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The Guardian G2 May 1 2018

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What one
(dead) anteater
taught us about
nature photography
Tuesday 01/05/18
Suzanne Moore
Why the Tories should
fear the rentquake
page 3
Ksenia Sobchak
The reality star who
ran against Putin
page 4
Pass notes
№ 3,800
Gorgeous (back
row, second from
left) and friends
Étienne Terrus
Age: 64 (when he died in 1922).
Appearance: Bearded, heavy-browed, severe.
Occupation: Painter, one of the forerunners of
the fauvist movement.
Any good? He lapsed into obscurity for a time,
but was rediscovered in the late 20th century.
In 1994, a museum dedicated to his work –
Musée Terrus – opened in his home town,
Elne, near the French border with Spain.
You mean there is a whole building full of
paintings by Terrus? Well, I wouldn’t go
that far.
You mean the museum that bears his name
is mostly filled with paintings by Terrus?
Not quite, no.
What do you mean, then? After extensive
renovations, an art historian hired to
reorganise the collection discovered that
a number of the paintings and drawings
attributed to Terrus were fakes.
How many? A panel of experts determined
that 82 of the 140 works owned by the
museum were forgeries.
But that is – hang on, where is my calculator?
It is almost 60% of the collection.
Where did all these fakes come from? That
is hard to tell at this point. The local council
spent about £140,000 buying work on behalf
of the state-owned museum over the years,
but some paintings were bequeathed by
collectors, while others were purchased
through fundraising efforts.
There must be a master forger at work! Not
according to Eric Forcada, the art historian
who discovered the fakes. “At a stylistic level,
it’s crude,” he said. “The cotton supports do
not match the canvas used by Terrus. And
there are some anachronisms.”
Anachronisms? Some of the paintings feature
buildings that had not yet been constructed
at the time of Terrus’s death.
How embarrassing for the people of Elne.
Yves Barniol, the town’s mayor, is mortified.
“Knowing that people have visited the
museum and seen a collection, most of
which is fake, that’s bad,” he said. “It’s
a catastrophe for the municipality.”
What does he plan to do about it? A legal
complaint has been filed, the fakes have
been seized by police and an investigation
is under way.
In the meantime, they should change the
name of the museum to something like
Terrus and Friends. The police believe other
museums may have been similarly duped;
they suspect an organised ring.
Do say: “Worth a visit – polite staff, lovely gift
shop, almost 40% of paintings genuine.”
Don’t say: “My kid could paint that – it will be
ready on Wednesday.”
The Guardian
Tuesday 1 May 2018
Drag against Trump: a movement begins
Despite claiming on the campaign
trail to be “gay friendly”, the Trump
administration has unleashed a
barrage of policies and amendments
that demonstrate the contrary. From
reinstating a ban on transgender
military personnel and rescinding
legal protections for trans workers
and students to arguing in favour
of a homophobic cake shop, the
actions of the US president have
been decidedly unfriendly to
LGBTQI people.
When Donald Trump visits the UK
on 13 July, I am helping to coordinate
a group who will stage a protest in
drag. This is to increase awareness
of the way Trump’s administration
has systematically attacked the
LGBTQI community and to stand
in solidarity with the many other
groups who feel marginalised along
lines of race, class and gender. To not
object to the visit would seem like a
betrayal of the tolerant society that
the UK as a whole strives to be.
When diversity is attacked, it is
imperative that marginalised people
stay visible, stand up to bullies
and engage satirically with what
is going on.
One of the things that makes drag
so powerful is the way we make
ourselves visible in a particularly
spectacular way. There is a long
history of drag kings and queens
getting involved with political and
social issues. From their role in the
Stonewall riots to the work that they
have done raising money for HIV
charities, drags are not scared to put
themselves forward when there is a
need to show up and speak out.
By pushing the way that we look
to the extremes, we are showing that
we are not ashamed to be different
– we are proud of our differentness.
Most important of all, we are
showing that the UK is a place that
is not ashamed to celebrate the
diversity of its people. If we can be
accepted as the extreme glittery
spectacles that we are, then it just
might make it easier for everyone
else to be themselves, too.
We are eager to join with the many
other protests that will take place
when Trump arrives in the UK. It is
important that we stand with others
who feel similarly outraged at the
way the UK government is failing
to stand up to Trump. It is about
more than just one group’s interests
and needs, and it is vital to stand
in solidarity with all marginalised
groups who are affected by Trump’s
administration and the rhetoric of
intolerance that fuels it.
Cheddar Gorgeous
drag performer
Amrou al-Kadhi
protesting in
Is ClassDojo
turning school
into a contest?
For many parents, opening the
ClassDojo app and looking at
photographs of their child’s latest
work or sending a message to the
teacher will be a regular part of the
school week. According to the San
Francisco-based company, it has
been used by 70% of schools in the
UK. But the classroom app came
under scrutiny this weekend – the
Times raised privacy concerns,
highlighting how its data was stored
in the US.
The app is used to encourage
good behaviour and to communicate
with parents – children are awarded
points for skills such as “working
hard” and “perseverance”, and
deducted points for “disrespect”.
The teacher can also upload
photographs and videos to
the service.
Ben Williamson, a lecturer in
education at the University of
Stirling and the author of Big Data in
Education, became aware of it when
it was introduced at his children’s
school. It launched in 2011 and its
behavioural monitoring has been
criticised for making the classroom
a competitive space. “What we don’t
really have are detailed studies of
how this is working,” he says.
The company now appears to be
repositioning itself as a social media
platform for schools; there is less
focus on behavioural monitoring.
ClassDojo says it doesn’t share any
student information with Google or
Facebook, and a spokesperson said
the app is “fully compliant with all
UK privacy laws, is certified under
the EU - US Privacy Shield and will
be fully compliant with GDPR when
the law goes into effect.”
Sandra Leaton Gray, a senior
lecturer in education at the UCL
Institute of Education and the
author of Invisibly Blighted: The
Digital Erosion of Childhood, says
she is concerned with its potential to
label children, but also its dedication
to “growth mindset” – a theory of
how intelligence can be encouraged.
She says: “Sometimes teachers
latch on to terms like that and see
them as a shortcut to improving
outcomes without having read all
the extensive research on it.”
Emine Saner
wit: are funny
signs worth it?
The Royal
Institute of
Technology was
evacuated over
the weekend
due to fears of
a chemical or
gas leak. After
an extensive
search, though,
and specialists
realised that
the seemingly
toxic odour was
merely a rotting
durian fruit that
een left in
had been
a cupboard.
Workplace signs have come a
long way from the era of someone
hanging up “You don’t have to be
crazy to work here, but it helps” at
the back of the office. Social media
means there is always the chance
that an improvised sign at work
could go viral (indeed, that may
be the main reason the sign has
appeared in the first place).
The latest effort to do so is from
a branch of Maplin in Shrewsbury.
With the troubled electronics chain
about to close down, staff there have
put a list of answers to an unseen
FAQ in the window.
Anyone with retail experience
will recognise the world-weary
tone in the answers offered, such as
“The discount is already applied”
and “It’s UP TO 60% off ”, while
there is an unsaid worry behind the
answer “Yes, we are losing our jobs”.
And it is left to readers’ imaginations
which question might lead to the
response “Amazon, Brexit and
bad management”. You suspect,
however, that “you need to convert
scart to HDMI” was a perennial at
the Maplin counter before the news
of its financial demise emerged.
But the art of writing a viral sign
is not without its pitfalls, as staff
at Blackhorse Road underground
station in London found last week
during the country’s brief heatwave.
London Underground staff have
a culture of penning handwritten
signs at station entrances. But
the message last week suggesting
commuters “dress for the body you
have, not the body you want” was
deemed to have overstepped the
mark. After people began criticising
it for “fat-shaming”, TfL intervened
and had the message taken down,
saying: “In this instance, the
message was clearly ill-judged
and it has been removed.”
It might not be worth it for TfL
staff, but it might be a risk worth
taking for other businesses. Whether
it is the York cafe that sells a Corbyn
sandwich via a chalkboard menu, or
innumerable bars and cafes putting
out witticisms every day, a sign
can be a lightning rod for online
attention. Whether that turns into
commercial gain is another question.
Martin Belam
The rentquake will punish
the Tories at the ballot box
Why comedians
are the new public
Anecdote is not data, as they say, but it is strange to ignore the strength
of feeling with which people talk about an issue. Increasingly, I have
conversations that centre around housing. Not of the “Have you seen these
lovely tiles?” variety, but about the difficulty of having a long-term home.
So I am not surprised that this is the issue many people say they hear about
on the doorstep as they canvass for the upcoming local elections. Housing
is where “politics” lives. Brexit and issues around antisemitism remain
abstract in ways that having a home does not.
Housing is fraught with emotion and need.
It is where people express their dreams for
themselves and their children. It is where
they feel their desperation and insecurity.
I know many young folk who are exhausted
by renting, moving their stuff every few
months. I know several people my age who
are priced out of the rental market. I know
people who are anxious about stalling house
prices, not because they are monstrous
property developers, but because their
home is their pension. Meanwhile, TV shows
feature architects frothing over dream homes
and couples buying castles to do up.
The Thatcherite idea that home ownership
is the way to lock in a Tory government for
ever is now derelict. The market is not a
benign force. It has pursued an unsustainable
boom. An ideology that preached that social housing was about dependency
and home ownership was morally superior has left generations without
access to either – particularly in London. Some Tories are starting to join the
dots, since it looks as though London will pull further away from the rest of
the country. Estimates of the Labour vote from 2010 to 2017 suggest it has
gone up in the capital, from 37% to 55%. Home ownership, meanwhile, is in
decline, having peaked in the 90s. If current trends continue, London will
have far more renters than homeowners in a few years, about 60%.
For all the media’s preoccupation with the technicalities of Brexit, these
trends tell us something politically significant: that London as a city state
may be a preview of the future. This is the city of Grenfell, with cranes
dangling over every new-build, with “communities” that once would have
been socially housed clinging on in precarious, crowded conditions.
The idea that the last election was a youthquake is wrong. The turnout was
significantly bigger in the 25-44 generation, and this is where the swing from
to Tory to Labour happened. These are the renters.
I don’t think the significance of this can be overestimated. This is the point
where demography, social mobility and the generational divide become as
real as rotting window frames and paper-thin walls. This is how people live:
thirtysomethings with parents; children with no space but a screen.
When the majority are renting, this cannot be defined as moral deficiency
or shirking – the ideology of home ownership is bust. Voters will look for a
politics that recognises this.
There is not simply one Generation Rent, but several – enough to trigger
the rentquake that will kill the Thatcherite dream once and for all.
I didn’t find anything Michelle
Wolf said at the White House
correspondents’ dinner funny.
Searing, necessary, on-point – but
not funny. Most comedy doesn’t
make me laugh, but I am not sure it
is supposed to. It is almost like we
need a new word for what comics
do now. Wolf not only told truth
to power, but she also told it to
the press, who have absolutely
normalised Trump’s behaviour and
who have often profited from it.
This new mode makes comedians
the new public intellectuals,
drawing attention to all that is
wrong in the world. They are at the
forefront of an oppositional cultural
politics. This space often feels
unchallenging, for it exists not to
comfort the afflicted, but to comfort
the mildly socially concerned –
all of Radio 4, in other words.
Brexit is very bad for comedians’
creative processes. At a recent gig,
the punchline of every joke was that
everyone who voted leave was a
nasty racist. This was north London
patting itself on the back.
Into this milieu comes Jonathan
Pie to educate us on the value of
free speech. Pie – a fictional reporter
played by the comedian Tom
Walker – exists in his libertarian way
to shake up the lefty consensus.
Walker co-writes with one of the
Spiked crew and, like them, his
libertarianism ends up being dull
and mostly rightwing. His recent
comments – defending the right of
people to make racist comments,
on the grounds that he can then
“debate” them – were profoundly
lacking, to say the least.
In practice, someone like Frankie
Boyle challenges his audience far
more than Pie ever manages. There
is not a line Boyle won’t try to cross.
This is not comforting, but it is
funny. These days, comedians can
be the most serious people around.
Stop blaming women for being murdered
Whose fault is it that men rape, torture and murder women?
Women’s, apparently. If a woman has got away from an abusive
man, he is often so “lovesick” or “heartbroken” that he must kill her.
The Golden State Killer had to do the awful things he did because
he could not get over a woman who had rejected him. The ludicrous
reporting on “incels” last week often bought into their own
delusional narrative about who was to blame for their own feelings.
We live in a culture that pretends that women are emotional and
men are rational, yet in every other way suggests that men have
certain emotions that are uncontrollable. This is a dangerous lie.
Tom Walker as
Jonathan Pie
The Guardian
Tuesday 1 May 2018
She is the reality TV star who
stood against Vladimir Putin in
the Russian presidential election
promising to spearhead a liberal
revolution. But her opponents
say she is a Kremlin stooge …
Just who is
Ksenia Sobchak?
➺ Words Viv Groskop
ay what you like about
Ksenia Sobchak – and in
Russia they say a lot of
things – but she knows
how to work a crowd.
Talking to a packed
room at Pushkin House, a venue for
Russian cultural events in London,
she starts with a joke. And not a bad
one: “You know, in Russia we say
there are three things you can’t
choose: your parents, your gender
and your president.”
Sobchak should know. In March’s
Russian presidential election, she
was one of seven challengers to
Vladimir Putin, and only the third
woman to stand for president in the
country. (Ella Pamfilova in 2000 and
Irina Khakamada in 2004 were the
others.) She got 1.6% of the vote. In
a climate where Russia-UK relations
have hardly ever been worse, her visit
to London seems designed to raise as
many questions as it answers.
We meet before her sold-out
appearance at Pushkin House. She
is flustered, tired and has a cold, but
as soon as she is asked a question,
she relaxes and segues into politician
mode – and you remember that she
has been watching people do this
since she was a child. Her father,
Anatoly Sobchak, was mayor of St
Petersburg from 1991 to 1996.
How did it feel to get 1.6% of
the vote in an election where the
winner got 76.6%? (Putin’s nearest
challenger was Pavel Grudinin,
the Communist candidate, with
11.8%.) “I was disappointed with
the result, of course,” she says.
“I expected more. I was less
disappointed with my own result,
though, than with Putin’s numbers.
It’s a huge problem, 76%.” The scale
of this result is unprecedented and
represents a huge challenge for any
liberal opposition, she says. “The
opposition was fragmented because
of the boycott. But to get such a low
result … I was unhappy.”
Russia’s most prominent
opposition candidate is Alexei
Navalny, who called upon those
opposed to Putin to boycott the
elections entirely. This is where
Sobchak’s candidacy becomes
hard to fathom. She paints herself
as someone who loves politics,
wants change for her country and
is in a position to run. Her platform
includes speaking out about
political prisoners and championing
human rights activists. But if she is
a true liberal, why take part in the
pantomime at all? There are many
competing views within Russia
about her decision to run: that she is
being used – wittingly or otherwise –
to discredit the liberal opposition;
that she is a stooge and a scapegoat;
that she’s a pawn in Putin’s game;
that it’s all a big extension of a reality
show, much like the ones she fronted
on Russian television for years.
Between 2004 and 2012,
Sobchak was the host of Dom 2,
Russia’s version of Big Brother,
(Left) in Moscow
in 2012; (above)
meeting Putin
after the 2018
The Guardian
Tuesday 1 May 2018
and presented numerous other
TV programmes. She was also in
films and made a rap video. Despite
turning her back on all this to follow
a political path, it hasn’t stopped
most of the coverage in Russia
and abroad referring to her as “the
ex-Playboy model dubbed ‘Russia’s
Paris Hilton’.” While that description
isn’t entirely inaccurate, it doesn’t
really reflect who she is: a complex
hybrid of perestroika royalty,
modern Russian celebrity and
elite liberalism.
Whose side is she on, though? As
the polls closed last month, Sobchak
was engaged in an argument live on
television with Navalny, who was
barred from standing for election
because of a suspended prison
sentence for fraud. (Navalny had
argued that only those in prison
are barred from running, but the
ban was upheld.) Navalny accused
Sobchak of accepting cash to run and
claimed she was an “instrument”
of Putin: “You have become the
champion of hypocrisy.” He added,
as she sat opposite, shaking her
head: “You came to me at two in
the morning a month before you
announced your candidacy and you
said, sitting in my kitchen, drinking
tea: ‘They’re offering me a lot of
money. I don’t know what to do.’”
She replied on air: “That’s not true
and you know it. You’re lying.”
A month on, she says this episode
reflects worse on Navalny. “I think
Navalny has put himself in an
extremely uncomfortable position,”
she says. “It’s ridiculous nonsense.
But let’s say what he says is true.
Why didn’t he say something
immediately after this supposed
conversation with me?” It’s a fair
point. But, as always with Russian
politics (or, to be fair, politics
anywhere), someone is concealing
their agenda and it is not clear who.
Her TV appearances in Russia
during the electoral campaign
did the most to convince me
that there must be something
genuine about her. On one live
broadcast after another, she was
hounded, harangued, ridiculed and
humiliated. She generally managed
to maintain her composure in the
face of appalling rudeness and
bullying by making succinct, clear
points and rarely losing her temper.
I’m not sure anyone could keep
this up as an act. On one television
programme, surrounded by five
male candidates, Sobchak came
under a barrage of abuse and was
interrupted so constantly that she
could barely be heard. “These people
interrupt me and only me,” she
could be heard shouting above the
cacophony in a clip. “They do not
interrupt each other. One of them
just called me a [bleep] witch …
Give me the time I am allowed.
You thought up this format. I want
my time.” Although everyone was
talking over each other and it was
not clear who was saying what, you
could hear the words: “Go back to
kindergarten, little girl,” and: “Why
don’t you run off to mummy?”
Sobchak eventually walked off the
set in tears.
Reply all
Sobchak talking
to the Russian
media in
‘Russia is a
society. That’s a
fact. Domestic
violence has been
This must have all been hard to
take. “It’s Russia. It’s a patriarchal
society,” she shrugs. “That’s a fact
you have to get used to. We have
sexism. And it’s widespread. There
are very few women in politics.
Domestic violence has been
decriminalised. Women get paid,
on average, 30% less than men.
There’s a view in Russian society
that there are ‘male professions’ and
‘female professions’. The women
should be looking after the home
and children. It makes me sad. But
the only thing you can do is fight it.”
She is not interested in tokenism,
she insists. “Yes, I’m a woman and
I will fight against all these things,
but I don’t think gender should
influence people’s vote. I didn’t go
into politics because I’m a woman.
I have done this because I have been
interested in politics my whole life.”
Later, at the Pushkin House
event, she shows the audience
a hint of her true agenda: to be part
of change, but also possibly part of
the movement pushing for a liberal
candidate chosen by Putin. She
suggests this is the most logical
outcome six years from now. (Putin
has hinted that he will not stand
again in 2024, so the narrative is
becoming about succession. Will he
choose another KGB alumnus, like
him? Or someone more liberal?) She
speaks openly on the case of the
poisoning of the Skripals, saying she
has no insider knowledge but would
be very surprised if it were ordered
by the state so close to an election.
Of Putin, she says, fascinatingly:
“He has been a tsar for many years.
He is not thinking of himself as
being a person. He is above that.
Absolute power corrupts absolutely.
Eighteen years. You can imagine.”
But she can come across as an
apologist, as Navalny has hinted.
Take this explanation for Putin’s
victory: “Why are Russians so ‘antiliberal’? Because Putin and his team
really did win a decisive victory.
They convinced people that they are
surrounded by enemies. And that
it’s only possible to survive this new
cold war with a strong leader. These
arguments worked well on people.
They really do believe that Putin
is the only person who can hold
things together.”
Inevitably, Sobchak’s personal
history complicates things. She
has known Putin since she was
a child; as well as being mayor
of St Petersburg, her father was
a mentor to Putin, then his deputy.
Anatoly Sobchak supported Putin’s
presidential ambitions. He died in
2000, officially of a heart condition,
but among other theories there were
rumours about Putin’s involvement.
(Referring to the rumours, Sobchak
said in an interview with the
dissident author Masha Gessen in
the New Yorker last year: “That’s just
unthinkable. If that is true then the
world is an entirely different place
than I imagine.”) She recently made
a film about her father, The Case of
Anatoly Sobchak, which features
a previously unseen interview with
Putin. It will be released in Russia in
May and she is hoping for a British
release, too.
Meanwhile, her political future
hangs in the balance. Last month,
Sobchak and the politician Dmitry
Gudkov announced they were
forming a party with the provisional
name of Partiya Peremen (Party of
Change). Gudkov, 38, was a member
of the State Duma, the lower house of
parliament, between 2011 and 2016.
“I’m trying to work out
what’s next,” she says. “We are
experimenting with crowdfunding
for this new party.” She alternates
between optimism and stoicism.
“I had to try to influence the
situation somehow,” she says of her
election failure. “I don’t know what
will happen next. There are not very
many opportunities to change the
situation. But you have to try.” What
would her father think? “Seeing as
my father loved me, I know he’d
have one piece of advice: Don’t go
into politics.”
Notes & queries
The weekly series where readers answer other
readers’ questions on subjects ranging from trivial
flights of fancy to profound scientific concepts
Why do I always end up with odd
socks from the washing machine?
Is there a law of physics to explain
why I always end up with odd socks
after I have done the washing?
James Valencia
The law you’re after is entropy, in
the second law of thermodynamics.
It says there is always a bit of work
that is wasted. You can never recover
wasted work. Which means as
you go through life, you do more
and more useless work, which is
meaningless. Unsorted socks are
a good example. They increase
inexorably with time because you
cannot ever do enough work to make
sure they are sorted.
It’s Heisenberg’s Uncertainty
Principle: the more certain you are of
the colour of a sock, the less certain
you can be of its physical location in
I cannot agree with you there. I am
looking at my sock right now, and
it is on my foot. And it is black. It’s
the location of the OTHER sock that
is unknown. But hang on … maybe
when you buy a pair of socks, you
have a sock and an anti-sock.
Is it really missing? that’s the
conundrum of Schrödinger’s sock.
Miles Weston, Haslemere
What you need is epistemology; the
field of study that will help you find
the difference between what you
think you know and what you do
know about socks. “How sure are
you about ‘always’ ending up with
odd socks?” is a good question to be
tackled with epistemology. If you
want physics, it will tell you to carry
your washing walking backwards –
your ears are less sensitive behind
you and you won’t hear them drop.
And don’t forget statistics: how
likely are you to drop both socks of
a pair and therefore end up with no
odd socks? Remember to include the
physics of the surface of your socks;
some will be more slippery than
others and more likely to drop.
A much more complex issue is where
the pencils you put in toolboxes
disappear to.
More than
42,000 deer
are killed in
collisions on
the UK’s roads
every year,
according to the
AA. But where?
I’ve never seen a
deer near a road.
Simon Harrison
Are the odds
any better if I
choose my own
lottery ticket
numbers rather
than buy an
“lucky dip”? I
have a cynical
suspicion that
no lucky dip
numbers ever
Bridport, Dorset
Could humans have thrived
alongside the dinosaurs?
Research suggesting the asteroid
that wiped out the dinosaurs would
not have been so catastrophic had
it landed in the ocean raises big
questions: could the dinosaurs
have survived into human times?
Could we have lived alongside the
larger beasts?
Francis Blake London N17
Some of the dinosaurs did survive
the asteroid strike and we do live
quite happily alongside them: they
are the ones that evolved into birds.
As for “could the dinosaurs have
survived into human times?”: this
seems to imply that the evolution
of Homo sapiens was somehow
inevitable. If the asteroid had fallen
elsewhere, or even missed the Earth,
evolution would surely have followed
a different route. Mammals (which
were evolving toward the end of the
period that saw the demise of the
dinosaurs) may well have remained
small and nocturnal, as this was their
way of avoiding predation. In such a
case, it is unlikely that the line that led
to humans would have evolved at all.
The Flintstones did it, so I don’t see
why not.
Shower gel and shampoo – who
needs them?
Îs there really any difference
between shower gel and shampoo
or is it just the same stuff marketed
in different ways? I use shower gel
for my hair too, and know someone
who shampoos all over, with no
noticeable detrimental effect.
I don’t know, but I have noticed that
conventional bars of soap are cheaper,
more effective and last about 10
times longer than shower gels.
John Malcomson, Sheffield
Neither is required for bodily
hygiene. I stopped washing my hair
many years ago and not even my
hairdresser notices. As for body wash,
I use a cheap brand of ordinary soap
and again, nobody suggests that I
have body odour. Both products are
solutions to problems we did not
have until they were introduced.
Shampoos tend to have higher
concentrations of detergents than
shower gels because hair is harder to
clean. Also shower gels often have
moisturising agents that could leave
your hair feeling sticky.
I use a delightful gel containing
unicorn tears and the blood of
teenagers – it regenerates the skin.
The Guardian
Tuesday 1 May 2018
How to reply
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com or discuss
online at
Submission and
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is subject to
our terms and
glossies to
Bodyshaming and expensive shoes are out – politics
is in. Rachel Aroesti and Phoebe Greenwood
on the websites revolutionising women’s media
Over the past decade, the women’s
magazine has undergone a radical
makeover. While 00s glossies
largely consisted of insidious bodyshaming and bankrupting shoe
recommendations, in recent years
female-centric journalism has
migrated online, simultaneously
shifting its gaze to social justice,
mental health and the hitherto
hidden realities of womanhood.
It hasn’t always been a smooth
transition: last week, the online
women’s magazine the Debrief
announced its closure, with
parent company Bauer Media
deciding to refocus resources
into its print product Grazia. Last
year, Sarah Millican’s Standard
Issue shut, while US website the
Hairpin followed suit in January.
Yet a host of other publications
remain committed to doing things
differently. Here, the women
behind London-based site galdem and MILLE World, an online
magazine aimed at Arab readers,
explain why they are determined to
reimagine the women’s magazine
as a force for positive change.
Rachel Aroesti
ofia Guellaty launched
MILLE World out of
frustration that it didn’t
already exist. She was
looking for a publication
that engaged with
what it means to be a young Arab
woman. Versace, Dior, Calvin Klein
and Chanel were sending hijabs
down their runways, but who was
catering to the savvy, cosmopolitan
Arab women looking to reclaim the
Arab narrative for an educated Arab
The Guardian
Tuesday 1 May 2018
audience? Turns out no one was, so
Guellaty decided to.
Educated in Paris but born and
now based in Tunis, Guellaty, 35,
was at the helm of Condé Nast’s
first Middle East launch, the nowclosed, two years
ago. “I kept hearing about things
being ‘good enough’ for the Arab
market. That really got to me, this
‘good enough’ attitude. Two things:
one, it’s not good enough, what
you’re doing is crap. Two, it’s racist,”
Guellaty says. Two years ago, she
quit Condé Nast, and last May fell
pregnant with her first child. It
was during her pregnancy that she
developed the idea for MILLE World,
and after giving birth, she recruited
the first members of the board,
which now includes Saudi princess
Reema bint Bandar al-Saud and
Saif Mahdi, the president of Next
Models. She recruited the company’s
CEO Nez Gebreel from the Dubai
Design and Fashion Council. It was
crucial to Guellaty that her executive
and editorial team were Arabs and
leaders in their field.
“Because of colonisation,
whether it’s real as with Tunisia
and France, Egypt and the UK, or
whether it’s cultural supremacy,
but [Arab readers] tend to be like ‘if
a white guy did it, it must be good’.
I wanted to change that. I wanted
the whole team to be Arab, which
never happens. At the big fashion
titles, like Harpers Bazaar, Vogue,
there’s not one Arab there – maybe
there’s an Arab assistant,” she says.
“They write articles about ‘Oriental
fashion’ being on the rise. We
write about decolonising beauty
standards. We’re very now.
They’re very yesterday.”
MILLE World launched in January
this year and already has 40,000
unique visitors a month. Its readers
come from across the Arab world
and diaspora, Saudi and the UAE,
Lebanon, Egypt, France, the UK
and USA. Its 12-person editorial
staff is equally international, based
in Dubai, London, Paris and Tunis.
The deputy editor Samira Larouci,
28, has lived in Dalston, London, for
years but was raised in “very, very
white” Chichester by her Moroccan
parents. She left i-D Magazine in
July, having helped set up their
luxury lifestyle site Amuse. She
was put in touch with Guellaty by
a mutual friend. Their first phone
call lasted two and a half hours. “We
were talking about Arab identity
issues; I’ve always been seeking a
community of my own to connect
with. We both agreed there was a
voice missing that we wanted to
hear. It was young, inclusive and not
based around materialism,” Larouci
says. “We wanted to address that
need. It’s almost laughable no one’s
done it before.”
Larouci now commissions and
edits the bulk of the site’s editorial
‘There was a
voice missing:
young, inclusive
and not based on
content – 60 pieces a month, every
one of which is translated into
English, French and Arabic. She
is interested particularly in Arab
counterculture and championing
Arab artists who don’t have any
other platform in their region. “The
reader I want to reach is someone
studying in Washington, raised in
Saudi, who’s in a sort of cultural
limbo. That’s where I come from. I
want to find those people in LA who
are interested in feminism in the
Arab world,” Larouci says.
All this is only financially possible
thanks to MILLE’s consultancy wing,
which translates its connection
with the Arab market into campaign
advice for massive brands such as
LVMH, Ralph Lauren and Converse.
As MILLE’s promotional material
points out, 40% of people living in
the Arab world are millennials with
higher spending power than their
peers everywhere else, including in
the US.
“Our generation is the highest
spending generation in history,
but it’s also woke. [The big brands]
are realising they need to rethink,”
Guellaty says. “MILLE World is my
playground and I’ll write what I
want there. If this Gucci bag sucks,
it sucks and it’ll never see the light
of day on my website. But if you
want help on a Gucci campaign?
Yeah, for sure,” she says. “What I
want is a generation defining media,
something like what Jefferson
Hack did with Dazed and Another
Magazine. It’s like, here is a media
through which I can understand the
world I’m in, something that inspires
me within my own identity.”
Phoebe Greenwood
Wide awoke
From left: Sofia
Guellaty; Samira
Larouci; Liv Little
‘They are fuelled
by experiences
women have
long been told
to keep quiet’
eep in the belly of a
south London car
park lie the offices of
gal-dem, an online
magazine produced
exclusively by
women and non-binary people of
colour. They are not big – each of the
work studios in Peckham Levels has
been converted from a single parking
space – but they are significant. By
parsing culture and current affairs
through a prism of intersectional
feminism, covering topics from
Grenfell to mooncups, gal-dem is
one of the publications changing the
face of female-focused media.
Liv Little was halfway through
a politics and sociology degree
at Bristol University when she
founded gal-dem, and the site’s
ethos sprang directly from her
studies. “The issues that I was really
interested in politically were the
specific, nuanced ways that women
are affected by legislation in this
country,” she says. “So I did a lot of
campaigning and research around
women seeking asylum in the UK
and Yarl’s Wood [immigration
centre] and how types of violence
which they would fall victim to
were gendered.” In doing so, Little
observed “a lack of understanding of
a different type of experience” faced
by women – especially women of
colour – and a gap in the market for a
site that could tell their stories.
As a concept, gal-dem is a world
away from the blinkered women’s
glossies available to the editorial
team in their youth. While those
magazines shared some women’s
stories, the scope was narrow, and
much of the content was designed
to reaffirm strict beauty standards.
Gal-dem, meanwhile, has no such
agenda, aiming to provide women
with just one thing: a voice. In this
sense, the site is part of a much
broader cultural shift in women’s
media – one that has seen print
titles fail (recent casualties include
Company, She, Glamour, Bliss and
Sugar) and a new breed of online
magazine take their place. Riding
the fourth wave of feminism,
publications such as the Pool and
Refinery 29 are fuelled not by
materialism but by a rich seam
of untapped subject matter: the
experiences women have long been
told to keep quiet.
While the gal-dem team
acknowledge their position in the
wider landscape of newly feminist
media, they’re careful to distinguish
themselves from their peers. “There
is a tendency within feminism
for its face to be quite white and
middle-class,” says Little. “To
see an editorial team comprised
of women of colour is a rarity; I
think that is clearly our point of
difference.” From her desk in the
gal-dem offices, the deputy editor
and Guardian contributor Charlie
Brinkhurst-Cuff explains how the
focus on issues that affect women of
colour manifests itself in gal-dem’s
attitude. “The tone in general is a bit
more serious than the Refinerys and
Four more newwave websites
The Pool
Aimed at the time-stretched
woman, Lauren Laverne and
former Red editor Sam Baker’s
online magazine focuses on
snackable content – its intimate
personal essays and practical
advice are all stamped with an
average reading time.
Man Repeller
Initially a blog documenting
Leandra Medine’s love of ugly
and offbeat fashion, Man Repeller now also publishes smart,
funny and moving pieces on
everything from ghosting to
“For women who know their
place” runs the tagline to Vice’s
women-focused channel, which
covers feminist issues with an
emphasis on reportage.
Burnt Roti
On Londoner Sharan Dhaliwal’s
lifestyle site, writers of south
Asian heritage discuss topics
including bereavement and
Bustles; we don’t have that “you’re
talking to your best friend” thing
going on,” she says. “The nature
of the topics we’re talking about
a lot of the time don’t really lend
themselves to that, and also we don’t
want to ever dilute that seriousness.”
Slowly, gal-dem’s efforts to rectify
a lack of representation are being
echoed by the mainstream media
– with decidedly mixed results.
Since he took over six months
ago, the Vogue editor Edward
Enninful has managed to include
five women of colour on his covers
(February’s Vogue also featured
Little herself in a spread about the
“new suffragettes”), yet glossies
are still regularly derided for their
treatment of black women. In
November, the actor Lupita Nyong’o
expressed her disappointment at
Grazia’s decision to photoshop
away her natural hair on their cover;
the previous month ES magazine
caused much consternation by
airbrushing Solange’s braids. And
just because online magazines
tend to avoid scandal, that doesn’t
mean they are necessarily much
better, Brinkhurst-Cuff points
out. “It would be more hidden if
there was an issue online, because
you don’t have the physical print
cover to see. We can say Alexandra
Shulman only published 12 black
women on the cover, whereas if a
online publication is pretty much
exclusively publishing white writers
or using stock images of white
women, you’re arguably less likely to
pick up on that.” That said, she sees
the new online media “struggling
towards intersectionality, for the
right or wrong reasons. Diversity is
in fashion right now but we hope it’s
not always about money.”
Money, however, is something
gal-dem is also beginning to
seriously consider. Until now, it
has been a voluntary organisation.
Bar contributors on specific brand
collaborations, nobody gets paid,
and the annual print issue, whose
covers hang from the office’s
chipboard walls, is more passion
project than money-maker. But
as the site has grown – gal-dem
receives “anything from 4,000
to 20,000 unique visitors a day”,
according to Little – the team believe
it is turning into an economically
viable enterprise. Little has just
stopped working full time, and the
team are developing a business
plan. It is still early days for the
new breed of women’s magazine,
and the economic forecast
remains uncertain – but in terms of
broadening the scope for women’s
media, the legacy of gal-dem and its
peers already seems indelible.
‘Harvey Weinstein
appears to think
his time isn’t up’
According to Piers Morgan – and
Wide Awoke does not relish opening
with those words – Harvey Weinstein
believes he will eventually be forgiven
by Hollywood. The disgraced film
producer – who has been accused
of sexual assault and rape by more
than 80 women, with criminal cases
against him opened in New York,
London and Los Angeles – appears
to think that his time is not up. And
perhaps time is the great healer
if you happen to be a powerful
white man who can complete a
$58,000 (£42,000), 45-day sex rehab
programme early and still muster the
energy to deny all accusations of nonconsensual sex. Less so when it comes
to the women who have broken their
silence … but this isn’t about them.
In an interview with GQ , Morgan
claims he spoke to Weinstein “in the
clinic in Arizona, for about an hour”.
Weinstein denies that they discussed
business or Hollywood and released
a statement saying “my priority is
my family”. According to Morgan,
Weinstein is “fighting”, which one
presumes is a euphemism for coming
and going freely from a facility
where his day reportedly begins with
“waking up early, checking in with
his east coast lawyers, then visiting
a juice shop, where he orders coffee
and a green detox mix”.
It is the language deployed with
such unthinking ease when men talk
about men that is telling. Morgan
refers to Weinstein as “a fascinating
character”. In the #MeToo age, this
covert form of defence is making a
comeback. For Morgan, Weinstein is
less a man accused of multiple rapes
and more the “apocalyptic symptom
of the whole thing: the casting couch
finally brought to judgment”. A
description that denies Weinstein’s
responsibility so apocalyptically,
he is reduced to both symptom and
inanimate object.
As Weinstein reportedly makes
efforts to produce a documentary
telling his side of the story and
an interview between two men
about some of the most serious
and sustained sexual assault
allegations of our time is trailed
in a men’s magazine, the more
pressing question gets buried. Why,
more than a month after Weinstein
was reported to be “on the verge
of arrest” by the NYPD, has it still
not happened?
The Guardian
Tuesday 1 May 2018
Marcio Cabral’s
winning shot
and (right) the
The murky
world of
One photographer has been stripped of an award after
accusations that his winning shot showed a stuffed
anteater. Others use captive creatures, digital trickery
and even animal cruelty. Has the pursuit of
an incredible image gone too far?
➺ Words Olivia Solon and Julia Carrie Wong
The Guardian
Tuesday 1 May 2018
he Brazilian photographer Marcio Cabral
was stripped of a
prestigious Wildlife
Photographer of the
Year award last week
after judges noticed that the anteater
at the foot of a glowing termite
mound in his picture looked an
awful lot like the taxidermy anteater
found at the entrance to the national
park where he captured the shot.
If Cabral did use a stuffed creature
in his photograph – a charge he
strongly denies – it would be a new
low for those claiming to document
“wild” animals, and emblematic
of a murky underbelly in the field.
Among the tricks regularly used
without disclosure to get magazineworthy natural history images are
the hiring of trained animals, the
gluing or freezing of insects into
position and the use of bait to lure
subjects closer to the camera.
“There’s a lot of fakery,” says the
US photographer Clay Bolt, one of
the judges in this year’s Wildlife
Photographer of the Year awards.
Although the Natural History
Museum’s awards offer the “gold
standard” for competitions, with
strict criteria for ethical photography
and experts in biology and digital
trickery on the judging panel, this
would not be the first time such a
photograph was judged to be a fake.
In 2010, the Spanish photographer
José Luis Rodríguez was stripped
of his £10,000 prize after judges
became convinced that he had hired
a tame Iberian wolf from a Madrid
wildlife park to stage the image of
a species rarely seen in the wild,
despite Rodríguez’s strong denials.
“It may be a beautiful image, but
because it’s Wildlife Photographer of
the Year, we want the animals to be
wild,” says Bolt.
One of the most common ways
to take the “wild” out of “wildlife
photography” is by visiting a game
farm. These facilities provide a
convenient way to take closeup
shots of confined animals without
having to wait days to track them
down in their natural habitat. At
Triple “D” in Montana, for example,
photographers pay between $150
and $500 for a 90-minute session
with one of the farm’s “models”,
which include trained Siberian
tigers, grizzly bears, snow leopards,
wolves and cougars.
Pictures of game farm animals,
typically well-fed and selected for
their pleasing aesthetics, are so
common that they have reshaped
public expectation of how certain
creatures look. “I could show you
two pictures: a skinny wild cougar
hiding in a cliff face in the sleet, or a
game farm cougar with a few extra
pounds and a beautiful glossy coat in
the snow,” says the Canadian wildlife
‘People do
terrible things to
small creatures:
freezing, gluing,
attaching wires’
photographer Alex Strachan. “A
purist would want to see the wild
cougar fending for itself, but 99% of
people would rather see a photo of a
big healthy cougar.”
Laura Kaye, a Canadian
photographer who specialises in
birds, says there is nothing wrong
with photographers documenting
captive creatures provided they are
well looked after, but they should
disclose the techniques they use to
capture their work. Kaye is more
concerned by the baiting of certain
animals such as owls. In early 2017,
she received a tip about where she
could find and photograph the
elusive great grey owl. When she
arrived, she was surprised to see the
owl swooping down directly in front
of the group of photographers. It
turned out that someone had bought
a box of live mice from a pet shop
and, every 10 minutes or so, was
throwing one of them into the snow
a few metres in front of the cameras.
“People who do this can get
great closeup flight shots of the owl
coming in and eating a mouse, but
you don’t want predatory animals
associating humans with food. You
end up changing their behaviour,”
she says. It also puts photographers
who have the patience to document
birds in the wild at a disadvantage.
“It might take you a day or a week
to get those photos that someone
with a cooler of mice can get in five
minutes,” she adds.
The consequences of fakery can
be even more grim for insects, small
reptiles and amphibians. “People
do quite terrible things to small
creatures, like putting them in the
freezer [to slow their movement],
supergluing them in place or
attaching them to wires,” says Bolt.
It is not hard to find forums offering
tips on keeping spiders and earwigs
in one place by surrounding them
with a smear of Vicks VapoRub
or temporarily immobilising
dragonflies and ants by popping
them in the freezer for 20 minutes.
To the untrained eye, the image
that went viral in 2015 of a frog
“riding” a beetle rodeo-style is
eye-catching and whimsical. The
photographer said his picture
had been taken in a “natural but
controlled environment – this shot
was not prepared at all”.
But for some conservationists, the
image suggested cruelty: the frog
is nocturnal, they pointed out,
and its open mouth indicates
extreme distress.
Some of the most common
tweaks are done with photoediting software: colours are
enhanced, backgrounds altered
(for example, removing floating
debris from an underwater shot) and
animals photographed separately
Photoshopped into a single
image. Changes made digitally are
relatively easy to detect by looking
at the raw files, something that the
most reputable competitions and
publications insist upon. “Digital
images leave quite a specific record,
so you can tell if a photo has been
tampered with,” says Strachan.
The British wildlife photographer
‘Forums offer
tips on keeping
spiders in place
with a smear of
Vicks VapoRub’
David Slater says that “all
professional photographers are
guilty in some degree”, because
of the difficulty they face in
making a living. “If you try for the
genuine shot, you are less likely
to be published. That’s why most
photographers will push their own
ethical boundaries.”
Slater well knows the economic
challenges of the field: he is best
known for capturing the infamous
“monkey selfies” that became the
subject of a protracted legal dispute
over whether Slater, a crested black
macaque or no one should hold the
copyright to a self-portrait taken by
an animal. While the photographs
became world famous, Slater earned
almost nothing, and considered
turning to dog-walking when he
was forced to defend himself in
a copyright infringement lawsuit
putatively brought by the monkey.
Bolt agrees that the increased
financial pressure on the media
industry has driven a market for
ethically questionable images.
“Budgets are super low and
everyone is in a hurry to get
content out,” he says, adding that
only leading publications such
as National Geographic have the
resources to do due diligence on the
provenance of images.
In addition to harming his bottom
line, Slater says that fakery has
also led to suspicion of authentic
photographs. When he entered a
photograph of a bee sleeping on a
blade of grass in the 2009 British
Wildlife Photography awards, many
assumed that the bee was dead and
the image staged. “Even when you
do genuine photographs, people
don’t believe you,” he says.
David Yarrow, whose pictures of
animals including elephants and
lions fetch between £10,000 and
£60,000, has no qualms about using
trained wolves and cheetahs. He
argues that how we perceive these
manipulations depends on whether
or not a picture is framed as wildlife
photography or art. “I am an artist.
I make pictures rather than take
them,” he says. “Nothing crosses
the line in the art world. You can
superimpose Krakatoa erupting in
the background and Darth Vader
coming over the hill.”
Yarrow suggests that a shift in
career might even be lucrative for
Cabral: “That photo is now worth
probably more as as a piece of art.”
The Guardian
Tuesday 1 May 2018
King of the castle
… a villager
holds aloft
the Haxey Hood
‘Nobody knows
the origin –
and who cares?’
… Tar Barrels
in Ottery St Mary
Unleash the
A fanatical folklorist has spent his life cataloguing Britain’s
strangest rituals. On May Day, he picks five favourites,
from blazing barrels to sacred pies. By Peter Ross
oc Rowe is looking
I have the honour of dressing him
remarkably fresh for
on the morning of Burryman Day.
a man who has just
He is completely covered, except for
been for a 10-hour
his hands, with thousands of prickly
hike around the
burrs. These are burdock seeds –
Lancashire town of
nature’s Velcro. He’s often scratched
Bacup with the Britannia Coconut
and bleeding at the end of the day.
Dancers. We meet at his archive
He puts on long johns and a longsleeved T-shirt, then these burrs
in Whitby, Yorkshire, where he is
are slapped on. Up top, he wears a
surrounded by the fruits of a lifelong
balaclava-type hood, also covered
obsession. As Britain’s greatest
in burrs, with space left for his
folklorist, Rowe has accumulated
eyes so he can see, and his mouth
files, folders and field notes, not
so he can drink whisky through
to mention 20,000 books and
a straw. As a final touch, there’s a
pamphlets, as well as 7,000 audio
bowler hat decorated with a glorious
cassettes, photographs and films
array of flowers. The whole suit
– all chronicling rites and traditions
is very heavy and covered in little
that show Britain at its strangest
beasties that come crawling out
and most fascinating.
of the burrs.
Rowe, now 74, has almost
The Burryman walks around
certainly attended and documented
South Queensferry all day with his
more folk rituals than anyone
arms outstretched, helped by two
else alive. He maps out his year
attendants. The story is that if you
according to calendar customs:
put a coin in his pot, you have good
by the time you read this, he’ll be
in Padstow for the town’s Obby
e on
Oss festival, which takes place
May Day. It will be his 57th visit.
Rowe’s trove is the subject of
a new exhibition, Lore and the
Living Archive, opening
shortly in Rochdale.
Three young artists have
created work in response to
his collection and this will be
displayed alongside his own film
footage and stills. “People often
think of these traditions as being
rather twee,” he says. “Little girls
in white dancing round maypoles
But they are very far from that.”
‘He had 23
To prove the point, we asked
whiskies before
him to describe five of the most
memorable …
2pm’ … the
The Burryman
(South Queensferry)
This is more extraordinary than
anything at the Edinburgh festival,
ust a
which is on at the same time just
few miles away. I’m sure festival
an. If
would love to see the Burryman
they only knew about him.
The Guardian
Tuesday 1 May 2018
luck for the rest of the year. It is
rather an ordeal for him, though he
is offered drinks by locals as he walks
around. One year, he had 23 whiskies
before two in the afternoon. People
wonder how does he go for a pee, but
we don’t ask.
The Haxey Hood
(North Lincolnshire)
Mayhem. There are 200 or more
guys crushed together, a bit like a
rugby scrum, which is known as
the sway
sway”. The idea
is that you try to move
the “hood
“hood” – a leather
cylinder a
about 2ft
long – to w
whichever of
the villag
village pubs you
se hedges go
and cars
mov out of the
road by tthe weight of
this mass of humanity.
The steam that comes
off them is
i incredible.
It’s rough.
The ga
game ends
when the hood is touched by one
of the lan
landlords while still on his
own prem
premises. I’ve known landlords
to be held horizontally over the
front edge
edg of the sway, with their
feet only just touching the lintel
of the pub’s doorframe,
for the ho
the hood. Then it’s hung up
in the bar for the year. And we all
go and ha
have a free pint.
Haxey Hood is said to go back
to the 14t
14th century, when Lady
‘The day ends
with the beasts
dancing around
a maypole’
… Padstow’s
Obby Oss
– could close and be demolished.
This is really worrying. It’s so
important that these traditions
survive. The whole community
comes together – people return
home from far and wide.
Eyes on the pies
… the Hallaton
scramble gets
under way
de Mowbray, the wife of the local
landowner, was out riding and
the wind blew her hood off. Some
farm workers chased and caught
it and as a reward, she gave them
land on the condition that they
re-enacted the chase every year.
There’s a threat to the future of
the event, in that one of the three
remaining pubs – which are the goals
The Tar Barrels of Ottery
St Mary (Devon)
I love this tradition, being a Devon
lad – and a bit of a pyromaniac.
I have all these scars on my hands
from running alongside the burning
tar barrels while holding my camera.
The heat is intense. The secretary of
the committee once told me: “Doc,
we don’t mind you running with us
– because we know if you got killed,
you wouldn’t complain.”
Each barrel has been lined with tar
or pitch over the previous year. Next,
it is filled with straw. Then they pour
in paraffin and set it alight, rolling
How we made
three barrels, accompanied by a
band and a large hare pie, which
the local vicar blesses. Then it’s
chopped up in front of the church
and thrown to the crowd. I know
people who keep that bit of pie
– green and mouldy – on their
mantelpiece for the whole year,
for luck.
On Hare Pie Bank, the barrel is
thrown up three times, then it’s
anybody’s. People get severely
damaged. I remember one lovely
sunny day when there were 19
ambulances called to come and
pick up the bodies.
It’s a bit like the Cheese Rolling
at Cooper’s Hill in Gloucestershire,
where the St John Ambulance waits
at the bottom to treat those who
get injured chasing a nine-pound
Double Gloucester rolling at 70mph.
One year, when they couldn’t sort
out security and safety in time,
some local lads decided to hold a
scaled-down version. I believe they
used a Babybel.
‘Once the
to gowere
9 lines
rstI would
to go over Name
do all please
the reaction
rst totogo
over 9handles
lines exactly
with wigs
on’Standfirst to go
over 9 lines exactly please lines exactly please
The Padstow Obby Oss
it backwards and forwards until
it’s nicely ablaze – at which point
locals pick them up, put them on
their shoulders, and run through
the streets as flames flicker out
the back. The only protection they
have is potato sacks, folded over
and stitched with wire, worn on
their hands.
Nobody knows the origin. There
have been fanciful tales of the
Spanish Armada being sighted and
a local lad using a barrel to light a
warning beacon. But we really don’t
know – and anyway, who cares? What
matters is that it still happens now.
It’s a wonderful event. Quite insane.
The Hallaton Hare Pie
Scramble (Leicestershire)
This is probably the bloodiest event
in England. It’s contested between
the neighbouring villages of
Medbourne and Hallaton. The
object is to get a barrel – or “bottle”
– over the other village’s boundary.
The person who does that gets
to drink the beer it contains and
share it around.
I’d say there’s about eight pints
in each, and it’s the best of three
barrels. You can kick them, roll
them, run with them – there are
no clear rules. People have had
their heads split open from a barrel
coming down on them. I once
photographed a guy with blood
pouring out of his mouth and
bits of his teeth flying out.
The day begins with a parade
through the streets with the
This is where it all started for me,
back in 1963. I’ve only missed
one year since. I once said I
always went back because I couldn’t
believe this was happening in
England. And of course the local
people replied: “Well, it isn’t.
This is Cornwall.”
Padstow’s is one of the few
remaining ’obby ’osses, or hobby
horses. It’s a communal event
to welcome in the summer. But
in a sense it’s Padstow people
celebrating themselves: it’s more
important to them than Christmas,
birthdays or New Year.
There is the Old Oss and the
Blue Ribbon Oss, ferociouslooking beasts that seem very
un-English. Each creature has a
man concealed under its enormous
frame, his head covered with
a heavy mask. They and their
followers take separate routes
g the
through the town during
ed by singing,
day, accompanied
dions. Later, they
drums and accordions.
riefly to dance
come together briefl
around the maypole.
The words of the May song,
the passion and emotion
– these are absorbed
by the crowd in a
way that seems to
synchronise the
collective heartbeat
of the town. It’s
overwhelming. I get
moved just talking
about it – and I’ll keep
returning, even iff I’m
in a wheelchair. I’ve
promised some of my
ashes to Padstow,
although some will
have to be scattered
in Haxey Hood ass
well. I’m looking
forward to that.
Britain’s greatest
Lore and the Living
folklorist …
Archive is at Touchstones,
Doc Rowe
Rochdale, 5 May to
30 June. Then at Cecil
Sharp House, London,
January-April 2019.
Andy Hamilton
Writer, director and producer
There are many reasons why no TV series
before Outnumbered had tried to capture the
chaos of life with small kids. Restrictions on
working hours aside, children hate things like
learning lines, standing still, strangers fiddling
with their hair and being shouted at by men
in puffa jackets. Kids on telly always behaved
wrongly, too. They tended to be standing in
one place and looking directly at the person
talking to them – in real life, the adult talking to
them is the least interesting thing around.
While we wanted to create something that
was funny, we also wanted it to feel real, so
we took the eye contact out and got rid of all
things kids don’t like. There was no makeup,
we ran the set in an informal way and we tried
not to keep them hanging around. Before each
scene, we would just give them an outline:
“Your dad’s going to come in, he’s going to
moan at you, you’re going to tell him to leave
you alone.” And the kids would do it in their
own words, in a completely authentic way.
Our casting director met pretty much every
child in the south-east of England. [Co-creator]
Guy Jenkin and I saw about 30, then whittled it
down to the perfect three. Ramona [Marquez],
who played Karen, was in the same class as
Guy’s sons. His wife said to him: “There’s a girl
who’s got something – you should meet her.”
Getting it commissioned didn’t happen
overnight. In the end, we made a 10-minute
sample and, when we showed it to people,
they finally got it. We recycled a chunk of it,
the mother and daughter nit-combing scene,
in the first episode. If you look closely, you’ll
see that both Claire and Ramona suddenly
have completely different hair. Nobody
ever noticed. Ramona is often shown doing
something like drawing, which was usually
much more important to her than the scene.
Likewise, when Dan [Roche], who played her
brother Ben, was small in the early episodes,
we’d always try to give him a toy to play with,
or something other than acting to do.
Some people thought we just turned up
with cameras and let the kids make it up, but
we had a complete, polished script that we
worked hard on. The improvised scenes were
always with no pressure, and written so that if
they didn’t work, they could come straight out.
As the years went by, we used improvisation
less with the kids. As you grow older, you still
have your imagination but you don’t have that
same unselfconscious access to it. My own
kids were mostly grown up but it didn’t matter.
Parenting is fairly universal: my experiences
turned out to be the same as Guy’s. And
the dilemmas our fictional parents found
themselves in were being played out in tens of
thousands of homes up and down the country.
Claire Skinner
When Andy and Guy asked me to play the
mother, Sue, I was in the thick of parenting
myself. My kids were six and eight. I thought:
“Yes, absolutely, I get this completely.” I liked
the way both the mum and the dad, played by
Hugh Dennis, were a bit slippery. There’s one
episode that has Sue rifling through another
child’s book-bag, trying to see what grades that
kid has got. Every parent wants to do that!
We filmed in a house that belonged to a real
family. Sometimes we’d arrive in the morning
and find their kids still in bed. Our young stars
would do their schoolwork in the house next
door and we’d all eat our meals there too.
When the team were ready to start filming the
children, they would nip through a gap in the
garden fence. Once the kids’ working hours
were done, Hugh and I would do all the reverse
shots to broom handles with wigs on, or Andy
and Guy would stick gaffer tape across their
chests and mark on a set of eyes where the kids’
eyelines would be.
The kids were so young in the early series
that they’re pretty much being themselves.
Dan was the furthest away from his character.
He’s more thoughtful and clever – although,
like Ben, he was always trying to figure out how
things worked. And then he’d break them.
Will there be any more? Maybe a one-off
or a Christmas special. It would be funny to
see what the characters are up to. It was such a
great thing to be involved with and a very happy
time. It was mad, scrappy, tiring and funny.
Interviews by Imogen Tilden
The Guardian
Tuesday 1 May 2018
Live reviews
Fine, faithful
production …
Natalya Romaniw
and Samuel
Dale Johnson
Theatre Royal, Glasgow
Until 5 May. Touring until 30 June
Box office: 0844-871 7615
Finborough, London
Until 19 May
Box office: 0844-847 1652
ugene Onegin is the
exception to the rule
that great operas have
lives of their own,
independent of their
literary sources. It is
a masterpiece, but impossible to
detach from Alexander Pushkin’s
verse novel on which it is based.
Tchaikovsky knew that, carefully
categorising it as “lyric scenes”,
intended for an audience in
19th-century Russia that probably
could have recited large chunks
of Pushkin’s work from memory.
He could be sure that the crucial
strands of the story of Onegin and
Tatyana he omitted from his libretto
would have been well known to his
first audiences.
It’s one of the achievements of
Oliver Mears’ fine new production
for Scottish Opera that, as well as
remaining almost entirely faithful
to the opera’s text, it explores some
of those extra strands, especially
the pervading importance of
memory, a fierce sense of loss,
and opportunities for happiness
squandered. Mears and designer
Annemarie Woods shift the story
to the early 1900s, the last years
of Tsarist Russia, but conjure that
period through the memory of
the old Tatyana (played by actor
Rosy Sanders). She’s dowdy and
grey-haired. The grandeur and
affluence of her marriage to Gremin
have been destroyed by the 1917
revolution, and as she returns to
her dilapidated family home she
painfully relives the events of her
youth there.
Within that frame, the action
is truthful, although rather than
keep Tatyana’s letter, as in the
Pushkin, this Onegin (Samuel
Dale Johnson) returns it to her,
so that the very last image of the
production is of the older Tatyana
tearing it into tiny pieces. It’s by
no means a lavish production –
hen Trump was
caught on tape
joking about his
lewd attitude
women, he
defended himself by saying it was
just “locker room talk”. But talk
matters, as is demonstrated in Sarah
Daniels’ 1983 play Masterpieces,
which was derided by many male
critics on its premiere, and now gets
a timely revival.
In an early scene, set at a dinner
party, the men delight in telling
sexist jokes about rape in front of
the women. But Daniels’ groundbreaking play makes the link
between misogynistic jokes and
misogynistic actions. Set in preinternet times when porn came
between pages, it also suggests
that porn depicting sexual violence
against women leads to real violence
against women and harassment.
This consciousness-raising
story may lack the complexities of
21st-century gender politics, but
Timely revival …
Edward Killingback
and Olivia Darnley
doesn’t lack impact. Rowena (Olivia
Darnley giving the production’s
only memorable performance) is a
social worker who considers herself
happily married and thinks little of
the fact that when her job keeps her
out late at night she feels afraid of
being alone on the streets.
When a client is abused and
the basic box set is a constant,
and the chorus and most of the
dancers (with the exception of
solo ballerina, Eve Mutso, dancing
Ashley Page’s choreography)
remain behind gauze in the two ball
scenes. There is, however, a horse,
on which Onegin makes his first
appearance, and which on the first
night deposited
Onegin made a steaming pile
of dung centre
his first
Johnson is a
on a horse,
credible Onegin,
and haughty
a steaming
in the first act;
pile of dung
a broken man
by the time
centre stage
he confronts
Tatyana in the
final scene, even though his singing
grew in expressive assurance as
the opera went on. Romaniw’s
performance is gloriously sung
from the start, although she is
perhaps more convincing as a
princess than as a naive young girl.
Peter Auty is a touching Lensky,
whose ardent honesty is an obvious
mismatch with Sioned Gwen
Davies’s wild Olga, seen in flagrante
with a farm worker in the first act.
Graeme Broadbent makes a
rather gravelly Gremin: the slow
tempo for his aria didn’t help.
Otherwise, the score is conducted
with total conviction by Stuart
Stratford. The Russian repertory is
one of his specialisms, and it shows
in the wonderfully rich textures
he draws from the Scottish Opera
orchestra, and by his habitually
faultless dramatic pacing. A couple
of passages will tighten as the
production beds in: the climax of
the Larins’ party, when the fatal
duel is fixed, could have been
fiercer, and the final scene could
push more emotional buttons – but
Scottish Opera should already be
immensely proud of this show.
Andrew Clements
she starts to investigate the
pornography that her husband and
his friends think is normal, she
becomes angry and takes action.
“How they must hate us,” she says
on seeing one image.
Daniels’ play, rightly kept in
period by director Melissa Dunne,
sometimes shows its age. But it also
reminds us, in the era of #MeToo,
that perhaps progress in the way
men talk, think about and treat
women has been less dramatic
than we might think. The men in
Masterpieces wear their misogyny
like a badge of pride: today, it is more
likely to be covert.
The play is a fascinating
example of radical non-linear
storytelling, and it’s only a pity that
it doesn’t get a sharper, stronger
production than Dunne manages
here. The decision to use a small
cast in multiple roles does Daniels’
provocative drama no favours, and
neither does a lack of pace, fluidity
and clarity.
Lyn Gardner
tech-house … Bicep
Roundhouse, London
icep cut a relatively
rare shape in today’s
live music scene
– no longer mere
DJs, they’re one
of the few dance
artists (alongside Eric Prydz and
a handful more) to have built
up a strong live show from their
own work. The duo stand fairly
statically behind hardware and a
laptop as their symbol emerges
behind them – a trefoil of three
clenched biceps – and it is an
apt one, hinting at the macho
homosexuality of disco, the Celtic
roots of their native Northern
Ireland, and the sheer elemental
punch of a kick drum.
The crowd is predominantly
young twentysomethings from
the “sesh” generation, all in
Champion tees, with a propensity
to get on each other’s shoulders.
They cheer in recognition as
familiar licks eke their way into
the flowing mix, turning to festival
pandemonium as the Indian
vocal sample of Rain kicks in, an
anthem for yoga-loving Ibizans.
The exceptional visuals by Black
Box Echo build to fill the stage like
psychedelic Lego and, for Opal,
Matisse-like colour blocking.
Aside from beautifully tooled
drum programming – arid snares,
clean claves – Bicep’s biggest skill is
in melodies that ping-pong around
before resolving with gigantic
satisfaction. Perhaps the greatest
of these, on Aura, is disrupted by a
technical glitch, and it knocks the
wind from their sails as they go into
a pair of tracks made with fellow
dance duo Simian Mobile Disco – the
first is fussy electro, but the second,
the unreleased Zeus, is head-rush
tech-house worthy of Anthony
“Shake” Shakir.
It leads them back to a strong
encore with Kites and Glue, the
physicality of the speakers’ bass
investing them with meaning and
muscle-flexing power.
Ben Beaumont-Thomas
The Guardian
Tuesday 1 May 2018
TV and radio
Watch this
A man studies
an electronic
display of
The Vitruvian
Man, 1490,
by Leonardo
da Vinci
My F-ing Tourette’s Family
9pm, Channel 4
Art on the BBC: The Genius of Leonardo da Vinci
Public understanding of Tourette syndrome
may have advanced since the classic BBC
documentary John’s Not Mad, but it remains
a suspiciously recurring TV topic. Might it have
something to do with the baked-in frisson of
watching subjects who could blurt out taboo
phrases at any moment? This new series
shadows two brothers with the syndrome –
13-year-old Spencer and nine-year-old Lewis
– as their parents take them out for the sort
of supposedly fun family activities that can
get fraught at the best of times.
BBC Four
Sam Wollaston
Ghosts from the BBC archives
help to paint a coherent portrait
of the renaissance man
anina Ramirez, the art historian, is walking
purposefully towards me, along a corridor. It
has become a television bugbear for me, the
“approach” approach to presenting, walk and
talk. Like the – worse still – camera whirling
around the head thing, AKA helicoptering.
I mind less if the walk is connected to what they are
saying, if they are pointing things out as they go. But
Ramirez is talking about the Mona Lisa and she is not
in the Louvre, she is in Blenheim Palace. It is walking
for the sake of walking and I find it a little unsettling.
Ramirez is great and has lots of interesting things to say.
She makes me want to sit and listen, not feel as if I am
walking backwards and worrying about tripping over.
While I am moaning, here is another little one that
is specific to art on TV and also on show here: the slow
pan over a work. You don’t look at a picture in a gallery
like that, do you, unless you are drunk? You look at the
whole thing, then you might focus on areas or details.
And that is fine, if the camera zooms in for the expert
to point something out or explain something. But the
slow pan is meaningless.
Both of the above, I think, are about television’s fear
of stillness. Everything has to keep moving or, they
seem to think, people will get bored. There is a similar
fear about a different kind of stillness – a lack of noise
– which is why silence must be filled with music. But
stillness – both kinds – can be powerful and make you
sit up and listen.
Moan over. Ramirez is talking about Leonardo, his
insatiable curiosity, his quest for knowledge and his use
of light and shade. There is time spent on his technical
innovation and his revolutionary anatomical research.
In short: his genius. “Genius, genius, genius …” echo
a chorus of critics and art historians and presenters
from the ghost of television past. Ramirez’s journey
takes her not just along the corridors of Blenheim, but
also deep into the BBC archive, to see how television
has influenced our understanding of the man and his
work. A kind of TV history of L da V.
So here is Kenneth Clark in the seminal series
Civilisation talking about that curiosity, and timelessness
(see, Clark’s not walking, but sitting, and I am listening).
The Guardian
Tuesday 1 May 2018
And Robert Hughes bringing some antipodean early-70s
cool, and excellent hair, to the table.
And, most tantalisingly, Henry Moore from a 1978
Arena programme – caressing what seems to be the
leg bone of a large animal, but may be one of his own
creations – talking about Leonardo’s unending childlike
quest for knowledge and his desire to share what he
felt about life through his work.
Here is reconstructed Leonardo (Mark Rylance) in 2003.
And Fiona Bruce on the search for lost works. And Andrew
Graham-Dixon being taken under the
skin of the Mona Lisa by a man named
Pascal and his magic wavelength
machine, to find another woman ...
The best things in this show have
all been on other programmes, but
that is the nature of it. And Ramirez
turns it into something coherent and
We learn
interesting that says something about
a lot about
the man himself, his timelessness,
Da Vinci’s
and about his TV career. To be honest
I am surprised he didn’t pre-invent
and his the television. I bet there is a sketch
of something that looks very like
TV career
one in a lost notebook somewhere;
Bruce should get on the hunt.
Another good thing about Ramirez:
she is a she. Whereas everyone else,
in all the past BBC art programmes, has either been a
he or Fiona Bruce. That is progress.
Speaking of progress, she doesn’t do the walking thing
too much. Why Blenheim, though? Is there a little-known
Leonardo hanging in Oxfordshire? No, but there is a James
Thornhill ceiling, painted as the Renaissance in Europe
was drawing to a close. That is a bit tenuous, isn’t it?
I am wondering if, as my own painstaking research
has discovered, it might have something to do with
the fact that Woodstock, the town outside Blenheim’s
gates, is also Ramirez’s hometown? No travel, flights
to Florence or Eurostar to Paris, even bus tickets
required. Just a short – purposeful – walk. Coupled
with the use of the corporation’s own archive, this
must have been pretty cheap TV.
Graeme Virtue
Class of Mum and Dad
8pm, Channel 4
Something to
look forward
to: Benedict
gives excellent
addict in
Patrick Melrose,
adapted by
David Nicholls
from the series
of novels by
Edward St
Aubyn, coming
to Sky Atlantic
on 13 May
The show where parents
go back to school to study
alongside their children
draws to a close – and the
pressure is on. Class 6M
and their parents squeeze
in some last-minute
cramming for their Sats.
Since many of them are
struggling, a group of
high-performing pupils
are brought in to lend a
hand. Hannah Verdier
The Split
9pm, BBC One
Part two of Abi Morgan’s
legal drama sees Hannah
and, er, her sisters
arrange a meeting with
their father, who they
feel abandoned them
as children. Hannah,
meanwhile, is involved
in drawing up a prenup
between a footballer and
his girlfriend. Also, what
is ex-boyfriend Christie’s
game? David Stubbs
9pm, BBC Two
In the concluding
episode of the series,
the critical care unit at
Queen’s Medical Centre
in Nottingham faces
a crisis due to a lack
of beds, finding itself
at a level of medical
alert usually reserved
for natural disasters.
The staff ’s unwavering
professionalism in the
face of such routine
adversity is, as always,
truly inspiring.
Ben Arnold
9pm, History
A new series about
some of history’s most
powerful hoodlums
opens with the story of
Mexican drug lord Joaquín
“El Chapo” Guzmán,
whose reputation as
an enforcer bled into
control of his own
globe-spanning cartel.
Not even incarceration
could diminish his power,
bolstering his reputation
among some as a folk hero.
Mark Gibbings-Jones
Cunk on Britain
10pm, BBC Two
The conclusion of
Philomena Cunk’s
survey of British history.
The graduation of Diane
Morgan’s doggedly
nitwitted character to
a series has not been
an unalloyed triumph,
with the interviews in
particular falling flat.
The writing and delivery
that work well in brief
bursts still furnish
glorious moments,
though. Andrew Mueller
Channel 4
Channel 5
Breakfast (T) 9.15 Rip Off
Britain: Food (T) 10.0 Homes
Under the Hammer (T)
11.0 A1: Britain’s Longest
Road (T) 11.45 The Housing
Enforcers (T) 12.15 Bargain
Hunt (T) (R) 1.0 News (T)
1.30 Regional News (T)
1.45 Doctors (T) 2.15 800
Words (T) 3.0 Escape to the
Country (T) 3.45 Flipping
Profit (T) 4.30 Flog It! (T)
(R) 5.15 Pointless (T) 6.0
News and Weather (T) 6.30
Regional News and Weather
(T) 6.55 Party Election
Broadcast (T) 7.0 The One
Show 7.30 EastEnders (T)
Flog It! Trade Secrets
(T) (R) 6.30 A1: Britain’s
Longest Road (T) (R) 7.10
The Super League Show
(T) 8.0 Sign Zone: Sea
Cities – Brighton (T) (R) 9.0
Victoria Derbyshire (T) 10.0
Live Snooker: The World
Championship (T) The first
two quarter-finals get under
way in Sheffield. 12.0 Daily
Politics (T) 1.0 Live Snooker:
The World Championship
(T) The remaining two
quarter-finals get under way.
6.0 Eggheads (T) (R) 6.30
Britain in Bloom (T) 7.0 Live
Snooker… (T) Continues.
Good Morning Britain
(T) 8.30 Lorraine (T) 9.25
Jeremy Kyle (T) 10.30 This
Morning (T) 12.30 Loose
Women (T) 1.30 News (T)
1.55 Local News (T) 2.0
Judge Rinder (T) 3.0 Tenable
(T) 3.59 Local News (T) 4.0
Tipping Point (T) 5.0 The
Chase (T) 6.0 Local News
(T) 6.20 Party Election
Broadcast (T) (R) 6.30
News (T) 7.0 Emmerdale
(T) Megan realises that Frank
is keeping something from
her and kisses Graham during
a meeting. 7.30 Devon and
Cornwall Cops (T) (R)
Countdown (T) (R) 6.45
3rd Rock from the Sun
(T) (R) 7.35 Everybody
Loves Raymond (T) (R)
8.30 Frasier (T) (R) 10.05
Ramsay’s Hotel Hell (T)
(R) 11.0 Undercover Boss
USA (T) (R) 12.0 News (T)
12.05 Coast v Country (T)
(R) 1.05 Posh Pawnbrokers
(T) (R) 2.10 Countdown (T)
3.0 A Place in the Sun: Home
or Away (T) (R) 4.0 Escape
to the Chateau: DIY (T) 5.0
Four in a Bed (T) (R) 5.30 Buy
It Now (T) 6.0 The Simpsons
(T) (R) 6.30 Hollyoaks (T) (R)
7.0 News (T)
Holby City (T) Fletch
clashes with Abigail when
an unexpected visitor
turns up on the ward.
The Split (T) Things
become increasingly
complicated for Hannah as
she faces Christie’s ex-wife
in a tricky prenuptial, and
the three sisters meet their
father for the first time.
Top of the Shop With Tom
Kerridge (T) Meat producers
fight it out for a place in the
Hospital (T) Cameras follow
consultant Dave Selwyn
and the critical care team
at Nottingham University
hospitals, who must balance
the demands made on the
unit. Last in the series.
This Time Next Year (T)
Davina McCall meets a
woman who wants to be
able to smile for the first
time in 30 years.
The Royal Wives
of Windsor (T) (2/2)
The responsibilities
of being a royal wife,
from having babies to
supporting good causes.
Class of Mum and Dad (T)
It is the last week of term,
and Class 6M are packing in
last-minute exam cramming.
Last in the series.
My F-ing Tourette’s Family
(T) Cameras follow Hayley
and Richard Davies-Monk
and their sons Spencer
and Lewis, who both have
the neurological disorder.
10.0 News (T)
10.30 Regional News and
Weather (T) Includes
national lottery update.
10.45 Life and Death Row: In Cold
Blood (T) An ex-Marine meets
a son he fathered on the run.
11.45 Obesity: The Postmortem
(T) (R) An examination of
the body of a 17st woman.
12.40 Weather (T) 12.45 News (T)
10.0 Cunk on Britain (T)
Philomena arrives in Brexit
Britain. Last in the series.
10.30 Newsnight (T) Weather
11.15 Snooker: The World
Championship (T)
12.05 Snooker Extra (T) 2.05 Sign
Zone: MasterChef – The
Finals (T) (R) 3.05 Secret
Agent Selection: WW2 (T)
(R) 4.05 This Is BBC Two (T)
10.0 News (T)
10.30 Local News (T)
10.45 Harold Shipman: Doctor
Death (T) (R) Detectives
reveal how the serial killer
got away with his crimes.
11.45 The Durrells (T) (R) Henry
Miller comes to stay.
12.35 Jackpot247 3.0 Loose
Women (R) 3.45 Nightscreen
5.05 Jeremy Kyle (T) (R)
10.0 Surviving the Island With
Bear Grylls (T) The host
examines the castaways’
strategies. Last in series.
11.05 Flight HS13 Simon has
vanished and Liv is filled
with doubt.
12.0 Kitchen Nightmares USA
(R) 12.55 One Born… (R) 1.50
The Supervet (R) 2.45 The
Channel: World’s Busiest… (R)
Other channels
Theory 12.0 Celebrity
First Dates 1.0 Tattoo
Fixers 2.05 Gotham 2.55
Supernatural 3.40 How
I Met Your Mother 4.05
2 Broke Girls 4.25 The
Goldbergs 4.50 Couples
Come Dine With Me
6.0am Home Shopping
7.10 Top Gear 8.10
American Pickers 9.010.0 Storage Hunters
10.0-1.0 American
Pickers 1.0-3.0 Top Gear
3.0 Sin City Motors 4.0
Steve Austin’s Broken
Skull Challenge 5.0 Top
Gear 6.0 Room 101
6.40-8.0 Would I Lie to
You? 8.0-9.0 Scrappers:
Back in the Yard 9.0-11.0
Would I Lie to You? 11.0
Taskmaster: Champion of
Champions 12.0 QI 12.40
Would I Lie to You? 1.20
Mock the Week 2.0 QI
2.40 Would I Lie to You?
3.20 Parks and Recreation
4.0 Home Shopping
11.0am Guns
at Batasi (1964) 1.05
Winchester ’73
(1950) 2.55 The
Black Knight (1954)
4.40 We’re No
Angels (1955) 6.50
Congo (1995)
9.0 Crimson Peak
(2015) 11.20 Stoker (2013) 1.20
Excision (2012)
All programmes from 8am
to 7pm are double bills
6.0am-7.0 Hollyoaks
7.0 Couples Come Dine
with Me 8.0 How I Met
Your Mother 9.0 New
Girl 10.0 2 Broke Girls
11.0 Brooklyn Nine-Nine
12.0 The Goldbergs 1.0
The Big Bang Theory
2.0 How I Met Your
Mother 3.0 New Girl
4.0 Brooklyn Nine-Nine
5.0 The Goldbergs 6.0
The Big Bang Theory
7.0 Hollyoaks 7.30
Extreme Cake Makers
8.0-9.0 The Big Bang
Theory 9.0 Gotham
10.0 Supernatural
11.0-12.0 The Big Bang
6.0am The Planet’s
Funniest Animals
6.20 Totally Bonkers
Guinness World Records
6.45 Totally Bonkers
Guinness World Records
7.10 Who’s Doing the
Dishes? 7.55 Emmerdale
8.25 Coronation
Street 8.55 Coronation
Street 9.25 The Ellen
DeGeneres Show 10.20
The Bachelorette 12.15
Emmerdale 12.45
Coronation Street 1.15
Coronation Street 1.45
The Ellen DeGeneres
Show 2.35 The Jeremy
Kyle Show 3.40 The
Jeremy Kyle Show 4.50
The Jeremy Kyle Show
BBC Four
Milkshake! 9.15 The Wright
Stuff (T) 11.15 Can’t Pay?
We’ll Take It Away! (T) (R)
12.10 News (T) 12.15 GPs:
Behind Closed Doors (T)
(R) 1.10 Access (T) 1.15
Home and Away (T) 1.45
Neighbours (T) 2.15 NCIS
(T) (R) Housekeeping 3.15
Running for Her Life
(Philippe Gagnon, 2016) (T)
A triathlete hires a coach
who uses hypnotherapy.
Thriller. 5.0 News (T) (R)
5.30 Neighbours (T) (R) 6.0
Home and Away (T) (R) 6.30
News (T) 7.0 FIA World Rally
Championship Highlights (T)
The Yorkshire Vet (T)
Peter Wright battles to
save a young cow in labour.
Includes news update.
British Airways: 100
Years in the Sky (T) (1/2)
Documentary charting the
airline’s history, from the
first flight in 1919 to the
present day. It begins with
the early days of air travel.
10.0 Missing Flight MH370:
Inside the Situation Room
(T) Senior officials talk
about what happened.
11.05 The Secret Life of the
Long-Haul Flight (T) (R)
12.30 Funniest Fails, Falls… (T)
(R) 1.0 SuperCasino 3.10
Portillo’s Hidden History of
Britain (T) (R) 4.0 Britain’s
Biggest Mosque (T) (R)
Beyond 100 Days (T) 7.30
The Culture Show: Wars of
the Heart (T) James Runcie
reveals how experience of
the London blitz inspired
the work of Graham Greene,
Henry Green, Elizabeth
Bowen and Hilda Doolittle.
King Alfred and the
Anglo-Saxons (T) The role of
Alfred the Great’s grandson
in creating a kingdom of all
England. Last in the series.
The Story of the Jews (T)
(5/5) How the Holocaust
and the creation of Israel
have changed fundamentally
what it means to be Jewish.
Last in the series.
10.0 The Celts: Blood, Iron and
Sacrifice With Alice Roberts
and Neil Oliver (T) (1/3) The
history and culture of the
ancient group of peoples.
11.0 The Mystery of Murder:
A Horizon Guide (T)
12.0 Bombay Railway (T) 1.0-2.0
TOTP: 1983 (T) Double bill.
2.0 King Alfred and… (T)
3.0 Story of the Jews (T)
5.50 Take Me Out 7.0
You’ve Been Framed! Gold
7.30 You’ve Been Framed!
Gold 8.0 Two and a Half
Men 8.30 Superstore
9.0 Knocked Up
(2007) (FYI Daily is at
10.05) 11.40 Family
Guy 12.10 Family Guy
12.35 American Dad!
1.05 American Dad!
1.35 Celebrity Juice
2.20 Teleshopping
5.50 ITV2 Nightscreen
8.55am Food Unwrapped
9.30-11.35 A Place in
the Sun: Winter Sun
11.35-2.10 Four in a Bed
2.10-4.50 Come Dine
With Me 4.50 A Place in
the Sun: Winter Sun 5.55
Ugly House to Lovely
House 6.55 The Secret
Life of the Zoo 7.55 Grand
Designs 9.0 My Floating
Home 10.0 Million Pound
Movers 11.05 24 Hours
in A&E 12.10 8 Out of 10
Cats Does Countdown
1.10 Kitchen Nightmares
USA 2.10 My Floating
Home 3.15 8 Out of 10
Cats Uncut
6.0am-7.0 Animal 999
7.0-8.0 Meerkat Manor
8.0-9.0 Monkey Life
9.0-10.0 Motorway
Patrol 10.0 Road Wars
11.0 Warehouse 13 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 The Flash
9.0 The Blacklist 10.0
The Late Late Show:
Best of the Week 11.0
The Force: North East
12.0 Brit Cops: Frontline
Crime UK 1.0 Ross
Kemp: Extreme World
2.0 Most Shocking 3.0
Duck Quacks Don’t Echo
4.0-5.0 The Real A&E
5.0 It’s Me or the Dog
Sky Arts
6.0am Saint-Saëns
& Schubert: Bertrand
7.30 Sir Simon Rattle:
Beethoven Symphonies
9.0 Watercolour
Challenge 9.30 The
Art Show 10.30 Tales
of the Unexpected 11.0
Trailblazers: Pub Rock
12.0 The Seventies 1.0
Discovering: Humphrey
Bogart 2.0 Watercolour
Challenge 2.30 The
Art Show 3.30 Tales
of the Unexpected 4.0
Trailblazers: Dance
5.0 The Eighties 6.0
Discovering: Burt
Lancaster 7.0 The
Nineties 8.0 Portrait
Artist of the Year 2017
9.0 Tate Britain’s
Great Art Walks 10.0
Discovering: Warren
Beatty 11.0 Urban Myths:
Johnny Cash and the
Ostrich 11.30 Johnny
Cash: Behind Prison Walls
12.30 Johnny Cash:
Song by Song 1.0 Tate
Britain’s Great Art Walks
2.0 Confessions of
a Superhero (2007) 3.45
Love Bite: Laurie Lipton
and Her Disturbing Black
& White Drawings 4.30
Tales of the Unexpected
5.0 Auction 5.30 Auction
Sky Atlantic
6.0am The British 7.0
Storm City 8.0 Fish
Town 9.0-11.0 The West
Wing 11.0-1.0 House 1.0
Without a Trace 2.0 Blue
Bloods 3.0-5.0 The West
Wing 5.0-7.0 House 7.0
CSI: Crime Scene Investigation 8.0 Blue Bloods
9.0 Paterno (2018)
10.55 The Circus: Inside
the Wildest Political Show
on Earth 11.30 Westworld
12.40 West:Word 1.10
The Sopranos 2.20 House
of Lies 2.55 High Maintenance 3.30 Happyish
4.05-6.0 The West Wing
Radio 3
6.30 Breakfast 9.0
Essential Classics 12.0
Composer of the Week:
Copland (2/5) 1.0 News
1.02 Lunchtime Concert.
The first of the four
concerts recorded at
Verbier last year. (1/4)
2.0 Afternoon Concert:
BBC SO. Recorded in
Tokyo. Rachmaninov:
Piano Concerto No 2 in
C minor. 2.35 Mahler:
Symphony No 5. Yu
Kosoge (piano), Sakari
Oramo. 3.50 Hindemith:
Der Schwanendreher.
Eivind HoltsmarkRingstad (viola), Douglas
Boyd. 4.30 BBC Young
Musician: Keyboard
Finalists 5.0 In Tune 7.0
In Tune Mixtape 7.30
In Concert. The BBC
Symphony Orchestra
recorded at the Barbican
in London last Saturday,
featuring works by
Ravel, Vaughan Williams
and Ross Harris. 10.0
Free Thinking 10.45
The Essay: My Life in
Music – Cage Sonatas and
Hancock’s Head Hunters.
With Kerry Andrew. (2/5)
11.0 Late Junction 12.30
Through the Night (R)
Radio 4
Crimson Peak,
6.0 Today 8.30 (LW)
Yesterday in Parliament
9.0 The Life Scientific.
Jim Al-Khalili is joined
by marine biologist
Callum Roberts. (1/8)
9.30 One to One:
Soumaya Keynes Meets
Claudia Goldin (1/8)
9.45 (LW) Daily Service
9.45 (FM) Book of the
Week: Life and Rhymes
of Benjamin Zephaniah
(2/5) 10.0 Woman’s
Hour. Includes at 10.45
Drama: The Wings of
the Dove. (2/10) 11.0
A River of Steel. Rivers
and the development of
Sheffield steel. (R) 11.30
Instrument Makers (1/4)
12.0 News 12.01 (LW)
Shipping Forecast 12.04
Four Thought: Being
Muslim in America (R)
12.15 Call You and Yours
1.0 The World at One
1.45 Chinese Characters:
Factory Girls (17/20)
2.0 The Archers (R)
2.15 Drama: Burn Baby
Burn, by Sean Grundy.
(R) 3.0 The Kitchen
Cabinet: Bradford (R)
3.30 Costing the Earth:
Antarctic Assault. With
Gerard Baker. 4.0 Word
of Mouth: Me, Myself & AI
(4/7) 4.30 Great Lives:
Tej Lalvani on Richard
Feynman 5.0 PM 5.54
(LW) Shipping Forecast
6.0 News 6.30 Thanks
a Lot, Milton Jones!
(1/6) 7.0 The Archers
7.15 Front Row 7.45 The
Wings of the Dove (R)
(2/10) 8.0 The Invisible
Man of Britain’s Far Right
8.40 In Touch 9.0 All in
the Mind 9.30 The Life
Scientific (R) 10.0 The
World Tonight 10.45
Book at Bedtime: The
Valley at the Centre of
the World (2/10) 11.0
Richard Marsh: Cardboard
Heart (R) 11.30 Today in
Parliament 12.0 News
12.30 Book of the Week
(R) 12.48 Shipping
Forecast 1.0 As World
Service 5.20 Shipping
Forecast 5.30 News
5.43 Prayer for the
Day 5.45 Farming Today
5.58 Tweet of the Day (R)
Radio 4 Extra
6.0 John Mortimer
Presents… (2/5) 6.30
Chopsticks at Dawn 7.0
Stockport, So Good They
Named It Once (2/6)
7.30 Love in Recovery
(6/6) 8.0 As Time Goes
By (1/6) 8.30 The Men
from the Ministry 9.0
News Quiz Extra (3/8)
9.45 Helen Keen’s It Is
Rocket Science (3/4)
10.0 The Thirty Nine
Steps (2/2) 11.0 After
Milk Wood (2/3) 11.15
Galbraith and the King
of Diamonds (2/6) 12.0
As Time Goes By (1/6)
12.30 The Men from
the Ministry 1.0 John
Mortimer Presents…
(2/5) 1.30 Chopsticks
at Dawn 2.0 The Secret
History (2/15) 2.15
Shakespeare’s Restless
World (12/20) 2.30 The
The Guardian
Tuesday 1 May 2018
Enchanted April (2/5)
2.45 Sissinghurst: An
Unfinished History (2/5)
3.0 The Thirty Nine Steps
(2/2) 4.0 It’s Not What
You Know (4/6) 4.30 The
Wordsmiths at Gorsemere
(2/6) 5.0 Stockport, So
Good… (2/6) 5.30 Love
in Recovery (6/6) 6.0 The
Man Who Was Thursday
(12/13) 6.30 The Palace
of Laughter (1/6) 7.0
As Time Goes By (1/6)
7.30 The Men from…
8.0 John Mortimer
Presents… (2/5) 8.30
Chopsticks at Dawn 9.0
After Milk Wood (2/3)
9.15 Galbraith and…
(2/6) 10.0 Love in
Recovery (6/6) 10.30
Tom Wrigglesworth’s
Hang-Ups (1/4) 11.0
ElvenQuest (6/6) 11.30
The Lawrence Sweeney
Mix (4/4) 12.0 The
Man Who Was Thursday
(12/13) 12.30 The
Palace of Laughter
(1/6) 1.0 John Mortimer
Presents… Hall (2/5)
1.30 Chopsticks at Dawn
2.0 The Secret History
(2/15) 2.15 Shakespeare’s
Restless World (12/20)
2.30 The Enchanted April
(2/5) 2.45 Sissinghurst…
(2/5) 3.0 The Thirty Nine
Steps (2/2) 4.0 It’s Not
What You Know (4/6)
4.30 The Wordsmiths…
(2/6) 5.0 Stockport,
So Good… (2/6) 5.30
Love in Recovery (6/6)
no 14,970
Quick crossword
1 Get — derive (4)
3 Believable (8)
8 Brilliant and notable success (4)
9 Type of paint (8)
11 Encircled (10)
14 North American mountain lion (6)
15 Rush wildly (6)
17 Not showing any strain (10)
20 Recklessly resolute (4-4)
21 Arm or leg (4)
22 Trailblazers (8)
23 Major Barbara playwright (4)
1 Backpack (8)
2 Fish tank (8)
4 North-east Italian Adriatic resort (6)
5 Soft Italian cheese (10)
6 Allurement (4)
7 Sea eagle (4)
10 Strength of character (5,5)
12 Pessimistic Old Testament
prophet (8)
13 Weapon firing bolts (8)
16 Woodworker (6)
18 Vessel that carries passengers
or freight (4)
19 As well (4)
Solution no 14,969
Stuck? For help call 0906 200 83 83. Calls cost £1.10 per minute, plus your phone company’s access charge.
Service supplied by ATS. Call 0330 333 6946 for customer service (charged at standard rate).
To buy puzzle books, visit or call 0330 333 6846.
Sudoku no 4047
no 4,048
Medium. Fill the grid so that each row, column and
3x3 box contains the numbers 1-9. Printable version at
Word wheel
Word wheel
Find as many words as
possible using the letters
in the wheel. Each must
use the central letter and
at least two others. Letters
may be used only once. You
may not use plurals, foreign
words or proper nouns.
There is at least one nineletter word to be found.
TARGET: Excellent-60.
Good-51. Average-39.
Fill the grid so that each square
in an outlined block contains a
digit. A block of 2 squares contains
the digits 1 and 2, a block of three
squares contains the digits 1, 2 and
3, and so on. No same digit appears
in neighbouring squares, not even
Can you find 13 words that can follow
FRONT in the grid? Words can run
forwards, backwards, vertically or
diagonally, but always in a straight,
unbroken line.
Steve Bell
Which actor had
a pet octopus?
a. Nicolas Cage
b. Sylvester
c. Mel Gibson
d. Brad Pitt
Answer top right
The Guardian
Tuesday 1 May 2018
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