вход по аккаунту


The Observer The New Review 05 November 2017

код для вставкиСкачать
F E AT U R I N G …
Welcome to our graphic novel special,
inspired by the 10th anniversary of
the Observer/Jonathan Cape graphic
short story prize. Two leading graphic
novelists head the issue: our exclusive
cover has been designed by Chris Ware,
author of Jimmy Corrigan, the Smartest
Kid on Earth, believed by many to be
the masterpiece of the medium; he
also shares his inspirations on page 3.
And Rachel Cooke interviews Alison
Bechdel, author of the hit tragicomic
graphic memoir Fun Home. Elsewhere,
fans Zadie Smith, Ethan Hawke and
others explain how they fell in love with
the form, while Tim Adams speaks to
Private Eye’s cartoonists about drawing
jokes for a living. And, of course, we printt
the 2017 winning entry, and hear from
all of the artists past and present about
what scooping the prize meant to them.
C R I T I C S 24-32
Mark Kermode’s verdict on
The Killing of a Sacred Deer
Kitty Empire on Harry Styles live
and Sam Smith’s new album
Impressionists in London at Tate
Britain reviewed by Laura Cumming
TV: Margaret Atwood’s Alias Grace
Susannah Clapp on theatre
S C I E N C E & T E C H 21-23
Neutrinos Robin McKie on a new
tool in the hunt for the universe’s
most elusive particles
John Naughton column
I N S I D E O U R S P E C I A L I S S U E 3-19
On my radar: Chris Ware
The US cartoonist reveals
his cultural highlights
Q&A Syrian graphic
novelist Hamid Sulaiman
David Mitchell column
Famous fans
Ethan Hawke, Zadie Smith, Nick
Hornby and more tell us why they
love graphic novels
Alison Bechdel interview
The acclaimed author of
Fun Home talks to Rachel Cooke
THE NEW REVIEW | 05.11.17 | The Observer
B O O K S 33-37
The Observer/Cape competition
Ten years since its inception, we
catch up with previous winners
and, on pages 16-17, publish 2017’s
winning entry
Private Eye
Tim Adams meets its cartoonists
Rachel Cooke hails Mary Beard’s
modern feminist classic
Peter Conrad on White House
photographer Pete Souza’s
intimate journal of Obama’s reign
Stephanie Merritt reviews
Ali Smith’s new novel, Winter
Meet the author: Richard Flanagan
Jarett Kobek’s New York novel
C U LT U R E | P E O P L E | P O L I T I C S | I D E A S
page 4
On my radar
Chris Ware
1 | Music
Sleep by Max Richter
Though Richter claims he wants
us to listen to his eight-hour work
while asleep, I’ve been listening to its
mesmerising, melting chords for the past
year while very much awake, and it’s
the only music I know that may capture
the sensation of death: that ultimate,
freeing apathy towards all things
worldly, personal and meaningful –
making it among the most personal and
meaningful pieces I’ve ever heard. I would
love to see it performed live before I die.
2 | Drawing
David Plunkert’s New Yorker covers
The newest artist to grace the only
periodical remaining that still allows a
drawing to be a drawing, David Plunkert’s
covers are the best of the year so far,
from his personalised bullets in the wake
of Las Vegas to his genius perpetual
motion-machine take on Charlottesville.
Plunkert’s images start their engines
and run smoothly, propelling one into
a mental landscape that gets more
tangled and complex the longer one
looks. If he keeps this up, he’ll be our new
Saul Steinberg.
3 | Film
Downsizing (director/writer Alexander
Payne and co-writer Jim Taylor, 2017)
Election, About Schmidt and Sideways
are three of my favourite films, and
Alexander Payne and Jim Taylor are
reunited in a strafing satire on American
excess, gluttony and class as told
through the simple science-fictional
tweak of shrinking oneself so drastically
that worldly wealth becomes relatively
so much more. The trailer features
Matt Damon in gags as genius as giant
wedding rings being moved into miniature
McMansions and the signing of legal
documents the size of tennis courts.
That the film opens at Christmas and
the trailer was released on 11 September
proves these great, accessible and
unpretentious film-makers aren’t
missing even the tiniest detail of our
hugely failing American experiment.
4 | Graphic novel
Sabrina by Nick Drnaso
My own profession seems divided
between comics fiction and comics
memoir, the former growing out of
the childish fantasies now grotesquely
metastasised as “superhero stories for
adults”. Some middle-aged colleagues
and I believe literary comics fiction is
possible without resorting to fantastical
heroics, however, and the youngest and
finest exemplar, 28-year-old Nick Drnaso,
offers a new book next year to possibly
top us all: Sabrina, about a missing woman,
a video and the unspeakable possibilities
of our contemporary mitigated reality.
(After I recommended his first, Beverly,
to Zadie Smith, she wrote back a oneword review: “wow,” and she’s just
Born in Omaha, Nebraska, in 1967,
Chris Ware started doing comic
strips when he was studying at the
University of Texas in Austin, where
he was invited by fellow cartoonist Art
Spiegelman to contribute to anthology
magazine Raw. A regular contributor
of covers and cartoons to the New
Yorker, since 1993 Ware has also been
publishing the Acme Novelty Library
comic book series, which included a
serialisation of Jimmy Corrigan, the
Smartest Kid on Earth. In 2000 he
turned the strip into an acclaimed
graphic novel, which won the 2001
Guardian first book award. In 2012
Ware published the box set Building
Stories, a project a decade in the
making. His latest book, Monograph
(Rizzoli £45), is out now.
called Sabrina “the best book – in any
medium – I have read about our current
moment”.) If Nick keeps it up, he will do
things on paper that no other human has
yet imagined, and that’s the best kind of
heroism imaginable.
5 | Graphic memoir
Whatsa Paintoonist? by Jerry Moriarty
Following the incandescent example
of Art Spiegelman’s Maus, the graphic
memoir is easily the most visibly
mature category of comics. Whatsa
Paintoonist? by 79-year-old Jerry
Moriarty reinvents the memoir as an
ineffable, shimmering picture-poem of
earth-shedding memory, discarding the
black brushstrokes of his groundbreaking
Jack Survives for a luminous rainbow of
tentative pencil and brush attempts at
putting his affairs in order through the
mnemonics of his childhood home and
family. That he recently purchased and
moved back into this same house makes
the reading of this book all the more
heart-opening and life-affirming, to say
nothing of profoundly moving. (I cried.)
6 | Exhibition
Kerry James Marshall: Mastry
Though the exhibition has ended, the
catalogue for Chicago painter Kerry
James Marshall’s tour of African American
life and consciousness is still gettable.
Walking through the exhibit with the
crowds during its closing week, my
experience as a white viewer versus
African American viewers must have
been as opposing as Marshall’s approach
to portraiture is to its history, western
art’s “glowing skin” inverted as a pool
of empathetic darkness into which the
viewer falls. Connecting to the tendons
of the deepest recesses of American
identity, Marshall’s beautiful paintings are
a humblingly generous artistic gesture,
especially now. (And that he’s been
working on a lengthy comic strip, Rythm
Mastr, since 2000 is a fact not lost on this
7 | Television
Full Steam Ahead
I am proud to say my family’s favourite
programmes are the BBC’s Farm
[historical docudrama] series, my
daughter Clara naming presenter Ruth
Goodman “one of her favourite people
on planet Earth”. From 2005’s Tales
from the Green Valley, set in the 1620s,
to its newest, Full Steam Ahead, an
examination of the effect of rail travel
on the economy, industry and British
daily life, I’ve had every DVD and book
airmailed to our house, watching the
boys and Ruth try to live under historical
technological and agricultural limits
with an infectious affection for their
experiment and each other that is mindsharpening and life-affirming. The hosts
are unpatronisingly civil and ultimately
get at that most Tolstoyan of ends:
namely, what does it feel like — and mean
— simply to be alive?
The Observer | 05.11.17 | THE NEW REVIEW
Q & A
Hamid Sulaiman
there, the regime considers that
they should be doing their patriotic
duty to defend the regime, and the
Islamists say they should do their duty
to defend Allah, so they’re targeted
by everybody. A friend of mine who
visited Damascus recently said that
the only guys you see in the street are
The Syrian graphic
novelist on dealing
with the trauma of
war in exile, the late
friend his book is
dedicated to, and
why he still has hope
How carefully do you monitor what’s
going on? Are you watching the news
every day?
It depends. Recently less and less. It’s
the same news, the same misery. I
don’t enjoy watching all the horrors
coming out of Syria. Like any Syrian, I
am suffering trauma from all this huge
violence. Writing this book and doing
what I do is my way of treating it.
Hamid Sulaiman was born in
Damascus in 1986 to a middle-class
family and studied architecture before
the civil war began in 2011. Having
fled the country for Egypt, then Paris,
he began working on his first graphic
novel, Freedom Hospital, which was
published in France last year and
has just been translated into English.
Strikingly drawn in black and white,
it centres on a clandestine hospital
set up by a young woman, Yasmin, in
the early days of the Arab spring and
tells the story of the doctors, patients
and revolutionaries who shelter there.
Sulaiman now lives in Berlin and is
finishing his second book.
Why did you choose the graphic
novel form?
First of all, there’s an economical
advantage: you can tell a story
by yourself without the huge
production team you’d need to make
an animation. Also, I find that this
medium is a good way of meeting
other cultures and communicating
experiences, especially in tough
situations that are difficult to access.
If the war ended in Syria, would you want
to move back?
How long did you stay in Syria after the
conflict began?
Six months. I was one of the young
guys who had a lot of hopes for the
Arab spring. And even though a lot of
people don’t believe in it any more,
even though the reality is really
shocking, I still hold on to this dream.
What is your dream?
Freedom, peace. I still feel optimistic,
despite all the chaos. At the beginning
of the Arab spring, people thought
totalitarian regimes would just
disappear and we would have
democracy. Everyone, including the
western media, was naive about this.
But I think we’re witnessing the final
chapter for military dictatorships all
over the world – it’s getting written
bloodily, with a lot of conflicts, but it’s
coming to an end.
What compelled you to leave Syria?
I participated in the movement, I was
in prison three times – for a night, two
nights, a week. Then I was summoned
to court to be judged for helping
terrorists, so I had to flee.
Was it a hard decision?
It was only after I arrived in Egypt
that I fully realised, “Oh fuck, I
am out already.” Writing Freedom
Hospital was a way of imagining
where I would be if I had stayed.
There is always this question: should
I stay, should I leave, what are the
‘When you lose your home you can never feel at home again’: Hamid Sulaiman. Below, an image from Freedom Hospital. AFP/Getty
dangers? If you believe in something
this much, should you leave it? Each
scene in the book is a reaction to
that question. For example, I drew
footage from YouTube. This is
because I was outside Syria watching
footage of shelling and bombing in
neighbourhoods where I had friends I
couldn’t contact.
want to be objective, I just wanted
to understand, to speak the tongue
of the other. Why this person would
believe in this, and why violence is the
only tool of communication you have.
This is why I didn’t present villains
or heroes in the book. The guys of the
Islamic State, for example, are just
following their circumstances.
Houria, the fictional town where Freedom
Hospital takes place, feels like a microcosm
for Syria: it contains idealists and freedom
fighters, Assad loyalists and members of
Isis. Were you trying to encapsulate the
entire conflict in the book?
Can you genuinely empathise with
members of Isis?
I was more trying to understand
things for myself. When you
are inside the conflict, you can’t
understand other perspectives. It’s
like a football player: he’s on the green
square, he doesn’t think of what’s
going on, he’s just performing. It’s
only after the match is over that he
can realise what’s been happening.
But distance doesn’t always help. For the
rest of the world, the conflict in Syria can
seem incredibly confusing.
Even in Syria, it’s confusing. Each
district has a different situation:
in one street people are starving
to death, in the next people are
staying in five-star hotels. I didn’t
THE NEW REVIEW | 05.11.17 | The Observer
Certainly. They are victims. All
soldiers who are participating in this
war are victims. I am privileged: I
studied, I speak languages, I could
find my way out. The middle class
is a minority in my country; most
Syrians didn’t have access to school.
Now the only work they can do is
war. When the only people who
will defend you and give you money
are extremist groups, it’s normal
to end up with them. These are
circumstances that the whole world is
responsible for, actually.
The book is dedicated to your friend
Hussam Khayat, who was tortured to
death in prison by the Syrian secret police.
Could you tell me about him?
He was my closest friend in Syria from
2005 until my last days there. Even
after I left Syria I was talking to him
‘Writing Freedom
Hospital was a way
of imagining where
I would be if I had
stayed in Syria’
on Skype. He was looking forward to
reading my book so much. He was a
dreamer too: never down, always up.
In 2014, he was finishing his studies
and had one class left before he could
graduate and leave the country. Then
he was arrested and a week later they
called his mother to collect the body.
Do you still have friends and relatives
in Syria?
Fewer and fewer. The guys who stay
I would like to go back when there
is peace, certainly. When you lose
your home you can never feel at
home again. Still, I was educated
in a European way so I don’t suffer
being here at all. In fact it’s maybe
easier for me to live in Europe than
in a conservative society. My motive
for participating in the Arab spring
was because I felt exiled in my own
country – a patriarchal society with
religious institutions and a secret
police system that go really deep into
each citizen’s life.
What is your second book about?
It’s about the 1982 massacre in Hama
[where the Syrian government
cracked down on a Muslim
Brotherhood uprising, killing more
than 20,000 people]. There are lots of
similarities between that and what’s
going on now. At the same time, I’m
talking about being an artist haunted
by the ghosts of the war.
Have you finished writing it?
Don’t tell my editor, but not yet. I’m
procrastinating, playing basketball.
This is how my writing gets done. I
work better under pressure.
Interview by Killian Fox
Freedom Hospital is published by
Jonathan Cape (£16.99). To order
a copy for £14.44 go to guardian or call 0330 333 6846
David Mitchell
What happens when life
imitates the art of sitcom
icture the scene: a crisp February
day in 2012 in Trent Park, Enfield.
Actually, I don’t know it was crisp – I
just know it was February, so crisp
is a possibility. I’m ruling out balmy,
humid and close. It could have been
cloudy, mild for the time of year, or
windy; there might have been driving
rain or even snow. Or uneven snow.
Freezing fog is also an option, but it
would get in the way of your picturing
the scene so I’m ruling it out.
2012 anyway – you’re familiar
with that. If you’re not, you’re a very
advanced reader for your age. So,
early/mid-coalition, Chris Huhne’s
just resigned, the Olympics are coming
up, Jimmy Savile is dead but not yet
discredited, and there are 2.5 million
people out of work. Look, I’m paying
for this internet connection so I’m
going to use it.
Walking across the park are two
women, one in her mid-50s and one
about 70. The younger has a cockapoo
and the older an alsatian on a lead.
Presently they arrive at the park cafe
and alsatian lady, in a fluid movement,
puts the dog’s lead in her friend’s
hand and sweeps into the cafe to buy
them both drinks.
This is where it gets hilarious. The
alsatian, named Lily, yanks excitedly
on the lead, probably trying to follow
her owner, and drags the younger
lady with her. Through the cafe tables
she gallops, to the consternation of
snacking locals, towing her owner’s
friend along the ground like a husky’s
sled. Across the grass, between the
trees, twice round the children’s
roundabout, underneath the trailer
of an articulated lorry making a large
delivery of Bonios, right through the
middle of a marching band playing
How Much Is That Doggie in the
Window?, and finally into a large
pond, causing havoc and honking
from a family of geese.
I’ve used a bit of artistic licence
there. In reality, the dog just pulled
the woman over. It’s impossible to
know exactly how funny it looked. In
fact, there is no objective measure of
that sort of thing. We don’t know who
saw it, from what distance or angle,
or in what mood. But it’s certainly
something that has the potential to
amuse. If it happens in circumstances
that you know to be consequence-free
– in fiction, say – it could get a laugh.
These particular 2012
circumstances were not consequencefree. The poor woman who got
yanked, Kay Benstead, broke an
arm and a hip and was off work for
seven months. And the drink-buying
alsatian owner, Annie Finnie, has
been ordered to pay £115,000 in
damages plus up to £100,000 of court
costs. Idiomatically, the whole thing
was no walk in the park.
“The weight and force of the dog
was too great and she fell over,” Judge
Peter Wulwick pointed out at the trial.
“Mrs Finnie… didn’t anticipate that, in
handing over the dog in the way she
did, physical injury might well result.
In my view, she should have done so.”
This ruling is a stark reminder
of a pratfall’s human cost. There’s
something unavoidably funny about
someone being pulled over by a dog,
but it’s also a poignant story of injury
and ruined friendship. And massive
expense. So, when we next chuckle
thoughtlessly over hilarious sitcom
mishaps, let’s bear in mind what the
real-life legal consequences would
have been.
Granger v Dibley parish council
“At over five feet, the depth of the
puddle into which the Reverend
Granger fell quite simply beggars
belief and to have allowed such an
implausibly deep and flooded chasm
to develop in a public footpath is
perhaps the most serious case of
council negligence it has ever been
my misfortune to rule upon.”
‘The weight and
force of the dog was
too great and she
fell over,’ the judge
said at the trial
thereby engendered fall outside the
local authority’s liability.”
Spencer v Roller-rinks International Ltd
“Mr Spencer has been generous in
admitting he is a roller-skating novice
but, as the rink’s advertising literature
specifically sought the custom of
such beginners, I believe it negligent
of the management not to have fitted
doors sturdy enough to resist the
momentum of an adult skater thrown
towards them by the centrifugal force
of the flicking tail of a conga line, and
therefore that, in the matter of Mr
Spencer’s subsequent harrowing and
hazardous journey through the local
neighbourhood, the rink is at fault.”
sexuality from the manner in which
he was limping at a company function
later on the day of the accident.”
Trotter v Neisenkul Holdings
“I find that Mr Trotter had a
reasonable expectation that the
integrity of the bar surface behind
him would not have been disrupted
during his conversation, and so the
defendants’ contention that he should
have sought visual confirmation that
a leaning site was still available, is
not, in my view, sound, and they are
consequently liable for Mr Trotter’s
loss of earnings and costs incurred as
a result of reputational damage caused
by the incident. I set damages at £1m.”
“While I accept Mr Fawlty’s
contention that ‘every freeborn
Englishman has the right to thrash
his own car’ and that the time has
not yet come when ‘we’ll be getting
psychiatrists for the bloody things and
asking them if they find the garage
lonely’, I find the exercise of this right
with a council-planted sapling to be
unlawful and that the abrasions to his
hands, and scratches to his vehicle,
“Notwithstanding the defendant’s
assertion that Mr Terence Medford is
of a heavier build than average, I find
his view that a reputably manufactured
deckchair should still be able to hold
his weight for more than two seconds
to be fair, and therefore order that he
should be compensated both for the
injury to his coccyx – settle down,
please – and loss of earnings caused
by his employer making inaccurate
inferences about his lifestyle and
wo weeks ago, while
bemoaning the undermining
of freedom of speech in
some universities, I wrote
disparagingly about the “trigger
warnings” widely reported to have
been added to Cambridge University
lecture timetables alerting students to,
among other things, the plot of Titus
Andronicus. Having read an article
in the Guardian by Ian Burrows,
who delivered one of the lectures in
question and explained that it was
primarily about the portrayal of sexual
assault in drama, I’ve revised my view.
I do think there’s a worrying trend
towards censorship in some academic
quarters, but it looks like the situation
at Cambridge was misreported in the
press and so was a bad example for me
to use, for which I’m sorry.
Medford v Eversun Deckchairs
Torquay town council v Fawlty
SNAPSHOTS Me and my pencil
Tracey Emin draws with a classic
black and yellow striped pencil,
whereas James Dyson works
with a sleek mechanical one. In
their book The Secret Life of the
Pencil (Laurence King, £12.99)
Alex Hammond and Mike Tinney
photographed the pencils of
70 artists, designers, musicians
and architects, illustrating the
relationship between the artist and
their instrument. In the foreword,
William Boyd writes that the pencil
is the only implement that brings out
“your sense of yourself, as reflected
in your handwriting – which is
unique”. Cartoonist Posy Simmonds
adds: “A pencil is an instrument of
endless versatility. It can be soft
and tentative, busy and inquisitive,
hard and probing, smudging and
mysterious.” Lili-Maxx Hager
The Observer | 05.11.17 | THE NEW REVIEW
Actor, writer, producer
How did you get into
to graphic novels?
I got into graphic novels as a teenager. I
em on the bus to school.
loved reading them
ke these supercool
They used to make
graphic novels off classics, like Moby-Dick,
Macbeth, etc. Thee combination of the
iterature just made life
artwork and the literature
he library dust off and
better. It shook the
made the stories alive for me.
What do you love about them?
I love staring at drawings
rawings anyway. And
d with a real story…
when juxtaposed
It’s a lot like whatt acting aspires to be.
rt. Delivering secret
An interpretive art.
Do you have a favourite?
Essex County by Jeff Lemire. It’s the
Catcher in the Ryee of graphic novels.
Where do you buy them?
My favourite spott is
Forbidden Planett in New
York. It’s magic. You’re a kid
ly. In the good way.
again, immediately.
Any rituals around reading them?
The important thing
hing is not to read
d them.
Absorb them. Study
udy the image. Find the
nto the artist’s work.
message woven into
Don’t just look at the words. In a good
graphic novel thee words and the images
are involved in a dance – like two stars
ch other, spraying silver
smashing into each
and gold.
raphic novel with
Ethan Hawke’s graphic
uth, Indeh:
illustrator Greg Ruth,
ache Wars, is
A Story of the Apache
nd Central
published by Grand
Famous fans tell us
how they got into
comics culture and
give us their all-time
‘ Don’t read them.
Absorb them. Find
the message ’
Comedy writer
(Peep Show, Fresh Meat)
How did you get into graphic novels?
I read Marvel comics as a kid and
began collecting them as a teenager.
That started me going on pilgrimages
to the central London comic shops,
which were my gateway to the
alternative comics universe.
What do you love about them?
Their scope. A comic can be anything
from the biggest-budget blockbuster
to the most intimate, personal story.
Do you have a favourite?
The four artists I’ve followed with
the most devotion are Chester
Brown, Jaime Hernandez, Daniel
Clowes and Joe Matt. Peter Bagge’s
Hate was a favourite of mine and
Jesse [Armstrong]’s when we started
writing sitcoms in the late 90s. The
first 12 issues in particular are a
perfect sitcom and so much fresher
and more contemporary than what
was on TV at the time.
Joe Matt’s Peepshow
was also
e, unsurprisingly! I
an influence,
ortunity to take Joe
had the opportunity
h in Los Angeles
out for lunch
hank him for his
recently to thank
ody of work and
incredible body
to encouragee him to produce
s. I’m also a big fan
more comics.
ansman – her Death
of Karrie Fransman
of the Artist is one of the most
astonishing graphic novels I’ve
nt years.
read in recent
Where do you
u buy
I have a standing
order at Gosh!
Comics in Soho
(pictured above)
I remember
reading the
first issue of the
ffy by
brilliant Fluff
THE NEW REVIEW | 05.11.17 | The Observer
Simone Lia cover to cover in Gosh!
when it came out a few years ago. I felt
bad that I hadn’t paid a penny for the
privilege, so I emailed Simone to buy it
from her direct. She’s become a friend
and I love everything sshe produces.
I fanboyed out at m
my first visit
to San Diego Com
Comic-Con this
summer. I was p
plus-oned by
Mat Johnson, an American
writer friend w
who wrote the
wonderful Inco
Incognegro. Mat
managed to get me an invite
to a dinner hosted
hoste by comics
legend Karen Berger
– the guests
included Bill Sie
Sienkiewicz, Dave
Gibbons and Ann Nocenti,
authors of some
of the best
superhero comics ever
created. M
My teenage self
was in pa
Any rituals
ritu around
reading them?
I like to
t say a prayer
and d
drink to world
‘ I love their scope. A comic can be anything’
‘Once I’d read Chris Ware’s Jimmy
Corrigan I was obsessed’
How did you get into graphic novels?
I read a lot of comics as a child, mainly
those old Disney ones about Donald
Duck and his nephews. Also Asterix
and Tintin and that stuff. But the first
adult graphic work that had a strong
impact on me was Richard Appignanesi
and Robert Crumb’s book about Kafka.
It’s still one of my favourite books in
any genre. Later I shared a flat with
Richard’s son, Josh, who had a huge
collection of Drawn and Quarterly
stuff and manga and I read all that.
When I first came to America, 18 years
ago, I lived for a bit in Greenpoint, in
Brooklyn, back when it was a sort of
proto-hipster area and there was a
little pop-up book store on the corner
that specialised in graphic novels and
McSweeney’s issues. That’s where I
found Chris Ware in pamphlet form,
his Jimmy Corrigan in serialisation.
Once I’d read Chris I was obsessed.
One of my most treasured possessions
is a sketch of Corrigan saying “Ha ha
… hi Zadie…” which I forced Chris to
draw for me when I spent a day with
him in London around 2000.
What do you love about them?
Everything. To me they’re like
opera, or musicals – they provide the
satisfaction of multiple media in one
space. I can just about imagine writing
like Chris Ware but to write like Chris
and draw like Chris blows my mind.
Do you have a favourite?
Too many. Corrigan, obviously, and
all books by Ware, especially Building
Stories. Here by Richard McGuire.
All of Charles Burns, especially Big
Baby. All of Dan Clowes, especially
You My Mother?, Alison Bechdel. The
nda Barry,
Hernandez brothers, Lynda
Tomine… these are all canonical
ut of more
and the list is endless, but
recent finds, I am blown away by
ries, and both
Walter Scott’s Wendy series
Beverly and Sabrina by Nick Drnaso
pieces. Joff
seem to me to be masterpieces.
ort Distances
Winterhart’s Driving Short
o Everything
is extraordinary and also
le Bell. I still
Is Flammable by Gabrielle
like finding things beforee they become
books, but that’s harder to do as a
ger often in
middle-aged lady no longer
sit to
comic stores. But on a visit
Los Feliz I found The Fade
Out by Brubaker and
Breitweiser in the old
serial form, issues 1-5
(but missing 4) and fell
in love, even with the gap
in the tale.
Where do you buy them?
In LA, at Skylight Books.
When in New York, at
McNally Jackson or the
few comic stores left on
St Marks.
Any rituals around reading
I just buy them and start
reading them walking down
the street. I’m usually done
an hour after I’ve boughtt
them. I read them with so
e. I
much undiluted pleasure.
often joke with Mr Ware that
what it takes him 10 years
n 45
to write I can consume in
minutes. That’s one of the
many reasons I find graphic
artists remarkable. They work
so hard for our pleasure and we
work so little to receive it.
‘ Doucet’s Dirty Plotte changed
my entire art-head landscape’
How did you get into graphic
I had a first true love in high
school, Jason, who was
five years older than me,
and he was a portal into all
the musical and film and
comic realms that weren’t
available in a non-internet
suburb in 1992. One of the
places we crept to was his
friend Eugene O’Neill’s
(not that Eugene O’Neill).
Eugene was a true art
freak, in the most beautiful
sense: he had cages of pet snakes,
boxes of obscure sex toys and gigantic
bookcases of thousands of comics and
introduced me to David Lynch and
films like Bloodsucking Freaks. I was
entranced. It was the first time I had a
sense that comics were art.
What do you love about them?
I love that graphic novels can do what
film, books and music can’t do: they
can express silence and thought and
pondering. You can’t show a pause
of feeling in song; you’d just have a
confused and angry listener after a
few moments. But with graphic novels
you can have a whole page of action
with silence and your eye is forced to
reckon with that silence. Books can’t
do it either; you can’t have a few blank
pages of silence where you’re forced to
confront the silence of a character, and
a film always has to fill the spaces. But
a graphic novel can do that, and it’s a
force unlike any other.
Do you have a favourite?
Dirty Plotte by Julie Doucet changed
my entire art-head landscape. There I
was, 15, and confused, and
all of a sudden this
woman was drawing
her bloody tampondrenched, confused,
experiences – and I just
stopped, aghast, at the
possibility that a woman
was telling her personal
story through the
medium of comics. Before
that it had always been
superheroes and biceps
and big boobs. And then all
of a sudden I was like: oh
fuck, wow, you can actually
use this medium to tell an honest story
of the scary and profound things that
are happening in a woman’s life.
‘The experience is cinematic – in and out
in two hours, with your life enriched’
Novelist and screenwriter
How did you get into graphic novels?
I read more comics when I was a kid
than books – Marvel as well as the
Dandy and the Beano, so I already had
a love for the form and the colours. But
I hadn’t really thought about reading
graphic novels until the beautiful 13th
issue of McSweeney’s, and then I was
duced to the work of Chris Ware,
el Clowes and Charles Burns.
They led me to Alison Bechdel
and Marjane Satrapi.
What do you love
about them?
’s not to love?
est ones are ambitious,
The best
us-minded, and beautiful
k at.
to look
Where do you buy them?
Haha. Now? I’m married to Neil
Gaiman, dude. They festoon our
living room… I can’t escape them. But
interestingly, I rely on my friends on
Twitter and social media to point me
to what’s pertinent and beautiful, and
I order things through the mail. And
when I’m staying in Camden, which
is often, there’s a great little shop on
Inverness Street called Mega City
Comics, and I wander in there and
browse the shelves for things to read
that might have tampons in them. If
Mega City is listening: have a tampon
shelf. I’d buy everything.
Amanda Palmer’s new 7in single, In
Harm’s Way, is out now on 8ft Records.
She performs at London’s Union Chapel
on 16 November
Do you
u have a favourite?
del’s Fun Home and Satrapi’s
polis in particular are two of
ost spectacularly successful
the most
workss of art of the past 20 years.
They ask for much less of your
time than some giant prizeing novel that you
may never finish, so the
ience is
lly as cinematic
as it iss literary: in and
n two hours, with
out in
ife enriched
your life
duringg the process, if
you’ree lucky. (And if
you’ree not, you don’t
p wanting to
end up
he book across
hurl the
the room.)
The Observer | 05.11.17 | THE NEW REVIEW
Alison Bechdel, whose cartoon strip Dykes to
Watch Out For gave the world the famous movie
equality ‘test’, has enjoyed even greater fame
since Fun Home, her graphic memoir of a tragic
childhood, was made into a hit musical. Here she
talks about exposing her family, appearing in
The Simpsons and being a workaholic
THE NEW REVIEW | 05.11.17 | The Observer
ast summer, Alison Bechdel returned
to the small Pennsylvania town where
she grew up (population: 700) to see a
production of the musical based on her
2006 graphic memoir, Fun Home – a
comic that, to sum it up rather brutally,
tells the story of how her closeted gay
father killed himself a few months after she came
out as a lesbian. “It was super-surreal,” she says.
“It was the same theatre where my mother would
do her amateur dramatics and my father was on
the board. I was a little afraid. I felt anxious, like,
oh my God, I’m going to see all these people and
they’re going to be pissed off with me. Because
there were people in my hometown who did not
think Fun Home was a good thing. They thought
it dishonoured my family.” So how did it go?
Even now, she sounds amazed. “There was this
great warmth that I just hadn’t expected. I had
thought I was going back to 1977, but the place has
changed. It has… evolved.”
Why she should find this surprising is slightly
mysterious. Hasn’t she evolved too, down the years?
“Yes! Fun Home is a midlife document for me and I
am trying to move on.” She laughs. Still, the feeling
persists that, just lately, she is living a life that is not
quite her own. Before Fun Home, she had worked in
relative obscurity; fame, let alone fortune, seemed
unlikely ever to be on the cards. But with the book’s
acclaimed publication, its appearance on the New
York Times bestseller list and then the musical, all
that changed. People recognise her on the street
now. Last month, she even had a cameo in an
Alison Bechdel in her
studio in Vermont: ‘I don’t
feel I deserve to exist
unless I’m working.’
Opposite page: a Bechdel
episode of The Simpsons (in “Springfield Splendor”,
Lisa Simpson writes a graphic memoir about her
childhood called Sad Girl, which Marge illustrates;
when the book is a hit, Bechdel, Roz Chast and
Marjane Satrapi appear alongside them on a panel
at a comics’ convention).
“I could never have foreseen it,” she says of
the musical, which opened on Broadway in 2015
and went on to win five Tony awards (it will be
staged at the Young Vic in June). “I only agreed
to the idea of it at all because I didn’t know what
I was getting into. It seemed harmless enough. I
had turned down a movie on the grounds that if
it wasn’t good – and the chances of that being the
case were very high, because most movies aren’t
good – it would be awful to have it out there in the
world, this terrible version of my most intimate
history. That was easy. But a musical? I was naive. I
thought: if it’s a bad musical, it will just disappear.”
She pauses. “It never occurred to me that it could
be very bad and very successful. I didn’t consider
that. Anyway, it wasn’t. Bad, I mean. So I’m really
glad I said yes. They [Lisa Kron, who wrote the
book, and Jeanine Tesori, who wrote the music]
made something beautiful out of it.”
So much time passed between her agreeing to
the idea and it becoming a reality she’d almost
forgotten they were working on it at all. (In
the interim, she had been awarded a $625,000
MacArthur Foundation “genius” grant and had
published a second memoir, Are You My Mother?)
“After a while – it had been years at this point
– they sent me a script and a soundtrack. I was
deeply moved. That first moment of hearing
it: I just felt it was this great gift. I felt seen.”
As something of a connoisseur of therapy, she
wonders if someone shouldn’t develop a whole
new branch of lyric-based treatment: “I think
there should be a kind of therapy where people
hire playwrights and composers to make musical
theatre of their sad childhoods.” Do comics and
musicals have something in common? It strikes
me they can share a weirdly direct route to the
human heart. “Yeah. I wonder if it is because of
the way two registers collide. In a musical, you
have drama and music. In comics, writing and
pictures. They operate differently, but with the
same power.”
Of course, loving what Kron and Tesori had
done didn’t make the prospect of the musical
being staged any less fraught. Her mother, then
still very much alive, was only just recovering
from the publication of her daughter’s memoirs
‘My mother had to
live with strangers
knowing intimate
stuff about her life.
She wasn’t happy’
(the subject of Are You My Mother? is Bechdel’s
difficult relationship with her). “It’s kind of
monstrous to do what I did, to expose your family
like that,” says Bechdel. “But my father was dead.
My mother had to live with all her friends and
even strangers knowing this intimate stuff about
her life. She was a reticent person. She wasn’t
happy about it.”
But then her mother died, five months before
the show opened. “I have mixed feelings about
that. I don’t think she could have handled seeing
it. That would have been too painful for her.
There was a possibility she could have seen a
workshop, but she would only do that if she could
be the only person watching, so it never happened
and perhaps that was meant. But I do kind of wish
she’d gotten to see the great reviews it had.”
In 2014, in an effort to process her feelings
about the musical, Bechdel published a short
strip in which she reveals how, thanks to a
diary muddle, she missed its opening night off
Broadway in 2013, finding herself instead in a
hotel room in rural Ohio, where she spent her
evening refreshing the New York Times theatre
page until its review appeared. “It was a startling,
unqualified rave,” she writes in the final frame.
“My parents, who had met in a play, would get to
go on living in one.”
Has the musical changed how she feels about
her memoir? No. It is life itself that has had most
impact on that score. “My perspective on that
story has changed,” she says. “I’ve got so much
more information now about my family and what
happened. I’ve got more pieces of the puzzle.” But
that isn’t to suggest that she hankers to go back, to
augment or edit what she set down then.
“In some ways, it [the new information] would
have made it a less interesting book. Not knowing
everything is sometimes a good thing in a memoir:
a mystery or quest is better than laying out all the
facts.” Does she still feel that writing it helped her
psychologically? “Yes, I do, though when young
people ask me if it was cathartic, and I say ‘yes’,
they don’t really know what I mean. They just
want to go home and write their diaries and feel
better themselves. I wrote diaries, too, for years.
But I also did therapy for years. And I pushed
myself to engage with my family in an honest way
for years. And all that stuff was part of writing the
book. I remember being so excited when I read
about Virginia Woolf getting her mother out of
her head by writing To the Lighthouse. I felt the
same after Fun Home. I had been haunted by my
father and I no longer was. I took him off my hard
drive. He was using up all my RAM.”
Again, this isn’t to say that she wishes Bruce
Bechdel, with his temper and his obsessional
interest in frilly 19th-century interiors, had been
different (he died beneath the wheels of a truck in
1980, at the age of 44). “Someone once asked me:
would you rather have had a happy childhood or
to have written this book? And I didn’t even have
to think. I would take the book and with it my
own bizarre way of relating to the world, a way
Continued on page 11
The Observer | 05.11.17 | THE NEW REVIEW
Frames from Bechdel’s game-changing graphic memoir, Fun Home, and, below, the book’s Broadway adaptation, coming to the Young Vic in London next June.
Fun Home takes
the form in
new directions
¥ Continued from page 9
that I learned from my moronic family. Of course
I would!” Ambivalence, as journalists have often
pointed out, is Bechdel’s default mode; when
she draws herself, she often appears uncertain,
a frown etched on her brow. But when she talks
about the connection between her upbringing
and her work, she sounds straightforward,
enthusiastic, you might say. One thing her parents
taught her, in all their unhappiness, was the
importance of art in its widest sense and of not
letting very much get in the way of one’s pursuit
of it (while her father, the great “artificer”,
sublimated his desires, devoting himself instead
to the restoration of the family’s gothic revival
mansion, her mother took refuge in music and
amateur dramatics). Left to her own devices,
Bechdel, in turn, is inclined to spend all day, every
day, pencil in hand.
She lives with her partner, Holly Rae Taylor,
an artist and compost maven, in rural Vermont.
“I used to be here all the time except when I had
traumatically to go out and do a book tour or
speak at a university. But now that’s completely
reversed. The past four years have been crazy.
I’ve only been home for a month at a time and
it’s making me insane. I love a quiet life. I don’t
need a lot of social stimulation.” She lifts up her
computer, the better to show me her basement
workroom (we are speaking on Skype). “I live in
the woods,” she says. “Look, can you see?” The
camera pans around: autumn foliage, drawing
board, bookshelves, desk. “I try to take Sundays
off. That’s a new development.” What she says
next is at odds with her smile, which is pretty
wide. “It’s my personal craziness,” she tells me. “I
don’t feel I deserve to exist unless I’m working.”
ome see Fun Home as having been a
turning point for graphic novels; following
its success, they grew dramatically in
popularity and began to be taken more
seriously by the media. Bechdel, though, doesn’t
entirely buy this. “It’s interesting that you think
the terrain changed after it came out,” she says. “I
feel like timing was a huge part of its success; if it
had appeared a few years earlier, I don’t think it
would have gotten the purchase it did within the
culture. I don’t think people were ready to read
that story before. Howard Cruse, who founded
Gay Comix in the late 70s, was a huge mentor
of mine. I always loved his work and his strip
inspired Dykes to Watch Out For [which she wrote
and published in the alternative press between
1983 and 2008]. In 1995, he brought out this
beautiful book [Stuck Rubber Baby] about his life
in the civil rights movement. He’d devoted years
of his life to it, but it didn’t cross over. People
weren’t ready to identify with a gay hero. That
changed in the next decade.”
But perhaps, too, her book had a particular
appeal for mainstream critics. “I was lucky
to have regular critics review it [as opposed
to comics specialists], which they did maybe
because it had a literary strand.” While some
graphic novels falter when it comes to words –
relatively few cartoonists are truly good writers
– Bechdel’s prose is richly precise; the New York
Times reviewer admitted she had sent him to his
dictionary to look up such words as “humectant”,
“scutwork” and “buss”. It also bulges with
references to, among other writers, Proust, Joyce,
Camus, Colette, Radclyffe Hall, Scott Fitzgerald,
even Kate Millett, allusions that cleverly
modulate its taboo-busting heart, its outstanding
weirdness. (Bruce Bechdel, a high-school
English teacher, was a part-time undertaker;
the book’s title refers to the family nickname for
the funeral home he inherited from his father,
an establishment whose viewing parlour Alison
was sometimes required to vacuum). A decade
on, it still feels pioneering, a comic that seeks
determinedly to take the form in new directions.
Bechdel, who was born in 1960, began drawing,
as most of us do, as a child. But she kept going:
even when she was little, she wanted to be a
cartoonist (or a psychiatrist, jobs that, she once
said, she had conflated thanks to all the analyst
cartoons in the New Yorker). After Oberlin
College in Ohio, where she studied art history
as well as, among other subjects, German and
Greek, she moved to New York, taking on the kind
of boring jobs that allowed her to draw. Dykes to
Watch Out For was born: a funny, knowing strip
about a gang of more-or-less radical lesbians in
which Bechdel appears as a character called Mo
who resembles a guilty-looking teenager (and
also Tintin).
“I spent a long time working very hard and
making no money,” she says. “It was increasingly
disheartening. All the places that published
my comic strip were disappearing. The gay
bookstores were closing, the queer newspapers
were folding. My income, which in my 30s had
been almost enough to live on, was suddenly not
quite enough for someone in their 40s. If Fun
Home had not caught on, I would have had to stop
and do something else.”
How daring did it feel to be working on Fun
Home? The answer is: very. What a lot she hoped
to achieve. “Luckily, I had clarity about what I
wanted to do and that carried me through the
very reasonable doubts I also had. It helped me
to overcome the feeling that this was outside my
capability. It was such a huge project: six or seven
years of drawing and excavating. It was sort of
like living in a trance. I had to do everything I
could to figure it all out.” That she pulled it off,
however, had little impact on her ability to repeat
the trick. Are You My Mother?, which scrutinises
her relationship with Helen, with help from the
writing of Virginia Woolf and the psychoanalysts
Alice Miller and Donald Winnicott, didn’t appear
until 2012; now she’s running late with her new
memoir, The Secret to Superhuman Strength.
“I was supposed to turn it in a year ago,” she
wails. “I know it sounds diva-ish, but thanks to
all the interruptions, I haven’t been able to get
into the deep state of concentration that I need
to write and think clearly.” What’s it about? “It’s
about physical fitness and… mortality – and that’s
the hard part, the mortality. It’s about what it’s
like to live in an ageing body, knowing you’re
going to die. The exercise part [Bechdel, who
has a black belt in karate, has long been keen on
fitness] is like the sugar to make the medicine go
down, the medicine being all these big questions
of life.” She pulls a comically agonised face. If
it’s no use looking back, nor is it, you gather,
particularly easy to move forward: “I have to feel
whatever I’m doing is impossible, otherwise I will
just not do it. That’s what motivates me.”
The election of Donald Trump was at first
totally immobilising – “I felt so frivolous, writing
a book about exercise” – but she has since found
“the political horror” to be something of an
engine. “The new book is about the self: I’m only
able to write about myself. But it is becoming
increasingly vivid to me that we must live in
connection with other people, so it will also ask
how we save ourselves, how we might work
together to stop vilifying others.” Her wedding
‘It was such a huge
project: six or seven
years of drawing and
excavating… sort of
like living in a trance’
ring glints in the light (she and Holly were
married in 2015). How precarious do certain
human rights feel at the moment? “You know, I
never thought I would see gay marriage. It wasn’t
particularly on my agenda as an activist, but when
it happened, it felt like this tectonic shift. It was
intoxicating. I’m very pessimistic. I always think
about Berlin before the war, the culture they had.
Look what happened there. But I felt things really
had changed enough that we couldn’t go back.
Now? I think they could go back. I think they
are going back.” Has the atmosphere near her
changed? “Yes. I haven’t personally encountered
it. But it’s happening. There have been so many
political attacks on transgender people. I know a
black professor at the university who got called a
terrible name at the grocery store and that didn’t
happen five years ago. These forces are unleashed
and I feel completely impotent and powerless
and terrified.”
Thanks to Trump, too, her dykes have returned
– though perhaps more in sadness than in
triumph. “They’re my own personal therapy for
the administration,” she says. “When Obama
arrived, I stopped. I thought, thank God, I can
take a break from this. I’m not a naturally political
person. People would ask me: I wonder what your
characters would think about this or that? And
I was, like, I don’t know and I don’t care. I don’t
carry them with me in my head. But as soon as
Trump was elected, they came back to me. They
were always a way for me to make sense of the
world; they would have slightly different political
positions and arguments could be worked out. So
now I’ve done a few more.” In the most recent,
Mo tells her conservative brother, Scott, it’s as
though Breitbart broke his brain. “You poor little
deep state dupe,” he replies.
It was in Dykes to Watch Out For, famously,
that the rule that later became known as the
Bechdel test first appeared in 1985, when one of
her characters told another that she only goes
to a movie if it has two women in it who talk to
each other about something other than a man.
(“Pretty strict,” says the second woman. “No
kidding,” says the first. “The last movie I was
able to see was Alien… ”) Bechdel, somewhat
nonchalantly, has always insisted that it was
the idea of her friend, Liz Wallace, and that she
herself doesn’t even care about movies. But today,
she sounds wholehearted in her enthusiasm. The
test featured in The Simpsons episode, which
got her “excited” about it all over again. “It is a
wonderful thing,” she says. “I’m very happy my
name is associated with it. The culture needs it
right now.” We talk about Harvey Weinstein, and
she shudders.
Before our conversation ends, she tells me
which comics she has enjoyed recently. “Well,
Hostage [Guy Delisle’s account of the kidnapping
of a French aid worker in Chechnya] was
amazing,” she says. She thinks for a moment, and
then – “Wait! I’ve got to look” – leaps up. When
she returns she’s bearing Tenements, Towers
and Trash, Julia Wertz’s alternative graphic
architectural history of New York. “Now this
is really ambitious,” she says, turning its pages.
Ultimately, though, what she still loves to read
most of all is autobiography. Narcissism, that
comic drama in which every one of us has a
leading role, is both her great subject and, you
might say, her hobby. Down and down she digs,
deep into herself, after which, by way of a break,
she likes to ponder the excavations of others in all
their ineffably touching and ridiculous glory.
The Observer | 05.11.17 | THE NEW REVIEW
Ten years ago, the Observer New
Review and publisher Jonathan Cape
launched an annual graphic short
story competition – and discovered
a wealth of new British talent. Here
we return to previous winners to ask:
what happened next? We also talk to
this year’s star, Tor Freeman, whose
winning story we publish on pages
16-17. Introduction by Rachel Cooke
o one can remember
exactly how, 10 years
ago, we came to start the
graphic short story prize.
Naturally, I would love
to take the credit. But in
truth, the idea must have
come originally from Dan Franklin of
Jonathan Cape, publisher of the UK’s
most prominent list of graphic novels.
In 2007, comics were finally
beginning to take off in Britain: the
animated film of Marjane Satrapi’s
memoir Persepolis was just about to
be released; Guy Delisle’s travelogue,
Burma Chronicles, and Rutu Modan’s
novel Exit Wounds, set in Tel Aviv
during a period of bomb attacks, had
both been critical hits.
Nevertheless, much of the best
work still came either from the
US, or from France, where bandes
dessinées were – and are – such a big
deal (the Angoulême international
comics festival, attended by 200,000
people every year, has been running
since 1974). Franklin’s proposition
was that the Observer New Review
and Cape would work together to
establish a competition to find new
British talent. Not too long after this,
having secured further support from
Comica, the comics festival run by
Paul Gravett, we began.
It was agreed that Dan, Paul and I
would be regular judges, along with
Suzanne Dean, the creative director
at Cape, and that we would be joined,
each year, by two others, one of whom
would always be a cartoonist: in 2007,
our guest judges were Posy Simmonds
and Nick Hornby. I remember our
meeting in that first year very well,
much better than others that have
followed it – perhaps because, as we
sat around the table, I was so anxious.
How many people had entered?
Were any of them any good? What
had they made of the parameters
we’d set? (Each story had to be four
pages long.) The thought of Posy
Simmonds having to look through a
pile of rubbish made me come out in
a sweat.
I needn’t have worried. It was clear
immediately that our idea had worked:
dozens of brilliant but hitherto
unpublished cartoonists had been
inspired to produce for our delectation
some seriously good work (we usually
receive around 250 entries). In the
years since, we have discovered some
remarkable talents, several of whom
have gone on to secure publishing
deals. Isabel Greenberg, Fumio Obata,
Joff Winterhart… the list goes on (and
two of the three I’ve just mentioned
were, incredibly, only runners-up).
Which brings me to 2017. Our
guest judges this year were Stephen
The Gigantic Beard That Was Evil
Collins, a former winner of the prize,
and Philip Pullman, the acclaimed
novelist (and the author of the comic
book, The Adventures of John Blake).
Heartfelt thanks to them both.
As always, we read some great
stories. In the end, though, it was
THE NEW REVIEW | 05.11.17 | The Observer
If You’re So Wise, How Come You’re
Dead? by Tor Freeman, a children’s
book illustrator, that stood out –
because who doesn’t remember,
as a child, being nagged to do
their piano practice/homework/
revision? (Freeman’s story, in which
a portrait of Frida Kahlo and a bust
of Beethoven have speaking roles, is
– topically – about expertise and the
effort it involves.)
The 2017 runner-up is Emily Jones
(pen name Emilybob), who works as a
specialist teaching assistant in Cardiff,
for her story Dennis and June, in which
she ponders identity politics and the
future of the planet to hilarious effect
(in a world in which all humans are
now vegans, here are cows that “sell
themselves” like prostitutes in teabagstrewn alleys to old people who still
crave the taste of milk).
Pleasingly, both women were
inspired to enter by former
prizewinners (Freeman is a fan of
Alexis Deacon, and Jones of Stephen
Collins). Both, too, hope to continue
with comics in the future. “I’m
elated,” says Jones. “Since I entered, I
don’t think a day has gone by without
me dreaming about what it would
be like even to be on the shortlist. To
have complete strangers recognise
your work is just incredible.”
To read the 2017 runner-up and
winning entries from previous years
go to
Haworth-Booth lives in London and won
in 2013 with Colonic, which was about
her having colonic irrigation. It was based
on an extract from a diary that HaworthBooth kept of her recovery from ME.
What were you doing career-wise before
you entered the competition?
I was teaching comics and graphic
novels at the Royal Drawing School.
When I’m encouraging students to
make personal stories, to share things
from their lives, I feel that I can say,
“Well, a very personal story about
my colon was splashed all over the
Observer, so you’ve got no excuse not
to have a go, at least”.
What effect did the competition have?
I left my day job, though kept on
teaching in the evenings, and went
on to do an MA in children’s book
illustration. I also ended up doing
comics workshops at St George’s and
UCL medical schools for patients and
doctors. The projects were to do with
helping medical students to develop
empathy. I think comics are a brilliant
medium for that.
Tell me about the graphic novel you’re
writing now.
It’s about ME and burnout and
activism and climate change, and lots
of stuff that doesn’t sound very funny,
though I’m trying to make it funny.
I’ve been trying to find links between
ME and climate change. They’re both
to do with unsustainable lifestyles
and not listening, and being numb to
what’s going on in the world. I’ve also
just signed a three-picture book deal
with Pavilion Children’s Books.
Which graphic novels have impressed you
I really love Judith Vanistendael –
she’s Flemish, and she does the most
beautiful drawing, watercolours, and
amazing storytelling. My favourite
of her books is When David Lost His
Voice, which is a book about cancer.
It sounds depressing, but it’s really
uplifting and beautiful. There’s a
lot of interesting work by women
coming out at the moment, and a lot
of interesting work about medical
experience, like Rachael Ball’s The
Inflatable Woman and Paula Knight’s
The Facts of Life.
Has the perception of graphic novels
changed since you won?
I have noticed that a lot more
women are signing up to my classes.
I’m not sure if that reflects a wider
interest of women in the form in
the UK in general – I hope it does.
Things like Laydeez Do Comics,
which is a great monthly event in
London where artists discuss their
work, have really helped get more
women involved. And I have noticed
in general that the graphic novel
sections in bookshops have got
much bigger. ED
Portraits by Katherine Anne Rose, Sophia Evans and Jon Super for the Observer. Illustration: Bryan Mayes
A children’s author and illustrator, Deacon
won in 2014 with The River which, he says,
“was about three children playing on a
riverbank. It had a 1920s vibe to it”. He lives
in London and since winning the competition
has published two graphic novels.
Had you done much comics writing
before entering?
No, my background was in children’s
picture book illustration. I had
never written a graphic novel but I
had done some three- or four-page
comics before, so the format for the
competition wasn’t entirely new.
When you won, did it have any tangible
effect on your career?
Since then I’ve published two graphic
novels – the second came out in
September – so something must have
gone right. They’re part of a trilogy of
connected books called Geis, about an
evil sorceress who is trying to seize
power in a small town.
Is illustrating still what pays the bills?
Yeah, it certainly pays more than
comics, which have a very depressing
hourly rate. I also teach in a few places,
primarily Anglia Ruskin University, on
their MA course in children’s books
and illustration.
What keeps you doing it if the pay is
so bad?
Well… there’s nothing quite like it.
It’s like being fully in control of your
own film production. You’re doing
all the costumes, set design, script,
lighting. You’re seeing your thoughts
made flesh.
fell out of love with it and picked up
comics so that I could become more of
an auteur than a studio assistant. That
was around 2007.
Not long before the competition…
What have you enjoyed recently?
I am addicted to a series called The
Arab of the Future by Riad Sattouf. We
have this fascination with the Arab
world and its impact on our culture,
but what makes The Arab of the Future
interesting is the specific harmony
involved and the constellation of
characters that make up the family. It’s
really well written and observed.
Do you think the graphic novel form is still
in its infancy?
It still has so much that could be done.
There are countries that have really
embraced it: France, Japan, America
and Canada. The UK has only a few
voices. I’m sure there is a lot ahead. KF
An animator by training, Hanshaw won in
2008 with Sand Dunes & Sonic Booms,
which is set near to where he lives in Rye,
East Sussex. It’s a haunting seaside tale
inspired by one of the coast’s sound mirrors.
He has since published three graphic novels.
When did you become interested in comics?
I got interested in the US underground
stuff when I was at art school, stuff like
The Fabulous Furry Freak Brothers. I
went into animation for 13 years, then
It was a quick turnaround. I had been
to Vietnam and started my first graphic
novel, The Art of Pho. After the award, I
went back out to Vietnam to finish my
book and repitch it to Jonathan Cape.
The competition gave me a little egotickle, but it was still a number of years
before Pho came out. I’ve published
two more books since then, including
Tim Ginger, which was nominated for
a British Comics award, and now I’m
working on my fourth book, Cloud
Hotel, for Top Shelf. I also do lots of
illustrations for the Pho restaurant
chain – that’s my bread and butter.
design plus poetry, and I think that’s
absolutely true.
Dooley won in 2016 with Colin Turnbull: A
Tall Story, about a man who longs to win
Lancashire’s Tallest Milkman competition.
A classics graduate who works for
parliament’s education service, Dooley
has started his first graphic novel.
Why did you decide to enter the
I remember seeing the winning entries
the first year and thinking, Oh, I should
do that. I don’t have any formal art
background and hadn’t written a comic
before. I entered a couple of times and
heard nothing back, and then for two
years on the trot I got down to the last
eight, and then last year won it. It was a
gradual improvement.
They do. If you work out your page rate
against your advance, it sinks below
the minimum wage at times. It really
is a labour of love, unless you can sell
those film rights or luck out with lots of
What keeps you going?
I think the auteur nature of it, having
total control of everything – I don’t
have producers and designers telling
me what to do. And then you look
around and, month after month, the
bar is being raised and I want to be a
part of that. KF
I would say more than anything else
it would be sitcoms. There is as much
Father Ted in my comics as any other
comic. I do try to make comics that are
at least passably funny.
What’s your favourite graphic novel?
Probably Tom Gauld’s Goliath. I always
like a clever retelling of a well-known
story. I particularly love the portrayal
of Goliath as a reluctant soldier who is
far happier doing admin. ED
Once I’d won it, I thought I’d take a
punt and go part-time at work and
see what happened. I work for the
Houses of Parliament doing education
stuff. We run tours and workshops for
visiting school groups. I pitched an
idea to Jonathan Cape and, excitingly,
I’m doing a book with them. It’s a black
comedy about two ice-cream men who
are rivals and have a patch war.
Shortly after graduating from an
illustration course at Brighton University,
Greenberg won in 2011 with Love in a Very
Cold Climate in which, she says, “a man
from the north pole travels to the south
pole and falls in love with a woman there,
but due to the world’s magnetic field
they are forced to always stay two feet
apart from each other”. Her bestselling
debut graphic novel, The Encyclopedia of
Early Earth, was published in 2013. She
lives in London.
What is distinctive about the graphic
story form?
You won in 2011, but it wasn’t the first year
you’d entered the competition…
It rewards brevity and efficiency,
and I like that. There’s a cartoonist,
Seth, who said that comics aren’t
literature plus art, they’re graphic
No, I’d entered twice before and had
been a runner-up once. The year I won,
What effect did it have on your career?
So do the graphic novels feel like a labour
of love?
Aside from graphic novels, where else do
you seek inspiration?
Continued overleaf
The Observer | 05.11.17 | THE NEW REVIEW
¥ Continued from previous page
I really thought about how you can
tell a story in four pages. It’s tough to
achieve a satisfying plot arc and develop
characters in such a short space.
Had you always wanted to write graphic
Yes, but I didn’t think it was a viable
career. But the competition has been
amazing for me – I got an agent and a
graphic novel deal off the back of it.
What’s happened since you won?
My first graphic novel, The
Encyclopedia of Early Earth, came
out in 2013. After that I started
getting more work – I do quite a lot of
children’s illustration now. The second
graphic novel, One Hundred Nights
of Hero, came out last year. And I’ve
just started working on a new one. It’s
about childhood imaginary worlds.
Since you won, have perceptions of
graphic novels changed?
The market has expanded, but it’s still
not treated with anywhere as much
respect as novels are. Often it’s treated
like a genre rather than a medium – all
graphic novels are bundled together as
if they’re the same thing, when in fact
you’ve got autobiography, history, crime
and so on. It would help if schools had
graphic novels on their curriculum,
and literary prizes would feature them
more often. I don’t think they should be
seen as just books with pictures.
Do you read a lot of new graphic novels?
I recently read the new Joff Winterhart
book, Driving Short Distances. It’s a
really deadpan, tragic comedy, and
very funny. I think my favourite of last
year was Saving Grace by Grace Wilson
– the story of an art school graduate
trying to make it in London and survive
the exorbitant rental market here, so
obviously it spoke to me on some level!
What’s your favourite graphic novel?
It’s hard to pick a favourite. But one I’m
very keen on is Persepolis by Marjane
Satrapi. It’s a bit of an obvious choice,
but important to me as it was one of the
reasons I decided to make comics. KF
Brighton won in 2007, the first year of the
prize, with Away in a Manger, which she
says is about “two cheeky London girls
who do something they shouldn’t, which
is go into an old gentleman’s apartment”.
A former illustrator for newspapers
and journals, and the author of several
children’s books, she lives in London
and is working on her first full-length
graphic novel.
When you entered was it your first time
writing a graphic story?
I had done children’s picture books
before, and had just finished one on
Buster Keaton, but I’d never done a
graphic novel or anything with bubbles
coming out of people’s mouths. I was
ready to do something different.
THE NEW REVIEW | 05.11.17 | The Observer
What effect did winning the competition
have on your career?
I already had an idea for a book, so I just
kept going. I was a bit shocked when
I saw how long ago your competition
was, because I’m still working on it!
Can you tell me a bit about the book?
It takes place in Dayton, Ohio, in 1903.
It’s about a kid whose new stepfather
buys him a Brownie camera. He goes
off round Dayton, taking sneaky
pictures of people, and then he starts
spying on a couple of men who live on
the opposite side of his street. They’ve
got a great big work shed at the back,
and it turns out that these are the
Wright brothers, and they’re inventing
powered flight. I’m enjoying it.
What’s your favourite graphic novel?
Little Nemo 1905-1914 by Winsor McCay.
He produced these virtuosic images
once a week, playing with perspective,
scale, architecture and rumbustious
people and creatures. It’s humiliating, it
tempts me to give up. ED
An early-age educator from Merseyside,
Woods won in 2015 with The Giants of
Football, which was inspired by Sepp Blatter,
Fifa and “the farce of the World Cup going to
Qatar”. In his version of events, aliens are
making a bid to host the World Cup.
Had you written graphic stories before?
I’ve taught comics for over a decade
at the local community college and
I’ve done lots of kids’ workshops, lots
of small-press stuff. But nothing on a
grander scale.
Did winning the prize open any doors
for you?
Lots of people got in touch and some
small-press stuff I did 20 years ago
is being resurrected. I’m working
on several books. They’re all about
monsters: one is based on Frankenstein,
one’s a zombie story, another is a
retelling of Beauty and the Beast. I hope
they’ll be published some day but I’m
doing this because I want to do it.
What appeals to you about comics?
People compare comics to film
storyboards, but they’re completely
different. Storyboards are a blueprint
to which sound and motion are added.
Comics have a different grammar.
Absence is important: you can have
an empty panel and people can read
into it what they like. And you have the
space between panels, which is where
everything really happens – that’s
where the imagination takes over.
Are comics in decent shape in 2017?
Could be better. The audience is too
narrow, it’s too male, it’s too much of a
certain age.
What’s your favourite graphic novel?
Two I’m currently enamoured of
are Monkey Subdues the White Bone
Demon, beautifully drawn by Chao
Hung-pen and Chien Hsiao-tai, and
Moebius’s elegant and understated Sur
l’Etoile. A perennial favourite though is
The Six Voyages of Lone Sloane: Delirius;
I’ve never tired of it in 40 years. KF
After studying illustration at Middlesex
University, Wilkin won in 2012 with But I
Can’t, about two girls obsessed with alien
abductions. He lives in London.
What attracts you to the graphic
story form?
It all came from finding graphic novels
in the library when I was a teenager
and going: “Wow this is great, why
haven’t I heard about this before?” It’s
hard to do something original in prose
now, but with words and pictures and
design elements, it felt like there were
so many untapped possibilities.
What effect did winning the prize have on
your career?
Since then I’ve done a few science
comics and I’ve worked on a graphic
novel with the writer Greg Neri that’s
on its way to being published. It’s about
a trainer in the American horse-racing
industry who kidnaps a horse to stop it
from being raced to death and goes on
the run, her and the horse.
What was the main influence when you
were starting out?
Blankets by Craig Thompson was a
pretty big one, because of the way it
was drawn – it’s more like painting
than comics. I realised not all comics
have to look like Batman, they can be
more arty-farty. Another big influence
was Understanding Comics by Scott
McCloud. It breaks down the whole
process, what comics are and how
they work, and argues that they’re a
language in themselves.
What’s your favourite graphic novel?
Building Stories by Chris Ware. There
aren’t many things I’d call masterpieces,
but that is. It follows the tenants in an
old building in Chicago that’s being
converted into apartments, and in
particular it follows one young woman
throughout her whole life, jumping
around in time, tracking major events
but also insignificant ones. He sets the
benchmark for what comics can do. KF
McDermid’s colourful story about coping
with new motherhood, Paint, won in
2009. A semi-autobiographical tale, it
was created in snatched moments when
her baby was napping or at nursery.
McDermid, a fashion design graduate,
lives in Edinburgh.
What drew you to the prize?
I’ve never been a huge comic buff, but
I’d been reading a bit of Joe Sacco,
Chris Ware and Jon McNaught.
McNaught has done a book called
Dockwood – it’s very quiet, very visual
and I think I was drawn to his work
because it isn’t wordy. Then I just
felt the need to tell a story. I’d started
writing it before I even knew about
the prize, and then my dad sent me a
cutting saying “I just saw this in the
Observer”. It fitted perfectly with what
I was doing. It was luck, really.
Tell me about winning the competition.
I was in shock! We’d had quite a
difficult few years with our first baby
and the story came from that, from
a very personal place, and I wasn’t
expecting it to be out there. But
winning was very strengthening, and
has become a kind of beacon for me to
look back to if I’m ever feeling wobbly
about my work.
What have you been doing since you won?
Initially I spoke to Jonathan Cape about
doing a graphic novel, but as it turns
out, I just couldn’t find the time, and
I felt like I was trying to fit what I had
into the format of a graphic novel. So,
I put that on hold, then I was pregnant
with my second child and the next
wave of chaos came. Recently I’ve been
doing little paintings and working with
clay at home, and bringing the children
up. I also work at Garvald Edinburgh,
an arts organisation for adults with
learning disabilities. I love it.
Have your kids seen your winning entry?
My daughter is definitely aware of it –
my sister has it framed in her kitchen.
She kind of recognises that that was
her, and I think that’s really nice. IC
Collins, a freelance illustrator and
cartoonist, won in 2010 with In Room 208,
the tale of a couple whose honeymoon is
cut short by bad weather. He lives in Welwyn
Garden City and published his first graphic
novel, the New York Times bestseller The
Gigantic Beard That Was Evil, in 2013.
What are you working on now?
My second graphic novel, which is
taking a long time. It’ll be published in
2019. It’s quite an ambitious thing. It’s
going very well, but we’ve had three
children in the interim between my
first and second graphic novel, which
slows things down.
What’s your favourite graphic novel?
What do you remember about winning
the prize?
I started writing it on my honeymoon.
We were camping in the French Alps
and it was really raining. I remember
thinking, what would it be like if we
never got up? That was the germ of the
story. I didn’t think it would win but it
was a good challenge, and then it won,
and it was brilliant.
Was that your first graphic story?
I was an illustrator for seven years
and I had done some cartoon strips
for Prospect, but I’d never really done
much longer stuff. I was looking for a
bit of a change.
Did winning the competition have any
effect on your career?
Yeah, I got interest from Jonathan
Cape. I submitted an idea for a longer
story and that turned into a graphic
novel, The Gigantic Beard That Was
Evil. Also, the Guardian asked me to do
a strip for Weekend magazine, and I’ve
been doing that ever since. So it had a
lot of knock-ons. But one of the biggest
was confidence.
I remember sitting on a train out of
King’s Cross in 2008, reading Jimmy
Corrigan, the Smartest Kid on Earth by
Chris Ware for the first time, knowing
that this book was going to change my
life. It’s essentially a multigenerational
tale of dads and lads, but it’s so much
more than that – it must be the Great
American Graphic Novel. KF
This year’s winner, with If You’re So Wise,
How Come You’re Dead? (which you
can see overleaf), Freeman works as a
children’s book illustrator (The Toucan
Brothers, Digby Dog Delivers). She
graduated from Kingston University with
an art degree in 1999 and lives in London.
Have you always been into drawing comics?
They’re a fairly new thing for me: the
last couple of years. I’ve been making
my own, printing them and trying to
sell them at comics fairs. But it hasn’t
particularly gone anywhere until now.
Who are the cartoonists and comic
makers who have influenced you?
When I was younger, I wanted to be a
comic strip artist like Charles Schulz
[Peanuts] or Bill Watterson [Calvin and
Hobbes]. I love Pogo, by Walt Kelly, and
[French cartoonist] Claire Bretécher.
I love the movement in her figures. I
read those when I was too young to
understand about the sex in them.
What is it that appeals to you about the
form of comics?
It’s weirdly hard to answer that
question. I guess I’d say, with picture
books you have to be so selective about
the moments you choose to illustrate,
whereas in comics you can show such a
variety of expressions and movements.
I love the potential for comedy that
provides. It’s like being writer, director
and actor of your own small films.
What do you hope to do with comics in
the future?
I’d just love to do more – and to have
people read them. I feel like winning
this prize really might help with that.
I’m so pleased. It sounds cheesy, but
when I heard, it felt like a dream. RC
Interviews by Killian Fox, Emily Dixon,
Rachel Cooke and Imogen Carter
Tor Freeman’s If You’re So Wise, How Come You’re Dead?, overleaf ¥
The Observer | 05.11.17 | THE NEW REVIEW
THE NEW REVIEW | 05.11.17 | The Observer
The Observer | 05.11.17 | THE NEW REVIEW
Emily Jones (pen name Emilybob) has been named runner-up in the
Observer/Cape/Comica graphic short story prize 2017. Her entry can be
seen online, along with all previous winners and runners-up, by visiting:
Every fortnight the satirical magazine publishes a
selection of the best topical cartoons – but the
competition to be chosen is immensely tough.
Tim Adams visited Private Eye for an insight into the
often brutal business of drawing jokes for a living
very other Monday no more
than a dozen people spread
across Britain sit at desks in
their homes and try to come
up with that week’s funniest
joke. One of them is Robert
Thompson, a cartoonist
based in a village not far from Frome
in Somerset. “It’s like being on Bake
Off every week,” he says of his chosen
role in life. “You are all trying to make
the best sponge cake out of the same
ingredients. You can get real gag envy.
The others are always more brilliant.
But that does mean when you get one
chosen, it feels very rewarding.”
Fellow cartoonist Richard Jolley
(“RGJ”), who works in his loft in
north London, agrees. Like Thompson
he has been chasing the rewarding
feeling that results from getting a
topical cartoon into Private Eye just
about every fortnight for the past
25 years. None of the magazine’s
regular spot cartoonists are on
contracts or retainers, so the stakes
are quite high. “It’s strange,” Jolley
says. “As the week goes on you start
to hear phrases, and you know for a
fact the others are hearing them too.
A couple of weeks ago the phrase ‘sex
robot’ cropped up a couple of times
in the news or on the telly and you
immediately think: there has to be a
joke in that.” Jolley came up with a
robot with an on-off button and a line
about an on-off relationship. Not bad.
But he knew as he was sending it that
a rival would have something better.
Sure enough “Adam Singleton had
a bloke holding the pipe of a Henry
vacuum cleaner,” he recalls. “And
another bloke saying: ‘You’ve been
ripped off mate, that’s not a sex robot.’
Perfect. That was the joke I wanted,
but my brain never quite got there.”
That’s what the job is about.
“Cartoons are mostly people looking
blankly at absurdity,” Jolley says.
“It rarely hurts to have a dog looking at
it, too.”
Every other Monday Jolley and
Thompson and a few others send
their best thoughts into the offices at
Private Eye, where they are sifted and
judged. There can be few places in
our island nation more to gladden the
heart than the little Georgian terrace
in a side street in Soho in which these
decisions are made. When I visited a
week last Thursday, all the pages for
the next issue were laid out on a desk
in the downstairs art room. Each page
had its own cardboard backboard and
a little clear plastic wallet of possible
copy and jokes ready to be pasted on
to it. There were cutting boards and
scalpels and pots of glue, tools that
haven’t been seen in most newsrooms
for 20 years. What could possibly be
more fun?
The art room is the preserve of
Bridget Tisdall, who has been doing
Private Eye layouts for 30 years. She
shows me the little wire trays in which
the cartoons are filed. Probables and
possibles, Trump jokes and Russia
jokes and Brexit jokes paperclipped
together. She talks me briefly through
the cardboard pages of mostly white
space that is the coming issue.
However hard they try to plan, about
three quarters of the layout gets done
on the Monday they go to press.
Nick Newman is sitting upstairs in
the editor’s office, in the absence of
Ian Hislop, who is at a funeral. As ever,
Newman is wondering what to smile
at that week, and fretting a bit about
all that white space. He has worked
with Hislop ever since schooldays
and early forays in writing satire for
Spitting Image. A celebrated
cartoonist himself, Newman
tends to oversee the visuals
in the paper. They run maybe
50 cartoons in an issue, from
around 500 submissions.
Most, these days, come by
email but there are still a
few that arrive by hand, or,
quaintly, by fax.
“Luckily most of those
that come in on spec are
absolutely terrible and
can be easily dismissed,
THE NEW REVIEW | 05.11.17 | The Observer
lunatic ravings,” Newman says. “But
there are always some gems.”
They always know pretty much
what the cover should be, but a really
good one can add 50,000 readers.
Newman’s proudest recent cover was a
very simple joke: a pre-election Trump
pointing his fingers to his head like a
gun, with the line: “Vote Trump, it’s
a no brainer”. “The great thing was
that Trump tweeted it, saying ‘British
media gets behind me,’” Newman says.
Timing is everything with comedy,
especially with cartoons. The day
after Diana died it was press day.
Newman did what he felt was a “pretty
respectful” cartoon of the pearly
gates, paparazzi up on ladders taking
pictures over the top. “Even so, we
had a lot of cancelled subscriptions
over that,” he says. The heightened
sensitivities that used to be expressed
by monarchists now seem to come
from humourless “Ukippers or
Corbynistas”. They try not to be
chastened. “The great standalone
gag is like the last scene of a sitcom,
it makes you aware of a much wider
story,” Newman says.
You can see all these judgments of
editorial timing and propriety being
brought to bear in the current issue,
which went to press last Monday. The
big story of the week had become the
spreadsheet of sleaze disclosing MPs’
sexual harassment. Robert Thompson
came up with the best gag, which made
it on to the prime slot on the Eye’s
Street of Shame page: a Tory MP and
his assistant are looking in a sex-shop
window displaying several
large dildos. The
dildos are labelled
“Black Rod”,
“Big Ben”, and
“the Honourable
Member”. Richard
Jolley’s effort, two
pages later, was a
worthy runner-up:
a couple looking
up at the Houses of
Parliament and the
wonky hour and minute functions
of the Elizabeth Tower’s clockface,
groping for the time: “Oh look,” says
one, “wandering hands.”
Hislop and Newman obviously
decided they couldn’t put three dildos
on the cover but they used the essence
of both Thompson’s and Jolley’s gags
on the front page. “House of Commons
to relocate during building works,”
runs the cover line, above a photo of a
Soho sex shop.
What looks like the highly
commended entry in this week’s
unofficial national joke competition
went to Kathryn Lamb, whose first
cartoon appeared in Private Eye when
she was a student at Oxford in 1979,
and who has been submitting jokes
ever since. In that time she has raised
six children in Devon. When I speak to
her, she is out walking her dog. Most
of her gags, she says, start with a little
play on words; sheep often feature
“because of her surname”. Though she
has been doing this for a very long time
for a variety of publications she sounds
chuffed to have done an Eye cartoon
this week that “almost made the
cover”. (Her joke was a speech bubble
rising over the Houses of Parliament:
“What’s this about misconduct?” a
voice asks. “I have never met Miss
Conduct! Her allegations are entirely
false!” several voices from the back
benches reply).
Lamb is one of the Private Eye
regulars Nick Newman mentions
when I ask why cartooning seems a
male preserve. The other is the often
inspired Grizelda, whose work also
appears widely. Last week Grizelda
got into a Twitter spat with Tim
Benson, editor of Britain’s Best Political
Cartoons, over the fact his book did
not contain a single one by a woman
last year. “There are lots of female
cartoonists who publish online or draw
for the Morning Star,” Benson had
claimed, “but they are unpaid.”
“I looked at that and just thought
fuck off !” Grizelda says, in moderated
tones in her shared studio, when I
speak to her the following morning.
“This bloke had decided that the
only political cartoon that counts
is a large one on the political page
of a newspaper done by a man. He
completely dismissed all of us who
make a living doing pocket cartoons.”
She has no idea why no woman has
ever been asked to be a newspaper’s
editorial cartoonist – “you’d have to
ask the editors” – but it’s not for want
‘Drawing jokes in little squares
can be quite an isolating
profession.’ The contributors
interviewed for this article
offer their thoughts on the
cartoonist’s lot.
Kathryn Lamb, Ken Pyne,
Robert Thompson, Grizelda,
Richard Jolley
of applicants.
Lamb and Grizelda both came to
their obsession in a similar way. They
used to copy out the cartoons in Private
Eye as girls – Lamb was the daughter of
a diplomat and Private Eye was a little
slice of home in far-flung embassies;
Grizelda’s older sister used to get the
magazine and her mother encouraged
her to draw from it. They went
from there.
o one in their right mind, Robert
Thompson suggests, sits down
and thinks: “I’m going to make a
living as a cartoonist!” Most find
it having discarded all other options.
Richard Jolley read politics,
philosophy and economics at Oxford.
“Everyone else I was on the course
with has gone on to bugger up the
country,” he says. He had no artistic
training. He got a job in the Bodleian
library and started sending off
cartoons he did in his spare time.
Ken Pyne, who is based in north
London, has been sending cartoons in
to Private Eye since he was 20, 46 years
ago. After about five years of doing it,
he realised that he was pretty much
unemployable as anything else. “People
think political cartoons are about a
clever drawing of Jeremy Corbyn as
Napoleon or whatever. I prefer gags
that are funny, but humour is not in
vogue really is it? Newspapers are
frightened of upsetting anyone.”
In all the years he has been
submitting cartoons Pyne has never
understood what an editor likes.
“Generally you send a few in, and
include one that you don’t think is that
funny to make the others look funnier,”
he says. “Invariably it is the one you
thought was a dud that they use.”
Drawing jokes in little squares can
be quite an isolating profession. When
Arena made a documentary about
Private Eye cartoonists years ago they
focused on Kevin Woodcock, who
drew, surreally, for the Eye for 30 years
from the 1970s. “No one here ever met
him,” Newman recalls. “The Arena
piece featured only the back of him
disappearing into his basement flat.”
Woodcock killed himself in 2007.
The cartoonists I speak to stress that
it is a solitary rather than a lonely life.
Still, it is for that reason, Pyne suggests,
that the staple of cartoonists is the
individual on the desert island or the
psychiatrist’s couch. “Those jokes are
often self-portraits.”
Social media is mostly another
‘Cartoons are
mostly people
looking blankly at
absurdity. It rarely
hurts to have a dog
looking at it, too’
opportunity for a gag, rather than
a personal interest. “Private Eye is
now competing with the internet and
mashups and YouTube,” Newman tells
me, by way of explaining the relative
“maturity” of his cartoonists. “One
young guy who does things for us did
one of these mashups and it went
viral and got 45 million hits.”
I’m not quite sure what a mashup
is and I’m not quite convinced that
Newman is either.
Robert Thompson is equally low
tech. “I don’t even have a mobile
phone, I have never looked at Facebook
or Twitter. I have no interest in any
of that at all,” he says cheerfully. “A
gag written with a wax crayon is
as funny as one on a screen. Maybe
funnier. Where a lot of publications
go wrong, I think, is that they forget
what people loved about newspapers
and magazines,” by which he means
the quickness, the humour, the human
and tactile nature of it all, rather that
the platforms and the gadgetry and the
“One of my cartoons went viral
once,” Jolley says. “It was two art
galleries: the national portrait gallery,
upright, and the national landscape
gallery, on its side. It went round the
world, millions of views. I didn’t make
a penny from it of course. People say:
‘Why don’t you tweet your cartoons?’
Well, I will do that the day Twitter
starts paying me. Until then if I come
up with a good idea, I tend to want to
be paid for it.”
The cartoonists have different
methods of conjuring those ideas.
Mostly they agree that the best time for
cartooning is the morning. After that
the cares and complications of the day
muddy the clarity of thought required.
Long walks are good. And baths. The
problem with the job, Pyne says, is that
after a while you are never off it. “If
you go to a funeral you find yourself
constantly looking at situations
for cartoons.”
Deadlines concentrate minds. “You
can spend all day filling pages pulling
you hair out and then in the last five
minutes before deadline you have –
ding ding ding ding ding – five ideas,”
Grizelda says.
Mostly though, “you have to be
the kind of person,” Jolley argues,
“who, faced with something on the
news, their first thought is: ‘That
sounds like bollocks.’ Whatever is
going on in politics you are looking
for a way to cast that as happening to
some poor sod in an overcoat, with a
blank expression.”
Some of that expression seems
fuelled by the sadness of rejection.
Private Eye’s cartoonists steel
themselves in different ways to have
their jokes turned down, but it still
hurts. “Hit rate? I think I send in
a dozen each time. And hopefully
one will get taken,” Kathryn Lamb
says. “That never gets much easier.”
Thompson agrees. “It’s still painful, but
my recovery time has got quicker.”
And what about when it works out?
Well, they all say, in a cartoonist’s
life that is the best feeling around.
And if it’s not this Monday, then
another Monday, with its fresh seam of
national absurdity to mine, will arrive
soon enough.
The Observer | 05.11.17 | THE NEW REVIEW
Cambridge Theatre 02070877745
HER MAJESTY’S 020 7087 7762
Mon-Sat 7.30, Thu & Sat 2.30
QUEEN’S 0844 482 5160
The Musical Phenomenon
Eves 7.30, Mats Wed & Sun 2.30
ST MARTIN’S 020 7836 1443
65th year of Agatha Christie’s
Mon-Sat 7.30, Tues & Thu 3, Sat 4
Calls to 084 numbers
will cost up to
7 pence per minute,
plus your phone
company’s access charge
Observer readers
are twice as likely
as average to visit
To advertise please call
020 3353 3917
27 CDs & 6 DVDs
To see what the set contains
Phone 01954 268088
*Total Audience 2014
I D E A S , A N A LY S I S , G A D G E T S A N D B E Y O N D
A huge, extraordinary machine will soon
begin to study the elusive neutrino particle
in a bid to reveal some of the deep secrets
of the cosmos. Robin McKie reports
n the outskirts of Karlsruhe,
in south-west Germany,
engineers have buried a
giant, stainless steel device,
bigger than a blue whale,
inside the town’s institute
of technology. The machine
looks for all the world like a grounded
zeppelin or a buried blimp.
In fact, the apparatus is one of the
world’s biggest vacuum chambers. Air
pressure inside it is lower than that
on the surface of the moon and it has
been installed to help solve a single,
intricate problem: finding the mass
of the universe’s most insignificant
entity, the neutrino.
Every second, billions of neutrinos
pass through our bodies. The sun
sends trillions streaming across space
every minute. Uncountable numbers
have been left over from the Big
Bang birth of the cosmos 13.8 billion
years ago.
In fact, there are more neutrinos
in the universe than any other type
of particle of matter, though hardly
anything can stop these cosmological
lightweights in their paths. And
this inability to interact with other
matter has made them a source of
considerable frustration for scientists
who believe neutrinos could bring
new understandings to major
cosmological problems, including
the nature of dark matter and the
fate of our expanding universe.
Unfortunately, the unbearable
lightness of their being makes them
very difficult to study.
Continued overleaf
The Observer | 05.11.17 | THE NEW REVIEW
Section:OBS RW PaGe:22 Edition Date:171105 Edition:01 Zone:
Sent at 3/11/2017 17:50
‘We are now
moving into
¥ Continued from previous page
Hence the decision to build
the Karlsruhe Tritium Neutrino
Experiment, or Katrin. It is designed
to measure the behaviour of neutrinos
and electrons that are emitted by
the hydrogen isotope, tritium, in
order to uncover slight variations in
their paths as they fly through the
experiment’s vacuum chamber. These
variations should reveal precise
details about the neutrino’s physical
properties, in particular its mass.
“We have pushed technology to
the limit in building Katrin,” says the
project’s leader, Guido Drexlin. “Apart
from creating a near perfect vacuum
inside its huge chamber, we also
have to keep the temperature of the
tritium, which is the machine’s source
of neutrinos, inside the device to a
constant 30C above absolute zero. We
have also had to take incredible care
about the magnetic fields inside the
machines. Essentially, we have had to
demagnetise the whole building.”
It has taken more than a decade
of planning and construction to put
Katrin together. Its price tag, just
over €60m, has been met by the
German taxpayer via the country’s
state-funded Helmholtz Association,
with a further €6m chipped in by US,
Russian, Czech and Spanish scientists
who will have a minor involvement
with the project.
Final trials are now being
completed and full operations are
set to begin in June, though it will
take a further five years of gathering
data before scientists can expect
to have enough information to
make an accurate assessment of the
neutrino’s mass.
“Even then, we may have to go to
a second phase of operations to get
our answer,” says Drexlin. “We are
moving into unknown territory here.”
The neutrino was first postulated
in 1930, by the Nobel physics
laureate Wolfgang Pauli, to explain
the behaviour of other subatomic
particles during radioactive decay.
It took a further 26 years of search
before neutrinos were first pinpointed
INSIDE KATRIN How the hunt for the neutrino will unfold
During the decay of a tritium nucleus
into a helium-3 nucleus, a neutrino
and an electron are ejected
Tritium nucleus
Helium-3 nucleus
There is no way to directly measure
the mass of the neutrino but it can be
deduced by studying the energy
distribution of the electrons that are
emitted at the same time
Inside Katrin’s vacuum chamber, electrons
are channelled to flow very nearly
in the same direction by a
powerful magnetic field.
This is how it works...
1. Rear section
2. Tritium source
Responsible for monitoring and
calibrating equipment
Tritium is placed in a device known as a
windowless gaseous tritium source
in detectors and they remain
maddeningly elusive.
An illustration of their insubstantial
nature is provided by Canada’s
Sudbury Neutrino Observatory, where
a 1,000-tonne tank of heavy water is
used to stop some of the 10 million
million neutrinos that pass through it
each second. Of these, only about 30
are actually detected in an average day.
Three different forms of the particle
are now known to exist: the electron
neutrino, the muon neutrino and
the tau neutrino and until relatively
recently it was thought that none of
them had any mass at all. They were
the ultimate in ephemeral ghostliness, a
bizarre situation that was celebrated by
John Updike in his poem, Cosmic Gall.
Neutrinos, they are very small.
They have no charge and have no mass
And do not interact at all.
‘For my
are pretty
much nonnegotiable
on Bonfire
Nigel Slater
pages 28-33
THE NEW REVIEW | 05.11.17 | The Observer
3. Transport
4. Pre-spectrometer
Superconducting magnets surrounding
the pipe generate a field 70,000 times
as strong as Earth’s magnetic field
Further limits the number of electrons
that might scatter on residual gas
molecules in the vacuum chamber
The earth is just a silly ball
To them, through which they
simply pass,
Like dustmaids down a drafty hall
owever, in the late 20th and
early 21st century, scientists
started to uncover evidence
that suggested Updike was
not entirely correct in his claims
about the neutrino and that it did
have some mass after all. This work
culminated in experiments, carried
out separately by Takaaki Kajita,
from Japan, and Arthur McDonald,
from Canada, which showed that
neutrinos switch form as they travel
across space. For example, some of
the electron neutrinos emitted by the
sun are transformed into muon and
tau neutrinos as they hurtle towards
the Earth. The process is known as
neutrino oscillation.
“The discovery was crucial,”
Drexlin insists. “There is a
straightforward constraint in
cosmological theory that states that
only objects with mass can oscillate
between different forms in this way.
Massless particles could not change
in this way. So the inference is clear:
neutrinos must have mass.”
Drexlin recalls attending the
physics conference where the results
of these first experiments were
unveiled. “It was like a rock concert.
People were cheering and stamping
their feet – for a good reason. We
knew the universe would never be
the same again.” For revealing the
neutrino’s massive secret, Kajita and
McDonald were awarded the Nobel
prize in physics in 2015.
But if neutrinos have mass, exactly
how much do they possess? It is not a
trivial question, for as Mark Thomson
of Cambridge’s Cavendish Laboratory
points out, the precise result of such
a measurement could have critical
consequences. “Neutrinos have
mass but they remain staggeringly
insubstantial. They are still a billion
times smaller than any other type of
known subatomic particle. On the
other hand, there so many of them
that their combined masses could give
them cosmological significance. We
badly need to know what that mass is
in order to figure out how they might
affect the future of the universe.”
For example, if neutrinos prove
to be on the heavy side of current
estimates, then their combined
gravitation pull would effect the
expansion of the cosmos and slow
it down. However, if their mass is
on the light side, neutrinos, despite
their cosmological ubiquity, will be
unable to act as any kind of meaningful
MODERN ODYSSEY How Katrin took the long way hom
The voyage that brought Katrin’s main
component – its giant, 23-metre-long,
10-metre-wide vacuum chamber –
to Karlsruhe remains one of modern
engineering’s strangest odysseys. Built in
nearby Deggendorf, 150km north-east
of Munich, the 200-tonne, zeppelin-like
chamber was too large to be taken on
the 400km westward journey directly to
Karlsruhe, either by air or road. So engineers
were forced to take to the water, which in
turn obliged them to head east down the
Danube before sailing into the Black Sea and
then the Mediterranean, across the Bay of
Biscay and the Channel to Rotterdam. Finally,
it was taken down the Rhine to bring it close
to Karlsruhe. The 8,800-km trip took two
months. “It was dubbed Europe’s biggest
detour and you can see why,” says Drexlin.
It was also an eventful excursion. In
September 2006, not long after the ship
carrying the vacuum chamber had set off,
it was found its cargo was actually too light
to keep the boat low enough in the water
and so allow it to pass under the bridge
that crosses the Danube at Jochenstein.
“We had to buy 1,000 tonnes of rock and
gravel to weigh it down so we could get
under the bridge,” Drexlin recalls.
On 27 October, the chamber reached
the Black Sea. A few days later, as it
crossed the Sea of Marmara en route to
the Mediterranean, the ship was struck
by a storm. “The protective covers that
covered the chamber on deck were blown
away and its stainless steel coat was
exposed, raising the risk of salt water
corrosion,” adds Drexlin. “However, we
decided to proceed.”
Eventually the chamber reached
Rotterdam and was then taken up the
Rhine, which was by now at its lowest level
for decades. “We only scraped over the
river bottom by centimetres this time,”
says Drexlin.
Eventually, at Leopoldshafen, outside
Karlsruhe, the chamber was lifted on to
dry land, using one of the world’s most
powerful cranes, and placed on to a giant
trailer. “I was asked how many people
might come to watch the chamber being
Some 10 million million
neutrinos pass
through the lab’s tank
each second. Only 30
a day are detected
200 miles
brought to its final resting place,” says
Drexlin. “I said I thought about 300 would
turn up. On the day, 30,000 came. The town
ran out of food within an hour and we had to
ferry in 10,000 sausages to feed everyone.”
This final stage of the chamber’s journey
also proved to be the most nerve-racking.
“At some points, there was a clearance of
only 3cm between the chamber and the
town’s buildings,” adds Drexlin. The sight of
brake to the universe’s expansion.
Nor is this the only reason that
scientists are fascinated by the fact
that neutrinos have mass. “What is
so intriguing is that their mass is just
so much less than that of any other
particle – by a factor of a billion – which
suggests they must get their mass
from some other mechanism,” adds
Thomson. “All other particles get their
mass by attaching themselves to Higgs
bosons but the neutrino must do it by
a very different route. So there is some
6. The detector
By counting the number of electrons that make
it to the detector, physicists can precisely
measure the endpoint of their spectrum and
from that deduce the mass of the neutrino
1,200m 3
Capacity of Katrin’s
spectrometer tank
John Naughton
A neutrino is
5. Inside the spectrometer tank
Inside the huge vacuum chamber, electrons
spread out. Only those with the highest energy
make it past the electric force set up inside roughly one in 100bn reach the detector
times smaller than
an electron
of them pass through
each square cm of your
skin every second
High-energy electron
Electric force
Vacuum pump
23 metres
Top: the machine
inches through
Left: the long
route it took
through Europe.
Pete Guest
the great machine scraping its way through
the town is extraordinary: a spectacle
eerily reminiscent of a Hollywood alien
invasion film.
Eventually, the chamber reached its
resting place at the Karlsruhe Institute of
Technology. “It was filthy by now,” says
Drexlin. “So the first thing we did when
we got it on site was to clean it. We are
Germans, after all.” RM
other basic force that seems to be involved
and uncovering that would be a real prize.”
It is for these reasons that scientists
have struggled, over the decades, to find
the exact mass of the neutrino. First
efforts, made after the second world
war, placed an upper limit on its mass
at around 500 electron volts (ev). This
figure is about 1/500th of the mass of the
electron, itself a relatively tiny particle.
(Using a unit of energy to describe the
mass of an object may seem strange but
all subatomic particles are measured
Facebook is not listening
to the fake news furore
in electron volts, which can also
be used as a unit of mass because
energy and mass are convertible
concepts according to Einstein’s
E=mc2 equation.)
Since then, measurements, carried
out in Mainz, Germany and Troitsk
in Russia, have pushed this figure
further and further downwards with
the result that the upper limit for the
neutrino mass is now put at around
a mere 2 ev, about two billionth the
mass of the lightest atom. It will be the
task of Katrin finally to nail down a
precise figure.
This work will be carried out using
a small supply of tritium, an isotope
of hydrogen that has two neutrons
and a proton in its nucleus. (Normal
water has no neutrons in its nucleus.)
Tritium is made in nuclear reactors
and is extraordinarily expensive.
“A gram costs about €10,000 so
you do want to be careful with
stuff, particularly as it is also highly
radioactive,” says Drexlin.
It is this last feature – tritium’s
radioactivity – that makes it crucial to
Katrin. Tritium decays into an isotope
known as helium-3 by emitting an
electron and a neutrino. By precisely
measuring the energy (and therefore
the mass) of the electron as it flies
away from its tritium source it should
be possible to deduce the energy (and
mass) of the neutrino that is emitted
with it.
Superconducting magnets will
generate a field 70,000 times more
powerful than Earth’s and channel the
electrons into Katrin’s great vacuum
chamber towards a powerful electric
field. Only those electrons that have
the most energy will be able to get past
that field and be counted. These will
be the electrons that have taken almost
all of the energy from their decay from
a tritium atom while the neutrino will
get none. About one in every 5 trillion
electrons created by the tritium will
have this feature.
“These electrons will take up all
the kinetic energy of that aspect of
the decay of the tritium nucleus,”
says Drexlin. “The neutrinos that are
emitted will get none. All that will be
left in the equation will be the mass
of the neutrino that was emitted with
the electron. By taking very careful
measurements, it should then be
possible to calculate what is that
exact mass.
“It will take at least five years before
we can hope to get a realistic figure
and even then we might still not get
a result. We have various ideas about
what to do then so in the end we are
pretty sure we will find out what is the
neutrino’s mass. It is going to be an
intriguing voyage, nevertheless.”
ne of the most instructive
sights of the week was that
of representatives of Twitter,
Google and Facebook getting
a grilling from a US Senate judiciary
subcommittee on Capitol Hill. The
topic at hand? “Extremist content and
Russian disinformation online”, which,
translated, reads: how did Russian use
of social media affect the outcome of
the 2016 presidential election? The
committee chairman, Senator Lindsey
Graham, set it up nicely in his opening
statement by quoting what Trump had
said on Fox News on 20 October: “I
doubt I’d be here if it weren’t for social
media, to be honest with you.”
For three tech companies that, like
all of Silicon Valley, loathe and despise
politics, this was a nightmarish week.
I mean to say, there they were, at the
mercy of the low-IQ technophobes
of Capitol Hill, live on C-Span (the
congressional TV channel), something
they had lobbied furiously to avoid.
Their appearances were presaged by a
flurry of press releases and revelations.
The Russian exploitation of their
advertising machines that they had
once pooh-poohed was, it turned out,
much more extensive than they had
imagined. Facebook, for example, had
belatedly discovered that 126 million
people in the US may have seen posts
produced by Russian-governmentbacked agents on its site. Very devious
coves, those Ruskies.
A few things emerged from the
hearing. The first is that legislators
seem to be getting worried about the
power of the big tech companies,
especially Facebook. “How does
Facebook,” asked Senator Al Franken,
“which prides itself on being able to
process billions of data points and
instantly transform them into personal
connections for its users, somehow
not make the connection that electoral
ads, paid for in rubles, were coming
from Russia?” Good question, which
produced no answer from Colin
Stretch, the company’s general
Second, the legislators focused too
much on the Russian ads and ignored
what may be a bigger problem, namely
the 80,000 “organic” posts that
appeared in the news feeds of a third of
American Facebook users. These were
ingenious posts that appeared to come
from US users and carried messages
that, though not overtly political, were
Senator Patrick Leahy vents his anger at last week’s hearing with tech firms. Getty
designed to press emotional buttons
in a way that could have had a political
To a detached observer, though, it
looked like classical political theatre.
The politicians huffed and puffed
and kept an eye on their Twitter
feeds. There was much cant about
“finding solutions”. And the company
representatives mimed contrition but
yielded little ground.
All of which was predictable.
My guess is that nothing much will
happen. On the political side, the
Republicans who control Congress
have no intention of doing anything
to regulate the tech companies. Three
Democratic senators have put forward
a bill that would require the companies
to provide more information about the
political ads that they accept and run.
It’s called the Honest Ads Act, which
would make it the first oxymoron
to make it on to the statute book.
But its chances of progressing are
infinitesimally small, if only because
the midterm elections loom.
On the corporate side, nothing
much will happen either. Of course the
companies are promising to recruit
lots of people to help them stamp out
abuses of their advertising engines.
They are also investing heavily (they
say) in AI that will be smart enough
to outwit those fiendish Russians.
(Good luck with that.) The one thing
they will not do, however, is anything
that might undermine their business
models, which are, at least in the cases
of Google and Facebook, licences to
print money.
Just to emphasise that point,
Facebook has just released its results
for the third quarter of 2017. They
show that its number of “daily
active users” grew by 50 million to
1.37 billion. Its revenues are up by
47% from what they were a year ago.
And its share price now stands at $182
compared with $127 last November.
It will take more than a spot of public
humiliation at the hands of a few
senators to persuade them to switch off
a money-making machine like that.
Summing up: the companies have
no incentive to change their ways. And
there’s no real political will in the US
to make them. All of which perhaps
explains why Mark Zuckerberg wasn’t
on Capitol Hill but in China to meet the
great Thought Leader Xi Jinping. Now
there’s a politician worth sucking up to.
#72 LYS
What is it?
A clip-on tracker that
aims to “help you maintain
a healthy light diet” and
offers users “insights on
circadian stimulus”.
Good points?
Prompts you to expose
yourself to natural daylight and
avoid blue or artificial light.
Bad points?
£59 to be reminded to
walk on the sunny side
of the street seems like…
daylight robbery!
The Observer | 05.11.17 | THE NEW REVIEW
T V | R A D I O | A R T | T H E AT R E | M U S I C | D A N C E | G A M E S
about a boy
Deadpan humour meets full-blooded horror
in Yorgos Lanthimos’s bizarre drama about
a surgeon’s friendship with an odd teenager
The Killing of a Sacred Deer
(121 mins, 15) Directed by Yorgos Lanthimos;
starring Colin Farrell, Nicole Kidman,
Barry Keoghan
“That critical moment we both
knew would come someday – here
it is…” After the jet-black social
satire of Dogtooth, the role-playing
bereavement of Alps and the quasisci-fi tragicomedy of The Lobster,
Greek director Yorgos Lanthimos sets
his sights on something altogether
more unsettling. Segueing seamlessly
from the theatre of absurdity to
cruelty, he presents a tale of mythical,
methodical revenge that starts with an
ironic chuckle and moves inexorably
towards a silent scream.
Taking its titular theme from
the myth of Iphigenia, The Killing
of a Sacred Deer is a wrathful tale
of retribution and responsibility
transposed from the stages of ancient
Greece to the screens of 21st-century
cinema. On one level it’s a typically
arch dramatic conundrum, laced
with Lanthimos’s trademark offkilter artifice and deadpan humour.
On another, it’s a Saw movie for the
arthouse crowd, an increasingly
sickening hunger game driven by an
inflexible moral imperative, with a
whiff of medical misadventure.
Colin Farrell, star of The Lobster,
plays heart surgeon Steven Murphy –
wealthy, slightly world-weary and too
fond of a drink. An arresting opening
image of a pulsating heart operation
ends with surgical gloves being
dumped in the trash, symbolically
removing blood from the surgeon’s
hands – for now. Steven lives in a
grand, cavernous home with his
wife, Anna (Nicole Kidman, Farrell’s
co-star in The Beguiled), daughter
Kim (Raffey Cassidy), and younger
son Bob (Sunny Suljic). Their lives
are materially rich, but emptiness
prevails. Perhaps that’s what drives
Steven to meet up with Martin (Barry
Keoghan), a callow youth whose
relationship with the surgeon is
suspiciously unclear.
For a while, things progress in
familiar alienated fashion. The
dialogue is theatrically mundane –
discussions of watchstraps, lemon
cake and menstruation, delivered
in the monochromatic rhythms of a
It’s a Saw movie for the
arthouse crowd, an
increasingly sickening
hunger game driven by
a moral imperative
trance state. “General anaesthetic?”
asks Anna, before draping herself
across the bed in a comatose pose,
feigning unconsciousness for her
husband’s ritual pleasure.
Gradually, Martin inveigles his
way into this picture-perfect family
life, visiting the house, impressing
the teenage daughter. Later, Steven
meets Martin’s tragically needy mum
(a sharp cameo by Alicia Silverstone),
who tells him he has “beautiful
hands”, and insists pathetically that
“I won’t let you leave until you’ve
tried my tart!” The line gets a giggle,
but the laughter rings hollow. Slowly,
what seemed funny starts to become
weirdly frightening.
Lanthimos’s regular
cinematographer, Thimios Bakatakis,
accentuates the sense of dread as his
cameras creep and crawl through
hospital corridors, like the lurking
spirits in The Shining – all low-angle
There’s a scene in Norwegian director
Joachim Trier’s tense, slow-burning
thriller that takes place in an opera
house, with two girls sitting next to
each other in a packed auditorium. The
paranoid score swells, and one girl’s
hand slowly, deliberately begins to
graze her friend’s thigh. What begins
as a tiny frisson blooms into something
so fevered that the chandelier hanging
above them begins to swing, Brian de
Palma-style. As the erotic tension
mounts, you can almost taste
the electricity between
them. The girls are students
Thelma and Anja (Eili
Harboe and Kaya Wilkins,
pictured right), studying
at university in Oslo, new
friends exploring the magnetic
current that flows between them.
But for the shy, devout Thelma,
this overwhelming new connection
is heavy with shame. And so she
leaves, returning to her villainously
smothering parents on Norway’s
snowy west coast.
The teenage traps of repression and
loneliness are explored here through
genre – the spooky-movie sweet
spot where body horror meets erotic
thriller. The film parallels Thelma’s
sexual awakening with the onset of
violent, paroxysmal attacks, seizures
with no discernible cause. These fits
suggest supernatural possession,
female hysteria, or perhaps even
telekinetic powers depending on
how you want to read it, though Trier
doubles down on biblical symbolism,
interspersing the film with magical
realist images of birds, snakes, silvery
herrings and wriggling caterpillars that
give the film a fairytale edge. In one
maybe-real scene, Thelma is trapped
beneath the surface of a swimming
pool; in another a racy fantasy involves
being choked by a snake while a hand
slips into her underwear. Really,
Thelma is a modern look at
witchcraft, and an attempt
to solve the mystery of
whether she will choose
to be a good witch or a
bad one.
(116 mins, 15) Directed by Joachim Trier; starring
Eili Harboe, Kaya Wilkins, Henrik Rafaelsen
Murder on the Orient Express
(114 mins, 12A) Directed by Kenneth Branagh;
starring Kenneth Branagh, Michelle Pfeiffer,
Daisy Ridley
Kenneth Branagh’s film adaptation
of Agatha Christie’s 1934 novel is a
juicy fruitcake of a film (or, perhaps
more accurately, a Belgian iced bun:
a nostalgic pleasure, goes down easy,
irresistible on a Sunday afternoon).
Everyone’s favourite mustachioed
detective, Hercule Poirot (Branagh
himself ), has decided to take a
holiday to read Charles Dickens
and enjoy three days on the Orient
Express “without care, concern or
crime”. But, as we know, no good
deed goes unpunished, and a murder
inevitably occurs on board. Poirot sets
about solving the delicious, chewy
whodunnit, each of the train’s curio
passengers a potential suspect.
The ensemble cast comprises an
enjoyable mix of actor’s actors (the
brilliant Olivia Colman), British
institutions (Derek Jacobi, Judi
Dench) and Hollywood movie stars
(Johnny Depp, Willem Dafoe and
Penélope Cruz), with Michelle
Michelle Pfeiffer
in Murder on the
Orient Express.
Pfeiffer’s kittenish widow and Star
Wars heroine Daisy Ridley’s fiery,
principled governess the best of a very
good bunch. The whole thing works
especially well if you don’t remember
the book’s original ending (or Sidney
Lumet’s 1974 film), though it’s not
exactly spoiled if you do. Written by
Blade Runner: 2049 scribe Michael
Green, it doesn’t try (and so can’t
fail) to reinvent Christie, though it
does update her slightly, keeping the
opulent colonial trappings but having
characters call out the period’s racism.
There’s something endearing about
THE NEW REVIEW | 05.11.17 | The Observer
the film’s middlebrow purity (it’s
also a rare family-friendly 12A). It’s
classic Branagh: sweeping landscapes,
thundering score, capital-A Acting,
and, excitingly – at least for format
nerds like me – it’s shot on 65mm
film. Large-format film allows
for scope and scale, richness and
colour, and a tactility reminiscent
of the kind of British Raj films that
Branagh is explicitly throwing back
to. There’s giddy drama, too, in
knowing the Steadicam sequences
were created manually rather than
engineered digitally.
(92 mins, 15) Directed by Alexandre O.
Philippe; starring Walter Murch, Guillermo
del Toro, Jamie Lee Curtis, Bret Easton Ellis
This documentary about the shower
scene in Alfred Hitchcock’s Psycho
begins with an Edgar Allan Poe quote
(already a bad sign). “The death of a
beautiful woman is, unquestionably,
the most poetical topic in the world,”
it begins, desperate to locate lyricism
in the Master of Suspense’s enduring
fascination with dead blondes. But
Me and
my muse
page 31
‘A tale of mythical, methodical
revenge’: Colin Farrell, left,
and Barry Keoghan in The
Killing of a Sacred Deer.
Everett Collection/Alamy
prowls and ghostly high glides.
Thunderous music cues (including
bursts of Ligeti) crank up the cracked
tone, ominous and screechy. As black
comedy gives way to grand guignol, we
are reminded of the tortured games
that Michael Haneke once played
upon his bourgeois protagonists and
audiences. There are echoes, too, of
The Exorcist as children succumb to
mystery illnesses, leaving doctors
pontificating pointlessly about
the film simplistically explains
“the female body under assault” in
the horror genre as a backlash to a
changing postwar world, not daring
to question Hitch’s personal brand of
misogyny. More pretension abounds
– like Psycho, the film is shot in black
and white, calling on a celebrity cast
of talking heads that range from Elijah
Wood to Eli Roth to vainly analyse the
iconic scene. To witness the sequence
broken down in forensic detail is to
appreciate its economy of storytelling
anew, and to see its influence on
subsequent popular culture, but to do
so for 90 minutes might stretch even a
superfan’s patience.
A Bad Moms Christmas
(104 mins, 15) Directed by Jon Lucas and
Scott Moore; starring Mila Kunis, Kristen Bell,
Kathryn Hahn, Chrstine Baranski, Cheryl Hines,
Susan Sarandon
A Bad Moms Christmas is neither about
Christmas for Bad Moms, nor a Bad
Christmas for Moms. It is simply about
being a mum, at Christmas. “Why
can’t my husband buy his own mom
a Christmas present?” is this sweet
sequel’s thesis statement. Mila Kunis,
Kristen Bell and Kathryn Hahn form a
bawdy threesome; Christine Baranski,
Cheryl Hines and Susan Sarandon their
respective mothers. Baranski is too
controlling (“moms don’t enjoy, they
bring joy”), Hines too codependent and
psychosomatic symptoms in state-ofthe-art hospitals.
Observing it all is Martin, brilliantly
played by Keoghan to combine the
awkwardness of youth with the
suggestion of terrible power. At
times, Martin resembles a young
Norman Bates, wide-eyed and
unknowingly dangerous. Elsewhere,
he seems like a dorky descendant
of Ezra Miller’s eponymous teen in
We Need to Talk About Kevin, the
bearer of projected parental guilt.
Throughout, Lanthimos and regular
co-writer Efthymis Filippou leave us
tantalisingly uncertain as to whether
this intense young man is the architect
or messenger of forces beyond our
ken. When awful truths are revealed,
they are recited like cursed verse,
conjuring a fable-like sense of fate,
out of step with contemporary
concepts of choice.
It’s that clash between the ancient
and the modern, the farcical and
the fearsome, which gives The
Killing of a Sacred Deer its edge.
While the setting may seem at first
more “realistic” than the worlds of
Lanthimos’s previous films, any sense
of familiarity merely accentuates
the eeriness of the otherworldly
elements (Rosemary’s Baby author
Ira Levin would have appreciated the
juxtaposition). Similarly, the battle
between ice-cool irony and fullblooded horror remains perpetually
unresolved, leaving the audience
squirming with uncertainty when
things turn nasty.
Viewers will doubtless have their
own vastly differing reactions to this
bizarre drama. Farrell has said that
making the film left him “fucking
depressed”; others may be variously
amused or appalled. I veered between
being impressed, alarmed, confused
and creeped out. That, I suspect,
would make Lanthimos laugh.
Why remake
this classic?
The internet recently freaked out, as
the internet is wont to do, over the
news that US blockbuster machine
JJ Abrams is developing a liveaction remake of anime teen fantasia
Your Name (Anime Ltd, 12) – at last out
on Blu-ray and DVD after a year-long
wait. You can understand both the
defensiveness of fans of the original
and the covetousness of Abrams.
Makoto Shinkai’s whirling, wayout body-swap romance (pictured)
takes the high-concept premise of
a Hollywood exec’s dreams into far
dizzier, less disciplined realms of the
subconscious. It’s hard to imagine any
big studio-vetted remake meeting its
irresistible invention even halfway.
Initially, it’s all romping, gendercurious high jinks, as rural schoolgirl
Mitsuha and urban male teenager
Taki magically switch vessels, but
all hell (not to mention the heavens)
breaks loose in a second half that
recklessly bends time, space and
the environment, without drowning the
film’s gentle, coming-of-age concerns.
You can see here where Abrams’s
multimillion-dollar digital effects
will kick in, but there’s no guarantee
Shinkai’s airborne poetry will make the
transition. Discover it while it’s still in
uninhibited, drawn form.
There are more wild ideas – not
animated this time, though mightily
exuberant – in João Pedro
Rodrigues’s queer brainswirler The Ornithologist
(Matchbox, 15), a looselimbed interpretation of
the legend of St Anthony
of Padua that remains
pleasurable even (perhaps
especially) when it’s frankly
inexplicable. It follows the
wayward, erotically charged
trail of dreamy twitcher Fernando
after he goes off course in remote rural
Portugal. His ensuing misadventures
should infuriate stern Catholics and
tickle just about everyone else.
I wish I’d been left tipsier by Whisky
Galore! (Arrow, PG), a wholly unneeded
remake of the sprightly Ealing classic
that, for all its community-theatre
enthusiasm, could use a bit more soda.
I didn’t laugh much at the manic antics
of Bitch (Studiocanal, 15) either, though
that’s by design. Marianna Palka’s
spitting-acid feminist farce, in which
a put-upon housewife is driven to
literally barking madness by her lousy
husband, deals in the kind of black
comedy that catches in your throat.
The rerelease of the week,
meanwhile, is a big, brawny new
packaging of Sorcerer (Entertainment
One, 15), William Friedkin’s oncedismissed, now-exalted 1977 blend
of jungle-crunching action and
existential road-movie meditation.
It still sparks, as does its more
shadowy, sinewy 1953 French
inspiration The Wages of Fear
(BFI, 12), cannily also given
a smart reissue.
Another week,
another notable doc
premiering on Netflix.
Joan Didion: The Centre
Will Not Hold (Netflix,
12) doesn’t portray the
eponymous American writer
with anything like her own
lemon-tinged shrewdness, instead
surprising with its breezy affection.
Well, not that surprising: director
Griffin Dunne is Didion’s nephew, so
what this life study lacks in distanced
scrutiny, it gains in interior knowledge.
Didion gives as much as she wants
to give, and Dunne, well, plays it as it
lies. The film scoops up the smaller
details of a life and legacy, letting the
bigger picture emerge warmly, if not
completely, from them.
Sarandon like a teenager let loose, but
their clashing personalities form part
of the festivities.
The Silence of the Lambs
(114 mins, 15) Directed by Jonathan Demme;
starring Jodie Foster, Anthony Hopkins
Officially, the version of The Silence of
the Lambs back in cinemas is a new 4K
remaster, a tie-in with the BFI’s annual,
genre-specific touring programme.
There are other reasons to revisit the
1991 film though: to reconsider it after
director Jonathan Demme’s death in
April of this year (for my money, it’s
his best and most confident film), or
as context for David Fincher’s recent
Netflix show Mindhunter, which also
explores the idea of psychological
profiling. Not that one should need a
o watch a blockbuster
special reason to
horror-thriller ass breath-quickening
afted as this one. One
and elegantly crafted
of Demme’s great
skills is his sensee of
ces are
balance; set pieces
alternately propelled
by ratcheting tension
and slow, mounting
dread, while his
exquisite match
cuts between
keep the pace
‘Sweet sequel’:
Mila Kunis and
Christine Baranski
in A Bad Moms
Christmas. AP
The Observer | 05.11.17 | THE NEW REVIEW
TV + Radio
is the new
Netflix’s adaptation of Alias Grace is every
bit as mighty as The Handmaid’s Tale. And
Blue Planet II defies criticism
Alias Grace Netflix
Blue Planet II BBC1
Trust Me, I’m a Doctor BBC2
Bounty Hunters Sky 1
Man Down C4
Strike Back Sky 1
Another month, another Margaret
Atwood tale making it to the small
screen and, if there’s any justice,
getting us all talking, all enthralled,
once again. Atwood has hardly been
unacknowledged in the book world
– Kazuo Ishiguro recently said she,
not he, should have taken this year’s
Nobel for literature – but it is surely
splendid to see her work so richly and
newly imagined.
Her novel Alias Grace was written
21 years ago now, but could have been
written yesterday or, in fact, tomorrow.
A fictionalised tale of a real-life
slaying in 1840s Toronto might not
seem at first glance to resonate with
our own times, but there are huge
themes explored here – suspicion of
immigrants, abortion, even democracy
itself, in the shape of class-war
rebellion – that could not be more
relevant. Atwood is a true visionary,
as was shown in this year’s Emmymagnet adaptation of her 1986 novel
The Handmaid’s Tale: but, crucially, if
Handmaid showed what could happen
to women in the future, Alias Grace,
dramatised in six parts, shows what did
happen to them in the past.
Which might make it sound all
rather solemnly worthy-preachy,
for which my apologies. It’s not: it is
utterly, splendidly watchable, and as
much fun as anything about a jailed
killer has any right to be.
The framing is relatively simple:
Irish immigrant housemaid Grace
Marks, in prison for having aided
in the murder of her master and
his housekeeper, begins a wary
relationship with the jail’s new doctor,
an early head doctor who for once
doesn’t want to strap her like a rat
in electrodes or nail her to a chair,
but simply listen to her story. The
languidly pretty young doc listens
away, and it’s quite a story: Grace,
tenderly quilting throughout – and
goodness we do learn much about
quilting and the differences between
a Job’s tears pattern and an old maid’s
puzzle; it’s actually entrancing – is by
turns caustic, slippery and endearingly
honest as we watch her life opened up
in lengthy flashbacks.
She is, it turns out, an unreliable
narrator – Atwood, smartly, gave no pat
answers as to Grace’s guilt – but you’ll
have head-scratching fun teasing out
the lies from the truth, so seamlessly
have they been together sewn into
the patchwork. Yet some truths are
self-evident – the sea voyage on which
her mother dies, the decks slippery
with vomitus; the near-love affair with
spirited servant Mary Whitney, who
bleeds to death after a botched abortion.
It’s a Canada-heavy, female-heavy
production. Alongside (obviously)
Atwood, the adapter is Canadian
actor/director/activist Sarah Polley,
the director Mary Harron (American
Psycho), and it is quite gorgeously
realised, the landscapes and leaves
and brutality. The entire cast are
seldom less than enthrallingly good,
but the best young Canadian involved
is Sarah Gadon, who interprets Grace
throughout with, somehow, a timorous
yet impertinent and, ultimately,
life-loving… grace. I defy anyone to
end this series not a little in love with
Gadon’s Grace, be she murderess or
not. Quilty or not quilty.
In a later episode, Grace quizzes
another servant, Sally, about rumours
Sarah Gadon, ‘timorous yet impertinent’ in Alias Grace. Sabrina Lantos/Netflix
There are huge themes
here – immigrants,
abortion, democracy
itself – that could not
be more relevant
Greg Davies in Man
Down: ‘filthily funny’.
enough to defy all criticism other than
the magnificently picky. Wasn’t that
four-millionth Norway herring slightly
out of focus? It’s like people criticising
Leonardo because he couldn’t play
the spoons. Some people must simply
wake every morning with their only
goal being to take offence.
There will possibly be a cure for it.
Hidden inside an otherwise rather
annoying – jaunty music, whizzy
graphics, sigh, we’re old enough to be
trusted with facts rather than lookylooky shiny-shiny coin-coin – Trust
Me, I’m a Doctor, a one-off dealing
with mental health, there was a tiny
section in which surgeon and author
Gabriel Weston revealed astonishing
advances – a breakthrough finding
based on entirely medical rather than
psychological symptoms – in the
treatment of schizophrenia and, quite
possibly, depression. Elsewhere, the
ever-dependable Michael Mosley took
charge of a rather decently
decent wide study
into why one in six in this country
iis currently
currently suffering depression
The were
and/or anxiety. There
nearly 70m antidepressants
prescribed last year in the UK.
Which makes me gloomy.
stres The
blamed stress.
answers are harder
to find. Can you “eat
yourself happy”?
resounding “no” to this,
soc media to
yay. Is social
blame? A limp “no”,
yet the jury’s still
O of three
out. Out
mindfulness), calibrated with care
over weeks, with cortisol levels in the
saliva measured to gauge effectiveness,
it emerged that “mindfulness” was the
out-and-out winner. Cue bafflement,
but maybe I’ll give it a go. Yet maybe
not, life’s too short and I’m an atheist.
I find walking on long beaches and
listening to Radio Stupid Euan a help.
Two comedies I didn’t find room
for last week. Bounty Hunters, Jack
Whitehall’s crime/revenge fantasy,
is grand fun. There’s an obvious yet
still delicious frisson to be had in
the juxtaposition of Rosie Perez’s
angry Nuyorican finding herself in
Wimbledon with Whitehall, his tiny
electric car and his PhD in Flemish
tapestry: much class war, some laughs,
more missed chances. Man Down, the
Greg Davies vehicle, is ultimately
funnier, more surreal, more grown-up.
It’s suddenly struck me that the title
(and the titles, which feature Davies as
a puppet, having his strings suddenly
cut) is double-edged: it’s a rejoinder to
being told to “man up”. Scatological,
and scattergun in parts, he’s aided by
a tremendous cast: filthy, but often
filthily funny.
I don’t necessarily want to say that
Strike Back is just a humongous squirt
of rhino jizz. I would like to be able to
say that this “high-octane drama based
on Chris Ryan’s bestsellers” is, as it
turns out, a subtle and wise exploration
of Middle Eastern politics and legacies
a timely century on from the Balfour
Declaration, in which a sharp team of
defenders of western values engages
with history rather than shooting the
bejesus out of it. But it is, actually, a
humongous squirt of gung-ho rhino jizz,
Rambo with a nasal estuary accent.
sleep paralysis. In her case, she
sometimes imagined that someone, a
burglar or a rapist, was in the room with
her, which must be really disturbing.
Apparently another common symptom
is believing that someone – often a
demon – is sitting on your chest.
This, as Christopher French,
professor of psychology at
Goldsmiths, noted, was
the inspiration for Henry
Fuseli’s famous painting,
The Nightmare (left),
of a blond maiden lying
on her back with an
incubus planted on her
midriff. The explanation
for this sensation, French
suggested, is that in sleep
paralysis we’re unable to take a
deep breath, so it feels as if someone
or something is sitting on our chest.
But why do we get sleep paralysis? Put
simply, it occurs when our brain wakes
up but our body doesn’t.
If that doesn’t make you want to
climb into bed for a relaxing nap, there
is also a condition called “exploding
head syndrome”. I thought that was
associated with listening to Thought
for the Day, but it’s actually, as French
put it, “a thing, a genuine thing”. This
delightful phenomenon arrives when
you’re drifting off to sleep and you hear
– or think you hear – a loud noise, often
a scream or a door slamming, and see a
blinding flash. No need to worry if you
get this – it’s just an hallucination.
The mind, alas, is not always to be
trusted. A recent study showed that
people who are inclined to see patterns
in paintings where no pattern exists
are also more likely to believe in the
paranormal and conspiracy theories.
So the next time someone tells you a
terrorist attack is a false flag operation
conducted by the secret state, pull out
an image of a Jackson Pollock painting
and ask them to join the dots.
Impotential focused on the
malfunctioning of the body,
specifically that small part of it that
looms so large in male self-identity:
the penis. It was a programme about
erectile dysfunction, something that
afflicts one in 12 males and 30% of
those over 65. “You could hit it with
a chocolate whipping stick,” said
Graham, “and nothing’s going to
What is a chocolate whipping stick?
Presenter Petra Boynton wisely chose
not to explore this question. Instead,
she spoke to several men with differing
experiences of flaccidity. Some had lost
their erections owing to operations
that had removed their prostates, while
others were subject to psychological
stress. Feme was badly beaten as a child
by his father with an umbrella for the sin
of having been aroused by his father’s
extensive pornography collection. His
mother was the informer. “Looking
back,” he said, “that probably did have
some kind of effect on me.”
You could say that again. This is
where the dualism breaks down, because
an attack on the body is always, first
and foremost, an attack on the mind.
over the suitability (harmfulness/
touchiness) of her next master.
“Nothing the world at large would
call harm,” Sally replies: infuriatingly
patchworked nonsense, said to a lass
who’s just seen her best friend die,
leaking blood, woefully inseminated
by a posh, pampered prick with whom
she was unaccountably in love. In
our appallingly febrile times, it’s an
essential reminder of real harm, and the
principles of gutsy feminism, Atwoodstyle, than which there are few better.
A brief word about music: the score
here, by Jeff and older brother Mychael
Danna, only serves to emphasise,
never to intrude; much iss genuinely
n much online
beautiful. There has been
wheedling about Hans Zimmer’s
“intrusive” score for the other obvious
ue Planet II. I
highlight of the week, Blue
hich is – sorry,
didn’t really notice it, which
Mr Z – pretty much the point. To
me, wrapped and rapt in the
wrasses, or the orcas slapping
herring, or the dancing
surfing dolphins, or simply
the tower-block waves
crashing, slo-mo ethereal,
off New Zealand, this, and
(crucially) the story of itss
filming, was magnificentt
Demon on
your chest?
Dream on…
All in the Mind R4
Impotential R4
The mind and the body – it’s a dualism
that we can’t escape, even on Radio 4.
Particularly on Radio 4. All in the Mind
returned with Claudia Hammond for
a kind of unintentional Halloween
special. The lead subject was sleep
paralysis, a condition suffered by
around one in 20 people. It’s the
sensation that you are awake but
can’t move. I’ve experienced
it a handful of times myself,
once most severely many
years ago on my own in a
flophouse in Costa Rica. I
woke but my body wouldn’t
move. I was also aware that
I couldn’t speak. No one in
the world knew where I was.
And I had a sudden fear that I’d
be stuck, paralysed, in a cheap hotel
room in San José for ever.
A few seconds later, my body
came joltingly alive, as if I’d been
convulsed by an electric shock. It
was a deeply unpleasant experience.
So I sympathised when one sufferer
spoke of her serial problems with
THE NEW REVIEW | 05.11.17 | The Observer
Miranda Sawyer is away
It’s all about the Monets
One glowing gallery
of the artist’s Thames
paintings is the sole
highlight of Tate
Britain’s latest show.
Elsewhere, things
aren’t as colourless
as they seem…
Impressionists in London
Tate Britain, London SW1; until 7 May
Monochrome: Painting in Black
and White
National Gallery, London WC2; until 18 Feb
Reader beware. Impressionists in London
is a blatant misnomer. I have never
seen a show with a more misleading
title. Many of the works here are not
by impressionists; some precede or
postdate impressionism; still others
are pedestrian or bafflingly irrelevant.
London may be the defined location,
with familiar views of Hyde Park,
Piccadilly and Leicester Square
throughout, but the art itself is all
over the place.
It opens with a thunderclap: Paris
in the last days of the Commune
and the Franco-Prussian war. Doré
paints the scene in 1871 – starvation,
blood in the snow, bodies heaped in
alleys as the capital burns. Manet
draws dead fighters in the boulevards.
Tissot captures the casual execution
of communards, tossed into death pits
like dolls. It is from this horror that
several French painters, notably Monet
and Pissarro, escape to England.
But the show doesn’t go with
them, at least not yet. It dwells on
Corot’s strange (and startlingly
uncharacteristic) vision of Paris as a
goddess rising from the flames; and
on the destruction of the Vendôme
Column, for which Courbet was
unjustly blamed. It takes an interest in
the new vogue for ruins tourism. My
sense is that the curators might have
preferred to dwell on these historic
convulsions and their effect on French
art. But alas they must drag themselves
away to Sisley’s stolid regattas at
Hampton Court and Pissarro’s early
attempts at impressionism in suburban
Norwood and Sydenham.
Still they find ways to delay. A
whole gallery is devoted to Tissot’s
high society scenes, which paid for
a substantial residence in St John’s
Wood. I’ve always thought Tissot
might be underestimated. But this
mini-retrospective shows him as glib
and complacent, a weak draughtsman
boosting his sitters with flash,
superficial details. Another room is
inexplicably devoted to Alphonse
Legros, whose soup kitchen in the
manner of Caravaggio’s Supper at
Emmaus is the absolute antithesis
of impressionism. Beyond it, more
unaccountable still, is a clutter of white
marble busts by the second empire
sculptor Carpeaux.
It’s true that all these artists visited
London; true but insufficient. This
show has nothing to say about the
influence of Constable or Turner on
19th-century French art; of London
fog; of the great thoroughfare of the
Thames seen through smog or by
moonlight (though three magnificent
nocturnes by Whistler are included);
nothing to reveal, in fact, about
the city’s place in the evolution of
But that was a false promise in
the first place. For every scudding
Clockwise from top left: Houses of Parliament: Sunset, 1904; Sunlight Effect, 1903; c1900-1; and Effect of Sunlight in the Fog, 1904 by Claude Monet. Kaiser Wilhelm Museum; Brooklyn
Museum of Art; Art Institute of Chicago; Musée d’Orsay
For every transcendent
Monet there are half a
dozen hack depictions
of open-top buses in
London rain
Gerhard Richter’s painting of Helga Matura
with her fiance, 1966. Institute for
Newspaper Research, Dortmundl Gallery
Pissarro there are two postcard
scenes by Giuseppe de Nittis, showing
sandwich-board men advertising
cheap lunches in Trafalgar Square. For
every transcendent Monet there are
half a dozen hack depictions of opentop buses in London rain or smokers
adding their own fumes to the rolling
fog on Westminster Bridge.
Halfway through, and still without
a masterpiece in sight, visitors may
be able to see a bottleneck developing
some way in the distance. This will
be the queue for the show’s one
unqualified triumph: nine of Monet’s
scenes of the Thames brought together
from collections across the world in a
single glowing gallery. This is the final
– the only – climax.
Here are the Houses of Parliament
melting in the rays of a dying sun,
or flaring up resurgent, blue and
turquoise. Here is Charing Cross
Bridge, stretching over gold and silver
waters, and looking strangely similar
to the bridge in Monet’s garden at
Giverny. London has become an
apparition, out of focus, all its hard
architectural surfaces now softened by
light; the city as a grand if momentary
hallucination. Of course it is still there,
still visible, but less as a subject than as
a theatre for Monet’s impressionism –
for the ever-changing performance of
paint and light.
Impressionists in London takes
thrift to extremes, while counting on
Monet (the show’s poster-painter)
for dependable profits. The better
exhibits are mainly old favourites
from British museums, specifically
the National Gallery and Tate Britain
itself; the worst are deservedly littleknown. Though there are nearly 100
works on display, the pictorial outlay
still feels small.
With half the number of paintings,
the National Gallery’s Monochrome:
Painting in Black and White is
nonetheless wider and much more
experimental. This is the first time
one-colour painting has ever been
the subject of a survey, and nor is
that colour always black or grey. The
first exhibit is a colossal depiction of
the Agony in the Garden, with Judas
hanging himself in despair in one
corner, painted by a 16th-century
Genoese artist in white on indigocoloured cloth. This particular colour
was invented in Genoa – or Gênes, as
it’s known in French, hence “jeans”.
Why paint in one colour? The
images here offer many explanations.
Perhaps it is to be grave, showing
darkness visible, like Rembrandt, at the
terrible moment of Christ’s death; or
to be melancholy, like the 19th-century
French painter Eugène Carrière,
painting a mother nursing her suffering
child in doleful sepia. Perhaps it is
to project a sense of documentary
truth, like Jan van Eyck depicting
Saint Barbara appearing right now,
as it seems, in some Belgian city; or
its opposite, in the case of Gerhard
Richter’s blurred painting of a news
photograph showing a woman and the
fiance who will very soon murder her.
How are we to know what will happen,
or has already – the image, and its
truths, are held beyond our grasp.
Grey is the colour of indifference,
according to Richter; yet not so for
Giacometti. A portrait of his wife
Annette, blade-thin and fragile, only
just emerges from the viscous grey
paint into which it simultaneously
recedes. She is here and yet anxiously
remote. Dürer draws a ghost figure
out of white paint on grey, a woman
seen from behind wearing a veil of stiff
fabric, spectacularly registered in all
its gauzy grain. Ghirlandaio makes
a white figure emerge out of black
gloom, as if showing the power of light
to reveal the world.
This could have been a dull show –
literally colourless. And some themes
are a little dry or academic, such
as the use of monochrome paint to
depict real or imaginary carvings in
marble, or the impact of one-colour
prints on the history of painting.
There’s a bit of cheating too – several
black-and-white prints, photographs
and drawings use up valuable wall
space that could have been given to
paintings instead. Why bother with a
sea photograph from 1857, no matter
how miraculous a feat in those slowexposure days, when you can have a
stupendously cold and lonely seascape
in black and white by the Norwegian
painter Peder Balke?
Almost inevitably, the show grows
more fascinating with modern times,
when monochrome is no longer used
for preparatory sketches or grisaille
altarpieces, but for its own sake. From
Josef Albers’s geometric abstraction,
where grey on grey nonetheless
implies light at the end of the tunnel,
to Frank Stella’s terrific all-black maze
conjuring the urban grime of Harlem,
monochrome becomes lyrical, poetic.
By now it is apparent that painting in a
single colour may equally be emotional
or religious, as likely philosophical
as moral or atmospheric. In short,
that one colour makes and means far
more than itself. And the show closes
with an immersive installation by
Olafur Eliasson to illustrate the point.
Powerful sulphur-coloured lights turn
everything yellow, while rendering us
black and white in the process. Yet we
do not lose our infinite variety.
The Observer | 05.11.17 | THE NEW REVIEW
Chocs away for Emma Rice’s farewell fling
Romantics Anonymous
Sam Wanamaker Playhouse, London SE1;
until 6 Jan
The Slaves of Solitude
Hampstead theatre, London NW3;
until 25 Nov
Emma Rice ends at Shakespeare’s
Globe as she began. Saucily. With a
mix of old and new, borrowed and
blue. Romantics Anonymous, her final
production as artistic director may be
based on a 2010 French-Belgian movie,
but it is entirely new as a stage work,
and is the first musical to be put on
in the ever-glowing Sam Wanamaker
Playhouse. The story of a “chocolate
savant”, an inspired confectioner who
sets out to “break the mould” of a
traditional chocolate firm, owned by the
man she loves, may come on beaming
and winsome, but it contains more than
a nod to Rice’s tussles while breaking
with established practices at the Globe.
It is full of larks: handlebar moustaches
twitch beneath berets; neon signs light
up at the click of fingers; lovers are
hoisted high above the stage, gleefully
somersaulting, in a tribute to one of
Rice’s earlier romantic shows, The
Flying Lovers of Vitebsk. Yet, like the
fairytales that Rice loves, Romantics
Anonymous is veined with sadness and
‘Outstanding’ Joanna Riding with Joe Evans
in Emma Rice’s Romantics Anonymous.
difficulties. After all, as the heroine
points out, chocolate is not simply
sweet; what makes it so special is the
ripple of bitterness beneath the surface.
Michael Kooman’s music and
Christopher Dimond’s lyrics banter
and scamper and dip into melancholy.
There are echoes of Satie and of honkytonk, wheezes (not too many) on the
accordion, swoops of woodwind and a
few teases: “One rule we must enforce/
Don’t think about sexual intercourse.”
Among a nimbly multitasking cast,
Joanna Riding is outstanding as she
turns from grumping to vamping. First
a hairnetted overseer, later a blowsy,
embarrassing mother in ooh-la-la
leopard-skin stilettos and black bra.
Rice’s shows have always welcomed
the odd and awkward as well as the
chic and sexy. A touching comic
scene features a support group for the
socially ill-at-ease – the “romantics
anonymous” – mumbling intelligently
in bobble hats and over-large sweaters.
Hero and heroine are not just inhibited
but poleaxed by shyness. As the
lovesick hero, Dominic Marsh – jumpy
and appealing as a young rabbit – is so
drenched with nervous sweat on a date
that he keeps going into a restaurant
lav to change his shirt. Carly Bawden –
one of musical theatre’s lovely lights –
reads her dining companion questions
from index cards, and swoons when
anyone looks at her. That is not what
you expect from a sweet-singing
heroine. Emma Rice does not give us
the expected. In letting her go, the
Globe has lost a generous spirit.
Embarrassment and anxiety also
shiver through The Slaves of Solitude,
Nicholas Wright’s adaptation of Patrick
Hamilton’s 1947 novel. Don’t they
shiver through most people’s lives?
Hamilton is often called a “minor”
writer, but I think there is some
snobbery in that. True, he did not write
Hamlet; nor did he write about men
and women of action, but the outer
world is mapped on to the inner lives
of his characters with extraordinary
intricacy. His writing, both novels
and plays, is full of reverberations.
Fenella Woolgar,
delicate and sharp,
plays a woman
wobbling on
several brinks
It even has consequences. Not
many playwrights have supplied
the language with a new verb: but
Hamilton gave us the increasingly
useful “gaslighting”.
Set in a boarding house on the
Thames, The Slaves of Solitude
powerfully suggests how civilians in
the second world war might suffer a
blackout of the soul. Jonathan Kent’s
production captures some sense of
this some of the time. Tim Hatley’s
design, with aptly dim lighting by
Peter Mumford, slides translucent
screens between scenes, as if to cut
the characters off from themselves.
Fenella Woolgar, an actress so fine
that she makes her face look utterly in
period, is both delicate and sharp as the
central character, a woman wobbling
on several brinks: of middle age, of love
(for an American soldier), of despair, of
violence. Clive Francis is unforgettable
as the boarding house bully, spilling
over with vicious joviality and florid
circumlocutions: “did’st thou imbibe
mighty potions to pursue the great god
Bacchus in his unholy rites?” He is a
ghastly reminder that not all abuse is
overtly sexual.
Still, I think Wright is mistaken
in thinking that the melodrama of
Hamilton’s plays has a place in The
Slaves of Solitude, in which the darkness
is foggy, and the more sinister for
being only half acknowledged. He has
given the story a thriller-like opening,
overemphasised the grotesqueness
of the heroine’s brilliantly ambiguous
female adversary, and made the last
scene into a failed romantic encounter.
That is to narrow the effect of a subtle
work. It is good to see Hamilton staged,
however partially, but this should not
be the final version.
THE NEW REVIEW | 05.11.17 | The Observer
The original
kitchen sink
A Guildhall staging of Menotti’s The Consul and
Royal Opera’s revival of Lucia di Lammermoor
have more in common than you might think
The Consul
Guildhall School, Silk Street theatre,
London EC2; ends tomorrow
Lucia di Lammermoor
Royal Opera House, London WC2;
in rep until 27 Nov
Gian Carlo Menotti’s life (1911-2007)
reads like a cocktail of his own operas.
First composition: aged five. First
opera: aged 11. First seance: in his
school holidays. Retaining a sense of
the mystical, he compared composition
to water divining: wait for the stick
to start trembling, then dig. Menotti
made a fortune thanks chiefly to his
TV opera for children, Amahl and the
Night Visitors (1951), commissioned
by the US network NBC, and ended
his days as laird of a glorious Scottish
Palladian mansion in East Lothian.
Why Scotland? Because of the wind,
the rain, the cold, which he loved, and
so he could be “completely cut off from
my past. It was a desire to find a place
where I could hide.”
That alien sense of identity came in
part from being an Italian in America,
an American in Italy, and gay when to
be so was illegal. That statelessness is
central to The Consul, Menotti’s first
full-length opera, about a political
dissident in an unnamed totalitarian
country, oppressed by bureaucracy. The
work has been given a rare staging by
Guildhall School of Music and Drama’s
excellent opera department, conducted
by Timothy Redmond and directed by
Stephen Medcalf, last performance
tomorrow. The relevance of its subject
matter hardly needs stating.
Menotti wrote The Consul,
libretto too, in the late 1940s at the
start of the cold war. It was first
performed, to great acclaim, in 1950
on Broadway. He’d have liked Maria
Callas. She wasn’t available. That gap
between composition and premiere
is significant. Creating tuneful,
well-honed music in a post-Puccini
vein, Menotti has never fitted any
category except his own. This has led
to exaggerated sneering, particularly
from green-eyed avant gardists whose
music may be more interesting but has
not bought them stately homes.
Little account has been taken of the
ways in which Menotti was skilful,
fertile and, for someone written off as
conservative, often ahead of the game.
The consul of the title is a Godot-like
figure (ahead of Beckett’s 1953 play,
which still only existed in his notebook)
who never appears. The opera’s
opening scene is domestic: a young
wife, Magda, husband John, their
baby and his mother share a brittle
The music is effective
rather than memorable.
It’s not Bach, but nor
is it Offenbach, as
Menotti said himself
conversation in the kitchen where,
yes, there is a sink. Call it kitchen sink
drama if you like, but at least give
Menotti credit for being several years
ahead of that term’s common use.
There’s also a touch of Brecht, a
bizarre dream, a comic interlude
with a magician (expertly sung and
prestidigitated, in the second of
two casts, by Daniel Mullaney) and
a waltz sequence. At the start the
music is anaemic, yet it grows more
interesting as the score unfolds, with
‘Heartfelt conviction’: Lucy Anderson, left, as Magda and Chloe Latchmore as Mother in The Consul. Photograph by Clive Barda
eerie, menacing woodwind effects
and a prominent, earthy piano. Yes
it’s filmic, but that’s not yet a crime.
Guildhall orchestra’s playing was
secure, agile in response to the many
mood changes. The music is effective
rather than memorable. It works hard
and supports the action; in that sense,
more of a musical than an opera. It’s
not Bach, but nor is it Offenbach, as
Menotti said himself.
Guildhall’s impressive, dozen-strong
vocal ensemble, each having their
spotlight moment, displayed plenty of
talent, every word of the English text
audible. All acted well, and danced
smartly to Victoria Newlyn’s witty
movement direction. Simon Corder’s
compact staging had a nice 50s
drabness. In Wednesday’s performance,
Michael Vickers mustered febrile,
pent-up anger as the shadowy dissident,
John Sorel. Chloe Latchmore as the
Mother was tense and tender. Emily
Kyte cleverly mixed spikiness and elan
as the super-bureaucratic Secretary.
The huge main role of Magda, who is
rarely offstage, was sung with heartfelt
conviction by Lucy Anderson. Watch
out for her. Everyone deserved a cheer.
This is very nearly a tale of two
Scottish-obsessed and prolific Italian
opera composers, united by East
Lothian. Donizetti’s 1835 bel canto
tragedy, Lucia di Lammermoor, is
set in the same Lammermuir hills
James Keane
plays percussion
Theo Clinkard’s
dancers in This
Bright Field.
Stephen Wright
Up close and
Theo Clinkard: This Bright Field
Laban theatre, London SE8
Theo Clinkard, for many years
a dancer with Matthew Bourne,
Wayne McGregor and others, is
a choreographer with a growing
reputation. There’s a deceptive
simplicity to his work. It’s never
just about the human shapes on
stage – there’s always an emotional
dimension in play. This Bright Field,
Clinkard’s most recent work, is full of
visual pleasures and surprises, but his
overriding preoccupation is with the
transmission of feeling.
The piece is in two halves. In the
first the audience are invited on stage,
where 12 dancers in practice clothes
are improvising to James Keane’s
soundtrack, which is sometimes calm,
sometimes thunderous. The dancers
work in pairs, intimately exploring each
others’ physicality. As they do so, stage
flats are wheeled among them so that
every member of the surrounding
audience has a differently edited
experience. Clinkard’s purpose here
seems to be to liberate us from any
search for objective meaning that
might short-circuit our connection
to the performers. As he asks in the
programme: “When we see the dancers
using touch only inches from us, can it
engage our own touch sense memory?”
For the second half of the piece
we take our places in the auditorium.
Our experience of the three-part
dance that follows is coloured by the
fact that we have already acquired
a certain closeness to the dancers.
They now appear costumed in
shades of blue, executing stop-go
interactions of varying complexity,
and then for an extended passage
dance together naked. There is
no hierarchy in play here, but an
extended solo by Leah Marojevic
offers a rush of sheer delight. Halting
and stuttering, falling and turning,
blissfully serene in her nakedness,
Marojevic transmits a fallible and
unmediated joy that is surely the
essence of Clinkard’s intention.
The piece winds up with Keane
playing live percussion as the dancers
return clothed in Rike Zöllner’s
splendidly odd costumes (imagine
avant-garde samurai, in pink). This
time the dance is one of unfettered
celebration. The dancers leap and
kick, initially with grand formality.
They then embark on an improvised
frenzy in the course of which they
tear off their bulky padded costumes
and caper gleefully around the stage.
They’re all strong performers, but more
importantly in this context they’re
generous ones. Having established a
direct emotional current with us, they
make sure that we leave with smiles
on our faces. Luke Jennings
which, with a bit of a stretch, Menotti
might have seen from his parapet.
Katie Mitchell’s avowedly feminist
production, new at the Royal Opera in
2016, is back for its first revival. Much
has been simplified, to good effect.
Vicki Mortimer’s beautifully
detailed split set allows a more
complex presentation of the story than
usual, foreground action in one half,
background response in the other.
It remains distracting, silent action
sometimes upstaging singing, but
there’s less gore, less running water
and greater clarity in the depiction
of Lucia as an independent woman.
The brass initially sounded somewhat
lackadaisical under the baton of
Michele Mariotti, but otherwise
chorus and orchestra were ablaze.
The cast is outstanding: Christopher
Maltman (Enrico), Charles Castronovo
(Edgardo) and Michele Pertusi
(Bidebent), with Lisette Oropesa
crystalline and ethereal in the title
role. At the conductor’s request there
is no glass harmonica for the mad
scene – a loss – but the replacement
flute solo is exquisite. Perversely or
not, Donizetti’s opera reshapes its
source, Walter Scott’s The Bride of
Lammermoor, so that the men are now
to blame for Lucia’s forced marriage
and thwarted love. In the original,
the heroine’s mother was the villain,
scheming against her own daughter.
This realisation makes for an even
more complicated gender equation
than Katie Mitchell’s, which I’m not
quite up for yet.
Fishers in
the City is
like an old
TV that
needs to be
on the side
to stop the
Jay Rayner
goes to
Edinburgh for
some seafood
The Observer | 05.11.17 | THE NEW REVIEW
Fruitful times to find yourself in
squeals. There is only one truly terrible
song – Only Angel, a series of boorish
musical and lyrical cliches that sits ill
with the moving, believable candour
of tracks like From the Dining Table,
in which Styles masturbates sadly in a
hotel room.
Listening to it all again, Styles’s
album is, for the most part, full of regret
at silences and miscommunication
– a convincing display of emotional
intelligence that puts peers like Justin
Bieber in deep shade. Styles has two
women in his band – drummer Sarah
Jones and Scottish keyboard player
Clare Uchima, whose family are
well-represented in the house. (“If
you’re a crazy Glaswegian auntie,”
Styles hollers at the end of the heavy
funk-rock of Woman, “put your hands
in the air!”)
When not being
pelted with kiwis,
Harry Styles is doing
an admirable job of
figuring out his path
post-One Direction
Harry Styles
Harry Styles is still
trying out identities:
stagediving free spirit,
heartland balladeer,
dandy, sensitive soul
SEC Armadillo, Glasgow
Blame the law of unintended
consequences: the kiwi fruit has had
a pivotal role to play in Harry Styles’s
first UK tour as a solo star. On stage in
London, Styles slipped on one. Thrown
by a fan, it was not a negative review
of the former boy band member’s new,
rockier bent, but a ploy to get Styles to
play his song Kiwi – one of the more
guitar-driven tracks on his self-titled
debut album, released last May.
On the Manchester leg of the tour,
a branch of Asda actually banned the
sale of kiwis to anyone under 25. But at
least one rogue kiwi got in there; Styles
had to duck another missile.
In Glasgow, thankfully, they eschew
fruit. We are inside a small theatre
known as the Armadillo; arenas will
follow in 2018. When Styles finally
plays Kiwi, it brings this small, but
‘Muscular snowflake
tendencies’: Harry Styles
in Glasgow. Photograph
by Katherine Anne Rose
for the Observer
baying twentysomething crowd to
a peak. A pummelling glam stomp,
it depicts a heady affair involving
“hard liquor mixed with a little bit of
intellect”. The song is rumoured to be
about Styles’s tryst with a New Zealand
model, perhaps the one who posted
a video on Snapchat of Styles playing
Scrabble with her in a dressing gown.
Transported by the power of
rock’n’roll, Styles ends tonight’s
full-blooded rendition of Kiwi by
flinging a pint of liquid over the
crowd and chucking the plastic
glass after it. He is clearly enjoying
himself; and, you could argue, he
deserves to. Styles has managed to
turn his back on One Direction and
their sound without rubbishing his
days as a teen idol. He covers two 1D
songs tonight, Stockholm Syndrome
and What Makes You Beautiful, duly
guitared-up to fit the new regime.
By contrast, Zayn Malik left 1D
acrimoniously, and pointedly turned
into a sultry R&B heartthrob. The
various other Directions have taken
myriad other musical paths, none of
them much good.
Live, Styles’s tunes vary, but largely
convince. A song like Two Ghosts –
allegedly about his relationship with
Taylor Swift – has all the makings of a
terrific country song, perhaps in tribute
to Swift’s genre roots; it is crying out
for a weepy pedal-steel solo.
Carolina, by contrast, emphasises
the album’s gentle familiarity with
the Beatles’ catalogue. The stompers
here are punctuated by dreamy, gauzy
intros and interludes, sensitive indierock shadings and unexpectedly good
musicianship – particularly from
guitarist Mitch Rowland, plucked from
pizza-restaurant obscurity to co-write
much of Harry Styles. He could easily
solo most obnoxiously – the version of
“rock” that most often turns up in pop.
Instead, he confines his guitar to
well-appointed groans rather than
The majority of Styles’s LA
tourmates, Muna, identify as queer; his
merchandise says “treat people with
kindness”. Towards the end, Styles
gets everyone to hold the hand of the
person next to them, encouraging
support and non-judgment.
You get the sense that, having
matured in content and developed
some muscular snowflake tendencies,
Styles is still trying out identities –
stagediving free spirit ( just the once
in LA), heartland balladeer, dandy,
sensitive soul. He hasn’t gone the
full Matt Healy (the 1975’s singer
routinely sports leather trousers)
but Styles’s uncertain grasp of what
guitar music purveyors should look
like is expressed by a series of garish
Austin Powers suits.
Tonight, perhaps the most
disappointing revelation about Styles
Mk II is that he has so little natural
rhythm. The two most successful boy
band refugees – Justin Timberlake and
Robbie Williams – have the supersmooth moves of more natural showoffs. Styles, by contrast, expresses
abandon by stalking across the stage,
shaking his fists. He makes no mention
of kiwis, but brings on a leathery
cingulate. “This is the nicest armadillo
I have ever come across,” he beams.
Under Milk Wood
Watermill theatre, Newbury
By 1953, the poet Dylan Thomas was
ready to turn to writing large-scale
dramas. He died at the end of that year,
shortly after completing Under Milk Wood,
subtitled “A Play for Voices” and first
broadcast on radio in January 1954. In this
vivid poetic-dramatic evocation of the
variegated population of a small Welsh
seaside town, Thomas strands humour
and death-tinged melancholy through
monologues, dialogues, vignettes and
songs. Llareggub and its population spring
sely particular that
to vibrant life, so intensely
they achieve universality.
Brendan O’Hea’s direction
es poetry
sure-footedly balances
and drama. On a bare stage,
Wayne Dowdeswell’s lighting
seems almost a palpable
entity surrounding the
characters. Birdsong,
children singing,
the sough of “the
jollyrogered sea”, Gary
Dixon’s sounds entwine
Olly Fox’s music; they shape
the space. Pale cloths hang
from the flies; their scalloped
‘Vibrant life’: Ross Ford and
Charlotte O’Leary in Under
Milk Wood. Philip Tull
THE NEW REVIEW | 05.11.17 | The Observer
edges etch shifting contours that suggest
now hills, now clouds, now both together in
Anna Kelsey’s haunting design.
The blending that characterises the
setting finds an echo in the cross-gender
casting: six actors shapeshift 37 roles.
Only Alistair McGowan is stable as the
Voice, narrating the town into being.
In the “bible-black” darkness of the
beginning, other voices stream from
balcony and stalls to join his. Llareggub’s
inhabitants rise from the auditorium as if
Characters are everyday-believable
yet of mythic dimensions
– like Lynn
Hunter’s blind Captain
Cat, salted with
sea memories and tears. Using subtle
a minimal props, each of
movements and
the actors morphs
roles in the space of
a breath. Ste
Steffan Cennydd, languishing
sta pillar, is Mae Rose
against a stage
wh longs to “sin till I blow
Cottage, who
shif to upright and he
up”. A shift
instantly transforms into the
Reveren Eli Jenkins. This witty
juxtaposition is one of many.
Ross Ford
is willowy as lovelorn
M f
Price, spine-fused
rigi as aspiring wiferigid
Mr Pugh.
their multiple
role Charlotte O’Leary’s
Mrs Ogmore-Pritchard
and Caroline Sheen’s Polly
are particularly fine.
Me & the muse
‘I go in my room and
just try to freak out’
Song to the Siren
This Mortal Coil (1983)
I think this is my favourite
song – it’s a Tim Buckley
cover. My friend played it
for me in her car when I was
young. It’s so heavy with
mood that no matter what
I’m doing when I hear it,
I’m immediately drawn into
the feeling of it.
Mike Hadreas on the everyday business
of songwriting, and his earliest inspiration
Born in the suburbs of Seattle in 1981,
where he still lives, Mike Hadreas
started making music under the stage
name Perfume Genius in 2008. Two
years later he released his debut
album, Learning. In 2014, his third
album Too Bright, which included the
anthemic single Queen, brought him
international acclaim. Earlier this year,
Hadreas released No Shape, described
by the Observer’s Kitty Empire as
“glorious, inventive, shape-shifting
music”. Perfume Genius plays the
Roundhouse, London, tonight and the
Old Market, Hove, tomorrow.
I treat writing like a job. I go into my
music room in the morning, when my
boyfriend [Alan Wyffels] goes to work,
and then I work pretty much until he
gets home. And then we have dinner
and I play him what I made that day. If I
like the music I can get really obsessed
with it. Usually it’s not good, but part of
getting to the good stuff is writing shitty
music first, for at least a few weeks.
I try to remember that writer’s block is
part of it. It used to be terrifying: I’d
being really obsessed with the movie,
and all the campiness sort of went over
my head because I was so little – it’s
the same with Hairspray. But I would
listen to that soundtrack a lot. Before
then I was really into Gloria Estefan
and a lot of pop music, like the Bangles.
sweet and happy to me, so when I was
writing the rest of the songs I wanted
a lot of them to be kind of catchy.
Because as much as I like experimental
music, when I listen to people’s albums
I end up liking the pop songs the most.
Exile in Guyville
Liz Phair (1993)
This was the first album I
got that wasn’t pop, aged
12. I was scandalised: her
lyrics are so sexual and
forward, things that were
secret and shameful to me.
To hear someone singing
about it in an unapologetic,
proud, badass way was the
best feeling.
A few of the songs are about Alan. We’ve
been together eight years, but we’ve
been on tour and around each other
24 hours a day, so it’s almost like we’ve
been together 16 regular relationship
years. It’s so easy to take people for
granted: it can turn you into not the best
person around each other. We never
fully fall into that, but I purposefully
wanted to be more present, and not take
him for granted, so I wrote about that.
I wish my room was nicer, or I had
When I first started making music I
wrote the lyrics first, but now, because
All I do in there is essentially try to freak
out. I pace around and work myself
the music has got kind of wilder, I’ve
flipped it. That means I can be more
free with the music – I can sing really
crazy melodies or patterns, usually in
gibberish, and then fill it in with lyrics.
up – I think that writing is all talking
to myself sometimes. I like singing in
voices or singing lower than natural,
or really high, or screaming – I just try
out a bunch of stuff. I did an Elvis-y low
voice that felt really satisfying. It’s also
really fun to think about writing an old
rock dude stadium anthem.
The first record I bought was the Edward
Scissorhands soundtrack. I remember
Spirit of Eden
Talk Talk (1988)
People asked me after the
third album if I was influenced
by them: I hadn’t heard them
but ended up becoming
obsessed. I don’t really
listen to music like that any
more, over and over, like
when I was young.
Slip Away was the first song that ended
up on the album. It was really poppy and
feel like I was never going to be able
to write again, and that everything
I’d done so far was a fluke, but I don’t
really panic any more. It’s still really
frustrating, but it’s happened almost
every single time, and then eventually
I’ve made an album again, so far.
something pretty to describe, but it’s
not very tidy. It has a piano and my
computer, and a rowing machine,
though I haven’t been using it lately.
And it’s also my second closet, with all
my clothes from tour.
I think the best mood for writing is a heavy
feeling that’s a little bit removed from you.
Sometimes I feel very self-indulgent
and bratty and ungrateful, and no good
music comes out of that. But sometimes
I can be really sad or have an excess of
feeling yet somehow be able to see the
big picture more. If I can be thinking
about someone else besides myself, it
usually makes the music much better,
because I actually have something to
say instead of just repeating self-pity.
I’ll save that for my diary.
‘If I can be thinking about someone else
besides myself, it usually makes the
music much better’: Mike Hadreas, AKA
Perfume Genius. Photograph by Murdo
MacLeod for the Observer
Interview by Kathryn Bromwich
Nina Simone (1967)
This is a really intense love
song, almost a spiritual one,
and I like it when people go
100% in whatever direction
they’re going. And I just love
her – I could endlessly watch
live videos of her performing.
To Bring You My Love
PJ Harvey (1995)
I was really scared of the devil
growing up: I was convinced
I was going to be possessed.
On this album she talks about
the devil – it was scary, but it
turned into a powerful thing.
She seemed to be magnifying
her darkness: playing with it
and dancing with it.
With one bound she was free…
Alice is the
victim of
domestic abuse
in Detroit:
Human. But you
can help her…
A trailer for a new game that centres on a domestic abuse storyline
hints at the danger of trivialising sensitive social issues
To what extent might a semiautonomous robot maid be able to
intervene in domestic abuse cases of
the future? The question underpins
Detroit: Become Human, a forthcoming
PlayStation game directed by the
French game maker David Cage.
Last week, during a press event held
in Paris, Cage showed footage of the
game, due for release next spring, in
which Kara, an android housekeeper,
bears witness to an American father’s
psychological and physical abuse of
his daughter. “What are you looking
at?” the man demands over a fraught
dinner, as the girl, Alice, winces.
Players, it seems, are able to make
intermittent choices to direct the
drama, nudging Kara to stand up for
Alice or, alternatively, maintain an
impartial, subservient distance. In the
three-minute trailer the stakes are
bluntly ratcheted: her abusive father,
it seems, will murder Alice, unless
you choose to take her place.
Cage, in an interview after the
trailer’s reveal, was defensive of
the game’s subject matter. When
challenged about the trailer’s grim
brutality he asked: “Would you ask
this question to a film director, or to a
writer? Would you?” Cage’s retort is
rooted in the longstanding insecurity
of game makers and players alike, that
video games are a lesser medium for
creative expression, one that lacks
the gravity to address taboos. (Cage’s
response is related, too, to his obvious
cinematic aspirations: his previous
game, Beyond: Two Souls, centred
on a digitised performance by the
Hollywood actor Ellen Page.)
But any independent interviewer
would question an author or film
director on their handling of sensitive
material, especially if, as in Cage’s case,
there had been a yawning gap between
their previous work’s ambition and
achievement. (Cage’s early game
Fahrenheit features a sex scene
involving a woman and her zombified
boyfriend, and ends in a showdown
with the personification of the
internet.) The implication that Cage,
as a video game creator, is being held
to a higher standard than his cinematic
or literary counterparts would seem
somewhat disingenuous.
And yet there is something distinct
about games that makes this subject
matter potentially more perilous for the
medium’s writers and designers. Video
The implication that
Cage is being held to a
higher standard than
a writer or film-maker
is disingenuous
games typically offer players agency –
the opportunity to make choices that
redirect the story or at least nudge
the plot into alternative parabolas.
The trailer makes it clear that Detroit:
Become Human is a game steered by
player choices, a kind of hyper-evolved
version of the Choose-Your-OwnAdventure books from the 1980s, where
readers would, at the end of each plot
beat, make a dramatic choice and turn
to the indicated page to see how the
choice played out. When these game
mechanics are married with the theme
of domestic abuse and, in particular,
child abuse, the obvious implication is
that, to escape the violence a victim,
or those around them, need only
make the “correct” choices to resolve
the situation. It’s a deeply troubling
misrepresentation of the reality for
anyone who has suffered from, or who
knows a survivor of, domestic abuse.
Cage’s success or failure in
overcoming these problems will only
be revealed next year.
“I think people should see the scene,
play the game and see it in context
to really understand it,” said Cage
to those who objected to the trailer.
Complaining that critics have taken
the scene out of context, when a trailer
by definition removes a scene from its
context, is a flimsy defence indeed.
The Observer | 05.11.17 | THE NEW REVIEW
Sam Smith: ‘You can
count this album’s quirks
on two fingers.’
You almost pity anyone starting a band in
New York. But the city’s history is more of
an asset than a burden to Qty, an intriguing
duo on their debut album who expand to a
foursome live. On songs such as Michael,
singing guitarist Dan Lardner channels
all his deadpan heroes – Lou Reed, Julian
Casablancas – while lead guitarist Alex
Niemetz provides just-so solos. If you’re
going to be this derivative, you’d better be
good. Fortunately the pair’s observations
swerve most cliches, and their sneery
city sounds are tempered by indie-leaning
boy-girl vocals. “I want salvation/ Just
without any of that God shit,” they croon
almost sweetly on Salvation. KE
Billy Bragg
Moping by numbers
Sam Smith
The Thrill of It All
You assume that the title of Sam
Smith’s long-awaited second album –
The Thrill of It All – is a slightly weary
one, weighing up the emotional cost
of partying. Smith said as much on the
BBC the other night.
Actual thrills are scarce on these
10 tracks, which fulfil the brief of
following up a hit album with a
bankable sequel. These are songs
dealing with heartbreak, coming out
and the parlous state of the world in
time-honoured, mainstream fashion:
by making the sounds so palatable that
any real sense of suffering is lost.
The blame falls unequally. Smith’s
bruise of a voice is not particularly
at fault here – he quavers like a
champ, swapping falsetto for tenor
and back again. This is why we
pay Smith, and even with his new
physique he delivers.
The first track written for this
album, Him, is all minor-key
reverberation. It plays on the word
“him” – a hymn (of sorts) that
addresses God, but reveals a comingout drama; Smith’s vocal runs the
gamut from vulnerable to righteous.
But this music is ever so easy on
the ear. Gospel choirs are called into
service to add gravitas; elsewhere,
the Dap King horns are on speed
dial. One Last Song summons up the
ghost of Smith’s unrequited love – the
subject of In the Lonely Hour – for
a brief encore. But Smith does it by
harking back to the over-tidy melodic
resolutions of classic Motown, and
no inkling that we have more colour
palettes available now than just warm
beige. Did Kanye release 808s and
Heartbreak for nothing?
You can count this album’s quirks on
two fingers. There’s a slightly sinister
pitch-shift to the backing vocals on
Say It First, a pleasant tune about who
should take the three-word plunge and
say “I love you” first.
Pray, Smith’s reaction to a trip
to Iraq, pairs him with 90s sonic
mischief-maker Timbaland. It finds
Smith struggling with agnosticism
but resorting to more gospel choirs in
the face of the world’s suffering, while
the producer tries to smuggle in some
muted electronic squiggles under a
predictable sequence of piano chords.
There is little drama here, just
plenty of shorthand (sad pianos), a
total absence of risk and, perhaps
worst of all, no evidence of the
deranged hedonism that catapulted
Smith into a funk. He could have
asked Disclosure – the authors of
his breakthrough feature Latch – or
even Naughty Boy (credited here) to
capture the reckless abandon of being
a newly single twentysomething again
with a sideboard full of Grammys and
nightclubs at his feet.
Say It First does have a discreet
aortal lub-dub of a beat, and Baby, You
Make Me Crazy hints at carnage (“I
would do anything to get you off my
mind”), but the song’s retro filter mutes
any actual derangement.
Ultimately, Adele – pop’s riskavoider in chief – sold umpteen more
copies of 25 than West did of 808s
and Heartbreak. Why would any pop
star in their right mind ever take
a sonic risk, when the rewards for
moping by numbers are so vast? For
all his protestations to the contrary
on Baby, You Make Me Crazy, Smith is
very sane. Kitty Empire
Bridges Not Walls
James Holden and the
Animal Spirits The Animal
Political turmoil has regalvanised Billy
Bragg: a string of recent singles addressing
Trump, climate change and racists on
the streets of Birmingham have been his
first new solo releases since 2013. This
mini-album collects them and adds two
extra songs. Not Everything That Counts
Can Be Counted is a finely judged attack
on Brexiters’ lies, while the mournful
piano ballad Full English Brexit finds Bragg
looking through the eyes of an elderly
Leave voter. It might seem an easy target,
and is a deliberately uncomfortable listen,
but Bragg offers a nuanced, sympathetic
portrait, with the key lyric being “nobody’s
listening to me”. Phil Mongredien
To Syria, With Love
Like much of Mad Decent’s output,
any two minutes of To Syria, With Love
sampled at random sound fantastic
– an aural peephole into the most
exciting party on the planet. However, a
mountain range would never be beautiful
if it consisted entirely of peaks, and
the same is true of Syrian folk-techno
albums. The unrelenting tail-thump beat
flattens an initial dynamism into a tiring,
trebly melange, and Omar Souleyman’s
emotional voice begins to hector rather
than implore. The impassioned ballad
Mawal stands out as a contemplative
reprieve, but it isn’t anywhere near enough
to rescue the album. Damien Morris
Pat Martino
Goat Girl
Cracker Drool
South London
up-and-comers ice
their rambunctious,
cowpunkish racket
with an addictively
wry, languid gloss.
Gwenifer Raymond
Sometimes There’s
Just signed to
folk label Tompkins
Square, this
Brighton teenager
fingerpicks like
a boss.
Wiley feat JME
I Call the Shotss
With bouncy
braggadocio over
shiny, sculptural
production values,
Wiley nonchalantly
delivers a memo
about being
grime’s top dog
Follow our playlist
THE NEW REVIEW | 05.11.17 | The Observer
Inspired by Don Cherry and Pharoah
Sanders’s jazz-world fusion experiments
with Moroccan gnawa music, former trance
DJ Holden attempted his own crossover on
the 2015 12-inch Marhaba. Forging those
connections left him longing to play with a
band of fellow explorers: hence new crew
the Animal Spirits. The gnawa influence is
strong in the dizzying Pass Through the Fire,
but it’s just one element in a maelstrom
of cosmic prog, techno and psych-folk.
Occasionally, as on Thunder Moon
Gathering, things get a little pastichey, but
it’s worth it for sublime moments like the
title track, where lines between worlds
and times blur. Emily Mackay
Canzoniere Grecanico
Salentino Canzoniere
Omar Souleyman
Last spring’s surprisingly lo-fi second
album, Hope, found Las Vegas singersongwriter Shamir Bailey pursuing a
more serious sound. Where his 2015
debut Ratchet was all sugary electro
bangers, his latest is minimalist, dissonant
and raw. Stripped-down piano pop and
romantic, Sixpence None the Richer-style
guitars (sometimes quasi-country, at
points almost grunge) underpin Shamir’s
disarming, glimmering falsetto and his
endearingly theatrical conceits (“I’m too
strong to just lay down and die,” he sings
on Blooming). A bold, fleeting pop-rock
record whose standout element remains
Bailey’s gorgeous voice. Tara Joshi
Pat Martino has the not entirely helpful
reputation of being a guitarists’ guitarist, on
account of his speed, accuracy and creamysmooth tone. But along with these virtues
comes a toughness and bite that derive from
his early years in the funky organ combos of
Jimmy McGriff, Jack McDuff et al. This album
harks back somewhat to those days, with
organist Pat Bianchi and drummer Carmen
Intorre Jr driving the rhythm in classic style.
Adam Niewood (tenor saxophone) and Alex
Norris (trumpet) add some tasty solos too,
but the poised and unflappable Martino
still manages to dominate the proceedings,
turning a good session into something a bit
special. Dave Gelly
The champions of southern Italy’s pizzica
tradition have become an institution,
though one that shows no signs of going
stale. Leader Mauro Durante co-composed
the material here with assorted New York
tunesmiths, including producer Joe Mardin,
who brings a polished sound to the hand
drums and harmonies. Opener Quannu
te Visciu turns a Puglian chant into near
hip-hop, and the church-like voices are
as likely to be denouncing corruption as
praising sun, moon and sea. There is fierce
fiddle, jaunty squeezebox and thunderous
drumming, plus guest electric guitar from
Justin Adams. As the tomato sauce cover
suggests, a rich harvest. Neil Spencer
Motetti & Cantiones Sacrae
Voces Suaves, Concerto
Scirocco (ARCANA)
The Italian composer-priest Giovanni
Croce (1557-1609), who influenced English
composers such as John Dowland and
Thomas Morley, sang at St Mark’s, Venice
as a boy soprano and became maestro
di cappella there a few years before
Monteverdi. Fluid, grand and immediate,
Croce’s music may not quite match the
Gabrielis or Monteverdi for invention, but it
has all the splendour and spatial awareness
of the best Venetian music of the period.
Concerto Scirocco and Voces Suaves
recorded the album in Santa Barbara,
Mantua, making full use of its double
choir lofts, lively acoustic and splendid
Renaissance organ. Fiona Maddocks
Bach arr. Alessandrini
Variations on Variations
Concerto Italiano/Alessandrini
Piano Works Vols 8 & 9
Paul Berkowitz (piano)
arrangements of Bach’s adaptable
music aim to bring it up to date for modern
instruments; these transcriptions adapt it to
the resources of the time but in new guises.
So the great organ Passacaglia in C minor
becomes a vigorous essay for solo strings,
adding transparency and bite to the glorious
sonorities. The Aria variata and Canzona
are lesser pieces, but the revelation here is
the Goldberg Variations, reimagined as a
breathtaking romp. The canons are strictly
done, but in the freer variations Rinaldo
Alessandrini adds parts at will and dazzles
with the virtuosity of his ensemble’s playing.
At the end, solo harpsichord and strings
touchingly intertwine. Nicholas Kenyon
This release marks the culmination of a
30-year project by the Canadian pianist Paul
Berkowitz and Meridian to record a full cycle
of Schubert’s piano works. Berkowitz closes
with the Op 90 and Op 142 Impromptus
(Vol 8) and Moments musicaux, Op 94, the
Grazer Fantasie and three Klavierstücke
(Vol 9). The surprisingly clipped nature of
the opening Impromptu is a statement
of intent: this deeply experienced pianist
and teacher, who plays at St John’s Smith
Square, London on Thursday, has plenty
of new things to say about these familiar
pieces. A sparkling technique allied to a
clear sense of line make these recordings
particularly special. Stephen Pritchard
Pete Souza’s pictorial account of Obama’s
years in power is moving, says Peter Conrad
Page 34
W two books on swearing leave
Andrew Anthony reaching for expletives?
Page 36
Cross talks to 2014 Booker winner
Richard Flanagan about his new novel
Page 37
Women from here to antiquity
In tracing the ancient
roots of misogyny,
Mary Beard has
produced a modern
feminist classic,
writes Rachel Cooke
Mary Beard: an
absolute refusal to
oversimplify things.
Alecsandra Raluca
Dragoi for the
Women & Power: A Manifesto
Mary Beard
Profile £7.99, pp115
This book is a mere slip of a thing: at 115
pages, small enough to fit into the most
diminutive of bags or even (should you
be in striding out mood) the pocket of
an overcoat. But size, in this instance,
is irrelevant. There are two things you
need to know about it. The first is that
what Mary Beard has to say is powerful:
here are more than a few pretty useful
stones for the slingshots some of us feel
we must carry with us everywhere we
go right now. The second is that most
of its power, if not all, lies in its author’s
absolute refusal to make anything
seem too simple. Even as she tries to
be concise and easy on the ear – the
book is adapted from two lectures,
one given at the British Museum in
2014, and the other earlier this year
– Beard knows that the matters with
which she is concerned are extremely
complicated. Before she arms you, then,
she makes you think. In this sense, if
no other, Women & Power deserves to
take its place alongside Kate Millett’s
Sexual Politics, the text that first
suggested literature as a medium for
Beard’s primary subject is female
silence; she hopes to take a “long view
on the culturally awkward relationship
between the voice of women and
the public sphere of speech-making,
debate and comment”, the better to
get beyond “the simple diagnosis of
misogyny that we tend a bit lazily to
fall back on”. Calling out misogyny
isn’t, she understands, the same thing
as explaining it, and it’s only by doing
the latter that we’re likely ever to find
an effective means of combating it.
The question is: where should we look
for answers? Beard acknowledges
that misogyny has multiple sources;
its roots are deep and wide. But in
this book, she looks mostly (she is a
classicist, after all) at Greek and Roman
antiquity, a realm that even now, she
believes, casts a shadow over our
traditions of public speaking, whether
we are considering the timbre of a
person’s voice, or their authority to
pronounce on any given subject.
Personally, I might have found this
argument a bit strained a month ago;
3,000 years lie between us and Homer’s
Odyssey, which is where she begins,
with Telemachus effectively telling
his mother Penelope to “shut up”. But
reading it in the wake of the Harvey
Weinstein scandal, it seems utterly,
dreadfully convincing. Mute women;
brutal men; shame as a mechanism for
control; androgyny and avoidance as
a strategy for survival. On every page,
bells ring too loudly for comfort.
Through the example of Telemachus
we learn that silencing the female was
once an essential part of growing up as
a man – though shouting at a woman
was only one way of achieving it. In
Ovid’s Metamorphosis, Io is turned by
Jupiter into a cow, and Echo’s voice
reduced to a mere instrument for
repeating the words of others; when
the young princess Philomela is raped,
her tongue is cut out, to prevent her
denouncing her attacker. Women
who did speak in the forum were
barely female at all; rather, they were
“unnatural freaks”. A first-century
Roman anthologist mentions one called
Maesia, who successfully defended
herself in the courts only “because she
really had a man’s nature”. Beard urges
us not to see this “muteness” simply as
a reflection of women’s more general
disempowerment in the classical
world. Their exclusion from public
speech was, she writes, “active and
loaded”. Their voices were subversive,
a threat to the state. Thus was the
idea of gendered speech established.
If the ancients disliked the sound of
the female voice, so high-pitched and
strident, in the 21st century terms such
as “whine” still tend to be reserved for
Does this matter? Beard thinks that
it does. Such language underpins an
idiom that, almost without our noticing
it, acts to remove the authority (and
when necessary the humour) from
what women have to say. In other
words, no one hears us even when
we do speak – just like the woman in
the Punch cartoon she also mentions
(“That’s an excellent suggestion, Miss
Triggs. Perhaps one of the men here
would like to make it”).
What I relish about Beard’s
approach is that once she has told us
all this – I am not a classicist, so some
of it was new to me – she doesn’t
simply sink down into disapproval
and hand-wringing (the fatal flaw of
so many recent feminist texts). She
wants to know: how can we be heard?
And her answers are radical. Why
should we settle only for exploiting the
Mute women; brutal
men; shame as a
control mechanism.
On every page, bells
ring loudly
status quo – for instance, by training
our voices, as Margaret Thatcher
did? Progress, if it is ever to happen,
will require a fundamental rethink
of the nature of spoken authority,
“and what constitutes it, and how
we have learned to hear it where we
do”. Women are not only going to
have to be “resituated” on the inside
of power; it may be that power itself
has to be redefined. What will such a
redefinition involve? She talks of the
“decoupling” of power from prestige,
a bifurcation that will mean thinking
about power as an attribute rather
than as a possession; of the power of
followers as well as of leaders.
All of this is exciting, and full of
possibility (though threatening to
some, of course). But Beard isn’t
about to drink her own Kool-Aid.
She is nothing if not pragmatic, her
utterances grounded in practicalities as
well as learning. Just as she finds time
in her book to attempt to understand,
as well as to condemn, the misogyny
of Twitter – some of the abuse is,
she is convinced, the result of the
false promise it made to put people
directly in touch with those in power;
women are not the only ones who feel
“voiceless” – so she is keen to remind
the reader of the gloom that hangs
all about. Don’t get too perky, she
instructs, even as she works to build
her case.
Some things are hard, if not
impossible, to cast off. Should we be in
any doubt about the terrifying extent
to which the exclusion of women from
power is culturally embedded, let
alone unsure of the continued strength
of classical ways of formulating and
justifying it, we have only to look at the
Trump campaign in 2016, in which he
was depicted, after Cellini’s bronze, as
Perseus holding up the severed head
of Hillary Clinton as Medusa. His
supporters could buy this image on
T-shirts and tote bags, coffee cups and
laptop covers – and doubtless many of
them did, desperate for the monster to
be slain in their own minds, even before
they had approached the ballot box.
To order Women & Power: A Manifesto
for £6.79 go to or
call 0330 333 68466
The Observer | 05.11.17 | THE NEW REVIEW
Portraits of the man
who did it his way
A pictorial record by the official White House photographer of
Barack Obama’s eight years in office is a touching reminder of what
we are missing in the age of ‘the Donald’, writes Peter Conrad
Obama: An Intimate Portrait
Pete Souza
Allen Lane £40, pp352
Given Donald Trump’s hollow selfconceit, his lies, bully-boy rampages
and mad determination to goad
Americans into a reignited racial war,
it’s no surprise that the presidency of
Barack Obama looks, in retrospect,
like a blessed time.
The loss to us all is dramatised in
Obama Leaving, a huge photorealist
tableau by Robert Longo, currently
on display at the Brooklyn Museum.
Under a thundery sky of charcoal
clouds, Obama strides into the
distance, withdrawing from a world
that can no longer rely on his sanity
and goodwill. Now Pete Souza, who as
Obama’s official photographer spent
eight years documenting his every
move, shows him in the helicopter
after Trump’s inauguration, looking
down at the small, suddenly fragile
White House where, as he remarks,
“I used to live”. Less than a year later,
its symbolic coat of paint no longer
vouches for the republic’s rectitude.
Flights on Air Force One or the
presidential chopper, Marine One,
are inevitably ego trips, but Souza’s
photographs touchingly reveal Obama’s
reticence and self-doubt. Staring
into a mirror on the morning of his
inauguration in 2009, he seems to
be wondering whether he deserves
his victory. Later, Souza follows
him on to the battered Alabama bus
where, in 1955, the demure African
American seamstress Rosa Parks
refused to surrender her seat to a white
man. Glancing pensively out of the
window, Obama might be comparing
her physical courage with the more
abstract “audacity” that was one of
his campaign’s buzzwords. In another
image, Obama the ironist acknowledges
the limits of his authority by pointing
in delight to a small boy who sleeps
through a lunch in the White House.
During the raid on Osama bin Laden’s
hideout in 2011, Obama refused to sit
at the head of the table in the cramped
situation room to watch the relay from
Pakistan. In Souza’s photograph, he is an
anxious onlooker at the side: how could
he pretend to command an operation
half a world away, which depended on
the daring of the navy’s “night stalkers”?
Another piercing image, taken during
a secret nocturnal mission to Kabul in
2010, shows Obama looking frankly
terrified as his helicopter jolts through
the air on the way back to Bagram.
Power for Obama never meant
permission to misbehave, although
when Souza asked to squeeze into the
armoured presidential limo after his
second inauguration in 2013, he did
feign reluctance: he and Michelle, he
said, were hoping to “make out” on
the back seat during the triumphal
drive up Pennsylvania Avenue.
Souza does capture one
embarrassing eruptive incident in
Alaska, when a salmon Obama grips
by the gills unloads its spawn on his
boots. “He was just excited to see you,”
remarks a salty fisherwoman.
Despite legislative anxieties and
traumatic briefings about terrorism,
Obama mostly appears to be enjoying
himself. He shoots hoops on the
basketball court, body-surfs in Hawaii,
and allows himself to be zapped by
an employee’s son who is dressed as
Spider-Man for Halloween. A pity
Souza wasn’t around when Obama
caught an obnoxious, distracting fly
while answering a complex question in
a television interview – a Zen moment
of grace and effortless control. True, he
does look like a sad dad when dancing at
a Prince concert, but his agility is mental
as well as physical. The unobtrusive
Souza often catches him reading,
revising the text of speeches, or simply
thinking: for Obama, the presidency was
an intellectual challenge, an exercise
in problem-solving, like the games of
Scrabble he played with Souza during
intercontinental flights.
There is often an elephant, or
an orange orangutan, in the room.
The beast is glimpsed soon after the
election last November, when Trump
came to the White House for an
awkward chat. As Obama opens the
door to a private study, off the oval
office, the lacquered, duck-tailed quiff
at Trump’s nape sticks out while the
rest of him disappears into the room,
the confidential recess to which Bill
Clinton retired when he needed to give
Monica Lewinsky a spot of dictation.
Other scenes turn into imaginary
diptychs if you remember how Trump
behaved on corresponding occasions.
Next to Obama enjoying a water-pistol
battle with his younger daughter
around the pool at Camp David, I’d
place Trump spluttering about the “fire
and fury” he itches to discharge like
ballistic salmon spawn on North Korea.
Opposite Obama praying with a military
amputee or hugging bereaved relatives,
I’d set Trump offering in a phone call to
compensate a dead soldier’s father with
▲ COLD COMFORT Barack Obama plays in the
snow in the White House’s rose garden with his
A century of war with
the people next door
Enemies and Neighbours:
Arabs and Jews in Palestine
and Israel, 1917-2017
Ian Black
Allen Lane £25, pp640
In 2015 a BBC2 documentary,
Children of the Gaza War, brought
a flurry of complaints. One of the
Palestinian children interviewed said
in Arabic that “the Jews” are killing
Palestinians. However, the English
subtitles translated this as “Israel is
massacring us”. Many Jewish and
Israel-supporting viewers accused
THE NEW REVIEW | 05.11.17 | The Observer
the BBC of intentionally downplaying
Palestinian antisemitism. The
documentary’s maker, Lyse Doucet,
stood by the subtitle, saying: “We
talked to people in Gaza, we talked to
translators. When [the children] say
‘Jews’, they mean ‘Israelis’. We felt it
was a better translation of it.” Israel
has existed around Gaza for nearly
70 years and children there are still
calling their Israeli neighbours Jews.
Ian Black opens his excellent new
history of the Israel-Palestine conflict,
Enemies and Neighbours, with a note on
terminology titled Language Matters.
He points out that in colloquial Arabic
used by the Palestinians, Israelis are
still often called “Yahud” – Jews. On
the other hand, while until 1948, the
year of Israel’s establishment, the term
“Palestinians” usually referred to all
inhabitants of Palestine, including
Jews, it only gradually came to be
used to describe one side in the
conflict. Only in recent decades have
Israelis started to differentiate their
next-door neighbours from the rest
of the neighbourhood, calling them
“Palestinians” instead of “Arabs”.
Words matter. They are the building
blocks of the contradicting narratives
each side has continued telling
themselves, and the world.
Palestinian-Israeli writer Odeh
Bisharat is quoted: “If there is no
shared narrative of the past, then let
us at least write one of the future.” But
as Enemies and Neighbours expertly
describes, Israelis and Palestinians
have spent the last century escaping
each other’s narratives and are still
‘Kate Humble examines
the plight of women in East
Africa in Extreme Wives’
TV, page 44
Barack and Michelle
Obama on their way
to a ball, Washington,
DC, January 2009.
a personal cheque for $25,000, which he
forgot to send until, four months later,
he was shamed into paying up.
Parallels aren’t always available.
There can be no equivalent to a
photograph of Obama trudging
through charred Colorado after a
wildfire, because Trump, so far, has not
even tweeted about the incineration of
the Napa Valley: why bother, since its
burned-out populace of winebibbers
didn’t vote for him? Obama is seen
jogging with his shaggy canine
companions Bo and Sunny, but again
there has to be a blank on Trump’s side.
His first wife, Ivana, testifies that her
toy poodle disliked “the Donald”, who
snarled back at it with equal animosity.
Unimpressed by money or TV ratings,
dogs judge people by their smell.
Obama’s stature, however, does not
depend on such contrasts with the
pouty moral midget who now has his
job. Two of Souza’s best images almost
accidentally magnify him at moments
when he isn’t playing his executive
role. On holiday in Martha’s Vineyard,
Obama casts a fishing line that elegantly
loops through a blazing, cloudless sky:
perhaps an allegory, illustrating Martin
Luther King’s belief that “the arc of the
Ne’er the twain: a Palestinian man and a
young Orthodox Jew in Jerusalem. Alamy
doing nothing to write a new one.
A veteran reporter and former
Guardian Middle East editor, Black
spent decades immersed in both Israeli
and Palestinian societies, fluently
speaking their languages. He notes
how the Hebrew and Arabic used by
the warring communities, as well as
Hamish Hamilton £16.99 pp208
To order Obama: An Intimate Portrait
for £34 go to
or call 0330 333 6846
evolutionary paths. These communities
include the Palestinians who remained
under Israeli jurisdiction, those who
lived in the West Bank, the Gaza Strip
and in refugee camps, and émigré
communities in surrounding Arab
states. The interplay among these
groups and between them and Israel
is a dynamic often overlooked.
Enemies and Neighbours will not
make easy reading for partisans on
either side. Narratives are meticulously
broken down and reshaped by
inconvenient facts. Black uses an
array of sources highlighting how,
from the start of the Zionist initiative,
neither its ideologues nor the majority
of the early Jewish settlers had any
interest in building a nation together
with the native population. While he
chooses not to take a clear position
in the historical debate over whether
the Palestinian displacement of 1948
was premeditated ethnic cleansing,
he does describe how in many places
the banishment of communities and
the destruction of their villages was
But the Palestinians in this book are
far from docile victims, devoid of their
own agency. They were a large majority
and had support from the neighbouring
Arab nations. They squandered the
upper hand largely through their own
mistakes. Black describes how the early
Jewish settlements were built on land
that Palestinians, including secretly
some of the most strident nationalist
leaders, willingly sold to the Zionists
(a chapter in their history, Black notes,
the Palestinians have yet to confront).
How they were quick to resort to
murderous violence against the Jews
from a very early stage in the conflict,
and how their own disunity, which
often took the shape of internecine
killings of rivals and “collaborators”,
was a key factor in their downfall.
Unlike previous histories of the
conflict, this pays less attention to the
moral universe bends towards justice”?
Further from Washington, Obama
treads warily on to a ledge that juts into
the purple abyss of the Grand Canyon,
as if confronting the perilous immensity
of the country he was elected to
manage. With the fishing rod, he exudes
beaming confidence; on the cliff edge,
his stance registers awe. The presidency
is an existential test, and the power it
confers on incumbents shows us the
very best (or worst) of human nature.
Souza’s book will speed Obama’s
passage to secular sanctity. No wonderworking feats need to be proved, as
they must be before Catholic saints
are beatified: as Obama once said,
the ascent of “a skinny kid with a
funny name” is just one of the “small
miracles” the US has performed – at
least until its generous universality
was replaced by paranoid isolation. We
have witnessed the American dream,
and are now roiling and writhing
through an American nightmare.
their culture and daily lives, have been
affected and formed by the conflict.
How the Jews, who began to arrive
in the late 19th century, or “return” as
they would have it, gradually coalesced
into a new Israeli society. And how
the Arabs living in Palestine began to
define themselves as a distinct national
group, in a large part as a reaction to
the Zionist arrival and entrenchment.
As Black notes, “The Israel-Palestine
issue has a strong claim to be the most
closely studied conflict on Earth.”
He justifies adding another volume
to the bulging bookcase, not only by
bringing us up to date on the latest
developments and new research, but
– a rarer thing – giving equal attention
to each side and charting how the
different Palestinian communities
were created. Following Israel’s war
of independence in 1948 and the
Nakba – the uprooting of 700,000
Palestinians from their homes – war,
exile and occupation led to separate
Ali Smith
Think of a classic winter tale, and
Dickens’s A Christmas Carol might
be the first to mind. It’s clearly one
of the models for the second part
of Ali Smith’s seasonal quartet, a
novel of great ferocity, tenderness
and generosity of spirit that you feel
Dickens would have recognised.
Sophia Cleves is a Scrooge for our time,
a retired businesswoman whose work
always took precedence over family.
Now holed up in her 15-bedroom house
in Cornwall, she is, as her estranged
sister, Iris, observes, “an old miserly
grump who had nothing in the house
for your son and his girlfriend for
Christmas except a bag of walnuts and
half a jar of glace cherries”.
But Sophia has not been alone; as the
story opens she is chatting to a child’s
disembodied head that bobs cheerfully
around her like the dancing light of
Christmas past. Like Scrooge’s ghosts,
the head is a shape-shifter, at times
taking on the form of the Green Man
of legend, at others appearing more
like a sculpture by Barbara Hepworth,
one of the novel’s other tutelary spirits.
Midnight chimes over and over for
Sophia on Christmas Eve, as the
narrative cuts between past and present
as if being shown to the reader in a
vision (“Let’s see another Christmas…”).
Names are freighted with meaning
and irony here. Iris, “the wild one”,
a lifelong activist recently returned
from helping refugees in Greece, is
nicknamed “Ire”. Wisdom is the one
thing Sophia lacks, and must learn.
Her son, Arthur, in this Cornish setting
recalls England’s once and future king,
except that we are told on the opening
page that “romance was dead. Chivalry
was dead.” Instead, he is known as
Art, offering plentiful wordplay; he
fancies himself as a nature writer,
but his blog, Art in Nature, is made
of fabricated memories and journeys
(“Fake Art”), and his day job involves
destroying artists by reporting them
to a multinational corporation for
copyright infringement.
Into this fragmented family arrives
the enigmatic Lux, a Croatian student,
whom Art meets at a bus stop and
hires to impersonate his girlfriend
over Christmas so that he won’t have
to tell his mother they’ve split up. As in
Smith’s novel The Accidental, it is the
stranger in their midst with a licence to
speak the truth who shines a light on a
family’s faultlines and brings healing.
And over the whole story falls the
long shadow of the EU referendum, as
it did with her Man Booker-shortlisted
Souza often catches
Obama reading, or
thinking: for him, the
presidency was an
intellectual challenge
▲ MEET AND GREET President Obama talks to
nursery school children in Bethesda, Maryland.
Pete Souza/The White House
Light dawns on a
Christmas scrooge
Ali Smith’s Winter is a work of ‘great ferocity
and tenderness’. Antonio Olmos/Observer
predecessor, Autumn; there’s a
painfully accurate comic portrait of a
Christmas lunch fraught with tension
between family members on different
sides. Winter’s other overt model is
Shakespeare’s late play Cymbeline,
“about a kingdom subsumed in chaos,
lies, powermongering, division and
a great deal of poisoning and selfpoisoning”, Sophia observes. “I was
telling you about it,” Lux says, “because
it’s like the people in the play are living
in the same world but separately from
each other, like their worlds have
somehow become disjointed or broken
off each other’s worlds.”
Smith’s ire has clearly not abated;
Iris’s history of protest contains an
acknowledgment that none of the
threats she has spent the past 50
years fighting – nuclear war, chemical
leaks, climate destruction – have
retreated, that victories are only
ever temporary. These novels are a
deliberate publishing experiment,
to see how close to publication the
author can capture current events;
inevitably, 11th-hour references to the
Grenfell fire and Trump’s reclaiming of
“Merry Christmas” already seem like
snapshots of the past.
“Mythologiser” is one of the insults
Sophia repeatedly flings at her sister,
but from this author it’s high praise;
Smith is engaged in an extended
process of mythologising the present
state of Britain, and Winter is at its
most luminously beautiful when the
news fades and merges with recent
and ancient history, a reminder
that everything is cyclical. There is
forgiveness here, and song, and comic
resolution of sorts, but the abiding
image is of the tenacity of nature and
light. Stephanie Merritt
To order Winter for £14.44 go to or call 0330 333
diplomatic affairs of the world powers
that played a role in the region and
in Arab-Israeli relations. For some
readers, this will feel like a drawback,
but its relentless focus on Israelis and
Palestinians, to the near exclusion of
other players, is one of its strengths.
The greatest myth of the conflict
is that both sides are the proxies of
much greater powers. But in recent
decades, most of the Arab nations
have quietly accommodated Israel’s
presence, engaging in not-so-secret
alliances against joint enemies. The
world powers have focused on other,
more pressing, events in the region –
Iraq, Syria, the rise and fall of Isis. The
Israel-Palestine conflict remains one
between two enemies who refuse to
accept their fate to live as neighbours.
Anshel Pfeffer
To order Enemies and Neighbours for
£21.25 go to
or call 0330 333 6846
The Observer | 05.11.17 | THE NEW REVIEW
Sultan of swearing: Peter Capaldi as foul-mouthed spin doctor Malcolm Tucker (left) with Chris Addison as special adviser Toby Wright in In the Loop. BBC Films/Kobal/Rex/Shutterstock
Effing and blinding made simple
Two books on our use of swearwords cast
light on the cathartic pleasures of saying
the unsayable, writes Andrew Anthony
Swearing Is Good for You:
The Amazing Science of Bad
Emma Byrne
Profile Books £12.99, pp240
How to Swear: An
Illustrated Guide
Stephen Wildish
Ebury Press £9.99, pp192
My earliest memory is of sitting on the
pavement outside my childhood home
while Tony Hilsden, the local juvenile
delinquent, tutored me in the lexicon of
profanity. “No, not ‘can’t’. It’s ‘cunt’.”
I was four years old and the reason
it sticks in my mind is that my mother
caught him doing it, sent him packing,
and told me to forget everything I’d just
learned. That, of course, became an
impossibility the instant I realised its
forbidden nature. So began my initiation
into the social taboo of “bad” language.
We all go through the same
proscription by some or other authority
figure. And yet most of us emerge as
proficient swearers, able to construct
whole sentences, should the occasion
demand, out of F-words and S-words
and C-words, and a whole alphabet
of curses that, despite near universal
recognition, are deemed unfit to print.
Indeed some people struggle to
describe the world, or their feelings,
without extensive recourse to such
words, while there are standup
comedians and celebrity chefs who
build careers out of using little else.
However, in spite of their widespread
circulation and occasional profitability,
these words remain marginal, suspect,
unacceptable in polite society.
It’s not so much about what they
describe – the words “sex”, “rectum”
and “vagina”, for example, do not
require asterisks – but more about
what they represent: the unsayable. We
know this because the nature and type
of unsayable words changes across
time and cultures. Blaspheming – the
mere mention of God or Jesus – was
once beyond the bounds, as was the
word “bloody”.
So, what’s the point of unsayable
words that we regularly say? According
to Emma Byrne, author of Swearing
Is Good for You, profanities are a
fundamental part of our language,
performing a vital role in our
development. She comes at swearing
from the perspective of evolutionary
psychology and with a vocabulary
of which Tony Hilsden would have
Citing several not always entirely
relevant scientific studies, she makes
the case that taboo words act as a
kind of pressure valve, allowing us to
let off steam rather than, say, punch
somebody’s lights out.
Apparently research shows that
swearing also helps productivity, creates
greater unity, eases pain and is so deeply
embedded in our brains that profanities
are often the last bits of language that
stroke victims can use.
“In fact,” writes Byrne, “I don’t think
we would have made it as the world’s
most populous primate if we hadn’t
learned to swear.”
It was at this stage of the book
that I mumbled something that may
have eased my own pain but didn’t
necessarily help with my productivity as
a reviewer.
Byrne’s contention is that without
swearing we would have to rely on
biting and gouging and throwing faeces
to maintain social order, but you don’t
need a PhD in psychology to know that
if someone describes someone else
with a swearword in, say, a road rage
incident, the risk of violence goes up,
not down.
In terms of disputes, swearing can
just as often be a trigger as a defuser.
As Byrne goes on to note: “In order to
swear you need an understanding of
the psychology of others … to be able to
anticipate how your words are likely to
make someone feel.”
Byrne seems to suggest from this
that swearing is a sign of empathy.
But it’s perhaps more accurate to say
that swearwords mean what we want
them to mean. Used as expletives,
they are little more than meaningless
fillers. However, if there is a defining
characteristic of swearwords it must
surely be their flexibility.
As Stephen Wildish shows in
How to Swear: An Illustrated Guide,
“fuck” can be an adjective, a verb and
a noun, all in the same sentence. It can
also be offensive, funny, descriptive,
ironic, literal, metaphorical and much
else besides, depending on linguistic
and social context.
To enter into the vernacular, this
is one of those elegantly designed
amusements intended to be read while
wiping your arse. A book of lavatorial
language made for the smart lavatory.
here, though the digital chatter of
YouTube and Twitter is replaced by
equally transformative social forums:
the club circuit and the literary party.
Baby’s parents suffer the first violent
death of many in Kobek’s novel, which
ends in the aftermath of the notorious
clubland killing of Andre “Angel”
Melendez by the club promoter Michael
Alig and Robert Riggs in 1996. The
fictional Baby hovers around these
real characters and others, real and
imagined, who haunt the
landscape of a vanished New
York. Hot literary property
Bret Easton Ellis makes
an early appearance and
gets a dressing down
(pre-American Psycho)
for his “squeamishness”;
a caricature Norman
Mailer passes through,
hitting on younger
women and arguing about boxing;
there’s even glancing reference to Bucky
Wunderlick, the (fictional) Dylanesque
star of Don DeLillo’s Great Jones Street.
There’s nothing new in the idea
that New York is a city built as much
in fiction as on reality and it comes as
no surprise when Baby leaves clubland
behind to become a hot literary property
in his own right. But Kobek never loses
sight of the human cost of maintaining
the image, keeping his awful tally of the
dead and throwing in his lot with the
club kids, the queers, the poor and the
people of colour who make up the
margins of the gentrifying city.
The novel splits narratorial duties
between Baby and Adeline, a west
transplant who meanders
her art-school degree with
a mix of weary cynicism and
affectation, sounding
like a mixture of Holly
and Courtney
Love. She refers to
herself as “yours truly”
a uses words such as
Wildish suggests some
questionable rules. For example, he
draws a provocative distinction between
“bollocks” and “bullshit”. The former,
he argues, is spoken out of ignorance
(Mount Everest is in Peru) whereas the
latter (falsely claiming to have climbed
Everest) is about mendacity.
Both books attempt to be profound
about the profane – Byrne uses
psychology and neurology; Wildish
employs grammar and irony – and
both writers indulge in the obvious
humour of their subject.
However, both books are constructed
from conceits on which the authors
fail to deliver. As Byrne admits in her
conclusion: “There’s no way to know
for sure that any of this [the idea
that swearing provided a peaceful
alternative to violence for our primitive
ancestors] happened”.
And the notion, advertised in the
blurb, that you’d learn to swear from
reading How to Swear is, frankly,
bullshit. Or is it bollocks? Still, they’re
entertaining and informative and,
if nothing else, remind you of the
mysterious pleasure of using words that
are not meant to be said.
To order Swearing Is Good for You for
£11.04 or How to Swear: An Illustrated
Guide for £8.49 go to guardianbookshop.
com or call 0330 333 6846
Eve of destruction in
90s New York clubland
The Future Won’t Be Long
Jarett Kobek
Serpent’s Tail £12.99, pp416
Spare a thought for the parents. Any
Bildungsroman worth its salt needs to
hustle them off the scene before the
Roman can get down to the business
of Bildung and the opening sentence
of The Future Won’t Be Long manages
to get the job done with startling
efficiency: “I moved to New York not
long after my mother killed my father
or was it my father who murdered my
mother?” Our narrator, who renames
himself Baby after arriving in the big
city, doesn’t have much time for that
David Copperfield kind of crap and
when we later get a full account it turns
out that this orphan’s origin story isn’t
quite what we’ve been led to believe.
But this is New York in the late 80s
and early 90s: a city of club kids, drag
queens, artists and junkies; the urban
laboratory where identities are being
reinvented for the new millennium.
You can’t blame Baby if he takes a few
liberties with his own narrative.
Baby and his co-narrator Adeline will
already be familiar voices to readers of
Jarett Kobek’s self-published cult hit I
Hate the Internet (2016), to which this
novel is a kind of prequel. Kobek’s areas
of interest in that novel – the corrosive
effects of celebrity; the debasement of
public discourse in a technologically
mediated world – are also on display
THE NEW REVIEW | 05.11.17 | The Observer
Jarett Kobek
disssects New York
cultural life with skill.
“copacetic”, a mannerism that somehow
manages to be endearing as well as
The city takes its toll on her, too,
though in a different way from Baby;
you warm to them both even as they
drift apart and their reunion at the end
of the novel and the millennium marks a
small victory amid the ruins.
Their voices are convincing, though
occasionally the mask slips, especially
when Kobek indulges his penchant for
cultural studies film commentary. But a
few indulgences are a small price to pay
for a novel that not only dissects with
consummate skill the cultural life of finde-siècle New York, but finds there the
early symptoms of our contemporary
malignancy. “It all comes back to
clubland,” as Baby points out. “America
really is a club and everyone wants to be
in the VIP room. Everyone wants to be
fabulous.” James Purdon
To order The Future Won’t Be Long for
£11.04 go to or
call 0330 333 6846
‘Sheridan: the frocks
ks are a
fright but the girl is a star’
TV, page 46
about their writing when they don’t
know what to say and are not sure what
to write. It leads Kif to a bad pass.
‘Fiction is not a
lie but a truth, a
necessary truth’
As a Tasmanian, Kif finds it hard to be
taken seriously as a writer. Was that your
It was. When I started out, Tasmania
was still a metaphor for everything
Australians hated about themselves
– their convict past, environmental
rapacity, murderous racism and
general insignificance. My first
novel, Death of a River Guide, was
refused a review in Australia’s leading
broadsheet on the grounds it fitted
no recognisable school of Australian
literature. Which is one of the sweetest
compliments I have ever had.
Booker prize winner Richard Flanagan
on his new novel and why it’s not always
possible to separate fact from fiction
Richard Flanagan won the Man Booker
prize in 2014 for The Narrow Road to the
Deep North. In First Person, would-be
novelist Kif finds himself embarking on the
ghostwriting job from hell.
This is a very different novel to
The Narrow Road. Was that always
the plan?
Plan? I had no plan. First Person is the
book I began before the Booker and
which I finished after, while at the
same time, trying to surf the mudslide
that the Booker brings on without
falling off and being buried alive.
Can you tell us about the back story to First
In 1991, while working as a builder’s
labourer and trying to write my
first novel, I was offered $10,000
by Australia’s greatest conman and
corporate criminal, John Friedrich, to
ghostwrite his memoirs in six weeks.
He had embezzled a billion dollars in
today’s terms, set up a sort of a secret
First Person nods to the rise of autofiction.
Do you understand its popularity?
I don’t even understand its meaning. It
has something to do with the French?
I fear it may also have something to do
with me. The problem is, as Flaubert
exclaimed in exasperation: “Madame
Bovary, c’est moi” and novels were
always stolen from everywhere and
everything, not least the author’s own
soul. Labels are best left on jam jars.
army and the whole thing had gone
belly up. His bodyguard was a mate,
which was how I got the gig. We
worked on the book for three weeks
and then he shot himself dead. I was
left to ghostwrite a ghost.
What can more conventional realist novels
offer that autofiction can’t?
Although the novel is based on your
experience with Friedrich, your
ghostwriter, Kif, finds truth is arrived at by
not cleaving too faithfully to the facts.
Maybe that is as it should be: after
all, fiction is not a lie, but a truth, a
fundamental and necessary truth,
that we need as much as we need food
or sex. Without fiction, we poison
ourselves on the lies of the first person.
And perhaps that was the fear I had felt
with Friedrich all those years ago – the
terror of becoming the first person
trapped in someone else’s lies. For if
story as lies leads us to a dark place,
story as fiction offers the possibility
of transcendence and liberation, the
recognition of the many things each of
us are.
By Robert McCrum
The larger truth that we are not one but
many and that all that we don’t know is
everything we need to discover.
Are you tempted to write your own
Do you become as possessed by your
characters as Kif is by his subject?
I’m tempted by everything unwise, but
I hope I don’t give in to it. St Augustine
prayed to the Lord to grant him
sobriety and chastity, but not just yet.
To which I would add memoir, but
wisely St Augustine didn’t.
Stephanie Cross
No. But Kif is a mediocre artist
who believes in the grand old lies:
experience, empathy and the necessity
of identifying with your subject, the
first person – those things people say
First Person is published by Chatto &
Windus (£18.99). To order a copy for
£16.14 go to or
call 0330 333 6846
Richard Flanagan: ‘I’m tempted by everything unwise.’ Photograph by Joel Saget/AFP
Kif discovers the only way to become a
writer is by writing. Would that be your
I have no advice. People write books
in spite of themselves. Which may
be why I never understood creative
writing degrees.
Rome: A History in
Seven Sackings
David Bowie: A Life
Everything You Do Is Wrong
Dylan Jones
Amanda Coe
Matthew Kneale
Preface £20
Fleet £14.99
Atlantic £20
NO 92
The Diary of
Samuel Pepys
On 1 January 1660, the
27-year-old Pepys, an
ambitious government
servant, made his first
diary entry:
Blessed be God, at the end of the last
year, I was in very good health... I lived in
Axe Yard, having my wife and servant
Jane, and no more in family than us
Soon, however, this sober
narrative became transformed by
Pepys’s exuberant discovery of his
“unequalled self ”. For the next nine
and a half years, his diary became
the seething receptacle for its
author’s loves and hates, anxieties,
frustrations and desires, as well as a
faithful record of his everyday life:
its splendours, shames, vanities and
Pepys was a government servant
who liked to tidy up the chaos
of experience and reduce it to a
meticulous shorthand. Later, when
the cipher was broken, something
very far from a system emerged:
a portrait of an extraordinary
Englishman at an extraordinary
Pepys revelled in the politics,
opportunities and adventures of the
day. He loved music and women and
every kind of metropolitan pleasure.
We don’t know what it was that
prompted Pepys to pick up his pen,
but, in the words of one scholar, it
was part of “his energetic pursuit
of happiness”. Keeping the diary
intensified the present moment,
giving him both the experience and
then the pleasure of describing it.
Pepys’s timing was good. Writing
at a pivotal moment, the diarist’s
career prospered. His job as clerk of
the Acts to the Navy Board put him
at the centre of the second Dutch
war. Living in Westminster, he
experienced the 1665 plague; then,
in September 1666, he witnessed the
Great Fire:
I down to the water-side, and there saw
a lamentable fire. Everybody
endeavouring to remove their goods,
and flinging into the river; poor people
staying in their houses as long as till the
very fire touched them, and then
running into boats, or clambering from
one pair of stairs by the water-side to
another. And among other things, the
poor pigeons, I perceive, were loth to
leave their houses, but hovered about
the windows and balconys till they
were, some of them burned, their
wings, and fell down.
Pepys’s diary is also a vivid
portrait of a high-spirited young
man becoming a great public official.
Vanity must be one motivation.
Pepys translated his vanity first into
intimate reportage and then into art.
He is as frank about his frailties as
he is about the world around him,
remaining open to the rare mysteries
of everyday life. His Diary is the work
of a special kind of English genius:
mundane, improvised and profound.
For an extended version of this review
go to
“Both peace and war have played their
part in making Rome the extraordinary
place it is today,” writes Matthew Kneale.
However, his stirring history of the Eternal
City is heavy on the hostilities. Rome has
been occupied, ravaged and reshaped
by the Gauls, Goths, Normans and Nazis.
Fractured stories come naturally to Kneale:
his novel English Passengers, winner of
the Whitbread book of the year in 2000,
juggled 20 narrators. Here, he carefully
pieces together an episodic portrait of a
population as flexible in conflict as they
are in business and matrimony. The past
is lingering in the piazzas and forums:
medieval towers house gift shops; football
fans march past a towering marble obelisk
still dedicated to Il Duce. As an American
nun observed while trapped in the city
during the second world war, Romans can
adapt to events with “Olympian serenity”.
Christian House
There have been many books about David
Bowie, both before and after his death,
but GQ editor Dylan Jones’s is among the
best. Jones sensibly chooses to use the
verbatim testimonies of Bowie’s friends,
loved ones, colleagues and admirers (as
well as a few sceptics) and skilfully teases
out hitherto unknown facts and details.
It is unlikely, for instance, that any other
biography has taken such care to explore
the formative role of Beckenham in
Bowie’s early career.
For any admirer of the great man, there
is a smorgasbord of new information,
mixed with well-judged analysis. But even
for agnostics, there is no denying Jones’s
flair and dedication in giving his hero the
most comprehensive of eulogies.
The only real criticism to be levelled at
this admirable book is the absence of any
illustrations, a pity with such a visually
resplendent subject. Alexander Larman
Contemplating the eating disorder she is
trying to cultivate, lumpen, horny, 15-yearold Harmony is reminded of a Möbius strip:
what to do when you need, but can’t afford,
both Senokot and KitKats? Similar flares of
mordant wit punctuate Amanda Coe’s third
novel, whose unfolding secrets eventually
bring us full circle, back to the stony beach
where her story begins. It is here that a
mute, amnesiac woman is discovered by
Harmony’s aunt, but perhaps the greater
mystery surrounds her mother, who has
retreated into depression. Coe’s bleak
coastal town is a fitting backdrop for a novel
that, for all its dark laughs, seems to resign
its central characters to the unhappy loops
of their lives. Stephanie Cross
To order Rome: A History for £17, David
Bowie: A Life for £17 or Everything You Do Is
Wrong for £12.74 go to guardianbookshop.
com or call 0330 333 6846
Here We Are
Oliver Jeffers
HarperCollins £14.99
Like many new parents back from
hospital, Oliver Jeffers found himself
taking his baby on a tour of his home:
“Here’s the kitchen, where we make
food...” This sparked the idea for his
first foray into nonfiction, a picture
book introducing his son to “the big
globe, floating in space, on which we
live”. Unmistakably conceived in the
afterglow of new parenthood – the sun
blazes, everyone smiles and the baby is
a cute, luminous cocoon lighting up the
nursery – it bursts with tenderness.
As you’d also expect from the worldrenowned creator of such characters
as Henry (The Incredible Book Eating
Boy) and Wilfred, with his botched
attempts at moose-taming (This
Moose Belongs to Me), it’s witty
and fun. At the bottom of a
diagram of the body, the
label for “bones” reads:
“To hold it all together.”
illustrations of space
and constellations
cleverly echo How to
Catch a Star, Jeffers’s 2004
career-launching debut. But,
in the low light needed for bedtime
stories, Jeffers’s trademark scrawly
handwriting and details can be tricky
to make out in these jet-black and
purple drawings.
Born in Belfast, Jeffers now lives in
Brooklyn and it’s evident that Here We
Are, with its core messages to be kind,
accepting and look after the planet, is
a reaction to the age of Trump. One
spread depicts dozens of people
nudging up to one another –
two lesbian brides beside
a lady in a burqa; a sumo
wrestler wedged between
a nun and a punk (eagleeyed parents will also
spot the artist Peter Blake,
denim jacket dotted with
badges) – and the line: “...don’t
be fooled, we are all people”.
An optimistic snapshot of
contemporary life, this heartfelt hug of
a book ought to become a classic.
Imogen Carter
To order Here We Are for £12.74
go to or call
0330 333 6846
The Observer | 05.11.17 | THE NEW REVIEW
Charts & puzzles
Each Sunday we run a selection of
contributions from a weekly themed
photography assignment. To see a wider
selection of readers’ entries each week go
Next theme: success (to appear 12
November). Share your photos of what
‘success’ means to you at theguardian.
com/witness by 10am on Thursday 9
1 | ‘Self-portrait, taking it easy.’
Georgina Mai Lewis/GuardianWitness
2 | ‘Easy peasy… This potter in Rhodes
made it look so easy.’
Alex Dawson/GuardianWitness
3 | ‘My first ever Sudoku!’
4 | ‘Ocata beach, Barcelona. Day one of a
holiday, getting used to doing nothing.’
Gerry Masterson/GuardianWitness
The 19-year-old
grime MC formerly
known as Santan
Dave dropped an
EP on Friday and
takes his
considerable buzz
nationwide in
Tour stars Glasgow
22 November,
ends London 5
Roundhouse – In the
These are intimate
performances by a
wide range of artists from Malian musician
Oumou Sangaré to
grime MC Chip to Beth
Orton (right) designed to help us
all combat the winter
Roundhouse, London
NW1 , 31 January to
10 February
Tiger Bay the Musical
An new show about
a woman trying to
follow her dreams in
early 20th-century
Cardiff. Melly Still
directs a cast of 39,
with an original score
by Daf James. The
book and lyrics are by
Michael Williams.
Donald Gordon
theatre, Cardiff; 13-25
The Magic Fish
A classic Indian tale
retold for children by
ATMA Dance.
Waterside Arts Centre,
Sale; 11 November
The Suppliant Women
By Aeschylus in a
new translation by
David Greig. Directed
by Ramin Gray,
with music by John
Browne, design by
Lizzie Clachan and a
community chorus
A quiz about events that happened on this
day, 5 November, throughout history
1. Who was arrested on the night of 5
November in a House of Lords cellar in
2. Name the boardgame the Parker
Brothers launched in 1935.
3. Who was the first and only US president
to be elected to a third term in 1940?
4. What was unique about Nat King Cole’s
debut show on NBC in 1956?
5. Who described the US as the Great
Satan in 1979?
6. The body of which millionaire newspaper
publisher was found in the sea near
Tenerife in 1991?
7. Which boxer became the oldest
heavyweight champion at the age of 45
in 1994?
of Lambeth and
Southwark residents.
Young Vic, London SE1;
13-25 November
Joyce DiDonato and
Ildebrando D’Arcangelo
star in David Alden’s
new staging of
Rossini’s epic tragedy,
conducted by Antonio
Royal Opera House,
London WC2;
19 November to
16 December
America’s Cool
Gorgeous survey of
the cool in US art, from
Georgia O’Keeffe and
Arthur Dove to
Charles Sheeler.
Ashmolean, Oxford;
23 March to 22 July 2018
WNO Russian season
The orchestra of
Welsh National
Opera performs
Symphony No 7.
St David’s Hall, Cardiff;
23 November
Chosen by Kitty
Empire, Susannah
Clapp, Fiona
Maddocks, Luke
Jennings and Laura
Answers on page 39
1 Stopped after bad upset (8)
6 Time beside stream making
tremulous sound (5)
9 Personnel murmur nervously
near informants (5,9)
11 Check praise, omitting line
with appeal (5)
12 Tapering object outside
study, small telescope (8)
14 Values cherished by
democrat especially (5)
16 Instrument in place for
playing arrangement (8)
17 Doctor, traveller around east
also (8)
18 Complete expression of
distaste for money (5)
21 Sweet not well covered with
marzipan? (8)
22 Formerly storing uranium,
tiny amount (5)
24 Composer from south in
going here grew excited (6,8)
25 People in revolution
breaking heart of fogeyish
opponent (5)
26 Spirit in amusing prelude
to announcement of
winner (4,4)
2 Located article, one among
NO 3708
THE NEW REVIEW | 05.11.17 | The Observer
Post code
How many times a month do you
buyThe Observer?
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
many with sound structural
basis (10,5)
3 Precise demand (5)
4 Challenge lawyer on limits of
role (4)
5 Throw party before noon?
Sure thing (10)
6 Number filled with energy
supporting team initially
AZED CROSSWORD For a different challenge see page 39
roared (9)
7 Online scan quite absurdly
trivial (15)
8 Speaker’s moral decline (6)
10 Trade show’s objective (4)
13 Translation of Virgil, deep and
rich (10)
15 Meet and mix endlessly over
year, apparently (9)
19 Command given to dog in
list (4)
20 Top mimic capturing monster,
right away (6)
22 More trouble with book
out (5)
23 Language used by chauffeur
dutifully (4)
Rules and requests
Send correct solution (one only) and
clue to replace definition asterisked
(on separate sheet also bearing name
and address, securely attached)
to Azed No. 2,369, PO Box 518,
Oxford, OX2 6WX. Entries should be
postmarked no later than Saturday.
Please add a brief explanation of your
clue (one entry only). £35, £30, £25
prizes and Azed bookplates for the
three clues judged best. The Azed
Slip, containing details of success-
Clues, which are normal, are presented in alphabetical order of their
solutions. Solvers must determine where each is to go in the diagram.
Competitors should submit with their solutions a normal cryptic clue to
replace the asterisked definition.
Wild ox? Number protected by volcanic rock (4)
Hearse for poet, unadorned, about end of life (5)
Bit of underwear, theatrical, I fastened inside (7)
Some brass coin in distribution king introduced (5)
Negotiated Orinoco’s depth, describing process? (8)
What sounds like pin for fastening short vestment (5)
Low stool, (former) Indian type, mixed (7)
Outlet containing information requiring immediate action (7)
Witty sayings (8)
Money supplies – some engaged to limit what’s
current in Nigeria? (8)
Form of Buddhism greeting fool, always taken in (8)
Wheel not operating riled pilots? (5)
Motor race that would make one frightened with women
leading (4)
Tavern, English, back part – it contains a
vestibule (8, 2 words)
Rich earthy stuff made of leaves etc initially mixed (4)
Across 1, anag. incl. c + anag.; 12, qua
‘Drat!’; 17, perm + a in sun; 20, i.e. Jim
P(rior), Tory cabinet minister with WW;
27, pep in 0; 28, lip in chook; 32, is in
har(vest) (anag.); 34, yes on (rev.); 35,
anag. less a.
Down 1, anag. in fl.; 2, I’m in rude sheer;
5, play by Anthony Shaffer; ref. Caligula
making his horse a consul; 7, prim +
anag. incl. t; 9, i.e. E to N; 19, i.e. short
swords; 21, anag. + l; 25, she-as(s); 28, 3
meanings; 30, croc(uses).
ful competition entries and Azed’s
comments, is available on subscription
at £16 a year. Cheques payable to the
Azed Slip, should be sent to The Azed
Slip, Coombe Farm, Awbridge, Romsey
SO51 0HN. To receive a sample slip,
please send an sae to this address
AZED No. 2,366 prizewinners
CW Reid Dick, Germany
Robert Whale, Berkshire
Cliff Morsaw, Malvern
Peeled plum, raw, was enticing (5)
What’s called red is damaging (4)
Archaic name for compound, a term I used about uranium (7)
Anti-narcotic, not old, a lecturer of Oxford included (8)
Some Nigerians completely confined to north-east (4)
Most misguided about wealthy lives, refusing
to face reality (10)
Fix by hammering end of spike in cask (4)
Fine fabric making type of dress (not for Earl) (4)
Modern page, unusually sedentary (10)
To be outstanding versifier must regularly include bits of
rhyme and jolly catches (7)
Advises (as once) translation, English, for sketch
repeatedly (10)
Reserved lease, name put up included (8)
Old angler in list catching fish (ace cast) (7)
Being part of Europe determinedly kept back on track? (5)
Hector coming in changed places in old game with stakes
pooled (10)
A wee dram making you pee after spread (4)
Lancer, e.g., end of whose weapon is held in hand’s
breadth (8)
Breaking news did for land burned off for cultivation (7)
Senior tucking into stale food’s thrown up worms (7)
Paunch? Try dance and a bit of exercise (5)
Almost poetic tune, though not difficult on the outside (5)
Every answer is in The Chambers Dictionary (2014).
Top 10 searched-for films at
Top 10 songs searched for on Shazam UK
Top 10 paperback fiction at
Breathe Dir: Andy Serkis
The Death of Stalin Armando Iannucci
Call Me By Your Name Luca Guadagnino
Geostorm Dean Devlin
Thor: Ragnarok Taika Waititi
Loving Vincent Dorota Kobiela, Hugh Welchman
Blade Runner 2049 Denis Villeneuve
The Snowman Tomas Alfredson
The Mountain Between Us Hany Abu-Assad
Jigsaw Michael Spierig, Peter Spierig
Mi Gente J Balvin & Willy William ft Beyoncé
Silence Marshmello ft Khalid
Rockstar Post Malone ft 21 Savage
Cola Camelphat & Elderbrook
Havana Camila Cabello ft Young Thug
Finders Keepers Mabel ft Kojo Funds
Perfect Ed Sheeran
Anywhere Rita Ora
Hurtin’ Me Stefflon Don ft French Montana
Dusk Till Dawn Zayn ft Sia
The Crow Girl Erik Axl Sund
Homegoing Yaa Gyasi
Autumn Ali Smith
City of Friends Joanna Trollope
Cartes Postales from Greece Victoria Hislop
The Power Naomi Alderman
Paris for One and Other Stories Jojo Moyes
Swing Time Zadie Smith
Nutshell Ian McEwan
The Snowman Jo Nesbo
1 c4 c5 2 Nf3 Nf6 3 Nc3 d5 4 cxd5 Nxd5 5
e3 e6 6 Nxd5 6 d4 is normal and generally
leads to an isolated Queen’s pawn position
after Black soon plays... cxd4 and White
replies exd4. Instead, this exchange is the
precursor to a positional pawn sacrifice.
6... exd5 6... Qxd5 is also perfectly playable.
White gains time after 7 b3 Be7 8 Bb2 0-0
9 Bc4 and now 9... Qd8 but without anything
to bite on it’s unclear how much this matters.
7 b4 The point, offering the pawn to secure
the d4 square and gain an important tempo.
7... cxb4 In a couple of previous games,
Black had played 7... c4 though 8 Bb2 is still
somewhat annoying. Black can also try 7...
Nc6 8 dxc5 Bxc5 when he at least gets the
bishop out but must be at least a bit worse.
8 Bb2 Now Black must make a concession
to get the f8 bishop out without dropping the
g7 pawn.
8... Nd7?! 8... a6 followed by Nc6 looks better
but this is still a difficult position to play.
9 Rc1 Nf6? Blocking the diagonal but taking
too much time to do so.
10 Bb5+ Bd7 11 Bxf6! gxf6 If 11... Qxf6
12 Bxd7+ Kxd7 13 Qa4+ Kd8 14 Qa5+ is
already winning.
12 Nd4?! Rc8? 12 Bxd7+ Qxd7 13 0-0 would
have been more accurate as now 12... Bxb5
13 Nxb5 Rc8 is vile-looking but still a battle.
13 Bxd7+ Qxd7 14 Rxc8+ Qxc8 15 Qa4+
Peter Schreiner
(Black to play)
Yurij Kuzubov
15... Kd8 If 15... Qd7 simply 16 Qxa7 and if
16... Be7 17 Qb8+ Bd8 18 Qg3.
16 0–0 16 Qa5+ Ke8 17 Qxd5 was also good;
Qc1+ 18 Ke2 Qxh1 loses to 19 Qe4+ Kd8 20
Qxb7 but 17... Rg8 might give faint chances.
16... Qc5 17 Rb1 Bd6 18 Qd1! This nice
retreat regains control of the c-file.
18... Bb8 19 g3 h5 20 Qf3 Ke8 21 Qxf6
Rg8 22 Nf5 Qf8 23 Qd4 Rg6 24 Qxd5 Rc6
25 Qe4+ And since 25... Kd7or8 26 Rxb4 is
murder, Black resigned.
Yurij Kuzubov v Peter Schreiner
Crete 2017
English Opening
The European team championship is
moving towards its conclusion in Crete
with the penultimate round today. With
the favourites Russia slightly off colour,
the open section looks unlikely to be
decided until the very end. But in the
women’s section, Russia won all five
matches up to the rest day on Thursday
and might pull away.
Four rounds of a team tournament is an
eternity, but for what it matters as I write
on the rest day, Croatia are sole leaders in
the open section with 9/10 match points
ahead of Hungary, who beat Russia in
round 4, Russia themselves, Armenia and
Poland 8. England started poorly but have
moved up and hit the rest day on 6/10.
The Russian women started as rather
more definite favourites than their male
counterparts. Their five victims up to
the rest day included the second and
third seeds Georgia and Ukraine and if
on Friday they did beat the fourth seeds
Poland, whom they outrate by an average
of more than 100 points per board, then
they may already be almost out of reach by
the time you read this.
My women’s team, England, is seeded
23rd of the 32, although a couple of our
players are definitely underrated. We
began with a heavy defeat against the
considerably stronger seventh seeds
Hungary and also then lost to Greece,
before a perhaps slightly disappointing
2-all draw with Belgium, but have picked
up with successive victories against
Greece 2 and Slovakia to regain a 50%
record, hopefully on an upward trajectory.
The tournament is being held in the
same resort hotel in Crete, the Creta
Maris, where the world senior teams was
held in April. Then, it was full of tourists,
but now in the off-season the hotel has
reopened purely for the chess players.
The seniors played in a relatively small
side hall but we are in the convention
centre adjoining the hotel. And one very
pleasant feature has been the relaxed
security – just a quick check with a metal
detector as you enter the hall to make
sure you’re not carrying a mobile phone –
as compared to the rigorous regime in last
year’s Olympiad in Baku. Indeed, players
and captains are even allowed to keep
their watches (as long as they are stupid,
not “smart”).
You might think that being at an event
you would see lots of games. But although
the organisers are being really relaxed and
captains can easily wander behind the
ropes to look at other matches, in terms
of watching live games I’d “see” more at
home. But of course you can look at games
after the round and chat to people at the
bar and I think it was Jan Gustafsson, the
German grandmaster who is doing live
English commentary for chess24, who
alerted me to this pretty game.
AZED 2,366 Solution & notes
Fill in the blank cells using the numbers 1 to 9. Each number must appear
just once in every row, column and 3x3 box.
Everyman No. 3706 winners
David Kemp, Glasgow
K F Wagstaff, Falkirk
Mrs GM Hill, Stoke on Trent
Sue Elliott, Bristol
Patricia O’Callaghan, S Yorks
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.
Joined up thinking
1. Guy Fawkes
2. Monopoly
3. Franklin D Roosevelt
4. It was the first variety show to be hosted by an African American
5. Ayatollah Khomeini
6. Robert Maxwell
7. George Foreman
The Observer | 05.11.17 | THE NEW REVIEW
Monday 6
For today’s TV
see back page
Revolution. Margy Kinmonth documents
how Russia’s avant-garde artists rose to the
challenge of helping to build a new worldview
and how they reacted when the soviet
dream became a nightmare. Excellent.
photography and some mysterious
whale imagery make this thunderously
powerful poetic statement more than live up
to its title. Jonathan Romney
How the Light Gets In
Elizabeth I’s Secret Agents
BBC2, 9pm
Radio 2, 10pm
The series ends with a gripping programme
about the accession of James I, a Catholic
extremist on the loose and the most
famous terrorist conspiracy in British
history: the Gunpowder Plot. Mike Bradley
BBC4, 10.20pm
Nigella: At My Table
BBC2, 8.30pm
(Andrei Zvyagintsev, 2014)
Nigella drifts about her tennis-court-sized
kitchen in a silk dressing gown, “squidging”
and “sploshing” her way through more
mouthwatering recipes, including beef
and aubergine fatteh, passion fruit ice
cream cake and a toasted sandwich made
with brie, fig and parma ham “as pink as
a kitten’s tongue”. Nigella has no shame.
If you tend to think of Russian cinema as
agonised and apocalyptic, the work of
Andrei Zvyagintsev probably won’t change
your mind – but his sombre, beautiful films
are profoundly arresting and emotionally
rich. In a similar register to his 2003 debut
The Return, his fourth feature is rooted in
harsh-grained realism, yet resonant on an
elusive metaphysical level. It’s a modernday Job story, and quintessentially Russian,
not least in its critique of contemporary
political corruption. Set in a windblown
coastal town, it’s about Kolya (Alexei
Serebryakov), a mechanic whose life
falls apart when the crooked local mayor
decides to seize the land his house stands
on. Dark humour, astonishing landscape
Revolution: New Art
for a New World
BBC4, 9pm
“Art is the most powerful means of political
propaganda for the triumph of the socialist
cause,” said Lenin after the Russian
Trouble on the Trains
Channel 4, 8pm
Anyone who thought football hooliganism
was a thing of the past will be shocked
and saddened by this undercover
Dispatches exposé of racist, homophobic,
Islamophobic and antisemitic behaviour
exhibited by travelling football supporters
on Britain’s trains. In fact, any rightminded human being could not fail to be
appalled by the antics on display – from
drunken yobbos chanting songs about
Auschwitz in carriages containing Jewish
passengers to a grown man repeating
“No Pakis” to a mixed race mother and
child until they feel they have to leave
their seats. “It was just banter,” say the
fans in their defence when police ask what
they were doing and why. As reporter
Morland Sanders (above) discovers, it
wasn’t banter at all, it was hateful, hurtful,
deliberate abuse and the perpetrators
deserve every fine and ban coming their
way. Good journalism. Mike Bradley
Jeremy Paxman offers an intelligent tribute
to the much-missed Canadian singersongwriter Leonard Cohen, talking to fellow
admirers including the American singers
Judy Collins, Suzanne Vega and Rufus
Wainwright (father to Cohen’s granddaughter) plus former MP Alistair Darling
and comedian Arthur Smith, who created a
show about him. The programme succeeds
most as a celebration of Cohen’s best lyrics
and best performances, but the guests add
value too, with Collins recalling how he first
visited her as an unknown poet: “He said:
‘I can’t play the guitar and I can’t sing and I
don’t know if these are songs,’ and then he
sang me Suzanne…” Stephanie Billen
ITV4, 12.45pm & 6.45pm
Champion of Champions: day one. Coverage
from the Ricoh Arena in Coventry, featuring
two group-stage semi-finals. In the
evening session the winners of these bestof-seven-frame contests will face each
other to decide who qualifies for the last
four. Ronnie O’Sullivan is enjoying a good run
of form and could be the one to watch. MB
Breakfast (T) 9.15 Women at
War: 100 Years of Service (T)
10.0 Homes Under the Hammer
(T) (R) 11.0 Getting the Builders
In (T) (R) 11.45 Fugitives (T) 12.15
Bargain Hunt (T) 1.0 News and
Weather (T) 1.30 Regional News
and Weather (T) 1.45 Doctors (T)
2.15 Impossible (T) 3.0 Escape to
the Country (T) (R) 3.45 Money
for Nothing (T) (R) 4.30 Flog It! (T)
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 Inside Out (T)
Channel 4
Channel 5
The Hairy Builder (R) 6.30
Countryfile Autumn Diaries
(R) 7.15 Getting the Builders In
(R) 8.0 The Big Family Cooking
Showdown (R) 9.0 Victoria
Derbyshire 11.0 BBC Newsroom
Live 12.0 Daily Politics 1.0 The
Code (R) 1.45 The Planners (R)
2.45 Family Finders 3.15 Operation
Gold Rush (R) 4.15 Back in Time
for Dinner (R) 5.15 Put Your
Money Where Your Mouth Is (R)
6.0 Eggheads 6.30 Strictly: It
Takes Two 7.0 MOTD: FA Cup 2nd
Round Draw 7.30 Coastal Path (R)
6.20 The King of Queens (T) (R) 7.35
Everybody Loves Raymond
(T) (R) 9.05 Frasier (T) (R) 9.35
Frasier (T) (R) 10.05 Ramsay’s
Hotel Hell (T) (R) 11.0 Undercover
Boss USA (T) (R) 12.0 News (T)
12.05 Come Dine With Me (T) (R)
1.05 My Kitchen Rules (T) 2.10
Countdown (T) 3.0 A Place in
the Sun: Winter Sun (T) (R) 4.0
Coast vs Country (T) 5.0 Four in
a Bed (T) 5.30 Steph and Dom’s
One Star to Five Star (T) 6.0 The
Simpsons (T) (R) 6.30 Hollyoaks
(T) 7.0 News (T)
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
Dickinson’s Real Deal (T) (R) 3.0
Tenable (T) 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) Adam makes a shocking
revelation to Victoria. 7.30
Coronation Street (T) Adam and
Rosie go on a mission of mercy.
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) 2.15
NCIS: New Orleans (T) (R) 3.15
Defending Santa (Brian
Skiba, 2013) (T) A man claiming to
be Santa Claus is found sleeping in
a forest, resulting in a court case.
Dean Cain and Bill Lewis star. 5.0
News (T) 5.30 Neighbours (T) (R)
6.0 Home and Away (T) (R) 6.30
News (T) 7.0 Car Crash TV (T)
Beyond 100 Days (T) 7.30 Great
Continental Railway Journeys
(T) (R) La Coruña to Lisbon, Part
Two. Michael Portillo continues
his journey through Spain and
Portugal, learning about Britain’s
alliance with the Portuguese.
The Art of Scandinavia (T) (R)
(2/3) Andrew Graham-Dixon on
the rise of Denmark as an arbiter
of taste in northern Europe.
Revolution: New Art for a
New World (T) The artists
of the Russian avant-garde,
telling the stories of Chagall,
Kandinsky, Malevich and others
who flourished in response to
the 1917 revolution.
EastEnders (T) Kathy is stunned
when she comes face to face
with a face from the past.
8.30 Would I Lie to You? (T) (R) With
panellists Bob Mortimer, Gabby
Logan, Katherine Parkinson and
Steve Backshall.
9.0 Panorama (T) In-depth current
affairs report.
University Challenge (T)
The second and final highestscoring loser match.
8.30 Nigella: At My Table (T) Nigella
Lawson serves up five more
recipes, including beef and
aubergine fatteh.
9.0 Elizabeth I’s Secret Agents (T)
Robert Cecil learns of a Catholic
conspiracy to blow up parliament.
Last in the series.
The Harbour (T) The crowds
arrive for the Easter weekend
and Whitsun holidays.
8.30 Coronation Street (T) Johnny’s
announcement incenses Aidan.
9.0 Prince Harry and Meghan: Truly,
Madly, Deeply (T) Documentary
charting the history of the
couple’s romance, as well as
Meghan Markle’s life to date.
Dispatches: Trouble on the
Trains (T) A chilling look at the
homophobia and racism of
travelling British football fans.
8.30 Tricks of the Restaurant Trade
(T) Curry fans give their verdict
on a new wave of restaurants.
9.0 999: What’s Your Emergency?
(T) Following the emergency
10.0 News (T)
10.30 Regional News and Weather (T)
10.45 Have I Got a Bit More News
for You (T) Jo Brand hosts an
extended edition of the satirical
quiz, with Miles Jupp and Quentin
Letts joining team captains Ian
Hislop and Paul Merton.
11.30 The Graham Norton Show (T) (R)
With Michelle Preiffer, Judi Dench,
Josh Gad and Kenneth Branagh.
12.20 Weather for the Week Ahead
(T) 12.25 BBC News (T)
10.0 Live at the Apollo (T) (R) Sarah
Millican introduces Tom Allen and
Arj Barker.
10.30 Newsnight (T) Weather
11.15 Exodus: Our Journey Continues
(T) (R) A follow-up to the 2016
documentary Exodus: Our
Journey to Europe, finding out
what happened to some of the
million migrants and refugees
who came to Europe in 2015.
12.15 Sign Zone Countryfile Ramble
for Children in Need (T) (R) 1.25
The 21st Century Race for Space
(T) (R) 2.25 This Is BBC2 (T)
10.0 News (T)
10.30 Local News (T)
10.40 Ross Kemp Behind Bars:
Inside Barlinnie (T) (R) The
actor immerses himself in
prison life in Glasgow.
11.40 The Jonathan Ross Show (T) (R)
With Jodie Foster, David Walliams,
Roisin Conaty and Blondie.
12.40 Jackpot247 3.0 The Jeremy
Kyle Show (T) (R) 3.55 ITV
Nightscreen 5.05 The Jeremy
Kyle Show (T) (R)
10.0 First Dates (T) An Old Etonian
and a blogger bond over a shared
respect for Michelle Obama.
11.05 Celebrity Hunted (T) (R) The
remaining famous fugitives try to
evade capture. Last in the series.
12.10 How’d You Get So Rich? (T) (R)
Katherine Ryan meets very rich
people. Last in the series. 12.55
The Secret Life of the Zoo (T)
(R) 1.50 Mommy (Xavier
Dolan, 2014) (T) Drama starring
Anne Dorval. 4.10 Grand Designs
Australia (T) (R) 5.10 Draw It!
(T) (R) 5.35 Countdown (T) (R)
10.0 The Last Days of Steve McQueen
(T) Forensic pathologist Dr Jason
Payne-James looks at the cause
of the movie star’s death at the
age of 50.
11.05 The One (James Wong,
2001) (T) Futuristic martial
arts adventure starring Jet Li.
12.40 Car Crash TV (T) 1.10
SuperCasino (T) 3.10 Law &
Order: Special Victims Unit
(T) (R) 4.0 Get Your Tatts Out:
Kavos Ink (T) 4.45 House Doctor
(T) (R) 5.10 House Busters (T)
(R) 5.35 Wildlife SOS (T) (R)
10.20 Leviathan (Andrey
Zvyagintsev, 2014) A mechanic
turns to a lawyer for help in
keeping his home, unaware of
the repercussions this choice will
have. Drama starring Aleksey
Serebryakov and Elena Lyadova.
12.35 Lost Kingdoms of Central
America (T) (R) (4/4) Dr Jago
Cooper chronicles the history
of the Teotihuacan civilisation.
Last in the series. 1.35 The
Art of Scandinavia (T) (R)
2.35 Revolution: New Art
for a New World (T) (R)
Tune. With live music by Boris Giltburg, plus Omar
Sosa and Seckou Keita. 7.0 In Tune Mixtape 7.30
In Concert. Presented from the Royal Festival Hall
in London by Martin Handley as part of Radio 3’s
season Breaking Free: A Century of Russian Culture.
Shostakovich: Cello Concerto No 1. Pēteris Vasks:
Dona nobis pacem. 8.15 Interval. Gregorian Chant:
Dies irae. Rachmaninov: Symphonic Dances. Istvan
Vardai (cello), The Lay Vicars of Westminster Abbey,
London Philharmonic, Andrés Orozco-Estrada.
10.0 Music Matters (R) 10.45 The Essay: Ten
Artists That Shook the World – Choices. The impact
of the Russian Revolution on artists of the time.
(1/10) 11.0 Jazz Now. A concert by the Swiss trio
Schnellertollermeier. 12.30 Through the Night (R)
Lively’s meditation on gardening, literature and
creativity. (1/5) 2.0 The Archers (R) 2.15 Drama:
Undercover Mumbai, by Ayeesha Menon. (R) (1/5)
3.0 Quote – Unquote. Sally Phillips, Matthew Parris,
Kate Williams and Frog Stone guest. (6/6) 3.30
The Food Programme: The Art of Fermentation – A
Masterclass (R) 4.0 Hull 2017: Flight. To celebrate
Hull’s ballet tradition, pupils from four of the city’s
dance schools take to the streets to perform the
Royal Ballet’s new piece Take Flight. (3/3) 4.30
The Digital Human: Shame (6/6) 5.0 PM. With
Eddie Mair. 5.54 (LW) Shipping Forecast 5.57
Weather 6.0 News 6.30 The Unbelievable Truth.
Mark Steel, Holly Walsh, Tony Hawks and Fred
MacAulay guest. (6/6) 7.0 The Archers. Lilian tries
to prevent a disaster. 7.15 Front Row. Arts roundup.
7.45 Living With the Gods: The House of God (R)
8.0 The Confidence Trick. Laura Barton considers
the role of school and background in determining
confidence. (2/3) 8.30 Analysis: Primate Politics.
James Tilley finds out what political lessons can be
learned from power struggles within chimpanzee
groups. (6) 9.0 Natural Histories: Beaver (R) 9.30
Start the Week (R) 9.59 Weather 10.0 The World
Tonight 10.45 Book at Bedtime: First Person,
by Richard Flanagan. (1/10) 11.0 Power Lines:
Politics. Sabrina Mahfouz and Inua Ellams explore
the rising popularity of spoken word poetry. (1/3)
11.30 Today in Parliament. With Sean Curran.
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: Gary Moore on the Manx Shearwater
BT Sport 1
6.0am The Emirates FA Cup 7.0 Premier League
Review 8.0 West Ham United v Liverpool 9.30
Tottenham v Crystal Palace 11.0 FA Cup: Shaw
Lane AFC v Mansfield 12.30 The Emirates FA Cup
1.30 Premier League Review 2.30 Corinthians
v Palmeiras 4.0 Ligue 1 Review 5.0 NBA Inside
Stuff 5.30 Premier League Review 6.30 FA Cup:
First Round Highlights 7.0 Live FA Cup: Chorley v
Fleetwood Town (kick-off 7.45pm) 10.0 Premier
League Reload 10.15 BT Sport Goals Reload
10.45 Premier League Tonight 11.15 Celtics/
Lakers: Best of Enemies 1.15 Premier League
Reload 1.30 Saracens v Harlequins 3.0 Fishing:
On The Bank 4.0 Premier League: Best Goals
1999/00 5.0 Premier League: Best Goals 2000/01
in Chelsea 2.10 Tattoo Fixers: Top Tatts 3.05
First Dates 4.0 Black-ish 4.25 Black-ish 4.50
11.0am The Violent Men (1955) 12.55
Posse from Hell (1961) 2.40 Down
to the Sea in Ships (1949) 5.05 Carry On
Regardless (1961) 6.50 Small Soldiers
(1998) 9.0 The World’s End (2013) 11.10
Killing Them Softly (2012) 1.05 The
Angels’ Share (2012)
6.0am The Guest Wing 7.0 Richard E Grant’s
Hotel Secrets 8.0 Urban 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 The Trip to Spain 9.35 The Trip
to Spain 10.10 Curb Your Enthusiasm 10.50
Last Week Tonight With John Oliver 11.25 Real
Time With Bill Maher 12.35 Vice Principals 1.10
The Deuce 2.20 The Wire 3.35 Californication
4.10 The West Wing 5.05 The West Wing
6.0am Modern Family 6.30 Modern Family
7.0 Monkey Life 7.30 Monkey Life 8.0 It’s Me
or the Dog 8.30 It’s Me or the Dog 9.0 The Dog
Whisperer 9.30 The Dog Whisperer 10.0 Zoo
Tales 10.30 Zoo Tales 11.0 Modern Family 11.30
Modern Family 12.0 NCIS: Los Angeles 1.0 Hawaii
Five-0 2.0 Hawaii Five-0 3.0 NCIS: Los Angeles
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 Supergirl
9.0 A League of Their Own 10.0 Bounty Hunters
10.45 The Simpsons 11.15 The Simpsons 11.45
A League of Their Own 12.45 The Force: North
East 1.45 Ross Kemp: Extreme World 2.45 Brit
Cops: War on Crime 3.45 PL Greatest Games
4.0 Stop, Search, Seize 5.0 The Dog Whisperer
Sky Sports 1
Sky Atlantic
All programmes from 6am to 7pm are double
bills 6.0am Hollyoaks 7.0 Charmed 9.0 Rules
of Engagement 10.0 Black-ish 11.0 How I Met
Your Mother 12.0 New Girl 1.0 The Big Bang
Theory 2.0 The Goldbergs 3.0 How I Met Your
Mother 4.0 New Girl 5.0 The Goldbergs 6.0 The
Big Bang Theory 7.0 Hollyoaks 7.30 Streetmate
8.0 The Big Bang Theory 8.30 The Big Bang
Theory 9.0 Made in Chelsea 10.0 Tattoo Fixers:
Top Tatts 11.05 The Big Bang Theory 11.35 The
Big Bang Theory 12.0 Rude Tube 1.05 Made
6.0am Good Morning Sports Fans 10.0
Premier League Daily 11.0 Sky Sports Daily
12.0 Sky Sports News 5.0 Sky Sports News at 5
6.0 Sky Sports News at 6 7.0 Sky Sports Tonight
7.30 La Liga Greatest Games 7.40 Live Irish
Football: Glentoran v Ballymena United (kick-off
7.45pm) 9.45 My Icon: Thierry Henry 10.0 The
Debate 11.0 Sky Sports News 12.0 Sky Sports
News 1.0 NFL Masterclass 1.15 Live NFL: Green
Bay Packers v Detroit Lions (kick-off 1.30am)
4.45 Sporting Triumphs 5.0 Sky Sports News
THE NEW REVIEW | 05.11.17 | The Observer
STV NORTH As ITV except 8.0pm-8.30
The People’s History Show (T) 10.40 Scotland
Tonight (T) 11.05 Ross Kemp Behind Bars (T) (R)
12.05 Teleshopping 1.05 After Midnight 2.35
ITV Nightscreen 4.05 The Jeremy Kyle Show (T)
(R) 5.0-6.0 Teleshopping
ITV WALES As ITV except 10.40pm Sharp
End (T) 11.10-11.40 Gino’s Italian Coastal
Escape (T) (R)
CHANNEL As ITV except 12.40am-3.0
ITV Nightscreen
ULSTER As ITV except 8.0pm-8.30 Lesser
Spotted Journeys (T) 10.40 View from Stormont
(T) 11.40 Ross Kemp Behind Bars (T) (R) 12.40
Teleshopping 1.40-3.0 ITV Nightscreen
BBC1 SCOTLAND 7.30pm-8.0 Landward
(T) 10.45 The Ganges with Sue Perkins (T)
11.45 Have I Got a Bit More News for You (T)
12.30-1.20 Graham Norton (T) (R)
BBC1 WALES 7.30pm-8.0 X-Ray (T)
BBC1 N IRELAND 7.30pm-8.0 Christine
& Adrian’s Friendship Test (T) (1/3) New series.
Christine Lampard attempts to prove Northern
Ireland’s friendliness to Adrian Chiles. 10.40
True North: Under the Bridge (T) 11.10 Have I Got
a Bit More News for You (T) 11.55-12.40 The
Graham Norton Show (T) (R)
BBC2 SCOTLAND 1.0pm-6.0 Bowls:
Scottish International Open (T) Live coverage
of day three from the Dewars Centre in Perth.
11.15 Bowls 12.15 Exodus: Our Journey
Continues (T) (R) 1.15-2.25 The Countryfile
Ramble for Children in Need (T) (R)
BBC2 N IRELAND 10.0pm-10.30 I Lár
an Aonaigh (T)
All New Traffic Cops (T) An
insight into the working life of
officers. Includes news update.
Chris Tarrant: Extreme
Railway Journeys Timbuktu
(T) New series. The broadcaster
returns for more rail trips,
beginning by travelling across
Morocco and the Sahara to
find out whether a railway line
once led to Timbuktu, Mali.
Radio 1
97.6-99.8 MHz
6.30 The Breakfast Show With Nick Grimshaw
10.0 Clara Amfo 12.45 Newsbeat 1.0 Matt
Edmondson 4.0 Greg James 5.45 Newsbeat
6.0 Greg James 7.0 Annie Mac 9.0 The 8th With
Charlie Sloth 11.0 Huw Stephens 1.0 Drum & Bass
Show With René LaVice 4.0 Adele Roberts
Radio 2
88-91 MHz
6.30 Sara Cox 9.30 Ken Bruce 12.0 Jeremy
Vine 2.0 Ore Oduba 5.0 Simon Mayo 7.0 The
Blues Show With Paul Jones 8.0 Jo Whiley 10.0
How The Light Gets In: Jeremy Paxman on Leonard
Cohen 11.0 Jools Holland 12.0 Johnnie Walker
(R) 2.0 Radio 2 Playlists: Jazz, Great British
Songbook & Hidden Treasures 5.0 Vanessa Feltz
Radio 3
90.2-92.4 MHz
6.30 Breakfast. With Georgia Mann. 9.0 Essential
Classics. Suzy Klein’s guest for the week is Bridget
Kendall. 12.0 Composer of the Week: Soviet Russia
(1917-1953) (1/5) 1.0 News 1.02 Lunchtime
Concert: Wigmore Hall Mondays. Schumann:
Märchenbilder, Op 113. Hindemith: Sonata for
viola and piano in F, Op 11 No 4. Vieuxtemps:
Élégie Op 30. Paganini arr Primrose: La campanella,
from Violin Concerto No 2 in B minor, Op 7.
Eivind Holtsmark Ringstad (viola), David Meier
(piano).2.0 Afternoon on 3: Breaking Free – A
Century of Russian Culture. Tchaikovsky: Serenade
in C for string orchestra, Op 48; Piano Concerto
No 3 in E flat, Op 75. Taneyev: The Oresteia –
concert overture, Op 6. Tchaikovsky: Francesca da
Rimini – symphonic fantasia after Dante, Op 32.
Kirill Gerstein (piano), BBC Symphony Orchestra,
Semyon Bychkov. 3.35 Elgar: Introduction and
Allegro for string orchestra, Op 47. Doric String
Quartet, Edward Gardner. 3.50 Shostakovich:
Symphony No 11 in G minor (The Year 1905), Op
103. BBC Philharmonic, Andrew Litton. 5.0 In
Radio 4
92.4-94.6 MHz; 198kHz
6.0 Today. Presented by Sarah Montague and
John Humphrys. 7.48 Thought for the Day, with
Francis Campbell. 9.0 Start the Week. Andrew Marr
discusses colonialism and postcolonialism with Maya
Jasan, Robert Colls and Ishion Hutchinson. 9.45
(LW) Daily Service 9.45 (FM) Living With the Gods:
The House of God. Neil MacGregor focuses on sacred
spaces created for engagement with the divine.
(11/30) 10.0 Woman’s Hour. Presented by Jane
Garvey. Includes at 10.45 Drama: Blood and Milk,
by Gregory Evans. Megan Evans’s dairy business is
growing into a considerable success, but this has
bred some powerful enemies. Bettrys Jones stars.
(1/5) 11.0 The Untold: Unfair Dismissal? Grace
Dent returns with more stories of 21st-century
Britain. (1/16) 11.30 A Month of Maureen: Three
Journeys, by Gary Brown. The first of four comedy
dramas written especially for Maureen Lipman, who
stars alongside Jasper Britton. (1/4) 12.0 News
12.01 (LW) Shipping Forecast 12.04 Brexit: A
Guide for the Perplexed. Chris Morris returns to
examine what life will be like for Britain outside the
EU. (1/5) 12.15 You and Yours 12.57 Weather
1.0 The World at One 1.45 Book of the Week: Life
in the Garden. Stephanie Cole reads from Penelope
5 Live
693, 909 kHz
6.0 5 Live Breakfast 10.0 5 Live Daily With
Adrian Chiles 1.0 Afternoon Edition 4.0 5 Live
Drive 7.0 Monday Night Club 9.0 5 Live Cricket
10.0 Flintoff, Savage and the Ping Pong Guy
10.30 Phil Williams 1.0 Up All Night 5.0
Morning Reports 5.15 Wake Up to Money
Tuesday 7
this wry, enjoyable take on modern
motherhood sees Julia (Anna Maxwell
Martin) reluctantly invite the entire class
to her child’s birthday party. With Diane
Morgan and Lucy Punch. Very funny.
once poetic and scrappy, and is now much
admired: says punk historian Jon Savage,
“the best film about punk, for all its failings”.
Jonathan Romney
The Last Kamikazes
Sick Note
Sky 1, 10pm
World Service, 8pm
In this peculiar black comedy slacker Daniel
is told he has terminal cancer, but then finds
out he has been misdiagnosed. Seriously, is
that a funny premise to snigger about? You
be the judge. Mike Bradley
London Live, 10pm
Rick Stein’s Road to Mexico
BBC2, 9pm
(Derek Jarman, 1977)
Stein’s latest food odyssey is a sevenepisode trip from the USA to Mexico
that begins with a programme about
San Francisco. As usual, he mixes history
with visits to famous eateries to enjoy
recipes that he shows us how to cook at
home. Cue: chowders, oyster omelettes and
the origins of sourdough bread. Way past
his sell-by date but still good value.
A sometimes overlooked item from the
canon of one of British cinema’s few real
troublemakers. This is Jarman’s celebration
of punk, in which he traced the newly
exploded movement’s connections with
London’s art world and queer avant-garde.
His V-sign (as we said in the 70s) to silver
jubilee year, it has Queen Elizabeth I getting
a preview of her kingdom’s future, where
wild girls run riot (they include scenester
Jordan and UK art-cinema mainstay
Jenny Runacre). The cast includes Rocky
Horror creator Richard O’Brien and, before
he ever dreamed of kitting up as a panto
highwayman, Adam Ant. The NME sneered
and Vivienne Westwood put out a T-shirt
condemning it, but Jubilee is very Jarman, at
BBC2, 10pm
Happily commissioned as a six-part series
in the wake of the enthusiastic reception
generated by last year’s pilot episode,
The A Word
BBC1, 9pm
As we return to the Lake District for the
second series of Peter Bowker’s drama
about an autistic child growing up with his
family, two years have passed and sevenyear-old Joe (Max Vento, above) has
started to notice he’s different from other
kids: “I’m autistic. Nobody wants that.”
Now, his parents Alison (Morven Christie,
above) and Paul (Lee Ingleby, above)
know they must broach the subject with
him. Reproaching themselves: “Are we
cowards for not talking to Joe about his
autism?” they know that the time has
arrived to do just that and to reassure him
that being “different” isn’t necessarily a
bad thing to be. But how do they approach
a conversation about the A-word with
a child for whom language is already a
struggle? A remarkable opening episode
which builds to an immensely powerful
closing scene. Helpful, sensitively handled,
the drama of the week. Mike Bradley
Reporter Mariko Oi explores the motivation
of suicidal Japanese kamikaze pilots
towards the end of the second world war.
Nonagenarian survivors describe how
they were told to offer their lives rather
than accept defeat, being trained to fly
straight into enemy ships and keep their
eyes open until the very last for fear of
missing the target. Oi’s own grandfather
describes making the bombs that were
fitted to the planes, explaining how there
were five detonators to ensure that they
went off. Japan’s eventual surrender led
to a national identity crisis and today only
11% of Japanese say they are willing to fight
for their country. Stephanie Billen
Eurosport 1, 7.30pm
Andy Murray Live. Coverage of the charity
event at the SSE Hydro in Glasgow, where
Murray faces Roger Federer, and then plays
doubles with brother Jamie against Tim
Henman and Mansour Bahrami. Fans can
also watch the ATP Next Gen Finals from
Fiera Milano, Italy, on Sky Arena at 1pm
and Sky Arena/Main Event at 6.30pm. MB
Channel 4
Channel 5
Breakfast (T) 9.15 Women at
War: 100 Years of Service (T)
10.0 Homes Under the Hammer
(T) 11.0 Getting the Builders
In (T) 11.45 Fugitives (T) 12.15
Bargain Hunt (T) (R) 1.0 News and
Weather (T) 1.30 Regional News
and Weather (T) 1.45 Doctors (T)
2.15 Impossible (T) 3.0 Escape to
the Country (T) 3.45 Money for
Nothing (T) (R) 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 EastEnders (T)
Hairy Builder (R) 6.30 Women
at War: 100 Years of Service (R)
7.15 Getting the Builders In (R)
8.0 Great British Menu: Finals
(R) 9.0 Victoria Derbyshire 11.0
Newsroom Live 12.0 Daily Politics
1.0 Coast (R) 1.45 Permission
Impossible: Britain’s Planners
(R) 2.45 Family Finders 3.15
Operation Gold Rush (R) 4.15
Hebrides: Islands on the Edge (R)
5.15 Put Your Money Where Your
Mouth Is (T) (R) 6.0 Eggheads
(T) 6.30 Strictly: It Takes Two (T)
7.0 Copacabana Palace (T) (R)
Good Morning Britain (T) 8.30
Lorraine (T) 9.25 The Jeremy Kyle
Show (T) 10.30 This Morning (T)
12.30 Loose Women (T) 1.30
News (T) 1.55 Local News (T) 2.0
Dickinson’s Real Deal (T) (R) 3.0
Tenable (T) 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) Pollard faces a moral dilemma.
7.30 Countrywise: Guide to
Britain (T) (R) Ben Fogle helps
with the renovation work at
Castle Howard. Last in the series.
6.20 The King of Queens (T) (R) 7.35
Everybody Loves Raymond
(T) (R) 9.05 Frasier (T) (R) 9.35
Frasier (T) (R) 10.05 Ramsay’s
Hotel Hell (T) (R) 11.0 Undercover
Boss USA (T) (R) 12.0 News (T)
12.05 Come Dine With Me (T)
(R) 1.05 My Kitchen Rules (T)
2.10 Countdown (T) 3.0 A Place
in the Sun: Summer Sun (T) (R)
4.0 Coast vs Country (T) 5.0
Four in a Bed (T) 5.30 Steph and
Dom’s One Star to Five Star
(T) 6.0 The Simpsons (T) (R)
6.30 Hollyoaks (T) 7.0 News (T)
Holby City (T) Hanssen finds an
unexpected ally in Sacha as he
battles against Keller to ensure
Holby’s survival.
The A Word (T) New series.
Return of the drama about an
autistic child and his family in
the Lake District. When Joe says
the A-word, Paul and Alison
know they need to help him.
MasterChef: The Professionals
(T) New series. The first six
chefs compete, and tests include
making a signature dish for
judges Monica Galetti, Gregg
Wallace and Marcus Wareing.
Rick Stein’s Road to Mexico
(T) Almost 50 years on, the
chef retraces a journey from
northern California to Mexico,
beginning in San Francisco.
The Pride of Britain Awards
2017 (T) Carol Vorderman hosts
the star-studded ceremony at
Grosvenor House in Park Lane,
London, paying tribute to people
for their extraordinary acts
and achievements. This year’s
focus will be on heroism in the
emergency services and the NHS,
plus a quick-thinking four-yearold who saved her mum’s life.
10.0 News at Ten (T)
10.30 Regional News and Weather (T)
Includes national lottery update.
10.45 Hotel for Refugees (T) Cameras
follow events in Ballaghaderreen,
a traditional town in the west of
Ireland, as locals deal with the
arrival of hundreds of Syrian
11.25 Generation Screwed? (T) George
Lamb hears from people around
the UK whose views are not
heard in the mainstream debates.
12.05 Weather for the Week Ahead
(T) 12.10 News (T)
10.0 Motherland (T) New series.
Comedy about a middle-class
mother. Anna Maxwell-Martin
and Lucy Punch star.
10.30 Newsnight (T) Weather
11.15 NFL This Week (T) Action
from the week nine fixtures,
including Philadelphia Eagles v
Denver Broncos and Jacksonville
Jaguars v Cincinnati Bengals.
12.05 Elizabeth I’s Secret Agents
(T) (R) 1.05 Sign Zone: The
Apprentice (T) (R) 2.05 The
Ganges With Sue Perkins (T)
(R) 3.05 This Is BBC2 (T)
BT Sport 1
6.0am Premier League Tonight 6.30 Game
of the Week 7.0 Premier League Review 8.0
FA Cup: Shaw Lane AFC v Mansfield 9.30 FA
Cup: Chorley v Fleetwood Town 11.0-3.0 The
Big Match Revisited 3.0 FA Cup: First Round
Highlights 3.30 Fishing: On The Bank 4.30 Goals
Reload 5.0 NBA Reload 5.15 Premier League
Reload 5.30 FA Cup: First Round Highlights
6.0 Premier League Review 7.0 Game of the
Week 7.30 Irish Rally Review 8.0-10.0 ESPN
Classic Boxing 10.0 Hyundai A-League Highlights
11.0 Premier League Reload 11.15 Goals Reload
11.30 FA Cup: First Round Highlights 12.0 NBA
Reload 12.30 Celtics/Lakers: Best of Enemies
1.30 Live NBA: San Antonio Spurs v Los Angeles
Clippers (tip-off 1.30am) Coverage of the Western
Conference match at AT&T Centre. 4.0 Premier
League: Best Goals 2001/02 & 2002/03
Sky Atlantic
6.0am The Guest Wing 7.0 Hotel Secrets 8.0
Urban 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 Hard-Wire:
Law of the Gun 10.0 The Deuce 11.10 Curb Your
Enthusiasm 11.50 Ray Donovan 1.05 The Deuce
2.15 Californication 2.50 Californication 3.25
CSI: Crime Scene Investigation 4.15 The West
Wing 5.10 The West Wing
All programmes from 6am to 7pm are double bills
6.0am Hollyoaks 7.0 Charmed 9.0 Rules of
Engagement 10.0 Black-ish 11.0 How I Met Your
Mother 12.0 New Girl 1.0 The Big Bang Theory
2.0 The Goldbergs 3.0 How I Met Your Mother
4.0 New Girl 5.0 The Goldbergs 6.0 The Big
Bang Theory 7.0 Hollyoaks 7.30 Streetmate 8.0
The Big Bang Theory 8.30 The Big Bang Theory
9.0 Tattoo Fixers at Halloween 10.0 Walk of
10.0 News (T)
10.35 Local News (T)
10.45 On Assignment (T) Rageh Omaar
presents current affairs reports.
11.20 Lethal Weapon (T) (R) Murtaugh
and Riggs suspect that an abuse
of power is taking place in the
LA Sheriff’s department as they
investigate the killing of a Texas
Ranger. Damon Wayans and
Clayne Crawford star.
12.15 Jackpot247 3.0 Loose Women
(R) 3.45 ITV Nightscreen 5.05
The Jeremy Kyle Show (T) (R)
Shame Shuttle 11.05 The Big Bang Theory 11.35
The Big Bang Theory 12.0 Rude Tube 1.05 Tattoo
Fixers at Halloween 2.10 Walk of Shame Shuttle
3.05 First Dates 4.0 Black-ish 4.20 Black-ish
4.45 Charmed
11.0am Cover Girl (1944) 1.10 Edge of Eternity (1959) 2.45 First Men
in the Moon (1964) 4.50 Holiday Inn
(1941) 6.50 The Secret Life of Bees
(2008) 9.0 The Hunger Games: Catching
Fire (2013) 11.45 The Paperboy (2012)
1.55 Dogtooth (2009)
6.0am Modern Family 6.30 Modern Family 7.0
Monkey Life 7.30 Monkey Life 8.0 It’s Me or the
Dog 8.30 It’s Me or the Dog 9.0 The Dog Whisperer
9.30 The Dog Whisperer 10.0 Zoo Tales 10.30
Zoo Tales 11.0 Modern Family 11.30 Modern
Family 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 Strike Back 10.0 Sick Note 11.0
The Simpsons 11.30 The Simpsons 12.0 A League
of Their Own 1.0 The Force: North East 2.0 Ross
Kemp: Extreme World 3.0 Brit Cops: War on Crime
4.0 Stop, Search, Seize 5.0 The Dog Whisperer
Sky Sports 1
6.0am Good Morning Sports Fans 10.0 Premier
League Daily 11.30 Sportswomen 12.0 Sky Sports
News 1.30 Live International T20 Cricket: India
v New Zealand. Coverage of the third and final
T20 international from Greenfield International
Stadium, Thiruvananthapuram. 5.0 Sky Sports
News at 5 6.0 Sky Sports News at 6 6.30 Live
ATP Next Gen Finals. Coverage of the opening day
of the tennis event for young players. 10.0 The
Debate 11.0 Sky Sports News 1.0 Live WWE Late
Night Smackdown 4.0 Sky Sports News
STV NORTH As ITV except 10.35pm
Scotland Tonight (T) 11.10 On Assignment (T)
11.45 Lethal Weapon (T) (R) 12.35 Teleshopping
1.35 After Midnight 3.05 ITV Nightscreen (T)
4.05 Jeremy Kyle (T) (R) 5.0-6.0 Teleshopping
CHANNEL As ITV except 12.15am-3.0
ITV Nightscreen
SCOTTISH As ITV except 10.35pm Scotland
Tonight (T) 11.10 On Assignment (T) 11.45 Lethal
Weapon (T) (R) 12.35 Teleshopping 1.35 After
Midnight 3.05 ITV Nightscreen (T) 4.05 Jeremy
Kyle (T) (R) 5.0-6.0 Teleshopping
ULSTER As ITV except 12.15am Teleshopping
1.15-3.0 ITV Nightscreen
BBC1 SCOTLAND 8.0pm-9.0 River City
(T) 10.45 Holby City (T) 11.45 Hotel for Refugees
(T) 12.25-1.05 Generation Screwed? (T)
BBC1 WALES 10.45pm James and Jupp (T)
(R) 11.15 Hotel for Refugees (T) 11.55-12.35
Generation Screwed? (T)
BBC1 N IRELAND 10.40pm Spotlight
(T) 11.10 Hotel for Refugees (T) 11.50-12.30
Generation Screwed? (T)
BBC2 SCOTLAND 1.0pm-6.0 Bowls (T)
11.15 Bowls (T) 12.15-1.05 NFL This Week (T)
BBC2 WALES 1.45pm First Minister’s
Questions (T) 2.35-2.45 Wild Week Revisited
(T) (R) 5.15 Flog It! (T) (R) 5.30-6.0 X-Ray
(T) (R)
BBC2 N IRELAND 10.0pm-10.30 True
North (T) (R) 11.15 Motherland (T) 11.45 Mock
the Week (T) (R) 12.15-1.05 NFL This Week (T)
The Secret Life of 4 Year Olds
(T) New series. Return of the
documentary exploring the
social interactions of children.
Grand Designs: House of the
Year (T) New series. Kevin
McCloud visits homes up for the
2017 Royal Institute of British
Architects house of the year,
beginning with five properties
which draw on local materials.
10.0 The Fight for Mosul (T) Following
five young soldiers tackling Isis.
11.05 How to Get a Council House (T)
(R) A mum falls behind with her
rent and faces eviction along with
her epileptic son. A father-ofthree wants to move out of his
mother’s home.
12.10 Music on 4 Great Songwriters
(T) 1.05 The Supervet (T) (R) 2.0
You’re Next (Adam Wingard,
2011) (T) 3.35 The Secret Life of
the Zoo (T) (R) 4.30 Phil Spencer:
Secret Agent (T) (R) 5.25 Kirstie’s
Vintage Gems (T) (R)
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
The Hotel Inspector Returns (T)
(R) 1.10 Access (T) 1.15 Home
and Away (T) 1.45 Neighbours
(T) 2.15 NCIS: New Orleans (T)
(R) 3.15 I’m Not Ready for
Christmas (Sam Irvin, 2015) (T)
5.0 News (T) 5.30 Neighbours
(T) (R) 6.0 Home and Away (T)
(R) 6.30 News (T) 7.0 Yorkshire:
A Year in the Wild (T) (R) Spring.
Cameras follow the wildlife of the
Dales and North York Moors.
The Yorkshire Vet (T) Peter
Wright braves heavy snow to do
pregnancy tests on a small herd
of cattle. Includes news update.
Ben Fogle: New Lives in the
Wild (T) In New Zealand, the
host meets former academic
Ben to hear why he gave up his
promising scientific career to
embrace a rugged life in the bush.
Beyond 100 Days (T) 7.30 Great
Continental Railway Journeys
(T) (R) Lyon to Marseille, Part
One. Michael Portillo travels the
Mediterranean coast, beginning
his journey in Lyon where he
learns how the city got its
gastronomic reputation.
Empire of the Tsars: Romanov
Russia With Lucy Worsley (T)
(R) The historian tells the story
of the dynasty that ruled Russia
for more than three centuries.
The Real Doctor Zhivago
(T) Stephen Smith traces the
revolutionary beginnings of
Boris Pasternak’s bestseller, and
how it was used by the CIA at the
height of the cold war.
10.0 Most Shocking Reality Moments
(T) (R) A celebration of the
nation’s long-running love affair
with reality TV, revealing the 50
most memorable moments from
the likes of Towie and Big Brother.
12.55 SuperCasino (T) 3.10 Law &
Order: Special Victims Unit (T)
(R) 4.0 Get Your Tatts Out: Kavos
Ink (T) 4.45 House Doctor (T) (R)
5.10 House Busters (T) (R) 5.35
Wildlife SOS (T) (R)
10.0 Timewatch: Who Killed Rasputin?
(T) (R) A leading Scotland Yard
murder detective re-examines
the evidence in the case of the
death of the Tsar’s notorious
adviser who was supposedly
poisoned, shot and finally
drowned in a frozen river.
10.45 Storyville: Masterspy of Moscow
– George Blake (T) (R) The life of
the Soviet agent.
12.15 Natural World Butterflies: A Very
British Obsession (T) (R) 1.15
British Art at War… (T) (R) 2.15
The Real Doctor Zhivago (T) (R)
ardent Bolshevik, Alexander Mosolov. Mosolov:
Symphonic Poem. Evgenia Denisova (soprano),
Alina Miyshkina (mezzo), Nizhny Novgorod
Chamber Chorus, Orpheus Radio Symphony
Orchestra, Sergei Kondrashev. 5.0 In Tune. Katie
Derham’s guests include Semyon Bychkov and Lydia
Kavina. 7.0 In Tune Mixtape 7.30 In Concert.
Recorded last week. Boris Giltburg (piano), Royal
Liverpool Philharmonic Orchestra, Carlos Miguel
Prieto. Rachmaninov: Piano Concerto No 3. Gabriela
Ortiz: Suite – Hominum (first UK performance).
Interval. Shostakovich: Symphony No 6. 10.0
Free Thinking: Landmark – Man with a Movie
Camera 10.45 The Essay: Ten Artists That Shook
the World – John Reed, Eye-Witness. With writer
and historian Helen Rappaport. (2/10) 11.0 Late
Junction. Marking the centenary of the October
Revolution. 12.30 Through the Night (R)
more jargon. (2/5) 12.15 Call You and Yours
12.57 Weather 1.0 The World at One. With Martha
Kearney. 1.45 Book of the Week: Life in the Garden,
by Penelope Lively. Read by Stephanie Cole. (2/5)
2.0 The Archers (R) 2.15 Drama: Undercover
Mumbai, by Ayeesha Menon. (R) (2/5) 3.0 The
Kitchen Cabinet: Lancaster (R) 3.30 Costing the
Earth: Donald Trump’s Footprint. Roger Harrabin
looks at the impact Donald Trump has made on
the planet since becoming US president. 4.0 Law
in Action 4.30 A Good Read: Rick Edwards &
George Lamb (6/9) 5.0 PM. Presented by Eddie
Mair. 5.54 (LW) Shipping Forecast 5.57 Weather
6.0 News 6.30 Ed Reardon’s Week: The Legacy.
Ed may be in line for an inheritance – as long as he
can prove who he is. Comedy starring Christopher
Douglas. (3/6) 7.0 The Archers. Lilian’s suspicions
mount. 7.15 Front Row. Arts roundup. 7.45
Living with the Gods: Gifts to the Gods (12/30)
8.0 File on 4. A discussion on current affairs issues
of major concern. 8.40 In Touch. Presented by
Peter White. 9.0 All in the Mind. Pressing issues in
the world of psychiatry and mental health. (2/8)
9.30 The Invisible Hand of Donald Trump (R)
10.0 The World Tonight. With Ritula Shah. 10.45
Book at Bedtime: First Person, by Richard Flanagan.
(2/10) 11.0 Fred at the Stand. Fred MacAulay
presents standup comedians Dave Johns, Ashley
Storrie, Jen Brister and Boothby Graffoe, recorded
at the Stand Comedy Club in Edinburgh. (4/6)
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: Gary Moore on the Woodlark
Radio 1
97.6-99.8 MHz
6.30 The Breakfast Show With Nick Grimshaw
10.0 Clara Amfo 12.45 Newsbeat 1.0 Matt
Edmondson 4.0 Greg James 5.45 Newsbeat
6.0 Greg James 7.0 Annie Mac 9.0 The 8th
With Charlie Sloth 11.0 Huw Stephens 1.0 Annie
Nightingale 3.0 BBC Radio 1 & 1Xtra’s Stories:
Music By Numbers – Drake 4.0 Adele Roberts
Radio 2
88-91 MHz
6.30 Chris Evans 9.30 Ken Bruce 12.0 Jeremy
Vine 2.0 Ore Oduba 5.0 Simon Mayo 7.0 Jamie
Cullum 8.0 Jo Whiley 10.0 Bill Kenwright’s
Golden Years 11.0 Nigel Ogden 11.30 Listen to
the Band 12.0 Sounds of the 80s (R) 2.0 Radio
2 Playlists: Folk, 90s Hits & Wednesday Workout
5.0 Vanessa Feltz
Radio 3
90.2-92.4 MHz
6.30 Breakfast. With Petroc Trelawny. 9.0
Essential Classics. Bridget Kendall talks to Suzy
Klein about the ideas that have shaped her life.
12.0 Composer of the Week: Soviet Russia (19171953) (2/5) 1.0 News 1.02 Lunchtime Concert:
Russian Revolutionaries. Four pianists from Russia,
Georgia and Ukraine delve into the riches of Russian
piano music composed before, after and during
the momentous year of 1917. Elisabeth Leonskaja.
Elisabeth Leonskaja (piano). Shostakovich: Piano
Sonata No 2 in B minor, Op 61. Tchaikovsky:
Grand Sonata in G, Op 37. (1/4) 2.0 Afternoon
Concert: Live from Lenin’s London Office. Tom
Service welcomes a panel of guests, including Dr
Marina Frolova-Walker, Orlando Figes and Victoria
Donovan, to play and discuss music and culture
from the past 100 years in Russia, live from Lenin’s
London Office, in what is now the Marx Memorial
Library. Includes the first modern performance
(given in Moscow in September) of a piece for choir
and orchestra by a hero of Russian futurism and
Radio 4
92.4-94.6 MHz; 198kHz
6.0 Today. With Justin Webb and John Humphrys.
7.48 Thought for the Day, with the Rev Dr Michael
Banner. 8.30 (LW) Yesterday in Parliament 9.0
The Invisible Hand of Donald Trump. Martin Wolf of
the Financial Times examines the economic impact
of president Donald Trump, assessing what he has
accomplished in economic terms in the year since his
election. 9.45 (LW) Daily Service: Remembrance –
For the Fallen 9.45 (FM) Living with the Gods: Gifts
to the Gods (12/30) 10.0 Woman’s Hour. Presented
by Jane Garvey. Includes at 10.45 Drama: Blood and
Milk, by Gregor Evans. (2/5) 11.0 Natural Histories:
Giraffe. With Brett Westwood. (23/25) 11.30
Jim: We Love You Because. Tayo Popoola explores
Nigeria’s enduring love of the American country
music star Jim Reeves, and the genre in general,
50 years after Reeves’s death. Visiting Lagos, Port
Harcourt and Jos, he meets emerging country acts
and old veterans, including Chief Ebenezer Obey,
Ogak Jay Oke and Stephen Rwang Pam. 12.0 News
12.01 (LW) Shipping Forecast 12.04 Brexit: A
Guide for the Perplexed. Chris Morris cuts through
5 Live
693, 909 kHz
6.0 5 Live Breakfast 10.0 5 Live Daily With Adrian
Chiles 1.0 Afternoon Edition 4.0 5 Live Drive 7.0
5 Live Sport 10.30 Phil Williams 1.0 Up All Night
5.0 Morning Reports 5.15 Wake Up to Money
The Observer | 05.11.17 | THE NEW REVIEW
Wednesday 8
to discover their secret. The conclusion is
that they sleep well, they don’t drink or
snack, and they stay active and happy.
Encouraging, but easier said than done.
eclipsed by Ophüls’s great period pieces
but for critic Robin Wood, it ranks as “one
of the supreme achievements of classical
Hollywood”. Jonathan Romney
Nathan Fox for You
Comedy Central, 11.05pm
This is a spoof documentary series in which
Nathan Fielder helps struggling companies
by suggesting wacky business solutions.
He begins by recommending a “poo flavour”
to a gobsmacked yoghourt salesman.
Funnier than it sounds. Mike Bradley
“You allow a trivial little argument in a hotel
to alter the course of your life?” TV biologist
Liam (Richard Lumsden) finds it hard to
accept that his relationship with posh
Rachel (Raquel Cassidy) is over after a spat
about a missing TV remote control in this
enjoyable romcom by novelist and comedian
Mark Watson. Cleverly structured, the
play follows their encounters from 1987
to the present and explores the snobbery
– traditional and inverse – that fuels their
witty banter but also creates an unbearable
“remoteness” between them. The
character-driven plot leads to a poignant
denouement as Liam and Rachel come
together one last time. Stephanie Billen
Radio 4, 2.15pm
The Reckless Moment
Film4, 1pm
Big Life Fix: Children in
Need Special
BBC2, 9pm
(Max Ophüls, 1949)
On the cusp of film noir and 40s “women’s
picture”, this tense melodrama is directed
by the cosmopolitan German maestro
behind Letter from an Unknown Woman
and La Ronde. Joan Bennett is unnervingly
composed – till things start to crack – as a
woman protecting her daughter from the
repercussions of an accidental killing. James
Mason is silver-tongued as ever, playing a
menacing but silkily seductive blackmailer.
Based on Elizabeth Sanxay Holding’s novel
The Blank Wall, the story was retold with
glacial detachment as 2001’s The Deep End,
with Tilda Swinton in the lead. The original
compellingly plays domestic claustrophobia
against the terrifying abyss of danger
and desire that lies beneath. It’s often
Simon Reeve presents a programme in
which engineers and designers invent
life-changing solutions for three children
with severe disabilities – eight-year-old
Josh (above) is blind; eight-year-old Ayala
has cerebral palsy; and 10-year-old Aman
sustained brain damage in a car accident.
The Truth About Slim People
Channel 4, 9pm
Infuriatingly, Yemi, 37, and Anne Marie, 41,
can eat whatever they like but never put
on an ounce of weight. In this film, cameras
follow them over the course of five days
BBC4, 10pm
All is not well as we reacquaint ourselves
with the sleepy world of best friends
and mainstays of the Danebury Metal
Detectorists Club Lance (Toby Jones,
above, left) and Andy (Mackenzie Crook,
above, right) for a third series of this
delightful rural comedy. On the domestic
front, Andy is struggling to cope with
life under his mother-in-law’s roof
and Lance, too, is having to bite his lip
as chaotic daughter Kate disrupts his
daily regime. Worse still, the pages of
the Chronicle reveal construction of the
country’s third-largest solar farm is due
to start in six weeks on the very site the
pair have been searching for the past
five years. “I’ve always thought there
was something good there, something
significant there, and this was the year
we were going to find it,” rues Lance.
Superbly scripted, beautifully acted,
subtle comedy. Enjoy. Mike Bradley
A Question of Sport
BBC1, 10.45pm
Sue Barker tries to keep order in the
company of guests British & Irish Lions
rugby hooker Jamie George, Wimbledon
wheelchair champion Gordon Reid, Great
Britain 400m hurdler Perri Shakes-Drayton
and former England fast bowler Steve
Harmison, who join regular team captains
Matt Dawson and Phil Tufnell. MB
Breakfast (T) 9.15 Women at
War: 100 Years of Service (T)
10.0 Homes Under the Hammer
(T) (R) 11.0 Getting the Builders
In (T) 11.45 Fugitives (T) 12.15
Bargain Hunt (T) (R) 1.0 News
and Weather (T) 1.30 Regional
News and Weather (T) 1.45
Doctors (T) 2.15 Impossible (T)
3.0 Escape to the Country (T)
3.45 Money for Nothing (T) (R)
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)
The Hairy Builder (R) 6.30
Women at War (R) 7.15
Getting the Builders In (R) 8.0
Britain Afloat (R) 8.30 Caught
Red Handed (R) 9.0 Victoria
Derbyshire 11.0 Newsroom Live
12.0 Easy Virtue (2008)
1.30 Lifeline (R) 1.40 Grand Tours
of Scotland (R) 1.45 Permission
Impossible (R) 2.45 Family
Finders 3.15 Operation Gold Rush
(R) 4.15 Hebrides (R) 5.15 Put
Your Money Where Your Mouth Is
(R) 6.0 Eggheads 6.30 Strictly: It
Takes Two 7.0 Meet the Lords (R)
DIY SOS: The Big Build (T) Nick
Knowles and the team return to
Veterans Street in Manchesterto
build a home for a decorated
former soldier and his family.
The Apprentice (T) Alan Sugar
sends the candidates off to
Bruges to put together a highquality tour of the Belgian city
that passengers would be
happy to pay good money for.
MasterChef: The Professionals
(T) The chefs have to create a
perfect fruit-based souffle.
Big Life Fix: Children in Need
Special (T) One-off special in
which Simon Reeve follows
leading engineers and designers
as they invent life-changing
solutions for three children
with severe disabilities.
10.0 News (T)
10.30 Regional News and Weather (T)
10.45 A Question of Sport (T) With
guests Jamie George, Gordon
Reid, Perri Shakes-Drayton and
Steve Harmison.
11.15 Junior Doctors: Blood, Sweat
and Tears (T) Anna spends her
birthday working a busy shift
on the respiratory ward.
11.45 The Ganges With Sue Perkins (T)
(R) The presenter meets an old
friend in Kolkata. Last in series.
12.45 Weather for the Week Ahead
(T) 12.50 BBC News (T)
10.0 The Apprentice: You’re Fired (T)
An interview with the show’s
freshly rejected candidate.
10.30 Newsnight (T) Weather
11.15 Louis Theroux: My
Scientology Movie (John
Dower, 2015) (T) (R) The
reporter investigates the
controversial religion.
12.50 Peaky Blinders (T) (R) 1.45
Anthony Joshua: The Fight of
My Life (T) (R) 2.25 Billion Dollar
Deals and How They Changed
Your World (T) (R) (3/3) Work
3.25 Eat Well for Less? (R)
BT Sport 1
6.0am Tottenham v Man Utd 1965/66 6.30
Arsenal v Sheffield United 1965/66 7.0 Leicester
City v Man Utd 1965/66 7.30 Fulham v Sheff
Weds 1965/66 8.0 Aston Villa v Chelsea 1966/67
8.30 Leicester City v Burnley 1966/67 9.0 West
Brom v Man Utd 1966/67 9.30 Premier League
Tonight 10.0 NBA Inside Stuff 10.30 The Big
Match Revisited 11.30-2.30 The Big Match
Revisited 2.30-5.30 Premier League 5.30
FA Cup: First Round Highlights 6.0 Champions
League Catch-Up Show 6.15 Premier League
Reload 6.30 Premier League World 7.0 BT Sport
Goals Reload 7.15 Live: Chester v Wrexham (kickoff 7.45pm) Coverage of the cross-border derby
at the Deva Stadium. 10.0 Celtics/Lakers: Best
of Enemies 12.0 Live NBA Countdown 1.0 Live
NBA: Boston Celtics v Los Angeles Lakers (tip-off
1am) Coverage of the inter-conference clash at TD
Garden. 3.30 Live NBA: Golden State Warriors
v Minnesota Timberwolves (tip-off 3.30am)
Coverage of the Western Conference match, which
takes place at Oracle Arena in Oakland, CA.
Sky Atlantic
6.0am The Guest Wing 7.0 Hotel Secrets 8.0
Urban 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 Band of Brothers
10.35 Band of Brothers 11.45 The Sopranos
12.55 The Sopranos 2.10 Tin Star 3.10 Californication 3.45 Californication 4.20 The West
Wing 5.10 The West Wing
All programmes from 6am to 7pm are double bills
6.0am Hollyoaks 7.0 Charmed 9.0 Rules of
Engagement 10.0 Black-ish 11.0 How I Met Your
Mother 12.0 New Girl 1.0 The Big Bang Theory
2.0 The Goldbergs 3.0 How I Met Your Mother
4.0 New Girl 5.0 The Goldbergs 6.0 The Big
Channel 4
Channel 5
6.20 The King of Queens (T) (R) 7.35
Everybody Loves Raymond
(T) (R) 9.05 Frasier (T) (R) 9.35
Frasier (T) (R) 10.05 Ramsay’s
Hotel Hell (T) (R) 11.0 Undercover
Boss USA (T) (R) 12.0 News
(T) 12.05 Come Dine With Me
(T) (R) 1.05 My Kitchen Rules
(T) 2.10 Countdown (T) 3.0 A
Place in the Sun: Summer Sun
(T) (R) 4.0 Coast v Country (T)
5.0 Four in a Bed (T) 5.30 Steph
and Dom’s One Star to Five Star
(T) 6.0 The Simpsons (T) (R)
6.30 Hollyoaks (T) 7.0 News (T)
Gino’s Italian Coastal Escape
Sorrento and Capri (T) Gino
D’Acampo unearths the origins of
Italy’s most famous digestivo.
8.30 Coronation Street (T) Mary’s error
of judgment leaves Angie enraged.
9.0 Doc Martin (T) Martin prepares
to face his hearing, while a visitor
returns to research her family
tree. Sigourney Weaver guest
stars. Last in the series.
10.0 News (T)
10.30 Local News (T)
10.45 Bear’s Mission With Rob Brydon
(T) (R) Adventurer Grylls teaches
the comedian some survival tips.
11.45 Road Rage Britain: Caught
on Camera (T) (R) Footage of
clashes on the roads, plus an
experiment in which two cyclists,
a London cabbie and a van driver
swap modes of transport.
12.35 Jackpot247 3.0 May the Best
House Win (T) (R) 3.50 ITV
Nightscreen 5.05 The Jeremy
Kyle Show (T) (R)
10.0 Man Down (T) Dan is frustrated
by the universal lack of respect
for his new status as a father.
10.35 Acquitted New Norwegian drama
starring Nicolai Cleve Broch.
11.35 Gogglebox: Celebrity Special
for SU2C (T) (R)
12.35 Pokerstars Championship (T)
1.30 Kitchen Nightmares USA (T)
(R) 2.20 Piku (Shoojit Sircar,
2015) Comedy drama starring
Amitabh Bachchan. In Hindi and
Bengali. 4.25 Escape (T) (R) 5.20
Kirstie’s Vintage Gems (T) (R)
5.35 Countdown (T) (R)
Good Morning Britain (T) 8.30
Lorraine (T) 9.25 The Jeremy Kyle
Show (T) 10.30 This Morning (T)
12.30 Loose Women (T) 1.30
News (T) 1.55 Local News (T) 2.0
Dickinson’s Real Deal (T) (R) 3.0
Tenable (T) 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) Pollard is humiliated. 7.30
Coronation Street (T) Angie
confides her troubles to
Toyah, and Aidan’s sleeping
arrangements cause a stir.
Bang Theory 7.0 Hollyoaks 7.30 Streetmate
8.0 The Big Bang Theory 8.30 The Big Bang
Theory 9.0 The Inbetweeners Movie (2011)
11.0 The Big Bang Theory 11.30 The Big Bang
Theory 12.0 Rude Tube 1.0 First Dates 2.05 The
Goldbergs 2.35 The Goldbergs 3.0 Rude Tube
3.55 Black-ish 4.20 Black-ish 4.40 Charmed
11.0am Guadalcanal Diary (1943) 1.0 The Reckless Moment (1949) 2.40 Gideon
of Scotland Yard (1958) 4.30 The Last
Frontier (1955) 6.35 Hugo (2011) 9.0 Night at the Museum: Secret of the Tomb (2014)
10.55 A.C.O.D (2013) 12.40 Devil’s
Due (2014) 2.25 Of Horses and Men (2013)
6.0am Modern Family 6.30 Modern Family
7.0 Monkey Life 7.30 Monkey Life 8.0 It’s Me
or the Dog 8.30 It’s Me or the Dog 9.0 The Dog
Whisperer 9.30 The Dog Whisperer 10.0 Zoo
Tales 10.30 Zoo Tales 11.0 Modern Family 11.30
Modern Family 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
6.30-8.0 The Simpsons 8.0 DC’s Legends of
Tomorrow 9.0 Marvel’s Inhumans 10.0 Bounty
Hunters 10.45-11.45 The Simpsons 11.45
A League of Their Own 12.45 The Force: North
East 1.45 Ross Kemp in Search of Pirates 2.45
Brit Cops: War on Crime 3.45 PL Greatest Games
4.0 Stop, Search, Seize 5.0 The Dog Whisperer
Sky Sports 1
6.0am Good Morning Sports Fans 10.0
Premier League Daily 11.0 Sky Sports Daily
12.0 Sky Sports News 1.0 Live ATP Next Gen
Finals. The opening session on day two of the
tennis event for young players. 5.0 Sky Sports
News at 5 6.0 Sky Sports News at 6 6.30
Live ATP Next Gen Finals. Further coverage.
10.0 The Debate 11.0-6.0 Sky Sports News
THE NEW REVIEW | 05.11.17 | The Observer
STV NORTH As ITV except 10.30pm
Scotland Tonight (T) 11.05 Bear’s Mission
With Rob Brydon (T) 12.05 Teleshopping
1.05 After Midnight 2.35 Storage Hoarders
(T) (R) 3.30 Nightscreen (T) 4.05 Jeremy
Kyle (T) (R) 5.0-6.0 Teleshopping
ITV WALES As ITV except 8.0pm-8.30
Crime Files (T) 10.45 Australian Wilderness
With Ray Mears (T) (R) 11.15-11.45 Gino’s
Italian Coastal Escape (T)
CHANNEL As ITV except 12.35am-3.0
ITV Nightscreen
ULSTER As ITV except 8.0pm-8.30
UTV Life 10.45 Gino’s Italian Coastal Escape
(T) 11.15-11.45 The Harbour (T) (R) 12.35
Teleshopping 1.35-3.0 ITV Nightscreen
BBC1 WALES 10.30pm Wales Live (T)
11.05 A Question of Sport (T) 11.35 Junior
Doctors: Blood, Sweat and Tears (T) 12.051.05 The Ganges With Sue Perkins (T) (R)
BBC1 N IRELAND 10.40pm Nolan Live
(T) 11.40 A Question of Sport (T) 12.10 Junior
Doctors: Blood, Sweat and Tears (T) 12.401.40 The Ganges With Sue Perkins (T) (R)
BBC2 SCOTLAND 12noon Permission
Impossible: Britain’s Planners (T) (R) 1.0 Bowls
5.50-6.0 Lifeline (T) (R) 11.15 Bowls (T)
12.10-1.45 Louis Theroux: My Scientology
Movie (2015) (T)
BBC2 WALES 7.0pm-8.0 The SuperRich and Us (T) (R)
BBC2 N IRELAND 11.15pm Spotlight
(T) 11.45 Louis Theroux: Dark States (T) (R)
12.45-12.50 Waterworld (T) (R)
The Supervet (T) Noel Fitzpatrick
operates on a Bengal cat with a
broken back.
The Truth About Slim People
(T) An experiment following
37-year-old Yemi and 41-yearold Anne Marie, who appear to
eat what they like and have no
set exercise routines, yet never
put on weight.
Milkshake! 9.15 The Wright Stuff
11.15 Can’t Pay? We’ll Take It Away
(T) (R) 12.10 News (T) 12.15 The
Hotel Inspector Returns (T) (R)
1.10 Access (T) 1.15 Home and
Away (T) 1.45 Neighbours (T)
2.20 NCIS (T) (R) 3.15 The
Christmas Note (Terry Ingram,
2015) (T) A woman helps a
neighbour look for a missing
sibling. Drama with JamieLynn Sigler. 5.0 News (T) 5.30
Neighbours (T) (R) 6.0 Home and
Away (T) (R) 6.30 News (T) 7.0
Traffic Cops: Under Attack (T) (R)
GPs: Behind Closed Doors (T) Dr
Elizabeth Barnard sees Catherine,
a diabetic who has developed a
large, painful blister between two
of her toes. Includes news update.
Big Family Values: More Kids
Than Cash (T) A family of 12
move into a 14-acre property in
Cornwall hoping for a fresh start,
while an Essex couple with eight
children set up a business.
Beyond 100 Days (T) 7.30 Great
Continental Railway Journeys
(T) (R) Lyon to Marseille, Part
Two. The conclusion of Michael
Portillo’s journey to Marseille on
the Mediterranean coast sees
him join a pilot boat leading a
supertanker to its berth.
Empire of the Tsars: Romanov
Russia With Lucy Worsley (T) (R)
The reign of Catherine the Great.
Cosmonauts: How Russia Won
the Space Race (T) (R) Examining
the Soviet Union’s pioneering
role in space exploration, which
is often downplayed due to the
United States’ victory in the race
to put a man on the moon.
10.0 Shannon Matthews: The
Mother’s Story (T) (R)
Documentary profile of the
woman at the centre of her
own daughter’s kidnapping.
11.05 When Kids Kill: Catfish Killer
(T) The case of teenage karate
instructor Tony Bushby.
12.05 Diced to Death: Countdown to
Murder (T) (R) 1.0 SuperCasino
(T) 3.10 Law & Order: Special
Victims Unit (T) (R) 4.0 Get
Your Tatts Out: Kavos Ink (T)
4.45 House Doctor (T) (R)
5.10 House Busters (T) (R)
10.0 Detectorists (T) New series.
A solar farm threatens the
group’s tranquil life.
10.30 The League of Gentlemen (T) (R)
The first ever episode. A hiker
arrives in Royston Vasey – town
motto “You’ll Never Leave!”
11.0 Sleuths, Spies & Sorcerers:
Andrew Marr’s Paperback
Heroes Detectives (T) (R) (1/3)
12.0 Queen Victoria’s Letters: A
Monarch Unveiled (R) 1.0 Pagans
and Pilgrims (R) 1.30 British Art at
War (R) 2.30 Cosmonauts: How
Russia Won the Space Race (R)
Op 73. Andrei Ioniţă (cello), Naoto Sonoda (piano).
5.0 In Tune 7.0 In Tune Mixtape 7.30 In Concert:
Cédric Tiberghien at Wigmore Hall. Recorded on 5
November. Cédric Tiberghien (piano). Prokofiev:
Visions fugitives, Op 22. Philippe Hersant: In Black.
8.15 Interval. 8.35 Mussorgsky: Pictures from an
Exhibition. 10.0 Free Thinking: Soviet Histories.
Svetlana Alexievich discusses Soviet oral history.
10.45 The Essay: Ten Artists That Shook the
World – Nijinsky. With Deborah Bull. (3/10) 11.0
Late Junction 12.30 Through the Night (R)
as they think. Raquel Cassidy and Richard Lumsden
star. 3.0 Money Box Live 3.30 All in the Mind (R)
4.0 Thinking Allowed. Human behaviour examined.
4.30 The Media Show 5.0 PM. Presented by
Eddie Mair. 6.0 News 6.30 Andy Hamilton Sort
of Remembers. The writer and comedian focuses
his attention on animals. (4/4) 7.0 The Archers.
Ian struggles to make a good impression and Shula
is glad of a friend. 7.15 Front Row. Arts roundup.
7.45 Living With the Gods: Holy Killing (13/30)
8.0 The Moral Maze. Michael Buerk is joined by
guests Claire Fox, Anne McElvoy, Melanie Phillips
and Giles Fraser for combative debate on a moral
issue making the headlines. (5/9) 8.45 Why I
Changed My Mind. With former Scientologist Martin
Padfield. (4/4) 9.0 Costing the Earth: Donald
Trump’s Footprint (R) 9.30 Only Artists (R) 9.59
Weather 10.0 The World Tonight. With Ritula Shah.
10.45 Book at Bedtime: First Person, by Richard
Flanagan. (3/10) 11.0 Little Lifetimes: A Nice Time
With All The Family. Beverley Callard stars in Jenny
Eclair’s comic monologue as Julie, who fears that
her 60th birthday celebrations are being hijacked
by her family. (4/4) 11.15 Yours Truly, Pierre Stone
(3/4) 11.30 Science Stories: Birth of Photography
(R) 12.0 News 12.30 Book of the Week (R) (3/5)
12.48 Shipping Forecast 1.0 As World Service. LW:
3.0 Test Match Special: Australia Women v England
Women. Charles Dagnall, Jim Maxwell and Isa Guha
commentate on the opening day of the only Test
in the Ashes series, which takes place at the North
Sydney Oval. With analysis from Charlotte Edwards,
Mel Jones and Lisa Sthalekar. 5.20 Shipping
Forecast. FM: 5.30 News 5.43 Prayer for the Day
5.45 Farming Today 5.58 Tweet of the Day
Radio 1
97.6-99.8 MHz
6.33 The Breakfast Show With Nick Grimshaw
10.0 Clara Amfo 12.45 Newsbeat 1.0 Matt
Edmondson 4.0 Greg James 5.45 Newsbeat
6.0 Greg James 7.0 Annie Mac 9.0 The 8th
With Charlie Sloth 11.0 Huw Stephens 1.0
Benji B 3.0 Stories: Music By Numbers – Biffy
Clyro 4.0 Adele Roberts
Radio 2
88-91 MHz
6.30 Chris Evans 9.30 Ken Bruce 12.0 Jeremy
Vine 2.0 Steve Wright 5.0 Simon Mayo 7.0 The
Folk Show With Mark Radcliffe 8.0 Jo Whiley 10.0
George Michael: Red Line 11.0 Marcus Mumford
(R) 12.0 Pick of the Pops (R) 2.0 Radio 2 Playlists:
Country, Easy & Radio 2 Rocks 5.0 Nicki Chapman
Radio 3
90.2-92.4 MHz
6.30 Breakfast. With Petroc Trelawny. 9.0
Essential Classics. Suzy Klein is joined by Bridget
Kendall. 12.0 Composer of the Week: Soviet Russia
(1917-1953) (3/5) 1.0 News 1.02 Lunchtime
Concert: Russian Revolutionaries. Introduced by
Fiona Talkington. Alexei Volodin (piano). Prokofiev:
Romeo and Juliet Before Parting (Ten Pieces from
Romeo and Juliet, No 10). Medtner: Fairy Tale in C
sharp minor, Op 35 No 4. Rachmaninov: Fragments;
Piano Sonata No 1. (2/4) 2.0 Afternoon Concert:
Breaking Free – A Century of Russian Culture. Penny
Gore presents. Vaughan Williams: Overture – The
Wasps (Aristophanic Suite). Rachmaninov: Rhapsody
on a Theme of Paganini for piano and orchestra,
Op 43. Elgar: Symphony No 1 in A flat, Op 55.
Stephen Hough (piano), BBC Philharmonic, Juanjo
Mena. 3.30 Choral Evensong: Royal Holloway
Chapel, University of London 4.30 New Generation
Artists. Mozart: Divertimento in D, K136. Van
Kuijk Quartet. Lennox Berkeley: Lay Your Sleeping
Head, My Love. Robin Tritschler (tenor), Malcolm
Martineau (piano). Schumann: Phantasiestucke,
Radio 4
92.4-94.6 MHz; 198kHz
6.0 Today. With Nick Robinson and Justin Webb.
7.48 Thought for the Day, with Canon Angela
Tilby. 8.31 (LW) Yesterday in Parliament 9.0
Only Artists. Two artists from different disciplines
discuss creative questions, processes and decisions.
(1/6) 9.30 Life Drawing: George Osborne Meets
Martin Rowson (R) 9.45 (LW) Daily Service 9.45
(FM) Living With the Gods: Holy Killing (13/30)
10.0 Woman’s Hour. Presented by Jane Garvey.
Includes at 10.41 Drama: Blood and Milk, by
Gregory Evans. Samuel has disappeared and Meg
is frantic. (3/5) 10.55 The Listening Project:
Rachel and Viba – Nothing Down about Down’s
11.0 The Confidence Trick. Laura Barton considers
the role of school and background in determining
confidence. (R) (2/3) 11.30 Mae Martin’s Guide
to 21st Century Addiction. The award-winning
standup discusses why some people may be more
susceptible to addiction than others, and what can
be done to tackle it. (2/2) 12.0 News 12.01 (LW)
Shipping Forecast 12.04 Brexit: A Guide for the
Perplexed. With Chris Morris. (3/5) 12.15 You and
Yours 12.57 Weather 1.0 The World at One 1.45
Book of the Week: Life in the Garden. Stephanie
Cole reads from Penelope Lively’s memoir of her
horticultural life. (3/5) 2.0 The Archers (R) 2.15
Drama: Remote, by Mark Watson. The story of a
romance that unfolds over 30 years, as a separated
couple realise they are not as far from each other
5 Live
693, 909 kHz
6.0 Breakfast 10.0 5 Live Daily with Emma Barnett
1.0 Afternoon Edition 4.0 5 Live Drive 7.0 5 Live
Sport 8.0 Get Inspired With Darren Campbell 9.0
5 Live Cricket 10.30 Phil Williams 1.0 Up All Night
5.0 Morning Reports 5.15 Wake Up to Money
Thursday 9
couple Nazifa and Latif’s attempt to get her
to Germany in order for her to give birth
there. Plus more heartbreaking stories of
other brave refugees, often with families,
stuck in a limbo they do not understand.
in a final-act confrontation, William Hurt. The
balance between subtlety and hair-raising
extremity makes this film the very definition
of the Cronenberg touch. Jonathan Romney
Alexei Sayle’s Imaginary
Sandwich Bar
Trump: An American Story
Channel 4, 9pm
Radio 4, 6.30pm
The first in a four-part series that charts
The Donald’s rise to power across four
decades through the testimony of 50
friends and enemies. A curiously interesting
story as bizarre as its subject. Mike Bradley
A History of Violence
Sky Cinema Greats, 10pm
Sam Smith at the BBC
BBC1, 8pm
(David Cronenberg, 2005)
This one-off hour-long BBC music special
is a thinly veiled advertisement for Sam
Smith’s new LP The Thrill of It All. As you
would expect, he performs songs from
the album as well as some of his older hits,
accompanied by his band and the BBC
Concert Orchestra. All well and good, but be
warned: you’ll have to put up with Fearne
Cotton, who chats to him between tunes.
This century, David Cronenberg has turned
his back on science fiction and body
horror – although he still occasionally
indulges his penchant for the gruesome
– witness one particular moment in this
spare psychological thriller. Based on a
graphic novel, it’s essentially a modernday western, with Viggo Mortensen as
Tom Stall, a quiet family man who runs a
small-town diner. When he reacts with
startling promptness to an attempted
robbery, Tom’s long-suppressed past
emerges, with unnerving repercussions for
his family. Cronenberg’s coolly controlled
direction leaves plenty of breathing room
for fine performances by Mortensen, Maria
Bello, Ed Harris and, giving his eccentric all
Exodus: Our Journey Continues
BBC2, 9pm
This troubling account of the plight of
refugees from the Middle East seeking
asylum in Europe continues with Afghan
The Murder of Becky
Watts: Police Tapes
ITV, 9pm
On 20 February 2015, Bristol teenager
Becky Watts was reported missing. Only
two people knew where she was: her
stepbrother Nathan and his girlfriend
Shauna. Her disappearance triggered one
of the biggest operations ever mounted
by the Avon and Somerset police and
resulted in the tragic discovery that she
had been murdered and subsequently
dismembered. Two years on, this expertly
assembled documentary provides a
detailed account of the investigation,
featuring forensics and crime scene
evidence, and, most extraordinary of
all, previously unseen police recordings
of chilling interviews conducted with
Becky’s killers. It’s fascinating to watch
as suspicion turns to conviction, and as
the facts pile up, evidence emerges of
collusion between the killers. Grisly but
mesmerising television. Mike Bradley
Alexei Sayle returns with a new series
of sparky comedy delivered from behind
the counter of his increasingly fictional
sandwich bar. With one of his customers
being Ayatollah Khomeini, Sayle has the
perfect excuse to discuss Iranian politics
and the Iranians’ paranoia about the British
in contrast with their love of one of its
clothing chains. We also hear about his
patriotic choice of vehicle – a JCB with “a
big smashy, hydraulically powered arm to
sweep all the other commuters out of the
way”, why he gave up standup for 17 years,
how ancient comic material can always be
revived and why Britain could really do with
losing a war. Stephanie Billen
Sky Sports Main Event, 7pm
Northern Ireland v Switzerland: World Cup
qualifying play-off, first-leg. Live coverage
from Windsor Park, where Michael O’Neill’s
men look to become the first Northern Irish
team to qualify since 1986. The Scotland v
Netherlands friendly can be viewed on Sky
Sports Football at 7.30pm. MB
Channel 4
Channel 5
Breakfast 9.15 Women at War:
100 Years of Service 10.0 Homes
Under the Hammer 11.0 Getting
the Builders In 11.45 Fugitives
(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 Impossible
(T) 3.0 Escape to the Country
(T) (R) 3.45 Money for Nothing
(T) (R) 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 EastEnders (T)
The Hairy Builder (R) 6.30
Women at War (R) 7.15 Getting
the Builders In (R) 8.0 Council
House Crackdown (R) 9.0 Victoria
Derbyshire 11.0 Newsroom
Live 12.0 The Secret Life
of Walter Mitty (1947) 1.45
Permission Impossible: Britain’s
Planners (R) 2.45 Family Finders
3.15 Operation Stonehenge (R)
4.15 Hebrides: Islands on the
Edge (R) 5.15 Put Your Money
Where Your Mouth Is (R) 6.0
Eggheads 6.30 Strictly: It Takes
Two 7.0 Meet the Lords (R)
6.20 The King of Queens (T) (R) 7.35
Everybody Loves Raymond
(T) (R) 9.05 Frasier (T) (R) 9.35
Frasier (T) (R) 10.05 Ramsay’s
Hotel Hell (T) (R) 11.0 Undercover
Boss USA (T) (R) 12.0 News (T)
12.05 Come Dine With Me (T)
(R) 1.05 My Kitchen Rules (T)
2.10 Countdown (T) 3.0 A Place
in the Sun: Summer Sun (T)
(R) 4.0 Coast v Country (T) 5.0
Four in a Bed (T) 5.30 Steph and
Dom’s One Star to Five Star (T)
6.0 The Simpsons (T) (R) 6.30
Hollyoaks (T) 7.0 News (T)
Sam Smith at the BBC (T)
The singer performs and
chats to Fearne Cotton.
The Week the Landlords Moved
In (T) Landlords spends a week
living in their own rentals,
including a woman who is
forced to question her ethics
when she finds a pensioner
struggling to cope in one of her
attic rooms. Last in the series.
MasterChef: The Professionals
(T) Six chefs battle it out in the
quarter-final, creating a dish
using spices and cooking two
courses for William Sitwell, Jay
Rayner and Grace Dent.
Exodus: Our Journey Continues
(T) A family who escaped Syria
in 2015 and now live in Germany.
Plus, Nazifa and Latif make a
potentially life-changing decision.
Emmerdale (T) Bernice makes
a shocking discovery.
8.30 Paul O’Grady: For the Love of
Dogs (T) A Staffordshire bull
terrier that needs to lose weight.
9.0 The Murder of Becky Watts:
Police Tapes (T) Susanna
Reid gains access to the
footage recorded by the
police investigating the
murder of the 16-year-old.
10.0 News (T)
10.30 Local News (T)
10.40 Undercover: Inside Britain’s New
Far Right (T) ITV’s Exposure
stand presents an undercover
report on far right groups in
Britain, investigating the presence
many have developed online and
their international connections.
11.45 The 18-30 Stone Holiday (T) (R)
Eight overweight British tourists
stay at a plus-size friendly hotel.
12.35 Jackpot247 3.0 Tonight (T)
(R) 3.25 ITV Nightscreen 5.05
The Jeremy Kyle Show (T) (R)
10.0 Angry, White and American
Gary Younge journeys across the
US to explore the issue of race,
talking only to white Americans
to understand why many have
been sent into angry retreat.
11.05 999: What’s Your Emergency?
(T) (R) Incidents in Wiltshire.
12.05 Random Acts (T) 12.35 Kitchen
Nightmares USA (T) (R) 1.30
Grand Designs: House of the Year
(T) (R) 2.25 The Fight for Mosul
(T) (R) 3.20 Unreported World
(T) (R) 3.45 Dispatches (R) 4.15
Grand Designs Australia (R)
10.0 News (T)
10.30 Regional News and Weather (T)
10.45 Question Time (T) Topical
debate from Croydon, where
the panellists include Justine
Greening, Kirstie Allsopp and
George the Poet.
11.45 Life and Death Row (T) (R) A look
at capital punishment through
the eyes of young people whose
lives have been shaped by it,
beginning with two men facing
the death penalty in Texas.
12.45 Weather for the Week Ahead
(T) 12.50 BBC News (T)
10.0 MOTD: The Premier League
Show (T) Gabby Logan presents
the magazine programme.
10.30 Newsnight (T) Weather
11.15 Trust Me, I’m a Doctor: Mental
Health Special (T) (R) Experts
answer questions about the
impact lack of sleep, stress
and laughter can have on our
sense of mental wellbeing.
12.15 Peaky Blinders (T) (R) 1.15
Sign Zone: Panorama (T) (R)
1.45 The Human Body: Secrets
of Your Life Revealed (T) (R)
2.45 This Farming Life (T) (R)
BT Sport 1
6.0am Man Utd v West Ham 1969/70 6.30
Chelsea v Leeds United 1969/70 7.0 Wolves
v Arsenal 1971/72 7.30 Southampton v Man
Utd 1971/72 8.0 Leeds United v Southampton
1971/72 8.30 Rugby Tonight 9.30 Game
of the Week 10.0 Branded 11.0-3.0 The
Big Match Revisited 3.0 FA Cup: First Round
Highlights 3.30 Gillette World Sport 4.0
Premier League Tonight 4.30 Hyundai A-League
Highlights 5.30 Premier League 7.0-11.30
ESPN Classic Boxing 11.30 Chasing Tyson 1.0
Live NBA: Houston Rockets v Cleveland Cavaliers
(tip-off 1am) Coverage of the inter-conference
encounter at Toyota Centre.3.30 ESPN Films:
Renée 5.0 Hyundai A-League Highlights
Sky Atlantic
6.0am The Guest Wing 7.0 The British 8.0
Urban 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 Tin Star 10.0 Vice Principals 10.35 Room
104 11.10 Last Week Tonight With John Oliver
11.45 Curb Your Enthusiasm 12.25 Dice 1.0
Tin Star 2.0 The Wire 3.10-4.20 Californication 4.20-6.0 The West Wing
All programmes from 6am to 7pm are double bills
6.0am Hollyoaks 7.0 Charmed 9.0 Rules of
Engagement 10.0 Black-ish 11.0 How I Met Your
Mother 12.0 New Girl 1.0 The Big Bang Theory
2.0 The Goldbergs 3.0 How I Met Your Mother
4.0 New Girl 5.0 The Goldbergs 6.0 The Big
Bang Theory 7.0 Hollyoaks 7.30 Streetmate
8.0-9.0 The Big Bang Theory 9.0 2 Broke Girls
9.30 GameFace 10.0-11.05 The Inbetweeners
11.05-12.0 The Big Bang Theory 12.0 Rude
Tube 1.0-2.10 The Inbetweeners 2.10 GameFace
2.35 2 Broke Girls 3.0 First Dates 3.55-4.45
Black-ish 4.45 Charmed
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
Dickinson’s Real Deal (T) (R) 3.0
Tenable (T) 3.59 Local News and
Weather (T) 4.0 Tipping Point (T)
5.0 The Chase (T) 6.0 Local News
(T) 6.30 News (T) 7.0 Emmerdale
(T) 7.30 Tonight: Harassment:
Uncovering the Truth? (T) Julie
Etchingham on the allegations
of sexual harassment that have
hit the headlines recently.
11.0am The Nebraskan (1953) 12.20 Hatari! (1962) 3.25 Ride Lonesome (1959)
4.55 The Night of the Grizzly (1966) 7.0
X-Men (2000) 9.0 X-Men 2 (2003)
11.40 Odd Thomas (2013) 1.35 52
Tuesdays (2013)
6.0am Modern Family 6.30 Modern Family
7.0 Monkey Life 7.30 Monkey Life 8.0 It’s Me
or the Dog 8.30 It’s Me or the Dog 9.0 The Dog
Whisperer 9.30 The Dog Whisperer 10.0 Zoo
Tales 10.30 Zoo Tales 11.0 Modern Family 11.30
Modern Family 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
6.30-8.0 The Simpsons 8.0 Arrow 9.0 Living
the Dream 10.0 The Russell Howard Hour 11.012.0 The Simpsons 12.0 A League of Their Own
1.0 The Force: North East 2.0 Ross Kemp in Search
of Pirates 3.0 Brit Cops: War on Crime 4.0 Stop,
Search, Seize 5.0 The Dog Whisperer
Sky Sports 1
6.0am Good Morning Sports Fans 6.30 Good
Morning Sports Fans 7.0 Live European Tour
Golf: The Nedbank Golf Challenge. Coverage of
the opening day in Sun City, South Africa. 2.0
Live ATP Next Gen Finals. Coverage of the opening
session on day three of the tennis event for young
players. 5.0 Sky Sports News at 5 6.0 Sky Sports
News at 6 7.0 Live WCQ: Northern Ireland v
Switzerland (kick-off 7.45pm) All the action from
the first leg of the World Cup qualifying play-off,
which takes place at Windsor Park. 10.15 My
Icon: Thierry Henry 10.30 Sky Sports News at
Ten 11.0 Sky Sports News 12.0 Racemax 12.30
Live NFL: Arizona Cardinals v Seattle Seahawks
(kick-off 1.25am) Coverage of the clash between
the NFC West sides at University of Phoenix
Stadium. 4.45 NFL Jay Ajayi Running Back
Masterclass 5.0 Sky Sports News
STV NORTH As ITV except 10.30pm
Scotland Tonight (T) 11.05 Undercover: Inside
Britain’s New Far Right (T) 12.05 Teleshopping
1.05 After Midnight 2.35 Tonight (T) (R) 3.0
ITV Nightscreen 4.05 The Jeremy Kyle Show
(T) (R) 5.0-6.0 Teleshopping
CHANNEL As ITV except 12.35am-3.0
ITV Nightscreen
SCOTTISH As ITV except 10.30pm Scotland
Tonight (T) 11.05 Undercover: Inside Britain’s
New Far Right (T) 12.05 Teleshopping 1.05
After Midnight 2.35 Tonight (T) (R) 3.0 ITV
Nightscreen 4.05 The Jeremy Kyle Show (T)
(R) 5.0-6.0 Teleshopping
ULSTER As ITV except 12.35am
Teleshopping 1.35-3.0 ITV Nightscreen
BBC1 SCOTLAND 9.0pm-10.0 Donald
Trump: Scotland’s President (T)
BBC1 WALES 9.0pm-10.0 Shane:
For the Love of the Game (T) 11.45 The Week
the Landlords Moved In (T) 12.45-1.45 Life
and Death Row (T) (R)
BBC1 N IRELAND 10.40pm The View
(T) 11.15 Question Time (T) 12.15-1.15 Life
and Death Row (T) (R)
BBC2 SCOTLAND 12noon First
Minister’s Questions (T) 1.0-6.0 Bowls: Scottish
International Open (T) Live coverage of day six
from the Dewars Centre in Perth. 7.0 Britain
Afloat (T) 7.30-8.0 Timeline (T) 11.15-12.15
Bowls: Scottish International Open (T) 1.15 Peaky
Blinders (T) (R) 2.15-2.45 Panorama (T) (R)
BBC2 WALES 7.0pm-8.0 Who’s Spending
Britain’s Billions? (T) (R)
Ugly House to Lovely House With
George Clarke (T) Architect Chris
Dyson helps Wendy and Allan in
Colchester, who are desperate to
transform their 1960s home.
Trump: An American Dream (T)
(1/4) New series charting Donald
Trump’s rise from businessman
to the White House, and how
his journey reflects the story
of modern America.
Milkshake! 9.15 The Wright Stuff
11.15 Can’t Pay? We’ll Take It Away
(T) (R) 12.10 News (T) 12.15 The
Hotel Inspector Returns (T) (R)
1.10 Access (T) 1.15 Home and
Away (T) 1.45 Neighbours (T)
2.20 NCIS (T) (R) 3.20 The
Wish List (Kevin Connor, 2010)
(T) Romantic comedy, with
Jennifer Esposito and David
Sutcliffe. 5.0 News (T) 5.30
Neighbours (T) (R) 6.0 Home
and Away (T) (R) 6.30 News (T)
7.0 All New Traffic Cops (T) (R)
Bargain-Loving Brits in
Blackpool (T) Claire faces
the challenge of a group of
VIP business leaders who
have booked her entire hotel.
Includes news update.
Rich House, Poor House (T)
Families from Wolverhampton
swap homes, lifestyles and
budgets for a week to see
how the other half lives.
Beyond 100 Days (T) 7.30 Top
of the Pops: 1984 (T) (R) John
Peel and Tommy Vance host the
9 November show, with Nick
Heyward, the Human League,
Billy Ocean, Murray Head, Shakin’
Stevens and Chaka Khan.
Empire of the Tsars: Romanov
Russia With Lucy Worsley (T)
(R) The historian examines
the period between 1825 and
1918, when Russian society
moved towards revolution and
the downfall of the Romanov
dynasty. Last in the series.
Russia’s Lost Princesses (T)
(R) (1/2) The lives of the four
daughters of Tsar Nicholas II.
10.0 Bad Habits, Holy Orders (T)
The girls put the lessons they
have learned to work.
11.05 Borderline (T) Comedy. Disaster
looms with the approach of the
annual inspection.
11.35 Borderline (T) The staff embark
on a team-building weekend.
Last in the series.
12.0 SuperCasino (T) 3.10 Law &
Order: Special Victims Unit (T)
(R) 4.0 Get Your Tatts Out: Kavos
Ink (T) (R) 4.45 House Doctor
(T) (R) 5.10 House Busters (T)
(R) 5.35 Wildlife SOS (T) (R)
10.0 Russia’s Lost Princesses (T) (R)
(2/2) The final four years in the
lives of the Tsar’s daughters.
11.0 Russia 1917: Countdown to
Revolution (T) (R) Writers and
historians debate Russia’s
transition from tsarist autocracy
to communist state, focusing on
the involvement of three men –
Lenin, Trotsky and Stalin.
12.0 Top of the Pops: 1984 (T) (R)
12.40 Empire of the Seas (T)
(R) 1.40 British Art at War…
(T) (R) 2.40 Beautiful Thing:
A Passion for Porcelain (T) (R)
Ivor Bolton. 4.15 Shostakovich: Symphony No 12
in D minor, Op 112 (The Year 1917). BBC NOW,
conductor Thomas Søndergård. 5.0 In Tune. With
baritone Florian Boesch and the string quartet
Meta4. 7.0 In Tune Mixtape 7.30 In Concert.
Presented by Adam Tomlinson, live from Hull City
Hall. Tchaikovsky: Sleeping Beauty Suite, Op 66a;
Variations on a Rococo Theme, Op 33. Interval.
Rimsky-Korakov: Scheherazade, Op 35. Royal
Philharmonic Orchestra, Leonard Elschenbroich
(cello), Alexander Shelley. 10.0 Free Thinking:
Russian Art and Exile. Boris Akunin and Zinovy Zinik
discuss Russian art and exile. 10.45 The Essay:
Ten Artists That Shook the World – Meyerhold.
With Richard Eyre. (4/10) 11.0 Late Junction: Nick
Luscombe With Bjørk 12.30 Through the Night
Lively. (4/5) 2.0 The Archers (R) 2.15 Drama: Blue
Glory, by Hayley Squires. An estranged father and
daughter reunite on his 60th birthday. (R) 3.0 Open
Country: Bell-Ringing in Devon. With Mary WardLowery. (3/16) 3.27 Radio 4 Appeal: Anti-Slavery
International (R) 3.30 Bookclub: Edward St Aubyn
– Mother’s Milk (R) 4.0 The Film Programme 4.30
Inside Science. Adam Rutherford and guests explore
the latest scientific research. 5.0 PM. Presented
by Eddie Mair. 5.54 (LW) Shipping Forecast 5.57
Weather 6.0 News 6.31 Alexei Sayle’s Imaginary
Sandwich Bar: Britain’s Place in the World. The
comic delivers a mixture of standup, memoir and
philosophy, beginning by considering Britain’s place
in the world and discussing his return to standup
after a 17-year break. (1/4) 7.0 The Archers. Lilian
turns detective and Elizabeth is put on the spot.
7.15 Front Row. Arts roundup. 7.45 Living With
the Gods: To Be a Pilgrim (14/30) 8.0 Law in Action
(R) 8.30 The Bottom Line: Pets Mean Pounds. Evan
Davis talks to entrepreneurs and company bosses.
9.0 Inside Science (R) 9.30 In Our Time (R) 10.0
The World Tonight. Presented by Lucy Williamson.
10.45 Book at Bedtime: First Person, by Richard
Flanagan. Read by Luke Mullins. (4/10) 11.0 The
Absolutely Radio Show (R) 11.30 Science Stories:
The Man Who Predicted Deforestation and Climate
Change 200 Years Ago (R) 12.0 News 12.30 Life
in the Garden (R) (4/5) 12.48 Shipping Forecast
1.0 As World Service. LW: 3.15 Test Match Special:
Australia Women v England Women – Only Test,
Day Two. 5.20 Shipping Forecast. FM: 5.30 News
5.43 Prayer for the Day 5.45 Farming Today
5.58 Tweet of the Day: Gary Moore on the Skylark
Radio 1
97.6-99.8 MHz
6.30 The Breakfast Show With Nick Grimshaw
10.0 Clara Amfo 12.45 Newsbeat 1.0 Matt
Edmondson 4.0 Greg James 5.45 Newsbeat
6.0 Greg James 7.0 Annie Mac 9.0 The 8th
with Charlie Sloth 11.0 Residency: Kolsch
12.0 Residency: Helena Hauff 1.0 Toddla T
3.0 Artist Takeover With… 4.0 Adele Roberts
Radio 2
88-91 MHz
6.30 Chris Evans 9.30 Ken Bruce 12.0 Jeremy
Vine 2.0 Ore Oduba 5.0 Simon Mayo 7.0 Bob
Harris Country 8.0 In Concert: Paloma Faith 10.0
The Arts Show With Jonathan Ross 12.0 The Craig
Charles House Party (R) 2.0 Radio 2 Playlists:
Tracks of My Years, Have a Great Weekend &
Feelgood Friday 5.0 Nicki Chapman
Radio 3
90.2-92.4 MHz
6.30 Breakfast. Petroc Trelawny presents.
9.0 Essential Classics. The broadcaster Bridget
Kendall talks to Suzy Klein about her cultural
inspirations. 12.0 Composer of the Week: Soviet
Russia (1917-1953) (4/5) 1.0 News 1.02
Lunchtime Concert: Russian Revolutionaries.
Presented by Fiona Talkington from LSO St Luke’s
in London. Tchaikovsky: January, March and April
(from The Seasons). Shostakovich: Dances of the
Dolls. Prokofiev: Piano Sonata No 6 in A, Op 82.
Anna Vinnitskaya (piano). (3/4) 2.0 Thursday
Opera Matinee: Rimsky-Korsakov – The Golden
Cockerel, Opera in Three Acts. Dmitiri Ulyanov
(bass: Tsar Dodon), Sergei Skorokhodov (tenor:
Tsarevich Gvidon), Alexey Lavrov (baritone:
Tsarevich Afron), Alexander Vinogradov (bass:
General Polkan), Olesya Petrova (contralto:
Amelfa, a housekeeper), Alexander Kravets (tenor
altino: Astrologer), Venera Gimadieva (coloratura
soprano: Tsaritsa of Shemakha), Sara Blanch
(soprano: Little Golden Cockerel), Teatro Real,
Radio 4
92.4-94.6 MHz; 198kHz
LW: 5.30 Test Match Special: Australia Women v
England Women. The opening day of the only Test
in the Ashes series, which takes place at the North
Sydney Oval. 9.45 Daily Service: Remembrance
– Lest We Forget 10.0 Test Match Special. FM:
6.0 Today. With Mishal Husain and Nick Robinson.
7.48 Thought for the Day, with Robert Beckford.
9.0 In Our Time 9.45 Living With the Gods: To
Be a Pilgrim (14/30) 10.0 (FM) Woman’s Hour.
Presented by Jenni Murray. Includes at 10.45
Drama: Blood and Milk, by Gregory Evans. Troubles
mount for Megan as Bren Evans increases his
demands. (4/5) (LW joins at 10.30) 11.0 From Our
Own Correspondent. With Kate Adie. (7/8) 11.30
A Portrait Of… Juliet Stevenson. Fiona GrahamMackay paints the stage and TV actor, who talks
about her itinerant childhood and taking acting
notes from her friend colleague Alan Rickman.
(3/3) 12.0 News 12.01 (LW) Shipping Forecast
12.04 Brexit: A Guide for the Perplexed. With Chris
Morris. (4/5) 12.15 You and Yours. Consumer and
public interest reports. 12.57 Weather 1.0 The
World at One. Presented by Martha Kearney. 1.45
Book of the Week: Life in the Garden, by Penelope
5 Live
693, 909 kHz
6.0 Breakfast 10.0 5 Live Daily with Emma
Barnett 1.0 Afternoon Edition 4.0 5 Live Drive
7.0 5 Live Sport 7.45 International Football:
Northern Ireland v Switzerland (kick-off 7.45pm)
10.0 Question Time Extra Time 1.0 Up All Night
5.0 Morning Reports 5.15 Wake Up to Money
The Observer | 05.11.17 | THE NEW REVIEW
Friday 10
1972,” runs Richard Ayoade’s introduction
to a whirlwind weekend in the Swedish
capital accompanied by permanently
startled comedian Sally Phillips. Cue:
floating restaurants, fika, sunset at 11pm, a
below-zero ice bar and moose meatballs.
Sarah Snook, who’s both unsettling and
extremely winning as she morphs from
vulnerable but tough Jane to hard-bitten,
cynical John. Heady stuff that should get
your synapses sparking. Jonathan Romney
The Graham Norton Show
BBC1, 10.35pm
Radio 4, 2.15pm
Norton welcomes actor Hugh Grant, star of
Paddington 2, and singer Kelly Clarkson, who
chats and performs. Plus more storytellers
brave the red chair. Mike Bradley
Film4, 9pm
Unreported World
Channel 4, 7.30pm
(Michael Spierig, Peter Spierig, 2014)
Rebuilding Generation War. Yousra Elbagir
reports from the Mowasah hospital in
Jordan, where Doctors Without Borders
(MSF) surgeons are operating on victims
of the wars in Syria, Iraq and Yemen. She
follows the patients’ stories and hears of
the challenges facing a generation who
have grown up knowing only war.
This ingenious, offbeat exercise in
conceptual science fiction comes from
Australia’s Spierig brothers, who made
their mark with future-vampire feature
Daybreakers and are now reviving the Saw
franchise with Jigsaw. Predestination is a
baroque transgender time-twister based on
Robert A Heinlein’s deathlessly perplexing
1959 short story All You Zombies. It’s the
ultimate man-walks-into-a-bar anecdote,
about a guy who agrees to tell a bartender
(Ethan Hawke) about his strange life, at
once gender-bending and time-twisting.
What follows is a modern Tiresias myth
plaited into a Möbius strip, with a potent
streak of Borges-style paradox. Hawke is
dependably frazzled, but the revelation is
Travel Man: 48 Hours
in Stockholm
Channel 4, 8.30pm
“Stock-to-the-Holm: the largest city
in Scandinavia, founded in 1252 and an
irrelevance until the formation of ABBA in
Extreme Wives With
Kate Humble
BBC2, 9pm
For the first programme in this intelligent
three-part look at the roles of women in
three separate societies – in Kenya, Israel
and India – presenter Kate Humble travels
to East Africa to live among the Kuria
people close to the Tanzanian border. The
community she encounters is a curious
one, essentially a patriarchal society of
crop-farmers who embrace polygamy,
but the difference here is that the women
practice nyumba mboke, or woman-towoman marriage, often to more than
one woman. Humble interrogates these
customs in a rewarding programme and we
join her on the road to understanding how
these practices have come about. She
also reports on female genital mutilation
in a powerful piece of risk-taking
journalism that communicates the plight
of African women in heartrending graphic
detail. Unflinchingly brilliant. Mike Bradley
A complex but exciting two-part adventure
catches up with Captain Mickey Bliss (Lee
Ross) and his colleagues from the Lahore
division of the British Indian army. As ever,
series creator Jonathan Ruffle makes use of
eyewitness accounts and unit war diaries as
he drops his fictional characters into real-life
situations from 100 years ago. 10 November
1917 finds us in Cairo where the British
occupation is under threat from all sides.
Meanwhile Bliss is still recovering physically
and mentally from an explosion six months
previously and, as his army son will attest,
his military decisions are becoming
ever more reckless. Indira Varma is the
dispassionate narrator. Stephanie Billen
ITV, 7.30pm
England v Germany: international friendly.
Live coverage from Wembley Stadium,
where the hosts begin preparations for
the World Cup against the holders. These
sides last met seven months ago in another
friendly match in Dortmund, when Lukas
Podolski’s goal gave Germany a 1-0 win. MB
Breakfast (T) 9.15 Women at
War: 100 Years of Service (T)
10.0 Homes Under the Hammer
(T) (R) 11.0 Getting the Builders
In (T) 11.45 Fugitives (T) (R)
12.15 Bargain Hunt (T) 1.0 News
(T) 1.30 Regional News (T) 1.45
Doctors (T) 2.15 Impossible (T)
3.0 Escape to the Country (T) (R)
3.45 Money for Nothing (T) (R)
4.30 Flog It! (T) 5.15 Pointless (T)
(R) 6.0 News (T) 6.30 Regional
News (T) 7.0 The One Show (T)
7.30 Sounds Like Friday Night
(T) Plan B and Loyle Carner guest.
Channel 4
Channel 5
6.20 King of Queens (T) (R) 7.35
Everybody Loves Raymond
(T) (R) 9.05 Frasier (T) (R) 9.35
Frasier (T) (R) 10.05 Hotel Hell
(T) (R) 11.0 Undercover Boss
USA (T) (R) 12.0 News (T) 12.05
CDWM (T) (R) 1.05 My Kitchen
Rules (T) 2.10 Countdown (T) 3.0
A Place in the Sun… (T) (R) 4.0
Coast v Country (T) 5.0 Four in
a Bed (T) 5.30 One Star to Five
Star (T) 6.0 The Simpsons (T)
(R) 6.30 Hollyoaks (T) 7.0 News
(T) 7.30 Unreported World (T)
Rebuilding Generation War
The Hairy Builder (R) 6.30
Women at War: 100 Years of
Service (R) 7.15 Getting the
Builders In (R) 8.0 Gardeners’
World (R) 9.0 Victoria Derbyshire
11.0 Newsroom Live 12.0 On the Waterfront (1954) 1.45
Permission Impossible: Britain’s
Planners (R) 2.45 Family Finders
3.15 Operation Stonehenge
(R) 4.15 Hebrides: Islands on
the Edge (T) (R) 5.15 Put Your
Money Where Your Mouth Is
(T) (R) 6.0 Strictly: It Takes Two
(T) 7.0 Meet the Lords (T) (R)
Good Morning Britain (T) Kate
Humble discusses her new series
Extreme Wives. 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
Dickinson’s Real Deal (T) (R) 3.0
Tenable (T) 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) Robert makes a confession,
Pollard vows to make amends,
and Bernice is tempted.
Milkshake! 9.15 The Wright Stuff
11.15 Can’t Pay Special: Big Family
Bust Up (T) (R) 12.10 News (T)
12.15 The Hotel Inspector (T)
(R) 1.10 Access (T) 1.15 Home
and Away (T) 1.45 Neighbours
(T) 2.15 NCIS (T) (R) Two-Faced
3.15 The March Sisters
at Christmas (John Stimpson,
2012) (T) Drama starring Julie
Marie Berman. 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
assesses home DNA kits.
World News Today (T) 7.30
The Good Old Days (T) (R)
Leonard Sachs chairs the oldtime music-hall show, inviting
John Inman, Gemma Craven,
David Kernan, Bernard Spear,
Gino Donati and Michel Arene and
the Lido Can Can Dancers to the
stage of the Leeds City Varieties.
First shown 2 January 1980.
EastEnders (T) Willmott-Brown
questions Fi’s capabilities.
8.30 Porridge (T) Fletch and Joe get
on each other’s nerves. Last in
the series.
9.0 Have I Got News for You (T)
Victoria Coren Mitchell hosts
the comic quiz.
9.30 Tracey Breaks the News (T)
Tracey Ullman’s take on current
events. Last in the series.
Mastermind (T) Specialist
subjects include The Simpsons
and Alfred the Great.
8.30 Only Connect (T) The Meeples
and Belgophiles return for this
round-two game.
9.0 Extreme Wives With Kate
Humble (T) New series in which
the presenter explores diverse
communities around the world,
beginning in south-west Kenya.
7.30 Live International Football (T)
England v Germany (kick-off
8pm) Mark Pougatch presents
all the action from the friendly
at Wembley Stadium, as the
hosts begin preparations for the
World Cup against the holders.
With analysis from Lee Dixon,
Ryan Giggs and Ian Wright,
and commentary by Clive
Tyldesley and Glenn Hoddle.
Food Unwrapped (T) Jimmy
Doherty finds out how whisky
gets its smoky flavour. Last in
the series.
8.30 Travel Man: 48 Hours in
Stockholm (T) Richard Ayoade
and Sally Phillips sample the
joys of the Swedish capital.
9.0 Gogglebox (T) Capturing
participants’ spontaneous
reactions to what’s on telly.
10.0 News (T)
10.25 Regional News and Weather (T)
Includes national lottery update.
10.35 The Graham Norton Show (T)
With guests Hugh Grant and
Kelly Clarkson.
11.25 Josh (T) All Josh wants is a night
in with a pizza and an episode
of Jonathan Creek. However,
his flatmates seem set to ruin
his plans. Comedy with Josh
Widdicombe. Last in the series.
11.50 The Apprentice (T) (R) Bruges
12.50 Weather for the Week Ahead
(T) 12.55 BBC News (T)
10.0 QI Over and Ova (T) Bill Bailey, Jan
Ravens and Grayson Perry guest.
10.30 Newsnight (T) Weather
11.05 Snowfall (T) (R) Franklin causes
trouble at a barbecue.
11.45 Peaky Blinders (T) (R) Tommy
prepares to commit the most
audacious crime of his career.
Last in the series.
12.45 Sign Zone Panorama (T) (R)
1.45 Louis Theroux: Dark
States – Murder In Milwaukee
(T) (R) 2.45 This Is BBC2 (T)
10.15 News (T)
10.50 Local News (T)
11.05 International Football Highlights
(T) England v Germany. Jacqui
Oatley presents action from the
friendly at Wembley Stadium.
12.0 Play to the Whistle (T) (R) Holly
Willoughby hosts the sportsbased comedy panel show.
12.35 Jackpot247 3.0 Storage
Hoarders (T) (R) 3.50 ITV
Nightscreen 5.05 Jeremy Kyle
(T) (R)
10.0 The Last Leg (T) Adam Hills, Josh
Widdicombe and Alex Brooker
are joined by Harry Hill for a comic
review of the past seven days.
11.05 First Dates (T) (R) An Old Etonian
and a blogger bond over a shared
love of Michelle Obama.
12.05 Silver Linings Playbook
(2012) (T) Comedy-drama with
Bradley Cooper and Jennifer
Lawrence. 2.15 Electric Dreams:
Human Is (T) (R) 3.10 Humans
(T) (R) 4.05 Man Down (T) (R)
4.30 Phil Spencer: Secret Agent
(T) (R) 5.25 Vintage Gems (T) (R)
10.0 Conspiracy: Murder at the
Vatican (T) (R) Theories about
the Catholic church, including the
idea that the KGB had a hand in
the 1981 assassination attempt
on Pope John Paul II.
11.05 Babel: The Real Stairway to
Heaven (T) Archaeologists
explore ancient Babylon.
12.0 SuperCasino (T) 3.10 Rich
House, Poor House (T) (R) 4.0
Can’t Pay? We’ll Take It Away
(T) (R) 4.45 House Doctor (T)
(R) 5.10 House Busters (T)
(R) 5.35 Wildlife SOS (T) (R)
10.30 Sgt Pepper’s Musical Revolution
With Howard Goodall (T) (R) The
composer on why the Beatles’
album is still rightly revered as
an innovative, revolutionary and
influential release.
11.30 Arena: Magical Mystery
Tour Revisited (T) (R) The
impact and making of the
Beatles’ 1967 TV film.
12.30 Top of the Pops: 1984 (T) (R)
1.10 Sings the Beatles (T) (R)
2.10 Storyville: How the Beatles
Rocked the Kremlin (T) (R)
annual celebration of singers and songwriting and
the featured artists include Seal, Liane Carroll,
Mica Paris, Angélique Kidjo, Miles Mosley, Tony
Momrelle and Vanessa Haynes. Guy Barker conducts
the 42-piece London Jazz Festival Orchestra and
the event is hosted by Jumoké Fashola. 10.0 The
Verb: Stoicism 10.45 The Essay: Ten Artists That
Shook the World – Vladimir Tatlin. With Christina
Lodder. (5/10) 11.0 Jazz Now: London Jazz Festival
2017. Soweto Kinch presents the opening night of
the festival, live from Pizza Express in Dean Street,
Soho, featuring Karin Krog and John Surman,
Steven Keogh’s tribute to Louis Stewart with Bill
Charlap and Colin Oxley, Helge Lien and Adam
Baldych, and the Weekend Guitar Trio. 1.0 Through
the Night. John Shea marks Polish National Day.
Division of the British Indian army. By Jonathan
Ruffle and Avin Shah; Indira Varma and Lee Ross
star. (1/2) 3.0 Gardeners’ Question Time 3.45
Short Works: Hold Me in Your Light, by Harry Baker.
4.0 Last Word 4.30 Feedback. Presented by
Roger Bolton. 4.55 The Listening Project: Becky
and Lorna – An Equal Chance 5.0 PM. Presented
by Eddie Mair. 5.54 (LW) Shipping Forecast 5.57
Weather 6.0 News 6.30 The Now Show. Steve
Punt and Hugh Dennis present a satirical look at the
week’s news, with guests David Quantick, Darren
Harriott, Vikki Stone and Luke Kempner. (2/7) 7.0
The Archers. Harrison imparts shocking news and
Jolene’s fears are confirmed. 7.15 Front Row. Arts
roundup. 7.45 Living With the Gods: Festivals (R)
8.0 Any Questions? Jonathan Dimbleby presents
political debate from St John the Baptist Church in
Meopham, Kent. The panellists include the Liberal
Democrat education spokesperson Layla Moran
MP. 8.50 A Point of View. Weekly reflections on
topical issues. 9.0 The Unabomber (R) 10.0 The
World Tonight. With Razia Iqbal. 10.45 Book
at Bedtime: First Person, by Richard Flanagan.
(5/10) 11.0 A Good Read: Rick Edwards & George
Lamb (R) 11.30 Science Stories: Caroline Hershel
and the Comets (R) 11.55 The Listening Project:
Hannah and Emma – Diabetes Then and Now (R)
12.0 News 12.30 Book of the Week (R) (5/5)
12.48 Shipping Forecast 1.0 As World Service.
LW: 3.15 Test Match Special: Australia Women
v England Women – Only Test, Day Three. 5.20
Shipping Forecast. FM: 5.30 News 5.43 Prayer
for the Day 5.45 iPM
BT Sport 1
6.0am Gillette World Sport 6.30 Ashes
Memories: 1986/87 7.0-6.30 Ashes Classics:
1986/87 6.30 Rugby Tonight 7.30 Live: Bath
v Leicester Tigers (kick-off 7.45pm) Coverage
of the match from the Recreation Ground. 10.0
WTA All Access 11.0 South Africa v Senegal
12.0 NBA Action 12.30 Live NBA Countdown
1.0 Live NBA: San Antonio Spurs v Milwaukee
Bucks (Tip-off 1.00am). Coverage of the clash
at AT&T Centre. 3.30 ESPN Films: Charismatic
4.30 Premier League: Best Goals 2015/16
5.30 Gillette World Sport
Sky Atlantic
6.0am The Guest Wing 7.0 The British 8.0
Urban 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 10.0 Game of Thrones
11.0 Game of Thrones 12.0 Captivated:
The Trials of Pamela Smart (2014) 2.0 The
Wire 3.30 CSI: Crime Scene Investigation
4.20 The West Wing 5.10 The West Wing
6.0am Hollyoaks 6.30 Hollyoaks 7.0 Charmed
8.0 Charmed 9.0 Rules of Engagement 9.30
Rules of Engagement 10.0 Black-ish 10.30
Black-ish 11.0 How I Met Your Mother 11.30
How I Met Your Mother 12.0 New Girl 12.30
New Girl 1.0 The Big Bang Theory 1.30 The
Big Bang Theory 2.0 The Goldbergs 2.30 The
Goldbergs 3.0 How I Met Your Mother 3.30
How I Met Your Mother 4.0 New Girl 4.30 New
Girl 5.0 The Goldbergs 5.30 The Goldbergs
6.0 The Big Bang Theory 6.30 The Big Bang
Theory 7.0 Hollyoaks 7.30 Streetmate 8.0
Iron Man 2 (2010) 10.30 The Big Bang
Theory 11.0 The Big Bang Theory 11.25 Tattoo
Fixers at Halloween 12.30 Rude Tube 1.35 First
Dates 2.40 GameFace 3.05 Rude Tube 4.0
Black-ish 4.25 Black-ish 4.50 Charmed
11.0am Lover Come Back (1961) 1.15
Two Rode Together (1961) 3.30 Ice
Cold in Alex (1958) 6.05 The Hunger Games
(2012) 9.0 Predestination (2014) 11.0
Dredd (2012) 12.50 Bound (1996)
6.0am Modern Family 6.30 Modern Family
7.0 Monkey Life 7.30 Monkey Life 8.0 It’s Me
or the Dog 8.30 Send in the Dogs Australia 9.0
The Dog Whisperer 9.30 The Dog Whisperer
10.0 Zoo Tales 10.30 Zoo Tales 11.0 Modern
Family 11.30 Modern Family 12.0 NCIS: Los
Angeles 1.0 Hawaii Five-0 2.0 Hawaii Five-0
3.0 NCIS: Los Angeles 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 8.30 Modern Family 9.0 Sing:
Ultimate A Cappella 10.05 A League of Their
Own US Road Trip 11.0 The Simpsons 11.30
The Simpsons 12.0 A League of Their Own:
Unseen 1.0 The Force: North East 2.0 Ross
Kemp in Search of Pirates 3.0 Hawaii Five-0
4.0 Road Wars 5.0 The Dog Whisperer
Sky Sports 1
6.0am Good Morning Sports Fans 8.0 Live
European Tour Golf: The Nedbank Golf Challenge.
Coverage of the second day at the Gary Player
Country Club Course in Sun City, South Africa. 2.0
Sky Sports News 3.30 Paddock Uncut 3.45 Live
F1: Brazilian Grand Prix, Second Practice Session
6.0 Sky Sports News at 6 7.0 Sky Sports Tonight
7.30 La Liga Greatest Games 7.40 Live WCQ:
Sweden v Italy (kick-off 7.45pm) All the action
from the first leg of the World Cup qualifying
play-off, held at the Friends Arena in Stockholm.
9.40 La Liga Greatest Games 10.0 Sky Sports
News at Ten 11.0-6.0 Sky Sports News
THE NEW REVIEW | 05.11.17 | The Observer
STV NORTH As ITV except 12midnight
Teleshopping 1.0 After Midnight 2.30 ITV
Nightscreen 4.05 The Jeremy Kyle Show
(T) (R) 5.0-6.0 Teleshopping
CHANNEL As ITV except 12.35am-3.0
ITV Nightscreen
SCOTTISH As ITV except 12midnight
Teleshopping 1.0 After Midnight 2.30 ITV
Nightscreen 4.05 The Jeremy Kyle Show
(T) (R) 5.0-6.0 Teleshopping
ULSTER As ITV except 12.35am
Teleshopping 1.35-3.0 ITV Nightscreen
BBC1 WALES 7.30pm-10.25 Match of
the Day Wales Live (T) France v Wales (kick-off
8pm) The international friendly in Paris.
BBC1 N IRELAND 10.35pm The Blame
Game (T) Colin Murphy, Jake O’Kane and Neil
Delamere are joined by Geoff Norcott. 11.05
The Graham Norton Show (T) 11.55 Josh (T)
12.20-1.20 The Apprentice (T) (R)
BBC2 SCOTLAND 12noon Permission
Impossible: Britain’s Planners (T) (R) 1.0-6.0
Bowls: Scottish International Open 11.05 Bowls:
Scottish International Open (T) 12.05 Snowfall
(T) (R) 12.45-1.45 Peaky Blinders (T) (R)
BBC2 WALES 7.0pm Mastermind (T)
7.30 Sounds Like Friday Night 8.0 EastEnders
8.30 Porridge 9.0 Have I Got News for You
9.30-10.0 Tracey Breaks the News 11.05
QI (T) 11.35 Snowfall (T) (R) 12.15 Peaky
Blinders (T) (R) 1.15-1.45 Coast (T) (R)
The World’s Greatest Bridges
(T) Rob Bell considers rural
Shropshire’s Iron Bridge, which
serves as a striking symbol
of the Industrial Revolution.
Includes news update.
Eight Days That Made Rome:
Crossing the Rubicon (T) Bettany
Hughes recalls the day in 49BC
when Julius Caesar effectively
declared war on his rivals in Rome.
8.20 Top of the Pops: 1984 (T) (R)
Featuring Nik Kershaw, Slade,
Tina Turner and Eurythmics.
9.0 Top of the Pops: 1984 (T) (R)
With Nick Heyward, Billy Ocean,
Shakin’ Stevens and Chaka Khan.
9.30 Storyville: How the Beatles
Rocked the Kremlin (T) (R) An
inquiry into the degree to which
the band’s music contributed to
the fall of the Soviet Union.
Radio 1
97.6-99.8 MHz
6.33 The Breakfast Show With Nick Grimshaw
10.0 Clara Amfo 12.45 Newsbeat 1.0 The Matt
Edmondson Show 4.0 Dance Anthems With
MistaJam 5.45 Newsbeat 6.0 Dance Anthems
With MistaJam 7.0 Annie Mac 9.0 Pete Tong 11.0
Danny Howard 1.0 B.Traits 4.0 Essential Mix
Radio 2
88-91 MHz
6.30 Chris Evans 9.30 Ken Bruce 12.0
Jeremy Vine 2.0 Ore Oduba 5.0 Simon Mayo
7.0 Tony Blackburn’s Golden Hour 8.0 Friday
Night Is Music Night (R) 10.0 Sounds of the 80s
12.0 Anneka Rice: The Happening 2.0 Radio 2
Playlists: Funky Soul, New to 2 & 21st Century
Songs 5.0 Huey on Saturday
Radio 3
90.2-92.4 MHz
6.30 Breakfast. Classical breakfast show. 9.0
Essential Classics. Bridget Kendall guests. 12.0
Composer of the Week: Soviet Russia (1917-1953)
(5/5) 1.0 News 1.02 Lunchtime Concert: Russian
Revolutionaries. Vadym Kholodenko (piano).
Rachmaninov: Three Preludes from Op 32 – No
1 in C; No 2 in B flat minor; No 11 in B. Medtner:
Three Fairy Tales - Op 9 No 2 in C; Op 20 No 2 in B
minor; Op 51 No 1 in D minor. Rachmaninov: Études
Tableaux, Op 33, Nos 2-4; Études Tableaux, Op 39,
Nos 6-9. (4/4) 2.0 Afternoon Concert: Breaking
Free – A Century of Russian Culture. Tchaikovsky:
Burya (The Tempest) Symphonic Fantasia, Op
18. Elgar: Sea Pictures, Op 37. Tchaikovsky:
Symphony No 6 in B minor, Op 74, Pathétique.
Karen Cargill (mezzo). BBC Scottish SO, Martyn
Brabbins. 3.35 Shostakovich: Symphony No 7 in C,
Op 60, Leningrad. BBC SO, Semyon Bychkov. 5.0
In Tune 7.0 In Tune Mixtape 7.30 In Concert:
The Jazz Voice. Andrew McGregor introduces the
EFG London jazz festival’s opening night gala, live
from the Royal Festival Hall. The Jazz Voice is an
Radio 4
92.4-94.6 MHz; 198kHz
LW: 5.30 Test Match Special: Australia Women v
England Women – Only Test, Day Two 9.45 Daily
Service 10.0 Test Match Special. FM: 6.0 Today.
Presented by Mishal Husain and Sarah Montague.
7.48 Thought for the Day, with Rabbi Lord Sacks.
9.0 Desert Island Discs: Prof Phil Scraton (R)
9.45 Living with the Gods: Festivals (15/30) 10.0
Woman’s Hour. Presented by Jenni Murray. Includes
at 10.45 Drama: Blood and Milk, by Gregory Evans.
(5/5) (LW joins at 10.45) 11.0 Military Memory,
And the Sacred Space. iles Fraser explores the
importance of memorialisation in mourning those
who died in the battle of Passchendaele in 1917.
11.30 Big Problems With Helen Keen: Care (3/4)
12.0 News 12.01 (LW) Shipping Forecast 12.04
Brexit: A Guide for the Perplexed. With Chris Morris.
(5/5) 12.15 You and Yours 1.0 The World at One.
Presented by Mark Mardell. 1.45 Book of the Week:
Life in the Garden, by Penelope Lively. Abridged by
Sian Preece. (5/5) 2.0 The Archers 2.15 Drama:
Tommies – 10 November 1917. Exploring the
events of a century ago that were to redraw the map
of the Middle East, following the fortunes of Mickey
Bliss and his fellow signallers from the Lahore
5 Live
693, 909 kHz
6.0 Breakfast 10.0 5 Live Daily With Emma
Barnett 1.0 Friday Sports Panel 2.0 Kermode
and Mayo’s Film Review 4.0 5 Live Drive 7.0
5 Live Sport 7.45 International Football: England
v Germany (kick-off 8pm) 10.0 Stephen Nolan
1.0 Up All Night 5.0 5 Live Boxing With Costello
& Bunce 5.30 The Friday Football Social
Saturday 11
Alfie Boe and Lesley Garrett are among
the performers joining the Queen’s Colour
Squadron and the Royal Marines Band in
paying tribute to the men and women killed
in combat since the first world war.
gangland femme played by China’s artcinema queen Gong Li. Jonathan Romney
Radio 4, 10.30am
Don’t Log Off
Alan Dein’s excellent series returns with
the broadcaster once again talking to
more strangers across the world. There is
a middle-of-the-night, confessional feel
that sits oddly with the morning scheduling
and the editing can be a little frustrating as
callers’ stories are left temporarily hanging.
That said, it is a wonderful ride and listeners
will enjoy making their own connections
between diverse interviewees including
Australian BJ, who describes the thrill of
jumping off high-rise buildings with a single
parachute, and Syrian refugee Abdulkader
whose search for “hope somewhere
else” led him to hide under a seat on a
train bound for Vienna. Stephanie Billen
The Jonathan Ross Show
ITV, 9.40pm
Ross entertains singer Grace Jones, Bake
Off winner Nadiya Hussain, Pussycat Doll
Nicole Scherzinger and comedian Micky
Flanagan. Grime artist Stormzy returns to
perform in the studio. Mike Bradley
Miami Vice
Universal Channel, 9pm
BBC1, 8.10pm
(Michael Mann, 2006)
Ethan’s secret – that he let Scott Ellisson
die – is out. The question is: how many
people know besides the person who
left a note in his locker saying: “I know
what you did.” There’s no time to dwell on
it, though, as it’s all hands on deck in the
ED to save a man shot by police during a
botched robbery. On a happier note, Robyn
plans a christening for baby Charlotte.
That quintessential 1980s cop show Miami
Vice – as it could have been called, “Sockless
in the Sun” – seemed eminently ripe for
knowing big-screen tongue-in-cheekery.
But in the hands of Michael Mann, who
executive produced the show for more than
100 episodes, the property is treated with
steely seriousness. As with much Mann,
it’s the look and the feel that count, with
cameraman Dion Beebe further polishing
the hyper-metallic digital look of the
director’s previous Collateral. The mood is
taciturnly male, the mood sleekly severe, as
vice cops Crockett and Tubbs – now played
by Colin Farrell and Jamie Foxx – tangle
with a drugs overlord (Luis Tosar) and get
outdone in the zipped-lips stakes by a frosty
Festival of Remembrance
BBC1, 9pm
Huw Edwards hosts the annual Festival of
Remembrance at London’s Royal Albert Hall.
Emeli Sandé, Tom Odell, Melanie Chisholm,
Murder on the Blackpool Express
GOLD, 9.30pm
An allstar cast comprising many of the
nation’s finest comedy actors – Johnny
Vegas (on priceless form), Sian Gibson,
Kevin Eldon, Mark Heap, Una Stubbs,
Nigel Havers, and that’s just for starters
– make this feature-length drama an
absolute treat. When overweening
murder mystery writer David Van Der
Clane (Griff Rhys Jones) sets out to lead
a coach tour of his books’ locations, it
quickly becomes clear to his eccentric
fans that the murders they love to read
about are gradually becoming all too real.
Is there a real-life murderer in their midst?
Coach driver Terry (Vegas) thinks his
passengers all look like “book-reading
psychopaths” and as the bodycount rises
you start to believe he might just be right…
Knowing, northern and sidesplittingly
funny (à la Victoria Wood). Writer Jason
Cook deserves a prize (not to mention a
string of commissions). Mike Bradley
Rugby Union
Sky Sports Main Event 2pm
Day one of the of the autumn internationals
kicks off with England v Argentina at
Twickenham. Fans can also watch Scotland
v Samoa (BBC1, 2pm/BT Sport, 2.15pm);
Wales v Australia (BBC2, 4.45pm); and
Ireland v South Africa (Sky Sports Main
Event, 5.15pm). Ironically, the day’s spiciest
clash – New Zealand v France (7.45pm) is
not being televised here, but it should be
available to livestream on the internet. MB
Breakfast (T) 9.15 Saturday
Kitchen Live (T) 10.45 Lord
Mayor’s Show 2017 (T) 12.05
Football Focus (T) 12.35 Bargain
Hunt (T) (R) 1.0 News and Weather
(T) 1.15 Rugby League World Cup
(T) 2.0 Live International Rugby
Union (T) Scotland v Samoa
(kick-off 2.30pm) 4.30 Escape
to the Country (T) (R) 5.0 Len
Goodman’s Partners in Rhyme
(T) 5.35 News (T) 5.45 Regional
News and Weather (T) 5.55
Pointless Celebrities (T) 6.45
Strictly Come Dancing (T)
Channel 4
Channel 5
CITV 9.25 ITV News (T) 9.30
Saturday Morning With James
Martin (T) 11.30 Gino’s Italian
Coastal Escape (T) (R) 11.55 The
Harbour (T) (R) 12.25 News and
Weather (T) 12.30 The X Factor
(T) (R) 2.20 Thunderbirds Are Go
(T) (R) 2.50 Midsomer Murders
(T) (R) 4.40 Catchphrase (T) (R)
5.25 The Cruise (T) (R) 5.55 Paul
O’Grady: For the Love of Dogs
(T) (R) 6.25 Local News (T) 6.30
News and Weather (T) 6.45
New You’ve Been Framed! (T)
7.10 Ninja Warrior UK (T) (R)
Everybody Loves Raymond (T)
(R) 7.15 Frasier (T) (R) 7.40 Frasier
(T) (R) 8.05 Frasier (T) (R) 8.30
The Big Bang Theory (T) 8.55
The Big Bang Theory (T) 9.20
The Simpsons (T) (R) 11.45 Come
Dine With Me (T) (R) 2.25 A Place
in the Sun: Home or Away (T) (R)
3.30 A Place in the Sun (T) (R)
4.0 Best Laid Plans (T) 5.0 Grand
Designs (T) (R) 6.0 News (T)
6.30 Volatile Earth: Killer Floods
(T) 7.30 F1: Brazilian Grand Prix
Qualifying – Highlights (T) From
Interlagos in São Paulo.
Holiday of My Lifetime (T) (R)
6.45 Animal Park (T) (R) 7.30
Nightmares of Nature (T) 8.0
Deadly 60 (T) (R) 8.30 Show
Me What You’re Made Of (T) 9.0
Saturday Mash-Up! (T) 11.0 Long
Weekends (T) (R) 12.0 Nigella:
At My Table (T) (R) 12.30 Italy
Unpacked (T) (R) 1.30 Wild Brazil
(T) (R) 2.30 Flog It! (T) (R) 3.15
Mastermind (T) (R) 3.45 Cycling:
Track World Cup (T) Day one
in Manchester. 4.45 Live International Rugby Union (T) Wales
v Australia (kick-off 5.15pm)
Milkshake! 10.0 Teenage Mutant
Ninja Turtles (T) (R) 10.35 Access
(T) 10.40 The Gadget Show (T)
(R) 11.40 Santa Makes You Laugh
Out Loud (T) (R) 12.40 Operation Christmas (David
Weaver, 2016) (T) Drama. 2.25
All I Want for Christmas
(Fred Olen Ray, 2013) (T) Festive
fantasy4.05 A Christmas
Song (Timothy Bond, 2012) (T)
Romantic drama. 6.10 The
Nine Lives of Christmas (Mark
Jean, 2014) (T) Romcom with
Brandon Routh, Kimberly Sustad.
Natural World: Honey Badgers
– Masters of Mayhem (T) (R)
Although barely a foot tall, the
honey badger has a reputation as
one of the most fearless animals
in the world. This documentary
follows a scientist, a beekeeper
and a conservationist in South
Africa as they set out to discover
whether the creature is really as
fearsome as it is made out to be.
8.10 Casualty (T) Ethan’s secret
seems to have been discovered.
9.0 Royal British Legion Festival
of Remembrance 2017 (T)
Huw Edwards hosts the annual
Festival of Remembrance at
London’s Royal Albert Hall, with
performances by Emeli Sandé,
Tom Odell, Melanie Chisholm,
Alfie Boe and Lesley Garrett.
7.30 International Rugby Union (T)
England v Argentina highlights.
8.30 Dad’s Army (T) (R) Mainwaring
has a strange dream.
9.0 Effie Gray (Richard Laxton,
2014) (T) A Victorian woman
trapped in a loveless marriage
to an art critic creates scandal
by demanding a divorce. Factbased period drama with Dakota
Fanning and Emma Thompson.
8.10 The X Factor Live (T) Dermot
O’Leary hosts as the talent
contest enters its third weekend
of live eliminations and the
remaining acts step on-stage to
face the scrutiny of the judges.
9.40 The Jonathan Ross Show
(T) With Grace Jones, Nadiya
Hussain and Micky Flanagan.
Plus, music by Stormzy.
Terminator Genisys (Alan
Taylor, 2015) (T) A soldier fighting
in a post-apocalyptic war against
living machines is sent back in
time to prevent an attempt to
change the past – and when
he arrives, he finds that history
has been changed beyond
recognition. Sci-fi action sequel
starring Arnold Schwarzenegger,
Jai Courtney and Emilia Clarke.
7.50 NCIS: New Orleans Man on Fire
(T) The team investigates a petty
officer’s death in a sports arena.
8.45 NCIS: New Orleans Escape Plan
(T) Sebastian is forced to assist
in a prison break.
9.40 News (T)
9.45 Live Boxing (T) Josh Taylor v
Miguel Vázquez. Coverage of the
WBC Silver Super-Lightweight
title bout from Edinburgh.
10.40 News and Weather (T) Includes
national lottery update.
11.0 Mrs Brown’s Boys iMammy
(Batteries Not Included) (T) (R)
Agnes looks after a robotic baby.
11.30 The NFL Show (T) Including
highlights of Thursday’s game.
12.0 Three Fugitives (Francis
Veber, 1989) (T) A reformed bank
robber is an innocent bystander
in a heist and goes on the run
with the actual crook. Comedy
with Nick Nolte and Martin Short.
1.35 Weather for the Week
Ahead (T) 1.40 BBC News (T)
10.40 QI XL Over and Ova (T) With
guests Bill Bailey, Jan Ravens
and Grayson Perry.
11.25 Private Peaceful (2012)
(T) Two brothers’ relationship is
changed for ever by the first world
war. Drama based on Michael
Morpurgo’s novel starring Jack
O’Connell and George MacKay.
1.0 Free Men (Ismael
Ferroukhi, 2011) An Algerian
black marketeer in Nazi-occupied
France is forced to become a
spy. Drama with Tahar Rahim.
2.35 This Is BBC2 (T)
10.40 News and Weather (T)
10.50 World Cup Qualifier Playoff
Highlights (T) Featuring Northern
Ireland v Switzerland at Windsor
Park and Denmark v Republic of
Ireland at the Parken Stadium.
11.55 Run Fat Boy Run (David
Schwimmer, 2007) (T) A man
who regrets leaving his fiancee
at the altar tries to prove his love
by running a marathon. Romantic
comedy with Simon Pegg,
Thandie Newton, Dylan Moran.
1.30 Jackpot247 3.0 The Hungry
Sailors (T) (R) 3.50 Nightscreen
11.30 GI Joe: Retaliation (Jon M
Chu, 2013) (T) An elite military
team are nearly wiped out
after a terrorist organisation
replaces the US president with an
imposter and has them declared
enemies of the state. The handful
of survivors seek the help of
their original leader. Action
adventure sequel with Dwayne
Johnson, Ray Park, Bruce Willis.
1.40 The Last Leg (T) (R) 2.30
Hollyoaks (T) 4.40 Location,
Location, Location (T) (R)
5.30 Draw It! (T) (R)
11.30 Football on 5: Goal Rush (T)
Colin Murray introduces all the
goals from Leagues One and
Two, including Doncaster Rovers
v Rotherham United, Rochdale
v Wigan Athletic, and Carlisle
United v Yeovil Town.
12.05 SuperCasino (T) 3.10 When Calls
the Heart (T) (R) 4.40 Access (T)
4.50 Great Artists (T) (R) Leonardo
5.15 Wildlife SOS (T) (R) 5.45
Chinese Food in Minutes (T) (R)
11.35 The Vietnam War (T) (R)
President Kennedy and his
advisers wrestle with how
deeply to get involved in South
Vietnam, as the increasingly
autocratic Diem regime faces a
growing communist insurgency.
12.30 Top of the Pops: 1984 (T) (R)
1.05 Top of the Pops: 1984 (T)
(R) 1.45 Natural World: Honey
Badgers – Masters of Mayhem
(T) (R) 2.45 The Mekong River
With Sue Perkins (T) (R)
Brandon Jovanovich (tenor: Sergei), Dmitry
Ulyanov (bass: Boris Timofeyevich Izmailov),
Maxim Paster (tenor: Zinoviy Borisovich Izmailov),
Andrei Popov (baritone: Tattered peasant),
Stanislav Trofimov (bass: Priest), Alexey Shishlyaev
(bass: Police inspector), Ksenia Dudnikova
(contralto: Sonyetka), Evgenia Muraveva (soprano:
Aksinya /Labourer), Andrii Goniukov (bass: Second
labourer), Oleg Budaratskiy (bass: House servant
/Sentry), Vasily Efimov (tenor: Porter/Steward),
Valentin Anikin (bass: Policeman/Sergeant), Igor
Onishchenko (baritone: Delivery boy), Vienna
State Opera, Mariss Jansons. 9.30 Between the
Ears: The Shanty Boat. Artist and self-described
anarchist Wes Modes offers an insight into his life
as a riverboat captain, navigating the backwoods
waterways of America on board a shanty boat.
10.0 Hear and Now. Recorded earlier this evening
at Glasgow City Halls. Toshio Hosokawa: Im Nebel
(UK premiere). Simon Hofele (trumpet). Toru
Takemitsu: Twill by Twilight (In Memory of Morton
Feldman). Claude Vivier: Siddhartha. BBC Scottish
SO, Matthias Pintscher. Plus, Graham McKenzie,
artistic director of the Huddersfield contemporary
music festival, previews this year’s event. 12.0
Geoffrey Smith’s Jazz: EFG London Jazz Festival
1.0 Through the Night: Breaking Free…
Paul Waugh of the Huffington Post. 11.30 From
Our Own Correspondent 12.0 News 12.01 (LW)
Shipping Forecast 12.04 Money Box. With Paul
Lewis. 12.30 The Now Show (R) 12.57 Weather
1.0 News 1.10 Any Questions? (R) 2.0 Any
Answers? Listeners have their say. 2.30 Drama:
Tommies – 11 November 1917, by Jonathan Ruffle
and Avin Shah. (2/2) 3.15 The Listening Project
Omnibus: Perspectives on Disability 3.30 Jim: We
Love You Because (R) The popularity of Jim Reeves
in Nigeria. 4.0 Weekend Woman’s Hour 5.0
Saturday PM 5.30 The Bottom Line: Pets Mean
Pounds (R) 5.54 Shipping Forecast 5.57 Weather
6.0 News 6.15 Loose Ends. Sathnam Sangera,
Travis Alabanza and Dave Myers and Si King join
Clive Anderson and Nikki Bedi. Includes music
by the Lemon Twigs. 7.0 Profile 7.15 Saturday
Review. Tom Sutcliffe and guests examine the
week’s cultural highlights. 8.0 Archive on 4: The
Pound in Your Pocket. Frances Cairncross revisits
the devaluation crisis of 1967, which saw Harold
Wilson’s Labour government reduce the value of
the pound sterling against the dollar by 14%. 9.0
Drama: Tsar. Joseph Stalin: The Last Bolshevik (R)
(3/4) 10.0 News 10.15 The Moral Maze (R) 11.0
Quote – Unquote (R) 11.30 Little Chinese Maiden
(R) 12.0 News 12.30 Short Works: Hold Me in
Your Light, by Harry Baker. (R) 12.48 Shipping
Forecast 1.0 As World Service. LW: 3.15 Test
Match Special: Australia Women v England Women
– Only Test, Day Four. 5.20 Shipping Forecast. FM:
5.30 News 5.43 Bells on Sunday 5.45 Profile
BT Sport 1
6.0am Premier League World 6.30 Live Hyundai
A-League: Adelaide United v Newcastle Jets (kickoff 6.35am) Coverage from Coopers Stadium.
8.45 Live Hyundai A-League: Melbourne Victory
v Brisbane Roar (kick-off 8.50am). All the action
from AAMI Park. 11.0 Reload 11.15 The Big Match
Revisited 12.15 Total Italian Football 12.45
Ashes Memories: 1986/87 1.15 The 16th Man
2.15 Live International Rugby Union: Scotland
v Samoa (kick-off 2.30pm) From Murrayfield.
4.30 Premier League World 5.0 Live Vanarama
National League: Ebbsfleet United v Leyton Orient
(kick-off 5.30pm) From Stonebridge Road. 7.45
BT Sport Fight Night Live: Liam Smith v Liam
Williams. Coverage of the WBO Light-Middleweight
title eliminator from Newcastle. 11.30 ESPN
Classic Boxing 12.0 Vanarama National League
1.0 Greatest Premier League Goals 2.30 Greatest
Premier League Goals 3.30 Live Hyundai
A-League: Wellington Phoenix v Perth Glory (kickoff 3.30am) Coverage from Westpac Stadium.
5.30 Uefa Champions League Magazine
Sky Atlantic
6.0am The Warner Saga 7.0 Agatha Christie:
Murder Beyond the Orient Express 8.0-1.0
CSI: Crime Scene Investigation 1.0-4.0 Micro
Monsters 4.0-9.0 Without a Trace 9.012.15 Game of Thrones 12.15-2.15 Babylon
Berlin 2.15 Last Week Tonight With John
Oliver 2.50 Real Time With Bill Maher 4.0
Urban Secrets 5.0-6.0 Micro Monsters
6.0am-6.55 How I Met Your Mother 6.557.55 The Goldbergs 7.55 Made in Chelsea 9.011.0 Couples Come Dine With Me 11.0-1.25
The Goldbergs 1.25 Johnny English Reborn
(2011) 3.30-9.0 The Big Bang Theory 9.0
The Bourne Legacy (2012) 11.40-1.50
Gogglebox 1.50-2.50 The Inbetweeners 2.50
Rude Tube 3.45 2 Broke Girls 4.05-4.50 How
I Met Your Mother 4.50 Rules of Engagement
11.0am The Black Knight (1954) 1.0
Short Circuit 2 (1988) 3.10 Song
of the Sea (2014) 5.05 Picture Perfect
(1997) 7.05 Night at the Museum: Secret
of the Tomb (2014) 9.0 The World’s End
(2013) 11.10 30 Days of Night (2007)
1.25 The Anomaly (2014)
6.0am Wild Things 7.0-8.0 Modern Family
8.0 Supergirl 9.0 The Flash 10.0 Soccer AM
11.30 A Premier League of Their Own 12.302.45 Futurama 2.45 Gillette Soccer Saturday.
Jeff Stelling and guests preside over the day’s
football action. 5.30 Modern Family 6.0 Sing:
Ultimate A Cappella 7.05-8.0 The Simpsons
8.0 A League of Their Own 9.0 Living the
Dream 10.0 Bounty Hunters 10.45 The Russell
Howard Hour 11.45 A League of Their Own
12.45 Brit Cops: War on Crime 1.45 Arrow
2.45 Legends of Tomorrow 3.45 PL Greatest
Games 4.0-6.0 Stargate Atlantis
Sky Sports 1
6.0am Sky Sports News 7.0 Good Morning
Sports Fans 8.0 Live European Tour Golf: The
Nedbank Golf Challenge. Coverage of the third day
in Sun City, South Africa. 2.0 Live International
Rugby Union: England v Argentina (kick-off
3pm) Coverage from Twickenham. 5.15 Live
International Rugby Union: Ireland v South Africa
(kick-off 5.30pm) Coverage from the Aviva
Stadium. 7.30 Live WCQ: Denmark v Republic of
Ireland (kick-off 7.45pm) Coverage of the first leg
of the World Cup qualifying play-off, which takes
place at the Parken Arena. 10.0 Live Grand Slam
of Darts. Day one at Wolverhampton Civic Hall.
12.0 Sky Sports News 3.0 Live Fight Night International: Daniel Jacobs v Luís Arias. Coverage of
the middleweight bout from Uniondale, New York.
STV NORTH As ITV except 1.30am
Teleshopping 2.30 After Midnight 3.30
ITV Nightscreen 4.05 The Jeremy Kyle Show
(T) (R) 5.0-6.0 Teleshopping
CHANNEL As ITV except 1.30am-3.0
ITV Nightscreen (T)
SCOTTISH As ITV except 1.30am
Teleshopping 2.30 After Midnight 3.30
ITV Nightscreen 4.05 The Jeremy Kyle Show
(T) (R) 5.0-6.0 Teleshopping
ULSTER As ITV except 1.30am Teleshopping
2.30-3.0 ITV Nightscreen
BBC1 N IRELAND 4.30pm Len Goodman’s
Partners in Rhyme (T) 5.0-5.35 Final Score
from Northern Ireland (T)
BBC2 SCOTLAND 12noon Live Bowls:
Scottish International Open (T) Dougie Vipond
presents live coverage of the final on day eight
from the Dewars Centre in Perth. 2.45 Mastermind (T) (R) 3.15-3.45 Landward (T) (R) 8.309.0 Eorpa (European Current Affairs) (T)
BBC2 WALES 8.30pm Only Connect (T)
9.0 Extreme Wives With Kate Humble (T) 10.0
Effie Gray (Richard Laxton, 2014) (T) Factbased period drama starring Dakota Fanning.
11.40 QI XL (T) 12.25-1.0 Coast (T) (R)
BBC2 N IRELAND 8.30pm-9.0 Christine
& Adrian’s Friendship Test (T) (R) 10.40 The
Blame Game (T) (R) 11.10-11.25 Late Licence
(T) (R)
The Mekong River with Sue
Perkins (T) (R) The comedian
goes on a journey along the
south-east Asian river.
9.0 I Know Who You Are Alicia wakes
from her coma, and she urges Pol
to get Ana away from his father.
Meanwhile, Marta Hess gathers
evidence against Santi Mur.
10.15 I Know Who You Are Pol goes
into hiding with Ana.
Radio 1
97.6-99.8 MHz
6.0 Dev 10.0 Greatest Hits With Matt
Edmondson 1.0 Alice Levine 4.0 Dance
Anthems With Danny Howard 7.0 1Xtra Live:
The Warm-Up 8.0 1Xtra Live in Manchester
11.0 Diplo and Friends 1.0 Asian Beats With
Kan D Man & DJ Limelight 4.0 David Rodigan
Radio 2
88-91 MHz
6.0 Sounds of the 60s 8.0 Saturday Breakfast
With Dermot 10.0 Graham Norton 1.0 Pick of the
Pops 3.0 Zoë Ball 6.0 CMA Awards Highlights
2017 8.0 Festival of Remembrance 2017.
Highlights from the Royal British Legion’s Festival
of Remembrance, held at the Royal Albert Hall in
London. 9.0 The Ballads of the Great War: 1917
10.0 The Craig Charles House Party 12.0 Ana
Matronic’s Disco Devotion 2.0 Radio 2 Playlists:
Showtunes, Love Songs & Easy 5.0 Huey on Sunday
Radio 3
90.2-92.4 MHz
7.0 Breakfast. With Elizabeth Alker. 9.0
News 9.03 Record Review. Gerard McBurney
recommends a recording of Shostakovich’s 11th
Symphony in G minor in Building a Library. 12.15
Music Matters: Russian Revolution. Tom Service
presents a special edition of the weekly classical
magazine show, which includes interviews with
the controversial Greek-Russian conductor Teodor
Currentzis and a selection of young Russian
composers. 1.0 News 1.02 Saturday Classics.
Robert Lloyd charts the evolution of the opera
stage over the past 50 years. 3.0 Sound of Cinema:
Russian Revolution 4.0 Jazz Record Requests
5.0 Jazz Line-Up. Julian Joseph introduces a
performance by the bassist Misha Mullov-Abbado
from the London jazz festival. 6.0 Opera on 3:
Shostakovich – Lady Macbeth of the Mtsensk
District. A recording from the Vienna State Opera.
Nina Stemme (soprano: Katerina Lvovna Izmailova),
Radio 4
92.4-94.6 MHz; 198kHz
LW: 5.30 Test Match Special: Australia Women v
England Women – Only Test, Day Three. FM: 6.0
News and Papers 6.07 Open Country: Bell-Ringing
in Devon (R) 6.30 Farming Today This Week
6.57 Weather 7.0 Today. 7.48 Thought for the
Day, with the Rev Dr Sam Wells. 9.0 Saturday
Live. Extraordinary stories and remarkable people.
10.30 Don’t Log Off: Survival. Alan Dein profiles
more people with extraordinary stories he has
met online, beginning with a group of strangers
linked by their accounts of surviving against the
odds. (1/6) (LW joins at 10.45) 11.0 Armistice
Day Silence 11.04 The Week in Westminster. With
5 Live
693, 909 kHz
6.0 Saturday Breakfast 9.0 Danny Baker 11.0
Fighting Talk 12.0 5 Live Sport 3.0 International
Rugby Union: England v Argentina (kick-off
3pm) 5.0 Sports Report 5.15 International
Rugby Union: Wales v Australia (kick-off 5.15pm)
7.30 6-0-6 8.30 Kermode and Mayo’s Film
Review 9.30 Stephen Nolan 12.0 5 Live In
Short (R) 1.0 Up All Night 5.0 5 Live Science
The Observer | 05.11.17 | THE NEW REVIEW
Today’s television
The week’s listings
start on page 40
text message implying that there’s
something unspeakable going on between
Katie and Jo’s new boyfriend, Danny,
who has just moved in. Cue: visions of a
nightmare scenario. A very powerful drama.
crypto-Cruella baddie seems out of place.
Otherwise, the full plate of marmalade
sandwiches. Jonathan Romney
The Little Chinese Maiden
Radio 4, 4.30pm
Babylon Berlin
Sky Atlantic, 9pm & 10pm
A stylish new German drama about
detective inspector Gereon Rath’s secret
investigation of a porn ring in glamorous,
decadent 1929 Berlin, where nothing is as it
seems. Well worth watching. Mike Bradley
Channel 4, 5.15pm
Blue Planet II
BBC1, 8pm
(Paul King, 2014)
The Deep. Thought you’d seen enough
documentaries about anglerfish and their
ilk? Well, think again, because this series
of encounters with the denizens of the
deep ocean is guaranteed to make your
jaw drop. Cockeyed squid, cutthroat eels,
flapjack octopus (above), creatures that
communicate in languages of light, sea pigs
– the list of wonders is endless. A treat.
With Paddington 2 due next week, it’s time
to reacquaint yourself with one of the best
and most sprightly family films in years.
Charm and invention abound in this live
action vehicle for Michael Bond’s duffelcoated bear about town. But it’s also one of
the more buoyantly political films in recent
British cinema – the story of a London
family whose worldview blossoms when
they welcome a Peruvian immigrant into
their home. The CGI winsomeness of young
Paddington – those ever-hopeful eyes, that
meticulously programmed pelt – could have
been mawkish, but the film crackles with wit,
thanks to a mischievous script and a cast
including Hugh Bonneville, Sally Hawkins
and Ben Whishaw. Only Nicole Kidman’s
Channel 4, 9pm
Divorced mum Jo has two kids – Katie, 10,
and Ben, 12. One day, after dropping them
off at school, she receives an anonymous
ITV, 9pm
Happily restored, generously inked and
back to her irrepressible former self,
actor/singer Sheridan Smith is a ball of
energy and this hour-long evening of
songs interspersed with film clips, home
movies and chat with smooth compere
Alexander Armstrong (a man oddly
credited at the close with having his own
makeup designer), is a breathtaking
blast of entertainment. For years
agents and record companies have been
badgering Smith to make an LP. Now at
last she has done exactly that and this
showcase features most of the songs
that Sheridan contains – everything
from Anyone Who Had a Heart to Crazy,
via a truly unforgettable interpretation of
And I Am Telling You from the Broadway
musical Dreamgirls. Her hairstyle is
bonkers, the frocks (and there are many)
are a fright, but the songs are sublime
and the girl is a star. Join her. Mike Bradley
In a touching, intriguing programme, poet
and biographer Grevel Lindop considers
whether Wordsworth’s daughter Catharine,
who died aged three, may have had Down’s
syndrome, a condition not identified until
the 1860s. Armed with a miniature portrait,
two of William’s poems about her, plus
letters from Wordsworth’s sister Dorothy,
he talks to a doctor and parents of children
with Down’s including Wordsworth scholar
Professor Simon Bainbridge. Although
plenty of diagnostic evidence mounts up,
the labelling of Catharine becomes less and
less important as her attractive character
emerges and we hear how she affected
those around her. Stephanie Billen
Rugby Union
BT Sport 2, 2.45pm
Saracens v Harlequins: Anglo-Welsh Cup,
round one. Live coverage from Allianz Park,
where a vulnerable Quins side will need to
call upon every ounce of guile and nimble
footwork if they are to match the might
of a Sarries juggernaut that has already
built up an awe-inspiring momentum this
season. Not for nothing did Saracens reach
last year’s Anglo-Welsh Cup semi-final. MB
Channel 4
Channel 5
Breakfast (T) 7.35 Match of the
Day (T) (R) 9.0 The Andrew Marr
Show (T) 10.0 Sunday Morning
Live (T) 11.0 Sunday Politics (T)
12.15 Bargain Hunt (T) (R) 1.0
News (T) 1.15 Points of View (T)
1.30 Lifeline (T) 1.45 FA Cup Final
Score (T) Updates, scores, news
and goals. 4.0 Songs of Praise
(T) 4.35 Blue Planet II (T) (R) 5.35
News (T) 5.50 Regional News and
Weather (T) 6.0 Panorama (T)
6.30 Countryfile (T) An autumnthemed edition. 7.15 Strictly
Come Dancing: The Results (T)
6.05 How We Won the War (T) (R)
6.35 A to Z of TV Gardening (T)
(R) 7.20 Great British Garden
Revival (T) (R) 8.20 Countryfile
Ramble for Children in Need
(T) (R) 9.30 Saturday Kitchen
Best Bites (T) 11.0 Mary Berry’s
Foolproof Cooking (T) (R) 11.30
My Life on a Plate (T) (R) 12.15
MOTD2 Extra (T) 1.0 Natural
World: Echo (T) (R) 2.0 Wild
Brazil (T) (R) 3.0 Flog It! (T) (R)
4.0 Rugby League World Cup
(T) 5.30 MOTD: FA Cup Highlights (T) 7.0 Top Gear (T) (R)
Kevin Can Wait (T) 6.25 Kevin
Can Wait (T) 7.40 Everybody
Loves Raymond (T) (R) 8.05
Frasier (T) (R) 8.30 Frasier
(T) (R) 9.0 Frasier (T) (R) 9.30
Sunday Brunch (T) 12.30 Jamie
and Jimmy’s Friday Night Feast
(T) (R) 1.30 The Simpsons (T)
(R) 2.0 The Simpsons (T) (R)
2.30 The Simpsons (T) (R) 3.0
The Simpsons (T) (R) 3.30 The
Great British Bake Off: The
Final (T) (R) 4.45 News (T) 5.15
Paddington (Paul King,
2014) (T) 7.0 Escape (T)
Blue Planet II (T) Creatures
that live in volcanic hot spots
on the ocean floor.
The Last Post (T) Joe’s future in
the army hangs in the balance
as Honor struggles with the
revelations about his past.
Markham is torn between his
duty and his conscience, while
Armstrong fears for Yusra’s
safety. Last in the series.
7.05 The X Factor (T) Two more
categories perform, and while
the act with the fewest votes
leaves, the public’s favourite
goes through to a sing-off
with last night’s winners.
9.0 Sheridan (T) The actor Sheridan
Smith performs songs from her
debut album and chats about
her life and career with host
Alexander Armstrong.
Great Canal Journeys (T) Timothy
West and Prunella Scales explore
the Marne-Rhine Canal near
France’s border with Germany.
Unspeakable (T) One-off drama
starring Indira Varma as a mother
who succumbs to paranoia after
receiving an anonymous text
warning her that her boyfriend
is abusing her daughter.
8.15 Rugby on 5: Anglo Welsh Cup
Highlights (T) Including Exeter
Chiefs v Northampton Saints,
Saracens v Harlequins and
London Irish v Bath.
9.0 The Grease Story (T) The making
of the musical, examining the
changes from stage to screen
and revealing the actors who
could have played the roles.
10.0 News and Weather (T)
10.20 Peston on Sunday (T) (R) Political
magazine presented by Robert
Peston and Allegra Stratton.
11.15 Car Crash Britain: Caught on
Camera (T) (R) Documentary
focusing on crashes, miracle
escapes and bad driving.
12.10 Jackpot247 3.0 Motorsport UK
(T) 3.50 ITV Nightscreen 5.05
The Jeremy Kyle Show (T) (R)
10.0 Gogglebox: Celebrity Special for
SU2C (T) (R) Featuring the likes
of Jessica Hynes, Liam Gallagher,
Freddie Flintoff, Jamie Redknapp,
Ed Sheeran and Big Narstie.
11.0 The Railway Man (Jonathan
Teplitzky, 2013) (T) Fact-based
drama with Colin Firth.
1.05 The Supervet (T) (R) 2.0
A Summer to Save My Life
(T) (R) 2.55 Gillette World Sport
(T) 3.20 KOTV Boxing Weekly
(T) 3.45 Mobil 1: The Grid (T)
(R) 4.15 Location, Location…
(T) (R) 5.10 Draw It! (T) (R)
10.30 Most Shocking Moments in
Pop (T) (R) A countdown of
outrageous events and scandals
from the world of pop.
1.15 SuperCasino (T) 3.10 GPs: Behind
Closed Doors (T) (R) 4.0 Inside
Britain’s Biggest Mosque (T)
(R) 4.50 Great Artists (T) (R)
5.15 Wildlife SOS (T) (R) 5.45
Chinese Food in Minutes (T) (R)
10.40 The Space: Parade (T) National
Dance Company Wales perform
a reinvention of Erik Satie, Jean
Cocteau and Pablo Picasso’s
experimental 1917 ballet Parade.
11.10 Gulag (T) A chance to see Angus
Macqueen’s award-winning 1999
documentary about the Soviet
prison camps, where millions died
between the early 1920s and
Stalin’s death in 1953. The film
contains extensive interviews
with both survivors and guards.
2.10 Russia: A Century of Suspicion
– A Timewatch Guide (T) (R)
of people who have fled Russia for other countries,
from the Bolshevik revolution to a modern exodus
opposing Putin’s government. 7.30 In Concert.
On the eve of the Breaking Free: A Century of
Russian Culture season, Ian Skelly presents an allTchaikovsky concert recorded at the the Verbier
festival. Tchaikovsky: Violin Concerto in D, Op 35;
Mélodie Op 42 No 3; Symphony No 4 in F minor,
Op 39. Janine Jansen (violin), Verbier Festival
Orchestra, Mikhail Pletnev (conductor). 9.0
Drama on 3: Fathers and Sons. Brian Friel’s play
based on Ivan Turgenev’s novel. 11.10 Early Music
Late. The soprano Lucia Cirillo performs excerpts
from Handel’s oratorio Il trionfo del tempo e del
disinganno with I Barocchisti conducted by Diego
Fasolis. 12.30 Through the Night: Breaking Free
– A Century of Russian Culture. The pianist Andrei
Korobeinikov in a recital from Moscow.
Martin Jennings, which will stand outside New
Broadcasting House in London. 2.0 Gardeners’
Question Time (R) 2.45 The Listening Project:
Omnibus – Men on Work, Food and Friendship
(R) 3.0 Drama: Tsar. Joseph Stalin: The Last
Bolshevik, by Mike Walker. Stalin goes into hiding
for three days in 1941 on hearing that the German
army has invaded Russia. (3/4) 4.0 News 4.02
Bookclub: Edward St Aubyn – Mother’s Milk. With
James Naughtie and an audience of readers. 4.30
Little Chinese Maiden. Grevel Lindop considers the
possibility that Wordsworth’s short-lived daughter
Catherine had Down’s syndrome, a condition
that had not been identified by medical science.
5.0 File on 4: The Nuclear Option – Powering the
Future and Cleaning Up the Past (R) 5.40 Profile
5.54 Shipping Forecast 5.57 Weather 6.0 News
6.15 Pick of the Week. With John McCarthy. 7.0
The Archers. Justin issues an ultimatum. 7.15
More Money Than Sense: Pilot Episode 7.45 The
Reservoir Tapes: Claire’s Story, by Jon McGregor.
(6/15) 8.0 Feedback (R) 8.30 Last Word (R) 9.0
Money Box (R) 9.26 Radio 4 Appeal: Anti-Slavery
International (R) 9.30 Analysis: Europe Unbound
(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 (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: Gary Moore on the Golden Pheasant
10.0 News (T)
10.20 Regional News and Weather (T)
10.30 Match of the Day 2 (T) Including
Chelsea v Manchester United
and Manchester City v Arsenal.
11.45 Ronny Chieng: International
Student (T) New sitcom starring
the comedian Ronny Chieng
as a Malaysian student who
comes to an Australian university
to study law. Tonight, Ronny
enters a drinking contest to
win access to a textbook.
12.15 Weather for the Week Ahead
(T) 12.20 News (T)
Robot Wars (T) Dara O Briain
and Angela Scanlon present the
third round.
Louis Theroux: My
Scientology Movie (John
Dower, 2015) (T) The reporter
investigates the controversial
religion, re-enacting personal
experiences of former members
and finding himself under
surveillance by the church.
10.35 Snowfall (T) Franklin causes
trouble by bringing his drunken
father to Jerome and Louie’s
4 July barbecue.
11.20 The Ring (Gore Verbinski,
2002) (T) A journalist investigates
teenage deaths linked to a video
tape rumoured to cause the
demise of anyone who watches
it. Horror remake with Naomi
Watts and Martin Henderson.
1.05 Sign Zone Question Time
(T) (R) 2.05 Holby City (T)
(R) 3.05 This Is BBC2 (T)
BT Sport 1
11.20 Naked Attraction 12.25 Tattoo Fixers 1.30
Rude Tube 2.35 First Dates 3.25 Hollyoaks
WTA Elite Trophy. The final of the WTA Elite Trophy
in Zhuhai, China, the secondary season-ending
tournament played out between players who have
just missed out on qualifying for the WTA Finals.
10.30 Ashes Memories: 1986/87 11.0 Premier
League Today 11.30 Live: Tottenham v Crystal
Palace (kick-off 12noon) Coverage from Wembley
Stadium. 2.30 Live: FC Cologne v TSG 1899
Hoffenheim (kick-off 2.30pm) Coverage from
the RheinEnergieStadion. 4.30 Uefa Champions
League Magazine 5.0 Live: VfL Wolfsburg v
Hertha Berlin (kick-off 5pm) Coverage from the
Volkswagen Arena. 7.0 BT Sport Reload 7.30 Live:
Sassuolo v AC Milan (kick-off 7.45pm) Coverage
from the Mapei Stadium – Città del Tricolore.
9.45 Inter Milan v Torino 10.45 Juventus v
Benevento 11.45 Nice v Dijon 12.45 Marseille v
Caen 1.45 Saint-Etienne v Lyon 2.45 Sassuolo
v AC Milan 3.45 Uefa Europa League Highlights
Show 4.45 Uefa Champions League Review
7.30am Ashes Memories: 1986/87 8.0 Live
Sky Atlantic
6.0am-9.0 David Attenborough’s Wild City
9.0-2.0 Without a Trace 2.0 The Warner
Saga 3.0 Agatha Christie: Murder Beyond the
Orient Express 4.0-9.0 Blue Bloods 9.0-11.0
Babylon Berlin 11.0 Real Time With Bill Maher
12.10 Dice 12.45 Tin Star 1.45 Room 104
2.20-3.30 Californication 3.30 CSI: Crime
Scene Investigation 4.20 Urban Secrets 5.10
Urban Secrets
6.0am Black-ish 6.25 Couples Come Dine
with Me 7.25 Couples Come Dine with Me 8.25
Hollyoaks 11.0 Made in Chelsea 12.0 Don’t Tell
the Bride 1.0 The Goldbergs 1.30 The Goldbergs
2.0 The Goldbergs 2.30 The Big Bang Theory
3.0 The Big Bang Theory 3.30 Johnny
English Reborn (2011) 5.30-9.0 The Big Bang
Theory 9.0 Battle: Los Angeles (2011)
CITV 9.25 ITV News (T) 9.30
Australian Wilderness With Ray
Mears (T) (R) 10.0 Peston on
Sunday (T) 11.0 Rest in Peace,
Mrs Columbo (T) An episode
from 1990 directed by Vincent
McEveety and guest starring Ian
McShane. 1.0 News and Weather
(T) 1.10 The X Factor (T) (R) 2.50
Catchphrase (T) (R) 3.35 Ball and
Boe: Back Together (T) (R) 4.35
A Very Royal Wedding (T) (R)
5.50 Local News (T) 6.0 News
and Weather (T) 6.10 The Chase:
Celebrity Special (T)
11.0am Vice Versa (1988) 1.0 Anna Karenina (2012) 3.45 Short Circuit
2 (1988) 6.05 The Hunger Games (2012)
9.0 American Ultra (2015) 10.50 Transporter 2 (2005) 12.30 Hitchcock
(2012) 2.25 Black Rock (2012)
6.0am Hour of Power 7.0 Futurama 7.30
Futurama 8.0 Futurama 8.30 Futurama 9.0
Futurama 9.30 The Simpsons 10.0 The Simpsons
10.30 The Simpsons 11.0 WWE Raw Hlts 12.0
Big Cats: An Amazing Animal Family 1.0 Big Cats:
An Amazing Animal Family 2.0 Landscape Artist
of the Year 2017 3.0 Supergirl 4.0 The Flash
5.0 Modern Family 5.30-8.0 The Simpsons
8.0 Duck Quacks Don’t Echo 9.0 Strike Back
10.0 The Force: North East 11.0 Ross Kemp on
Gangs 12.0 Ross Kemp: Extreme World 1.0 The
Russell Howard Hour 2.0 Marvel’s Inhumans
3.0 Brit Cops: Rapid Response 4.0 Stargate
Atlantis 5.0 Stargate Atlantis
Sky Sports 1
6.0am Sky Sports News 7.0 Total Goals 8.30
Live European Tour Golf: The Turkish Airlines
Open. Coverage of the fourth and final day of the
tournament at the Carya Golf Club in Antalya. 12.0
Live EFL: Middlesbrough v Sunderland (kick-off
12.15pm) From Riverside Stadium. 1.15 Live
Nissan Super Sunday: Man City v Arsenal (kick-off
2.15pm) Coverage from Etihad Stadium. 4.15
Live Nissan Super Sunday: Chelsea v Man Utd
(kick-off 4.30pm) From Stamford Bridge. 5.301.0am Live NFL. A double bill of games. 1.0 Live
NFL: Miami Dolphins v Oakland Raiders (kick-off
1.30am) Coverage of the clash between the AFC
East and the AFC West sides at Hard Rock Stadium.
4.30 Sporting Records 5.0 Sky Sports News
THE NEW REVIEW | 05.11.17 | The Observer
STV NORTH As ITV except 12.10am
Teleshopping 1.10 After Midnight 2.40
May the Best House Win (T) (R) 3.30 ITV
Nightscreen 4.05 The Jeremy Kyle Show
(T) (R) 5.0-6.0 Teleshopping
SCOTTISH As ITV except 12.10am
Teleshopping 1.10 After Midnight 2.40
May the Best House Win (T) (R) 3.30 ITV
Nightscreen 4.05 The Jeremy Kyle Show
(T) (R) 5.0-6.0 Teleshopping
BBC1 NORTH 11.0am-12.15 Sunday
Politics Yorkshire and Lincolnshire (T)
BBC1 SCOTLAND 11.0am-12.15 Sunday
Politics Scotland (T) 11.45 Sportscene (T) (R)
12.45 MOTD: FA Cup Highlights (T) 2.15-2.45
Ronny Chieng: International Student (T)
BBC1 WALES 11.0am-12.15 Sunday
Politics Wales (T)
BBC1 N IRELAND 11.0am-12.15 Sunday
Politics Northern Ireland (T)
BBC2 SCOTLAND 5.30pm Mastermind
(T) (R) 6.0 Sportscene (T) 7.0-8.0 River City
(T) (R)
BBC2 WALES 5.30pm Priceless Antiques
Roadshow (T) (R) 6.0 Scrum V Sunday (T) 6.50
Hands on Nature (T) (R) 7.0 James and Jupp
(T) 7.30-8.0 Coastal Path (T) (R) 11.20 Top
Gear (T) (R) 12.20 MOTD: FA Cup Highlights (T)
1.50-2.05 Coast (T) (R)
BBC2 N IRELAND 11.20pm Sunday Politics
Northern Ireland (T) (R) 11.45-1.05 What
We Do in the Shadows (Jemaine Clement, Taika
Waititi, 2014) (T) Horror comedy starring Jemaine
Milkshake! 9.50 Teenage Mutant
Ninja Turtles (T) (R) 10.25 The
Championship (T) (R) 11.20 Cats
Make You Laugh Out Loud 3 (T)
(R) 11.45 A Husband for
Christmas (2016) (T) Romantic
comedy. 1.30 Coming
Home for Christmas (2013) (T)
Family drama. 3.10 Let It
Snow (2013) (T) Romantic drama.
4.55 News (T) 5.0 Grease
(1978) (T) Romantic musical
with John Travolta and Olivia
Newton-John. 7.15 Grease: Before
& After They Were Stars (T)
Only Connect (T) (R) The EcoWarriors take on the Snake
Charmers in a round-two game.
7.30 University Challenge (T)
(R) The first of the highestscoring loser matches.
October: 10 Days That
Shook the World (Grigoriy
Aleksandrov, Sergei M Eisenstein,
1928) Silent drama re-creating
the key events of the Russian
Revolution. With Nikolay Popov.
9.40 Ceremony: Return of Friedrich
Engels (T) Documentary
following the installation of a
statue of the communist writer.
Radio 1
97.6-99.8 MHz
6.0 Dev 10.0 Greatest Hits With Jordan North
1.0 Alice Levine 4.0 Cel Spellman 6.0 Radio 1’s
Most Played 7.0 Rock Show With Daniel P Carter
10.0 Phil Taggart 1.0 Monki 3.0 Radio 1’s Artist
Takeover With Disciples 4.0 Adele Roberts
Radio 2
88-91 MHz
6.0 The Sunday Hour 7.0 Clare Balding 9.0 Steve
Wright 11.0 Michael Ball 1.0 Elaine Paige 3.0
Johnnie Walker 5.0 Paul O’Grady 7.0 Ore Oduba
9.0 Clare Teal 11.0 Moira Stuart 12.0 Sounds
of the 60s (R) 2.0 Radio 2 Playlists: Blues, Pop
Ballads & Monday Motivation 5.0 Vanessa Feltz
Radio 3
90.2-92.4 MHz
7.0 Breakfast. With Elizabeth Alker. 9.0 News
9.03 Sunday Morning. Sarah Walker introduces
Maxim Vengerov playing Beethoven’s Romance in
F for violin and orchestra, plus pieces by Handel,
Brahms, Mozart, Erik Satie and Hugo Wolf. 12.0
Private Passions. Michael Berkeley chats to the
writer Ronan Bennett. 1.0 News 1.02 Lunchtime
Concert: Wigmore Hall Mondays – Florilegium
(R) Telemann: Paris Quartet No.4 in B minor,
TWV43:h2. Bach: Trio Sonata in G, BWV1038.
Rameau: Pièces de clavecin en concerts – Suite
No 5 in D minor. Rebel: Les caractères de la danse.
2.0 The Early Music Show. A concert given by The
Tallis Scholars at the Bridgewater Hall featuring the
two winners of this year’s National Centre for Early
Music young composers’ award – Frederick Viner’s
Prayer from Afar and Dominic Wills’s Salve Regina.
3.01 Choral Evensong: Salisbury Cathedral (R) 4.0
Choir and Organ. Featuring music by Bach, Mozart
and Mendelssohn. 5.0 The Listening Service. Tom
Service explores Shostakovich’s Symphony No
15. 5.30 Words and Music: Scenes from Soviet
Life 6.45 Sunday Feature: Emigranti – 1917
Revisited. Lucy Ash examines the personal stories
Radio 4
92.4-94.6 MHz; 198kHz
6.0 News 6.05 Something Understood: A Guru
is for Life 6.35 On Your Farm: Picnic in the
Cairngorms. The staff of a Highland shooting estate
prepare to enjoy their end-of-season party. (2/6)
6.57 Weather 7.0 News 7.0 Sunday Papers 7.30
Sunday. Edward Stourton presents a roundup of the
week’s religious and ethical headlines. 7.55 Radio
4 Appeal: Anti-Slavery International. With Julie
Etchingham. 7.57 Weather 8.0 News 8.0 Sunday
Papers 8.10 Sunday Worship: One Teacher, One
Father. Mass live from St Joseph’s Catholic Church
in Bradford. 8.48 A Point of View (R) 8.58 Tweet
of the Day: Paul Evans on the Carrion Crow (R) 9.0
Broadcasting House. Presented by Paddy O’Connell.
10.0 The Archers (R) 11.15 Desert Island Discs:
Prof Phil Scraton 12.0 News 12.01 (LW) Shipping
Forecast 12.04 The Unbelievable Truth (R) 12.30
The Food Programme: The Art of Fermentation – A
Masterclass 12.57 Weather 1.0 The World This
Weekend. Presented by Mark Mardell. 1.30 George
Orwell Back at the BBC. Sara Parker documents
the making of a statue of the writer by sculptor
5 Live
693, 909 kHz
6.0 Breakfast 9.0 SportsWeek 10.0 Pienaar’s
Politics 11.0 5 Live Investigates 11.55 Premier
League Football: Tottenham Hotspur v Crystal
Palace (kick-off 12noon) 2.0 5 Live Sport 4.30
Premier League Football: Chelsea v Man Utd (kickoff 4.30pm) 6.30 6-0-6 7.30 Jane Garvey and
Peter Allen 10.0 Stephen Nolan 1.0 Up All Night
5.0 Morning Reports 5.15 Wake Up to Money
Журналы и газеты
Размер файла
31 128 Кб
The Observer, journal
Пожаловаться на содержимое документа