his
dad wanted. Always fairly hopeless
at science and maths, he gravitated
to classics – a subject Jay deemed
insufficiently rigorous. Matters
were further complicated when, as
a teenager, Daniel came out as gay.
The result was a relationship marked,
over the decades, more by reticence
Daniell Mendelsohn,
d l h right,
h with
h ffather,
h Jay,
in 2011. His book, in which he explores their
relationship, is inspired by Homer’s
Odyssey, below. Alamy
and circumspection than by warmth
and intimacy.
Then, early in 2011, Jay surprised
his son with a proposal: he wanted
to sit in for a term on one of Daniel’s
classes, an undergraduate course on
The Odyssey. (Daniel teaches classics
at Bard College in upstate New York.)
And so, for 14 straight weeks, Jay made
the three-hour journey from his Long
Island home and stayed the night in his
son’s apartment, before attending his
seminars the next morning. Once term
finished, the pair cemented their new
bond by going on an Odyssey-themed
cruise through the Mediterranean.
These events – the classics seminars
and the cruise – form the narrative
core of An Odyssey.
Fortunately, though, they are not
all the book is about. Just as Homer’s
poem contains multiple timeframes, its
narrative continually looping back to
earlier events in its characters’ lives, so
Daniel’s memoir regularly slips from
the present as it delves into his father’s
past. This, we soon gather, is the
book’s special “trick”: a memoir largely
concerned with The Odyssey, it is itself
a deeply Odyssean work. And not just
structurally, but thematically too: as
Daniel takes us through Homer’s epic,
almost line by line, he reveals how its
themes – the passing of time, identity
and recognition, the bonds between
fathers and sons, husbands and wives
– resonate across his and his father’s
lives. The book thus enacts a truth that
has long been central to Mendelsohn’s
writing and teaching, which is that
the great works of antiquity remain
relevant today.
All this may make An Odyssey
sound rather convoluted, even
unapproachable. Yet, remarkably,
it isn’t. More than anything, this is
down to the litheness of Mendelsohn’s
prose, which flits seamlessly across
intervals and registers, switching
from erudite exposition one minute
to emotion-filled reminiscence the
next. There are some flaws. Minor
characters, such as the students in
Daniel’s seminar, are little more than
props. Some obvious opportunities
for comedy are missed. And Daniel’s
portrait of Jay, while affecting, lacks
the fierce tenderness of, say, Philip
Roth’s writing about his dad. Still,
this is an accomplished, brave book
that testifies to what is perhaps The
Odyssey’s most abiding message:
that intelligence has little value if it isn’t
allied to love.
dig and hit seams of rock, sand, darker
soil, which promises water. I’d never
seen the link between Paul Auster and
Orhan Pamuk before, but the building
of the well in The Red-Haired Woman
is a clear nod to the wall in Auster’s
The Music of Chance, while in the
twists of paternity, the shifting sense
of what fatherhood really means, we
get strong echoes of M
Moon Palace.
I also wondered whether
acted as a model for E
Ekin Oklap’s
translation of the boo
book. It’s very
hard to achieve that li
light, affectless
prose that Auster doe
does so well.
Auster uses langua
language that is
self-consciously flat, deploying
cliches whose hol
hollow sound is
part of the uncann
uncanny atmosphere
that he creates. For
Fo the most
part, The Re
Woman is similarly
unexceptional in the
language it uses.
The narrowness of
the younger Cem’s
experience is
reflected in a bluff
and unassuming narrative voice; the
older Cem, still trapped by the events
of the past, is a happily married but
otherwise distant and joyless man,
his voice full of trite and obvious
observations, his language pat and
It may be, though, that Pamuk
merely wanted the book’s final
section, which is narrated by the
red-haired woman, to shine all
the brighter against such a dull
background. It’s an extraordinary
piece of writing, tying the loose
threads of the earlier narratives
tightly together, granting us
surprising new perspectives on the
events of the novel. The twist in the
tail isn’t perhaps quite as effective
as that in My Name Is Red, but it still
makes the reader feel as if they’ve
emerged from the depths of a well
into sudden and dazzling light.
To order An Odyssey: A Father,
a Son, and an Epic for £16.14 go
to or call
0330 333 6846
Secrets of
at the bottom
of a well
The Red-Haired Woman
Orhan Pamuk (translation by Ekin Oklap)
Faber £16.99, pp272
Orhan Pamuk’s 10th novel, the short,
deceptively simple The Red-Haired
Woman, is prefaced by three quotes:
one from Nietzsche on the myth
of Oedipus, one from Sophocles’s
play Oedipus Rex, then one from the
Persian poet Ferdowsi, whose epic
Shahnameh contains within it a kind
of mirror of Oedipus Rex in which a
father mistakenly kills his son. The
Red-Haired Woman is a book that
pores over father-son relationships
with almost painful intensity. Unlike
Pamuk’s last two novels, though – the
overstuffed A Strangeness in My Mind
and the beautiful but commodious The
Museum of Innocence – this book has
a lapidary, fable-like feel to it, closer
in spirit to earlier novels such as Snow
and The Silent House.
Cem Çelik is a “little gentleman”,
the son of a leftist Istanbul pharmacist
whose politics take precedence over
parenthood. During one of his father’s
lengthy and regular disappearances,
Cem, who is 16 when the novel opens,
gives up his holiday job guarding
his uncle’s orchard and apprentices
himself to a master well-digger,
Mahmut. He is taken to the (fictional)
town of Öngören, a down-at-heel
military base outside Istanbul, where
he, Mahmut and another apprentice
set about digging a well to provide
water for a local businessman’s factory.
Heraclitus said that truth lies at
the bottom of a well. That’s the kind
of well found in Haruki Murukami’s
THE NEW REVIEW | 03.09.17 | The Observer
The Wind-Up Bird Chronicle: a place
of revelation where the hero, Toru,
retreats to gain perspective on the
world. The wells of Pamuk’s Turkey are
something quite different: here guilt
and shame lurk in the darkness, forever
threatening to come spewing up into
the light. The novel turns on Cem’s
encounter with the red-haired woman
d a subsequent act by the
of the title and
well that stainss the rest of his life.
lf of the novel, where
The first half
radually accepting the
we see Cem gradually
cible Mahmut
warm but irascible
as a surrogate father, and
ly taking
Mahmut slowly
the “little gentleman”
g, is
under his wing,
affecting. The older man
ies; they
tells Cem stories;
go into town and sit at the
em attempts
cafe (where Cem
pses of the
to catch glimpses
oman); they
red-haired woman);
Orhan Pamuk:
echoes of Murakami
and Auster.
Alex Preston
To order The Red-Haired Woman
for £14.44 go to
or call 0330 333 6846
‘‘Tin Star: a drama that
grows more gripping with
each episode’
TV, page 43
Bluebird, Bluebird
Attica Locke
girl born
to survive
Serpent’s Tail £14.99
My Absolute Darling
Gabriel Tallent
Fourth Estate £12.99, pp432
This debut novel grabs you by the
throat and hits you with a swift series
of shocks from the word go. In prose as
lush as the verdant California coastline
on which he has set his novel, and
which he clearly knows in intimate
detail, Gabriel Tallent reveals the
hard reality of life for Turtle Alveston.
She’s 14. She lives with her father
in an overgrown, rotting house in
Mendocino. He taught her to shoot
when she was six, in preparation for
the end of civilisation. He helps her
with her homework. And he rapes
her at night in his bedroom, “where
the moon-cast shadows of the alder
leaves come in and out of focus on the
This is the story of Turtle’s desire
to escape, or not, from that life. Her
father’s focus on a post-apocalyptic
survival routine – “It’s no way to raise
a child, pretending that the world is
going to end, just because you’d prefer
it did,” her grandfather tells him – has
made her a dab hand at making fires
and foraging for food, but she’s a misfit
at school, where she brushes away the
concerns of a kindly teacher. Outside
school hours, sometimes in the middle
‘Intoxicating descriptions of the natural world’: the Mendocino coastline, setting for My Absolute Darling. Getty Images/iStockphoto
of the night, she takes walks along the
coastline – Tallent here entangling the
reader in intoxicating descriptions of
the natural world, to which Turtle is
symbiotically close.
Turtle, he shows us, both loves and
hates her father, and we watch with
bated breath as she inches her way
towards the possibility of something
else. She’s given a nudge when she
stumbles across two high-school
boys during her wanderings, and
is mesmerised by the glimpse of
another life. She saves them, lost in
the forest; bantering unstoppably
with each other, they christen her
“the future shotgun-toting, chainsawwielding queen of post-apocalyptic
America”. She loves it, loves them, and,
increasingly dangerously, starts to pull
By Robert McCrum
away from her monster of a father.
“And then she thinks, you’re
forgetting what your life is, Turtle,
and you can’t forget that and you have
to stay close to what is real, because
if you ever get out of this it will be
because you paid attention and moved
carefully and did everything well.
Then she thinks, get out of this, shit,
your mind is rotten and you cannot
trust yourself and you do not even
know what to believe except that
you love him, and everything goes
from there.”
To and fro, Tallent and Turtle pull
their readers. We see Turtle naming
herself as he, foully, names her,
going – sometimes – willingly to his
bedroom. And we see another side of
her, wild and free in the wilderness
Citizen Clem
John Bew
Quercus £12.99
Edward Gibbon
The most celebrated
history book in the
English language has a mythic
“It was at Rome, on the 15th
of October 1764, as I sat musing
amidst the ruins of the Capitol,
while the barefooted friars were
singing Vespers in the temple of
Jupiter, that the idea of writing
the decline and fall of the City first
started to my mind.”
Edward Gibbon probably
contrived this recollection, but
the scholarship that went into his
Decline and Fall still stands, like a
Roman ruin: majestic, elegant and
even sublime.
Gibbon’s history unfolds its
narrative from the height of
the Roman empire to the fall of
Byzantium in 1453. In so doing,
he traces the intimate connection
of the ancient world to modern
times, linking the age of the
Enlightenment to the age of Rome.
His erudition is staggering. It
was commonplace in 18th century
England to refer to Virgil or
Plutarch, but Gibbon alludes to
Strabo, Sallust, Seneca, Macrobius
and Longinus. There’s also his
style, whose later devotees include
Evelyn Waugh and Winston
Churchill (No 43 in this series).
“It has always been my practice,”
wrote Gibbon, “to cast a long
paragraph in a single mould, to
try it by my ear, to deposit it in
my memory; but to suspend the
action of the pen till I had given
the last polish to my work.” The
Decline and Fall is a cathedral of
words: sonorous, awe-inspiring and
shadowy, with unexpected corners
of wit and irony, often concealed in
well-judged footnotes.
As a scholar of the age of
reason, Gibbon famously blamed
Christianity for the disintegration
of the Roman empire:
“As the happiness of a future
life is the great object of religion,
we may hear without surprise or
scandal that the introduction, or
at least the abuse, of Christianity
had some influence on the decline
and fall of the Roman empire.
The clergy successfully preached
the doctrines of patience and
pusillanimity; the active virtues of
society were discouraged; and the
last remains of military spirit were
buried in the cloister.”
The first volume of the Decline
and Fall was published on
17 February 1776, less than six
months before the US declaration
of independence, the rhetorical
climax to the revolution in the
American colonies, and a more
than passing coincidence. Two
months after the publication of the
first volume, Gibbon boasted to his
stepmother about its reception: “It
has been very well received, by men
of letters, men of the world, and
even by fine feathered ladies.”
It is, in other words, a work
of universal interest, and
unquestionably a magnificent
classic of our literature.
For an extended version of this
review go to
To order My Absolute Darling for £9.74
go to or call
0330 333 6846
NO 83
The History
of the Decline
and Fall of the
Roman Empire
he has taught her to love.
The second half of My Absolute
Darling ramps up the pace
considerably, with a surreally gripping
episode in which Turtle and her
friend Jacob have to fight to survive
on an island they are washed up on,
and then, later, when she finally faces
off against the father who taught
her to shoot. Arriving heaped with
praise from the likes of Stephen
King, who calls it a masterpiece, this
is an incandescent novel with an
extraordinary, unforgettable heroine,
both deeply contemplative and utterly
thrilling. Alison Flood
He was “a modest little man, with
plenty to be modest about”. So said
Winston Churchill of the politician who
was at his side throughout the second
world war and then crushed him at
the ballot box immediately afterwards.
Clement Attlee is, as John Bew explains
in his Orwell prize-winning biography,
Labour’s unlikeliest of heroes. How did
a man who was the object of so much
private derision by his peers come to
preside over Labour’s greatest (some
might say only) radical government?
Attlee was the unthreatening figure
who could get the job done. He was
surrounded by larger personalities. His
trick was to appear as the family solicitor
“advising the old lady very sagely on
her investments”. For an exhausted
electorate, Attlee’s modesty at the 1945
election was a welcome contrast to
Churchill’s bombast. The six years of
his government were remarkable not
just for the huge social agenda – the
formation of the NHS and welfare state
– but also for foreign policy challenges
that put the present Brexit fiasco into
perspective. On any given day Attlee
was dealing with demobilisation, the
withdrawal of the US Lend-Lease
financing that almost bankrupted the
UK, the withdrawal from India and
Palestine, the increasing threat of
Soviet Russia and the nuclear bomb.
How best to categorise Attlee? Bew
describes him as a social patriot. He was
no revolutionary; he did not see it as his
mission to purge the establishment. “It
was not that their privileges were taken
away; what was taken away was the
ethos of hierarchy that made sense of
those privileges,” writes Bew.
Attlee has long since become
lionised. The contrast could not have
been greater in his lifetime. Another
one-liner doing the rounds was:
“An empty taxi drove up to No 10
and Clement Attlee got out.” It was
attributed to Churchill, but in this
case it wasn’t him. It spoke for many,
however. John Kampfner
To order Citizen Clem for £11.04 go
to or call
0330 333 6846
Racial tensions are at the core of this
elegant thriller, set in Shelby County, Texas.
There is injustice here – institutional racism
that has its roots in Texas’s history as a
confederate state and continues today.
Locke’s detective, Darren – a hard-drinking
Texas ranger – also happens to be black.
In the differences between him and his
colleagues, we learn of the racial inequalities
of the locality. Darren understands how
“criminality, once it touched black life was a
stain hard to remove” and how an unkempt
black man is “walking probable cause”.
When a white woman’s body is found soon
after a black man’s, however, Darren’s rigid
understanding of race relations collapses:
“The order of the killings… It didn’t fit any
agreed-upon American script”. In slow yet
gripping chapters, Locke studies the impact
of racism on a small town and its people.
Claire Kohda Hazelton
Moving Kings
Joshua Cohen
Fitzcarraldo £12.99
Joshua Cohen’s latest novel represents a
shift away from his previous book, Book
of Numbers, both in length and tone. He
has replaced a meta-narrative, full of
tricksiness and invention, with something
more immediate and straightforward, even
as he allows himself Tom Wolfe-esque darts
of social satire and linguistic extravagance.
His protagonist is David King, a recently
divorced American Jew who runs an East
Coast moving company, and who agrees,
reluctantly, to look after his distant Israeli
cousins Yoav and Uri, who wish to make
a career for themselves in the US. It soon
becomes clear that the differences between
them are greater than a simple cultural
barrier; as King notes: “In America, you lose
your house, you can get it back from the
bank. In Israel, you lose it to the rockets.”
This is an astute and often penetrating
look at a divided world, lightened with
sympathy for all its flawed protagonists.
Alexander Larman
The Secret Books
Marcel Theroux
Faber £12.99
“Human beings are compulsive makers
and believers of stories,” Marcel Theroux’s
fifth novel reminds us. The author of
Strange Bodies engagingly explores the act
of storytelling and how it shapes our selves
and societies, from religion to politics.
On one level, this is a pacy adventure
moving from modern-day south London
to 19th-century France, Russia and India,
where a young man becomes a spy and
discovers a manuscript holding a secret.
Also interwoven are metafictional elements
and musings on the nature of narrative. The
“secret books” become a metaphor for
stories untold, paths not taken. Anita Sethi
To order Bluebird, Bluebird for £12.74,
Moving Kings for £11.04 or The Secret
Books for £11.04 go to guardianbookshop.
com or call 0330 333 6846
A Skinful of Shadows
Frances Hardinge
Macmillan £12.99, pp432
Frances Hardinge’s (pictured) 2015
novel The Lie Tree became the first
children’s book to win the Costa book
of the year award since Philip Pullman’s
The Amber Spyglass, introducing her
distinctive voice to a new audience.
Hardinge’s latest book is a deliciously
strange and uncompromising mystery
set in the English civil war. Makepeace
is an illegitimate daughter of the
aristocratic Fellmotte family and
shares their supernatural hereditary
gift: the capacity to be possessed by
ghosts. Unbeknown to them, the wild,
brutish spirit of a bear already resides
in Makepeace, and may be her only
defence against the Fellmottes’ terrible
plans for her. She escapes into
a countryside divided by
war in a complex tangle of
plots, spies and intrigue.
Spiky and curious,
resourceful and brave,
Makepeace is a typically
unique Hardinge
heroine who finds
strength in the very things
that make her different.
She may only be 12 years old
when the novel begins but, as with
The Lie Tree, this won’t stop adult
readers from finding much to savour
in the rich, sophisticated prose that
bristles with menace. The story is at
its best behind the oppressive walls
of ancestral home Grizehayes and in
the bewitching synergy between
girl and bear. The pace flags
a little as Makepeace and
her strange jumble of
ghosts traverse the warridden land, but this is
really the most minor of
gripes; Hardinge’s tale
of ghosts, puritans and
shaping your own destiny is
an unmissable, hypnotic treat.
Fiona Noble
To order A Skinful of Shadows for £11.04
go to or call
0330 333 6846
The Observer | 03.09.17 | THE NEW REVIEW
Charts & puzzles
Each Sunday we run a selection of
contributions from a weekly themed
photography assignment. To see a wider
selection of readers’ entries each week go
Next theme: class (to appear 10
September). Share your photos of what
‘class’ means to you at
witness by 10am on Thursday 7 September.
1 | ‘Fierce little fiddler spotted in an
antiques shop window.’
Tony Lynch/GuardianWitness
2 | ‘This baboon was showing off at our
local zoo in Perth.’
David Merryweather/GuardianWitness
3 | ‘Cactus in Cagliari, Sardinia, casts a
fierce shadow.’
Julian Calvert/GuardianWitness
4 | ‘Bald eagle.’
Rose Laidler/GuardianWitness
5 | ‘Cat with a fierce look on its furry face.’
Greg Pauline/GuardianWitness
Coasting on good
reviews for her
debut, June’s The Age
of Anxiety, 4AD’s
electronic signing Pixx
(right) has announced
extra headline dates.
Tour starts Brighton
30 October, ends
Leeds 3 November
Rat Boy
Like a 21st-century
Blur with breakbeats,
Chelmsford’s Rat
Boy has just released
Scum, his debut. Hear
him give Essex a good
name in February.
Tour starts Glasgow 31
January, ends London
10 February
A Woman of No
Dominic Dromgoole
launches his new
A quiz about events that happened on this
day, 3 September, throughout history
1. The world’s oldest republic still in
existence and one of the smallest nations
in the world was founded in 301AD. Which
country is it?
2. Which major human rights body came
into force in 1953?
3. Which Scandinavian country changed
traffic from driving on the left to driving on
the right overnight in 1967?
4. In 1971, which Middle East country
gained independence from the UK?
5. Which spacecraft landed at Utopia
Planitia on Mars in 1976?
6. Which website founded by Pierre
Omidyar changed consumers’ habits in
7. More than 300 people died when a
terrorist incident in Russia ended in 2004.
What was it?
The oddest art
bromance, between
the surrealist and
the conceptualist,
narrated in artworks
and photographs.
Royal Academy,
London W1, 7
October-3 January
King Lear
Ian McKellen takes the
title role, directed by
Jonathan Munby.
Minerva, Chichester,
22 September-28
Jeremy Denk
The multi-talented
American pianist is
Milton Court’s artist
in residence, with
concerts of late Mozart
and Beethoven.
Andersen tale from
Northern Ballet.
21-23 September,
then touring
company, Classic
Spring, with an Oscar
Wilde season and
a starring role for
Eve Best.
Vaudeville, London
WC2, 6 October-30
Milton Court, Barbican,
London EC2, 12 and 15
October, 27 Feb, 3 Mar
Welsh National Opera
launches its Russian-
themed season
with Mussorgsky’s
dark opera.
Wales Millennium
Centre, Cardiff,
23 September-7
Oct, then tours
Chosen by Kitty
Empire, Susannah
Clapp, Fiona
Maddocks, Luke
Jennings and
Laura Cumming
The Little Mermaid
New production of
the Hans Christian
Answers on page 39
1 Fraudster, initially careless,
forgetting small limp (6)
4 Had a fight cancelled (8)
9 Entertain like a monarch with
energy (6)
10 Suggestion from union newly
filled with purpose (8)
12 Business with land involving
severe anxiety (13)
14 Friends, coming round, put up
with knockabout comedy (9)
16 Measure uniform in good
time (5)
17 Projecting parts, large, mostly
overweight (5)
19 Pests, not very restricted by
barrier, start to grow (9)
21 Recreation of scene with sad
value a bit before verse by
soldier? (7,6)
24 Sailor with cargo finally
left, carrying meat most
importantly (5,3)
25 Much occupying one when
about to make expedition (6)
26 Man with cheers interrupting
broadcast isn’t lacking
confidence (8)
27 Plan that is for small-minded
person (6)
1 Predicted luggage emptied in
NO 3699
THE NEW REVIEW | 03.09.17 | The Observer
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Results on Sunday week
part of ship (10)
2 Newspaper belonging to
senior gangster (5)
3 Illustrations about one
system of exercises (7)
5 Crusty representation of
Saturn on cake (12)
6 A fool, admitting offence,
causing laughter (7)
AZED CROSSWORD For a different challenge see page 39
7 Write slight, unfinished article,
making point? (9)
8 Give up work to follow
northward road (4)
11 Five in one group joined by
capital songwriter (6,6)
13 Anger after referring to saucy
old range (10)
15 Brass, a lot, playing Fleetwood
£15 book tokens for the first five
correct solutions opened. Solutions
postmarked not later than Saturday
night to: The Observer PO Box 6604,
Birmingham, B26 3RW or fax 0121 742
1313. The first three correct solutions
opened will receive a set of stylish
Penguin Dictionaries, worth £24
Mac tune (9)
18 Branch of study for citizen (7)
20 Copy? Some acclaim it at
exhibition (7)
22 Cool under cooker once
more (5)
23 Frustrate lawyer with
silence (4)
Rules and requests
Send correct solution (one only) and
clue to replace definition asterisked
(on separate sheet also bearing name
and address, securely attached)
to Azed No. 2,360, PO Box 518,
Oxford, OX2 6WX. Entries should be
postmarked no later than Saturday.
Please add a brief explanation of your
clue (one entry only). £35, £30, £25
prizes and Azed bookplates for the
three clues judged best. The Azed
Across 2, a TT in fir stack; 13, Fal (rev.)
in pond; 18, anag. less b; 20, ramis in
anag.; 21, in terse x; 26, cf. route; 27, 2
meanings; 33, det(r)ain; 35, stern + he
in sets.
Down 1, m pass in I, I + one + d; 2, ‘fell
sick’; 3, ref or m; 5, tangies + t; 6, Tai +
aha!; 8, I in anag.; 12, cons ternate; 17, r +
anag. in fish; 19, Att. + (q)uite; 24, B + st.
in ire; 28, has te(a); ‘More h., less speed’.
slip, containing details of successful competition entries and Azed’s
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at £16 a year. Cheques payable to the
Azed Slip, should be sent to The Azed
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AZED No. 2,357 prizewinners
Mrs R J C Shapland, Derbyshire
Mrs Margot Main, Birmingham
Frank Rankin, Dinas Powys
35 ... During lawsuit, writer wanting to hammer select
group? (12, 2 words)
1 Confusing series of letters pub/hotel asap sorted
out (12, 2 words)
10 Piano exam to do with very small passages (5)
11 Scottish wallop, brownish with a dash of tannin (4)
13 Optimistic generally but losing head becomes viperish? (7)
14 Revolver using shot, ten loaded (6)
15 Selection of bottles packed in parcel (large) (6)
18 Fiend did wrong in deed (6)
19 Outer petticoat, one of five lining bottom (8)
20 Lime tree? It grows wild in this mere (4)
21 Successes ending in party, old-fashioned booze-up (4)
23 Like part of flower friend chucked in river (8)
26 Religious pamphlets maybe: part of NT introduced
by translator (6)
29 Quality of sound and tempo limiting Britten’s early duet (6)
30 Car I found in canal, wrecked (6)
*32 Things to be seen (7)
33 Place of worship? Before entering disciple turns back (4)
34 Outstanding court performer, not one given holiday
from hearing … (5)
Vaguely laid-back? Will of iron conceals it (4)
Science in action, present with alliance of powers (6)
Food eaten alfresco, no good in endless bad weather? (5)
Malay state to manage in British Empire latterly,
then independent (6)
Fine acreage for moorland plant (5)
Shuffling feet, a don’s no good with a tune (8)
Camp you’ll rarely find top in stories? (6)
Poet’s destroying Lucan translated in German (8)
Only in Afghan language, name for ‘knob’ (10)
Carapace butler chopped up in food (10)
Goats etc jumping apace round Scottish track (8)
Silky stuff one’s wearing with rustle moving around (8)
He-man shifted mass forward (6)
Half of some originating in ME most lacking in colour (6)
Carved incisions denoting early SA civilisation – six (6)
Litter vandalised antiquities – some thereof anyway (5)
Chemical compound one held in awe, containing nitrogen (5)
Patterned fabric that shows wild horse rearing (4)
The Chambers Dictionary (2014) is recommended.
Top 10 films at the UK box office
Top 10 Shazamed songs in the UK
Top 10 fiction at
American Made Dir: Doug Liman
Dunkirk Christopher Nolan
The Hitman’s Bodyguard Patrick Hughes
Logan Lucky Steven Soderbergh
The Emoji Movie Tony Leondis
Annabelle: Creation David F Sandberg
Detroit Kathryn Bigelow
Despicable Me 3 Kyle Balda, Pierre Coffin
Girls Trip Malcolm D Lee
The Dark Tower Nikolaj Arcel
More Than Friends James Hype ft Kelli-Leigh
Mi Gente J Balvin & Willy William
New Rules Dua Lipa
Reggaetón Lento (Remix) CNCO & Little Mix
Súbeme La Radio (Remix) Enrique Iglesias
ft Sean Paul & Matt Terry
6 Young Dumb & Broke Khalid
7 Feels Calvin Harris ft Pharrell Williams &
Katy Perry & Big Sean
8 What About Us Pink
9 Back to You Louis Tomlinson ft Bebe Rexha
& Digital Farm Animals
10 Bestie Yungen ft Yxng Bane
8 9
Everyman No. 3697 winners
T West Taylor, Bristol
Mike Ewart, East Lothian
E A Wright, Lancashire
Mr M Rowley, Spalding
Geoffrey Harmer, Reading
1 Nf3 Nf6 2 g3 d5 3 Bg2 e6 4 0-0 Be7 5 d3
0-0 6 Nbd2 c5 7 e4 This, a typical King’s
Indian Attack, can also arise after 1 e4 e6
2 d3 or 1 e4 c5 2 Nf3 e6 3 d3. White plays a
Quietly increasing the pressure. Karjakin’s
next move ultimately lost a piece but it was
already very grim.
22... Qe6? 23 Nc5 Bxc5 24 Rxc5 Rd8
25 Ba5 Rd6 25... Rdd7 could also be met
by Qc4.
26 Qc4! With the unanswerable threat of
Rxb7 followed by Bxd5.
26... Nc3 27 Rxb7 Qe1+ 28 Bf1 Ne2+?!
29 Qxe2 And two pieces down, Karjakin
6 4
Fill in the blank cells using the numbers 1 to 9. Each number must appear
just once in every row, column and 3x3 box.
Peter Svidler v Sergey Karjakin
Baku 2015 (final game 1)
King’s Indian Attack
Peter Svidler
Normal Sudoku rules apply, except the numbers in the cells contained
within grey lines add up to the figures in the corner. No number can be
repeated within each shape formed by the grey lines.
On this day
1. San Marino
2. European convention on human rights
3. Sweden
4. Qatar
5. The American Viking 2
6. eBay, originally called AuctionWeb
7. The Beslan school siege
Birdcage Walk Helen Dunmore
The Last Tudor Philippa Gregory
Cartes Postales from Greece Victoria Hislop
The Dry Jane Harper
The Underground Railroad Colson Whitehead
Swing Time Zadie Smith
The Power Naomi Alderman
The Handmaid’s Tale Margaret Atwood
The Olive Tree Lucinda Riley
Hag-Seed Margaret Atwood
Sergey Karjakin
(Black to play)
King’s Indian with colours reversed and
an extra tempo and is often able later on to
generate a dangerous kingside attack.
7... Nc6 8 Re1 b5 9 exd5 Unusual.
Normally, White plays 9 e5 Nd7 10 Nf1,
reinforces the e5 pawn with h4 (to prevent
any hint of ...g5) followed by Bf4 and then
tries to attack Black’s king while Black
seeks chances on the queenside.
9... Nxd5 9... exd5 has been played much
more often but this is also perfectly playable.
10 Ne4 Bb7 11 c3 a6 12 a4 b4 13 Bg5 f6 An
exchange of black-squared bishops would
leave the c5 pawn vulnerable but this is a
14 Bd2 e5 15 Rc1 Rf7 16 d4! If Black
had time to get control then his space
advantage would give him an excellent
game, but Svidler is in time to cause
serious trouble.
16... bxc3?! Opening the b-file helps White
greatly. 16... exd4 17 cxd4 cxd4 was fine
because if 18 Bh3 Black can reply Bc8!.
17 bxc3 cxd4 18 cxd4 Nxd4?! Another
mistake after which Black is in trouble.
18... exd4 should be OK if Black plays
accurately. One main line then goes 19 Nc5
Bxc5 20 Rxc5 Qd6 21 Rxd5 Qxd5 22 Ng5
Qd7 (22... Qxg2+ 23 Kxg2 fxg5 is quite
enticing but probably not much good)
23 Nxf7 Qxf7 24 Qb1 Nd8 25 Be4 Bxe4
26 Qxe4 Rc8 27 Qxd4 Nc6 28 Qg4 Rd8
which is more or less equal.
19 Nxd4 exd4 20 Qb3 Rb8 21 Rb1! Qd7
22 Rec1!
Once a rarity, top-class chess
tournaments are now ubiquitous and the
past couple of weeks have felt unusually
quiet as the very top guys unwound
after the two Grand Chess Tour events
in St Louis (the Sinquefield Cup won by
Maxime Vachier-Lagrave, followed by the
rapidplay/blitz won by Levon Aronian).
But the silence was soon broken as the
next big event (in both senses) got under
way: the Fide World Cup in the Georgian
capital, Tblisi. Following the opening
ceremony and technical meetings
yesterday, battle commences in earnest in
this 128-player knockout this afternoon
(at 3pm in Tblisi, noon in London). Six
rounds of two-game matches – with a
third day for tie-breaks if necessary – will
be followed by a four-game final with the
last of these scheduled for Tuesday 26
September and, if needed, tie-breaks on
the Wednesday.
Apart from substantial cash prizes,
the World Cup also acts as part of the
world championship cycle, with the top
two finishers who are not otherwise
qualified getting places in the next world
championship Candidates tournament
(the winner of which will challenge
Magnus Carlsen for his title). Since a
knockout is so random, players already
qualified for the Candidates have tended
to give it a miss. However, Fide recently
cunningly added a regulation that players
could qualify for the Candidates on their
rating only if they had played in either the
previous World Cup or Fide Grand Prix,
and this has beefed up both. And this
time the trend has been utterly shattered,
as Carlsen himself is the top seed in a
field which includes all of the top 15 in
this month’s rating list with number 16,
Veselin Topalov, the first absentee.
The 128 also include three English
grandmasters: Michael Adams, David
Howell and Gawain Jones.
If previous years are anything to go by,
there won’t be too many surprises in the
first round but thereafter anything could
happen and we’ll catch up with the early
stages next week.
Sergey Karjakin won the previous
World Cup in Baku in September/
October 2015 after a rollercoaster final
against Peter Svidler, in which every
single one of the 10 games – four classical
and six tie-break – ended decisively!
This was the fairly sane way the
match began:
AZED 2,357 Solution & notes
The Observer | 03.09.17 | THE NEW REVIEW
Monday 4
For today’s TV
see back page
in Dorking. Now 12, this programme meets
her in the run-up to the staging of her first
full-length opera Cinderella in Vienna. An
absorbing portrait of a precocious talent.
remained a reference point for US indie
cinema: Baumbach, David O Russell, the
mumblecore crowd, they all owe big time.
Jonathan Romney
Hood Adjacent
Comedy Central, 11.30pm
Every Third Thought
American standup comedian James Davis
grew up outside “the hood”, but tonight he
treats us to half an hour of observations
on urban black culture via his own personal
“hood pass” tour of the mean streets of
LA. Funny and scary too. Mike Bradley
Robert McCrum, an associate editor of
the Observer, has been acutely aware of
his mortality since suffering a near-fatal
stroke in 1995 aged 42. A serious fall in
2014 prompted further thoughts about
the endgame. Nicky Henson proves a
sympathetic reader of McCrum’s latest
work in which he confronts what Freud
called “the necessity of dying” over the
course of a year in which death seems
particularly relevant to himself and to his
friends. This first instalment recounts the
fall itself and the shock of finding himself in
hospital as a “civil war” broke out between
two versions of himself, “the proud and the
vulnerable”. Stephanie Billen
Radio 4, 9.45am
The Graduate
TCM, 9pm
White Kid, Brown Kid
Channel 4, 10pm
(Mike Nichols, 1967)
Dewsbury, West Yorkshire, is one of
Britain’s most racially segregated towns.
In the white district of Chickenley lives
Siobhan, 16, and in the Muslim district
of Batley Carr lives Farhana, 17. Luned
Tonderai’s film follows the girls as they
found a firm friendship – a miracle
considering their bossy, controlling parents.
One of the stranger phenomena of American
cinema – a comedy of manners so low-key
it could almost seem inconsequential,
yet which caught the world’s imagination
to become one of the defining cultural
artefacts of late 1960s America. The sex
had something to do with it: the liaison
between gauche Benjamin (Dustin Hoffman)
and worldly Mrs Robinson (Anne Bancroft)
must have seemed unimaginably, well,
Parisian. Adapted by Buck Henry and Calder
Willingham from Charles Webb’s novel, it
was cannily pitched at a double audience:
a sophisticated middle-aged middle-class,
and the rebellious offspring they were so
worried about. Few films pinpoint their
era so acutely. Little wonder that this has
Imagine… Alma Deutscher:
Finding Cinderella
BBC1, 10.45pm
Alma Deutscher is a musical prodigy – first
violin concerto composed at seven, first
opera at nine – who lives with her parents
Diana and I
BBC2, 9pm
An intelligent alternative to the recent
welter of small-screen hagiographies, this
feature-length drama tells the story of
the impact of Princess Diana’s death from
the point of view of four ordinary people
during the week that followed in August,
1997. As a result we are treated to portraits
of heartfelt human reaction as we follow
shy 19-year-old Jack (Nico Mirallegro),
the only child of an adored mother who
dies the same night; unhappily married
Birmingham mother Yasmin (Kiran Sonia
Sawar), who makes a pilgrimage to
London; junior reporter Michael (Laurie
Davidson) whose honeymoon in Paris is
interrupted when news of Diana’s death
breaks; and Glaswegian florist Mary
(Tamsin Greig, above), who hatches a
plan to drive to London with her friend
Gordon (John Gordon Sinclair, above) to
sell flowers before Saturday’s funeral.
Well worth watching. Mike Bradley
ITV, 7pm
England v Slovakia: World Cup qualifier. Last
time out England beat Slovakia 1-0 and a
win tonight in this Group F encounter would
almost certainly guarantee their advance
to the next stage in Russia. Scotland v
Malta is on Sky Sports Main Event at 7pm.
And Northern Ireland v Czech Republic is
showing on Sky Sports Mix at 7.30pm. MB
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Romcom with Kellie Martin. 5.0
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World War One at Home: The
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War at Sea: Scotland’s Story
(T) (R) David Hayman concludes
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The Normans (T) (R) Robert
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EastEnders (T) Linda confides in
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Bits (T) (R) Rob Brydon, Lee
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(T) Nadiya Hussain concludes her
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7.15 World Cup Live (T) England
v Slovakia (Kick-off 7.45pm)
Coverage of the Group F qualifier
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Southgate’s men look to move
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Jamie’s Quick & Easy Food (T)
Asian fishcakes with a sweet
and spicy glaze.
8.30 Superfoods: The Real Story
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Jon Richardson hosts Sara
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12.40 Jackpot247 3.0 Jeremy Kyle
(T) (R) 3.55 ITV Nightscreen
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11.05 Trump’s War on the Border
An insight into life on the
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12.0 Random Acts (T) 12.35 60 Days in
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10.0 Blood and Gold: The Making
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Montefiore (T) (R) The truth
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11.0 Churchill’s First World War (T) (R)
Drama-documentary exploring
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12.30 War at Sea: Scotland’s Story
(T) (R) 1.30 The High Art of the
Low Countries (T) (R) 2.30 The
Normans (T) (R)
connected with the following Prom. 8.35 Mahler:
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(violin), Pittsburgh Symphony Orchestra, Manfred
Honeck. 10.15 Free Thinking. Philip Dodd discusses
culture and race with Paul Gilroy, 30 years after
the publication of his book There Ain’t No Black in
the Union Jack: The Cultural Politics of Race and
Nation. 11.0 Jazz Now. A concert by the Ambrose
Akinmusire Quartet recorded at the 2017 Wigan jazz
festival, as well as music by the Wigan Youth Jazz
Orchestra. 12.30 Through the Night
2.15 Drama: Grand Designs of the Third Kind, by
BT Sport 1
6.0am Aviva Premiership Rugby Highlights
8.30 Gillette World Sport 9.0 Rookie 93: Marc
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Review 1.30 Formula V8 3.5 3.30 Michelin
Le Mans Cup Highlights 4.0 European Le Mans
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2.0 6.0 Mobil 1: The Grid 6.30 ESPN Films:
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Action from the Speedway Great Britain
Premiership. 10.30 Uefa Champions League
Magazine 11.0 Inside Sailing 11.30 Big Shot
1.0 Live MLB: Diamondbacks @ Dodgers
(start-time 1.10am) 4.0 MLB’s Best 4.30
Sarah & Suzanne 5.30 Inside Sailing
Sky Atlantic
6.0am Fish Town 7.0 Fish Town 8.0 Urban
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CSI: Crime Scene Investigation 2.0 Blue Bloods
3.0 The British 4.0 The West Wing 5.0 The
West Wing 6.0 Without a Trace 7.0 CSI: Crime
Scene Investigation 8.0 Blue Bloods 9.0 Big
Little Lies 10.0 Amy Schumer: Live at the Apollo
11.20 Game of Thrones 12.50 Muhammad
Ali’s Greatest Fight 2.40 The Following 3.40
Looking 4.15 The West Wing 5.05 The West Wing
6.0am Hollyoaks 6.30 Coach Trip: Road to
Zante 7.0 Made in Chelsea 8.0 Melissa & Joey
8.30 Melissa & Joey 9.0 Black-ish 9.30
Black-ish 10.0 Baby Daddy 10.30 Baby Daddy
11.0 How I Met Your Mother 11.30 How I Met
Your Mother 12.0 The Goldbergs 12.30 The
Goldbergs 1.0 The Big Bang Theory 1.30 The Big
Bang Theory 2.0 Melissa & Joey 2.30 Melissa &
Joey 3.0 Baby Daddy 3.30 Baby Daddy 4.0 2
Broke Girls 4.30 2 Broke Girls 5.0 The Goldbergs
5.30 The Goldbergs 6.0 The Big Bang Theory
6.30 The Big Bang Theory 7.0 Hollyoaks 7.30
Coach Trip: Road to Zante 8.0 The Big Bang Theory
8.30 The Big Bang Theory 9.0 Made in Chelsea:
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Theory 11.35 The Big Bang Theory 12.0 Gogglebox
1.05 Celebs Go Dating 2.10 First Dates 3.05
Made in Chelsea: Ibiza 3.55 Rude Tube 4.25
Melissa & Joey 4.45 How I Met Your Mother
5.05 How I Met Your Mother
11.0am Hatari! (1962) 2.10 The
Blue Dahlia (1946) 4.15 Jubal (1956)
6.20 Seven Years in Tibet (1997) 9.0
Captain America: The First Avenger (2011)
11.25 Outrageous Fortune (1987) 1.25
Black Souls (2014)
6.0am NCIS: Los Angeles 7.0 NCIS: Los Angeles
8.0 Monkey Life 8.30 Monkey Life 9.0 The Dog
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3.0 Supergirl 4.0 The Flash 5.0 The Flash 6.0
Modern Family 6.30 The Simpsons 7.0 The
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8.30 The Simpsons 9.0 The Greatest Sci-Fi
Movies in the Universe 10.0 The Greatest Sci-Fi
Movies in the Universe 11.0 Karl Pilkington: The
Moaning of Life 12.0 A League of Their Own:
Unseen 1.0 The Force: Manchester 2.0 The
Force: Manchester 3.0 Motorway Patrol 3.30
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999 5.0 Monkey Life 5.30 Monkey Life
Sky Sports 1
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Live PGA Tour Golf 11.0-6.0 Through the Night
THE NEW REVIEW | 03.09.17 | The Observer
STV NORTH As ITV except 10.30pm
Scotland Tonight (T) 11.05 World Cup Qualifier
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Tonight (T) 11.05 World Cup Qualifier Highlights
(T) 12.05 Teleshopping 1.05 After Midnight
2.35-5.05 ITV Nightscreen
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BBC1 NORTH 7.30pm-8.0 Inside Out
Yorkshire and Lincolnshire (T) 11.50-12.35
The Super League Show (T) The latest matches
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BBC1 NORTH EAST 7.30pm-8.0
Inside Out: North East and Cumbria (T) 11.5012.35 The Super League Show (T)
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BBC1 SCOTLAND 7.30pm-8.0 Grand
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by travelling through the wilds surrounding Loch
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BBC1 WALES 7.30pm-8.0 Thief
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Includes a news update.
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Radio 1
97.6-99.8 MHz
6.33 Breakfast Show With Nick Grimshaw 10.0
Clara Amfo 12.45 Newsbeat 1.0 Scott Mills 4.0
Greg James 5.45 Newsbeat 6.0 Greg James 7.0
MistaJam 9.0 Specialist Chart With Phil Taggart
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Radio 2
88-91 MHz
6.30 Chris Evans 9.30 Ken Bruce 12.0 Jeremy
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Radio 3
90.2-92.4 MHz
6.30 Breakfast. With Petroc Trelawny. 9.0
Essential Classics. Rob Cowan’s guest all this
week is the theatre and film director Dominic
Dromgoole, who picks his favourite classical
pieces, while the Proms Artist of the Week is the
Russian violinist Alina Ibragimova. 12.0 Composer
of the Week: Wolfgang Amadeus Mozart (1/5)
1.0 News 1.02 Proms at Cadogan Hall: Proms
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Fleming singing Strauss and Barber with the Royal
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of the Week (R) (1/5) 7.30 Prom 69. Petroc
Trelawny presents live from the Royal Albert Hall.
John Adams: Lollapalooza. Dvořák: Violin Concerto
in A minor. 8.15 Interval: Proms Extra. The final talk
in the series with the pianist and broadcaster David
Owen Norris, exploring a particular musical theme
Radio 4
92.4-94.6 MHz; 198kHz
6.0 Today. Presented by Justin Webb and John
Humphrys. 7.48 Thought for the Day, with the Rt
Rev Nick Baines. 9.0 Fry’s English Delight: Let’s
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Drama: The Inheritors, by Claudine Toutoungi. (1/5)
11.0 It’s Obscene! (R) Matthew Syed challenges the
popular notion that the pay of leading sportspeople
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Komodo dragon, while Mrs Birkett mourns the
passing of her beloved cat Biscuits. Comedy, written
by and starring Sanjeev Kohli and Donald McLeary,
with Greg McHugh and Stewart Cairns. (2/4) 12.0
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Streets Apart: A History of Social Housing – Streets
in the Sky. Lynsey Hanley explores the era of council
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Hill in Sheffield to find out what it was like to live
in a radical new building. (6/10) 2.0 The Archers
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not what it seems during renovations on his new
home, an old, crumbling observatory. Jonjo O’Neill
and Arthur Bostrom star. 3.0 Counterpoint: SemiFinal One (10/13) 3.30 The Food Programme: A
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a Nation: Knowledge. How India has become the
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(R) (1/2) 4.30 Beyond Belief: William Blake’s
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Guite and historian William Whyte to discuss
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(LW) Shipping Forecast 5.57 Weather 6.0 News
6.30 Just a Minute. With guests Sheila Hancock,
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7.0 The Archers. Grey Gables staff learn their fate,
and Phoebe has to face her fear. 7.15 Front Row.
Arts roundup. 7.45 The Inheritors (R) (1/5) 8.0
Vitriolic. Ayshea Buksh delves into the complex
story behind the rise in acid attacks. 8.30 Crossing
Continents: Abdi in America (R) 9.0 Natural
Histories: Louse (R) 9.30 Quirke’s Cast and Crew:
Gaffer & Best Boy (R) 9.59 Weather 10.0 The
World Tonight 10.45 Book at Bedtime: Crime
Down Under – The Dry, by Jane Harper, abridged
by Sara Davies. (1/10) 11.0 Tales from the Stave:
Respighi’s Roman Trilogy (R) 11.30 Hiraeth (R)
12.0 News 12.30 Book of the Week (R) 12.48
Shipping Forecast 1.0 As World Service 5.20
Shipping Forecast 5.30 News 5.43 Prayer for
the Day 5.45 Farming Today 5.58 Tweet of the
Day: Sam West on the Grey Heron
5 Live
693, 909 kHz
6.0 Breakfast 10.0 5 Live Daily With Adrian
Chiles 1.0 Afternoon Edition 4.0 5 Live Drive 7.0
5 Live Sport 7.45 International Football: England
v Slovakia (kick-off 7.45pm) 10.0 Football
Social 10.30 Phil Williams 1.0 Up All Night
5.0 Morning Reports 5.15 Wake Up to Money
Tuesday 5
offer in terms of treatment, most of which
involve instruments being inserted into
his urethra. Meanwhile, Caroline sets up a
meeting for her and William to meet Llantha
Kapoor, a famous mesmerist, at a local
curry house. Very funny.
The film is also famous for the realistic
intensity of its sex – but the point is that
it’s emotional realism, souls stripped bare
as much as bodies. Jonathan Romney
The Red
Radio 4, 2.15pm
Stacey Dooley Investigates
BBC1, 10.45pm
Canada’s Lost Girls. In British Columbia and
Alberta, Stacey Dooley investigates the
disappearance and murder over decades of
more than a thousand indigenous women
and girls and asks: why aren’t the police
making more effort? Excellent. Mike Bradley
The Great British Bake Off
Channel 4, 8pm
Don’t Look Now
Horror Channel, 10.50pm
The 11 remaining bakers arrive for biscuit
week, which begins with a sandwich
biscuit signature challenge to see who can
blend biscuit and filling the best. There’s a
technical challenge set by Paul Hollywood
that no one has ever attempted before
and a final showstopper challenge that is,
we are told, literally game-changing.
(Nicolas Roeg, 1973)
Roeg’s eerie Daphne Du Maurier adaptation
remains unsettling, and uncategorisable:
both arty psycho chiller and at the same
time an elliptical, insightful query into the
hidden connections between love, sex,
death and guilt. Julie Christie and Donald
Sutherland play a couple dealing with the
loss of their young daughter, who find
themselves haunted – by apparitions, or
by their own inner phantoms? – on a visit
to Venice. The city, as photographed by
Anthony Richmond, has rarely looked at
once so ominous and so beautiful, while the
chilling payoff does for red shiny raincoats
what Psycho did for shower curtains.
BBC2, 10pm
William is suffering from excuciating pain
in his abdomen, which Robert instantly
diagnoses as bladder stones, helpfully
availing him of the terrifying options on
Doctor Foster
BBC1, 9pm
As the drama starring Suranne Jones
(above) as GP Gemma Foster returns
for a second series, two years have
passed since she exposed the betrayals
and infidelities of her creepy former
husband Simon Foster (Bertie Carvel)
and he left for London with his tail
between his legs. Now things seem
more settled in Parminster until a flood
of red envelopes lands on the doormats
of Gemma’s friends and colleagues. Sent
by Simon, they announce “We’re back
and we’re married” above an invitation
to a celebratory party at his swanky
new home the Acres. Worried not only
from her own perspective but more
importantly for the implications that the
proximity of his vile father hold for their
son Tom (Tom Taylor), 15, Gemma takes
a snoop at the property, with potentially
devastating consequences. High drama,
histrionics, good television. Mike Bradley
Comedian Marcus Brigstocke’s gripping
first drama for radio draws on his own
experiences as an alcoholic in recovery.
Benedict (Rufus Jones) has been sober
for 25 years, but on the day of his father’s
funeral he finds himself in the family
winecellar engaged in an imaginary
conversation with his bon vivant dad on
whether he should fall off the wagon just
once in order to try a special 1973 bottle of
red. Recorded on location in a 400-yearold wine cellar, the play explores the
psychology of addiction with David Calder
excellent as the ghostly father whose
malleable views exactly mirror those of
his weak-minded son. Stephanie Billen
Sky Sports Main Event, 7.40pm
Republic of Ireland v Serbia: World Cup
qualifier, Group D. Coverage from the Aviva
Stadium in Dublin. These two sides came
into this batch of games as joint leaders
of the group, so the outcome of this
match could prove vital at the end of the
qualifying campaign. The reverse fixture
finished 2-2 last September. MB
Breakfast (T) 9.15 Council House
Crackdown (T) 10.0 Homes Under
the Hammer (T) 11.0 Dom on
the Spot (T) 11.45 Thief Trackers
(T) 12.15 Bargain Hunt (T) (R)
1.0 News and Weather (T) 1.30
Regional News and Weather (T)
1.45 Doctors (T) 2.15 Red Rock
(T) 3.0 Escape to the Country
(T) 3.45 Garden Rescue (T) 4.30
Celebrity Money for Nothing (T)
5.15 Pointless (T) 6.0 News and
Weather (T) 6.30 Regional News
and Weather (T) 7.0 The One
Show (T) 7.30 EastEnders (T)
Flog It! Trade Secrets (R) 6.30
Council House Crackdown (R) 7.15
Garden Rescue (R) 8.0 Farmers’
Country Showdown (R) 8.30
Great British Menu (R) 9.0 Victoria
Derbyshire 11.0 Newsroom Live
12.0 Daily Politics 1.0 Super League
Show 1.45 A to Z of TV Gardening
(R) 2.10 Glorious Gardens from
Above (R) 2.55 Coast Australia
(R) 3.45 Great British Railway
Journeys (R) 4.15 Planet Earth
II (R) 5.15 Flog It! (R) 6.0 House
of Games 6.30 Eggheads 7.0
Antiques Road Trip (R)
Holby City (T) Hanssen is forced
to confront his past when a
familiar face arrives as a registrar.
Doctor Foster (T) New series.
Two years after exposing her
husband’s betrayals, Gemma
Foster’s life is destabilised again
when he turns up once more.
Return of the drama starring
Suranne Jones.
Saving Lives at Sea (T) Crews
try to find two teenage paddle
boarders in Bangor.
The 21st-Century Race for
Space (T) Brian Cox gains
access behind the scenes at
Virgin Galactic, Blue Origin and
Spaceport America, exploring
what is really happening in
privately financed space flight.
10.0 News (T)
10.30 Regional News and Weather (T)
Includes national lottery update.
10.45 Stacey Dooley Investigates:
Canada’s Lost Girls (T) The
disappearance of housands of
woman and girls from Canada’s
First Nation communities.
11.35 Ambulance (T) (R)
12.35 Weather for the Week Ahead
(T) 12.40 News (T)
10.0 Quacks (T) William has a bladder
stone and needs Robert to
perform an operation on him.
10.30 Newsnight (T) Weather
11.15 World’s Busiest Cities: Hong
Kong (T) (R) The hidden systems
and armies of people running four
of the planet’s greatest cities.
12.15 Sign Zone Who Do You Think You
Are? (T) (R) 1.15 The National Pet
Service (T) (R) 2.15 This Is BBC2 (T)
BT Sport 1
6.0am Formula V8 3.5 7.0 Formula V8 3.5 8.0
European Le Mans Series Highlights 9.0 Michelin
Le Mans Cup Highlights 9.30 Uefa Champions
League Magazine 10.0 Cameroon v Nigeria 11.0
Cricket Classics: Aus v Eng 1983 12.0 Cricket
Classics: Aus v Eng 1994 1.0 Aviva Premiership
Rugby Highlights 3.30 Leicester City v Burnley
1966/67 4.0 Manchester City Classics 4.30
Liverpool: Team of the Eighties 5.30 Liverpool:
Team of the Eighties 6.30 Toyota AFL Highlights
Show 7.0 Uefa Champions League Magazine 7.30
Live: England U21 v Latvia U21 (kick-off 7.45pm)
Coverage from Bournemouth. 10.0 UFC: Inside the
Octagon 10.30 UFC 200 Greatest Fighters of All
Time 11.30 CPL T20 Cricket 12.30 Live CPL T20
Cricket. Coverage of the play-off match from Port
of Spain, Trinidad. 4.30 Irish Rally Review 5.0
BRDC Formula 3 Championship Highlights
Sky Atlantic
6.0am Fish Town 7.0 Fish Town 8.0 Urban
Secrets 9.0 Urban Secrets 10.0 The West Wing
11.0 The West Wing 12.0 Without a Trace 1.0 CSI:
Crime Scene Investigation 2.0 Blue Bloods 3.0 The
British 4.0 The West Wing 5.0 The West Wing 6.0
Without a Trace 7.0 CSI: Crime Scene Investigation
8.0 Blue Bloods 9.0 Twin Peaks: The Return
10.10 Twin Peaks: The Return 11.20 The Words
That Built America 12.20 Ray Donovan 1.30
I’m Dying Up Here 2.40 The Following 3.40
Looking 4.15 The West Wing 5.05 The West Wing
6.0am Hollyoaks 6.30 Coach Trip: Road to Zante
7.0 Made in Chelsea 8.0 Melissa & Joey 8.30
Melissa & Joey 9.0 Black-ish 9.30 Black-ish 10.0
Baby Daddy 10.30 Baby Daddy 11.0 How I Met
Your Mother 11.30 How I Met Your Mother 12.0
The Goldbergs 12.30 The Goldbergs 1.0 The Big
Bang Theory 1.30 The Big Bang Theory 2.0 Melissa
& Joey 2.30 Melissa & Joey 3.0 Baby Daddy 3.30
Baby Daddy 4.0 2 Broke Girls 4.30 2 Broke Girls
Channel 4
Channel 5
Good Morning Britain (T) 8.30
Lorraine (T) 9.25 The Jeremy Kyle
Show (T) 10.30 This Morning (T)
12.30 Loose Women (T) 1.30
News (T) 1.55 Local News (T) 2.0
Judge Rinder (T) 3.0 Dickinson’s
Real Deal (T) (R) 3.59 Local News
and Weather (T) 4.0 Tipping
Point (T) 5.0 The Chase (T) 6.0
Local News (T) 6.30 News (T) 7.0
Emmerdale (T) 7.30 Save Money:
Lose Weight (T) Sian Williams and
Dr Ranj Singh assess the value for
money of some of the nation’s
most popular diets.
Countdown (T) (R) 6.45 The King
of Queens (T) (R) 8.0 Everybody
Loves Raymond (T) (R) 9.0
Frasier (T) (R) 9.35 Frasier (T) (R)
10.05 Kitchen Nightmares USA
(T) (R) 11.0 Coast v Country (T)
(R) 12.0 News (T) 12.05 Couples
Come Dine With Me (T) (R)
1.05 French Collection (T) 2.10
Countdown (T) 3.0 Cheap Cheap
Cheap (T) 4.0 A Place in the Sun:
Winter Sun (T) (R) 5.0 Come Dine
With Me (T) 5.30 Streetmate
(T) 6.0 The Simpsons (T) (R)
6.30 Hollyoaks (T) 7.0 News (T)
Lisa Riley’s Baggy Body Club
(T) Cameras follow the former
Emmerdale actor as she deals
with excess skin caused by
weight loss, including drastic
surgery to have it removed. There
are setbacks along the way, but
Riley finds support from those
who have had their own skin
removal operations, or want
surgery but can’t afford it.
The Great British Bake Off (T)
Sandi Toksvig and Noel Fielding
introduce a second wave of
9.15 Celebrity Island With Bear Grylls
(T) Five days in, and still without
fire, shelter or a proper meal,
Ryan Thomas and Iwan Thomas
decide to prioritise making
a shelter – with disastrous
consequences for the group.
10.20 Married to a Celebrity:
The Survival Guide (T) Wayne
and Frankie Bridge are among
those airing their grievances.
11.20 Naked Attraction (T) (R)
12.20 Music on 4: Best Before (T) 12.50
Lego Masters (T) (R) 1.45 Hidden
Restaurants With Michel Roux Jr
(T) (R) 2.40 Location, Location,
Location (T) (R) 3.40 Selling
Houses With Amanda Lamb (T)
4.35 Building the Dream (T) (R)
5.30 Too Many Cooks (T) (R)
10.0 The Hotel Inspector: Checking In,
Checking Out (T) New series.
11.0 Cruising With Jane McDonald (T)
(R) Travelling aboard the Viking
Sky, the presenter visits Tallinn,
St Petersburg, Helsinki and
12.0 The Royals: Baby Love (T) (R)
12.55 SuperCasino (T) 3.10 Celeb
Trolls: We’re Coming to Get You
(T) (R) 4.0 Now That’s Funny! (T)
(R) 4.45 House Doctor (T) (R)
5.35 Wildlife SOS (T) (R)
10.0 Inspector Montalbano A Nest
of Vipers (R) Businessman
Cosimo Barletta is found dead
in his holiday home, and the
subsequent investigation
unearths a selection of
unsavoury facts about his life.
12.0 The Brain with David Eagleman
(T) (R) 1.0 India’s Frontier
Railways (T) (R) 2.0 The High
Art of the Low Countries (T) (R)
3.0 Great War Horses (T) (R)
Radio 1
shortlisted for the Wolfson history prize join Rana
Mitter and an audience at the British Academy
for a discussion about writing the past into the
present. 10.45 The Essay: WB Yeats – Yeats by
Heart (R) Fiona Shaw on the lasting impact of her
childhood introduction to WB Yeats. 11.0 Late
Junction. Verity Sharp previews Canada’s Polaris
prize. 12.30 Through the Night
Radio 2
Radio 4
Tom Heap asks whether picturesque locations
around the world are able to welcome a large influx
of tourists without environmental destruction.
(1/11) 4.0 Jarvis and Matthew: Grey Hairs and
Bus Passes. Martin Jarvis and Christopher Matthew
take one last jaunt down memory lane. 4.30
Great Lives: Helen Sharman on Elsie Widdowson
(6/9) 5.0 PM. Presented by Eddie Mair. 5.54
(LW) Shipping Forecast 5.57 Weather 6.0
News 6.30 Shush! New Romantics. A wandering
poet, a bottle of Calpol and some Roman bathing
techniques cause trouble for Snoo and Alice. (4/4)
7.0 The Archers. Lilian lends an ear, and Caroline is
remembered. 7.15 Front Row. Arts roundup. 7.45
The Inheritors (R) (2/5) 8.0 Macquarie: The Tale
of the River Bank. Michael Robinson investigates
whether big profits in the water industry come at
a price and asks why regulation hasn’t been more
effective. 8.40 In Touch. With Peter White. 9.0
In Sickness and in Social Care. Kevin Fong reflects
on his career to examine why the NHS and social
services struggle to meet the needs of our ageing
population. (1/2) 9.30 Quirke’s Cast and Crew:
Visual Effects (R) 10.0 The World Tonight 10.45
Book at Bedtime Crime Down Under – The Dry, by
Jane Harper. (2/10) 11.0 Lobby Land. Satirical
parliamentary sitcom starring Gemma Whelan,
Charlie Higson, Cariad Lloyd and Ryan Sampson.
11.30 Today in Parliament 12.0 News 12.30
Book of the Week (R) 12.48 Shipping Forecast
1.0 As World Service 5.20 Shipping Forecast
5.30 News 5.43 Prayer for the Day 5.45
Farming Today 5.58 Tweet of the Day: Sam West
on the Collared Dove
10.0 News (T)
10.30 Local News (T)
10.40 Manchester: 100 Days After
the Attack (T) (R) The events
that took place on the night
of the attack.
11.40 Lethal Weapon (T) (R)
12.30 Jackpot247 3.0 Loose Women
(R) 3.50 ITV Nightscreen 5.05
The Jeremy Kyle Show (T) (R)
5.0 The Goldbergs 5.30 The Goldbergs 6.0 The
Big Bang Theory 6.30 The Big Bang Theory 7.0
Hollyoaks 7.30 Coach Trip: Road to Zante 8.0 The
Big Bang Theory 8.30 The Big Bang Theory 9.0
Tattoo Fixers on Holiday 10.0 Celebs Go Dating
11.05 The Big Bang Theory 11.35 The Big Bang
Theory 12.0 Gogglebox 1.05 Celebs Go Dating
2.05 First Dates 3.0 Tattoo Fixers on Holiday
3.55 Rude Tube 4.20 Melissa & Joey 4.40 How
I Met Your Mother 5.05 How I Met Your Mother
11.0am Apache Territory (1958) 12.25
The Day the Earth Stood Still (1951) 2.15
Anzio (1968) 4.30 Shane (1953)
6.50 The Madness of King George (1994)
9.0 Gladiator (2000) 12.0 Kingdom
of Heaven (2005)
6.0am NCIS: LA 7.0 Hawaii Five-0 8.0 Monkey
Life 8.30 Monkey Life 9.0 The Dog Whisperer
10.0 Modern Family 10.30 Modern Family 11.0
NCIS: Los Angeles 12.0 Hawaii Five-0 1.0 Hawaii
Five-0 2.0 NCIS: LA 3.0 Supergirl 4.0 The Flash
5.0 The Flash 6.0 Modern Family 6.30 The
Simpsons 7.0 The Simpsons 7.30 The Simpsons
8.0 A League of Their Own: Best Bits 9.0
Enemy of the State (1998) 11.30 The Last
Ship 12.30 A League of Their Own: Best Bits 1.30
Colony 2.30 Road Wars 3.0 Motorway Patrol
3.30 Motorway Patrol 4.0 Animal 999 4.30
Animal 999 5.0 Monkey Life 5.30 Monkey Life
Sky Sports 1
6.0am-10.0 Good Morning Sports Fans 10.0
Premier League Daily 11.0 Sky Sports Now 11.30
Sportswomen 12.0-5.0 Sky Sports Today 5.0
Sky Sports News at 5 6.0 Sky Sports News at
6 7.0 Live WCQ 7.40 Live WCQ: Republic of
Ireland v Serbia (kick-off 7.45pm) 10.0 Fight
Night 12.0 Through the Night 1.0 Live WWE Late
Night Smackdown 3.0-6.0 Through the Night
STV NORTH As ITV except 9.0pm-10.0
The Science of Murder (T) (2/2) Documentary
revisiting Scotland’s most infamous murders in
which forensics played a key role. This edition
features those who fled abroad to escape justice.
10.30 Scotland Tonight (T) 11.05 Manchester:
100 Days After the Attack (T) (R) 12.05 Teleshopping 1.05 After Midnight 2.35-5.05 ITV
Nightscreen (T)
ITV WALES As ITV except 10.40pm Wales
on TV (T) 11.10-11.40 Fishlock’s Choice (T) (R)
A diver who cut off his own fingers to save his life.
CHANNEL As ITV except 12.30am-3.0
ITV Nightscreen
SCOTTISH As ITV except 9.0pm-10.0
The Science of Murder (T) This edition features
those who fled abroad to escape justice. 10.30
Scotland Tonight (T) 11.05 Manchester: 100 Days
After the Attack (T) (R) 12.05 Teleshopping 1.05
After Midnight 2.35-5.05 ITV Nightscreen (T)
ULSTER As ITV except 12.30am
Teleshopping 1.30-3.0 ITV Nightscreen
BBC1 SCOTLAND 8.0pm-9.0 River
City (T) As the residents rally in the aftermath of
the shooting, Lenny looks for those responsible,
and Kim and Scarlett bond. 10.45 Holby City
(T) 11.45 Stacey Dooley Investigates: Canada’s
Lost Girls (T) 12.30-1.30 Ambulance (T) (R)
Milkshake! 9.15 The Wright Stuff
11.15 The Yorkshire Vet (T) (R)
12.10 News (T) 12.15 The Hotel
Inspector Abroad (T) (R) 1.10
Access (T) 1.15 Home and Away
(T) 1.45 Neighbours (T) 2.15 NCIS
(T) (R) 3.15 Rosamunde Pilcher:
The Unknown Heart (T) (R) 5.0
News (T) 5.30 Neighbours (T) (R)
6.0 Home and Away (T) (R) 6.30
News (T) 7.0 Britain’s Greatest
Bridges (T) (R) Rob Bell offers an
insight into the history, design
and construction of the Britannia
Bridge across the Menai Strait.
The Dog Rescuers With Alan
Davies (T) Inspector Lauren
meets a Yorkshire terrier with
severe fur loss. Includes news
Inside Balmoral (T) Covering the
time from the Queen’s early
years at the estate in the 1950s
to her annus horribilis, 1992,
when she sought refuge there.
World News Today (T) 7.30 World
War One at Home: When the
Whistle Blew (T) (R) Rugby World
Cup winner Josh Lewsey pays
tribute to some of the rugby and
football players who died on the
battlefields of the first world war.
India’s Frontier Railways (T)
(R) Documentary following a
train journey from the town of
Janakpur in Nepal to the junction
at Jaynagar in India.
Great War Horses (T) An
account of the men and horses
of the Australian Light Horse
regiments, and the pivotal role
they played in the first world war.
97.6-99.8 MHz
6.33 The Breakfast Show With Nick Grimshaw
10.0 Clara Amfo 12.45 Newsbeat 1.0 Scott
Mills 4.0 Greg James 5.45 Newsbeat 6.0 Greg
James 7.0 Annie Mac 9.0 Stories: Rebellion
With Annie Nightingale 10.02 Phil Taggart
1.0 Annie Nightingale 4.0 Adele Roberts
88-91 MHz
6.30 Chris Evans 9.30 Ken Bruce 12.0 Jeremy
Vine 2.0 Steve Wright 5.0 Simon Mayo 7.0
Jamie Cullum 8.0 Jo Whiley 10.0 CMA Music
Festival 2017 (1/2) 11.0 Nigel Ogden 11.30
Listen to the Band 12.0 Sounds of the 80s (R)
2.0 Radio 2 Playlists: Folk, 90s Hits & Wednesday
Workout 5.0 Vanessa Feltz
Radio 3
90.2-92.4 MHz
6.30 Breakfast. With Petroc Trelawny. 9.0
Essential Classics. Rob Cowan’s guest is Dominic
Dromgoole. 12.0 Composer of the Week: Mozart
(2/5) 1.0 News 1.02 Lunchtime Concert: LSO
St Luke’s – Elgar Up Close. Fiona Talkington
presents the first of four concerts from LSO
St Luke’s in London featuring Edward Elgar’s
chamber music. Stravinsky: Three Pieces for String
Quartet. Elgar: Piano Quintet. Elias Quartet.
Huw Watkins (piano). (1/4) 2.0 Afternoon on 3:
Prom 63 (R) Another chance to hear the BBCSO
performing Tchaikovsky’s Manfred Symphony
and Rachmaninov’s Piano Concerto No 1.
4.30 In Tune 6.30 Composer of the Week (R)
(2/5) 7.30 Prom 70. Presented by Ian Skelly.
Missy Mazzoli: Sinfonia (for Orbiting Spheres).
European premiere of orchestral version. 8.10
Interval Proms Extra. Andrew McGregor talks
to the composer Missy Mazzoli. 8.30 Dvořák:
Symphony No 8 in G. Jeremy Denk (piano), BBC
Symphony Orchestra, Karina Canellakis. 10.0 Free
Thinking: Wolfson History Prize. The six historians
92.4-94.6 MHz; 198kHz
6.0 Today. Presented by John Humphys and
Mishal Husain. 7.48 Thought for the Day, with
Vishvapani. 9.0 Fry’s English Delight: The Story
of Oh! (R) 9.30 The Ideas That Make Us: Memory
(R) (3/5) Bettany Hughes explores the need to
remember. 9.45 (LW) Daily Service 9.45 (FM)
Book of the Week: Every Third Thought, by Robert
McCrum. Read by Nicky Henson. (2/5) 10.0
Woman’s Hour. Presented by Jane Garvey. Includes
at 10.45 Drama: The Inheritors, by Claudine
Toutoungi. (2/5) 11.0 Natural Histories: Snail.
Brett Westwood on snails, which have been used
to predict the true course of love, cure warts and
smooth out people’s wrinkles. (14/25) 11.30
The Landscapes of Don McCullin. Best known as
a star photojournalist of the 1960s and 70s, Don
McCullin has been photographing Somerset for
decades. He tells Mariella Frostrup why. 12.0
News 12.01 (LW) Shipping Forecast 12.04 Home
Front: 5 September 1917 – Howard Argent, by
Sarah Daniels. Gunnar Cauthery stars. (27/40)
12.15 Call You and Yours 12.57 Weather 1.0
The World at One 1.45 Streets Apart: A History
of Social Housing – Dreams and Dystopia. Lynsey
Hanley visits Thamesmead in south-east London
and asks whether its reputation is deserved. (7/10)
2.0 The Archers 2.15 Drama: The Red. Comedian
Marcus Brigstocke’s first drama for radio concerns
Benedict, a recovering alcoholic whose late father
leaves him an unsettling last request. Rufus Jones
and David Calder star. 3.0 Short Cuts. With Josie
Long. (4/6) 3.30 Costing the Earth: Tourist Tide.
5 Live
693, 909 kHz
6.0 Breakfast 10.0 5 Live Daily With Adrian
Chiles 1.0 Afternoon Edition 4.0 5 Live Drive
7.0 5 Live Sport 7.45 International Football:
Moldova v Wales (kick-off 7.45pm) 10.0 5 Live
Sport 10.30 Phil Williams 1.0 Up All Night
5.0 Morning Reports 5.15 Wake Up to Money
The Observer | 03.09.17 | THE NEW REVIEW
Wednesday 6
unexpected arrival of supposed fosterbrother Andrew (Webb) threatens to
change everything. It’s no Peep Show, but
it certainly has its moments. Worth a try.
of light suspended in eternity and the death
throes of CGI dinosaurs. Take it with a pinch
of Himalayan glacier salt, but even sceptics
may gasp. Jonathan Romney
Storyville: The Boy Who
Changed America
BBC4, 10pm
The Compass: Stargazing
BBC World Service, 1.30pm
The story of the bitter custody battle that
followed the rescue of six-year-old Elián
González off the Florida coast in 1999 after
his mother drowned during an attempt to
flee Cuba for the US. Mike Bradley
The Tree of Life
Channel 4, 1.30am
Grand Designs
Channel 4, 9pm
(Terrence Malick, 2011)
Kevin McCloud returns with a new series,
beginning with an ambitious project in the
Malvern Hills in which Jon and Gill Flewers
plan to construct a wooden house on the
side of a granite hill that will remind them
of their time spent living in New Zealand.
Kevin’s verdict: “A powerful bruiser of a
building that commands the landscape”.
The way Terrence Malick has compromised
his legend, it’s as if Greta Garbo had
emerged from retirement to guest in
Abbott and Costello comedies. Although
diehards still wax mystical, even about
recent test case Song to Song, the
once-elusive, now overactive director’s
rep gets ever shakier. But Palme d’Or
winner The Tree of Life is Malick’s last
truly substantial statement. Straddling
the intimate and the cosmically epic, it’s
partly an impressionistic picture of Texan
childhood, with Brad Pitt as organ-playing
Pop and Jessica Chastain as inexplicably
levitating Mom, partly a poetic, religiose
evocation of the universe and human
destiny, with imagery including sheaves
Channel 4, 10pm
David Mitchell and Robert Webb are back
with a new comedy. Stephen (Mitchell)
is preparing to take over the family pub
following the death of his father, but the
Mountain: Life at the Extreme
BBC2, 9pm
Himalaya. It would be a mistake to
assume that just because Natural World
made such a superb film about life in the
Himalayas, there is nothing left to add.
This programme goes in search of “the
ghost of the Himalaya”, a mysterious
beast that appears by night to spirit away
yaks in northern India; films the world’s
most precarious school run; and meets
the exotic snub-nosed inhabitants of a
frozen forest in the Chinese province of
Yunnan. As before, though, it’s human
beings who provide some of the most
interesting subjects. Take for example
the Buddhist monk (above) who scales
the mountains surrounding India’s Spiti
valley to reach his “meditation cave” and
pursue his solitary quest for spiritual
enlightenment for months on end.
Marmots, mandalas, chiru antelope,
hot-spring snakes – and, best of all, the
Everest Marathon. A winner. Mike Bradley
American author Dava Sobel (Longitude)
travels to Edinburgh (unfortunately known
in this programme as “Edin-burrow”) to
learn more about the James Webb Space
Telescope, parts of which have been
made in the city. Next year this ambitious
creation, which will look back in time to
events that occurred nearly 14bn years
ago, begins its journey to a stable orbit
at a position 1m miles beyond the moon.
It is an exciting but tense time. Gillian
Wright, director of the project here, admits:
“I don’t like launches… somebody’s going
to light a big fire beneath my instrument
and I have an emotional reaction to that…”
Stephanie Billen
A Question of Sport
BBC1, 10.45pm
Sue Barker hosts another edition of the
sports quiz, with guests including Olympic
swimming silver medallist Jazz Carlin, BMX
world champion Liam Phillips, Six Nations
grand slam winner Martyn Williams and
former Premier League striker Kevin
Campbell joining team captains Matt
Dawson and Phil Tufnell. MB
Channel 4
Channel 5
Breakfast (T) 9.15 Council House
Crackdown (T) 10.0 Homes Under
the Hammer (T) (R) 11.0 Dom on
the Spot (T) 11.45 Thief Trackers
(T) 12.15 Bargain Hunt (T) (R)
1.0 News and Weather (T) 1.30
Regional News and Weather (T)
1.45 Doctors (T) 2.15 Red Rock
(T) 3.0 Escape to the Country
(T) 3.45 Garden Rescue (T) 4.30
Celebrity Money for Nothing (T)
5.15 Pointless (T) 6.0 News and
Weather (T) 6.30 Regional News
and Weather (T) 7.0 The One
Show (T) 7.30 Fake Britain (T)
Flog It! Trade Secrets (R) 6.30
Council House Crackdown (R)
7.15 Garden Rescue (R) 8.0 See
Hear 8.30 Great British Menu
(R) 9.0 Victoria Derbyshire 11.0
BBC Newsroom Live 11.30 Daily
Politics 1.0 Lifeline (R) 1.10 For
What It’s Worth (R) 1.55 A to Z of
TV Gardening (R) 2.10 Glorious
Gardens from Above (R) 2.55
Coast Australia (R) 3.45 Great
British Railway Journeys (R) 4.15
Planet Earth II (R) 5.15 Flog It!
(R) 6.0 House of Games 6.30
Eggheads 7.0 This Farming Life
Good Morning Britain (T) 8.30
Lorraine (T) 9.25 The Jeremy Kyle
Show (T) 10.30 This Morning (T)
12.30 Loose Women (T) 1.30
News (T) 1.55 Local News (T) 2.0
Judge Rinder (T) 3.0 Dickinson’s
Real Deal (T) (R) 3.59 Local News
and Weather (T) 4.0 Tipping
Point (T) 5.0 The Chase (T) 6.0
Local News (T) 6.30 News (T) 7.0
Emmerdale (T) Emma struggles
to keep a secret and Jai is left
reeling. 7.30 Coronation Street
(T)Eileen seeks the truth about
Phelan’s behaviour.
Countdown (T) (R) 6.45 The King
of Queens (T) (R) 8.0 Everybody
Loves Raymond (T) (R) 9.0
Frasier (T) (R) 9.35 Frasier (T) (R)
10.05 Kitchen Nightmares USA
(T) (R) 11.0 Coast v Country (T)
(R) 12.0 News (T) 12.05 Couples
Come Dine With Me (T) (R)
1.05 French Collection (T) 2.10
Countdown (T) 3.0 Cheap Cheap
Cheap (T) 4.0 A Place in the Sun:
Winter Sun (T) (R) 5.0 Come Dine
With Me (T) 5.30 Streetmate (T)
6.0 The Simpsons (T) (R) 6.30
Hollyoaks (T) 7.0 News (T)
Celebrity MasterChef (T) The
contenders enter the kitchen.
DIY SOS: The Big Build (T) (R)
Nick Knowles and designer
Oliver Heath enlist an army of
volunteers to help renovate the
Liversidge family home in Hull,
which is in desperate need of
World’s Busiest Cities: Mexico
(T) Dan Snow, Anita Rani and Ade
Adepitan go behind-the-scenes
to reveal the hidden systems and
people running Mexico City.
Mountain: Life at the Extreme
(T) This episode looks at life in
the Himalayas, following snow
leopards as they creep into
isolated mountain villages.
Love Your Home and Garden (T)
Alan Titchmarsh and his team
transform a house and garden in
Eltham in south-east London.
Long Lost Family (T) A woman
longs to know the reasons
behind her adoption, while a
man searches for his brother,
given up following a wartime
affair. Last in the series.
Location, Location, Location
(T) Kirstie Allsopp and Phil
Spencer are house-hunting
in and around Bristol.
Grand Designs (T) New series.
After a four-year stint living in
New Zealand, an intrepid pair
want to build a Kiwi-style hill
house on the slopes of the
Malvern hills in Worcestershire.
10.0 News (T)
10.30 Regional News and Weather (T)
Includes national lottery update.
10.45 A Question of Sport (T)
11.15 Live from the BBC (T) Josie
Long takes to the stage to
deliver a standup routine about
optimism and hopefulness.
11.45 Who Do You Think You Are? (T)
(R) With Noel Clarke.
12.45 Weather for the Week Ahead
(T) 12.50 BBC News (T)
10.0 QI Next (T) (R) With Lucy Porter,
Frankie Boyle and Ross Noble.
10.30 Newsnight (T) Weather
11.15 The 21st-Century Race for
Space (T) (R) Brian Cox explores
privately financed space flight.
12.15 Sign Zone See Hear (T) (R) 12.45
India’s Partition: The Forgotten
Story (T) (R) 1.45 Suzi Perry’s
Queens of the Road (T) (R) 2.15
This Is BBC2 (T)
BT Sport 1
6.0am Eurocup Formula Renault 2.0 7.0
Michelin Le Mans Cup Highlights 7.30 Irish
Rally Review 8.0 Spirit of Yachting 8.30 Aviva
Premiership Rugby Highlights 11.0 England U21
v Latvia U21 12.30 Ivory Coast v Gabon 1.30
Liverpool: Team of the Eighties 2.30 Liverpool:
Team of the Eighties 3.30 Maradona ’86 4.0
England U21 v Latvia U21 5.30 Reload 6.0
Uefa Champions League Magazine 6.30 Premier
League World 7.0 CPL T20 Cricket 8.0 Live
Rugby Tonight 9.0 The Big Match Revisited
10.0 The Big Match Revisited 11.0 Hero CPL
Magazine 11.30 CPL T20 Cricket 12.30 Live
CPL T20 Cricket. Coverage of the first eliminator
match from Port of Spain, Trinidad. 4.30 Spirit
of Yachting 5.0 Classic Cricket: Aus v WI 1979
Sky Atlantic
6.0am Fish Town 7.0 Fish Town 8.0 Urban
Secrets 9.0 Urban Secrets 10.0 The West Wing
11.0 The West Wing 12.0 Without a Trace 1.0
CSI: Crime Scene Investigation 2.0 Blue Bloods
3.0 The British 4.0 The West Wing 5.0 The
West Wing 6.0 Without a Trace 7.0 CSI: Crime
Scene Investigation 8.0 Blue Bloods 9.0 Ray
Donovan 10.10 I’m Dying Up Here 11.20 The
Sopranos 12.30 The Sopranos 1.30 Looking
2.0 Tin Star 3.0 Ray Donovan 4.10 The West
Wing 5.05 The West Wing
6.0am Hollyoaks 6.30 Coach Trip: Road to Zante
7.0 Made in Chelsea 8.0 Melissa & Joey 8.30
Melissa & Joey 9.0 Black-ish 9.30 Black-ish
10.0 Baby Daddy 10.30 Baby Daddy 11.0 How
I Met Your Mother 11.30 How I Met Your Mother
12.0 The Goldbergs 12.30 The Goldbergs 1.0
The Big Bang Theory 1.30 The Big Bang Theory
2.0 Melissa & Joey 2.30 Melissa & Joey 3.0
Baby Daddy 3.30 Baby Daddy 4.0 2 Broke Girls
4.30 2 Broke Girls 5.0 The Goldbergs 5.30 The
Goldbergs 6.0 The Big Bang Theory 6.30 The
10.0 News (T)
10.30 Local News (T)
10.40 The Detectives: Inside the
Major Crimes Team (T) (R)
11.40 British Touring Car Championship
Highlights (T) From Rockingham
Motor Speedway.
12.55 Jackpot247 3.0 May the
Best House Win (T) (R) 3.50
ITV Nightscreen 5.05 The
Jeremy Kyle Show (T) (R)
Big Bang Theory 7.0 Hollyoaks 7.30 Coach Trip:
Road to Zante 8.0 The Big Bang Theory 8.30 The
Big Bang Theory 9.0 Don’t Tell the Bride 10.0
Celebs Go Dating 11.05 Made Over By 12.10 The
Big Bang Theory 12.35 The Big Bang Theory 1.0
Celebs Go Dating 2.05 First Dates 3.0 Don’t Tell
the Bride 3.50 Rude Tube 4.15 Baby Daddy 4.40
How I Met Your Mother 5.0 How I Met Your Mother
11.0am The Nebraskan (1953) 12.20
Guns at Batasi (1964) 2.30 Destry
Rides Again (1939) 4.25 Voyage to the
Bottom of the Sea (1961) 6.35 Snow
White & the Huntsman (2012) 9.0 12
Years a Slave (2013) 11.40 Stoker
(2013) 1.40 The Debt (2010)
6.0am Hawaii Five-0 7.0 Hawaii Five-0 8.0
Monkey Life 8.30 Monkey Life 9.0 The Dog
Whisperer 10.0 Modern Family 10.30 Modern
Family 11.0 NCIS: Los Angeles 12.0 Hawaii
Five-0 1.0 Hawaii Five-0 2.0 NCIS: Los Angeles
3.0 Supergirl 4.0 The Flash 5.0 The Flash 6.0
Modern Family 6.30 The Simpsons 7.0 The
Simpsons 7.30 The Simpsons 8.0 Freddie Down
Under 9.0 Colony 10.0 A League of Their Own
US Road Trip 11.0 Air Ambulance ER 12.0 A
League of Their Own 1.0 The Force: Manchester
2.0 Ross Kemp on Gangs 3.0 Motorway Patrol
3.30 Motorway Patrol 4.0 Animal 999 4.30
Animal 999 5.0 Monkey Life 5.30 Monkey Life
Sky Sports 1
6.0am-8.30 Good Morning Sports Fans
8.30 Live New Zealand NPC Rugby: Wellington
v Hawke’s Bay (kick-off 8.30am) 10.20 Rugby
Greatest Games 10.30 Premier League Daily
11.0 Sky Sports Now 12.0-5.0 Sky Sports Today
5.0 Sky Sports News at 5 6.0 Sky Sports News
at 6 7.0 Sky Sports Tonight 8.0 Fight Night
10.0 The Debate 11.0-6.0 Through the Night
THE NEW REVIEW | 03.09.17 | The Observer
STV NORTH As ITV except 10.30pm
Scotland Tonight (T) 11.05 The Detectives:
Inside the Major Crimes Team (T) (R) The work
of Lancashire Police’s major investigation team.
12.05 Teleshopping 1.05 After Midnight
2.35 Storage Hoarders (T) (R) 3.25-5.05
ITV Nightscreen
CHANNEL As ITV except 1.10am-3.0
ITV Nightscreen
SCOTTISH As ITV except 10.30pm
Scotland Tonight (T) 11.05 The Detectives:
Inside the Major Crimes Team (T) (R) The work
of Lancashire Police’s major investigation team.
12.05 Teleshopping 1.05 After Midnight 2.35
Storage Hoarders (T) (R) 3.25-5.05 ITV
ULSTER As ITV except 12.55am
Teleshopping 1.55-3.0 ITV Nightscreen
BBC2 SCOTLAND 1.0pm For What It’s
Worth (T) (R) Antiques quiz show hosted by Fern
Britton. 1.45 Glorious Gardens from Above (T)
(R) Christine Walkden visits Bodnant Garden in
Snowdonia and nearby Bodysgallen Hall. 2.30
Politics Scotland (T) 3.35-3.45 Lifeline (T) (R)
Dan Snow appeals on behalf of the British Polio
Fellowship, an organisation supporting people
in the UK living with the late effects of polio and
post-polio syndrome.
BBC2 N IRELAND 1.0pm-1.10
Community Life (T) (R) An appeal on behalf
of Action Mental Health.
Milkshake! 9.15 The Wright Stuff
11.15 The Yorkshire Vet (T) (R)
12.10 News (T) 12.15 The Hotel
Inspector (T) (R) 1.10 Access
(T) (R) 1.15 Home and Away (T)
1.45 Neighbours (T) 2.15 NCIS
(T) (R) 3.15 Rosamunde Pilcher:
The Unknown Heart (T) (R) 5.0
News (T) 5.30 Neighbours (T)
(R) 6.0 Home and Away (T) (R)
6.30 News (T) 7.0 Starting Up,
Starting Over (T) A 43-year-old
woman decides to give up her job
as a nanny and follow a childhood
dream to live off the land.
GPs: Behind Closed Doors
(T) Doctors deal with cases
of severe joint and shoulder
pain. Includes news update.
Can’t Pay? We’ll Take It Away (T)
Sheriffs try to recover £2,400
from a company director in
Manchester, while agents in
Kent chase nearly £4,000 in
unpaid rent.
World News Today (T) 7.30 World
War One at Home: Whose Side
Are You On? (T) (R) Historian
Jean Seaton uncovers a story
of industrial conflict in Devon
during the first world war.
Storm Troupers: The Fight to
Forecast the Weather (T) (R)
Alok Jha charts the progress of
computer-based forecasting
through its pioneers.
The Golden Age of Steam
Railways (T) (R) (1/2) The story
of those who rescued some of
the narrow gauge railways that
once served Britain.
10.0 Nightmare New Builds (T) A
young family discover that their
home is riddled with faults.
11.0 Fifty Shades of Grey
(Sam Taylor-Johnson, 2015)
(T) Erotic drama starring Jamie
Dornan and Dakota Johnson.
1.15 SuperCasino (T) 3.10 The Hotel
Inspector (T) (R) 4.0 Now That’s
Funny! (T) (R) 4.45 House Doctor
(T) (R) 5.10 House Busters (T) (R)
5.35 Nick’s Quest (T) (R)
10.0 Storyville: The Boy Who
Changed America (T) The story
of Elián González, the young boy
found floating alone off the coast
of Florida in November 1999, and
the custody battle that played
out in the aftermath of his rescue.
11.25 Tales from the National Parks
(T) (R) Gold is discovered in the
Trossachs. Last in the series.
12.25 Storm Troupers: The Fight to
Forecast the Weather (T) (R)
1.25 The High Art of the Low
Countries (T) (R) 2.25 The Golden
Age of Steam Railways (T) (R)
Radio 2
explore the Russian experience of death across
the turbulent 20th century and beyond. Britten:
Russian Funeral. Shostakovich: Symphony No 11
in G minor (The Year 1905). Alina Ibragimova
(violin), London Philharmonic Orchestra, Vladimir
Jurowski. 10.15 BBC Proms 2017: Proms at The
Tanks at Tate Modern – Open Ear. Experimental
music. Emilie Levienaise Farrouch: New Work.
London Contemporary Orchestra, Rodrigo
Constanzo (solo percussion improvisation),
Catherine Lamb: Prisma Interius V. Cassandra
Miller: Guide. Exaudi: Actress arr Hugh Brunt:
Momentum. LCO with Actress (electronics). 11.30
Late Junction. Music by the French composer
François-Bernard Mâche. 12.30 Through the
Night. The Alexander String Quartet at last year’s
Ludwig van Beethoven Easter festival in Warsaw.
Radio 3
Radio 4
(1/4) 12.0 News 12.01 (LW) Shipping Forecast
12.04 Home Front: 6 September 1917 – Alice
Macknade, by Sarah Daniels. (28/40) 12.15 You
and Yours 1.0 The World at One 1.45 Streets
Apart: A History of Social Housing – Right To Buy.
With Lynsey Hanley. (8/10) 1.56 Weather 2.0
The Archers (R) 2.15 Drama: The Interrogation –
Simon, by Roy Williams. (R) (3/3) 3.0 The Death
of Retirement (R) 3.30 In Sickness and in Social
Care (R) 4.0 Is One Career Enough? (R) 4.30
The Media Show 5.0 PM. With Eddie Mair. 6.0
News 6.30 Ankle Tag. The bath has sprung a
leak, and Gruff wants to book an ethical plumber,
much to Bob’s disgust. (3/4) 7.0 The Archers.
Lexi learns more about Ambridge. 7.15 Front
Row. Arts roundup. 7.45 The Inheritors: Home
Economics (R) (3/5) 8.0 The Fix: Drinking Less.
Dawn Austwick and David Willetts challenge the
youngsters to solve the problem of alcoholism
in Britain. (4/4) 8.45 David Baddiel Tries to
Understand: The Kardashians. New series. (1/6)
9.0 Costing the Earth: Tourist Tide (R) 9.30
Quirke’s Cast and Crew: Camera Operator and Grip
(R) 9.59 Weather 10.0 The World Tonight 10.45
Book at Bedtime: Crime Down Under – The Dry,
by Jane Harper. (3/10) 11.0 The John Moloney
Show: The Phone Call. John Moloney with a second
series of standup comedy. (3/4) 11.15 Before
They Were Famous (R) 11.30 Today in Parliament.
With Susan Hulme. 12.0 News 12.30 Book of the
Week (R) (3/5) 12.45 Sailing By 12.48 Shipping
Forecast 1.0 As World Service 5.20 Shipping
Forecast 5.30 News 5.43 Prayer for the Day
5.45 Farming Today 5.58 Tweet of the Day:
Sam West on the Capercaille
10.0 Back (T) New comedy series
starring David Mitchell and
Robert Webb.
10.35 999: What’s Your Emergency?
(T) (R) A four-year-old boy is
found wandering the streets.
11.35 Educating Greater Manchester
(T) (R) Life at Harrop Fold
Secondary in Salford.
12.35 The Secrets of Sleep (T) 1.30
The Tree of Life (Terrence
Malick, 2011) (T) 3.50 Location,
Location… (T) (R) 4.45 Building
the Dream (T) (R) 5.40 Kirstie’s
Handmade Treasures (T) (R)
Radio 1
97.6-99.8 MHz
6.33 The Breakfast Show With Nick Grimshaw
10.0 Clara Amfo 12.45 Newsbeat 1.0 Scott Mills
4.0 Greg James 5.45 Newsbeat 6.0 Greg James
7.0 Annie Mac 9.0 The Surgery 10.02 Phil
Taggart 1.0 Benji B 4.0 Adele Roberts
88-91 MHz
6.30 Chris Evans 9.30 Ken Bruce 12.0
Jeremy Vine 2.0 Steve Wright 5.0 Simon
Mayo 7.0 The Folk Show With Mark Radcliffe
8.0 Jo Whiley 10.0 CMA Music Festival 2017
(2/2) 11.0 The Great American Songbook (R)
12.0 Pick of the Pops (R) 2.0 Radio 2 Playlists:
Country, Easy & Radio 2 Rocks 5.0 Vanessa Feltz
90.2-92.4 MHz
6.30 Breakfast. Presented by Petroc Trelawny.
9.0 Essential Classics. This week’s guest is
Dominic Dromgoole. 12.0 Composer of the
Week: Mozart (3/5) 1.0 News 1.02 Radio 3
Lunchtime Concert: LSO St Luke’s – Elgar Up Close.
Jennifer Pike (violin), Peter Limonov (piano).
Elgar: Violin Sonata. Vaughan Williams: The
Lark Ascending (original version for violin and
piano), Elgar: Sospiri. (2/4) 2.0 Afternoon on 3:
Prom 64 (R) Presented by Petroc Trelawny. Royal
Concertgebouw Orchestra, Daniele Gatti. Wolfgang
Rihm: In-Schrift. 2.15 Bruckner: Symphony No 9 in
D minor. Followed by a selection of recordings from
this week’s Proms Artists. 3.30 Choral Evensong.
Recorded in St Patrick’s Church of Ireland
Cathedral. 4.30 In Tune. Ian Skelly’s guests
include the Israeli oud player Yair Dalal. 6.0 News
6.02 Composer of the Week (R) (3/5) 7.0 Prom
71. Presented by Andrew McGregor. Stravinsky:
Funeral Song. arr Stravinsky: Song of the Volga
Boatmen. Prokofiev: Violin Concerto No 1 in D.
8.20 Interval: The Russian Way of Death. Philip
Bullock, Catherine Merridale and Faith Wigzell
92.4-94.6 MHz; 198kHz
6.0 Today. Presented by Mishal Husain and Nick
Robinson. 6.45 Yesterday in Parliament. 7.48
Thought for the Day, with Rabbi Dr Naftali Brawer.
8.30 (LW) Yesterday in Parliament. Susan Hulme
reports from Westminster. 9.0 Fry’s English
Delight: English Upside Down (R) 9.30 All in a
Chord: Terry Riley – In C (R) Ivan Hewett examines
the chord of C major. 9.45 (LW) Daily Service
9.45 (FM) Book of the Week: Every Third Thought,
by Robert McCrum. (3/5) 10.0 Woman’s Hour.
Presented by Jane Garvey. Includes at 10.41 Drama:
The Inheritors, by Claudine Toutoungi. (3/5)
10.56 The Listening Project: Connor and Piper – I
Don’t Have a Sellotape Dispenser 11.0 Vitriolic
(R) Ayshea Buksh looks at the complex reasons for
the rise in acid attacks. 11.30 Relativity. Richard
Herring’s comedy series about four generations of a
family. In the first episode, Ian brings home his new
girlfriend, and his mother Margaret desperately
hopes that she is the one. However, Ian’s sister
Jane, brother-in-law Pete and their three children
cannot understand what Chloe sees in him. Alison
Steadman, Phil Davies and Richard Herring star.
5 Live
693, 909 kHz
6.0 Breakfast 10.0 5 Live Daily With Emma Barnett
1.0 Afternoon Edition 4.0 5 Live Drive 7.0 5 Live
Sport 7.30 5 Live Sport: Review 9.0 Tuffers &
Vaughan 10.30 Phil Williams 1.0 Up All Night
5.0 Morning Reports 5.15 Wake Up to Money
Thursday 7
hears news of an abduction, he is sure that
a killer he once investigated, known as The
Crow, has returned. The victim’s family are
soon placed under his protection in the
remote safe house he runs as a business
with his partner Sam. Excellent.
town that the Dardennes, from film to film,
have shown to be as rich in human drama
as Balzac’s Paris. Jonathan Romney
Radio 4, 6.30pm
Women Talking About Cars
Reggie Yates: Hidden Australia
BBC1, 10.45pm
In Melbourne Yates embeds himself
with the local police force in an attempt
to understand why the city is facing a
dangerous epidemic of the drug known as
Ice (methamphetamine). Mike Bradley
Tribes, Predators and Me
BBC2, 9pm
The Unknown Girl
Sky Premiere, 1.45am
Wildlife cameraman Gordon Buchanan
is back with a second series in which
he meets more tribal families who live
alongside fierce predators, starting with
a trip to Owarigi in the Solomon Islands,
where two local spear fishermen help
him overcome his fear of sharks with
astounding results. Marvel as that fear is
soon replaced by awe.
(Luc Dardenne, Jean-Pierre Dardenne, 2016)
Not one of the absolute greats from the
Belgian brothers, but there’s no such thing
as a bad Dardennes film. This is reliably
compelling, a quietly trenchant piece of
moral debate rooted in the everyday grit
of human existence. Usually a full-on
performer, French star Adèle Haenel shifts
authoritatively into minimalist register.
She plays Jenny, a young doctor who,
doing it by the book, refuses to answer a
call after surgery hours. When the caller,
a young African woman, is found dead, the
anguished medic makes it her business to
find out who she was and what happened
to her, unearthing more secrets and
contradictions in Seraing – a small industrial
Safe House
ITV, 9pm
An all-new cast and a new location await
in the second series of the popular crime
drama. When former detective Tom Brook
Tin Star
Sky Atlantic, 9pm
Rowan Joffe’s hybrid thriller takes an
Anglo-Irish cast and deposits them
in the Canadian backwoods and to its
credit knocks the spots off many of
its transatlantic equivalents. Tim Roth
(above) plays recovering alcoholic Jim
Worth who has moved his wife Angela
(Genevieve O’Reilly), teenage daughter
and five-year-old son from London to
the Rockies after being appointed chief
of police in the sleepy town of Little Big
Bear. Sleepy, that is, until North Stream
Oil sets up a refinery masterminded
by no-nonsense “vice-president
of stakeholder relations” Elizabeth
Bradshaw (Christina Hendricks). Soon
a local doctor who had accused the
corporation of wrongdoing turns up
dead, Jim opens a murder investigation
and that’s when the trouble starts. A
slow-burner that grows more gripping
with each episode. Mike Bradley
Female celebrities open up about their cars
in Victoria Coren Mitchell’s entertaining
chatshow, back for a new series. In today’s
programme the actor and writer Sheila
Hancock admits she is frightened by cows
and horses but crazy about cars. With help
from Morwenna Banks reading tongue-incheek car specs, she recalls her father’s
Triumph Mayflower, the Morgan sports
car she had while dating John Thaw, the
luxury Jaguar he gave her as a present and
the two-seater Mini she prefers to drive
now. Candid recollections include her first
impressions of Thaw as “vile and surly”
and how her 1960s acting career was
fuelled by Champagne and purple hearts.
Stephanie Billen
Sky Sports Main Event, 10.20am
England v West Indies: third Test, day one.
Live coverage of the opening day’s play
from Lord’s in the final match of the series.
Following a disappointing first Test the
Windies rallied in the second to take England
by surprise. If Messrs Gabriel and Roach
can maintain the pressure with the ball this
promises to be an exciting game. MB
Breakfast (T) 9.15 Council House
Crackdown (T) 10.0 Homes Under
the Hammer (T) 11.0 Dom on
the Spot (T) 11.45 Thief Trackers
(T) 12.15 Bargain Hunt (T) (R)
1.0 News and Weather (T) 1.30
Regional News and Weather (T)
1.45 Doctors (T) 2.15 Red Rock
(T) 3.0 Escape to the Country
(T) (R) 3.45 Garden Rescue (T)
4.30 Celebrity Money for Nothing
(T) 5.15 Pointless (T) 6.0 News
and Weather (T) 6.30 News and
Weather (T) 7.0 The One Show
(T) 7.30 EastEnders (T)
Flog It! Trade Secrets (R) 6.30
Council House Crackdown (R)
7.15 Garden Rescue (R) 8.0
Nadiya’s British Food Adventure
(R) 8.30 Great British Menu
(R) 9.0 Victoria Derbyshire 11.0
Newsroom Live 12.0 Daily Politics
1.0 For What It’s Worth (R) 1.45
Countryfile (R) 2.10 Glorious
Gardens from Above (R) 2.55
Coast Australia (R) 3.45 Great
British Railway Journeys (R) 4.15
Planet Earth II (R) 5.15 Flog It!
(R) 6.0 House of Games 6.30
Eggheads 7.0 This Farming Life
Who Do You Think You Are?
(T) EastEnders actor Lisa
Hammond looks at her paternal
grandfather’s experiences
during the second world war.
Ambulance (T) Veteran
ambulance man Mick treats a
woman who is having a heart
The Big Family Cooking
Showdown (T) Italian home
cooking goes up against
traditional Indian food. Hosted by
Zoë Ball and Nadiya Hussain.
Tribes, Predators & Me (T)
New series. Gordon Buchanan
encounters different cultures
that live alongside predators,
beginning in the Solomon Islands.
10.0 News at Ten (T)
10.30 Regional News and Weather (T)
10.45 Reggie Yates: Hidden Australia
(T) Why Australia’s second city
is facing an epidemic of the drug
known as Ice.
11.35 Should I Marry My Cousin? (T)
The practice of first-cousin
marriage in the British Pakistani
12.10 Weather for the Week Ahead
(T) 12.15 News (T)
10.0 MOTD: The Premier League
Show (T) With Gabby Logan.
10.30 Newsnight (T) Weather
11.15 Mountain: Life at the Extreme (T)
(R)Life on the highest mountain
range on Earth, the Himalayas.
12.15 Sign Zone Celebrity MasterChef
(T) (R) 1.45 The Sheriffs Are
Coming (T) (R) 2.45 This Is BBC2
BT Sport 1
6.0am Classic Cricket: Aus v WI 1984 7.0 Cricket
Classics: Aus v Eng 1987 8.0 Cricket Classics:
Aus v Eng 1987 9.0 Fishing: On The Bank 10.0
Premier League World 10.30 Live AFL: Adelaide
Crows v GWS Giants (bounce-up 10.50am) 1.30
Rugby Tonight 2.30 Manchester City Classics 3.0
Liverpool – Team of the Eighties 4.0 Liverpool:
Team of the Eighties 5.0 Rugby Tonight 6.0 CPL
T20 Cricket 7.0 AFL 9.0 Premier League Match
Pack 9.30 Premier League World 10.0 The Big
Match Revisited 11.0 Man Utd v Arsenal 1984/85
11.30 CPL T20 Cricket 12.30 Live CPL T20
Cricket. Coverage of the second eliminator match.
4.30 Spirit of Yachting 5.0 Rugby Tonight
Sky Atlantic
6.0am Fish Town 7.0 Fish Town 8.0 Urban
Secrets 9.0 Storm City 10.0 The West Wing 11.0
The West Wing 12.0 Without a Trace 1.0 CSI: Crime
Scene Investigation 2.0 Blue Bloods 3.0 The
British 4.0 The West Wing 5.0 The West Wing 6.0
Without a Trace 7.0 CSI: Crime Scene Investigation
8.0 Blue Bloods 9.0 Tin Star 10.0 Ballers 10.35
Insecure 11.10 Tin Star 12.10 Thought Crimes:
The Case Of The Cannibal Cop 1.50 The Wire 3.15
Looking 4.0 The West Wing 5.0 The West Wing
6.0am Hollyoaks 6.30 Coach Trip: Road to Zante
7.0 Made in Chelsea 8.0 Melissa & Joey 8.30
Melissa & Joey 9.0 Black-ish 9.30 Black-ish
10.0 Baby Daddy 10.30 Baby Daddy 11.0 How
I Met Your Mother 11.30 How I Met Your Mother
12.0 The Goldbergs 12.30 The Goldbergs 1.0
The Big Bang Theory 1.30 The Big Bang Theory
2.0 Melissa & Joey 2.30 Melissa & Joey 3.0
Baby Daddy 3.30 Baby Daddy 4.0 2 Broke Girls
4.30 2 Broke Girls 5.0 The Goldbergs 5.30 The
Goldbergs 6.0 The Big Bang Theory 6.30 The Big
Bang Theory 7.0 Hollyoaks 7.30 Coach Trip: Road
to Zante 8.0 The Big Bang Theory 8.30 Kevin
Can Wait 9.0 Body Fixers 10.0 Celebs Go Dating
Channel 4
Channel 5
Good Morning Britain (T) 8.30
Lorraine (T) 9.25 The Jeremy Kyle
Show (T) 10.30 This Morning (T)
12.30 Loose Women (T) 1.30
News (T) 1.55 Local News (T) 2.0
Judge Rinder (T) 3.0 Dickinson’s
Real Deal (T) (R) 3.59 Local News
(T) 4.0 Tipping Point (T) 5.0 The
Chase (T) 6.0 Local News (T)
6.30 News (T) 7.0 Emmerdale
(T) 7.30 Tonight: Undercover –
Breaking Into Britain (T) Jonathan
Maitland looks at the security
of Britain’s borders and the
trade in fake passports.
Countdown (T) (R) 6.45 The King
of Queens (T) (R) 8.0 Everybody
Loves Raymond (T) (R) 9.0
Frasier (T) (R) 9.35 Frasier (T) (R)
10.05 Kitchen Nightmares USA
(T) (R) 11.0 Coast v Country (T)
(R) 12.0 News (T) 12.05 Couples
Come Dine With Me (T) (R)
1.05 French Collection (T) 2.10
Countdown (T) 3.0 Cheap Cheap
Cheap (T) 4.0 A Place in the Sun:
Winter Sun (T) (R) 5.0 Come Dine
With Me (T) 5.30 Streetmate (T)
6.0 The Simpsons (T) (R) 6.30
Hollyoaks (T) 7.0 News (T)
Emmerdale (T) Nell becomes
desperate as relations between
her and Jai remain strained.
Safe House (T) New series. A
woman’s abduction convinces
former detective Tom Brook that
a killer he once investigated has
Lego Masters (T) Comedian Bill
Bailey joins the judges as the
teams compete in challenges on
the theme of the great outdoors.
Educating Greater Manchester
(T) The student development
team help a temperamental
10.0 News (T)
10.30 Local News (T)
10.45 The Late Debate (T)
11.10 Bear Grylls: Mission Survive
(T) (R) The celebrities choose
from a selection of edible and
poisonous flora.
12.05 Jackpot247 3.0 Tonight:
Undercover – Breaking
Into Britain (T) (R) 3.25 ITV
Nightscreen 5.05 The Jeremy
Kyle Show (T) (R)
11.05 The Big Bang Theory 11.35 The Big Bang
Theory 12.0 Gogglebox 1.05 Celebs Go Dating
2.05 First Dates 3.0 Body Fixers 3.50 Kevin Can
Wait 4.15 Black-ish 4.35 Black-ish 5.0 How I
Met Your Mother 5.20 How I Met Your Mother
11.0am Yangtse Incident (1957) 12.50
The Cockleshell Heroes (1955) 2.50 The Colditz Story (1954) 4.50 Carry On
Constable (1960) 6.35 Vertical Limit
(2000) 9.0 Oblivion (2013) 11.25 Kick-Ass 2 (2013) 1.30 Return of the
One-Armed Swordsman (1969)
6.0am Hawaii Five-0 7.0 Hawaii Five-0 8.0
Monkey Life 8.30 Monkey Life 9.0 The Dog
Whisperer 10.0 Modern Family 10.30 Modern
Family 11.0 NCIS: Los Angeles 12.0 Hawaii
Five-0 1.0 Hawaii Five-0 2.0 NCIS: Los Angeles
3.0 Supergirl 4.0 The Flash 5.0 The Flash 6.0
Modern Family 6.30 The Simpsons 7.0 The
Simpsons 7.30 The Simpsons 8.0 Duck Quacks
Don’t Echo 9.0 Carpool Karaoke Special 10.0
A League of Their Own 11.0 Freddie Down Under
12.0 A League of Their Own 1.0 The Force:
Manchester 2.0 Ross Kemp: Battle for the Amazon
3.0 Motorway Patrol 3.30 Motorway Patrol
4.0 Animal 999 4.30 Animal 999 5.0 Road Wars
Sky Sports 1
6.0am-9.0 Good Morning Sports Fans 9.0
Live International Netball: New Zealand v England
(centre-pass 8.45am) 10.0 Live Test Cricket:
England v West Indies. Day one of the third Test
at Lord’s. 6.30 Test Cricket: The Verdict 7.0 Sky
Sports Tonight 7.30 Live Super League Super
8s: Wakefield Trinity v St Helens (kick-off 8pm)
10.0 The Debate 11.0 Through the Night 12.0 NFL
Undiscovered 12.30 Live NFL: New England Patriots
v Kansas City Chiefs (kick-off 1.30am) 4.45
Super League Super 8s 5.0 Through the Night
ANGLIA As ITV except 10.45pm-11.10
Anglia Late Edition (T)
WESTCOUNTRY As ITV except 10.45pm11.10 The Westcountry Debate (T)
GRANADA As ITV except 10.45pm-11.10
The Granada Debate (T)
STV NORTH As ITV except 10.30pm
Scotland Tonight (T) 11.05 Chris Froome: Sports
Life Stories (T) 12.05 Teleshopping 1.05 After
Midnight 2.35 Tonight (T) 3.0-5.05 ITV
Nightscreen (T)
ITV WEST As ITV except 10.45pm-11.10
The Westcountry Debate (T)
ITV WALES As ITV West except 10.45pm11.10 Fishlock’s Choice (T)
CHANNEL As ITV except 10.45pm-11.10
The Last Word (T) 12.05-3.0 ITV Nightscreen
SCOTTISH As ITV except 10.30pm Scotland
Tonight (T) 11.05 Chris Froome: Sports Life
Stories (T) 12.05 Teleshopping 1.05 After
Midnight 2.35 Tonight (T) 3.0-5.05 ITV
Nightscreen (T)
ULSTER As ITV except 10.45pm-11.10
Lesser Spotted Journeys (T) 12.05 Teleshopping
1.05-3.0 ITV Nightscreen
YORKSHIRE As ITV except 10.45pm-11.10
Last Orders (T)
TYNE TEES As ITV except 10.45pm-11.10
Around the House (T)
BBC2 SCOTLAND 12noon-1.0 First
Minister’s Questions (T) 7.0 The Beechgrove
Garden (T) Carole Baxter finds out how the
budget vegetable growers have fared. 7.308.0 Timeline (T) Topical reports presented by
Glenn Campbell and Shereen Nanjiani.
10.0 The Great British Bake Off: An
Extra Slice (T) Jo Brand and her
celebrity guests discuss biscuit
week and chat to the contestant
who was eliminated.
10.50 Celebrity Island With Bear
Grylls (T) (R)
11.55 The Secret Life of the Holiday
Resort (T) (R)
12.55 White Kid, Brown Kid (T) (R) 1.50
One Born Every Minute (T) (R)
2.45 From Russia to Iran: Crossing
the Wild Frontier (T) (R) 3.40
Trump’s War on the Border (T) (R)
Milkshake! 9.15 The Wright Stuff
11.15 The Yorkshire Vet (T) (R)
12.10 News (T) 12.15 The Hotel
Inspector (T) (R) 1.15 Home and
Away (T) 1.45 Neighbours (T)
2.15 NCIS (T) (R) 3.10 A Risk
Worth Taking (Paul Seed, 2008)
(T) 5.0 News (T) 5.30 Neighbours
(T) (R) 6.0 Home and Away (T)
(R) 6.30 News (T) 7.0 Cricket on
5 (T) England v West Indies. Mark
Nicholas presents highlights of
the opening day of the third Test,
which takes place at Lord’s.
Nightmare Tenants, Slum
Landlords (T) Harrow council
carry out raids on uninhabitable
Gypsy Kids: Our Secret World
(T) Eleven-year-old Albert
prepares for his first competitive
boxing match, keen to impress
his father. Sheri-Anne tries to
master the art of standing on
the back of a moving horse.
World News Today (T) 7.30
Top of the Pops: 1984 (T) (R)
Steve Wright and Andy Peebles
present the 28 June show, with
the Bluebells, Human League,
Bob Marley and the Wailers,
Alison Moyet, Scritti Politti and
Frankie Goes to Hollywood.
Britain’s Outlaws: Highwaymen,
Pirates and Rogues (T) (R) Sam
Willis examines piracy during the
early 18th century.
Andrew Marr’s The Making of
Modern Britain (T) (R) Andrew
Marr examines Britain in the
1930s, when the Wall Street
Crash sent shockwaves across
the Atlantic.
10.0 Celeb Trolls: We’re Coming to Get
You (T) Zahida Allen, who was
targeted by trolls after being on
Geordie Shore. Last in the series.
11.0 My Secret Sex Fantasy (T) More
people reveal their deep desires.
12.0 SuperCasino (T) 3.10 The Dog
Rescuers With Alan Davies (T)
(R) 4.0 Now That’s Funny! (T)
(R) 4.45 House Doctor (T) (R)
5.10 House Busters (T) (R) 5.35
Nick’s Quest (T) (R)
10.0 BBC Proms 2017 (T) The
pianist András Schiff performs
Book One of Bach’s The WellTempered Clavier.
12.0 Wonders of the Universe (T)
(R) 1.0 Top of the Pops: 1984
(T) (R) 1.35 Motown at the BBC
(T) (R) 2.35 Britain’s Outlaws:
Highwaymen, Pirates… (T) (R)
K387. Armida String Quartet. 8.45 Proms Poetry
Competition. Judges Jacob Polley, Ian McMillan
and Judith Palmer announce the winners of the
2017 Proms poetry competition. 9.30 Prom 73.
András Schiff performs Book One of Bach’s The
Well-Tempered Clavier. 11.30 Late Junction. Verity
Sharp shares music from downtown New York.
12.30 Through the Night. A harpsichord recital
from Andreas Staier in Warsaw.
Mind. Lynsey Hanley explores how and why council
housing became diminished, both physically and
in reputation, in the wake of Margaret Thatcher’s
right-to-buy policy. (9/10) 2.0 The Archers (R)
2.15 Drama: Snake, by Moya O’Shea. 3.0 Open
Country: Tughall Mill, Northumberland (11/11)
3.27 Radio 4 Appeal: Teach a Man to Fish (R)
3.30 Bookclub: Patrick McCabe – The Butcher Boy
(R) 4.0 The Film Programme 4.30 Inside Science
5.0 PM 5.57 Weather 6.0 News 6.30 Women
Talking About Cars: Sheila Hancock. Victoria Coren
Mitchell returns with the programme in which
famous women look back at their motoring lives.
(1/4) (LW joins at 6.45) 7.0 The Archers. Johnny
wants to spread his wings. 7.15 Front Row. Arts
roundup. 7.45 The Inheritors (R) (4/5) 8.0 The
Briefing Room. Current affairs documentary. 8.30
In Business: Forecasting – How to Map the Future.
Adam Shaw examines why so many economic and
business forecasts often fail to map the future
correctly. (6/9) 9.0 Inside Science (R) 9.30
Quirke’s Cast and Crew: Stuntwoman (R) 10.0
The World Tonight 10.45 Book at Bedtime: Crime
Down Under – The Dry, by Jane Harper. (4/10)
11.0 Bunk Bed. Patrick Marber and Peter Curran
talk through the darkness about Kingsley Amis’s
teeth and what would mankind’s best friend be,
were there no such thing as dogs. (3/6) 11.15 Elvis
McGonagall Takes a Look on the Bright Side: A
Dog’s Dinner (R) 11.30 Today in Parliament 12.0
News 12.30 Book of the Week (R) 12.48 Shipping
Forecast 1.0 As World Service 5.20 Shipping
Forecast 5.30 News 5.43 Prayer for the Day
5.45 Farming Today 5.58 Tweet of the Day:
Sam West on the Red-Eyed Vireo
Radio 1
97.6-99.8 MHz
6.33 The Breakfast Show With Nick Grimshaw
10.0 Clara Amfo 12.45 Newsbeat 1.0 Scott Mills
4.0 Greg James 5.45 Newsbeat 6.0 Greg James
7.0 Annie Mac 10.0 BBC Radio 1’s Residency: Live
from Bestival 1.0 Toddla T 4.0 Adele Roberts
Radio 2
88-91 MHz
6.30 Chris Evans 9.30 Ken Bruce 12.0 Jeremy
Vine 2.0 Steve Wright 5.0 Simon Mayo 7.0 Bob
Harris Country 8.0 Jo Whiley 10.0 The Arts Show
12.0 The Craig Charles House Party (R) 2.0
Radio 2 Playlists: Tracks of My Years, Have a Great
Weekend & Feelgood Friday 5.0 Vanessa Feltz
Radio 3
90.2-92.4 MHz
6.30 Breakfast. Petroc Trelawny presents the
classical breakfast show. 9.0 Essential Classics.
Rob Cowan is joined by the theatre and film director
Dominic Dromgoole. 12.0 Composer of the Week:
Mozart (4/5) 1.0 News 1.02 Lunchtime Concert:
Elgar Up Close. Fiona Talkington presents the third
of four concerts from LSO St Luke’s in London
celebrating Edward Elgar’s music for strings.
Today’s concert is given by rising stars the violinist
Jennifer Pike and the pianist Peter Limonov and
features the composer’s The Lark Ascending
(original version for violin and piano). (3/4) 2.0
Afternoon on 3: Prom 66 (R) Presented by Petroc
Trelawny. Haydn: Symphony No 82 in C, The Bear.
Proms Extra. Booker prizewinning novelist Alan
Hollinghurst is interviewed by Anne McElvoy
about his latest novel The Sparsholt Affair. Mahler:
Symphony No 4 in G. Chen Reiss (soprano), Royal
Concertgebouw Orchestra, Daniele Gatti. 4.30
In Tune 6.30 Prom 72. The Vienna Philharmonic
with conductor Daniel Harding perform Mahler’s
Symphony No 6, live at the Royal Albert Hall.
Presented by Tom Service. 8.15 BBC New
Generation Artists. Mozart: String Quartet in G,
Radio 4
92.4-94.6 MHz; 198kHz
6.0 Today. Presented by Justin Webb and Nick
Robinson. 7.48 Thought for the Day. 8.31 (LW)
Yesterday in Parliament. Susan Hulme presents.
9.0 Fry’s English Delight: That Way Madness Lies
(R) Stephen Fry is joined by Jo Brand to discuss
the changing ways in which the English language
describes mental health, and how outmoded
diagnoses become insults. 9.30 The Ideas That
Make Us: Gaia (R) Man’s relationship with Mother
Earth, as personified by the Greek goddess Gaia.
LW: 9.45 Daily Service 10.0 Woman’s Hour
10.25 Test Match Special: England v West Indies
– Third Test, Day One. Jonathan Agnew, Ed Smith,
Henry Blofeld and Fazeer Mohammed commentate
on day one of the third Test at Lord’s. With analysis
from Michael Vaughan, Phil Tufnell, Geoff Boycott
and Graeme Swann. 12.01; 5.54 Shipping Forecast.
FM: 9.45 Book of the Week: Every Third Thought,
by Robert McCrum. (4/5) 10.0 Woman’s Hour.
Presented by Andrea Catherwood. Includes
at 10.45 Drama: The Inheritors, by Claudine
Toutoungi. (4/5) 11.0 Crossing Continents:
Bulgaria (7) 11.30 The Arts of Life. Roger Hill visits
Liverpool, Manchester, Birmingham and Easington
in Co Durham to see what art can do for people
and communities facing some of life’s toughest
challenges. 12.0 News 12.04 Home Front: 7
September 1917 – Isabel Graham, by Sarah Daniels.
Keely Beresford stars. (29/40) 12.15 You and
Yours 1.0 The World at One 1.45 Streets Apart:
A History of Social Housing – Council Estate of
5 Live
693, 909 kHz
6.0 Breakfast 10.0 5 Live Daily With Emma
Barnett 1.0 Afternoon Edition 4.0 5 Live Drive
7.0 5 Live Sport 9.0 US Open Tennis 2017 10.0
Sam Walker 1.0 Up All Night 5.0 Morning Reports
5.15 Wake Up to Money
The Observer | 03.09.17 | THE NEW REVIEW
Friday 8
Kanneh-Mason, soprano Jeanine De Bique
and conductor Kevin John Edusei. The
programme features music by American
composer George Walker and a world
premiere by Hannah Kendall, plus works by
Dvořák, Handel and Rimsky-Korsakov.
Tough, angry, sometimes joyous stuff,
and ripe to rewatch as Brexit refocuses
attention on the darker temptations of
national sentiment. Jonathan Romney
The Full Works Concert
Classic FM, 8pm
Comedy Playhouse:
Mister Winner
BBC1, 10.35pm
Sitcom pilot about accident-prone Leslie
Winner. Watch as his ambitious plan to
propose to girfriend Jemma in an aquarium
goes horribly wrong. Mike Bradley
Celebrity MasterChef
BBC1, 8.30pm
This Is England
Film4, 9pm
In the last heat the contenders must make
tempura prawns, vegetables and a dipping
sauce in just 15 minutes. Next they split into
teams to prepare lunch for 120 staff and
students at King’s College Dental Institute.
Back at HQ, they then cook a two-course
meal to be judged by previous finalist
Andi Peters and past champions Sophie
Thompson and Lisa Faulkner (above, l-r).
(Shane Meadows, 2004)
Nottingham indie maverick Meadows
started out as a bit of a DIY joker, but
this film made it clear, for once and for all,
that he was a substantial innovator in the
field of British realism. This drama about
1980s skinhead culture spawned three
TV miniseries updates, and the overall
cycle has more to say about being young
and pissed off in the UK than anything
since Quadrophenia. Thomas Turgoose is
12-year-old Shaun, entering the teenangst tunnel after his dad’s death in the
Falklands; Stephen Graham is his far-right
father surrogate. A great young cast make
their breakthroughs – among them, Vicky
McClure, Joe Gilgun and Jack O’Connell.
Prom 62: Chineke!
BBC4, 9.30pm
Europe’s first majority black and minority
ethnic orchestra comes to the Proms
for the first time, joined by cellist Sheku
Cold Feet
ITV, 9pm
A new series of the comedy drama
opens with a gem of a first episode
that combines everything that is best
about this chronicle of midlife crises in
Manchester. After agreeing not to rush
into anything, Adam (James Nesbitt)
and his landlady Tina (Leanne Best) are
now nine months into their relationship,
but when he lands a new job at a Nathan
Barley-esque dotcom firm it reminds
him that it might be time they started
sharing more than just a peculiar passion
for unicorns. Karen (Hermione Norris)
is so busy launching Marsden House
Publishing that best friend Jenny (Fay
Ripley) starts to feel left out. Pete (John
Thomson) searches for an alternative
occupation to chauffeuring rich people’s
pets, while David (Robert Bathurst) looks
set to actually become a rich person’s
pet. Great script, great cast, great
television. Mike Bradley
Recorded in Verona on Wednesday,
the Luciano Pavarotti 10th Anniversary
Concert marks 10 years since the
star’s passing. Pavarotti’s Three Tenors
colleagues, Plácido Domingo and José
Carreras, sing their own tribute in a concert
including arias by Donizetti and Puccini and
featuring soprano Angela Gheorghiu and
tenor Andrea Bocelli. The concert comes
at the end of Classic FM’s 25th birthday
week with events including The Pazza
Factor, a play about its launch (Tuesday,
8pm), a recital at Dumfries House in the
presence of Prince Charles (Wednesday,
8.15pm) and a birthday concert with the
Royal Liverpool Philharmonic (Thursday,
7.30pm). Stephanie Billen
Rugby Union
BT Sport 2, 7pm
Sale Sharks and Newcastle Falcons:
Premiership. Live coverage from the AJ Bell
Stadium, where Steve Diamond’s new-look
Sale side take on Dean Richards’s Falcons
(now under the tutelage of new head coach
Dave Walder). Two tough northern outfits
going head-to-head: a cracker. MB
Breakfast (T) 9.15 Council
House Crackdown (T) 10.0
Homes Under the Hammer
(T) (R) 11.0 Dom on the Spot
(T) 11.45 Thief Trackers (T) 12.15
Bargain Hunt (T) (R) 1.0 News
(T) 1.30 Regional News (T) 1.45
Doctors (T) 2.15 Red Rock (T)
3.0 Escape to the Country (T)
3.45 Garden Rescue (T) 4.30
Celebrity Money for Nothing
(T) 5.15 Pointless (T) 6.0 News
(T) 6.30 Regional News (T)
7.0 The One Show (T) 7.30
A Question of Sport (T) (R)
Channel 4
Channel 5
Flog It! Trade Secrets (R) 6.30
Council House Crackdown (R) 7.15
Garden Rescue (R) 8.0 Gardeners’
World (R) 9.0 Victoria Derbyshire
11.0 Newsroom Live 12.0 Daily
Politics 1.0 For What It’s Worth
(T) (R) 1.45 Countryfile (T) (R)
2.10 Glorious Gardens from Above
(T) (R) 2.55 Coast Australia (T)
(R) 3.45 Great British Railway
Journeys (T) (R) 4.15 Planet
Earth II (T) (R) 5.15 Flog It! (T) (R)
6.0 Richard Osman’s House of
Games (T) 6.30 Eggheads (T)
7.0 This Farming Life (T) (R)
Good Morning Britain (T) 8.30
Lorraine (T) 9.25 The Jeremy Kyle
Show (T) 10.30 This Morning (T)
12.30 Loose Women (T) 1.30
News (T) 1.55 Local News (T) 2.0
Judge Rinder (T) 3.0 Dickinson’s
Real Deal (T) (R) 3.59 Local News
and Weather (T) 4.0 Tipping
Point (T) 5.0 The Chase (T) 6.0
Local News (T) 6.30 News (T)
7.0 Emmerdale (T) Tracy gets
her hopes up about going on an
exotic holiday. 7.30 Coronation
Street (T) Will masterminds
a drugs raid on the Bistro.
Countdown (T) (R) 6.45 The King
of Queens (T) (R) 8.0 Everybody
Loves Raymond (T) (R) 9.0 Frasier
(T) (R) 9.35 Frasier (T) (R) 10.05
Ramsay’s Kitchen Nightmares
USA (T) (R) 11.0 Coast v Country
(T) (R) 12.0 News (T) 12.05
Couples Come Dine With Me (T)
(R) 1.05 French Collection (T) 2.10
Countdown (T) 3.0 Cheap Cheap
Cheap (T) 4.0 A Place in the Sun:
Winter Sun (T) (R) 5.0 Come Dine
With Me (T) 5.30 Streetmate (T)
6.0 The Simpsons (T) (R) 6.30
Hollyoaks (T) 7.0 News (T)
The Crystal Maze (T) Richard
Ayoade guides a martial arts
team through the Aztec,
Medieval, Industrial and Future
zones of the Maze, tackling a
range of skill, mystery, physical
and mental challenges.
Gogglebox (T) New series. The
fly-on-the-wall series capturing
householders’ instant reactions
to TV returns.
EastEnders (T) The Taylors are
distraught over their loss.
8.30 Celebrity MasterChef (T) The
contenders make lunch for 120
staff and students at King’s
College Dental Institute as the
battle for the remaining semifinal places reach its climax in the
last heat.
Mastermind (T) The subjects are
Australian Test cricket, James
Ellroy’s LA Quartet, singer Kirsty
MacColl and King Henry VI.
8.30 Only Connect (T) Quiz show
hosted by Victoria Coren Mitchell.
9.0 Gardeners’ World (T) Monty
Don demonstrates how to
harvest and store potatoes,
and adds late summer colour
to the cottage garden.
Teach My Pet to Do That (T)
A miniature horse and a cocker
spaniel are taught how to shut
cupboard doors.
8.30 Coronation Street (T) Convinced
that Rich planted drugs at the
Bistro, Michelle vows to put a
stop to Rich’s reign of terror.
9.0 Cold Feet (T) New series. Tina’s
affection for Adam is tested.
10.0 News (T)
10.25 Regional News and Weather (T)
Includes national lottery update.
10.35 Comedy Playhouse: Mister
Winner (T) One-off sitcom
with Spencer Jones.
11.05 Room 101 (T) (R) With Bridget
Christie, Robert Peston and
Greg James.
11.35 Little Voice (Mark Herman,
1998) (T) Comedy drama with
Jane Horrocks, Michael Hann.
1.05 Weather for the Week Ahead
(T) 1.10 BBC News (T)
10.0 Mock the Week (T) Topical
comedy show.
10.30 Newsnight (T) Weather
11.05 Dragons’ Den (T) (R) Pitches
include a range of personalised
luxury bags.
12.05 Sign Zone Panorama (T) (R)
1.05 Dangerous Borders: A
Journey Across India & Pakistan
(T) (R) 2.05 Normal for Norfolk
(T) (R) 2.35 This Is BBC2 (T)
10.0 News (T)
10.30 Local News (T)
10.45 Tonight at the London Palladium
(T) (R) Variety show, including
Steps, Emeli Sandé and Peter
11.45 Tipping Point (T) (R) Ben
Shephard hosts the arcadethemed quiz show.
12.40 Jackpot247 3.0 Storage
Hoarders (T) (R) 3.50 ITV
10.0 Naked Attraction (T)
11.05 Married to a Celebrity: The
Survival Guide (T) (R)
12.05 Back (T) (R) 12.40 The Great
British Bake Off: An Extra Slice
(T) (R) 1.30 Get On Up
(2014) (T) Biopic of James Brown
and Chadwick Boseman. 3.45
Selling Houses (T) 4.45 Location,
Location, Location (T) (R)
BT Sport 1
6.0am West Brom v Man Utd 1966/67 6.30
Man Utd v West Ham 1969/70 7.0 Chelsea v Leeds
United 1969/70 7.30 Liverpool v Birmingham
1972/73 8.0 Premier League Match Pack 8.30
AFL 10.30 Live AFL: Geelong Cats v Richmond
(bounce-up 10.50am) Coverage of the second
qualifying final, which takes place at Melbourne
Cricket Ground. 1.30 Rugby Tonight 2.30
Premier League World 3.0 Premier League
Match Pack 3.30 Reload 3.45 Tigers United
4.45 US Game of the Week 6.45 Live Scottish
Football Extra 7.15 Live: Hamilton Academical v
Celtic (kick-off 7.45pm) Coverage of the Scottish
Premiership clash at New Douglas Park. 10.0 CPL
T20 Cricket 11.0 Silly Little Game 12.0 Live MLB:
Rays @ Red Sox (start-time 12.10am) 3.0 MLB’s
Best 3.30 Premier League Preview 4.0 AFL
Sky Atlantic
6.0am Fish Town 7.0 Fish Town 8.0 Storm City
9.0 Storm City 10.0 The West Wing 11.0 The
West Wing 12.0 Without a Trace 1.0 CSI: Crime
Scene Investigation 2.0 Blue Bloods 3.0 The
British 4.0 The West Wing 5.0 The West Wing 6.0
Without a Trace 7.0 CSI: Crime Scene Investigation
8.0 Blue Bloods 9.0 Game of Thrones 10.20
Game of Thrones 11.35 Dexter 12.40 The
Wolfpack (2015) 2.20 The Wire 3.35 Looking
4.10 The West Wing 5.05 The West Wing
6.0am Hollyoaks 6.30 Coach Trip: Road to
Zante 7.0 Made in Chelsea 8.0 Melissa & Joey
8.30 Melissa & Joey 9.0 Black-ish 9.30 Blackish 10.0 Baby Daddy 10.30 Baby Daddy 11.0
How I Met Your Mother 11.30 How I Met Your
Mother 12.0 The Goldbergs 12.30 The Goldbergs
1.0 The Big Bang Theory 1.30 The Big Bang
Theory 2.0 Melissa & Joey 2.30 Melissa & Joey
3.0 Baby Daddy 3.30 Baby Daddy 4.0 2 Broke
Girls 4.30 2 Broke Girls 5.0 The Goldbergs 5.30
The Goldbergs 6.0 The Big Bang Theory 6.30 The
Big Bang Theory 7.0 Hollyoaks 7.30 Coach Trip:
Road to Zante 8.0 GI Joe: Retaliation (2013)
10.0 Celebs Go Dating 11.05 The Big Bang Theory
11.35 The Big Bang Theory 12.0 Tattoo Fixers on
Holiday 1.05 Celebs Go Dating 2.10 First Dates
Hotel 3.05 Body Fixers 3.55 Rude Tube 4.20
Baby Daddy 4.45 How I Met Your Mother 5.05
How I Met Your Mother
11.0am Oh! What a Lovely War (1969)
1.55 Broken Arrow (1950) 3.45 Hatari! (1962) 6.55 Eragon (2006) 9.0
This Is England (2006) 11.05 Quadrophenia (1979) 1.15 Trainspotting (1996)
6.0am Hawaii Five-0 7.0 Hawaii Five-0 8.0
Monkey Life 8.30 Monkey Life 9.0 The Dog
Whisperer 10.0 Modern Family 10.30 Modern
Family 11.0 NCIS: Los Angeles 12.0 Hawaii
Five-0 1.0 Hawaii Five-0 2.0 NCIS: Los Angeles
3.0 Supergirl 4.0 The Flash 5.0 Modern Family
5.30 Modern Family 6.0 Modern Family 6.30
The Simpsons 7.0 The Simpsons 7.30 The
Simpsons 8.0 Modern Family 8.30 Modern
Family 9.0 Zoo 10.0 The Greatest Sci-fi Movies
in the Universe 12.0 A League of Their Own 1.0
The Force: Manchester 2.0 Ross Kemp: Battle
for the Amazon 3.0 Motorway Patrol 3.30
Motorway Patrol 4.0 Animal 999 4.30 Animal
999 5.0 The Dog Whisperer
Sky Sports 1
6.0am-8.30 Good Morning Sports Fans 8.30
Rugby Greatest Games 8.40 Live New Zealand
NPC Rugby: Manawatu v Bay of Plenty (kick-off
8.45am) 10.40 Live Test Cricket: England v West
Indies. Day two of the third Test at Lord’s. 6.30
Test Cricket: The Verdict 7.0 Live EFL: Derby
County v Hull City (kick-off 7.45pm). Coverage
of the Championship match from Pride Park.
10.0 The Debate 11.0-6.0 Through the Night
THE NEW REVIEW | 03.09.17 | The Observer
STV NORTH As ITV except 8.0pm-8.30
Animal 999 (T) Jack, a rescued golden retriever, is
so badly matted he needs to have all his fur shaved
off. Inspector John is on the case of a runaway
rhea, and a stranded seal makes life difficult for
animal rescue officer Karen. 12.40 Teleshopping
1.40 After Midnight 3.10 ITV Nightscreen
5.05-6.0 The Jeremy Kyle Show (T) (R)
CHANNEL As ITV except 12.40am-3.0
ITV Nightscreen
SCOTTISH As ITV except 8.0pm-8.30
Animal 999 (T) Jack, a rescued golden retriever,
is so badly matted he needs to have his fur
shaved off. It is steady as she goes for Inspector
John and a runaway rhea, and a stranded seal
makes life hard for animal rescue officer Karen.
12.40 Teleshopping 1.40 After Midnight
3.10 ITV Nightscreen 5.05-6.0 The Jeremy
Kyle Show (T) (R)
ULSTER As ITV except 8.0pm-8.30
UTV Life (T) An eclectic mix of stories and
studio guests with Pamela Ballantine. 12.40
Teleshopping 1.40-3.0 Nightscreen
BBC2 WALES 7.0pm Mastermind (T)
7.30 Scrum V Live (T) Leinster v Cardiff Blues
(kick-off 7.35pm). Coverage of the match from
the second round of Pro14 fixtures at Royal Dublin
Society. 9.30-10.0 Only Connect (T) Quiz show.
Milkshake! 9.15 The Wright Stuff
11.15 Can’t Pay? We’ll Take It Away
(T) (R) 12.10 News (T) 12.15 The
Hotel Inspector (T) (R) 1.15 Home
and Away (T) 1.45 Neighbours (T)
2.20 NCIS (T) (R) 3.15 Jesse
Stone: Death in Paradise (Robert
Harmon, 2006) (T) Crime drama
with Tom Selleck. 5.0 News (T)
5.30 Neighbours (T) (R) 6.0
Home and Away (T) (R) 6.30
News (T) 7.0 Cricket on 5 (T)
England v West Indies. Highlights
of the second day of the third
Test, which is at Lord’s.
Celebrity 5 Go Motorhoming (T)
Don Warrington, Lesley Joseph,
Nick Heyward, Cleo Rocos and
Melvyn Hayes forego their usual
creature comforts to travel
through Wales in motorhomes.
Includes news update.
Cruising With Jane McDonald
(T) The presenter cruises
around Cuba aboard the
Celestyal Crystal.
World News Today (T) 7.30 BBC
Proms 2017 (T) Sara MohrPietsch introduces the BBC
Symphony Orchestra performing
Bartók’s Second Piano Concerto
and Dvořák’s Eighth Symphony.
9.30 BBC Proms 2017 (T) From the
Royal Albert Hall, Europe’s first
majority BME orchestra Chineke!
perform, joined by the cellist
Sheku Kanneh-Mason, soprano
Jeanine De Bique and conductor
Kevin John Edusei.
10.0 Liberace: In Life and Death
(T) The final hours of the
entertainer’s life.
11.0 Inside Balmoral (T) (R) Covering
Queen Elizabeth II’s early years.
12.0 SuperCasino (T) 3.10 Exploding
Sun (T) 4.40 Access (T) 4.45
House Doctor (T) (R) 5.10 House
Busters (T) (R) 5.35 Nick’s Quest
(T) (R)
1700, 1800, 1900. 8.35 Beethoven: Symphony
No 7 in A. 10.0 Free Thinking (R) Rana Mitter
is joined by Sarah Peverley, Charles Forsdick,
Alasdair Cochraine and Eveline de Wolf to debate
mermaids, robots, humans and animals at FACT in
Liverpool. 10.45 The Essay: WB Yeats – Not Liking
Yeats (R) (2/5) Writer Fintan O’Toole reflects on
his love-hate relationship with WB Yeats. 11.30
World on 3. Kathryn Tickell presents a live studio
session by Martin Simpson. 1.0 Through the Night:
Beethoven, Prokofiev and Brahms Cello Sonatas. A
concert featuring the French cellist Edgar Moreau.
tower, proposing her own manifesto for a new era
of council housing. (10/10) 2.0 The Archers (R)
2.15 Drama: The Lesson, by Virginia Gilbert. James,
a former teacher, is publicising his latest novel.
His wife Alice is desperate for him not to name the
woman upon whom the central character is based.
Cara, the woman in question, is vindictive, powerful
and dangerous – just as she was a decade earlier
when as a schoolgirl she set out to destroy their
lives. With Harry Lloyd, Fiona O’Shaughnessy and
Phoebe Fox. 3.0 Gardeners’ Question Time 3.45
Short Works: Swim, by Emma Flint. 4.0 Last Word
4.30 More or Less. Tim Harford on the nature of
numbers. (3/6) 4.55 The Listening Project: Lesley
and Elle – It’s All Because of Stephen Fry (R) 5.0
PM. Presented by Eddie Mair. 5.57 Weather 6.0
News 6.30 The News Quiz (1/8) (LW joins at 6.45)
7.0 The Archers. Ian cannot contain his excitement.
7.15 Front Row 7.45 The Inheritors (R) (5/5) 8.0
Any Questions? Jonathan Dimbleby introduces a
political debate from Aylesbury High School, Bucks,
with a panel including the Scottish National Party
MP Joanna Cherry. 8.50 A Point of View 9.0 Home
Front Omnibus: 4-8 September 1917 (6/8) 10.0
The World Tonight 10.45 Book at Bedtime: Crime
Down Under – The Dry, by Jane Harper. (5/10) 11.0
Great Lives: Helen Sharman on Elsie Widdowson
(R) 11.30 Today in Parliament. With Mark D’Arcy.
11.55 The Listening Project: David and Siobhan –
Long-Distance Love (R) 12.0 News 12.30 Book
of the Week (R) 12.48 Shipping Forecast 1.0
As World Service 5.20 Shipping Forecast 5.30
News 5.43 Prayer for the Day 5.45 iPM. Luke
Jones and Eddie Mair present.
Definitely Dusty (T) (R) Friends
of Dusty Springfield reveal the
woman behind the pop diva
12.0 Dusty Springfield at the BBC
(T) (R) 1.0 Only Yesterday: The
Carpenters’ Story (T) (R) 2.0
Shirley Bassey at the BBC (T)
(R) 3.0 Definitely Dusty (T) (R)
Radio 1
97.6-99.8 MHz
6.33 Nick Grimshaw 10.0 Clara Amfo 12.45
Newsbeat 1.0 Scott Mills 4.0 The Official Chart
With Greg James 5.45 Newsbeat 6.0 Dance
Anthems With Greg James 7.0 Annie Mac 10.0
Pete Tong 1.0 B.Traits 4.0 Essential Mix
Radio 2
88-91 MHz
6.30 Chris Evans 9.30 Ken Bruce 12.0 Jeremy
Vine 2.0 Steve Wright 5.0 Simon Mayo 7.0 Tony
Blackburn 8.0 Friday Night Is Music Night 10.0
Sounds of the 80s 12.0 Anneka Rice: The Happening
(18) 2.0 Radio 2 Playlists: Funky Soul, New to 2 &
21st-Century Songs 5.0 Huey on Saturday
Radio 3
90.2-92.4 MHz
6.30 Breakfast. With Petroc Trelawny. 9.0
Essential Classics. Rob Cowan’s guest is Dominic
Dromgoole. 12.0 Composer of the Week: Mozart
(5/5) 1.0 News 1.02 Lunchtime Concert: LSO
St Luke’s – Elgar Up Close. Presented by Fiona
Talkington. Elias Quartet. Purcell: Three Fantasias.
Elgar: String Quartet. (4/4) 2.0 Afternoon on
3: Prom 68 (R) Denis Matsuev (piano), Mariinsky
Orchestra and Chorus, Valery Gergiev. Prokofiev:
Cantata for the Twentieth Anniversary of the
October Revolution, Op 74. 2.40 Tchaikovsky:
Piano Concerto No 3 in E flat. 2.55 Shostakovich:
Symphony No 5 in D minor. Presented from the
studio by Georgia Mann. 4.30 In Tune. Music and
arts news. 6.30 Composer of the Week (R) (5/5)
7.30 Prom 74. Presented by Martin Handley.
Emanuel Ax (piano), Vienna Philharmonic, Michael
Tilson Thomas. Brahms: Variations on the St
Anthony Chorale. Mozart: Piano Concerto No 14 in
E flat, K449. 8.15 Interval: Proms Extra. Clemency
Burton-Hill discusses the cultural context of
Vienna during the 18th and 19th centuries with
Austrian expert Gavin Plumley and Prof David
Wyn Jones, author of the book Music in Vienna:
Radio 4
92.4-94.6 MHz; 198kHz
6.0 Today. Presented by Sarah Montague and Justin
Webb. 7.48 Thought for the Day, with Prof Robert
Beckford. 8.31 (LW) Yesterday in Parliament.
With Susan Hulme. 9.0 The Reunion: Solidarity
(R) LW: 9.45 Daily Service 10.0 Woman’s
Hour 10.30 Test Match Special: England v West
Indies – Third Test, Day Two. Jonathan Agnew,
Ed Smith, Henry Blofeld and Fazeer Mohammed
commentate, with analysis from Michael Vaughan,
Phil Tufnell, Geoff Boycott and Graeme Swann.
12.01; 5.54 Shipping Forecast. FM: 9.45 Book
of the Week: Every Third Thought, by Robert
McCrum. (5/5) 10.0 Woman’s Hour. P:resented
by Andrea Catherwood. Includes at 10.45 Drama:
The Inheritors, by Claudine Toutoungi. 11.0
PowerPointless. Ian Sansom explores the impact of
the ubiquitous communication software through
the novel medium of a computer presentation for
radio. 11.30 The Cold Swedish Winter. Sitcom by
Danny Robins. Comedian Geoff and his wife Linda
acclimatise to life in a tiny, cold village in northern
Sweden. (3/4) 12.0 News 12.04 Home Front: 8
September 1917 – Alec Poole, by Sarah Daniels.
Tom Stuart stars. (30/40) 12.15 You and Yours.
Consumer and public interest reports. 1.0 The
World at One 1.45 Streets Apart: A History of Social
Housing – After Grenfell. Lynsey Hanley looks at
the future of social housing after the fire at Grenfell
5 Live
693, 909 kHz
6.0 Breakfast 10.0 5 Live Daily With Chris
Warburton 1.0 Friday Sports Panel 2.0 Kermode
and Mayo’s Film Review 4.0 5 Live Drive 7.0
Friday Football Social 10.0 Stephen Nolan 1.0
Up All Night 5.0 5 Live Boxing With Costello &
Bunce 5.30 5 Live Sport
Saturday 9
former sequinned assistant Debbie McGee.
Plus the panel welcome new judge “Queen
of Latin” Shirley Ballas (left).
on agency, as they say, but by the end of
her ordeal, she exudes a survivor’s ferocity
that carries her through to dazzling effect.
Jonathan Romney
The Jonathan Ross Show
ITV, 9.15pm
Proms in the Park
Radio 2, 5pm
The host is joined by singer Rag’n’Bone Man
and comedian Jack Dee (here to plug new
sitcom Bad Move), but as a self-confessed
Game of Thrones fanatic Ross will barely be
able to contain his excitement at the chance
to interview (and flirt with, naturally) gifted
Dame-in-the making actor Natalie Dormer,
who played the part of Margaery Tyrell with
such grace and panache. Mike Bradley
Strictly Come Dancing
BBC1, 7pm
As the ballroom dancing contest returns,
this year’s line-up features former Holby
City star Chizzy Akudolu, Emmerdale and
Hollyoaks alumna Gemma Atkinson, 2008
X Factor winner Alexandra Burke, TV and
radio comedy stalwart Susan Calman,
Radio 4 broadcaster and occasional vicar
the Rev Richard Coles, TV presenter Brian
Conley, EastEnders’s Davood Ghadami
(Kush Kazemi), Good Morning Britain’s
Charlotte Hawkins and the Saturdays
singer Mollie King. Also donning the
sequins and the nylon one-pieces are
This Morning’s Ruth Langsford, Holby
City’s Raf Di Lucca (Joe McFadden), JLS’s
Aston Merrygold, Paralympian Jonnie
Peacock, TV chef Simon Rimmer, and
Miss Bala
BBC2, 12.45am
(Gerardo Naranjo, 2011)
An extraordinary Mexican thriller based
on a true story, and on a creaky pun – the
heroine is competing to be Miss Baja but
ends up “Miss Bala” (Miss Bullet), the gunfire
coming thick and fast in this drug war tale.
Stephanie Sigman plays Laura, a young
woman hoping to make her mark in a beauty
pageant. She soon finds herself deep in
trouble, caught up in the machinations of
narcos, militia, cops and US agents alike.
Meanwhile, ferociously mobile camerawork
and a throbbing soundtrack make this
an unnervingly immersive experience,
head-spinning from start to finish. Sigman’s
gauche heroine may start off seeming low
The Last Night of the Proms
BBC2, 7.15pm; BBC1, 9pm
Sakari Oramo leads the BBC Symphony
Orchestra and Chorus as they
accompany soprano Nina Stemme
in a performance of the Prelude and
Liebestod from Wagner’s Tristan und
Isolde. Finnish independence is celebrated
with renditions of Sibelius’s Finlandia and
Kodály’s Budavári Te Deum, featuring
soprano Lucy Crowe, mezzo Christine
Rice, tenor Ben Johnson and bass John
Relyea. The Finnish theme continues
with the premiere of composer Lotta
Wennäkoski’s Flounce , followed by a
performance of Malcolm Sargent’s An
Impression on a Windy Day. Later comes
the London premiere of John Adams’s
Lola Montez Does the Spider Dance, a
round-the-UK rendition of Henry Wood’s
Fantasia on British Sea Songs, and a
rousing finale that includes favourites
Rule Britannia, Land of Hope and Glory
and Jerusalem. Mike Bradley
As part of Last Night of the Proms events
around the UK, this joyous Hyde Park
gala, broadcast live, is headlined by the
Kinks frontman Ray Davies, with soloists
including bass-baritone Bryn Terfel, singer
Elaine Paige and 1970s popstar Gilbert
O’Sullivan. There will also be performances
from pop groups Steps and Texas as well
as the cast of Five Guys Named Moe. With
link-ups to the Albert Hall, the evening will
conclude in rousing fashion with Pomp and
Circumstance March No 1, Rule Britannia
and Jerusalem. Radio 2 returns to Hyde
Park on Sunday 10 September for a pop
concert kicking off its 50th birthday
celebrations. Stephanie Billen
Rugby Union
Sky Sports Action, 10.45am
Australia v South Africa: Rugby
Championship. Your heart goes out to
Australian coach Michael Cheika as he
tries to coax consistent performances
from a mercurial squad that refuses to
spark. See how they fare today at nib
Stadium in Perth. New Zealand v Argentina
precedes this game at 8am. MB
Channel 4
Channel 5
6.15 How We Won the War (T) (R)
6.45 The Lancaster: Britain’s
Flying Past (T) (R) 7.45
Vivacious Lady (1938) (T)
9.15 The Fox and the Child
(2007) (T) 10.45 Railways of the
Great War (T) (R) 11.15 Wanted
Down Under (T) (R) 12.0 Long
Weekends (T) (R) 1.0 Coast
Australia (T) (R) 1.50 Emma
(1996) (T) 3.45 Mastermind (T)
(R) 4.15 University Challenge (T)
(R) 4.45 Only Connect (T) (R) 5.15
Gardeners’ World (T) (R) 6.15 Big
Family Cooking Showdown (T) (R)
6.10 Mobil 1 The Grid (T) 6.35 Motor
Sport: Volkswagen Racing
Cup (T) 7.05 Motor Sport: Mini
Challenge (T) 7.35 Everybody
Loves Raymond (T) (R) 8.25
Frasier (T) (R) 9.30 The Big
Bang Theory (T) (R) 10.50 The
Simpsons (T) (R) 11.50 Come Dine
With Me (T) (R) 2.25 Big House,
Little House (T) 3.30 A Place in
the Sun: Winter Sun (T) (R) 4.30
A Place in the Sun: Winter Sun
(T) (R) 5.35 Location, Location,
Location (T) (R) 6.30 News (T)
7.0 Shakespeare’s Tomb (T) (R)
Strictly Come Dancing Launch
Show 2017 (T) New series. The
ballroom contest returns, with
an opening spectacular featuring
last year’s champions performing
their winning routine, plus music
from Shania Twain and Rita Ora.
8.40 News (T) Weather
9.0 Last Night of the Proms (T)
The second half of the concert.
Includes national lottery update.
7.15 Last Night of the Proms (T) Katie
Derham presents the first half
of the BBC’s coverage from the
Royal Albert Hall.
9.0 X+Y (Morgan Matthews,
2014) (T) A teenage maths
genius finds love while training
to take part in the forthcoming
International Mathematical
Olympiad. Comedy drama with
Asa Butterfield and Rafe Spall.
The X Factor (T) Dermot
O’Leary presents as the third
round of auditions gets under
way, and more would-be stars
perform for Louis Walsh, Nicole
Scherzinger, Sharon Osbourne
and Simon Cowell.
9.15 The Jonathan Ross Show (T)
The host is joined by guests
Jack Dee, Natalie Dormer and
Rag ’n’ Bone Man.
10.30 Match of the Day (T) Including
Manchester City v Liverpool and
Everton v Tottenham Hotspur.
11.55 The NFL Show (T) Mark
Chapman is joined by Osi
Umenyiora and Jason Bell.
12.25 The Rookie (John Lee
Hancock, 2002) (T) Fact-based
drama about a former baseball
player coaching a high-school
team. Dennis Quaid, Rachel
Griffiths and Jay Hernandez star.
2.25 Weather (T) 2.30 News (T)
10.45 What Women Want (Nancy
Meyers, 2000) (T) A womanising
executive gains new insight
when he gains the ability to hear
the thoughts of the opposite
sex. Romantic comedy with Mel
Gibson and Helen Hunt.
12.45 Miss Bala (Gerardo
Naranjo, 2011) Crime drama
starring Stephanie Sigman.
2.35 This Is BBC2 (T)
10.20 News and Weather (T)
10.35 United 93 (Paul Greengrass,
2006) (T) Fact-based drama
about the fourth plane hijacked
in the 11 September attacks,
starring Christian Clemenson
and Trish Gates.
12.40 Jackpot247 3.0 The Hungry
Sailors (T) (R) Dick and James
Strawbridge arrive in the Channel
Islands. 3.50 ITV Nightscreen
11.40 The Tourist (Florian Henckel
von Donnersmarck, 2010) (T) A
woman tries to trick the police
into thinking that a tourist is her
criminal lover with his appearance
surgically changed. Romantic
thriller starring Johnny Depp
and Angelina Jolie.
1.25 Ramsay’s Kitchen Nightmares
USA (T) (R) 2.20 The State (T) (R)
3.15 Hollyoaks (T) 5.25 Kirstie’s
Fill Your House for Free (T) (R)
5.30 Four in a Bed (T) (R)
Breakfast (T) 10.0 Saturday
Kitchen Live (T) 11.30 Nadiya’s
British Food Adventure (T) (R)
12.0 Football Focus (T) 1.0 News
and Weather (T) 1.15 Athletics:
Great North CityGames (T)
Gabby Logan presents coverage
from the Newcastle Gateshead
Quayside. 3.15 Escape to the
Country (T) (R) 4.0 Final Score
(T) 5.20 News (T) 5.30 Regional
News and Weather (T) 5.40 Len
Goodman’s Partners in Rhyme (T)
6.10 Pointless Celebrities (T) (R)
BT Sport 1
6.0am Hamilton Academical v Celtic 7.30
Ligue 1 9.0 Premier League Preview 9.30 Aviva
Premiership Rugby Union 11.0 Premier League
Match Pack 11.30 Premier League Preview
12.0 Live Bundesliga 2: Arminia Bielefeld v MSV
Duisburg (kick-off 12noon) 2.0 Uefa Champions
League Magazine 2.30 Score 5.0 Live Premier
League: Stoke City v Manchester United (kick-off
5.30pm) 8.0 Premier League Tonight 9.0 Aviva
Premiership Rugby Highlights 11.0 Hero CPL
Magazine 11.30 Ligue 1 12.30 Serie A 1.30 Live
CPL T20 Cricket. T20 cricket action from the Hero
Caribbean Premier League. 5.30 Uefa Champions
League Magazine
Sky Atlantic
6.0am The Guest Wing 7.0 Urban Secrets 8.0
Urban Secrets 9.0 Fish Town 10.0 Fish Town
11.0 Becoming Mike Nichols (2016) 12.20
Open Your Eyes 1.05 House 2.0 House 3.0 House
4.0 Without a Trace 5.0 Without a Trace 6.0
Without a Trace 7.0 Without a Trace 8.0 Without
a Trace 9.0 Game of Thrones 10.15 Game of
Thrones 11.30 Ballers 12.05 Twin Peaks: The
Return 1.15 Twin Peaks: The Return 2.25 The
Wire 3.35 Looking 4.10 Urban Secrets 5.05
Urban Secrets
6.0am-7.50 Couples Come Dine With Me
7.50-10.25 Coach Trip: Road to Zante 10.25
Made in Chelsea: Ibiza 11.30 The Tigger
Movie (2000) 1.0 The Big Bang Theory 1.30
The Big Bang Theory 1.55 Streetmate 2.30
Streetmate 3.0 Don’t Tell the Bride 4.0 The Great
British Bake Off 5.15 The Great British Bake Off:
An Extra Slice 6.05-9.0 The Big Bang Theory
9.0 The A-Team (2010) 11.20 Naked
Attraction 12.20 Celebs Go Dating 1.25 Celebs
Go Dating 2.30 Celebs Go Dating 3.20 Tattoo
Fixers on Holiday 4.15 Rude(ish) Tube 4.40
Rude(ish) Tube 5.05 Rude(ish) Tube
CITV 9.05 Adventure Time (T)
9.25 ITV News (T) 9.30 Saturday
Morning with James Martin (T)
11.25 The Hungry Sailors (T) (R)
12.20 News and Weather (T)
12.25 The X Factor (T) (R) 1.30
ITV Racing (T) Ed Chamberlin
and Francesca Cumani introduce
coverage of the afternoon’s
meetings at Haydock Park,
Kempton Park and Ascot.
4.30 The Chase (T) (R) 5.30
Local News (T) 5.40 News and
Weather (T) 6.0 The Family
Chase (T) 7.0 Cannonball (T)
11.0am Destry Rides Again (1939) 1.0
Napoleon Dynamite (2004) 2.50 Marmaduke (2010) 4.35 The Hound of
the Baskervilles (1959) 6.20 Seven Years
in Tibet (1997) 9.0 Pitch Perfect (2012)
11.15 Shut In (2015) 1.0 The Texas
Chainsaw Massacre 2 (1986)
6.0am Ashley Banjo’s Secret Street Crew 7.0
Modern Family 7.30 Modern Family 8.0 The
F1 Show 8.30 Soccer AM: The Best Bits 9.0 PL
Prediction Show 9.30 Premier League Preview
10.0 Soccer AM 11.30 What’s Up TV 12.0
A Premier League of Their Own 1.0 NCIS: LA
2.0 NCIS: LA 3.0 NCIS: LA 4.0 Modern Family
4.30 Modern Family 5.0 Modern Family 5.30
Modern Family 6.0 Modern Family 6.30 David
Attenborough’s Natural History Museum Alive
8.0 A League of Their Own 9.0 Enemy of
the State (1998) 11.30 A League of Their Own US
Road Trip 12.30 Carpool Karaoke Special 1.30
The Force: North East 2.30 Road Wars 3.0 Brit
Cops: Law & Disorder 4.0-6.0 Stargate Atlantis
Sky Sports 1
6.0am Through the Night 7.0 Good Morning
Sports Fans 8.0 Live Rugby Championship: New
Zealand v Argentina (kick-off 8.35am) 10.30
Live Test Cricket: England v West Indies – Third
Test, Day Three 11.30 Live Premier League: Man
City v Liverpool (kick-off 12.30pm) 3.15 Live
Test Cricket: England v West Indies 5.15 Live EFL:
Sheffield Wednesday v Nottingham Forest (kick-off
5.30pm) 7.40 Live La Liga: Barcelona v Espanyol
(kick-off 7.45pm) 9.45 La Liga Highlights: Real
Madrid 10.0 Live Walker Cup Golf 1.0 Through the
Night 2.0 Through the Night 3.0 Great Sporting
Moments 3.15 Live Fight Night International:
Wisaksil Wangek v Román González. Coverage of
the rematch for the WBC Super Flyweight title,
which takes place in Carson, California.
STV NORTH As ITV except 1.30pm-4.30
Racing on STV: Live from Haydock (T) 12.40
Teleshopping 1.40 After Midnight 3.10-6.0
ITV Nightscreen
SCOTTISH As ITV except 1.30pm-4.30
Racing on STV: Live from Haydock (T) 12.40
Teleshopping 1.40 After Midnight 3.10-6.0
ITV Nightscreen
ULSTER As ITV except 12.40am
Teleshopping 1.40-3.0 ITV Nightscreen
BBC1 SCOTLAND 4.0pm-5.20
Sportscene (T)
BBC2 SCOTLAND 3.45pm Coast (T) (R)
4.0 Only Connect (T) (R) 4.30 The Big Family
Cooking Showdown (T) (R) 5.30 Grand Tours
of Scotland’s Lochs (T) (R) 6.0 The Beechgrove
Garden (T) (R) 6.30 Antiques Road Trip (T) (R)
7.30 Proms in the Park (T) 8.45 Grand Tours of
Scotland (T) (R) 9.0-10.45 X+Y (Morgan
Matthews, 2014) (T) Comedy drama starring Asa
Butterfield and Rafe Spall.
BBC2 WALES 5.15pm Flog It! (T) (R) 5.45
Gardeners’ World (T) (R) 6.45 This Farming Life
(T) 7.45 Proms in the Park – Live from Swansea
(T) 9.0-10.45 X+Y (Morgan Matthews,
2014) (T) Comedy drama starring Asa Butterfield
and Rafe Spall.
BBC2 N IRELAND 4.45pm Weather
Watchers with Barra Best (T) (R) 5.0-7.15
Ulster Rugby Live (T) 9.0-10.45 X+Y
(Morgan Matthews, 2014) (T) Comedy drama
starring Asa Butterfield.
Great Canal Journeys: India (T)
(R) (2/2) Timothy West and
Prunella Scales explore the
Brahmaputra river.
X-Men: First Class
(Matthew Vaughn, 2011) (T) The
first generation of the superhero
team is brought together.
Superhero prequel with James
McAvoy and Michael Fassbender.
Milkshake! 10.20 Teenage Mutant
Ninja Turtles (T) (R) 10.55 Make
You Laugh Out Loud (T) (R)
11.15 Police Interceptors (T) (R)
12.10 Police Interceptors (T) (R)
1.10 Police Interceptors (T) (R)
2.10 Police Interceptors (T) (R)
3.05 The Nightmare Neighbour
Next Door (T) (R) 4.0 Murdered:
Nightmare Neighbour Next Door
(T) (R) 5.0-7.0 Can’t Pay? We’ll
Take It Away (T) (R) Double bill.
7.0 Cricket on 5 (T) England v
West Indies. Highlights of day
three of the third Test from Lord’s.
The Great Fire: London Burns
(T) (R) Dan Jones, Suzannah
Lipscomb and Rob Bell take a
look at the Great Fire of London.
8.55 News (T)
9.0 Football on 5: The Championship
(T) Including Fulham v Cardiff
City and Sunderland v Sheffield
United. Colin Murray presents.
The Brain with David Eagleman
(T) (R) The neuroscientist on how
the human brain relies on other
brains to thrive and survive – a
neural interdependence that
begins at birth.
Swarm: Nature’s Incredible
Invasions (T) (R) (1/2)
Documentary looking at the
world of animal swarms.
Inspector Montalbano As
Per Procedure. The detective
investigates when a woman’s
body is found in the foyer of
an apartment block, and finds
that all the residents deny ever
having seen her in the building.
10.0 Football on 5: Goal Rush (T)
Including highlights of AFC
Wimbledon v Portsmouth.
10.30 Hijacked (T) The 1970 hijacking of
five passenger jets by Palestinian
11.30 Criminals: Caught on Camera
(T) (R)
11.55 Access (T) (R)
12.10 SuperCasino (T) 3.10 Exploding
Sun (T) 4.40 Access (T) 4.50
Divine Designs (T) (R) The Art
of Damnation 5.20 Nick’s Quest
(T) (R) 5.45 Chinese Food in
Minutes (T) (R)
10.55 Top of the Pops: 1984 (R) A
vintage edition of the longrunning chart show.
11.30 Len Goodman’s Dance Band
Days (T) (R) The heyday of
British dance bands in the
1920s and 30s.
12.30 Andrew Marr on Churchill: Blood,
Sweat and Oil Paint (T) (R) 1.30
Bright Lights, Brilliant Minds: A
Tale of Three Cities (T) (R) 2.30
Swarm: Nature’s Incredible
Invasions (T) (R) (1/2)
jazz festival. 6.30 BBC New Generation Artists.
Performances of Beethoven and Haydn by NGAs
past and present. Beethoven: Violin Sonata in E
flat, Op 12 No 3. Alexandra Soumm (violin), Julien
Quentin (piano). Haydn: String Quartet in B flat,
Op 76 No 4, Sunrise. Van Kuijk Quartet. 7.15 Prom
75. The Last Night of the Proms, live from London’s
Royal Albert Hall. 11.0 Hear and Now: Tectonics
2017. Robert Worby introduces recordings of
new music performed at the Tectonics festival in
Glasgow in May. Thomas Meadowcroft: Walkman
Antiquarian. Yarn/Wire. Roscoe Mitchell: solo
saxophone improvisation. John Chantler & Luke
Fowler: Improvisation. 12.0 Geoffrey Smith’s Jazz:
Classical Jazz 1.0 Through the Night. The Swedish
Radio Symphony Orchestra performs Mozart’s
Symphony No 33 and Haydn’s Cello Concerto.
2.0 Any Answers? Listeners have their say on the
week’s big issues. 2.30 Drama: Crime Down Under
Radio 1
97.6-99.8 MHz
6.0 Dev 10.0 Greatest Hits With Yasser 1.0 Alice
Levine 4.0 Dance Anthems With Danny Howard
7.0 MistaJam 10.0 The Rap Show With Charlie
Sloth 1.0 DJ Target 4.0 Diplo and Friends
Radio 2
88-91 MHz
6.0 Sounds of the 60s 8.0 Saturday Breakfast
With Dermot 10.0 Alan and Mel’s Summer Escape
(10/10) 1.0 Pick of the Pops 3.0 The Zoë Ball
Show 5.0 Proms in the Park 10.30 The Craig
Charles House Party 12.0 Ana Matronic’s Disco
Devotion 2.0 Radio 2 Playlists: Showtunes,
Love Songs & Easy 5.0 Huey on Sunday
Radio 3
90.2-92.4 MHz
7.0 Breakfast: Salford. Presented by Elizabeth
Alker. 9.0 News 9.03 Summer Record Review:
Proms Composer Portrait. Harriet Smith joins
Andrew McGregor to discuss the a recent release
of Walter Gieseking’s Bach interpretations, which
includes acclaimed performances from 1950.
12.15 New Generation Artists in Brahms and
Schubert. Novello: Fly home, little heart from
(King’s Rhapsody, musical play). Kathryn Rudge
(mezzo), James Baillieu (piano). Sandström: Sång
till Lotta. Peter Moore (trombone), Richard Uttley
(piano). Brahms: Sonata in F minor, Op 120 No 1 for
clarinet and piano. Annelien Van Wauwe (clarinet),
Eric le Sage (piano). Schubert: Romanze aus dem
Schauspiel Rosamund; Gesänge des Harfners, Op
12 No 2. Ilker Arcayürek (tenor), Hartmut Höll
(piano). (7/7) 1.0 News 1.02 Saturday Classics:
Rob Cowan’s Gold Standard. Recordings of music by
Bach, Prokofiev, Bartók and Beethoven. 3.0 Sound
of Cinema. A preview of Benjamin Wallfisch’s score
for the horror remake It. 4.0 Jazz Record Requests.
Alyn Shipton’s selection includes music by Jimmy
Scott. 5.0 Jazz Line-Up. A solo performance by
the guitarist Martin Taylor at the 2017 Glasgow
Radio 4
92.4-94.6 MHz; 198kHz
6.0 News and Papers 6.07 Open Country: Tughall
Mill, Northumberland (R) 6.30 Farming Today
This Week 6.57 Weather 7.0 Today. With Sarah
Montague and Nick Robinson. 7.48 Thought for the
Day, with Catherine Pepinster. 9.0 Saturday Live.
Extraordinary stories and remarkable people. LW:
10.30 Test Match Special: England v West Indies
– Third Test, Day Three. Jonathan Agnew, Ed Smith,
Henry Blofeld and Fazeer Mohammed commentate
on the action at Lord’s. With analysis from Michael
Vaughan, Phil Tufnell, Geoff Boycott and Graeme
Swann. 12.01; 5.54 Shipping Forecast. FM: 10.30
Punt PI: Treasure in the Piano. Steve Punt embarks
on an investigation that leads him on a journey
through Victorian music circles, Freemasonry,
bankruptcy and cereal, as he seeks to solve the
mystery of a hoard of gold coins carefully hidden
inside a piano. (2/4) 11.0 The Week in Westminster.
Presented by Tom Newton Dunn. 11.30 From Our
Own Correspondent 12.0 News 12.04 Money
Box. Paul Lewis examines the latest financial
developments. 12.30 The News Quiz (R) 12.57
Weather 1.0 News 1.10 Any Questions? MP (R)
– The Dragon Man, by Garry Disher. Death strikes
the Mornington Peninsula near Melbourne, at the
height of the Australian summer. Young women are
being targeted and murdered by an expert serial
killer, who leaves cryptic clues for the police to
decipher, and sets deliberate fires to accompany the
crimes. Detective drama starring Richard Dillane,
serving as part of a series of dramas showcasing the
best of contemporary crime fiction from Australia.
4.0 Weekend Woman’s Hour 5.0 Saturday PM
5.30 iPM (R) 5.54 Shipping Forecast 5.57
Weather 6.0 News 6.15 Loose Ends. Nikki Bedi
is joined in conversation by actress, columnist and
comedienne Maureen Lipman, US actor Clarke
Peters and singer-songwriter Nadine Shah. 6.45
(LW joins at 6.45) 7.0 Profile 7.15 Saturday
Review 8.0 Archive on 4: Uses of Literacy Now.
DJ Taylor revisits The Uses of Literacy, the 1957
book in which Richard Hoggart deconstructed
the influence of mass media in the UK. 9.0
Drama: Reading Europe (R) Italy: The Story of
a New Name, by Elena Ferrante. Dramatised by
Timberlake Wertenbaker. 10.0 News 10.15 The
Fix: Drinking Less (R) 11.0 Counterpoint: SemiFinal One (R) 11.30 The Echoing Nightingale:
The Survival of John Keats (R) 12.0 News 12.30
Short Works: Swim (R) 12.48 Shipping Forecast
1.0 As World Service 5.20 Shipping Forecast
5.30 News 5.43 Bells on Sunday: St Austell,
Cornwall 5.45 Profile (R)
5 Live
693, 909 kHz
6.0 Saturday Breakfast 9.0 The Danny Baker
Show 11.0 Fighting Talk 12.0 5 Live Sport 12.30
Premier League Football: Man City v Liverpool
(kick-off 12.30pm) 2.30 5 Live Sport 3.0
Premier League Football. Reports on the 3pm kickoffs. 5.0 Sports Report 6.0 6-0-6 8.0 Kermode
and Mayo’s Film Review 9.0 5 Live Sport 11.0
Stephen Nolan 1.0 Up All Night 5.0 5 Live Science
The Observer | 03.09.17 | THE NEW REVIEW
Today’s television
The week’s listings
start on page 40
begins. Now Robin’s chameleon skills plus a
visit to designer Guy Somé provide valuable
clues to the events of the fatal night.
Cue: an artfully devised solution sequence.
A new case opens next week. Thrilling.
Keaton contributing to some pricelessly
mischievous Ken-and-Barbie gags.
Jonathan Romney
The Echoing Nightingale:
The Survival of John Keats
Ill Behaviour
BBC2, 10pm
Radio 4, 4.30pm
As the series concludes, disaster
strikes during Charlie’s last round of
chemotherapy, forcing Joel to seek outside
help and threatening to compromise the
entire venture. Mike Bradley
Toy Story 3
BBC1, 5pm
From Russia to Iran: Crossing the
Wild Frontier
Channel 4, 8pm
(Lee Unkrich, 2010)
When this was released, it was easy at first
to write it off as one sequel too many –
could there be anything about the joys and
sorrows of toyhood that two superb films
hadn’t already said? But this turns out, in its
edge-of-seat climax, to contain as moving
a life-or-death moment as any children’s
film has ever provided, so prepare to blub.
That apart, Toy Story 3 is an inventive
case of the-same-but-different, as the
gang – now relocated to a toddlers’ daycare
centre – discover the authoritarian side
of cosiness, in the form of Lots-o-Huggin’
Bear (voiced by Ned Beatty), one of the
more eccentrically menacing villains in
the animation canon. Cue much inventive
play on the jailbreak genre, and Michael
Levison Wood begins this week’s 500-mile
trek by hooking up with fearless former
Azeri special forces soldier Nameen, who
guides him through the Gobustan Desert.
On arriving in Georgia he visits an old friend;
meets a hermit who lives in the world’s
most precarious monastery; and enters a
breathtaking bronze age cave complex.
Strike: The Cuckoo’s Calling
BBC1, 9pm
Private eye Cormoran Strike still hasn’t
found the missing pieces of the jigsaw as
the final episode of the murder mystery
ITV, 9pm
The Green-Eyed Monster. Fans may have
thought that we had said goodbye to Lord
Melbourne (Rufus Sewell), but happily
tonight the queen seeks to distract him
from his orchid-propagation for long
enough to provide her with some sage
advice on affairs of the heart – and, it
goes without saying, rekindle their mutual
admiration. She suspects that Albert’s
eye may have been turned by “the
Princess of the Parallelograms”, AKA feted
mathematician Ada Lovelace (Emerald
Fennell, above). Is this the case or has he
in fact been seduced by the mechanical
marvel on which she has been working?
Find out in an episode which also features
more disappointingly dreary goings-on
below stairs, more meddlesome Coburgs
and more unnecessary melodrama
from absurd comic turn the Duchess of
Buccleuch (Diana Rigg). Hugely enjoyable
nonetheless. Mike Bradley
Biographer Richard Holmes turns his
attention to Keats in this refreshing tribute.
Eschewing fellow academics, he talks to
people from different walks of life who
have been affected by his legacy. Jane
Campion was so struck by the Romantic
poet’s love letters to Fanny Brawne that
she made the film Bright Star. Geneticist
Steve Jones meanwhile appreciates Keats
from a scientific standpoint. A thoughtful
programme includes sensitive readings of
his poetry by Luke Treadaway and a visit to
his Hampstead home, Keats House, where
young people continue to be inspired by
the success he achieved in his short,
unprivileged life. Stephanie Billen
Rugby Union
Channel 5, 8pm
Aviva Premiership Rugby Highlights. Mark
Durden-Smith and David Flatman present
a new highlights show, beginning with
the opening round of fixtures, including
Saracens v Northampton Saints and
London Irish v Harlequins in a Twickenham
double-header, and Gloucester v Exeter
Chiefs at Kingsholm. MB
Channel 4
Channel 5
Breakfast (T) 9.0 The Andrew
Marr Show (T) 10.0 Sunday
Morning Live (T) 11.0 Homes
Under the Hammer (T) (R) 12.0
Bargain Hunt (T) (R) 1.0 News (T)
1.15 Money for Nothing (T) (R)
2.15 Escape to the Country (T)
(R) 3.0 Points of View (T) 3.15
Lifeline (T) 3.25 Songs of Praise
(T) 4.0 Diana: The Last Princess
of Wales (T) 5.0 Toy Story
3 (Lee Unkrich, 2010) (T) 6.35
News (T) 6.50 Regional News and
Weather (T) 7.0 Countryfile (T)
The Instant Gardener (T) (R)
6.45 Garden Rescue (T) (R)
7.30 Gardeners’ World (T) (R)
8.30 The Beechgrove Garden
(T) 9.0 Countryfile (T) (R) 10.0
Saturday Kitchen Best Bites
(T) 11.30 Lorraine’s Fast, Fresh
and Easy Food (T) (R) 12.0 A
Cook Abroad: Monica Galetti’s
France (T) (R) 1.0 Boxing: World
Amateur Championships (T) 3.0
Equestrian: Burghley Horse Trials
(T) 5.0 Flog It! (T) (R) 6.0 Wild
Tales from the Village (T) (R) 7.0
Tribes, Predators & Me (T) (R)
CITV 8.25 Weekend (T) 9.25
ITV News (T) 9.30 Judge Rinder
(T) (R) 10.25 Joanna Lumley’s
Postcards (T) (R) 10.55 James
Martin’s French Adventure
11.20 Long Lost Family (T)
(R) 12.20 News and Weather
(T) 12.30 Bear Grylls Survival
School (T) (R) 1.0 Happy
Feet (George Miller, 2006) (T)
3.0 The X Factor (T) (R) 4.30
Victoria (T) (R) 5.35 Local News
(T) 5.40 News and Weather (T)
6.0 Tipping Point: Lucky Stars
(T) 7.0 Coronation Street (T)
Kirstie’s Handmade Treasures
(T) (R) 6.15 Last Man Standing
(T) 6.40 Outlaw Triathlon (T)
7.35 Everybody Loves Raymond
(T) (R) 8.0 Everybody Loves
Raymond (T) (R) 8.30 Frasier
(T) (R) 9.30 Sunday Brunch
(T) 12.30 The Simpsons (T) (R)
12.55 The Simpsons (T) (R) 1.20
Diary of a Wimpy Kid: Dog
Days (David Bowers, 2012) (T)
3.15 The Crystal Maze (T) (R)
4.10 The Great British Bake Off
(T) (R) 5.25 News (T) 5.45 F1:
Italian Grand Prix Highlights (T)
Fake or Fortune? (T) Fiona Bruce
and art expert Philip Mould travel
to Australia to verify whether
a painting is a lost work by
impressionist Tom Roberts.
Strike: The Cuckoo’s Calling (T)
The story reaches a climax as
long-buried secrets come to
light. Last in this series, but a new
case begins next week.
Dragons’ Den (T) Pitches
include a crowdfunded range
of personalised luxury bags
and a range of allergy-friendly
frozen curry sauces.
Astronauts: Do You Have What It
Takes? (T) The candidates move
from basic to advanced stages
of selection, heading to some
specialised astronaut training
facilities in Europe.
The X Factor (T) The longrunning talent contest continues,
with Louis Walsh, Nicole
Scherzinger, Sharon Osbourne
and Simon Cowell.
Victoria (T) The Queen suspects
that her husband is attracted to
another woman and discovers
that she is pregnant for a second
From Russia to Iran: Crossing the
Wild Frontier (T) Levison Wood
and his guide journey through
Azerbaijan and Georgia.
Exodus: Gods and Kings
(Ridley Scott, 2014) (T) Biblical
epic about Moses, starring
Christian Bale and Joel Edgerton.
10.0 News (T)
10.20 Regional News (T) Weather
10.30 New Tricks Into the Woods (T)
(R) Detective drama.
11.30 Keeping Rosy (Steve
Reeves, 2014) (T) A woman
takes increasingly desperate
measures to make amends after
she commits an uncharacteristic
violent act. Thriller with Maxine
Peake and Blake Harrison.
12.55 Weather for the Week Ahead
(T) 1.0 BBC News (T)
10.0 Ill Behaviour (T) Last in the series.
11.0 Let Me In (Matt Reeves,
2010) (T) Horror starring Chloë
Grace Moretz.
12.45 Return from the River
Kwai (Andrew V McLaglen, 1988)
(T) Second world war drama
sequel starring Chris Penn. 2.25
Countryfile (T) (R) 3.20 Holby
City (T) (R) 4.20 This Is BBC2 (T)
BT Sport 1
6.0am Uefa Champions League Magazine 6.30
Tranmere Rovers v Dover Athletic 7.30 The Big
Match Revisited 8.30 The Big Match Revisited
9.30 The Big Match Revisited 10.30 Aviva
Premiership Rugby Highlights 12.30 Everton
v Southampton 1985/86 1.0 Liverpool v Notts
Forest 1987/88 1.30 Wolves v Arsenal 1971/72
2.0 Southampton v Man Utd 1971/72 2.30 Live:
Leicester Tigers v Bath (kick-off 3pm) Coverage of
the match from the opening round of fixtures, which
takes place at Welford Road. 5.15 Reload 5.30
Uefa Champions League Magazine 6.0 Live MLB:
Indians @ Tigers (start-time 6.10pm) Coverage of
the American League Central clash from Comerica
Park. 9.0 Vanarama National League Highlights
9.30 UFC: The Ultimate Fighter 10.30 Live CPL
T20 Cricket: Barbados Tridents v St Kitts and Nevis
Patriots. Coverage of the latest round-robin game,
from Kensington Oval in Bridgetown, Barbados.
2.30 Aviva Premiership Rugby Highlights 5.0
Irish Rally Review 5.30 Mobil 1: The Grid
Sky Atlantic
6.0am The Guest Wing 7.0 The Guest Wing
8.0 The Guest Wing 9.0 Fish Town 10.0 Fish
Town 11.0 House 12.0 House 1.0 House 2.0
Remembering the Artist: Robert De Niro Sr 3.0
Blue Bloods 4.0 Blue Bloods 5.0 Blue Bloods
6.0 Blue Bloods 7.0 Blue Bloods 8.0 Blue
Bloods 9.0 Game of Thrones 10.30 Ballers
11.10 1993 12.20 Looking 1.0 Twin Peaks:
The Return 2.10 Twin Peaks: The Return 3.20
Looking 4.0 Urban Secrets 5.0 Urban Secrets
10.05 News and Weather (T)
10.20 Judge Rinder’s Crime Stories
(T) (R) Barrister Robert Rinder
examines real-life cases.
11.25 5 Gold Rings (T) (R) Game show
hosted by Phillip Schofield. A
brother and sister take on two
Royal Navy shipmates.
12.20 Jackpot247 3.0 Motorsport UK
(T) 3.50 ITV Nightscreen 5.05
The Jeremy Kyle Show (T) (R)
The Big Bang Theory 7.30 The Big Bang Theory
8.0 The Big Bang Theory 8.30 The Big Bang
Theory 9.0 The A-Team (2010) 11.20
The Big Bang Theory 11.50 The Big Bang Theory
12.20 Tattoo Fixers on Holiday 1.20 Don’t Tell
the Bride 2.25 Body Fixers 3.20 Hollyoaks
11.0am The Phantom (1996) 1.0 Baby’s Day Out (1994) 2.50 Eragon (2006)
4.55 Congo (1995) 7.0 Evolution
(2001) 9.0 Four Weddings and a Funeral
(1994) 11.15 Instinct (1999) 1.40 STV NORTH As ITV except 12.20am
Teleshopping 1.20 After Midnight 2.50 May
the Best House Win (T) (R) 3.40-5.05 ITV
CHANNEL As ITV except 12.20am-3.0
ITV Nightscreen
SCOTTISH As ITV except 12.20am
Teleshopping 1.20 After Midnight 2.50 May
the Best House Win (T) (R) Homeowners in
Hertfordshire and Bedfordshire. 3.40-5.05
ITV Nightscreen
ULSTER As ITV except 12.20am
Teleshopping 1.20-3.0 ITV Nightscreen
Mindscape (2013)
BBC1 N IRELAND 3.15pm-3.25
Community Life (T) Father Brian D’Arcy make
an appeal for Action Mental Health.
BBC2 SCOTLAND 5.0pm River City (T)
(R) The day of Alex and Annie’s wedding dawns,
but the course of true love does not run smooth
for Pete and Caitlin. 6.0-7.0 The Great Scottish
Swim (T) Dougie Vipond presents highlights from
Loch Lomond, where Scotland’s biggest open
water event took place. Keri-Anne Payne provides
expert analysis.
BBC2 WALES 5.0pm Bute: The Scot
Who Spent a Welsh Fortune (T) (R) The story of
Victorian aristocrat and architecture enthusiast
John Patrick Crichton-Stuart. 6.0-7.0 Scrum V
Sunday (T) Ross Harries presents the programme
live from Newcastle Emlyn Rugby Club.
6.0am Hour of Power 7.0 Duck Quacks Don’t
Echo 7.30 Modern Family 8.0 Modern Family
8.30 Modern Family 9.0 Modern Family 9.30
Modern Family 10.0 WWE Raw Hlts 11.0 Hawaii
Five-0 12.0 Hawaii Five-0 1.0 Road Wars 2.0
Road Wars 3.0 Road Wars 4.0 Modern Family
4.30 Modern Family 5.0 Modern Family 5.30
Modern Family 6.0 Modern Family 6.30 The
Simpsons 7.0 The Simpsons 7.30 The Simpsons
8.0 Game4Grenfell 9.0 The Last Ship 10.0
The Force: North East 11.0 Zoo 12.0 NCIS:
LA 1.0 NCIS: LA 2.0 NCIS: LA 3.0 NCIS: LA
4.0 Stargate Atlantis 5.0 Stargate Atlantis
Sky Sports 1
6.0am Through the Night 7.0 Total Goals 8.0
Total Goals 9.0 Total Goals 10.0 Sports Sunday
11.0 Sports Sunday 11.30 Live F1: Italian Grand
Prix. The drivers are presented to the fans. 12.0
Live F1. The team present live from the pit lane.
6.0am Kevin Can Wait 6.25 Couples Come Dine
with Me 7.25 Couples Come Dine with Me 8.25
Hollyoaks 11.0 Made in Chelsea: Ibiza 12.0 Don’t
Tell the Bride 1.0 Streetmate 1.35 Streetmate
2.05 The Tigger Movie (2000) 3.40 Rio (2011) 5.30 The Big Bang Theory 6.0 The
Big Bang Theory 6.30 The Big Bang Theory 7.0
12.30 Live F1: The Italian Grand Prix (start-time
1pm) Coverage of the 13th round of the season
from the Autodromo Nazionale Monza. 3.30
Live GAA: Galway v Waterford (throw-in 3.30pm)
From Croke Park. 6.0 Live PGA Tour Golf: The
Dell Technologies Championship 10.30 Sports
Sunday 11.0-6.0 Through the Night
THE NEW REVIEW | 03.09.17 | The Observer
11.50 Safe House (Daniel
Espinosa, 2012) (T) Thriller
with Denzel Washington and
Ryan Reynolds.
1.50 Kitchen Nightmares USA (T)
(R) 2.40 Gillette World Sport (T)
3.10 KOTV Boxing Weekly (T)
3.35 Para Triathlon: Superhero Tri
(T) (R) 4.30 Location, Location,
Location (T) (R) 5.25 Jamie’s
Comfort Food Bites (T) (R)
Milkshake! 10.05 Teenage
Mutant Ninja Turtles (T) (R)
10.30 Football on 5: Goal Rush
(T) (R) 11.10 Penguins Make You
Laugh Out Loud (T) (R) 12.05
Monkeys Make You Laugh
Out Loud (T) (R) 1.05 Police
Interceptors (T) (R) 2.05 All
New Traffic Cops (T) (R) 3.05
All New Traffic Cops (T) (R) 4.0
All New Traffic Cops (T) (R)
5.0 Traffic Cops: On the Edge
(T) (R) 6.0 Traffic Cops: Under
Attack (T) (R) 7.0 Can’t Pay?
We’ll Take It Away (T) (R)
The World’s Most Beautiful Eggs:
The Genius of Carl Fabergé (T)
(R) Stephen Smith explores the
life and work of the renowned
jeweller, best known for the
eggs he made out of precious
metals and gemstones for the
last tsars of Russia.
Aviva Premiership Rugby
Highlights (T) Including Saracens
v Northampton Saints, London
Irish v Harlequins and Gloucester
v Exeter Chiefs.
8.55 News (T)
9.0 Fifty Shades of Grey (Sam
Taylor-Johnson, 2015) (T) Erotic
drama starring Jamie Dornan and
Dakota Johnson.
BBC Proms 2017 (T) A
performance of Schoenberg’s
Gurrelieder, conducted by
Simon Rattle, featuring the
London Symphony Orchestra
and Chorus, the CBSO Chorus
and Orfeó Català.
11.25 My Secret Sex Fantasy (T) New
series. A detailed look at the
deepest fantasies of ordinary
men and women, who volunteer
to reveal them on camera, asking
what their deeper meanings are.
12.20 OMG! Rise of the Insta-Babes
(T) 1.10 SuperCasino (T) 3.10
Judy Garland: In Life and Death
(T) (R) 4.0 Now That’s Funny! (T)
(R) 4.50 Divine Designs (T) (R)
Patrons and Saints 5.20 Nick’s
Quest (T) (R) 5.45 Chinese Food
in Minutes (T) (R)
10.0 BBC Proms 2017 (T) A concert
of classical music from different
regions of India and Pakistan to
mark 70 years since partition.
With Budhaditya Mukherjee
(sitar), Soumen Nandy (tabla),
Kumaresh Rajagopalan (Carnatic
violin), Jayanthi Kumaresh
(Saraswati veena) and Anantha
R Krishnan (mridangam).
12.40 Singer-Songwriters at the BBC
(T) (R) 1.40 Singer-Songwriters
at the BBC (T) (R) 2.35 The
World’s Most Beautiful Eggs:
The Genius of Carl Fabergé (T) (R)
8.15 Interval: Proms Extra. Helen Rappaport and
Victor Sebestyen consider the figure of Lenin.
Hosted by Anne McElvoy. Recorded earlier with
an audience at Imperial College. Shostakovich:
Symphony No 12 in D minor (The Year 1917).5.45
Words and Music: Making Music 7.0 The Listening
Service. The music of revolution and protest,
recorded at the BBC Proms. 7.30 Prom 68.
Presentd by Sara Mohr-Pietsch. Prokofiev: Cantata
for the Twentieth Anniversary of the October
Revolution, Op 74. Tchaikovsky: Piano Concerto
No. 3 in E flat major. 8.15 Interval: The Noise of
Time, by Julian Barnes. Julian Barnes reads from
his recently acclaimed novel about Shostakovich.
Shostakovich: Symphony No 5 in D minor. Denis
Matsuev (piano), Mariinsky Chorus and Orchestra,
Valery Gergiev. 10.15 Between the Ears: Return to
Brigg Fair. Jim Moray recreates a pivotal moment
in the history of folk music. 10.45 Early Music
Late: Gesualdo Six. English Renaissance polyphony.
11.45 BBC New Generation Artists: Variations,
Fantasias and Fugues by Mozart and Beethoven.
12.30 Through the Night: Verdi’s Requiem (R)
Food Programme: A Taste of Georgia – Into the
Caucasus. With Dan Saladino. 12.57 Weather
1.0 The World This Weekend. With Mark Mardell.
1.30 The Pigeon Whistles (R) 2.0 Gardeners’
Question Time: Lerwick (R) 2.45 The Listening
Project Omnibus: Perspectives on Disability (R)
3.0 News 3.02 Drama: Midnight’s Children – All
India Radio. Ayeesha Menon’s dramatisation of
Salman Rushdie’s novel. (3/5) 4.0 News 4.02
Bookclub: Patrick McCabe – The Butcher Boy 4.30
The Echoing Nightingale: The Survival of John
Keats. Richard Holmes examines the enduring
influence of the romantic poet’s life and work. 5.0
Disrupted Development (R) 5.40 Profile 5.54
Shipping Forecast 5.57 Weather 6.0 News 6.15
Pick of the Week. With Jim Al-Khalili. 7.0 The
Archers. Joe’s competitive spirit flares. 7.15 Dave
Podmore’s Big Bake-Off Bash (R) 7.45 Hiding
Out. Natalie goes to Scotland to pursue a crucial
lead. (12/15) 8.0 More or Less (R) 8.30 Last
Word (R) 9.0 Money Box (R) 9.26 Radio 4 Appeal
(R) 10.0 The Westminster Hour. With Carolyn
Quinn. 11.0 The Moth Radio Hour: Facing The
Dark. George Dawes Green introduces tales about
facing the physical and spiritual darkness. (5/8)
11.50 A Point of View: The Religion of Rights (R)
12.0 News 12.15 A Good Read: Vanessa Feltz &
David Hepworth (R) 12.45 Bells on Sunday: Wells
Cathedral, Somerset (R) 12.48 Shipping Forecast
1.0 As World Service 5.20 Shipping Forecast
5.30 News 5.43 Prayer for the Day 5.45
Farming Today 5.58 Tweet of the Day: Samuel
West on the Nightingale
Radio 1
97.6-99.8 MHz
6.0 Dev 10.0 Greatest Hits With Jordan North 1.0
Alice Levine 4.0 Cel Spellman 6.0 Most Played
7.0 Rock Show With Daniel P Carter 10.0 Phil
Taggart 1.0 Monki 4.0 Adele Roberts
Radio 2
88-91 MHz
6.0 Sunday Hour 7.0 Good Morning Sunday With
Clare Balding 9.0 Steve Wright’s Sunday Love Songs
11.0 Michael Ball 1.0 Elaine Paige 3.0 Johnnie
Walker 5.0 Len Goodman 7.0 Claudia Winkleman
9.0 Clare Teal 11.0 Don Black (12) 12.0 Sounds
of the 60s (R) 2.0 Radio 2 Playlists: Blues, Pop
Ballads & Monday Motivation 5.0 Vanessa Feltz
Radio 3
90.2-92.4 MHz
7.0 Breakfast. With Martin Handley. 9.0
News 9.03 Sunday Morning. James Jolly plays
Dvořák’s Symphonic Variations, plus music by
Gounod, Mahler, Brahms, Rubbra and Schubert.
This week’s young artist is violinist Lim Ji-young.
12.0 Private Passions. Poet and singer Gwyneth
Glyn tells Michael Berkeley about her musical
passions. 1.0 News 1.02 Prom 67. Presented by
Ian Skelly. Mendelssohn: Overture, The Hebrides
(Fingal’s Cave). Mendelssohn: Violin Concerto in
E minor. 1.45 Interval: The Dresden Amen. David
Owen Norris takes a brisk tour around the many
reinventions of the Dresden Amen, including a
newly commissioned treatment by electronic
music producer Bwoy de Bajan. 2.05 Mendelssohn:
Symphony No 5 in D (Reformation). Isabelle Faust
(violin), Freiburg Baroque Orchestra, Pablo HerasCasado. 3.0 Choral Evensong: Southern Cathedrals
Festival Recorded at Winchester Cathedral (R)
4.0 Prom 60. Presented by Penny Gore. Leif Ove
Andsnes (piano), Oslo Philharmonic Orchestra,
Vasily Petrenko. Stravinsky: Suite – The Firebird
(revised version, 1919). Rachmaninov: Piano
Concerto No 4 in G minor (revised version, 1941).
Radio 4
92.4-94.6 MHz; 198kHz
6.0 News 6.05 Something Understood: There’s
No Place Like Home. With Rabbi Shoshana Boyd
Gelfand. 6.35 On Your Farm: Future Food –
Islander – Rathlin Kelp. With Dan Saladino. (8/10)
6.57 Weather 7.0 News 7.0 Sunday Papers 7.10
Sunday. Edward Stourton presents a roundup of
the week’s religious and ethical headlines. 7.55
Radio 4 Appeal: Teach a Man to Fish. With Anna
Ford. 7.57 Weather 8.0 News 8.0 Sunday Papers
8.10 Sunday Worship: Reinventing Eden. A visit
to the gardens of Lambeth Palace. 8.48 A Point
of View: The Religion of Rights (R) 8.58 Tweet
of the Day: Amy Liptrot on the Arctic Tern (R)
9.0 Broadcasting House. With Paddy O’Connell.
10.0 The Archers (R) 11.15 The Reunion:
Solidarity (4/5) 12.0 News 12.01 (LW) Shipping
Forecast 12.04 Just a Minute (R) 12.30 The
5 Live
693, 909 kHz
6.0 Breakfast 9.0 SportsWeek 10.0 Pienaar’s
Politics 11.0 Images of Diana (R) 11.30 Images of
Diana (R) 12.0 5 Live Sport 1.0 5 Live F1: Italian
Grand Prix 3.0 Rugby Union 5.0 5 Live Sport 6.0
6-0-6 7.30 Jane Garvey & Peter Allen 10.0 Nihal
Arthanayake 1.0 Up All Night 4.30 5 Live F1 5.0
Morning Reports 5.15 Wake Up to Money
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