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The Observer The New Review - March 18, 2018

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The books
8 | 03
03 | 18
Will Self on
why the novel
is in freefall
The search is on
for the UK’s top
‘An inspiration’:
the scientist
The data war
Exclusive Christopher Wylie, a 28-year-old Canadian whose
online psychological profiling tool was used to target the US
electorate, goes on the record with Carole Cadwalladr
Portrait by Antonio Olmos for the Observer
The finest writing every Sunday for arts,
science, politics and ideas
Agenda 2-7
Features 8-22
Science & Tech 23-27
 On my radar Irish novelist
Louise O’Neill shares her
cultural highlights
 Q&A Broadcaster Reggie Yates
on his new Grenfell documentary
 The grid The art of
urban sketching
 Stewart Lee column
 David Levene’s photographs
from backstage at the Olivier
awards nominees’ lunch
 New Radicals 2018:
the launch of our biennial
competition to find 50 trailblazers
working for the public good
 Sharmaine Lovegrove recounts
her experiences in publishing –
and how they led to her inclusive
new imprint, Dialogue Books
 Stephen Hawking: a tribute
to the theoretical physicist who
died last week
 Q&A: American journalist
Emily Chang on Brotopia, her new
book exposing Silicon Valley’s
macho culture
 John Naughton: why
extremism pays for the
Silicon Valley giants
 The five: space stations
Critics 28-43
Books 44-51
Puzzles & Television
 Mark Kermode’s verdict on
Ruben Östlund’s The Square
 Kitty Empire on Kylie
reborn as a cowgirl and the
new Yo La Tengo album
 Laura Cumming on
Tacita Dean’s new shows
 Architecture: Rowan Moore
on 40 years of hi-tech
 Comedy: Ralph Jones on
Flight of the Concords live
 Rachel Cooke reviews Miranda
Seymour’s In Byron’s Wake
 Anthony Cummins on Irvine
Welsh’s Dead Men’s Trousers
 The books interview: Will Self
 Peter Conrad on The Long ’68:
Radical Protest and Its Enemies
 Alex Preston hails The
Friendly Ones as Philip Hensher’s
best novel yet
 Poetry book of the month
 Everyman crossword, sudoku,
Azed crossword, chess, readers’
pictures – p52-53
 The week’s television and
radio highlights – p54-55
 Today’s television – p57
 Monday to Saturday’s listings
and choices – p58-63
Follow us on Twitter and Instagram @ObsNewReview and email us
Last week, Lisa O’Kelly talked to
people from different industries
making the switch to become
teachers. Here’s how you responded:
I was a civil engineer and took up
maths teaching in state school at
the age of 50. I lasted 14 years until
retirement. I found no hostility or
ageism. More people should do
this if they want a fulfilling and
demanding career change.
I always wanted to see this kind of
scheme to enable mature candidates
with life skills and confidence to
get into teaching. Interesting to see
how tough these five trainees are
finding it; but they are all enjoying
the challenge. Having done a bit of
teaching in my 20s I already know
how difficult it is!
Steve Palmer, posted online
It’s very healthy to make changes in
one’s career, particularly when you
have a genuine motivation to do
so. A motivated and enthusiastic
teacher will always be good for
their students.
Really pleased to hear about the
progress of @NowTeachOrg, but
unfortunate choice of headline:
career-change teachers aren’t
“former professionals” because
teaching “is” a profession.
Richard Eyre (@RREyre) on Twitter
The Observer
Nickolas Muray Photo Archives
The big
Frida Kahlo in New York
City in 1939, photographed
by her lover Nickolas Muray
at the end of their affair
The Hungarian-American
photographer and Olympic
fencer Nickolas Muray took this
photograph of Frida Kahlo in
traditional Mexican dress and
cigarette in hand on a rooftop in
Greenwich Village, New York, in
March 1939. The pair were at the end
of a secret love affair that had begun
in Mexico eight years earlier.
Kahlo, whose life will be
celebrated in a large-scale exhibition
of her personal belongings at the
Victoria and Albert Museum in
London opening on 16 June (for
which tickets have just gone on sale),
was then 32. She was in a moment
of typically contrasting fortune,
having just returned by boat from
France where the surrealist André
Breton had organised an exhibition
of her work and where a painting of
hers, the self-portrait The Frame, had
been purchased by the Louvre. While
in Paris she had, however, been ill
once again: in hospital with a kidney
infection. A few months earlier, her
first solo show in New York had been
a great success – the actor Edward
G Robinson had bought four of
her paintings – but all the time she
was aware that, back in Mexico, her
incendiary marriage to the painter
and revolutionary Diego Rivera
was unravelling.
Having come to New York to see
Muray, Kahlo discovered that the
photographer was involved with
other women and he broke off their
relationship. In other portraits he
made of Kahlo, she stares full on
into the camera lens. Here, she
looks away, eyes almost closed.
The backdrops of her self-portraits
(and of Muray’s previous pictures)
have invariably been as studiously
“Mexican” as her costume; here that
make-believe is replaced by a barebrick tenement wall, and a smudge
of New York skyline.
When Kahlo returned to Mexico
the following month, she and Rivera
divorced and she made one of her
most enduring images, The Two
Fridas, one in a lacy European ball
gown, the other in a Tehuana dress
similar to the one she wears in this
photograph. In both self-portraits
the vessels of her heart are exposed.
You wonder, as she sits for Muray,
whether she imagines they are also
on display here. Tim Adams
Frida Kahlo: Making Herself Up
is at the V&A, London, 16 June to
4 November
Photograph by
Nickolas Muray
The Observer
On m
1. Podcast
West Cork
I was a child when [French film
producer] Sophie Toscan du
Plantier was killed in the small
village of Schull, but I can still
remember the impact it had.
To say we were shocked is an
understatement; in some ways,
her murder changed the way
locals saw ourselves. I had been
eagerly awaiting West Cork,
an Audible original podcast
about the murder, the man
suspected but never convicted
and the tight-knit community
left suspended in suspicion
and fear. The podcast offers a
nuanced, insightful examination
of the facts rather than the
myths around the murder and
makes for compelling listening.
Born in 1985 in Clonakilty, West
Cork, Louise O’Neill is an Irish novelist
and journalist. Her debut novel for
young adults, Only Ever Yours (2014),
explored themes of female beauty
and subjugation. This was followed by
Asking For It (2015), which depicted
the aftermath of a rape and won book
of the year at the Irish Book awards.
In 2015, she contributed to the essay
collection I Call Myself a Feminist.
O’Neill’s first adult novel, Almost Love
(Quercus, £14.99), is out now.
2. Book
5. TV
I Am, I Am, I Am
by Maggie O’Farrell
Because of the quantity of
books I read, I tend to forget
plots and characters almost as
soon as I finish. (Once, to my
eternal shame, I did this with a
character in my own novel. The
less said about that the better.)
It has been months since I read
I Am, I Am, I Am and it feels as
vivid as if it were yesterday.
Maggie O’Farrell details her
17 brushes with death in such
exquisitely beautiful prose that
the reader is left with a dull
ache in their chest when they
turn the last page, longing for
My Crazy Ex-Girlfriend
I stumbled across My Crazy
Ex-Girlfriend by mistake
when I was driven into a rage
by posters advertising the
show on the subway. That’s so
sexist, I thought, not realising
that the writer, Rachel Bloom,
had created a show gleefully
skewering any preconceptions
that the audience might have
formed. It’s feminist, sharp,
funny and one of the most
intelligent portrayals of mental
health I have ever seen in
popular culture. It also has
musical numbers celebrating
the joys of period sex. What
more could you ask for?
3. Theatre
4. Exhibition
Not a Funny Word
This is a one-woman show
by activist and comedian
Tara Flynn and is her account
of travelling to Holland for
an abortion. It’s a ferocious,
brave performance, moving
deftly from hilariously funny to
heartbreakingly sad, and I defy
anyone not to leave the theatre
feeling inspired. At a time
when Ireland is approaching a
referendum to repeal the eighth
amendment in our constitution
[overturning a national ban],
Not a Funny Word is more
vitally important than ever.
Nan Goldin: The Ballad of
Sexual Dependency
When I lived in New York, I
worked in an office close to the
Museum of Modern Art. I used
to visit on my lunch break and
to this day I miss the ease of
access I had to such incredible
art. The last time I visited the
city, MoMA was showing The
Ballad of Sexual Dependency
by Nan Goldin. I wandered
around the exhibition as if in
a trance, hypnotised by the
intimate depictions of love and
sex and drugs and pain and the
hunger that seemed to pervade
each image.
6. Restaurant
Deasy’s in Ring, Ireland
I cannot cook, something I try
to reclaim as a revolutionary
act of feminism, but that is
actually born out of laziness.
(See also – shaving my legs.)
While I’m proud of being the
kind of useless that means I will
surely be the first to die when
the apocalypse comes, I’m also
very impressed by people who
turn cooking into an art form.
Caitlin Ruth, the head chef at
Deasy’s of Ring, Clonakilty, is
one of those people. It is one
of my favourite restaurants in
Ireland – eating there is like a
spiritual experience.
The Observer
Stay focused Brexiters –
Russia is not the enemy
ast Sunday, diners from the Salisbury Zizzi
were belatedly advised to burn all their
clothes as a precautionary measure; as
was anyone who had ever visited a Jamie’s
Italian, but for different reasons. Enemies
of Putin expire and nuclear threats are
proliferating across the Earth. Perhaps the trademark
robust diplomacy of the foreign secretary Boris Johnson,
deployed via scatological limericks in his chickenfeed
Telegraph column, might defuse the tension?
Needless to say, shameless remoaners are already
exploiting the Salisbury poisoning to sabotage Brexit.
Is there no pig trough low enough into which they will
not now stoop themselves? Even given Russia’s nuclear
threats, we must not be so weak as to go dunce’s cap in
hand to the Brussels fat-cats who gerrymandered us
into building wheelchair access ramps in libraries and
planting wild flower meadows. Brexit means Brexit.
Unfortunately for diehard traitors, when Mrs May
described “an indiscriminate and reckless act against the
UK, putting innocent civilians at risk”, she was talking of
the Salisbury poisoning, not hard Brexit.
Brexiters must remember that Britain’s real enemy
is not our anti-EU ally Russia and her toxic novichok.
Britain’s real enemies are Michel Barnier, Donald Tusk,
Jean-Claude Juncker, Peter Stringfellow, Lily Allen,
Marcus Brigstocke, all high court judges, and endless
bloody red tape! Better to live free for a day in a Britain
full of rogue killers roaming Italian restaurants with
nerve agents, than to live a thousand years as the
straight banana slaves of Brussels.
We have all seen the famous film of an untrousered
Putin riding wild boar piglets bareback in the snow.
Is it time to be talking of freezing our Front Nationalfunding Russian allies’ assets, especially when Putin’s
own assets seem resistant to cold?
Christ, I can’t keep this forced nonsensical tone going
any more, even to provoke the usual online Kremlin
gremlin comments. I’m on tour and it’s Tuesday in a
Dundee hotel. I have to file this tomorrow from Perth
by close of business, and the story unravels as quickly
as I can rewrite it. Since I started scribbling,
Rex Tillerson’s disappeared, the Sun
says a Russian’s been strangled in New
Malden, and even Stephen Hawking’s
and Ken Dodd’s deaths look like Putin
might have had a hand in them. Did
anyone toxicity test the telescope and the
tattyfilarious tickling stick? Thought not.
The Brexit British are a joke nation
now. Putin knows no one will stick their
neck out for those wankers. I don’t know
anything about Russia anyway. Someone
line in Russia has a tattoo based on
one of my standup routines. And I
v a Russian relative who is nice.
My only other Russian experience was a fever dream,
frozen in the few winter weeks between the death of my
mother and the birth of my daughter. In the dying days
of December 2010, I was on a train through the falling
snow from London to Worcester with my three-year-old
son. I had to visit my bereaved stepfather, my wife at
home in the painful throes of a problematic pregnancy.
Coincidentally, my friend the poet John Hegley was
in the same carriage, I remember, and we said goodbye
and good luck at Oxford, where the train surrendered
to rapidly worsening weather, and the railway company
bundled us into optimistic black cabs towards our
respective onward destinations.
y son and I found ourselves sharing
our ride through the suddenly
Siberian Cotswolds with a groomed
Russian businessman and his
younger English companion, a
glamorous, cut-glass woman who
said she worked “in fashion”. They were on their way to
a party at a country house in Worcestershire, swaddled
in designer coats that mocked our cagoules, their eyes
darkly ringed, their demeanours distracted. The pair
seemed to have nothing in common with one another
and no shared frame of reference. They were not
delighted by the sudden beautiful world beyond the
window. They did not hold each other’s cold hands in
hot wonder.
I tried to make small talk. The fashion woman could
not elaborate on her fashion job criteria, and they both
looked away from us, out of the windows in different
directions, as the snow fell hard and thick upon the
darkening wolds. It came out that I was a comedian but
they did not find this especially interesting; nor were
they engaged by my eloquent and delightful infant,
whose cherubic curls and indefatigable innocence
created an angelic counterpoint to the black mood of
the taxi’s interior.
I asked the Russian what he thought of gay rights at
home, and of Putin, whom I found newly comical, as
he had recently been photographed wrestling a bear
naked while shooting an assault rifle. Or something. The
Russian explained forcefully that I needed to understand
that there was a vodka-fuelled crisis of manhood in
Russia, and that Putin was selflessly providing a role
model to inspire the men of the nation. The discussion
was closed.
To me the pair seemed shrouded in shame, as if they
had committed a crime, the presence of a chirruping
child magnifying their corruption. I think the kid saved
me from going under that evening – a psychic lifebuoy.
They were my own devils, come for me, I think. That
black cab was my blues crossroads.
At Worcester Shrub Hill, the taxi’s elastic limit, our
farewells were not fond. I left the silent couple awaiting
collection, halogen-lit in the falling flakes, and my little
boy and I struggled onward through the drifts into the
shadow of the Malvern Hills.
I will never forget our odd quartet’s awkward
three-hour black cab journey in that snow-shrouded
English twilight, an iconic British brand traversing the
worsening terrain, a global darkness drawing in behind
it. But the Russian was just passing through. The land
and its people were a playground for him.
And I often think of the quiet woman, Komarovsky’s
Lara reimagined. I hope that fashion thing worked
out for her.
Stewart Lee’s Content Provider continues to tour until
April, when it is abandoned over three nights at the Royal
Festival Hall in London
Did anyone
toxicity test
telescope or
Ken Dodd’s
The Observer
Washington Square Park, New York
The grid
The sketches of
Simone Ridyard, part
of a global community
of artists drawing the
urban landscape
Peter Street, Manchester
The Lowry, Salford
The Simone Lia cartoon
Urban Sketchers (also known as USk) is a
worldwide group of more than 60,000 people
who create drawings of the places they visit.
Founded by journalist Gabriel Campanario
in Seattle in 2007, the movement quickly
went global with the help of social media.
It is important that the drawings are done
in situ. “It makes you look at things,” says
Simone Ridyard, architect, senior lecturer at
Manchester School of Art and a founder of
the Manchester and Salford Urban Sketchers
group. “Some of the things I really like are the
tramlines and litter bins and postboxes – the
urban clutter. It’s not about drawing beautiful
things; it’s about what’s in front of you.”
Ridyard mainly uses fine-liner pens overlaid
with watercolour, and has drawn places from
Rio de Janeiro to Singapore to Padstow. The
Manchester branch has more than 2,000
members, many of whom meet regularly to
sketch individually or in groups. “There’s
no pressure; you might do one drawing,
you might do five,” says Ridyard. “It’s about
enjoying the view.” Kathryn Bromwich
Padstow, Cornwall
Ipanema Beach, Rio de Janeiro
The Observer
Reggie Yates
Broadcaster and film-maker, 34
responsibility as a film-maker more
seriously than ever.
You’re a presenter, a director, a writer,
an actor and a photographer. How do
you pick what you want to do?
I don’t see myself as a presenter
any more, I see myself as bringing
people’s stories to the outside world.
I don’t present in the same way as
I used to, down the camera lens.
Instead I’m talking to the director,
having a genuine conversation
with him, the same as I’m having a
genuine conversation with a person
on screen. My relationship with
the camera has shifted. And that’s
affected how I direct drama. I think
my days as an actor are done. I still
have friends from the Anna Scher
[drama school] days, like Daniel
Kaluuya, and he was in Date Night.
But I prefer telling the stories and
shaping the narrative.
The broadcaster and
film-maker on his
favourite new music,
taking responsibility,
and telling the stories
of Grenfell Tower in
his new documentary
‘The subject is
always bigger ’:
Reggie Yates.
Anne Rose for
the Observer
What has changed in our culture to
bring black talent to the fore?
I think the talent has always been
there, I think the work has always
been there, the creatives too, but I
don’t think there’s been so many
opportunities for it to be seen. The
internet changed everything. You
can’t deny what people want any
more, and that’s shaping culture in
a very different way. It’s shining a
light on people that everyone wants,
such as Wiley and Skepta. It’s a very
exciting time, and I’m proud to have
a voice in this era.
Reggie Yates started acting at a
young age. He’s appeared on TV
shows Desmond’s, Grange Hill and
Doctor Who, as well as providing
the voice of CBeebies character
Rastamouse. In his 20s, he presented
The Radio 1 Chart Show as well as
Top of the Pops. Since 2011, Yates has
forged an award-winning career
in documentaries on topics such
as teen gangs, homosexuality in
Russia and religion in South Africa.
He is also a photographer, writer
and director, and his short film, Date
Night, won best short in the London
independent film festival in 2014.
His latest documentary, Reggie Yates:
Searching for Grenfell’s Lost Lives, airs
on 25 March, 9pm on BBC Two.
Why do you focus on the people
rather than the politics of Grenfell in
your new documentary?
Like many other people I was
touched by the terrible events at
Grenfell. But I felt like I’d seen lots
of similar reports, about the police
or the public inquiry. I wondered
if someone who isn’t a journalist
could make a documentary that put
the people of Grenfell at the centre
of the story, that focused on who the
people were, as opposed to why it
happened. We went to the memorial
wall, and you could see the same
people mentioned again and again,
the same pictures, so you could see
who the big people in the area were.
We were led by those tributes.
How did you go about telling those
You have to not assume anything.
These are real people who have
real lives, and those lives were
taken prematurely. Like with
How’s your love life?
Ha! I live alone. It’s hard when
you work as much as I do, it’s not
conducive to dating. I have latenight romantic dinners with my
Jessica (Urbano Ramirez, 12),
there were 18 children who died
in Grenfell, including her. It would
be inappropriate to assume things
about her. You have to talk to the
people who knew her, and her
friends playing back her Snapchat
messages made her real. And then
there were the people who actively
wanted me to tell their story. Like
Reece, who was friends with Yasin
(El Wahabi, 20). Reece really cared
about how the story was told. I felt
moved that they told me, that they
wanted to talk to me. How that
community dealt and is dealing with
the pain was beautiful, there’s no
other word for it.
You’re the same person as you were
when you presented Top of the Pops
but you are regarded differently now.
How does that feel?
It is mind-blowing to me, the
different reaction I get now. There’s
a unique trust between me and the
public that’s grown up and that’s
really important to me, but the
truth is that trust has come about
because the programmes I make are
not about me. The subject is always
bigger: that’s the lesson I’ve learned
about making documentaries.
You recently apologised for your
comment that it’s better for current
UK music artists to be managed by
people like them rather than “some
random fat Jewish guy from northwest London”. What were you trying
to say and what did you learn from the
I made a stupid and hurtful
comment which I massively regret.
The context of what I was trying to
say is irrelevant. It was wrong and I
offer no excuses. While I can’t take
back what I said, I have apologised
to the Jewish community and am
grateful for those who have shown
me understanding and forgiveness.
I’ve learned that context is irrelevant
when a comment plays to negative
racial stereotypes and I take my
‘My life
is not
to dating.
I have
with my
Are you still into music?
Oh yes, definitely. I don’t have
any streaming accounts – I like to
own music, and I like people to
recommend stuff to me, or I surf
Soundcloud or YouTube to find stuff
I like. I love Octavian, who’s a young
British rapper, Daniel Caesar, Yxng
Bane, Burna Boy.
Are you any good at cooking?
I tend to go out for dinner. If I’m
writing all day, I like to know that
I’ve got people to see in the evening,
so tonight I’m booked to go for
dinner with a couple of friends, one
who’s doing well as an actor and
another who’s a writer. I like to hang
out with people who are smarter
than me, who make me think. I don’t
really stop working, because it’s not
really work for me. If I’m making
a programme like we did about
Grenfell then as difficult as some of
the content is, to hear those delicate
personal stories is a privilege. It’s
so fulfilling. And with writing, it’s
like a Rubik’s Cube. It’s so hard to
puzzle it out, but when it falls into
place it’s the most satisfying feeling
in the world.
Interview by Miranda Sawyer
The Observer
Cover story
‘If I’d taken literally
any other job,
Cambridge Analytica
wouldn’t exist. You
have no idea how
much I brood on this’
A year ago, Carole Cadwalladr began to
investigate data firm Cambridge Analytica and
its links to the Brexit Leave campaign in the UK
and Team Trump in the US presidential election.
Now, for the first time, the source at the heart of
her revelations, 28-year-old Christopher Wylie,
goes on record to discuss his role in hijacking
the profiles of millions of Facebook users – part
of a sophisticated cyber-campaign to unleash
‘psychological warfare’ on the American electorate
Portrait by
Antonio Olmos
‘It’s insane…
it’s like Nixon
on steroids’:
Christopher Wylie
photographed for
the Observer.
The Observer
he first time I met Christopher
Wylie, he didn’t yet have pink
hair. That comes later. As does his
mission to rewind time. To put the
genie back in the bottle.
By the time I met him in person,
I’d already been talking to him on a
daily basis for hours at a time. On the
phone, he was clever, funny, bitchy,
profound, intellectually ravenous,
compelling. A master storyteller. A
politicker. A data science nerd.
Two months later, when he
arrived in London from Canada,
he was all those things in the flesh.
And yet the flesh was impossibly
young. He was 27 then (he’s 28
now), a fact that has always seemed
glaringly at odds with what he has
done. He may have played a pivotal
role in the momentous political
upheavals of 2016. At the very least,
he played a consequential role. At
24, he came up with an idea that
led to the foundation of a company
called Cambridge Analytica, a data
analytics firm that went on to claim
a major role in the Leave campaign
for Britain’s EU membership
referendum, and later became a key
figure in digital operations during
Donald Trump’s election campaign.
Or, as Wylie describes it, he
was the gay Canadian vegan who
somehow ended up creating “Steve
Bannon’s psychological warfare
mindfuck tool”.
In 2014, Steve Bannon – then
executive chairman of the “altright” news network Breitbart
– was Wylie’s boss. And Robert
Mercer, the secretive US hedge-fund
billionaire and Republican donor,
was Cambridge Analytica’s investor.
And the idea they bought into was
to bring big data and social media to
an established military methodology
– “information operations” – then
turn it on the US electorate.
It was Wylie who came up with
that idea and oversaw its realisation.
And it was Wylie who, last spring,
became my source. In May 2017,
I wrote an article headlined “The
great British Brexit robbery”, which
set out a skein of threads that linked
Brexit to Trump to Russia. Wylie was
one of a handful of individuals who
provided the evidence behind it. I
found him, via another Cambridge
Analytica ex-employee, lying low in
Canada: guilty, brooding, indignant,
confused. “I haven’t talked about
this to anyone,” he said at the time.
And then he couldn’t stop talking.
By that time, Steve Bannon had
become Trump’s chief strategist.
Cambridge Analytica’s parent
company, SCL, had won contracts
with the US State Department and
was pitching to the Pentagon, and
Wylie was genuinely freaked out. “It’s
insane,” he told me one night. “The
company has created psychological
profiles of 230 million Americans.
And now they want to work with the
Pentagon? It’s like Nixon on steroids.”
He ended up showing me a
tranche of documents that laid
out the secret workings behind
Cambridge Analytica. And in the
months following publication of my
article in May, it was revealed that
the company had “reached out” to
WikiLeaks to help distribute Hillary
Clinton’s stolen emails in 2016.
And then we watched as it became
a subject of special counsel Robert
Mueller’s investigation into possible
Russian collusion in the US election.
The Observer also received the
first of three letters from Cambridge
Analytica threatening to sue us
for defamation. We are still only
just starting to understand the
maelstrom of forces that came
together to create the conditions for
what Mueller confirmed last month
was “information warfare”. But
Wylie offers a unique, worm’s-eye
view of the events of 2016. Of how
Continued overleaf
The Observer
Continued from page 9
Facebook was hijacked, repurposed
to become a theatre of war: how it
became a launchpad for what seems
to be an extraordinary attack on the
US’s democratic process.
Wylie oversaw what may have
been the first critical breach.
Aged 24, while studying for a PhD
in fashion trend forecasting, he
came up with a plan to harvest the
Facebook profiles of millions of
people in the US, and to use their
private and personal information to
create sophisticated psychological
and political profiles. And then
target them with political ads
designed to work on their particular
psychological makeup.
“We ‘broke’ Facebook,” he says.
And he did it on behalf of his new
boss, Steve Bannon.
“Is it fair to say you ‘hacked’
Facebook?” I ask him one night.
He hesitates. “I’ll point out that
I assumed it was entirely legal and
above board.”
Last month, Facebook’s UK
director of policy, Simon Milner, told
British MPs on a select committee
inquiry into fake news, chaired by
Conservative MP Damian Collins,
that Cambridge Analytica did not
have Facebook data. The official
Hansard extract reads:
Christian Matheson (MP for
Chester): “Have you ever passed any
user information over to Cambridge
Analytica or any of its associated
Simon Milner: “No.”
Matheson: “But they do hold a
large chunk of Facebook’s user data,
don’t they?”
Milner: “No. They may have lots of
data, but it will not be Facebook user
data. It may be data about people
who are on Facebook that they have
gathered themselves, but it is not
data that we have provided.”
Two weeks later, on 27 February,
as part of the same parliamentary
inquiry, Rebecca Pow, MP for
Taunton Deane, asked Cambridge
Analytica’s CEO, Alexander Nix:
“Does any of the data come from
Facebook?” Nix replied: “We do not
work with Facebook data and we do
not have Facebook data.”
And through it all, Wylie and
I, plus a handful of editors and
a small, international group of
academics and researchers, have
known that – at least in 2014 – that
certainly wasn’t the case, because
Wylie has the paper trail. In our
first phone call, he told me he had
the receipts, invoices, emails, legal
letters – records that showed how,
between June and August 2014, the
profiles of more than 50 million
Facebook users had been harvested.
Most damning of all, he had a letter
from Facebook’s own lawyers
admitting that Cambridge Analytica
had acquired the data illegitimately.
Going public involves an
enormous amount of risk. Wylie
is breaking a non-disclosure
agreement and risks being sued. He
is breaking the confidence of Steve
Bannon and Robert Mercer.
It’s taken a rollercoaster of a year
to help get Wylie to a place where
it’s possible for him to finally come
forward. A year in which Cambridge
Analytica has been the subject of
investigations on both sides of
the Atlantic – Robert Mueller’s in
the US, and separate inquiries by
the Electoral Commission and the
Information Commissioner’s Office
in the UK, both triggered in February
2017, after the Observer’s first article
in this investigation.
It has been a year, too, in which
Wylie has been trying his best to
rewind – to undo events that he set
in motion. Earlier this month, he
submitted a dossier of evidence to
the Information Commissioner’s
Office and the National Crime
Agency’s cybercrime unit. He is now
in a position to go on the record: the
data nerd who came in from the cold.
Cambridge Analytica: the key players
Alexander Nix
An Old Etonian with a degree from
Manchester Un
University, Nix, 42,
worked as a fin
nancial analyst in
Mexico and the UK before joining
SCL, a strategi
strategic communications
firm, in 2003.
From 2007 h
he took over the
company’s ele
elections division, and
claims to have worked on 260
campaigns glo
globally. He set up
Cambridge Analytica
to work in
America, w
with investment from
Robert Me
He has been both hailed
as a visio
visionary – featuring on
Wired’s llist of “25 geniuses
who are creating the future of
business” – and derided as a
“snake oil” salesman.
here are many points
where this story could
begin. One is in 2012,
when Wylie was 21
and working for the
Liberal Democrats
in the UK, then in government as
junior coalition partners. His career
trajectory has been, like most aspects
of his life so far, extraordinary,
preposterous, implausible.
Wylie grew up in British
Columbia and as a teenager he was
diagnosed with ADHD and dyslexia.
He left school at 16 without a single
qualification. Yet at 17, he was
working in the office of the leader
of the Canadian opposition; at 18,
he went to learn all things data
from Obama’s national director of
targeting, which he then introduced
to Canada for the Liberal party. At
19, he taught himself to code, and
in 2010, age 20, he came to London
to study law at the London School
of Economics.
“Politics is like the mob, though,”
he says. “You never really leave. I
got a call from the Lib Dems. They
wanted to upgrade their databases
and voter targeting. So, I combined
working for them with studying for
my degree.”
Politics is also where he feels
most comfortable. He hated school,
but as an intern in the Canadian
parliament he discovered a world
where he could talk to adults and
they would listen. He was the kid
who did the internet stuff and
within a year he was working for the
leader of the opposition.
“He’s one of the brightest people
you will ever meet,” a senior
politician who’s known Wylie since
he was 20 told me. “Sometimes that’s
a blessing and sometimes a curse.”
Meanwhile, at Cambridge
University’s Psychometrics
Centre, two psychologists, Michal
Kosinski and David Stillwell,
were experimenting with a way
of studying personality – by
quantifying it.
Starting in 2007, Stillwell,
while a student, had devised
various apps for Facebook, one of
which, a personality quiz called
myPersonality, had gone viral.
Users were scored on “big five”
personality traits – Openness,
Conscientiousness, Extroversion,
Agreeableness and Neuroticism
– and in exchange, 40% of them
consented to give him access to their
Facebook profiles. Suddenly, there
was a way of measuring personality
traits across the population and
correlating scores against Facebook
“likes” across millions of people.
The research was original,
groundbreaking and had obvious
‘It showed these odd
patterns. People who liked
“I hate Israel” on Facebook
also tended to like KitKats’
possibilities. “They had a lot of
approaches from the security
services,” a member of the centre
told me. “There was one called
You Are What You Like and it was
demonstrated to the intelligence
services. And it showed these odd
patterns; that, for example, people
who liked ‘I hate Israel’ on Facebook
also tended to like Nike shoes
and KitKats.
“There are agencies that
fund research on behalf of the
intelligence services. And they were
all over this research. That one was
nicknamed Operation KitKat.”
The defence and military
establishment were the first to see
the potential of the research. Boeing,
a major US defence contractor,
funded Kosinski’s PhD and Darpa,
the US government’s secretive
Defense Advanced Research
Projects Agency, is cited in at least
two academic papers supporting
Kosinski’s work.
But when, in 2013, the first major
paper was published, others saw this
potential too, including Wylie. He had
finished his degree and had started
his PhD in fashion forecasting, and
was thinking about the Lib Dems. It
is fair to say that he didn’t have a clue
what he was walking into.
“I wanted to know why the Lib
Dems sucked at winning elections
when they used to run the country
up to the end of the 19th century,”
Wylie explains. “And I began looking
at consumer and demographic
Aleksandr Kogan
Data miner
Aleksandr Kogan was born in Moldova
and lived in Moscow until the age of
seven, then moved with his family
to the US, where he became a
naturalised citizen. He studied at the
University of California, Berkeley, and
got his PhD at the University of Hong
Kong before joining Cambridge as a
lecturer in psychology and expert in
social media psychometrics. He set
up Global Science Research (GSR) to
carry out CA’s data research. While at
Cambridge he accepted a position at
St Petersburg State University, and
also took Russian government grants
for research. He changed his name to
Spectre when he married, but later
reverted to Kogan.
data to see what united Lib Dem
voters, because apart from bits of
Wales and the Shetlands it’s weird,
disparate regions. And what I found
is there were no strong correlations.
There was no signal in the data.
“And then I came across a paper
about how personality traits
could be a precursor to political
behaviour, and it suddenly made
sense. Liberalism is correlated
with high openness and low
conscientiousness, and when you
think of Lib Dems they’re absentminded professors and hippies.
They’re the early adopters… they’re
highly open to new ideas. And it just
clicked all of a sudden.” Here was a way for the party to
identify potential new voters. The
only problem was that the Lib Dems
weren’t interested.
“I did this presentation at which
I told them they would lose half
their 57 seats, and they were like:
‘Why are you so pessimistic?’ They
actually lost all but eight of their
seats, FYI.”
Another Lib Dem connection
introduced Wylie to a company
called SCL Group, one of whose
subsidiaries, SCL Elections, would
go on to create Cambridge Analytica
(an incorporated venture between
SCL Elections and Robert Mercer,
funded by the latter). For all intents
and purposes, SCL/Cambridge
Analytica are one and the same.
Alexander Nix, then CEO of SCL
Elections, made Wylie an offer he
The Observer
Steve Bannon
Former board member
A former investment banker turned
“alt-right” media svengali, Steve
Bannon was boss at website Breitbart
when he met Christopher Wylie and Nix
and advised Robert Mercer to invest
in political data research by setting
up CA. In August 2016 he became
Donald Trump’s campaign CEO. Bannon
encouraged Trump to embrace the
“populist, economic nationalist” agenda
that would carry him into the White
House. That earned Bannon the post
of chief strategist to the president.
By August 2017 his relationship with
Trump had soured and he was out.
Nix made Wylie an offer he
couldn’t resist. He said: ‘We’ll
give you total freedom. Come
and test all your crazy ideas’
Robert Mercer
Rebekah Mercer
Robert Mercer, 71, is a computer
scientist and hedge fund
billionaire, who used his fortune
to become one of the most
tics as
influential men in US politics
a top Republican donor. An AI
expert, he made a fortune
with quantitative trading
pioneers Renaissance
Technologies, then built a
$60m war chest to back
conservative causes
by using an offshore
investment vehicle to
avoid US tax.
Rebekah Mercer has a maths
degree from Stanford, and worked
as a trader,
but her influence comes
primarily from her father’s billions.
The for
fortysomething, the second of
Mercer’s three daughters, heads
up th
the family foundation
channels money
to rightwing groups.
The conservative
mega-donors backed
Breitba Bannon and, most
poured millions into
Trump’s presidential campaign.
Emma Graham-Harrison
couldn’t resist. “He said: ‘We’ll give
you total freedom. Experiment.
Come and test out all your
crazy ideas.’”
In the history of bad ideas, this
turned out to be one of the worst.
The job was research director across
the SCL group, a private contractor
that has both defence and elections
operations. Its defence arm was a
contractor to the UK’s Ministry of
Defence and the US’s Department of
Defense, among others. Its expertise
was in “psychological operations” –
or psyops – changing people’s minds
not through persuasion but through
“informational dominance”, a set of
techniques that includes rumour,
disinformation and fake news.
SCL Elections had used a similar
suite of tools in more than 200
elections around the world, mostly
in undeveloped democracies that
Wylie would come to realise were
unequipped to defend themselves.
Wylie holds a British Tier 1
Exceptional Talent visa – a UK work
visa given to just 200 people a year.
He was working inside government
(with the Lib Dems) as a political
strategist with advanced data science
skills. But no one, least of all him,
could have predicted what came next.
When he turned up at SCL’s offices in
Mayfair, he had no clue that he was
walking into the middle of a nexus
of defence and intelligence projects,
private contractors and cutting-edge
“The thing I think about all the
time is, what if I’d taken a job at
Deloitte instead? They offered me
one. I just think if I’d taken literally
any other job, Cambridge Analytica
wouldn’t exist. You have no idea
how much I brood on this.”
A few months later, in autumn
2013, Wylie met Steve Bannon. At
the time, he was editor-in-chief of
Breitbart, which he had brought to
Britain to support his friend Nigel
Farage in his mission to take Britain
out of the European Union.
What was he like?
“Smart,” says Wylie. “Interesting.
Really interested in ideas. He’s the
only straight man I’ve ever talked to
about intersectional feminist theory.
He saw its relevance straightaway to
the oppressions that conservative,
young white men feel.”
Wylie meeting Bannon was the
moment petrol was poured on a
flickering flame. Wylie lives for
ideas. He speaks 19 to the dozen for
hours at a time. He had a theory to
prove. And at the time, this was a
purely intellectual problem. Politics
was like fashion, he told Bannon.
“[Bannon] got it immediately.
He believes in the whole Andrew
Breitbart doctrine that politics is
downstream from culture, so to
change politics you need to change
culture. And fashion trends are a
useful proxy for that. Trump is like
a pair of Uggs, or Crocs, basically.
So how do you get from people
thinking ‘Ugh. Totally ugly’ to the
moment when everyone is wearing
them? That was the inflection point
he was looking for.”
But Wylie wasn’t just talking
about fashion. He had recently
been exposed to a new discipline:
“information operations”, which
ranks alongside land, sea, air and
space in the US military’s doctrine
of the “five-dimensional battle
space”. His brief ranged across the
SCL Group – the British government
has paid SCL to conduct counterextremism operations in the Middle
East, and the US Department of
Defense has contracted it to work in
I tell him that another former
employee described the firm as
“MI6 for hire”, and I’d never quite
understood it.
“It’s like dirty MI6 because
you’re not constrained. There’s no
having to go to a judge to apply for
permission. It’s normal for a ‘market
research company’ to amass data
on domestic populations. And if
you’re working in some country
and there’s an auxiliary benefit to a
current client with aligned interests,
well that’s just a bonus.”
When I ask how Bannon even
found SCL, Wylie tells me what
sounds like a tall tale, though it’s
one he can back up with an email
about how Mark Block, a veteran
Republican strategist, happened to
sit next to a cyberwarfare expert
for the US air force on a plane.
“And the cyberwarfare guy is like,
‘Oh, you should meet SCL. They do
cyberwarfare for elections.’”
It was Bannon who took this
idea to the Mercers: Robert
Mercer – the co-CEO of the hedge
fund Renaissance Technologies,
who used his billions to pursue
a rightwing agenda, donating to
Republican causes and supporting
Republican candidates – and his
daughter Rebekah.
Nix and Wylie flew to New York
to meet the Mercers in Rebekah’s
Manhattan apartment.
“She loved me. She was like,
‘Oh we need more of your type on
our side!’” Your type?
“The gays. She loved the gays. So
did Steve [Bannon]. He saw us as
early adopters. He figured, if you can
get the gays on board, everyone else
will follow. It’s why he was so into the
whole Milo [Yiannopoulos] thing.”
Robert Mercer was a pioneer in AI
and machine translation. He helped
invent algorithmic trading – which
replaced hedge fund managers
with computer programs – and he
listened to Wylie’s pitch. It was for
a new kind of political messagetargeting based on an influential
and groundbreaking 2014 paper
researched at Cambridge’s
Psychometrics Centre, called:
“Computer-based personality
judgments are more accurate than
those made by humans”.
“In politics, the money man is
usually the dumbest person in the
room. Whereas it’s the opposite way
around with Mercer,” says Wylie. “He
said very little, but he really listened.
He wanted to understand the science.
And he wanted proof that it worked.”
And to do that, Wylie needed data.
ow Cambridge
Analytica acquired
the data has been
the subject of
internal reviews
at Cambridge
University, of many news articles
and much speculation and rumour.
When Nix was interviewed by
MPs last month, Damian Collins
asked him:
“Does any of your data come from
Global Science Research company?”
Nix: “GSR?”
Collins: “Yes.”
Nix: “We had a relationship with
GSR. They did some research for us
back in 2014. That research proved to
be fruitless and so the answer is no.”
Collins: “They have not supplied
you with data or information?”
Nix: “No.”
Collins: “Your datasets are not
based on information you have
received from them?”
Nix: “No.”
Collins: “At all?”
Nix: “At all.”
The problem with Nix’s response
to Collins is that Wylie has a copy
of an executed contract, dated 4
June 2014, which confirms that SCL,
the parent company of Cambridge
Analytica, entered into a commercial
arrangement with a company
called Global Science Research
(GSR), owned by CambridgeContinued overleaf
The Observer
Continued from page 11
based academic Aleksandr Kogan,
specifically premised on the
harvesting and processing of
Facebook data, so that it could be
matched to personality traits and
voter rolls.
He has receipts showing that
Cambridge Analytica spent $7m to
amass this data, about $1m of it with
GSR. He has the bank records and
wire transfers. Emails reveal Wylie
first negotiated with Michal Kosinski,
one of the co-authors of the original
myPersonality research paper, to
use the myPersonality database.
But when negotiations broke down,
another psychologist, Aleksandr
Kogan, offered a solution that
many of his colleagues considered
unethical. He offered to replicate
Kosinski and Stilwell’s research and
cut them out of the deal. For Wylie it
seemed a perfect solution. “Kosinski
was asking for $500,000 for the IP
but Kogan said he could replicate it
and just harvest his own set of data.”
(Kosinski says the fee was to fund
further research.)
Kogan then set up GSR to do
the work, and proposed to Wylie
they use the data to set up an
interdisciplinary institute working
across the social sciences. “What
happened to that idea,” I ask Wylie.
“It never happened. I don’t know
why. That’s one of the things that
upsets me the most.”
It was Bannon’s interest in
culture as war that ignited Wylie’s
intellectual concept. But it was
Robert Mercer’s millions that
created a firestorm. Kogan was
able to throw money at the hard
problem of acquiring personal
data: he advertised for people who
were willing to be paid to take
a personality quiz on Amazon’s
Mechanical Turk and other
platforms. At the end of which they
gave him permission to access their
Facebook profiles. And not just
theirs, but their friends’ too. On
average, each “seeder” – the people
who had taken the personality
test, around 320,000 in total –
unwittingly gave access to at least
160 other people’s profiles, none of
whom would have known or had
reason to suspect.
What the email correspondence
between Cambridge Analytica
employees and Kogan shows is
that Kogan had collected millions
of profiles in a matter of weeks.
But neither Wylie nor anyone
else at Cambridge Analytica had
checked that it was legal. It certainly
wasn’t authorised. Kogan did have
permission to pull Facebook data,
but for academic purposes only.
What’s more, under British data
protection laws, it’s illegal for
personal data to be sold to a third
party without consent.
“Facebook could see it was
happening,” says Wylie. “Their
security protocols were triggered
because Kogan’s apps were pulling
this enormous amount of data,
but apparently Kogan told them it
was for academic use. So they were
like, ‘Fine’.”
Kogan maintains that everything
he did was legal and he had a
“close working relationship” with
Facebook, which had granted him
permission for his apps.
Cambridge Analytica had its
data. This was the foundation of
everything it did next – how it
extracted psychological insights
from the “seeders” and then built an
algorithm to profile millions more.
For more than a year, the
reporting around what Cambridge
Analytica did or didn’t do for Trump
has revolved around the question
of “psychographics”, but Wylie
points out: “Everything was built on
the back of that data. The models,
the algorithm. Everything. Why
wouldn’t you use it in your biggest
campaign ever?”
In December 2015, the Guardian’s
Harry Davies published the first
report about Cambridge Analytica
acquiring Facebook data and
using it to support Ted Cruz in his
campaign to be the US Republican
candidate. But it wasn’t until many
months later that Facebook took
action. And then, all they did was
write a letter. In August 2016, shortly
before the US election, and two
years after the breach took place,
Facebook’s lawyers wrote to Wylie,
who left Cambridge Analytica in
2014, and told him the data had
been illicitly obtained and that
“GSR was not authorised to share
or sell it”. They said it must be
deleted immediately.
“I already had. But literally all I
had to do was tick a box and sign it
and send it back, and that was it,”
says Wylie. “Facebook made zero
effort to get the data back.”
There were multiple copies
of it. It had been emailed in
unencrypted files.
Cambridge Analytica rejected all
allegations the Observer put to them.
of visual
trialled by
GSR’s online
profiling test.
were asked:
How important
should this
message be to
all Americans?
r Kogan – who later
changed his name
to Dr Spectre, but
has subsequently
changed it back to
Dr Kogan – is still
a faculty member at Cambridge
University, a senior research
associate. But what his fellow
academics didn’t know until Kogan
revealed it in emails to the Observer
(although Cambridge University
says that Kogan told the head of
the psychology department), is that
he is also an associate professor
at St Petersburg University.
Further research revealed that he’s
received grants from the Russian
government to research “Stress,
health and psychological wellbeing
in social networks”. The opportunity
came about on a trip to the city to
visit friends and family, he said.
There are other dramatic
documents in Wylie’s stash,
including a pitch made by
Cambridge Analytica to Lukoil,
Russia’s second biggest oil
producer. In an email dated 17 July
2014, about the US presidential
primaries, Nix wrote to Wylie: “We
have been asked to write a memo
to Lukoil (the Russian oil and gas
company) to explain to them how
our services are going to apply to
the petroleum business. Nix said
that “they understand behavioural
microtargeting in the context of
elections” but that they were “failing
to make the connection between
voters and their consumers”. The
work, he said, would be “shared with
the CEO of the business”, a former
Soviet oil minister and associate of
Putin, Vagit Alekperov.
“It didn’t make any sense to me,”
says Wylie. “I didn’t understand
either the email or the pitch
presentation we did. Why would a
Russian oil company want to target
information on American voters?”
Mueller’s investigation traces
the first stages of the Russian
operation to disrupt the 2016 US
election back to 2014, when the
Russian state made what appears
to be its first concerted efforts to
harness the power of America’s
social media platforms, including
Facebook. And it was in late summer
of the same year that Cambridge
Analytica presented the Russian
oil company with an outline
of its datasets, capabilities and
methodology. The presentation
had little to do with “consumers”.
Instead, documents show it focused
on election disruption techniques.
The first slide illustrates how a
“rumour campaign” spread fear
in the 2007 Nigerian election – in
which the company worked – by
spreading the idea that the “election
would be rigged”. The final slide,
branded with Lukoil’s logo and that
of SCL Group and SCL Elections,
headlines its “deliverables”:
“psychographic messaging”.
Lukoil is a private company,
but its CEO, Alekperov, answers
to Putin, and it’s been used as a
vehicle of Russian influence in
Europe and elsewhere – including
in the Czech Republic, where
in 2016 it was revealed that an
adviser to the strongly pro-Russian
How CA’s psychological
profiling tool worked
Approx. 320,000 US voters
(“seeders”) were paid $2-5 to
take a detailed personality/
political test that required them
to log in with their Facebook
A selection of
the images used
in the political
message testing
The personality quiz results
were paired with the
seeders’ Facebook data –
such as likes – to seek out
psychological patterns
*Arkansas, Colorado, Florida, Iowa, Louisiana, Nevada, New Hampshire,
North Carolina, Oregon, South Carolina, West Virginia
The Observer
The app also collected
data such as likes and
personal information
from the test-taker’s
Facebook account, as
well their friends’ data
of friends
Altogether, more than
people’s raw Facebook data
was collected
combined the data
with other sources
such as voter records
to create a superior
set of records
(initially 2m people
in 11 key states*),
with hundreds of
data points per
These individuals could then be
targeted with highly personalised
advertising based on their
personality data
Czech president was being paid by
the company.
When I asked Bill Browder – an
Anglo-American businessman who
is leading a global campaign for a
Magnitsky Act to enforce sanctions
against Russian individuals – what
he made of it, he said: “Everyone
in Russia is subordinate to Putin.
One should be highly suspicious
of any Russian company pitching
anything outside its normal
business activities.”
Last month, Nix told MPs on
the parliamentary committee
investigating fake news: “We have
never worked with a Russian
organisation in Russia or any other
company. We do not have any
relationship with Russia or Russian
There’s no evidence that
Cambridge Analytica ever did
any work for Lukoil. What these
documents show, though, is that
in 2014 one of Russia’s biggest
companies was fully briefed on:
Facebook, microtargeting, data,
election disruption.
Cambridge Analytica is “Chris’s
Frankenstein”, says a friend of
his. “He created it. It’s his data
Frankenmonster. And now he’s
trying to put it right.”
Only once has Wylie made the
case of pointing out that he was 24
at the time. But he was. He thrilled
to the intellectual possibilities
of it. He didn’t think of the
consequences. And I wonder how
much he’s processed his own role
or responsibility in it. Instead, he’s
determined to go on the record and
undo this thing he has created.
Because the past few months
have been like watching a tornado
gathering force. And when Wylie
turns the full force of his attention
to something – his strategic brain,
his attention to detail, his ability
to plan 12 moves ahead – it is
sometimes slightly terrifying to
behold. Dealing with someone
trained in information warfare has
its own particular challenges, and
his suite of extraordinary talents
include the kind of high-level
political skills that makes House
of Cards look like The Great British
Bake Off. And not everyone’s a fan.
Any number of ex-colleagues – even
the ones who love him – call him
“Machiavellian”. Another described
the screaming matches he and Nix
would have.
“What do your parents make of
your decision to come forward?” I
ask him.
“They get it. My dad sent me
a cartoon today, which had two
characters hanging off a cliff, and
the first one’s saying ‘Hang in there.’
And the other is like: ‘Fuck you.’”
Which are you?
“Probably both.”
What isn’t in doubt is what a long,
fraught journey it has been to get to
this stage. And how fearless he is.
After many months, I learn the
terrible, dark backstory that throws
some light on his determination,
and which he discusses candidly.
At six, while at school, Wylie was
abused by a mentally unstable
person. The school tried to cover
it up, blaming his parents, and a
‘Facebook has denied and
denied this. It has misled
MPs and failed in its duties
to respect the law’
long court battle followed. Wylie’s
childhood and school career
never recovered. His parents
– his father is a doctor and his
mother is a psychiatrist – were
wonderful, he says. “But they knew
the trajectory of people who are
put in that situation, so I think
it was particularly difficult for
them, because they had a deeper
understanding of what that does to
a person long term.”
He says he grew up listening
to psychologists discuss him in
the third person, and, aged 14, he
successfully sued the Canadian
Ministry of Education and forced it to
change its inclusion policies around
bullying. What I observe now is how
much he loves the law, lawyers,
precision, order. I come to think of
his pink hair as a false-flag operation.
What he cannot tolerate is bullying.
Is what Cambridge Analytica does
akin to bullying?
“I think it’s worse than bullying,”
Wylie says. “Because people don’t
necessarily know it’s being done
to them. At least bullying respects
the agency of people because they
know. So it’s worse, because if
you do not respect the agency of
people, anything that you’re doing
after that point is not conducive to
a democracy. And fundamentally,
information warfare is not
conducive to democracy.”
ussia, Facebook,
Trump, Mercer,
Bannon, Brexit. Every
one of these threads
runs through
Cambridge Analytica.
Even in the past few weeks, it
seems as if the understanding of
Facebook’s role has broadened and
deepened. The Mueller indictments
were part of that, but Paul-Olivier
Dehaye – a data expert and
academic based in Switzerland,
who published some of the first
research into Cambridge Analytica’s
processes – says it’s become
increasingly apparent that Facebook
is “abusive by design”. If there is
evidence of collusion between the
Trump campaign and Russia, it will
be in the platform’s data flows, he
says. And Wylie’s revelations only
move it on again.
“Facebook has denied and denied
and denied this,” Dehaye says
when told of the Observer’s new
evidence. “It has misled MPs and
congressional investigators and it’s
failed in its duties to respect the law.
It has a legal obligation to inform
regulators and individuals about
this data breach, and it hasn’t. It’s
failed time and time again to be
open and transparent.”
Facebook denies that the data
transfer was a breach. In addition,
a spokesperson said: “Protecting
people’s information is at the heart
of everything we do, and we require
the same from people who operate
apps on Facebook. If these reports
are true, it’s a serious abuse of our
rules. Both Aleksandr Kogan as well
as the SCL Group and Cambridge
Analytica certified to us that they
destroyed the data in question.”
Millions of people’s personal
information was stolen and used to
target them in ways they wouldn’t
have seen, and couldn’t have known
about, by a mercenary outfit,
Cambridge Analytica, who, Wylie
says, “would work for anyone”.
Who would pitch to Russian oil
companies. Would they subvert
elections abroad on behalf of
foreign governments?
It occurs to me to ask Wylie this
one night.
Nato or non-Nato?
“Either. I mean they’re
mercenaries. They’ll work for pretty
much anyone who pays.”
It’s an incredible revelation. It also
encapsulates all of the problems
of outsourcing – at a global scale,
with added cyberweapons. And in
the middle of it all are the public –
our intimate family connections,
our “likes”, our crumbs of personal
data, all sucked into a swirling black
hole that’s expanding and growing
and is now owned by a politically
motivated billionaire.
The Facebook data is out in the
wild. And for all Wylie’s efforts,
there’s no turning the clock back.
Tamsin Shaw, a philosophy
professor at New York University,
and the author of a recent New York
Review of Books article on cyberwar
and the Silicon Valley economy,
told me that she’d pointed to the
possibility of private contractors
obtaining cyberweapons that had
at least been in part funded by
US defence.
She calls Wylie’s disclosures
“wild” and points out that “the
whole Facebook project” has only
been allowed to become as vast and
powerful as it has because of the US
national security establishment.
“It’s a form of very deep but soft
power that’s been seen as an asset
for the US. Russia has been so
explicit about this, paying for the
ads in roubles and so on. It’s making
this point, isn’t it? That Silicon Valley
is a US national security asset that
they’ve turned on itself.”
Or, more simply: blowback.
The Observer
‘A new dawn
has broken.
There is space
for everyone’s
story to be told’
Sharmaine Lovegrove felt shut out of publishing,
but made her own way, from a secondhand book
stall to heading inclusive new imprint Dialogue
Books. At last, she writes, the book world is changing
Portrait by
Suki Dhanda
am from a family of activists. My
uncle, Len Garrison, was the founder
of the Black Cultural Archives in
Brixton, south London, and I draw
daily inspiration from his fight for
equality along with his love for
literature. Books and stories have
always been my escape route from
busy London life. As a child I was
often found reading – in a corner
at home in Battersea, or in the
library, on a bus, or the back of a car,
drifting into the lives of others for
hours on end, with only the act of
turning the page occasionally jolting
me back into reality. Growing up in the 1980s and 90s,
London was incredible, and totally
different to the childhood I am
giving my son. We had an enormous
amount of freedom in an affordable
and creative capital, which is just
not possible today. My parents were
young but could afford to live in the
original “nappy valley” off Northcote
Road: grand Victorian villas
between Wandsworth and Clapham
commons, 10 minutes from glorious
Battersea Park, passing the maze of
housing estates, crisscrossing the
river to visit friends and family and
falling in love with the whole place. But the innocence of my
childhood was marred by the
reality of adulthood. Inequality of
every kind: a racial, gender, social,
economic, sexual slur always on
someone’s lips as I walked the
streets. But as I grew taller and my
body gained its shape, I held my
head higher with every derogatory
comment. Stories were my saviour
and I knew whatever was happening
to me was worse for someone else,
near or far. Reading gave me a
huge amount of empathy, but more
importantly, it gave me the courage
to never feel like a victim. At times my prospects didn’t
seem particularly promising. My
mother and I had a tempestuous
relationship and I grew up in the
shadow of her struggle as a young
mum. Often our differences felt
insurmountable and I left home
at 16 – I didn’t think it would be
for ever, and that she would never
talk to me again, but it was, and
she didn’t. My saving grace was
that I always had my maternal
grandmother by my side. She
showed me a love, courage and
strength that was beyond my
mother and without her I wouldn’t
be the woman I am today. For a year, home was with a good
friend from school and her family.
Next it became a flat in Balham with
debutantes in their coming-out
season. Later I went to my cousins’
in east London. Eventually, home
became hostels in Soho. Then home
became the streets. But most of all,
home became books and the thing
I have been the most committed to
until I met my husband. Finding myself on a houseboat
by Vauxhall Pier, I came back to
my first love – storytelling – and
started selling secondhand books
under Waterloo Bridge. The thrill
of not knowing what was in my
Pandora’s box of books on every
shift but finding a way to tell and
sell the stories by Maupassant, Nin,
Baldwin, Coe, Carver, Bainbridge,
Carter and Walker to the tourists at
my table was incredibly gratifying.
From this, I was given a coveted
role in the fiction department at
Foyles on Charing Cross Road,
where I was asked to run the black
literature section. Even though I was
aware that the publishing industry
mostly failed to tell “my” story, I
was 19 by the time I realised our
stories – stories by people of colour
– didn’t have a place in mainstream
publishing, but I was naive enough
to think the Silver Moon section,
the queer women’s shelves on the
fourth floor, meant that at least
other voices were represented. I still felt a sense of celebration for
the writers I was discovering, such
as Courttia Newland who edited
IC3 – an anthology of black British
writing published by Penguin
– as well as bold independent
publishing houses such as X Press
founded by Dotun Adebayo (who
published Victor Headley’s Yardie),
not to mention the first black female
publisher, Margaret Busby, who
cofounded Allison & Busby in the
1960s. To me, the future looked
bright and I believed that there
was no question that my rich and
extraordinary Jamaican culture
and African roots celebrated for
storytelling couldn’t be brought to a
much larger mainstream audience. After university, I started working
at the London Review Bookshop, a
new venture that quickly became
renowned as a place beloved by
thinkers. Working there for five
years felt like doing a PhD in
literature, and the fact that most of
my colleagues and customers were
Oxbridge types didn’t faze me in
the slightest. I was there on merit,
based on my love and knowledge
and experience of literature. I
worked hard, read everything,
stayed for events and the customers
became my extended family. I would
remember what their loved ones
liked to read and took pride in my
recommendations and knowledge.
Having met so many people who
worked in publishing, I decided to
try to get a job in the industry – as
a publicist. At the time, the only
thing that made me different from
the people that I was meeting was
that my love of books came from
somewhere deep – not from a
childhood reading Malory Towers
and a godmother who could get
me in for work experience, but
an obsession with stories and
I began to apply for jobs at
publishing companies when I was
Continued on page 17
The Observer
‘My love of
books came
from somewhere
deep’: Sharmaine
at Libreria
east London.
The Observer
7-17 JUNE 2018
More music
Theatre commissions
Community projects
Talks and much more!
Created by
ST MARTIN’S 020 7836 1443
66th year of Agatha Christie’s
Mon-Sat 7.30, Tues & Thu 3, Sat 4
The Observer
Five books that
changed my life
by Sharmaine Lovegrove
Continued from page 14
25, and most of the time I wouldn’t
get a response. I recently looked
back at those covering letters: I had
referenced their books I had loved,
I had talked about my bookselling
skills and my commitment to
readers. Nothing. I wrote to all
the major publishers. Nothing. I
wondered how it could be that with
my skills and experience, I wasn’t
even getting in the door. Over time
I would meet the women who got
those jobs ahead of me, and when I
asked how, they cheerfully said they
went to Oxbridge or had a parent in
the industry, and that I was so lucky
to be working in a bookshop as that
was their dream. Today I meet so
many young people who remind
me of myself and my struggle. I tell
them to armour themselves with
knowledge and the passion will
carry through. Times are changing –
slowly, but there is progress.
I was saved by the arts
communications consultancy FMcM,
who offered me a job as a press
officer. Suddenly I found myself
working with all the publishers who
hadn’t responded to my application,
and I loved it. The team took me
under their wing and trained me,
and it was exciting. But I missed
being a bookseller. I craved the kind
of knowledge you can’t hide behind;
the kind where someone asks you
a question about a book and you
either know the answer or you don’t. I was turned down for a bank loan
to open a bookshop in Hackney.
They laughed me out of the branch.
I wanted somewhere on Broadway
Market, but they said there would
never be any reason for people to
go there. As a fourth-generation
Londoner, I knew my city was going
to boom – today there are three
bookshops in London Fields. I started travelling to European
cities whose countries still belonged
to the Net Book Agreement (which
allowed retailers to set the price
of their books and had been
dissolved in the UK in 1997). Berlin
became a clear contender for my
new life and my bookshop dream:
a lively city with cheap rents, a
creative history and a great club
scene. Before I knew it, I met a boy
Roald Dahl
Matilda is the ultimate
bookworm and,
like me, she grew
up in a household
where she was misunderstood.
She was my first heroine as she
taught me that it was great to be
different and familial love can come
from elsewhere.
Giovanni’s Room
James Baldwin
I was captivated by his
voice from the first
page. He is so honest
and raw on sexuality,
erotica and obsessions. It left an
indelible imprint on me.
Guns, Germs,
and Steel
Jared Diamond
This was the first
book that helped me
to understand science
and anthropology and what links
us as humans as well as why we
are different. I think about this
book often.
Ngozi Adichie
Growing up in Britain
with Jamaican
heritage I have
always been a minority. Reading
Americanah made me consider
what life would be like if I lived in a
black country.
I Know Why the
Caged Bird Sings
Maya Angelou
I first read this
incredible polemic
when I was 13. I am
in awe of Angelou’s journey from
extreme poverty to acclaimed
writer. She was the first person to
help me to understand racial and
sexual discrimination, and taught
me that black is beautiful even if the
world doesn’t acknowledge it.
(who later became my husband)
and persuaded a book wholesaler
to do me a special deal on the stock,
having been given some money by
my boyfriend’s father, who believed
in my passion. Within six months I
opened my shop – Dialogue Books.
It was the first English-language
bookshop in the city, and I had
read every one of the 2,500 titles
we stocked. We opened in the back
of the Tea Rooms, run by a Dutch
and English couple, and hosted
events in the marbled basement.
It was a dream. A
fter a few months
we moved the shop,
now managed by the
indefatigable Nerys
Hudson, from Mitte
to our own space in
Kreuzberg, where the cool kids were,
and had a blast hosting monthly
salons with A-list authors on their
German press tours. My relationship
with the British publishing industry
changed, and I was no longer
begging for a job but turning down
authors who wouldn’t match our
shop’s readership. Berlin is a small
city, and word spread and our
community of hungry readers and
talented writers grew.
So far, so good, no mention of
race. I had broken out of the London
bubble and had the space and time
to hone my skills and interests
while developing business acumen.
But when I came back home,
suddenly I was called “diverse” and
“BAME”, and I realised that while
I had moved forward, there were
very few people of colour who had
progressed in the industry – neither
represented on the shelves nor
at the table of decision-makers.
Over the past three years, I have
grown increasingly angry and
frustrated that we as people of
colour have been othered, pitied,
discussed, while not very much has
changed. After a year in London,
I met Tobi Coventry, a young
man with a deep and impressive
knowledge of film and television
and we decided to start our own
company, Dialogue Scouting, and
set about gaining new clients and
building a business from finding
books that could be adapted for TV
and film. Alongside Dialogue Scouting, I
was the literary editor for Elle and
continued to be proud of my work
and increased activism, even if the
industry hadn’t caught up. I’d been
livid to read in the 2017 “diversity”
issue of the Bookseller that fewer
than 100 books by British people of
colour were published in the UK in
2016. That was when literary agent
Julia Kingsford (co-founder of the
social enterprise literary agency The
Good Literary Agency ) introduced
me to the managing director of
Little, Brown, Charlie King – who
asked me what I thought should be
done about it. Knowing that Little,
Brown was home to the trailblazing
feminist imprint Virago, I suggested
they set up an imprint dedicated to
addressing the industry imbalance
in terms of diversity. He agreed. And after many
conversations and much hard
requests to be on diversity panels
and hated the feeling that my
presence made people think we had
made progress; when I got back
from Berlin it had felt like we had
gone backwards. The publishing
industry has utterly failed to tell
the stories of people across society,
having told talented, diverse writers
for decades that there was no space
for them, and expecting a largely
white, predominantly middle-class
staff to be pardoned for not “being
woke enough” because of their
“privilege”, which only now seems to
embarrass them.
But the book world is changing
– having read so many reports on
diversity I am armed with the facts:
if you don’t have a diverse workforce
or product, sooner or later you won’t
exist. Books such a Reni EddoLodge’s Why I’m No Longer Talking to
White People about Race, Black and
British by David Olusoga and Afua
Hirsch’s Brit(ish) have shown that
It was so hard to be the
only black woman in my
division and for my race to
be so defining of my work
work I founded Dialogue Books
– named after my bookshop in
Berlin – with the sole purpose of
publishing inclusive books aimed
at the LGBTQI+, disabled, BAME
and working-class communities. In
Dialogue’s first year I am publishing
six titles and currently working
towards publication with my first
award-winning authors: Lisa Ko’s
family drama The Leavers, and
Patrick Chamoiseau’s The Old Slave
and the Mastiff are both coming
this spring.
But during my first six months
as a publisher I cried every day, as
it was so hard to be the only black
woman in my division and for my
race to be so defining of my work.
I felt ashamed at the continual
there is a huge appetite for books
that challenge, inspire and inform.
This past week I have watched
She’s Gotta Have It, The Brothers
Size and Black Panther; I’ve read
Diana Evans’s Ordinary People; I am
writing this article to a soundtrack
of Kendrick Lamar, Ronnie Foster,
Al Green and Jorja Smith. I know
that a new dawn has broken. There
is space and appetite for everyone to
be included in the conversation, for
everyone’s story to be told, and for
the decision-makers to come from
every walk of life and look like me. I am driven by the knowledge that
my slave ancestors kept themselves
alive through storytelling, and no
matter how much we are kept down,
our stories will rise. 18
The Observer
The 50
new radicals
for 2018
How you can
make an impact
Every two years, the Observer and the
innovation charity Nesta give awards to 50
trailblazers who work for the public good.
Here we launch the fourth competition – and
catch up with previous winners
Report by
Frances Perraudin
hen the
Observer first
joined forces
with the
Nesta to single out and celebrate
50 organisations “doing radical,
useful things, below the radar of the
media”, the UK was a very different
place from the country it is today.
It was 2012, and the coalition
government’s programme of
austerity was only just under
way. Now, six years on, and local
authorities across the country
are bursting their budgets.
Homelessness rose for the seventh
consecutive year in 2017, up 15% on
the year before. Britain is preparing
to leave the EU, throwing us into
the economic unknown. Yet while
services are cut, awareness and
understanding of issues around
mental ill health, gender and
sexuality continue to evolve.
Nominations are now open to find
2018’s New Radicals – initiatives and
organisations developing creative
and practical ways of tackling
society’s biggest challenges. The
deadline for entries is 11.59pm on
29 April and a panel of judges, which
includes the actor Michael Sheen
and the novelist Kerry Hudson, will
announce the finalists in September.
The New Radicals project was
born out of a feeling that the British
media focused too much on the
negative, channelling its energies
into stories of the rich and famous.
“This creates a vicious spiral where
people think much less is possible
than actually is,” says Geoff Mulgan,
CEO of Nesta. “It’s disempowering
and really corrosive.”
While the word “radical” has
taken on negative connotations with
its recent association with religious
extremism, Mulgan says the New
Radicals project seeks to recognise
those who are continuing Britain’s
long tradition of progressive
radicalism. The aim is to seek out
those who are “not only challenging
the status quo, but are showing
alternatives in practice”.
Celebrating “radical” activity
in the UK is all the more
meaningful in the centenary of the
Representation of the People Act,
which enfranchised all men over
21 and women over 30 who met
certain property qualifications. The
New Radicals programme is about
trying to find the people who, – as
the suffragettes did 100 years ago
– embody that “bloodyminded,
bolshie, can-do radicalism”.
“I suspect that a lot of people
wouldn’t say they are being radical,
when they actually are,” says Yvonne
Roberts, the Observer’s former
chief leader writer and one of the
founders of the New Radicals
programme. “Meals on Wheels was
radical when it started because
nobody had thought of joining up
the new arrival of cars with hungry
and isolated old people.”
One of the challenges the New
Radicals programme has had in
the past is to encourage people to
see what they are doing as worthy
of celebration, she says. “People
often don’t recognise that what they
are doing is innovative and that
others can learn from it. They think:
‘Well, we’re just trying to make
a difference.’”
The Observer
Anisa Haghdadi,
right, founder
of Birminghambased creative
youth agency
one of the 2016
New Radicals
pictured with
her young
leaders Rochaé
StephensMorrison and
Raza Hussain.
Photograph by
Andrew Fox for
the Observer
New Review
The Observer with Nesta
presents: the 50 new radicals
How to enter…
Who are the people changing
society for the better?
The Observer has joined forces
again with Nesta to find the next
generation of radicals working in
the UK today. The 50 New Radicals
2018 will showcase inspirational
people, initiatives and organisations
from England, Scotland, Wales
and Northern Ireland working
hard to tackle society’s biggest
Organisations of all sizes will be
considered, ranging from oneperson outfits to more established
groups. However, the project,
initiative or company must have
been operating for at least six
months and been set up after
January 2015. Entries must be
able to demonstrate evidence of
success and sustainability. You can
nominate yourself or nominate
another person or individual. All
entries must be based in the UK
and not be primarily motivated
by profit.
To enter, visit this article online
or go to
The closing date for entries is
midnight on 29 April 2018.
Take a look at the inspirational
people and organisations
featured in the past and submit your
entry for New Radicals 2018.
Spread the word on Twitter with
hashtag #50Radicals.
Judging will take place at the
end of May and a full list of the
50 winners will be published in
the Observer New Review in
September. Those selected will be
celebrated at a reception later that
month and will become part of the
New Radicals alumni, supported
by Nesta.
A word with
former winners
It’s a Tuesday evening in a
co-working space on the outskirts of
Birmingham city centre and about
15 under-25s have gathered to tell
the Heritage Lottery Fund what they
think of the word “heritage”. “The
only reason I know anything about
my own heritage is because I’ve
learned it for myself,” says one girl,
whose family is from Jamaica. “There
isn’t enough information out there.”
The event is the work of
Beatfreeks, a collective of young
people that, among numerous
other things, seeks to influence the
way organisations work so that
they better understand and cater
to under-30s. Founded by 27-yearold Anisa Haghdadi in 2013, the
collective was included in the 2016
list of 50 New Radicals, and has since
gone from strength to strength.
“Institutions have the resources
and power to change the world,
so I got to this hypothesis – young
people need these institutions
and these institutions need young
people,” says Haghdadi. The
collective facilitates paid work and
training for young people so they
can work with organisations that
come to Beatfreeks for help.
Beatfreeks has worked with
organisations as diverse as
Birmingham city council, Unilever,
Selfridges and YouTube. Last year,
part of the collective was awarded
£700,000 to contribute to the
Heritage Lottery Fund’s Kick the
Dust project, which seeks to get
more young people involved in the
fund’s work.
Haghdadi says the organisation
is very much a product of the
second city’s unique characteristics.
Birmingham is Europe’s youngest
city, with 40% of its population
under 25. “Beatfreeks exists
because it responded to what
Birmingham needed,” she says. “It
had all these creative young people
but no channel to help them do
something positive.
“I think there’s a major
opportunity in the power of young
people. The way that young people
think is incredibly diverse,” says
Haghdadi. “It is naturally and
organically very innovative and
there’s a wasted resource there.”
Street Doctors
In 2008, trainee doctors Nick Rhead
and Simon Jackson were teaching
a first-aid course at the Liverpool
youth offending service when they
asked the group of young people
how many of them had witnessed a
stabbing. All of them put their hands
up. This inspired the pair to create
a project, now called Street Doctors,
which was featured in the first list of
New Radicals in 2012.
The organisation recruits
medical students as volunteers
to provide specialised first-aid
training to young people at risk of
violence – young offenders or those
living in areas with high rates of
youth violence.
“We try to equip young people
with the practical skills to act, but
more than that, we are trying to get
them to join up the dots between
a serious injury and carrying
a weapon, so they start to see that
it’s not just about death or glory,”
says Jo Broadwood, chief executive.
“You’re also just as likely to end up
with a colostomy bag or a long-term
disability or serious blood infection.”
Since winning the New Radicals
award Street Doctors has set up as a
national charity and has grown from
six to 18 teams across the UK.
“Last year, 2017, a young man was
stabbed and was bleeding really
badly. Then one young man stepped
forward and stopped the bleeding,
called the ambulance and waited
with him until the ambulance
arrived,” says Broadwood.
“We found out afterwards that
he was a young offender who had
attended a [Street Doctors] youth
offending centre session the week
before in west London. To be honest,
he probably saved [the victim’s] life.”
End Youth
“With the rise in the number of
homeless people sleeping rough,
we saw that one of the best ways to
address the problem was to address
youth homelessness,” says Sam
Austin, deputy CEO of Welsh youth
homelessness charity Llamau.
The organisation was one of five
– including Adref, Gisda, Dewis and
Swansea Young Single Homeless
Project – to join forces to create the
End Youth Homelessness Cymru
partnership, which was listed
among the 2016 New Radicals.
The campaign worked to raise
awareness that homeless young
people were being housed in
B&Bs alongside recently released
offenders, putting them at
unacceptable risk of abuse or
exploitation. After visiting one
homelessness organisation, actor
Michael Sheen launched a petition
calling for an end to the practice,
which was signed by more than
100,000 people.
After meeting with representatives
of the campaign, the Welsh
government changed its guidance
for local authorities around the use
of B&B accommodation, specifying
that it should only ever be used as
a last resort.
Austin says the campaign does
not end there. The organisations
have worked with young people
who found themselves homeless
across Wales to develop a plan for
a 24-hour dedicated helpline, for
which they hope to have secured
funding by this summer.
She says the campaign’s
inclusion in the New Radicals list
was invaluable for their success.
“It validated the work that we
were doing. It made the Welsh
government take notice and got
the first minister involved. It’s been
a really big deal.”
Meet the
Josh Babarinde
Founder and chief executive of
Cracked It, an award-winning
social enterprise smartphone
repair service staffed by young
ex-offenders and youth at risk.
Jaya Chakrabarti
Bristol-based digital activist
and co-founder of open
data anti-slavery register and digital comms
agency Nameless.
Sylvia Douglas
Founding director of MsMissMrs
CIC, a social enterprise based
in Glasgow that re-empowers
women and girls through selfdevelopment programmes.
Kerry Hudson
Author of two award-winning
novels: Tony Hogan Bought Me
an Ice-cream Float Before He
Stole My Ma and Thirst.
Ruth Ibegbuna
Founder and CEO of Reclaim,
which supports young
people from working-class
communities across Manchester.
Raheel Mohammed
A New Radical in 2012, he
founded Maslaha, focused on
making long-term change on
issues such as health, education,
criminal justice and women’s
rights in Muslim communities.
Mehmoona Pervaz
Teenage campaigner from
Bradford who helped set up
Speakers’ Corner in the city.
Cassie Robinson
Strategic design director at
Doteveryone and co-founder of
the Point People, Tech for Good
Global and the Civic Shop.
Michael Sheen
An actor and activist with
roles such as patron of Social
Enterprise UK and Unicef
Mick Ward
Chief officer for adults and health
at Leeds city council.
Stian Westlake
Adviser to the minister for
universities, science, research
and innovation. He is co-author
of Capitalism Without Capital
(Princeton, 2017).
Yvonne Roberts
Former leader writer of the
Observer. Co-founded New
Radicals with Geoff Mulgan.
Geoff Mulgan
Chief executive of Nesta.
Jane Ferguson
Editor, Observer New Review.
The Observer
Cleve September (back
right), Jason Pennycooke
(front right), Michael
Jibson (front left) – all
nominated for best actor
in a supporting role in a
musical; Giles Terera (back
left), best actor in a
musical; Rachel John
(back centre), best
actress in a supporting
role in a musical
“The way the audience
reacts is quite fanatical,
almost hysterical,” said
Jason Pennycooke of the
musical’s wild success.
“It’s like an electric shock
at the end of the show:
every night, we have a
standing ovation. That’s
a testimony to the piece,
and our performances –
and that they’ve waited
so long to see it.” The
cast also experiences
the rare phenomenon
of performing for an
audience that knows
all the words: “It keeps
you on your toes, the
amount of people who are
mouthing the entire show,
every person’s part,”
grinned Cleve September.
“It’s quite incredible.”
Sing when
you’re winning T
Hamilton dominated the Olivier award nominations,
but other musicals old and new and several ensemble
shows are also in the mix, showing British theatre is in
good health. Holly Williams talked to the contenders
Portraits by
David Levene
he nominations for the Olivier
awards are out, and – to the
surprise of no one – Hamilton
is the big hitter. Lin-Manuel
Miranda’s musical is nominated
for a record-making 13 awards.
Its cast were out in force at a lunch for
British theatre’s glitziest awards, and in fine
collective spirits.
They weren’t the only ones celebrating
in a pack: it’s notable how many ensemble
shows are in the running this year, some
even fielding several cast members within
a single category. While there are nods to
big-name actors in splashy parts (Andrew
Scott in Hamlet at the Almeida, Bryan
The Observer
About Jamie
John McCrea, best actor
in a musical
How does John McCrae
manage those six-inch
stilettos? “I didn’t ever
take my heels off during
rehearsals; there was
bleeding, blisters… but
practice makes perfect.”
Is he ever tempted to
wear them out – on
the Olivier’s red carpet,
perhaps? “Not at all. It’s
not for the faint-hearted;
it takes a real man to
become a woman, as
they say. I just don’t have
the balls!”
Cranston in Network at the National),
the nominations recognise shows that
proved more than the sum of their parts:
The Ferryman, Girl from the North Country,
Follies, Angels in America, Oslo, Hamilton…
Is it coincidence, or a sign we’re craving
broad-canvas, multi-voiced, ambitiously
sprawling works?
The awards only recognise venues that are
part of the Society of London Theatre (Solt), so
it’s hardly a full snapshot of the UK’s theatrical
landscape – regional and fringe theatre is
excluded. And with all members of Solt now
able to vote, longer-running productions in
larger theatres are inevitably at an advantage.
The result is a shortlist that skews towards
West End hits; non-commercial theatres stand
a wildly better chance of recognition if they
transferred productions.
Nonetheless, the Oliviers reveal a
performance industry in undeniably
rude health. There’s a vibrancy to the
bankable revivals rewarded here – Hamlet,
Follies – as well as to new plays, from Jez
Butterworth’s masterful The Ferryman to
James Graham’s winning streak (or should
that be street? At one point his plays Ink
and Labour of Love were neighbours on St
Martin’s Lane).
But these are matched with a scorching
shortlist of new musicals. Hamilton, of course,
is a full-blown phenomenon, and has proved
more than capable of living up to the hype. But
it’s not the only “woke” musical in the West
End: consider also the British success story
of Everybody’s Talking About Jamie, based on
a documentary about a teenage drag queen.
The swooning gorgeousness of An American
in Paris put dance centre stage, while Girl from
the North Country defied category distinctions
even further: is it a play with Bob Dylan songs,
or a musical? Frankly, who cares, so long as
you get to hear Shirley Henderson sing Like a
Rolling Stone?
Awards season 2018 can’t ignore the
revelations of 2017, and Solt chief executive
Julian Bird announced it would be standing
alongside the Time’s Up movement. “Many
Bertie Carvel, best actor in a
supporting role
In a leather jacket he once
pinched off Damon Albarn
at a party, Bertie Carvel
looked very different from
the person he’s been
nominated for playing:
Rupert Murdoch. Did
the media mogul see his
performance? “He did, yeah.
I met him afterwards. I said
‘this is weird’ and he said
‘yes it is’… but he was very
respectful and nice about
it.” Carvel also paid tribute
to the awards for supporting
Time’s Up: “Movements
like this are massively
important. Power to the
Olivier awards that they are
trumpeting this.”
industries have been rocked over the last few
months by revelations of a lack of dignity
in relationships, and the theatre world is no
exception,” he said. “We’d like to talk about
respect, in its broadest sense, as a watchword
for the future.”
Time’s Up representatives will be in
attendance on the night, and Bird promised
the main issues would be raised during the
ceremony, which is broadcast on ITV live from
the Royal Albert Hall on 8 April. There was no
request for attendees to wear black, however:
“please be as glamorous – or otherwise – as
you wish”.
Continued overleaf
The Observer
Girl from the
North Country
Ciarán Hinds (right), best
actor in a musical; Sheila
Atim (left), best actress in a
supporting role in a musical;
Shirley Henderson (centre),
best actress in a musical
Hinds’s reaction to being
nominated was one of
“embarrassment and
bafflement: I don’t sing!”
The cast has become close.
“Each dressing room takes
it in turns to host the ‘What
Can I Do for You’ Thursday
(after the song at the
beginning of the second
act). It was ours last night, I
took in a stew,” said Hinds.
“We put up fairy lights,
flowers,” added Shirley
Henderson. And, grinned
Hinds, “got bourbon in”.
The Ferryman
Bríd Brennan (left),
Dearbhla Molloy (right),
both nominated for best
actress in a supporting role;
John Hodgkinson (centre),
best actor in a
supporting role
“Ensemble acting is the
best,” insisted Molloy.
“The Ferryman really is
huge. Who would have
thought it was possible to
lift a thing like that off the
ground?” Some of the cast
had issues with co-stars,
however. “I used to look
after the farm animals,” said
Hodgkinson. “The rabbit
used to wee in my pocket.
I had several sacked,
Bryan Cranston, best actor
The Breaking Bad star
headed Ivo van Hove’s
adaptation of the 1976 film
at the National Theatre
– and his best actor nod
leads a bumper year for the
theatre under Rufus Norris,
netting 22 nominations in
total, with Follies, Oslo, and
Angels in America also all in
the running. Still, Cranston
joked, performing here was
costing him more than he
was earning – he keeps
having to fly friends over to
watch the show.
Cranston joked that
flying friends over to
see the show was
costing him more
than he was earning
Science Tech
The Observer
Ideas, analysis, gadgets and beyond
Sexism and
Silicon Valley
Emily Chang
talks to Zoë
Corbyn about
gender bias in
the tech industry
The five
Once the ISS
shuts down, the
race is on for the
next generation
of space stations
The networker
John Naughton
on YouTube
and the path
to extremism
Cosmic intelligence
… and infinite grit
Stephen Hawking
photographed by
Murdo MacLeod
for the Observer
in 2005.
Stephen Hawking’s celebrity, wit and unique voice
can blind us to another vital quality: the astonishing
determination that drove him. By Roger Highfield
es, he was the world’s
best-known scientist,
the galaxy’s most
unlikely celebrity, a
brilliant mind trapped
in a failing body,
a global inspiration to disabled
people, and so much more.
But there was also a glint of
steel in Stephen Hawking. All the
accounts that try to capture the
spirit of Hawking’s work tend to
gloss over a grittier ingredient that
was harder to convey: a relentless
drive and unquenchable zest
for life that has allowed him to
achieve so much despite his huge
physical challenges. As his daughter
Lucy would often say, he was
“enormously stubborn”.
I have met him on and off since
the late 80s. Not once did I hear
him complain or show any signs
of self-pity as he explored the
furthest reaches of the universe
with his mind, or expanded the
cosmic horizons of millions with his
bestselling books.
Diagnosed with motor neurone
disease in 1963 at the age of 21, he
was told he’d have only two more
years to live. Yet his mind managed
to travel light years in the wake
of that devastating diagnosis, to
Continued overleaf
The Observer
Stephen Hawking
Continued from page 23
help turn cosmology from a fringe
subject into perhaps the most
compelling of all the sciences,
in which he provided profound
insights into gravity, space and time
few have delivered since Einstein.
In the wake of what seemed like a
death sentence, it was thought that
he might not survive long enough
even to finish his PhD at Cambridge.
What gave him something to live for
was Jane Wilde, a languages student,
who he had met through mutual
college friends at a party the year
before his devastating diagnosis.
They married in 1965, and he
threw himself into his research,
turning from a brilliant but lazy
student into a workaholic, who first
wowed his peers at the end of that
decade with his work with Roger
Penrose on black holes – then still
something of a novelty – along with
new arguments that our universe
had expanded from a big bang.
He was elected to the Royal
Society in 1974, aged only 32.
Martin Rees, the astronomer royal,
described how he would sit hunched
and motionless for hours over an
abstruse book on quantum theory,
too weak to turn the pages without
help. Rees wondered what was
going through his mind. Was it
failing too?
But as he could no longer
write equations, Hawking had
developed a remarkable skill to use
geometrical and topological images
of mathematics in his head to solve
problems. He was following through
a “Eureka moment” that he’d had
in 1970, a few days after the birth of
his daughter Lucy, that would lead
to his realisation that black holes
are not so black. He discovered they
would bleed off what is now called
“Hawking radiation” and gradually
evaporate, “to my great surprise”.
At first, he thought he had made
a mistake in his calculations. He
was eventually persuaded that
the formula was correct. It was so
simple and elegant that he wanted
it on his tombstone. By the end of
the 1970s, Hawking had advanced
Left: the British
zero gravity
during a 2007
flight. Below,
left to right: in a
1999 edition of
The Simpsons;
meeting Nelson
Mandela in 2008;
as portrayed by
Eddie Redmayne
in the 2014 film
The Theory of
Getty; Capital
Pictures; AP; Rex
to hold the Lucasian professorship
of mathematics at Cambridge, once
held by Newton.
I first became aware of him while
watching the BBC’s Horizon in 1983,
which showed how his speech
had become hard to decipher and
slurred. Soon after, a tracheotomy
left Hawking unable to speak at
all: he could only communicate by
raising his eyebrows or looking to
The world according to Hawking
On motor neurone disease
On Jeremy Hunt and the NHS
My disabilities have not been
a significant handicap… They
have helped me in a way by
shielding me from lecturing
and administrative work .
Hunt had cherry-picked research
to justify his argument. For a
scientist, cherry-picking
evidence is unacceptable.
On Trump
To Theresa May on Brexit
I deal with tough mathematical
questions every day,
y, but please
don’t ask me to help
p with
On aliens
Meeting an advanced
civilisation could be like
Native Americans
Columbus. That didn’t
turn out so well.
He is a demagogue who seems
to appeal to the lowest common
On death
I have live
lived with the
prospect of an early death
for the last 49 years.
I’m not
I’m n afraid of
death, but I’m in no
hur to die. I have
so much I want to
do first.
select letters as they were held up on
cards. By that time he had a rough
draft of a book, which he’d hoped
would describe his ideas to a general
readership and earn something for
his children.
When I first met him, in
Berkeley, California, in 1988, he
was promoting that book, A Brief
History of Time. It was a runaway
bestseller and one of the most
successful pop science books ever.
He was given a rock-star reception
as he delivered talks at UC Berkeley
using the speech synthesiser that
has since given him his trademark
American accent, selecting words
and commands on a computer using
a hand-clicker.
Certain words were not so easy to
understand when he used his early
synthetic voice. When he rang me
a year or two later to discuss the
thrust of an article I had asked him
to write, I was too embarrassed to
ask him to repeat what he had said
after the second attempt, and what
felt like a cosmic delay of aeons
each time. I commissioned the
piece, ignorant of what it was about,
confident that it would be brilliant.
His hand became ever weaker,
and he began operating his voice
by twitching a cheek muscle. There
were attempts to help him with
eye-tracking, “thought reading”
via an electrode cap, using facial
expressions and improvements
to the way he interacted with his
Need someone to run over
Brian Cox in a Monty Python
skit? Hawking was your man
computer. But for Hawking, getting
a lot of words down required
determined effort for hours.
Even when I interviewed him in
front of an audience a decade ago,
it would take him minutes to give
prepared answers. The upside was
that he specialised in witty oneliners – for instance on the joy of
discovery: “I wouldn’t compare it to
sex, but it lasts longer.”
he downside was that
conversation was
impossible, events
had to be scripted,
the words had to be
produced as efficiently
as possible, sometimes by judicious
recycling and sometimes, as Rees
puts it, by the promoters of causes
about which Hawking may have
been ambivalent.
His public persona was a long
way from the stereotype of an
unworldy nerd in a white coat –
he was ready to express forceful
political opinions, most recently
on the NHS. He showed a lifelong
commitment to the disabled, for
instance by promoting the viral ice
bucket challenge (even volunteering
his children). But when he talked
about subjects where he had no
particular expertise, such as the
rise of artificial intelligence, he was
perhaps taken more seriously than
he deserved.
Hawking was not publicity-shy.
He adored the limelight, from
appearances on Star Trek and The
Big Bang Theory to The Simpsons
(“Your theory of a doughnut-shaped
universe is interesting, Homer. I may
have to steal it.”) Need someone to
run over Brian Cox in a wheelchair
for a Monty Python skit? Hawking
was your man.
He could easily fill major venues,
such as the Albert Hall. He once
lectured at Bill Clinton’s White
House and then, unusually for a
foreigner, returned to receive a
Presidential Medal of Freedom
from Barack Obama. When I visited
The Observer
him in his office I spotted a letter
from Michelle Obama, photographs
of Hawking with three popes
(Hawking was a member of the
Pontifical Academy of Sciences), and
pictures of a visit to Easter Island.
There was also Marilyn Monroe (“an
old girlfriend of mine”).
One sign of his stubborn nature
was that, if he was going to be
in a wheelchair, he might as well
travel as fast as his technology
could manage. I remember going
to his 60th birthday celebrations in
Cambridge: after a trip in a hot-air
balloon, he crashed his electricpowered wheelchair while speeding
around a corner, breaking his leg.
In recent years he made more
frequent visits to Papworth hospital
near Cambridge. Sometimes he
found it so hard to breathe he ended
up on a ventilator. When we opened
a 70th birthday exhibition in the
Science Museum to celebrate his life,
he was too ill to come. That year he
had to pull out of all his celebrations
in Cambridge too but, as ever, his
grit saw him through.
We were given a day’s notice of a
visit the following month. Hawking
would pop into the museum to see
the exhibit. A personal highlight was
encouraging the huge crowd that
gathered around him to sing him a
long overdue happy birthday. He did
not have to use his voice synthesiser
– he responded with a huge grin
and demanded to be taken on a tour
of “one of my favourite places”. He
stayed until 5pm.
In 2012 he reached perhaps
his largest audience – at the
opening ceremony of the London
Paralympics. The following year he
became $3m richer as one of the
first winners of the Breakthrough
prize to recognise theoretical work,
in his case the discovery of Hawking
Radiation from black holes – which
would have earned him a Nobel
prize if experimentally confirmed
in his lifetime – and his deep
contributions to quantum gravity
and quantum aspects of the early
And a second person now
mastered Hawking’s voice, that
paradoxical blend of machine
and personality: the actor
Eddie Redmayne underwent an
extraordinary transformation in The
Theory of Everything, a biopic based
on Travelling to Infinity: My Life with
Stephen by first wife, Jane. Hawking
had conquered Hollywood too.
Modern science needs more
Stephen and Stephanie Hawkings.
Today the spotlight is focused more
on invisible realms, from the fringes
of the cosmos to the strangeness of
the subatomic world. To understand
the majesty of the cosmos, or the
physics of elementary particles,
you need mathematics. But in
this maths-shy society, the next
best thing is to have a person who
is determined enough make the
quest to find the mathematical
underpinnings of the universe
funny, romantic and real. That
person was Stephen Hawking.
Roger Highfield is a former editor
of New Scientist and the director of
external affairs, Science Museum
The networker
John Naughton
Extremism pays. That’s why the Silicon
Valley giants aren’t shutting it down
eynep Tufecki is one
of the shrewdest
writers on technology
around. A while back,
when researching an
article on why (and
how) Donald Trump appealed to
those who supported him, she
needed some direct quotes from
the man himself and so turned
to YouTube, which has a useful
archive of videos of his campaign
rallies. She then noticed something
interesting. “YouTube started
to recommend and ‘autoplay’
videos for me,” she wrote, “that
featured white supremacist rants,
Holocaust denials and other
disturbing content.”
Since Tufecki was not in the
habit of watching far-right fare
on YouTube, she wondered if
this was an exclusively rightwing
phenomenon. So she created
another YouTube account and
started watching Hillary Clinton’s
and Bernie Sanders’s campaign
videos, following the accompanying
links suggested by YouTube’s
“recommender” algorithm. “Before
long,” she reported, “I was being
directed to videos of a leftish
conspiratorial cast, including
arguments about the existence of
secret government agencies and
allegations that the United States
government was behind the attacks
of 11 September. As with the Trump
videos, YouTube was recommending
content that was more and
more extreme.”
If you think that this is all about
politics, think again. Tufecki tried
watching videos on non-political
topics such as vegetarianism (which
led to videos about veganism), and
jogging (which led to items about
running ultramarathons). “It seems,”
she reflected, “as if you are never
‘hardcore’ enough for YouTube’s
recommendation algorithm.
It promotes, recommends and
disseminates videos in a manner
that appears to constantly up the
stakes. Given its billion or so users,
YouTube may be one of the most
powerful radicalising instruments of
the 21st century.”
Tufecki’s right. We know from the
research of Jonathan Albright and
others that YouTube has become
the key disseminator of “alt-right”,
conspiracist, white-supremacist
and other unsavoury propaganda.
In the old days, if you wanted to
stage a coup, the first thing to do
was to capture the TV station.
Nowadays all you have to do is to
“weaponise” YouTube. After all, its
Illustration by
Bryan Mayes
What I’m
John Naughton’s
Out of the loop?
New York Times
columnist Farhad
Manjoo wrote an
interesting piece about
unplugging from the
net for two months
and how much his life
had improved. But then
a spoilsport on the
Columbia Journalism
Review spotted Manjoo
tweeting during
his e-detox.
Reforming Reddit
A fascinating New
Yorker story by Andrew
Marantz looked at Reddit
and its efforts to purge
vile content from its site.
Hint: it’s not easy.
Tweet defeat
Website Cnet
reported that
the US library
of Congress
has given up
archiving all
public tweets,
and is now only
collecting them
first motto was “broadcast yourself”.
Accordingly, if governments of
the western world really wanted
to cripple these disruptive forces,
then shutting down YouTube
would be a giant step forward.
It wouldn’t prevent other such
services springing up, of course,
but none would have the power and
reach that YouTube’s billion-strong
network effect provides.
This doesn’t mean that YouTube’s
owner (Google) is hell-bent on
furthering extremism of all stripes.
It isn’t. Like Facebook, which shut
down the platform’s Britain First’s
page this week, all it’s interested in
is maximising advertising revenues.
And underpinning the implicit logic
of its recommender algorithms is
evidence that people are drawn to
content that is more extreme than
what they started with – or perhaps
to incendiary content in general.
So YouTube (like Facebook)
is caught between a rock and a
hard place. On the one hand, it’s
embarrassed by the way in which
it is being exploited by unsavoury
actors (and also possibly worried
about the longer-term threat of
regulation); on the other hand,
its bottom line is improved by
increasing “user engagement” – ie,
keeping people glued to YouTube.
And since it’s a capitalist company,
those revenues just have to
keep growing.
Watching social media
executives trying to square
this circle is like watching
worms squirming on the
head of a pin. The latest
hapless exhibit is YouTube’s chief
executive, Susan Wojcicki, who
went to the South by Southwest
conference in Texas last week to
outline measures intended to curb
the spread of misinformation on
her platform. This will be achieved,
apparently, by showing – alongside
conspiracy-theory videos, for
example – “additional information
cues, including a text box linking to
third-party sources [about] widely
accepted events”. The source of these
magical text boxes will be Wikipedia.
All of which makes one wonder
which planet Wojcicki currently
inhabits. She clearly knows
nothing of conspiracy theories, for
example, and has a touching faith
that those who hold such beliefs
are susceptible to evidence that
might refute them. Nor does she
understand that our current crisis of
disinformation and computational
propaganda will not be resolved
by just finding and publishing “the
facts”, whatever they are. Indeed, one
of the most obvious implications
of the proposed YouTube strategy
is that it will turn Wikipedia into
an even bigger epistemological
battleground than it is at present.
In fact, this is just another
distraction from the fundamental
issue, which is that social media
platforms cannot solve the societal
problems they have created –
because, ultimately, doing so will
hurt their revenues and growth. This
is the unpalatable truth they are all
squirming to avoid. And in doing
so they’re really just confirming
HL Mencken’s observation about the
impossibility of getting someone
to understand a proposition
if his income depends on not
understanding it. It’s not that the
companies don’t get it, just that they
cannot afford to admit that they do.
The Observer
Silicon Valley
Emily Chang is an American
journalist and host of the US TV
show Bloomberg Technology. Her
new book, Brotopia, is an exposé
of Silicon Valley’s macho culture.
What is Brotopia?
It’s this idea that Silicon Valley is
a modern utopia where anyone
can change the world or make
their own rules, if they are a
man. But if you are a woman it
is incomparably harder. And that
shows in the numbers. Women-led
companies get just 2% of venture
capital funding. That is egregious,
especially in an industry that prides
itself on being a meritocracy where
anyone can succeed. We need people
of all backgrounds to be making
these products, because people
everywhere are using them.
How did men come to rule in Silicon
Valley? You say it hasn’t always been
like this.
Women were programming
computers in the early days of
the military and Nasa. Then, as
the industry started to explode,
these personality tests were
developed to identify people who
could be good at this job. And it
was decided, though there is no
evidence to support the idea, that
good programmers “don’t like
people”. Well, the research tells us
if you hire people who don’t like
people, you hire far more men than
women. These tests perpetuated
the stereotype of the antisocial,
mostly white, male nerds who
many of us think of when we think
Sexism: a year
of reckoning in
Silicon Valley
February 2017
Computer engineer Susan Fowler
publishes a blog post about her
experience of sexual harassment
at her former company, Uber,
prompting an investigation into its
culture. Waves of customers delete
the Uber app and an exodus of its
of computer programmers. That
has also extended to entrepreneurs
as well. Steve Jobs sort of proved
a different kind of person could
start an amazing company, but
we created another stereotype
of a swaggering, risk-taking bro
instead, which also selected for men.
So what’s Brotopia like for the
women who do inhabit it?
They are frustrated and tired
of being the only women in the
room, day after day. They are
doing this sort of second job that
men don’t have to do, which is
prove that they deserve to be
there. At the same time, they
are fending off sexual advances
because they are the only women
in the room. The circumstances
for female entrepreneurs are
especially challenging. Most have
not just one story to tell about
bad behaviour or an unwanted
advance, but several.
How does Silicon Valley compare
with other sectors, such as Wall
Street, which is also notoriously
I can’t tell you how many times,
as I was interviewing for this book,
people said to me: “Well, Silicon
Valley can’t possibly be worse than
Wall Street.” Well, it is. The gender
imbalance is a lot bigger: the top
banks are generally 50/50 when it
comes to representation; in Silicon
Valley, women hold 25% of jobs.
Isn’t the problem a “pipeline” one –
there just aren’t the female computer
science graduates coming through?
Silicon Valley created the pipeline
problem by creating this very
narrow idea of who can be good
at the job. The industry [also] has
a big retention problem – women
are twice as likely to quit tech than
men – and that is because it is so
male-dominated and the culture is
not inclusive. Unconscious bias is a
huge problem.
executives, some because of
inappropriate conduct, begins.
June 2017
Uber CEO Travis Kalanick
resigns under pressure
from some investors.
Venture capitalist
Justin Caldbeck
resigns from Binary
Capital, the firm he
co-founded, following
sexual harassment
allegations by female
I spoke to female
engineers at
Uber who said
they were invited
to strip clubs
and bondage
clubs in the
middle of the day
JJuly 2017
Dave McClure of tech
accelerator 500 Startups
resigns after the New York
Times publishes the accounts
of a number of tech
industry women who
were sexually harassed by
male investors, including
McClure and Chris Sacca
o Lowercase Capital.
September 2017
Former female
Google engineers
How might our tech products have
been better if women had been more
Evan Williams, co-founder of Twitter,
told me that he thinks if women
had been on the early Twitter team,
online harassment and trolling
wouldn’t be such a problem. They
just weren’t thinking about how
Twitter could be used to send death
threats when they were building the
product. In addition, maybe porn
wouldn’t be so ubiquitous and video
games wouldn’t be so violent.
The book details drug-fuelled sex
parties where rich and powerful men
invite women in two-to-one ratios, and
“tech bros” attending strip clubs in the
sue the company, claiming genderbased pay discrimination. Female
Uber engineers file a similar lawsuit
the following month.
October 2017
An exposé of US film producer
Harvey Weinstein, detailing many
women’s accounts of sexual
harassment and assault, is
published in the New York Times,
sparking the #MeToo campaign.
Amazon executive Roy Price
resigns following harassment
middle of the day. Indeed, you visit a
strip club in the tech-heavy South of
Market region of San Francisco. How
extensive is this kind of behaviour and
how does it hurt women in tech?
It depends on the circles you run
in. For some, the [sex party] scene
feels ever-present and I spoke to a
number of women who either left
the country or moved to New York
because they didn’t feel comfortable.
I spoke to [female] engineers at
Uber who said they were invited to
strip clubs and bondage clubs in
the middle of the day. It is putting
women in very uncomfortable
situations where they feel sort of
damned if they do and damned
if they don’t. Because so much
November 2017
Venture capitalist Steve Jurvetson
leaves Draper Fisher Jurvetson,
the firm he cofounded, amid an
investigation into sexual misconduct,
which he denies.
December 2017
Venture capitalist Shervin Pishevar
resigns from Sherpa Capital, the
firm that he co-founded, following
sexual misconduct allegations,
which he denies. Facebook COO
Sheryl Sandberg (left) details her
experiences of sexual harassment. ZC
The tech industry
doesn’t simply tolerate
gender discrimination,
it’s hardwired to
marginalise women,
the broadcaster and
author tells Zoë Corbyn
Emily Chang:
‘When are we
ready to forgive?
I don’t know the
answer to that.’
Photograph by
Jim Wilson/NYT
The Observer
The five
Space stations
Once the ISS is decommissioned in 2028, what
will the next generation of bases look like?
exploding in size, became focused
on getting people in the seats as
fast as possible and defaulted to all
of the same hiring and recruiting
strategies that other companies use.
What role has Silicon Valley played in
the #MeToo movement?
I think women in Silicon Valley were
pioneering in having the courage
to come forward and they deserve
a lot of credit for helping women
summon their collective courage.
It started with Ellen Pao [a former
junior partner at venture capital
firm Kleiner Perkins, who sued for
gender discrimination in 2012]. She
lost in court but won in the court of
public opinion. Then Susan Fowler
[see box] came forward and that
catalysed several women in tech
to come forward about investors.
What happens to the men in Silicon
Valley who leave following revelations
of sexual harassment? Are they
landing on their feet?
It is too early to tell. We, as a society,
need to think about what we are OK
with when it comes to a next act.
When are we ready to forgive? I don’t
know the answer to that question.
business is happening outside the
office, if they want access to those
opportunities, they feel like they
have to participate. The bottom
line is there shouldn’t be a “cuddle
puddle” at a company party.
What possible format could a sex
party have in Silicon Valley that would
be OK?
There are plenty of sex parties
where there are very strict rules
around consent, alcohol and gender
ratios. The Bay Area has had a long
tradition of sexual exploration,
sexual liberation and sex positivity.
But these events [I report on] are a
lot more about power than about
sexual exploration and it is a power
dynamic that is completely lopsided.
Google used to have a better
representation of women, but now
it’s no better than average, with 20%
of women in tech roles. What went
Google founders Larry Page and
Sergey Brin really focused on hiring
and promoting women in the early
days. And they got some incredible
women – Susan Wojcicki, Sheryl
Sandberg and Marissa Mayer –
who made incredible contributions
to the company [Wojcicki is now
CEO of YouTube; Sandberg COO of
Facebook; and Mayer stepped down
as CEO of Yahoo last year]. But over
time, Google lost focus. It began
There are so many problems – where
do you start? And can Silicon Valley
ever really change?
I am hopeful. I believe that the
same people who changed the
world can change this too. They can
hire women and pay them fairly.
I look into a company called Slack,
where the CEO has made hiring
and promoting women a specific
priority. Slack has focused on giving
people the tools to combat their own
bias, it has diversified its recruiting
teams, it asks employees for diverse
referrals, it has built structured
reviews and feedback systems and
it has done a comprehensive pay
review. It is showing in the numbers
– about 43.5% women.
Aside from not harassing women,
what can individual men in Silicon
Valley do to make things better?
Men need to listen and be advocates.
It has been interesting on my book
tour: half the audience feel so
validated and grateful that someone
is finally speaking for them, while
half are completely in disbelief. For
so long, women have been living
this every day and men have been
ignorant of it and blind to it. I don’t
think there are always bad intentions
there, but I do think that at a certain
point ignorance becomes wilful.
Brotopia by Emily Chang is published
by Penguin (£20.99). To order a copy
for £17.84 go to guardianbookshop.
com or call 0330 333 6846
Chinese Large Modular
China’s Tiangong-1 space
station is likely to crash back to Earth
next month. However, the People’s
Republic is planning a larger manned
facility of about 80-100 tonnes.
Composed of various modules with
names such as “Dreaming of the
Heavens”, the station’s completion
date has slipped a number of times.
China hopes to have the base
operational by 2022.
Space Gateway
2 Deep
Nasa and its international
partners are planning a replacement
for when the ISS is decommissioned
in 2028. Although smaller, the
replacement may travel further than
the Apollo missions and will orbit near
the moon. It is hoped the gateway
could serve as a hub for missions to
Mars by the 2030s.
3 B330
This is an inflatable space
habitat being developed by Bigelow
Aerospace. The skin will be about
a foot thick and it is claimed it will
offer superior radiation and ballistic
protection to that of the ISS – its
mass to habitable space ratio is far
superior than a rigid module. Bigelow
have signed a deal with United Launch
Alliance to launch a B330 in 2024.
4 Axiom
This private company’s plan is to
launch modules that will link with the
current ISS, but remain in a low Earth
orbit once the original space station
is shut down. Axiom plans to generate
revenue from space tourism and by
using its craft as a manufacturing
base for items such as small satellites.
Some of its products could return to
Earth – for example, fibre optics made
under low-gravity conditions are free
of imperfections.
Space Hotel
5 Russian
In 2017, the Russian space
agency announced plans to add a
five-star luxury suite to the ISS.
Facilities will include extra-large
viewing windows, gym equipment
and wifi. Space walks supervised by
cosmonauts would also be on offer.
The proposed cost for a month’s stay,
including space walk, would be a hefty
$60m (£43m). The launch of the first
module is planned for 2021. Ian Tucker
Artist of the week
Welcome to
Kylie country
Cafe de Paris, London
Channelling heartache
and Dolly Parton,
Kylie Minogue is reborn
as a rhinestone cowgirl
at the first outing
of her multifaceted
new album
It starts with what sounds like the
neigh of a horse, and Kylie, clad in
faded double denim, descending a
curved staircase like a sweetheart
of the rodeo. A live band, looking
only slightly rueful in their red
neckerchiefs, like pet dogs in
bandannas, rev up the title track
from the singer’s forthcoming
album, Golden, all distant Tarzan
hollers and finger clicks. A glitter
cannon discharges the first of many,
many payloads.
Throughout the singer’s long
career (by her own reckoning
tonight, she’s “49 and ten-twelfths”),
fans have never needed to mine
Kylie’s output beyond the topsoil
to find a vein of humour, or a gem
or two indicating that her best
work is being produced to arch
and knowing standards. For every
Locomotion – Stock, Aitken and
Waterman-era froth – there has
been a Can’t Get You Out of My Head
(club-pop hammer blow of genius).
This latest Minogue incarnation –
shall we call her Dixie Minogue? Kyle
Miner’s Daughter? – is, thankfully,
no exception, as Kylie’s playfulness
wins out tonight over what could be
a high-fructose corn-fest.
You may have picked up on
Dancing, Kylie’s recent single, on
its acoustic guitar and its video,
in which Kylie line-dances with
death. Fans, friends, Kylie’s record
company and reviewers are gathered
here in the plush surrounds of this
fabled cabaret club for an intimate
set that doubles as the launch of
the singer’s 14th album, a massive
pivot to country music. It is at once
unexpected, eye-rollingly cheesy
and perfectly understandable, given
the circumstances.
Any number of artists would say
that the safest place for a broken
heart is in the studio. Others would
attest that heartbreak’s natural
home is Nashville, the county seat of
country music. Kylie’s Golden takes
those thoughts and runs with them,
on horseback.
One very public broken
engagement, and two weeks spent
writing within whistling distance of
the Grand Ole Opry, have resulted
in a clutch of new songs in which
Kylie tussles gamely with unfamiliar
tropes such as cars, radios and
mortality, and more established
ones, like kisses and glitter.
There’s one new song that is
really disco business as usual, with
a little country guitar motif thrown
on for the hell of it: Raining Glitter.
But equally, a bearded man called
Big Luke plays banjo on a song
called A Lifetime to Repair. In a
recent interview, Kylie noted how
she and former producer Stuart
Price came up with a “Dolly Parton
litmus test” around the time they
were recording Kylie’s 2010 album,
Aphrodite: if the song sounded good
on acoustic guitar, it was a winner
(a doubtful industry truism that
might just bear scrutiny for pop
but hardly for electronic music or
Yes, there are missteps and
squandered opportunities on
Kylie’s Dolly Parton litmus test
writ large. Midway through this
set of new songs and lesser-heard
oldies (All the Lovers!), Kylie pays
homage to Dolly Parton – or, as
Kylie puts it, “tipping the hat, or the
tiny baby fascinator Stetson you’re
wearing” – and duets with Big Luke
on Islands in the Stream, a 1983
hit for Parton and Kenny Rogers.
Literally any half-baked Dolly
Parton B-side would have been a
better Stetson fascinator-tip to one
of America’s finest songwriters
than this ghastly tune originally
written by the Bee Gees as an R&B
song (which explains the lyrically
unfortunate “uh-huh”: works in
R&B, less so elsewhere).
Kylie’s normally a dab hand
Cancer, chemo,
cad after cad,
a Kardashian:
nothing, it seems,
can dent her mojo
at duets: for an artist whose
collaborations have so often
expanded her remit – with Nick
Cave on 1995’s Where the Wild
Roses Grow, or Robbie Williams
on 2000’s Kids – you do feel
despondent when Jack Savoretti
arrives on a stool to prop up one of
Golden’s least gilded songs, Music’s
Too Sad Without You. A pop star
of 30 years’ standing, one who
recently won the right to be known
mononymously after reality TV’s
Kylie Jenner tried to copyright the
name, deserves better than this
common-or-garden tune-pusher.
There are issues, too, with songs
such as Sincerely Yours, which
betray the influence of Taylor
Swift collaborators Liz Rose and
Nathan Chapman on the writing
of Golden. If you squint a little,
too, Kylie’s blond shag-cut with
fringe, and her smoky eye makeup,
also have more than a little Swift
about them.
But to make up for all that, there
is a large denim patch in the shape
of a star on Kylie’s epoch-defining
behind, and the pervasive sense
that Minogue is now selling ersatz
twang-pop in the full knowledge
that it is just that: a surface reading
of a rich genre, lit by the shimmer
of a mirror ball as much as by
When she does it with gusto,
you’re won over. The rather good
Shelby ’68 is a song about a very
specific kind of Ford Mustang,
the kind that Kylie’s dad owns in
“candy apple red”. It’s a love song
to escapism, to doing “everything
wrong” that feels “so right”, and
just nimble enough to dodge the
cliches of the format. “I know you’re
gonna break my heart/ When I get
in your car,” sings Kylie, kittenishly.
It’s miles better than Golden’s other
carpe diem song, Live a Little.
Tonight, as on the album, Shelby
’68 is followed by Radio On, a song
about turning a dial in the hope
of salvation. (No one has, as yet,
found a killer rhyme for “Alexa,
please play my favourite Spotify
The Observer
Hot t
Junglepussy Showers
Garnering a reputation as one of
New York’s hottest MCs, Junglepussy
steps into vulnerable territory with
mellow, singsong vocals.
The BBC Sound of 2018 winner
maintains her high level of digital pop
candour with this breezy earworm.
bless ur heart
Another intensely emotional ballad
from an artist whose sleeve is
wholly made of heart.
Album reviews
Yo La Tengo
There’s a Riot Going On
Sly and the Family Stone’s
1971 album of the same name
was a full-on record, reacting
to extraordinary times. Yo La
Tengo’s 15th-odd offering sounds
nothing like its namesake. It too
is a reaction to tense times, but a
much calmer one.
Like virtually every other Yo
La Tengo album, Riot finds the
veteran trio striving to make the
guitar band sound like the high
point of human civilisation, rather
than a vehicle for rebelliousness.
It is, however, a departure for
them. Largely improvised, often
meditative, these 15 tracks find
Georgia Hubley often taking the
lead on guitar, offering up ambient
passages – like Dream Dream Away,
a strummed interlude of off-hand
beauty – and, on Esportes Casual,
a little loungey bossanova that,
though sweet, sits ill with the rest
of this immersive listen.
Of the songs you can grab with
two hands, Ira Kaplan’s out front on
the buzzing For You Too, providing
a sterling example of evolved
masculinity in the wake of #MeToo.
By contrast, Hubley leads on
Shades of Blue, as great a song as
the Jesus and Mary Chain never
wrote, and Polynesia #1, a lovely
reverie that doubles as a paean to
the South Seas. Kitty Empire
Snoop Dogg
Bible of Love
(All the Time Entertainment/RCA)
‘Relatable diva’:
Kylie Minogue
at London’s Cafe
de Paris last
week. Photograph
by Christie
playlist”.) This is Kylie at her most
genuinely country, up close to
the microphone, unforced and
yearning. “There in the moment,
I’m strong,” she sings, actually
quavering a little.
And herein lies the album’s
pull: the grace under pressure of
this relatable diva, having a merry
wallow in the genre that suffers with
a smile. Cancer, chemo, cad after
cad, a Kardashian: nothing, it seems,
can dent Kylie’s mojo.
Strip out the lyrics from the
tunes, though, and they are so sad.
The superficially upbeat A Lifetime
to Repair actually requires a hanky
the size of a king-sized sheet. “If I
get hurt again,” trills Kylie, “I’ll need
a lifetime to repair.”
Then there’s the encore and
Dancing, a song that easily ranks
among Kylie’s finest. First, she
needs a lifetime to repair; now, she’s
throwing around intimations of
mortality. “When I go out, I wanna
go out dancing,” avows Kylie, as she
prances back up the stairs.
Snoop Lion, the Rastafarian
reincarnation of Bob Marley we
knew so briefly, is dead. Save your
prayers. Snoop Dogg is reborn,
just in time for Easter, clutching a
Bible and an Alan Partridge-sized
collection plate. This latest brand
extension is a two-hour-plus
Cold Callers
With their
grooves, this
duo belie their
English origins
hip-hop gospel confection that’s
briefly charmingly pleasant, then
heartbreakingly boring. It has less
edge than a child’s balloon.
Some wonderful singers feature,
including the Clark Sisters and
Fred Hammond, alongside a raft of
unexceptional rappers. Yet, given
Uncle Snoop’s supposed journey
from pornography, pimping and
murder into the glory of God’s
kingdom, it’s dispiriting that so
much material here is boilerplate
encomia, feebly incurious about sin
and repentance.
Unforgivably, there’s hardly any of
Snoop’s delicious, smirking drawl. If
this is the second coming, our rough
beast skulks in the shadows, in fear
of his own bully pulpit. Perhaps he’ll
visit every purchaser and append
his missing verses on the doorstep,
clutching a Watchtower. More
plausible is that he is, and has long
been, laughing at us; that nothing
matters except notoriety you can
monetise. Damien Morris
Creep Show
Mr Dynamite (Bella Union)
Electronica has played a prominent
role in John Grant’s solo career,
the Midlake-assisted balladry
of 2010’s Queen of Denmark
largely being usurped by synths
by the time of 2015’s absorbing
Grey Tickles, Black Pressure. His
2016 performance with British
analogue electro trio Wrangler
(comprising Cabaret Voltaire’s
Stephen Mallinder, Tunng’s Phil
Winter and sometime John Foxx
foil Benge) at the Barbican, London,
felt like a natural next step. Two
years on, that project has a name,
and a debut album that is by turns
ominous-sounding, inventive and,
on K Mart Johnny – a Blue Jam-like
evocation of plastic-dinosaur-based
children revenge – surprisingly
funny. For the most part, the voices
of Grant and Mallinder have been
heavily treated, pitched up or down,
Hertfordshire isn’t typically a place
you’d associate with smooth
hip-hop-meets-R&B sounds, but
rising duo Cold Callers are about
to subvert your expectations.
Toch-UQ and Timi.B met in
secondary school during their GCSEs.
“We started recording at our local
youth centre and got more into
it,” they have said. “Eventually we
invested in our own equipment and
ended up converting Toch’s shed into
a studio, which is where we record
most of our vocals.”
A shed in rainy suburban England
is not the first place that comes to
mind when listening to their breezy,
sunshine-imbued music. Cold Callers’
As the Sun Sets EP, released last
year, conjured up vapoury images
of cruising through Los Angeles,
rendering their contributions
largely indistinguishable, as on
the rudimentary electro of Tokyo
Metro and the vocoder-assisted Pink
Squirrel. It’s telling that the closing
Safe and Sound, on which Grant’s
baritone is unadorned by studio
trickery, stands head and shoulders
above the rest. Other highlights
include the lurching funk of Modern
Parenting and the icy Kraftwerkisms
of Fall. Phil Mongredien
Mélissa Laveaux
Radyo Siwèl (No Format)
Haiti’s turbulent history is studded
with splendid music, most of it
little heard by comparison to its
Caribbean neighbours. Mélissa
Laveaux, born in Ottawa to Haitian
parents, plays neither the lavish
orchestral music called compas,
nor the rootsy, drum-heavy style
of groups such as Boukman
Eksperyans. Her previous two
albums have mixed folkish originals
with indie rock, and even a cover of
Eartha Kitt’s I Want to Be Evil.
Here, she delves into her Haitian
heritage, restyling Creole folk
songs dealing with the capricious
pantheon of Vodou deities,
and numbers made famous by
precursors such as Martha JeanClaude, who protested against the
US occupation of Haiti between
1915 and 1934. The album sounds
far from folky, however. Laveaux’s
spiky electric guitar is to the fore,
abetted by Drew Gonsalves of the
soca band Kobo Town, while French
producers Albert supply an eclectic
backdrop that veers between the
trip-hop grooves of Nan Fon Bwa,
the Parisienne pop of Totalito, and
the angry fuzz guitar of Nibo. On
top, Laveaux’s vocals dance, yelp
and croon in joyous, idiosyncratic
fashion. It’s easy to forget there’s
plenty of protest going on; Jolibwa,
the one Laveaux original, celebrates
a murdered journalist. A seductive,
original piece of work. Neil Spencer
all sultry and humid – albeit with
the subtle inflections of British
accents. Deliciously warm touches
of jazz and soul give the duo a sound
reminiscent of California group the
Internet, and the same is true on their
forthcoming EP Swallowed By the
Sun (you might sense something of a
pattern here).
Not content with mere musical
aspiration, the pair are also studying
for law degrees, citing a desire to
understand the industry from a legal
point of view. It suggests a bold
ambition, and with a global sound that
pushes beyond humble beginnings,
Toch-UQ and Timi.B are cold callers
you’ll want to pick up on. Tara Joshi
Cold Callers’ Swallowed By the Sun EP
is out on 26 March
The Observer
‘In your face’: Terry Notary
as performance artist Oleg
in The Square.
Film of the week
The fine art
of feeling
A satire on the contemporary art world
sits edgily alongside a skewering of male
privilege and middle-class altruism in Ruben
Östlund’s surreal Palme d’Or winner
The Square
(151 mins, 15) Directed by Ruben
Östlund; starring Claes Bang,
Elisabeth Moss, Dominic West
The publicity for Swedish writerdirector Ruben Östlund’s Palme d’Or
winner The Square features Terry
Notary as performance artist Oleg,
stripped to the waist, mounting a
table at an upmarket dinner and
glowering with animalistic rage.
It’s an arresting tableau – baffling
and intriguing, promising anarchic
action and titilatory spectacle. The
fact that this in-your-face image
only partly represents the film
itself seems entirely appropriate,
since one of the key themes of
Östlund’s surreally cerebral and
increasingly weird art-world satire
is “the difference between art
and marketing”.
“The Square is a sanctuary of
trust and caring,” reads the rubric
for the art installation of the title:
a floor-level, illuminated outline
of a space in which altruistic
behaviour is compulsory. “Within
its bounds we all share equal rights
and obligations.” Such aspirations
are noble but hardly headlinegrabbing – until two youthful
PR creatives conjure up a shockingly
offensive promo video (think Wag
the Dog meets Michael Bay) that
promptly goes viral. Meanwhile,
suave museum director Christian
(Claes Bang) is too distracted by the
whereabouts of his stolen wallet and
mobile phone (ringtones constantly
interrupt the drama) to pay proper
attention to his job, or the people
with whom he works.
Like the husband and father in
Östlund’s 2014 gem Force Majeure,
whose inherent cowardice is
revealed in a moment of crisis,
Christian’s image starts to crack. He
presents himself as a liberal paragon
who commissions “cutting-edge” art
and speaks passionately (“from the
heart”) about the social importance
of The Square. Yet Christian’s
personal politics are altogether
less progressive, rife with barely
concealed petty prejudices – social,
racial, sexual.
“As your boss, I’m curious to know
if I can count on you,” he tells one
employee whom he attempts to
bully into doing his extracurricular
dirty work. Another, whose name
Christian can’t remember, is
unceremoniously yanked out of a
planning meeting (“Do you have
a driver’s licence?”) to serve as his
unpaid taxi service. When Elisabeth
Moss’s spurned journalist Anne
accuses him of “using your position
of power to attract women, to make
conquests”, Christian is grudgingly
forced to concede that she has a
point. Not even his own children
(from an unsurprisingly failed
marriage) can rely on their father to
put their interests first.
Such selfishness is in stark
contrast to the avowed ethos of The
Square, which takes inspiration
from a real-life art project developed
by Östlund and Kalle Boman in
2014/5. A masterfully poised turn
by Bang perfectly encapsulates the
contradictions of his character,
slipping subtly between charm
and creepiness without any hint
The Observer
And the rest
of caricature. In one revealing
sequence, Christian tracks his
stolen phone to a downmarket
high-rise, an environment that
seems terrifyingly alien to this
hilariously pampered “semi-public”
figure. Reflecting Christian’s
increasingly paranoid state of mind,
cinematographer Fredrik Wenzel’s
camera creeps down ominously
darkened corridors speckled by
eerie pools of automatic lighting,
visualising Christian’s cultureshocked anxieties.
By contrast, the ridiculing of
the insular world of modern art is
rather more broad, ranging from
toe-curling routines about the
impenetrable gobbledegook of
museum catalogues to gags about
mounds of carefully arranged rubble
being accidentally swept up by the
cleaners. In one pantomime-style
sequence, Dominic West’s pyjamawearing celebrity artist attempts
one word is
repeated, and
ignored: ‘Help!’
to pontificate upon the origins of
his work while being interrupted
by the obscene interjections of an
audience member with Tourette’s. In
another, a group of patrons applaud
Christian’s pious speech about
caring for the poor and needy before
rushing with unceremonious haste
toward a lavish hospitality buffet.
Throughout, one word is
repeated, and repeatedly ignored:
“Help!” From the homeless beggars
whom the museum’s PR firm seem
happy to exploit, to the elegantly
attired patrons terrorised by Oleg’s
performance-art primate in the
film’s audaciously alarming set
piece, such unanswered pleas
become the plaintive refrain
of The Square. Some audience
members may find themselves
similarly crying out for assistance
as this Oscar-nominated oddity
swings between the carnivalesque
and the cruel. Should we read the
movie as a polemical cry against
bystander apathy, a scalpel-sharp
dissection of male hypocrisy, or just
a playful swipe at the emptiness
of modern art, replete with bizarre
riffs on that old chestnut, “A monkey
could have done that”?
The answer is in the eye of the
beholder. Like Bobby McFerrin
and Yo-Yo Ma’s oddly off-kilter
rendition of Ave Maria, which
echoes throughout the drama, The
Square is a strange mix of pop and
profundity: archly entertaining,
occasionally grating and
consistently uncomfortable.
(115 mins, 15) Directed by Alex
Garland; starring Natalie Portman,
Oscar Isaac
Alex Garland’s sci-fi thriller, based
on Jeff VanderMeer’s novel, is an
exciting, imperfect genre success.
It follows four scientists and a
paramedic – all female – who enter
the Shimmer, a quarantined zone
from which no living creature has
emerged alive. With “no compass,
no comms and no coordinates” to
guide them, as paramedic Anya (Jane
the Virgin’s Gina Rodriguez) neatly
puts it, “either something kills them,
or they go crazy and kill each other”.
Told through an efficient series
of flashbacks, recounted by Natalie
Portman’s serious, clever cell
biologist Lena, we gradually learn
the creepy nature of the Shimmer,
itself a wobbling wall of light that
looks like the prismatic rainbow
swirls that might collect on top
of a sudsy bowl of water, and the
mutating horrors it contains.
Beginning as science-driven
sci-fi, the film shifts gears into
horror-thriller territory, before
abandoning those narrative beats in
favour of an ambitious, “conceptual”
final half-hour that scrambles a little
to wrap itself up.
Dumped on Netflix, due to studio
anxieties about its supposedly
limited box office potential, I was
pleasantly surprised to discover
that the film doesn’t suffer on a
small screen (though it might sing
on a larger one). However, to call it
highbrow is both to underestimate
audiences and to overstate the film’s
intellectual designs. Garland seems
to be going for something more
poetic and mood-based, with
images of Portman climbing into
a scorched hole in a white, webbed
room, and a burning lighthouse
lingering long after the film ends.
(95 mins, 15) Directed by Justin Chon;
starring Simone Baker, Justin Chon,
David So
Centring on the unlikely friendship
between a tomboyish African
American girl named Kamilla
(Simone Baker) and the big brother
figure she finds in Korean-American
family friend Eli (Justin Chon), Gook
takes place in 1992, in Paramount,
Los Angeles, against the backdrop
of the riots that occurred in the
days after the Rodney King verdict
was announced. “What does ‘gook’
mean?” asks Kamilla, gesturing
at the racial slur graffitied on the
bonnet of a car. “It means country,”
replies Eli. Writer, director and
actor Chon’s remarkable debut
From top: Jennifer
Jason Leigh, Natalie
Portman, Tuva
Novotny, Tessa
Thompson and
Gina Rodriguez in
Annihilation; Gook,
set during LA’s
Rodney King riots
of 1992; and a lame
Peter Rabbit.
AP; Allstar/Sony
feature recontextualises that word,
corrupted, as the title card explains,
by the US military during the Korean
and Vietnam wars.
When Eli sends Kamilla to Mr
Kim’s corner shop to break a $50
note, he pulls a gun on her, recalling
the murder of Latasha Harlins,
a 15-year-old black girl who was
shot in the back of the head by a
Korean shopkeeper (the shooter was
famously sentenced to five years of
probation, 400 hours of community
service and a $500 fine). Boldly, it
rejects the common notion of Asian
Americans as a model minority.
Shot in lustrous black and
white, and paying close attention
to the bubbling interracial
tensions between LA’s immigrant
communities, Chon’s film directly
references Mathieu Kassovitz’s
1995 banlieue movie La Haine,
though there are also detectable
traces of Charles Burnett and John
Cassavetes in its character-driven
drama and jazz score. Yet in rooftop
conversations, an impressionistic
dance sequence that takes place
in a parking lot and a devastating
conclusion that teeters on the edge
of melodrama, Chon finds a tone all
of his own.
Peter Rabbit
(95 mins, PG) Directed by Will Gluck;
starring James Corden, Rose Byrne,
Domhnall Gleeson
Beatrix Potter’s children’s books may
have been out of copyright since 2014,
but that’s no excuse for this manurescented take on her best-known tale.
Using a crass mix of CGI and live
action, this version bastardises her
trickster bunny, reimagining him as
a smirking “young rabbit in a blue
coat, with no pants”.
Peter (James Corden) seems to
take his cues from The Inbetweeners
Movie, shoving a carrot into Old
Mr McGregor’s bum and staging
a vegetable garden heist set to
Yolanda Be Cool & DCUP’s We No
Speak Americano.
Every “joke” is explained
witheringly (“I’m whimsical and
hilarious!” says Domhnall Gleeson’s
Young Mr McGregor), and there is
no real story, just a series of dated
song cues, geographically confused
set pieces and a subplot involving
Harrods that try to conjure an
exportable vision of Britishness
dreamed up by an LA studio exec.
Mary Magdalene
(120 mins, 12A) Directed by Garth
Davis; starring Rooney Mara, Joaquin
Phoenix, Chiwetel Ejiofor
As the film’s written coda explains,
Mary Magdalene has long been misidentified as a prostitute. Garth
Davis’s attractive, unsmiling drama
sets out to revise this myth, telling a version of the New Testament
that attempts to make the female
saint the story’s protagonist. When
Rooney Mara’s Mary flees an
arranged marriage, her orthodox
community insist on exorcising the
“demon” that has taken up residence
in her body. But there is no demon,
she insists, just “my thought, my
fear, my longing, my unhappiness”.
It’s no surprise, then, that when
Jesus (Joaquin Phoenix, whose
shoutiness clashes horribly with
Davis’s muted naturalism) and his
disciples roll into town, her interest
is piqued by his suggestion that she
“ignore” her father and husband and
instead “obey God”. What follows
is a tasteful RE lesson that rushes
to paint Mary’s inner strength
and moral goodness, but forgets
to shade in the contours of her
characterisation. Still, Davis, who
directed 2016’s Lion (and several
episodes of Jane Campion’s BBC
drama Top of the Lake), has an eye for
space, colour, composition and scale.
Cast in bleached beiges and soft,
sandy greys, there is something holy
about the film’s sparse landscapes.
The Observer
Begin a Bollywood romance
If you want to get into
Indian cinema and TV
but don’t know where to
start, here are some of
the best online offerings
Seeta Devi in the BFI’s new print
of the ‘ravishing’ 1928 silent epic
Shiraz: A Romance of India. BFI
For many of us, Bollywood cinema
tends to be the invisible elephant
of the UK film market. Vast in
output and popularity alike, it’s
nonetheless a difficult scene for
dilettantes to keep pace with. Media
coverage and criticism is scarce, not
least because mainstream Indian
releases are rarely screened for the
press – or perhaps this cause and
effect should be reversed – and
breakout crossover hits are rare.
That makes simply knowing what to
see tricky before matters of access
come to the fore. With marketing
materials as one’s principal guide,
one crystal-encrusted musical or
strutting street-war thriller looks
much like another.
The world of streaming, then, is
an ideal way in for the Bollycurious.
It may not make the mass of
material much more critically
navigable, but the convenience of
it all enables a lot more enjoyable
trial and error. The most obvious
port of call is Netflix, which has
been beefing up its Bollywood
selection for a while before jumping
in – as is the network’s wont in
all areas these days – with some
originals of its own. Later this year
comes underworld miniseries
Sacred Games, adapted from Vikram
Chandra’s sprawling novel and
directed by swaggering genre
stylist Anurag Kashyap – already
represented on Netflix with the
tough-skinned Ugly and the
deranged serial-killer film Raman
Raghav 2.0. His TV saga will aim
to lure both Indian audiences and
subtitle-happy viewers of crime fare
in the Gomorrah mould.
On the film front, Netflix recently
premiered the polished romcom
Love Per Square Foot. It’s daintily
appealing and approachable, though
if you’re looking for a sweet, breezy
Bollywood gateway, it’s a mere
paper doll beside the more fullyfleshed delights of Queen. A sparky
feminist finding-yourself story of
a jilted bride who opts to go on her
European honeymoon solo, Vikas
Bahl’s film lightly hits its westernstyle story beats while presenting
a distinctively indigenous point of
view – it should be better known
across cultures. On a heftier note,
the riveting, Oscar-nominated
colonial cricketing epic Lagaan
enjoys a higher profile, but is still
underseen; Netflix has you covered
there too.
More schooled fans of Indian
cinema might prefer to browse
Spuul, a dedicated Bollywood
streaming service with separate
sections for Tamil and Punjabi
titles – note that English subtitles
are not a constant here – and
varied subscription options, as
well as a small section of free-tostream titles. Not knowing quite
where to dive in, I chanced upon
a special playlist compiled in
honour of screen icon Sridevi, who
tragically died, aged 54, last month.
I was unfamiliar with her work
but understand the outpourings
of grief: she’s a veritable human
lighthouse in the winningly sudsy
1989 melodrama Chandni. The film’s
ostensibly a love triangle, but I could
only concentrate on her corner.
If your tastes run more vintage
than that, however, make a beeline
for the BFI Player, where their
crystalline restoration of the
ravishing 1928 silent epic Shiraz:
A Romance of India is now available
to stream. First unveiled at last
year’s London film festival, it’s a
genuine jaw-dropper, dramatising
17th-century Mughal ruler Shah
Jahan’s building of the Taj Mahal
with formal sweep and swooning
heart and a glorious new score by
sitar queen Anoushka Shankar. You
can practically see the deep jewel
tones through the pristine black and
white. It’s as good a place to start
your Bollywood exploration as any.
New to streaming &
DVD this week
Film Stars Don’t Die in Liverpool
(Lionsgate, 15)
What seems like a grande dame
showcase for Annette Bening, above,
as faded Hollywood siren Gloria
Grahame, is sneakily, sexily stolen
by a never-better Jamie Bell as her
unlikely scouse lover.
Professor Marston and the
Wonder Women
(Sony, 15)
At last, a superhero origin story to
get on board with. This sly dig into the
polyamorous private life of Wonder
Woman creator William Moulton
Marston is witty, grown-up and
beautifully acted.
(Modern Films, 15)
If you’re tickled by the prospect
of Cate Blanchett in a ludicrous
baker’s dozen of disguises reciting
the manifestos of Marx, Breton and
Werner Herzog, this oddball art project
is practically a religious experience.
Shirley: Visions of Reality
(Eureka, 15)
Another gallery piece, Gustav
Deutsch’s exquisitely staged
experiment constructs a series of
painstakingly Edward Hopper-inspired
live-action tableaux. The narrative
throughline is contrived, but it’s a rich,
disorienting visual experience.
The Observer
Ilona Revolskaya (top), Olivia Warburton
and Nicholas Mogg in Flight at the Royal Academy
of Music. Photograph by Robert Workman
Everyone ready
for take off?
Royal Academy of Music, London NW1
Barbican, London EC2
Jonathan Dove’s terrific
airport opera opened
an exciting new space.
Plus, Iestyn Davies
in extreme Handel
So awkward was the site of the
Royal Academy of Music’s sparkling
new theatre, unveiled last week, that
demolition and construction had to
be carried out entirely by carefully
positioned crane – everything
old swung out over the rooftops,
everything new dropped into place
from above. Small wonder, then,
that Jonathan Dove’s 1998 opera
Flight, obsessed with all things
aerial, was chosen to open it.
The space, at the academy’s
central London site, is gorgeous,
enfolding an audience of 300
in a warm, cherrywood-lined,
semicircular embrace, with excellent
sightlines and up-to-the minute
technical facilities backstage. The
comfortable seating (with good
legroom for we lanky music-lovers)
is a bright, cheerful red – apparently
in tribute to architect Ian Ritchie’s
beloved Liverpool FC.
The Susie Sainsbury theatre is
named after the deputy chair of the
academy’s governing body, who,
says principal Jonathan Freeman-
Attwood, worked tirelessly to raise
the £30m needed to replace the Sir
Jack Lyons theatre. The old place
had given 40 years’ good service,
but with a cramped pit, no fly tower
and hardly any wings it was just not
equipping tomorrow’s musicians for
a career in modern opera. Now they
have not only a tremendous stage
with enlarged orchestra pit, but 14
dressing rooms, more rehearsal
facilities and a beautiful 100-seat
recital room and studio, perched like
a jewel box on the theatre’s roof.
All this means the academy can
now strengthen collaboration with
other world-class institutions such as
the Julliard in New York, and increase
its already generous public access to
its music-making (though it needs
to add a cloakroom and better loos).
Overriding all this, though, says
Freeman-Attwood, is the intention
“to raise the ante for the students
to perform better”. On the evidence
of the first night of the double-cast
Flight, the project’s principal aim is
working very well indeed.
Dove’s comic opera took off
like a rocket and stayed airborne
throughout, with excellent ensemble
work from the young cast and some
truly distinctive solo performances.
Dove and librettist April De Angelis
use a familiar setting, an airport
departure lounge, as a place where
people dare to hope: that they will
find new life and love by taking a
flight; that someone will arrive on
a plane who will transport them to
new possibilities; or, in the case of a
refugee without papers, that human
kindness will allow him to stay.
An electric storm grounds all
flights and forces the bickering,
quarrelling cast to reconsider their
lives and put their petty concerns
into perspective, particularly when
There are oodles of
opportunities for
singers to shine in
Dove’s accessible,
high-energy score
the refugee relates his tragic story
of longing and loss. It’s a brilliantly
conceived plot that allows Dove
to explore all the conventions of
opera in Mozartian detail, and offers
oodles of opportunities for singers
to shine in his instantly accessible,
high-energy score. Notable on
first night were the etherealtoned countertenor Patrick Terry
as the Refugee; Ilona Revolskaya
as a stratospheric coloratura
Controller who, more than a mere
voice announcing flights, laments
her passengers’ moral slackness;
baritone Nicholas Mogg as the
randy Steward, big in voice and
personality; and mezzo-soprano
Marvic Monreal, the Older Woman,
waiting for love to arrive.
The Royal Academy Sinfonia
shone under the baton of Gareth
Hancock, adding lustre and sheen
to this bravura show, directed by
Martin Duncan and designed by
Francis O’Connor.
Several RAM alumni – singers
and instrumentalists – were on
spectacular form the following
night, when Harry Bicket and the
English Concert presented Rinaldo,
the latest in their Handel opera
series that has become a particular
annual treat at the Barbican
(Ariodante last year was a knockout).
Chief among those alumni was
countertenor Iestyn Davies, who
in the title role had a mountain to
climb, taking on the eight arias and
two duets Handel wrote for star
castrato Nicolo Grimaldi in this, his
first Italian opera for the London
stage, dating from 1711. For the
most part, Davies sailed through
it, faltering only slightly at the last,
when, in Or la Tromba in suon
festante, his usually faultless sense
of line slipped, but I defy anyone to
sing those decorated semiquavers
with aplomb, particularly after three
exhausting hours on stage.
Rinaldo’s lavish plot and original
staging is too ridiculous to relate
here, but Handel’s sublime music
makes it almost irrelevant, and the
piece works just as well in a concert
performance. And with singers
of the calibre of Jane Archibald
as the wicked sorceress Armida,
Sasha Cooke as Goffredo and Luca
Pisaroni as Argante generating quite
enough excitement, who needs
mermaids, aerial machines or firesnorting dragons pulling chariots?
Fiona Maddocks is away
Home listening
Classical music on CD,
on air and online
 Pleasure might be
a first priority when
listening to music,
but it’s also a direct
route into history.
This is especially true of English
Tudor and Jacobean music, which
gives a sharp parallel insight into
religion and politics of the time
through vocal polyphony. The
little-known Catholic composer
Nicholas Ludford (c1485-c1557)
– associated with Westminster
Abbey and nearby churches, as
singer, organist, worshipper – wrote
only Latin works, many devoted to
the growing cult in England of the
Virgin Mary. Conductor/organist
James O’Donnell and the Choir of
Westminster Abbey, all male voices,
show the contrapuntal richness of
this music in their new album, Missa
Videte miraculum and Ave Maria,
ancilla Trinitatis (Hyperion), especially
in the ecstatic salutations of the Ave
Maria. Here the choir, at times a little
uneven, is at its glorious best.
 The viol consort
Fretwork, founded in
1986 and still flourishing,
focuses on an English
Jacobean composer,
John Jenkins (1592-1678), in Complete
Four-Part Consort Music (Signum).
Whereas his near contemporary
Henry Purcell – like Ludford and many
others – stayed close to Westminster
and the seat of power, Jenkins
preferred country houses. He spent
much time with noble royalist families
in Norfolk, for whom he probably wrote
these consort works for amateur
performance. Contemplative, spirited,
mellifluous and free from overt drama,
they offer apolitical, zen-like balm.
 For more from the period, dig into
Radio 3’s Early Music Show podcast
archive. Presenter Lucie Skeaping
examines madrigalist John Wilbye,
who ended up a sheep farmercomposer in Hengrave Hall, Suffolk;
in Queen Mary’s Big Belly she
explores music from the time
of Mary Tudor’s phantom pregnancy.
In The English Virginals, harpsichordist
Sophie Yates introduces the ottavino
virginals, a cult in Elizabethan and
Jacobean England. That’s plenty
to be going on with.
Fiona Maddocks
The Observer
The scrutinised life,
still and moving
Tacita Dean: Portrait
National Portrait Gallery, London
WC2; until 28 May
Tacita Dean: Still Life
National Gallery, London WC2;
until 28 May
Pensive, elegiac
and ever inventive,
Tacita Dean communes
with vanishing
worlds in the first two
compelling instalments
of an unprecedented
triple bill by the
painter turned
multimedia artist
Three great actors appear on a
screen not much bigger than a
smartphone in a small, dark room
of the National Portrait Gallery.
Ben Whishaw is filmed in summer
sunshine, a young man dreaming,
reading, or waiting for some
offstage presence. David Warner
shifts in his seat, a mysterious
interior monologue played out in his
magnificently senatorial features.
Stephen Dillane retreats from the
camera, or turns directly into it with
all the intimacy of an impending
soliloquy. Each has been a famous
Hamlet in his time – but what part
are they playing now?
Tacita Dean’s new film, His
Picture in Little, takes its title from
Shakespeare’s tragedy. It twinkles
in the gloom between two cases
of Elizabethan miniatures and
opposite the Chandos portrait of
the Bard, all the connections subtle
and superb. The actors turn in
and out of profile or three-quarter
view – captivating, brooding,
confrontational, composed. They
look like the painted people of the
past (Whishaw exactly resembles
the young John Donne) and they
might seem to be acting. Yet they
have not been directed, and nor are
they posing.
The screen splits and the
men appear to be listening to
one another, side by side, or
“sicklied o’er with the pale cast of
thought”, or out in the greensward
dreaming of their own true love.
Dean’s film has the character of a
play, building to a climax, except
that there is no dialogue. And it
is like a portrait – specifically the
miniatures of Nicholas Hilliard,
holding a man in minutely close
focus – except that it moves through
time. The living, breathing likeness
is truly alive: but is the likeness
actually true? All that was asked
of the three men was that they go
about their business, coexisting
with Dean’s watchful camera. But
self-consciousness has broken
through; at least one of them is
playing himself.
His Picture in Little is the smallest
masterpiece in a retrospective
spread across three major museums,
two shows opening last week
and a third in May (at the Royal
Academy). Dean deserves this
unprecedented accolade. At 52,
she is one of our most profound
and original artists – pensive,
elegiac, perpetually inventive and
attracted to a world on the verge of
disappearance. This might be the
English coast, vanishing beneath
high tides; or the fruit in a still
life; or the old man pottering in
his orchard among apples that
may perhaps outlive him. Still life,
landscape and portrait, the old
genres of painting, are redefined in
these marvellous film works.
Dean started out as a painter
and it is everywhere apparent. She
has found ways of transforming
the single portrait a painter might
condense out of a thousand
observations by running time
through a sequence of almost
uneventful takes. The apple man,
for instance, is the elusive poet
Michael Hamburger, filmed through
the branches in his orchard and the
dense undergrowth of papers in his
Suffolk cottage. Unusually for Dean,
Hamburger speaks at some length –
but only about the provenance and
history of his apples, as if his own
past, as a Jew who escaped Germany
in the 1930s, was impossible to
bring into speech.
For long stretches, Hamburger
is not there at all. Dean’s camera
takes in the sunlight coming and
going among the trees, wind riffling
the grass where lone apples lie
like orphans. A rainbow appears,
sudden glory, over the cottage. His
hands are briefly seen, instinctively
arranging three apples into a family.
It is through such gentle but deeply
Dean’s film has the
character of a play,
building to a climax,
except that there
is no dialogue
The Observer
David Hockney,
‘put to the lens’
in Portraits,
2016 by Tacita
Dean. Courtesy
the artist;
Frith Street
penetrating scrutiny that Dean is
able to bring this complex mind
more clearly before us.
Several films at the National
Gallery present artists in their
late years. The Italian sculptor
Mario Merz sits in his garden, a
large pine cone like an attribute
in his hands as he contemplates
the shape of forms in space. The
American sculptor Claes Oldenburg
rummages through pigeonholes
full of oddments – Coke bottles,
buttons, plastic pop-eyes – fiddling
about, reorganising, redistributing,
mulling. Occasionally he dusts
this small museum like an elderly
janitor. The film asks you to pay
attention to what he cares about,
to watch how he moves this trivia
about, what signals the eye might
be sending to the brain. Nothing
happens, in a sense, but it is
nonetheless an intensely detailed
portrait of an artist at work.
David Hockney, put to the lens,
sits and smokes and looks at the
wall. He is dressed in mustard
and blue, but is he in his true
colours otherwise? Dean watches
him as he stares out of the
frame, or bends over an array of
photographs that we cannot see.
She is absorbed in his absorption,
measuring each scene by the
span of a leisurely cigarette. He
sits it out through this lengthy
endurance test before suddenly
Dean’s Prisoner
Pair, 2008.
Courtesy the
artist; Frith
Street Gallery/
‘Like painted people of the past’:
actors Stephen Dillane, Ben Whishaw
and David Warner in His Picture
in Little, 2017 by Tacita Dean.
Courtesy the artist; Frith Street
Gallery, London and Marian Goodman
Gallery, New York/Paris
erupting in loud guffaws. Perhaps
it is a kind of resistance to the
perceived absurdity of complying
with this awed homage to a modern
master and his habit.
This is an intensely timedemanding show, and other
visitors distractedly coming and
going may not help. Nor is every
work equally compelling. But hold
fast to her beautifully composed
images, filmed on 16mm stock,
and Dean will slow your mind to
her meditations. She is a kind of
mystic conceptualist, enthralled by
these sages, nostalgic for old film
and always hymning both. The
viewer is perpetually aware of the
celluloid flickering and glowing,
As exquisite
A Cup of Water
and a Rose,
c1630. National
Gallery, London
of light beaming across large and
small rooms, of the clattering of
projectors as the medium flows
through the gallery.
“All the things I am attracted to,”
the artist once wrote, “are just about
to disappear.” Merz, Hamburger,
the painter Cy Twombly, the
choreographer Merce Cunningham
– whose six-screen homage is
a National Portrait Gallery high
point – all died soon after Dean
completed her portraits. She is a
born eulogist; and of the natural
world as well. Wend your way
through to the National Gallery
next door and here you find a
quartet of so-called still lifes, not
that any of them are motionless, in
which fruit, birds and even rocks
appear as rich and ephemeral as the
light in her camera.
Dean has curated a perfect show
of still life paintings around them
– from Zurbarán’s exquisite silver
cup of water to Gwen John’s empty
birdcage and an irreducibly funereal
image of a hat by Philip Guston. All
are memento mori, to some extent,
and so are the films. This is most
obvious in a work commissioned by
the historically contested region of
Alsace-Lorraine in 2008. Dean made
a film called Prisoner Pair, a pun
on the political situation but also
on the poire prisonnière, in which
pears are bottled in schnapps as a
local delicacy.
She shows the pears in radiant
closeup, their soft surfaces turning
gold and silver according to the
changing light. Sometimes it seems
as if they are still alive, ripe fruit
suspended in liquid as the camera
moves around them. Sometimes
they appear like looming planets,
their curved surfaces pale and
mysterious. Then her camera
catches a beam of white light
reflecting through the glass jar, and
the back-to-front lettering on the
bottom looks like Cyrillic script,
invoking Russian cinema. They
are both themselves and ghostly
shadows, these pears, alluding once
again to the nature of film.
On the opposite walls hangs a still
photograph – or so it seems – of a
bird on a wire against a high blue
sky. It does not move; indeed its
living existence is confirmed only
by a faint soundtrack of song. And
then, all of a sudden, it dives out of
the frame for a worm somewhere
far down below. A portrait of a life
in miniature; a brief chronicle of a
death foretold.
The Observer
‘A sage, sharp cookie’: Steve Burnett-Martin,
better known as Blacker Dread, the subject of Molly
Dineen’s Being Blacker. BBC/RTO Pictures
ode to a son
of Windrush
Molly Dineen’s film about a Brixton local
hero was subtly rewarding, but the tragic
tale of Ruth Ellis lapsed into B-movie cliches
Being Blacker BBC2
The Ruth Ellis Files: A Very
British Crime Story BBC4
Damned C4
Endeavour ITV
Two wildly different approaches
to documentary-making on show
this week, both by women, with
wildly varying levels of resultant
Molly Dineen’s Being Blacker
started relatively unpromisingly,
with solemn mutterings, only halfcaught by the microphone, at the
funeral of a Brixton woman who had
come to Britain from St Thomas,
Jamaica, in 1962. It built, however,
into a vastly layered, witty, warm,
bittersweet portrayal of, arguably,
the entire immigrant experience
post-Windrush, centred on Pauline’s
son, Steve Burnett-Martin, known
better to everyone as Blacker Dread.
Blacker, with dreadlocks he could
stand on – he got them caught in the
vacuum cleaner at one point – was
a sage, sharp cookie who had never
truly felt at home in Britain, yet who
battered through chill prospects
to become a music producer with
his own record store in Brixton,
south London, and a pillar of both
the reggae and wider communities.
Dineen had first filmed him many
years ago for a student project
on soundsystem culture. Blacker
asked her to film his mother’s
funeral as a favour – and she stayed
filming for three years.
In that first week, she’d learned
that Blacker was about to go to jail,
so was selling the store, with much
mournful crating-up of vinyl by
personable regulars. Blacker was
a welter of contradictions. How
anyone who enjoys ironing his own
underpants could have failed to see
the consequences of allowing his
business to be used as a conduit
by local pals for laundering dodgy
money intrigued and infuriated in
equal measure.
Dineen, a thrillingly fine
documentarist, sadly absent from
our screens for about a decade,
got on nicely, via her occasional
trenchant off-camera observations,
with ageing relatives and the likes of
retired armed Brixton robbers. She
went to Jamaica to meet Blacker’s
wife, the equally sharp Maureen,
with their son JJ – diagnosed
Britishly ineducable, now achieving
top-of-class results in the stricter
Jamaican system, “because the UK
government has made teachers
powerless to do things – of course
the children are going to run wild.”
Dineen is very much of the
school of show-don’t-tell (the
complete opposite of which was,
say, David Hare’s Collateral), and this
programme was full of such subtle
showings. What it showed was how
much more subtle, nuanced and
stratified the Jamaican diaspora has
always been than any politician,
however well meaning, ever realised,
and how the left’s obsession with
care over language (rather than
thought) leads to absurdities, and
how the slow drip of racism leads
mainly not to anger but a certain
philosophical weariness. The best
documentaries give a slice of other
lives, lived both well and badly,
which, in the right hands, can linger
in your head for months. These were
the best hands.
American Gillian Pachter gave
us The Ruth Ellis Files: A Very
British Crime Story, an hour-anda-half documentary, unaccountably
crammed into three long hours on
successive nights on BBC Four. She
Molly Dineen
got on nicely with
ageing relatives
and retired
armed robbers
tried extremely hard not to bring
her modern sensibilities to the sorry
tale of Ruth Ellis, the last woman
to be hanged in Britain, nor crude
judgmentalism to our country of
1955, when air aces and rally stars
came from one class and platinumblond hostesses from very much
another, and Hampstead still had its
seamy side, and prosecutors could
still be called things like Christmas
Humphreys, but ultimately failed.
There were many strengths
to Pachter’s programme. The
interviews with the likes of the canny
QCs Michael Mansfield and Helena
Kennedy, the unstinting tracking
down of relatives both fearsome
posh and fearsome bitter, the diligent
poring over archival esoterica. At one
point the Home Office had sought
responses from the public to the
issue of possibly commuting her
death sentence, and garnered such
gems as “If Ellis is reprieved, I fear
that would license my wife to murder
me”, which Pachter, a little naively,
adjudged “not being out of place in
the Victorian era” (I’d respectfully
argue that such views wouldn’t be
out of place on any phone-in or
Twitter-spat today; toxic stupidity
seldom goes out of fashion). Above
all, Pachter reinforced the fact that
Ellis, only two years later and after
a change in the law, would almost
certainly have been found guilty
of manslaughter only, having been
beaten regularly by posh bastard
David Blakely, whose punch in
the stomach led to a miscarriage,
indirectly to his murder.
But there were many failings.
At one stage Pachter sought the
help of her next-door neighbour
and her son to “recreate” Ruth and
her son, the doomed Andre (who
killed himself after desecrating
Ellis’s grave), on the night of the
murder, and (obviously) gained
no insights other than the witterings
of speculation. Above all, Pachter
insisted, despite having earlier
leaned heavily against the 1950s
media portrayals of Ruth as a pulpy
noir femme fatale, on intercutting
the entire series with old B-movies,
of the pulpiest, and noirest,
cheapness. And often not even noirs
but old black-and-white romantic
comedies, which had the cumulative
effect of lending every 10 minutes a
background air of raucous slapstick.
Which was at sharp odds with the
themes of, if you’ll remember, abuse,
murder and poisonous prejudice,
otherwise so well explored.
Talking of young modern
sensibilities, I’m becoming
The Observer
Podcasts & radio
Alan Dein, the ‘clear and
unimposing’ oral historian
and Radio 4 presenter.
The hidden history of
a tragic day in Soho
Lives in a Landscape R4
Mind the Gender Pay Gap R4
Aftermath: After the Admiral
Duncan R4
Scooter Crick, left,
as Ruth Ellis’s son,
Andre, with Emma
Moore as Ruth Ellis
in a reconstruction
of the night of the
murder of David
Blakely in The Ruth
Ellis Files.
Below: Lolly Adefope
in Damned: ‘a
ridiculous success’.
BBC/Wall to Wall
Media; Channel 4
immensely taken by the performance
of Lolly Adefope as the infuriating,
virtue-signalling trainee Mimi in
this series of Damned, the latest of
which was bumped over till next
week in order to rush in a Hawking
tribute. (I assume the Beeb is
holding its Jim Bowen tribute back
for a more considered approach.)
Mimi has turned the taking of
offence into an art form, schooled in
all the right phrases yet able to boast
zero experience of life, and could
so easily have been a stereotype;
Adefope manages, against high
odds, to imbue her with a smidgen
o self-aware humanity. Damned
be damned difficult to write,
to tread hair-trigger lines
between so
many sensitivities. To
ca it off, and to make it funny,
is a ridiculous
A beautifully elegiac end to this
of Endeavour, then: poor
Fancy, and farewell, too, to
and it has been the finest
yet. Much is often made of
Allam, and Anton Lesser, and
so, but often forgotten is
Evans: with his bony shrugs
an awkward shoulders and sudden
rudenesses and, cathartic,
smiles, he’s in danger of
John Thaw, not just as
th character but as the actor.
Any radio programme that’s made
and presented by Alan Dein is worth
a listen. He’s not a household name,
but if you’re interested in everyday
people and their un-everyday
lives, Dein is your man. An oral
historian who works independently,
producing and directing his
own programmes, he’s made
several award-winning series that
leave their mark. Contemporary
podcasters owe much to Dein’s
approach: he searches out stories
that lie under the surface of news
and lets those involved tell their
tales. Through him, we hear voices
that would never otherwise be
broadcast on Radio 4.
The long-running Lives in a
Landscape is the series you’re most
likely to know: where Dein talks
to people who find themselves in
an intriguing situation. A couple
of these shows have really stayed
with me: 2014’s The Roman Way,
about a Luton pub squatted by a
local character, Biggs, when it was
threatened with closure; 2013’s
Wheelchair Pusher Needed, which
featured Terry, an ex-photographer,
and Robert, who pushes his
wheelchair. Both were an absolute
delight, funny and life-affirming,
and you can find them on the
extensive Lives in a Landscape
archive, hooray! Gradually, the
BBC is offering up its wonderful
collection of past programmes so
that we can binge-listen and enjoy.
And, another hooray – Dein is
back with a new series, Aftermath,
which centres on the human fallout
from a seismic event. The week
before last, the focus was on an
air disaster that I’d never heard of
before: 45 years ago, 108 people
were killed when a plane crashed
in Switzerland. Most were women
from villages near Bristol; they’d
travelled to Basel for a special day
out shopping. Last week the subject
was the 1999 nail-bombing of Soho
gay pub the Admiral Duncan, which
I remember clearly. We heard from
two survivors, as well as from the
vicar of St Anne’s church, Soho, and
from the sister of one of the victims.
As ever, their voices roll around the
mind. One victim visits the Admiral
Duncan to gain strength when he’s
down. One has become a policeman.
The devastated sister works for
LGBT and homelessness support
groups. There’s a break in the vicar’s
voice when he describes the Soho
gathering in support of those who
died in the 2016 Orlando nightclub
shooting. People are wonderful
and horrible, but mostly wonderful.
Dein’s commentary, which can
veer towards the ponderous, is
excellent, clear and unimposing. His
interviewing, as ever, is glorious.
More aftermath: the long-term
consequences of our expectations
about gender and work were
revealed in Mind the Gender Pay
Gap on Radio 4. Social historian
Emma Griffin went back a long
way – she pointed out that in the
Bible, the Lord tells Moses that
female servants should be paid
three-fifths of the amount male
servants get – but focused mostly on
agricultural Britain, and from there,
the Industrial Revolution, the world
wars and beyond. We have, in this
country, a deeply held assumption
that the work that men do is more
important than women’s work and
should be paid more bountifully, as
the man is supporting his family.
Until we unpick these assumptions
(and bear in mind that the workforce
is split 50-50 male-to-female), our
pay gap, currently 18.4%, will stay.
Griffin, a woman in a hurry,
zipped through her lively
commentary and pointed out the
anomalies of our traditions. Did
you know that laundry is still the
single job most likely to be done by
women? Even now? “Throughout
the 20th century, there is a
dominant assumption that even
if men participate in housework,
women retain responsibility for it,”
pointed out one commentator. Grrr.
It’s enough to make you chuck his
dirty smalls in the bin.
Still. Like the Admiral Duncan
programme, the gender pay gap
is a depressing subject; like that
programme, we were left with a
sense of optimism. The world isn’t
perfect. That doesn’t mean we can’t
try to change it for the better.
Three shows I’ve changed my mind about
Hip Hop Saved My Life With
Romesh Ranganathan
When this podcast first came out,
I found Ranganathan’s upbeat
silliness a distraction. Why, I thought
loftily, doesn’t he just talk about
music? Well, duh. Ranganathan’s
podcast is, of course, an interview
podcast rather than a musical one.
Once you realise that it’s a version of
Desert Island Discs, the delights of
the show are revealed. Ranganathan
is a warm, witty interviewer who
wears his hip-hop knowledge lightly.
His interviewees – Doc Brown, Mo
Gilligan, Example – are impressive,
though it would be nice to have a few
more women on.
Fortunately… with Fi and Jane
I have been rude about this podcast
in the past, despite my great love for
Fi Glover and Jane Garvey. Its remit
was to recommend great things on
the radio, a positive and lovely thing.
Unfortunately, I feel that Garvey, in
particular, is a far better broadcaster
when she’s being scratchy, as
opposed to positive and lovely. Luckily
for me, Fortunately… has settled
into being a funny, slightly scratchy
podcast, with Garvey and Glover
chuntering on (a delight) about things
that irritate them, with the occasional
jolly diversion into interviews. They
merrily ripped into Radio 2’s Jeremy
Vine, which tickled me greatly.
Turning Points with
Julie Walters
This is a new show, so I can’t say
I didn’t like it before: but I have a
prejudice against programmes with
celebrity hosts. Radio 2 used to stuff
its late-night schedules with the
things: serious documentaries made
by clever producers, presented by a
Hollywood actor sight-reading the
producer’s script. Classic FM’s Turning
Points, a six-part series going out on
Saturday nights (we’re about halfway
through), isn’t very different to this.
But it’s presented by Julie Walters,
who could read out 16 Horses That
Look Like Miley Cyrus on BuzzFeed
and make it sound interesting.
The Observer
fresh blossom
The Cherry Orchard springs to life in
Michael Boyd’s thrillingly vital Bristol Old
Vic production. In Manchester, April De
Angelis takes on Mary Shelley’s monster
The Cherry Orchard
Bristol Old Vic; until 7 April
Royal Exchange, Manchester;
until 14 April
Buggy Baby
The Yard, London E9; until 31 March
Michael Boyd’s production of
The Cherry Orchard, the last play
Chekhov wrote, is an exquisitely
wrought timepiece. It is a play
the former RSC artistic director
and Russianist has waited half a
lifetime to direct. The sound of
trees being felled at the end of the
evening doubles as the ticking of
a clock. And as the play evolves
the costumes become subtly more
contemporary as though to hint
that this is a Chekhov for all time.
When Madame Ranyevskaya leaves
her beloved house en route for Paris
and likely destitution, she steps
away in modern high-heeled boots
and flared coat. She could, almost,
be one of us.
And when she leaves, it is not a
house nor a beloved cherry orchard
from which she parts. The set is the
theatre itself – in its indestructible
scarlet and gold – stunningly
extended by designer Tom Piper
and his team down to the last
18th-century gilded moulding.
The nearest we get to an actual
orchard are the outsize pieces of
cherry blossom that float down
from on high to join ripped-up
telegrams from Ranyevskaya’s
lover on the ground. I approve of
this non-literal vision and its way
of dissolving the frontier between
players and audience, even if there
are occasional moments when
the work’s emotional impact is
compromised by our being unable
to forget we are in a theatre.
Kirsty Bushell’s Ranyevskaya
treats tragedy as a party at which
one must make an effort to be
bright. She has a caffeinated
restlessness about her. In a play
about being, on the domestic level,
paralysed by circumstance, she jogs
hectically to and fro, animatedly
greeting furniture as an old friend,
her face mobile as her feet. She
wears, in the first half, a cherrycoloured dress, as though to match
the fruits of the orchard we cannot
see. And when she thinks of her
drowned son, seven-year-old Grisha,
she buckles in pain and comes
into new focus. It is a fabulous
The cast is diverse and
outstanding. Jude Owusu is
especially compelling as Lopakhin,
upcoming man and entrepreneur,
proposing holiday cottages in
the cherry orchard – an idea
Ranyevskaya shrugs aside. When
he speaks about his parents as
serfs, one feels Russia nod at the
American south and at Bristol’s
historic involvement with the slave
trade. A Chekhov for all time then –
and for every place.
There is splendid support from
an earnest Enyi Okoronkwo as
Pyotr the tutor and from Hayden
McLean as audacious manservant
Yasha. Simon Coates gives a vintage
performance as Uncle Leonid, one
of Chekhov’s lively bores, a man
incapable of stilling his own tongue.
Varya – love’s casualty, another
essentially Chekhovian figure – is
played with delicate yearning by
Rosy McEwen: a slight figure in grey,
keys dangling from her belt yet with
all doors, metaphorically, closed to
her. And as Charlotta, Hungarian
performance artist Eva Magyar is
sensational as a conjuror with half a
cucumber stowed in her pocket.
When Ranyevskaya says,
“Coming” – they are calling for her –
The cast is diverse
and outstanding…
It is a Chekhov for
all time – and for
every place
just before she leaves for ever (Rory
Mullarkey’s translation is supple and
authoritative), I found I had a lump
in my throat. It is overwhelmingly
powerful to hear that one ordinary
word work so hard for its keep. She
leaves behind little Grisha and old
Firs (excellent Japanese actor Togo
Igawa) to haunt the place – youth
and age together in a long sleep.
It does not take much for the
gothic to capsize into kitsch. The
Rocky Horror Show milked – or
bled – that liaison and made
an indestructible hit of it. In
Frankenstein, a sprightly new
version by April De Angelis, there
is an attempt at playing Mary
Shelley’s extraordinary novel,
written 200 years ago, mostly
straight. Even so, there are laughs in
some of the wrong places. Captain
Walton, although attractively
played by Ryan Gage, has a talent
for comic pauses into which our
laughter naturally pours. And De
Angelis introduces wisecracks for
a northern audience about, for
example, the merits of Derby over
Switzerland. But I was content to
be more entertained than freaked
out. Besides, for those who require
gore, designer Ben Stones has come
up with a tremendously satisfying
set complete with creepy charnel
house, boxes of spare limbs, forked
lightning, the works. I particularly
admired Frankenstein’s laboratory/
study with its decanters of blood
and other fiendish props.
But what is most interesting – and
serious – about director Matthew
Xia’s hugely enjoyable production is
its revelation that Frankenstein and
his monster – for all their bluster
and the latter’s loud yells – are, in
their different ways, weak. It leaves
us with a puzzle: who is the creature
here – the monster or Frankenstein
himself? And who, in this story,
might be considered strong?
Shane Zaza has a challenge as
Frankenstein because, emotionally,
it is a one-tone part: he is stuck, like
the Ancient Mariner, inside the caul
of his story, remorse mixed with
alarm. Zaza looks dashing in black
tails and white collar – perfectly
cast as a romantic figure – and
scurries about with persecuted
haste, a nervous twitch of a man.
His monster (intrepid Harry
Attwell) is suitably misshapen:
a bald, croaky Caliban, greased
with his own blood, who cannot
walk competently and makes a
self-pitying din when he isn’t busy
killing people. Perhaps Elizabeth,
the woman to whom Frankenstein
is briefly wed, could be a candidate
for the strength in the piece? She is
played with illuminating intelligence
by Shanaya Rafaat – a star in the
making. The action moves at a
restless pace, as though blown by an
ill wind, and the theatre in the round
works magnificently: there is no
escape for Frankenstein within its
vicious circle.
Josh Azouz’s new play, Buggy
Baby, is about three refugees in
The Observer
Votes for Women
expected the Remain vote to be very
high, the Leave vote was actually 51%;
in Chichester, perceived to be a much
more Conservative place, the leave
vote was also only 51%. Perceptions
aren’t always true. One big difference
is that it’s really lovely to live by the
sea – and it’s always two degrees
a room with a pink carpet and a
cupboard – seemingly a portal to
their old life. But it is not clear where
they have come from, and the khat
leaves they chew deepen doubts
about everything. At the centre of
director Ned Bennett’s violently
exuberant, high-decibel production
is Baby Aya. Jasmine Jones must
have done some serious babywatching as her brilliant portrayal
of this baby is comically spot on –
especially its gormlessly knowing
glances. But this baby can also talk,
like a disillusioned adult. Noof
McEwan, as enigmatic Jaden, and
Hoda Bentaher as Nur keep
faith with this weird play, as do
gun-toting rabbits Tom Clegg
and Abrahi Jarman. However, I
would have liked more context
and character to make sense of
this surreal limbo mixed with
flashes of what one might
almost call genius.
Susannah Clapp is away
Jude Owusu is a compelling
Lopakhin, with Kirsty
Bushell all ‘caffeinated
restlessness’ as Madame
Ranyevskaya, in The
Cherry Orchard at Bristol
Old Vic. Above: ‘dashing’
Shane Zaza as Victor
Frankenstein at the
Royal Exchange.
Below: Jasmine Jones
channels her inner infant
in Buggy Baby at the Yard.
Photographs by Jon Rowley;
Johan Persson; Richard
New Vic, Newcastle-underLyme; until Sat
Lights go up on the
dispatch boxes and mace
at the centre of the House
of Commons. Disembodied
male voices debate the
resolution proposed by
Labour MP Keir Hardie.
Around the upper tier
of the auditorium stand
individual women, looking
and listening intently.
Hardie argues that to be
denied influence in the
choice of leaders is a
form of slavery: women
should be granted the vote.
Counter arguments are
time-wastingly spun out.
The watching women want
“deeds not words”.
What we all want,
director Theresa Heskins’s
new adaptation of Elizabeth
Robins’s 1907 suffrage play
Votes for Women seems to
say, is an effective
of deeds and
words. Only
the two
together can
bring about
change – even
the compromised
change that the play’s
conclusion suggests.
Like Bernard Shaw, who
supported her work, Robins
interweaves individual
passions and political
purposes. Her characters
are multifaceted, mutable
and not necessarily
likable. Their countryhouse conversations,
Trafalgar Square speechmaking and drawingroom confrontations are
dynamically delivered by an
impeccable cast, including
community actors.
Private and public
struggles are condensed in
the concluding encounter
between Polly Lister’s
wronged Vida (pictured,
transforming personal
tragedy into compassionate
activism), Lowri Izzard’s
Jean (wealthy heiress and
young lover quickly learning
life’s lessons), and Kieran
Hill’s Stoner (ambitious
politician manoeuvring
to advantage even while
tussling with emotions).
Situation and acting are
equally compelling.
Hardie’s argument, in the
opening scene (devised by
Heskins), is as true today as
it was more than a century
ago. The production, by
making the past live,
shines light on the present.
Clare Brennan
‘I’m unashamedly
a populist. I like
making big shows
in big spaces’
Daniel Evans
Raised in the Rhondda Valley,
Wales, Daniel Evans, 44, started
acting as a child. He has performed
at the RSC, National Theatre and on
Broadway, and won Olivier awards
in 2001 for Merrily We Roll Along, and
in 2007 for Sunday in the Park with
George. In 2009, he became artistic
director of Sheffield Theatres,
and in 2016, artistic director of
Chichester Festival theatre. His
production of Quiz transfers to the
West End this month.
What was your initial reaction to Quiz,
James Graham’s play about Charles
Ingram, “the coughing major” accused
of cheating on Who Wants to Be a
Great excitement, because I remember
seeing the documentary [Millionaire:
A Major Fraud] back in 2003, and
having that proper sick feeling
because it makes you think that the
Ingrams were absolutely guilty. It was
fascinating to find out more about
the case itself. The audience have to
vote whether they think they’re guilty
or not at the end of each act; every
performance except two we had a
guilty verdict in Act 1 and an innocent
verdict in Act 2. So it’s great fun, but it
also has something substantial to say
about the elasticity of truth.
Do you have a hunch yourself?
The chutzpah of thinking you could
cheat by coughing, when you consider
the studio itself, the geography of it…
whatever happened, I don’t believe
they did it by coughing.
Are you a fan of a pub quiz?
I love a pub quiz. I’m not particularly
good – there are massive gaps in my
knowledge, particularly around sport.
How’s it been moving from Sheffield
to Chichester?
I thought it would be very different.
But this Brexit statistic tells you
everything: in Sheffield, where I
What’s the biggest challenge for an
artistic director today?
To make the funding go as far as
possible. That’s about putting on
pertinent shows, but it’s also about
the work we do off the stage,
particularly with major cuts happening
to arts education. Schools are so
pressed for cash that they are reliant
on organisations like ours.
How did you get into theatre?
I was taken by my grandmother to
the Park & Dare theatre in Treorchy.
And in the Rhondda Valley there’s a
great amateur tradition. I also went
to chapel, and I’d get up in the pulpit
and read chapter and verse – so
there was a bit of theatricality going
on there!
Have you ever put on a play in Welsh?
Yeah, I directed a play for the Welsh
language national theatre [Theatr
Genedlaethol Cymru], by Saunders
Lewis, called Esther. My father is
first-language, so I grew up bilingual; it
means a great deal to me.
There’s a 50:50 gender-balance
commitment for actors this summer
at Chichester. What spurred that
It was something I’d done in Sheffield
and was really proud of. Last year we
got our feet under the table, and then
I thought, hang on – we do need to
start looking at our civic duty, and
our artistic duty, which is to reflect
the world. We’re not doing that if
we’re constantly merely reflecting the
stories of men.
Why not make that explicit for
playwrights and directors too, or right
across the entire company?
Ultimately, that’s where we’re going.
It’s bit-by-bit. Watch this space!
Do you miss performing on stage?
I’ve just started to, strangely. I miss
singing – there’s a certain kind of
release you get. I hope at some point
I will act at Chichester. It’s hard,
though; you never want it to seem
like an ego trip: ‘I’m casting myself as
Hamlet’… I don’t think so.
It’s clear that musicals have a special
place in your heart.
There is something about that
communal sound I find very moving.
I’m certainly not a snob. I am
quite unashamedly a populist: I like
making big shows in big spaces
for a lot of people.
Interview by Holly Williams
Quiz is at the Noël Coward theatre,
London WC2, 31 March-16 June
The Observer
‘An assured and beautiful statement of faith in
the new’: the Sainsbury Centre for Visual Arts,
UEA, Norwich. Photograph by Pete Huggins
Hi-tech hits 40
still dreaming
of tomorrow
When it opened in 1978, Norman Foster’s
Sainsbury Centre for Visual Arts at UEA was a
gleaming vision of the future. A new exhibition
there celebrates a distinctly British architecture
driven by free-form technology and high ideals
Ah yes, the 1970s. The three-day
week, the winter of discontent,
Austin Allegros, punch-ups with
the National Front, mutterings of
rightwing coups, the Sex Pistols
swearing on family TV. They
included, to be sure, such now
unavailable non-trivia as free higher
education, affordable housing and
a functioning health service. But
it was a decade that, having flared
into being in the psychedelic glow
of its predecessor, embrowned
itself into the tones of hessian and
muesli and the guttering shadows
of power cuts. It was the time when
architectural modernism, imploding
under the weight of self-doubt and
external criticism, gave way to a
meek “neo-vernacular” of bricks
and pitched roofs.
And then, in Norwich (to
misquote the opening credits of the
epoch’s epic game show, Sale of the
Century), appeared an assured and
beautiful statement of faith in the
new: a shining shed on, if not quite
a hill, this being Norfolk, at least
an upward incline. The Sainsbury
Centre for Visual Arts at the
University of East Anglia, designed
by the fortysomething architect
Norman Foster, was, as he now says,
based on “an optimistic view of the
future”. The era’s mood of malaise
and decay could only bounce off its
aluminium hide.
Next week, the building will
celebrate its 40th birthday by
housing Superstructures: the
New Architecture 1960-1990, an
exhibition on what came to be
called “hi-tech”. Like most stylistic
labels, hi-tech is one resisted
and resented by the architects
to whom it was applied. But,
oversimplifying and sometimes
misleading though it is, it serves
a purpose in identifying what,
then and now, was a distinct set
of ideas pursued by a distinct set
of architects. Foster was and is its
most successful practitioner. His
Norwich building can be expected to
be the star of the show it will host.
Hi-tech has yet to experience the
nostalgic renaissance of interest
enjoyed by brutalism, which came
just before, or its approximate
contemporary, postmodernism.
This could be because, becoming
widespread and prodigiously
successful, it never went away. Its
early clients tended to be companies
that aspired to be progressive –
IBM, for example – more than the
institutions of the welfare state that
kept an earlier generation in work.
From here grew a business-friendly,
socially concerned, cleaned-up
image of modernity that especially
suited the Clinton and Blair years.
It became an officially favoured
style for parliaments, national
museums, bridges, skyscrapers and
corporate headquarters, right down
to the most expensive and majestic
office complex ever built, Foster’s
just-finished Apple Park in Silicon
Valley. Most new airports derive
from hi-tech precedents such as
Stansted in Britain and Kansai in
Osaka. The style’s main protagonists
– Foster, Richard Rogers, Renzo
Piano, Michael and Patty Hopkins,
Nicholas Grimshaw – set up
large, successful practices that,
with continued input from their
founders, are still going strong.
Hi-tech was, or is, a broad set
of social objectives – democratic
workplaces, accessible art
museums, transparent government,
sustainable design – combined
with a faith that modern building
techniques could help achieve
them, combined with an aesthetic
fascination with the joints,
surfaces and details that came
with those techniques. Hi-tech
architects favoured flexibility and
changeability, promoting the notion
of a building as a “kit of parts” that
could be swapped around as needs
must. Rather than last forever, as
some architects wish for their work,
buildings should adapt or die.
Hi-tech architects’ preferred
materials, especially in the
early days, were steel, glass and
aluminium, sometimes advanced
plastics, that could be made in
factories and delivered pristine
to sites. They favoured big roofs
– wide, column-free spans made
possible by ambitious engineering,
which would enclose fluid,
multifarious and open-ended
human activity. They enjoyed
hanging things on wires. They
liked to show their workings:
through exposing pipes and
services in the case of Piano and
Rogers’ Pompidou Centre, complex
structures at Grimshaw’s Eurostar
terminal at Waterloo.
Inspirations included the Crystal
Palace of 1851 and Buckminster
Fuller’s geodesic domes – Victorian
and space age manifestations of
the same kit-of-parts, big-roof
idea. (And Foster now says that, if
he could dine with one antecedent,
it would be the former’s designer,
Joseph Paxton.) Other influences
were the British architectural
thinker Cedric Price and the
architectural group Archigram, who
in their different ways challenged
the notion that buildings should be
fixed and monumental.
Hi-tech, an overwhelmingly
British phenomenon, was a
manifestation, believes the
The Observer
‘Stripped to the bone’: Hannah Ringham,
Tara D’Arquian and Laura Doehler in
Bad Faith. Photograph by Floro Azqueta
Above, from top: Foster +
Partners’ Century Tower
in Tokyo (1991); and the
Foster-designed Apple
Park visitor centre (2017)
in Cupertino, California,
where staff are said to
repeatedly walk into its
immaculate glass walls.
© Foster + Partners;
AFP/Getty Images
In its desire
to slip loose
the surly
bonds of
Earth, hi-tech
can suffer
when it meets
exhibition’s curator, Jane Pavitt, of a
pragmatic rather than a theoretical
culture. Hi-tech combined pride in
the past national glory of Paxton
and Brunel with emulation of
the new American energy of such
things as California’s Case Study
houses, which aimed to turn the
power of industry to making better
homes for all. What binds the
Crystal Palace with California, says
Foster (who, at 82, is training for
his 25th Engadin cross-country
ski marathon in Switzerland), is
their “can-do attitude, the absolute
utter determination to do it and not
talk about it”. Performance, doing
something difficult well, is a big part
of hi-tech.
There are contradictions in hitech architecture that have made
it an easy target for criticism over
the years. By presenting itself
as pragmatic and analytical, for
example, it looks foolish when it
is not these things. It has difficulty
admitting that it is concerned, as
other architecture is, with look,
image, style, theatre and symbol.
These buildings don’t just want
to fix problems with modern
methods; they show you that
they are doing this. They assume
something unproven: that for a
building to act in a certain way, it
has to look that way too.
“Festishisation of technology”
is the accusation often levelled.
“Nostalgia for the future” was
another. In its desire to slip loose
the surly bonds of Earth, to soar
like a plane or float like a yacht,
hi-tech can suffer pratfalls when it
meets human reality. The reported
hospitalisation of Apple Park staff
who collided with its immaculate
glass walls is the latest example.
By scraping out the old idea that
architecture should be about
composing space, hi-tech can
create voids that get invaded by
kitsch and exploitation, such as
the retail fungus that has engulfed
Stansted airport.
As some fine drawings in the
exhibition will show, hi-tech
buildings tend to be highly crafted
– not the practical outcomes of
industrial processes, but more
updates on the British Arts and
Crafts movement’s preoccupation
with detail. Some, like the famous
tower that Foster built for HSBC
in Hong Kong, are as a result
legendarily expensive. Others, the
Sainsbury Centre included, have
had technical problems that are
more easily excused if a building
is considered a work of art rather
than a machine. They have a way
of ending up as monuments after
all, highly composed artefacts,
as hard or easy to change as any
other kind of building. The notion
of swappable kits of parts is rarely
achieved in practice: it is what Alfred
Hitchcock called a MacGuffin, the
ostensibly important plot device
that allows the really interesting
stuff to happen around it.
Foster has heard such arguments
before, which is probably why
he wants to stress the social and
environmental qualities of his
early work ahead of its appearance.
He likes to talk of the long-gone
amenity building he created for the
staff of the Fred Olsen shipping line,
a miraculously fragile mirror-glass
box in the clanging environment
of London’s old docks, where
dockers and management were
treated equally to the same highquality environment. Foster stresses
that the Sainsbury Centre is a
“celebratory social space” directed
towards the landscape around it.
“It doesn’t make a big song and
dance about its services,” he says.
He’s right that these objectives
matter more than style. Yet if you
take away the look of hi-tech, you
remove much of what makes it
distinctive. You also extract what
many of its clients, who value
look as well as function, want. It
is the taut, pristine quality of the
Sainsbury Centre – machine-made
and highly tuned – that makes it
stand out. Something similar could
be said of the many of the best
works of hi-tech – bold, crystalline,
singular and rigorous even when
perverse. MacGuffins they may be
but, to misquote Cézanne on Monet,
what MacGuffins.
Superstructures: the New Architecture
1969-1990 is at the Sainsbury
Centre for Visual Arts, Norwich, from
Saturday until 2 September
A rising, fighting star
Tara D’Arquian: Bad Faith
Laban theatre, London
Tara D’Arquian is a Belgian
choreographer based in London,
and her work, while often playful
at a surface level, has serious
imaginative intentions. Bad Faith
is the third part of her In Situ
trilogy, inspired by Nietzsche’s
“three metamorphoses”. To
this philosophical guide to selfovercoming, extracted from Thus
Spoke Zarathustra, D’Arquian pins
the career of a histrionic and selfdeluding actor, Nora.
In the first piece of the trilogy,
In Situ (2013), set in a disused chapel
in south London, we see a young
woman frustrated by the attempt
to define herself, to leave a mark
on the world. In Quests (2016), an
existential detective story that saw
D’Arquian and a large company of
performers taking over Greenwich
borough hall, Nora has vanished,
celebrated only in a series of
conflicting memories, flashbulb
impressions and fading vignettes.
In Bad Faith we rejoin the actor
(Hannah Ringham) 20 years later in
a parallel world. It’s a place between
death and life, or perhaps the
echoing hall of her own unreliable
memories. As Nora muses aloud,
sings, and strikes sad, defiant
poses, two dancers (D’Arquian and
Laura Doehler) move in enigmatic
counterpoint. The text, by Jemima
Foxtrot, is fragmentary, and lit
by a glimmering desperation. “I
am,” Nora whispers, quietly but
frantically attempting to reassure
herself that she still exists. “I am, I
am, I am.” She hears other voices.
“They loved you,” one murmurs.
“You were a wonderful performer...
a glowing example of womanhood.”
D’Arquian’s choreography,
meanwhile, is austere, stripped to
the bone. Doehler moves with an
almost severe gravity, and D’Arquian
with a knowing poise that seems to
mock Ringham’s stagey posturing.
At one chill moment, they share
rippling peals of laughter, but
while Ringham’s smile is brave and
actorly, D’Arquian’s is as savage as
a hyena’s.
If Bad Faith is the leanest work in
the In Situ trilogy, it is perhaps the
most fully realised. It’s modernist
rather than postmodernist in
tone, with flashes of Beckett in
its tragicomic bleakness. Alberto
Ruiz Soler’s score tightens the
screw. At times it’s little more than
a thudding heartbeat. There’s a
clever, disconcerting moment when
performers seated among the
audience stand and address Nora.
“Remember, I will always love you,”
one calls out, as the bittersweet
strains of a Hammond organ shiver
the air. “You were always smiling,”
adds another. “I’m wonderful still,
aren’t I?” Nora asks.
In the end, D’Arquian permits her
protagonist a kind of resolution: the
understanding that if she cannot
make an indelible mark on creation,
she will always be part of it. The
final tableau is as resonant as it is
beautiful. Doehler and D’Arquian lie
upstage and downstage, framing
Ringham, their bodies frozen spirals.
“We will be a ring of trees together,”
the actor tells the audience.
D’Arquian’s work remains
surprisingly below the radar.
Wednesday’s premiere was no more
than half full. But the 27-year-old
choreographer is not only an artist
of much rigour and seriousness of
purpose, she’s a fighter. She funded
her earlier work through Kickstarter,
and as well as writing, directing
and dancing in Quests, learned bass
guitar so that she could play in the
band. We will hear more of her.
The Observer
Major ’chords…
‘We’re a bad
covers band
of ourselves’:
Jemaine Clement,
left, and Bret
McKenzie of
Flight of the
Photograph by
Tim Mosenfelder/
Getty Images
Flight of the Conchords
Milton Keynes theatre; touring
until 3 April
Good Girl
Trafalgar Studios, London SW1;
until 31 March
The New Zealand
funsters are back with
some hilarious new
songs. Plus, wit and
wisdom from newcomer
Naomi Sheldon
“Some of you are probably thinking,
‘Gosh, they look a lot older,’” says
Bret McKenzie, during one of Flight
of the Conchords’ deliciously
pregnant inter-song pauses. It is a
remark met with a wall of knowing
laughter: the screens either side of
the stage succeed in underlining
the star status of the duo, but also
in highlighting the flecks of grey
peppering their hair. Since they were
last in the UK, the New Zealanders
may indeed have become “dustier”,
they may even have become rustier,
but the pair are keen to reassure
their Milton Keynes audience that
they still know how to rock.
This confidence isn’t misplaced.
The Conchords have lost neither
their beguiling, monotonous
demeanour nor their ability
to perform laugh-out-loud,
foot-tapping bangers while
simultaneously deconstructing
them. How easy it would have been
to perform nothing but the hits – yet
more than half of the 15 songs they
play are comparatively new.
If anything, it’s the new songs
that shine brightest, and not simply
because they have the element
of surprise. Their second song, a
father-and-son number that begins
tenderly, takes the first of several
turns when McKenzie, the son,
points out that his mother didn’t
die, as his father likes to believe, but
simply chose to live with another
man. The premise alone might
delight, but it’s the straight-faced
vehemence with which both parties
belt out the matter-of-fact lines,
increasingly loudly so as to be heard
over the pounding piano, that makes
it stand out.
Their medieval pastiche, The
Summer of 1353, is unimprovable.
In a bid to “woo a lady” – how
exquisitely well chosen their lyrics
are – Jemaine Clement’s starry-eyed
‘Raw emotion’:
Naomi Sheldon
in Good Girl at
the Trafalgar
by Felicity
suitor walks around town, sprucing
himself up. After he asks the florist
to recommend a flower with a roselike scent, the florist says that a rose
would probably be best. Trying to
hire a horse from which to woo the
lady, Clement discovers that some
form of ID is necessary. Having
none, he sings: “I quickly had an
unflattering tapestry made of me.”
The pair make no secret of the
fact that the process of learning the
songs is an ongoing one. “We’re
a bad covers band of ourselves,”
McKenzie says apologetically, after
having to stop and restart when it
proves too tricky to simultaneously
sing and play the piano. The
Conchords’ songs are complex, they
are performing to 1,400 people, and
they draw on an ocean of goodwill.
That said, these road bumps, and
the stilted “low-key crowd banter”,
do sometimes, ever so slightly,
take the shine off an otherwise
magisterial performance.
With a range of elegant lighting
effects, their own merch, and a
string of shows at the O2 Arena,
Flight of the Conchords are now
bona fide rock stars, unlikely as it
may have once seemed. Given their
extraordinary talent, only a sourpuss
would begrudge them their success.
“We’d love to stay but we’d prefer to
go,” they sing in Back on the Road.
They could easily have carried on
for another hour and not outstayed
their welcome. Dustier, rustier, but
absolutely irresistible.
It seems a long way from the
roar of this large theatre to Naomi
Sheldon’s debut solo show Good
Girl at Trafalgar Studios’ intimate
Studio 2 space, where every laugh,
every gasp, and every creak from
the audience is audible. When I see
a man staring comatose at his lap
for much of the first half (he perks
up later when the show becomes
more explicitly sexual), I hope for
Sheldon’s sake that the lights render
him invisible.
Good Girl is a show about emotion
– “big emotion that leaves you
feeling you’ll evaporate or explode”.
It is the story of GG, a girl who
grows up feeling out of place and
disconnected from a body that feels
as though it is leaking away from
her. As she becomes a woman, she
is still constantly trying to “feel
something”, searching for sensation
in meaningless sexual encounters.
In dungarees, T-shirt, red flats and
a gold hairband, Sheldon performs
The new songs
shine brightest,
not just because
they have the
element of surprise
her hour on top of a rose-gold
plinth in the middle of the stage.
She is a consummate professional:
her expressive, wide-eyed face
demands to be looked at, and the
monologue flies by without a fluffed
line. It’s her character work and raw
emotion that command most of the
attention, but evocative lines are
studded throughout: “I leave puffy
clouds of skin in the sunlight,” says
one of the protagonist’s eczemaafflicted childhood friends.
The great majority of tonight’s
audience are women and, as
well as the laughs provoked by
Sheldon’s exaggerated antics,
there are chuckles of recognition
from those who see themselves in
her recollections. “It’s the 90s, no
one knows what the fuck’s going
on,” gets one of the biggest laughs of
the evening.
Sheldon’s repudiation of the
received wisdom that “good girls are
neat; they have neat little emotions”
is a welcome tonic in a show that
feels buoyed by the recent surge
in women speaking out about
harassment. It is impossible not to
admire its intentions. But its origins
as an Edinburgh fringe show are a
little too visible to fully transport
the audience. The performance
is so studied and the laughs so
telegraphed that sometimes it feels
like an audition piece, seeking a
little too strenuously to win the
audience’s approval.
The Observer
The week ahead
Our cultural highlights
Toro: Beauty and the Bull
The Great British Seaside
The Inheritance
Bach’s St Matthew Passion
The acclaimed choreographer Carlos
Pons Guerra and his company DeNada
Dance Theatre present a genderquestioning take on Beauty and the
Beast set in a dark, dystopian South
American landscape. DanceXchange,
Birmingham (Thur, Fri).
A dose of early summer sun, this
celebratory show features over 100
images capturing the British seaside
from 1960s to the present, including
20 new works taken last year by
master of the form Martin Parr.
nal Maritime Museum, Greenwich,
n; from Friday until 30 Sept.
Stephen Daldry directs Matthew
Lopez’s two-part play looking at the
life of a young gay man in New York
a generation after the Aids crisis. The
cast includes Vanessa Redgrave.
g Vic, London. Now p
Opens 28 March; runs until 19 May.
Mixing scruffy indie resourcefulness
with a streak of pure Hollywood
trash sensibility, Steven Soderbergh’s
latest post-”retirement” work is
a dirtily entertaining gaslight psychothriller with a livened-up Claire Foy. In
cinemas from Friday.
Top performances take place all over
the country this week. Here are just
three: choir of St Paul’s Cathedral, at
St Paul’s, London (Wed, 6.30pm); John
Butt and the Dunedin Consort, Queen’s
Hall, Edinburgh (Fri, 7pm); York Music
Society, York Minster (Sat, 7.30pm).
Lily Allen
Book now: Dylan Moran:
Dr Cosmos
The unabashed
nabashed pop
singer plays a handful
u shows trailing
of bijou
coming album,
her upcoming
ame, due in June.
No Shame,
Allen plays Manchester
(Tue); London (Wed);
ow (Fri).
The king of deadpan returns with this
brand new, 41-venue standup show.
Tour begins 3 September at Norwich
Playhouse; ends 8 December at
Alexandra Palace, London.
Langlands & Bell
Last chance: Girl From the
North Country
Book now: Rudimental
The techno-conceptualist duo return
with a satirical investigation into
Apple, Facebook and Google, including
architectural models comparing
their global HQs with the Colosseum
and Stonehenge. Internet Giants:
Masters of the Universe is at Ikon,
Birmingham; Wed to 10 June.
Bob Dylan is transposed to Depressionera Minnesota in Conor McPherson’s
Olivier-nominated musical. Sheila
Atim, Shirley Henderson and Ciarán
Hinds star. Noël Coward theatre,
London; until Saturday.
Some way into recording their third
album, Rudimental will be proceeding,
carnival-style, from Hackney, east
London (5, 6 May) via Bestival,
Dorset (2-5 Aug), back to London and
Alexandra Palace (27 Oct).
You can’t
see the
ladies for
the lord
Byron’s wife and
daughter can’t escape
the shadow of the great
libertine in this in-depth
account of their lives,
says Rachel Cooke
In Byron’s
Simon &
Schuster, £25,
On 18 September 1814, Lord Byron
was dining at his house, Newstead
Abbey, with his apothecary and
Augusta Leigh, the half-sister with
whom he had recently had a baby
daughter, when a gardener brought
in his late mother’s wedding
ring, disinterred from a nearby
flowerbed. The man’s timing was
eerie. Also delivered to the
breakfast table that fateful morning
was a letter from a clever and
impetuous heiress called Annabella
Milbanke in which she accepted
his (somewhat grudging) proposal
of marriage. Seeing both, the
superstitious Byron turned a little
white – though his shivery mood
seems to have had no effect on
his acerbity. “It never rains but it
pours,” he is reported to have said,
on reading Milbanke’s note.
Thus was a doomed marriage
sealed – though no matter how
many accounts one reads of the
Byrons’ strange courtship, let
alone of the tempestuous months
that followed their wedding in
January of the following year, it
will always remain a touch unreal,
being so unfathomable. There are
difficult men, and then there is
Lord Byron. Granted, Milbanke did
not yet know what was going on
elsewhere in the poet’s private life;
his terrorising mood swings may
have seemed as thrilling as his verse
from the distance of Seaham Hall,
her home in County Durham.
Nevertheless, it is strikingly
odd that when Byron, pasty from
another of his mad diets, arrived
at Seaham a couple of weeks later,
it was 15 months since they had
last clapped eyes on one another:
theirs was a relationship, desultory
Lovelace inherited her
father’s ability to live life
to the full irrespective of
the consequences
and fractious, hitherto conducted
almost entirely on paper.
Why did they do it? Marriage, I
mean. On Byron’s side, there was
both the question of money (he was
broke) and the need to find some
means of quietening the frantic
gossip that now trailed him; the
fact that his patience for Milbanke
was extremely limited was always
going to take second place to
these considerations. But on her
side, questions abound. Did she
not grasp that it would have been
easier to pass a camel through the
eye of a needle than reform a rake
like Byron? Or perhaps that was
it. The good little Unitarian would
calm and trammel him, domesticate
the beast.
If the aim of Miranda Seymour’s
new book is to put Byron’s wife,
The Observer
Will Self
Hannah Sullivan
Richard Vinen
The author talks to Alex
Clark about the death of
the novel, and why he’s a
social realist
Kate Kellaway hails
an intimate debut by
a professor of English
at Oxford
Does Vinen’s account of
radicalism in 1968 capture
the spirit of the times,
asks Peter Conrad
Left: a
of Byron’s
daughter Ada
Lovelace circa
1835. Alamy
Annabella Milbanke, and their
increasingly famous daughter,
Ada Lovelace, centre stage, then it
comes with an in-built problem,
which is that, ever brilliant and
insatiable, he simply will not leave
the page. Not only were his wife and
child still dealing with the rumours
of cruelty, incest and sodomy – a
then illegal activity, which, Seymour
speculates, his young wife may have
enjoyed – long after his death in
1824; they remained, in emotionally
complex ways, in his thrall all
their lives. Milbanke did her best
to present herself as the wronged
party once he’d fled the country in
1816 fearing arrest, but she never
took another lover; in adulthood,
Lovelace always thrilled to her
father’s legend.
Aware of this fault line,
Seymour’s response has been to
throw herself into her research;
there is never likely to be a more
exhaustive account of the life
of Milbanke. But this comes
at a price for the reader. Was
it in trying to cast off Byron’s
exotic shadow that Seymour, a
wonderful writer whose control
is usually just so, allowed
herself to get so bogged down in
unnecessary detail?
A further problem lies with
Milbanke, later a noted educational
reformer. Her early devotion to
her sister-in-law rival Augusta
Leigh, by being so unlikely, is
fascinating. So, too, is her later
disgust for her, once she has
somehow convinced herself that
it was Leigh who destroyed her
relationship with Byron. In 1850,
Milbanke agreed to meet Leigh,
now destitute and desperate for
financial help, at a coaching inn
between Brighton and London.
The encounter did not go well. “I
was afraid of myself,” she said later.
“The strongest desire to be out
of her presence took possession
of me, lest I should be tempted
beyond my strength.” Perhaps she
had repressed her emotions in
this matter for too long, for it was
‘He simply will
not leave the
page’: Lord
Byron, above, in
the early 1800s.
at about this time, also, that she
began worrying over whether Ada’s
sons, her grandsons, were ever left
alone with their sister. The children
should at all times be watched, she
told her daughter, as if incest was in
the marrow.
But Milbanke is a bloodless
creature beside Ada Lovelace, who
inherited from her father a certain
unfettered quality – the ability to
live life to the full irrespective of the
consequences for others. In the 21st
century, her visionary association
with the mathematician Charles
Babbage and his steam-powered
calculating machine are well
known (a pioneer of computing,
Lovelace wrote what is generally
considered to be the first algorithm;
to a generation of feminist coders,
she is a heroine).
However, it would be a mistake
to take her for some protobluestocking, earnestly going
about her work. Her passionate
interest in the experiments of
such scientists as Michael Faraday
and Andrew Crosse ran alongside
other, less useful enthusiasms: for
the lover who wanted her only for
her money; for horse racing, to
which she became so addicted she
was forced to pawn the Lovelace
jewels, replacing them with paste
(Ada’s husband, an aristocrat called
William King, was a whimsical type,
whose fanaticism for architecture –
he was always building something
– afforded her much of the freedom
she needed).
Finding children boring, she was
a neglectful mother; craving the
company of like minds, she was apt
(endearingly, to my eyes) to boast
about “the great laboratory of my
brain”. Most inspiriting of all, she
rarely let the ill health from which
she suffered all her life get her
down. “Give me powers with pain a
million times over, rather than ease
with even talents,” she wrote to her
mother in 1843.
Alas, Lovelace’s unquenchable
nature has the same deleterious
effect as Byron’s on Seymour’s
book: you miss it too much once
it is gone (she died in 1852, at
36, just like her father, of cervical
cancer). Milbanke outlived her by
eight years. The final section of
In Byron’s Wake is devoted, first,
to her last, fairly uneventful years
and to the fate of Ada’s children,
her grandchildren; and then to
the determined blackening of
Milbanke’s reputation by Byron
scholars down the decades. I see
why Seymour was tempted to
do this, to submit to all her most
completist urges. But this stuff
should have been an appendix,
at most. When the candle of your
narrative gutters, best quietly to put
it out.
To order In Byron’s Wake for £17.29
go to or call
0330 333 6846
Kidney surgery
made simple
Trainspotting keeps on
giving for Irvine Welsh,
even as his heroes grow
increasingly cartoonish,
says Anthony Cummins
Dead Men’s Trousers
Irvine Welsh
Jonathan Cape, £16.99, pp432
Irvine Welsh’s style is so pulpy
nowadays that it’s hard to imagine
Booker prize judges losing time
arguing over his sexual politics,
as they are said to have done
before ruling out his 1993 debut,
Trainspotting, for the misogyny of
its heroin-addicted protagonist,
Renton, and his fellow Edinburgh
low-lifes, Begbie, Sick Boy and Spud.
Welsh has since tended to play
safer, softening the cynicism of
that novel for more farcical capers
that take care to turn the tables on
their unreconstructed male leads
(while still relying on them for tang).
Somewhere along the way, though,
the prose has grown uneven:
much of Dead Men’s Trousers – a
fifth and apparently last hurrah
for Renton and company, now in
middle age – unfolds in the kind of
airport-thriller gush (champagne
is a “bubbling elixir”; people don’t
wear clothes but “sport” them)
that’s now nearly as much a Welsh
hallmark as his X-rated Scots (“Ah
fuckin hate the way some American
cunts call lassies cunts. Fuckin
offensive, that shite”).
Set in the run-in to the Brexit
vote, the plot turns on the guilt
of Renton, now reformed as a
jet-setting DJ promoter, over cash
he once stole from Begbie – who
for his part has put thug life
behind him to become a
celebrated sculptor, albeit
one prone to deadly
rage if his doting wife
and daughters aren’t
around to witness it
(as shown in 2016’s
The Blade Artist). Sick
Boy, meanwhile, has
a new app-accessible
escort agency to front
his exploitation
of underage girls; and
Irvine Welsh:
hairy set pieces.
Spud, dirt-poor, is ready to accept a
job offer that involves smuggling a
kidney to Germany via Istanbul.
The scene where he winds up
in a disused warehouse being
operated on by Sick Boy, with only
a YouTube tutorial for instruction
– running on a laptop that’s low on
power, with no charger – is one of
several impressively hairy set pieces
(others variously involve a samurai
sword, an assault rifle and a sex tape
unveiled over Christmas lunch).
Yet, overall, jeopardy fizzles out
as Welsh – a little in love with his
own voice – swamps the action
with rants about “neoliberal
planet-rapists” and “monarchyworshipping paedophile bastards”;
more entertaining, at least, than
gripes about long-haul flight –
Welsh now lives in Miami – and
online banking (“It disnae work
so smoothly when you’re between
countries”). Still, the grumpy-oldraver vibe does produce probably
the book’s most blackly funny
exchange, when Sick Boy – a pimp,
remember – is aghast that Renton,
whose star client wants to be
the next David Guetta, should be
“coining it in fae they fucking shit
Like a superhero franchise,
the Trainspotting universe gets
a new origin story with every
reboot. Skagboys showed how
Renton’s initation into heroin
came after police beat him up
at Orgreave; The Blade Artist
put Begbie’s bloodlust down to
a teacher’s mismanagement of
his boyhood dyslexia. The tweak
in Dead Men’s Trousers is more
meta: Trainspotting, it’s implied,
was only published after Renton
stole the manuscript from Spud
and passed it off as his own. This
nicely muddies Renton’s claim to
be a reformed character – but only
at the time-warping expense of
having us believe that the original
book was published in 2017 (and
not 1993). It’s ultimately a mark of
Welsh’s magic in having created
such memorable characters in the
first place that they survive this
cartoonish revision. And to judge
from hints that Begbie’s ever so
slightly scary eldest daughter has
one or two anger management
issues of her own (Trainspotting:
The Next Generation, anyone?), I
wouldn’t bet on him leaving them
for good any time soon.
To order Dead Men’s Trousers for
£14.44 go to
or call 0330 333 6846
The Observer
Marlon Brando
at a 1968
Black Panther
rally for Bobby
Hutton, who
was killed by
police. Dan
Daily News
In brief
by Ben East
Allan Jenkins
4th Estate, £12.99, pp176
In this philosophical hymn to
the pleasures of waking early,
Observer Food Monthly editor
Allan Jenkins says that dawn
is an enchanted world behind
a hidden door, a time where
you can be anybody you want
to be, because the rest of the
world is asleep. A collection of
his diary entries, Morning also
features reflections on early
rising from writers, actors,
artists, fishermen and, er, Jamie
Oliver. It steadily becomes
incredibly persuasive. The point
of being awake at 5.15am, for
Jenkins, is that there’s a golden
period to do the things that are
otherwise impossible in our
busy lives. Seize the day indeed.
Fiona Mozley
The year radicalism went naked
This look back at the
banner-waving of 1968 is
too shallow in perspective
and too deep in statistics,
says Peter Conrad
The Long ’68: Radical Protest
and Its Enemies
Richard Vinen
Allen Lane, £20, pp464
If a week is a long time in politics,
as Harold Wilson observed, then
half a century is a millennium. The
firebrands of 1968 – Bill Clinton,
then a Rhodes scholar, or Jack Straw,
president of the students’ union at
Leeds at the time – are now grey
eminences. William Waldegrave,
who fancied that he resembled Bob
Dylan, boasted that he heard of
Bobby Kennedy’s assassination early
in 1968 while lolling in bed with a
besotted conquest; the next year at
Harvard, he was brutalised by the
police during a demonstration by
the Weathermen, and sported his
wounds as badges of ideological
honour. Fifty years later, Waldegrave
is provost of Eton. As François
Mitterrand sagely put it: “Being
young doesn’t last very long. You
spend a lot more time being old.”
Radicalism has either aged into
affluent complacency, or spiralled
off into apolitical fantasy. In 1968,
the paramilitary Black Panthers
were idolised and imitated because
they strutted through US cities
brandishing guns, with which one
of their leaders shot a policeman.
In 2018, Black Panther is a moneyspinning movie about a Marvel
comics superhero who performs
mystical feats of valour in a
futuristic African country ruled by a
hereditary monarchy.
Richard Vinen’s study begins by
noting that when the director Olivier
Assayas was casting Après Mai, his
film about the violent disruptions in
Paris in May 1968 – which caused De
Gaulle to flee the country briefly, and
panicked his wife into permanently
expatriating her jewellery – “the
young actors were more interested
in the clothes than the politics”.
I’d say that they understood the
zeitgeist very well. I attended an
anti-Vietnam rally in Hyde Park
in October 1968 to take advantage
of the free transport laid on from
Oxford; I did a spot of chanting
and banner-waving, then sloped
off to the cinema before rejoining
Clinton and the other bedraggled
zealots to catch the bus home.
The occasion was cosy rather than
confrontational, and Vinen reports
that it ended with the protesters
joining arms with the police to
sing Auld Lang Syne – a case of
what Herbert Marcuse called
“repressive tolerance”.
For me, the year’s great revelation
happened in a theatre, not on
the barricades: it was the sight
of shaggy pubes and dangling
privates on the West End stage,
when the cast of the musical Hair
undressed to establish their primal
innocence. Others, I’m glad to say,
were as frivolous as me. Vinen cites
a number of protests that resembled
futile exercises in conceptual art.
A dissident student planned to
denounce “the congealment of
praxis” by gluing together the
pages of sociology textbooks in the
London School of Economics library,
and the rock singer Grace Slick had
a scheme to slip a hallucinogen
into Nixon’s drink at a White House
reception. Both stunts came to
nothing, but Shirley Williams, while
a Home Office minister, did manage
what Vinen calls “a soixante-huitard
experiment”: she spent a night in
a women’s prison, bragging to the
seasoned inmates that she had been
nicked while “on the game”.
Given current events, many of
the activists quoted by Vinen now
sound crassly illiberal. Asked what
the position of women would be
in the revolution, the black power
leader Stokely Carmichael answered
“prone”, while his colleague Eldridge
Cleaver once rejoiced in rape of
white women as “an insurrectionary
act”. When Margaret Thatcher visited
Lancaster Polytechnic while she
was education secretary, students
hooted: “Fascist pig, get her knickers
off!” My epiphany at Hair was typical
One unregenerate
personification of
the era’s selfindulgence is now
installed in the
White House
of the times: why did we believe that
the exposed pudenda were a fount
of ideological rectitude?
Critics argued that 1968 was a riot
incited by pampered baby boomers,
“stifled in their aspirations to sexual
liberty”. Although Vinen doesn’t say
so, an unregenerate personification
of the era’s self-indulgence is now
installed in the White House. Trump
began as a draft dodger, escaping
military service because of spurious
bone spurs on one of his feet; he
later joked that his personal Vietnam
was nocturnal New York, where he
dodged STDs as if outwitting the
Vietcong. The rest of us had our
fun, after which we soberly grew up.
Trump alone continues the fight
– his own radical protest against
truth, reality, and any obstacle to
the instant gratification of the ego’s
carnal or cupidinous whims.
The Long ’68 isn’t long-sighted
enough to notice this ironic
outcome. Vinen takes shorter views,
and prefers crunching numbers:
history for him is a Sahara of arid
statistics. I smiled at his admission
that he couldn’t compute how many
French workers were on strike
in May 1968 “because the official
statistical services themselves broke
down”; all the same, he fills the
subsequent pages with tabulated
figures from a Department of
Employment gazette. It’s quite an
achievement to make that heady
year seem so dull.
To order The Long ’68 for £17 go
to or call
0330 333 6846
Hodder, £10.99, pp320
Fiona Mozley might have been
the surprise debut author on
last year’s Man Booker prize
shortlist, but her story of a
bare-knuckle fighter who
retreats to a Yorkshire copse
with his children is deserving
of the attention it received.
Elmet taps into an almost
mythological world where
“Daddy” shapes his children
to be “more like an army
than a family”. Its politics are
fascinating too – there’s much
to chew on here about how we
define the disenfranchised.
The Long Forgotten
David Whitehouse
Picador, £14.99, pp304
A plane crash, a protagonist
in 80s New York who keeps
cheating death in his quest
for rare flowers, and a strange
love triangle - The Long
Forgotten has all the ingredients
of an enjoyable mystery.
But Whitehouse attempts
something more ambitious
with his third novel, which is told
through troubled orphan Dove,
who begins to remember a past
that isn’t his own but the flower
hunter’s. Though the heavy
foreshadowing makes for a
convoluted tale, there’s enough
heart here to overcome its less
credible moments.
To order Morning for £11.04,
Elmet for £9.34, or The Long
Forgotten for £12.74 go to or call
0330 333 6846
David Chariandy
Bloomsbury, £12.99, pp192
In the acknowledgments of this
short, sharp shock of a novel,
David Chariandy quotes a line
from Antigone. It is the briefest
of references but very apt, given
that his preoccupation with
sibling loyalties and kinships,
rebel brothers and the importance
of giving the dead their dignity
chimes so much with those of
Sophocles’s drama.
Its narrator is a young black
Canadian, Michael, who has grown
up close to his brother Francis, one
year his elder, and whose untimely
death he is mourning in this novel.
They live with their Trinidadianborn single mother, who works as
a cleaner in a run-down district
of Toronto. We first meet Michael
10 years after Francis has lost his
life, aged 19, and the story unravels
backwards. Michael is now 28
and the past replays in his mind
in parallel chapters to the present
day, in which he is caring for his
mother and working gruelling hours
in a storeroom.
Memory played a big part in
Chariandy’s debut, Soucouyant,
about a mother suffering from
dementia. Michael’s mother shows
signs of dementia too, or at least
confusion brought on by grief.
What is most poignant here is
Michael’s memory of her as a fierce,
strict mother with an indomitable
spirit – a far cry from the broken
woman she is now: “For the past
10 years, I’ve been careful with
Mother. I’ve kept to a minimum all
discomforting talk about the past.”
The sibling relationship is
beautifully conveyed (Francis’s
effortless popularity, his
protectiveness, Michael’s adoration
of Francis) and with such tenderness
that Francis’s death is devastating
when it comes. Every chapter builds
to the inevitability of this moment
and is freighted with a great and
awful fatalism.
Brother is not just a study of
Francis, but a dark bildungsroman
about boys – who are part of a black
underclass – turning into men.
Chariandy describes their hopes
and desires: Francis’s ambitions to
be a hip-hop artist, his gay desire,
and Michael’s first relationship
with a neighbour.
This is a slim novel, yet Chariandy
manages to encompass a world
with astonishing detail and feeling
inside it: the family’s acute poverty
is conveyed particularly well and
the sense of alienation it brings,
such as when the family visit a
shopping mall and are made to feel
unwelcome: “As we moved from
‘an accomplished
by Joy von
A brother’s
death foretold
This brutal tale of two
Canadian siblings whose
lives are blighted by racial
injustice is breathtaking,
writes Arifa Akbar
The Observer
Especially astute is the
depiction of the hostile
white gaze: police officers
look upon all black men
as potential suspects
store to store, the clerks seemed
especially attentive to us. Mother
hadn’t changed out of her uniform,
and her sneakers sounded her
approach on the market floors with
a funny squeaking sound.”
Chariandy describes the
vulnerabilities of the powerless in
other moving passages: the way in
which the mother pretends she is
not hungry in order that her boys
have enough to eat; the way the
brothers must play along each time
they are stopped and searched by
the police.
Especially astute is Chariandy’s
depiction of the hostile white
gaze: the police officers in Brother
look upon all black men as
potential suspects and treat them
as such. This aspect of the book
feels urgent given the Black Lives
Matter movement.
Michael talks of “complicated
grief”, of “losses that mire a
person in mourning, that prevent
them from moving forward…” In
his own case, there is a sense of
social injustice but also knowledge
of his impotence to right the
wrong that has taken place – he is
simply too poor and powerless –
and this is what stalls his healing
It took Chariandy a decade
to write Brother, and it is a
breathtaking achievement. It is a
compulsive, brutal and flawless
novel that is full of accomplished
storytelling with not a word spare. It
is not just about a particular place or
poverty or institutional racism, but
about the ardour of brotherly love
and the loneliness of grief.
To order Brother for £9.59 go to or call
0330 333 6846
in high
The Eight Mountains
Paolo Cognetti
Harvill Secker, £12.99, pp272
“Whatever destiny may be, it resides
in the mountains that tower over
us,” muses Pietro, the pensive
11-year-old narrator of The Eight
Mountains, as he begins a long
coming-of-age journey in the
foothills of Italy’s Monte Rosa. This
short line says a lot about how Paolo
Cognetti’s thoughtful yet sometimes
overripe novel operates.
Young Pietro’s initial reflections
about life on holiday in the
mountains, where he spends his
summers, his relationship with
his father, and his friendship with
Bruno, the cow-herding son of a
local stonemason, teeter on the
brink of being overly mystical. But
The Eight Mountains is written in
such arrestingly simple language
– you can almost feel the Italian
phrasing in the translation from
Simon Carnell and Erica Segre
– that it’s impossible not to be
gradually sucked into the peaks and
valleys of Pietro’s life.
The Eight Mountains, an
award-winning bestseller in
Cognetti’s native Italy, is a story of
relationships – not just between
people, but with the mountains
around the village of Grana. Pietro’s
father isn’t just in love with the
Monte Rosa – he’s obsessed by
their scale and grandeur. But Pietro
doesn’t share his dad’s fixation
with exploring mountain paths
or bivouacking under the stars,
Autumn in the
Alps, where the
young narrator
of The Eight
holidays. Alamy
and starts to forgo joining him on
trips up to the glacier. He prefers,
instead, to climb rocks, hang out in
the local village or explore ruined
mountain shacks. It loosens their
bond until an unfortunate event
means their differences can never
be resolved.
Much like his characters, Paolo
Cognetti divides his time between
Milan and a cabin in the hills,
and The Eight Mountains takes on
the quality of a memoir as Pietro
returns to Grana as a man to work
out not just what his father means
to him, but how the landscape has
affected his life and friendships. “If
it was such a paradise,” he wonders,
“then why did we not stay and live
up there?”
But though Pietro has travelled
across the world, Bruno has never
left Grana, and it’s fascinating
to watch Pietro grapple with
the push and pull of enduring
friendships; how they work and
what they mean. The perceived
simplicity of Bruno’s life is alluring:
when the pals begin to renovate an
alpine hut, Bruno tells Pietro not to
worry about how long it will take.
“So what should I think about?”
asks Pietro. “About today,” comes
the reply. “Look what a beautiful day
it is.”
Such homespun philosophy
is an acquired taste. But there’s
something about the vertiginous
setting that lends itself to this
kind of contemplation. Cognetti
captures the elation and melancholy
that comes with reaching a
spectacular summit, only to realise
the minuscule part we play in the
panorama of life. Ben East
To order The Eight Mountains for
£11.04 go to
or call 0330 333 6846
The Observer
Lisa Samson
with an ash
tree: her book is
‘a rallying cry
to… record and
enjoy what we
have while we
still have it’.
Heartfelt plea for an
almost-doomed tree
Lisa Samson’s reflections on
Britain’s dying ash trees at
a time of her own illness is
a remarkable labour of love,
writes Katharine Norbury
Epitaph for the Ash
Lisa Samson
4th Estate, £12.99, pp224
Last week, I found myself walking
through a once dense forest in
south Cumbria. The hilltop was bare
but for the occasional solitary tree.
A sign said the forest had been cut
down to reduce the risk of infection
from Phytophthora ramorum, which
causes larch tree disease, and that
the woods would be allowed to
grow back naturally. The sense of
loss, and of my own mortality, was
immediate – the forest will not
grow back in my lifetime.
In 1978, the tree expert Gerald
Wilkinson wrote Epitaph for the
Elm as Dutch elm disease ravaged
the UK’s elms in the second half of
the last century. Now his niece, the
novelist Lisa Samson, has written
Epitaph for the Ash as the ash trees
of Britain are ravaged, in their turn,
by Chalara fraxinea (now known
as Hymenoscyphus fraxineus) –
ash dieback.
In her introduction, Samson
tells us that during the writing of
the book she was diagnosed with
a brain tumour. Given that we are
told at the outset that the ash trees
will die out, and that nothing can
be done about it, and that Samson’s
brain tumour is life-changing,
the writer is battling against a
headwind in terms of maintaining
tension. This could have worked
in Samson’s favour, as her own
mortality and that of the trees that
are her subject become entwined,
and yet a tendency to tell rather
than show – particularly about her
personal story – keeps the reader at
a distance.
There are exceptions – the
moment when Samson realises
she can’t hear the man she is
interviewing, but then dismisses
it, is truly chilling – and more of
this detail would have transformed
the reading experience. It’s as
though, given the real-life nature
of her subject, Samson has set
aside the tools of the fiction writer
and I found it hard to find hope or
optimism. Perhaps there isn’t any,
and that is the point: it is, after all,
an epitaph. Or perhaps it was just
too painful to write.
Samson’s journeys, though,
are fascinating. Her pilgrimage to
discover the present state of the
ash in the UK, and the work that
is being done to accommodate
or counter ash dieback, is both a
labour of love and an extraordinary
achievement, especially given the
heart-rending physical limitations
Samson eventually endures as a
result of life-saving surgery.
Samson situates the ash tree in
folklore, pondering a possible link
between Enid Blyton’s The Magic
Faraway Tree and Yggdrasil, the
huge tree and giver of life at the
centre of the Norse universe, there
at the beginning of creation. She
has unearthed a happy collection of
literature and poetry that celebrates
the healthy ash. Ash branches
have been used to make spears
and charcoal. The leaves are used
to feed livestock in winter, and
Herdwick sheep in Cumbria are
still fed in this traditional way. Ash
bark contains quinine, which may
help to keep the sheep healthy. Ash
hurdles were traditionally used to
fence livestock and bread ovens
in Devon were once fuelled with
ash, while broom handles are often
made of the timber. “There are
many schemes around the country,
funded by the Forestry Commission,
to burn wood as an alternative to
fossil fuels, but they were based on
the reliability of ash.”
Despite the bleakness of the
book’s entwined stories, hope
eventually sparkles. As Samson
painstakingly seeks to recover her
health – although she will never
be able to wander alone in the
woods and mountains again – she
uncovers a glint of hope for the
ash. In 2016 it was discovered that
some trees have a tolerance of the
disease, although landscapes will
still be transformed. Ultimately, this
book is, as Samson says, “a rallying
cry to pick up your walking sticks,
pens, paintbrushes and cameras,
then record and enjoy what we have
while we still have it”.
To order Epitaph for the Ash for
£11.04 go to
or call 0330 333 6846
Browse a bookshop…
A weekly look at what’s selling
around the country
 To the Lighthouse
Virginia Woolf
 The Mermaid and Mrs Hancock
Imogen Hermes Gowar
 The Swordfish and the Star
Gavin Knight
 Salt Creek Lucy Treloar
Five recommendations
 The Mermaid and Mrs Hancock
St Ives Bookseller, St Ives
“We have a very small space in
which we try to fit exactly what
you didn’t know you were looking
for,” says manager Alice Harandon.
A stone’s throw from the harbour,
the store has a loyal customer
base among locals and returning
holidaymakers, with a children’s
section bolstered by its own
publishing arm, Mabecron Books.
Top five sellers
Imogen Hermes Gowar
“A bewitching tale of merchants,
mermaids and courtesans set in
the 18th century.”
 The Queen of the Night
Alexander Chee
“Nineteenth-century Paris is the
backdrop as a feted falcon soprano
recounts her journey to the stage.”
 The Bear and the Nightingale
Katherine Arden
“A tale of Russian winters…
enchanting and atmospheric – one
of my favourites!”
 Ingo Helen Dunmore
“A tale set in a familiar Cornwall
but which goes beneath the waves
to the magical world of Ingo.”
 Rebecca Daphne du Maurier
“The original Cornish gothic
 The Little Sea Dragon’s Wild
Adventure Helen Dunmore,
illustrated by Michael Foreman
St Ives Bookseller, 2 Fore St, St Ives
TR26 1AB;
The Observer
The books
Will Self
‘The novel is absolutely doomed’
The award-winning
author, currently writing
a memoir of his early
years, tells Alex Clark
about reading digitally
and why he’s making a
list of the female greats
it. It’s a disaster for the novel –
I think the novel is in freefall.
Now that the trilogy’s done, what are
you working on?
A memoir, and that’s a different and
interesting kind of writing. It’s very
much a Künstlerroman [the story of
an artist’s development], because I
was so obsessed by it. It’s only about
eight years, from when I was 17 to
25, and that period for all of us is the
most exciting in terms of intellectual
and cultural development.
Somewhat oddly for me, it coincided
with heroin addiction.
Will Self is the author of 10 novels,
five collections of short stories
and several works of nonfiction,
including The Quantity Theory
of Insanity, Dorian and Walking
to Hollywood. Phone is the final
instalment of the trilogy that began
with Umbrella and Shark and is out
now in paperback (Viking, £8.99).
What’s it been like to look back?
It’s ambivalent. The top line is, I was
a deeply unhappy child and young
man, deeply unhappy, suicidal a
lot of the time. And yet I had an
amazing time.
Phone is the last in a 1,500-page
trilogy that, loosely, tells the story
of psychiatrist Zack Busner, who’s
been around in your fiction for a long
time. Prominent also are technological
advances and the ramifications of
conflict. Would it be fair to say there’s
a lot going on?
I cover the inception of these new
technologies, I cover Alzheimer’s,
autism, war, feminism, and what I
tend to get back in return is, ooh, you
haven’t got any paragraphs! What I
want to reflect with this continuous
long line is the long line of news
threads, the long line of digital type,
the long line of advertising that
spools through the contemporary
mind. So the form of the books is
meant to represent the impact of
new medias in this old form.
The Iraq war also features heavily in
Phone. Why was it important to you
to include?
I cannot think of a serious literary
novelist in this country who’s
tackled the Iraq war at all. And I
think it’s the biggest stain on our
national character of the past 20
years. And that collective amnesia
about it and refusal to engage with
it is playing out in political decisions
that are being made right now.
Going back to style for a moment,
what did you want yours to achieve
in the trilogy?
The novels are notable, of course,
for their massive accretion of detail,
but it’s a paradox, isn’t it? I mean,
I regard myself as a social-realist
novelist. I really think this is what
life is like now. But it’s what life’s
always been like, which is a vast
amount of very ephemeral referentia
that fill up people’s minds. Fiction
far too often presents things as
easily accessible that just aren’t.
You say you’re a social realist, but
modernism is clearly present in your
work. Why do you think it’s so often
seen as a difficult or highfalutin way
of writing?
I’m not a fool, I can see objectively
that not only do readers like to be
Do you prefer to read on paper or
a screen?
I’m completely digital. I barely read
on hard copy any more. I was a
relatively early adopter of digital
reading and I could see that for
neophyte readers it would be a
disaster, because remembering stuff
is more difficult; it’s like painting on
water, which is what correcting on
computers is like. If you’re teaching
you see so many student essays
that are a mess syntactically, and
it’s because they’ve corrected them
on screen. But those of us who are
digital immigrants, we carry with us
the Gutenberg categories and ways
of thinking about it.
And writing?
When it comes to writing, I take
entirely the opposite view. I think
writing on computers is a bit of
disaster and I’ve written all of
my books for the last 16 years on
a manual typewriter, a good old
Olivetti Lettera 22.
Will Self: ‘Now
that film is
being carved up
and watched
on phones, it
no longer needs
the novel as its
Camera Press
told what’s going on, but that also,
in a sense, you can’t argue with that.
I’m not trying to force upon the
reading public the idea that this is
the way all fiction has to go. I don’t
think that. But I’m equally resistant
to the idea of the kind of writing I’m
doing, or Eimear McBride or that
guy who wrote Solar Bones [Mike
McCormack] or Tom McCarthy
– we’re loosely grouped as neomodernists – that we should be put
in a box away from the mainstream
of fiction.
You’re not awfully optimistic about
the future of the novel, are you?
I think the novel is absolutely
doomed to become a marginal
cultural form, along with easel
painting and the classical symphony.
And that’s already happened. I’ve
been publishing since 1990, so
I’ve seen it happen in my writing
lifetime. It’s impossible to think of
a novel that’s been a water-cooler
‘I was a deeply unhappy
child and young man. Yet
I had an amazing time’
moment in England, or Britain,
since Trainspotting, probably.
It’s frequently said that that’s partly
because narrative has migrated to box
sets. Is there any truth in that?
The relationship between the novel
and film in the 20th century was
like the relationship between Rome
and Greece. Film depended upon
the novel, at least in its infancy and
youth. The problem is that now
that film itself is being Balkanised
– carved up, streamed, loaded on to
DVDs, watched on people’s phones
– it no longer needs its grease, it no
longer needs the novel lying behind
What are you reading at the moment?
I’m reviewing a book called How to
Change Your Mind, about the new
psychedelics. I’m reading Timon
of Athens because I’m looking at a
possible opera project. For pleasure,
I’m rereading Paul Theroux, who I
think is a vastly underrated writer.
And what next?
I’m drawing up a list of important
women writers, because I’m
teaching a course on the importance
of literary influence and the books
that influenced me as a writer,
and one of my students pointed
out they’re all by men. Ditto with
literature in English from more
diverse cultural backgrounds and
heritages. I don’t read contemporary
fiction much; I think I’m going to
take a bit of a furlough from writing
fiction to look at fiction a bit more.
To order Phone for £7.64 go to or call
0330 33 6846
The Observer
Over the fence… and far away
Family life in Sheffield
meets the brutal history
of Bangladesh in Philip
Hensher’s finest novel yet,
writes Alex Preston
The Friendly Ones
Philip Hensher
4th Estate, £14.99, pp624
Philip Hensher’s Ondaatje
prize-winning Scenes from Early
Life (2012) was a strange book.
Ostensibly the lightly fictionalised
story of his husband’s childhood,
it was as much about the birth of
a nation as the life of a man; or
rather, perhaps, it showed how the
two are often inextricable. To have
been born in Bangladesh in 1970
was to be immersed in a struggle
in which it was necessary to take
sides. One of the themes that runs
through Hensher’s latest novel,
The Friendly Ones, is the staggering
ignorance in Britain of the 1971
Bangladeshi genocide, and the book
shows how the country’s brutal and
divisive war with Pakistan left its
traces down through generations,
both at home and in the diasporic
The Friendly Ones is a novel of
reflections. It opens with a party:
Nazia, Sharif and their children have
moved into a well-to-do street in
Sheffield. They have laid on a spread
to celebrate their arrival – “pork pies
and samosas and Cornish pasties
and cake” – and members of the
extended family are descending
from all corners of England. A
neighbour, Hilary Spinster, a
recently retired doctor, is pruning
the tree that leans over into Nazia
and Sharif’s garden. The fence that
separates the two families swiftly
becomes freighted with meaning,
particularly when tragedy threatens
Women behind
bars – and the
key to reform
Bad Girls: A History of Rebels
and Renegades
Caitlin Davies
John Murray, £20, pp384
HMP Holloway opened in 1852
as a house of correction for both
men and women. The “terror to
evildoers” became a women-only
institution in 1902 and finally met
its end in November 2015, when
George Osborne, then chancellor,
announced the prison’s closure. The
female inmates were decanted.
In Bad Girls, Caitlin Davies
The two families in
Hensher’s ‘profoundly
generous’ novel live in
a well-to-do street in
Sheffield. Alamy
The scenes in Bangladesh
are powerfully affecting
– an education for the
western reader about the
horrors of a forgotten war
meticulously records a muchneeded and balanced history of
this home to “royalty and socialites,
spies and prostitutes… Nazis and
aliens, terrorists and freedom
fighters” and thousands of very
ordinary desperate women, many
of whom had experienced violence
at the hands of men, and entered
prison knowing that as the sole
parent for their children, they would
lose their children into care.
In a groundbreaking inquiry into
women in prison published more
than 10 years ago, Baroness Jean
Corston demanded a radical rethink
of female incarceration. Davies
writes that at the time of the report,
2007, “prison had become a place
to send those who were addicted,
abused, mentally ill and already
excluded from society”. Corston said
jail should not be “expected to solve
social problems”. But this has always
been the case, and still is today.
Davies also writes about those
and Hilary leaps over it to save
the day.
The first half of the novel deals
largely with Hilary and his family
in the aftermath of his wife Celia’s
death. The narrative voice is a
wonderfully Victorian-feeling
omniscient third-person that cosies
up to first one character, then
another, gently nudging the reader’s
partiality. We step in and out of the
lives of each of Hilary’s four children
– Leo, Blossom, Lavinia and Hugh
– learning of their successes and
failures, the way that early events
have shaped the adults they become.
There’s the excruciating story of
Leo’s brief time at Oxford; Blossom’s
attempt to fashion herself and her
equally middle-class husband into
Ruth Ellis, one of five women to be
hanged at Holloway. Hulton/Getty
among Holloway’s staff who were
caring, and pioneering governors
such as Mary Size in the 1930s,
Joanna Kelley in the 1960s and Tony
Hassall from 2004 to 2006, who
tried to contain the rats, cockroaches
landed gentry; there’s Hugh’s early
forays into acting and Lavinia’s
struggles with a London life of
lodgers and unreliable staff. These
scenes are rangy and gripping, and
often very funny.
Hensher has always had a gift
that taps into one of the essential
writerly paradoxes: the more
specifically you describe something,
the more universal it will appear
to the reader. Hensher’s writing
enchants the paraphernalia of life,
imbuing everyday objects with
special meaning by describing them
with extraordinary precision. Scenes
from Early Life was remarkable partly
because it used the same method
to bring 1970s Dhaka vividly to life,
plunging the reader deeply into the
and filth. They introduced education
and skills and encouraged staff
to show humanity. When Hassall
arrived at Holloway, according to
the Guardian, staff were “cutting
down up to five women a day from
nooses”. Women made up 6% of
the prison population but 20% of
all suicides.
Corston argued for sentences
served in the community and for
help to be given to address trauma
and addiction. Then, as now, most
women committed non-violent
crime. Corston recommended that
the minority sentenced for serious
offences should be imprisoned in
small custodial units. Instead the
government announced the building
of five more women’s prisons (a
plan that hopefully has stalled).
Davies shows with great skill that
society has never known what to
do with its rebellious women. She
tells of the cruelty meted out to the
suffragettes, violently force-fed
quiddity of the objects that made up
that world. When The Friendly Ones
moves its action to “Bangla Desh”
– the original name for the country
– in the second half of the novel, the
home of Sharif and Nazia in the time
leading up to independence will feel
familiar to those who read Hensher’s
earlier book.
The “Friendly Ones” of the title
are those who, like Sharif’s brotherin-law, Mahfouz (“a murderer and
the friend of murderers”), attempt
to derail the revolution, informing
on agitators and intellectuals. One
of the things this novel asks is what
is meant by “family”, and here we
see in one family the full range of
political positions, from Mahfouz’s
collaboration to Sharif’s intellectual
resistance to Sharif’s brother Rafiq’s
armed struggle. The scenes in
Bangladesh are powerfully affecting
and full of suspense – an education
for the western reader about the
horrors of this forgotten war. When,
later, Sharif is called a “Paki” by
a group of Sheffield schoolboys,
it’s easy to see why he takes
such particular offence. “Do you
know what I am? My country was
Bangladesh. I have more reasons to
hate the Pakistanis than you do.”
The Friendly Ones ends with
another party, this time Hilary’s
100th birthday. It’s a kind of
leave-taking as we recognise how
far we have travelled with these
two neighbouring families, how
intimately we know them. This is
a profoundly generous and goodhearted book, one that leaves
you missing its characters as you
would fondly remembered friends.
Hensher is one of our most gifted
novelists and this is certainly his
best novel yet.
To order The Friendly Ones for £12.74
go to or call
0330 333 6846
but unbowed. She describes the
preferential treatment given to the
fascists Diana and Oswald Mosley,
who lived together in Holloway
during the second world war and
the beatings given to teenagers who
smashed up their cells. She records
the copious use of the “liquid cosh”
– drugs – to sedate “muppets”, the
mentally ill and hurting. And the
murderers, five hanged in Holloway,
including Ruth Ellis.
Bad Girls is a chronicle both
of the “doubly deviant”, women
who commit crime both minor
and major, but who also break
the mould of how “good” women
ought to behave – and the ongoing
fight to replace a rotten model with
something that could be so much
better. Yvonne Roberts
Yvonne Roberts is the chair of trustees
for Women in Prison. To order Bad
Girls for £17 go to guardianbookshop.
com or call 0330 333 6846
The Observer
Poetry book of the month
You, Very Young in New York
(an extract)
Rosy used to say that New York was a fairground.
‘You will know when it’s time, when the fair is over.’
But nothing seems to happen. You stand around
On the same street corners, smoking, thin-elbowed,
Looking down avenues in a lime-green dress
With one arm raised, waiting to get older.
Nothing happens. You try without success
The usual prescriptions, the usual assays on innocence:
I love you to the wrong person, I feel depressed,
The savour of things to
come around again
Hannah Sullivan’s debut
collection of poems is
intimate, experimental and
rich in delicious description,
writes Kate Kellaway
Three Poems
Hannah Sullivan
Faber, £10.99, pp80
Hannah Sullivan is an ambidextrous
writer. An associate professor of
English at New College, Oxford,
she recently published a book
called The Work of Revision, in
which she argued that the idea of
revising as a necessary part of the
creative process only began with
early 20th-century modernism.
Her alluring debut collection Three
Poems (who knows how extensively
reworked?) travels light, illuminated
yet never shackled by scholarship,
and investigates the way life does
– and does not – revise itself. She
writes freshly about everything,
A new weekly series
answering readers’
including sameness. She is a sensual
conjurer of atmospheres – writing
almost as a poet-restaurateur. On
a single page: cloves, rainstorm,
peanut oil, ozone, brandy, frost,
freezing blood and peaches “sitting
with their bruises” – each with its
own tang. New York resembles
a delicatessen – the food more
precise than the people eating.
Sullivan’s poems are as intense
as Edward Hopper’s paintings
(although more crowded).
There is intimacy in this
collection – sex, giving birth,
death. Could one come any closer
to a writer than through these
subjects? Yet much remains
mysterious. Again – as in a Hopper
painting – the characters border
on characterlessness. In You, Very
Young in New York, is “you” a
substitute for “I” – her younger
self? Or is she addressing someone
else? The poem is a workout
for the reader. I could not help
wondering: what is the backstory
to the backstory? It reads as though
it wants to become a novel or as
though it once was one. How about
the woman with “one arm raised” in
a New York street? Is she hailing a
cab or saluting her passing life?
Sameness, Sullivan maintains,
has a “savour”. Yet in her marvellous,
experimental poem Repeat Until
Time, she quotes Heraclitus and
observes: “There is no stepping
twice in same or different rivers.”
The most arresting section seems
a rebuff to Larkin’s The Trees. His
chestnuts urged that we begin
“afresh, afresh, afresh”, hers is
unexalted: “The horse chestnut
gets on tediously with its leaves.”
The section begins: “When things
are patternless, their fascination’s
stronger. / Failed form is hectic with
loveliness, and compels us longer.”
This patternless beauty is
what compels in her own writing
although the form is anything but
failed. There is pure pleasure in her
rhyming couplets. Her facility is so
great (she is a modern Browning
as a rhymer) that she is as at home
Q: What books do you recommend
for children aged four and up to
prepare for, and deal with, a death
in the family? What are the best
kids’ books on grief?
Postdoctoral student, two bookloving kids (four and eight) and a
terminally ill, much beloved relative
a straightforward but warm, tender
look at the loss of a parent through
the eyes of a small boy. Cobb excels
at capturing a child’s perspective
and a whole spectrum of emotions:
anger and guilt, sadness and
confusion. The child finds solace
in being part of a loving family and
cherishing memories of his mother.
In Grandad’s Island by Benji
Davies, Syd and his grandfather
have a wonderful adventure to
a vibrant tropical island before
Grandad reveals that he will be
staying there. This is a more
subtle approach: Syd comes to
realise he must cross the grey seas
home alone, but the message of
A: Fiona Noble, children’s and
young adult previews editor for
the Bookseller and member of 2017
Costa book awards judging panel
Talking about death can be
overwhelming for adults; where
to start with a child? Books are an
invaluable way to open dialogue.
Rebecca Cobb’s Missing Mummy is
Kissing a girl, a sharpener, sea urchin, juice cleanses.
But the senses, laxly fed, are self-replenishing,
Fresh as the first time, so even the eventual
Sameness has a savour for you. Even the sting
When someone flinches at I love you
Is not unwelcome, like the ulcer on your tongue
Whetted on the ridges of a tooth.
And when he slams you hard against the frame,
The pore-ticked sallow bruise seems truer
Than the speed, the spasm, with which you came.
So nothing happens. No matter what you try,
The huge lost innocence at which you aimed
Recedes like long perspectives, like the sky
Square at the end of Fifth whitening at dawn
Unseen, as you watch the unlit cabs go by.
with the streetwise as with the
intellectually sophisticated and
can, with almost absent-minded
panache, bring off unexpected
pleasures: “White elderly men dance
to a band in blue embroidered hose.
/ Holding their elbows rigidly, like
waxed Pinocchios.”
In the third and most obviously
autobiographical poem, The Sandpit
After Rain, a gorgeous wit alternates
with melancholy as she juxtaposes
the birth of her first son with her
father’s death. She does not strain
this juxtaposition, remarking: “there
is no necessary season for things
/ and birth and death happen on
adjacent wards, / that both are
labour, halting and startling”. She
writes about having a caesarean
with wry aplomb, taking herself
to task for panicking: “Afterwards
we agreed I had not been very
brave.” As a writer, however, she is
brave. And it is good to note that,
even in extremis, she does not lose
her interest in ingredients. Her
consultant asks: “‘What uterine
tonics have been administered?’/
‘Oxytocin, ergometrine…’” She
observes that the hospital sounds
like “a restaurant kitchen”. Whatever
the cocktail, it is worth ordering if
Hannah Sullivan has mixed it.
To order Three Poems for £9.34
go to or
call 0330 333 6846
memory and enduring love is
deeply comforting.
Finally, Michael Rosen’s Sad
Book isn’t the right choice for
every child, but for many it might
offer the most realistic portrayal
of bereavement. Written after
the unexpected death of Rosen’s
teenage son, it’s a raw, honest
account perfectly matched by
Quentin Blake’s illustrations.
Sadness is part of life, there is pain
here, but hope and humanity too.
If you’ve got a question for Book
Clinic, submit it at
book-clinic-questions or email
The Observer
Your pictures of…
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: narrow (to appear
25 March). Share your photos of
what ‘narrow’ means to you at by 10am
on Wednesday 21 March.
1 ‘Interesting shop in Ottawa,
Taymaz Valley/GuardianWitness
2 ‘In Glasgow I noticed this teapot
growing – sorry, I mean hanging –
from a tree.’
Fiona Macdonald/GuardianWitness
3 ‘Not your usual train commuter.’
Everyman crossword No. 3,727
1 Warning from revolutionary work in
middle of argument (3-3)
4 What about politician with a
muscular movement being
decisive? (8)
10 Time after time entering bar and
beginning to yell angrily (7)
11 Begin to deal with commercial
outfit (7)
12 Peevish, right away, making tiny sum
of money (3)
13 Dry joke initially in exclusive story
left by popular composer (5,6)
14 Small item of kit assembled, including
a prong and energy socket (7,6)
17 Shiny material in heap later shifted
outside shelter (6,7)
21 Protective curtain, very large, left in
artist’s possession (8,3)
23 Business with black swan (3)
24 Note less than clean (7)
25 Piece of mosaic put back before
start of study period (7)
26 Basic structure half of sketch
revealed (8)
27 Loose-fitting garment working, I see,
in a different way (6)
1 Abnormal rise in volume that’s
annoying (8)
2 Offend astute pro improperly forced
into retirement (3,3,2,7)
3 Is child following father? That must
be a thrill (7)
5 Indicated nitrogen in substance (5)
6 Fish received on wharf (7)
7 Struggling to help sect, think things
Sudoku classic
are getting complicated (3,4,8)
8 Nothing wrong in church function (6)
9 Colour around unknown part of
Alpine region (8)
15 Glen that gets spoilt eventually (2,6)
16 Game in enclosure disrupted by
band? Not on (8)
18 New deal excluding filling in actual
roll (7)
19 Skilled worker, prejudiced, quietly
dismissed (7)
20 One in climbing small trees showing
signs of happiness (6)
22 Trunk carried by visitor
sometimes (5)
Fill in the blank cells
using the numbers
1 to 9.
Each number must
appear just once in
every row, column and
3x3 box.
Post code
How many times a month do
you buyThe Observer?
SOLUTION No. 3,726
How many times a week do
you buyThe Guardian?
□Tick here if you do not wish to receive any further information from The
Observer or other companies carefully selected by us
No enclosures please other than name and address. Results on Sunday week
£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
Everyman No. 3,725 winners
Sue Topham, Newark
Maurice Cantleu, Kinlochbervie
Alistair Ekin, Greater Manchester
J P Murray, Huddersfield
J Collins, Devon
The Observer
Azed No. 2,388 Plain
Azed No. 2,385 solution & notes
1 Runt with beef – what hookers are
prone to? (8)
7 Fruit without mark inside – an
advantage (4)
10 ‘Alertness I’ve lost, sir.’ He explodes,
trembling (9)
11 Infested with tiny creatures?
Enormous by the sound of it (4)
13 Reversed invitation for e.g. boat
person (5)
14 Pals go crazy about British trat
speciality (7, 2 words)
16 Source of cooking oil: there’s zero in
soft drink (5)
17 Sailor cutting open sweetfish in fits
and starts (6, 2 words)
18 Versatile actors badly lit mutiny
about theatre’s closure (10, 2 words)
20 This rinses roughly, being waxy (10)
22 Fabulous bird? I’m captivated by
endless heaving (6)
24 Extract of caffeine also toughens (5)
27 Scot who’s not really grown very
strong, draggin’ round (7)
29 Muslim prince keeping a wife in
nick (5)
30 Dodgy geology (no record) poet’s
lost? (4)
31 Early epoch, earth repeatedly cooling
all over the place (9)
32 Measure is indicating relief by the
sound of it? (4)
33 No-win results in big match, making
one most irritable (8)
1 Writing follows us up – in the primary
curriculum? (4)
2 Shakespearean fool, affected one
circling the chamber (9)
3 Corruption, completely endless of
course (5)
4 I’m a bum wandering round
commercial capital (6)
5 I’ll be in the garden, idle – but it shows
one’s connected (10, 2 words)
6 Reverse of dry, my predecessor?
Could have been dry though (5)
7 Traveller in French country sends
money in advance (7)
8 Support condition in Lithuania (4)
9 Programmes revealing who’s
involved in carols (8)
12 Frumps having entered Jamaica on
board aircraft (10, 2 words)
15 Why don’t we, turning up, before zoo
favourites see lizards? (9)
16 Boy is accompanied by bag given lift
for card games (8)
19 Art fraud in almost genuine frame? (7)
21 Wing in hospital department? One’s
often terrible (6)
23 Electronic traffic signal: red (abroad)
has guy stopping (5)
25 Weeds, advanced, big bird mostly
pulled up (5)
26 Lemon, second magician cut
in half (4)
28 What’s dropping on famous
scientist? Just ask (4)
Post code
Across 1, bhang + RA; 6, cf. tactic; 11, anag. in Thea; 15, a boon in bish; 18, ref.
William M., Scots poet; cf. karma; 31, hidden; T = tesla; 34, s in sestet (rev.).
Down 1, bobby’s oxers; 3, a rabi + C, a; 7, r in Cava t; 10, anag. less k; 12, anag. in
Eurus; site of functioning Greek amphitheatre; 21, yt in anag.; 25, due + t x 2; 27,
comp. anag.; 29, ciré (rev.).
Rules and requests
£25 in book tokens for the first three correct solutions opened.
Solutions postmarked no later than Saturday to:
AZED No. 2,388, The Observer, 90 York Way, London N1 9GU.
AZED No. 2,385 prizewinners
Carys Evans, Swansea
R Kimbell, Honiton
Mrs Plumb, South Molton
The Chambers Dictionary (2014) is recommended.
Chess by Jonathan Speelman
Kramnik played 18...f5!. Can you
see why 19 exf5 loses outright
(see diagram 1)?
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.
The Fide Candidates Tournament is
already nearing the halfway mark
in Berlin, with the seventh of the
14 rounds today. The point of the
tournament is, of course, to produce
Magnus Carlsen’s next challenger,
and while there is plenty of money
at stake this single prize creates a
dynamic quite different from any other
“normal” event on the circuit. Under
such strain, the players could react
in one of two diametrically opposed
ways, either favouring caution so as
to try to stay in contention or all-out
warfare in a rush to the line. Happily
for us the spectators, it was clear
from the outset that they had gone
for violence after a wonderful first
round last Saturday (10 March), which
yielded three wins and a single draw.
Those wins were for Vladimir
Kramnik, Shakhriyar Mamedyarov and
Fabiano Caruana against Alexander
Grischuk, Sergey Karjakin and Wesley
So respectively. Grischuk immediately
bounced back with a nice win against
So in round two and our first game
today comes from round three, in
which Kramnik won a highly significant
victory as Black against Levon Aronian
to take the early sole lead.
Levon Aronian v Vladimir Kramnik
Berlin 2018 (round 3)
Ruy Lopez Berlin Variation
1 e4 In a world-class event, you’d
normally expect a preponderance
of queen’s pawn openings but it’s
perhaps a measure of just how much
they’re all going for it in Berlin that all
three round three games began 1 e4.
1...e5 2 Nf3 Nc6 3 Bb5 Nf6 4 d3 If 4
0-0, Kramnik would presumably have
replied 4...Ne4, happy (or at least not
unhappy) to defend his “Berlin Wall”
variation if Aronian replied 5 d4 Nd6 6
Bxc6 dxc6 7 dxe5 Nf5 8 Qxd8+ Kxd8.
Kramnik himself had played White
in this against Karjakin the previous
day and put Karjakin under serious
pressure but he is enormously good at
this position from either side.
4...Bc5 5 Bxc6 dxc6 6 0-0 The delayed
exchange has put some pressure on
e5 but it’s easily defended.
6...Qe7 7 h3 This prevents 7...Bg4 but
creates a target which Kramnik now
immediately moved to exploit with a
shocking but logical move.
7...Rg8! Preparing ...g5.
8 Kh1!? If 8 c3 g5 9 Bxg5?! Bxh3 is very
good for Black so Aronian moved off
the g file.
8...Nh5 9 c3 g5 10 Nxe5 This is
what White wants to play but Black
is already fine. However, if 10 d4
exd4 11 cxd4 Bb6 12 Nh2 Nf6 is also
uncomfortable for White.
10...g4 11 d4 Bd6 12 g3 Bxe5 13 dxe5
Qxe5 14 Qd4 Qe7! 15 h4 15 Kh2 was
less weakening.
15...c5 16 Qc4? 16 Qd3 Bd7 17 c4
0-0-0 18 Nc3 Rge8 is good for Black
but White can fight. Instead Aronian
tried to improve on this but with
disastrous effect.
16…Be6 17 Qb5+ c6 18 Qa4
(See diagram 1) 18...f5! Unleashing a
devastating attack.
19 Bg5 If 19 exf5 Nxg3+! 20 fxg3 Bd5+
21 Kg1 Qe2 22 Rf2 Qe1+ 23 Rf1 Qxg3
19...Rxg5! 20 hxg5 f4 21 Qd1 Rd8 22
Qc1 fxg3 23 Na3 Rd3 24 Rd1 Bd5! 24...
Rf3 was also easily winning.
25 f3 If 25 Re1 gxf2 26 exd5 f1Q+ 27
Rxf1 Rh3+ 28 Kg1 Rg3+ 29 Kf2 Qe4
and mate follows.
25...gxf3 26 exd5 Or 26 Rxd3 Qxe4 27
Re3 f2+ 28 Rxe4+ Bxe4 mate!
26… Qe2 27 Re1 g2+ And Aronian
resigned since 28 Kh2 g1Q+ 29 Kxg1
f2+ 30 Kh2 fxe1Q is mate.
A lovely win for Kramnik and a
disaster for Aronian, who will hope
that he packed all his blunders for the
tournament into this one game.
1 Levon Aronian v
Vladimir Kramnik
to play
2 Sergey
Karjakin to play
Diagram 2
v Shakhriyar
After some excellent play in the queen Mamedyarov
endgame, Mamedyarov was now able
to support the pawn with his king.
64 Qa7+ If 64 Kf2 Qd2+ 65 Kf1 (or 65
Kg3 Qd6+!) b2
64… Kc6 65 Qa6+ Kc5 66 Qa4 Qc4
67 Qa5+ Kc6 68 Qa1 Kb5 69 Qb2 Kb4
70 Kd2 Qf4+ 71 Ke1 Qh4+! Black now
forces the exchange of queens so
3 Fabiano Caruana
Karjakin resigned.
to play v Wesley So
Diagram 3
26 e6! dxe4 27 exf7+ Bxf7 28 Nxe4
Bd4 28...Re8 was a better chance.
29 Nd6 Bd5 30 Qe2 Nf8 31 Bxd5+!
cxd5 32 Qf3 Qa5 33 Re7 And So
resigned since there’s no defence
against the multiple threats for
instance if 33...Kh8 34 Be3 Qa1+ 35
Kg2 Qxb2 36 Nf7+ Kg8 37 Nh6+ Kh8
38 Qf7 or 33...Ra7 34 Bh6.
The Observer
By Mike Bradley
Films by
Jonathan Romney
The week’s highlights
Pick of the Day
The Durrells
Pick of the Day
The Funeral Murders
Pick of the Day
Wild Britain
Pick of the Day
Make! Craft Britain
ITV, 8pm
As we rejoin “Mrs Durrells” and her unruly
brood on Corfu for another series of gently
funny adventures in the Greek sunshine,
Louisa is concerned about Leslie’s rather
too active love life. Of course, her efforts to
intervene go joyously awry. Elsewhere, the
newly unattached Margo is more listless
than ever, Larry is fuming about the notices
for his novel and Gerry’s menagerie is still
on the increase. And, as if things couldn’t
get any worse, Aunt Hermione arrives early,
with a curious friend in tow. Wonderful.
BBC Two, 9pm
Veteran documentary-maker Vanessa
Engle’s latest film is the story of a
dramatic and fatal series of events
at two funerals in Belfast in March
1988, an instructive, edifying forensic
examination of what happened there.
Those connected to “one of the darkest
chapters in the history of the conflict in
Nortnern Ireland” tell their stories in an
unflinching, expertly assembled film that
features previously unheard testimony.
A grim masterpiece. Recommended.
Channel 5, 9pm
Untamed Coasts This rewarding series
continues with a fascinating look at some
of the wildlife that inhabits Britain’s 11,000
miles of coastline. From sand-slapping
grey seal bulls battling for harems on
Norfolk’s wintry margins to opportunist
predator the great black-backed gull
hunting for guillemot chicks on the
cliffs of Anglesey, this is a beautifully
photographed portrait that also includes
segments on the tiger beetle, courting
cuttlefish and a Snettisham Spectacular.
BBC Four, 9pm
This is the first in an encouraging threepart “celebration of all things handmade”,
a programme in which two groups of
beginners attempt to master the arts of
hooky rugmaking and letterpress printing.
Bamburgh rugmaker Heather Ritchie
instructs them in “how to paint a picture
with rugs”, while London typographer
Kelvyn Smith conducts a one-day class
in printmaking. An inspiration to all of
us to learn new skills and have fun in
the process. Clearly therapeutic, too.
The Good Karma Hospital
Electric Dreams
ITV, 9pm
In the opening episode of a new series of
the drama set in a busy hospital in Kerala, a
heatwave has descended, bringing ever more
casualties to the door, including “India’s
oldest woman”. In addition, Dr Ruby Walker
is dispatched to attend a rural farm worker
with abdominal pain. To her surprise, and
Dr Varma’s chagrin, boss Lydia decides it’s
time Ruby performed her first appendectomy.
Channel 4, 10pm
Kill All Others The last film in this series of
adaptations of works by science fiction writer
Philip K Dick is based on Hanging Stranger,
another dark tale set in a dystopian future.
It’s 2054, a dead man dangles from a billboard,
ignored by passersby, and a politician makes
a shocking statement on live TV. A cautionary
Orwellian tale in which we watch what
happens when one man dares to speak out.
BBC One, 9pm
In the concluding episode, DI Perez gets to
the bottom of the DNA conundrum, which
sheds alarming new light on the murders of
both Lizzie Kilmuir and Sally McColl. Now,
an increasingly flummoxed Duncan is called
in for formal questioning. A fiendishly clever
combination of high drama and festering
home truths that amounts to a breathtaking
finale bound to keep you intrigued to the last.
Channel 4, 10pm & 10.35pm
If only this superbly scripted social services
comedy didn’t have to end. In tonight’s
double-bill finale (to accommodate last
week’s postponed episode), Nitin tries to help
a youngster whose parents are both drug
addicts; Rose plucks up the courage to tell
Lee about new man Dennis; an embarrassed
Denise goes into meltdown; and a disgruntled
Al threatens to hand in his notice.
Famously Unfit for Sport Relief
Cricket: New Zealand v England
BBC Two, 9pm
Entertainer Les Dennis, TV presenter Susannah
Constantine, EastEnders actress Tameka
Empson and comedian Miles Jupp bid to
inspire us all to get fitter as they embark on
a 10-week mission to prepare for the rigours
of the infamous Tough Guy obstacle race (for
which read: “gruelling assault course”. By turns,
funny, exhilarating and revealing. MB
BBC One, 10.45pm
Andrew Lloyd Webber: Memories As the
composer turns 70, he talks to Alan Yentob
about Unmasked: A Memoir, an account of his
early life up to the opening of The Phantom of
the Opera in 1986. Some interesting anecdotes
involving the architecture of musicals,
eccentric relations, pets, one very close call
and a cuckoo in the nest. MB
BBC Two, 10pm
It’s September and, not having been round
since his mother’s funeral, Michael turns up
on Cathy’s doorstep to deliver a bequest of
surplus pans. Of course, she is overjoyed to see
him, but she plays it cool, appearing unmoved
even when he hints that he may be considering
a move abroad. A tender paean to life and
nearly requited love in the suburbs. MB
Sky Sports Cricket, from 6am
First Test Live coverage of the opening day’s
play from Eden Park in Auckland, where the
two-match series gets under way. The tourists
last visited New Zealand for a Test series in
March 2013, when bizarrely all three matches
were drawn, including the decisive third Test
played on this ground in which Matt Prior
saved the series for England. MB
It Comes at Night
The Sons of Katie Elder
Eyes Without a Face
(John Crowley, 2015)
BBC One, 8.30pm
When this Colm Tóibín adaptation was
released, the reviews were glowing – and
invariably contained the word “old-fashioned”.
That’s a fair appraisal, if by “old-fashioned”
you mean psychologically astute, emotionally
rewarding and maintaining a warm respect for
its characters. Scripted by Nick Hornby, John
Crowley’s film follows Eilis, a young woman
from County Wexford who crosses the Atlantic
to find a new life, and finds a new self in the
process. As Eilis, Saoirse Ronan is terrific,
buzzing with calm, intelligent energy, and a
superb cast includes Domhnall Gleeson and
Emory Cohen as Eilis’s competing beaux and,
as her Brooklyn landlady, Julie Walters. JR
(Trey Edward Shults, 2017)
Sky Premiere, 2.10pm, 10.40pm
In the unlikeliest career move in recent US indie
cinema, here’s the second feature from writerdirector and erstwhile Terrence Malick crew
member Shults. He made his mark in 2015 with
Krisha, a much-admired family drama in which
he cast his aunt as a version of herself. So the
last thing anyone expected as a follow-up was a
post-apocalypse chiller inspired by Bruegel and
The Shining. Joel Edgerton and Carmen Ejogo
play parents coping in a world transformed
by a nightmare virus; Christopher Abbott
and Riley Keogh are another couple whose
call for help brings about an uneasy alliance.
Tense and inventive, with Shults putting his
art-house affinities to effective use. JR
(Henry Hathaway, 1965)
Film4, 1.25pm
Katie Elder is dead when the film starts, but
her sons are a lively bunch, among them
those most implausible siblings John Wayne,
as gunman John, and Dean Martin, as Tom,
a professional gambler. Hoping to live up to
her expectations, the older boys set out to
investigate their father’s death, and run up
against a gunsmith (James Gregory) and his
hired hand (that ineffable slab of menace
George Kennedy). Director Henry Hathaway
– who would reteam with Wayne in 1969’s
True Grit – had a vast but uneven output, but
this has class, with an Elmer Bernstein score,
cinematography from Lucien Ballard and a
pre-freakout Dennis Hopper in the cast. JR
(Georges Franju, 1960)
Film4, 1.40am
A film from a time when master directors were
staking their reputations on brazenly intense
horror films. But while Psycho only enhanced
Hitchcock’s legend, Peeping Tom virtually
destroyed Michael Powell and Eyes Without a
Face brought a similarly rough ride for France’s
Georges Franju. This unsettling plastic surgery
story had critics tut-tutting – and audiences
fainting – but has since been recognised as a
masterpiece. In a chiller that’s also genuinely
poetic, Pierre Brasseur plays the scientist trying
to restore the features of his daughter, the
eerily masked Édith Scob – who, five decades
on, donned the mask again so that Leos Carax
could pay tribute to her in Holy Motors. JR
The Observer
Pick of the Day
Martin Luther King
by Trevor McDonald
ITV, 9pm
To commemorate the 50th anniversary
of the death of civil rights leader Martin
Luther King, Trevor McDonald travels
to America’s deep south to visit some of
the significant places and people from
the pastor’s life. A deeply moving tribute
which concludes that “were he alive
today, Dr King would probably be on the
march again, this time against inequality
and injustice, the twin evils that still scar
millions of black American lives”. Excellent.
Pick of the Day
The Defiant Ones
Pick of the Day
The Boat Races 2018
A must for all hip-hop fans, the first in
director Allen Hughes’s four-part HBO
miniseries about the unlikely partnership
between producers Jimmy Iovine and Dr
Dre is the best documentary on television
this week. The intimate life stories of these
two leading lights of the modern music
industry are every bit as interesting as the
cultural/musical history that accompanies
them. Enhanced by appearances from
Eminem, Patti Smith, Bruce Springsteen,
Snoop Dogg and more. Unmissable.
BBC One, 3.50pm
Despite the impression of being an
antiquated, jingoistic affair involving teams
of toffs teleported from the 1930s in blazers
and caps, this annual battle between
Oxford and Cambridge universities often
turns out to be nailbitingly exciting. Last
year the 163rd men’s race was won by
Oxford, while Cambridge women claimed
victory in their 72nd meeting. One of the
BBC’s last remaining blue riband sporting
events. Start times: women’s race 4.31pm;
men’s race 5.31pm.
Big Cats About the House
Sport Relief 2018
Britain at Low Tide
BBC Two, 8pm
The first in a three-part series about the
work of zookeeper Giles Clark at the Big
Cat Sanctuary in Smarden, Kent, where he
and his staff run conservation programmes
intended to save species which they believe
could disappear from the wild within the next
decade. This programme monitors his efforts
to hand-rear black jaguar cub Maya, which
was rejected by its mother. Absorbing.
BBC One, 7pm
Gary Lineker, Davina McCall, Ore Oduba,
Claudia Winkleman, Paddy McGuiness,
John Bishop and Freddie Flintoff present
an evening filled with live music, sketches,
fundraising films and surprises aplenty.
Highlights are set to include a special footballthemed edition of Strictly Come Dancing, a
Battle of the Channels Celebrity Boat Race
and spectacular bouts of Celebrity Boxing.
Channel 4, 8pm
Inquisitive palaeontologist Tori Herridge
tours the crumbling Yorkshire coastline,
bringing us an account of the night when
Scarborough trawler the Admiral Van Tromp
ran aground off Saltwick Bay; the history of a
first world war fort intended to deter zeppelin
bombardments of Hull; and the curious story
of how a Yorkshire-built steamship came to be
12,500ft up in the Andes. Intriguing.
Contagion! The BBC Four Pandemic
Football: Netherlands v England
BBC Four, 9pm
Drs Hannah Fry and Javid Abdelmoneim
report on an ongoing citizen science
experiment designed to predict the impact
of the next pandemic flu outbreak in the UK.
More interesting than it sounds, it uses app
technology to “infect” users while tracking
their movements and social interactions over
24 hours. Good science. Good television. MB
ITV, 7.30pm
Live coverage from the Amsterdam ArenA,
where presenter Mark Pougatch is joined by
Lee Dixon, Ian Wright and Patrick Kluivert, as
England manager Gareth Southgate deploys
his players in the first of four pre-tournament
friendlies. The talented hosts are still smarting
from their failure to qualify for the World Cup
and will be out to impress. MB
BBC One, 8.20pm
Robyn and Glen’s wedding day arrives, but it’s
almost scuppered when he has an “episode” –
what can Dylan do to help? Elsewhere, a Welsh
paintballer is admitted following a serious
injury accidentally inflicted in the field of
combat; an undernourished goth girl with a
dislocated shoulder proves cause for concern;
and little Gem has romance on her mind. MB
Farewell, My Lovely
The Odd Couple
Guardians of the Galaxy
(Edward Dmytryk, 1944)
Movies4Men, 6am
Think of Philip Marlowe and of course you
think of Bogart – but Dick Powell was the first
screen Marlowe (unless you count Lloyd Nolan
and George Sanders, as different sleuths
standing for him in two earlier Raymond
Chandler adaptations). Some connoisseurs
actually consider Powell the best Marlowe,
despite his previous career as a boyish-faced
crooner in musicals, including some Busby
Berkeley greats. He successfully transformed
his image here, in a film retitled Murder, My
Sweet in the US, so that audiences wouldn’t
expect his jauntier fare. Powell brings crisp,
no-nonsense wit to the role, in an urbane,
moody number from the early days of noir. JR
(Gene Saks, 1968)
Sky Cinema Greats, 4am
The high-concept premise that wouldn’t die:
two middle-aged men, one an affable slob, the
other neurotically fussy, share an apartment
and form an eccentric heterosexual “marriage”.
It worked a treat in Neil Simon’s 1965 play and
variably well in assorted TV sitcom versions.
Here’s the definitive number, because there’s
nothing in cinema quite like the pairing of
Jack Lemmon’s crisp twitchiness and Walter
Matthau’s baggy bonhomie. Simon’s spiky
script crackles with quintessentially 60s
Manhattan zingers. The staging is by-thebook theatrical, mind, but then the same is
true of Woody Allen’s movies 50 years later;
this has the excuse of being of its time. JR
(James Gunn, 2014)
Sky Cinema Greats, 4am
The oddball cousin in the Marvel movie family
– an eccentric space opera from the outer edge
of the superhero canon that became an unlikely
critical and commercial favourite and a hipper
alternative to the Avengers. Chris Pratt, of Parks
and Recreation fame, scrubs up improbably
as intergactic chancer Peter Quill, with Zoe
Saldana and Dave Baustista as his alien
sidekicks. But the star attractions are digital:
laconic tree-creature Groot, voiced by Vin Diesel
(for once, his wooden performance hits the
spot) and pernickety furball Rocket Raccoon
(voiced by Bradley Cooper). The cosmostrotting plot is the excuse for dizzy VFX, an
anarchic sensibility and wisecracking galore. JR
Radio By Stephanie Billen
Picks of the Week
How did the strong association between
blindness and the blues come to seem
normal? In a rich Sunday Feature: Blind,
Black and Blue (Sunday, Radio 3, 6.45pm)
Gary O’Donoghue, blind himself, explores
the history of American blues, learning
more about black musicians including
Blind Willie Johnson and Blind Boy
Fuller. The tradition of black African
music-making meant that the blues
were a natural way to express feelings of
rootlessness in the post-slavery era, but
O’Donoghue also investigates the role of
marketing in promoting blind musicians,
with blindness symbolising spiritual insight
or, conversely, the idea of being cursed.
In Discovery: Why We Cut Men (Monday,
World Service, 8.30pm) anthropologist MaryAnn Ochota asks why male circumcision is
taken for granted by some but abhorred by
others. Around the world, one in three men
are circumcised. In sub-Saharan Africa
the World Health Organisation is backing
circumcision as part of the fight against HIV
but in the US a growing number of “Intactivists” describe it as genital mutilation.
A fascinating programme challenges both
the medical arguments for the practice
and the deep-seated cultural attitudes that
have allowed it to be accepted for so long.
Sophie Willan’s Guide to Normality
(Wednesday, Radio 4, 11pm) is a refreshing
new standup series from a comic who grew
up in and out of the care system. Having
come from a “long line of eccentric female
Boltonians”, she has a lot to say about
her entertainingly dysfunctional family,
imagining what would have happened
if they had been “assessed by comedy
reviewers rather than psychologists”.
Actor Julie Walters has proved a warm,
unaffected host on the classical music
history show Turning Points (Saturday,
Classic FM, 9pm). The series concludes by
speculating on what we should expect
as standard in the future. A surprisingly
effective mash-up of Adele and Mozart
suggests how genres may become mixed,
but her main focus is on technology with
extracts from video game scores and the
first classical concert to be broadcast on
Facebook Live.
With podcasts the new norm even
from mainstream broadcasters, Classic
FM is also launching another instalment
of its musical mysteries
podcast series, Case
Notes. The grisly
of murderous
17th-century composer
Carlo Gesualdo is
Thursday – see
Adele: all mashed
up with Mozart in
Turning Points.
Alamy Stock Photo
The Observer
Today’s television
Breakfast (T) 7.25 Match
of the Day (T) (R) 8.30
MOTD: FA Cup Highlights
(T) (R) 9.0 The Andrew
Marr Show (T) 10.0 The Big
Questions (T) 11.0 Sunday
Politics (T) 12.15 Lifeline
(T) 12.25 Songs of Praise
(T) 1.0 News (T) 1.15 MOTD
Live: The FA Cup (T) Wigan
Athletic v Southampton
(kick-off 1.30pm) 3.35 A
Question of Sport (T) (R)
4.05 MOTD Live: The FA Cup
(T) Leicester City v Chelsea
(kick-off 4.30pm) 6.35
News (T) 6.50 Regional
News and Weather (T)
7.0 Countryfile (T)
6.05 Coast (R) 7.05 The Instant
Gardener (R) 7.50 Gardeners’
World (R) 8.20 Countryfile
(R) 9.15 Saturday Kitchen
10.45 Spring Kitchen With
Tom Kerridge (R) 11.30
Lorraine Pascale: How to
Be a Better Cook (R) 12.0
Escape to the Country
(R) 12.45 The Ladykillers:
Pest Detectives (R) 1.45
Pilgrimage (R) 2.45 Money
for Nothing (R) 3.45 The
World’s Most Extraordinary
Homes (R) 4.45 Back
in Time for Tea (R) 5.45
Catch Me If You Can
(Steven Spielberg, 2002)
Fact-based conman drama.
Hold the Sunset (T)
Bob suggests that Roger
apply to become his
mother’s paid carer.
8.30 Brooklyn (John
Crowley, 2015) (T) An Irish
immigrant starts a new
life in New York, but her
past catches up with her.
Drama with Saoirse Ronan
and Domhnall Gleeson.
10.10 News (T)
10.30 Regional News (T) Weather
10.40 Paddy McGuinness’s Sport
Relief Warm Up (T) The
host rows, walks and jogs
from his home to the Sport
Relief studio in Salford.
11.40 The Sentinel (Clark
Johnson, 2006) (T) Spy
thriller with Michael Douglas
and Kiefer Sutherland.
1.20 Weather (T) 1.25 News (T)
6.0am Home Shopping
7.10 Top Gear 8.0
Top Gear 9.0 Red Bull
Soapbox Race 10.0 Road
Cops 10.30 Road Cops
11.0 Road Cops 11.30
Road Cops 12.0 American
Pickers 1.0 American
Pickers 2.0 Dynamo:
Magician Impossible
3.0 Would I Lie to You?
3.40 Would I Lie to You?
4.20 Would I Lie to You?
5.0 Red Bull Soapbox
Race 6.0 Yianni: Supercar
Customiser 6.30 Yianni:
Supercar Customiser 7.0
Cop Car Workshop 8.0
Cops UK: Bodycam Squad
9.0 Have I Got a Bit More
Election News for You
10.0 Unspun with Matt
Forde 10.30 Live at the
Apollo 11.30 Room 101
12.10 Room 101 12.50
Have I Got a Bit More
Election News for You
1.50 QI XL 2.40 Room
101 3.10 Room 101
4.0 Home Shopping
6.0am Hollyoaks 8.15
Made in Chelsea 9.20
Top Gear (T) Matt LeBlanc
tests the world’s fastestaccelerating car.
Famously Unfit for Sport
Relief (T) Entertainer
Les Dennis, presenter
Susannah Constantine,
actor Tameka Empson and
comic Miles Jupp embark
on a muscle-grinding mission to regain their fitness.
10.0 The Mash Report (T) (R)
10.30 Top Gear: Extra Gear
(T) With Rory Reid.
10.55 Women’s Six Nations
Highlights (T)
11.25 Being Blacker
(Molly Dineen, 2018) (T)
Documentary about reggae star Blacker Dread.
12.55 Sign Zone Question Time
(T) (R) 1.55 Holby City (T)
(R) 2.55 This Is BBC Two (T)
Don’t Tell the Bride
10.20 Dragonball
Evolution (2009) 12.0
Rude(ish) Tube Shorts
12.20 The Big Bang
Theory 12.50 The Big
Bang Theory 1.20 The
Big Bang Theory 1.50
The Big Bang Theory
2.20 The Big Bang
Theory 2.50 The Big
Bang Theory 3.20 The
Big Bang Theory 3.50
The Big Bang Theory
4.20 The Goldbergs 4.50
Brooklyn Nine-Nine 5.20
Brooklyn Nine-Nine 5.50
Young Sheldon 6.20 The
Big Bang Theory 6.50
School of Rock
(2003) 9.0 Marvel’s
Agents of SHIELD 10.0
2 Guns (2013)
12.10 The Big Bang
Theory 12.40 The Big
Bang Theory 1.05 Five
Star Hotel 2.10 Five Star
Hotel 3.0 First Dates
Abroad 3.25 Hollyoaks
8.55am A New Life in
the Sun 10.0 A New Life
in the Sun 11.05 Vet on
the Hill 12.05 Come
Dine With Me 12.35
Come Dine With Me 1.05
Come Dine With Me 1.40
Come Dine With Me
2.10 Come Dine With Me
2.40 Four in a Bed 3.10
Four in a Bed 3.40 Four
in a Bed 4.10 Four in a
Bed 4.45 Four in a Bed
5.15 Come Dine With Me
5.50 Come Dine With
11.0am Dr
Dolittle 3 (2006)
1.0 Anastasia
(1997) 2.50 Bridge to Terabithia
(2007) 4.40 One
Fine Day (1996) 6.50
Crocodile Dundee
II (1988) 9.0 Terminator Genisys
(2015) 11.25 The King’s Speech
(2010) 1.40 Force Majeure (2014)
6.0am The Planet’s
Funniest Animals
6.20 Emmerdale 9.25
Coronation Street 12.25
You’ve Been Framed!
Gold 12.55 The Voice
UK 2.55 Happy
Feet (2006) (FYI Daily
is at 3.55pm) 5.05
Hotel Transylvania
2 (2015) (FYI Daily is
at 6.05) 7.0 The
Mummy: Tomb of the
Dragon Emperor (2008)
(FYI Daily is at 8pm)
9.0 Ibiza Weekender
10.0 Family Guy 10.30
Family Guy 11.0 Family
Guy 11.30 American
Dad! 11.55 American
Dad! 12.25 Keith
Lemon: The Film (2012)
(FYI Daily is at 1.30)
2.05 Totally Bonkers
Guinness World Records
2.20 Teleshopping
5.50 ITV2 Nightscreen
The Good
Karma Hospital
ITV, 9pm
Challenges await
Channel 4
Channel 5
CITV 9.25 ITV News (T)
9.30 Love Your Garden (T)
(R) 10.0 Peston on Sunday
(T) 10.55 The Voice UK (T)
(R) 12.55 News (T) 1.0 Ant
& Dec’s Saturday Night
Takeaway (T) (R) 2.30
What Would Your Kid Do?
(T) (R) 3.30 The Harbour
(T) (R) 4.0 Tipping Point
(T) (R) 5.0 The Chase:
Celebrity Special (T) (R) 6.0
Paul O’Grady: For the Love
of Dogs (T) (R) 6.30 News
(T) 6.45 Local News (T)
7.0 Celebrity Catchphrase
(T) Chris Kamara, Stacey
Solomon and Catherine
Tyldesley see it and say it.
6.30 Everybody Loves
Raymond (T) (R) 6.55
Everybody Loves Raymond
(T) (R) 7.25 Mobil 1:
The Grid (T) 8.0 Winter
Paralympics Breakfast
(T) 9.0 Frasier (T) (R) 9.30
Sunday Brunch (T) 12.30
Winter Paralympics Today
(T) 2.0 Winter Paralympics
Closing Ceremony (T) 3.15
Epic (Chris Wedge,
2013) (T) 5.15 The Great
Celebrity Bake Off for
Stand Up to Cancer (T) (R)
6.30 News (T) 7.0 Britain’s
Polar Bear Cub (T) Efforts
to breed the UK’s first polar
bear cub for 25 years.
The Durrells (T) New series.
In the first episode, the
family find out that Leslie
has three girlfriends, plus
Aunt Hermione arrives in
Corfu for good.
The Good Karma Hospital
(T) New series. Ruby works
her first solo night shift.
Return of the medical drama,
starring Amrita Acharia.
10.05 News and Weather (T)
10.20 Peston on Sunday (T)
(R) With Robert Peston
and Allegra Stratton.
11.15 Six Nations Highlights
(T) Featuring England v
Ireland and Wales v France
and Italy v Scotland.
12.10 Marcella (T) (R) 1.0 Jackpot
247 3.0 Take on the Twisters
(T) (R) 3.50 Nightscreen
5.05 Jeremy Kyle (T) (R)
Me 6.20 Come Dine With
Me 6.55 Come Dine With
Me 7.25 Come Dine With
Me 7.55 Grand Designs
New Zealand 9.0 Father
Ted 9.35 Father Ted
10.05 8 Out of 10 Cats
Does Countdown 11.10
Very British Problems
12.15 Ramsay’s Kitchen
Nightmares USA 1.10
8 Out of 10 Cats Does
Countdown 2.15 Car
SOS 3.10 8 Out of 10
Cats Uncut
6.0am Hour of Power
7.0 Futurama 7.30
Futurama 8.0 The
Simpsons 8.30 The
Simpsons 9.0 The
Simpsons 9.30 The
Simpsons 10.0 The
Simpsons 10.30 The
Simpsons 11.0 WWE
Raw Hlts 12.0 MacGyver
1.0 Hawaii Five-0 2.0
Portrait Artist of the
Year 2018 3.0 Futurama
3.30 Modern Family
4.0 Modern Family
4.30 Modern Family
5.0 Modern Family
5.30 The Simpsons
6.0 The Simpsons
6.30 The Simpsons
7.0 The Simpsons
7.30 The Simpsons
8.0 MacGyver 9.0
Hawaii Five-0 10.0
NCIS: Los Angeles 11.0
The Blacklist 12.0 The
Force: Manchester 1.0
Arrow 2.0 DC’s Legends
Escape to the Chateau
(T) New series following
efforts to restore a French
chateau. Dick Strawbridge
and Angel Adoree have
their hands full preparing
to host seven weddings.
Homeland (T) Carrie puts
a plan in motion, Saul visits a source, and Keane
makes a desperate plea.
10.05 13 Commandments New
series. A provincial Belgian
town is rocked by a murder.
Crime thriller with Dirk Van
Dijck. In Flemish.
11.0 Solace (Afonso
Poyart, 2015) (T) Crime
thriller starring Anthony
Hopkins and Colin Farrell.
12.55 Last Leg (T) (R) 1.50 The
Job Interview (T) (R) 2.45
KOTV Boxing Weekly (T)
of Tomorrow 3.0 Most
Shocking 4.0 Stargate
Atlantis 5.0 Stargate
Sky Arts
6.0am Darbar Festival
2017 7.0 André Rieu:
My African Dream 8.45
Auction 9.15 Tales of
the Unexpected 9.45
Tales of the Unexpected
10.15 The South Bank
Show Originals 10.45
Soundbreaking 11.45
Soundbreaking 12.45
Soundbreaking 1.45
Discovering: Peter
Sellers 2.45 Discovering:
Robert Shaw 3.45 The
Marriage of Figaro 7.0
Portrait Artist of the
Year 2018 8.0 Tarzan:
The Man Behind the
Legend 9.0 Black
Sabbath: The End 11.20
Saxon at Wacken 2014
12.35 Deep Purple:
Perfect Strangers 3.0
The Ritchie Blackmore
Story 5.0 I Am La Scala
Sky Atlantic
6.0am-9.0 Cold Case
9.0-2.0 Without a Trace
2.0-5.0 Micro Monsters
With David Attenborough
5.0-9.0 Blue Bloods
9.0 Save Me 10.0
Real Time With Bill
Maher 11.10 Britannia
12.10 Billions 1.203.45 Dexter 3.45 The
Shape of Water: Special
4.0-6.0 Fish Town
On the
Radio 3
7.0 Breakfast. With
Martin Handley. 9.0
News 9.03 Sunday
Morning. A selection of
sacred and secular music
for Sunday morning.
12.0 Private Passions.
Gwyneth Glyn on her
favourite music and
the process of writing
a libretto for the firstever Welsh-language
opera. 1.0 News 1.02
Lunchtime Concert:
Wigmore Hall Mondays –
Calidore String Quartet.
Mozart: Divertimento
in F, K138. Caroline
Shaw: First Essay –
Nimrod. Shostakovich:
String Quartet No 9 in
E flat, Op 117. Calidore
String Quartet. (R) 2.0
The Early Music Show:
Debussy and Rameau.
With Hannah French.
3.0 Choral Evensong:
Eton Choral Course at
Eton College (R) 4.0
Choir and Organ 5.0
The Listening Service:
Searching for Paradise.
With Tom Service. 5.30
Words and Music: Man’s
Milkshake! 10.0 Football
on 5: The Championship
(T) (R) 10.55 Football on
5: Goal Rush (T) (R) 11.25
Getting Even With
Dad (Howard Deutch, 1994)
(T) 1.30 Richie Rich
(Donald Petrie, 1994) (T)
3.15 My Girl (Howard
Zieff, 1991) (T) News at
4.15. 5.20 Junior
(Ivan Reitman, 1994) (T)
7.20 Jumper (Doug
Liman, 2008) (T) A man
with the ability to teleport is
hunted by a secret religious
society. Fantasy thriller
with Hayden Christensen
and Samuel L Jackson.
BBC Four
Only Connect (T) (R) Round
three losers the Detectives
and the Beaks compete.
7.30 University Challenge
(T) (R) Student quiz.
8.55 News (T)
9.0 The Equalizer
(Antoine Fuqua, 2014) (T) A
retired secret agent sees a
prostitute being beaten up
by a pimp and kills the man,
drawing him into deadly
conflict with a Russian
syndicate. Action thriller
with Denzel Washington
and Chloë Grace Moretz.
Ancient Greece: The
Greatest Show on Earth
(T) (R) Michael Scott on
theatre in the ancient world.
Andrew Marr on Churchill:
Blood, Sweat and Oil Paint
(T) (R) The broadcaster
looks at Winston Churchill’s
love of painting and the
ways in which his hobby
helped shape his career.
11.35 The Expendables 2
(Simon West, 2012) (T)
Action thriller sequel with
Sylvester Stallone, JeanClaude Van Damme etc.
1.35 SuperCasino (T) 3.10
Cowboy Builders (T)
(R) 4.0 World’s Most
Pampered Pets (T) (R)
4.45 House Doctor (T) (R)
5.10 House Busters (T) (R)
5.35 Wildlife SOS (T) (R)
10.0 13 Minutes (Oliver
Hirschbiegel, 2015) Factbased drama starring
Christian Friedel.
11.45 The Riviera: A History in
Pictures (T) (R) (1&2/2)
Artists who lived and
painted on the Côte d’Azur.
With Richard E Grant.
1.45 Ancient Greece: Greatest
Show… (R) 2.45 Andrew
Marr on Churchill… (R)
Best Friend 6.45 Sunday
Feature: Blind, Black
and Blue. The role blind
black musicians played
in the birth of the blues
in America’s deep south.
7.30 In Concert. A visit
to the Oslo Concert Hall.
Schumann: Overture,
Scherzo and Finale,
Op 52; Cello Concerto
in A minor, Op 129;
Symphony No 1 in B flat,
Op 38, Spring. Daniel
Müller-Schott (cello),
Oslo Philharmonic, Arvid
Engegård. 9.0 Drama
on 3: A Human Being
Died That Night, by
Nicholas Wright. Drama
exploring South African
psychologist Pumla
relationship with the
apartheid regime
assassin Eugene de Kock.
10.25 Early Music Late:
Les Talens Lyriques.
Music by Telemann and
Rameau. 11.25 Charles
Villiers Stanford. Two
works spanning the
composer’s career.
12.30 Through the Night
Radio 4
92.4-94.6 MHz;
6.0 News 6.05
Something Understood:
Follow Your Bliss 6.35
Living World: Essex
Geese (R) 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: Sport
Relief. With Tom Daley.
8.0 News 8.0 Sunday
Papers 8.10 Sunday
Worship 8.48 A Point of
View (R) 8.58 Tweet of
the Day: Andy Clements
on Pink-Footed Geese (R)
9.0 Broadcasting House.
Presented by Paddy
O’Connell. 10.0 The
Archers (R) 11.15 Desert
Island Discs: David Byrne
12.0 News 12.01 (LW)
Shipping Forecast 12.04
Just a Minute (R) 12.30
The Food Programme:
The Future of Bread.
Dan Saladino speaks to
Nathan Myhrvold about
the biggest bread project
ever undertaken. 1.0 The
World This Weekend.
Presented by Mark
Mardell. 1.30 From Our
Home Correspondent.
Mishal Husain presents
reports from around
the country on living
in the Welsh borders,
Easter choral music,
new monastics, sports
cheats and Cornwall’s tin
patron. 2.0 Gardeners’
Question Time: Leicester
(R) 2.45 The Listening
Project Omnibus:
Adventures in Parenting
(R) 3.0 Drama: The
Mysteries of Udolpho.
An adaptation of Ann
Radcliffe’s gothic novel
about a woman trapped
in a castle with her aunt’s
tyrannical new husband.
Georgia Groome stars.
4.0 News 4.02 Open
Book. Mariella Frostrup
talks to the crime writer
Joseph Knox about his
debut novel Sirens.
4.30 Poetry Please: Pot
Luck (R) 5.0 File on 4:
Britain’s Squalid Prisons –
Who’s to Blame? (R) 5.40
Profile (R) 5.54 Shipping
Forecast 6.0 News 6.15
Pick of the Week. With
Simon Parkes. 7.0 The
Archers. Clarrie fears the
worst. 7.15 In and Out of
the Kitchen: The Travel
Piece (R) 7.45 Man About
the House: The Parable of
the Green House (R) 8.0
Feedback (R) 8.30 Last
Word (R) 9.0 Money Box
(R) 9.26 Radio 4 Appeal
(R) 9.30 Analysis: What
Are Universities For? (R)
10.0 The Westminster
Hour. With Carolyn
Quinn. 11.0 The Film
Programme (R) 11.30
Something Understood
(R) 12.0 News 12.15
Thinking Allowed (R)
12.45 Bells on Sunday:
St Mary’s, Dunsford,
Devon (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: Matt
Merritt on the Curlew
The Observer
Monday 19
Breakfast (T) 9.15 Holding
Back the Years (T) 10.0
Homes Under the Hammer
(T) (R) 11.0 The Sheriffs
Are Coming (T) 11.45
Caught Red Handed (T)
(R) 12.15 Bargain Hunt (T)
1.0 News (T) 1.30 Regional
News (T) 1.45 Doctors
(T) 2.15 A Place to Call
Home (T) 3.0 Escape
to the Country (T) (R)
3.45 Money for Nothing
(T) 4.30 Flog It! (T) (R)
5.15 Pointless (T) (R) 6.0
News and Weather (T)
6.30 Regional News and
Weather (T) 7.0 The One
Show (T) 7.30 Panorama (T)
Food Unwrapped
Channel 4,
The secret history
of Edam
The Repair Shop (R) 6.30
Holding Back the Years (R)
7.15 The Sheriffs Are Coming
(R) 8.0 Hugh’s Wild West
(R) 9.0 Victoria Derbyshire
(T) 11.0 BBC Newsroom
Live (T) 11.30 The Week in
Parliament (T) 12.0 Daily
Politics (T) 1.0 Women’s
Six Nations Highlights (T)
(R) 1.30 Yes Chef (T) (R)
2.15 Your Home in Their
Hands (T) (R) 3.15 Planet
Earth (T) (R) 4.15 Spy in the
Wild (T) (R) 5.15 Put Your
Money Where Your Mouth
Is (T) (R) 6.0 Eggheads
(T) 6.30 The Repair Shop
(T) 7.0 Top Gear (T) (R)
Channel 4
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) Bernice is
determined to make Liv tell
the truth. Pete struggles
to keep his anger under
control. 7.30 Coronation
Street (T) David is sickened
by the events of last night.
Channel 5
Countdown (T) (R) 6.45
3rd Rock from the Sun
(T) (R) 7.35 Everybody
Loves Raymond (T)
(R) 8.30 Frasier (T) (R)
10.05 Ramsay’s Kitchen
Nightmares USA (T) (R)
11.0 Undercover Boss USA
(T) (R) 12.0 News (T) 12.05
Come Dine with Me (T) (R)
1.05 Posh Pawnbrokers (T)
(R) 2.10 Countdown (T) 3.0
A Place in the Sun: Home or
Away (T) (R) 4.0 A New Life
in the Sun (T) 5.0 Four in a
Bed (T) (R) 5.30 Star Boot
Sale (T) 6.0 The Simpsons
(T) (R) 6.30 Hollyoaks (T)
7.0 News (T)
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 Gadget
Show (T) (R) 1.10 Access
(T) 1.15 Home and Away
(T) 1.45 Neighbours (T)
2.20 NCIS (T) (R) Corporal
Punishment 3.20 A
Deadly Affair (David Bush,
2017) (T) Thriller. An author
trails her husband to the
house he has been renovating – and finds his
dead body… 5.0 News (T)
5.30 Neighbours (T) (R)
6.0 Home and Away (T) (R)
6.30 News (T) 7.0 AngloWelsh Cup Highlights (T)
EastEnders (T) Stacey
and Mo try to find the
money to give Kat the
send-off she deserves.
8.30 Classic Mary Berry (T) The
food writer demonstrates
a range of recipes for
entertaining guests.
9.0 MasterChef (T) Seven
more contenders compete
in the final week of heats.
Only Connect (T)
The Vikings take on the
8.30 University Challenge
(T) The quarter-final
matches continue.
9.0 The Funeral Murders (T)
Documentary examining
the deadly series of events
connecting two funerals
in Belfast in March 1988.
The Kyle Files (T)
Jeremy Kyle investigates
people’s obsession
with body image.
8.30 Coronation Street (T)
David is stunned that
Josh shows no remorse
for his assault.
9.0 Marcella (T) Marcella learns
the horrific truth about the
scale of the killer’s crimes.
Dispatches: The Truth
About Your Pay (T) How
the gender pay gap figures
companies present may
not be what they seem.
8.30 Food Unwrapped (T) Last
in the series. Kate Quilton
investigates bedtime teas.
9.0 24 Hours in Police Custody
(T) Police search for an
exploitative couple.
10.0 News (T)
10.30 Regional News (T) Weather
10.45 Imagine… Andrew Lloyd
Webber – Memories (T)
Alan Yentob talks to the
composer about his autobiography Unmasked.
12.15 Have I Got a Bit More Old
News for You (T) (R) Jo
Brand hosts an edition from
last June. 12.55 Weather
(T) 1.0 BBC News (T)
10.0 QI Oceans (T) (R) With
Aisling Bea, Joe Lycett
and David Mitchell.
10.30 Newsnight (T) Weather
11.15 Pilgrimage: The Road to
Santiago (T) (R)
12.15 Sign Zone Panorama:
Taking on Putin (T) (R)
12.45 Countryfile (T)
(R) 1.40 Imagine… Philip
Pullman (T) (R) 2.40
This Is BBC Two (T)
10.0 ITV News at Ten (T)
10.35 Local News (T)
10.50 100 Years Younger in 21
Days (T) (R) The celebrities
learn about their brains.
11.45 The Kyle Files (T) (R)
People’s increasing
obsession with the way
they look.
12.15 Jackpot247 3.0 The Jeremy
Kyle Show (T) (R) 3.55 ITV
10.0 Electric Dreams Kill All
Others (T) A politician
makes a shocking statement encouraging violence.
Last in the series.
11.05 One Killer Punch (T) (R)
12.05 Seven Year Switch (T)
(R) 1.0 One Born Every
Minute (T) (R) 1.55 World
of Weird (T) (R) 2.50 The
Question Jury (T) (R) 3.45
Coast v Country (T) (R)
10.0 Armed and Deadly: Police
UK (T) Documentary.
11.0 The X-Files Familiar
(T) Mulder and Scully
investigate a brutal animal
attack on a little boy.
12.0 Traffic Cops: On the Edge
(T) (R) 12.55 Britain’s
Greatest Bridges (T)
1.15 SuperCasino (T) 3.10
Cowboy Builders (T) (R)
4.0 Tribal Teens (T) (R)
6.0am Home Shopping
7.10 Scrapheap Challenge
8.10 American Pickers
9.0-10.0 Storage
Hunters UK 10.0-1.0
American Pickers 1.0-3.0
Top Gear 3.0 Impossible
Engineering 4.0 World’s
Most Dangerous Roads
5.0-7.0 Top Gear 7.0
World’s Most Dangerous
Roads 8.0 Cop Car
Workshop 9.0 Live at
the Apollo 10.0 Dara
O Briain’s Go 8 Bit 11.0
Taskmaster 12.0 Dave
Gorman: Modern Life
Is Goodish 1.0 QI 1.40
Would I Lie to You?
2.15 Mock the Week 3.0
Suits 4.0 Home Shopping
All programmes to 7pm
are double bills 6.0am
Hollyoaks 7.0 Rules of
Engagement 8.0 How
I Met Your Mother 9.0
New Girl 10.0 2 Broke
Girls 11.0 Brooklyn NineNine 12.0 The Goldbergs
1.0 The Big Bang Theory
2.0 How I Met Your
Mother 3.0 New Girl
4.0 Brooklyn Nine-Nine
5.0 The Goldbergs 6.0
The Big Bang Theory
7.0 Hollyoaks 7.30 My
Hotter Half 8.0 The
Big Bang Theory 8.30
Young Sheldon 9.0 Made
in Chelsea 10.0 Five
Star Hotel 11.05-12.0
The Big Bang Theory
12.0 First Dates 1.05
Five Star Hotel 2.05
Made in Chelsea 3.0
Tattoo Fixers 3.55 First
Dates Abroad 4.20-5.0
Rules of Engagement
5.0 Rude(ish) Tube
11.0am The Colditz
Story (1954) 1.15 The Train (1964) 4.0
Twelve O’Clock
High (1949) 6.40 Step Up All In (2014)
9.0 Thor (2011)
11.15 Wish I Was
Here (2014) 1.25 I, Frankenstein (2014)
6.0am The Planet’s
Funniest Animals 6.20
Totally Bonkers Guinness
World Records 6.45
Totally Bonkers Guinness
World Records 7.10
Who’s Doing the Dishes?
7.55 Emmerdale 8.20
Coronation Street 8.55
Coronation Street 9.25
The Ellen DeGeneres
Show 10.20 The Bachelor
12.15 Emmerdale 12.45
Coronation Street 1.15
Coronation Street 1.45
The Ellen DeGeneres
Show 2.35 The Jeremy
Kyle Show 3.45 The
Jeremy Kyle Show 4.55
Judge Rinder 6.0 Take
Me Out 7.30 You’ve
Been Framed! Gold 8.0
Two and a Half Men
8.30 Two and a Half
Men 9.0 Family Guy
9.30 American Dad!
10.0 Action Team 10.35
Family Guy 11.0 Family
Guy 11.30 American Dad!
11.55 Plebs 12.30 Two
and a Half Men 12.55
Two and a Half Men
1.25 Ibiza Weekender
2.25 Teleshopping
5.55 ITV2 Nightscreen
8.55am Food Unwrapped
9.30-11.35 A Place in
the Sun: Winter Sun
11.35-2.10 Four in a Bed
2.10-4.50 Come Dine
With Me 4.50-6.55 A
Place in the Sun: Home or
Away 6.55 The Supervet
7.55 Grand Designs 9.0
Car SOS 10.0 Million
Pound Mega Yachts 11.05
24 Hours in A&E 12.05
Kitchen Nightmares USA
1.05 Car SOS 2.05 The
Madness of Bedlam: A
Time Team Special 3.10
8 Out of 10 Cats Uncut
6.0am Monkey Life
6.30 Monkey Life 7.0
RSPCA Animal Rescue
7.30 RSPCA Animal
Rescue 8.0 Motorway
Patrol 8.30 Motorway
Patrol 9.0 Road Wars
10.0 Warehouse 13 11.0
Forever 12.0 NCIS: LA
1.0 Hawaii Five-0 2.0
Hawaii Five-0 3.0 NCIS:
LA 4.0 Stargate SG-1
5.0 The Simpsons 5.30
Futurama 6.0 Futurama
6.30 The Simpsons
7.0 The Simpsons 7.30
The Simpsons 8.0
Ghostbusters II
(1989) 10.05 A League of
Their Own 11.0 The Force:
Essex 12.0 Ross Kemp:
Extreme World 1.0 Brit
Cops: Rapid Response
2.0 Most Shocking 3.0
The Force: Essex 4.0
It’s Me or the Dog 4.30
It’s Me or the Dog 5.0
Futurama 5.30 Futurama
Sky Arts
6.0am Darbar Festival
2017 7.0 Daniele Gatti &
The Orchestre National
7.45 Rain 9.0 Tales of the
Unexpected 9.30 Master
of Photography 10.30
Video Killed the Radio
Star 11.0 The Seventies
12.0 Soundbreaking
1.0 Discovering: Robert
Shaw 2.0 Tales of the
Unexpected 2.30 Master
of Photography 3.30
Video Killed the Radio
Star 4.0 The Seventies
5.0 Soundbreaking 6.0
Discovering: Rex Harrison
7.0 Auction 7.30 Close
to You: Remembering
the Carpenters 8.45
Frank Sinatra: A Man and
His Music 10.0 Portrait
Artist of the Year 2018
11.0 The South Bank
Show Originals 11.30
The South Bank Show
Originals 12.0 Erotic
Adventures of Anaïs
Nin 1.30 Magician: The
Astonishing Life and
Work of Orson Welles
3.15 30 Degrees in
February 4.30 Tales
of the Unexpected 5.0
Auction 5.30 Auction
Sky Atlantic
6.0am The Guest Wing
7.0 Storm City 8.0
Richard E Grant’s Hotel
Secrets 9.0 The West
Wing 10.0 The West Wing
11.0 House 12.0 House
1.0 Without a Trace 2.0
Micro Monsters With
David Attenborough
2.30 Micro Monsters
With David Attenborough
3.0 The West Wing
4.0 The West Wing
5.0 House 6.0 House
7.0 CSI: Crime Scene
Investigation 8.0 Blue
Bloods 9.0 Hotspots: On
the Frontline 10.0 Last
Week Tonight With John
Oliver 10.35 Our Cartoon
President 11.10 Real Time
With Bill Maher 12.20
Crashing 12.55 Divorce
1.30 Here and Now 2.40
Dexter 4.0 The West
Wing 5.0 The West Wing
On the
Radio 3
6.30 Breakfast. With
Petroc Trelawny. 9.0
Essential Classics.
Kate Mosse reveals the
influences that have
have inspired and shaped
her life. 12.0 Composer
of the Week: Claude
Debussy (1/5) 1.0 News
1.02 Lunchtime Concert:
Wigmore Hall Mondays.
The vocal ensemble Stile
Antico perform works
associated with Queen
Elizabeth I by Byrd,
Tallis, Lassus, Dowland,
Wilbye, Weelkes and
others. 2.0 Afternoon
Concert. The first in a
week of programmes
of recent performances
by the Ulster Orchestra
features works by Grieg,
Rachmaninov, Nielsen,
Debussy and Hindemith.
5.0 In Tune 7.0 In
Tune Mixtape 7.30 In
Concert. Recorded at the
Royal Festival Hall last
night. Tchaikovsky (arr
Stravinsky): Sleeping
Beauty (excerpts).
Tchaikovsky: Piano
Concerto No 1. 8.15
Extreme Winter Road
Rescue (T) A team are
called out during the night
to deal with an overturned
lorry. Includes news.
Terror in the Air:
Flights Out of Control
(T) Hair-raising footage
captured by passengers
on plane journeys that
went wrong.
Interval. Stravinsky:
The Fairy’s Kiss. Daniil
Trifonov (piano),
London Philharmonic,
Vladimir Jurowski. 10.0
Free Thinking Festival:
Are We Afraid of Being
Alone? Sarah Maitland,
Lionel Shriver, Barbara
Taylor and John-Henry
Clay explore solitude.
10.45 The Free Thinking
Essay: A War of Words.
Christopher Bannister on
propaganda in the second
world war. (1/5) 11.0 Jazz
Now. Music by the Don
Moye-Kirk Lightsey trio,
and Zhenya Strigalev.
12.30 Through the Night
Radio 4
6.0 Today. Presented by
Nick Robinson and Sarah
Montague. 7.48 Thought
for the Day, with the Rev
Prof David Wilkinson. 9.0
Start the Week 9.45 (LW)
Daily Service 9.45 (FM)
Keywords for Our Time:
MeToo. The first of five
programmes examining
key phrases in public
debate, beginning with
Helen Lewis’s thoughts
on the MeToo hashtag.
(1/5) 10.0 Woman’s
Hour. Presented by
Jane Garvey. Includes
at 10.45 Drama: Based
on a True Story, by
Delphine de Vigan. (1/5)
11.0 The Expressing
Room. Fi Glover heads
to a room in Evelina
BBC Four
Beyond 100 Days (T) 7.30
Great Irish Journeys with
Martha Kearney (T) (R)
The broadcaster explores
the Blasket Islands off Co
Kerry, the Dingle Peninsula,
and the islands of the
Fermanagh Lakelands.
Last in the series.
Treasures of the Indus
(T) (R) Sona Datta examines the artistic legacy of
the Mughal empire.
The Art of Spain (T)
(R) Andrew GrahamDixon travels to the
heart of Spain and the
provinces around Madrid
to explore the golden
age of Spanish painting.
10.0 Mary Magdalene: Art’s
Scarlet Woman (T) (R)
How the image of Mary
Magdalene has evolved.
11.0 Mothers, Murderers and
Mistresses: Empresses of
Ancient Rome (T) (R)
12.0 Treasures of Ancient
Greece (T) (R) 1.0 TOTP:
1982 (T) (R) 2.0 A History
of Art in Three Colours (T)
(R) 3.0 Art of Spain (T) (R)
London Children’s
Hospital where women
go to express milk for
their babies, meeting
the mothers of severely
premature infants.
11.30 Ayres on the Air.
Pam Ayres returns with
more comic poetry and
skits. (1/4) 12.0 News
12.01 (LW) Shipping
Forecast 12.04 Home
Front: 19 March 1918
– Dorothea Winwood,
by Katie Hims. (11/40)
12.15 You and Yours
1.0 The World at One.
Presented by Martha
Kearney. 1.45 Book of
the Week: The Wood,
by John Lewis-Stempel.
The story of a year in the
life of Cockshutt Wood
in Shropshire. (1/5) 2.0
The Archers (R) 2.15
Drama: The Ferryhill
Philosophers – Thought
Experiments and A Little
Scrap of a Thing, by
Michael Chaplin. Return
of the drama about an
unemployed ex-miner
and a philosophy
lecturer, starring
Deborah Findlay and
Alun Armstrong. (1/2)
3.0 Brain of Britain: Heat
Four (4/17) 3.30 The
Food Programme (R) 4.0
The Art of Now: Return
to Catalonia. AngloSpanish artist Sonia Boué
responds to the Catalan
crisis and the Spanish
civil war by retracing
her father’s exile and
exhibiting her work in
Spain for the first time.
4.30 The Digital Human
(5/6) 5.0 With Eddie
Mair. 5.54 (LW) Shipping
Forecast 6.0 News 6.30
Just a Minute (5/6) 7.0
The Archers. Justin calls
in a favour. 7.15 Front
Row. Arts roundup. 7.45
Based on a True Story (R)
(1/5) 8.0 Double-Talk
8.30 Analysis: Screens
and Teens. David Baker
examines claims that
something needs to be
done about smartphones
and their negative effects
on the nation’s teenagers.
(8/9) 9.0 Aftermath:
When the Admiral Duncan
Was Bombed (R) 9.30
Start the Week (R) 10.0
The World Tonight. With
Ritula Shah. 10.45 Book
at Bedtime: Reservoir
13, by Jon McGregor.
(1/10) 11.0 Something of
the Night. Libby Purves
presents a chat show
covering topics with a
connection to nighttime. (3/6) 11.30 Today
in Parliament. With Susan
Hulme. 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: Matt Merritt
on the Redstart
The Observer
Tuesday 20
Breakfast (T) 9.15 Holding
Back the Years (T) 10.0
Homes Under the Hammer
(T) 11.0 The Sheriffs Are
Coming (T) 11.45 Caught
Red Handed (T) (R) 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
A Place to Call Home (T)
3.05 Escape to the Country
(T) (R) 3.45 Money for
Nothing (T) 4.30 Flog It! (T)
(R) 5.15 Pointless (T) (R)
6.0 News and Weather (T)
6.30 Regional News and
Weather (T) 7.0 One Show
(T) 7.30 EastEnders (T)
Holby City (T) Ric Griffin
finally stands trial, Ollie
accepts the ultimate
challenge from Roxanna,
and Jac is backed into a
corner emotionally.
Shetland (T) Perez has to
face the fact that Duncan
may have been involved
in Lizzie Kilmuir’s murder.
Last in the series.
10.0 News (T)
10.30 Regional News (T) Includes
national lottery update.
10.45 This Country (T) Kurtan’s
shopping plans are disrupted by bus problems.
11.10 Rehab: Addicted Lives
(T) Cameras explore a
residential rehabilitation
centre in Somerset.
12.30 Weather for the Week
Ahead (T) 12.35 News (T)
6.0am Home Shopping
7.10 Scrapheap Challenge
8.10 American Pickers
9.0-10.0 Storage
Hunters UK 10.0-1.0
American Pickers 1.0 Top
Gear 2.0 Top Gear USA
Special 3.0 Impossible
Engineering 4.0 World’s
Most Dangerous Roads
5.0-7.0 Top Gear 7.0
World’s Most Dangerous
Roads 8.0 Dave Gorman:
Modern Life Is Goodish
9.0-11.0 Room 101 11.0
Live at the Apollo 12.0
QI XL 1.0 QI 1.40 Would
I Lie to You? 2.15 Mock
the Week 2.55 Suits
4.0 Home Shopping
All programmes from
to 7pm are double bills
6.0am Hollyoaks 7.0
Rules of Engagement 8.0
How I Met Your Mother
9.0 New Girl 10.0 2 Broke
Girls 11.0 Brooklyn NineNine 12.0 The Goldbergs
1.0 The Big Bang Theory
2.0 How I Met Your
Mother 3.0 New Girl
4.0 Brooklyn Nine-Nine
Great Indian Railway
Journeys (T) New series.
Michael Portillo embarks
on a rail journey from
Amritsar to Shimla.
Amazing Hotels: Life
Beyond the Lobby (T)
Giles Coren and Monica
Galetti work at Ashford
Castle in Ireland, which
dates back to 1228.
10.0 Mum (T) Cathy and Michael
see each other for the first
time in months.
10.25 The Archiveologists The
Business Meeting (T)
10.30 Newsnight (T) Weather
11.15 Gareth Thomas’s Silver
Skydivers for Sport Relief
12.15 Sign Zone MasterChef (T)
(R) 1.15 Amazing Hotels:
Life Beyond the Lobby (T)
(R) 2.15 This Is BBC Two (T)
5.0 The Goldbergs 6.0
The Big Bang Theory 7.0
Hollyoaks 7.30 My Hotter
Half 8.0-9.0 The Big
Bang Theory 9.0 Tattoo
Fixers: X-Rated 10.0 Five
Star Hotel 11.05-12.0
The Big Bang Theory
12.05 First Dates 1.10
Five Star Hotel 2.10
Tattoo Fixers: X-Rated
3.05 Timeless 3.45
Rude Tube 4.15-4.55
Rules of Engagement
4.55 Rude(ish) Tube
11.0am The
Undefeated (1969) 1.25
The Sons of Katie
Elder (1965) 3.50 The Quiet Man (1952)
6.25 Beautiful
Creatures (2013) 9.0
The Second Best
Exotic Marigold Hotel
(2015) 11.30 The Counsellor (2013)
1.45 Requiem
for a Dream (2000)
6.0am The Planet’s
Funniest Animals 6.20
Totally Bonkers Guinness
World Records 6.45
Totally Bonkers Guinness
World Records 7.10
Who’s Doing the Dishes?
7.55 Emmerdale 8.20
Coronation Street 8.55
Coronation Street 9.25
The Ellen DeGeneres
Show 10.20 The Bachelor
12.15 Emmerdale 12.45
Coronation Street 1.15
Coronation Street 1.45
The Ellen DeGeneres
Show 2.35 The Jeremy
Kyle Show 3.45 The
Jeremy Kyle Show 4.55
Judge Rinder 6.0 Take
Me Out 7.0 You’ve Been
Framed! Gold 7.30
You’ve Been Framed!
Gold 8.0 Two and a Half
Men 8.30 Two and a
Half Men 9.0 Paul
(2011) (FYI Daily is at
10.05) 11.10 Family Guy
11.35 Family Guy 12.05
American Dad! 12.35
American Dad! 1.05 Two
and a Half Men 1.30
Two and a Half Men
1.55 Totally Bonkers
Guinness World Records
2.25 Teleshopping
5.55 ITV2 Nightscreen
8.55am Food Unwrapped
9.30 A Place in the Sun:
Home or Away 10.30 A
Place in the Sun: Home
or Away 11.35 Four in a
Bed 12.05 Four in a Bed
12.35 Four in a Bed 1.05
Four in a Bed 1.40 Four
in a Bed 2.10 Come Dine
With Me 2.40 Come Dine
With Me 3.15 Come Dine
With Me 3.50 Come Dine
With Me 4.20 Come Dine
With Me 4.50 A Place in
the Sun: Home or Away
5.55 A Place in the Sun:
Home or Away 6.55 The
Supervet 7.55 Grand
Designs 9.0 24 Hours in
BBC One, 9pm
DI Perez unearths
shocking truths in
a thrilling finale
Flog It! Trade Secrets (T)
(R) 6.30 Holding Back
the Years (T) (R) 7.15 The
Sheriffs Are Coming (T) (R)
8.0 Sign Zone: Celebrity
Antiques Road Trip (T) (R)
9.0 Victoria Derbyshire
(T) 11.0 BBC Newsroom
Live (T) 12.0 Daily Politics
(T) 1.0 The Super League
Show (T) 1.45 Coast (T) (R)
2.30 Yes Chef (T) (R) 3.15
Planet Earth (T) (R) 4.15
Spy in the Wild (T) (R) 5.15
Put Your Money Where
Your Mouth Is (T) (R) 6.0
Eggheads (T) 6.30 The
Repair Shop (T) 7.0 Saving
Lives at Sea (T) (R)
Channel 4
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) Debbie gives in to Joe’s
demands. Marlon grows
closer to Jessie. 7.30 100
Year Old Driving School (T)
A 100-year-old veteran
takes his first driving test.
The World’s Ugliest Pets
(T) Caroline Quentin meets
unattractive pets and
searches for Britain’s least
photogenic canine.
100 Years Younger in 21
Days (T) The celebs do all
they can to shave years
off their ages before the
professor reveals their
results. Last in the series.
10.0 News (T)
10.30 Local News (T)
10.45 The Cruise: Voyage to
Alaska (T) (R) Cruise director JC makes his nervous
stage debut as MC.
11.10 Four Days That Shook
Britain (T) (R)
12.30 Jackpot247 3.0 Loose
Women (R) 3.50 ITV
Nightscreen 5.05 The
Jeremy Kyle Show (T) (R)
A&E 10.0 999: What’s
Your Emergency? 11.05
8 Out of 10 Cats Does
Countdown 12.10 24
Hours in A&E 1.15 999:
What’s Your Emergency?
2.15 Ramsay’s Kitchen
Nightmares USA 3.10 8
Out of 10 Cats Uncut
6.0am Monkey Life 6.30
Monkey Life 7.0 RSPCA
Animal Rescue 7.30
RSPCA Animal Rescue
8.0 Motorway Patrol 8.30
Motorway Patrol 9.0 Road
Wars 10.0 Warehouse 13
11.0 Forever 12.0 NCIS:
LA 1.0 Hawaii Five-0 2.0
Hawaii Five-0 3.0 NCIS:
LA 4.0 Stargate SG-1
5.0 The Simpsons 5.30
Futurama 6.0 Futurama
6.30 The Simpsons 7.0
The Simpsons 7.30 The
Simpsons 8.0 The Flash
9.0 The Blacklist 10.0
The Late Late Show: Best
of the Week 11.0 The
Force: Essex 12.0 Ross
Kemp: Extreme World 1.0
Brit Cops: Law & Disorder
2.0 Most Shocking 3.0
The Force: Essex 4.0
It’s Me or the Dog 4.30
It’s Me or the Dog 5.0
Futurama 5.30 Futurama
Sky Arts
6.0am Darbar Festival
2017 7.0 John Wilson
Orchestra Presents
9.0 Tales of the
Unexpected 9.30 Master
Countdown (T) (R) 6.45
3rd Rock from the Sun
(T) (R) 7.35 Everybody
Loves Raymond (T)
(R) 8.30 Frasier (T) (R)
10.05 Ramsay’s Kitchen
Nightmares USA (T) (R)
11.0 Undercover Boss USA
(T) (R) 12.0 News (T) 12.05
Come Dine with Me (T) (R)
1.05 Posh Pawnbrokers
(T) (R) 2.10 Countdown
(T) 3.0 A Place in the Sun:
Home or Away (T) (R) 4.0
A New Life in the Sun (T)
5.0 Four in a Bed (T) (R)
5.30 Star Boot Sale (T) 6.0
The Simpsons (T) (R) 6.30
Hollyoaks (T) 7.0 News (T)
Channel 5
Milkshake! 9.15 The Wright
Stuff (T) 11.15 Can’t Pay?
We’ll Take It Away (T) (R)
12.10 News (T) 12.15 GPs:
Behind Closed Doors
(T) (R) 1.10 Access (T)
1.15 Home and Away (T)
1.45 Neighbours (T) 2.20
NCIS (T) (R) Caged 3.20
Dead Over Heels
(Terry Ingram, 2016) (T)
Mystery starring Candace
Cameron Bure. 5.0 News
(T) (R) 5.30 Neighbours
(T) (R) 6.0 Home and Away
(T) (R) 6.30 News (T) 7.0
Reinventing The Royals:
Elizabeth – Our Queen (T)
The Queen’s life since 2000.
The Great Celebrity
Bake Off for Stand Up
to Cancer (T) Tim Minchin
competes alongside
Ruth Davidson, Jamie
Laing and Ella Eyre.
9.15 Seven Year Switch
(T) Lee Valls sets the
switched couples the
task of re-enacting an
argument from the past.
10.20 Gogglebox (T) (R)
11.20 Before We Die Hanna, Björn
and Tina now know what
Operation Krajina is all about.
12.30 Ramsay’s Kitchen
Nightmares USA (T) (R) 1.20
The Supervet (T) (R) 2.20
Scruffts: Britain’s Favourite
Dog (T) (R) 3.15 My Baby’s
Life: Who Decides? (R) 4.10
Coast v Country (R) 5.05
Location, Location… (R)
10.0 The Expendables 3
(Patrick Hughes, 2014) (T)
Action thriller sequel starring Sylvester Stallone, Mel
Gibson et al. News at 11.05.
12.20 Weather Terror:
Lightning Strike (T) (R)
1.15 SuperCasino 3.10
Cowboy Builders (T) (R)
4.0 Tribal Teens (T) (R)
4.45 House Doctor (T) (R)
5.10 House Busters (T) (R)
of Photography 10.30
Video Killed the Radio
Star 11.0 The Seventies
12.0 Soundbreaking
1.0 Discovering: Rex
Harrison 2.0 Tales of the
Unexpected 2.30 Master
of Photography 3.30
Video Killed the Radio
Star 4.0 The Seventies
5.0 Soundbreaking 6.0
Discovering: Yul Brynner
7.0 Elvis Presley: A
Legend in Concert 8.0
Portrait Artist of the
Year 2018 9.0 Portrait
Artist of the Year 2018:
The Winner’s Story 10.0
Discovering: Leslie Caron
11.0 Tarzan: The Man
Behind the Legend 12.0
Portrait Artist of the Year
2018 1.0 Legends of the
Canyon 3.15 30 Degrees
in February 4.30 Tales
of the Unexpected 5.0
Auction 5.30 Auction
Sky Atlantic
6.0am The Guest Wing
7.0 Storm City 8.0
Richard E Grant’s Hotel
Secrets 9.0-11.0 The
West Wing 11.0-1.0 House
1.0 Without a Trace 2.0
Blue Bloods 3.0-5.0
The West Wing 5.0-7.0
House 7.0 CSI: Crime
Scene Investigation 8.0
Blue Bloods 9.0 Here and
Now 10.10 Divorce 10.45
Crashing 11.20-12.30
SMILF 12.30 Billions
1.40-4.0 Dexter 4.06.0 The West Wing
On the
Radio 3
6.30 Breakfast. With
Petroc Trelawny. 9.0
Essential Classics. Suzy
Klein’s guest for the week
is the author Kate Mosse.
12.0 Composer of the
Week: Debussy (2/5) 1.0
News 1.02 Lunchtime
Concert: Debussy and
Pizzetti at LSO St Luke’s.
Performances of work by
Debussy and Pizzetti at
LSO St Luke’s in London.
Music by the composers,
whose deaths occurred
100 and 50 years ago,
respectively. Cédric
Tiberghien (piano),
Lorenzo Gatto (violin).
Debussy: Violin Sonata;
Étude No 9; Pour les
notes répétées; Des pas
sur la neige; Ce qu’a vu le
vent d’ouest (Préludes,
Book 1). Pizzetti:
Violin Sonata. (1/4)
2.0 Afternoon Concert:
The Ulster Orchestra.
Elgar: Introduction and
Allegro, Op 47. Dvořák:
Cello Concerto, Op 104.
Sibelius: Symphony No 4,
Op 63. Johannes Moser
(cello), conductor Jac
Secrets of the National
Trust With Alan Titchmarsh
(T) The presenter visits the
Grade II-listed workhouse
at Southwell. Includes news.
Wild Britain: Untamed
Coasts (T) Cameras
follow events at a grey
seal colony in Norfolk,
as bulls fight over the
in-season females.
van Steen. 3.35 Giancarlo
Castro: Trumpet
Concerto. Pacho Flores
(trumpet). Piazzolla:
Winter in Buenos Aires.
Pacho Flores (flugelhorn). Bartók: Concerto
for Orchestra. Conductor
Rafael Payare. 5.0 In Tune
7.0 In Tune Mixtape 7.30
In Concert: Sondheim on
Sondheim. Keith Lockhart
conducts the BBC Concert
Orchestra and a host of
music theatre stars in the
European premiere of a
new review of the work of
Stephen Sondheim. 10.0
Free Thinking Festival:
Power to the People? With
Anne McElvoy and guests
at the Sage Gateshead.
10.45 The Free Thinking
Essay: When Shakespeare
Travelled With Me. With
Islam Issa. (2/5) 11.0 Late
Junction: Nick Luscombe
With Ilan Volkov 12.30
Through the Night
Radio 4
6.0 Today 8.30 (LW)
Yesterday in Parliament
9.0 Civilisation: A
Sceptic’s Guide. History
has conspired to divide
peoples according to
their civilisation. David
Cannadine argues that
there is little reason to
support this idea – and
that is a dangerous one.
9.30 One to One: David
Greig and Ben Smith (R)
9.45 (LW) Daily Service
BBC Four
Beyond 100 Days (T) 7.30
Secret Knowledge: The Art
of the Vikings (T) (R) Janina
Ramirez explores the longlasting effects of Viking
culture on the British Isles
through her interpretation
of artefacts at the Swedish
National Museum.
Immortal Egypt With
Joann Fletcher (T) (R)
The historian explores
the lives of the workers
and artisans who built
the Valley of the Kings.
Madame Tussaud: A
Legend in Wax (T) (R)
The story of the woman
behind the worldwide
waxworks empire.
10.0 The Prosecutors: Real
Crime and Punishment The
Proof (T) (R) Cases include
two domestic murders and
the victim of an assault.
11.0 Britain’s Outlaws:
Highwaymen, Pirates
and Rogues (T) (R)
12.0 Treasures of Ancient
Greece (T) (R) 1.0 TOTP:
1982 (T) (R) 2.0 A History of
Art in Three Colours (T) (R)
9.45 (FM) Keywords for
Our Time: Prophets of
Doom. With Alex Deane,
former chief of staff to
David Cameron. (2/5)
10.0 Woman’s Hour.
Presented by Jane Garvey.
Includes at 10.45 Drama:
Based on a True Story,
by Delphine de Vigan.
(2/5) 11.0 Aftermath:
Ibrox – The Forgotten
Tragedy? Alan Dein on the
aftermath of the 1971
Ibrox stadium disaster,
when 66 people were
killed in a crush at game
between Rangers and
Celtic. (3/3) 11.30 Perfect
Husband, Pitiable Artist.
On the centenary of
Claude Debussy’s death,
pianist Lucy Parham
presents a meditation
on the tensions he and
other creatives have
found between the
artistic and the domestic
life. 12.0 News 12.01
(LW) Shipping Forecast
12.04 Home Front: Kitty
Lumley, by Katie Hims.
(12/40) 12.15 Four
Seasons. Poems reflecting
the seasons of the year.
12.17 Call You and Yours
1.0 The World at One.
With Martha Kearney.
1.43 Four Seasons. Poems
to celebrate the spring
equinox. 1.45 Book of
the Week: The Wood,
by John Lewis-Stempel.
(2/5) 2.0 The Archers
(R) 2.15 Drama: The
Ferryhill Philosophers
– Minority Rights and
the Hanging Gardens
of Babylon, by Michael
Chaplin. (2/2) 3.0 Short
Cuts: The Answer (6/8)
3.30 Costing the Earth:
Plastic Pollution 4.0 Four
Seasons 4.02 Law in
Action (4/4) 4.30 A Good
Read: Bernardine Evaristo
& Jolyon Rubinstein
(8/9) 5.0 PM. With
Eddie Mair. 5.54 (LW)
Shipping Forecast 5.58
Four Seasons 6.0 News
6.30 Love in Recovery:
Starting Over (R) 7.0 The
Archers. Alice goes too
far. 7.15 Front Row. Arts
roundup. 7.45 Based on
a True Story (R) (2/5)
8.0 File on 4. Simon Cox
investigates a series
of failures at a mental
health trust. (10/10)
8.40 In Touch 9.0 Inside
Health 9.30 Civilisation:
A Sceptic’s Guide (R) 10.0
The World Tonight. With
Ritula Shah. 10.45 Book
at Bedtime: Reservoir 13,
by Jon McGregor. (2/10)
11.0 Time Spanner (R)
11.30 Today in Parliament
11.55 Four Seasons 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: Matt
Merritt on the Wheatear
The Observer
Wednesday 21
The Secret Helpers
BBC Two, 8pm
Sister Una
lends a hand
Breakfast (T) 9.15 Holding
Back the Years (T) 10.0
Homes Under the Hammer
(T) (R) 11.0 The Sheriffs Are
Coming (T) 11.45 Caught
Red Handed (T) (R) 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 A Place to Call
Home (T) 3.10 Escape
to the Country (T) (R)
3.45 Money for Nothing
(T) 4.30 Flog It! (T) (R)
5.15 Pointless (T) (R) 6.0
News and Weather (T)
6.30 News and Weather
(T) 7.0 The One Show (T)
MasterChef (T) The
contestants are challenged
to invent a dish using
a choice of ingredients
including lamb loin, chicken
thighs, scallops, salmon
fillets and prawns.
Zoë Ball’s Hardest Road
Home (T) The presenter
embarks on a cycle ride
from Blackpool to Brighton.
10.0 News (T)
10.30 Regional News and
Weather (T) Includes
national lottery update.
10.45 A Question of Sport (T)
Ricky Hatton guests.
11.15 Film 2018 (T) Al Murray
hosts the review show.
11.45 Short Term 12 (Destin
Daniel Cretton, 2013) (T)
Drama with Brie Larson.
1.15 Weather (T) 1.20 News (T)
6.0am Home Shopping
7.10 Scrapheap Challenge
8.10 American Pickers
9.0-10.0 Storage Hunters
UK 10.0-1.0 American
Pickers 1.0-3.0 Top
Gear 3.0 Impossible
Engineering 4.0 World’s
Most Dangerous Roads
5.0-7.0 Top Gear 7.0
World’s Most Dangerous
Roads 8.0 Sin City Motors
9.0 Live at the Apollo
10.0 Dave Gorman:
Modern Life Is Goodish
11.0 Unspun XL With Matt
Forde 12.0 QI XL 1.0 QI
1.40 Would I Lie to You?
2.15 Mock the Week 2.55
Suits 4.0 Home Shopping
The Repair Shop (R) 6.30
Holding Back the Years
(R) 7.15 The Sheriffs Are
Coming (R) 8.0 Great British
Railway Journeys (R) 8.30
Classic Mary Berry (R) 9.0
Victoria Derbyshire 11.0
Newsroom Live 11.30 Daily
Politics 1.0 Lifeline (T) (R)
1.10 Coast (T) (R) 1.30 Yes
Chef (T) (R) 2.15 Monty
Halls’ Great Irish Escape
(T) (R) 3.15 Planet Earth
(T) (R) 4.15 Spy in the Wild
(T) (R) 5.15 Put Your Money
Where Your Mouth Is (T)
(R) 6.0 Eggheads (T) 6.30
The Repair Shop (T) 7.0
Saving Lives at Sea (T) (R)
Channel 4
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) Joe makes
another enemy, while
Liv receives life-changing news. 7.30 Coronation
Street (T) Fiz is horrified
when Tyrone smacks Ruby.
Countdown (T) (R) 6.45
3rd Rock from the Sun
(T) (R) 7.35 Everybody
Loves Raymond (T)
(R) 8.30 Frasier (T) (R)
10.05 Ramsay’s Kitchen
Nightmares USA (T) (R)
11.0 Undercover Boss USA
(T) (R) 12.0 News (T) 12.05
Come Dine with Me (T) (R)
1.05 Posh Pawnbrokers
(T) (R) 2.10 Countdown
(T) 3.0 A Place in the Sun:
Home or Away (T) (R) 4.0
A New Life in the Sun (T)
5.0 Four in a Bed (T) (R)
5.30 Star Boot Sale (T) 6.0
The Simpsons (T) (R) 6.30
Hollyoaks (T) 7.0 News (T)
The Secret Helpers (T)
Ten people welcome
the advice of strangers.
9.0 The Assassination of
Gianni Versace (T) Andrew
Cunanan lures Jeff Trail to
the loft-apartment of his
lover, David Madson.
9.55 Live at the Apollo (T) (R)
Katherine Ryan, Henning
Wehn and James Acaster.
Britain’s Brightest Family
(T) Two families go head
to head for a place in the
8.30 Coronation Street (T) Fiz
confesses to Tyrone that
Hope has been causing
the recent problems.
9.0 Benidorm (T) Joyce is
furious with Monty after a
chaotic evening of magic.
The Supervet (T) Vet Noel
Fitzpatrick treats a labrador
puppy with elbow disease.
One Born Every Minute
10.30 Newsnight (T) Weather
11.15 Famously Unfit for Sport
Relief (T) (R) Four wellknown faces try to regain
their fitness.
12.15 David Attenborough’s
Natural Curiosities (T)
(R) 12.45 Sign Zone:
MasterChef (T) (R)
1.45 The World’s Most
Extraordinary Homes (T)
(R) 2.45 This Is BBC Two (T)
10.0 News (T)
10.30 Local News (T)
10.45 EasyJet: Inside the Cockpit
(T) (R) Documentary
following trainee pilots.
11.45 Heathrow: Inside Britain’s
Busiest Airport (T) (R)
12.35 Stuck on You: The Football
Sticker Story (T) (R) 1.25
Jackpot247 3.0 Tenable (T)
(R) 3.50 ITV Nightscreen
5.05 Jeremy Kyle (T) (R)
10.0 Damned (T) Rose and
Dennis wake up in bed
at Denise’s house.
10.35 Damned (T) Rose is smitten.
Last in the series.
11.05 24 Hours in Police
Custody (T) (R)
12.05 999: On the Frontline (T)
1.0 Pokerstars Championship
Cash Challenge (T) 1.55
Love & Other Drugs
(Edward Zwick, 2010) (T)
5.0 The Goldbergs 6.0
The Big Bang Theory 7.0
Hollyoaks 7.30 My Hotter
Half 8.0 The Goldbergs
8.30 The Big Bang
Theory 9.0 Don’t Tell
the Bride 10.0 Five Star
Hotel 11.05-11.55 The
Big Bang Theory 11.55
First Dates 1.0 Five Star
Hotel 2.0 Tattoo Fixers
on Holiday 2.55 Don’t
Tell the Bride 3.45 The
Goldbergs 4.10-4.50
Rules of Engagement
4.50 Rude(ish) Tube
11.0am Run for
Cover (1955) 12.50
The Quick Gun
(1964) 2.40 The War Wagon (1967)
4.45 The Great
Sioux Massacre (1965)
6.55 About a
Boy (2002) 9.0 The Wolverine (2013)
11.25 RoboCop
(2014) 1.40 Eyes
Without a Face (1960)
All programmes to 7pm
are double bills 6.0am
Hollyoaks 7.0 Rules of
Engagement 8.0 How
I Met Your Mother 9.0
New Girl 10.0 2 Broke
Girls 11.0 Brooklyn NineNine 12.0 The Goldbergs
1.0 The Big Bang Theory
2.0 How I Met Your
Mother 3.0 New Girl
4.0 Brooklyn Nine-Nine
6.0am The Planet’s
Funniest Animals 6.20
Totally Bonkers Guinness
World Records 6.45
Totally Bonkers Guinness
World Records 7.10
Who’s Doing the Dishes?
7.55 Emmerdale 8.20
The Cube 9.25 The
Ellen DeGeneres Show
10.20 The Bachelor
12.15 Emmerdale 12.45
You’ve Been Framed!
Gold 1.45 The Ellen
DeGeneres Show 2.35
The Jeremy Kyle Show
3.40 The Jeremy Kyle
Show 4.50 Judge Rinder
5.50 Take Me Out 7.0
You’ve Been Framed!
Gold 7.30 You’ve Been
Framed! Gold 8.0 Two
and a Half Men 8.30
Two and a Half Men
9.0 Hell’s Kitchen USA
10.0 Hell’s Kitchen USA
10.55 Family Guy 11.25
Family Guy 11.55 Family
Guy 12.25 American
Dad! 12.50 American
Dad! 1.20 Two and a Half
Men 1.50 Two and a Half
Men 2.15 Totally Bonkers
Guinness World Records
2.25 Teleshopping
5.55 ITV2 Nightscreen
8.55am Food Unwrapped
9.30 A Place in the Sun:
Home or Away 10.30 A
Place in the Sun: Home
or Away 11.35 Four in a
Bed 12.05 Four in a Bed
12.35 Four in a Bed 1.05
Four in a Bed 1.40 Four
in a Bed 2.10-4.50 Come
Dine With Me 4.50 A
Place in the Sun: Home or
Away 5.55 A Place in the
Sun: Home or Away 6.55
The Supervet 7.55 Grand
Designs 9.0 Vet on the
Hill 10.0 Britain’s Polar
Bear Cub 11.05 8 Out of
10 Cats Does Countdown
12.10 Kitchen Nightmares
USA 1.05 Vet on the Hill
2.10 8 Out of 10 Cats
Does Countdown 3.10
8 Out of 10 Cats Uncut
6.0am Monkey Life 6.30
Monkey Life 7.0 RSPCA
Animal Rescue 7.30
RSPCA Animal Rescue 8.0
Motorway Patrol 8.30
Motorway Patrol 9.0 Road
Wars 10.0 Warehouse 13
11.0 Forever 12.0 NCIS:
LA 1.0 Hawaii Five-0 2.0
Hawaii Five-0 3.0 NCIS:
LA 4.0 Stargate SG-1
5.0 The Simpsons 5.30
Futurama 6.0 Futurama
6.30 The Simpsons
7.0 The Simpsons 7.30
The Simpsons 8.0 DC’s
Legends of Tomorrow
9.0 A League of Their
Own 10.0 Bliss 10.30 A
League of Their Own:
Unseen 11.0 The Force:
Essex 12.0 Ross Kemp:
Extreme World 1.0 Brit
Cops: Law & Disorder
2.0 Most Shocking 3.0
The Force: Essex 4.0
It’s Me or the Dog 4.30
It’s Me or the Dog 5.0
Futurama 5.30 Futurama
Sky Arts
6.0am Darbar Festival
2017 7.0 Anne-Sophie
Mutter Plays Sibelius
& Shostakovich 9.0
Tales of the Unexpected
9.30 Master of
Photography 10.30
Video Killed the Radio
(T) Ashley and his partner Gemma await the
arrival of their fourth child
together, while Sunny and
Shay, who met on the set
of a Bollywood film, are
expecting their first child.
Star 11.0 The Seventies
12.0 Soundbreaking
1.0 Discovering: Yul
Brynner 2.0 Tales of
the Unexpected 2.30
Landscape Artist of the
Year 2016 3.30 Video
Killed the Radio Star
4.0 The Seventies 5.0
Soundbreaking 6.0
Discovering: Claude
Rains 7.0 Portrait Artist
of the Year 2018 8.0
National Treasures:
The Art of Collecting
9.0 Discovering: Alec
Guinness 10.0 Hollywood:
No Sex, Please 11.0
Black Sabbath: The End
of the End 1.0 Shane
MacGowan: A Wreck
Reborn 2.0 Saxon at
Wacken 2014 3.15 30
Degrees in February 4.30
Tales of the Unexpected
5.0 Auction 5.30 Auction
Sky Atlantic
6.0am The Guest
Wing 7.0 Storm City
8.0 Richard E Grant’s
Hotel Secrets 9.0-11.0
The West Wing 11.01.0 House 1.0 Without
a Trace 2.0 Blue Bloods
3.0-5.0 The West
Wing 5.0-7.0 House
7.0 CSI: Crime Scene
Investigation 8.0 Blue
Bloods 9.0 Save Me 10.011.10 SMILF 11.10 Here
and Now 12.20 Save
Me 1.20 Britannia 2.20
Dexter 3.25 Girls 4.06.0 The West Wing
On the
Radio 3
6.30 Breakfast. With
Petroc Trelawny. 9.0
Essential Classics. The
author and playwright
Kate Mosse reveals her
cultural influences. 12.0
Composer of the Week:
Debussy (3/5) 1.0 News
1.02 Lunchtime Concert:
Debussy and Pizzetti at
LSO St Luke’s. Cédric
Tiberghien (piano),
Camille Thomas (cello).
Debussy: Étude No 8,
pour les agréments.
Pizzetti: Cello Sonata.
Debussy: La sérénade
interrompue (Préludes,
Book 1); Cello Sonata.
(2/4) 2.0 Afternoon
Concert: The Ulster
Orchestra. Dukas: The
Sorcerer’s Apprentice.
Dutilleux: Tout un monde
lointain. Debussy: La
mer. Ravel: La valse.
Alisa Weilerstein (cello),
conductor Rafael Payare.
3.30 Choral Evensong:
Archive Service from
Liverpool Metropolitan
Cathedral (R) 4.30 New
Generation Artists. Andrei
Ioniţă plays Bach’s Cello
Milkshake! 9.15 The
Wright Stuff 11.15 Can’t
Pay? We’ll Take It Away
(T) (R) 12.10 News (T)
12.15 GPs: Behind Closed
Doors (T) (R) 1.10 Access
(T) 1.15 Home and Away
(T) 1.45 Neighbours (T)
2.15 NCIS (T) (R) Love and
War 3.15 McBride:
The Chameleon Murder
(Kevin O’Conner, 2005)
(T) Crime drama starring
John Larroquette. 5.0 News
(T) 5.30 Neighbours (T)
(R) 6.0 Home and Away
(T) (R) 6.30 News (T)
7.0 MotoGP Highlights (T)
2018 Grand Prix of Qatar
GPs: Behind Closed Doors
(T) Telisha and Mark bring
their baby in for a checkup. Includes news update.
A Walk Among
the Tombstones (Scott
Frank, 2014) (T) An ex cop
helps a drug trafficker find
the men who killed his wife
Crime thriller with Liam
Neeson and Dan Stevens.
11.20 The Equalizer
(Antoine Fuqua, 2014) (T)
An ex-secret agent fights
to bring down a crime
syndicate. Action thriller
with Denzel Washington
and Chloë Grace Moretz.
1.45 SuperCasino (T) 3.10
Cowboy Builders (T) (R)
4.0 Tribal Teens (T) (R)
4.45 House Doctor (T) (R)
5.10 House Busters (T) (R)
Suite No 3 in C major. 5.0
In Tune. Katie Derham
introduces live music
by Jacqui Dankworth
and Butterfly’s Wing.
7.0 In Tune Mixtape
7.30 In Concert. Sakari
Oramo conducts the BBC
Symphony Orchestra,
live from the Barbican
Hall, London. Vilde Frang
(violin). Anna Clyne: This
Midnight Hour. Britten:
Violin Concerto, Op
15. 8.15 Interval. 8.35
Beethoven: Symphony
No 6 in F, Op 68, Pastoral.
10.0 Free Thinking
Festival: Gangs – The
Usual Suspects. Matthew
Sweet chairs a debate
surrounding organised
crime. 10.45 The Free
Thinking Essay: Speaking
Truth to Power in the Past
and Present. Joanne Paul
on satire, flattery and
document leaks. (3/5)
11.0 Late Junction 12.30
Through the Night
Radio 4
6.0 Today. With Mishal
Husain and Justin Webb.
7.48 Thought for the Day,
with Prof Mona Siddiqui.
8.30 (LW) Yesterday in
Parliament. With Susan
Hulme. 9.0 Only Artists.
Two artists from discuss
creative questions. (4/5)
9.30 You’re Doing it
Wrong: The Environment.
With Adam Buxton. (4/5)
9.45 (LW) Daily Service
BBC Four
Beyond 100 Days (T)
7.30 Secret Knowledge:
The Private Life of a Dolls’
House (T) (R) Author and
illustrator Lauren Child
explores the history of
dolls’ houses.
Metalworks! The Golden
Age of Silver (T) (R) Dan
Cruickshank charts the
popularity of silver in the
18th and 19th centuries.
Make! Craft Britain (T) New
series. A programme following ordinary people as
they learn new skills and
take part in workshops led
by inspirational teachers.
10.0 Carved With Love:
The Genius of British
Woodwork (T) (R) A profile of furniture designer
Thomas Chippendale.
11.0 Britain’s Outlaws:
Highwaymen, Pirates
and Rogues (T) (R)
12.0 Treasures of Ancient
Greece (T) (R) 1.0 TOTP:
1982 (T) (R) 2.0 A History of
Art in Three Colours (T) (R)
9.45 (FM) Keywords for
Our Time: Resilience.
With writer and GP
Farrah Jarral. (3/5) 10.0
Woman’s Hour. Presented
by Jenni Murray. Includes
at 10.41 Drama: Based on
a True Story, by Delphine
de Vigan. (3/5) 10.56
The Listening Project:
Frank and Irene 11.0 On
and Off the Valley Lines.
Following the lives and
stories of those who live
along the rail network
that fans out from Cardiff
up into the south Wales
valleys. (2/3) 11.30
Boswell’s Lives: Boswell’s
Life of Christie (3/4) 12.0
News 12.01 (LW) Shipping
Forecast 12.04 Home
Front: Bill Macknade,
by Katie Hims. (13/40)
12.15 You and Yours 1.0
The World at One. With
Martha Kearney. 1.45
Book of the Week: The
Wood, by John LewisStempel. (3/5) 2.0 The
Archers (R) 2.15 Drama:
Tommies: 21 March
1918. Drama illustrating
the events of a real day
at war, exactly 100 years
ago to the day, based on
eyewitness accounts. In
the first episode, three
signallers face a choice
between thick fog and
German stormtroopers.
(1/4) 3.0 Money Box
Live 3.30 Inside Health
(R) 4.0 Thinking Allowed
4.30 The Media Show
5.0 PM. With Eddie Mair.
5.54 (LW) Shipping
Forecast 6.0 News 6.30
It’s Not What You Know.
Joe Lycett hosts the
panel game. (3/4) 7.0
The Archers. Alistair fails
to make sense of recent
events. 7.15 Front Row.
With Stig Abell. 7.45
Based on a True Story
(R) (3/5) 8.0 The Moral
Maze. Combative debate.
(7/8) 8.45 Lent Talks:
The Silence of the Lamb
– Dr Katie Edwards (5/6)
9.0 Costing the Earth:
Plastic Pollution (R) 9.30
Only Artists (R) 10.0
The World Tonight. With
Ritula Shah. 10.45 Book
at Bedtime: Reservoir 13,
by Jon McGregor. (3/10)
11.0 Sophie Willan’s Guide
to Normality: Be a Parent.
Comic observations.
(1/4) 11.15 The John
Moloney Show (R) 11.30
Today in Parliament. With
Susan Hulme. LW: 12.0
Test Match Special: New
Zealand v England – First
Test, Day One. From Eden
Park, Auckland. 12.48;
5.20 Shipping Forecast.
FM: 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: Richard Jones
on the Peregrine
The Observer
Thursday 22
Breakfast (T) 9.15 Holding
Back the Years (T) 10.0
Homes Under the Hammer
(T) 11.0 The Sheriffs Are
Coming (T) 11.45 Caught
Red Handed (T) (R) 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 A Place to Call Home
(T) 3.05 Escape to the
Country (T) (R) 3.45 Money
for Nothing (T) 4.30 Flog
It! (T) (R) 5.15 Pointless (T)
(R) 6.0 News and Weather
(T) 6.30 Regional News and
Weather (T) 7.0 One Show
(T) 7.30 EastEnders (T)
MasterChef (T) Amol
Rajan sets the brief for
the last quarter-final.
8.30 Not Going Out (T) A missing toy keyring leads to a
rift with Toby and Anna.
9.0 EastEnders (T) Stacey grills
Jean about what she said.
9.30 Still Game (T) Boabby
takes up walking football,
but his career is cut short.
10.0 News (T)
10.30 Regional News (T) Weather
10.45 Question Time (T) David
Dimbleby chairs the debate
in Leeds, West Yorkshire.
11.45 This Week (T) Andrew
Neil introduces the usual
round-table political chat,
with Michael Portillo and co.
12.30 Weather for the Week
Ahead (T) 12.35 BBC
News (T)
10.0 MOTD: The Premier
League Show (T) Gabby
Logan presents the
magazine programme
10.30 Newsnight (T) Weather
11.15 Top Gear (T) (R) Matt
LeBlanc tests the world’s
fastest-accelerating car.
12.15 Sign Zone MasterChef (T)
(R) 12.45 Imagine… Mel
Brooks: Unwrapped (T)
(R) 2.0 This Is BBC Two (T)
6.0am Home Shopping
7.10 Scrapheap Challenge
8.10 American Pickers
9.0-10.0 Storage
Hunters UK 10.0-1.0
American Pickers 1.0-3.0
Top Gear 3.0 Impossible
Engineering 4.0 World’s
Most Dangerous Roads
5.0-7.0 Top Gear 7.0
World’s Most Dangerous
Roads 8.0 Dara O Briain’s
Go 8 Bit 9.0 QI XL 10.011.20 Not Going Out
11.20 QI XL 12.20 Mock
the Week 1.0 QI 1.40
Would I Lie to You? 2.15
Mock the Week 2.55
Suits 4.0 Home Shopping
All programmes to 7pm
are double bills 6.0am
Hollyoaks 7.0 Rules of
Engagement 8.0 How
I Met Your Mother 9.0
New Girl 10.0 2 Broke
Girls 11.0 Brooklyn NineNine 12.0 The Goldbergs
1.0 The Big Bang Theory
2.0 How I Met Your
Mother 3.0 New Girl
4.0 Brooklyn Nine-Nine
5.0 The Goldbergs 6.0
Big Cats About the House
(T) Following the work of
big cat expert Giles Clark.
Civilisations (T) Mary
Beard explores art and
religion and how the
two have inspired each
other, focusing on the
fundamental problem of
making God – or the gods –
visible in the human world.
The Big Bang Theory
7.0 Hollyoaks 7.30 My
Hotter Half 8.0 The Big
Bang Theory 8.30 Young
Sheldon 9.0 Brooklyn
Nine-Nine 9.30 Derry
Girls 10.0 Five Star Hotel
11.05-12.0 The Big Bang
Theory 12.0 First Dates
1.05 Five Star Hotel 2.05
Tattoo Fixers on Holiday
3.0 Marvel’s Agents of
SHIELD 3.55 Brooklyn
Nine-Nine 4.15-5.0
Rules of Engagement
5.0 Rude(ish) Tube
11.0am 12 Angry
Men (1957) 1.0 Operation Petticoat
(1959) 3.25 Juggernaut (1974)
5.50 Avatar
(2009) 9.0 The
Drop (2014) 11.10 Contraband (2012) 1.20
The 36th Chamber
of Shaolin (1978)
6.0am The Planet’s
Funniest Animals 6.20
Totally Bonkers Guinness
World Records 6.45
Totally Bonkers Guinness
World Records 7.10
Who’s Doing the Dishes?
7.55 Emmerdale 8.20
Coronation Street 8.55
Coronation Street 9.25
The Ellen DeGeneres
Show 10.20 The Bachelor
12.15 Emmerdale 12.45
Coronation Street 1.15
Coronation Street 1.45
The Ellen DeGeneres
Show 2.35 The Jeremy
Kyle Show 3.40 The
Jeremy Kyle Show 4.50
Judge Rinder 5.50 Take
Me Out 7.0 You’ve Been
Framed! Gold 7.30 You’ve
Been Framed! Gold 8.0
Two and a Half Men 8.30
Two and a Half Men 9.0
Family Guy 9.30 Family
Guy 10.0 Celebrity Juice
Live 11.05 Family Guy
11.30 Family Guy 12.0
American Dad! 12.30
American Dad! 12.55
Two and a Half Men
1.25 Two and a Half
Men 1.50 Totally Bonkers
Guinness World Records
2.20 Teleshopping
5.50 ITV2 Nightscreen
8.55am Food Unwrapped
9.30 A Place in the Sun:
Home or Away 10.30 A
Place in the Sun: Home
or Away 11.35 Four in a
Bed 12.05 Four in a Bed
12.35 Four in a Bed 1.05
Four in a Bed 1.40 Four in
a Bed 2.10-4.50 Celebrity
Come Dine With Me 4.50
A Place in the Sun: Home
or Away 5.55 A Place in
the Sun: Home or Away
6.55 The Supervet 7.55
Grand Designs 9.0 The
Good Fight 10.0 999:
What’s Your Emergency?
11.05 24 Hours in A&E
12.05 Kitchen Nightmares
USA 1.05 The Good
Big Cats About the
BBC Two, 8pm
Giles Clark raises a
jaguar cub at home
The Repair Shop (T) (R)
6.30 Holding Back the
Years (T) (R) 7.15 The
Sheriffs Are Coming (T)
(R) 8.0 Sign Zone: Earth’s
Natural Wonders (T) (R)
9.0 Victoria Derbyshire (T)
11.0 BBC Newsroom Live
(T) 12.0 Daily Politics (T)
1.0 Two Tribes (T) (R) 1.30
Yes Chef (T) (R) 2.15 Monty
Halls’s Great Irish Escape
(T) (R) 3.15 Planet Earth (T)
(R) 4.15 Spy in the Wild (T)
(R) 5.15 Put Your Money
Where Your Mouth Is (T)
6.0 Eggheads (T) 6.30
The Repair Shop (T) 7.0
Saving Lives at Sea (T) (R)
Channel 4
Good Morning Britain (T)
8.30 Lorraine (T) 9.25
Jeremy Kyle (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) Lisa
faces the consequences of
her actions. 7.30 Tonight:
Pets – The True Cost (T)
Jonathan Maitland reveals
the cost of the 16m dogs
and cats in the UK.
Emmerdale (T) Marlon
finds himself in a delicate
8.30 Coronation Street (T) David
announces that wants to
leave Weatherfield.
9.0 Martin Luther King by
Trevor McDonald (T) The
broadcaster travels to the
US to find out about the
famed civil rights leader.
10.0 News (T)
10.30 Local News (T)
10.45 The World’s Ugliest Pets
(T) (R) Caroline Quentin
meets unattractive pets.
11.45 The Durrells (T) (R) The
fond family drama returns.
12.40 Lethal Weapon (T) (R) 1.25
Jackpot247 3.0 Tonight:
Pets – The True Cost (R)
3.25 ITV Nightscreen 5.05
The Jeremy Kyle Show (T) (R)
10.0 The Job Interview (T) The
RAC are after a roadside
patrol officer. Last in series.
11.05 Gogglebox (T) (R)
12.05 Seven Year Switch
(T) (R) 1.05 One Born
Every Minute (T) (R) 2.0
The Supervet (T) (R)
2.55 Dispatches (T) (R)
3.25 Coast v Country
(T) (R) 4.20 Location,
Location, Location (T) (R)
Fight 2.05 999: What’s
Your Emergency? 3.10
8 Out of 10 Cats Uncut
6.0am Monkey Life
6.30 Monkey Life 7.0
RSPCA Animal Rescue
7.30 RSPCA Animal
Rescue 8.0 Motorway
Patrol 8.30 Motorway
Patrol 9.0 Road Wars
10.0 Warehouse 13 11.0
Forever 12.0 NCIS: LA
1.0 Hawaii Five-0 2.0
Hawaii Five-0 3.0 NCIS:
LA 4.0 Stargate SG-1
5.0 The Simpsons 5.30
Futurama 6.0 Futurama
6.30 The Simpsons 7.0
The Simpsons 7.30 The
Simpsons 8.0 Arrow
9.0 SEAL Team 10.0
Jamestown 11.0 The
Force: Essex 12.0 Ross
Kemp: Extreme World 1.0
Brit Cops: Law & Disorder
2.0 Most Shocking 3.0
The Force: Essex 4.0
It’s Me or the Dog 4.30
It’s Me or the Dog 5.0
Futurama 5.30 Futurama
Sky Arts
6.0am Darbar Festival
2017 7.0 Joseph Calleja:
A Night in Malta 9.0
Tales of the Unexpected
9.30 Landscape Artist
of the Year 2016 10.30
Video Killed the Radio
Star 11.0 The Seventies
12.0 Soundbreaking
1.0 Discovering: Claude
Rains 2.0 Tales of
Channel 5
Countdown (T) (R) 6.45
3rd Rock from the Sun
(T) (R) 7.35 Everybody
Loves Raymond (T)
(R) 8.30 Frasier (T) (R)
10.05 Ramsay’s Kitchen
Nightmares USA (T) (R)
11.0 Undercover Boss USA
(T) (R) 12.0 News (T) 12.05
Come Dine With Me (T) (R)
1.05 Posh Pawnbrokers
(T) (R) 2.10 Countdown
(T) 3.0 A Place in the Sun:
Home or Away (T) (R) 4.0
A New Life in the Sun (T)
5.0 Four in a Bed (T) (R)
5.30 Star Boot Sale (T) 6.0
The Simpsons (T) (R) 6.30
Hollyoaks (T) 7.0 News (T)
Location, Location…
(T) Kirstie Allsopp and
Phil Spencer search the
Reading area for a woman
who wants a home in the
suburb of Caversham.
My Baby’s Life: Who
Decides? (T) (2/2) The
mother of a 12-year-old
quadriplegic girl fights to
get her treatment.
the Unexpected 2.30
Landscape Artist of the
Year 2016 3.30 Video
Killed the Radio Star 4.0
The Eighties 5.0 Elvis
Presley: A Legend in
Concert 6.0 Discovering:
Janet Leigh 7.0 Andre
Rieu: How It All Began
8.0 The Glyndebourne
Opera Cup 9.0 The
Divorce 11.0 Portrait
Artist of the Year 2018
12.0 National Treasures:
The Art of Collecting
1.0 The Glyndebourne
Opera Cup 2.0 Close
to You: Remembering
the Carpenters 3.15 30
Degrees in February 4.30
Tales of the Unexpected
5.0 Auction 5.30 Auction
Sky Atlantic
6.0am The Guest Wing
7.0 Storm City 8.0
Richard E Grant’s Hotel
Secrets 9.0-11.0 The
West Wing 11.0-1.0 House
1.0 Without a Trace 2.0
Blue Bloods 3.0-5.0
The West Wing 5.0-7.0
House 7.0 CSI: Crime
Scene Investigation
8.0 Blue Bloods 9.0
Warning: This Drug
May Kill You (2017) 10.10
Our Cartoon President
10.45 Last Week Tonight
With John Oliver 11.20
Hotspots: On the
Frontline 12.20 Divorce
12.55 Billions 2.05
Blue Bloods 3.0 Dexter
4.10-6.0 The West Wing
On the
Radio 3
6.30 Breakfast. Petroc
Trelawny presents. 9.0
Essential Classics. Suzy
Klein’s guest for the
week is the author and
playwright Kate Mosse.
12.0 Composer of the
Week: Debussy (4/5) 1.0
News 1.02 Lunchtime
Concert: Debussy and
Pizzetti at LSO St Luke’s.
The BBC Singers are
conducted by Owain
Park. Debussy: Trois
chansons de Charles
d’Orléans. Pizzetti:
A Lament; Requiem;
Due canzoni corali.
Debussy arr Clytus
Gottwald: Des pas sur
la neige (from Préludes,
Book 1). Pizzetti: De
profundis. (3/4) 2.0
Thursday Opera Matinee:
Engelbert Humperdinck
– Hansel and Gretel.
Angelika Kirchschlager
(mezzo: Hansel), Diana
Damrau (soprano:
Gretel), Elizabeth
Connell (soprano:
Gertrud), Thomas
Allen (baritone: Peter),
Anja Silja (soprano:
Milkshake! 9.15 The
Wright Stuff 11.15 Can’t
Pay? We’ll Take It Away
(T) (R) 12.10 News (T)
12.15 GPs: Behind Closed
Doors (T) (R) 1.10 Access
(T) 1.15 Home and Away
(T) 1.45 Neighbours (T)
2.15 NCIS (T) (R) Toxic 3.15
Secrets in the Attic
(Paul Shapiro, 2016) (T)
A teenager finds a youth
hiding in the attic of the
house she has just moved
into. Thriller. 5.0 News (T)
5.30 Neighbours (T) (R)
6.0 Home and Away (T)
(R) 6.30 News (T) 7.0 The
Yorkshire Vet Casebook (T)
Bargain-Loving Brits in the
Sun (T) Fitness instructor Anthony organises a
campsite coach trip to the
Algar waterfalls.
Do the Right Thing With
Eamonn & Ruth (T)
Eamonn Holmes and Ruth
Langsford try to save a
playground for children with
disabilities from closure.
10.0 Under Siege (Andrew
Davis, 1992) (T) Shipboard
action adventure starring
Steven Seagal, Tommy
Lee Jones, Erika Eleniak
and Gary Busey.
12.10 SuperCasino 3.10 Cowboy
Builders (T) (R) 4.0 Britain’s
Greatest Bridges (T) (R)
4.45 House Doctor (T) (R)
5.10 House Busters (T) (R)
5.35 Wildlife SOS (T) (R)
Witch), other principals,
Tiffin Boys’ Choir and
Children’s Chorus, ROH,
Colin Davis. 3.45 Piers
Hellawell: Wild Flow.
Prokofiev: Symphony No
5 in B flat Op 100. Ulster
Orchestra, Rafael Payare.
5.0 In Tune 7.0 In Tune
Mixtape 7.30 In Concert.
Live from Liverpool.
Mozart: Overture – Die
Entführung aus dem
Serail. Beethoven: Piano
Concerto No 1. Interval.
Debussy: Ibéria; La
mer. Royal Liverpool
Philharmonic, Stephen
Hough (piano), Vasily
Petrenko. 10.0 Free
Thinking Festival. A
debate on the meaning
of civilisation. 10.45 The
Essay: New Generation
Thinkers: Kids With Guns
(4/5) 11.0 Late Junction
12.30 Through the Night
Radio 4
LW: 5.30 TMS: New
Zealand v England – First
Test, Day One. 8.31-9.0
Yesterday in Parliament.
9.45-10.0 Daily Service.
FM: 6.0 Today. John
Humphrys and Justin
Webb present. 7.48
Thought for the Day,
with Chief Rabbi Ephraim
Mirvis. 9.0 In Our Time
9.45 Keywords for Our
Time: The National Debt.
With Oliver Kamm. (4/5)
LW & FM: 10.0 Woman’s
Hour. Presented by Jenni
BBC Four
Beyond 100 Days (T) 7.30
Top of the Pops: 1985
(T) (R) Simon Bates and
Richard Skinner present
the 4 July edition, featuring
Tears for Fears, Simply Red,
Dead or Alive, Fine Young
Cannibals and the Damned.
Secret Universe: The
Hidden Life of the Cell (T)
(R) Documentary showing
what happens to a single
human cell as it comes
under attack by a virus.
Contagion! The BBC Four
Pandemic (T) Hannah
Fry fronts a social media
experiment to test the
threat of flu to the UK.
10.15 Michael Mosley v the
Superbugs (T) (R) The presenter looks at antibiotic
resitance in bacteria.
11.15 Britain’s Outlaws:
Highwaymen, Pirates
and Rogues (T) (R)
12.15 Top of the Pops: 1985
(T) (R) 12.45 The Inca:
Masters of the Clouds (T)
(R) 2.45 Britain’s Outlaws:
Highwaymen… (T) (R)
Murray. Including at
10.45 Drama: Based on
a True Story, by Delphine
de Vigan. (4/5) 11.0 From
Our Own Correspondent
(9/9) 11.30 The Art of
Now: Band Politics. BBC
6’s Chris Hawkins is
noticing a trend in the
music he plays: more
and more alternative
bands are writing about
politics. Here he visits
some of the performers
covering political topics
and asks what is fuelling
their music. 12.0 News
12.01 (LW) Shipping
Forecast 12.04 Home
Front: Adeline Lumley, by
Katie Hims. (14/40) 12.15
You and Yours 1.0 The
World at One. With Mark
Mardell. 1.45 Book of the
Week: The Wood, by John
Lewis-Stempel. (4/5)
2.0 The Archers (R) 2.15
Drama: The King of the
Flat White. Drama, set
the night after the Brexit
vote. Polish immigrant
barista Kuba is severely
beaten, losing not only
his good looks but oddly
enough his perfect
British accent too. 3.0
Ramblings: York. Clare
Balding joins Gill Callow,
a teacher from York who
takes her on a favourite
six-mile route around the
city. (6/7) 3.27 Radio 4
Appeal: Sport Relief (R)
3.30 Open Book: Joseph
Knox (R) 4.0 The Film
Programme. Director
Ava DuVernay talks to
Francine Stock about her
new fantasy adventure
A Wrinkle in Time. 4.30
Inside Science. The latest
scientific research. 5.0
PM. Presented by Eddie
Mair. 5.54 (LW) Shipping
Forecast 6.0 News 6.30
The Hitchhiker’s Guide
to the Galaxy: Hexagonal
Phase (3/6) 7.0 The
Archers. Ruth hears
interesting news. 7.15
Front Row. Arts roundup.
7.45 Based on a True
Story (R) (4/5) 8.0 Law
in Action (R) 8.30 The
Bottom Line. Presented
by Evan Davis. (8) 9.0
Inside Science (R) 9.30
In Our Time (R) 10.0
The World Tonight. With
Razia Iqbal. 10.45 Book
at Bedtime: Reservoir
13, by Jon McGregor.
(4/10) 11.0 It’s Jocelyn:
Friends (R) 11.30 Today
in Parliament 12.0 News
12.30 Book of the Week
(R) 12.48 Shipping
Forecast. LW: 1.0 Test
Match Special: New
Zealand v England –
First Test Day Two. From
Eden Park in Auckland.
5.20 Shipping Forecast.
FM: 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: Richard Jones
on the Gyr Falcon
The Observer
Friday 23
Breakfast (T) 9.15 Holding
Back the Years (T) 10.0
Homes Under the Hammer
(T) (R) 11.0 The Sheriffs
Are Coming (T) 11.45
Caught Red Handed (T)
(R) 12.15 Bargain Hunt
(T) 1.0 News and Weather
(T) 1.30 Regional News
and Weather (T) 1.45
Doctors (T) 2.15 A Place
to Call Home (T) 3.0
Escape to the Country
(T) 3.45 Money for
Nothing (T) 4.30 Flog
It! (T) (R) 5.15 Pointless
(T) (R) 6.0 News and
Weather (T) 6.30 Regional
News and Weather (T)
Sport Relief 2018 (T)
Gary Lineker, Davina
McCall and Claudia
Winkleman are among
the hosts as leading lights
in the worlds of sport,
music and entertainment
gather for the biennial
fundraiser. Continues on
BBC Two at 10pm and back
on BBC One at 10.35pm.
10.0 News (T)
10.25 Regional News and
Weather (T) Includes
national lottery update.
10.35 Sport Relief 2018 (T) Gary
Lineker, Davina McCall
and Ore Oduba host.
1.0 Zoë Ball’s Hardest Road
Home (T) (R) The presenter
embarks on a cycle ride from
Blackpool to Brighton. 2.0
Weather (T) 2.05 News (T)
6.0am Home Shopping
7.10 Scrapheap Challenge
8.10 American Pickers
9.0-10.0 Storage Hunters
UK 10.0-1.0 American
Pickers 1.0-3.0 Top
Gear 3.0 Impossible
Engineering 4.0 World’s
Most Dangerous Roads
5.0-7.0 Top Gear 7.0
World’s Most Dangerous
Roads 8.0 Motorway
Cops: Rush-Hour Roulette
9.0 Dynamo: Magician
Impossible 10.0 QI XL
11.0 QI 11.40 Would I Lie
to You? 12.20 Mock the
Week 1.0 QI 1.35 Would
I Lie to You? 2.15 Mock
the Week 2.55 Suits
4.0 Home Shopping
The Repair Shop (T) (R)
6.30 Holding Back the
Years (T) (R) 7.15 The
Sheriffs Are Coming (T)
(R) 8.0 Sign Zone: Back
in Time for Tea (T) (R) 9.0
Victoria Derbyshire (T) 11.0
BBC Newsroom Live (T)
12.0 Daily Politics (T) 1.0
Two Tribes (T) (R) 1.30 Yes
Chef (T) (R) 2.15 Monty
Halls’ Great Irish Escape (T)
(R) 3.15 Planet Earth (T)
(R) 4.15 Spy in the Wild (T)
(R) 5.15 Put Your Money
Where Your Mouth Is (T)
(R) 6.0 Eggheads (T) 6.30
The Repair Shop (T) 7.0
Saving Lives at Sea (T) (R)
Natural Curiosities
BBC Two, 8pm
How shells work
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) Bradley Walsh hosts.
6.0 Local News (T) 6.30
News (T) 7.0 Emmerdale
(T) Liv prepares for her
day in court, but fear gets
the better of her and she
turns to the bottle to
steady her nerves.
David Attenborough’s
Natural Curiosities (T)
A look at birds’ eggshells
and the hard shell of the
8.30 Gardeners’ World (T)
Monty Don makes plans
for the summer.
9.0 Pilgrimage: The Road to
Santiago (T) The celebrities
continue their trek.
7.30 Live International Football
(T) Netherlands v England
(kick-off 7.45pm) Mark
Pougatch presents all the
action from the friendly at
the Johan Cruyff ArenA.
With analysis from Ian
Wright, Lee Dixon and
Patrick Kluivert, and
commentary by Clive
Tyldesley and Glenn Hoddle.
10.0 A Question of Sport Relief
10.40 Newsnight(T) Weather
11.15 The Assassination of
Gianni Versace: American
Crime Story (T) (R)
12.10 The Ones Below
(David Farr, 2015) (T)
Thriller starring Clémence
Poésy. 1.30 Panorama (T)
(R) 2.0 Civilisations (T) (R)
3.0 The Assassination of
Gianni Versace… (T) (R)
10.0 News at Ten (T)
10.35 Local News (T)
10.45 International Football
Highlights Netherlands
v England (T)
11.50 Play to the Whistle
(T) (R) Holly Willoughby
hosts the sports-based
panel show.
12.40 Jackpot247 3.0 Take on
the Twisters (T) (R)
3.50 ITV Nightscreen
10.0 The Last Leg (T) Adam
Hills, Josh Widdicombe
and Alex Brooker host
the last in the series.
11.05 Rude Tube (T)
12.10 The Net (Irwin
Winkler. 1995) (T) Thriller
starring Sandra Bullock.
2.10 Damned (R) 2.35
Electric Dreams: Autofac
(R) 3.30 Question Jury (R)
4.25 Amazing Spaces (R)
4.0 Brooklyn Nine-Nine
5.0 The Goldbergs 6.0
The Big Bang Theory
7.0 Hollyoaks 7.30
Rude(ish) Tube Shorts
7.45 School of
Rock (2003) 10.0 Five
Star Hotel 11.05-12.0
The Big Bang Theory 12.0
First Dates 1.05 Five Star
Hotel 2.10 Tattoo Fixers
on Holiday 3.05 Timeless
3.45 Rude Tube 4.15-5.0
Rules of Engagement
5.0 Rude(ish) Tube
11.0am The
Enemy Below (1957)
1.0 Edge of Eternity
(1959) 2.40 The
Mark of Zorro (1940)
4.30 Carry On
Regardless (1961)
6.20 The Way
Back (2010) 9.0 R.I.P.D (2013) 10.55
The Legend of Ron
Burgundy (2004) 12.45
Volume I (2013)
All programmes to 7pm
are double bills 6.0am
Hollyoaks 7.0 Rules of
Engagement 8.0 How
I Met Your Mother 9.0
New Girl 10.0 2 Broke
Girls 11.0 Brooklyn NineNine 12.0 The Goldbergs
1.0 The Big Bang Theory
2.0 How I Met Your
Mother 3.0 New Girl
6.0am The Planet’s
Funniest Animals
6.20 Totally Bonkers
Guinness World Records
6.45 Totally Bonkers
Guinness World Records
7.10 Who’s Doing the
Dishes? 7.55 Emmerdale
8.20 Emmerdale 8.55
Coronation Street 9.25
The Ellen DeGeneres
Show 10.20 The Bachelor
12.15 Emmerdale
12.45 Emmerdale 1.15
Coronation Street 1.45
The Ellen DeGeneres
Show 2.35 The Jeremy
Kyle Show 3.40 The
Jeremy Kyle Show
4.50 Judge Rinder
5.50 Take Me Out 7.0
You’ve Been Framed!
Funniest 100 8.0 Crazy, Stupid, Love
(2011) 10.20 Family
Guy 10.50 Family Guy
11.20 Family Guy 11.50
American Dad! 12.20
American Dad! 12.50
The Cleveland Show
1.20 The Cleveland Show
1.45 Totally Bonkers
Guinness World Records
2.15 Teleshopping
5.45 ITV2 Nightscreen
8.55am Food Unwrapped
9.30 A Place in the Sun:
Home or Away 10.30 A
Place in the Sun: Home
or Away 11.35 Four in a
Bed 12.05 Four in a Bed
12.35 Four in a Bed 1.05
Four in a Bed 1.40 Four
in a Bed 2.10-4.50 Come
Dine With Me 4.50 A
Place in the Sun: Home
or Away 5.55 A Place in
the Sun: Home or Away
6.55 The Supervet 7.55
Grand Designs 9.0 Rough
Justice 10.0 24 Hours
in A&E 11.05 24 Hours
in A&E 12.05 Ramsay’s
Kitchen Nightmares USA
Channel 4
1.05 24 Hours in A&E
2.05 24 Hours in A&E
3.10 8 Out of 10 Cats
6.0am Monkey Life
6.30 Monkey Life 7.0
RSPCA Animal Rescue
7.30 RSPCA Animal
Rescue 8.0 Motorway
Patrol 8.30 Motorway
Patrol 9.0 Road Wars
10.0 Warehouse 13 11.0
Forever 12.0 NCIS: LA
1.0 Hawaii Five-0 2.0
Hawaii Five-0 3.0 NCIS:
LA 4.0 Stargate SG-1
5.0 The Simpsons 5.30
Futurama 6.0 Futurama
6.30 The Simpsons
7.0 The Simpsons 7.30
The Simpsons 8.0 The
Simpsons 8.30 Modern
Family 9.0 Jamestown
10.05 The Late Late
Show: Best of the Week
11.05 The Russell Howard
Hour 12.05 Ross Kemp:
Extreme World 1.05 Brit
Cops: Law & Disorder
2.0 Most Shocking 3.0
The Force: Essex 4.0
It’s Me or the Dog 4.30
It’s Me or the Dog 5.0
Futurama 5.30 Futurama
Sky Arts
6.0am Darbar Festival
2017 7.0 Katherine
Jenkins Featuring
Collabro 9.0 Tales of
the Unexpected 9.30
Landscape Artist of
the Year 2016 10.30
Video Killed the Radio
Channel 5
Countdown (T) (R) 6.45
3rd Rock from the Sun (T)
(R) 7.35 Everybody Loves
Raymond (T) (R) 8.30
Frasier (T) (R) 9.0 Frasier (T)
(R) 10.05 Ramsay’s Kitchen
Nightmares USA (T) (R)
11.0 Undercover Boss USA
(T) (R) 12.0 News (T) 12.05
Come Dine with Me (T) (R)
1.05 Posh Pawnbrokers
(T) (R) 2.10 Countdown
(T) 3.0 A Place in the Sun:
Home or Away (T) (R) 4.0
A New Life in the Sun (T)
5.0 Four in a Bed (T) (R)
5.30 Star Boot Sale (T) 6.0
The Simpsons (T) (R) 6.30
Hollyoaks (T) 7.0 News (T)
Britain’s Favourite Food
(T) (1/2) Simon Rimmer
looks at branded foods
that found fame in a past
era, such as Angel Delight,
Zoom and Fab lollies, Blue
Nun wine and the readymade chicken Kiev.
Gogglebox (T) Capturing
householders’ instant
reactions to the telly.
Star 11.0 The Eighties
12.0 The Music Videos
That Shaped the 80s
1.0 Discovering: Janet
Leigh 2.0 Tales of
the Unexpected 2.30
Landscape Artist of
the Year 2016 3.30
Video Killed the Radio
Star 4.0 The Eighties
5.0 Discovering: Rod
Steiger 6.0 Pavarotti:
A Voice for the Ages
7.15 Mario Lanza: The
Best of Everything 9.0
The Glyndebourne
Opera Cup 11.0 Classic
Quadrophenia 12.35
Black Sabbath: The
End 2.55 Cops
(1922) 3.15 30 Degrees
in February 4.30 Tales
of the Unexpected 5.0
Auction 5.30 Auction
Sky Atlantic
6.0am The British
7.0 Urban Secrets 8.0
Richard E Grant’s Hotel
Secrets 9.0 The West
Wing 10.0 The West
Wing 11.0 House 12.0
House 1.0 Without a
Trace 2.0 Blue Bloods
3.0 The West Wing 4.0
The West Wing 5.0 House
6.0 House 7.0 CSI: Crime
Scene Investigation 8.0
Blue Bloods 9.0 Game
of Thrones 10.15 Game
of Thrones 11.25 Game
of Thrones 12.40 Mosaic
1.40 Dexter 2.50 Dexter
4.0 The West Wing 5.0
The West Wing
On the
Radio 3
6.30 Breakfast. With
Petroc Trelawny. 9.0
Essential Classics. Kate
Mosse reveals the culture
that has inspired her.
12.0 Composer of the
Week: Debussy (5/5) 1.0
News 1.02 Lunchtime
Concert:Debussy and
Pizzetti at LSO St Luke’s.
Debussy: Étude No 10,
pour les sonorités
opposées. Debussy:
Images (Book 2).
Debussy: La cathédrale
engloutie (from Préludes,
Book 1). Pizzetti:
Piano Trio; Lorenzo
Gatto (violin); Camille
Thomas (cello); Cédric
Tiberghien (piano). 2.0
Afternoon Concert:
The Ulster Orchestra.
Brahms. Symphony No
3, Op 90. Beethoven:
Violin Concerto, Op 61.
Sergey Khachatryan,
conductor Rafael Payare.
3.25 Mendelssohn: Calm
Sea and Prosperous,
Op 27. Conductor
Giordano Bellincampi.
3.35 Neruda: Concerto
for Trumpet and Strings.
Milkshake! 9.15 The Wright
Stuff 11.15 Can’t Pay? We’ll
Take It Away (T) (R) 12.10
News T) 12.15 GPs: Behind
Closed Doors (T) (R) 1.15
Home and Away (T) 1.45
Neighbours (T) 2.15 NCIS
(T) (R) Legend, Part One
3.15 Death al Dente:
The Gourmet Detective
(Becky Southwell, 2015)
(T) Crime thriller. 5.0
News (T) 5.30 Neighbours
(T) (R) 6.0 Home and
Away (T) (R) 6.30 News
(T) 7.0 The Gadget Show
(T) Jon Bentley asks
couples to test out smart
tech bathroom scales.
Sandringham: Holidaying
With the Queen (T) (R)
Documentary charting
every detail of the royal
family’s Christmas celebrations at Sandringham.
Jane McDonald and Friends
(T) Harmony group the
Overtones and “people’s
tenor” Russell Watson
join the singing host.
10.0 Will & Grace (T) Will and
Karen bond over producing
their own telenovela.
10.30 Lip Sync Battle UK
Aston Merrygold v
Chris Ramsey (T)
11.05 Greatest Ever Celebrity
Wind Ups (T) (R)
12.0 SuperCasino (T) 3.10
Cowboy Builders (T) (R)
4.0 The X-Files (T) (R)
4.45 House Doctor (T) (R)
Sibelius: Symphony No
1, Op 39. Pacho Flores
(trumpet), Rafael Payare.
5.0 In Tune 7.0 In Tune
Mixtape 7.30 In Concert.
From St David’s Hall,
Cardiff, the pianist Steven
Osborne joins the BBC
National Orchestra of
Wales under conductor
Jac van Steen. Debussy:
Nocturnes. Mozart:
Piano Concerto No 27 in
E flat major, K595. 8.35
Interval. The Debussy
Meme. 8.55 Messiaen:
Les offrandes oubliées.
Debussy: La mer. 10.0 The
Verb: The Verb at Free
Thinking – The One. With
Ian McMillan and guests.
10.45 The Free Thinking
Essay: What Do You Do
If You Are a Manically
Depressed Robot? AI
and the writings of
Douglas Adams. (5/5)
11.0 World on 3. A session
by the Scorpios. 1.0
Through the Night
Radio 4
LW: 5.30 TMS: New
Zealand v England – First
Test, Day Two. 8.31-9.0
Yesterday in Parliament.
9.45-10.0 Daily Service.
FM: 6.0 Today 9.0 Desert
Island Discs: David Byrne
(R) 9.45 Keywords for
Our Time: Post-fact.
With Prof David Wootton.
(5/5) LW & FM: 10.0
Woman’s Hour. Presented
by Jenni Murray. Includes
BBC Four
World News Today (T)
7.30 Top of the Pops:
1985 (T) (R) John Peel
and Janice Long introduce
performances by the
Conway Brothers,
Eurythmics, Opus,
Bruce Springsteen, Mai
Tai and Steve Arrington.
First aired on 11 July 1985.
Fleetwood Mac: Don’t
Stop (T) (R) Documentary
looking back over the
rock band’s long career.
Better Than the Original:
The Joy of the Cover
Version (T) (R) The stories
behind 10 cover versions.
Contributors include John
Cale, Gloria Jones, Marc
Almond and Rick Rubin..
10.0 Pop Charts Britannia: 60
Years of the Top 10 (T) (R)
The evolution of the British
singles chart.
11.30 Top of the Pops: 1985
(T) (R) As above.
12.0 Ultimate Covers at the
BBC (T) (R) 1.0 Better
Than the Original… (T) (R)
2.0 Guitar Heroes at the
BBC (T) (R) 3.0 Fleetwood
Mac: Don’t Stop (T) (R)
at 10.45 Drama: Based
on a True Story, by
Delphine de Vigan. (5/5)
11.0 The Charity Business:
Impact. Matthew Taylor
concludes his look at
the charity sector with
a look at the impact
charities have, and how
they measure it. (3/3)
11.30 A Normal Family
(R) 12.0 News 12.01
(LW) Shipping Forecast
12.04 Home Front: 23
March 1918 – Jessie
Moore, by Katie Hims.
(15/40) 12.15 You and
Yours 1.0 The World at
One. Presented by Mark
Mardell. 1.45 Book of the
Week: The Wood, by John
Lewis-Stempel. (5/5)
2.0 The Archers 2.15
Drama: Suggs – My MadLife Crisis. The Madness
frontman tells his funny
and moving true-life
story in a drama adapted
from the stage play My
Life In Words and Music,
by Graham McPherson
(AKA Suggs) and Toby
Follet. Other parts are
played by Ewan Bailey
and Philippa Stanton.
(R) 3.0 Gardeners’
Question Time:
Hambleton 3.45 Short
Works: The Path Taken,
by Emma Donoghue.
4.0 Last Word 4.30
Feedback. Presented by
Roger Bolton. 4.55 The
Listening Project: May
and Jackie – I Wasn’t in
a Happy Situation 5.0
PM. Presented by Eddie
Mair. 5.54 (LW) Shipping
Forecast 6.0 News 6.30
The Now Show (4/6)
7.0 The Archers. Brian’s
nightmare continues
and Jill offers support.
7.15 Front Row. Gaylene
Gould presents the arts
roundup. 7.45 Based on a
True Story (R) (5/5) 8.0
Any Questions? Jonathan
Dimbleby chairs political
debate in Romsey, Hants,
where the panel includes
the former chancellor
Norman Lamont. 8.50 A
Point of View 9.0 Home
Front Omnibus: 19-23
March 1918, by Katie
Hims. (3/8) 10.0 The
World Tonight. With
Razia Iqbal. 10.45 Book
at Bedtime: Reservoir
13, by Jon McGregor.
(5/10) 11.0 A Good
Read: Bernardine
Evaristo & Jolyon
Rubinstein (R) 11.30
Today in Parliament.
With Mark D’Arcy. 11.55
The Listening Project:
Amanda and Mark – The
Love of the Game 12.0
News 12.30 Book of the
Week (R) 12.48 Shipping
Forecast. LW: 1.0 TMS:
New Zealand v England
– First Test, Day Three.
5.20 Shipping Forecast.
FM: 1.0 As World Service
5.20 Shipping Forecast
5.30 News 5.43 Prayer
for the Day 5.45 iPM
The Observer
Saturday 24
Breakfast (T) 10.0
Saturday Kitchen Live
(T) 11.30 Classic Mary
Berry (T) (R) 12.0 Football
Focus (T) 12.30 News
and Weather (T) 12.45
The Pirates! In an
Adventure With Scientists!
(Jeff Newitt, Peter Lord,
2012) (T) 2.05 Gymnastics:
World Cup Highlights (T)
3.50 The Boat Race (T)
Live coverage of the men’s
and women’s races. 6.15
Doodlebugs (T) 6.30 News
(T) 6.40 Regional News
and Weather (T) 6.45
Pointless Celebrities (T)
7.40 Who Dares Wins (T)
8.20 Casualty (T) The day of
Robyn and Glen’s wedding
arrives – and the groom
has a seizure while getting
ready at the hotel.
9.10 Troy: Fall of a City (T) The
Trojans receive a message
from the gods and embark
on a daring raid. Achilles is
provoked into returning to
do battle with Hector.
David Attenborough’s
Natural Curiosities (T)
The Siamese fighting
fish. Last in the series.
8.30 Dad’s Army (T) (R) The
platoon take part in an
efficiency test.
9.0 Picasso’s Last Stand (T)
Documentary telling the
story of the last decade
of the great artist’s life.
10.10 News and Weather (T)
10.30 Guardians of the
Galaxy (James Gunn,
2014) (T) A band of
escapees from a prison
space station battles
an alien warlord. Sci-fi
adventure starring
Chris Pratt, Zoe Saldana
and Dave Bautista.
12.25 Weather for the Week
Ahead (T) 12.30 News (T)
10.0 A Late Quartet (Yaron
Zilberman, 2012) (T) Drama
starring Christopher
Walken, Philip Seymour
Hoffman, Catherine
Keener, Imogen Poots.
11.40 Safe Haven (Lasse
Hallström, 2013) (T)
Romantic drama with Josh
Duhamel, Julianne Hough.
2.30 (BST) Civilisations (T) (R)
3.30 This Is BBC Two (T)
6.0am Home Shopping
7.10 The Hurting 7.35
The Hurting 8.0 The
Hurting 8.30 The
Hurting 9.0 The Hurting
9.30 The Hurting 10.0
American Pickers 11.0
American Pickers 12.0
American Pickers 1.0
Sin City Motors 2.0 Sin
City Motors 3.0 Road
Cops 3.30 Road Cops 4.0
Road Cops 4.30 Road
Cops 5.0 Would I Lie to
You? 5.40 Would I Lie
to You? 6.20 Would I Lie
to You? 7.0 Not Going
Out 7.40 Not Going Out
8.20 Not Going Out 9.0
Good Will Hunting
(1997) 11.35 Would I Lie
to You? 12.15 Would I
Lie to You? 12.55 Would
I Lie to You? 2.35 (BST)
Not Going Out 3.15 Suits
4.0 Home Shopping
6.0am Couples Come
Dine With Me 6.55
Couples Come Dine With
Me 7.55 Made in Chelsea
9.0 Don’t Tell the Bride
10.0 The Goldbergs
10.30 The Goldbergs
11.0 The Goldbergs
11.30 The Goldbergs
12.0 The Goldbergs
12.30 Dragonball
Evolution (2009) 2.05
Rude(ish) Tube Shorts
2.30 The Goldbergs 3.0
Brooklyn Nine-Nine 3.30
Young Sheldon 4.0 The
Great Celebrity Bake Off
for Stand Up to Cancer
5.15 Extreme Cake
Makers 5.50 Extreme
Cake Makers 6.0 The
Big Bang Theory 6.30
The Big Bang Theory
7.0 The Big Bang Theory
7.30 The Big Bang
Theory 8.0 The Big
Bang Theory 8.30 The
Big Bang Theory 9.0
2 Guns (2013)
11.05 Gogglebox 12.10
Five Star Hotel 2.15
(BST) Five Star Hotel
3.20 The Inbetweeners
3.45 How I Met Your
Mother 4.10 How I Met
Your Mother 4.30 How
I Met Your Mother
11.0am Anastasia
(1997) 1.0 Flight
of the Navigator (1986)
2.50 The Indian in
the Cupboard (1995)
4.40 Carry On
Cabby (1963) 6.35
Mrs Doubtfire
(1993) 9.0 American Ultra (2015)
10.50 Zombieland
(2009) 12.30 Nymphomaniac: Volume
II (2013) 4.0 (BST) Close
6.0am The Planet’s
Funniest Animals
6.20 Emmerdale 8.50
Coronation Street 11.20
Ant & Dec’s Saturday
Night Takeaway 12.50
You’ve Been Framed!
Funniest 100 1.55
Spy Kids 3-D:
Game Over (2003) (FYI
Daily is at 2.55) 3.40
Happy Feet (2006)
(FYI Daily is at 4.40) 5.45
The Mummy: Tomb
of the Dragon Emperor
(2008) (FYI Daily is at
6.45) 7.50 The
Amazing Spider-Man
(2012) (FYI Daily is at
8.55) 10.30 Celebrity
Juice 11.35 Family Guy
12.05 Family Guy 12.35
American Dad! 2.05
(BST) American Dad!
2.30 Action Team
3.0 Teleshopping
8.55am River Cottage
Bites 9.25 Grand Designs
New Zealand 10.30-2.45
A Place in the Sun: Home
or Away 1.40 A Place in
the Sun: Home or Away
2.45-5.20 Four in a Bed
5.20-7.55 Come Dine
With Me 7.55 Cleopatra’s
Lost Tomb 9.0 9/11:
The Falling Man 10.40
9/11: The Firemen’s
Story 11.50 8 Out of 10
Rugby Union:
Saracens v Harlequins
C5/BT Sport 1, 2.30pm
The Farrell v Smith show
live from London Stadium
6.10 The Wonder of Animals (R)
6.40 Nightmares of Nature
(R) 7.10 Pets Factor 7.30 The
Dengineers 8.0 Absolute
Genius 8.30 Beyond Bionic
9.0 Robot Wars (R) 10.0
Gordon Buchanan: Elephant
Family & Me (R) 11.0
Famously Unfit for Sport
Relief (R) 12.0 Homes Under
the Hammer (R) 12.45
Escape to the Country (R)
1.30 Planet Earth (R) 2.30
Me and My Dog (R) 3.30
The Repair Shop (R) 4.0
The Secret Helpers (R) 5.0
Big Cats About the House
(R) 6.0 Hugh’s Wild West
7.0 Amazing Hotels (R)
Channel 4
CITV 9.30 James Martin’s
Saturday Morning (T)
11.20 Who’s Doing the
Dishes? (T) (R) 12.20
News and Weather (T)
12.30 Dancing on Ice: The
Final (T) (R) 2.30 Britain’s
Brightest Family (T) (R)
3.0 Celebrity Catchphrase
(T) (R) 4.0 Tipping Point
(T) (R) 5.0 The Chase (T)
(R) 6.0 News and Weather
(T) 6.20 Local News (T)
6.30 New You’ve Been
Framed! (T) 7.0 Ant & Dec’s
Saturday Night Takeaway
(T) Comedian Alan Carr
joins the fun as this
week’s guest announcer.
Channel 5
6.15 The King of Queens (T) (R)
6.40 The King of Queens
(T) (R) 7.30 Mobil 1: The
Grid (T) 8.0 Everybody
Loves Raymond (T) (R)
8.55 Frasier (T) (R) 10.30
The Big Bang Theory (T)
(R) 112.0 The Simpsons (T)
(R) 1.0 F1: Australian Grand
Prix Qualifying Highlights
(T) 2.50 Car SOS (T) 3.50
Coast vs Country (T) (R)
4.50 A Place in the Sun:
Summer Sun (T) (R) 5.35
The Secret Life of the Zoo
(T) (R) 6.30 News (T) 7.0
Coastal Railways With Julie
Walters (T) (R) A trip on
the West Highland Railway.
8.30 The Voice UK (T) Emma
Willis presents the second
of the knockout shows
as the remaining acts
sing for a place in next
week’s semi-final. Helping
proceedings along are
Craig David, members
of the Black Eyed Peas,
Kylie Minogue, Leona
Lewis and Mo Jamil.
Inside Windsor Castle
(T) (R) The history of the
royal residence.
9.0 King Tut’s Treasure Secrets
(T) New series about items
found with the pharaoh.
9.55 King Tut’s Tomb: The
Hidden Chamber (T) (R)
Documentary examining
recent discoveries made in
the famous burial chamber.
10.30 News and Weather (T)
10.45 Fast & Furious 5
(Justin Lin, 2011) (T) A
fugitive assembles a team
of criminals for a heist
in Rio. Action adventure
sequel starring Vin Diesel,
Dwayne Johnson, Paul
Walker, Jordana Brewster.
2.0 (BST) Jackpot247
3.0 Babushka (T) (R)
3.50 ITV Nightscreen
11.20 Predator 2 (Stephen
Hopkins, 1990) (T) A tough
cop investigating a series
of gruesome murders discovers they are the work
of an alien that kills for
sport. Sci-fi thriller sequel
starring Danny Glover.
2.20 (BST) Ramsay’s Kitchen
Nightmares USA (T) (R)
3.10 Hollyoaks (T) (R) 5.15
Coast vs Country (T) (R)
10.50 Secrets of the Valley
of the Kings (T) (R)
An exploration of the
Valley of the Kings, the
necropolis of the pharaohs.
11.40 Football on 5: Goal Rush (T)
12.15 SuperCasino (T) 3.10
(BST) Due Date (Todd
Phillips, 2010) (T) Comedy
starring Robert Downey Jr.
4.45 House Doctor (T) (R)
5.10 Great Artists (T) (R)
10.30 Top of the Pops: 1985 (T)
(R) A double bill of editions
of the chart show.
11.30 Blues at the BBC (T) (R)
12.30 Ballrooms and Ballerinas:
Dance at the BBC (T) (R)
2.30 (BST) Lost Kingdoms
of Central America (T) (R)
3.30 The Silk Road (T) (R)
4.30 Secret Knowledge:
Hidden Jewels of the
Cheapside Hoard (T) (R)
Cats Does Countdown
12.55 8 Out of 10 Cats
Does Countdown 2.554.0 (BST) Father Ted
6.0am Futurama 6.30
Futurama 7.0 The Flash
8.0 The Simpsons 8.30
The Simpsons 9.0 The
Simpsons 9.30 The
Simpsons 10.0 Soccer AM
11.30 Premier League’s
Greatest Moments
12.30 Modern Family
1.0 Modern Family 1.30
Modern Family 2.0
Modern Family 2.30
Futurama 3.0 Gillette
Soccer Saturday 5.0
Gillette Soccer Saturday
5.30 Futurama 6.0
The Simpsons 6.30
The Simpsons 7.0 The
Simpsons 7.30 The
Simpsons 8.0 NCIS: LA
9.0 SEAL Team 10.0 A
League of Their Own
11.0 The Russell Howard
Hour 12.0 Football’s
Funniest Moments 2.0
(BST) Duck Quacks Don’t
Echo 2.30 Bliss 3.0
Hawaii Five-0 4.0 Ross
Kemp: Extreme World
5.0 Stargate Atlantis
Sky Arts
6.0am Beethoven: Violin
Concerto Znaider, Chailly
6.50 Pavarotti: Live in
Barcelona 8.30 National
Treasures: The Art of
Collecting 9.30 Tales of
the Unexpected 10.0 Tales
Britain at Low Tide (T)
A dramatic night in 1976
when a fishing trawler
went wildly off course
in the North Sea.
Everest (Baltasar
Kormákur, 2015) (T) Two
expeditions get caught in
fierce snowstorms. Factbased adventure with Jason
Clarke and Josh Brolin.
of the Unexpected 10.30
Tales of the Unexpected
11.0 The South Bank
Show Originals 11.30
Soundbreaking 12.30
Soundbreaking 1.30
Discovering: Rex Harrison
2.30 Discovering:
Yul Brynner 3.30
Discovering: Claude Rains
4.30 Portrait Artist of
the Year 2018 5.30 The
Glyndebourne Opera Cup
9.0 Freddie Mercury:
The Great Pretender
10.45 Queen Live at
Wembley 12.0 Queen:
The Phenomenon 2.20
(BST) Saxon at Wacken
2014 2.35 Deep Purple:
Perfect Strangers
Sky Atlantic
6.0am Hotel Secrets
7.0 Hotel Secrets
8.0 CSI: Crime Scene
Investigation 9.0 CSI:
Crime Scene Investigation
10.0 CSI: Crime Scene
Investigation 11.0 CSI:
Crime Scene Investigation
12.0 CSI: Crime Scene
Investigation 1.0 Cold
Case 2.0 Cold Case 3.0
Cold Case 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
Blue Bloods 10.0 Mosaic
11.0 Westworld 12.20
Westworld 2.05 (BST)
Hotel Secrets 2.30 Last
Week Tonight 3.0 Cold
Case 4.0 The Guest Wing
On the
Radio 3
7.0 Breakfast. Presented
by Martin Handley.
9.0 News 9.03 Record
Review. With Andrew
McGregor. Building a
Library this week is a
live discussion between
Andrew and Iain Burnside
of Book 1 of Debussy’s
Piano Preludes, to mark
100 years since the
composer’s death. 12.05
Debussy’s Paris: The
Symbolists and Mallarmé.
Georgia Mann embarks
on a journey through
Debussy’s Paris, visiting
the place where the
symbolist poet Stéphane
Mallarmé held his famous
Tuesday salons. 12.15
Music Matters 1.0 News
1.02 Saturday Classics:
Yan Pascal Tortelier 2.50
Debussy’s Paris: Money
and Monde. Georgia
Mann tastes the life of
the affluent class of fin de
siècle Paris. 3.0 Debussy’s
Paris: An Invocation to
Pan. Matthew Sweet looks
at the spirit of decadence
and the thirst for the
exotic in 19th-century
Milkshake! 10.0 Teenage
Mutant Ninja Turtles (T) (R)
10.35 The Gadget Show (T)
(R) 11.30 Police Interceptors
(T) (R) 12.30 Police Interceptors (T) (R) 1.30 Police
Interceptors (T) (R) 2.30
Live Aviva Premiership
Rugby Union: Saracens v
Harlequins (T) (kick-off
3pm) Mark Durden-Smith
and David Flatman present
coverage from London
Stadium. 5.15 Can’t Pay?
We’ll Take It Away (T) (R)
6.10 Can’t Pay? We’ll Take
It Away (T) (R) 7.0 Cruising
With Jane McDonald (T) (R)
7.55 News (T)
BBC Four
Paris, introducing music
performed by the Nash
Ensemble and the French
actor Lesley Caron. 4.0
Jazz Record Requests
4.50 Debussy’s Paris:
The Cirque d’Hiver.
Georgia Mann considers
the impact of popular
entertainment on artists
of Debussy’s day. 5.0
Jazz Line-Up. Gwilym
Simcock’s jazz-influenced
version of Debussy’s
Children’s Corner Suite
specially arranged for
piano, saxophone and
string quartet. 6.20
Debussy’s Paris. The
arrival of Diaghalev and
his Ballet Russes. 6.30
Opera on 3: Pelléas et
Mélisande. A performance
of Debussy’s supreme
masterpiece. During
the intervals Tom
Service speaks with Prof
Barbara Kelly, Debussy
expert and director of
research at the Royal
Northern College of
Music. Simon Keenlyside
(baritone: Golaud), Olga
Bezsmertna (soprano:
Mélisande), Adrian Erod
(baritone: Pelléas),
Bernarda Fink (contralto:
Geneviève), other
principals, Vienna State
Opera, Alain Altinoglu.
9.30 Debussy’s Paris:
Bois de Boulogne to the
Avenue Foch. The area
of Paris where Debussy’s
life reached its difficult
Lost Kingdoms of Central
America (T) (R) (3/4) Dr
Jago Cooper on the history
of the people of ancient
Costa Rica, who built spectacular settlements among
the rivers and volcanoes
of Central America.
The Silk Road (T) (R)
(2/3) Sam Willis travels
through Central Asia.
9.0 Below the Surface (T)
Distress spreads among
the hostages in the Metro.
9.45 Below the Surface (T)
TTF’s investigation leads
them to sources in the
military and they seem
close to a breakthrough.
conclusion. 10.0 Hear
and Now: Inspired by
Debussy. Kate Molleson
presents a programme
of contemporary music
by composers inspired
by Debussy, and talks to
composers Tristan Murail
and Linda Catlin Smith.
12.0 Geoffrey Smith’s
Jazz: Drum Heroes 2.0
(BST) Through the Night
Radio 4
LW: 5.30 TMS: New
Zealand v England – First
Test, Day Three. 8.51-9.0
Yesterday in Parliament.
FM: 6.0 News and Papers
6.07 Ramblings: York
(R) 6.30 Farming Today
This Week 7.0 Today.
7.48 Thought for the
Day, with Brian Draper.
LW& FM: 9.0 Saturday
Live. Extraordinary
stories and remarkable
people. 10.30 Jenny
Eclair Is Listless Today
(R) 11.0 The Week in
Westminster 11.30 From
Our Own Correspondent
12.0 News 12.01 (LW)
Shipping Forecast 12.04
Money Box 12.30 The
Now Show (R) 1.0 News
1.10 Any Questions?
(R) 2.0 Any Answers?
Listeners have their say.
2.30 Drama: Paradise
Lost. Michael Symmons
Roberts’s dramatisation
of John Milton’s epic
poem, narrated by Ian
McKellen and starring
Simon Russell Beale and
Frances Barber. (1/2)
4.0 Weekend Woman’s
Hour 5.0 Saturday PM.
With Caroline Wyatt.
5.30 The Bottom Line (R)
5.54 Shipping Forecast
6.0 News 6.15 Loose
Ends. Clive Anderson and
Emma Freud are joined
by Suede frontman Brett
Anderson, comic Lee
Mack and writer Yolanda
Mercy. Music by Imarhan.
7.0 Profile 7.15 Saturday
Review. Tom Sutcliffe
and guests examine
the week’s cultural
highlights. 8.0 Archive on
4: The King and Kennedy
Assassinations – If the
Dead Could Speak 9.0
Drama Somewhere in
England (R) 10.0 News
10.15 The Moral Maze
(R) 11.0 Brain of Britain
(R) 11.30 Africa’s Digital
Poets: Breaking the
Window With a Poem
(R) 12.0 News 12.30
Short Works: The Path
Taken (R) 12.48 Shipping
Forecast. LW: 12.59 TMS:
New Zealand v England –
First Test Day Four. 5.20
(BST) Shipping Forecast.
FM: 2.0 (BST) As World
Service 5.20 Shipping
Forecast 5.30 News
5.43 Bells on Sunday:
St Margaret’s, Dunham
Massey, Cheshire 5.45
Lent Talks: The Silence
of the Lamb – Dr Katie
Edwards (R)
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