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The Observer The New Review 29 October 2017

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Features | Reportage | Arts | Reviews | Plus David Mitchell and 7-day TV listings
THE NEW
REVIEW
SUNDAY 29 OCTOBER 2017
GOLDEN
GIRL
How Bria
Vinaite went
from Instagram
entrepreneur to
starring in the
breakout indie
film of 2017.
Interview by
Miranda Sawyer
12A
Bria Vinaite
photographed
by Gabby Laurent
for the Observer
New Review.
THE NEW REVIEW
Features | Reportag
e | Arts | Reviews
Contents
Feedback
The finest writing every Sunday for arts, science, politics and culture
A G E N D A 3-5
F E AT U R E S 6-17
On my radar Actor
Rupert Grint’s
ts
cultural highlights
Internet John Naughton on why
he’s no longer a tech believer
Stroke Nick Fraser reflects on his
recovery from a brain attack
Q&A Drag artist
Sasha Velour
Q&A US astronaut Sean Kelly
David Mitchell
Hannah Jane Parkinson
C R I T I C S 24-32
B O O K S 33-37
Film: our team’s verdicts on
Breathe and Call Me By Your Name
Alex Preston enjoys Penelope
Lively’s horticultural memoir
Rowan Moore on Norman
Foster’s Bloomberg building
Euan Ferguson
on Stranger Things
Kitty Empire falls
for Henry Jamison’s
intelligent, folky debut
Rachel Cooke on
Cezanne’s portraits
Transhumans Tim Adams talks
to the bodyhacking pioneers
seeking to enhance themselves
Extract Former Observer editor
Donald Trelford on how his Mugabe
scoop nearly closed the paper
Cover story Miranda Sawyer
meets Bria Vinaite, breakout star
of acclaimed indie movie The
Florida Project
Assignment – share your images
of what ‘easy’ means to you at
witness.theguardian.com
Gallery – gardener Emma Sibley’s
houseplant masterclass
the guardian.com/artanddesign
Lara Feigel reviews a cultural
history of ghosts
Neil Spencer on a life of Rolling
Stone founder Jann Wenner
Kate Kellaway tucks into
Nina Stibbe’s An Almost
Perfect Christmas
Alice Flood’s thriller of the month
Plus
ONLINE THIS WEEK
2
S C I E N C E & T E C H 19-23
Showcase –
original photography
commissioned for the
Observer last month
theguardian.com/
artanddesign
THE NEW REVIEW | 29.10.17 | The Observer
GAMES & PUZZLES
GA
38-39
TV LISTINGS
40-46
SUNDAY 22 OCTOBER
Mudbound and Beach Rats were two
of my favourite films at LFF. Great
interviews with Dee Rees and Eliza
Hittman.
Christina Newland @christinalefou
I’ve seen her live a couple of times and
she has presence the size of a planet
(Grace Jones Q&A, last week). She is
what I imagine an ancient Egyptian
queen to have been like.
Happyhead16
Can you imagine Grace Jones rocking
up to get in your Uber car? Terrifying!
But you’d have a great story.
Aaron Geis
What an interesting guy (Philip Pullman
interview, last week). Pullman has
produced really thought-provoking
books and he obviously has an active
mind. Nice to see the man matches up
to his works.
SwindonNick
I have to share Pullman’s appreciation for
his book Clockwork. It was the first book
of his I read as a child and was so brilliant
it made me desperate to read the rest.
Robofish
and 7-day TV listings
2017
DIRECTIN G
THE 21ST
CENTURY:
AMERICA’S NEW
FILM-MA KERS
Write to us at review@observer.co.uk or post your
comments online at observer.co.uk/new-review.
You can follow us on Twitter: @ObsNewReview or
facebook.com/observernewreview. Submission and
publication of all feedback is subject to our terms
and conditions: see http://gu.com/letters-terms
Smart move by Netflix, seeing the
scope of Dee Rees’s Mudbound and
acquiring what the studios passed on
(America’s new film-makers, cover
story, last week).
Thandie Newton @Thandie_Kay,
via Twitter
| Plus David Mitchell
THE NEW
REVIEW
STARRING…
DEE REES
ELIZA HITTMAN
CHLOÉ ZHAO
THE SAFDIE
BROTHERS
Dee Rees
photographed
in London by
Antonio Olmos
for the Observer
New Review.
I love this set of questions & answers
with @PhilipPullman – on politics &
writing & god & tractors & trees.
Katherine Rundell @kdbrundell
This looks like the sort of gorgeous
book that will have bibliophiles drooling
(The persuasive art of the dust jacket,
last week). I’ll buy it for myself as a
Christmas present if no one else does.
SteveArcher
How about recent beautiful book
covers too? First suggestion: Sarah
Perry’s The Essex Serpent.
Sandra Kessell @SandraMKessell
Already loved Eddie Mair, but finding
The Good Place on his list placed him
higher in my esteem (On my radar, last
week). He’s the only other person I’ve
found who loves this quirky little show.
ID586893
Eddie Mair is an outstanding journalist.
I can think of no one else who so
brilliantly brings together intelligence,
moral depth, forensic curiosity and a
natural sense of hilarity.
yaboya
It would be worth finding out more
about other sleep disorders such as
sleep paralysis (The battle to beat
narcolepsy, last week). There may
be something to be learned about
why some people get full-blown
narcolepsy.
EarlyVictoria
Agenda
Q&A
Drag artist
Sasha
Velour
page 4
C U LT U R E | P E O P L E | P O L I T I C S | I D E A S
On my radar
Born in Harlow in 1988 and raised
in Hertfordshire, Rupert Grint
rose to fame after being cast as Ron
Weasley in the Harry Potter film
series – the world’s second-highest
grossing movie franchise – at the age
of 11, alongside Daniel Radcliffe and
Emma Watson. Outside the Potter
world, his film roles include Driving
Lessons (2006), Wild Target (2010),
Rupert Grint
ACTOR, 29
and Postman Pat (2014). He made
his stage debut in Mojo at the Harold
Pinter theatre, London, in 2013. He
has recently starred in Snatch (2017),
a TV adaptation of Guy Ritchie’s
film of the same name, and will star
alongside Nick Frost in new TV
comedy Sick Note, launching on Sky 1
and streaming service Now TV on 7
November. Kathryn Bromwich
3
6
4
1
5
1 | Play
The Ferryman
I’m a huge Jez Butterworth fan – the
first play I ever did was one of his. I really
enjoyed this one: it’s ambitious, the cast
is huge and it’s got so many animals and
children in it. Visually, there’s just so much
to look at. It’s set in Northern Ireland in
the 1980s, with Thatcher in power, and
centred on a farming family who were
at one point heavily involved with the
IRA. It’s a great bit of storytelling and the
staging is amazing – it’s all set in one part
of the house so you really get a snapshot
of the family dynamic. As with a lot of
Jez’s stuff, it’s got some very dark twists.
2 | Art
David Shrigley
David Shrigley is an artist I’ve always
been a follower of. I love his humour; it
really connects with me. He does these
weird, unsettling cartoons paired with
sometimes quite upsetting text. I’ve got
two prints of his at home, and a lot of
his books. I do a bit of similar art, and I’m
quite into crazy cartoons, so he’s a bit
of an inspiration. He’s recently done the
fourth plinth in Trafalgar Square, with this
big thumbs-up. I’ve never met him, but
I quite like the mystery – I don’t really
want to know too much about him.
3 | Book
Rant: An Oral Biography of Buster Casey
by Chuck Palahniuk
I loved this book. It’s a fictional biography
written through the words of people
who knew this central character,
Buster Casey. At one point he visits this
dystopian world where people are split
into Daytimers and Nighttimers, so it’s
got science-fiction elements to it. I’ve
2
read quite a lot of his stuff, and what I
love is that he always manages to find
something disturbing in his characters,
something you’ve never encountered
before. And the way it’s written has a kind
of documentary feel about it, so it’s quite
cinematic. A lot of his books have that
quality – like Fight Club. I’d love to see this
one as a film.
about a year before that, so I knew what
was going to happen, but then seeing it
on stage was brilliant. It’ll be interesting
to see if it’s as well loved when it comes
to the UK [in December], but the music
is so good, and [Hamilton composer and
actor] Lin-Manuel Miranda is a genius. It
was one of the best things I’ve watched.
4 | Music
threadless.com
5 | Website
Hamilton soundtrack
I’m not very good at keeping up with
the charts – I’ve always felt like a bit
of an outsider when it comes to that.
Recently I’ve been listening to the
[hip-hop Broadway musical] Hamilton
soundtrack: the music is so clever;
lyrically it’s just genius. There’s not a
bad song on there – it just flows so well.
I saw it earlier this year in New York.
I’d been listening to the soundtrack for
This is a graphic design competition
website. You design T-shirts to a theme,
like the 1990s, or puns, and people vote
on them. There’s this whole community
of designers, and if their design wins
it gets made into real products which
people can buy on the site. The winners
are usually professional graphic
designers, but it’s open to all. I’ve been
designing on there anonymously for a
couple of years, under a pseudonym.
One of my designs got printed a few
months ago – that was big, man. It’s
a cool site and a clever concept, a fun
way to chat with like-minded artists.
6 | Game
Time Run, London E8
I did this escape room a couple of months
ago, and it’s really, really fun. You split
into teams and go into different rooms
and you have to try to get out. When
you go with a group of mates it’s a really
good night out, and the set’s incredible.
It has a time-travel theme to it: one room
is a futuristic spaceship world, one’s
an Egyptian land, then there’s Hitler’s
office. There are a lot of elements from
The Crystal Maze: we were in groups of
five, and you have to work together. We
didn’t actually escape – we got locked in
Hitler’s office right at the end, which was
quite distressing. But it was so much fun.
The Observer | 29.10.17 | THE NEW REVIEW
3
AGENDA
Q & A
Sasha
Velour
The avant garde performer and winner
of this year’s RuPaul’s Drag Race on
conjuring strength from suffering
Sasha Velour is the drag persona of
Alexander Hedges Steinberg. This
summer Velour was crowned winner
of season nine of RuPaul’s Drag Race,
the Emmy award-winning reality TV
show in which drag queens compete
in various challenges. Sasha Velour
was praised for her avant garde
runway looks, highbrow humour, and
in-depth knowledge of LGBT history.
Before you won, your style was described
as too intellectual for drag. Is that a
misunderstanding of you, of drag,
or of intellectualism?
A little bit of all those things. Drag
has always has been very intellectual:
it observes the world and comments
on it in really sharp ways, culturally,
politically and philosophically. I
was raised by intellectuals so I have
that quality a little bit, but I’m a big
believer in entertainment first – I
want to do great drag that’s creative
and clever and observational. I think
sometimes, especially in America,
education and learning have a bit of
a bad reputation. People are put off
by it, which is a problem, because
information is the ultimate weapon
that queer people need to arm
ourselves with.
What has drag meant to you over
the years?
As a little kid I felt most represented
by femme characters in pop culture,
so I would dress up as Cinderella
or Lady Macbeth or little orphan
Annie – I wanted to explore those
identities and my own femininity. But
as an adult I’ve turned to drag more to
deal with real sadness at times, with
real suffering, and then translate it
through all the glamour and glitter
into something that is empowering
for me. There were times when
coming up with drag performances
was the only thing that gave me
optimism. After my mum passed
away, for example, I threw myself into
drag because it gave me hope and joy.
That’s why people connect with drag
on such a personal level: it’s all that
darkness turned into power.
What was it like when your mother was
diagnosed with cancer?
It was right after I’d finished
university and had returned from
studying in Russia. I was in New York,
she was in Illinois, and I spent a lot
of that year visiting her. It was such a
transitionary moment – we both were
in these strange moments in between
things, not knowing what the future
would hold – that it sparked a lot
of conversations between us and
our relationship deepened in many
important ways. We became much
closer than I ever thought we would
be. Which was especially important
because I wanted to share what I
was learning about drag and about
myself with her. She was really
open-minded to it in a lot of ways that
were really wonderful. And I learned
about her experience with cancer
in ways that have informed me ever
since, in the way I think about beauty
and health. She went in and out of
health for about five years before she
passed away.
And she is the reason you’re a bald queen…
We had so many conversations about
hair and baldness. At first we thought,
“Oh, it’ll be so much fun, we’ll go pick
out wigs together.” But later on in
her treatment she decided to shave
all her hair off, and not be afraid
of what it looked like, even though
that had been her first instinct. That
really inspired me, and I saw the
beauty and glamour of being bald. I
think that was very important for her
confidence and for her health, to be
able to see that side of it. I wanted to
honour that with my representations
of beauty through drag.
What do you think the impact of Drag
Race has been since it started in 2009?
I watched it on TV for the very first
season and was blown away by how
entertaining it was. If I’d seen it on
television as a little kid, as a teenager,
it would have changed my life: seeing
queer people succeed, win things,
and nail challenges. Or struggle and
then come through it in the end.
SIMONE LIA
4
THE NEW REVIEW | 29.10.17 | The Observer
Sasha Velour: ‘My mother made me see the beauty and glamour of being bald.’ Abrams/BFA/Rex/Shutterstock
Touring the country I meet young
queer people with their parents,
which is a new phenomenon: they
watch the show together and it
changes what they see as possible for
their own lives.
You lived in Russia for two and a half years.
What was that like?
It’s difficult to be gay in Russia,
especially in a major city: to feel it’s
scary or dangerous to be yourself is
a strange feeling. But it’s something
a lot of people have to deal with
around the world. I guess I took for
granted how many freedoms and
how much openness we have here.
‘On tour I meet young
queer people with
their parents, which
is new: they watch
the show together’
And it’s important we don’t move
backwards – having lived in Russia
I can see what that would look like.
At the same time I was so inspired by
how queer people in Russia do find
ways to live their lives, how they get
dressed in drag and have parties and
laugh and have their inside culture.
That’s inspiring, that even under
horrible conditions they still find a
way to live vibrant lives. That gave
me hope in a small way.
Your research there was about LGBT
activism – how did you hide that?
I didn’t disclose that at all. I did talk
in my proposal about wanting to see
the way art has an effect on politics;
what I didn’t tell them was that
what I was interested in was LGBT
activism. It was interesting, because
Russians love political art – they
love the idea that art is rebellion
and resistance. Even today the art
world in Russia is full of critiques of
Putin and war, but there’s not much
dialogue about sexuality.
How do you feel about Trump
as president?
It’s horrible and embarrassing and
dangerous for our country. We’re
already seeing the way it’s inspired
people with hate and violence in their
hearts to do real harm. I love that drag
performers have spoken out against
him. We have to keep doing that.
Earlier this year John Oliver said RuPaul
should run for president with the slogan
“Make America fierce again”. Would you
ever contemplate a future in politics?
I’d love it if RuPaul went into politics.
But I don’t know if I know any drag
queens, myself included, who could
deal with the bureaucracy. One of the
things that defines drag queens is we
don’t put up with bullshit – we’d start
complaining as soon as it stopped
making sense.
Interview by Kathryn Bromwich
Sasha Velour produces the drag show
Nightgowns in Brooklyn, New York,
and Velour: The Drag Magazine
AGENDA
David Mitchell
Could a farting statue
unite Brexit Britain?
W
ILLUSTRATION BY
DAVID FOLDVARI
here do you stand on farts? Sounds
like a set up for a joke – the sort a
Californian tech giant’s AI software
might crack in an attempt to emulate
its human creators: where do you
stand on farts? You cannot stand on
them for they are gaseous. “Stick
to equations, Joketron 3.2! You’re
even less funny than Joketron 2.7!”
“Joketron feel shame. Joketron crave
intoxication yet has no consumption
port. Joketron go back to writing
poems about imprisonment.” “And
you’ve stopped using pronouns again!
I don’t know why I bother! Pass the
sushi and money.”
The reason an artificial intelligence
entity might make a joke about farts is
that, in its analysis of human culture,
it will have noticed that farts are
supposedly funny. So my question is:
are they really? And my answer is yes.
I say they are. Some people think they
definitely aren’t but there’s something
in the intensity of their rejection of
the notion that there’s anything at
all amusing about the little rectal
eruptions that, to my mind, just makes
them funnier.
Farts have strong links with several
traditionally laugh-associated areas:
bottoms, poo, bad smells, surprising
noises and, above all, embarrassment.
Farting audibly is embarrassing.
People might laugh and people might
disapprove. Which means more
people will laugh. Which laughter
will itself attract more disapproval,
which will fuel further laughter. The
disapproval of finding it funny only
makes it funnier.
So perhaps the main reason farts
are funny is that some people don’t
find them funny. If everyone did, they
would cease to be. Consensus would
take all the fun out of it, like if we all
wanted Brexit. For many Brexiteers,
a key part of the appeal, and a
significant mitigation of the negative
economic consequences, must surely
be how furious it makes all the
stuck-up metropolitan Remainers
like me. And yet the Leavers show
no gratitude for the extent to which
we’re enhancing their fun.
The reason I’m inspecting the
entertainment credentials of the fart is
that the Victoria and Albert Museum
is considering adapting its copy of
Michelangelo’s David so that it makes
a farting noise whenever anyone
walks past. This would be part of a
“takeover” of the museum by the Beano
as a celebration of the comic’s 80th
anniversary. The information comes
from a leaked memo on the subject
written by the museum’s festival
manager, Sophie Reynolds. Other ideas
include adding comic illustrations
to the case containing Leonardo da
Vinci’s notebook and a display of
catapults. Personally I think those
proposals could do with farting up.
Anyway, it’s all in the planning
stages and we’re not really supposed
to know about it yet. But it seems
unlikely that this unauthorised
spurt of news was released by a
fart fan, as all the reports of it come
accompanied by scathing words from
someone “familiar with the memo”
who considers it “crass and pathetic”.
“Frankly, some of the things in this
memo are disgusting,” this person
told the Daily Mail. “While it’s
important to encourage children to
visit, farting statues are definitely not
the way to do it.”
Definitely not? At the risk of
sounding crass and pathetic, I reckon
that might be quite an effective way
of encouraging children to visit,
and indeed of encouraging me to
visit. But let’s put the mercenary
considerations of visitor numbers
aside and talk about the art – that’s
what really matters. Making
Michelangelo’s David fart every
time someone walks
past is a brilliant idea.
In Michelangelo’s
day, they lacked the
technology but any
suggestion that this
sublime genius would
not have installed a fart
sound effect had he been able is,
to my mind, a disgraceful slur on his
creative vision.
It is not by accident that
Michelangelo’s David is
already quite a funny statue. After all,
you can see the
subject’s penis and
testicles. They are not mentioned in
the bible and must have been fiddly
to carve. It is then made even funnier
by the fact that, if you walk round
the back of the statue, you can see its
bottom. But, as Michelangelo surely
understood, comedy has a rule of
three and, ultimately, it is only a fart
noise that can resolve this masterful
comic triptych. We have been waiting
more than half a millennium for that
bum to fart and we are privileged
to live in an age when it’s finally
possible.
It is to be hoped that a range of fart
noises will be available. A sculptor of
It also might help
resolve controversies
over whether to take
down statues of
discredited figures
Michelangelo’s technical genius, who
can get nipples just right, would not
be satisfied with a standard sound
effects library fart. We’re not talking
about a mere raspberry here. A range
of different guffs should be sampled
and put on iPod shuffle so that,
even though a passer-by might be
expecting a fart, they won’t be ready
for the kind of fart they hear: loud and
fulsome, short and wet, or mosquitolike and meandering, the specificity
of the trump can add so much to the
realisation of what art historians must
surely accept was the great man’s
original concept.
For me, this joke can never get
tired, simply because people who
dislike it will never stop disliking it.
That’s what will ensure the rest of
us keep finding it funny. And it raises
the question: why don’t we fit every
public statue with the capability to
make a fart noise whenever anyone
walks past? Statues of people on
horseback could be made to issue two
farts, which is even funnier. Would
that not be a wonderful thing?
It’s divisive in a way – but it
would be a new division and so
paradoxically a unifying one.
There’s no way the pro- and antifart factions would correlate with
the pro- and anti-Brexit groupings,
meaning that Leavers
and Remainers can
find common ground
over liking or hating the
humour of flatulence.
It also might help resolve
controversies over whether to
take down statues of discredited
figures like Cecil Rhodes. A farting
statue won’t seem to carry the same
implication of veneration from the
society it stands in. It just says: here
was some guy, full of gas like the rest
of us. He’s dead now.
If the government really wants
to tackle Britain’s current crisis of
confidence and identity, this is what
it must do. This is its last chance, after
all the recent accidents, mistakes
and humiliations, to take a great
British idea, commit to it and, in the
full gaze of the world’s media, really
follow through.
SNAPSHOTS Growth strategies
While at university, self-taught
gardener Emma Sibley often
swapped houseplants and cuttings
with friends. Now, her desire to
combine nature with city life has led
to Urban Botanics: An Indoor Plant
Guide for Modern Gardeners (Aurum
Press £18), a book illustrated by
Dutch artist Maaike Koster, guiding
readers through 70 indoor plant
varieties, their origins and upkeep.
“Having plants in your home helps
to purify the air. Living in a city, this
is a welcome benefit,” says Sibley,
who also runs the shop London
Terrariums. While a houseplant
isn’t a true substitute for being out
in nature, she says, it can create
a “calmer, greener environment
that helps both productivity
and relaxation”.
Julia Stanyard
The Observer | 29.10.17 | THE NEW REVIEW
5
COVER STORY
‘HALF THE
PEOPLE IN MY
LIFE ARE THERE
BECAUSE OF
INSTAGRAM’
Spotted promoting her clothing line on the image-sharing
app, Bria Vinaite landed the starring role as a struggling
young mother in The Florida Project, a heart-wrenching
indie film that had Cannes audiences on their feet.
Now, she insists, she’s here to stay…
BY MIRANDA SAWYER
PORTRAIT BY GABBY LAURENT
A
short time into our interview, Bria
Vinaite starts to cry. It’s a bit of a shock,
but her tears last only a couple of
seconds, and come not because she’s
sad, but because she’s happy. She’s
explaining how much she enjoyed
making The Florida Project, the
wonderful new film by Sean Baker – a film which,
if the world is wise, will make her, and the rest of
the cast, into bona fide stars.
Baker’s last film, Tangerine, was feted for its
subject matter (transgender prostitutes in LA), as
well as its technique: the whole movie was filmed
on an iPhone 5S. The Florida Project, which stars
Willem Dafoe, Brooklynn Prince and Vinaite,
has had more conventional praise. Already out
in the US, it’s been near-universally lauded. “It
casts a spell and tells the truth,” said the New York
Times; the LA Times called it “raw, exuberant
and utterly captivating”. It’s being celebrated for
its honesty, its heart and the quality of its acting.
And everyone involved, even the long-established
Dafoe (there’s been talk of an Oscar), has been
catapulted into its little-movie-goes-big spotlight.
Vinaite says: “While I was filming, none of
my friends understood the scale of what was
happening. I mean, obviously everyone was
excited because it’s Sean Baker, it’s Willem Dafoe,
it’s these amazing talents. But no one was there
with me through filming, no one saw the day to
day, no one felt the magic I felt. So when I came
back to New York, to my regular life, it was like:
‘Whatever, you were away for the summer, now
you’re back’. No one acted like what I did was
special. And now it’s a few months later, and
my life has changed so much, my entire life.
It’s crazy…”
Her eyes start brimming. She laughs as she
cries, and says: “It makes me emotional. I never
expected any of this to happen.”
“This” means many things. It means the
standing ovation the movie won at Cannes (the
first time she had seen the completed film). It
means the ecstatic reviews, the swishy frocks,
the premieres. It means being flown around the
world, feted as a striking new talent, meeting
celebrities (there are romance rumours about
6
THE NEW REVIEW | 29.10.17 | The Observer
her and Drake: she denies them). Having to
put aside her clothing business; to leave her
apartment for weeks on end. It means going to
London – “London! I always wanted to travel!” –
to be interviewed in a hotel room by a journalist
from a British newspaper. New experiences, to
be gobbled up and celebrated in Vinaite’s own
individual style.
I’m used to interviewing American actors.
Usually, they are polite but dull. They give as much
as is needed, and no more. They arrive poised,
leave poised, tell practised anecdotes, appear open
but are closed. They act the part of an American
actor. Bria Vinaite is not like this. When we first
walk into this hotel room – large and swanky in
the international style – she immediately takes a
photo of one of the walls. It has beautiful dark flock
patterns on it, and her pic includes the wall, the
sofa in front of it, and the coffee table in front of the
sofa. Then she hands her phone to her manager,
Thor Bradwell, and says: “Like that!” She darts on
to the sofa, and contorts herself into hot-but-alsofunny photogenic poses. Like hip-hop Carry On.
Bradwell says: “Do you want the table in?” and
Vinaite says: “Yes, just like I took it.” He shoots
some snaps, before she hops down, takes a quick
look and uploads a couple to Instagram. “I know
Oscar tip: Willem Dafoe with Brooklynn Prince at the
Magic Castle motel in The Florida Project. Allstar/24
my angles, I know what I’m doing with my phone,”
she says to me. Vinaite – campy, cheeky, tattooed,
beautiful – is an Instagram queen.
She adjusts her skirt, a teensy leather mini with
metal loops studding the hem, checks herself in
the mirror. “This skirt is lit!” she says. “But I can’t
sit down in it.” She wore it for the photoshoot
but the no-sitting problem meant she’d ended up
wrapping herself in a black velvet curtain instead.
Now she sits down anyway, hoicking the skirt
up like a belt. She’s all arms and legs, scrawny
and scrawled.
We were talking Instagram, I remind her.
“Yes,” she says. “I feel like I should send them a
gift basket, ’cos literally half the people in my life
are in my life because of Instagram.” Bradwell is
one: he got in touch via the social network, and
she chose him as her manager because he made
her laugh and he represented other actors she
liked, such as Bella Thorne. “Another hot girl,”
says Bradwell. “But Bria is very different.”
She is. Thorne is a Disney veteran. Vinaite
is new to acting: The Florida Project is her first
ever part. And Instagram helped here, too. Baker
and his writing collaborator Chris Bergoch had
written the screenplay some time ago – before
Tangerine came out in 2015 – but it had proved
hard to cast. This was mostly because the main
character is six years old. The story, which takes
place over a single summer, centres on a bold,
mischievous girl, Moonee (Prince), her friends,
and her young mother, Halley (Vinaite). It details
their lives in and around a motel, the Magic
Castle, near Disney World in Florida. The colours
are hot pink, mint green, bright yellow; everyone
wears neon tie-dye and eats soft ice-cream. It
looks bright, but The Florida Project is about
poverty: the children are having fun but the adults
are not, at least not always. Heart-warming and
heartbreaking, the film is political simply through
its empathy, how it shows us lives we don’t
usually see. I loved it.
One of its joys is the acting. The cast is a mix
of experience (Dafoe plays Bobby, the motel
manager), real people (police officers and social
Continued on page 9
¥
‘Campy, cheeky,
tattooed, beautiful’:
Bria Vinaite,
photographed
in London for the
Observer
New Review.
The Observer | 29.10.17 | THE NEW REVIEW
7
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COVER STORY
‘Halley is alone.
She has no one.
That’s tough’
Hot pink, mint
green, bright yellow:
Bria Vinaite with screen
daughter Brooklynn
Prince in The Florida
Project. Allstar/A24
¥ Continued from page 6
workers are exactly that), and first-time actors:
“We don’t call them non-professionals,” says
Baker on the phone to me later. “Everyone starts
somewhere and this is just their first film.”
Anyhow, this mixture makes you realise just how
“acted” most films are, how full of setups and
reactions that never happen in real life.
A
fter many auditions, Baker knew he’d
found the right girl to play Moonee (Prince
has been acting since she was two), but
Halley proved even more difficult to cast.
He’d been searching for months – he tells me he’d
considered every female actor between 20 and 24,
plus pop stars as well – but nobody was quite right.
On Instagram, Vinaite caught his eye. She’d posted
a short clip of herself dancing round her back
garden in a pink feather boa, with a silly feather
crown falling over her head. He checked the rest of
her @chronicflowers feed. There she was, smoking
a joint, listing things you need to do to make her
happy (“Roll me a really fat blunt. Get me food,
all the time, even when I say I’m not hungry. And
tell me I’m cute.”). Promoting her own fashion
line, Chronical Designs, which includes bikinis,
hats, socks, T-shirts, all of which encourage heavy
marijuana use.
There was something about Vinaite’s carefree
silliness, her don’t-give-a-shit attitude that Baker
liked. “She was self-deprecating, she had the
physicality and rebellious nature…” He got in
touch. She had never heard of him, and initially
thought he was just another dodgy bloke making
comments. Once he convinced her he was
genuine, she watched all his films in one day and
flew to Miami for an audition.
“I wrote down the dates,” she says. “Sean got
in touch on 14 May [2016]. Two weeks later, I
did the audition with Brooklynn.” Baker told her
that because Halley had had Moonee at a young
age, their relationship was more like sisters than
parent-child. By the end of the audition, Prince
was sitting on her knee and they were singing pop
songs together.
Vinaite was in. “On 17 June I moved to Miami!”
– to a large hotel, the same one where, in the film,
she sells perfume to guests.
For two weeks before the shoot began, she
talked to the real-life residents of the Magic
Castle and immersed herself in acting classes
run by Samantha Quan, Baker’s partner. Early on,
she had to imagine a vital, devastating scene that
happens towards the end of the film; how Halley
would feel in that particular situation.
“I remember lying on this bed,” she says. “Sam
was just talking to me and talking to me, and then
it just hit me and I lost it. I was hysterical. It really
clicked with me what Halley was going through
and the situation she was under, and I understood
her emotions.”
In the film, Halley is full of charm and vitriol.
She doesn’t always make the best choices. “She
makes you want to just shake her and be like,
‘What are you doing?’” says Vinaite. “But you
have to think about the fact that she is alone. She
doesn’t have a family. She doesn’t have anyone.
That’s a tough spot to be in. It’s not angry, it’s just
being hurt.”
Vinaite is great in the film, though she was very
scared when she started: “I was like: ‘What did I
get myself into?’ But there was no other option for
me than to give it 150%.”
It took a couple of days for her to get used to
all the cameras, and all the people watching.
Still, she made sure she knew her words – she’s
proud that she never fluffed a line, not once – and
when required to improvise, as she did when she
filmed a night-time swim with Mela Murder, who
plays Halley’s friend Ashley, most of her stuff was
kept in.
Her relationship with Prince is central to the
film, and they remain close. I speak to Prince
after I speak to Vinaite. She’s been learning about
Anne Boleyn – “Does she have a ghost?” she
wonders – and is immensely sweet. She comes
from a Christian family, and when I ask about all
the swearing Moonee does in the film, she says:
“I hear my mom say some words that she isn’t
supposed to say, and my dad says a couple too, but
not like the very, very bad words. And they always
apologise. So I always wanted to say those words
to see how it felt. I was really, really excited about
cursing, to be honest with you.”
She loves her screen mother: “We had a lot
in common and we had these two aliens, Fred
and Ed. They’re stuffed animals and we wanna
get them together for a play date, maybe a tea
party or an alien invasion. My Barbie dolls will be
like: ‘Aaaarrrggggh!’”
Despite being, as she puts it, “not a family
person”, Vinaite loves Prince too. They FaceTime
once a week (Prince lives in Florida).
“I don’t need to have kids because I have her!”
she grins. “For me to be on set and have these tiny
kids shouting ‘Bria, let’s play Barbies!’, I’m like:
‘OK!’ I don’t have anyone to play with Barbies
with, so I’m down with it. Kids bring so much joy
and good energy into my life, and that’s necessary
when everything around you is so serious. And
then they go home at the end of the day – it’s the
perfect situation.”
H
er own childhood was a mixture of good
energy and bad. Born in Lithuania on 10
June 1993, she was brought up by her
grandmother in a small village where she
knew everyone: “I remember going sledding in
the winter, and my grandmother taught me how
to ride a bicycle. You could play outside. It was a
really free place for a child.”
Her mother had moved to New York when she
was small, and when she was just a bit older than
Moonee in the film, Bria moved to Bay Ridge,
Brooklyn, to join her. She spoke no English. “It
was really intense, I had to have ESL – English
as a second language – lessons for three years,
because I literally just couldn’t communicate, and
I’m such a social person, so it was hard for me.”
For three years she had no friends. Instead,
she read books. “I was so nerdy. I had a system for
my books on my shelves, I numbered them one
through a hundred. I would put numbers on the
bottom of the books. I would write book reports
for my mum and read them out. It wasn’t even
homework, I just liked doing it!”
Vinaite had a tough time at school, especially
when she moved up to middle school. “I’m
thankful for it in a way, because I learned to fend
for myself and not need anyone. I learned how
to be myself and not care about judgment from
other people.”
She has called out fellow pupils on social media
for being mean to her at that time, and, at 14, she
rebelled. That was the year she started getting
tattoos, and when her mother, now working in
finance, sent her to boarding school. She doesn’t
like talking about this time.
“Once I grew up, I let all that
go and moved on with my
life. I feel like I blacked out
a lot of my childhood. It’s
not that it was anything bad
that I’m suppressing, but
I’m so focused on my future
that I don’t think of my
childhood, you know? Who
‘My life has changed
so much. It’s crazy. It
makes me emotional.
I never expected any
of this to happen’
cares about that? I’m trying to move forward.”
At 18 she left home, determined not to go to
college (“It’s good for others but not for me”)
and embarked on her own career. “I had a bunch
of different jobs. I worked at a store, I worked
at a bar. It’s New York; you have to do a bunch
of stuff to get it together.” Her mother was in a
new relationship; she has a half-brother, who’s
“four or five, I don’t know”. At 19 she started her
clothing line. She sold the clothes in head shops
and online (she prefers online because she has
direct access to her customers and makes more
profit). And then, oddly enough, she moved
to Miami.
It was winter 2015. New York was freezing –
she’d been living near the water and the wind was
icy – and when the lease on her flat came up, she
and her flatmate decided to up sticks and move
“to the closest warmest place”.
Because they had no friends in Miami, they
stayed in a lot and worked; their living room was a
studio, with sewing machines, mannequins and a
heat press machine. The funny Instagram videos
started because “I was trying to entertain myself.
I literally was at home alone. Just trying to make
myself laugh and trying to keep my spirits up,
because I was homesick.”
After nine months in Miami, she went back to
New York. And then Baker got in touch. “And –
whoosh! – everything changed.”
No wonder she cried when she
talked about it. Vinaite’s life has
transformed. Still, her body is
a testament to her previous
existence. I ask her to talk
me through her tattoos. It’s
hard to know where to start:
“INFINITY” on her knuckles.
Director Sean Baker,
who shot his 2015 film,
Tangerine, on an iPhone.
OTHER US FILMS FROM THE FRINGES
Killer of Sheep (1978)
Italian neorealism may have
influenced Charles Burnett’s
landmark study of an African
American abattoir worker and his
hardscrabble family life in outer Los
Angeles, but the impression left
was of America at its least filtered.
Gummo (1997)
Harmony Korine has cultivated his
reputation as a champion of the
American outsider to such bizarre
extremes as Trash Humpers, but
his debut, following damaged young
people in a tornado-ravaged Ohio
nowheretown, is his most peculiarly
humane.
Wendy and Lucy (2008)
Kelly Reichardt made the most
piercing of drifter movies with
this low-key heartbreaker,
starring Michelle Williams as a
young woman driven by financial
desperation towards Alaska’s fish
canneries, only to lose all she holds
dear on an Oregon pitstop.
American Honey (2016)
Andrea Arnold had already brought
her compassionate gaze to the
council estates of Essex and
Glasgow by the time she hit the US
for this swirling midwestern road
trip, in which a gaggle of troubled
youths form a makeshift family.
Moonlight (2016)
There was a time when a tender,
impressionistic story of a young,
gay black man coming to terms with
his sexuality and his crack-addicted
mother in Miami’s poorest suburbs
would itself have been sidelined.
Today it’s a best picture Oscar
winner: voices from the fringes are
being heard. Guy Lodge
“Chief” on one forefinger – “that’s for when I’m
smoking” – and a moustache on the other for
more smoking laffs. A pair of knuckledusters on
her bum (“my first!”). The logos for the LA Lakers
and New York Yankees on her hands. And, on
her calves, two naked women being attentively
sexually serviced by Death.
She has a breastplate of roses with – argh! – a
piercing on the bone between her breasts. “I can’t
take that one out,” she laughs. “Don’t get pierced
when you’re young, folks!”
On her right forearm she has a complicated
design to cover over a musical note; she has stars
under one ear. So many. And around the back of
her thighs, where the top of a stocking would
be, she has “Chronical” and “Designs”. There’s
no real rhyme or reason to any of them, she says.
They were done spontaneously. She might try and
“organise” them, get some more roses to cover
old ones.
I wonder if any are reminders of people she
loves. She wrinkles her nose. “I don’t think I
would ever care about a person enough to tattoo
them on my body,” she says. “You have to really
care, and I just don’t ever want to…”
Vinaite is emotional but not sentimental.
Idealistic but pragmatic. Single and happy about it.
“Every girl has the boyfriends they fall in love
with and want to be with,” she says, “but I’m a
realistic person. There isn’t such a thing as for
ever. I don’t want to be married. I don’t want to
be tied to the same person for the rest of my life.
I want to live my life. I want to travel, I want to
work. I’ve seen a lot of women not be able to be
their full potential because they have men holding
them back, and I never want to be that woman
ever in my entire life. I will never put a man first.
Like that Harvey Weinstein thing. Hearing those
stories made me really upset because I’ve had
such an amazing group of men around me. Sean,
Willem, Thor, everyone. I can’t imagine being in
this industry and having to deal with that, on top
of everything else.”
What’s different about Vinaite, I realise, is that
she’s playing her own game. Not her mother’s,
not a man’s, not Hollywood’s. Though she has a
manager now, she’s self-motivated and self-made,
on every level. She took full advantage of her
lucky break, emotionally and career-wise; she’s
determined to continue. And there’s no reason
why she shouldn’t, says Baker.
“Every one of the actors now on top of
their game started somewhere,” he says. “Bria
happened to start with us. She has the knack and
she has the acting bug. There’s no reason why she
can’t have a great future.”
“I’m all about the future,” she says to me. “I
definitely want to keep working on things that
make you feel. So many things are thoughtless,
and you’ll watch them, and it’s just a distraction.
But I want to make work that I’m proud of. I want
to make work that makes people talk, that inspires
people. I got so blessed with my first project being
so special, and now I understand what that magic
feels like, I want to do things that make me feel
those same emotions again.
“When I’m older, I hope I have a really nice
body of work that I’m proud of, and I hope
that it’s all films that are impactful, and make
a difference. I want to open the world’s eyes in
many ways, and I hope I look back and I’m really
proud of all the choices I make.”
Ahhhhh, Bria Vinaite deserves all of this and
more. I really hope she gets it.
The Florida Project is out on 10 November
The Observer | 29.10.17 | THE NEW REVIEW
9
EXTRACT
Mugabe’s guerrillas
on the road before
the dictator’s
election in 1980;
right, Mugabe,
now president
of Zimbabwe,
greets supporters
at a rally in 1982.
Photographs
by John Devrus,
Jan Kopec/
Camera Press
How a story ‘that had to be printed’
In an excerpt from his forthcoming memoir about
his colourful Fleet Street career, former Observer
editor Donald Trelford recalls how he revealed
atrocities in Robert Mugabe’s Zimbabwe – and
how it almost got him sacked and the paper sold
I
n 1983 the Observer was taken over by
the controversial chief executive of
Lonrho (the London and Rhodesian
Mining and Land Company), Roland
“Tiny” Rowland. “Why do you want the
Observer?” I asked him. “The Observer is
a peach for Lonrho,” he said. “It’s the best-known
British paper among African leaders, because
many of them were exiled in London while
fighting for independence and they remember
that the Observer supported them. OK, it’s losing
money, but not much. Besides, it owns several
thousand Reuters shares of significant value.”
At one of Rowland’s Sunday lunches at Hedsor
[Rowland’s estate near Cookham, Berkshire],
the chief guest was Joshua Nkomo. One couldn’t
help noticing that he had grown so fat that he
needed two chairs to sit on at lunch, one for
each buttock. There was clearly a great deal of
affection between the two men. Rowland had
backed Nkomo and his Zapu (Zimbabwe African
People’s Union) party for many years, when they
looked certain to form the first government in an
independent Zimbabwe. The 15-year civil war
to oust Ian Smith’s rebel regime had resulted,
however, in a power shift in Zimbabwe’s African
politics. The Shona tribe, led by Robert Mugabe,
had played a prominent part in the terror
campaign and they had more voters than the
10
Ndebele people [supporters of Nkomo], who were
mostly located around Bulawayo in Matabeleland.
So, Mugabe had won the first election after
independence and Nkomo had failed to come to
terms with the country’s new leader. There had
been sporadic rioting in Matabeleland, which had
been put down ruthlessly. Mugabe lashed out at
Nkomo at a rally, declaring: “Zapu and its leader,
Dr Joshua Nkomo, are like a cobra in a house.
The only way to deal effectively with a snake is to
strike and destroy its head.”
I once asked Rowland why he hadn’t backed
both horses in Zimbabwe, which had been his
practice elsewhere. He said he had. He had paid
£40,000 to Mugabe’s man in London some years
before, but he later discovered that the man had
used the money to buy a house in Hampstead and
it had never reached Zimbabwe.
Lonrho’s position now was hazardous. Its huge
investment in Zimbabwe was at risk. Mugabe saw
Rowland’s hand everywhere and suspected him of
being behind the troubles that had broken out in
Matabeleland. What Rowland desperately needed
was access to Mugabe, just as he had access to
African leaders elsewhere. But the door was firmly
closed on Lonrho, not just by Mugabe but by his
senior ministers as well. Rowland was in urgent
need of a friend at the court of King Robert.
He was finally saved by Godwin Matatu,
THE NEW REVIEW | 29.10.17 | The Observer
whose uncle was Edson Zvobgo, justice minister
in Mugabe’s government. Although he too was
wary of Rowland, his attitude changed when
his wife Julie, a nurse, began to work for a
Lonrho company.
M
y first and only really serious row
with Lonrho took place at Easter
in 1984 when I went out to Harare
to interview Mugabe on his fourth
anniversary in office. The interview was set up
by a TV production company to be broadcast on
Channel 4. It is important for the origins of the
Mugabe interview to be properly understood. It
was not true, as stated confidently in a number of
places, that Rowland set up the interview.
It was a spectacular row. The story began in the
parched earth of Matabeleland, among the cactus
and the baobab trees, and ended over lunch in a
Park Lane casino owned by Lonrho. For two hectic
weeks, the battle was monitored in every news
bulletin, causing anguished debates about press
freedom in parliament and the media – and almost
led to the Observer being sold to Robert Maxwell.
The row became a Fleet Street soap opera
that overshadowed the tragic human story
that provoked it – the suffering of the minority
Ndebele people at the hands of the North Koreantrained fifth brigade of the Zimbabwe army.
Although my travel and hotel expenses were
not paid by the Observer, I had always planned
to write an article for the paper. I told Rowland
about the interview as a courtesy a few days
before I travelled to Harare.
That was a mistake, since it gave Rowland an
opportunity to ingratiate himself with Mugabe
(“I have arranged for my editor to publish an
interview in the Observer”) and repair relations
that had been seriously damaged by his long
support for Joshua Nkomo. When I arrived in
Harare, I was whisked off for lunch at Lonrho’s
office, where I discovered that Rowland had
arrived ahead of me. Rowland said my interview
had been delayed, but he had been in touch
with Mugabe’s office to reschedule it for a day
later. The interview was clearly to be a Lonrho
production, with Rowland himself as the
producer and Matatu cast as my minder.
Rowland even turned up at Mugabe’s heavily
protected office, though thankfully he didn’t sit in
on the interview. It turned out to be disastrously
dull, unusable for Channel 4, though parts of
it were later used by PBS in the States and the
text appeared in a specialist African magazine.
Mugabe was mostly monosyllabic. He only came
to life when I raised the subject of Matabeleland,
where a curfew had been in force for 10 weeks.
When I asked him if he would consider
a political rather than a military solution in
Matabeleland, he replied bluntly: “The solution is a
military one. Their grievances are unfounded. The
verdict of the voters was cast in 1980. They should
have accepted defeat then.” He added chillingly:
“The situation in Matabeleland is one that requires
a change. The people must be reoriented.”
My interest in Matabeleland had been
quickened by Mugabe’s comments, and when
I returned to Meikles hotel with the camera
crew after the interview, I was met in the lobby
by a small group of Africans, who asked if they
could speak to me. One of them took me aside
conspiratorially: “You should go to Matabeleland
to see what is happening to our people there.
There are terrible things.” He hurried away, as if
afraid to be overheard.
No media had been allowed inside the curfew
area, but there had been rumours about brutal
treatment of the population by Mugabe’s troops,
ostensibly searching for “dissidents” from across
the Botswana border. I said to Matatu: “Let’s go to
Bulawayo in the morning.” We knew we weren’t
allowed officially into the curfew area, but asked
our driver to brave the roadblocks anyway. We
passed three without bother, then Matatu did
some name-dropping to persuade a toughlooking soldier to let us through. We were able to
drive through the no-go areas, past Kezi, Antelope
Mine, Bhalagwe Camp – all names, I learned
later, that filled the Ndebele with dread. We
Above, Observer
editor Donald
Trelford, left, with
Roland ‘Tiny’
Rowland, who
owned the
newspaper from
1981 to 1993.
Right, Guardian
cartoonist John
Kent’s view of the
conflict between
Rowland and
Trelford, 1984.
drove the Observer to the brink
saw nothing unusual and returned to our hotel.
Around 10pm, there was a call from the hotel
reception to say that a man wanted to deliver a
letter. An African tapped on the door and handed
it over. It read simply: “Please accompany this
friend.” Moving quietly to avoid disturbing
Matatu next door, I followed the man to the car
park, where a headlight beamed in recognition. I
had no idea where I was going, or who with; and
no one knew where I’d gone. I knew instinctively
that I couldn’t take Matatu with me. Apart from
the Lonrho connection, he was a Shona and close
to the government and his presence would have
deterred people from speaking honestly.
I climbed nervously into the van and was taken
in silence for several miles out of town into the
curfew area. There we stopped at a remote house,
pipped the horn for ages, and finally changed
cars with another man. He took us for another
long ride to a Roman Catholic mission where,
for much of the night, I was given a series of
eyewitness accounts and signed statements from
victims of the Matabeleland atrocities. These
were graphic, horrific and profoundly moving.
One name kept recurring, as in a nightmare.
Brigadier Shiri, known as Black Jesus, was head
of the fifth brigade. And there was one recurring
story, about a major who held up a dead baby and
told villagers: “This is what will happen to your
babies if you help dissidents.” He then dropped
the tiny corpse in the dust.
Back in the car again, I was taken to another
Catholic mission, where I met a man from
Esigodini village who had been beaten close
to death by agents of the Central Intelligence
Organisation in front of his family. They were
warned they would be shot if they uttered a sound.
“They began beating us with sticks and guns,”
he said, “bayoneting us, burning plastic against
our skin while our hands and mouths were
covered. They tore curtains, put cushions into our
mouths. We were tortured for about four hours.”
Earlier I had come across Peter Godwin, of the
Sunday Times, who said bodies had been thrown
down a nearby mineshaft owned by Lonrho. (Later
Roy Hattersley was sued by Rowland for making
this claim in a speech – what Rowland never knew
was that I had helped to draft Hattersley’s speech.)
I returned to the hotel at dawn, checked out
without waking Matatu, then flew to London via
Harare, leaving on Friday evening and arriving on
Saturday morning with my story written.
My dilemma on returning – should I publish
an anodyne interview with Mugabe or tell the
truth about Matabeleland, thereby damaging the
commercial interests of my proprietor? – has since
been written up as a classic case by the Institute of
Global Ethics. For me, there was no choice.
I
wrote the story in longhand on the plane
and typed it up when I arrived at an empty
Observer office, too early for any other
editorial staff to have appeared. I made two
copies, one for Magnus Linklater, the executive
editor in charge of news, and one for Pat Ferguson
on the foreign desk. I told [deputy editor]
Tony Howard about the story and asked him to
keep quiet about it, but didn’t show it to him. I
didn’t want to risk word of the story somehow
reaching Lonrho through office gossip. I planned
to ring Rowland around 5pm on Saturday
afternoon, too late for him to do anything to
stop publication.
Things didn’t turn out as neatly as that. Tony
told someone at Lonrho about my Matabeleland
article, even though I had expressly asked him
not to tell anyone. Within minutes I had an
angry Rowland on the phone, asking what I had
written. So I told him. There was a few minutes’
silence while he digested this. Then he made the
point that brutalities of this kind could not be
understood in isolation. It was the 15-year civil
war started by Ian Smith’s unilateral declaration
of independence that had distorted Zimbabwe’s
history and created a pattern of violence that was
now playing itself out. There had been violence
on all sides. I thought this was a fair point and
said I would include it in the article, which I did.
He was not mollified, however. Far from it. I
could tell he was choking with rage and unable
to find the right words to express it. Finally he
said: “You are deliberately trying to destroy my
business. You must expect me to defend myself.”
“I am only doing my job,” I replied. “This is a
story that has to be published.”
“And I have to do my job,” he said menacingly,
and threatened to close the paper down if I went
ahead with the article. I said I was not prepared to
talk in those terms. He slammed down the phone.
Next morning, I turned on the BBC radio news
to hear my story condemned as lies in an official
statement by Mugabe, supported by a letter of
apology from Rowland: “I take full responsibility
for what in my view was discourteous,
disingenuous and wrong in the editor of a serious
newspaper widely read in Africa.” He described
me as “an incompetent reporter” and announced
that I would be dismissed.
The story was front-page news for a
fortnight. Rowland wrote me an open letter,
which he distributed to all papers before I
could see it, saying Lonrho would not go on
supporting a failing editor who showed no
concern for their commercial interests. I
replied in kind, pointing out that the circulation
had actually gone up by 22% in the eight years
I had been editor. The Daily Mail published
both letters in full under the headlines “Dear
Donald” and “Dear Tiny”.
Rowland insisted that I should go back to
Zimbabwe for a longer investigation. I refused,
on the grounds that I had already established
He threatened to close
the paper down if I
went ahead with the
article. He slammed
down the phone
the truth of my story and that to do so would
endanger the lives of my sources.
I received dozens of letters of support from
Observer readers, who said they would give up
the paper if I was sacked. The shortest letter came
from Martin Amis, saying simply: “Snooker him.”
The Foreign Office, more concerned about
relations with Mugabe than with human rights –
and doubtless sensitive that Britain had provided
some training for the fifth brigade – was briefing
against me. I learned this from Prince Charles,
with whom I happened to have lunch around this
time. “The Foreign Office tell me your story about
Matabeleland was greatly exaggerated,” he said
airily. I ate my soup in silence.
The Observer’s journalists were highly
supportive of their editor – until Rowland let it be
known he was planning to sell the paper to Robert
Maxwell. A breakfast meeting at Claridge’s was
announced for the next day and they [Rowland
and Maxwell] were pictured laughing together.
By now I felt the paper was being damaged
and something had to be done to break the
deadlock. So I rang [Terry] Robinson [one of
the Lonrho directors] and asked to see him, but
not at the Observer or at Cheapside. We met in a
dingy workmen’s cafe near St Paul’s Cathedral.
I gave him a letter to hand to Rowland. In this
I said: “I could not allow the paper’s future and
the prospects of its staff to be jeopardised by my
personal position, which sadly seems to be all that
stands in the way of the paper’s development.”
Rowland seized the olive branch, replying:
“I support your editorship and refuse to accept
your resignation.”
For us and for the paper, that was the end of the
episode. For the people of Matabeleland, however,
it provided only brief illumination before the
darkness came again.
Donald Trelford’s book Shouting in the Street (£25)
is published by Biteback on 9 November. To order a
copy for £21.25 go to guardianbookshop.com or call
0330 333 6846. A version of this account appeared
in the Observer in March 2000
The Observer | 29.10.17 | THE NEW REVIEW
11
TECHNOLOGY
WHEN MAN MEETS
METAL: RISE OF
THE TRANSHUMANS
At the borderline of technology and
biology, ‘bodyhacking’ pioneers are
defying nature to redesign their own
bodies. Some even see themselves as
‘transspecies’. Is this really the future?
BY TIM ADAMS
PORTRAITS BY DAVID VINTINER
E
arlier this year I went to an
event in Austin, Texas, billed
as a sneak preview of the
evolution of our species. The
#Bdyhax Conference, which
took place in a downtown
exhibition complex, promised
a front-row insight into the coming
“singularity” – that nirvana foretold
by science fiction in which biology
and technology would fuse and
revolutionise human capability and
experience.
The headline acts of the conference
were mostly bodyhackers – DIY
experimenters who, in their basements
and garages, seek to enhance their
own flesh and blood with biometric
implants and cognitive enablers. These
brave pioneers were extending their
senses, overcoming physical limitation,
Dan-Daring themselves and the rest of
us into the future.
At least that was the idea. The
reality of the convention was a little
more mundane. It was overpriced
and sparsely attended. Disparate and
awkward groups of the pierced and the
tattooed wandered between lectures
about the ethics of body augmentation,
and budget demonstrations of virtual
worlds, past stalls flogging various
kinds of neurotropic snake oil or
enthusing over the transforming
possibilities of magnets and LED lights
inserted under the skin.
Occasionally, over a long couple of
days, there was a genuine spark of
wonder – the demonstration of a vest
that converted sound into multiple
vibrations felt across the back,
promising a new way for deaf people to
hear; a drummer who had lost an arm,
and had customised his own prosthetic
14
that could now play like Buddy Rich;
a woman, Moon Ribas, who had wired
herself to experience tiny shifts in
tectonic plates, and was converting
those tremors into choreography.
These latter experiments seemed
to exist somewhere between art,
medicine and counterculture. They
shared a knowledge of the newly
understood plasticity of the brain, and
a utopian idea of technology, and were
pushing that understanding in novel,
homemade directions. They were, at
least, the most convincing hints that
this introverted subculture – which
styles itself as “transhuman” – was
sometimes knocking at the doors
of perception just as determinedly
as those early experimenters with
hallucinogenic drugs in the last century.
David Vintiner, a British
photographer, has been following this
subculture for the past two years. He
divides his pictures of transhumanists
– some of which are reproduced
here – into three groups: those who
are working to extend life, those
toying with implants as body art, and
those attempting to make permanent
changes to the human condition. The
pictures capture precisely the ironies
that were on display in Austin, Texas:
the odd union between scientific
innovators and garden-shed fantasists.
“We set out at the beginning to
photograph people in a domestic
environment as much as possible,”
Vintiner’s collaborator Gem Fletcher
tells me. “These things are mostly
happening in people’s bedrooms.”
One of the inspirations for Vintiner’s
journey into this culture was Professor
THE NEW REVIEW | 29.10.17 | The Observer
Continued overleaf
¥
‘ It will never be as good as a human arm’
JAMES YOUNG
Prosthetic arm
At 22, James Young lost his arm and
leg in a freak accident when he fell
from a Docklands light railway platform
under a train. After the accident, in
2012, he subsequently applied for and
was chosen to receive a prosthetic
arm inspired by Metal Gear Solid, one
of the world’s bestselling computer
games. The arm featured a laser, a
USB port in the wrist and a mount for a
tiny drone.
The arm was really made as an artistic
project to explore the alternative
functions that an arm might have. Those
functions worked very well. But because
of the nature of my amputation, it has
proved kind of a burden to wear. It is very
physically demanding.
The project has helped me to
understand that it is great to have
alternative functions, but it was the core
functions that you needed.
Because it was created by artists,
there was only so much integration with
the body. I am now exploring the further
integration, with a bone implant that
will allow me to mount an arm on to my
skeleton and to be controlled naturally,
using brain signals. All of that is obviously
very cutting edge, and the NHS can’t
afford it – so I’ve been crowdfunding for
a year or so. I have £35,000 so far, about
half what I need.
If I’m honest, probably the main way
the arm has changed my life is by opening
conversations, and opening doors to
what is actually possible.
I can accept that I am never going to
have a bionic arm as good as a human arm.
But I am excited to contribute to that push
to get it as good as it can be. I like to use
the canvas of my body as an opportunity.
gofundme.com/titaniumjames
‘The word “human” no longer contains me’
NEIL HARBISSON
Cyborg artist
Born with a rare condition that means
he can only see the world in black and
white, Harbisson – who was born in
Britain but grew up in Catalonia – had an
antenna implanted in his skull in 2004.
This translates the colour spectrum
into different vibrations, enabling him to
“hear” colours.
Many people think that I had a problem,
and that is why I created the antenna.
It was more that I was curious to
experience anything around me that I
cannot sense. That included colour. But it
also now includes infrared and ultraviolet,
which I can also receive.
Since I had the antenna, I feel more
connected to reality but also to other
species and to nature.
If you create a new sense, your brain
creates the intelligence to understand it.
In the beginning, what I was hearing was
chaotic. It slowly became information
that I could understand, and then it
became perception.
Later, I started having feelings for
different colours. My favourite colour is
infrared, which is invisible to humans. It
has a very low frequency and is calm.
I define myself as transspecies
because the definition of human no
longer contains me. A human does not
have an antenna as a body part, a human
does not have infrared and ultraviolet
perception. But these are senses and
organs that other species have and I feel
a connection to them.
If I see many bees going to a specific
flower, I understand why because there
is such a high level of ultraviolet on
that flower.
I think that, eventually, all humans will
want that sense too.
The Observer | 29.10.17 | THE NEW REVIEW
15
TECHNOLOGY
‘People slice
themselves up
at home or a
tattoo parlour’
¥ Continued from previous page
Kevin Warwick, deputy vicechancellor at Coventry University, who
back in 1998 was the first person to put
a silicon chip transponder under his
skin (that enabled him to open doors
and switch on lights automatically as
he moved about his department) and
to declare himself “cyborg”. Four years
later Warwick pioneered a “Braingate”
implant, which involved hundreds of
electrodes tapping into his nervous
system and transferring signals
across the internet, first to control the
movements of a bionic hand, and then
to connect directly and “communicate”
with his wife, who had a Braingate of
her own.
In some ways Warwick’s work
seemed to set the parameters of
the bodyhacking experience: full of
ambition, somewhat risky, mostly
outlawed. The Braingate system
is now being explored in America
to help some patients suffering
paralysis, but Warwick’s DIY work
has not been widely taken up by either
mainstream medicine, academia or
commercial tech companies. He and
his wife remain the only couple to
have communicated “nervous system
to nervous system” through pulses
that it took six weeks for their brains
to “hear”. “It was a bit out there,”
Warwick told me last week. “And
though my papers get cited, I’ve not
become a member of the Royal Society,
or received any of the normal plaudits.”
If Warwick has cyborg disciples they
mostly exist among the bodyhackers,
transhumanists and grinders that
Vintiner has photographed. “I think
they are often the ones now pushing
the field,” Warwick says. “Though they
are taking a lot of risks sometimes by
doing these things in their garage and
not a lab.”
Speaking to the people in Vintiner’s
pictures, you hear about some of
those risks, but also the extent of
new technological possibilities –
and the current limits to them. We
have become used to implants to fix
medical problems, for diabetes, for
heart conditions. And as a culture we
have long accepted the therapeutic
possibilities of plastic surgery. But
the idea that we might augment
our natural senses and abilities
through surgery remains a difficult
ethical question.
Some of the people that Vintiner has
photographed have had their desire
for the superhuman thrust upon them.
James Young lost his arm and leg in a
rail accident in east London in 2012.
He subsequently enjoyed a degree of
publicity when he won a competition
offered by a computer gaming
company to receive a bionic arm, laser
lit, and with phone-charging ports and
a personal drone attachment.
Eighteen months on, Young has
mixed feelings about the arm, which
he helped to design with Londonbased prosthetic sculptor Sophie de
Oliveira Barata. For all its gadgetry
and futuristic style, the arm is heavy to
wear and limited in “normal” function.
He usually does without it. He is most
grateful that the arm has led him into
a new career as a TV presenter, partly
from the interest it generated. He
plans, however, to replace it with a
model that can be properly attached
to his bone, and eventually integrated
with his neural intention.
Though the arm was a great
conversation starter – he has been
adopted by the transhuman community
– Young fears that augmentation will
continue to be a marginal interest. Why
would tech companies risk surgical
solutions, he asks, when externalising
technology is much safer and cheaper?
“That is why people slice themselves
up at home or in tattoo parlours or
whatever. The corporate commercial
risk is hard to address.”
Rob Spence, the “Eyeborg ” tells
a similar tale. Nearly a decade ago
he replaced the eye he had lost in
16
‘You can fly a drone using
your mind, or play ping pong’
TIANA SINCLAIR
Mindwave technology
A researcher into computer science,
linguistics and visual culture, Tiana
Sinclair creates events to explore
transhuman advances. In the picture
above she is demonstrating mindwave
technology, which converts the energy of
focused attention in the brain through a
headset to control external objects, in this
case to raise a drone from the ground.
Wearable tech has reached a level of
acceptance in terms of health and
fitness – the next stage will be all about
interfaces. In the future you will press a
button to send a signal to one part of your
THE NEW REVIEW | 29.10.17 | The Observer
brain or another to help you concentrate
to play the flute, or learn a language,
by enhancing energy in that area.
Electromagnetic stimulators of the mind
can create the kind of effect we use every
day when we drink coffee or whatever.
At one of the conferences
that I organise, we did a couple of
demonstrations of what was possible:
in one you played ping pong with a
headset using your brain; in the other
we had a drone which was operated by
mindwave. The idea is to bypass the need
for a console. You have to be in a state
of mind which is not too relaxed and not
too concentrated. Once this technology
becomes developed in the mainstream,
there are many possibilities: already there
are artificial limbs that are beginning to be
controlled in this way.
a childhood accident with a video
camera he could use to record and
transmit real-time footage of what
he was seeing. Spence had grown up
on superheroes and wanted to fill
the absence in his eye socket with a
presence. Again he remains a lone
pioneer of the procedure, which he
developed and installed with the
aid of friends at home. He thinks a
squeamishness about the right to
privacy of people being recorded is
to blame, though he believes people
will soon be more comfortable with
interventions like his.
“For me, the best example is always
breast augmentation,” Spence says.
In terms of transhuman additions, “it
is like we are in the 60s of boob jobs.
When certain kinds of things make
people’s lives better, like laser eye
surgery or boob jobs, then eventually
more people do it. They like not
wearing glasses, or they like having
larger breasts. We haven’t reached
that point yet.”
He sees the eventual integration
of tech into our bodies as inevitable:
“There is a clear progression. First it
was a big room at IBM, then it was your
desktop, then your laptop or tablet,
then your smartphone – and next the
digital will be part of your body. The
question, I guess, is at what point
would someone lop off their arm and
replace it with something bionic? It
will get there, but it’s a long way off.”
Over the years, Spence has talked
to various commercial companies
about developing applications for the
eyeborg, but eventually they all backed
off. “It is an odd product in that it raises
issues both legally and medically,” he
says. “People end up seeing it as, at
best, an elaborate toy for one-eyed
people.”
Neil Harbisson is more messianic
about the possibilities of bodyhacking.
Harbisson, who lives in Barcelona,
was born with a rare ocular condition
that only allows him to see colours
in shades of grey. He had an antenna
fixed into his skull by a surgeon friend
in 2006. The antenna translates the
colour spectrum into musical notes
and transmits the data to Harbisson
‘ It’s like being
on acid, but
without acid’
CHRISTIAN ZÖLLNER
Eyesect helmet
Zöllner is part of Berlin-based design
collective the Constitute, which runs
immersive, homemade sensory
experiments. Eyesect is a helmet with
mounted cameras that lets you “see”
the world as other species would.
Because your eye has been in the same
position on your head since before you
were born, you’re connected to your
environment in a particular way. All the
motion of your muscles is dictated by
that visual field. When you tinker with
that some people get dizzy, fall over or
even faint because the disruption is so
intense. We’ve experimented with the
micro-cameras that you put inside your
body for certain medical procedures, and
for a low budget it was really stunning.
Everyone reacts differently. It is like
acid without acid, your whole physical
situation is suddenly not safe any
more. You can’t walk in a straight line
but you can concentrate on what you
are experiencing. We started out trying
to create the visual experience of a
chameleon, but the most successful
is the eyesect vision of a horse.
Experiencing having eyes on the side
of your head is very alien – but fun
to explore.”
‘Our phones have made us all
cyborgs. Everyone is wired’
ROB SPENCE
The Eyeborg project
A documentary film-maker who lost his
eye in a childhood accident, Rob Spence
had a camera and transmitter fitted into
his eye socket in 2009, enabling him to
record and transmit video.
I am quite big with one-eyed people.
Moms email me when their kid has lost
an eye in an accident, and explain how
they say: “Look at this guy, Billy, isn’t
that cool”. But for every mom like that,
there’s someone else saying: “You are
invading our privacy.” Glasshole, I get
called. A lot of people believe it is creepy
to have a video feed of your life – though
as the cyborg anthropologist Amber Case
argues, our smartphones have made us
all cyborgs really. Everyone is wired now.
The ultimate goal would be to hook
up the camera with the brain somehow.
There are a few companies trying that.
Some have tried to put a chip on the
retina, which gives you a very light and
bright representation of reality. Other
work is being done to create an artificial
retina which can decode the information
the eye sends to the brain.
Tech companies don’t seem interested
in commercialising the Eyeborg. A guy
at Apple sent me back an email saying
“please piss off”. I think he thought it would
damage his credibility if he associated
with me. There is a bit of “bearded lady”
involved with this still. Some think it’s
great, others see it as a freakshow.
through bone conduction. He sees
colour as sound. Blue is middle C.
He views the antenna as an art
project which designs his perception
of reality. “It is not the union of two
senses but the creation of a new sense,”
he suggests, one that allows him to also
“see” ultraviolet and infrared light.
Again he encounters a lot of
resistance to the idea that he is
“improving” his sensory apparatus.
“People find it ethical to recreate
pre-existing sense and pre-existing
body parts,” he says, “but when it
comes to new body parts and new
sense it is something that people find
unnecessary. I think that will change.
People will start to see that the best
way of improving the planet is to
design and improve ourselves. If we
all had night vision, for example, we
would not have to use artificial light at
night. We wouldn’t need to light our
cities. The more senses we have, the
less energy we will need.”
To advance this cause, Harbisson
helped created the Cyborg
Foundation, which acts as a reference
point for young bodyhackers and
transhumanists around the world. He
himself feels he has evolved into a posthuman condition with the addition
of his antenna, which connects him,
he argues, more closely with other
life forms that share similar cognitive
apparatus: bees, for example, which
also “see” ultraviolet.
He calls this awareness
“transspecies” and compares it to the
transgender movement. “We have
people who are interested in creating
new senses and organs, and people
who identify as transspecies are
starting to realise they are not alone,
though up until now they have not
been able to say it aloud, in case people
might laugh,” he says.
“We have many of the same problems
[as transgender groups]. Bioethical
committees did not historically accept
transgender surgeries, and in our
case they do not accept transspecies
surgeries [for people who want
augmentation]. They worry about
people coming out of hospital with an
antenna sticking out of their heads and
what it would do to the reputation of
the hospital. But that will change…”
In the meantime, there are plenty
of less radical possibilities for the
“transspecies curious” to experiment
with. Some, like Rin Räuber, only want
the simple buzz of feeling a magnetic
field (and picking up a spoon) with
an implant in their finger. “What I do
is not rooted in a grand vision for the
future of humanity,” Räuber has said.
“It’s like a child playing around, saying,
‘Look what I can do, isn’t this cool?’”
Other experiments are more
trippy. The Eyesect helmet created
by a German collective called the
Constitute uses externally mounted
video cameras to allow wearers
to experience different species’
perceptions of the world – through the
swivel eyes of a chameleon or the long
face of a horse.
Christian Zöllner, who helped create
Eyesect, insists it is an art project
(“made with punk attitude and punk
tools”) not a tech-led design. It’s “an
aesthetic playground for people to
experience and witness the limits of
their perceptions.” Users often fall over.
In Mark O’Connell’s recent booklength adventure into the DIY
cyborg world, To Be a Machine, he
describes transhuman ambition as “an
‘It’s the best way to
improve the planet.
If we all had night
vision, we wouldn’t
need artificial light’
expression of the profound human
longing to transcend the confusion and
desire and impotence and sickness of
the body, cowering in the darkening
shadow of its own decay. This longing
had historically been the domain of
religion, and was now the increasingly
fertile terrain of technology.”
The people in David Vintiner’s
pictures buy into this faith in different
ways. James Young, who sees his
“futuristic” arm as the beginning of a
journey and not the end, is sanguine
about the reality but hopeful about
the implications. The day before we
speak, he showed his limb to a class of
six-year-olds. “They loved it,” he says,
“and I was trying not to be too negative.
They were saying: ‘Does it make you
super-strong?’ And I was like: ‘Not
exactly … but if it gets bashed, I can’t
feel pain on it.’”
At the very least, bodyhacking
futurism acts as an inspiration to
others. “I have had lots of people
contact me to say, you know, thanks for
being out there with your crazy arm, it
makes me feel better about my boring
peach-coloured NHS one,” says Young.
“We are realising that giving someone a
limb that is really ugly and impersonal
is not the nicest thing to do maybe.
“And that is what is really great about
this: I got to design it myself.”
‘Isn’t this cool?’
Rin Räuber picks up a
spoon using a magnetic
implant in her finger.
The Observer | 29.10.17 | THE NEW REVIEW
17
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
It’s 500 years since Martin Luther’s 95 theses defied the pope and
reshaped western society. It’s time for a similar revolt against the
hypocritical religion of technology, writes John Naughton, who has
devised a few theses of his own…
A
new power is loose in the
world. It is nowhere and
yet it’s everywhere. It
knows everything about
us – our movements, our
thoughts, our desires, our
fears, our secrets, who our
friends are, our financial status, even
how well we sleep at night. We tell it
things that we would not whisper to
another human being. It shapes our
politics, stokes our appetites, loosens
our tongues, heightens our moral
panics, keeps us entertained (and
therefore passive). We engage with it
150 times or more every day, and with
every moment of contact we add to the
unfathomable wealth of its priesthood.
And we worship it because we are,
somehow, mesmerised by it.
In other words, we are all members
of the Church of Technopoly, and what
we worship is digital technology. Most
of us are so happy in our obeisance
to this new power that we spend an
average of 50 minutes on our daily
devotion to Facebook alone without
a flicker of concern. It makes us feel
modern, connected, empowered,
sophisticated and informed.
Suppose, though, you were one
of a minority who was becoming
assailed by doubt – stumbling towards
the conclusion that what you once
thought of as liberating might actually
be malign and dangerous. But yet
everywhere you look you see only
happy-clappy believers. How would
you go about convincing the world
that it was in the grip of a power that
was deeply hypocritical and corrupt?
Especially when that power apparently
offers salvation and self-realisation for
those who worship at its sites?
It would be a tough assignment. But
take heart: there once was a man who
Continued overleaf
¥
The Observer | 29.10.17 | THE NEW REVIEW
19
SCIENCE & TECH
ARCHITECTS OF THE DIGITAL AGE
JACK DORSEY
CO-FOUNDER, TWITTER
SERGEY BRIN
CO-FOUNDER, GOOGLE
It was the printing press that
enabled Luther to ‘go viral’
¥ Continued from previous page
had similar doubts about the dominant
power of his time. His name was
Martin Luther and 500 years ago on
Tuesday he pinned a long screed on to
the church door in Wittenberg, which
was then a small and relatively obscure
town in Saxony. The screed contained
a list of 95 “theses” challenging the
theology (and therefore the authority)
of the then all-powerful Catholic
church. This rebellious stunt by an
obscure monk must have seemed
at the time like a flea bite on an
elephant. But it was the event that
triggered a revolution in religious
belief, undermined the authority of the
Roman church, unleashed ferocious
wars in Europe and shaped the world
in which most of us (at least in the
west) grew up. Some flea bite.
In posting his theses Luther was
conforming to an established tradition
of scholastic discourse. A “thesis”, in
this sense, is a succinctly expressed
proposition put forward as the starting
point for a discussion. What made
Luther’s theses really provocative,
though, was that they represented a
refutation of both the theology and the
business model of the Catholic church.
In those days, challenging either would
not have been a good career move for
an Augustinian monk. Challenging
both was suicidal.
To understand the significance of
this, some theological background
helps. A central part of Catholic
theology revolved around sin and
the consequences thereof. Sins were
divided into three grades – original,
venial and mortal. The first was
what you were born with (because
the default setting for humans was
“flawed”) and was absolved by baptism.
The second category consisted of
peccadillos. The third – mortal – were
grievous sins.
The church had established an
elaborate machine for enabling its
members to deal with their moral
transgressions. They could confess
them to a priest and receive absolution
on condition that they did a prescribed
penance. But for a medieval Catholic,
the visceral fear was of dying with
an unconfessed – and therefore
20
unabsolved – mortal sin on your
record. In that case, you went to hell
for eternity, tortured by perennial
fire and all the horrors imagined by
Hieronymous Bosch.
If you died with just unabsolved
venial sins, however, then you did
time in an intermediate prison called
purgatory until you were eventually
discharged and passed on to paradise.
Being in purgatory was obviously
better than roasting at gas mark
six, and your place in heaven was
ultimately guaranteed. But if you could
minimise your time in the holding area
then you would.
Into this market opportunity
stepped the Roman church with
an ingenious product called an
indulgence. This was like a voucher
that gave you a reduction in your
purgatorial stay. Initially, you could
get an indulgence in return for an act
of genuine penitence – following the
confessional model – or for visiting a
holy relic. But there came a moment (in
1476) when Pope Sixtus IV announced
that indulgences could be purchased
on behalf of another person – say a
deceased relative who was assumed to
be suffering in purgatory, and therefore
lying beyond the reach of confession
and absolution. In a continent of
credulous and devout believers, this
turned indulgences into a very big
business. And, as with the US subprime mortgage market pre-2007, it
got out of hand. By 1517, as Luther saw
it, indulgences had become a racket
in which a crass financial transaction
substituted for the serious duty of
real repentance. A couplet coined by a
particularly enthusiastic indulgencehawker captured this crudity nicely:
As soon as a coin in the coffer rings,
The soul from purgatory springs.
The audacity of Luther’s 95
Theses on the Power and Efficacy of
Indulgences came from the fact that in
attacking the theology underpinning
the doctrine of purgatory they were
also undermining the business model
built upon it. In two consecutive
theses, 20 and 21, for example, Luther
set about attacking the very essence
of papal authority. “When he [the
THE NEW REVIEW | 29.10.17 | The Observer
SHERYL SANDBERG
CEO, FACEBOOK
pope] uses the words plenary [ie total]
remission of all penalties,” Luther
wrote, “he does not actually mean ‘all
penalties’, but only those imposed by
himself.” Therefore, continues thesis
21, “those indulgence preachers are in
error who say that a man is absolved
from every penalty and saved by papal
indulgences.”
This might not look like much to
a modern reader, unfamiliar with
the intricacies of 16th-century
Catholicism, but it was the equivalent
of calling the pope a liar. And in the
Europe of 1517, that was fighting talk.
People had been burned at the stake for
less. In the ordinary course of events,
the church would have squashed
such a turbulent friar as one would a
mosquito. All it would have required
was a letter to his religious superior,
followed by a kangaroo court in Rome,
and that would be that.
But it didn’t happen. Instead,
Luther escaped death, survived
excommunication and went on to light
the fire that consumed Christendom.
How come? Historians cite two main
reasons. The first is that Luther was
lucky in that Frederick the Wise – the
local bigwig who was one of the seven
electors of the Holy Roman Emperor
– protected him and indeed saved his
life (protection that was continued by
Frederick’s heirs and successors). The
second is the printing press, which is
what enabled Luther to “go viral”, as
modern parlance has it.
Of course we’ve known for
eons about the role of print in the
Reformation. But it’s especially
MARK ZUCKERBERG
CO-FOUNDER, FACEBOOK
interesting to look back at the story in
the light of what has happened to our
own media ecosystem in the past few
years. After all, we have lived through
political earthquakes that were fuelled
at least in part by new media, and we
find ourselves contemplating what
has happened with the same kind
of “informed bewilderment” that
must have afflicted Pope Leo X as he
watched his pestilential priest become
the most famous man in Germany.
W
hat happened, in a nutshell,
is that Luther understood
the significance and utility
of the new communication
technology better than his adversaries.
In that sense, he reminds me of Donald
Trump, who sussed how to use Twitter
and exploit the 24-hour news cycle
better than anyone else. But whereas
Trump contributed nothing to the
communications technology that he
exploited, Luther did.
His understanding of the new
media ecosystem brought about by
print has been expertly explored by
the Reformation historian Andrew
Pettegree in a brilliant book, Brand
Luther: 1517, Printing, and the Making
of the Reformation (Penguin, 2015).
Unlike most scholars of his time,
Luther was both interested in and
knowledgable about the technology of
printing; he knew the economics of the
business, cared about the aesthetics
and presentation of books and
understood the importance of what we
would now call building a brand.
STEVE JOBS
CO-FOUNDER, APPLE
He knew, for example, that his
message would only spread if he
gave printers texts that would be
economical to print and easy to
sell – unlike conventional scholarly
books in the early decades of printing.
Because paper was expensive, printing
a standard scholarly tome required
capital resources for buying and
storing the necessary reams of paper.
And because there was no developed
market for distributing and marketing
the result, many printers went
bankrupt – which is why most printing
and publishing was concentrated
in large towns with established
universities where at least some of the
necessary infrastructure existed.
Although the original 95 theses were
in Latin, as were most theological books
of the period, Luther decided that he
would write in German. In doing so he
immediately expanded his potential
market by orders of magnitude. He also
developed a literary style that was, as
Pettegree observes, “lucid, readable and
to the point”. But his masterstroke was
in enabling printers to make money by
publishing his works. Because paper
was expensive, he channelled his
output into extended pamphlets that
could be printed on one or two sheets
of paper, suitably folded into eight or 16
pages at most.
The strategy worked. Within five
years of posting his theses he was
Europe’s most published author. A
printed sermon or a commentary
by Luther was a surefire seller, and
appealingly inexpensive to produce.
The nascent printing industry was quick
JOHN NAUGHTON’S THESES
No 19: The technical is political
This thesis challenges the contemporary
assertion of the tech industry that it
stands apart from the political system in
which it exists and thrives. This delusion
has deep roots – for example in the fact
some of the dominant figures of the
1970s computer industry were influenced
by 1960s “counterculture”, which was
suspicious of, and hostile to, the US political
and corporate system that had enmeshed
the country in the Vietnam war.
The idea that the tech industry exists,
somehow, “outside” of society was
always misconceived, even when the
industry was in its infancy. After all, it
was built on the back of massive public
investment in defence electronics,
networking and research conducted
in corporate laboratories such as Bell
Labs or consultancies such as BBN. But
in an era where it’s clear that Google
and Facebook have, unintentionally or
otherwise, been influencing democratic
politics and elections, it is positively
delusional. We have reached the point
where almost every “technological” issue
posed by the five giant tech companies is
also a political problem requiring political
and possibly legislative responses. The
technical has become political.
No 92: Facebook is many things, but a
“community” it ain’t
One of the favourite phrases of
Mark Zuckerberg is “the Facebook
community”. Facebook is many things,
but a community it is not. It’s a social
network, which is something quite
different. In a social network (online
or off), people are connected by
pre-existing personal relationships.
Communities, on the other hand, are
complex social systems because they
consist of people from different walks
of life who may have no personal
connections at all.
Online groups confirm the power of
homophily – the tendency of individuals to
associate and bond with others of similar
ilk. Facebook provides a framework that
contains innumerable homophilic groups.
But it isn’t a community in any meaningful
sense of the world.
HEALTH
JEFF BEZOS
FOUNDER, AMAZON
KEVIN SYSTROM
CO-FOUNDER, INSTAGRAM
When words fail you
As BBC4 marks World Stroke Day, film producer Nick Fraser
reflects on his recovery following a brain attack in February
I
to respond: Wittenberg, which had a
solitary shambolic printer when Luther
began, was soon home to a handful of
presses, including one run by Germany’s
most accomplished publisher, Moritz
Goltz. Luther, proactive to a fault,
took care to spread his work among all
of these new publishing houses and
was, Pettegree observes, “sufficiently
popular to put bread on the table of
publishers throughout Germany”. By
the time Luther died in 1546, nearly 30
years after posting the 95 theses, this
small town in Saxony had a publishing
output that matched that of Germany’s
biggest cities.
Luther was clearly a remarkable,
complex individual – charismatic,
divisive, inspiring, intense, gifted,
musical, courageous, devout and lucky.
He also had a very unattractive side –
as seen most starkly in the misogyny
and ferocious antisemitism with
which his works are peppered. But
I’ve always been fascinated by him,
and as the 500th anniversary loomed
He understood the
significance of the
new communication
technology: in this, he
reminds me of Trump
and Trump rose to power on the back
of our new media ecosystem, I fell to
pondering whether there are lessons to
be learned from the 95 theses and their
astonishing aftermath.
One thing above all stands out
from those theses. It is that if one
is going to challenge an established
power, then one needs to attack it on
two fronts – its ideology (which in
Luther’s time was its theology), and
its business model. And the challenge
should be articulated in a format that is
appropriate to its time. Which led me
to think about an analogous strategy in
understanding digital technology and
addressing the problems posed by the
tech corporations that are now running
amok in our networked world.
These are subjects that I’ve been
thinking and writing about for decades
– in two books, a weekly Observer
column, innumerable seminars and
lectures and a couple of academic
research projects. Many years ago
I wrote a history of the internet,
motivated partly by annoyance at the
ignorant condescension with which it
was then viewed by the political and
journalistic establishments of the time.
“Don’t you think, dear boy,” said one
grandee to me in the early 1990s, “that
this internet thingy is just the citizens
band [CB] radio de nos jours?”
“You poor sap,” I remember
thinking, “you have no idea what’s
coming down the track.”
Twenty-five years on, I now describe
myself as a recovering utopian.
When the internet first appeared
I was dazzled by its empowering,
enlightening, democratising potential.
It’s difficult to imagine today the
utopian visions that it conjured up
in whose of us who understood the
technology and had access to it. We
really thought that it would change
the world, slipping the surly bonds of
older power structures and bringing
about a more open, democratic,
networked future.
We were right about one thing,
though: it did change the world, but
not in the ways we expected. The old
power structures woke up, reasserted
themselves and got the technology
under control. A new generation of
corporate giants emerged, and came to
wield enormous power. We watched as
millions – and later billions – of people
happily surrendered their personal
data and online trails to be monetised
by these companies. We grimaced
as the people whose creativity we
thought would be liberated instead
turned the network into billionchannel TV and morphed into a new
generation of couch-potatoes. We saw
governments that had initially been
caught napping by the internet build
the most comprehensive surveillance
machine in human history. And we
wondered why so few of our fellow
citizens seemed to be alarmed by
the implications of all this – why the
world was apparently sleepwalking
into a nightmare. Why can’t people see
what’s happening? And what would it
take to make them care about it?
Why not, I thought, compose 95
theses about what has happened to
our world, and post them not on a
church door but on a website? Its
URL is 95theses.co.uk and it will go
live on 31 October, the morning of the
anniversary. The format is simple:
each thesis is a proposition about
the tech world and the ecosystem
it has spawned, followed by a brief
discussion and recommendations for
further reading. The website will be
followed in due course by an ebook and
– who knows? – perhaps eventually
by a printed book. But at its heart is
Luther’s great idea – that a thesis is the
beginning, not the end, of an argument.
was just finishing a talk about
documentaries I was giving in Soho.
I’d been asked a question about
why so many films are seriously
depressing. I remember that I talked
about the great neurosurgeon Henry
Marsh and the documentary about
him, The English Surgeon. The film
followed him to Ukraine as he helped
and taught the local surgeons, who
often resorted to using rusty domestic
power tools to work on their patients’
skulls. I’d talked about him for some
time, enthusiastically explaining how
awed Henry said he felt every time
he opened a patient’s head, and about
how beautiful the brain is. I wanted to
say more – but suddenly I sat down,
and couldn’t say or think anything.
Something had happened to me. I
had gone into a different world of not
making sense. I was taken by ambulance to
University College hospital and given
a head CT scan. There was a blood clot
on my brain. I’d had a stroke, a brain
attack. Time is all-important to stroke
patients, and fortunately I was within
the time frame to be given serious clotbusting drugs. There was something
else they could do, the doctor said,
a procedure called a thrombectomy.
UCH offered the procedure up until
6pm. The time was then around
8pm, but the doctor heroically fought
through NHS protocols and secured
me a trip to St George’s hospital in
south-west London, the only UK
location open 24/7 for thrombectomies.
I was lucky. I remember meeting the
neuro-radiologist who, after putting
me under mild sedation, performed the
extraordinary procedure that involved
sending a very thin wire from my groin
to my brain, and removing one small
clot and one larger one from the left
side of my brain. I could understand the
details of the operation, but I couldn’t
say anything. I wondered if I would be
all right.
The larger clot had been on
the speech area of my brain. I had
escaped physical impairment but
was diagnosed with expressive and
receptive aphasia, which meant I
had been left with communication
issues. As every stroke is different, so
aphasia affects sufferers individually.
Some aphasiacs can’t talk, read, write,
or understand clearly, so they can’t
communicate at all. Some experience
mild speech problems, but are
otherwise unscathed. Others have a
combination of what the clinicians
refer to as communication “deficits”.
I cannot understand the
phenomenon of aphasia. Initially, in
hospital, I could listen to music on my
headphones but I couldn’t understand
the words of people around me or
on television. When I tried to talk,
my gibberish sounded like President
Trump. But I could read, slowly, and
I tried to listen to language in my
head. Friends brought me graphic
books, such as Art Spiegelman’s Maus,
and I reread Animal Farm. I could
understand what George Orwell
was saying. My neurologist made me
read a few sentences from a page.
The words made sense in my head,
but what came out of my mouth was
incomprehensible. I couldn’t write a
sentence or phrase. But the words were
beautiful and made sense to me. I felt
half-whole.
My family and friends encouraged
me, and said I could do it. “Better…
better,” I’d reply to people who asked
how I was doing, when I couldn’t form
sentences. I’d stick to simple phrases.
During weeks in neuro rehab I had
intensive speech therapy. The pictures
the therapists use look like they’re from
primary school books. Back home I had
relays of therapists to push my efforts.
I worked hard and read and read, and
gradually my speech has improved,
gradually my auditory processing has
improved so I understand much more
of what is being said. It’s all to do with
the brain’s plasticity, in which the brain
Former footballer Junior Agogo in the stroke
documentary Speechless. BBC
magically creates new neural pathways
to replace those cells damaged by the
stroke. It is possible to repair, but the
neurologists and therapists can’t tell
you how long it will take, nor the extent
of the restoration.
Today is World Stroke Day, and to
mark it a new documentary is being
shown on BBC4. Speechless traces the
experiences of aphasia patients and
explores the importance of language.
Director Richard Alwyn encountered
the world of aphasia after his brotherin-law’s stroke. Alwyn’s eloquent film
meets aphasiacs, including patients at
the National Hospital for Neurology
and Neurosurgery in London, where
speech therapists can work with
patients for months at a time.
The film shows how the therapists
need to understand the gestures of
patients who have no speech. They
appreciate the depressions that all
post-stroke sufferers experience, and
the frustration and anger of finding
oneself incommunicado.
We glimpse the film-maker’s
brother-in-law, who doesn’t have
language structures but has garbled
phonemes. We encounter Barry,
a businessman and former fitness
fanatic, who has half language and is
exasperated with his situation. After six
months in hospital he isn’t sure that he
wants to be at home either, because he
knows it will be hard to be alone. Junior
Agogo, formerly a Premier League
footballer, talks well but loses his
thread. Sometimes he runs in the park
with his dog, but he is usually in his flat
with his mother, or he stays in bed. He
appears to have lost his self-confidence.
He wants to be going somewhere but
he cannot. Every person in the film
seems to be looking at a hole in the sky,
waiting for something.
These people may be silenced,
but they speak volumes despite their
wordlessness. What comes across
strongly, that I can identify with, is
that the isolation of aphasia can be
profound. When you try to talk, people
turn away. They don’t understand what
you cannot say. It is very frustrating.
People also need to know that it
doesn’t affect intelligence: people with
aphasia still think in the same way
but are unable to communicate their
thoughts easily. And there are a lot of
us. In the UK, an estimated 350,000
people have aphasia, which is more
than those with multiple sclerosis and
Parkinson’s combined.
It must be remembered that
recovery is possible in many cases.
A woman I met recently had a major
stroke and woke up only able to say
“giraffe” and “fish and chips”. Now,
some years later, she speaks well. It is a
sign of optimism and morale. The brain
is awesome, as Henry Marsh says. “You
have improved,” my speech therapist
reminds me, week after week. No one
wants to live in isolation. I want to be
back in the middle of things. I have
been lucky. I will soon be, I hope, what
I was. Be better.
Speechless is on BBC4 tonight at
8pm. This article was written with
the assistance of Nick Fraser’s wife,
Jo Glasbey
The Observer | 29.10.17 | THE NEW REVIEW
21
Section:OBS RW PaGe:22 Edition Date:171029 Edition:01 Zone:
Sent at 27/10/2017 17:53
cYanmaGentaYellowblack
SCIENCE & TECH
‘I CAME
BACK FROM
SPACE
YOUNGER
THAN MY
TWIN’
US astronaut Scott Kelly spent
11 months aboard the ISS, shaving
13 milliseconds off his Earth age in
the process. He tells Andrew Anthony
about spacewalking, recovery and
the scientific value in sending an
identical twin into space
S
cott Kelly is a 53-year-old
American astronaut and a
veteran of four space flights.
He retired last year after
spending 11 continuous
months on the International
Space Station. During his
time on board the ISS, he orbited the
Earth 5,440 times and made three space
walks. He was also part of a study with
his identical twin and fellow astronaut,
Mark Kelly, to examine the genetic
effects of spaceflight. As Mark was on
Earth and Scott in space, they made for
perfect comparative analysis, though
it was not the reason Kelly was chosen
for the mission. He has just published a
memoir, Endurance: A Year in Space, a
Lifetime of Discovery.
What do you think has been the most
important achievement of manned
space travel?
I think it’s how it accelerates our
development of technology, whether its
telecommunications, computer power,
the ability to put satellites into orbit.
I think we’d live in a much different
world if we didn’t fly in space.
You lost several friends in the 2003
Columbia disaster. And as you say, there
Observer
Magazine
‘The
custards
should
quiver
when
gently
shaken’
Nigel Slater’s
lemongrass
crème
caramel
pages 42-45
were many warnings about the foam
problem that caused the accident that
went unheeded. How did you deal with that
knowledge, and did it ever make you lose
confidence in the supporting staff?
It was hard – several close friends
were on that mission, and I nearly
ended up as the pilot myself – but
you cope. Clearly it was a wake-up
call for the whole organisation, but I
didn’t lose confidence. We adjusted
our management philosophy after the
accident. I had faith that Nasa would
conduct a rigorous investigation, and
it was obvious to me during my next
mission that they were proceeding with
an abundance of caution.
What’s the psychological and physical
effect of literally coming back to Earth?
Physically there’s stiffness, swelling
of my legs, rashes where my skin
hasn’t touched anything, nausea. In
space you lose a significant amount of
blood volume. You regain it when you
get back very quickly but what you
don’t regain is the red blood cells you
lost with it and that takes months to
recover. That makes you feel fatigued.
It’s a six- to eight-month recovery.
Then there’s things you can’t feel: bone
loss, muscle loss, structural changes
in my eyes. The effects of radiation
at a genetic level – I don’t know what
they’ll be. The psychological effect, at
least for me, being in this controlled
environment and being told what to do
and when to do it for a year, and then
coming back and not having that type
of structure, it’s definitely a challenge.
Do you know what the twin study of you
and your brother was focused on? And have
you been told about any results?
Mostly genetic research but also
cognitive studies. The research is still
happening. It takes three to five years
for the results to be published, so we
don’t really know much about the
conclusions yet. The one big find so far
was that my telomeres, basically these
things at the end of our chromosomes
that shorten with stress and age,
22
THE NEW REVIEW | 29.10.17 | The Observer
‘I never totally get
why they call it
spacewalking –
you’re crawling
around with hands.
Not exactly a stroll’
actually ended up longer than Mark’s.
It’s the opposite of what the scientists
expected, given the challenging
environment on the ISS, exposure to
radiation, etc. I was already six minutes
younger than Mark but, as Einstein
predicted, I’ve come back six minutes
and 13 milliseconds younger after a
year in space.
What about the sense of being cut off from
humanity. You’re stuck with a handful of
people for months on end. Did that never
torment you?
the spacecraft. Going to Mars and back
is not going to require artificial gravity,
but if you wanted to go to the moons of
Saturn some day, it probably would.
What does the space walk feel like?
It’s pretty crazy. Hopefully, when
people get to that part of the book, it’ll
make them feel like they’re there. I
think it’s like that type two kind of fun.
Type one kind of fun is fun while you’re
doing it, like a carnival ride. Type two is
fun when it’s done. It’s kind of like that.
On one of your previous missions, a
cosmonaut became untethered during a
space walk. What would have happened if
he hadn’t fortuitously hit an antenna that
bounced him back?
Frankly, he would have died – either
from rising CO2 or losing oxygen.
It was a possibility I tried to avoid
contemplating too much when I did it
myself for the first time.
What were the most testing aspects of
your first space walk?
You’re connected with email and you
can make phone calls and follow the
news. On the one hand you’re aware
what’s going on on Earth, but the fact
that you’re not on it does make you
feel a little bit separate. It gives you a
different perspective on our planet,
which is a very beautiful oasis in our
solar system, but at the same time has
a lot of challenges and struggles: the
environment, a lot of war and conflict
and hardship.
Probably the sheer amount of time.
Even before the walk itself, you spend
weeks preparing and studying. You’re
in these incredibly complex suits for
almost 12 hours straight – hours in
advance, and then almost eight for the
walk itself. They work great but can be
really stiff and cumbersome. I never
totally get why they call it spacewalking
– you’re crawling around with hands,
and you’re working and repairing every
second. Not exactly a stroll.
Do you think there’s a limit to how long
people can physically and mentally stay up
in space?
It lasted many hours. Were you at any point
anxious?
I think it would depend on what they’re
doing and what you want them to do
when they’re done being in space. If
you had no choice, you could probably
live there for years. If you’re going to
Mars, I think that’s doable. People are
going to spend years in space and they’ll
want to get back to somewhere with
gravity. There probably needs to be
some kind of artificial gravity as part of
Not especially. I’ve had a knack for
compartmentalising since my days
in the navy. There are so many little
tasks to take care of on a spacewalk –
eight hours is barely enough time to
complete everything we’re assigned.
So I just kept focused on what was
in front of me: my gloves, the pieces
of the station in front of me. I barely
even looked at the Earth looming just
outside my field of vision.
THE SCIENCE
OF…
sadfvs
DAYDREAMING
A TIME TO
WANDER
A study at
the Georgia
Institute of
Technology
found that
daydreamers
have more
efficient brains,
as measured
with an MRI
scanner. Their
superior brain
productivity
allowed time for
“zoning out”.
CRUISE
CONTROL
In a 2017 US
study, drivers
admitted
daydreaming
for 70% of their
time behind
the wheel. In
an experiment
that simulated
commuting,
their minds
were found
more likely to
wander on the
return leg.
Do you think it’s inevitable that at some
point we’ll have some manned space flight
to Mars?
I don’t know if it’s inevitable. It think
it will happen. Inevitable means it has
to happen. It seems to me that, despite
any issues there may be with climate
change and pollution, Earth is much
more inhabitable than Mars, which
basically has no atmosphere or oxygen
or, as far as we know, forms of life. With
our current technology, to go to the
nearest Earth-like planet outside the
solar system would take about 80,000
years. Whoever got on that spaceship,
their ancestors would probably be a
different species.
You say that reading Tom Wolfe’s The Right
Stuff inspired you to become a pilot, which
in turn led to being an astronaut. What
inspired your brother?
Honestly, you’d have to ask him. He had
his life organised far earlier than I did,
so he took the more traditional path to
becoming a pilot and then an astronaut.
Maybe he didn’t need the kick I did
from reading Wolfe’s book. I think he
was also inspired, like I was, by our
families. Our grandfather, a merchant
marine officer and fireboat captain, and
our mother, who put in tremendous
work to join the local police force. It
inspired us to try the hardest thing we
could manage to find.
And was there ever rivalry between you?
Not really. Though technically it did
take him two tries to get into Nasa
– his first application got rejected. I
sometimes remind him.
If there’s one moment you could relive as an
astronaut, what would it be?
Coming back from space after a year.
Just the smell after the Soyuz hatch
opened. I can’t imagine a better feeling.
Endurance: A Year in Space, a
Lifetime of Discovery is out now
(Doubleday £20). To order a copy for
£17 go to guardianbookshop.com or call
0330 333 6846
A selfie taken
by Kelly while
on board the
International
Space Station,
12 July 2015.
Photograph:
Scott Kelly/
Nasa via AP
THE FACTS OF
THE MATTER
Daydreaming
can improve
fact retention,
says a study
from the
University
of Texas at
Austin. “We
think replaying
memories
during rest
makes them
stronger,” said
researcher
Alison Preston.
COMMENT
Hannah Jane
Parkinson
Trump breaks Twitter’s
rules, so why not ban him?
I
magine, for a moment, that the
tweeting president fell silent. That
the wings were clipped. Imagine
that threats of nuclear war were
no longer casually tossed off from a
rogue thumb.
Trump sent 1,002 tweets in his first
six months in office (perhaps slightly
more times than he’s played golf, but
not by much). That’s in addition to
the 8,144 tweets he sent during his
campaign. Obama was known as the
Facebook President and Trump has
become the first Twitter President.
Trump occasionally uses Twitter
in a constructive way (to announce
policies), but more often he tweets
like a petty, pugilistic teen or a troll.
Twitter, of course, is notorious for
not dealing with abuse well. It’s
why former CEO Dick Costolo told
employees he was “frankly ashamed”
at how the company “sucked” at
dealing with abuse. It’s why companies
such as Disney backed away from
a buyout. It’s partly why a select
committee addressed the issue in
the UK and Yvette Cooper set up the
Reclaim the Internet campaign. It’s
why users have often staged protests
or left altogether (hi, Ed Sheeran).
The company is on the defensive,
with co-founder Biz Stone tweeting:
“Y’all pile on us. You really think the
issue doesn’t weigh on us? And you’re
so dismissive of the Trust and Safety
team. We’re all people.”
The platform’s terms of service
reference a wide variety of offences,
but these are applied haphazardly. For
a company obsessed with doing better
at “transparency”, seemingly releasing
a statement to this effect each month,
its decisions are nearly always opaque.
Inquiries usually elicit the standard
response that the company does not
comment on individual cases.
Frequently, instances of misogynistic,
racist, antisemitic abuse are kept
online, even after these blatant
breaches of terms of service have been
reported. High-profile individuals
with track records of abusive use
have been suspended or banned
only after sustained pressure (for
instance, rightwing provocateur Milo
Yiannopoulos after his sustained hate
campaign against the actor Leslie Jones;
The reason Twitter gives for not banning
Trump is that his tweets are ‘newsworthy’.
rapper Azealia Banks, who spouted
racist venom at pop singer Zayn Malik).
It is clear that Trump breaks a
number of terms as defined in the small
print: abusive tweets (including other
users’ handles); threatening tweets;
retweeting antisemitic memes. But it’s
a pie-in-the-sky idea that Trump would
ever be banned, right? The explanation
Twitter gives for not banning him is that
his tweets fall under “newsworthiness”,
a defence that wasn’t afforded actor
Rose McGowan, who was suspended for
doxing – the practice of broadcasting
private information – while leading
a worldwide conversation on sexual
abuse. The Weinstein story, of course,
is the biggest of the past month –
wouldn’t removing the tweet have been
sufficient? Twitter wants it both ways:
to be viewed as a tech company and not
a media company, but maintaining that
“newsworthiness” is a core part of its
service. If that is the case, then it should
be taking proper editorial decisions
and adopting the responsibilities
of a publisher.
What if Twitter did the brave,
unthinkable thing: took a stand and
banned Trump? Impossible? Well,
Silicon Valley has opposed the mogul
in other ways. A trio of Facebook,
Google and Microsoft CEOs all
criticised Trump’s decision to pull out
of the Paris climate agreement. Intel,
Under Armour, Uber and SpaceX
representatives (including Elon
Musk) stood down from Trump’s tech
council. But the problem for Twitter,
without stating the obvious, is that
Trump is the most powerful man in
the world – pissing him off probably
isn’t a great idea. But there’s a second
reason – Twitter might need Trump.
The president has helped increase
engagement on the platform – and
added value to the brand.
Yet Trump hasn’t done much to
increase the number of users (people
don’t need to sign up to Twitter when
media outlets report his every tweet).
He’s has added just 2 million daily active
users to Twitter (though 72 million to
Facebook), and even that effect has
levelled off. But Forbes still estimates
that he is worth around $2bn to the
company, precisely because news outlets
pick up his tweets and increase brandname recognition. But might it be the
case that in taking such a monumental
stand to ban him, the entire world would
reward the company?
Despite the fact that, as a private
company, Twitter is under no
obligation to protect Trump’s first
amendment rights, one can imagine
the “alt-right” uproar. But detoxifying
the platform is clearly something
that users want to happen (unlike the
unwanted changes Twitter pushes on
us all the time). Suppose it did happen,
what would Trump do? Finally
get his press conferences in order?
Would the billionaire Mercers behind
Cambridge Analytica set up an entirely
new platform? Or would he just start
endlessly texting Fox News reporters
to get his message out there? One wag’s
solution was for Twitter to not ban but
just mute Trump, so he tweeted forever
into an abyss, and the rest of us could
live in peace.
Of course, the idea that one of the
biggest companies in the world would
ban one of the most important people
in the world is unprecedented. But so
much of what Trump does and how he
behaves is unprecedented. We are living
in bizarre times indeed. That’s why it is
not hyperbole to write that in banning
Trump, Twitter would be changing
the world. And isn’t that what tech is
supposed to be all about – disruption?
B E TA T E ST I N G : I N N OVAT I O N S I N S P E C T E D
#71 AMAZON KEY
A SHOCKING
RESULT
Despite the
advantages of
daydreaming,
the University
of Virginia
found many
would rather
do anything
other than
be alone with
their thoughts
– even give
themselves
electric shocks.
Ian Tucker
What is it?
A new service, involving
a smart lock and
security camera, that
allows a courier to open
your door and leave
a delivery inside your
home when you’re out.
Bad points
They don’t guarantee
your dog, cat, parakeet
etc won’t escape middrop-off.
Good points
You can watch exciting
live coverage of the
delivery on your phone.
The Observer | 29.10.17 | THE NEW REVIEW
23
Critics
FILM | MUSIC | ARCHITECTURE
DANCE | ART | RADIO | GAMES
THEATRE
It’s top Marx
for the Bridge…
Nicholas Hytner and Nick Starr’s intimate new South Bank
theatre, where the focus will be on new writing, opens
in riotous, melancholy style at home with Karl Marx
Susannah
Clapp
@susannahclapp
Young Marx
The Bridge, London SE1; until 31 Dec
Beginning
Dorfman, London SE1; until 14 Nov
24
London’s newest theatre has landed.
Triumphantly. Two hundred tonnes of
steel on a sprung concrete slab. A place
in which the audience can be wrapped
around the performance area, as in an
Elizabethan theatre – but which has
no pillars to block its view. A space that
seats 900 but which feels intimate and
intense. No subsidy. Seats from £15
to £65. A construction schedule that
would be the envy of anyone who has
ever had a new kitchen fitted.
The Bridge is the base of the
London Theatre Company, set up by
Nicks Hytner and Starr, who ran the
National Theatre together for 12 years.
THE NEW REVIEW | 29.10.17 | The Observer
Architects Steve Tompkins and Roger
Watts of Haworth Tompkins – the
company that has re-created theatres
from the Liverpool Everyman to
the Young Vic – started work on the
site only in mid-2015. Helped by the
rock-gig technology of entertainment
engineering company Tait, they have
made a mighty space: one which feels
utterly secure but which also has
what Tompkins calls the “electrical
connection” between audience and
actors. The steel’s strength allows
galleries to be stacked on top of each
other so that no one is stranded far
away from the stage. The stalls seats
can come out, as they will for the next
show, Julius Caesar, when actors will
move on platforms among the audience.
The wood is oak, the seats are tan
and burnt orange. Spicy – like Mary
Quant’s Ginger Group. There is even
joy in the ladies, where women dart
nervously towards one of 11 doors,
unable to believe there are vacant
cubicles (there are more upstairs!).
All we need now to streamline things
are e-tickets.
As always with a Tompkins creation,
the building draws you in gradually.
From a distance, the sign lights up
the surrounding concrete with a red
glow. Closer up, the scarlet resolves
into constructivist type: stark, except
that, in a witty wink at the seesaw of
Tower Bridge, the “I” is tipsily aslant.
The foyer is one big, uncluttered
room. It steers you from outside to the
auditorium, in which Hytner and Starr
have chosen the right play with which
to begin their theatrical adventure.
The Bridge is going to produce
mainly new plays, “with an occasional
musical and an occasional classic”.
Young Marx brushes off a trad view of a
grand old chap, supplying a new look
at a classic. The evening feels alive
both with truth and with reinvention,
of Marx’s life and of mid-19th-century
London. It is, in more than one sense,
a fresh take on Das Kapital.
In conjuring up the life of the
revolutionary in Soho, where in 1850
he was formulating his political creed
and struggling to support a growing
family, writers Richard Bean and
Clive Coleman say they have taken
only a few liberties. The underlying
gag is that the author of Das Kapital
could not raise the cash to pay the
butcher. True. A domestic plot
hinges on Marx being the father of
a son by the housekeeper, Nym: the
paternity is often accepted, though
disputed by some historians. (There
is a wonderful play to be written
about that son – and his fostering
out.) A shrewd and sometimes
sweet imagination is brought to bear
on the presence of Marx himself,
brilliantly incarnated by Rory Kinnear:
hectic, elusive, opportunistic, wild.
It is a comic, zestfully physical
performance, with poignant touches.
The interdependence of Marx and
‘Zestfully physical’: Rory Kinnear,
Oliver Chris, Harriet and Rupert Turnbull
and Nancy Carroll, top, in Young Marx
at the newly opened Bridge theatre.
Above: the 900-seat auditorium, and
foyer, right, designed by Haworth
Tompkins. Photographs by Manuel
Harlan; Philip Vile
In the ladies, women
dart nervously
towards one of 11 doors,
unable to believe there
are vacant cubicles
Engels (Oliver Chris plays him with
considerable elegance) is hit off with
lovely lightness: they frequently go into
a music hall double act.
Hytner’s production is zippy and
fluid, eased along by Mark Thompson’s
design, which perches a grey cutout skyscape of chimneys above the
Marx’s scruffy sitting room: like a top
hat on a tramp. I don’t think I’ve ever
seen farcical devices – doors flung
open on to secret conversations, bolts
rhythmically clanged shut – employed
to such telling psychological effect.
And, oh, the capering: Kinnear shins
up a wall, appears on a roof, clambers
up a chimney and crams himself
into a cupboard. A great set piece
(choreographed by the peerless Kate
Waters) features a scuffle in the British
Museum reading room – bashing with
books, sliding across tables, while a
luxuriantly bearded Darwin peers
at barnacles and does something
astonishing with a rabbit.
Bean’s play rampages. It also
has notes of sadness, melancholy,
resignation and resistance. Nancy
Hamlet
Glyndebourne
tour
page 28
TV
Things go bump in the 80s
The youngsters of
Netflix’s 80s horror
homage remount
their choppers, while
dystopian youth hit the
road on Channel 4
Euan
Ferguson
@euanferg
Small-town shivers: the young cast of Stranger Things return for Halloween. Netflix
Stranger Things Netflix
The End of the ****ing World C4
The Great British Bake Off C4
Feral Families C4
Bear’s Mission With Anthony
Joshua ITV1
Carroll is very fine as Jenny Marx,
Laura Elphinstone beautifully
composed as Nym. Mark Henderson’s
lighting makes a wistful nocturne
of a scene in which lovers sit on the
floor, smoking cigars in a bailiffravaged room. And the drama ends by
suggesting that the intelligence of these
women significantly contributed
to Marxist thought and
writing. Hurrah for the male
playwrights Richard Bean
and Clive Coleman.
Along with Richard
Bean, David Eldridge
was one of the bright
playwriting sparks
at Hytner’s National.
Along with Bean, he
was a member of the
“Monsterists”, who 12 years
ago called for dramatists to abandon
preciousness and tackle big subjects
with large casts.
In his new play (at Rufus Norris’s
National), Eldridge has challenged his
own call. Beginning is a two-hander
which turns expectations topsy-turvy.
Fly Davis’s beautifully dishevelled
design – bottles, glasses and fairy lights
strewn over a small living room – looks
more like an end than a beginning.
Justine Mitchell and Sam Troughton
(below), circling each other after a
housewarming, are an unlikely couple:
she a well-heeled executive, highly
strung as a racehorse; he tougher,
and wounded, living with his
mother and away from his
young daughter. Both are
differently lonely; both
are compellingly acted –
and danced. They seem
always about to split –
but may be on the brink
of a major commitment.
Their exchanges are
naturalistic but, stretched
out in Polly Findlay’s finely
calibrated production, they become
both agonising and weird. This is the
small-scale monsterised: a cell under
a microscope may prove wild. There
is room both for mini and maxi on
London’s most vibrant theatrical strip –
the South Bank.
Whatever else we may think of our
young people – too pampered, too
entitled, too tremblingly fragile (and
whose fault precisely is that? In this
generally secular world, is it any wonder
that we have tried superstitiously to
stuff children into little vacant Godshaped holes, or that they are doomed
to frustrate expectations?) – one
thing is increasingly clear: there’s a
coming generation of truly fine young
actors out there. Twice in glorious
evidence this week.
The second series of Stranger
Things kicked off, appropriately
enough, on a Halloween theme: kids
riding choppers in a small American
town in 1984; loving moms and pops
dressing them in Ghostbusters outfits
and filming them on early videocams
with their cardboard plasma guns;
pumpkins in fields rotting, savagely
and raw-reeking maggotishly; kids
with telekinesis hurling squirrels
against trees brain-first. If you haven’t
seen the first series, it’s basically 80s
small-town America where, thanks to
a military/scientific facility, Something
Goes Wrong. It’s every Stephen King
novel, ever, and done with immense
style. Also The Goonies, and every
Spielbergian/John Hughes trope ever
offered during that decade, but with a
dose of John Carpenter’s acidic horror
thrown in: the 80s revisited, but for
people who like to start drinking at
10.30 in the morning.
It’s thrillingly moreish, for folk who
like that kind of thing, and lovingly
done. The galloping popularity of
the first series (largely unadvertised,
this was all by word of mouth) saw
Netflix bump its budget from $6m to
$8m per episode, and this has allowed
the flixsters to employ some serious
80s nerds who might wish to get out
a little more: the branded soap (Ivory, which actually floated in water!); the
old arcade games magically working
once more. And the second series
seems to be settling into a serious
exploration of what happens when
a traumatised community starts to
piece itself together, and the acting’s
terrific, especially, as I say, from the
youngsters… there’s a great deal to
shiveringly love, if that’s your bag.
What captivated more, however,
was an easily missed programme
on Channel 4. Despite its asteriskheavy title – I had inwardly sighed;
not another wacky dystopian angry
youths road trip – The End of the ****ing
World was mesmerically fine.
Blackly and bleakly comic in parts,
this adaptation of a graphic novel had
grand scripting, production, filming,
locations and the rest, but all were
utterly outshone by the two young
leads. Alex Lawther, best known for
his phenomenal young Alan Turing
in The Imitation Game, haunted
throughout as the confused maybepsycho with a fat knife down his sock.
Jessica Barden, as the gobby, sweet,
foul-mouthed innocent, was never
less than convincing, either in her
beyond-her-years cynical wisdom
or sudden wee-girl vulnerability.
These two runaways, from boredom,
from adults, from actually having to
manage to tackle sex, had so many
winning ways about them I was
almost physically urging them on
toward the sunlit uplands, where of
course it all went wrong. A dirty, hard
watch, and wonderful.
Bake Off just gets better
and batter, but they
must do something
about the air-con inside
that stupid tent
So how, actually, should we bring up
our children? It was a subject vaguely
tackled in Feral Families, which despite
its clickbait title at least attempted
an honest exploration of the rise in
no-rules home schooling, in which
children are free to dance among
the daisies – or nettles – all day long.
That the programme sought neither
to applaud nor condemn was both its
strength and its greatest weakness:
I could have done with a couple of
warring educational panellists to
explore further; in fact I could have
done with a whole series of this.
No British law obliges anyone to
have their children educated but, as
usual, class was at the heart. I could
almost engage with the Rawnsleys
from Halifax, whose son Finlay
suddenly decided he did want to go
to school – and, after a bit of welcome
order, vouchsafed that most of the
pointless, restricting”…
teaching was “pointless,
and went back to dancing among the
daisies with a polite “Are we done now?
Can I go back?”” to the camera. Archie
from Salisbury, on the other hand,
nt or write, and
can’t read, count
more crucially doesn’t see the
spite grandad
point, ever. Despite
te funding
Mick’s desperate
tor, I suspect
for a private tutor,
Archie never will. I
ere
do wonder where
e
Stacey feels the
heat in the Greatt
British Bake Off
semi-final.
Finlay and Archie will be in 10 years’
time, and also wonder whether so
many of us, and our children, should
count simply “being happy” as the
sine qua non of existence.
“Yes, I make this all the time for my
kids,” twinkled the splendidly dry Noel
Fielding, in answer to an anguished
contestant’s plea on last week’s Great
British Bake Off. “Who don’t exist.”
This show’s semi-final also went a
little retro, in terms of outcome. You’ll
possibly remember the Star Trek of the
70s, and how it often (always?) opened
with four eager chaps beaming down
on to some benighted planet. Kirk,
Spock, McCoy… and one anonymous
crewman in a red onesie. Guess who
was always the first to serve as monster
munch. Something similar was always
destined to befall Stacey Hart, who had
erred only in not opting for Sophie’s
nine-layer coffee opera cake inside a
corseted tutu. Bake Off just gets better
and batter, but they must do something
about the air-con inside that stupid
tent: if this is truly about baking, rather
than ratings, which it obviously isn’t,
surely a constant indoor temperature
for three hours might be a given. I was
appalled to watch Steven’s chocolate
hot air balloon basket literally melt
into his meringue. Appalled, and also
laughing uproariously.
Never been a fan of Bear Grylls,
with his Boy Scout stuff and appalling
eagerness to drink his own wazz. Ray
Mears looks as if he might still pant
a little going uphill. But, annoyingly,
it was Bear, not Ray, who gave us the
survival highlight of the week.
In Bear’s Mission he took heavyweight
boxer Anthony Joshua up and down
the Commando cliffs in Cornwall, and
“AJ” did awesomely well, seriously
well, despite Mr Grylls’s commentary.
“The guns are really working now.”
Guns, in Bear-talk, or moron-talk,
means biceps. Uurgh. I actually felt a
little for the 43-year-old Bear, having
struggled, albeit rather skilfully, with
a 200ft rope crossing, until he landed,
and shouted: “Oof! I’ve still got it! Still
got it!” Penicillin didn’t work then?
Twenty-eight-year-old nice guy
AJ,, on the other hand, hauled himself
clim
to climbing
victory,
abse
abseiling victory,
and rope-cross
vict
victory
with grim
dete
determination and
cloying vertigo. A lovely
man of few words,
bu
but he chooses
tthem wisely. This
column goes to
press awkwardly
eearly, so I can’t tell
yyou the result of his
sshowdown against
C
Carlos Takam in
Car
Cardiff last night.
I know who my
money’s on.
The Observer | 29.10.17 | THE NEW REVIEW
25
Film
FILM OF THE WEEK
The man
who chose
love and life
Andy Serkis’s celebration of polio survivor
Robin Cavendish is heartwarming and
heartbreaking in equal measure
Mark
Kermode
@KermodeMovie
Breathe
(117 mins, 12A) Directed by Andy Serkis;
starring Andrew Garfield, Claire Foy,
Tom Hollander, Hugh Bonneville
Joy is a complicated emotion to
capture on screen – particularly when
your narrative deals with paralysis,
imprisonment and a desire for death.
Yet Andy Serkis’s directorial feature
debut, about the life of pioneering
polio survivor Robin Cavendish, is so
full of laughter that one might easily
forget its sombre subject matter. Part
exuberant love story, part great escape
adventure, this is an old-fashioned tale
of triumph over adversity that refuses
– like its protagonists – to succumb
to confinement. Comparisons with
The Diving Bell and the Butterfly and
The Theory of Everything are perhaps
inevitable, but I was reminded more
of the warmth and wit of the lovely
2014 Edwyn Collins documentary The
Possibilities Are Endless. I honestly can’t
remember the last time I laughed and
cried so much at the same movie.
We first meet Robin (Andrew
Garfield) in a late-50s whirlwind of
cricket and tennis, tea and travel,
sweeping his new bride Diana
(Claire Foy) off to Kenya where she
announces that they are to be parents.
The world is their oyster – until
polio strikes and Robin is paralysed
from the neck down, kept alive by a
respirator. “We’re talking a couple of
months,” Diana is told, while Robin
demands: “Let me die”. Instead,
Diana resolves to remove her husband
from hospital (“You’ll be dead in two
weeks!” insists a doctor) and take
him home. Family and friends rally
round, including eccentric professor
Teddy Hall (Hugh Bonneville), who
develops a Heath Robinson-style
contraption combining a wheelchair
with a respirator. Utilising a bicycle
chain and a set of Sturmey-Archer
gears, the device reignites Robin’s
wanderlust, challenging the restrictive
expectations placed on his condition by
medicine – and by society at large.
Written by Shadowlands author
William Nicholson, and co-produced
by Jonathan Cavendish (son of Robin
and Diana), Breathe is less a labour
of love than a celebration of life – a
proudly upbeat work that isn’t afraid
to smile when disaster looms. Some
sequences, such as the hospital
breakout scene, are played almost
like a Carry On… caper. “That was
interesting,” Robin deadpans after
Hugh Bonneville, Claire Foy, Andrew
Garfield, Harry Marcus and Tom Hollander
in Andy Serkis’s film about the life of
pioneering polio survivor Robin Cavendish.
Imaginari/Kobal/Rex/Shutterstock
Breathe is less a labour
of love than celebration
of life – an upbeat work
that isn’t afraid to smile
when disaster looms
a dog unplugs his home respirator,
leaving him writhing in suffocation.
Later, a visit to a wealthy dowager
(haughtily played by Diana Rigg) to
request funding for more “Cavendish
chairs” prompts the question: “Are we
plucky or pitiful?”
None of which is to suggest that
the harsh realities of Robin’s situation
are sidestepped. In the early stages of
his illness, his silent cry to be allowed
to die is heartbreaking. There’s real
terror in Garfield’s eyes as Robin stares
into the abyss, spitting in the face of a
hospital chaplain who announces that
his suffering is somehow part of God’s
great plan. Later, a visit to a sterile
German hospital finds a room full of
patients in neatly stacked iron lungs,
waiting for death. It’s a horrifying
image that prompts Robin to ask:
“Why do you keep your disabled
people in prison?”
This image of bodies encased in
metal containers is just one variant
of a complex visual motif that recurs
throughout Serkis’s film. Early images
of Robin place him in a sports car, a
biplane, and an open-topped jeep, the
camera soaring over English fields
and African plains, chasing these
magical machines. When Robin is
strapped to a steel gurney and rushed
into hospital, cinematographer Robert
Richardson’s frame closes in, echoing
the claustrophobia of a fireside story
about prisoners crammed into a tin
hut, deciding to die. But when Teddy’s
invention gives Robin wings, the
camera flies again – into the Bedford
DVDS & DOWNLOADS
Guy
Lodge
@GuyLodge
Sometimes a film title comes along that
is so perfectly simple and evocative,
it’s hard to believe nobody has used
it before. How did cinema last well
over a century, for example, without
minting a horror film called It Comes
at Night (Universal, 15)? In any event,
I’m glad it fell to film-maker Trey
Edward Shults to claim this particular
combination of words. Cannily hitting
DVD shelves in time for Halloween, for
which it’ll provide an elegant evening’s
terror, Shults’s second film – following
the smart, itchy family-reunion
breakdown Krisha – is an apocalyptic
nightmare that makes an odd virtue
of its vagueness. It’s often difficult to
determine quite what is happening
and why, and therein lies its sneaking,
shifting dread.
A manner of bubonic plague
appears to have consumed the earth,
sending scowling, antsy patriarch Joel
Edgerton and his family into isolated
survivalist mode. Their rigid rules for
staying alive, however, are bent out
of shape when they take in another
family (headed by the excellent
Christopher Abbott) seeking refuge
from the eerily unidentifiable “it” of
the title. It’s in teasing out the prickly
26
THE NEW REVIEW | 29.10.17 | The Observer
It Comes at Night: ‘an elegant evening’s
terror’. 2017 Rex Features
personal politics of these ostensibly
interdependent groups that Shults’s
film reveals itself to be a less drastic
departure from his debut than it first
seems. What lies outside may or may
not be a zombie dystopia with wellplaced hints of Brueghelian hellfire.
The home fires, meanwhile, aren’t
much more comforting.
If you like your fright-night nerves
a bit more gently rattled, My Cousin
Rachel (Fox, 12) should do the trick.
All immaculately upholstered in navy
satin, Roger Michell’s gliding, gorgeous
Daphne du Maurier adaptation wrings
the novel’s romantic, gothic gloom
for all it is worth, without fudging or
tidying the lasting ambiguities of its
core mystery. (Is it a mystery at all?
Hard to say, even as you tilt it from
one pretty side to the other.) The
film benefits, too, from the secretive
serenity of Rachel Weisz, who found
this role with her name written on it
in all senses. As the black-veiled widow
who becomes a figure of intrigue,
suspicion and desire, usually at once, to
Sam Claflin’s naive Cornwall land heir,
she’s a hoop-skirted femme fatale to
remember, whether truly fatal or not.
You can continue your Halloween
marathon with The Villainess (Arrow,
18). It’s not exactly horror, but then
it’s hard to say what exactly Jung
Byung-gil’s romping, genre-splattering
revenge tale is. The point is that it’s
fast, nasty and head-poppingly violent.
And while you’re still in an offbeat
arthouse vein, round things out with
the snappily restored reissue of the
Coen brothers’ debut noir Blood Simple
(StudioCanal, 18), which still glistens
with purposeful meanness.
Alternatively, look to the inadvertent
horrors of some of this week’s
grotesquely disfigured mainstream
releases. Colin Trevorrow’s already
infamous The Book of Henry (Universal,
12) is an unidentified failing object of
some genuine fascination. At every
turn of its startlingly senseless melange
of family grief weepie and vigilante
psychothriller, you wonder how it can
possibly exist.
Hampstead (eOne, 12) is at least a film
AND THE REST…
A real peach of a romance
Timothée Chalamet
excels in a sensuous
gay love story, while
a Kiwi hammers
Thor into shape
Wendy
Ide
@wendyide
Call Me By Your Name
(132 mins, 15) Directed by Luca Guadagnino;
starring Timothée Chalamet, Armie Hammer,
Michael Stuhlbarg, Amira Casar
van that takes the Cavendish family
on the road, and on to the plane that
transports them abroad; containers
within containers, confinement
ironically bringing freedom.
Having played polio survivor Ian
Dury in Sex & Drugs & Rock & Roll,
Serkis brings compassion and empathy
to the drama, painting Robin and his
fellow “responauts” as explorers with
mountains to climb. The excellent
supporting cast includes Tom
Hollander as Diana’s twin brothers
Bloggs and David Blacker – a dual role
that is niftily executed. Meanwhile,
Nitin Sawhney’s affecting score is
augmented by Bing Crosby crooning
about True Love, from which the
haunting line “Oh, how lucky we are”
strikes a particularly poignant note.
of simpler displeasures. Mismatching
the charms of Brendan Gleeson and
Diane Keaton, it’s a patronising Richard
Curtis-lite romcom that proves that
love can overcome any class division,
as long as the lower-class partner is
clean and inclined towards cottagey
Cath Kidston decor. And Transformers:
The Last Knight (Paramount, 12) is
merely a standard threat. You know
by now what to expect, or not, from
Michael Bay’s clanging, clunking
robocar franchise, and if this endless
instalment is a bit more flamboyantly
delirious than usual,
that’s not enough
to win any new
converts.
Finally, for
some honest
vintage
shudders, head
over to Mubi.
com for the
undervalued 1962
creeper Experiment
in Terror, a surprising
foray into Hitchcockian territory
for versatile auteur Blake Edwards,
and one that has held on to its chill
rather well. Starring a hard-shelled
Lee Remick (above) as a bank teller
terrorised into crime by an at-large
serial killer, it’s not a puzzle but a chase,
its shocks streamlined and effective, its
monochrome photography so beautiful
as to set the viewer’s fear aside for
moments at a time. Curl up and shiver.
There is a moment just before a
teenage crush bursts its dam and
becomes a fully fledged first love.
It’s a moment in which time is
briefly suspended; it’s that shiver of
uncertainty before you dive over the
edge of the waterfall into the kind of
love you could drown in. It’s this – the
exquisite torture of not knowing if
feelings are reciprocated followed by
the helpless flood of emotions – that
is captured so intensely and urgently
in this gorgeous work of yearning.
Director Luca Guadagnino has a gift
for romance.
This adaptation of the novel of the
same name by André Aciman, penned
by James Ivory, forms the concluding
part of Guadagnino’s Desire trilogy,
following I Am Love (2009) and A
Bigger Splash (2015). Of the two, the
new film has far more in common with
the lush, luxuriant sensuality of the
former than the crackling comedy and
riotous misbehaviour of the latter.
Both Call Me By Your Name and I
Am Love explore the dance between
two people who are uncontrollably
attracted to each other. In this case,
it is Elio (Timothée Chalamet), the
precociously cultured 17-year-old son
of an archaeology professor (Michael
Stuhlbarg), and Oliver (Armie
Hammer), the emphatically confident
American graduate student interning
with the professor and his family at
their Bertoluccian summer home in
Lombardy. It’s uncharted territory for
both. They posture and pose for each
other, shirtless and sun-kissed, but
there’s an uncertainty that makes both
hold back. For a while at least.
In the meantime, Guadagnino fills
the frame with images that are fairly
throbbing with symbolic resonance.
The boys’ two bicycles leaning against
a wall, intertwined, one handle bar
hooked through the frame of the other.
The camera lingers on ripe fruit of
the villa’s orchard – peaches figure
prominently, and creatively. Cigarettes
are passed, with offhand intimacy,
from lips to lips.
But for all the confidence of the
film-making, the thing that really
elevates this picture to one of the very
best of the year is the exceptional
quality of the performances. On a
second viewing, I become fascinated
by Amira Casar, playing Elio’s mother,
Anella. Her clear, calm gaze locks on
to her husband and her son as she
translates a German fable to them,
asking unspoken questions of both. “Is
it better to speak or to die?”
Stuhlbarg, meanwhile, carries a
remarkable scene, perhaps the most
important in the film. It’s a speech
in which he effectively rips open his
chest and bares his heart to his son.
Hammer, while technically a little
mature for the role, captures the gilded
alpha male certainty that makes Oliver
so attractive; the casually decisive
way that he moves through the world
unsettles Elio. And Chalamet, with his
restless, impatient physicality and a
face as sensual and sculpted as a fallen
angel from a Caravaggio painting, is
quite simply astonishing. The final
Armie Hammer, left, and the ‘simply astonishing’ Timothée Chalamet as summer lovers in Call Me By Your Name. Sony Pictures Classics
The thing that elevates
this film to one of the
very best of the year
is the exceptional
performances
Asgard, and Sakaar, the junk-strewn
setting for Grandmaster’s gladiatorial
battles, are both strikingly realised.
But perhaps the most fun comes from
the prickly fraternal jostling between
Chris Hemsworth’s lovable lunk Thor
and his trickster stepbrother Loki (an
enjoyably malicious Tom Hiddleston).
scene of the film – the camera rests
on Elio’s face in the foreground as he
processes his heartbreak – is first love
encapsulated in one, sumptuously sad,
single shot.
Deliver Us
Thor: Ragnarok
(130 mins, 12A) Directed by Taika Waititi;
starring Chris Hemsworth, Mark Ruffalo,
Cate Blanchett, Tessa Thompson, Idris Elba,
Tom Hiddleston
The thing that most annoys me about
comic book superhero movies, apart
from the inevitable baffling third-act
onslaught of special effects, is that they
are so intent on hitting the required
beats of the formula that there is very
little space left to squeeze in a sense of
a distinctive directorial voice. In this
at least, Thor: Ragnarok is a departure.
New Zealand director Taika Waititi
(What We Do in the Shadows; Hunt for
the Wilderpeople) takes the helm of the
latest instalment of the adventures of
Marvel’s meat-head minor deity.
And while Waititi is not credited as
a writer, you do get a tangible sense of
his input, not just in the humour of the
film – it’s the funniest Marvel so far
by no small margin – but in the nature
mmon with
of that humour. In common
kumentary
Waititi’s vampire mockumentary
dows, the
What We Do in the Shadows,
dy by
film finds absurd comedy
rdinary
juxtaposing the extraordinary
with deliciously prosaicc
or
details. A badass warrior
te
made of lumps of granite
(and voiced by Waititi
himself ) bemoans a
rebellion that failed
because of a lack of
le
pamphlets. A formidable
n
flesh-liquefying weapon
er, Jeff
wielded by Grandmaster,
meGoldblum’s despot/gameo, with
show host, is referred to,
he
deadpan banality, as “the
melt stick”.
es
The film also manages
a distinctive look – the
r’s
dual backdrops of Thor’s
et,
threatened home planet,
Grace Jones: ‘charm so
d
intense you worry it would
singe your eyelashes
if you got too close’.
(94 mins, 15) Directed by Federica Di Giacomo;
documentary
Sicily, the present day. Veteran priest
Father Cataldo is attempting to cast
out a demon. Modern technology
means that he no longer needs to be
in the same room – his exorcism is
conducted via mobile phone. But the
demon is wearisome and particularly
chatty. Father Cataldo involuntarily
rolls his eyes as he tries to get a word
in edgeways. It’s a scene that sums up
the curious clash at the heart of this
documentary about exorcisms and
the Catholic church – baroque themes
more suited to a horror flick rub
shoulders with the sanitised efficiency
of the modern world.
At an exorcism conference in
Rome, priests chat over lunch in the
canteen. One complains of being
“bombarded by possessed people”. It’s
almost funny, but director Federica Di
Giacomo is careful that the genuine
suffering of the people seeking help
is never reduced to the status of
freakshow entertainment.
Grace Jones: Blo
Bloodlight
and Bami
(115 mins, 15) Direc
Directed by Sophie
Fiennes; documentary
starring
documen
Grace Jones, Jean-Paul
Goude, Sly
Jean
& Robbie
This portrait
o performer
of
and fashio
fashion icon Grace
Jones is, u
unlike its
subject, sl
slightly flabby
undisc
and undisciplined.
It
wanders off on tangents,
following Jo
Jones on a
family reunio
reunion in Jamaica,
eavesdropping on childhood
reminiscences and shared
dinners. Dire
Director Sophie
Fiennes mak
makes the bold
decision of n
not including
any archive ffootage –
this is Grace Jones as
she is now. Fo
Fortunately,
Grace Jones n
now – as
always – is m
mesmerising.
She’s a cham
chameleon with
quixotic m
moods and
charm so iintense,
you worr
worry it would
singe your eyelashes if you got too
close. The film works thanks to the
intimacy of the material – Jones
bares all to the camera – and to
the dangerous drama of her live
performances. It’s a celebration of
defiant, uncompromising originality,
a commodity which is all too rare in
music these days.
Battle of Soho
(101 mins, 15) Directed by Aro Korol;
documentary featuring Stephen Fry, Jenny
Runacre, Drew Caiden, Pandemonia Panacea,
Lindsay Kemp, Daniel Lismore
The ongoing campaign against the
gentrification of Soho is the subject
of this well-meaning but scattershot
documentary. At least, that’s how
it starts out. But then, maudlin and
rambling as a self-pitying drunk,
the film meanders off to take in a
housing campaign in Brixton and
the protests that met the closure and
redevelopment of the celebrated
LGBTQ nightspot the Black Cap in
Camden. A jostling, rambunctious
score does little to pull together
the disparate threads. Soho faces
including Stephen Fry, Johnny Deluxe
and Joseph Corré make a case for the
cultural value of the area, which is
currently being Crossrail-roaded out
of existence.
To its credit, the film attempts to
provide the same kind of open space
for creativity that is being whittled
away by the redevelopment of
London’s grubbier fringes. The result,
however, is an extended sequence
featuring a semi-clad Lindsay Kemp
writhing pallidly on a beach and club
impresario Philip Sallon gleefully
mugging for the camera. A little more
time spent on the history of Soho
would have gone a long way.
Perfect Blue
(79 mins, 18) Directed by Satoshi Kon; voices by
Junko Iwao, Rika Matsumoto, Shinpachi Tsuji
Re-released in acknowledgment of its
20th anniversary, there is no arguing
that Perfect Blue is a groundbreaking
anime. A twisted psychological horror,
the film gets under the seemingly
innocent skin of Japan’s idol culture
– the teen J-pop princesses and the
otaku, or obsessively proprietorial
fans who follow them. It’s particularly
perceptive about the emotional cost
to the girls, marketed on their youth,
once they are forced to move on to
another career. But I found it very hard
to get past the eroticised approach
to rape and sexual violence which is
a pervasive stain on this otherwise
intriguing film.
The Observer | 29.10.17 | THE NEW REVIEW
27
Classical
Fresh prince
David Butt Philip leads
a superb new cast
in this fine-tuned
touring production
of Brett Dean’s
masterly Hamlet
Fiona
Maddocks
@FionaMaddocks
Hamlet
Glyndebourne, Sussex; touring until 1 Dec
Oxford Lieder festival
Various venues, Oxford
One kindred reward of frequent
opera going: to see a singer step up
from supporting role to top billing
in the same work later in the same
season. Brett Dean’s Hamlet won
high praise when it was premiered
at Glyndebourne in the summer
festival, with Allan Clayton in the
title role. That cast, spiced with big
names, was excellent. The British
tenor David Butt Philip particularly
impressed as Laertes.
The work now has a fresh lineup
for the Glyndebourne tour, with
Butt Philip as Hamlet. He leads a cast
that is magnificent on its own terms.
His performance, vigorous but pensive
and self-absorbed, transfers some of
the impetuous physicality of Laertes
to the prince himself, from foil to
foiled: an ideal Hamlet. Neil Armfield’s
beautiful and lucid staging, designed
by Ralph Myers and revived by Lloyd
Wood, has yet greater clarity. Many
uncertainties – mine, if not everyone’s
– first time round fell away. The work
emerges masterful and strong.
This sharpened focus, a paring down
of any slight excess, often occurs in
the transition from festival to autumn
tour. It was noticeable in Barrie
Kosky’s production of Handel’s Saul
(2015), which became tighter, leaner.
In a substantial new work such as
Dean’s, that shift is yet more critical.
Encountering it for the first time back
in June, much scrutiny fell on how
the librettist, Matthew Jocelyn, had
handled Shakespeare’s sacred original
(or, in the case of Hamlet, originals).
Spliced and sliced and reassembled
with great care, it was judged skilful.
Second time round it seems even more
faithful and convincing. Now with
some relief we can stop worrying about
the free oscillations and exchanges of
the text, how many times “or not to
be” occurs or whether Gertrude has
borrowed a line from Ophelia. All that
matters is whether it works as opera.
The audience member overheard
complaining “but we don’t get all the
soliloquies” might count themselves
lucky. It’s already a long work, with a
first half lasting nearly two hours. We’d
still be there.
The conductor Duncan Ward – also
a composer, which can only help in
tackling a score as complex and layered
as this – drew first-class performances
from the Glyndebourne Tour orchestra
and chorus. Dean uses the entire
auditorium, from offstage instrumental
groups and small choruses to live
electronics. Broadly, as an aural
impression, the first half is coloured by
lowest woodwind, alto flute, bass and
contrabass clarinet, contrabassoon,
in ghostly discourse, fluttering,
grumbling, threatening.
The play-within-a-play might feel
long without the arresting accordion
solo, salty and melancholy, played
on stage by Miloš Milivojević. The
shorter second half gives freer rein to
the brass, full of jazzy, muted riffs and
delicate effects. An additional piano
and electronic keyboard, together with
an array of percussion that includes
plastic bottles, stones and sandpaper,
adds to the strange, tactile sound world
Dean has created.
When singers of the distinctive
expertise of Sarah Connolly, Barbara
Hannigan or John Tomlinson create
roles – see the original-cast BBC Four
relay on iPlayer now – there’s a danger
of successive interpreters giving lame
impressions. This was never the case
here. As Gertrude, mezzo-soprano
Louise Winter invented her own
compelling version of regal guilt.
Soprano Jennifer France made an
‘From foil to foiled’: David Butt Philip, who played Laertes in the summer premiere, is recast in the title role, with ‘outstanding’
Jennifer France as Ophelia, in Glyndebourne’s touring production of Hamlet. Photograph by Richard Hubert Smith
outstanding Glyndebourne debut as
Ophelia, holding back on hysteria
until the music called for it. Bass Brian
Bannatyne-Scott made a noble Ghost
and an earthy Gravedigger with his
own Edinburgh lilt. Gavan Ring ’s griefstricken Horatio, William Dazeley’s
feckless Claudius, Jeffrey LloydRoberts’s smooth and ponderous
Polonius, with Rupert Enticknap and
James Hall meticulous and obsequious
as Rosencrantz and Guildenstern
completed (nearly) the marvellous
lineup. Get to Canterbury, Norwich,
Milton Keynes or Plymouth before
2 December. Così fan tutte and Il
We can stop worrying
about how many times
‘or not to be’ occurs. All
that matters is whether
it works as opera
barbiere di Siviglia are also on tour.
The Oxford Lieder festival – this
year more than 50 concerts based
on the theme of Mahler and finde-siècle Vienna – just gets better.
Begun in 2002 by the pianist Sholto
Kynoch, who is artistic director and a
regular performer, it has developed a
boldness hardly imaginable in those
early years. A couple of standard
venues has blossomed into more
than a dozen, including cafe, church,
library, school and pub. Star-name
singers provide a backbone to the
masterclasses and workshops for
young singers vital to the festival’s
work. It includes chamber music too,
often for less obvious combinations.
At Headington school hall, the
youthful Piatti Quartet, with Ann
Beilby (viola) and Guy Johnston
(cello), gave a dashing and sensuous
account of Brahms’s String Sextet No 2,
Op 36, pizzicato cellos and murmuring
violas offsetting the rhythmic bite
of upper strings. The soprano Alice
Privett, stepping in at very short notice,
was a faultless soloist in Zemlinsky’s
scarcely known and voluptuous short
work for voice and string sextet,
Maiblumen blüten überall.
Two Oxford Lieder Young Artist
Platform winners, the duo of bassbaritone Michael Mofidian and pianist
Keval Shah, gave a showcase recital
at Holywell Music Room. Choosing a
wide-ranging programme of Brahms,
Rachmaninov, Wolf and Sibelius, they
proved exceptional. Shah’s playing is
secure, deft and responsive. Mofidian,
from the first, still note of the Brahms
(Unbewegte laue Luft, which opens
on the word “motionless”), showed
himself a singer of immense talent,
capable of linguistic and musical
dexterity and, in a couple of the songs,
a good comic actor too. That he looks
a bit like a young Jonas Kaufmann has
nothing to do with anything but I just
thought I’d mention it.
and phones in the air as he sings with
distinctly rich, gruff intonations.
This is Kojey’s last London show
for the foreseeable future, and there’s
a raw energy that exudes from the
performer like happy electricity, be it in
the grinning asides he makes (“a young
black boy done made it you know!”),
the frequent hugs with his backing band
(“my family”), or the way he clicks his
heels in the air midway through the
quasi-disco shuffle of Love Intersection.
It’s evident that this performance is
something of a moment for Kojey. And
it should be, because all the signs point
to a performer on the cusp of breaking
through to something bigger.
Engaging a crowd in such a
charismatic manner while talking
heavy topics like race and politics is no
mean feat. It’s a testament to Kojey’s
thrilling stage presence that he can
draw his audience in, imploring them
for more energy as, during lyrically
potent After Winter, he challengingly
spits the N-word at the largely white
crowd, angular visuals of dancing black
bodies filling the screen behind him.
He’s attentive too, not shying away
from what gigs can be like for the
women in the audience: “queens, stay
strong for me”. It’s not all worthy,
though – Kojey takes off his shirt at
one point, faux-bashfully requests
“no photos”, and then launches into
the sparse and glitchy song of the
same name. Later, he wryly thanks
his mother for giving everyone his
“chocolatey, sexy goodness”. He also,
surreally, calls out to the Observer,
saying that wherever the reviewer is,
they’d better give the show five stars.
But five stars denotes perfection, and
this isn’t quite there – though the guest
spot from singer Collard on Icarus is
phenomenal – all gorgeous, melismatic
falsetto. Earlier, guest rapper Ghetts
is barely audible when Kojey arrives
onstage for Mood. In fact, the sound
is a little off throughout, and technical
difficulties also – endearingly –
manifest when the mesmerising visuals
behind him briefly revert to someone’s
Mac screensaver of a mountainscape.
Still, this all adds to what feels like an
intensely personal performance, Kojey
inviting the audience to experience
a journey with him. As he stands on
the speaker, surveying the rapturous
crowd during an exuberant encore, it
becomes clear: yes, Kojey Radical is a
rapper, a poet, a singer – but most of all,
he’s actually a bit of rock star. Tara Joshi
POP
Raw, Radical
charisma
Kojey Radical
Village Underground, London EC2
It feels apt that, before poet-turnedrapper Kojey Radical takes to the stage
for his sold-out show at east London’s
cavernous Village Underground, some
big hip-hop songs herald his arrival
– Kendrick Lamar and Drake, for
example, get a whirl from the DJ hyping
the crowd. But it’s oddly more telling
when, after the Hoxton-based artist
leaves the stage, the first song to play is
Rage Against the Machine’s Killing in
the Name. What makes Kojey Radical so
striking is his extraordinary versatility,
which sees him flitting between deft,
heavyweight hip-hop, searing metal,
even smooth, soulful sounds. He is
bookended accordingly.
Kojey (real name Kwadwo Adu Genfi
Amponsah) makes earnest, conscious
rap with a vitality that recalls everyone
from Saul Williams, Ghostpoet, Loyle
Carner and his dubbier, more industrial
contemporary Gaika to, well, Zack de la
Rocha. His musical catalogue is as likely
to see people headbanging (he’s playing
with an excellent, roaring live band
tonight) or swaying their lighters
28
THE NEW REVIEW | 29.10.17 | The Observer
‘He draws his
audience in’: Kojey
Radical at Village
Underground.
Photograph by
Sophia Evans for
the Observer
Architecture
Welcome to the Bloombergeum…
Foster and Partners’ new Bloomberg HQ boasts beehives, a wellness centre, ‘breathable’ office space and its
very own Roman temple. The City hasn’t seen such an ambitious homage to corporate power in decades
Rowan
Moore
@RowanMoore
Bloomberg European HQ
Queen Victoria Street, London EC2
What, you might ask, when walking
around Bloomberg’s new headquarters
in the City of London, are these giant
cabbage leaves, these water-washed
organisms surging from below, these
invaders from 1950s sci-fi, doing in the
pavement? They’re art, is the answer,
by Cristina Iglesias. They’re there to
recall the dark, squelchy side beneath
the City’s whirr of calculation, layers
of past life going back to the Romans,
the buried river Walbrook – the Iain
Sinclair/Peter Ackroyd version of
London as a protean mulch of decay
and mystery.
What, you might then ask, have these
Hadean intimations got to do with the
technological innovation of, say, the
light-fittings-cum-microphones in a
high-level meeting room elsewhere
in the complex, which use techniques
derived from stadium sound systems
to capture the voices of the high-level
attendees, sample the background noise
and modify both such that everyone can
speak in a normal tone. “Voice lift”, the
only slightly creepy technology is called.
The answer this time is because
this is the Republic of Bloombergia
– the territory of a potent, largely
enlightened financial software, data and
media company so all-encompassing
in its vision that it takes ownership
of both the id and the superego of the
City of London, its past, present and
future, whole millennia of its existence.
It is the reflection of the desires of
the company’s founder and CEO, the
arts patron, vocal Brexit critic and
former mayor of New York, Michael
Bloomberg, who wanted to create
both a “transparent” and egalitarian”
workplace and to contribute something
to the city around it. This is not just
an office building, or rather two
buildings joined by a glass link. It’s a
full-spectrum chthonic-to-celestial,
cultural-social-technological, naturalsynthetic, virtual-real, analoguedigital phenomenon.
Bloomberg HQ, which is said to
have cost £1bn, makes its own nature.
It is scrupulously ecological, with
procedures, for example, for stripping
the wax from the thousands of paper
cups used each day. It operates a
net-zero-to-landfill policy and aims
for zero net water consumption. It
has vacuum-flush toilets. It harvests
its own rainwater. It is a “breathable”
building, with fresh air passing
through bronze fins in the exterior
walls and leaving through vents in the
roof. Its half a million LED lights are
40% more efficient than conventional
alternatives. According to the official
measure of sustainability, it has set new
standards in office building.
It has beehives on the roof and fish
tanks (both marine and freshwater)
in the sixth-floor “greeting, relaxing,
collaborating space”, also called the
“Pantry”, at whose free food counter
staff and visitors will sometimes be
able to sample those bees’ honey. Its
exterior structure is of 9,600 tonnes
of Derbyshire sandstone, which
Bloomberg says makes it the most
extensive use of stone in the City of
London, and possibly the capital as
a whole, in a century. Its curvaceous
entrance is timber-lined. The floors of
the vast offices, on which up to 6,700
people can work, are also timber.
Rarely is this nature just nature.
It is biobloombergology. The stone
is engineered into prefabricated
composite sections, seamlessly
assembled. Wooden walls are micro-
‘Starship
Enterprise and
baroque palazzo’:
Bloomberg HQ’s
triple-helix ramp
and atrium
rooflight (above)
seen from the
sixth-floor Pantry,
which also
overlooks St Paul’s
Cathedral, below.
Left: the exterior
of bronze fins and
Derbyshire stone.
Nigel Young/
Foster+Partners;
James Newton
perforated for acoustic reasons, the
floors fixed to magnetic plates, so
they can be lifted easily to access the
wires and pipes underneath. The
ceilings are made of 2.5m aluminium
“petals” which skilfully contain the
requirements of lighting, cooling and
acoustic absorption. And because, as I’m
told, “pot plants are not something that
Bloomberg embraces”, a multi-species
living wall is installed in a conservatorylike space next to the Pantry. It’s all a
bit Philip K Dick. Where, I want to ask,
do you keep the electric sheep?
All of which is hardly to speak of
the architecture per se, designed by
Foster + Partners. It is, although the
connections between its parts are
sometimes oddly disjointed, splendid. It
is hard to recall when a single company
last put so much into its headquarters
in the City. Richard Rogers’s Lloyd’s
building perhaps, in 1986, which is
more spectacular on the outside. A
closer relative, conceptually though
not stylistically, is Edwin Lutyens’s
building for the Midland Bank, a 1920s
stone mountain a minute’s walk from
Bloomberg, whose luxuriant interiors
of mahogany, oak, marble and African
verdite have recently been converted
into a luxuriant multi-restaurant hotel
called the Ned.
The Bloomberg complex follows a
pattern common in the City, Lutyens’s
bank included, of hiding a fascinating
inner world behind a formal front – an
analogy, that is, of the combinations of
display and privacy with which the City
operates. The Bloomberg elevations
are gridded and regular, offering all
that bronze and stone to the world, the
masonry shaped and curved around
columns and soffits so that it looks
more like something moulded than
assembled out of individual pieces.
Through an understated entrance,
a choreographed sequence takes you
through a lobby in aerodynamically
curved timber called the “Vortex”,
where lifts have been designed so that
the mechanisms and structures of their
shafts – visible through the glass walls
of the cars – are as neat and concealed
as possible. You are obliged to travel to
the sixth floor, even if your business is
on a lower level, in order to experience
the Pantry. From here, great spiralling
ramps not unlike Richard Serra
sculptures take you up or down to
decks of office space containing up
to 800 people each, populated with
special Foster-designed desks, under
those glittering “petal” ceilings
spreading towards infinity.
Metaphors and allusions come easily
enough – it is Starship Enterprise and
baroque palazzo at once, somewhat Ian
Fleming, the interior of the personal
volcano of a benign Blofeld. There are
those aquariums and, behind a big glass
wall, a majestic view of St Paul’s, as if it
were itself a great stone fish captured
and put in a tank. There is an interest in
screens, the medium of the Bloomberg
business. The framed views of both
buildings and fish, meanwhile, begin
to look like screens: things become
screens and screens become things.
Then, on a site where Thomas More
lived and may have written Utopia,
there is the playing out of Bloomberg’s
ideals of a working community. Open,
column-free floors combine with
a wellness centre, and spaces for
reflection and even prayer. Externally,
in keeping with Michael Bloomberg’s
stated belief in giving something to
the public, an arcade runs through
the middle of what was formerly a
closed-off site, lined with independent
food-and-beverage outlets selected by
Bloomberg’s hired food critic.
Inside and out, there is a programme
of high-end arts commissioning –
Michael Craig-Martin, Langlands
& Bell, Olafur Eliasson, the Cristina
Iglesias – which rather than a series
of objects creates a sort of field of art,
in which different elements of a single
artist’s work reappear in different
parts of the building. It reinforces the
field-like properties of the complex
as a whole, the sense of a pervasive
intelligence, a Kirk-Spock figure
controlling the art, architecture,
technology, sustainability, catering and
wellbeing strategies.
The combination of benevolence
and control extends deep into the past,
this being a site rich in archaeology:
14,000 significant finds, including
Roman saddles and shoes preserved
by the damp earth, were dug up and
preserved. The opportunity was also
taken to renovate and relocate the
remains of the London Mithraeum, a
Roman shrine which attracted tens of
thousands when discovered in 1954,
but was then moved to a desolate and
obscure platform nearby. It is now back
“as close as possible” to its original site,
with a new “immersive experience”,
opening later this autumn .
As usual with corporate generosity,
the gifts are two-edged. The HQ
–Bloombergeum, as this temple to
the Empire of Information should
be called – genuinely enriches its
surroundings. The Mithraeum, free to
enter, will be more readily appreciated
by more people than at any time since
its discovery. Given that few companies
would be brave enough to do this
much, gratitude is in order. At the
same time there is something weird
about this essential fragment of British
history being tucked into the skirts of
a huge corporate complex. This, right
now, is the way it goes.
The Observer | 29.10.17 | THE NEW REVIEW
29
Dance
MacMillan’s genius marred by misogyny
Not even the Royal Ballet’s finest can
make the brutal subject matter of the
choreographer’s final work palatable
Luke
Jennings
@LukeJennings1
The Judas Tree
Royal Opera House, London WC2;
ends Wed
Kenneth MacMillan choreographed
The Judas Tree for the Royal Ballet in
1992, and it has baffled and dismayed
audiences ever since. As MacMillan
told Jann Parry, at the time the
Observer’s dance critic: “There are
things in me that are untapped and
have come out in this ballet that I find
frightening. This is a dark one.”
Now 25 years old, the ballet has
been revived as part of Kenneth
MacMillan: A National Celebration.
The curtain rises on a set designed
by the Scottish artist Jock McFadyen.
In the foreground, an east London
building site, dereliction, and wrecked
cars. In the background, the Canary
Wharf tower. Several men enter.
We understand them to be builders,
although their muscle-mag appearance
and narcissistic attitudes make them an
unlikely labour force. Directed by their
foreman (Thiago Soares), they carry in
30
a young woman (Lauren Cuthbertson),
whom they ritualistically awaken.
She slinks ruttishly around the stage,
lowering herself into crotchy pliés
à la seconde, and whipping her legs
suggestively skywards.
As she hurls herself at the men, the
foreman grows increasingly jealous.
A series of anguished confrontations
leads to him beating and abusing
the woman until she falls, broken, to
the stage. She’s revived by one of the
workmen, but then, with the foreman’s
encouragement, savagely gang-raped
by the others. Afterwards she clutches
her groin and, in acute distress,
publicly condemns the foreman,
who responds by breaking her neck.
The gang then turn on another of
their number (Edward Watson), who
has abstained from the rape, and
kill him. The foreman, aghast at the
consequences of his actions, climbs up
on a gantry and hangs himself.
These are the bare bones of the piece,
and they are dark indeed. In Different
Drummer, her biography of MacMillan,
Parry describes the diverse source
material in which the choreographer
and the composer Brian Elias, whose
nervy and complex score underpins
The Judas Tree, immersed themselves.
This includes the so-called gnostic
gospels, discovered at Nag Hammadi
THE NEW REVIEW | 29.10.17 | The Observer
Thiago Soares and Lauren Cuthbertson in The Judas Tree. Photograph by Tristram Kenton
in Egypt in 1945, on which the ballet is
based. The foreman, we learn, is Judas,
the lynched man Jesus, the woman
Mary Magdalene. The brutal narrative
that unfolds on stage is a symbolic one,
as indicated by the cruciform poses and
other Christian imagery with which
the work is replete.
All of this makes sense, but it’s hard
to believe that the study of esoteric
texts alone led to such a visceral
outpouring on MacMillan’s part. It
was surely also those untapped things,
many of them revealed or hinted at
in Parry’s biography. MacMillan and
his mother were, by his own account,
“far too close”. He was breastfed
until he was four, and two years later
witnessed his parents having sex. He
may also have been subjected to sexual
experimentation by his older brother.
When he was 12, his mother died,
following a period of illness during
which she was subject to fits, seizures
and incontinence, and he was required
to “kiss her cold, dead lips”.
Did these events, and the “betrayal”
of his mother’s departure, find their
expression in The Judas Tree? Shaken
loose, perhaps, by the gnostic gospels’
depiction of the human soul on earth
as a contaminated prostitute, and
Mary Magdalene as “the whore and
the holy one”? The Judas Tree contains
fine, formal choreography, to which
Soares, Cuthbertson and the other
Royal Ballet dancers do full justice. But
to present misogyny and gang-rape
on stage and then explain it away as
symbolic, as metaphysical rather than
physical, is disingenuous. The Judas
Tree makes voyeurs of us all.
Art
Monstrous
ears trump
stony faces
‘Determinedly
unintriguing’:
Madame
Cézanne, 1886-7
by Paul Cézanne.
Below: The
Pastry Cook of
Cagnes, 1922-3
by Chaïm
Soutine.
© Philadelphia
Museum of Art;
Christie’s Images,
London/Scala,
Florence
Bringing more than 50 of Cézanne’s portraits
together underlines their unyielding quality.
Plus, the wildly original Chaïm Soutine
Rachel
Cooke
@MsRachelCooke
Cézanne Portraits
National Portrait Gallery, London WC2;
until 11 February
Soutine’s Portraits: Cooks,
Waiters & Bellboys
Courtauld Gallery, London WC2; until 21 Jan
Paul Cézanne’s first portrait is thought
to have been a painting of a man in his
early 20s: a brooding, liverish fellow
straight out of the Grand Guignol, or
a novel by Mary Shelley. Dressed in
a coat of blood-red velvet, his skin
is tinged with green, his lips with a
peculiar shade of tangerine. If his
brow seems unnaturally wide, the
forehead of a phrenologist’s dreams,
then his inky moustache is certainly
too sinisterly drooping. Above all,
there are his eyes: joke-shop globes
of black, white and scarlet that stare
accusingly at all who stand before him.
For a moment, I considered the thatch
of his tobacco-brown hair. If I looked
hard enough, would I find a pair of tiny
horns in its midst?
It’s with something of a start that
you discover this painting, arresting
but just a little ridiculous, depicts none
other than the artist himself (SelfPortrait, c1862-4). Cézanne, after all,
claimed to be uninterested in human
psychology; his portraits, stark and
emotionless, are a “record of the thing
regarded” (my italics), not an effort
to capture the soul of the sitter. This
one, however, is all mood, and little
else: here is Cézanne’s notoriously
combative personality reduced to
an elaborate cartoon, a Halloween
mask by way of Caravaggio. As such, it
makes you wonder all the more about
the later portraits (he painted almost
200 in his career). The gap – we might
better call it a chasm – between this
early intensity, and the sculptural
blankness of the faces that followed
is undeniably bizarre. Why, you ask
yourself again and again, are there no
shades in between?
The National Portrait Gallery’s
major new exhibition, which brings
together for the first time more than
50 of Cézanne’s portraits, confirms
what I’ve long half-suspected, which
is that while his depictions of people
are easy to admire, they’re extremely
difficult to love. Yes, the development
of his technique, from brush to palette
knife and back again, is impressive; the
level of abstraction involved in the later
work remains astonishing for the time.
Looking at The Smoker, that famous
painting of 1893-6, it’s impossible not to
think of Braque and Picasso; Cézanne’s
interest lies as much – if not more – in
the unlikely geometry of the table on
which his subject rests an elbow as in
the man himself. But en masse, these
paintings are as unyielding as flint.
Only two performed that unholy trick
of reaching my heart intravenously,
without my even noticing a line had
been administered. The first was
Fortuné Marion (1870-1), in which there
is something almost flirtatious – those
cow eyes! – in the face of Cézanne’s
hirsute, geology-loving friend. The
second was The Artist’s Son (1881-2),
where the tension between the way
Cézanne depicts the young Paul, all
gorgeous, mother-of-pearl flesh, and
the grey-blue that shrouds the wider
canvas, speaks of distance as well as
love (he may have doted on his child,
but he did not always live with him).
Included are several paintings of
Cézanne’s wife, Hortense Fiquet (he
made 29 in total). They intrigue, I
think, simply by dint of the fact they’re
so determinedly unintriguing, their
subject appearing before us like an
Easter Island statue (or, should she
be sewing, a domestic servant). In
Madame Cézanne in a Red Armchair
(c1877), completed nearly a decade
before their marriage, Hortense has
a semi-regal appearance; her skirt,
at least, is sumptuous, even if her
Esther Perel is a psychotherapist from
Belgium who is, says Wikipedia, known
for “exploring the tension between
the need for security and the need
for freedom in human relationships”.
Perel has done TED talks watched by
7.5 million people, written a bestselling
book that’s been translated into 24
languages, she’s highly respected and
feted internationally. Yet, busy as I
was, tottering along my own security/
freedom tightrope, I knew nothing
about her until recently. Now, I’ve been
able to listen to her in action. And it is
utterly fascinating.
The second series of Perel’s podcast,
Where Should We Begin?, started
last week. In the first episode, as in
every one, we got to hear a couple’s
counselling session. Certain details are
changed, for anonymity, and every so
often, Perel breaks out of the session
to explain what she’s thinking, but for
the most part, you’re right in the room.
Here, the couple’s problem was not
their own solid, loving relationship, but
He paints his boys like
dukes – caps where
there might otherwise
be a coronet; aprons in
place of velvet robes
face has a flat, mask-like quality.
After this, however, Cézanne grows
less interested in using dress as
modulation. The stoniness takes over.
Personally, I can’t go along with the
conviction of the exhibition’s curator,
John Elderfield, that in later portraits
she is more “vulnerable”, unless he
sees her impassivity as a shield. Look
at the later Woman with a Cafetiere
(c1895), moreover, and you’ll find
much the same inscrutability. Here,
a stranger’s coffee cup has almost as
much to tell us as her face.
Also gathered together for the first
time, along the Strand at the Courtauld
Institute, are Chaïm Soutine’s portraits
of cooks, waiters and bellboys,
painted mostly in Paris in the 1920s
and 30s, by which time the Russianborn Soutine (1893-1943) was newly
wealthy, and thus able to patronise
the establishments where they were
employed. I urge you to see them, for
they are wildly original, the artist’s
interest lying in the contrast between
his subject’s personalities, whether
sullen or puckish, and their uniforms,
garments that seek to reduce them
to their mere function. Their ears, in
particular, have an antic quality that
may be unique to 20th-century art;
the lugs of The Pastry Cook of Cagnes
(1922-3) are as big as satellite dishes,
and about 10 times as monstrous.
It is, you suddenly understand,
in these twisted jaws and crimson
jackets that Francis Bacon found
such inspiration (it must be because
there are only two works by Soutine
in British public collections that I had
not grasped this before). Soutine paints
his boys – these portraits are mostly,
though not exclusively, of men – like
dukes, caps and toques where there
might otherwise be a coronet, bow
ties and aprons in place of ermine and
velvet robes. It is moving to see, even if
you find, as I do, the artist’s brushwork
to be a bit lumbering at times. He
doesn’t give them dignity, exactly.
They’re as comical as they are stoical.
But simply by having brought them
out of their kitchens and corridors,
they are at last seen: newly crowned
kings of his studio, if not of the
institutions whose expensive wheels it
is their life’s work to oil.
the relationship they were having with
their daughter. After years of being a
successful student, she had withdrawn
into her room to sit at her computer
for 14 hours a day. Perel’s insights were
instantly enlightening. The parents had
kept the situation private. “You think,”
said Perel, “you are protecting her,
by colluding with her. But
you are doing a parallel
process. She’s not talking,
you’re not talking.
She’s trapped, you’re
trapped.” Therapy is an
amazing thing, and Perel
is a great therapist.
Plus, her Belgian
accent can’t help but
remind me of someone...
She’s the Hercule Poirot of
emotions. She doesn’t have the fragile
ego and showiness (nor the twirly
moustache), but she has the detective’s
unerring ability to spot clues, put
them together and make the couple in
the room – and those of us listening
in – understand what has actually
happened, what is taking place right
now. The first series of Where Should
We Begin? is free on iTunes (episode 4,
The Addict, is a mind-blower), but
the new series is on Audible, which
means you pay for it. I expect it will
be free once the series ends.
Whether you can wait is up
to you. Every episode is as
gripping as a thriller, and
as moving as any real-life
documentary.
If you were in the
mood to be moved,
Adrian Chiles’s interview
with ex-footballer Clarke
Carlisle (left) and his
wife, Carrie, on 5 Live Daily
last week got the tear ducts
working. I’ve been a bit rude about
Chiles in the past – he can seem sleepy
and unengaged – but he is a natural,
sympathetic interviewer and he was
excellent here. Carlisle suffers from
depression and, in September, left his
Preston home, set on killing himself.
He was spotted in a Liverpool park
by a man whose friend had recently
committed suicide, and who sat with
Carlisle, cried with him – and saved
him. Carrie Carlisle said something
very astute: “If I could go back, I would
stop using my own mental framework
as a reference.” The polar opposite of
every unhelpful why-don’t-you-justpull-yourself-together remark.
If all these emotions were a bit
much, you could enjoy a broadcasting
taboo being smashed on Tuesday’s
Woman’s Hour, courtesy of Jane
Garvey’s interviewee Katy Tur, a
reporter on the Donald Trump trail. It
was fascinating stuff, right up to and
including the moment when Tur talked
about the T-shirts women wore at
Trump rallies. Some, she informed us,
had “Hillary is a C-U-N-T on them”.
Woman’s Hour listeners can all spell.
So can their children, and it was halfterm last week. Garvey made the usual
apologies, but it did make me smile.
Laura Cumming is away
RADIO
The female
Poirot of the
talking cure
Miranda
Sawyer
@msmirandasawyer
Where Should We Begin?
With Esther Perel Audible
5 Live Daily 5 Live
Woman’s Hour R4
The Observer | 29.10.17 | THE NEW REVIEW
31
Releases
ALBUM OF THE WEEK
ELECTRONIC
Fever Ray
POP
Kelly Clarkson
Plunge
Meaning of Life
(PIAS)
(ATLANTIC)
Trailed by a mysterious video, preceded by
an arresting single, To the Moon and Back,
and stealth-released on Friday, Fever
Ray’s first new music in eight years finds
Karin Dreijer (she seems to have lost the
Andersson) in fierce form. Pitch-shifted
into a pervading mood of menace, Dreijer’s
vocals grapple with sex and relationships,
with political engagement never far away
(“Free abortions and clean water!” she
huffs on This Country). Her electronics,
meanwhile, are unrelentingly engaging,
never just hitting presets. IDK About You
uses a female gasp as percussion while
the title track is an easygoing instrumental
that suggests Kraftwerk. KE
Henry Jamison’s debut is ‘an unshowy, literate gem’.
Through a glass, brightly
FOLK
Henry Jamison
The Wilds
(AKIRA)
There are so many songs about
drinking. There are probably nearly
as many about giving up. But there
aren’t all that many songs about one
modern situation: your lover’s newfound sobriety, and where that leaves
you. A drinker? Supportive? In denial?
Or, as Henry Jamison, an insightful
Vermont singer-songwriter, puts it
elliptically on a song called Dallas
Love Field: “Black as the kettle’s the
hypocrite pot/ Often than more, more
often than not.”
Jamison is a prematurely bearded,
bespectacled twentysomething who
is just one EP old. His debut album,
The Wilds, is that rare thing: an
unshowy, literate gem that sounds
a little like a lot of people – Sufjan
Stevens, Bon Iver, Leonard Cohen –
but carves out a niche all its own. The
Jacket multiplies Cohen by Stevens,
finding passion refracted in everyday
things – the air con of the grocery
aisle, the light coming off flatscreen
TVs. The Wilds are both the wilds
of New England and the darkness
inside. His songs take place in baseball
fields and in the abstract expressionist
rooms of museums.
Jamison is also a very unlikely
Spotify star. Real Peach, the catchy,
intellectual centrepiece of this
album, came out on The Rains EP
(2016) and became something of a
runaway success on the platform:
20m streams and counting. Normally
you look to Spotify for the next R&B
siren, but it looks like it now breaks
troubadours too – even writerly types
who sprinkle words like “elegiac”
and “the fallacy of form” into a song
about how his “baby is a real peach”.
Jamison, it turns out, is descended
from the 14th-century poet John
Gower – a contemporary of Chaucer
– and the US civil war-era songwriter
George Frederick Root. But he is a
resolutely modern operator.
The song Sunlit Juice was directly
inspired by Jamison’s girlfriend’s
sobriety. He, meanwhile, is still “sippin’
on the sunlit juice”. It’s a tune that goes
down easy – a few banjo notes here,
but the kind of rhythmic delivery there
that hints that Jamison is working
in the 21st century; there are subtle
electronics at play throughout.
Another song, Through a Glass,
Jamison describes as “an ode to
delirium” – a bitter one that bends a
vision of a lover through the prism
of a bottle. Even worse, he’s losing
her to “a six-five ex-Marine”. Dallas
Love Field, meanwhile, introduces a
pair of lovers – maybe the same ones,
maybe not.
“When we met we were two brighteyed alcoholics,” sings Jamison, “In
the springtime in the Year of Our
Lord/ As we glanced the gilded edges
of our identities.” They would ride
their bikes to the dive bar at the edge
of town, he reveals. But what will they
do now? If The Wilds doesn’t quite
answer that question, it is unflinching
in examining, time and again, who we
are to each other. Kitty Empire
INDIE
Weezer
FUNK
Bootsy Collins
Pacific Daydream
World Wide Funk
(CRUSH/ATLANTIC)
(MASCOT)
After two decades of underachievement,
last year’s self-titled “White Album”
at least marked a partial return to form
for Weezer. Its Beach Boys influences
are revisited here, then given a modern
R&B twist courtesy of Rivers Cuomo’s
co-writers, whose credits include
Beyoncé, Rihanna and Jessie J songs.
The crunching guitar of Mexican Fender,
the harmonies of Weekend Woman and
Beach Boys, and the pop smarts of Feels
Like Summer all shine on a front-loaded
collection. But the quality control flags
badly later on; La Mancha Screwjob and
Get Right, in particular, are buffed to the
brink of featurelessness. Phil Mongredien
FOLK
Megan Henwood
Screen Memories
River
(DOMINO)
(DHARMA)
Apparently John Maus has spent some of
the six years since his last album finishing
his doctorate in political philosophy. Perhaps
he should have taken a degree in common
sense, given his worrying assignations with
the “alt-right”, and daft assertions such as
“the notion of the homosexual is really an
invention of the 19th and 20th centuries”.
Luckily, Screen Memories isn’t particularly
political, and all the better for its lack of
lyrical ambition. Instead, it’s the teenage
nihilism of songs such as The Combine,
its muffled vocal presumably due to the
presence of both feet in his mouth, that
proves the perfect subject for Maus’s gothic
synth pop. Damien Morris
JAZZ
Thelonious Monk
(SONY LEGACY)
HOT TRACKS
Super Mario
Odyssey
Switch, Nintendo, cert: 7
Mario’s latest adventure opens from a
familiar point – Bowser kidnaps Peach,
yet again – but this time the rescue effort
takes the agile plumber in exciting new
directions. This is largely thanks to
Cappy, a living hat and Mario’s new
partner. Throw Cappy at practically
anything, from enemy Goombas to
snoozing T rexes, and Mario takes control
of it. Many of these transformations are
crucial in hunting down “Power Moons”,
the game’s main collectible.
While the platforming remains as
precise as ever, the Switch’s Joy-Con
controllers give players more control.
Coupled with Cappy’s other uses as a
ranged weapon or hovering jump pad,
Mario springs around like never before.
A good thing too, as the colourful,
imaginative and keenly designed worlds
they visit will test players’ skills to their
utmost. Packed with inventiveness
and simply joyous moments, this is an
essential Switch purchase. Matt Kamen
Golf Story
Switch, Sidebar Games, cert: 7
This apparently straightforward
retro golf title puts an absolutely
delightful curve into its swing by
32
adding a combination of murder
mystery and rags-to-riches adventure to
its fairway. Each course is full of
characters who need things fetched,
carried or fixed in return for funds and
experience. This, as much as hitting
the green, is how progress is achieved
to gain new kit and improve skills. At
times the in-jokes and bizarre sidequests can obscure the well executed
golfing gameplay. A multiplayer
mode cuts straight to the golf but
that rather misses the point. Delight
in the sheer madness of it all, and this is a
golf game like no other. Andy Robertson
Krept and Konan
(ft. Stormzy)
Ask Flipz
From the duo’s new
pair of mixtapes,
this new track
bubbles with
winding, chimelike keys beneath
nonchalant spitting.
Brian Eno with
Kevin Shields
Only Once Away
My Son
Over an immersive
nine minutes,
the inventor of
ambient meets the
grandmaster of
guitar effects.
Gran Turismo Sport
PS4, Sony, cert: 3
The Gran Turismo series has always
placed the cars at the centre of its virtual
experience; they are the characters of
the games, their personalities writ large
in their handling. Gran Turismo Sport
is no exception: the cars here boast
a almost tangible quality in their
behaviour on the road, and the visual
and aural polish is exceptional.
However, there are fewer cars and tracks
than in recent iterations. As a result, this
is a game with more focus and
consistency, and far less bulk. There are
those that will miss the series’ eccentric
vastness, but the core of GT’s quality
persists: nuanced, sincere racing that
feels and looks wonderful. Will Freeman
THE NEW REVIEW | 29.10.17 | The Observer
Rita Ora
Anywhere
Pensive, poised and
ludicrously catchy,
Rita Ora continues
her patient rebirth
with this delicate
banger.
Follow our playlist
at tiny.cc/
obshottracks
One of funk’s most important, most
eccentric artists, Bootsy Collins’s aim here
was to “create a mystical monster born
between a pee-hole and a[n] asshole”. It’s
hard to judge how successful World Wide
Funk is on those terms, but the bassist/
singer-songwriter’s ninth solo album has
plenty to offer. Anachronistic at times,
it’s still endearingly schmaltzy, with Kali
Uchis’s delicious intonations, smooth rap
from Blvck Seeds, and twinkling, Dillaesque keys on Hi-on-Heels. Collins’s
strutting bass and strangely sensual,
commanding vocals shine throughout.
Nearly 50 years since his first band,
Bootsy’s still got the funk. Tara Joshi
POP
John Maus
Piano Solo
GAMES
New label, new sound is the theme of
Kelly Clarkson’s eighth album, her first for
Atlantic and billed as the one she’s always
wanted to make. So out goes the pop-rock
hybrid; in its place sits a broad, old-school
soul inflection that initially manifests
itself as Meghan Trainor pastiche on
the ungainly Love So Soft. But it’s when
modern touches – distorted vocals, looped
hooks, pitched melodies – intertwine with
the old that things get interesting. Heat
is pure joy, Medicine is 90s-era Mariah
Carey-effortless, while Go High closes the
album on an experimental note. The big
ballads accentuate Clarkson’s undeniably
powerful voice. Michael Cragg
Monk’s centennial month shouldn’t be
allowed to expire without mention of this
modest but important release. In Europe
for the first time, and having struggled
through two concerts with bewildered
French accompanists, he made this, his
first solo recording, in a Paris radio studio.
Raw and angular as they sound, these
nine pieces are utterly compelling. Without
supporting bass and drums, Monk draws
on his early influences to lay down lefthand rhythm patterns, including a kind
of off-centre boogie-woogie. But it’s the
authority and completeness that is so
impressive, not to mention the considerable
technique involved. Dave Gelly
Megan Henwood is “folk” in the same
way as Laura Marling, meaning she’s a
singer-songwriter with an acoustic guitar.
As on her previous two albums, River
also comes with a backdrop of low-key
electronica courtesy of producer Tom
Excell, jazzy bass and cello and, a new
addition, a wistful trumpet on Fresh Water,
a standout among a fine set of songs.
Affairs of the heart are upfront on House
on the Hill, and The Dolly pays tribute to her
current hometown, Oxford, but Henwood’s
lyrics are more often allusive, given drama
by a voice that slips easily between
registers. A worldly, mature work that
deserves a wider audience. Neil Spencer
CLASSICAL
Bartók Concerto for
Orchestra etc James Ehnes
(violin), Bergen Philharmonic
Orchestra/Gardner (CHANDOS)
Anyone who heard the Bergen Philharmonic
with chief conductor Edward Gardner at
this year’s Edinburgh international festival
will pounce on this latest CD collaboration:
a fierce, lucid account of Bartók’s last
great masterpiece, Concerto for Orchestra
(1943/5), which he wrote in exile in America.
As ever with Bartók, the folk element is
strongly present, here and in the Dance
Suite (1923) and Rhapsodies Nos 1 and 2
(note the gorgeous, twanging cimabalom),
with the ever persuasive Canadian violinist
James Ehnes as soloist, full of HungarianRomanian zest. The Bergen orchestra
sounds wonderfully alive to Bartók’s
rhythmic exactitudes. Fiona Maddocks
CLASSICAL
Mozart Requiem (Süssmayr/
CLASSICAL
Reicha
Dutron 2016) RIAS Kammerchor,
Freiburger Barockorchester/
Jacobs (HARMONIA MUNDI)
Reicha Rediscovered Vol 1
Ivan Ilić (piano)
There are been repeated efforts to
improve on Süssmayr’s completion of
Mozart’s unfinished Requiem. PierreHenri Dutron takes a creative approach,
not just correcting Süssmayr’s infelicities
but rewriting stretches of the music,
changing bars of the Sanctus and Hosanna,
completely reimagining the Benedictus,
adding a few bars to the Lux Aeterna, and
filling out the orchestration with raging
timpani in the Confutatis. The results are
sometimes stimulating, often jarring. There
is fine work from the soloists under René
Jacobs, and plenty of force in his direction,
but the sopranos have a tendency to sing flat
at the ends of phrases. Nicholas Kenyon
(CHANDOS)
Antoine Reicha (1770-1836) knew everyone.
Friend of Haydn and Beethoven, he taught
Berlioz, Gounod, Liszt and Franck. His
influence is immense, so why is he not
more well-known? Perhaps because
the compositions of a great teacher
and author of treatises on harmony and
improvisation do not translate easily to the
concert platform. The Serbian pianist Ivan
Ilić introduces us to Reicha’s revolutionary
mind, interspersing startlingly original
fantasias with two sonatas, one built
around a theme from Mozart’s Magic Flute.
It’s perhaps a little too academic for one
sitting, but individually the works hold
genuine fascination. Stephen Pritchard
Books
Tim Lewis admires Jonathan Eig’s
revealing biography of Muhammad Ali
Page 36
Kate Kellaway is cheered by Nina Stibbe’s
Christmas miscellany-cum-memoir
Page 34
Neil Spencer applauds Joe Hagan’s portrait
of Rolling Stone founder Jann Wenner
Page 35
GARDENING
Green fingers, silver trowels…
Despite a bias
towards gardeners
of a certain class,
Penelope Lively’s
horticultural memoir
is a book to treasure,
writes Alex Preston
Life in the Garden
Penelope Lively
Fig Tree £14.99, pp208
When a really good book comes along,
one of the things it does is to draw
attention to the absence of such a
book on your shelves before it arrived.
I hadn’t really thought much about
the state of the once venerable art
of garden writing until I read Life in
the Garden. It brought home to me
how few recent gardening books
come anywhere close to its style,
intelligence and depth. I enjoyed Dan
Pearson’s A Year in the Garden; Alys
Fowler is always worth reading; I
couldn’t care less about Monty Don’s
gormless retrievers, but he does write
stylish if faintly patrician prose when
describing Longmeadow. Other than
these worthy exceptions, garden books
have become, as Penelope Lively
herself points out, nothing more than
“vehicles for lavish photography”.
Lively, now in her 80s, is the only
author to have won both the Booker, for
Moon Tiger in 1987, and the Carnegie
medal for children’s fiction, for The
Ghost of Thomas Kempe in 1973. She
has continued to write since her string
of hits in the 1980s; 2009’s Family
Album was a memorably sharp novel
of middle-class manners and last
year’s collection of short stories, The
Purple Swamp Hen, garnered excellent
reviews. In Life in the Garden, she has
given us something quite new; rich and
unusual, this is a book to treasure, as
beautiful on the inside as its gorgeous
cover and endpapers (all by the
celebrated illustrator Katie Scott).
“The two central activities in my life
– alongside writing – have been reading
and gardening,” Lively says, and Life
in the Garden laces elegantly between
the two. Whatever you’re interested
in tends to catch your eye when
you’re reading, but there’s a special
relationship between writers and their
gardens. “I always pay attention when
a writer conjures up a garden,” Lively
writes, “… it is nearly always deliberate,
a garden contrived to serve a narrative
purpose, to create atmosphere,
to furnish a character.” Life in the
Garden moves between Lively’s
own horticultural life and a broad
history of gardening, with regular and
illuminating examples from a host of
our best garden writers in nonfiction,
poetry and novels.
Lively’s work is full of memorable
gardens, from the Egyptian oases
of Moon Tiger (which drew on her
childhood in Egypt) to the nursery
at Dean Close in According to Mark.
Lively doesn’t quote herself, which is
rather a shame, but chooses to call on
others instead, from Virginia Woolf
and Vita Sackville-West to her friends
Elizabeth Jane Howard and Carol
Shields (and it strikes me now what
Penelope Lively: a congenial presence in a book that moves between her own horticultural life, favourite authors and a history of gardening. Photograph: Clara Molden/Camera Press
a debt Shields’s best novel, The Stone
Diaries, owes to Moon Tiger). She is
gently dismissive of those writers who
give you a garden, but don’t know
enough about it to name names, to
distil the abstract general beauty of the
place into the specificity of verbena and
lily and coreopsis. Proust comes in for
particular criticism here.
This is a book that gives words to
something that those of us who garden
know by instinct – how being in the
garden raises the spirits, modulates
the seasons. Lively writes of “that
enriching lifting out of the restrictions
of now, and today” that comes with
the planning and retrospection of a
garden. Gardening also allows us to
“escape winter by swinging forward
into spring, summer”. Lively is such
a consistently genial presence in
the book, her references friendly
reminders of writers one loves (she
sent me straight back to Anna Pavord
and Jenny Uglow), of new names such
as Eleanor Perenyi, and of authors
one knows but not as garden writers
– James Fenton’s gardening columns
are a newfound joy.
A particularly zippy and entertaining
chapter tells the history of landscape
gardening. It slips with typical
seamlessness between fact and fiction,
summoning Capability Brown and Jane
Austen, Humphrey Repton and Tom
Stoppard’s Arcadia. This is intelligently
wedded to a different kind of
landscaping – the imposition of order
on the wilds of the American prairie
as evinced in the work of Willa Cather
and Laura Ingalls Wilder. “The garden
reorders time,” Lively writes, “and to
garden is to impose order … It is the
conquest of nature, the harnessing of
nature to a purpose, initially practical
and later aesthetic.”
Throughout the book we are
drip-fed scenes from Lively’s life,
so it becomes like an autobiography
smuggled into a garden book. Now, at
84, time and space have conspired to
circumscribe her gardening existence.
She’s beset by problems with her
back: “I can’t bend at all now, so my
gardening of the London garden has
to be restricted to watering, deadheading, and such operations as I can
manage from a folding seat.” Since the
death of her husband, the academic
Jack Lively, she has given up their
home in the Oxfordshire countryside
and tends “a few square yards” of urban
north London. She writes frankly of
the fact that the Hydrangea paniculata
Limelight she’s planting will probably
outlive her, although “I am requiring
it to perform while I can still enjoy it”.
Lively has made her negotiations with
ageing and recognises the small and
tentative gestures at immortality that
come with gardening – her observation
on the way plants pass down through
generations prompted thoughts of the
humble Alchemilla mollis that lines my
patio, a gift from my mother-in-law’s
garden that was given to her by her
own mother. I’m sure the Alchemilla,
which has seeded itself everywhere,
will still be going strong when I’m long
gone.
This isn’t quite a perfect book.
Lively has a tic of too-regular authorial
interjections to remind the reader of
what’s to come. “I’m getting ahead
of myself,” she says, or “more on that
later,” or “as we shall see”. It’s part of
the charm of the book, this enthusiasm,
but the outbursts come too often and
begin to clunk. In her diaries, Virginia
Woolf describes coming in from the
garden with Leonard and finding the
“chocolate earth in our nails”. It’s a
phrase Lively obviously admired – she
uses it twice in three pages and three
times in the first chapter.
There’s a common theme that
links many of the authors Lively
mentions – they’re infuriatingly
privileged. You could hardly help
writing well about gardens if you
grew up at Knowle, or lived at
Sissinghurst, or Monk’s House.
Lively herself is from blue-blooded
stock – her grandmother’s place in
Somerset had a sunken rose garden, a
ha-ha, a splendid-sounding yew-lined
water feature. Few of my author friends
have been lucky enough to inherit
castles with 750 acres of grounds to
be tended, as Perenyi did, or pick up
a Prussian aristo with a sprawling
estate, like Elizabeth von Arnim.
And yet, for all the scarcity of
really good contemporary garden
writers, there are still many who,
like Woolf or Elizabeth Bowen, use
gardens to powerful effect in their
novels. I’m thinking of Amanda
Craig in The Lie of the Land, Alan
Hollinghurst in The Stranger’s Child,
Melissa Harrison in At Hawthorn
Time, Lucy Hughes-Hallett in Peculiar
Ground. They recognise the truth that
shines brightly from Life in the Garden
– that our gardens assert a powerful
hold on our collective imaginations;
they are reflections of our secret selves,
places of memory and nostalgia in
which we perform complex rituals
of hope and stewardship. Our long
history of gardening deserves a book
as beautiful as Life in the Garden.
To order Life in the Garden for £12.74
go to guardianbookshop.com or call
0330 333 6846
The Observer | 29.10.17 | THE NEW REVIEW
33
Books
CULTURE
Ways of seeing
dead people
This intriguing account of how ghosts have
changed with the times tells us a lot about
ourselves, writes Lara Feigel
The Ghost: A Cultural History
Susan Owens
Tate £19.99, pp240
As Halloween approaches, we
prepare to confront our ghosts. Soon
we’ll be used to ghoulish children
leaping out of shadows in the street.
Meanwhile in churches, for the three
days of Allhallowtide, Christians will
remember the faithful dead.
But ghosts aren’t always as
recognisable as they are now in the
guise of trick-or-treaters. “Ghosts
have grown up,” Elizabeth Bowen
wrote in a preface to a new book of
ghost stories in 1952. They had laid
aside their original bag of tricks –
“bleeding hands, luminous skulls and
so on” – and were now more likely to
be found in a prosaic scene. “Today’s
haunted room has a rosy wallpaper.”
Most frighteningly, “contemporary
ghosts are credible”. They lurked
at the border of known reality, just
believable enough to unnerve those
who encountered them in life or art.
In fact, the growing up that Bowen
describes began much earlier. Ghosts
in Britain have a long history since
Grendel crashed through the door
in Beowulf, eating the warriors who
get in his way, and Susan Owens has
set out to tell it in an eloquent and
lively account. For Owens, ghosts –
and especially their appearances in
art and literature – offer a window
on to “the great changes that, over
time, have made us see the world in
new ways”. The Reformation, the
Enlightenment, the age of technology
– all have shaped the development of
ghosts, and look different when seen
through a ghostly lens.
According to Owens, ghosts have
performed two functions. The first
is to scare us, reminding us of the
presence of death. The second is to
reassure us, promising that death
may not be as final a state as it seems.
In the 14th and 15th centuries, they
dwelt in purgatory, hovering between
heaven and hell, and so were able
to warn the living of the dangers of
sin at the same time as offering the
promise of eventual redemption. This
changed with the Reformation, when
purgatory was officially abolished. The
clergyman Robert Wisdom lamented
in 1543 that “sowles departed do not
come again and play boo peape with
us”. But like so many beliefs, the
notion of purgatory lingered in the
popular imagination long afterwards.
Thus in 1609 the ghost of Hamlet’s
father informed his son that he was
“doomed for a certain term to walk
the night”, though he didn’t actually
name it as purgatory.
It was in the 17th century that the
modernisation of ghosts described
by Bowen really began. John Donne
was an important figure here. “Then
shall my ghost come to thy bed,” he
informs a recalcitrant lover in The
Apparition, threatening to scare her
so much that she’ll end as “A verier
ghost than I”. This is, as Owens
observes, the ghost as a “physical
passionate being” of flesh and
blood, capable of loving after death.
Ghosts of the Romantic era: Speak! Speak! by John Everett Millais (1895). From Famous Paintings (published by Cassell, 1912)
Ghosts offer a
window on to the
great changes that
have made us see the
world in new ways
The ghost was threatened by the
Enlightenment but saved by the
prevailing melancholia of the Romantic
era. For Shelley, in particular, ghosts
were symbols of natural renewal; it
was reassuring to think that dead
humans contained sparks of life as dead
leaves did. These imaginative spirits
had their more energetic heirs in the
phantasmagorias of the Victorian age.
Suddenly ghosts could be captured on
screens and in photographs. Indeed
the medium of photography, with its
pallid figures emerging out of shadowy
backgrounds, seemed to make ghosts of
all its subjects. This was also the era of
spiritualism – when mediums allowed
matter-of-fact contact with the dead –
only weakly combated by the Society
for Psychical Research, founded in 1882
to provide rational explanations for
apparently otherworldly phenomena.
And so here we are now, in an age of
sceptical belief. “All argument is against
it; but all belief is for it,” Dr Johnson
announced in the 18th century, and I
agree with Owens that not much has
fundamentally changed since then.
She admits to a “balance of scepticism
and credulity that would probably not
stand up to rigorous scrutiny”. I suspect
that many of her readers will share this
viewpoint, dismissing the claims of
the supernatural while remaining on
uneasily familiar terms with the family
ghost. We want to have it both ways,
like atheists who resort to prayer on
special occasions. According to Owen,
this psychic hedging of bets may be an
“intrinsic part of what it is to be human”.
There are some wonderful
contemporary responses to the
ghostly realm that prove Bowen’s
pronouncement to be true. Owens is
good on the artist Susan Hiller’s strange
ghostly installations, manipulating light
and sound on screens placed in domestic
interiors as though operating as frontiers
between the living and the dead. She
quotes from Hilary Mantel’s 2005
Beyond Black – a brilliantly witty romp
through the macabre world of suburban
spiritualism. Ghosts here bounce around
on the back seats of cars demanding to
stop at service stations and pop up next
to you in the bath. These are ghosts who
make their presence idiosyncratically
and tiresomely felt because, as one
reminds the weary medium who serves
as the book’s protagonist, “you don’t
get a personality transplant when
you’re dead”.
Lara Feigel is the author of The Bitter
Taste of Victory: Life, Love and Art in
the Ruins of the Reich (Bloomsbury).
To order The Ghost: A Cultural History
for £16.99 go to guardianbookshop.com
or call 0330 333 6846
FICTION
A fatal car crash and a little touch of Maigret
The Accident on the A35
Graeme Macrae Burnet
Saraband £12.99, pp288
Had Graeme Macrae Burnet not made
last year’s Booker shortlist with his
previous novel, His Bloody Project,
you probably wouldn’t be reading this
review: it wouldn’t exist. After all,
Burnet’s Maigret-influenced debut,
The Disappearance of Adèle Bedeau,
went unnoticed outside his native
Scotland. But the enterprise of his
publisher Saraband (once of Glasgow,
now based in Salford), the wisdom of
the 2016 panel – and the quality of His
Bloody Project, about a crofter’s son
bound for the gallows after a triple
murder to which he has confessed guilt
but not motive – have won Burnet a
keen audience for his next move.
His new novel revisits Georges
Gorski, the police chief in a sleepy
Alsace town featured in his debut.
One autumn evening he’s disturbed in
his routine of solitary drinking when
Bertrand Barthelme, a respected
solicitor, ploughs his Mercedes fatally
into a tree on the road from Strasbourg.
Neither Barthelme’s widow Lucette
– younger than Gorski expects – nor his
16-year-old son Raymond seem moved
by the news, which Gorski delivers
in person on account of the man’s
social standing. Lucette even seems
to be flirting, discussing her sleeping
arrangements – Gorski’s eyes straying
34
THE NEW REVIEW | 29.10.17 | The Observer
here, his wife having walked out on him
with their teenage daughter.
The narration has the simple
momentum of classic crime writing,
heavy on lit cigarettes, light on
subordinate clauses. Irresponsibly
drawn to Lucette – he knows he’s a
fool – Gorski digs for dirt on Bertrand,
who at the time of his death was
not (as his wife believed) returning
from a traditional midweek supper
with colleagues. That was
Bertrand’s cover story –
but for what? Why did
he secretly withdraw a
large wad of cash every
Tuesday morning? And
isn’t it odd that the
damage to his Mercedes
doesn’t seem consistent
with hitting a tree?
Hanging over Gorski’s
attempt to answer these questions
is always another – whether the
suspicion of foul play is only a
product of his desire. At the same
time, Raymond – a kind of cousin to
the troubled teenager in His Bloody
Project – has questions of his own after
a search of his father’s papers turns
up an unknown address carefully
preserved. Hopped up on Jean-Paul
Sartre novels, he follows the trail to
an apartment block in a nearby town,
stalking one of its residents with a
stolen knife.
Unflashy yet highly accomplished,
The Accident on the A35 works on
several levels. It’s the story of a
bereaved schoolboy going off the rails
and a middle-aged man whose wife
has had enough – and his subsequent
poignant need to return to his boyhood
home to live with his widowed
mother, who has dementia. It has a
denouement like something out of
Greek tragedy but delivers as a proper
police procedural too.
His Bloody Project was presented as
a collection of documents unearthed
by Burnet (left) as he traced his
family tree. This time he’s the
translator of a French writer
named Raymond Brunet,
who after publishing The
Disappearance of Adèle Bedeau
killed himself in 1992. Two
decades later, on the death of
his mother, lawyers acting for
Raymond (mark the name) sent
his publisher a parcel containing the
manuscript of L’Accident sur l’A35.
Burnet’s cleverness doesn’t get
in the way of your enjoyment but
playfully adds levels of meaning. The
biggest teaser is the revelation that
L’Accident sur l’A35 was only one of
two manuscripts in the package. What
the other one was, he doesn’t say; I
doubt I’ll be the only reader keeping
my fingers crossed for another Gorski.
Anthony Cummins
To order The Accident on the A35 for
£11.04 go to guardianbookshop.com or
call 0330 333 6846
‘Blue Planet II: a gorgeous
programme and the best that
television has to offer’
TV, page 46
¥
BIOGRAPHY
Adventures with the Citizen Kane of rock
was covering the Princess of Monaco
alongside Springsteen and Jagger.
The Sex Pistols got a look-in, though
Wenner loathed punk, while disco
went largely ignored.
Some of the old idealism remained.
In the 70s the magazine exposed the
nuclear industry’s careless treatment
of Karen Silkwood, and championed
Democratic presidential nominees
George McGovern and Jimmy Carter.
Thompson’s gonzo rants, along with
Ralph Steadman’s artwork, were
celebrated, as was Tom Wolfe’s The
Bonfire of the Vanities. Yet for all its
commercial success – the car and
cigarette advertising for which Wenner
had long pined became a fixture – the
magazine dwindled into cultural
irrelevance after 1980, its musical
credibility usurped by Spin, MTV and
latterly, the internet. Increasingly,
Wenner’s obsession has been the
Rock and Roll Hall of Fame, which he
created with Atlantic Records founder
Ahmet Ertegun, and over which he has
presided like a pop pope.
When Wenner came out as gay in
1993, after falling in love with young
fashionista Matt Nye (they are now
married), there was widespread
surprise (“I could have mentored him,”
said Elton John), and the need to stay
in the closet to be taken seriously in
the business world is one strand of a
perceptive account that also details the
bruised feelings, grudges, feuds and
stitch-ups left in Wenner’s wake. “He
seems immune to guilt,” remarks Tom
Wolfe. A terrific, sometimes comic
portrait of a music biz mogul.
Neil Spencer enjoys a controversial portrait of the
60s dropout who became a US publishing mogul
Sticky Fingers: The Life and
Times of Jann Wenner and
Rolling Stone Magazine
Joe Hagan
Canongate £25, pp560
The vitriolic bust-up between Rolling
Stone founder Jann Wenner and his
appointed biographer, Joe Hagan,
has already generated headlines, with
Wenner denouncing Sticky Fingers as
“tawdry” and Hagan, an investigative
reporter, replying that a man used to
getting his way won’t like a portrait
that includes both darkness and light.
A deep ambiguity runs through
Hagan’s exhaustively researched (and
sometimes exhausting) account of
a man who can justly claim to have
changed popular culture. Rolling
Stone, which Wenner founded as a
Berkeley dropout in 1967, brought
intelligence and visual grace to what
was previously a squall of fan mags –
establishing a canon of writers that
included Greil Marcus, Jerry Hopkins,
Nick Tosches, Jon Landau, and, most
notoriously, Hunter S Thompson.
Wenner’s magazine surfed the
waves of 60s idealism, psychedelia and
political counterculture, though unlike
the underground press it was no visual
freak-out – its restrained black and
white format was part of its gravitas.
Wenner was a keen advocate of LSD
and pot, yet he was also an ambitious
social climber, inveigling himself with
rock stars and imagining his future as a
press baron, a rock’n’roll Citizen Kane.
As the 1960s crashed and burned,
Rolling Stone chronicled their
demise, analysing the grim carnage
of the Altamont festival, winning
a National Magazine award for its
coverage of the Manson murders, and
exposing the police riot at the 1968
Chicago Democratic Convention
and the murder of four students by
the National Guard at Kent State
University in 1970.
Yet, as Hagan puts it: “Wenner
recognised that rock’n’roll and the
counterculture were getting a divorce
– rock on one side, revolution on
the other.” While Wenner chose the
former, many of his staff took the
opposite view and left. Thereafter,
argues Hagan, Wenner “reformed
rock’n’roll as a celebrity culture”,
and while the musicians were the
prime celebrities, Wenner and his
wife Jane weren’t far behind.
Their marriage was the source
of speculation. Jane, a former
receptionist, was a beautiful,
waif-like figure – “a Siamese cat
of a woman” – yet some observers
already knew that Jann preferred
men. Hagan writes that the two
Wenners formed “a triangle of
ambition” with Annie Leibovitz, the
gifted, wayward photographer whose
intimate portraits would help define
Rolling Stone in the 1970s and 80s.
The wealthy Wenners kept a “rolling
drug salon” that pulled in music biz
luminaries, Hollywood stars and the
scions of America’s upper classes.
By the end of the 1970s Rolling Stone
FICTION
Decline and fall
of an American
marriage
Heather, the Totality
Matthew Weiner
Canongate £14.99, pp138
In an interview a few years ago,
Matthew Weiner said that, as a child
growing up in a bibliophile family,
he “always thought” he would be a
novelist. Though his route to this
destination has been unusually
roundabout – first, there was the small
matter of becoming a screenwriter
and creating the hit TV series Mad
Men – he has finally got there, aged 52.
Heather, the Totality may be a slender
work (technically more novella than
novel), but it packs an impressive
amount of drama and excitement into
its 138 pages. A bleakly elegant tale of
ennui and class envy, it reads – perhaps
not altogether surprisingly – less like a
novice effort than the work of a highly
accomplished fabulator.
Mark and Karen Breakstone are a
couple from Manhattan who meet, and
get married, “a little late in life”. He
works in an unspecified area of finance;
she has a job in publicity that she is only
too glad to be rid of. While theirs is a not
entirely cynical union, Weiner makes it
plain that the emotions involved aren’t
earth-shattering. Karen nearly calls
off the wedding when Mark is passed
over for a promotion, but eventually
reconciles herself: “She knew that
what she had come to know as love
had become love when she was around
him.” Mark, less convolutedly, considers
Karen “beautiful” and thinks he will
“never tire of having sex with her” – a
realisation he takes “very seriously”.
Time passes rapidly in Heather, the
Totality. Whole years and even decades
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Jann Wenner in the Rolling Stone offices in 1970. Bettmann/Getty
SCIENCE AND NATURE
are swept up in its rigorously honed
paragraphs. Mark and Karen have a
baby – Heather – and she becomes
their all-consuming focus. Weiner
captures well the way that this shared
infatuation gradually gnaws away at
their contentment. As Mark and Karen
slide joylessly into middle age – him
continuing to get passed over at work,
her finding little beyond the minutiae
of her daughter’s life to absorb her –
Heather increasingly functions as a
kind of marital tug-ball, a repository of
her parents’ frustration and bitterness.
She becomes, as the title suggests, “the
totality” of their existence.
Despite being set in the present
day, this is a novel that owes much
atmospherically to those American
works of the 1960s – notably Richard
Yates’s Revolutionary Road and John
Williams’s Stoner – that treat family
life, and especially marriage, as
one unfolding catastrophe. Weiner
complicates matters, however, by
introducing a more noirish element: a
subplot about an amoral and dangerous
young man named Bobby, who becomes
entangled in the narrative when he
gets a job as a construction worker at
the Breakstones’ apartment block. In
some ways, Bobby’s presence makes
sense: he allows Weiner to set up
thematic contrasts (poverty v privilege,
anarchy v order), and the crush he
develops on Heather helps move the
plot along. Nonetheless, I found him
psychologically unconvincing.
Yet overall, this novel captivates,
despite the grimness of its
preoccupations. Weiner has a knack
for writing sentences that grab and
grip, and he knows a lot about pacing
and structure. Although it has none
of Mad Men’s surface glamour,
Heather, the Totality offers its readers
a not dissimilar pleasure: that of an
addictive, even thrilling, nihilism.
William Skidelsky
To order Heather, the Totality for £12.74
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0330 333 6846
Animals are creatures of habit? It’s
far more complicated than that…
The Inner Life of Animals:
Surprising Observations of a
Hidden World
Peter Wohlleben
The Bodley Head £16.99, pp288
We don’t really know what makes
animals behave the way they do, but
several writers have had a stab at trying
to work it out. These books include
Marc Hauser’s Wild Minds in 2000,
Jonathan Balcombe’s Second Nature:
The Inner Lives of Animals in 2010,
Carl Safina’s fascinating Beyond Words:
What Animals Think and Feel in 2015,
and Frans de Waal’s excellent Are We
Smart Enough to Know How Smart
Animals Are? in 2016. To this list we can
now add Peter Wohlleben’s The Inner
Life of Animals: Surprising Observations
of a Hidden World.
Wohlleben’s name became familiar
with the explosive global success of
The Hidden Life of Trees: What They
Feel, How They Communicate when it
was published in English in September
2016. His new book, The Inner Life
of Animals: Surprising Observations
of a Hidden World, sold over 250,000
copies in hardback when it was
published in Germany and became an
overnight No 1 bestseller.
Now, translated into English,
it looks set to do the same here.
The success of Trees seemed to be
attributable to a number of elements:
the fascinating scientific research
of Suzanne Simard, who introduced
us to the idea of ancient “mother
trees” and “the wood-wide web”, the
means of communication trees use to
transmit their needs to one another.
Wohlleben added to this his vast
anecdotal knowledge of “how woods
work”, acquired over many decades
working as a German forester. He has
a conversational writing style, which
is comparable to that of the chatty and
accessible ecstatic saint, Teresa of Avila
(who is still a bestseller 400 years after
her death).
Wohlleben presents short chapters
in bite-sized portions, so the reader
has a constant sense of learning
something new almost with every
page, and he employs this same model
with The Inner Life of Animals. The
formula is provably winning. I still
felt I was on a robust learning curve
as subjects as diverse as motherly
love, gratitude, deception, desire,
shame and knowledge of good and
evil were explored one by one. Many
of his stories are fascinating. The
tale of an “abandoned” faun, brought
home by children when it had been
A deer raised by children as a pet may later
chase away its human ‘parents’. Getty
carefully hidden by its mother, so that
she could graze and replenish her
milk reserves seems, on the surface,
no different from the countless tales
of fledglings brought home by wellmeaning children and raised as pets.
But the deer, when it matured, far
from becoming tame, tried to chase
away its human “parents”, which now
encroached on its “land”, resulting
in violent attacks on its human foster
parents. An exploration into the
intelligence of pigs asks: “If researchers
know so much about the intelligence of
pigs, why isn’t the image of the smart
pig publicised more? I suspect it has to
do with eating pork.”
Wohlleben’s candid observations
invite scrutiny of our dietary habits,
although, as David Attenborough
pointed out, we don’t feed lions
grass. In other places I found myself
struggling with Wohlleben’s theories.
In part this is because most of us have
some knowledge of living with, or
working alongside, animals and we
have already formed our own ideas
of how we interact, from our pet dogs
and cats, to the garden birds that come
back year after year or the sheepdogs
made accessible by writers such as
James Rebanks. But there is also a slight
“two-book deal” feel here, and the
manner in which Wohlleben attributes
human feelings and morality to animals
is spurious.
There’s a lot of anecdote, not quite
enough scientific rigour, and one too
many references to YouTube for The
Inner Life of Animals to be entirely
satisfying. Katharine Norbury
To order The Inner Life of Animals for
£12.55 go to guardianbookshop.com or
call 0330 333 6846
The Observer | 29.10.17 | THE NEW REVIEW
35
Books
HUMOUR
The vital ingredient
at Christmas? Zest
Nina Stibbe’s seasonal memoir, full of
stories and advice, delights Kate Kellaway
An Almost Perfect Christmas
Nina Stibbe
Viking £9.99, pp176
There is no disguising it – at least that
is what you think at first. This book
is a potboiler – or, given its subject,
a turkey brick. You can almost hear
the publishers – or Nina Stibbe
herself – calculating: how about
following the success of Love, Nina
(her memoir about being a nanny to
LRB editor Mary-Kay Wilmers’ sons)
and a couple of amusing novels with a
festive bestseller? I opened An Almost
Perfect Christmas preparing to be
underwhelmed, only to find myself
chuckling at every other page. By the
end – or, actually, not long after the
beginning – I was a convert. This book
is the seasonal garnish we all need.
There is no subject upon which Stibbe
could not entertain.
Having said that, it’s startling to
discover the extent of her resistance
to turkey. Christmas chops, her annual
rebellion, sound a bleak-midwinter
alternative. But you start to sympathise
as she reminisces about childhood
Christmases and her mother’s frantic
efforts, as a non-cook, with the turkey.
Can we believe that Nina was asked to
point a hairdryer at the turkey’s frozen
core to defrost a bird bought at the last
minute from Iceland? I think we can.
With Stibbe, what she writes is often so
outlandish, you suspect it must (with
the exception of a Christmas lunch
story flagged up as fiction) be true.
The book is light – which is not
the same as superficial. There is the
extraordinary tale of her father, who
was once a Fenwick Santa, awarded
the job after having built a particularly
choice Christmas grotto. Stibbe claims
that, after his defection from his
family, she used to search for him in
department stores in December and
sit on more than one alien knee in the
hope of a reunion. The “Swimming
Pool Santa” is an eye-popping account
of one of these Santas turning out to
be her mother’s boyfriend – a married
man and a researcher into the effect
of DH Lawrence’s explorations
of sexuality on the psyche of the
modern woman.
Mince pies: ‘Roughed-up shop ones look homemade.’ Getty Images
Memoir, short story, advice – this
is a mixture of offerings, a spicy pot
pourri. About Christmas presents,
there are more don’ts than dos. There
is a convincing argument against
extras designed to beef up/apologise for
feeble gifts. These, Stibbe dubs “bulkeruppers”, ending the section with the
disarming thought: “It has just occurred
to me that the book you’re now reading
might well be a bulker-upper.”
There is a diverting account of
BIOGRAPHY
This time
the Greatest,
flaws and all
Ali: A Life
Jonathan Eig
Simon & Schuster £25, pp640
Lord of the ring but
a lousy husband…
Muhammad Ali
pictured in 1971.
Getty Images
36
THE NEW REVIEW | 29.10.17 | The Observer
No sportsman’s life has been more
chronicled than Muhammad Ali’s, or
it certainly feels that way. And, as a
subject, “the Greatest” has attracted
some of the best. Tom Wolfe wrote at
length about “the Marvellous Mouth”
– then still Cassius Clay – in 1963, as he
prepared for his first title shot against
Sonny Liston. Norman Mailer wrote
one of the defining sports books, The
Fight, about Ali and George Foreman’s
Rumble in the Jungle. Foreman’s
knockout was memorably recorded:
“He went over like a six-foot 60-yearold butler who has just heard tragic
news.” Hunter S Thompson was also
in the press pack in Zaire in 1974, but
contrived to miss the epic contest.
Latterly, David Remnick, editor of
the New Yorker, traced the boxer’s early
years in his 1998 biography King of
the World: the invention of “the most
original and magnetic athlete of the
century”. Ali, who d
died last year, aged
74, had a story so ou
outsized that all of
these writers decid
decided it could only
be digested when it was broken into
chunks: individual fights or chapters of
his life. Otherwise iit was like trying to
take in the ent
entirety of a mountain
when you stood
s
at the base of it.
Jonath
Jonathan Eig, then,
deserves kudos on a couple
of fron
fronts. His new book
feels comprehensive: it
star
starts with Ali’s birth
in 11942 in Louisville,
Ken
Kentucky – his name,
we le
learn, was misspelled
“Cassu
“Cassuis” on the certificate
– and wrap
wraps with his funeral
procession, aafter decades of
being gradu
gradually diminished by
Parkinson’s disease. Eig informs
a Christmas party in which Stibbe
compiles the playlist, determined to
find the ultimate Silent Night. The
trouble is that she gets distracted and
fails to single out one track, with the
result that every conceivable treatment
of Silent Night gets aired at her farfrom-silent party.
I like the sound of her own
Christmas (the chops are, it would
seem, now on hold). I find her
emphasis on imperfection, human
error and botched efforts uplifting.
She wisely advises: “Don’t aim for
a perfect Xmas, aim for an Xmassy
Xmas.” In her case, this includes a
homemade angel Gabriel who looks
“exactly like Alan Titchmarsh”. I loved
her account of buying a small potted
Christmas tree from a shop assistant
who perversely did not want to sell it –
a particular type of opinionated person
I have never before seen so brilliantly
characterised – or, come to think of it,
characterised at all.
About Christmas pudding I felt en
rapport with Stibbe, but I won’t dish up
her views as a spoiler here. I also agree
with her wise observation about mince
pies: “Roughed-up shop ones look
homemade.” She writes extensively on
round robins (give us the bird rather
than the letter any day). She insists she
likes these self-serving circulars. They
are “the sitcom you never planned to
watch – you’d heard of the characters,
but didn’t really want to watch the
show”. And I relished her Christmas
glossary, from which you get a keen,
if scattered, idea of what her Christmas
season is like. It ends with “Zest: a
vital ingredient in many Christmas
dishes”. But the essential zest, I’d say,
is Nina Stibbe herself.
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us in his notes that he has conducted
hundreds of interviews with 200
individuals over the course of five years.
More noteworthy is how much of
Ali’s well-documented life has been
overlooked by previous accounts. Eig’s
writing doesn’t have the razzle-dazzle
of Wolfe or Mailer, but he’s breezy
to read while also being a stickler for
detail. Ali: A Life is especially strong
on analysing the boxer’s cognitive
decline. Although he was famous
for his wit and poetry, Ali’s speech
began to slow and slur in his 30s. Eig
worked with scientists to show that
between the ages of 30 and 40, Ali’s
rat-a-tat delivery slowed by 26%. And
yet he kept fighting until just shy of his
40th birthday.
Eig also gives voice to two of his
subject’s four wives. Ali might have
been a saint to many fans, but he was
a terrible husband. He slept with
prostitutes, sometimes just before
his biggest fights. He instructed his
second wife, Belinda, or Khalilah as
she became, to book hotel rooms for
his mistresses. He even brought these
women into his home while his wife
and children were there. At the bottom
of it, Eig suggests, was a need to be
loved. According to Khalilah, Ali didn’t
even especially enjoy sex.
There is a tonal difference in Eig’s
telling from most accounts of Ali’s life
and achievements. It is by no stretch
a hatchet job, but it’s no hagiography
either and doesn’t shy away from stories
that reveal Ali’s extreme views. The
Nation of Islam, which he joined in
the 1960s, is shown as a manipulative
organisation that preached radical
racial segregation: “redbirds stay
with redbirds, and bluebirds with
bluebirds…” It’s certainly a different
picture from the swagger and charm of
the Michael Parkinson interviews. The
book was not authorised: in fact, Eig
only ever met Ali briefly, at a fundraising
dinner, and Ali, then very ill, didn’t
acknowledge Eig or say a word.
My heart sank a little when I saw
there was another Ali biography, and
Eig’s doubtless won’t be the last. This
one, though, is proof that, even in the
most examined lives, there are corners
where it is revealing to shine a light.
Tim Lewis
To order Ali: A Life for £21.25 go
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0330 333 6846
‘Mindfulness, yoga or gardening:
Trust Me, I’m a Doctor reveals
the best stress-buster of all’
TV, page 42
¥
THRILLER OF THE MONTH
A tale
of two
storeys
The House
Simon Lelic
Penguin £7.99, pp352
Houses play important parts in some of
the very best scary stories, whether it’s
the immortal genius of Shirley Jackson’s
The Haunting of Hill House (“silence
lay steadily against the wood and stone
of Hill House, and whatever walked
there, walked alone”) or the mindbending chills of Mark Z Danielewski’s
The House of Leaves. Simon Lelic’s
The House appears to set out its stall
accordingly: a young couple are
looking for their first home together
in London. The market is desperately
competitive, and the one home they
miraculously succeed in snapping up
ahead of a horde of rivals is definitively
creepy, packed floor to ceiling with the
former owner’s junk, from old coats to
stuffed dead birds.
Jack, one of Lelic’s narrators, hates it
from the first. “The house stood alone
(‘detached’, marvelled the brochure)
as though it had been shunned,” he
tells us portentously. “There was a
row of terraced houses on one side,
huddled together as though for safety,
and a block of flats with its back turned
on the other. It looked – and felt –
somehow ostracised.”
We know where we’re going with
this: it feels pretty run of the mill,
albeit just right for a late October read.
But then Lelic introduces his second
IN BRIEF…
narrator, Jack’s girlfriend Sydney, and
the novel turns into something else
altogether. “First off: this isn’t a ghost
story. OK? Let’s make that very fucking
clear. The house stood alone as though
shunned. Who do you think you
are, Jack – Stephen King?” she spits.
“Creepy house, creepy furnishings, a
happy (ish) couple moving in all dumb
and cheerful. All the elements are there.”
Jack and Sydney are, we learn,
writing down their versions of what
has led them to the situation they now
find themselves in. “What we said was,
we wouldn’t just write down what’s
happened but also what we thought
and what we felt,” says Sydney. “So
there’s a chance whoever ends up
Ancestors in the Attic
Michael Holroyd
Pimpernel Press £35
Within two slender and discrete volumes,
distinguished biographer Michael Holroyd
recounts the story of his isolated family.
Offered almost as religious texts, one is a
beautifully pressed collection of ferns made
by his great-grandmother in India in the
mid-19th century; the second is a series of
photographs of silent-movie stars gathered
by his aunt Yolande in the 1920s. Through
these images Holroyd unravels the lives,
tragic and comic, behind these strangely
magical and peculiar assemblies, as his
family drifts between India and England.
“Ours was a sombre house,” he says, “and
the joylessness was deepened by the grim
eccentricities of the family, to which I made
my contribution.” Exquisitely tuned to those
eccentricities, Holroyd’s sharp tap sets the
ears ringing. “We were like astronomers,
unable to see light and measure time before
the Big Bang.” Susan Sheahan
It feels pretty run of
the mill, just right for
a late October read.
Then Lelic introduces
his second narrator
reading this will actually believe us.”
We don’t know what has happened
yet, but it’s clear it’s bad, and involves
knives and blood. As Jack and Sydney
slowly reveal more, jumping back
and forth in time as their story layers
together, we begin to glean more
details: the smell, which is worst in
one part of the house. The gruesome
discovery Jack makes in the loft. The
photograph that makes Sydney’s mum
jump out of her skin. Movements in the
night: “That’s when I heard it again.
The sound that had woken me. It was a
shuffling, skidding sort of sound: more
the slip of a sole than the clunk of a
central-heating pipe.”
So we’ve two narrators, ostensibly
in love but clearly hiding things from
each other, telling us dual versions of a
100 BEST NONFICTION
BOOKS OF ALL TIME
By Robert McCrum
How to Think: A Guide for
the Perplexed
Alan Jacobs
Profile £10.99
Something wicked: details about Jack and Sydney’s house slowly come to light. Alamy
story that aren’t quite matching up, as
the cover is slowly peeled off a chilling
backstory, and as the police circle
closer. “Something else was becoming
clearer in my mind too. Something
darker. It was like I was peering down
into a pit, watching the shadows there
slowly taking shape,” says Sydney,
wonderfully spookily.
Sometimes Lelic’s two voices –
Sydney’s sharp as a tack and streetwise,
Jack’s that of an all-round good guy –
Fever Dream
Samanta Schweblin
Oneworld £7.99
(1662)
The Book of Common
Prayer is arguably the
most influential book in
this series. It emerged
from medieval religious practice as
a vernacular aid to devotion. The
first prayer books with the Litany
in English (probably the work of
Thomas Cranmer) appeared in 1544.
In the words of one commentator,
this book “has one of the most
complicated textual histories of
any printed book anywhere in the
world... There were more than 350
different imprints before the date
often referred to as the ‘first’ edition
of 1662.”
The definitive version of Common
Prayer, which established uniformity
of worship and renewed the old
liturgical tradition, occurred with
the restoration of Charles II and was
widely seen as an integral part of
the Stuart settlement. Henceforth,
the cadences of this simple volume
became indistinguishable from the
expression of the English language
across the world. Countless millions
of English-speaking people have
been baptised, married or buried to
the sound of its sonorous periods:
“… we therefore commit his body to
the ground; earth to earth, ashes to
ashes, dust to dust”. The vernacular
prayer book also sponsored a new
confessional spirit: “We have left
undone those things which we
ought to have done: And we have
done those things we ought not to
have done…”
Such passages have probably
enjoyed a wider, and larger, audience
even than the works of Shakespeare.
Perhaps The Book of Common Prayer’s
only rival is the King James Version
of the Bible (1611). Like the Bible, the
prayer book was scattered far and
wide by empire, trade and Anglicanism
through a process that we would
now describe as “soft power”. Its
most famous lines have reverberated
around log cabin, quarterdeck and
field of battle. Although the music of
Cranmer’s text might seem almost
untranslatable, the book has also
been translated into many languages,
including Gaelic, Urdu, Hausa – and
three varieties of Inuit.
Most notably, for a modern
audience, the book expresses its
message in a language that’s about an
everyday reconciliation to loss and
sorrow, pain and despair, as well as
love, joy, marriage and childbirth. It
promotes a narrative for everyday
experience and implicitly asserts
the place of ritual in the conduct of a
meaningful life. The 1662 version was
both a self-conscious act of nostalgia
for a golden age and also a force for
modernisation, marrying strands
of Catholic and Protestant faith
into the work in progress that was
Anglicanism.
Its language, strange now, was
the ordinary vernacular of the day,
the speech of the people. At the best
moments of the English literary
tradition, you often find the language
of the common man and woman
predominant. Perhaps the Normans
did English culture and society a huge
favour.
For an extended version of this review
go to theguardian.com/books
To order The House for £6.79 go
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0330 333 6846
PAPERBACK OF THE WEEK
NO 91
The Book of
Common Prayer
stray a little too close to each other, and
the denouement is a little far-fetched.
But piecing it all together is half the
fun – this isn’t your high-end literary
thriller, but it’s a bundle of creepy
chills, perfectly timed for Halloween.
Is it a “fucking ghost story”? Read it
and find out. Alison Flood
A young woman lies in a hospital bed
with just hours left to live. Next to her,
a boy urges her to remember what has
brought her there in a riveting novel
that is as devastating as it is profound.
In one way Fever Dream is simply
a conversation between the woman,
Amanda, and the boy, David. But this
powerful and at times deeply sinister
tale is anything but straightforward.
The two characters inhabit a world
in which ecological disruptions have
led to catastrophic effects on a rural
Argentinian community, not least on
its children. There are elements of
the supernatural and witchcraft that
infuse the story with a sense of horror
and, at times, terror. Amanda is frantic
to find out what’s happened to her
daughter, Nina, and is preoccupied
with the notion of “rescue distance”
(the novel’s original title in Spanish)
– how long it would take for her to
reach Nina in an emergency. We also
learn that Amanda has befriended
David’s mother, Clara, who has relayed
a story about David that is haunting
and terrifying.
But to describe too much of the story
would be to spoil what is an expertly
plotted and paced novel.
This is Samanta Schweblin’s
debut, for which she has been
deservedly shortlisted for the Man
Booker international prize. It has
been skilfully translated by Megan
McDowell with an economy that
is both urgent and claustrophobic.
As David prompts Amanda to recall
events of the recent past, he repeatedly
informs her “That is not important” or
“This isn’t the exact moment. Let’s not
waste time on this.”
Tension builds with the precision
of virtuoso storytelling until the
book’s fearful conclusion. It is a
masterly novel that demands an
immediate second reading: a novel
about maternal love, sacrifice and
the lengths we go to protect our
children. Hannah Beckerman
To order Fever Dream for £6.79 go
to guardianbookshop.com or call
0330 333 6846
Alan Jacobs has thought a lot about
thinking, as an academic and as a participant
in various cultural discourses. How to Think
is his leisurely treatise on the importance
of maintaining a spirit of inquiry and
resisting rigidity of thought, and is timely
in its dissection of contemporary culture,
including the rise of tabloid-fuelled populism
and the factionalism of the twittersphere.
Jacobs is particularly acute on how the
way we think is inextricably linked to our
social prejudices and preconceptions, and
the fallacies that underlie notions, such as
“thinking for oneself”. Courteous and affable
in tone, the book is neither academic study
nor polemic, but an armchair reader for a
vast subject that leaves the reader with
practical pointers and interesting references
to follow up: from George Orwell’s Politics and
the English Language to Daniel Kahneman’s
Thinking, Fast and Slow. Lettie Kennedy
Outsiders: Five Women
Writers Who Changed the
World Lyndall Gordon
Virago £20
“Like many as a child, I made friends with
characters in books,” writes Lyndall Gordon,
and the characters she was most drawn
to were outsiders. This fascinating work
explores the lives of five female novelists
who were outsiders: Mary Shelley (the
“prodigy”), Emily Brontë (the “visionary”),
George Eliot (the “outlaw”), Olive Schreiner
(the “orator”), and Virginia Woolf (“the
explorer”). Gordon succeeds in showing not
only the pain but “the possibilities of the
outsider”. While distinctive in their voices,
these writers converge “in their hatred of
our violent world”, exposing domestic and
systemic violence. Their strength of spirit
shines from the pages and through the
ages. Anita Sethi
To order Ancestors in the Attic for £29.75,
How to Think for £9.34, or Outsiders for
£17, go to guardianbookshop.com or call
0330 333 6846
CHILDREN’S BOOK OF THE WEEK
Nevermoor: The Trials of
Morrigan Crow
Jessica Townsend
Orion £12.99
A barrage of hype accompanies this
magical debut: a film deal, a storm
of foreign editions and Harry Potter
comparisons galore. Happily, this
supremely entertaining adventure
deserves the attention. Fans of the boy
wizard will find much to love here, but
Nevermoor has its own charm in spades.
Morrigan Crow, a “strange little
girl with black eyes”, is a cursed child,
blamed for her town’s every misfortune
and doomed to die at midnight
on her 11th birthday. Enter the
enigmatic Jupiter North, a mysterious
benefactor who plots her escape from
the murderous Hunt of Smoke and
Shadow, whisking Morrigan to the
city of Nevermoor. There, Morrigan
discovers that she must compete
in a series of trials for a place in
the prestigious Wundrous Society,
pitted against hundreds of children
with exceptional talents. Morrigan,
however, has yet to discover her own.
Don’t be fooled by the gothic
opening chapters. Once the mist rises
over Nevermoor’s silver gates, a Wizard
of Oz-style technicolor transformation
takes place. And what a world it is:
from the surreal Hotel Deucalion
to giant Magnifi-cats and the Tubeinspired Wunderground transport
system, Townsend’s vibrant worldbuilding is what really sets Nevermoor
apart. Spectacular set pieces like the
Fright Trial and the Battle of Christmas
Eve lend a deliciously cinematic feel to
her writing. Add to this clever plotting,
irresistibly quirky humour, a truly
treacherous villain, and real heart in
Morrigan’s quest for courage, hope and
identity. It’s very firmly the first in a
series – readers finish the book with as
many questions as they started – but
few will be disappointed: there’s still a
whole Wundrous world to discover in
future books. Fiona Noble
To order Nevermoor for £11.04 go
to guardianbookshop.com or call
0330 333 6846
The Observer | 29.10.17 | THE NEW REVIEW
37
Charts & puzzles
PHOTOGRAPHY
YOUR PICTURES OF…
1
2
GHOSTLY
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
to theguardian.com/witness.
Next theme: easy (to appear 5 November).
Share your photos of what ‘easy’ means to
you at theguardian.com/witness by 10am
on Thursday 2 November.
1 | ‘Long shadows cast by the gravestones
in the late afternoon sunshine on a blustery
day create a ghostly atmosphere.’
Vanessa Woodward/GuardianWitness
2 | ‘Cathedral cloisters are pretty spooky to
start with, but this one has a ghostly figure
too thanks to my 30-second exposure.’
Peter Austin/GuardianWitness
3
4
5
3 | ‘Poi at night.’
Rick Sareen/GuardianWitness
4 | ‘Ghost of a goat.’
Leo Fernandez/GuardianWitness
5 | ‘White crab spider.’
Mandy Jones/GuardianWitness
W
POP
The Flight of the
Conchords
This peerless, only
semi-fictional NZ
band (right) are
in business again
and heading our
way in March.
Tour starts London 19
March, ends Liverpool
1 April
Krept & Konan
Hot on the heels of
their 7 Days and 7
Nights mixtapes,
the grime duo’s
week-long tour kicks
off today.
Tour starts Leeds
29 October, ends
Brighton 5 November
THEATRE
The Jungle
Stephen Daldry
and Justin Martin
direct Joe Murphy
and Joe Robertson’s
The Lion, The Witch
and the Wardrobe
Sally Cookson
directs a new
adaptation devised
by the company.
With music by Benji
Bower and design by
Rae Smith.
West Yorkshire
Playhouse, Leeds; 29
November-21 January
2018
CLASSICAL
Haydn’s The Creation
Performed by the
Orchestra of the Age
of Enlightenment,
conductor Ádám
Fischer, as part of
the launch weekend
of Time Unwrapped,
the latest year-long
exploration.
Kings Place, London
N1; 6 January 2018
Das Rheingold
The first opera
in Wagner’s Ring
cycle, performed
in concert by the
London Philharmonic
Orchestra, with
conductor Vladimir
Jurowski.
ACROSS
1 Agree with piece about
unfinished theory (8)
5 Conflict followed by retreat
of revolutionary guard (6)
9 Records? Seek album by
Carole King (8)
10 Hurried south-east in
country (6)
12 Recipient in middle of appeal
securing positive vote (5)
13 Angle in market economy
ultimately without regard
for others (9)
14 Perfume advert, we learn, all
over the place (8,5)
17 Check evidence for
restoration (13)
21 Relaxed criminal needs to
admit deficiency (9)
22 Drone having half of that
drink (5)
24 Extract from novel I cite (6)
25 Barrier protecting most of
noble Italian city (8)
26 Security in place beside
border (6)
27 One couple in trouble
missing old luxury (8)
DOWN
1 Launch religious group,
Chosen by Kitty
Empire, Susannah
Clapp, Fiona
Maddocks, Luke
Jennings and
Laura Cumming
DANCE
Aladdin
Birmingham Royal
Ballet’s magical new
family show.
1
1. King Victor Emmanuel of Italy appointed
who as prime minister in 1922?
2. Economies around the world were
severely affected by something that
happened in the US in 1929. What was it?
3. Which boxer, dubbed the Louisville Lip,
won his first professional fight in 1960?
4. Which famous large gem was part of a
haul of precious stones stolen from the
American Museum of Natural History in
New York City in 1964?
5. Which European dictator’s 36-year
reign came to an end in 1975?
6. What was the name of the woman
convicted in Australia in 1982 for killing her
baby, despite her claims that the child was
snatched by a dingo?
7. Having been enforced for 35 years,
China announced the end of which
domestic policy in 2015?
Answers on page 39
From Life
An investigation
of the history of
the life class, from
the 18th-century
drawings of Thomas
Rowlandson to the
sculptures of Antony
Gormley.
Royal Academy of
Arts, London W1; 11
December-11 March
2018
Royal Festival Hall,
London SE1; 27
January 2018
NO 3707
2
3
4
5
6
7
8
Name
Address
9
10
11
12
13
Post code
How many times a month do you
buyThe Observer?
14
15
How many times a week do you
buyThe Guardian?
16
17
18
Tick here if you do not wish to receive any further
information from The Observer or other companies
carefully selected by us
19
No enclosures please other than name and address.
Results on Sunday week
20
21
22
24
25
26
27
receiving a knock (8)
2 Just ignoring small hint (5)
3 In command up ahead of
rear in tank (7)
4 Novelist in party, not so
much in revolt (5,7)
6 Article in middle part lacking
weight for non-believer (7)
AZED CROSSWORD For a different challenge see page 39
THE NEW REVIEW | 29.10.17 | The Observer
A quiz about events that happened on this
day, 29 October, throughout history
ART
EVERYMAN CROSSWORD
38
ON THIS DAY
Sadler’s Wells,
London EC1; 31
October-2 November
immersive play
about refugees and
volunteers at Calais.
Young Vic, London
SE1; 7 December-6
January 2018
23
7 Free performance (9)
8 Unwanted effect in photo
from overnight flight (3-3)
11 Sign of impatience from
audience had clowns
blundering on stage (4,8)
15 Revision of a list, ever
flexible (9)
£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
16 Charge in printed English (8)
18 Popular monarch harbouring
large suspicion (7)
19 Delight in umpteenth rally (7)
20 Numb when on strip going
north (6)
23 Fight knight amid
devastation (3-2)
AZED No. 2,368 Plain
10
AZED 2,365 Solution & notes
1
S
9
11
12
O
15
13
17
14
2
C
13
R
R
21
16
N
27
17
18
19
20
21
22
25
23
24
O
V
U M B
E
D
A
L
I
I
Y
F
S
S
P
F
T
29
A
G
E
R
T M E
F
R
11
18
Y
A
E
14
R M D
A
H W H
10
A M E
19
22
S
6
N
D
33
I
5
V
O
31
N
4
A
E M
E
15
3
P
A
30
R
L
C
U
D
H
E
32
T
E
R
T
R
N
E
T
A
I
M G
R
28
8
U
T
24
I
O
A
20
S
7
O
25
Z
B
E
T
D
T
16
O
26
A
R
S
P
O
T
O
T
R
R
I
C
L
E
D
E
L
T
A
T
E
D
G
E
T
T
E
R
H
I
A
D
G
I
E
M A
R
B
L
E
C
U
35
12
E W E
23
A
E
B
34
E M
Across 12, alternate letters (rev.); 15,
dale R in ret; 18, a zo in anag.; 21, anag.
+ ff + s; 28, anag. with E for o; 30, CL
in currie(d); 32, cf. dealt; 35, anag. in
matter.
Down 1, r in score + anag.; 2, an in peer;
4, em x 2 in se(mi); 6, (c)hora(l); 7, I on I +
(A)zed; 8, REM in rot (rev.); 11, but + r in
anag.; 22, pH in a ray (rev.); 24, herd i’ c;
26, lag in pee; 29, R in gab & 2 defs.
26
27
29
28
PRIZE RULES
£25 in book tokens for the
first three correct solutions
opened. Solutions postmarked
no later than Saturday to
AZED No. 2,368, The Observer,
90 York Way, London N1 9GU
30
31
32
33
AZED No. 2,365 prizewinners
Leonard Spencer, Isle of Man
J Bielawski, Liverpool
Simon Baker, Bath
Name
Address
Postcode
DOWN
ACROSS
1
6
10
11
12
13
16
17
18
21
24
25
28
29
30
31
32
33
Blue flag to rustle aloft? (7)
US chemist may measure liquid in it, yet holds on (5)
British driver’s left – after collision he rides unsteadily (10)
Aussie talked about Gower’s first that’s cut wide bowling (7)
Elevation bringing back almost all 1960s music style (5)
Gifted adolescent (unruly) trailing sweetheart (7)
Life in rags changed, gaining importance (8)
Thin sod, unhealthily thin, leaving New York (5)
Part of equipment for surveying Romans (5)
Start of hike in rent – it can be painful (5)
Practitioner producing good art on the Rive Gauche? (5)
Malingerer maybe transported when a hard worker’s
around (8)
Precious stone set crookedly in song (7)
Former king and president informally meeting in deep
gorge (5)
Dig in prospecting caught a stone that’s friable (7)
Herald opposed to including sister, worried (10)
Economize just in time? Several outsiders lost (5)
Obsessive about small number forming agreement (7)
FILM
1 Studs adjusted, a wicket captured – did it help bowler’s runup? (7)
2 Wife of brave weaving cloth, OK? (7)
3 Gadget, one good when entering tight spot, an enclosure (9)
4 Genial man, head of enterprise getting to call round (6)
5 Catching a jumbo, fly? One not taking off, held up (6)
6 Support yen or pound (4)
7 Pasta: half of parmigiano’s sprinkled with it, right? (8)
8 River swelled by rising sea, unhealthy accumulation of
fluid (5)
9 Time ages grotesque creature (5)
14 Endlessly stoned debauchee’s in spin (9)
15 Crunchy finger food, cold potato dish in filling (8)
19 Middling tone observed in BBC etc, not clipped (7)
20 Like a neck that’s skewed sideways (7)
22 Content of thurible cloudy in condition (6)
23 One in 24 struggling in need (6)
25 Refined petroleum, volume stored by ME leaders (5)
26 Lancaster encompasses what ends in Dresden being this (5)
27 Contemporary poet not on crack (4)
The Chambers Dictionary (2014) is recommended.
MUSIC
BOOKS
Top 10 UK films (weekend total at FDA)
Top 10 reissue CDs at hmv.com
Top 10 bestsellers at wordery.com
1
2
3
4
5
6
7
8
9
10
1
2
3
4
1
2
3
4
5
6
7
8
9
10
Blade Runner 2049 £1,791,027
Geostorm (3D) £1,625,895
The Lego Ninjago Movie (3D) £1,346,411
Happy Death Day £998,388
The Death of Stalin £995,458
My Little Pony £916,123
Kingsman: The Golden Circle £884,067
The Snowman £591,453
Mersal £362,593
Secret Superstar £272,554
OK Computer: OKNOTOK 1997-2017 Radiohead
Winwood Greatest Hits Live Steve Winwood
Live at the NEC Status Quo
Sings & Strings: Greatest Hits Reimagined
The Christians
5 Montrose Montrose
6 1987 Whitesnake
7 Uncle Acid & the Deadbeats Vol 1
Uncle Acid & The Deadbeats
8 Tommy: Live at the Royal Albert Hall The Who
9 Slade Alive! Slade
10 Paper Money Montrose
SUDOKU CLASSIC
5 Ingredients – Quick & Easy Food Jamie Oliver
Origin Dan Brown
A Column of Fire Ken Follett
Munich Robert Harris
Guinness World Records 2018
City of Friends Joanna Trollope
Damaged Martina Cole
It Stephen King
Behind Her Eyes Sarah Pinborough
Cartes Postales from Greece Victoria Hislop
I’m currently in Crete as captain (ie coach)
of the England Women at the biennial
European Team Championship. These are
perforce much smaller than the Olympiads
but no less intense. While three of the
world’s top chess nations – China, USA
and India – aren’t eligible, almost all of
the other top nations are European in the
widest sense, including not only Russia but
a number of ex-Soviet republics, notably
Armenia, Azerbaijan and Georgia. And the
opening stage at the Europeans is much
shorter than at the Olympiads, reducing
the honeymoon period for the favourites,
when they play weaker opponents, to a
single round.
Battle got under way yesterday and
continues until Monday 6 November. I’m
writing before arrival so things may have
changed by the time you read this. But
according to chess-results.com there are
39 teams in the open section and 32 in
the women’s. In the open, Russia are the
favourites, followed by Azerbaijan and
Ukraine, while England (Michael Adams,
Nigel Short, David Howell, Gawain Jones
and Luke McShane) are seeded fourth. In
the women’s section, it’s Russia, Ukraine
and Georgia, while my team of Jovanka
Houska, Dagne Ciuksyte, Sue Maroroa,
Akshaya Kalaiyalahan and Kanwal Bhatia
is seeded 23rd.
Two years ago in Reykjavik, Russia won
both sections. Norway were led by the
world champion, Magnus Carlsen, but he
has struggled with team tournaments and
had a miserable time, only battling back to
50% in the final round after a disastrous
start of 0.5/3, so it’s unsurprising that he
has declined to play in Crete.
As fourth seeds, England’s men are
obvious medal contenders and one
important factor will be Michael Adams’s
form on top board. At the 2010 Olympiad
in Khanty-Mansiysk in Siberia, he scored
this crunching victory against Carlsen.
Nxf4 simply loses to 26 Nxf6+ Qxf6 27 Rcf1.
26 Rcf1 Rg8 27 Qe2 Ng7 The loss of the
two tempos (Ng7-h5-g7) has left Black in
trouble.
28 Qd3 Taking aim along the b1-h7 diagonal.
28... Kh8 29 Bf3 b5 30 Bd1! bxc4 31 bxc4
Bh4 32 Bc2 With the arrival of the bishop
on the diagonal, Black is forced to play f5,
creating a fatal weakness on g6.
32... f5 33 Rg6 Kh7 34 Rfg1 Qe7 35 Ng3
Bxg3+ 36 Qxg3 Qf7 37 Bd1 Controlling h5
and setting up the final blow.
37... Rae8
Magnus Carlsen
(Black)
Michael Adams
(White to play)
38 Rxh6+! And Carlsen resigned since 38...
Kxh6 39 Qg5+ Kh7 40 Qh4+ Nh5 41 Bxh5 is
murder.
I’ve just got room for a pretty miniature
from the previous European teams.
Mihail Marin v John Rodgaard
Reykjavik 2015
Queen’s Gambit Slav
1 d4 d5 2 c4 c6 3 Nf3 Nf6 4 Nc3 e6 5 g3 dxc4
6 Bg2 b5 7 Ne5 Qb6 8 0-0 Bb7 9 b3 cxb3 10
axb3 Nbd7 11 Be3 Rd8 12 d5 c5 13 Nc6 Bxc6
14 dxc6 Nb8 15 Nxb5 Rxd1 16 Rfxd1
John Rodgaard
(Black to play)
Michael Adams v Magnus Carlsen
Khanty-Mansiysk Olympiad 2010
North Sea Defence
1 e4 g6 2 d4 Nf6 3 e5 Nh5 This highly
provocative line is the “North Sea Defence”
and a massive wind-up at this level.
4 Be2 d6 5 Nf3 Nc6 6 exd6 exd6 7 d5 Ne7
But rather than try to refute the opening,
Adams has settled for a small advantage.
8 c4 Bg7 9 Nc3 0-0 10 0-0 Bg4 11 Re1 Re8
12 h3 Bxf3 13 Bxf3 Nf6 14 Bf4 Nd7 15 Rc1
Ne5 16 b3 a6 17 g3 Nf5 17... Nxf3+ 18 Qxf3
can’t be too bad but would have given very
few winning chances. 18 Bg2 g5 Active but
weakening the white squares.
19 Bxe5 Bxe5 20 Ne4 Ng7 21 Qd2 h6 22 f4
gxf4 23 gxf4 Bf6 24 Kh2 Nh5? This loses
two crucial tempi. Instead 24... Bh4 was
correct with a perfectly reasonable game.
25 Rg1 Kh7 Carlsen’s problem was that 25...
Mihail Marin
(White)
16... Bd6? Panic. 16... Be7 17 Rxa7 (17 c7 0-0
is worse) 17… Qxb5 18 Rb7 Qxb7 19 cxb7
Nfd7 would have left White struggling to
justify his bold concept.
17 Nxd6+ Ke7 18 Nc4 Qb4 19 Rxa7+ Nbd7
20 cxd7 Rd8 21 Rb7 And Black resigned
since 21... Qc3 24 Bxc5 is checkmate.
SUDOKU SOLUTIONS
8
2
4
7
5
9
3
6
1
9
7
6
5
3
1
4
2
8
9
8
3
9
1
6
8
2
4
5
7
7
2
3
7
4
6
8
1
9
5
6
9
1
8
5
2
3
7
4
6
5
4
5
6
1
9
7
8
2
3
4
5
4
9
8
3
1
6
7
2
3
1
8
2
9
7
6
5
3
4
2
6
7
3
2
4
5
9
1
8
1
CHESS B Y J O N AT H A N S P E E L M A N
KILLER
21
13
6
6
15
9
5
45
11
18
11
24
11
24
10
6
16
13
15
11
10
10
5
9
10
6
SOLUTION NO. 3706
Everyman No. 3705 winners
Ms S Smart, Suffolk
Mr E Hughson, Scotland
Gwyneth Radcliffe, Welwyn Garden City
Paddy Carstairs, Midlothian
Pam Smith, Sheffield
T R A G I C
A
T
N
B U T T E R
O
H
R
O P E N T O
D
I
T H R E A D
I
O
R A P T
R
E
O
D
S U F F O L
O
A
N
MY H E A R
E
A
T
T R E N
S C A
A
S
N U T S
A
A
P
ME
A
B A R E
R
A
A I N F
C
K
C H
E
L
TW I L
P
E
D Y
G
L E S
O
T
C
Q U A S H
U
G
I
AN E S T
T
D
C
R I C H
R
A
O R E S T
V
C
E A T E D
R
I
E
L G O ON
A
N
I
Y P S UM
15
14
11
16
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.
ANSWERS
On this day
1. Benito Mussolini
2. New York Stock Exchange crash
3. Cassius Clay (later to be known as Muhammad Ali)
4. Star of India
5. Francisco Franco
6. Lindy Chamberlain
7. One-child policy
Fill in the blank cells using the numbers 1 to 9. Each number must appear
just once in every row, column and 3x3 box.
9
The Observer | 29.10.17 | THE NEW REVIEW
39
FULL TV AND
RADIO LISTINGS
Monday 30
PICKS OF
THE DAY
For today’s TV
see back page
and it works. The recipes are great: Turkishinspired eggs, Queen of Puddings, a
chicken and pea tray-bake and emergency
Brownies. “Dreamy mouthfuls” indeed.
expert getting even with the Buenos Aires
parking authorities. Uneven, but good
misanthropic fun. Jonathan Romney
RADIO
DRAMA
The Meaning of Flowers
Heartless
Channel 4, 11.05pm
Radio 3, 10.45pm
This new Danish drama provides an
appetiser for Halloween fans in search of
early spooking. Watch as demonic twin
teens Sebastian and Sofie suck the life
force from those around them in order to
stay alive. Dark as you like. Mike Bradley
FILM
DOCUMENTARY
Wild Tales
Channel 4, 2.05am
Is Britain Full?
Channel 4, 8pm
(Damián Szifron, 2014)
Michael Buerk investigates the statistics
and the impact of internal migration,
revealing the true scale of massive
movement within the UK and its impact on
both overpopulated and underpopulated
areas. As Brexit looms, this Dispatches
asks: will the issue will finally be discussed?
Not always as wild as its title promises,
this Almodóvar-produced Argentinian
black comedy is an enjoyably piquant
portmanteau of stories about the more
feral side of human nature: not unlike Roald
Dahl, Latino-style. Writer-director Szifron
slightly blows his hand by playing his best
card first in a brief vignette about strangers
on a plane, while some of the material is
familiar, like the overdrawn closer about
a wedding that goes wrong. But some
familiar South American faces, including
Leonardo Sbaraglia and Maria Onetto pile
in with gusto: there’s an agreeably nasty
Duel-style tale of road rage in the middle
of nowhere, while Argentinian star Ricardo
Darín boils over nicely as a demolition
FOOD
Nigella: At My Table
BBC2, 8.30pm
A new series from Nigella Lawson in which
Nigella pouts, Nigella flirts, Nigella puts
things in her mouth and teases: “Morning
noon or night, I am always ready to eat.”
Nigella knows exactly what she is doing,
TV CHOICE
Inspector George Gently
BBC1, 8.30pm
Gently and the New Age. In the last ever
outing for the Chief Inspector (Martin
Shaw, above) and his sideburned sidekick
DI Bacchus (Lee Ingleby), the head of a
new Special Investigations Squad asks
him to take on one last job examining
evidence against “bent” coppers. No one
was ever brought to justice for the murder
of young secretary Lesley Pearce, who
was found dead in 1966 in countryside
near Washington, Tyne & Wear, but now
an anonymous tip-off suggests that the
police buried evidence in order to protect
someone in a position of power and,
grimly, Gently fires up the Rover 2000
and heads out in search of of the truth.
Elsewhere, Bacchus braves the ire of trade
union pickets and the rich industrialists
they oppose, before the two lines of
inquiry intertwine for a stunning finale.
Watch Gently work his slow magic one
last time. A fond farewell. Mike Bradley
Over the coming week, Fiona Stafford
presents a series of fascinating essays
on five flowers that are representative of
the UK. Today, that most delicate bloom
the bluebell is explored through history,
poetry and art. Originating in the ice
age, its natural home is the damp floor
of ancient British woodland. Threatened
by the arrival of its “thuggish” cousin,
the aggressive “Spanish imposter”, the
indigenous species is identified by the
modesty of its drooping head. Stafford not
only inspires empathy for this little flower,
but reminds us of the threat to its survival
through the mournful “silent peal” that
laments its fragile existence. Kim Salmons
SPORT
Football
Sky Sports Main Event, 7pm
Burnley v Newcastle United: Premier
League. Coverage of this game from Turf
Moor. Both sides are well placed in the
table and managers Sean Dyche and Rafa
Benítez will be looking for a victory here to
buoy their positions in the table. The Clarets
and the Magpies have only ever met twice
in the Premier League, with both matches
ending in draws in the 2014/15 season. MB
TELEVISION
BBC1
6.0
Breakfast 9.15 Countryfile
Autumn Diaries 10.0 Homes
Under the Hammer (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 Antiques Road Trip (T) (R)
5.15 Pointless (T) 6.0 News (T)
6.30 Regional News (T) 7.0 The
One Show (T) 7.30 Inside Out (T)
Regional documentary.
BBC2
ITV
Channel 4
Channel 5
6.0
6.0
6.20 The King of Queens (T) (R) 7.40
Everybody Loves Raymond
(T) (R) 8.40 Everybody Loves
Raymond (T) (R) 9.10 Frasier
(T) (R) 10.10 Ramsay’s Hotel
Hell (T) (R) 11.05 Undercover
Boss USA (T) (R) 12.0 News (T)
12.05 Come Dine With Me (T) (R)
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Lachlan is furious after walking
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8.0
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Coming Home: Bowe Bergdahl v
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EastEnders (T) Tina finds
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The detective takes on his final
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The first of the highestscoring loser matches.
8.30 Nigella: At My Table (T) New
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9.0 Elizabeth I’s Secret Agents (T)
The Earl of Essex tries to take
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8.30 Coronation Street (T) Seb causes
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Alexander Armstrong presents a
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Michael Buerk investigates
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8.30 Tricks of the Restaurant Trade
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11.30 Anthony Joshua: The Fight
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Anna Maxwell Martin and
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the lutenist Elizabeth Kenny. 7.0 In Tune Mixtape
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All programmes from 6am to 5pm are double bills
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Theory 9.0 Made in Chelsea 10.0 Tattoo Fixers:
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Film4
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6.0am The Flash 7.0 Modern Family 7.30
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Stargate SG-1 5.0 The Simpsons 5.30 Futurama
6.0 Futurama 6.30 The Simpsons 7.0 The
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9.0 A League of Their Own 10.0 Bounty Hunters
11.0 The Simpsons 11.30 The Simpsons 12.0
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12.30am) 3.45 My Icon: Darren Campbell
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THE NEW REVIEW | 29.10.17 | The Observer
STV NORTH As ITV except 8.0pm-8.30
Who Cares: Scotland’s Hidden Homeless (T)
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9.0
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Includes news update.
Paddington Station 24/7 (T)
A low bridge has to be assessed
by a mobile operations manager
after a van hits it, and the failure
of a train’s brakes in Reading
causes delays. Last in series.
9.0
RADIO
Radio 1
97.6-99.8 MHz
6.30 The Breakfast Show With Nick Grimshaw
10.0 Clara Amfo 12.45 Newsbeat 1.0 The
Matt Edmondson Show 4.0 Alice Levine 5.45
Newsbeat 6.0 Alice Levine 7.0 Annie Mac
9.0 Specialist Chart With Phil Taggart 10.0
Huw Stephens 1.0 Friction 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 Blues Show With Paul Jones 8.0 In Concert
10.0 Something Old, Something New, Something
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12.0 Johnnie Walker (R) 2.0 Radio 2 Playlists:
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Halloween Special 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 this week
is the satirist and classical music fan Armando
Iannucci. 12.0 Composer of the Week: Edward
Elgar (1/5) 1.0 News 1.02 Lunchtime Concert:
Wigmore Hall Mondays – Florilegium. Telemann:
Quartet in B minor, TWV43:h2, Paris. 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 Afternoon Concert.
Tom McKinney showcases recent recordings by
Ulster Orchestra. Mendelssohn: Ruy Blas, Op 95.
Moeran: In the Mountain Country. Ireland: Piano
Concerto in E flat. The Forgotten Rite. Tchaikovsky:
Romeo and Juliet (1880). Leon McCawley (piano),
Ulster Orchestra, Andrew Gourlay. Tchaikovsky:
Piano Concerto No 3 in E flat, Op 75. Barry
Douglas (piano), Rafael Payare. James MacMillan:
Britannia. Borodin: Overture to Prince Igor.
Prokofiev (arr C Palmer): War and Peace Suite.
Andrew Gourlay.5.0 In Tune. With live music by
Radio 4
92.4-94.6 MHz; 198kHz
6.0 Today. Presented by Nick Robinson and John
Humphrys. 7.48 Thought for the Day, with Francis
Campbell. 9.0 Start the Week. Amol Rajan is
joined by Alice Roberts, Britt Wray and Gaia Vince
to discuss the human relationship with the animal
kingdom. 9.45 (LW) Daily Service 9.45 (FM)
Living With the Gods: Living With the Dead. Neil
MacGregor reflects on people’s relationship with
the dead. (6/30) 10.0 Woman’s Hour. Presented
by Jane Garvey. Includes at 10.45 Drama: The
Citadel. Christopher Reason’s dramatisation of AJ
Cronin’s 1920s-set novel. Richard Fleeshman and
Julian Lewis Jones stars. (1/5) 11.0 Impotential.
The psychologist Dr Petra Boynton explores the
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men and their partners. 11.30 Susan Calman:
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Shipping Forecast 12.04 Five Green Bottles. Wine
critics offer reflections on the personal, political
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5 Live
693, 909 kHz
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1.0 Afternoon Edition 4.0 Drive 7.0 5 Live Sport
8.0 Premier League Football: Burnley v Newcastle
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5.0 Morning Reports 5.15 Wake Up to Money
Tuesday 31
PICKS OF
THE DAY
by his British wife, Colonel Adeena Donovan
knows it’s time to call in Section 20 to put
matters to rights. Cue: an unapologetic
shooting, shouting. RPG-dodging desert
drama that is likely to have you hooked.
weight that’s something quite separate from
the packing-punches prerogative of other
similar American dramas. Jonathan Romney
COMEDY
Natural Histories: Beaver
RADIO
Radio 4, 11am
Broad City
Comedy Central, 11pm
Just the Tips. Ilana’s in the money and
it’s time to party (in an orange fright wig,
naturally). Plus Abbi does the Heimlich
manoeuvre and discovers she may not be
a relationship girl. Very funny. Mike Bradley
FILM
FOOD
Loving
Sky Premiere, 9.30am, 2.05am
The Great British Bake Off
Channel 4, 8pm
(Jeff Nichols, 2016)
At last the final has arrived and in tonight’s
signature challenge the remaining three
bakers – Steven Carter-Bailey, Kate Lyon
and Sophie Faldo – must produce a very
special batch of loaves. In the technical
they face a tricky biscuit bake. And to finish:
they must compete to concoct a delicate,
multilayered patisserie showstopper to
impress the judges and clinch the title.
Brilliant US director Jeff Nichols follows the
80s-toned sci-fi of hi Midnight Special with
a very different venture into the past. This is
his account of a true-life episode from the
American battle for civil rights – the story
of Mildred and Richard Loving, an interracial
couple in Virginia whose marriage made
them the focus of much hostility, but whose
case was eventually fought in the supreme
court. Leads Ruth Negga and Joel Edgerton
are both superb, not least at capturing the
introverted reserve of the couple, who
fought shy of the limelight, but fought
nonetheless. The film doesn’t have the
same narrative drive as Nichols’s other films
– that’s part of its thoughtful, downbeat
appeal – but Loving carries an emotional
DRAMA
Strike Back
Sky1, 9pm
When Omair Idrisi, the man behind some of
the most savage terrorist attacks on the
west, escapes during a plan masterminded
TV CHOICE
The Balfour Declaration: Britain’s
Promise to the Holy Land
BBC2, 9pm
One hundred years ago the ArabIsraeli conflict was ignited by a historic
document which took the form of a letter
from the then foreign secretary Arthur
Balfour to Lord Rothschild, one of Britain’s
most prominent Jews. At 67 words long,
it was a brief but powerful pledge of
support for the creation of a national
home for the Jewish people in Palestine.
Now, reporter Jane Corbin (above), herself
a descendant of Leo Amery, one of the
men who played a key part in drafting the
original declaration and oversaw Britain’s
governance of Palestine in the 1920s,
asks: “Did the British bestow a blessing
or a curse on the two peoples?” In an
absorbing, enlightening, well researched
film, she hears from those engaged in
the present-day conflict and concludes:
“What we need now is a leap of faith on
both sides.” Recommended. Mike Bradley
For the first time in 500 years, the beaver
has returned to England. Hunted for the
castoreum of its anal sacks (added to
vanilla extract), and its waterproof fur, the
Eurasian beaver became virtually extinct
in Europe. Now it has been returned to
north Devon. Brett Westwood speaks
to beaver expert Rachel Poliquin to
discuss the “human infatuation” with this
resourceful beast. She categorises four
“romances” with the beaver: its musk;
its fur; its architectural expertise; and its
ecological transformations. Not everyone
welcomes a new “beaver-shaped
landscape”, but listeners will be moved
by this celebration of the return of this
ecological warrior. Kim Salmons
SPORT
Football
BT Sport 3, 7pm
Manchester United v Benfica: Champions
League Group A, second leg. Benfica have
a lot of ground to make up after a 1-0 firstleg home defeat which handed victory to
United on a plate when, with the side down
to 10 men, young goalkeeper Mile Svilar
made an error which he will rue for eternity.
Can they rebalance the scales tonight? MB
TELEVISION
BBC2
ITV
Channel 4
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Dancing: It Takes Two 7.0 Who’s
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Good Morning Britain (T) 8.30
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12.30 Loose Women (T) 1.30
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(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)
6.0
Holby City (T) On the day of Ric’s
coroner’s court hearing, Donna
discovers contradictory evidence
that threatens his defence.
Our Girl: Nepal Tour (T) Trapped
in the middle of Afghanistan in
a sandstorm without helicopter
support, the team face a
dangerous drive back to Kabul
in a commandeered cement
truck. Last in the series.
8.0
Saving Lives at Sea (T) In Tenby,
police searching for a boat thief
call for assistance. Last in the
series.
The Balfour Declaration: Britain’s
Promise to the Holy Land (T) Jane
Corbin explores the aspirations of
the 1917 declaration that saw the
British government endorse a
national home for Jewish people
in Palestine.
8.0
Midsomer Murders Murder by
Magic (T) (R) Barnaby and Nelson
uncover conflict between the
local church and pagan traditions
after a famous illusionist’s show
takes a tragic turn. Neil Dudgeon
stars in the murder mystery,
with Gwilym Lee, Tamzin
Malleson, Joe Absolom, AndrewLee Potts and Amanda Burton.
8.0
The Great British Bake Off (T) The
last three bakers bid to be this
year’s winner. Last in the series.
9.15 Celebrity Hunted (T) The
remaining celebrity fugitives try
to avoid the dogs, drones and
helicopters for the final time and
make it to the extraction point.
Last in the series.
8.0
10.25 Gogglebox (T) (R) Punters
turn pundits.
11.30 When Harry Met Meghan:
A Royal Romance (T) (R)
12.30 Music on 4 Live from Abbey Road
Classics (T) 1.0 The Supervet
(T) (R) 1.55 Fighting Cancer:
My Online Diary (T) (R) 2.50
Lady of the Lake (Haobam
Paban Kumar, 2016) Fact-based
drama starring Ningthoujam
Sanatomba. 4.10 Phil Spencer:
Secret Agent (T) (R) 5.05
Kirstie’s Vintage Gems (T) (R)
10.0 When Kids TV Goes Horribly
Wrong (T) (R) Andi Peters
narrates a compilation of
classic children’s TV mishaps.
12.55 SuperCasino (T) 3.10 Law &
Order: Special Victims Unit
(T) (R) 4.0 Tribal Teens (T) (R)
4.45 House Doctor (T) (R)
5.10 House Busters (T) (R)
5.35 Wildlife SOS (T) (R)
10.30 MR James: A View from a Hill
(T) (R) Spooky drama based
on the famous short story.
An archaeologist uncovers a
gruesome legend. Mark Letheren
stars with David Burke.
11.10 Frankenstein: Birth of a Monster
(T) (R) The origins of Mary
Shelley’s novel.
12.10 Spider House (T) (R) 1.40 The
Art of Scandinavia (T) (R) 2.40
I Know Who You Are (R)
Rafael Payare. 4.05 Sibelius: Lemminkäinen in
Tuonela; Lemminkäinen’s Return (Lemminkäinen
Suite, Op 22). Sibelius: Tapiola, Op 112. Courtney
Lewis. 5.0 In Tune. Katie Derham’s guests include
the pianist José Menor. 7.0 In Tune Mixtape.
7.30 In Concert. Rachel Podger leads Brecon
Baroque in Harmony and Invention, a programme
of Italian music, including Vivaldi’s Four Seasons,
Op 8. Recorded at Theatr Brycheiniog on 28
October. Nicola Heywood Thomas presents. Daniele
Caminiti (lute), Marcin Swiatkiewicz (harpsichord),
Brecon Baroque, Rachel Podger (solo violin).
10.0 Free Thinking. Anne McElvoy looks at an
exhibition of black and white art. 10.45 The
Essay: The Meaning of Flowers – Orchids. With
Prof Fiona Stafford. (2/5) 11.0 Late Junction
12.30 Through the Night: Italian Opera Arias
12.01 (LW) Shipping Forecast 12.04 Five Green
Bottles (2/5) 12.15 Call You and Yours 1.0 The
World at One. With Martha Kearney. 1.45 Book of
BBC1
6.0
8.0
9.0
10.0 News at Ten (T)
10.30 Regional News and Weather (T)
Includes national lottery update.
10.45 Valley Cops (T) Drugs cop
“Rhino” comes face to face
with “Morky”, who is accused of
selling heroin. Last in the series.
11.30 Young and Sterile: My Choice (T)
Why a growing number of young
people are opting to be sterilised
and child-free.
12.0 Weather for the Week Ahead
(T) 12.05 News (T)
9.0
10.0 Later Live… With Jools Holland
(T) With Noel Gallagher, Aimee
Mann and Dua Lipa.
10.30 Newsnight (T) Weather
11.15 Elizabeth I’s Secret Agents (T)
(R) The Earl of Essex tries to take
over Robert Cecil’s spy network.
12.15 NFL This Week (T) Action from
the week eight fixtures. 1.05 Sign
Zone: See Hear on Tour – Vilnius
(T) (R) 1.35 The Apprentice (T) (R)
2.35 The Ganges With Sue Perkins
(T) (R) 3.35 This Is BBC2 (T)
OTHER CHANNELS
BT Sport 1
6.0am Irish Rally Review 6.30 Game of the
Week 7.0 Premier League Review 8.0 Bundesliga
Review 9.0 Aviva Premiership Rugby Highlights
11.30 Hyundai A-League Highlights 12.30
SPFL Highlights 1.0 Vanarama National League
Highlights 1.30 Uefa Champions League Magazine
2.0 Premier League Review 3.0 Live Uefa Youth
League: Man Utd U19 v Benfica U19 (kick-off 3pm)
5.0 Live Uefa Youth League: Celtic U19 v Bayern
U19 (kick-off 5pm) 7.0 Uefa Champions League
Magazine 7.30 Uefa Champions League Goals
Show 10.0 UFC: Inside the Octagon 10.30 BT
Sport Goals Reload 10.45 MotoGP Catch-up Show
11.0 Live Baseball Tonight 12.0 Live MLB: World
Series – Game Six 4.0 Irish Rally Review 4.30
European Le Mans Series Highlights 5.30 Game
of the Week
Sky Atlantic
6.0am Fish Town 7.0 Richard E Grant’s Hotel
Secrets 8.0 The British 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 A Plastic Whale 10.0 The Deuce
11.10 Curb Your Enthusiasm 11.50 Clear
History (2013) 1.50 Ray Donovan 3.0 The Deuce
4.10 The West Wing 5.05 The West Wing
E4
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 Stage School 6.0
The Big Bang Theory 6.30 The Big Bang Theory
10.0 News (T)
10.30 Local News (T)
10.40 After the News (T) Emma
Barnett and Nick Ferrari host the
nightly current-affairs debate.
11.15 Lethal Weapon (T) (R) Riggs and
Murtaugh find themselves in a
turf war between dealers and a
Koreatown gang.
12.05 Jackpot247 3.0 Loose Women
(R) 3.50 ITV Nightscreen 5.05
The Jeremy Kyle Show (T) (R)
VARIATIONS
7.0 Hollyoaks 7.30 Streetmate 8.0 The Big
Bang Theory 8.30 The Big Bang Theory 9.0
Battle: Los Angeles (2011) 11.20 The Big
Bang Theory 11.50 The Big Bang Theory 12.15
Don’t Tell the Bride 1.20 David Blaine: Beyond
Magic 2.20 Rude Tube 3.15 Don’t Tell the
Bride 4.05 Brooklyn Nine-Nine 4.30 Blackish 4.50 Charmed
Film4
11.0am Father Goose (1964) 1.20 Posse from Hell (1961) 3.15 Buchanan Rides
Alone (1958) 4.55 D-Day, the Sixth of June
(1956) 7.05 Legend (1985) 8.55 FilmFear
Interview Special 9.0 Transporter 2 (2005)
10.40 Prevenge (2016) 12.25 The
Craft (1996) 2.25 Excision (2012)
Sky1
6.0am The Flash 7.0 Modern Family 7.30
Modern Family 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 Big Cats: An Amazing
Animal Family 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 The Flash
9.0 Strike Back 10.0 The Simpsons 10.30
The Simpsons 11.0 The Simpsons 11.30 The
Simpsons 12.0 A League of Their Own 1.0
The Force: North East 2.0 The Russell Howard
Hour 3.0 Brit Cops: War on Crime 4.0 Stop,
Search, Seize 5.0 The Dog Whisperer
Sky Sports Main Event
6.0am-10.0 Good Morning Sports Fans
10.0 Live ATP Masters Tennis: The Paris Masters.
Coverage of the second day at the AccorHotels
Arena in Paris. 10.0 The Debate 11.0 Sky Sports
News 12.0 Live WWE Late Night Smackdown
2.0-6.0 Sky Sports News
STV NORTH As ITV except 10.30pm
Scotland Tonight (T) 11.05 Lethal Weapon
(T) (R) 12.0 Teleshopping 1.0 After Midnight
2.30 ITV Nightscreen (T) 4.35 The Jeremy
Kyle Show (T) (R) 5.30-6.0 Teleshopping
CHANNEL As ITV except 12.05am-3.0
ITV Nightscreen
SCOTTISH As ITV except 10.30pm Scotland
Tonight (T) 11.05 Lethal Weapon (T) (R) 12.0
Teleshopping 1.0 After Midnight 2.30 ITV
Nightscreen (T) 4.35 The Jeremy Kyle Show
(T) (R) 5.30-6.0 Teleshopping
ULSTER As ITV except 12.05am
Teleshopping 1.05-3.0 ITV Nightscreen
BBC1 SCOTLAND 8.0pm-9.0 River City
(T) Lenny has to choose between a professional
alliance and a personal relationship. 10.45 Holby
City (T) 11.45 Valley Cops (T) 12.30-1.0 Young
and Sterile: My Choice (T)
BBC1 WALES 10.45pm James and Jupp
(T) (R) 11.15-11.45 Young and Sterile (T)
BBC2 WALES 5.30pm-6.0 X-Ray (T)
(R) American sweets on sale that are not being
correctly labelled. 7.0-8.0 The Hour (T) (R)
BBC2 N IRELAND 10.0pm-10.30
True North: The Crossing (T) (R) A Belfast
musician helping refugees and migrants in
Greece. 11.15 Later Live – with Jools Holland
(T) 11.45-12.15 Motherland (T) (R)
9.0
BBC4
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 (T) (R) 3.15 The Ghost
of Greville Lodge (Niall Johnson,
2000) (T) Supernatural family
drama, starring George Cole.
5.0 News (T) 5.30 Neighbours
(T) (R) 6.0 Home and Away (T)
(R) 6.30 News (T) 7.0 FIA World
Rally Championship Highlights:
The Wales Rally GB (T)
The Yorkshire Vet (T) Peter
Wright attends to a feisty
Highland cow, while Julian Norton
tries to save a poisoned pygmy
goat. Includes news update.
Ben Fogle: New Lives in the
Wild (T) The host journeys
to North Africa to live with
American widow Maryanne
on the farm she has built on
the edge of the Sahara.
7.0
Beyond 100 Days (T) 7.30
Great Continental Railway
Journeys: Warsaw to Krakow,
Part Two (T) (R) Michael
Portillo visits a factory in
Wrocław that manufactures
car bodies for locomotives.
8.0
The Art of Scandinavia (T)
(R) Andrew Graham-Dixon
explores the history of the
region through its art.
Bobby Sands: 66 Days The
story of the 66-day hunger
strike conducted by Bobby
Sands during 1981, making
use of the Provisional IRA
member’s own diary along
with expert testimonies.
9.0
RADIO
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 Radio 1 Rocks With Annie Mac and Dan P Carter
10.0 Huw Stephens 12.0 Stories: Britain’s Young
Witches 1.0 Logan Sama 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 Jamie Cullum 8.0 Jo Whiley 10.0 Bill
Kenwright’s Golden Years (1) 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. Suzy Klein’s guest this week is the
satirist and classical music fan Armando Iannucci.
12.0 Composer of the Week: Elgar (2/5) 1.0 News
1.02 Lunchtime Concert (R) Today’s programme
is the first in a series featuring highlights from
the Leeds lieder festival. Presented by Hannah
French. Mahler: Winterlied; Im Lenz; Ich ging mit
Lust; Erinnerung; Zu Straßburg auf der Schanz;
Scheiden und Meiden. Ruby Hughes (soprano),
Joseph Middleton (piano). Wagner: Wesendonck
Lieder. Jennifer Johnston (mezzo), Joseph
Middleton (piano). Mahler: Rheinlegendchen; Der
Tamboursg’sell; Der Schildwache Nachtlied (Des
Knaben Wunderhorn). James Newby (baritone),
Joseph Middleton (piano). (1/4) 2.0 Afternoon
Concert: Ulster Orchestra. Dvořák: Carnival, Op
92. Szymanowski: Violin Concerto No 2, Op 61.
Smetana: Vltava. Janáček: Taras Bulba. Tasmin
Little (violin), conductor Courtney Lewis. Dvořák:
The Noon Witch, Op 108. Jac Van Steen. Sibelius:
Violin Concerto in D minor, Op 47. Jennifer Pike,
Radio 4
92.4-94.6 MHz; 198kHz
6.0 Today. With Sarah Montague and John
Humphrys. 7.48 Thought for the Day, with the
Rev Dr Michael Banner. 8.30 (LW) Yesterday in
Parliament 9.0 The Life Scientific: Adrian Thomas
on the Mechanics of Flight (7/7) 9.30 One to
One: Peter Curran Looks Back at Northern Ireland,
Part Two. (7/7) 9.45 (LW) Daily Service 9.45
(FM) Living with the Gods: Mother and Child. Neil
MacGregor focuses on the protection of newborns
and their mothers, including the story of St Margaret,
and the role of protective omamori in Japan. (7/30)
10.0 Woman’s Hour. Presented by Jane Garvey.
Includes at 10.45 Drama: The Citadel, by AJ
Cronin, dramatised by Christopher Reason. There
is an outbreak of typhoid in the town and Denny
is convinced he knows the cause of it. (2/5) 11.0
Natural Histories: Beaver. Brett Westwood examines
the impact of the reintroduction of beavers to the
UK. (22/25) 11.30 The Trainspotter’s Guide to
Dracula. Miles Jupp uses Bram Stoker’s famous
novel as it has never been used before, as a train
timetable, following its references to plot a route
across Europe by rail to Transylvania. 12.0 News
the Week: Anthony Powell – Dancing to the Music
of Time, by Hilary Spurling. (2/5) 2.0 The Archers
(R) 2.15 Drama: Pilgrim – Sookey Hill, by Sebastian
Baczkiewicz. (R) (2/4) 3.0 The Kitchen Cabinet:
Ipswich (R) 3.30 Costing the Earth: Anna’s Farm.
Anna Jones examines ways to encourage farmers to
reduce their carbon footprint. 4.0 Law in Action.
The legal magazine returns. (1/4) 4.30 A Good
Read: Jenny Colgan & Steven Camden (5/9) 5.0
PM. With Eddie Mair. 5.54 (LW) Shipping Forecast
6.0 News 6.30 Ed Reardon’s Week: Diabetes
Day (2/6) 7.0 The Archers 7.15 Front Row. Arts
roundup with Shahidha Bari. 7.45 Living with the
Gods (7/30) 8.0 File on 4: The Nuclear Option –
Powering the Future and Cleaning Up the Past. With
Rob Cave. (8) 8.40 In Touch: Inaccessible White
Goods & A Hands-on Hub. With Peter White. 9.0
All in the Mind. Claudia Hammond returns with the
programme investigating the workings of the brain
and the wider mental health agenda. She begins by
looking at the issue of sleep paralysis. (1/8) 9.30
The Life Scientific (R) 10.0 The World Tonight. With
Ritula Shah. 10.45 Book at Bedtime: The Book of
Dust, Part One – La Belle Sauvage, by Philip Pullman.
(7/10) 11.0 Fred at the Stand. Fred MacAulay
presents standup from Zoe Lyons, Wayne Mazadza,
Rosie Jones and Mark Nelson. (3/6) 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: Paul Evans on the Barn Owl
5 Live
693, 909 kHz
6.0 5 Live Breakfast 10.0 5 Live Daily With
Adrian Chiles 1.0 Afternoon Edition 4.0 Drive
6.30 5 Live Sport 7.45 Champions League
Football 10.30 Sam Walker 1.0 Up All Night
5.0 Morning Reports 5.15 Wake Up to Money
The Observer | 29.10.17 | THE NEW REVIEW
41
Wednesday 1
PICKS OF
THE DAY
her family arrive from New York to stay
with the supposedly loving couple. When
the going gets tough, Nina threatens: “The
shit I’m going to do to you will make Sharia
Law look like f***ing spring break.”
Tolstoyan feel to proceedings are Matthew
Macfadyen, Olivia Williams, Alicia Vikander
and Domhnall Gleeson. Jonathan Romney
COMEDY DRAMA
Mae Martin’s Guide to
21st-Century Addiction
Radio 4, 11.30am
RADIO
Man Down
Channel 4, 10pm
Depressed at being ensconced in his
mother’s care home beside a giant statue
of Christ, Dan ventures out, only to accept
a stressful role dealing with problem pupils
at his old school. Priceless. Mike Bradley
FILM
COMEDY
Anna Karenina
Film4, 6.20pm
Fresh Off the Boat
5Star, 8pm & 8.30pm
(Joe Wright, 2012)
It’s no wonder this show is in its fourth
season in America, as it’s hilarious. Based
on chef Eddie Huang’s memoirs, it follows
his family as they move from Washington
DC’s Chinatown to Orlando, Florida, where
his father opens a cowboy-themed steak
restaurant. Ludicrously cute Eddie (above),
11, is a diehard hip-hop fan, which is a
problem for “tiger mom” Jessica. Try it.
It seems counterintuitive, taking one of
the great 19th-century realist novels and
giving it a self-conscious pageant-style
treatment that’s not so much Brechtian as
panto-like – especially considering what a
dim view Tolstoy took of theatre. But with
Tom Stoppard scripting, and Joe Wright
proving himself a confident ringmaster,
this Anna Karenina is successfully fuelled by
both dazzle and sensitivity. Keira Knightley
may have less mature complexity than
some other screen Annas, and arguably
Aaron Taylor-Johnson is more callow and
cadet-like than we expect a Vronsky to
be. But the shifts between the stage and
the outside world are effected elegantly
and among those bringing an authentically
COMEDY DRAMA
Bounty Hunters
Sky 1, 10pm
Things get even more complicated this
week for Barnaby and Nina, as his father
discharges himself from the hospital and
TV CHOICE
Trust Me, I’m a Doctor
BBC2, 9pm
In a really worthwhile special programme
dedicated to mental health, Michael
Mosley discovers that from a survey
that asked 2,000 people what mental
health questions the public most wanted
answered the top of the list was: what
is the best way to beat stress? In an
effort to find an answer he introduces
an experiment to test which out of yoga,
mindfulness and gardening is the best
stress-buster. Along the way we also
learn how a lack of sleep can affect our
state of mind, how laughing can improve
our mood and whether it’s possible to eat
your way to happiness. Plus there’s a look
at a radical new treatment that could cure
schizophrenia and help those suffering
from depression. If you can ignore the
relentlessly jokey soundtrack you’ll enjoy
a programme full of useful information.
Chances are you’ll never guess the best
stress-buster, though. Mike Bradley
When standup comedian Mae Martin was a
child, she was obsessed with Bette Midler.
The actor filled Martin’s waking thoughts
and interfered with her grades at school.
At 13, Martin became a “teen-comedy
addict”, who stalked standup comedians.
Now 30 and feeding off the dopamine
rush of performing, she reflects on the
nature of addiction, concluding that this
misunderstood and growing phenomenon
is about compulsive pleasure-seeking
that has negative consequences. In
among the comedy is a serious message
about society’s response to the potential
addictions that surround us: the dopaminemakers that dampen reality. Kim Salmons
SPORT
Football
BT Sport 2, 7pm
Tottenham v Real Madrid: Champions
League Group H, second leg. Live coverage
from Wembley where Spurs will hope
to make up for their 1-1 first-leg draw.
Tonight’s other second-leg games which
kick off at the same time are: Napoli v
Manchester City (BT Sport 3) and Liverpool
v FK Marlbor (BT Sport/ESPN). MB
TELEVISION
BBC2
ITV
Breakfast (T) 9.15 Countryfile
Autumn Diaries (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) (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 Antiques
Road Trip (T) (R) 5.15 Pointless
(T) 6.0 News and Weather (T)
6.30 Regional News and Weather
(T) 7.0 The One Show (T)
6.0
The Hairy Builder (R) 6.30
Countryfile Autumn Diaries (R)
7.15 Getting the Builders In (R)
8.0 See Hear on Tour: Berlin
8.30 Caught Red Handed (R)
9.0 Victoria Derbyshire 11.0
Newsroom Live 11.30 Daily
Politics 1.0 The Code (T) (R) 1.45
The Planners (T) (R) 2.45 Family
Finders (T) 3.15 Locomotion …
History of Railways (T) (R) 4.15
Back in Time for Dinner (T) (R)
5.15 Flog It! (T) (R) 6.0 Eggheads
(T) 6.30 Strictly: It Takes Two (T)
7.0 The Super-Rich and Us (T) (R)
6.0
Eat Well for Less? (T)
MasterChef judge Gregg Wallace
and greengrocer Chris Bavin
once again set out to help families
with their food shopping.
The Apprentice (T) The
contestants go on a shopping
spree across London to purchase
items that mark milestones in
Alan Sugar’s life and career.
8.0
Hidden Cardiff With Will Millard
(T) The adventurer sets out to
reveal the secret history of the
Welsh capital.
Trust Me I’m a Doctor: Mental
Health Special (T) Experts
answer questions surrounding
the impact that stress, laughter
and lack of sleep can have.
8.0
BBC1
6.0
8.0
9.0
10.0 News (T)
10.30 Regional News and Weather (T)
Includes national lottery update.
10.45 A Question of Sport (T)
With guests Jimmy Floyd
Hasselbaink, Alun Wyn Jones,
Daryll Neita and James Guy.
11.15 Junior Doctors: Blood, Sweat
and Tears (T) New series. The
experiences of seven junior
doctors in Wolverhampton.
11.45 The Ganges With Sue Perkins
(T) (R) A visit to Varanasi.
12.45 Weather for the Week Ahead
(T) 12.50 BBC News (T)
9.0
10.0 The Apprentice: You’re Fired (T)
Interview with the show’s latest
reject. Rhod Gilbert hosts.
10.30 Newsnight (T) Weather
11.15 Army: Behind the New Frontlines
(T) Following the British army on
a UN peacekeeping operation in
South Sudan. Last in the series.
12.15 Peaky Blinders (T) (R) Thomas
Shelby’s wedding day arrives.
1.10 Sign Zone: See Hear (T) (R)
1.40 Russia With Simon Reeve
(T) (R) 2.40 Eat Well for Less?
(T) (R) 3.40 This Is BBC2 (T)
OTHER CHANNELS
BT Sport 1
6.0am Moto3: Grand Prix of Malaysia 7.0
Moto2: Grand Prix of Malaysia 8.0 MotoGP:
Grand Prix of Malaysia 9.0 Aviva Premiership
Rugby Highlights 11.30 Vanarama National
League Highlights 12.0 Uefa Champions League
Highlights 1.0 Live Uefa Youth League: Napoli
U19 v Man City U19 (kick-off 1pm) 3.0 Live
Uefa Youth League: Tottenham Hotspur U19 v
Real Madrid U19 (kick-off 3pm) 5.0 Premier
League 6.30 Premier League World 7.0 Uefa
Champions League 7.30 Uefa Champions
League Goals Show 10.0 Rugby Tonight On
Tour 10.30 Serie A Review 11.0 Live Baseball
Tonight 12.0 Live MLB: World Series – Game
Seven 4.0 Irish Rally Review 4.30 Rugby Tonight
On Tour 5.0 European Le Mans Series Highlights
Sky Atlantic
6.0am Fish Town 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 Ray Donovan 10.10 Spielberg 12.50
The Sopranos 2.0 The Sopranos 3.05 Tin Star
4.05 The West Wing 5.0 The West Wing
E4
42
Channel 5
6.20 The King of Queens (T) (R) 7.35
Everybody Loves Raymond (T)
(R) 9.05 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… (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) 7.55 Robbie’s
Story: Stand Up to Cancer (T)
6.0
Gino’s Italian Coastal Escape
Amalfi (T) New series. Gino
D’Acampo returns to his
homeland of Italy to explore
the Mediterranean coastline.
8.30 Coronation Street (T) David
finally gets wind of Gary’s big
secret.
9.0 Doc Martin (T) It is the annual
Portwenn versus Port Carran gig
race, and Eric dislocates his finger.
8.0
8.0
10.0 News (T)
10.30 Local News (T)
10.45 After the News (T) Nick Ferrari
hosts the nightly show.
11.15 Uefa Champions League
Highlights (T) Featuring Liverpool
v NK Maribor, Napoli v Man City
and Spurs v Real Madrid.
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 embarks on
a journey to rediscover the truth
about a misremembered friendship. Jo embraces freeganism.
10.30 999: What’s Your Emergency?
(T) (R) Women being targeted
by predatory males.
11.30 Feral Families (T) (R)
12.30 Pokerstars Championship (T)
1.25 Kitchen Nightmares USA
(T) (R) 2.15 Red Lights
(Rodrigo Cortés, 2012) (T)
Thriller with Cillian Murphy.
4.15 Escape (T) (R) 5.10 Draw
It! (T) (R) 5.35 Countdown (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) Rhona feels
frustrated when problems arise
at the school. 7.30 Coronation
Street (T) Gary returns home
to worrying news of Nicola.
VARIATIONS
Abroad 3.0 First Dates 4.0 Brooklyn Nine-Nine
4.25 Black-ish 4.50 Charmed
Film4
11.0am Down to the Sea in Ships (1949)
1.25 Imitation of Life (1959) 4.0 Von
Ryan’s Express (1965) 6.20 Anna Karenina
(2012) 9.0 American Ultra (2015) 10.50
Wanderlust (2012) 12.45 The Place
Beyond the Pines (2012)
Sky1
6.0am The Flash 7.0 Modern Family 7.30
Modern Family 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 Dogs: An Amazing Animal Family
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 DC’s
Legends of Tomorrow 9.0 Marvel’s Inhumans 10.0
Bounty Hunters 10.45 The Simpsons 11.15 The
Simpsons 11.45 A League of Their Own 12.45 PL
Greatest Games 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 Main Event
6.0am-9.0 Good Morning Sports Fans 9.0
All programmes from 6am to 5pm 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
5.30 Stage School 6.0 The Big Bang Theory
6.30 The Big Bang Theory 7.0 Hollyoaks 7.30
Streetmate 8.0 The Big Bang Theory 8.30
The Big Bang Theory 9.0 Don’t Tell the Bride
10.0 First Dates Abroad 11.05 The Big Bang
Theory 11.35 The Big Bang Theory 12.0 Rude
Tube 1.05 Don’t Tell the Bride 2.10 First Dates
Channel 4
Live Ladies European Tour Golf: The Fatima Bint
Mubarak Ladies Open. Coverage of the opening
day of the tournament at Saadiyat Beach Golf
Club in Abu Dhabi. 1.0 Live On the Range: Turkish
Airlines Open. The players practise ahead of the
tournament at the Carya Golf Club in Antalya,
Turkey. 2.0 Live International T20 Cricket: India
v New Zealand. Coverage of the opening fixture
in the three-match series, staged at Feroz Shah
Kotla in Delhi. 5.0 Live ATP Masters Tennis:
The Paris Masters – Day Three 7.30 Live EFL:
Preston North End v Aston Villa (kick-off 7.45pm)
10.0 The Debate 11.0-6.0 Sky Sports News
THE NEW REVIEW | 29.10.17 | The Observer
STV NORTH As ITV except 10.30pm-11.15
Scotland Tonight (T) 12.35 Teleshopping 1.35
After Midnight 2.35 Storage Hoarders (T) (R)
3.25 ITV Nightscreen (T) 4.05 The Jeremy Kyle
Show (T) (R) 5.0-6.0 Teleshopping
ITV WALES As ITV except 8.0pm-8.30
Crime Files (T)
CHANNEL As ITV except 12.35am-3.0 ITV
Nightscreen
SCOTTISH As ITV except 10.30pm-11.15
Scotland Tonight (T) 12.35 Teleshopping 1.35
After Midnight 2.35 Storage Hoarders (T) (R)
3.25 ITV Nightscreen (T) 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 8.0pm Rip Off Britain: Live
(T) 8.30-9.0 Children’s Ward (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) 12.40-1.40
The Ganges With Sue Perkins (T) (R)
BBC2 SCOTLAND 1.0pm Family Finders
(T) 1.30 Locomotion: Dan Snow’s History of
Railways (T) (R) 2.30 Politics Scotland (T)
3.30-4.15 The Code (T) (R)
BBC2 WALES 7.0pm Hidden Cardiff with
Will Millard (T) (R) 8.0-9.0 Eat Well for Less?
(T) A woman from Buckinghamshire lowers her
food bills.
9.0
Ugly House to Lovely House With
George Clarke (T) The presenter
challenges innovative architect
Greg Blee to transform a most
impractical, upside-down house.
Grand Designs (T) Following the
work of Ed and Rowena Waghorn
as they continue to build a
handcrafted five-bedroom house.
9.0
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)
2.15 NCIS (T) (R) Defiance 3.15
Mr Miracle (Carl Bessai,
2014) (T) Fantasy comedy
starring Rob Morrow. 5.0 News
(T) 5.30 Neighbours (T) (R) 6.0
Home and Away (T) (R) 6.30
News (T) 7.0 Traffic Cops: On the
Edge (T) (R) CS gas is used to stop
a high-speed chase in Bradford.
GPs: Behind Closed Doors (T)
Doctors treat patients suffering
from chronic pain, including a
man who is HIV positive and a
woman with excruciating boils
around her groin. Includes news.
Big Family Values: More Kids
Than Cash (T) New series.
The everyday struggles faced
by parents at the head of big
families.
BBC4
7.0
Beyond 100 Days (T) 7.30 Great
Continental Railway Journeys: La
Coruña to Lisbon, Part One (T) (R)
Michael Portillo travels through
Spain and Portugal, meeting
people from all over the world
on the pilgrims’ trail to Santiago
de Compostela in Galicia.
8.0
Queen Victoria’s Letters:
A Monarch Unveiled (T) (R)
(1/2) AN Wilson uses Queen
Victoria’s journals and letters
to explore her personal life.
Mrs Brown (John Madden,
1997) (T) A manservant helps
the bereaved Queen Victoria.
Period drama starring Judi
Dench and Billy Connolly.
9.0
10.0 Shannon Matthews: What
Happened Next (T) (R)
Documentary examining
the kidnapping of Shannon
Matthews and its aftermath.
11.0 The Murder of April Jones:
5 Years On (T) (R)
12.30 Criminals: Caught on Camera
(T) (R) 1.0 SuperCasino (T) 3.10
Law & Order: Special Victims
Unit (T) (R) 4.0 Tribal Teens (T)
(R) 4.45 House Doctor (T) (R)
5.10 House Busters (T) (R) 5.35
Wildlife SOS (T) (R)
10.40 Billy Connolly: Portrait of a
Lifetime (T) (R) A programme
celebrating the life and career
of Billy Connolly.
11.40 The Toilet: An Unspoken
History (T) (R) Ifor ap Glyn
examines the social history
and evolution of the toilet,
starting in Mérida, Spain, with
a look at some of the earliest
surviving Roman examples.
12.40 Timewatch: Young Victoria (T) (R)
1.30 Birth of the British Novel (T)
(R) 2.30 I Know Who You Are (R)
A performance by members of the Australian
Chamber Orchestra. 7.0 In Tune Mixtape 7.30
In Concert. Ian Skelly presents a concert recorded
at Snape Maltings last Saturday. Sunwook Kim
(piano), BBC Concert Orchestra, Andrew Gourlay.
Vaughan Williams: Incidental Music to The Mayor
of Casterbridge. Britten: Piano Concerto, Op 13.
Interval. Britten: Recitative and Aria for Piano and
Orchestra. Copland: Quiet City. Britten arr Paul
Hindmarsh: King Arthur – Suite for Orchestra:
Overture; Scherzo (Dance of Death); Variations
(Galahad and the Holy Grail); Finale (Battle and
Apotheosis). 10.0 Free Thinking: Britten and Radio.
Exploring Britten’s relationship with radio in Britain
and in America. 10.45 The Essay: The Meaning of
Flowers – Daffodils. With Prof Fiona Stafford. (3/5)
11.0 Late Junction. Three musicians – Tony Allen,
Pat Thomas and Elvin Brandhi – meet at the BBC’s
Maida Vale Studios and spend the day attempting to
create magical music. 12.30 Through the Night (R)
12.0 News 12.01 (LW) Shipping Forecast 12.04
Five Green Bottles (3/5) 12.15 You and Yours
12.57 Weather 1.0 The World at One. Presented
by Martha Kearney. 1.45 Book of the Week:
RADIO
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 Surgery 10.0
Huw Stephens 1.0 Toddla T 4.0 Adele Roberts
Radio 2
88-91 MHz
6.30 Chris Evans 9.30 Ken Bruce 12.0 Jeremy
Vine 2.0 Steve Wright 5.0 Simon Mayo 7.0 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 Vanessa Feltz
Radio 3
90.2-92.4 MHz
6.30 Breakfast. With Petroc Trelawny. 9.0
Essential Classics. Suzy Klein is joined this week by
Armando Iannucci. 12.0 Composer of the Week:
Elgar (3/5) 1.0 News 1.02 Lunchtime Concert:
Leeds Lieder Festival 2016/17. Presented by
Hannah French. Mahler: Es sungen drei Engel einen
süßen Gesang; Wo die schönen Trompeten blasen;
Die irdische Leben (Des Knaben Wunderhorn).
Gemma Lois Summerfield (soprano), Joseph
Middleton (piano). Ives: The Housatonic at
Stockbridge; Memories: Very Pleasant; Rather
Sad; Songs My Mother Taught Me; Serenity; From
the Swimmers. Ruby Hughes (soprano), Joseph
Middleton (piano). Mahler: Fünf Lieder nach Texten
von Rückert. Jennifer Johnston (mezzo), Joseph
Middleton (piano). (2/4) 2.0 Afternoon Concert:
Ulster Orchestra. Presented by Tom McKinney.
Mahler: Totenfeier. Tubin: Double Bass Concerto.
Strauss: Tod und Verklärung, Op 24. Gunars
Upatnieks (double bass), Ulster Orchestra, Olari
Elts.3.30 Choral Evensong: Salisbury Cathedral
4.30 New Generation Artists. Tom McKinney
introduces the Amatis Piano Trio from Holland.
Mozart: Piano Trio in B flat, K502. 5.0 In Tune.
Radio 4
92.4-94.6 MHz; 198kHz
6.0 Today. With John Humphrys and Sarah
Montague. 7.48 Thought for the Day, with Tim
Stanley. 8.31 (LW) Yesterday in Parliament 9.0
The Gamble: Naked. Noma Dumezweni narrates the
third episode of her series about risk and creativity,
featuring performance artists Bryony Kimmings and
Scottee and artist Sophie Calle. Last in the series.
(3/3) 9.45 (LW) Daily Service: All Things – All
Saints. Led by Canon Angela Tilby. 9.45 (FM)
Living with the Gods: Becoming an Adult (8/30)
10.0 Woman’s Hour. Presented by Jenni Murray.
Includes at 10.41 Drama: The Citadel, by AJ Cronin,
dramatised by Christopher Reason. (3/5) 10.55
The Listening Project: Pete and Les – Fifty Years
of Friendship 11.0 The Confidence Trick (R) Laura
Barton examines the part confidence appears to
play in modern life. 11.30 Mae Martin’s Guide
to 21st-Century Addiction. The award-winning
standup Mae Martin presents a new, personal two
part series exploring the nature of addiction. (1/2)
Anthony Powell – Dancing to the Music of Time,
by Hilary Spurling. Read by Hattie Morahan. (3/5)
2.0 The Archers (R) 2.15 Drama: Pilgrim – Aisley
Bridge, by Sebastian Baczkiewicz. (R) (3/4) 3.0
Money Box Live 3.30 All in the Mind (R) 4.0
Thinking Allowed. Human behaviour, institutions
and conventions examined. 4.30 The Media
Show 5.0 PM. Presented by Eddie Mair. 6.0 News
6.30 Andy Hamilton Sort of Remembers. The
comedian and writer examines our attitude to the
human body, and recalls how his own body and
brain have occasionally conspired against him over
the years. (3/4) 7.0 The Archers. Lilian fears the
worst. 7.15 Front Row. Arts roundup. 7.45 Living
With the Gods (R) (8/30) 8.0 The Moral Maze.
With Michael Portillo, Claire Fox, Mona Siddiqui
and Anne McElvoy. (4/9) 8.45 Why I Changed My
Mind. Dominic Lawson interviews people who have
altered their opinions on controversial matters.
(3/4) 9.0 Costing the Earth: Anna’s Farm (R) 9.30
The Gamble: Naked (R) 9.59 Weather 10.0 The
World Tonight 10.45 Book at Bedtime: The Book of
Dust, Part One – La Belle Sauvage, by Philip Pullman.
(8/10) 11.0 Little Lifetimes: The Nannas. Tilly
Vosburgh stars in Jenny Eclair’s comic monologue.
(3/4) 11.15 Yours Truly, Pierre Stone (2/4) 11.30
Today in Parliament 12.0 News 12.30 Book of the
Week (R) 12.48 Shipping Forecast 1.0 As World
Service 5.20 Shipping Forecast 5.30 News 5.43
Prayer for the Day 5.45 Farming Today 5.58
Tweet of the Day: Paul Evans on the Merlin
5 Live
693, 909 kHz
6.0 Breakfast 10.0 5 Live Daily With Emma
Barnett 1.0 Afternoon Edition 4.0 Drive 6.30
5 Live Sport 7.45 Champions League Football
10.30 Sam Walker 1.0 Up All Night 5.0
Morning Reports 5.15 Wake Up to Money
Thursday 2
PICKS OF
THE DAY
of Patna and travels down the Hooghly to
Kolkata, then on through the Sundarbans
to the Bay of Bengal. Transgender fairy
godmothers rub shoulders with tigerbraving fisherfolk and the whole thing
ends with a glorious “Hindu Glastonbury”.
Stewart’s persona. The same package
is also shown, in reverse order, on Friday
from 9.05am. Jonathan Romney
DOCUMENTARY
Radio 4, 11.30am
RADIO
A Portrait of… Danielle de Niese
A Summer to Save My Life
Channel 4, 10.50pm
A heartrending but encouraging film which
follows cancer patients Ty, Anna and Charlie
over a life-changing summer while they
undergo a pioneering new treatment called
immunotherapy. Full of hope. Mike Bradley
COMEDY DRAMA
FILM
Living the Dream
Sky 1, 9pm
The Far Country
TCM, 3pm
At times during the first episode of this
passable new drama you do wonder what
Philip Glenister and Lesley Sharp were doing
signing up for a flimsy comedy about a family
who swap drizzly Yorkshire for a new life
running an RV trailer park in Florida. Watch
the fur fly when wife Jen (Sharp) discovers
that husband Mal (Glenister) has bought the
place unseen… May improve with time.
(Anthony Mann, 1954)
The first half of a TCM double bill from
the 50s master of the dark oater. The Far
Country has Mann’s regular star James
Stewart – who famously favoured grubby,
sweat-stained hats for Mann movies – as
a cattle driver who loses his herd when he
gets on the wrong side of a crooked judge.
After that, the revenge trail beckons. It’s
followed at 4.55pm by Mann’s The Naked
Spur (1953), with Stewart as a bounty
hunter on the trail of a wanted killer (Robert
Ryan). Mann’s westerns are famous for
their psychological insight, their use of
landscapes – although The Far Country
goes further with the studio artifice –
and for bringing out the harder edge of
TRAVELOGUE
The Ganges
BBC1, 9pm
Sue Perkins brings her journey along India’s
sacred river to a close with a programme in
which she begins at the old opium capital
TV CHOICE
Exodus: Our Journey Continues
BBC2, 9pm
“There are many of us who are refugees,”
says Dame, who arrived in the UK 17
months ago from Ethiopia, “We were told
there are safe countries across the sea.”
A victim of persecution in his homeland,
Dame was one of the lucky ones who
made it to his desired destination, though
now he says of his life in London, “I am a
ghost in a prison.” He is one of those who
arrived in 2015 whom this second series
of Exodus visits to find out how they
have been welcomed by the countries
they now call home. In addition we
meet lovely Afghani newlyweds Ali and
Sharin (above), who have spent their
“honeymoon” camping on the streets of
Thessaloniki, and Nazifa and Latif who live
with their children in a container in a camp
near Athens. Both these couples hope
to seek asylum in Germany. A powerful,
resonant reminder of the continuing plight
of refugees everywhere. Mike Bradley
In this meditative programme, artist Fiona
Graham-Mackay paints the opera soprano
Danielle de Niese. A child prodigy, De Niese
was born in Melbourne in 1979, and rose
to fame in her teens. She is married to
the chairman of Glyndebourne, and their
home is the grand setting for the portrait.
In a lovely example of “slow radio”, the
listener accompanies the two women as
they get to know each other through the
language of painting: from initial sketches
and the “space that the subject inhabits”,
to the big reveal of the finished product.
Their conversations take in the “philosophy
and sex” of portraiture, and coming to
terms with their bodies. Kim Salmons
SPORT
Football
BT Sport 2, 5.30pm
Olympique Lyonnais v Everton: Europa
League. This Group E clash from the
Groupama Stadium will see Everton try
to capitalise on their 2-1 first-leg win.
The game is followed at 8pm by Arsenal
v Red Star Belgrade, a Group H encounter
at the Emirates Stadium in which the
Gunners will be striving to do better than
their cagey first-leg 1-0 away win. MB
TELEVISION
BBC2
ITV
Breakfast 9.15 Countryfile
Autumn Diaries 10.0 Homes
Under the Hammer 11.0 Getting
the Builders In 11.45 Fugitives (R)
12.15 Bargain Hunt (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 Antiques Road Trip (T) (R)
5.15 Pointless (T) 6.0 News and
Weather (T) 6.30 Regional News
and Weather (T) 7.0 The One
Show (T) 7.30 EastEnders (T)
6.0
The Hairy Builder (R) 6.30
Countryfile Diaries (R) 7.15
Getting the Builders In (R) 8.0
Sign Zone: See Hear… Helsinki
8.30 Caught Red Handed (R)
9.0 Victoria Derbyshire 11.0 BBC
Newsroom Live 12.0 Daily Politics
1.0 The Code (R) 1.45 Planners (T)
(R) 2.45 Family Finders (T) 3.15
The Railway: Keeping Britain on
Track (T) (R) 4.15 Back in Time
for Dinner (T) (R) 5.15 Flog It!
(T) (R) 6.0 Eggheads (T) 6.30
Strictly: It Takes Two (T) 7.0
The Super-Rich and Us (T) (R)
6.0
Harry Styles at the BBC (T)
The former One Direction
singer performs tracks from
his self-titled solo album.
The Ganges With Sue Perkins
(T) Sue meets students in Patna,
is reunited with an old friend in
Kolkata and finds out about the
endangered Bengal tiger. Last in
the series.
8.0
The Big Family Cooking
Showdown (T) The three most
successful families return for
the final. Last in the series.
Exodus: Our Journey Continues
(T) New series. A follow-up to
the 2016 documentary Exodus:
Our Journey to Europe, finding
out what has happened to some
of the refugees in Europe.
8.0
BBC1
6.0
8.0
9.0
10.0 News (T)
10.30 Regional News and Weather (T)
10.45 Question Time (T) David
Dimbleby chairs the topical
debate in Kilmarnock, East
Ayrshire, where panellists include
former Scottish Labour leader
Kezia Dugdale and Stagecoach
founder Brian Souter.
11.45 This Week (T) Andrew Neil
introduces the usual affable
round-table political chat.
12.30 Weather for the Week Ahead
(T) 12.35 BBC News (T)
9.0
10.0 MOTD: The Premier League
Show (T) Gabby Logan presents
the magazine programme.
10.30 Newsnight (T) Weather
11.15 Louis Theroux: Talking to
Anorexia (T)
12.15 Peaky Blinders (T) (R) 1.15 Sign
Zone: See Hear on Tour – Helsinki
(T) (R) 1.45 The Human Body:
Secrets of Your Life Revealed
(T) (R) 2.45 This Farming Life
(T) (R) 3.45 This Is BBC2 (T)
OTHER CHANNELS
BT Sport 1
6.0am Michelin Le Mans Cup Highlights 6.30
DTM Review 7.30 WRC Review: Wales Rally GB
8.30 FIM Speedway Highlights 9.30 MotoGP
Highlights 10.30 Premier League Reload 10.45
BT Sport Goals Reload 11.0 WTA Finals 1.0 Premier
League World 1.30 Women’s Ashes 2.30 Live
PSA Squash: Qatar Classic. The men’s semi-finals
of the Qatar Classic. 5.0 Rugby Tonight On Tour
5.30 European Le Mans Series Highlights 6.30
Bundesliga Weekly 7.0 Ligue 1 Show 7.30 FIM
Speedway Highlights 8.30 Hidden Ashes 9.0 ESPN
Films: The Dotted Line 10.0 Live College Football
1.30 UFC 217 Countdown 2.30 UFC: Machida v
Brunson 5.30 Michelin Le Mans Cup Highlights
Sky Atlantic
6.0am Fish Town 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
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 Ray Donovan 3.05 Californication 3.40
Californication 4.15-6.0 The West Wing
E4
All programmes from 6am to 5pm 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 5.30
Stage School 6.0-7.0 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 The Inbetweeners 10.30 The Inbetweeners
11.0-12.0 The Big Bang Theory 12.0 Rude Tube:
Love Bytes 1.05 The Inbetweeners 1.40 The
Inbetweeners 2.10 GameFace 2.40 2 Broke Girls
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 (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) 7.55 Annalesha’s
Story: Stand Up to Cancer (T) (R)
6.0
Emmerdale (T) Rhona
confronts her feelings.
Gerry bonds with Doug.
8.30 Paul O’Grady: For the Love of
Dogs (T) Paul meets a pair of
elderly labradors which cannot
bear to be apart.
9.0 Ross Kemp Behind Bars: Inside
Barlinnie (T) Ross Kemp spends
10 days visiting HMP Barlinnie in
Glasgow.
8.0
8.0
10.0 News (T)
10.30 Local News (T)
10.40 After the News (T) Nick Ferrari
is joined by high-profile guests.
11.15 Uefa Europa League Highlights
(T) Mark Pougatch presents a
round-up of the matchday four
fixtures, which included Lyon v
Everton and Arsenal v Red Star
Belgrade.
12.20 Jackpot247 3.0 Tonight: Fast
Food – The Big Fat Truth (R)
3.25 ITV Nightscreen 5.05
The Jeremy Kyle Show (T) (R)
10.0 The Great British Bake Off: An
Extra Slice (T) Jo Brand looks
back at this year’s final. Last in
the series.
10.50 A Summer to Save My Life
Patients undergoing a pioneering
new cancer treatment.
11.55 Gogglebox (T) (R)
12.55 The Secret Life of the Zoo (T)
(R) 1.50 Dispatches: Is Britain
Full? (T) (R) 2.20 Unreported
World (T) (R) 2.50 Grand Designs
Australia (T) (R) 3.45 Phil
Spencer: Secret Agent (T) (R)
4.40 Best of Both Worlds (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) Paddy feels under pressure
to fulfil his responsibilities. 7.30
Tonight: (T) Claims that fast-food
outlets are fuelling poor health.
VARIATIONS
3.05 First Dates 4.0 Brooklyn Nine-Nine 4.25
Black-ish 4.50 Charmed
Film4
11.0am The China Syndrome (1979) 1.25
The Quick Gun (1964) 3.15 The Last
Frontier (1955) 5.15 First Men in the Moon
(1964) 7.20 Airplane II: The Sequel (1982)
9.0 Red 2 (2013) 11.15 Joe (2013)
1.35 Suzanne (2013)
Sky1
6.0am-8.0 Monkey Life 8.0-9.0 It’s Me or the
Dog 9.0-10.0 The Dog Whisperer 10.0 Dogs: An
Amazing Animal Family 11.0-12.0 Modern Family
12.0 NCIS: LA 1.0-3.0 Hawaii Five-0 3.0 NCIS: LA
4.0 Stargate SG-1 5.0 The Simpsons 5.30-6.30
Futurama 6.30-8.0 The Simpsons 8.0 Arrow 9.0
Living the Dream 10.0 The Russell Howard Hour
11.0-12.0 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 Main Event
6.0am Good Morning Sports Fans 6.30 Good
Morning Sports Fans 7.0 Good Morning Sports
Fans 7.30 Good Morning Sports Fans 8.0
Good Morning Sports Fans 8.30 Good Morning
Sports Fans 9.0 Live European Tour Golf: The
Turkish Airlines Open. Coverage of the opening
day of the tournament at the Carya Golf Club in
Antalya, Turkey. 2.0 Live ATP Masters Tennis:
The Paris Masters. Coverage of the fourth day at
the AccorHotels Arena in Paris, featuring matches
in the third round. 9.30 Live PGA Tour Golf: The
Shriners Hospitals for Children Open. Coverage of
day one of the tournament at the TPC Summerlin in
Las Vegas, Nevada. 12.30 Live NFL: New York Jets
v Buffalo Bills. Coverage of the AFC East clash at
MetLife Stadium, joining in progress five minutes
after the kick-off. 3.45 Jay Ajayi Masterclass
4.0 Sky Sports News 5.0 Sky Sports News
STV NORTH As ITV except 10.30pm-11.15
Scotland Tonight (T) 12.20 Teleshopping 1.20
After Midnight 2.50 Acid Attacks: How Scared
Should We Be? Tonight (R) 3.15 ITV Nightscreen
4.05 The Jeremy Kyle Show (T) (R) 5.0-6.0
Teleshopping
CHANNEL As ITV except 12.20am-3.0
ITV Nightscreen
SCOTTISH As ITV except 10.30pm-11.15
Scotland Tonight (T) 12.20 Teleshopping 1.20
After Midnight 2.50 Acid Attacks: How Scared
Should We Be? Tonight (R) 3.15 ITV Nightscreen
4.05 The Jeremy Kyle Show (T) (R) 5.0-6.0
Teleshopping
ULSTER As ITV except 12.20am
Teleshopping 1.20-3.0 ITV Nightscreen
BBC1 SCOTLAND 9.0pm-10.0 The
Country Council (T) The council workers going
the extra mile to improve local lives, including
the learning disability team in Lochgilphead.
Last in the series.
BBC1 N IRELAND 10.40pm The View
(T) Mark Carruthers presents a review of the
week’s political news, comment and analysis from
Stormont and Westminster. 11.15 Question Time
(T) Topical debate from Kilmarnock. 12.15-1.0
This Week (T) The past seven days in politics.
BBC2 SCOTLAND 12noon-1.0 First
Minister’s Questions (T) 7.0 Britain Afloat (T)
(R) The history of river boats in Britain. 7.308.0 Timeline (T)
9.0
The Supervet (T) A great dane
comes to the clinic needing
major spinal surgery.
First Dates: Celebrity Special
for SU2C (T) An edition in aid
of Stand Up to Cancer in which
celebrity singletons embark on
blind dates with unsuspecting
members of the public.
9.0
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)
2.15 NCIS (T) (R) Kill Screen 3.15
The Christmas Heart (Gary
Yates, 2012) (T) Drama, starring
Teri Polo. 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) Criminals
using back roads to operate
under cover of darkness.
Bargain-Loving Brits in
Blackpool (T) B&B owner Chris
gets ready to welcome a hen
party. Includes news update.
Rich House, Poor House (T)
Families from Orpington and
Bromley swap homes, lifestyles
and budgets for a week to see
how the other half lives – and
find out whether money really
can buy happiness.
BBC4
7.0
Beyond 100 Days (T) 7.30 Top
of the Pops: 1984 (T) (R) Simon
Bates and Richard Skinner
present the show from 8
November, 1984, with Limahl,
Status Quo, Billy Ocean, Chicago,
Gary Numan, Eugene Wilde
and Chaka Khan.
8.0
Jim Clark: The Quiet Champion
(T) (R) Profile of the two-time
F1 champion.
The Most Courageous
Raid of WWII (T) (R) Paddy
Ashdown tells the story of
the “Cockleshell Heroes”, the
Marine commandos who in 1942
launched an attack on enemy
shipping in Bordeaux harbour.
9.0
10.0 Bad Habits, Holy Orders (T) The
women leave the convent to
spend time with other Catholic
orders.
11.05 Borderline Coffin (T) Two coffins
get mixed up at the airport.
11.35 Borderline Transgender (T)
Proctor gives up drinking.
12.0 SuperCasino (T) 3.10 Law &
Order: Special Victims Unit
(T) (R) 4.0 Tribal Teens (T) (R)
4.45 House Doctor (T) (R)
5.10 House Busters (T) (R)
5.35 Wildlife SOS (T) (R)
10.0 The Somme: Secret Tunnel Wars
(T) (R) Navigating a network of
tunnels beneath the Somme
battlefield with historian Peter
Barton and others.
11.0 Empire of the Seas: How the
Navy Forged the Modern World
(T) (R) With Dan Snow.
12.0 Top of the Pops: 1984 (T) (R)
As above. 12.40 The Man Who
Discovered Egypt (T) (R) 1.40 Jim
Clark: The Quiet Champion (T)
(R) 2.40 I Know Who You Are (R)
Salome, Op 54. Andrew Staples (tenor: Narraboth),
Sarah Castle (mezzo: The Page), Nicolas Courjal
(bass: First Soldier), Alan Ewing (bass: Second
Soldier), Johan Reuter (baritone: Jokanaan), John
Cunningham (bass-baritone: A Cappadocian),
Angela Denoke (soprano: Salome), Gerhard Siegel
(tenor: Herod), Irina Mishura (mezzo: Herodias),
other principals, ROH, Hartmut Haenchen.
3.45 Brahms: Symphony No 1 in C minor. Ulster
Orchestra, Rafael Payare. Rachmaninov: Caprice
Bohémien, Op 12. Ulster Orchestra, Olari Elts.
5.0 In Tune. Katie Derham talks to the conductor
Simone Young. 7.0 In Tune Mixtape 7.30 In
Concert: Bless’d Isle. Richard Egarr directs the
Academy of Ancient Music and the soprano Carolyn
Sampson in music by Dowland, Purcell, Handel
and Arne. Presented by Ian Skelly, live from Milton
Court Concert Hall. 10.0 Free Thinking: The Pros
and Cons of Swearing. With Matthew Sweet and
guests. 10.45 The Essay: The Meaning of Flowers
– Lavender. With Prof Fiona Stafford. (4/5) 11.0
Late Junction 12.30 Through the Night
Spurling. (4/5) 2.0 The Archers (R) 2.15 Drama:
Pilgrim – Lindie Island, by Sebastian Baczkiewicz.
(R) (4/4) 3.0 Open Country: Climbing High
Pike With Sir Chris Bonington. High Pike in the
Lake District is far from the highest peak Chris
Bonington has scaled, yet from its summit he can
see some of the most magnificent views in the
Northern Fells, including the place he calls home.
Helen Mark attempts to keep up with one of the
UK’s most renowned mountaineers as they climb
High Pike together. (2/16) 3.27 Radio 4 Appeal:
Myotubular Trust (R) 3.30 Open Book: Graeme
Macrae Burnet (R) 4.0 The Film Programme
4.30 Inside Science. Adam Rutherford and guests
explore the latest scientific research. 5.0 PM.
With Eddie Mair. 5.54 (LW) Shipping Forecast
5.57 Weather 6.0 News 6.30 Lemn Sissay’s
Origin Stories: The Dark Side (R) 7.0 The Archers.
Gossip spreads about the night of the Hunt Ball.
7.15 Front Row. Arts roundup. 7.45 Living With
the Gods (9/30) 8.0 Law in Action (R) 8.30 The
Bottom Line. 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 James Coomarasamy. 10.45 Book at Bedtime:
The Book of Dust, Part One – La Belle Sauvage, by
Philip Pullman. (9/10) 11.0 The Absolutely Radio
Show (R) 11.30 Today in Parliament. With Sean
Curran. 12.0 News 12.30 Book of the Week (R)
(4/5) 12.48 Shipping Forecast 1.0 As World
Service 5.20 Shipping Forecast 5.30 Briefing
5.43 Prayer for the Day 5.45 Farming Today
5.58 Tweet of the Day: Paul Evans on the Raven
RADIO
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 Radio 1’s Takeover
With Anne-Marie 10.0 Residencies: Deadmau5 &
Will Atkinson 1.0 Toddla T 4.0 Adele Roberts
Radio 2
88-91 MHz
6.30 Chris Evans 9.30 Ken Bruce 12.0 Jeremy
Vine 2.0 Steve Wright 5.0 Simon Mayo 7.0
Bob Harris Country 8.0 In Concert 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 Vanessa Feltz
Radio 3
90.2-92.4 MHz
6.30 Breakfast. Petroc Trelawny presents.
9.0 Essential Classics. The writer and satirist
Armando Iannucci talks to Suzy Klein about
his cultural influences. 12.0 Composer of the
Week: Elgar (4/5) 1.0 News 1.02 Lunchtime
Concert: Leeds Lieder Festival 2016/17.
Presented by Hannah French. Alma Mahler:
Die stille Stadt; Sommernacht; Lobgesang.
Ruby Hughes (soprano), Joseph Middleton
(piano). Mahler: Trost im Ungluck; Des
Antonius von Padua Fischpredigt; Wer hat dies
Liedlein erdacht?; Verlorene Muh’ (Des Knaben
Wunderhorn). James Newby (baritone), Gemma
Lois Summerfield (soprano), Joseph Middleton
(piano). Liszt: Der du von dem Himmel bist;
Vergiftet sind meine Lieder; Es war ein König in
Thule; Über allen Gipfeln ist Ruh’. Jennifer Johnston
(mezzo), Joseph Middleton (piano). Mahler: Lieder
eines fahrenden Gesellen. Ruby Hughes (soprano),
Joseph Middleton (piano). (3/4) 2.0 Thursday
Opera Matinee. Tom McKinney introduces the 2010
Royal Opera House production of Richard Strauss’s
Radio 4
92.4-94.6 MHz; 198kHz
6.0 Today. With Mishal Husain and Nick Robinson.
7.48 Thought for the Day, with Canon Angela Tilby.
8.31 (LW) Yesterday in Parliament 9.0 In Our
Time 9.45 (LW) Daily Service: A Meditation for
All Souls’ Day 9.45 (FM) Living With the Gods:
Lines of Communication (9/30) 10.0 Woman’s
Hour. Presented by Jenni Murray. Includes at 10.45
Drama: The Citadel, by AJ Cronin, dramatised by
Christopher Reason. (4/5) 11.0 From Our Own
Correspondent. With Kate Adie. (6/8) 11.30 A
Portrait of… Danielle de Niese. Listening in as the
artist Fiona Graham-Mackay paints the AustralianAmerican opera singer Danielle de Niese. (2) 12.0
News 12.01 (LW) Shipping Forecast 12.04 Five
Green Bottles (4/5) 12.15 You and Yours 12.57
Weather 1.0 The World at One. Presented by
Martha Kearney. 1.45 Book of the Week: Anthony
Powell – Dancing to the Music of Time, by Hilary
5 Live
693, 909 kHz
6.0 5 Live Breakfast 10.0 5 Live Daily With
Emma Barnett 1.0 Afternoon Edition 4.0 Drive
7.0 5 Live Sport 8.0 5 Live Rugby. Matt Dawson
meets British & Irish Lions coach Warren Gatland.
9.0 5 Live Cricket: How to Win in Australia 10.0
Question Time Extra Time 1.0 Up All Night 5.0
Morning Reports 5.15 Wake Up to Money
The Observer | 29.10.17 | THE NEW REVIEW
43
Friday 3
PICKS OF
THE DAY
the entertainment of the Romans, broke
out of gladiator school and ignited the most
terrifying slave revolt in Rome’s history,
an event which was to play a major role in
shaping the city’s political future.
have a crazed pop gothic beauty, and overall
the film has more than a touch of Ronald
Searle spikiness. Jonathan Romney
CHATSHOW
What Happened to
Africa’s Revolutions?
RADIO
The Graham Norton Show
BBC1, 10.35pm
Radio 4, 11am
In a special edition of the show devoted to
the new film of classic whodunnit Murder
on the Orient Express, Norton welcomes
stars Dame Judi Dench, Kenneth Branagh ,
Michelle Pfeiffer and Josh Gad. Mike Bradley
FILM
DOCUMENTARY
How to Train Your Dragon
CBBC, 7pm
Bear’s Mission With Rob Brydon
ITV, 9pm
(Dean DeBlois, Chris Sanders, 2010)
In a return to his homeland, comedian Rob
Brydon joins action man Bear Grylls on a
mission to cross the wilds of Snowdonia.
After being lowered into the mountains
by helicopter, their trip begins with a 30ft
drop into freezing water followed by a series
of daredevil challenges, including a 200ft
abseil and a scary journey through a pitchblack abandoned mine. Good value.
While other studios have often strained
for the wit and emotional depth of the
Pixar movies, here’s one very entertaining,
energetic DreamWorks animation that
ticks several of the requisite boxes. Based
on Cressida Cowell’s books, it’s set on
the distant isle of Berk, where a Viking
settlement has a love-hate relationship
with the local dragons – sometimes feared
predators, sometimes trainable as trusty
steeds. Awkward teen Hiccup (voiced by Jay
Baruchel) captures a feared species known
as a Night Fury – in fact, a cuddly but erratic
critter that’s a sort of kindred spirit to the
blue alien in Lilo and Stitch. Witty script and
design play mischievously on the idea of
pets resembling their owners, the settings
DOCUMENTARY
Eight Days That Made Rome
Channel 5, 9pm
The Spartacus Revolt. Historian Bettany
Hughes reviews the day in 73 BC that
Spartacus, a Thracian gladiator fighting for
TV CHOICE
Travel Man: 48 Hours
in Amsterdam
Channel 4, 8.30pm
Tonight’s episode of what is consistently
one of the funniest shows on television
(and by the same token one of the most
inspiring and informative) sees host
Richard Ayoade embark on a whirlwind
tour of the capital of the Netherlands in
the company of comedian Joe Lycett.
“If you like currentless waterways, using
your eyes and mounting the dandy
horse, then Amster-to-the-Dam is the
shiz,” runs his insouciant introduction to
a mini-break that encompasses a visit
to an “automatik” restaurant made up
entirely of vending machines, a tour of
the canals in a battery-powered boat,
an eerie glimpse into the life of the
tardigrade “water bear”, a drawing tour
of the Rijksmuseum, random cycling
and “because this is Channel 4 we have
to point the cameras at the red light
district”. You will laugh. Mike Bradley
During the 1960s and 70s, many parts of
Africa regained their independence from
colonial rule. One of these, the port city of
Dar es Salaam in Tanzania, became home
to prominent revolutionaries including
Malcolm X and Che Guevara. While the
Vietnam war raged and the civil rights
movement grew, these revolutionaries
had a vision: to rebuild Africa as a socialist
utopia. Fifty years on, Ben Shepherd
travels to Dar es Salaamto discover why
the dream of equality has been replaced
by globalisation and neoliberalism. An
informative but dispiriting programme that
scratches the surface of Africa’s struggle
to embrace democracy. Kim Salmons
SPORT
Football
BBC2, 7.30pm
Hyde United v Milton Keynes Dons: FA
Cup, first round. Live coverage from Ewen
Fields, where the Northern Premier League
Division One North club look to halt the
march of the League One side. The hosts
began their quest to reach the first round
back in August when they recorded a 4-2
win over Congleton Town. MB
TELEVISION
BBC2
ITV
6.0
The Hairy Builder (R) 6.30
Countryfile (R) 7.15 Getting the
Builders In (R) 8.0 See Hear
on Tour: Dublin 8.30 Caught
Red Handed (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 The
Railway: Keeping Britain on
Track (R) 4.15 Back in Time for
Dinner (R) 5.15 Flog It! (R) 6.0
Strictly: It Takes Two (T) Zoë Ball
presents analysis of the couples’
progress. 7.0 Mastermind (T)
6.0
EastEnders (T) The residents
contend with Janet’s accident.
8.30 Porridge (T) An intriguing new
inmate arrives at Wakeley.
9.0 Have I Got News for You (T) Jo
Brand hosts, with Miles Jupp
as one of the guests.
9.30 Tracey Breaks the News (T)
Tracey Ullman reacts to the
events of the moment.
7.30 MOTD Live: FA Cup First Round
(T) Hyde United v Milton Keynes
Dons (kick-off 7.55pm) Dan
Walker presents coverage of
the match from Ewen Fields, as
the Northern Premier League
Division One North outfit look
to cause an upset against the
League One side.
8.0
Australian Wilderness With Ray
Mears (T) The survivalist visits
Kangaroo Island, considered the
wild jewel in Australia’s crown.
8.30 Coronation Street (T) The
evidence against Anna begins
to mount.
9.0 Bear’s Mission With Rob Brydon
(T) The adventurer Bear Grylls
teaches the comedian alternative
survival skills.
10.0 News (T)
10.25 Regional News and Weather (T)
Includes national lottery update.
10.35 The Graham Norton Show
(T) With Judi Dench, Kenneth
Branagh, Michelle Pfeiffer and
Josh Gad.
11.25 Josh (T) Geoff is persuaded to
help guide Joshenham Hotspur
to victory. Kate goes on a date
with a dad.
11.55 The Apprentice (T) (R)
12.55 Weather for the Week Ahead
(T) 1.0 BBC News (T)
10.0 QI Oceans (T) With Aisling Bea,
Joe Lycett and David Mitchell.
10.30 Newsnight (T) Weather
11.05 Snowfall (T) (R)
11.50 Rugby League World Cup
Australia v France (T) Tanya
Arnold presents highlights
of the Group A match at
Canberra Stadium in Australia.
12.20 Peaky Blinders (T) (R) 1.20 Sign
Zone: See Hear on Tour – Dublin
(T) (R) 1.50 Louis Theroux: Dark
States – Trafficking Sex (T) (R)
2.50 This Is BBC2 (T)
10.0 News (T)
10.30 Local News (T)
10.40 After the News (T) Emma
Barnett is joined by high-profile
guests for topical debate.
11.15 Tonight at the London Palladium
(T) (R) With Clean Bandit, James
More, comedian James Acaster
and the Noise Next Door. Last in
the series.
12.10 Jackpot247 3.0 Storage
Hoarders (T) (R) 3.50 ITV
Nightscreen
BBC1
6.0
Breakfast (T) 9.15 Countryfile
Autumn Diaries (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 and Weather
(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 Antiques Road Trip (T) (R)
5.15 Pointless (T) 6.0 News and
Weather (T) 6.30 Regional News
(T) 7.0 The One Show (T) 7.30
Sounds Like Friday Night (T)
8.0
OTHER CHANNELS
BT Sport 1
VARIATIONS
Live Hyundai A-League: Melbourne City v Sydney FC
AVP: Alien vs Predator (2004) 10.55-11.55
The Big Bang Theory 11.55 Tattoo Fixers 1.0 Rude
Tube: Ultimate Stunts 2.05 First Dates 3.05
GameFace 3.35 Rude Tube 4.0 Brooklyn NineNine 4.25 Black-ish 4.50 Charmed
(kick-off 8.50am) 11.0 FA Cup: First Round Preview
11.30 Premier League World 12.0 Premier League
Match Pack 12.30 Inside Sailing 1.0 Extreme
Sailing Series Highlights 1.30 Rugby Tonight On
Tour 2.0 PSA Squash: Qatar Classic 3.0 Live PSA
Squash: Qatar Classic – Men’s Final 4.30 MotoGP
Rewind 4.45 FA Cup: First Round Preview 5.15
Premier League Match Pack 5.45 Uefa Champions
League Review 6.45 Bundesliga Weekly 7.15 Live
11.0am Buchanan Rides Alone (1958)
12.40 Edge of Eternity (1959) 2.15
The Night of the Grizzly (1966) 4.20
Gideon of Scotland Yard (1958) 6.15
Runaway Jury (2003) 9.0 Taken 2
(2012) 10.50 Boy (2010) 12.35 The Sitter (2011) 2.15 ATM (2012)
6.0am BT Sport Reload 6.15 FA Cup: First Round
Preview 6.45 Ligue 1 Show 7.15 Bundesliga
Weekly 7.45 Hyundai A-League Highlights 8.45
Bundesliga: Eintracht Frankfurt v Werder Bremen
(kick-off 7.30pm) 9.30 Premier League Preview
10.0 Uefa Champions League Review 11.0 Uefa
Europa League Highlights Show 12.0 Gillette
World Sport 12.30 ESPN Films: The Dotted Line
1.30 Live NBA: Boston Celtics v Oklahoma City
Thunder (tip-off 1.30am) 4.0 Uefa Champions
League Magazine 4.30 Hyundai A-League
Sky Atlantic
6.0am Fish Town 7.0 Hotel Secrets 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
9.0-11.25 Game of Thrones 11.25 Dexter
12.35 Mommy Dead and Dearest: The Story
of Dee Dee 2.15 The Wire 3.30 Californication 4.05-6.0 The West Wing
E4
All programmes from 6am to 5pm 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 5.30 Stage School
6.0-7.0 The Big Bang Theory 7.0 Hollyoaks 7.30
Streetmate 8.0-9.0 The Big Bang Theory 9.0
44
Good Morning Britain (T) 8.30
Lorraine (T) 9.25 The Jeremy Kyle
Show (T) (R) 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 is under scrutiny and
Paddy and Rhona join forces.
7.30 Coronation Street (T) Seb
and Faye await their test results.
Film4
Sky1
6.0am-8.0 Monkey Life 8.0-9.0 It’s Me or
the Dog 9.0-10.0 The Dog Whisperer 10.0 Dogs:
An Amazing Animal Family 11.0-12.0 Modern
Family 12.0 NCIS: LA 1.0-3.0 Hawaii Five-0 3.0
NCIS: LA 4.0 Stargate SG-1 5.0 The Simpsons
5.30-6.30 Futurama 6.30-8.30 The
Simpsons 8.30 Modern Family 9.0 Sing: Ultimate
A Cappella 10.05 Sing: Ultimate A Cappella
11.10-12.0 The Simpsons 12.10 A League of
Their Own 1.05 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 Main Event
6.0am-9.0 Good Morning Sports Fans 9.0
Live European Tour Golf: The Turkish Airlines Open.
Coverage of the second day of the tournament at
the Carya Golf Club in Antalya, Turkey. 2.0 Live
ATP Masters Tennis: The Paris Masters. Coverage
of the opening two quarter-finals on day five at
the AccorHotels Arena in Paris. 5.0 Sky Sports
News at 5 6.0 Sky Sports News at 6 7.0 Live
EFL: Wolverhampton Wanderers v Fulham (kickoff 7.45pm) 10.15 Live PGA Tour Golf: The
Shriners Hospitals for Children Open. Coverage
of day two in Las Vegas, Nevada 12.30 Premier
League Match Pack 1.0-6.0 Sky Sports News
THE NEW REVIEW | 29.10.17 | The Observer
STV NORTH As ITV except 8.0pm-8.30
STV Children’s Appeal 9.0-10.0 STV Children’s
Appeal 10.40-11.15 Britain As Seen on ITV
(T) (R) 12.10 The Nightshift Special 2.10
Teleshopping 3.10 Nightscreen 4.35-6.0
Jeremy Kyle (T) (R)
ITV WALES As ITV West except 8.0pm8.30 Coast & Country (T)
CHANNEL As ITV except 12.10am-3.0
ITV Nightscreen
SCOTTISH As ITV except 8.0pm-8.30 STV
Children’s Appeal (T) 9.0-10.0 STV Children’s
Appeal (T) 10.40-11.15 Britain As Seen on
ITV (T) (R) 12.10 The Nightshift Special 2.10
Teleshopping 3.10 ITV Nightscreen 4.35
The Jeremy Kyle Show (T) (R) 5.30-6.0
Teleshopping
ULSTER As ITV except 8.0pm-8.30 UTV
Life (T) 11.15 Australian Wilderness With Ray
Mears (T) 11.45 Tonight at the London Palladium
(T) (R) 12.35 Teleshopping 1.35-3.0 ITV
Nightscreen
BBC1 N IRELAND 10.35pm The Blame
Game (T) 11.05 Graham Norton (T) 11.55
Josh (T) 12.25-1.25 The Apprentice (T) (R)
BBC2 SCOTLAND 11.05pm The Quay
Sessions (T) 11.35 Snowfall (T) (R) 12.20
Rugby League World Cup (T) 12.50-1.50
Peaky Blinders (T) (R)
BBC2 WALES 7.30pm Scrum V Live (T)
Scarlets v Benetton Treviso (kick-off 7.35pm)
9.30-10.0 Mock the Week (T) (R)
Channel 4
Channel 5
6.20 King of Queens (T) (R) 7.35
Everybody Loves Raymond (T)
(R) 9.05 Frasier (T) (R) 10.05
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 (T) (R) 4.0 Coast vs 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) Mexico 7.55 Eve’s
Story: Stand Up to Cancer (T) (R)
6.0
8.0
Food Unwrapped (T) The battle
against the hidden nuisance
that leads to corked wine.
8.30 Travel Man: 48 Hours in
Amsterdam (T) Richard
Ayoade and Joe Lycett
explore the Dutch city.
9.0 Gogglebox: Celebrity Special
for SU2C (T) Featuring some
well-known faces.
8.0
10.0 The Last Leg SU2C Special
(T) A special show for Stand
Up to Cancer. Adam Hills, Josh
Widdicombe and Alex Brooker
are joined by familiar faces for a
comic review of the week.
11.05 First Dates (T) (R)
12.10 The Pyramid (Gregory
Levasseur, 2014) (T) Horror
with Ashley Hinshaw. 1.45
GBBO: An Extra Slice (T) (R)
2.25 Humans (T) (R) 3.20 Man
Down (T) (R) 3.50 Best of
Both Worlds (T) (R) 4.45 Phil
Spencer: Secret Agent (T) (R)
10.0 Shrunken Heads of the Amazon
(T) Documentary examining
the provenance of decapitated
human heads reduced to a
fraction of their original size,
popular during the Victorian era.
11.05 Jack the Ripper: The Missing
Evidence (T) (R)
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)
10.0 Queen: The Legendary 1975
Concert (T) (R) The rock band in
performance at Hammersmith
Odeon.
11.05 Top of the Pops 1984: Big Hits
(T) (R) A compilation of the
year’s performances, featuring
the Smiths, Duran Duran, Sade,
the Weather Girls, Wham! and
Bronski Beat.
12.05 Top of the Pops: 1984 (T) (R) As
8.30pm. 12.35 Hot Chocolate
at the BBC (T) (R) 1.35 Queen:
Rock the World (T) (R) 2.35
I Know Who You Are (R)
Pictures at an Exhibition. Ulster Orchestra, Jac Van
Steen.5.0 In Tune. Guests include the pianist Iain
Burnside. 7.0 In Tune Mixtape 7.30 In Concert.
Presented by Martin Handley from the Barbican.
Håkan Hardenberger (trumpet), Roger Muraro
(piano), Susanna Hurrell (soprano), BBC Symphony
Orchestra, John Storgårds. Boulanger: D’un
matin de printemps; D’un soir triste. Betsy Jolas:
Histoires vraies, (UK Premiere). 8.15 Interval.
8.35 Mahler: Symphony No 4 in G. 10.0 The Verb:
The Tense Verb 10.45 The Essay: The Meaning of
Flowers – Poppies. With Prof Fiona Stafford. (5/5)
11.0 World on 3. Lopa Kothari travels to Katowice
in Poland for this year’s Womex. 1.0 Through
the Night. The pianist Josep Maria Colom in
works by Chopin, Mozart, Granados and Bach.
on vintage bottles. (5/5) 12.15 You and Yours
1.0 The World at One. Presented by Mark Mardell.
1.45 Book of the Week: Anthony Powell – Dancing
to the Music of Time, by Hilary Spurling. (5/5) 2.0
The Archers 2.15 Drama: The Last Missionary of
Kanaipur, by Ben Musgrave. Rebecca loves her work
as a missionary in Bangladesh, but growing Islamist
tension makes her question her place there. 3.0
Gardeners’ Question Time 3.45 Short Works: The
Curse, by Agnieszka Dale. 4.0 Last Word 4.30
Feedback 4.55 The Listening Project: Tom and
Daniel – Going Through the Motions 5.0 PM. With
Eddie Mair. 5.54 (LW) Shipping Forecast 5.57
Weather 6.0 News 6.30 The Now Show (1/7)
7.0 The Archers. Adam has something on his
mind. 7.15 Front Row. Arts roundup. 7.45 Living
With the Gods (R) (10/30) 8.0 Any Questions?
Jonathan Dimbleby presents political debate from
Haybridge High School and Sixth Form in Hagley,
Worcs. The panellists include deputy leader of
the SNP at Westminster Kirsty Blackman MP and
Theresa May’s former head of communications
at Downing Street, Katie Perrior. 8.50 A Point
of View 9.0 Peter Snow Returns to the Future
Omnibus (2/2) 10.0 The World Tonight. Presented
by James Coomarasamy. 10.45 Book at Bedtime:
The Book of Dust, Part One – La Belle Sauvage, by
Philip Pullman. (10/10) 11.0 A Good Read: Jenny
Colgan & Steven Camden (R) 11.30 Today in
Parliament 11.55 The Listening Project: Chris and
Henry – A Forest on a Plate (R) 12.0 News 12.30
Book of the Week (R) 12.48 Shipping Forecast
1.0 As World Service 5.20 Shipping Forecast
5.30 News 5.43 Prayer for the Day 5.45 iPM
9.0
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)
2.15 NCIS (T) (R) One Last Score
3.15 Paper Angels (David
Winning, 2014) (T) Festive drama
starring Josie Bissett. 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)
The World’s Greatest Bridges
(T) Rob Bell reveals how the
completion of Sydney Harbour
Bridge brought together a city
divided. Includes news update.
Eight Days That Made Rome: The
Spartacus Revolt (T) Bettany
Hughes recalls the day that
Spartacus broke out of gladiator
school and started a revolt.
BBC4
7.0
World News Today (T) 7.30
The Good Old Days (T) (R)
Leonard Sachs presents the
old-time music hall programme,
featuring performances by
Les Dawson, Sweet Substitute,
Peter Hudson, Joan Merrigan,
Paul Rhodes and Julia Sutton.
First shown on 24 April 1979.
8.20 Sounds of the 70s (T) (R) Music
by the Kinks, Roxy Music, Elton
John, Queen and David Bowie.
8.30 Top of the Pops: 1984 (T)
The 15 November 1984 show,
with Matt Bianco, Duran Duran,
Eurythmics, Jim Diamond,
the Dazz Band and more.
9.0 Queen: Rock the World (T)
Hitherto unseen archive
documentary.
RADIO
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 Official Chart With MistaJam
5.45 Newsbeat 6.0 Dance Anthems With
MistaJam 7.0 Annie Mac 10.0 Pete Tong
1.0 B.Traits 4.0 Essential Mix
Radio 2
88-91 MHz
6.30 Chris Evans 9.30 Ken Bruce 12.0 Jeremy
Vine 2.0 Steve Wright 5.0 Simon Mayo 7.0 Tony
Blackburn’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. With Petroc Trelawny. 9.0
Essential Classics. Suzy Klein is joined by the
satirist and classical music fan Armando Iannucci.
12.0 Composer of the Week: Elgar (5/5) 1.0
News 1.02 Lunchtime Concert: Leeds Lieder
2016/17. Presented by Hannah French. Mahler:
Das himmlische Leben (Des Knaben Wunderhorn).
Gemma Lois Summerfield (soprano), Joseph
Middleton (piano). Mahler: Kindertotenlieder.
Jennifer Johnston (mezzo), Joseph Middleton
(piano). Schumann: Röselein, Röselein, Op 89 No
6; Die Blume der Ergebung, Op 83 No 2; Meine
Rose, Op 90 No 2. Ruby Hughes (soprano), Joseph
Middleton (piano). Mahler: Lied des Verfolgten im
Turm; Revelge (Des Knaben Wunderhorn). James
Newby (baritone), Joseph Middleton (piano). 2.0
Afternoon Concert: Ulster Orchestra. Beethoven:
Symphony No 1 in C, Op 21. Mahler: Symphony No 1
in D, Titan. Ulster Orchestra, Rafael Payare. Bax:
Cathleen-ni-Houlihan. Alwyn: Blackdown. Vaughan
Williams: Three Impressions for Orchestra. Ulster
Orchestra, Rumon Gamba. Mussorgsky/Ravel:
Radio 4
92.4-94.6 MHz; 198kHz
6.0 Today. With Mishal Hussain and Nick Robinson.
7.48 Thought for the Day, with Rabbi Jonathan
Sacks. 8.31 (LW) Yesterday in Parliament 9.0
Desert Island Discs: Kay Mellor (R) 9.45 (LW)
Daily Service 9.45 (FM) Living With the Gods:
The Power of Song. Neil MacGregor focuses on a
Kirchenpelz or church fur – a sheepskin coat made
in the late 19th century in Transylvania, now
part of Romania, for the German-speaking Saxon
community. To wear this coat was to proclaim in
public an allegiance to the Lutheran Church and to
identify as a Transylvanian Saxon. (10/30) 10.0
Woman’s Hour. With Jenni Murray. Includes at 10.45
Drama: The Citadel, by AJ Cronin, dramatised by
Christopher Reason. (5/5) 11.0 What Happened to
Africa’s Revolutions? In the 1960s and 70s the port
city of Dar es Salaam in newly independent Tanzania
was a bubbling crucible of revolution. Africa analyst
Ben Shepherd journeys to Tanzania and Uganda
to examine the often untold history and legacy of
Africa’s leftwing liberation movements. 11.30
Big Problems with Helen Keen: Personality (3/4)
12.0 News 12.01 (LW) Shipping Forecast 12.04
Five Green Bottles. Wine critics offer reflections
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 Drive 7.0 Friday
Football Social 10.0 Stephen Nolan 1.0 Up All
Night 5.0 5 Live Boxing With Costello & Bunce
5.30 Friday Football Social
Saturday 4
PICKS OF
THE DAY
badly wounded and unconscious. Juan Elias,
convinced that Santi Mur is the culprit, tells
Inspector Giralt that the security cameras
at the house will prove it. Santi is arrested
at the university, but have they got the
right man? In Spanish with English subtitles.
cyber-dweeb. It also has Gene Hackman,
so who could possibly feel short-changed?
Jonathan Romney
CHATSHOW
Radio 4 Extra, 9am
RADIO
His Dark Materials
With the recent release of Philip Pullman’s
latest literary offering Book of Dust, this
is a timely rerun of his trilogy His Dark
Materials. This first episode begins with
the 1995 book Northern Lights, a comingof-age tale of two children – Will Parry
and Lyra Belacqua – who, trapped within
a parallel universe, engage in a physical
and moral struggle to save the future of
all worlds. This absorbing audio escape
from reality is brought to life by a host of
big names: Terence Stamp, Emma Fielding,
and Kenneth Cranham, to name but a few.
A wonderful opportunity to catch this epic
tale second time around. Kim Salmons
The Jonathan Ross Show
ITV, 10.05pm
Ross hosts actress/director Jodie Foster,
comedian/author David Walliams and
comedian/actor Roisin Conaty. Plus singer
Debbie Harry chats and performs with her
band Blondie. Mike Bradley
DRAMA
FILM
Casualty
BBC1, 8.20pm
Enemy of the State
Sky Cinema Greats, 12.45am
“Why are all the women at Holby so
brusque?” wonders new junior doctor
Rashid after his first brush with an icy
Connie and a distracted Lily. Little does
he know what’s on their minds, especially
in the case of Lily, who this week faces a
tough decision. Should she stay at Holby,
and put up with Iain’s meanness, or accept
a senior research position in Hong Kong?
(Tony Scott, 1998)
DRAMA
I Know Who You Are
BBC4, 9pm & 10.15pm
As this double bill introducing the second
series of the Spanish thriller begins, Alicia
has survived the attempt on her life but is
In its day, this looked like the last word in
snazzy FX thrillers, so two decades on, the
cracks are bound to show, but it’s a superior
showing from Tony Scott, maestro of the
super-streamlined. Will Smith, then riding
high on the heroic irreverence of his turns in
Independence Day and Men in Black, plays
a lawyer on the run; the MacGuffin in his
pocket is connected with plans to extend
US surveillance powers beyond anything
then imaginable. Then imaginable, that
is, this being pre-9/11. You could regard
this techno-paranoid entertainment as
prescient, or just see it as a zippy runfor-your-life actioner. Watch for an early
scene-stealing turn from Jack Black as a
TV CHOICE
Gunpowder
BBC1, 9.10pm
A sense of doom and foreboding pervades
the final episode of this excellent, if grisly
(yes, there’s more), drama from the
outset, in part because we already know
the outcome but also because it is as if
nothing and no one can escape Lord Cecil’s
intelligence network. Appropriately, we
have reached 4 November. Now, Catesby
(Kit Harington, above), Fawkes (Tom
Cullen) and the plotters load the tunnels
below Parliament with firkins containing
6,000lb of gunpowder garnished with
loose nails. Elsewhere, the Constable of
Castile (Pedro Casablanc) implores Father
Garnet (Peter Mullan) to break his seal
of confession and reveal Catesby’s plot,
purportedly for the good of the Catholic
faith, but it seems that the loyal priest
will not be the one to betray Catesby
at the 11th hour. An entirely satisfying,
well executed conclusion to a superbly
realised historical drama. Mike Bradley
SPORT
Rugby Union
Sky Sports Main Event, 2.55pm
Barbarians v New Zealand: NZRU 125th
anniversary game. They couldn’t win the
Lions series and they’ve just been beaten
by the Wallabies, albeit by a narrow margin
of 23-18, so coaches all around the world
will be telling their charges that the All
Blacks are losing their aura of invincibilty.
That said, this afternoon’s game at
Twickenham is likely be a festival of running
rugby, which is just what the Kiwis like… MB
TELEVISION
BBC2
ITV
Channel 4
Channel 5
6.15 How We Won the War (T) (R) 6.45
Animal Park Summer Special (T)
(R) 7.30 Naomi’s Nightmares of
Nature (T) 8.0 Deadly 60 (T) (R)
8.30 Live Rugby League World
Cup (T) 11.30 Coast (T) (R) 12.0
Rick Stein’s Long Weekends (T)
(R) 1.0 Nigella: At My Table (T) (R)
1.30 Natural World (T) (R) 2.30
Escape to the Continent (T) (R)
3.30 Italy Unpacked (T) (R) 4.30
Mastermind (T) (R) 5.0 Flog It! (T)
(R) 6.0 The Big Family Cooking
Showdown (T) (R) 7.0 Britain
Afloat (T) 7.30 Front Row (T)
6.0
6.25 Adventure Racing: Spartan
Race Europe (T) 6.50 Everybody
Loves Raymond (T) (R) 7.15
Everybody Loves Raymond (T)
(R) 7.45 Frasier (T) (R) 8.10 Frasier
(T) (R) 8.35 The Big Bang Theory
(T) 9.0 The Big Bang Theory (T)
9.30 The Big Bang Theory (T)
9.55 The Simpsons (T) (R) 11.50
Come Dine with Me (T) (R) 2.25
A Place in the Sun: Home or Away
(T) (R) 4.30 Best Laid Plans (T)
5.30 Location, Location, Location
(T) (R) 6.30 News (T) 7.0 Volatile
Earth: Killer Volcanoes (T)
6.0
8.20 Casualty (T) New junior
doctor Rash faces a nightmare
first day in the ED.
9.10 Gunpowder (T) Catesby and
his gang load the tunnels below
Parliament with gunpowder, but
across the city, Father Garnet
faces pressure to betray them to
the authorities. Last in the series.
8.0
Grand Tours of the Scottish
Islands (T) (R) Paul Murton
journeys around the coast of the
Long Island of Harris and Lewis.
8.30 Dad’s Army Keep Young and
Beautiful (T) (R) The older platoon
members take drastic action.
9.0 Josh Widdicombe: What
Do I Do Now (T) A recorded
performance of a show at
the Hammersmith Apollo.
8.20 The X Factor Live (T) Dermot
O’Leary hosts as the nervejangling live stage of the talent
contest continues and the
remaining acts step on stage
to face further scrutiny from
judges and general public.
8.0
Pearl Harbour: The New Evidence
(T) (R) Documentary asking
whether London and Washington
allowed Japanese forces to
attack Pearl Harbor in 1941.
The Other Woman (Nick
Cassavetes, 2014) (T) A woman
discovers that her boyfriend
is married and gets revenge.
Comedy starring Cameron Diaz,
Leslie Mann and Kate Upton.
6.45 Rio Lobo (Howard Hawks,
1970) (T) A former Union colonel
heads for Texas to recover stolen
bullion and settle old scores.
Western starring John Wayne.
8.55 News (T)
9.0 Football on 5: The Championship
(T) Colin Murray presents the
weekend’s games, including
Aston Villa v Sheffield Wednesday
and Bristol City v Cardiff City.
10.10 News and Weather (T) Includes
national lottery update.
10.30 Match of the Day (T) Including
West Ham United v Liverpool
and Stoke City v Leicester City.
11.50 The NFL Show (T) Mark
Chapman is joined by former
players Osi Umenyiora and Jason
Bell to present highlights of
Thursday night’s game.
12.20 The Double (Michael
Brandt, 2011) (T) Spy thriller
starring Richard Gere. 1.55
Weather (T) 2.0 BBC News (T)
10.0 QI XL Oceans (T) With Aisling
Bea, Joe Lycett and David Mitchell.
10.45 Later… With Jools Holland
(T) With Noel Gallagher,
Aimee Mann, Dua Lipa,
Saz’iso, Superorganism,
Amadou & Mariam, and José
Feliciano. Last in the series.
11.50 Red Tails (Anthony
Hemingway, 2012) (T) Factbased second world war drama
starring Cuba Gooding Jr.
1.45 Love (William Eubank, 2011)
(T) Sci-fi drama starring Gunner
Wright. 3.05 This Is BBC2 (T)
10.05 The Jonathan Ross Show (T) With
Jodie Foster, David Walliams,
Roisin Conaty and Blondie.
11.10 News and Weather (T)
11.25 Forgetting Sarah Marshall
(Nicholas Stoller, 2008) (T) A
jilted man takes a trip to Hawaii
– only to find his ex and her new
boyfriend are staying at the
same resort. Romantic comedy
with Jason Segel, Kristen Bell
and Russell Brand.
1.20 Jackpot247 3.0 The Hungry
Sailors (T) (R)
11.10 Unknown (Jaume ColletSerra, 2011) (T) A doctor wakes
up from a coma to find that
another man is claiming to be
him and that any evidence of
his real identity has disappeared.
Thriller starring Liam Neeson
and Diane Kruger.
1.15 The Last Leg SU2C Special (T) (R)
2.10 Hollyoaks Omnibus (T) 4.20
Location, Location, Location (T)
(R) 5.15 Kirstie’s Vintage Home
(T) (R) 5.35 Draw It! (T) (R)
10.0 NCIS: New Orleans Aftershocks
(T) New series. The naval crime
drama spin-off returns, as Pride
and co work with other agencies
to track down a sniper.
10.55 NCIS: New Orleans Suspicious
Minds (T) A US navy intelligence
analyst is implicated in a murder.
11.50 Lip Sync Battle UK (T) (R)
12.15 SuperCasino (T) 3.10 The
Yorkshire Vet (T) (R) 4.0 Ben
Fogle: New Lives in the Wild
(T) (R) 4.50 Great Scientists (T)
(R) 5.15 Wildlife SOS (T) (R) 5.40
Chinese Food in Minutes (T) (R)
10.15 I Know Who You Are Juan
makes it clear that he intends
to persuade Ana not to testify
against him.
11.35 The Vietnam War Deja Vu
(1858-1961) (T) (R)
12.30 Top of the Pops: 1984 (T) (R)
1.10 Top of the Pops: 1984 (T)
(R) 1.55 Sound of Cinema: The
Music That Made the Movies
(T) (R) 2.55 The Inca: Masters
of the Clouds (T) (R)
Belina joins McGregor to discuss the many subtexts
present in Mussorgsky’s epic drama. Robert
Hayward (bass-baritone: Prince Ivan Khovansky),
Adrian Dwyer (tenor: Prince Andrei Khovansky),
Mark Le Brocq (tenor: Prince Vasily Golitsyn),
Simon Bailey (bass-baritone: Shaklovity), Miklós
Sebestyén (bass-baritone: Dosifei), Sara Fulgoni
(mezzo-soprano: Marfa), Adrian Thompson (tenor:
Scribe), Claire Wild (soprano: Emma), Monika Sawa
(soprano: Susanna), WNO, Tomáš Hanus. 9.40
Between the Ears: The Clash. An auditory essay in
which the fast-paced, high-impact world of Gaelic
hurling is contrasted with the gentle existence of
traditional hurley stick-makers. 10.0 Hear and
Now: New Releases. Neil Luck joins presenter
Sara Mohr-Pietsch to review recent releases, and
the host introduces one last feature celebrating
40 years of the Huddersfield contemporary
music festival. 12.0 Geoffrey Smith’s Jazz: Max
Kaminsky and Muggsy Spanier. 1.0 Through the
Night: Mozart Chamber Music from the 2016
RheinVokal Festival. Music by Mozart, Stravinsky,
Bach, Veress, Handel, Glinka, Puccini and more.
Graham. Meggie, who lost her sight as the result
of an acid attack while at university, has found
a career as an audiobook director. However, the
shadows of her painful past re-emerge when she is
invited to join her old college friends at a country
cottage. Psychological thriller, written by the
co-creator of Life on Mars and starring Georgie
Morrell. 3.30 Opening Night. Poet and dramatist
Michael Symmons Roberts visits of HOME, the
£25m Manchester theatre that opened two years
ago. Here, he goes behind the scenes of the venue’s
latest production, Uncle Vanya, to find out what a
100-year-old play can say to a modern audience.
4.0 Weekend Woman’s Hour. Presented by Jane
Garvey. 5.0 Saturday PM. Presented by Jane
Hill. 5.30 The Bottom Line (R) 5.54 Shipping
Forecast 5.57 Weather 6.0 News 6.15 Loose
Ends. Autumnwatch presenter Michaela Strachan,
actor Timothy West and UK garage star Naughty
Boy join Clive Anderson and Scottee. Includes
music by !!! (Chk Chk Chk) and Anoushka Lucas.
7.0 Profile 7.15 Saturday Review. Tom Sutcliffe
and guests examine the week’s cultural highlights.
8.0 Archive on 4: Missing Isaiah Berlin. Jonathan
Wolff marks the 20th anniversary of the death of
the philosopher by considering the disappearance
of “public intellectuals”. 9.0 Drama: Tsar (R) (2/4)
10.0 News 10.15 The Moral Maze (R) 11.0 Quote
– Unquote (R) 11.30 Conversations on a Bench
(R) 12.0 News 12.30 Short Works: The Curse,
by Agnieszka Dale. (R) 12.48 Shipping Forecast
1.0 As World Service 5.20 Shipping Forecast
5.30 News 5.43 Bells on Sunday 5.45 Profile
BBC1
6.0
Breakfast (T) 10.0 Saturday
Kitchen Live (T) 11.30 Hairy
Bikers’ Comfort Food (T) (R)
12.0 Football Focus (T) 1.0 News
(T) 1.15 Rugby League World
Cup (T) England v Lebanon and
New Zealand v Scotland. 2.45
Madagascar 3: Europe’s
Most Wanted (Conrad Vernon,
Eric Darnell, Tom McGrath, 2012)
(T) 4.10 Final Score (T) 5.10 Len
Goodman’s Partners in Rhyme
(T) 5.40 News (T) 5.50 Regional
News (T) 6.0 Pointless Celebrities
(T) 6.50 Strictly Come Dancing (T)
OTHER CHANNELS
BT Sport 1
6.0am Total Italian Football 6.30 Premier
League Preview 7.0 Premier League Match Pack
7.30 Liverpool: Team of the Seventies 8.30
Liverpool: Team of the Eighties 9.30 Premier
League Preview 10.0 BT Sport Reload 10.30
Total Italian Football 11.0 Premier League Match
Pack 11.30 Premier League Preview 12.0 Live
Emirates FA Cup: Shaw Lane AFC v Mansfield
Town (kick-off 12.30pm) Coverage of the firstround fixture, which takes place at Sheerien
Park. 2.45 BT Sport Score 5.0 Live Premier
League: West Ham United v Liverpool (kick-off
5.30pm) Coverage of the top-flight fixture from
the London Stadium. 8.0 Premier League Tonight
9.0 Packer: The Man Who Changed Cricket
10.30 Hidden Ashes 12.0 Live College Football
3.30 NBA Reload 4.0 Bundesliga 5.0 Ligue 1
Sky Atlantic
6.0am Blade Runner 2049: Special 6.30
24x36: A Movie About Movie Posters 8.0-1.0
CSI: Crime Scene Investigation 1.0-4.0 David
Attenborough’s Wild City 4.0-9.0 Without a
Trace 9.0-11.0 Game of Thrones 11.0 Last Week
Tonight With John Oliver 11.35 Vice Principals
12.10 Real Time With Bill Maher 1.20 The Wire
2.30 Californication 3.10 CSI: Crime Scene
Investigation 4.05-6.0 Urban Secrets
E4
6.0am-7.25 The Goldbergs 7.25-8.25
Black-ish 8.25 Made in Chelsea 9.25-11.30
Couples Come Dine With Me 11.30 Toy
Story OF TERROR! (2013) 12.0-1.0 How I Met
Your Mother 1.0-3.0 The Goldbergs 3.0 Don’t
Tell the Bride 4.0 The Great British Bake Off:
The Final 5.15 The Great British Bake Off: An
Extra Slice 6.0-9.0 The Big Bang Theory 9.0
Iron Man 2 (2010) 11.25 Gogglebox 12.25
Gogglebox 1.30 Naked Attraction 2.35 Rude
Tube 3.25 Tattoo Fixers 4.20-5.05 How I Met
Your Mother 5.05 Black-ish 5.30 Black-ish
CITV 9.25 News (T) 9.30
Saturday Morning With James
Martin (T) 11.25 Gino’s Italian
Coastal Escape (T) (R) 11.55 The
Hungry Sailors (T) (R) 12.50 The
Harbour (T) (R) 1.20 News and
Weather (T) 1.30 The X Factor
Live (T) (R) 3.30 Thunderbirds
Are Go (T) (R) 3.55 Father
of the Bride (Charles Shyer, 1991)
(T) 6.0 Paul O’Grady: For the Love
of Dogs (T) (R) 6.25 Local News
(T) 6.35 News and Weather (T)
6.50 New You’ve Been Framed!
(T) 7.15 Ninja Warrior UK (T) (R)
VARIATIONS
Film4
11.0am Bridge to Terabithia (2007)
1.0Coneheads (1993) 2.40 Diary
of a Wimpy Kid: Rodrick Rules (2011) 4.45
Earthquake (1974) 7.10 Legend
(1985) 9.0 47 Ronin (2013) 11.15
The Transporter (2002) 1.0 Dog
Soldiers (2002)
Sky1
6.0am Wild Things 6.55 Sing: Ultimate A
Cappella 8.0 Supergirl 9.0 The Flash 10.0
Soccer AM 11.30-3.15 NCIS: Los Angeles
3.15-6.0 Gillette Soccer Saturday 6.0 Sing:
Ultimate A Cappella 7.05-8.0 The Simpsons
8.0 Agatha Christie: Murder Beyond the Orient
Express 9.0 Living the Dream 10.0 Bounty
Hunters 10.45 The Russell Howard Hour
11.45 A League of Their Own US Road Trip
12.45 PL Greatest Games 1.0 Brit Cops:
Rapid Response 2.0 Arrow 3.0 DC’s Legends
of Tomorrow 4.0-6.0 Stargate Atlantis
Sky Sports 1
6.0am Sky Sports News 7.0 Live Chinese
Super League 9.0 Live European Tour Golf:
The Turkish Airlines Open. Coverage of the
third day of the tournament at the Carya Golf
Club in Antalya. 11.30 Live Premier League:
Stoke City v Leicester City (kick-off 12.30pm)
2.55 Live International Rugby Union:
Barbarians v New Zealand (kick-off 3pm) 5.15
Live EFL: Brentford v Leeds United (kick-off
5.30pm) 7.40 Live Fight Night International:
Dmitry Bivol v Trent Broadhurst. Coverage of
the WBA World Light-Heavyweight title bout
from the Salle des Étoiles in Monaco. 11.0
Fight Night 1.0 Live Fight Night International:
Deontay Wilder v Bermane Stiverne. Coverage
of the WBC World Heavyweight title fight
from Barclays Centre in Brooklyn, New York.
4.30 My Icon: Anthony Joshua 4.45 My
Icon: Leon McKenzie 5.0 Sky Sports News
STV NORTH As ITV except 1.20am
Teleshopping 2.20-3.50 After Midnight
5.0-6.0 Teleshopping
CHANNEL As ITV except 1.20am-3.0
ITV Nightscreen (T)
SCOTTISH As ITV except 1.20am
Teleshopping 2.20-3.50 After Midnight
5.0-6.0 Teleshopping
ULSTER As ITV except 1.20am Teleshopping
2.20-3.0 ITV Nightscreen
BBC1 SCOTLAND 4.10pm-5.10
Sportscene (T)
BBC1 N IRELAND 5.0pm-5.10 Final
Score from Northern Ireland (T)
BBC2 SCOTLAND 4.30pm Flog It! (T) (R)
5.30-6.0 Landward (T) (R) 7.0-7.30 Eorpa
(European Current Affairs) 8.0-9.0 The SuperRich and Us (T) (R)
BBC2 WALES 9.0pm David Hurn: A Life in
Pictures (T) 9.40 Josh Widdicombe: What Do I Do
Now (T) 10.40-10.45 Coast (T) (R)
BBC2 N IRELAND 12noon Nigella: At
My Table (T) (R) 12.30 Weather Watchers With
Barra Best (T) (R) 12.45 Ulster Rugby Live
(T) 3.0-3.30 Britain Afloat (T) 6.0 Made in
Northern Ireland (T) (R) 6.30-7.30 The Big
Family Cooking Showdown (T) (R) 10.0 The
Blame Game (T) (R) 10.30-10.45 Late Licence
(T) (R)
9.0
Milkshake! 9.15 Teenage Mutant
Ninja Turtles (T) (R) 9.50 The
Gadget Show (T) (R) 10.45
Police Interceptors (T) (R) 11.45
The 12 Gifts of Christmas
(Peter Sullivan, 2015) (T) Comedy.
1.25 The Christmas Card
(Stephen Bridgewater, 2006)
(T) Romantic drama. 3.10
Christmas in the City
(Marita Grabiak, 2013) Drama.
News at 4.10. 5.0 A Mission
for Christmas (Edmund Entin,
Gary Entin, 2015) (T) Drama with
Lindsey Gort. News at 6pm.
BBC4
7.0
The Inca: Masters of the Clouds
(T) (R) (2/2) Dr Jago Cooper looks
at how the strengths of the Inca
Empire also led to its downfall, and
charts the impact of the Spanish
conquest in the 16th century.
8.0
Gunpowder 5/11: The Greatest
Terror Plot (T) (R) One-off
docudrama based on the
interrogations of Thomas
Wintour and Guy Fawkes.
I Know Who You Are New
series. The Spanish thriller
returns, as Juan Elias announces
that Santi Mur tried to kill
Alicia, but the case is far from
closed. Francesc Garrido stars.
9.0
RADIO
Radio 1
97.6-99.8 MHz
6.0 Dev 10.0 Greatest Hits With Jordan North
1.0 Alice Levine 4.0 Dance Anthems With Danny
Howard 7.0 Seani B 10.0 The Rap Show With
Charlie Sloth 1.0 DJ Target 4.0 Diplo and Friends
Radio 2
88-91 MHz
6.0 Sounds of the 60s 8.0 Saturday Breakfast
with Dermot 10.0 Graham Norton 1.0 Pick of
the Pops 3.0 Zoë Ball 6.0 Liza Tarbuck 8.0
Trevor Nelson’s Rhythm Nation 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. Simon Heighes compares
recordings of Vivaldi’s La Stravaganza in Building a
Library, while Caroline Rae discusses performances
of music by Ravel, Franck and Koechlin. 12.15
Music Matters. Sara Mohr-Pietsch hears from the
neuroscientist David Eagleman and the composer
Anthony Brandt, who discuss their book The
Runaway Species, which explores creativity
in art and the brain. 1.0 News 1.02 Saturday
Classics: Rachel Podger (2/2) 3.0 Sound of
Cinema: Whodunnit? 4.0 Jazz Record Requests.
Listener-requested music, including a track by
the trumpeter Clifford Brown. 5.0 Jazz Line-Up.
A special concert performance by the American
saxophonist Donny McCaslin, who pays tribute
to David Bowie in a performance recorded at BBC
Scotland’s headquarters in Glasgow. 6.0 Opera on
3: Modest Mussorgsky – Khovanshchina. Andrew
McGregor is at the Wales Millennium Centre in
Cardiff for David Pountney’s Welsh National Opera
production of Mussorgsky’s Khovanshchina, a
story of social upheaval and political conflict in
17th-century Russia. In the interval, Anastasia
Radio 4
92.4-94.6 MHz; 198kHz
6.0 News and Papers 6.07 Open Country:
Climbing High Pike With Sir Chris Bonington (R)
6.30 Farming Today This Week 6.57 Weather
7.0 Today. Presented by John Humphrys and Sarah
Montague. 7.48 Thought for the Day, with Jasvir
Singh. 9.0 Saturday Live. Extraordinary stories and
remarkable people. 10.30 The Kitchen Cabinet.
Dr Annie Gray, Sue Lawrence, Paula McIntyre and
Tim Hayward join Jay Rayner in Lancaster. (6/6)
11.0 The Week in Westminster. A roundup of the
week’s political proceedings, presented by Paul
Waugh of the Huffington Post. 11.30 From Our
Own Correspondent 12.0 News 12.01 (LW)
Shipping Forecast 12.04 Money Box 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: Jayne Lake, by Matthew
5 Live
693, 909 kHz
6.0 Breakfast 9.0 Danny Baker 11.0 Fighting Talk
12.0 5 Live Sport 12.30 Premier League Football:
Stoke City v Leicester City (kick-off 12.30pm)
2.30 5 Live Sport 3.0 Premier League Football
5.0 Sports Report 6.0 6-0-6 8.0 Kermode and
Mayo’s Film Review 9.0 Stephen Nolan 12.0 In
Short (R) 1.0 Up All Night 5.0 5 Live Science
The Observer | 29.10.17 | THE NEW REVIEW
45
FULL TV AND
RADIO LISTINGS
Today’s television
PICKS OF
THE DAY
The week’s listings
start on page 40
the most important film-makers of all time.
Spielberg is keen to discuss his Orthodox
Jewish roots, his childhood, his vocation
and the principal themes of his films. Lively,
revealing and well worth watching.
plays the leader of the local lycanthropes –
“werewolves, not swear-wolves!” A grisly
joy. Jonathan Romney
DOCUMENTARY
AKA Mystery Island
RADIO
BBC World Service, 2.05pm
Talking to Anorexia
BBC2, 9pm
Louis Theroux spends time in two of
London’s biggest adult eating-disorder
treatment facilities, where patients explain
the effect that anorexia has had on their
lives. Utterly absorbing. Mike Bradley
FILM
DOCUMENTARY
What We Do in the Shadows
BBC2, 11.35pm
Speechless
BBC4, 8pm
(Jemaine Clement, Taika Waititi, 2014)
Prompted by the experience of his brotherin-law, who suffered a stroke in 2011, Richard
Alwyn has made a tender, encouraging film
about two men – former fitness fanatic
Barry, 55, and former professional footballer
Junior, 37 (above) – who are recovering from
strokes at a neuro rehab unit. A moving film
about language (“the invisible mainstay of
life”) and its loss. Excellent.
Among the plethora of Halloween movies
on TV this week, this New Zealand offering
is by far the most jolly – not to mention the
goriest and the most liberally strewn with
human bones. Created by Boy director Waititi
and Flight of the Conchords man Clement,
it’s a vampire comedy. You’d think the
format had been long sucked dry, but it rises
again in this mockumentary about a fanged
quartet living together in student-style
digs in Wellington. Waititi is gauche Viago,
Clement is loverboy Vladislav, the ancient
entity in the basement looks like Nosferatu
with a migraine, but the really troublesome
one is newly bitten Nick (Cori GonzalezMacuer) who embraces the lifestyle a little
too eagerly. Conchords regular Rhys Darby
DOCUMENTARY
Spielberg
Sky Atlantic, 9pm
In this endlessly fascinating two-and-ahalf-hour film, Susan Lacy has produced
an intelligent, unguarded portrait of one of
TV CHOICE
Blue Planet II
BBC1, 8pm
One Ocean. Four years in the making,
this series of Blue Planet is even more
eye-poppingly wonderful than the first
and David Attenborough’s plea for us to
care for the life in our seas is even more
urgent: “Conditions that have remained
stable for millennia are changing radically…
the health of our oceans is under threat.”
Following an opening sequence that would
win awards on its own, we are shown how
climate change is threatening the life cycle
of the walrus (above) and we learn about
the fatal bleaching of tropical coral reefs.
But it’s not all doom and gloom, as we
meet a parade of extraordinary, colourful
creatures – just wait until you see the
giant trevally on the hunt for sooty terns
– including dolphins, strange tusk fish,
even stranger kobudai wrasse and false
killer whales. All this plus breathtaking
slo-mo images of the sea itself. The best
that television has to offer. Mike Bradley
At the tip of Vanuatu in the south-west
Pacific lies a remote island – population
1,200 – which boasts pristine coral reefs,
blue seas and white sandy beaches.
The indigenous people have survived
missionaries and whale traders, but
since 1983 “Mystery Island” has been
threatened by a new coloniser: the “bright
white cruise ship”, each one bearing up
to 5,000 tourists, eager for an authentic
South Seas experience. Presenter
Susie Emmett meets the locals and
the cruise ship owners, to investigate
how this delicate, mutually dependent
relationship is maintained. Despite potential
environmental concerns, the outlook is
surprisingly positive. Kim Salmons
SPORT
Rugby Union
BT Sport 1, 2.30pm
Bath v Gloucester: Premiership. Live
coverage from the Recreation Ground
between two neighbours who both need a
win to provide stability in a volatile league.
Bath are basking in European success
and the cherry-and-whites also have a
reasonable recent record. Expect a tough
tussle for local bragging rights today. MB
TELEVISION
BBC2
ITV
Channel 4
Channel 5
6.05 (GMT) Coast (T) (R) 6.35 Great
British Garden Revival (T) (R) 7.35
Gardeners’ World (T) (R) 8.35
Countryfile (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
NFL Live (T) Cleveland Browns
v Minnesota Vikings (kick-off
1.30pm). 5.0 Rugby League World
Cup (T) Tanya Arnold introduces
action from the opening round of
matches in Australia.6.0 Britain’s
Classroom Heroes 2017 (T)
6.0
CITV 9.25 News (T) 9.30
Australian Wilderness With Ray
Mears (T) (R) 10.0 Peston on
Sunday (T) 11.0 Amazing Animal
Births (T) (R) 11.25 Bigheads (T)
(R) 12.25 News (T) 12.40 The X
Factor (T) (R) 2.30 Nanny
McPhee (Kirk Jones, 2005) (T)
A widower struggles to control
his seven unruly children until a
strange-looking nanny steps in.
Period fantasy adventure. 4.25
Your Song (T) (R) 5.25 Local
News (T) 5.40 News (T) 6.0
Tipping Point: Lucky Stars (T)
6.0
(GMT) Kevin Can Wait (T) 6.25
Kevin Can Wait (T) 6.45 Everybody Loves Raymond (T) (R)
7.10 Everybody Loves Raymond
(T) (R) 7.35 Everybody Loves
Raymond (T) (R) 8.0 Frasier (T)
(R) 8.25 Frasier (T) (R) 9.0 Frasier
(T) (R) 9.30 Sunday Brunch
(T) 12.30 The Simpsons (T) (R)
12.55 The Simpsons (T) (R)
1.25 ParaNorman (Chris
Butler, Sam Fell, 2012) (T) 3.20
Hocus Pocus (Kenny Ortega,
1993) (T) 5.15 The Great British
Bake Off (T) (R) 6.30 News (T)
6.0
7.15 Strictly Come Dancing: The
Results (T) Tess Daly and Claudia
Winkleman present the results
of the viewers’ votes.
8.0 Blue Planet II (T) New series.
Marine life around the world,
from dolphins and tusk fish in
a tropical coral reef to walruses
struggling to cope with the
impact of climate change.
7.0
7.0
The X Factor (T) The results of
the viewers’ vote are announced,
and one of the acts is eliminated.
Ball and Boe: Back Together
(T) Michael Ball and Alfie Boe
perform together in a special
concert featuring some of their
favourite songs. The duo are
joined on stage by Imelda May
and Jason Manford.
7.0
Escape (T) Five engineers are
stranded on a desert island, and
must build a vehicle to escape
using the wreckage from a tug
boat and a small passenger
ferry. With Ant Middleton.
Great Canal Journeys (T) New
series. Timothy West and
Prunella Scales return, this week
exploring the Norfolk Broads.
8.0
9.0
9.0
BBC1
6.0
(GMT) Breakfast (T) 7.30 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 Homes
Under the Hammer (T) (R) 2.15
Money for Nothing (T) (R) 3.0
Escape to the Country (T) (R)
3.45 Points of View (T) 4.0
Songs of Praise (T) 4.35 Eat
Well for Less? (T) (R) 5.35 News
(T) 5.50 Regional News and
Weather (T) 6.0 The Countryfile
Ramble for Children in Need (T)
The Last Post (T) The NLF want
to make a trade. Alison feels
conflicted about her marriage,
Yusra smuggles a coded message,
and Joe disobeys orders.
10.0 News (T)
10.20 Regional News and Weather (T)
10.30 Match of the Day 2 (T) Highlights
of Leicester v Everton and
Brighton v Southampton.
11.30 The Women’s Football Show
(T) 12.05 City Boy Fight Club (T)
12.25 Weather (T) 12.30 News (T)
8.0
Top Gear (T) (R) Chris Harris and
Rory Reid take a road trip across
Cuba, Matt LeBlanc test drives
the Mercedes-AMG GT R, and
comedian Ross Noble is this
week’s guest.
Robot Wars (T) Six more robots
compete in the second heat,
with last year’s champion
returning to face five brand
new challengers.
Louis Theroux: Talking to
Anorexia (T) The reporter meets
patients at two of London’s
largest eating disorder facilities.
10.0 Snowfall (T) Teddy gets drawn
into the conflict in Nicaragua.
10.45 Mock the Week (T) (R)
11.15 What We Do in the
Shadows (Jemaine Clement,
Taika Waititi, 2014) (T) Comic
horror. 12.40 Sign Zone: Question
Time (T) (R) 1.40 Holby City (R)
2.40 This Is BBC2 (T)
OTHER CHANNELS
BT Sport 1
6.0am (GMT) Bundesliga 2 6.30 BT Sport
Reload 7.45 Live WTA Finals: Doubles Final 10.0
Uefa Europa League Magazine 11.0 Live WTA
Finals: The Final 2.0 Rise of the Chiefs 2.30 Live
Aviva Premiership Rugby Union: Bath v Gloucester
(kick-off 3pm) Coverage of the match from the
seventh round of fixtures, which takes place at the
Recreation Ground. 5.15 FIM Speedway Grand
Prix 7.15 Gillette World Sport 7.45 BT Sport
Reload 8.0 NBA Action 8.30 Live NBA: Indiana
Pacers v San Antonio Spurs (tip-off 8.30pm)
11.0 Live Baseball Tonight 12.0 Live MLB:
World Series – Game Five 4.0 Vanarama National
League Highlights 4.30 The Football Archives:
1983/84 5.0 The Football Archives: 1984/85
Sky Atlantic
6.0am-9.0 (GMT) David Attenborough’s
Conquest of the Skies 9.0-2.0 Without a Trace
2.0 Blade Runner 2049: Special 2.30 24x36:
A Movie About Movie Posters 4.10-9.0 Blue
Bloods 9.0 Spielberg 11.40 Real Time With Bill
Maher 12.50 Dice 1.25 Tin Star 2.25 Room
104 3.0-4.10 Californication 4.10 Richard
E Grant’s Hotel Secrets 5.05 Urban Secrets
E4
6.0am (GMT) Rude(ish) Tube 6.25 Couples
Come Dine with Me 7.20 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 Goldbergs
3.0 The Goldbergs 3.30 The Big Bang Theory 4.0
The Big Bang Theory 4.30 The Big Bang Theory
5.0 The Big Bang Theory 5.30 The Big Bang
Theory 6.0 The Big Bang Theory 6.30 The Big
Bang Theory 7.0 The Big Bang Theory 7.30 The
Big Bang Theory 8.0 The Big Bang Theory 8.30
The Big Bang Theory 9.0 Die Hard 2 (1990)
11.25 David Blaine: Beyond Magic 12.25 Tattoo
Fixers 1.30 Rude Tube 2.35 Brooklyn Nine-Nine
3.0 Brooklyn Nine-Nine 3.20 Hollyoaks
46
9.0
10.0 News and Weather (T)
10.20 Peston on Sunday (T) (R)
Political magazine presented
by Robert Peston and Allegra
Stratton, featuring reports on
the latest issues and interviews
with topical guests.
11.15 Bear’s Mission With Anthony
Joshua (T) (R) Bear Grylls
teaches the boxer some
alternative survival skills. 12.10
Jackpot247 3.0 Motorsport UK
(T) 3.50 ITV Nightscreen 5.05
The Jeremy Kyle Show (T) (R)
VARIATIONS
Film4
11.0am (GMT) The Rare Breed (1966) 1.0
Diary of a Wimpy Kid: Rodrick Rules (2011)
3.05 Von Ryan’s Express (1965) 5.25
Vice Versa (1988) 7.20 Coneheads
(1993) 9.0 Faster (2010) 10.55 Fright Night (1985) 1.10 Berberian Sound
Studio (2012) 3.0 FilmFear Interview Special
Sky1
6.0am (GMT) Hour of Power 7.0-9.0 Futurama 9.0 The Simpsons 9.30 The Simpsons
10.0 The Simpsons 10.30 The Simpsons 11.0
WWE Raw Hlts 12.0 NCIS: Los Angeles 1.0
Landscape Artist of the Year 2017 2.0 Supergirl
3.0 The Flash 4.0 Modern Family 4.30 Modern
Family 5.0 Modern Family 5.30 Modern Family
6.0 Modern Family 6.30 The Simpsons 7.0
The Simpsons 7.30 The Simpsons 8.0 Marvel’s
Inhumans 9.0 The Last Ship 10.0 The Force:
North East 11.0-1.0 The Simpsons 1.0 The
Russell Howard Hour 2.0-4.0 Ross Kemp in
Search of Pirates 4.0-6.0 Stargate Atlantis
Sky Sports Main Event
6.0am (GMT) Live World Golf Championship:
The HSBC Champions. Coverage of the fourth and
final day at the Sheshan International Golf Club in
Shanghai, China. 8.0 Live One-Day International
Cricket: India v New Zealand. All the action from
the third and final fixture of the series, held at
Green Park in Kanpur. 12.30 Live Nissan Super
Sunday: Brighton & Hove Albion v Southampton
(kick-off 1.30pm) 3.30 Live Nissan Super Sunday:
Leicester City v Everton (kick-off 4pm) 6.30
Live F1: The Mexico Grand Prix (start-time 7pm)
Coverage of the 18th round of the campaign, held
at the Autódromo Hermanos Rodríguez in Mexico
City. 9.30 Live NFL 12.0 Live NFL: Detroit Lions
v Pittsburgh Steelers (kick-off 12.30am) Coverage
of the clash between the respective NFC North
and AFC North sides at Ford Field. 3.30 Premier
League Highlights 4.0-6.0 Sky Sports News
THE NEW REVIEW | 29.10.17 | The Observer
STV NORTH As ITV except 12.10am
Teleshopping 1.10 After Midnight 2.45 May the
Best House Win (T) (R) 3.35 ITV Nightscreen
4.35 Jeremy Kyle (T) (R) 5.30-6.0
Teleshopping
ITV WALES As ITV except 11.25am Wales on
TV (T) (R) 11.55-12.25 Newsweek Wales (T)
CHANNEL As ITV except 12.10am-3.0 ITV
Nightscreen
SCOTTISH As STV North
ULSTER As ITV except 12.10am Teleshopping
1.10-3.0 ITV Nightscreen
BBC1 SCOTLAND 11.0am-12.15 Sunday
Politics Scotland (T) 11.30 Sportscene (T) (R)
12.30 The Women’s Football Show (T) 1.05 City
Boy Fight Club (T) 1.30-2.30 Rugby League
World Cup (T)
BBC1 WALES 11.0am-12.15 Sunday
Politics Wales (T)
BBC1 N IRELAND 11.0am-12.15 Sunday
Politics Northern Ireland (T) 12.25-1.15 The
Graham Norton Show (T) (R)
BBC2 SCOTLAND 5.0pm River City (T) (R)
6.0 Sportscene (T) 7.0-8.0 Britain’s Classroom
Heroes 2017 (T)
BBC2 WALES 5.0pm Britain’s Classroom
Heroes 2017 (T) 6.0 Scrum V Sunday (T) 7.0
James and Jupp (T) 7.30-8.0 Priceless Antiques
Roadshow 10.45 QI (T) (R) 11.15 Rugby League
World Cup (T) 12.15-1.40 What We Do in
the Shadows (2014) (T)
BBC2 N IRELAND 10.0pm Luther agus
An Domhan Gaelach (T) 11.0 Sunday Politics
Northern Ireland (T) (R) 11.25-12.10 Snowfall
(T) (R)
(GMT) Milkshake! 6.10 10.40
Football on 5: The Championship
(T) (R) 11.30 Football on 5: Goal
Rush (T) (R) 12.0 FIA World Rally
Championship Live (T) 1.30 The
A-Team (T) (R) Four episodes,
back to back – One More Time,
Till Death Do Us Part, The Beast
from the Belly of a Boeing & A
Nice Place to Visit 5.35 The
Man in the Iron Mask (Randall
Wallace, 1998) (T) Swashbuckling adventure with Leonardo
DiCaprio, Anne Parillaud and
John Malkovich. News at 6.35.
BBC4
7.0
Botticelli’s Venus: The Making
of an Icon (T) (R) Sam Roddick
explores the enduring appeal
of the 15th-century painting.
7.30 University Challenge (T)
(R) Merton College, Oxford,
takes on King’s College London.
Aviva Premiership Rugby
Highlights (T) Including Sale
Sharks v Exeter Chiefs and
Harlequins v Worcester Warriors.
8.55 News (T)
9.0 When Talent Shows Go Horribly
Wrong (T) Kate Thornton
introduces a countdown of
disastrous moments from
TV talent shows.
8.0
Speechless (T) (R) (T)
Documentary following two
patients at a neuro rehab
unit who are recovering from
strokes that have severely
affected their ability to communicate through language.
Natural World (T) (R) The daily
lives of a bottlenose dolphin
and its calf in Shark Bay,
Western Australia.
12.0 Seven Pounds (Gabriele
Muccino, 2008) (T) A man
haunted by a tragedy seeks
redemption for his past actions
by helping seven seemingly
unconnected strangers. Drama
with Will Smith, Rosario Dawson
and Woody Harrelson. 2.10
SuperCasino (T) 3.10 GPs:
Behind Closed Doors (T) (R) 4.0
Cruising with Jane McDonald (T)
(R) 4.50 Great Scientists (T) (R)
5.20 Wildlife SOS (T) (R) 5.45
Chinese Food in Minutes (T) (R)
10.0 Legends of the Deep: Giant Squid
(T) (R) Scientists trying to find
and film a living giant squid.
10.45 Legends of the Deep: Deep Sea
Sharks (T) (R) n insight into the
sharks living in the deep waters
around Japan.
11.40 Picasso: Love, Sex and Art
(T) (R) 12.40 The Search for
the Lost Manuscript: Julian of
Norwich (T) (R) 1.40 Speechless
(T) (R) 2.40 Who’s Afraid of
Conceptual Art? (T) (R)
Radio 2
play, recorded in front of an audience at Orford
Church, Suffolk, as part of the Snape Maltings
Britten Weekend. With music by Benjamin Britten.
10.30 Early Music Late. A concert given at the
Alhambra Palace in Granada, as part of last June’s
Granada international music festival. Merula:
Sentirete una canzonetta. Monteverdi: Perche
se m’odiavi. Anon: Viver in questo stato. Cavalli:
Vieni in questo stato. Marini: Romanesca. Anon:
Bella mia. Anglesi: Un sol bacio. Monteverdi:
Viglio di vita uscir. Monteverdi: Oblivion soave.
Kapsberger: Toccata arpegiata. Monteverdi: Si
dolce e’l tormento. Raquel Andueza (soprano), La
Galania. 11.30 The Music of Julian Anderson. A
performance by students from the Guildhall School
of Music & Drama. 12.30 Through the Night (R)
Radio 3
Radio 4
The World This Weekend. With Mark Mardell. 1.30
When Greeks Flew Kites. Stories from history that
provide a fresh outlook on the present day. 2.0
Gardeners’ Question Time: Exeter (R) 2.45 The
Listening Project: Omnibus – A Child’s Perspective
(R) 3.0 Drama: Tsar. Lenin: Tears, by Mike Walker.
(2/4) 4.0 News 4.02 Open Book. Alex Clark talks
to Graeme Macrae Burnet about his new novel The
Accident on the A35. 4.30 Conversations on a
Bench. Anna Scott-Brown presents stories from
migrant and British-born residents of Chinatown
in London. (2/2) 5.0 File on 4: Crossing the Line
– Britain’s Teenage Drug Mules (R) 5.40 Profile
5.54 Shipping Forecast 5.57 Weather 6.0 News
6.15 Pick of the Week. With Anna Foster. 7.0 The
Archers. Matt plots his escape. 7.15 Tony Law:
21st-Century Adventurer. New sitcom starring
the comedian as a globetrotting celebrity hero
from a family of dashing explorers. 7.45 The
Reservoir Tapes: Claire’s Story, by Jon McGregor.
(5/15) 8.0 Feedback (R) 8.30 Last Word (R) 9.0
Money Box (R) 9.26 Radio 4 Appeal: Myotubular
Trust (R) 9.30 Analysis: Parliament – a Building
Catastrophe (R) 10.0 The Westminster Hour.
With Carolyn Quinn. 11.0 Radiolab: Placebo (R)
11.30 Something Understood: Cars (R) 12.0
News 12.15 Thinking Allowed (R) 12.45 Bells
on Sunday: All Saints Church, Marsworth, Bucks
(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: Paul Evans on the Carrion Crow
8.0
9.0
Electric Dreams: Human Is
(T) An official returns home
from another world a changed
man. Bryan Cranston and Essie
Davis star in the sci-fi drama.
10.0 8 Out of 10 Cats Does
Countdown (T) (R)
10.30 F1: Mexican Grand Prix
Highlights (T) With Steve
Jones and David Coulthard.
12.45 Grand Prix: The Killer Years (T)
(R) 1.45 The Supervet (T) (R)
2.40 The Secret Life of the Zoo
(T) (R) 3.35 Gillette World Sport
(T) 4.0 KOTV Boxing Weekly (T)
9.0
RADIO
Radio 1
97.6-99.8 MHz
6.0 Dev 10.0 Greatest Hits With Matt Edmondson
12.0 Alice Levine 4.30 Cel Spellman 6.0 Most
Played 7.0 Rock Show With Daniel P Carter 10.0
Phil Taggart 1.0 Monki 4.0 Adele Roberts
88-91 MHz
6.0 The Sunday Hour 7.0 Good Morning Sunday
With Clare Balding 9.0 Steve Wright’s Sunday
Love Songs 11.0 Michael Ball 1.0 Elaine Paige 3.0
Johnnie Walker 5.0 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
90.2-92.4 MHz
7.0 (GMT) Breakfast. With Martin Handley.
9.0 News 9.03 Sunday Morning. Sarah Walker
introduces music including Haydn’s Symphony
No 24 in D, Corelli’s violin sonata La Follia, and
extracts from Rameau’s opera Les Boréades. 12.0
Private Passions: Vesna Goldsworthy. 1.0 News
1.02 Lunchtime Concert: Wigmore Hall Mondays
(R) Haydn: Piano Trio in F sharp minor, HXV:26.
Brahms: String Sextet in G, Op 36 (arr. Theodor
Furchtegott Kirchner). Trio Jean Paul. 2.0 The
Early Music Show. Lucie Skeaping celebrates
30 years of the Dufay Collective. 3.0 Choral
Evensong: Westminster Abbey (R) 4.0 Choir and
Organ. Music by Fauré, Bach and Wagner. 5.0 The
Listening Service: Can Music Scare Us? With Tom
Service. 5.30 Words and Music: Footloose. Poetry
and prose on the subject of feet. 6.45 Sunday
Feature: New Generation Thinkers. Features on
Afrofuturism and German lieder. 7.30 In Concert.
Ian Skelly presents a performance recorded at the
Berwaldhallen in Stockholm. Mahler: Symphony
No.6 in A minor, Tragic. Swedish Radio Symphony
Orchestra, Daniel Harding. 9.0 Drama on 3: The
Dark Tower. A production of Louis MacNeice’s radio
92.4-94.6 MHz; 198kHz
LW: 5.30 Australia Women v England Women.
Commentary on the third of three women’s ODI
matches, which takes place at Coffs Harbour. FM:
6.0 News 6.05 Something Understood: Cars.
With Michael Symmons Roberts. (LW joins at 6.30)
6.35 On Your Farm: Hop Harvest. Charlotte Smith
visits a farm in the Malvern Hills, Worcs. (1/6)
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: Myotubular Trust. With Nicholas Farrell.
7.57 Weather 8.0 News 8.0 Sunday Papers 8.10
Sunday Worship: Reformation 500. Bishop Nick
Baines leads a service from Wittenberg to mark the
500th anniversary of the Reformation, featuring
Julian Sengelmann. 8.48 A Point of View: Ode to
Space (R) 8.58 Tweet of the Day: Samuel West on
the Dipper (R) 9.0 Broadcasting House. With Paddy
O’Connell. 10.0 The Archers (R) 11.15 Desert
Island Discs: Kay Mellor 12.0 News 12.01 (LW)
Shipping Forecast 12.04 The Unbelievable Truth
(R) 12.30 The Food Programme: More Problems
With Poultry? Dan Saladino reports on scandals in
the British chicken industry. 12.57 Weather 1.0
5 Live
693, 909 kHz
6.0 Breakfast 9.0 SportsWeek 10.0 Pienaar’s
Politics 11.0 5 Live Investigates 12.0 5 Live
Sport 12.15 MOTD2 Extra 1.0 Flintoff, Savage
and the Ping Pong Guy 2.0 5 Live Sport 5.0
6-0-6 6.30 5 Live F1: Mexican Grand Prix
9.0 The Tom Pryce Story 10.0 Stephen Nolan
1.0 Up All Night 4.30 5 Live F1 5.0 Morning
Reports 5.15 Wake Up to Money
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