What is it?: Historians and old friends, Tom Holland and Dominic Sandbrook discuss a variety of historical themes, usually for about forty or fifty minutes, two or three times a week.
History: As of January 23rd 2024, there have been 411 episodes, of which I have listened to just over 150. The podcast has been produced by Gary Lineker’s Goalhanger podcasts since its inception in November 2020. It is a success and can usually be seen hovering either within or close to the top ten on lists of the most successful podcasts in the UK. It has inspired a whole range of “The Rest of” podcasts also produced by Goalhanger such as The Rest is … Politics, Football, Business and Entertainment. All of these have also been successful (TRI Politics and TRI Entertainment often overtaking TRI History in popularity), even though, title-wise, only “the rest is history” is ever used as a common, everyday expression.
Format: Tom and Dominic are clearly old chums. Both are professional historians. Both are middle-aged men. Tom (who should not be confused with the 27-year-old Spiderman actor of the same name) is in his fifties, while Dominic will turn fifty in 2024. The tone is light, a world away from the stuffy, “That’s you that is” historians once portrayed by Rob Newman and David Baddiel. Like Newman and Baddiel, however, they do occasionally make each other break into laughter on air, sometimes not for obvious reasons.
Dominic’s speciality is modern history, Tom is better on the ancient world. This distinction is illustrated by the show’s logo which depicts Tom in the form of a Classical statue while Dominic is portrayed as a Churchillian bust. Both men will discuss every topic. Subject matter covered in the last year has included President Kennedy’s assassination, the Aztec Empire, the rise of the Nazis, Columbus, Reagan, Baghdad, Captain Cook and British fascism. The scope of the series is impressive. Subjects are always covered thoroughly and well. Guests (including Tom’s military historian brother) are sometimes invited in to discuss areas on which Tom and Dom are less confident. Novelist Zadie Smith appeared recently to talk about the Tichborne Claimant) while Stephen Fry was in an early Lockdown-era episode.
History boys: Tom Holland (not that one) and Dominic Sandbrook.
Running jokes: Tom is obsessed with cricket and is a big fan of Prince Edward who once praised one of his books. Dom often writes for the Daily Mail although is less reactionary than this makes him sound. However, he does admit to despising John Lennon and occasionally gets lost in a patriotic fervour. Tom also admits to being a big Tony Blair fan although generally the pod avoids discussing 21st century politics, particularly since The Rest is Politics started in 2022. Although not obviously religious himself, Tom is sometimes accused of finding a way to discuss religion within any subject they are discussing. Dominic is probably the more dominant of the two personalities. Tom can be slightly camp.
Historical figures who crop up a lot in Tom and Dom’s discussions, such as Otto von Bismarck are typically described as “very much a friend of The Rest is History.” The duo are also easily distracted by a silly name such as Estes Kefauver, Perkin Warbeck or Tiberius van Ladypleaser. I may have made one of these names up.
Optional extras: Fans can now buy a The Rest is History or get episodes, early and ad-free by joining The Rest is History Club. I am definitely a fan of the podcast, but have resisted both of these options thus far. I generally don’t mind waiting for episodes (I don’t listen to them all anyway). I also don’t mind the short commercial breaks (which are usually for The Week magazine or something).
Criticism: By far the worst aspect of The Rest is History is the tendency to introduce each episode with a quotation often delivered with an excruciating impersonation of the person being quoted. I have no problem with the quotes themselves, but I doubt anyone enjoys hearing Tom impersonating the likes of Hitler and Marilyn Monroe as much as he does performing it. Dominic is equally guilty in this regard. This aspect of the show which is already delivered with an attitude of “we know this bit’s crap but we’re going to it anyway” should be stopped immediately.
Overall: “The history book on the shelf. It’s always repeating itself.” So sang Abba, on their Eurovision-winning hit, Waterloo, fifty years ago. Happily, The Rest is History rarely repeats itself. It is a first-class podcast which you will find yourself returning to, again and again.
Starring: Julian Barratt, Essie Davis, Russell Tovey, Simon Farnaby, Andrea Riseborough, Steve Coogan
Directed By: Sean Foley
Running Time: 89 minutes
UK Release Date: Out Now
BBFC Certificate: 15
Your Rating: 4 out of 5
Review: Do you remember Mindhorn?
The popular Eighties and Nineties action TV series featured Richard Thorncroft as Isle of Man detective Bruce P. Mindhorn, a man whose left eye had been replaced by a lie detector, enabling him to literally “see the truth”.
Of course, you don’t. The show never existed. The whole crazy Bergerac/Six Million Dollar Man concept comes courtesy of Julian Barratt who here plays actor Thorncroft and co-writer Simon Farnaby (Horrible History/Bunny and the Bull) who doubles up here as Thorncroft’s onetime stuntman, Clive. Now, twenty-five years after his heyday, Thorncroft is an ageing balding egomaniac who has been reduced to producing adverts for girdles. That’s until the police get in touch. A murderer known only as “the Kestrel” is on the loose on the Isle of Man and is so deranged that he thinks his Eighties childhood hero is a real person. He refuses to talk to anyone else. Time, then, for Mindhorn to get back in action.
It’s a great idea and despite a few patchy elements, is brilliantly funny. Much of the fun, of course, comes from seeing clips of the convincingly awful looking Mindhorn TV series as well as the contrast between Thorncroft’s cheesy but glamorous younger life and his somewhat pathetic existence today. It’s a great role for the underrated Barratt, too young to have been a grownup Eighties TV star in reality and best known for being Noel Fielding’s other half in The Mighty Boosh. Steve Coogan is also great in the role of Peter Eastman, a minor actor in Mindhorn who has since enjoyed greater success than Thorncroft ever achieved in his long -running spin-off show, Windjammer.
Part Alan Partridge (has-been star), part Garth Marenghi’s Darkplace (fictional Eighties TV show), part Toast of London (egomaniac actor), Mindhorn is a hoot.
And don’t be surprised if you come out humming the words to Thorncroft’s pop hit “Can’t Handcuff The Wind” either. It’s surprisingly catchy.
Overall Verdict: Mindhorn: even the name is funny.
It is sometimes said of the nineteen sixties: if you can remember them, you weren’t really there. Oddly, reading the latest volume in David Kynaston’s epic Tales of a New Jerusalem series on post-war British life left me with much the same feeling. Kynaston’s 600-page book goes into so much painstaking detail about every aspect of British life during that period, that I almost feel as if I really do remember being there. Yet in reality, I wasn’t there at all. I’m not even old enough to remember the seventies.
The book doesn’t cover the whole decade, of course, merely the 27-month period between October 1962 and January 1965. The month of October 1962 was in itself hugely significant culturally. As John Higgs has discussed in his book, Love and Let Die, the same day, Saturday 6th October 1962 witnessed the simultaneous release of both the first Beatles’ single, Love Me Do and the very first cinema release for the very first James Bond film, Dr. No starring Sean Connery. It was also the month during which, thanks to the Cuban Missile Crisis, humanity came closer to wiping itself our than at any time before or since.
In truth, this entire two-year timespan, may well down as the most eventful in Britain’s peacetime history. The book’s title doubtless refers to the conditions which precipitated the Big Freeze of 1962-63, one of the coldest winters ever recorded, which strikes early in the book, but also the northern character of many of the changes wrought during this time such as the coming of The Beatles and the arrival of Yorkshireman, Harold Wilson into Downing Street in October 1964.
The year 1963 saw the government of Harold “Supermac” Macmillan dealt with a severe dose of Kryptonite, by the eruption of the Profumo Affair which shook British society to its foundations. By October 1963, Macmillan, who was approaching seventy had lost all appetite for the job and used the excuse of a perfectly treatable bout of prostate cancer to make a sharp exit from Downing Street (he went on to live until 1986). With no formal arrangements to elect Tory leaders yet in place, the subsequent “contest” to succeed the old man quickly turned into a farce, the skeletal Sir Alec Douglas-Home somehow emerging as leader, despite still being in the House of Lords at the time of his appointment.
Home should, in theory, have been easy meat for a Labour Party revitalised after more than a decade in opposition, by the election of the youthful Harold Wilson as leader earlier in the year. Today, a politician who always wore a raincoat and smoked a pipe would risk seeming like an odd ball. But in 1963, these things when added to the new leader’s heady, intoxicating, arguably slightly meaningless talk of the “white heat of revolution” helped make Wilson seem like the harbinger of a new, exciting, more technological and meritocratic new age. Wilson’s period as leader between March 1963 and October 1964, is still seen by many as the perfect template for any Opposition leader. Despite this, he only just managed to knock the stiff, untelegenic Sir Alec off his perch, leading Labour to victory with a single figure majority.
But it’s not all about politics. Far from it. Instead, we get a unique insight into almost all aspects of British life through the TV they watched, the newspapers and magazines they read, the music, the sport and the thoughts and feelings of people both famous and ordinary through their letters and diaries. It is a reminder that history is not always what we remember it to be and that people’s perceptions and attitudes back then might not be now exactly what we would now expect them to be.
For example, as some reflected idly on the return of Dixon of Dock Green (“like an old friend coming into the house every Saturday”), others discussed the possible implications of the contraceptive pill (“this is not a subject which a woman will discuss over morning coffee – even with her closest friends,” wrote Jean Rook in the Yorkshire Post). The Beeching Report was published. The Great Train Robbery happened. On the night of President Kennedy’s assassination, Beatles fans went to see the Fab Four perform at the Globe Theatre on Stockton-on-Tees. Mods and Rockers fought on Brighton’s beaches. The first episode of Top of the Pops went out. Some took an instant dislike to its first ever host: “What an odd-looking individual…like something from Dr Who…Mutton dressed as lamb.” Sometimes the effect is similar to reading a Twitter feed. The host on that occasion was the 37-year-old disc jockey, Jimmy Savile.
In Smethwick, the Conservative candidate, Peter Griffiths won the seat after fighting a blatantly racist campaign using the slogan, “if you want a n—– for a neighbour, vote Labour.” His election provoked huge controversy. On TV, however, despite some grumbling, The Black and White Minstrels Show continued to air and would do for many years. News stories like the unfolding Profumo Affair provoked mixed reactions ranging from sympathy for Macmillan, often hypocritical disgust, outrage over the nature of the media coverage and undisguised lust towards Christine Keeler from the future comedy writer, Laurence Marks, then a teenaged boy.
There is more detailed analysis too. With the perspective of sixty years, David Kynaston examines the impact of the Beeching cuts to the railways and also takes a thorough look at the condition of the welfare state as his epic series of books reaches its half way point, midway between the landmark 20th century General Elections of 1945 and 1979. Elsewhere, we are reminded that sport did not stop even on the day of Sir Winston Churchill’s state funeral with Peterborough United beating Arsenal that very afternoon. The Britain of January 1965 was undeniably massively different from the land the great war leader had been born into ninety years before. But it was also, as this superb book consistently reminds us, very different from the Britain of today.
Book review: A Northern Wind, Britain 1962-65, by David Kynaston. Published by: Bloomsbury.
Can you do better than the 37th president of the USA? Complete this quiz and find out!
(And remember, if things get too tough, you can always resign…)
1. 1950: You are campaigning to be elected to the US senate. Your opponent, the actress Helen Gagahan Douglas is actually fairly liberal Democrat but you want to imply she has communist connections. What nickname do you come up with for her?
a) Stalin’s sister-in-law
b) Mao’s mouthpiece
c) The Pink Lady
d) The Molotov cocktail
e) That goddamn crazy, liberal, pinko, commie-loving Hollywood bitch
2. 1952: You are delivering the famous Checkers speech on TV in a desperate bid to retain your position as General Eisenhower’s running-mate. But what exactly do you say about Checkers, a cocker spaniel dog during the broadcast?
a) “Believe it or not, the day before we left on this campaign trip we got a message from Union Station in Baltimore saying they had a package for us. We went down to get it. You know what it was? It was a little cocker spaniel dog in a crate that he’d sent all the way from Texas. Black and white spotted. And our little girl—Tricia, the 6-year-old—named it Checkers. And you know, the kids, like all kids, love the dog and I just want to say this right now, that regardless of what they say about it, we’re gonna keep it.”
b) You denounce Checkers as a communist and deny having anything to do with him.
c) Counter-attack by accusing the Democrat candidate, Adlai Stevenson of having accepted a whole menagerie of animals as gifts including a snake called “Chess” and a penguin named “Ludo.”
d) Propose launching Checkers into orbit, making him the first dog in space before the end of the decade. e) Propose a “Checkers strategy” to rival Eisenhower’s “domino theory.”
3. 1960: The presidential TV debate with John F. Kennedy is approaching but you are in a bad way. You look haggard, shifty and sweaty while Kennedy looks pristine, polished and smooth. What do you do?
a) Leave the make-up people to attempt to cover-up your appearance as well as possible. Cover-ups always work.
b) Draw attention away from your appearance by mimicking Kennedy in an effeminate, high-pitched voice every time you speak.
c) Arrange for extracts from your successful 1952 Checkers speech to be inserted into the broadcast every time it’s your turn to speak and hope the content is still relevant.
4. 1968: You are running for president again. How will you tackle the ongoing Vietnam War?
a) Propose bombing Vietnam back to the stone age.
b) A more nuanced approach. Propose bombing Vietnam but only back to the iron age.
c) Unconditional surrender.
d) Pretend you have a “secret plan to end the war” leaving you free to come up with a plan at your leisure once you’ve been elected.
5. 1969: Congratulations! You have won the presidency. Time to compose your “Enemies List.” Who should go on it?
a) Dr Henry Kissinger, John Erlichman, H.R Haldeman, Pat Nixon and Bob Hope.
b) Washington Post reporters Bob Woodward and Carl Bernstein, Charles Manson, Idi Amin and Patty Hearst.
c) Ted Kennedy, Barbara Streisand, Bill Cosby and Jane Fonda.
6. 1969: You claim to speak for…
a) The silent majority
b) The vocal majority
c) An effete court of impudent snobs.
d) The military-industrial complex.
7. 1972: Re-election looms. You seem to be heading for an easy win. Do you…
a) Let nature take its course. Campaign normally. Why not? You’re clearly going to win anyway.
b) Approve an orchestrated campaign of sabotage and dirty tricks against your opponents culminating in the Watergate break-in.
8, 1973: Watergate. How do you defend the administration from accusations of a cover-up?
a) There will be no BS from DC.
b) There will no dam built obstructing this Watergate.
c) There will be no whitewash at the White House.
9. 1973: Spiro Agnew has resigned as vice-president after being accused of tax evasion. Who should replace him?
a) Nelson Rockefeller? Bob Dole? A safe pair of hands who can take over should you be required to leave office.
b) Gerald Ford. Surely congress wouldn’t risk impeaching you if it meant someone like him becoming president?
ANSWERS
c) was the nickname you used. Any of them would have probably worked.
a) was what you said.
a) You have little alternative. It didn’t work.
d) You opt for this one. Eventually it was decided to adopt a policy of “Vietnamisation”: basically handing over the fighting to the Vietnamese enabling a gradual US withdrawal ensuring eventual defeat. Probably the best possible outcome in the circumstances.
c) of course! a) are all your supporters. b) are not really your friends either, but none for various reasons made the list.
a) Spiro Agnew used c) to refer to anti-war protesters. d) is a quote by President Eisenhower.
b) Although a) would have been a better decision.
c)
b) This really was your reasoning for picking Ford. It didn’t prevent your downfall after which Ford became president anyway.
At some point after Stargate, but before the Star Wars prequels came Starship Troopers. The most underrated science fiction film of the 1990s made landfall across Earth in 1998. Would you like to know more? Join Chris Hallam as he goes on a bug hunt…
BASIC INSECT
A war correspondent in full futuristic military uniform reports straight to camera from a battle scene. His location is on one of the bug meteors in the Klendathu system, whose deadly inhabitants, the giant insectoid Arachnids have been launching a series of devastating attacks on the Earth.
“It is an ugly planet! A Bug Planet! A planet hostile to life…” he states before he is brutally attacked mid-rant by one of the Arachnids. He does not last long. As if personally insulted by his harsh words about its home world, the monster proceeds to tear him apart in full view of the camera.
“Keep moving! Get out of here NOW!” a passing mobile infantryman – in fact, our hero Johnny Rico (Casper Van Dien) warns the cameraman – and thus in true B-movie style, us. Soon afterwards, another soldier and the cameraman are also attacked by the same creature. So, begins 1997’s science fiction romp, Starship Troopers, directed by Paul Verhoeven and based on Robert A. Heinlein’s 1959 novel of the same name.
MAN VS BROOD
It’s a familiar story. Boy meets girl. Boy joins the Federal Service, where despite the opposition of his wealthy parents, he becomes a ‘Roughneck’ i.e. an infantry man. The girl becomes an ace space pilot, but living an entirely separate life, soon breaks up with the boy.
Okay: admittedly this isn’t a familiar story. It doesn’t really matter. For this is just the beginning. Soon the lives of Johnny and Carmen (Denise Richards) are transformed by the devastating war which erupts between the humans and the Arachnids. The various entanglements between, say, Johnny and fellow Roughneck “Dizzy” (Dina Meyer) soon fade into insignificance as the film becomes increasingly focused on the devastating physical confrontations between man and alien.
Or perhaps we should say “person vs alien”? For despite being directed by Paul Verhoeven, the man who brought the world Basic Instinct and Showgirls, the society in Starship Troopers is refreshingly lacking in prejudice based on gender or, indeed, race. Only the fictional species of giant killer insectoid aliens are treated badly. And criminals. And cows.
This liberal attitude extends to a scene in which many of the cast (including Dina Meyer) stripped off in front of the camera, for a unisex shower scene. Somewhat apprehensive, the young cast reportedly only agreed to this, if director Paul Verhoeven agreed to get naked himself while filming. Verhoeven, then overweight and fast approaching sixty was happy to do so. Thankfully, no images recording Verhoeven’s gesture seem to exist.
Actress Denise Richards who played Johnny’s initial love interest Carmen was crucially absent from this scene: in fact, her character was elsewhere, and it would have made no sense for her to have been involved. This did not stop the film and others such as Wild Things (1998), Drop Dead Gorgeous (1999) and the Bond film, The World Is Not Enough (1999) launching Richards’ career as a major film star and sex symbol of the late 1990s and early 2000s.
Neil Patrick Harris – then, best known for his early Nineties teenage TV role as Doogie Hauser MD – plays Carl, the gang’s slightly geeky friend, who ultimately turns out to be psychic. Harris would achieve true stardom only later. Today, it is he and Richards not Van Dien, Meyer or even established characters like the late Rue ‘Blanche from Golden Girls’ McClanahan and Michael Ironside, who are easily the most famous people in the entire film.
Has Starship Troopers dated? “Hell! Yes Sir!” Some of the CGI inevitably looks less impressive now than it did at the time. And while fighting aliens in space is still very much the stuff of science fiction, a viewer today in the age of Zoom, would be forgiven for not noticing that Carmen’s electronic conversations with her long distance boyfriend, Johnny, were anything unusual when the film was made in the 1990s.
None of these things matter. For at the end of the day, watching Starship Troopers remains an enjoyable experience. The scenes of warriors doing battle as vast hordes of Arachnids can be seen teeming over the horizon remain exhilarating, exciting, gory and fun.
The film is also immeasurably boosted by the series of short, sombrely narrated state propaganda films supposedly created by the ruling regime which appear throughout. Presented in the style of Allied Second World War newsreels, while also attempting to deploy internet-type technology (the web was still young in 1997), these somehow manage to seem both old-fashioned and futuristic at the same time.
They are undeniably intentionally funny but also give us a taste of the kind of society, Johnny Rico and his friends have grown up in. It is a society which is comfortable with child soldiers and which (like the modern USA) is perhaps a little bit too relaxed about preventing its children from getting their hands on guns. It is a society in which criminals are flogged and executed not just publicly, but on live TV. It is a society in which children are urged to stamp on harmless domestic spiders by war-mad teachers driven into a frenzy by government propaganda. And as we learn early on in Johnny’s civics class, it is a society where citizenship and the right to vote are not awarded automatically, but have to be earned.
The human society in the film, Starship Troopers live in an Americanised fascist state.
The question is, is this what creator Robert A Heinlein would have wanted, either for a film based on one of his books or for human society itself?
THE STATE THEY’RE IN
One day, in the Nazi-occupied Netherlands of the early 1940s, one member of the occupying forces decided to play a cruel game to pass the time. He pointed his gun at a small boy. The boy was naturally terrified and had wet himself publicly before the Nazi stopped.
The boy was Paul Verhoeven. And he never forgot it.
More than fifty years later, he directed Starship Troopers, a film which seemed to confuse many reviewers. Some (for example, the late Jeff Vice) seemed to miss the fact that it was set in a fascist state completely. Others did recognise this, but assumed Verhoeven was endorsing fascism.
The celebrated critic Roger Ebert gave the film two out five. “Starship Troopers” is the most violent kiddie movie ever made. I call it a kiddie movie not to be insulting, but to be accurate,” he wrote, clearly deliberately insulting it. “(Verhoeven) wants to depict the world of the future as it might have been visualized in the mind of a kid reading Heinlein in 1956.” The book was actually first published in 1959. Scott Rosenberg, writing in Salon was disappointed for different reasons. It “lacks the courage of the book’s fascist conclusions.”
Let us be clear: there is no doubt whatsoever about Verhoeven’s anti-fascist intentions in the film. Nor is there any doubt that the society he and screenwriter Edward Neumeier conceived is sufficiently right-wing to be considered fascist. The military are completely dominant. There is little evidence of democracy. Corporal and capital punishment are in use. The characters’ uniforms sometimes look fascistic in design too. By the end of the film, Neil Patrick Harris practically looks like a member of the Gestapo.
The satirical elements in the film are intended to give the viewer pause for thought, drawing attention to similarities between the US and this ultra-right-wing state.
On the other hand, it is easy to see how some people might get confused regarding the film’s attitudes to fascism. For one thing, as mentioned, the very worst aspects of fascism: the extreme racism and persecution of minority groups do not seem to exist here. Unlike every other Far Right state everyone seems refreshingly progressive when it comes to gender and race. The girls and boys fight … and shower… side by side. Even though many of the girls suffer excruciating deaths as they are impaled by Arachnids at least, as they do so they can take comfort from the fact that they are doing so on equal terms with the chaps.
It also must be said that things do seem to function pretty well in the world of Starship Troopers. Everything seems to be almost perfectly set up to counter the Arachnid threat. The viewer is forced to ponder whether a more democratic, less military society would be so well prepared to combat an alien menace, particularly if they were more constrained by inhibitions over gender and race.
Actor Michael Ironside, played high school teacher turned Roughneck unit commander, Jean Rasczak recalls being puzzled by Verhoeven’s attitude.
“Why are you doing a right-wing fascist movie?” He asked. Verhoeven replied: “If I tell the world that a right-wing, fascist way of doing things doesn’t work, no one will listen to me.” He continued: “So, I’m going to make a perfect fascist world: everyone is beautiful, everything is shiny, everything has big guns and fancy ships, but it’s only good for killing fucking Bugs!”
HEINLEIN MANOUVRES
Many fans of the book had another objection to the film. They didn’t appreciate the implication that Heinlein was a fascist at all. It seems unlikely Heinlein, who had served in the US Navy, would have appreciated that label either, had he still been alive.
If the novel and film of Starship Troopers are very different, it is perhaps not surprising. The director hadn’t read the book.
“I stopped after two chapters because it was so boring,” Verhoeven admits. “It is really quiet a bad book. I asked Ed Neumeier to tell me the story because I just couldn’t read the thing.”
Starship Troopers represented something of a turning point for Heinlein as he moved from juvenile to adult fiction. There are quite a few differences between the book and the film: there is a lot more technical detail about the troopers’ suits and Heinlein’s years of naval experience are clearly in evidence in the text. But there’s no getting away from politics: Heinlein was, in fact, motivated to write the novel after being inspired by his anger over the moderate Republican president Dwight D. Eisenhower’s decision to suspend nuclear testing in 1959. A leftist in his earlier days, by the 1950s, he was clearly firmly on the Right with many of his characters’ words clearly reflecting his own conservative outlook.
The words, “There are no dangerous weapons; there are only dangerous men,” seems like an early formulation of the National Rifle Association’s famously inane but resonant slogan, “guns don’t kill people: people do”. Heinlein is critical of the concept of life, liberty and the pursuit of happiness and clearly advocates the notion of citizenry and the right to vote are earned through service and combat. He clearly advocates flogging of juvenile delinquents, using a strange analogy about a puppy to illustrate his pointy. His character, Dubois says of the 20th century: “that period was loaded with pre-scientific pseudo-psychological nonsense…half of it fuzzy-headed wishful thinking, half of it rationalized charlatanry.”
It is easy to forget he is writing in the relatively placid USA of the 1950s. Heinlein may not have literally been a fascist, but he certainly had tendencies in that direction. Had he lived to see it, he may not have liked the implication that the society in the film version was fascistic, but it seems unlikely he’d have disagreed with much about how the society functioned in the film.
On the plus side, the book shows few obvious signs of racism at all. This is reasonably unusual for an American book of the mid-20th century and very much to Robert A Heinlein’s credit.
THE RETURN OF RICO
The years rolled by. Robert Heinlein’s status as an author steadily increased. By the time of his death in 1988, the man behind Stranger in a Strange Land and The Moon Is A Harsh Mistress was regularly ranked as one of the “Big Three” best English language science fiction authors alongside Isaac Asimov and Arthur C. Clarke. The year 1978, meanwhile, had seen a teenaged Sarah Brightman release the single, ‘I’m In Love With A Starship Trooper’ with Hot Gossip. The following year saw The VCs debut in British comic, 2000AD. Unlike the pop song and as he freely admitted, Gerry Finley-Day’s strip clearly owed a lot to Heinlein’s novel, Starship Troopers.
In the 1990s, a script entitled Bug Hunt At Outpost Nine began to circulate. The script was similar enough to Heinlein’s 1959 book that a decision was to buy the rights and adapt it directly. Paul Verhoeven, the man behind the original science-fiction blockbusters, Robocop and Total Recall was hired to direct.
TOTAL FREEFALL
Although not a flop, Starship Troopers underperformed at the box office. Had it been a success, it might well have become a major movie franchise. This may yet happen there is serious talk of a reboot and a script has been written. As it is, there are sequels (see below) but none made it to US cinema screens.
As it is, 25 years on the film looks better now than it did at the time. It’s true the acting is sometimes ropey – witness Denise Richards’ sudden dramatic recovery from apparent serious injury in the film’s closing scenes – but the film’s depiction of a militaristic American national security state anticipates the struggles of the next decade (the US not fighting Arachnids but Iraqis) and the arguably fascistic tendencies of the Trump Administration (2017-21).
As Paul Verhoeven says: “It’s a very right-wing book. And with the movie we tried, and I think at least partially succeeded, in commenting on that at the same time. It would be eat your cake and have it. All the way through we were fighting with the fascism, the ultra-militarism. All the way through I wanted the audience to be asking, ‘Are these people crazy?’
BOX OUT: HEROES, MARAUDERS AND TRAITORS..
At last! All those spin-offs and sequels in full…
Roughnecks: Starship Troopers Chronicles (1998-1999): A 36-part CGI animated TV series. Paul Verhoeven was executive producer and featuring characters (although not the voices) from the film such as Johnny and Dizzy. Ended after being beset with bugs…er… I mean production problems.
Starship Troopers 2: Hero of the Federation (2004). TV film sequel scripted by the original film’s screenwriter Edward Neumeier (who also wrote Robocop). Richard Burgi, later of Desperate Housewives, stars as Captain V.J Dax. Two-word review: it’s bad.
Starship Troopers 3: Marauder (2008) Casper Van Dien returns as Rico in this straight to DVD effort directed by Neumeier. Perhaps slightly better than Hero of the Federation, but not by much.
Starship Troopers: Invasion (2012) and Starship Troopers: Traitor of Mars (2017) Japanese computer animated films. Surprisingly, Van Dien and Dina Meyer both reprise their roles from the 1997 film in the second of these, Traitors of Mars.
Happy birthday, Harrison Ford! The Hollywood legend is eighty years’ old as of July 13th 2022. Here are some ideas as to how he might have spent the day…
10am: Harrison wakes. Calista is already up and away. Ford resumes work on his draft script for Witness II: Back On The Wagon.
10.30am: Morning stroll. Ford spots Tom Selleck standing outside his house. For a laugh, he decides to shout: “Hey, mister! Were you Indiana Jones?” When Selleck turns round, looking confused, he says, “No! I didn’t think so!” and walks off chuckling to himself.
11.30am: Back at home, Ford is bored. He wonders about recreating the famous boulder scene from Raiders of the Lost Ark. He pushes one of Calista’s exercise balls down the stairs experimentally and almost hits the cat.
12.30: After lunch, Ford decides to wind up Selleck again. “Magnum! MAGNUM!” He shouts. When Selleck responds, Ford waves a Magnum Ice Cream at him and says, “You should try one! They’re great!” Selleck shakes his fist at him.
1pm: On returning home, Ford is disappointed to find the Magnum has now melted so much, he can no longer eat it. This is a shame as it was a Double Caramel and they only have a Dark Chocolate left in the freezer, which he’s less keen on. He has one anyway.
1.30pm: Ford subjects the cat to a routine Voight-Kampff test to see if he’s a replicant or not.
2pm: Results! There is only a 17% chance the cat is a replicant but a 79% chance it is a lesbian. The cat also seems to be allergic to cats.
2.30pm: Ford calls Calista at the office and asks how Fish and the Biscuit are doing and if there are any cool cases happening today. Calista reminds him patiently that she is not a Boston lawyer but a professional stage and screen actress. Ford asks to speak to Lucy Liu instead. Calista hangs up.
7.30pm: Ford prank calls Selleck and pretends to be Steven Spielberg inviting him to take part in Indiana Jones V on a day he knows he isn’t actually available.
8pm: The doorbell rings. It is Selleck! And he looks angry. Ford panics, sneaks out the back and gets into his plane. We see the plane driving past the sunset along the ground at high speed as Selleck chases behind it on foot occasionally firing a gun at it until the plane crashes into the conservatory.
Troubled Tory Prime Minister, Boris Johnson has denied that his leadership had been fatally wounded by last night’s confidence vote. In fact, he appeared to deny that such a vote had even taken place. “If there was a large group of MPs gathering in the Commons on that particular date, I was certainly unaware of it,” he stated, in comments made this morning. He promised to launch an immediate inquiry to establish both whether such a vote occurred and whether he himself had been there or not.
Mr. Johnson went on to deny hearing crowds booing him on his arrival at both the Platinum Jubilee Service on Friday or at the special Platinum Jubilee Concert held on Saturday evening. “I am not aware of either of these events or this so-called “jubilee” which everyone in the media seems so obsessed with,” he argued. “Honestly, the suggestion that most people care whether or not we have a Queen or whether I once saw a birthday cake while walking past a shop window at a serious time like this is just plain balderdash.” He added: “The media seem to be convinced everyone is partying and celebrating all the time. It simply isn’t true. In the real world, most ordinary people are too busy struggling with the cost of living crisis and other problems which my government created.”
Elsewhere, Culture Secretary, Nadine Dorries also attacked the media claiming recent footage of the Queen sharing tea with Paddington Bear had been faked using “special effects”.
As yet another version of his 1957 classic, The Midwich Cuckoos arrives on Sky Max starring Keeley Hawes and Max Beesley, Chris Hallam takes a look at past attempts to adapt the work of science fiction author, John Wyndham (1903-69) to the screen…
ARTICLE FIRST APPEARED IN INFINITY MAGAZINE IN 2019
In the land of the blind…
It is one of the most dramatic openings to any novel of the 20th century.
We join the narrator, Bill Masen as he wakes up one morning in hospital following a routine eye operation. The operation has been a success, but soon after removing his protective bandages, Masen realises that something has gone horribly, terribly wrong. It quickly becomes clear that the staff and patients of the hospital have all, aside from him, been struck suddenly and simultaneously blind. Worse, as he slowly ventures outside, he comes to recognise an even more horrifying truth: London, Britain and indeed, it emerges, the entire planet has been similarly afflicted. The eyesight of almost the entire human race has been irreparably damaged, failing largely simultaneously only hours after witnessing a sudden spectacular unexpected astronomical display in the sky, the night before. Only a few exceptions, such as Bill whose eyes were safely bandaged (much to his frustration) during the display, are left with their eyesight intact. Humanity has been reduced to a grim, shuffling, sightless mass by the catastrophe. It soon becomes clear: mankind is doomed. Particularly, as a lethal man-made race of giant, walking plants lies in wait, ready to take its place as the dominant species on the Earth.
So, begins John Wyndham’s classic 1951 novel, The Day of the Triffids. The novel was a huge success both at the time and in the years since, for example, making it onto the BBC’s Big Read list of the nation’s most popular novels more than fifty years later.
Wyndham’s opening directly inspired novelist Alex Garland when he penned the screenplay to Danny Boyle’s apocalyptic 2002 film, 28 Days Later. The film’s early scenes are reminiscent of the earlier book with coma victim Jim (Cillian Murphy) waking up to discover an eerily abandoned city of London (Director Boyle created the “empty city” effect simply by filming early in the morning. His main problem was preventing wayward nightclubbers from wandering into shot). In 2010, Frank Darabont deployed similar tactics as wounded police officer, Rick Grimes (Andrew Lincoln) discovers a similar catastrophe after a hospital stay in the first episode of the long-running US TV series, The Waking Dead. The series was itself based on an earlier graphic novel.
Both of these 21st century stories dealt with a world overrun by zombies. In Wyndham’s book, the planet is stalked by a different foe, the Triffids: giant man-made, walking killer plants. Already in existence before the disaster having been conceived as a botched Cold War attempt to resolve post-war food shortages, the new world order provides the Triffids with the perfect opportunity to have their day in the sun. They are equipped with lethal stings which they now deploy to good effect on the suddenly very vulnerable, newly blind human population. Our hero, Bill, a biologist, was indeed temporarily blinded by just such a sting while working on a Triffid farm, giving him the eye-injury, which ironically ultimately spared him suffering a worse fate, alongside nearly everyone else.
Later it is strongly suggested the surprise “meteor shower” which blinded the world may in fact have been the result of a Cold War germ warfare experiment released by satellite (satellites still being a futuristic notion in 1951). The light display may have been unleashed accidentally by either side with calamitous results. With the blind majority either starving or being gradually picked off by Triffifds, Bill and the few other remaining sighted are left to fend for themselves in an increasingly hostile, Triffid-filled world.
Wyndham’s world
Success came relatively late in life for John Benyon Harris.
The son of a barrister, he had been born in 1903 and had enjoyed a variety of careers including farming, law, advertising and the civil service. He had also been involved in the Normandy invasion in 1944. But despite this, it’s hard not to feel he was kept afloat by his family’s money, with his novelist brother seen as more of a success than he was himself.
Arthur C. Clarke felt Wyndham’s social background was something of a flaw, robbing him of the financial desperation which for many writers helps nurture inspiration.
“John was a very nice guy,” the 2001 author later wrote. “but unfortunately suffered from an almost fatal defect for a fiction writer: he had a private income. If he hadn’t, I’m sure he’d have written much more.”
This is probably unfair. Wyndham had numerous short stories and a few books published throughout his life from the 1920s onwards, some with titles as intriguing as Jizzle (1949), Tyrant and Slave-Girl on Planet Venus (1951), Spheres Of Hell (1933 ) and (ahem) The Third Vibrator (1933).
But it was only in his late forties writing as John Wyndham for the first time that he achieved his first major success, after deciding to fuse two story ideas into one. One story was about a world suddenly struck blind. The other was about a race of killer plants.
The release of The Day of the Triffids marked the beginning of a golden period for Wyndham.
The year 1953 saw the release of The Kraken Wakes, which saw the world again imperilled, this time by an alien force which establishes itself under the sea, having dropped into the ocean from space. This time humanity is threatened by the aliens’ decision to use the Earth’s environment against it, flooding the planet by melting the polar ice caps. The book had a slightly different ending in the US where it was called Out of the Deeps.
The late Brian Aldiss described Wyndham’s works as “cosy catastrophes”. In reality, there is little cosy about any of them. If anything, The Kraken Wakes has grown more resonant in the decades since as humanity has become aware of the growing threat to our way of life by the very real threat of man-made global warming.
Wyndham moved dramatically forward in time for The Chrysalids (1955) which saw a society in thrall to Christian fundamentalism, following what appears to have been a nuclear holocaust centuries before. This event has come to be known as the Tribulation. Conventional wisdom has it that God is likely to unleash further retribution on the populace, unless the occasional mutations occur within some people are not exposed and driven out. In reality, of course, the mutations are the consequence of the nuclear war, rather than the cause of it. When a group of children start developing such mutations – notably telepathic powers – they soon find themselves in a struggle for their lives.
Psychic children also play a vital role in Wyndham’s next novel, The Midwich Cuckoos (1957) in which a race of all powerful hyper-intelligent children come to dominate a small, ordinary mid-20th century English village. The circumstances around the children’s conception are strange indeed. Every woman in Midwich simultaneously falling pregnant following a bizarre 24 hour incident when the entire village (and, indeed, anyone who tried to enter it) fell unconscious). The resulting children, all of whom seem remarkably similar and Aryan-looking, soon show signs of malevolent behaviour, further fuelling suspicions that they are the product of some alien breeding experiment in which the women of Midwich were deployed unwittingly as vessels.
The Outward Urge (1959) marked something of a departure for Wyndham, not least because according to the cover, it was produced with another author, Lucas Parkes. In truth, Parkes was just another name for John Wyndham himself: he had already used this pseudonym in the past. The use of the name here does reflect a change of course for Wyndham, in this book which details the “history” of the world between 1994 and 2194. The story is told from the perspective of the Troon family who witness the continued stand-off between the west and the Soviet union culminating in nuclear war in the mid-21st century, resulting in a new world order dominated by the new superpowers, Australia and Brazil. In reality, of course, the USSR collapsed peacefully in 1991, an event Wyndham would have done very well to predict even if he had written the book in 1984, let alone 1959. The book owes something to H.G Wells’ The Shape of Things To Come (1933). Wyndham was a big admirer of the earlier science fiction pioneer.
Wyndham grew less prolific in his final years. Trouble With Lichen (1960), though not especially strong story-wise raises many interesting questions about the implications of a discovery which stands to substantially increase the duration of the natural human life-span.
Chocky (1968), meanwhile, saw a family jeopardised over concerns that what initially appeared to be their teenaged son’s imaginary friend is in fact a hyper-intelligent alien life force which is communicating with him telepathically. The books Web and Plan for Chaos (the first written around the time of The Day of the Triffids), were both published posthumously.
By the time of his death in 1969, John Wyndham had grown used to seeing his works adapted for TV, radio and cinema. This process has continued, with mixed results. The Day of the Triffids has spawned one not especially fateful film, a surprisingly compelling early 1980s BBC series and a further not very distinguished mini-series, featuring Eddie Izzard, a decade ago. The Midwich Cuckoos, meanwhile, became the monochrome cinema classic, Village of the Damned. In the 1990s, the film received the distinction of a parody on The Simpsons. The same decade also witnessed a remake by Halloween director, John Carpenter. A generation of schoolchildren were also collectively traumatised when three series of the deeply disturbing Chocky appeared on Children’s ITV in the mid-eighties.
More is sure to come. Fifty years after his death, John Wyndham’s legacy extends far beyond the actual books and short stories he left behind. His overall influence on others is impossible to measure. He is a giant of 20th century British science fiction.
World of Wyndham: A Timeline
Intro: His life and times, on page and screen…
1903: John Wyndham Parkes Lucas Beynon Harris is born in Dorridge, Warwickshire
1928-1936: Writing either as John Benyon or John Harris, Wyndham pens numerous detective and sci-fi stories
1951: The Day of the Triffids is published to huge success. The name “John Wyndham” is used for the first time
1953: The Kraken Wakes, a similarly near-apocalyptic tale follows
1955: The Chrysalids
1956: The Seeds of Time, a short story collection by Wyndham appears
1957: The Midwich Cuckoos is published
1959: The Outward Urge is published
1960: Midwich Cuckoos is filmed as Village of the Damned by Wolf Rilla starring George Sanders and Barbara Shelley
The Trouble With Lichen published
1961: Another short story collection, Consider Her Ways and Other Stories is released
1963: Film version of Day of the Triffids. It is directed by Steve Sekely and stars Howard Keel
Children of the Damned, a film sequel to Village of the Damned is released directed by Anton M. Leader, starring Ian Hendry
1968: Chocky is released this year
1969: Wyndham dies in Petersfield, Hampshire. He is 65
1981: UK TV version of Day of the Triffids starring John Duttine
1984: TV version of Chocky. Followed by Chocky’s Children (1985) and Chocky’s Challenge (1986)
1995: John Carpenter remakes Village of the Damned. It stars Christopher Reeves, Kirstie Alley and Mark Hamill
2009: Dougray Scott, Joely Richardson and Eddie Izzard features in a new Day of the Triffids TV series
The term “national treasure” is often bandied around a bit loosely these days. But make no mistake: at eighty, the actress Miriam’ Margolyes is undeniably worthy of the title. As this audiobook version of her autobiography confirms, she is a funny, sensitive and intelligent woman who has led a rich, eventful and rewarding life.
What is she actually most famous for? Well, as she herself admits, when the final curtain eventually falls, many tributes will begin by mentioning that she played Professor of Herbology, Pomora Sprout in two of the Harry Potter films. It is a small role in a star-studded saga which only came to Miriam as she entered her sixties, but such is the nature of the hugely successful franchise that virtually everyone who appeared in them, be they Alan Rickman, Maggie Smith or Robbie Coltrane, is automatically more famous for that than for anything else almost regardless of how busy or successful their career may otherwise have been. As she is not a fan of the series (she has not read any of the books nor seen any of the films, including either of the ones she is in herself) and does not like science fiction or fantasy, she admits this slightly grudgingly although she remains grateful as ever for the work and for being a small part of a story that means so much to so many people and will doubtless continue to be watched for many decades to come.
She has been astonishingly prolific though working consistently on stage, radio, TV and film since she left Cambridge University nearly sixty years’ ago. The Internet Movie Database credits her with 188 roles and while many of these were bit parts or voice only roles but this doesn’t even touch on the numerous radio, theatre and voiceover performances she has delivered and she discusses many of them here. This is a long book but even she cannot mention everything. In 2006, for example, she appeared as Mrs. Midge in one episode of the sitcom, Jam & Jerusalem and provided voices for the characters, Mrs Ashtrakhan and Rita’s Grandma in the high-profile animated films Happy Feet and Flushed Away. But I don’t think any of these roles are mentioned in this autobiography.
She had a run of 1990s Hollywood success. She was the nurse in Baz Luhmann’s Romeo + Juliet, probably the most successful Shakespeare film adaptation ever made. Oddly, one of her abiding memories of this experience was just how smelly the young star, Leonardo DiCaprio was. She was the voice of Fly, the female sheepdog in both the Babe films. She won a BAFTA for her role as Mrs. Mingott in Martin Scorsese’s Age of Innocence.
We have all probably seen and heard her in far more things than we realise. She was one of the most high-profile voiceover actresses of the 1980s. She was the voice of the sexy cartoon bunny on the Cadbury’s Caramel adverts (“Take it easy with Cadbury’s Caramel”). She vividly recreates her sexually suggestive vocal performance on one 1970s tobacco advert. She dubbed most of the female voices for the cult 1970s series, Monkey. I personally remember her first from watching the brilliant Blackadder II in which she played Edmund’s puritanical aunt, Lady Whiteadder, a character who, Margolyes relates, seems to have a curious effect on a certain breed of middle-aged man (although not this one). I also once saw her on stage in a production of She Stoops To Conquer alongside an unlikely combination of Sir Donald Sinden and David Essex.
But the book’s not all about her career. Margolyes talks seriously and honestly about many things. She talks about her parents, her childhood in Oxford, her university days, her being Jewish, her lesbianism, her pain and regret about her experience of ‘coming out’ to her parents and her lifelong unhappiness with her own appearance. As the name of the book suggests, she is always very honest. She acknowledges her successes (she is especially proud of her one-woman show, Dickens’ Women in which she played a huge number of roles) but admits to her failures both major (cheating on her partner of fifty years) and minor (overreacting to a parking ticket or embarrassing herself when meeting the Queen).
Readers should perhaps be warned about her surprisingly numerous sexual exploits and perhaps still more surprisingly, her eagerness to discuss them. Although a lesbian, a remarkable number of her anecdotes end with the phrase “and then I sucked him off.” This will doubtless offend some readers or listeners and amuse many more.
In fact, you could actually get very drunk playing a Miriam Margoyles Drinking Game imbibing every time the phrase “sucked off” comes up. Although too her credit, you would get drunker still if you downed a shot every time she ends a description of someone she has met during her life with some variation on the phrase “we remain friends and are still in touch to this day” or “we remained friends until they died.” She values friendship highly and has made and remained friends with many people. She says she has nearly 12,000 names in her phone book and clearly relished getting in touch with many of them to help her remember many of the events detailed in this narrative.
This, of course, suggests she is pleasant and easy to work with. It also adds credibility to her testimony against those who she does dislike who she condemns vigorously. She was treated very badly by Glenda Jackson during a union dispute during a disastrous stage production in the 1970s, singles out the late Terry Scott as a truly awful person and is venomous about the blatant sexism displayed by many of the future Goodies and Monty Python team while at Footlights at Cambridge during the 1960s.
Some people still don’t like her today, of course, for a variety of reasons namely because she is a woman who talks freely about her sexuality, because she is a lesbian, because she holds left-wing views, because she holds left-wing views but has criticized Jeremy Corbyn’s support for Brexit and failure to tackle anti-Semitism in the Labour Party, because she is Jewish and yet has condemned Israel’s brutal treatment of the Palestinians, because she is Jewish full stop, because she is a woman who speaks her mind freely and honestly, because she is an old woman or simply because she is a woman.
This book is not for them. For the rest of us this is a golden opportunity to enjoy a well-told story, which is honest, moving and often very funny about a rich life lived to the full.
Talking to people about Facebook is a bit like talking to them about God: no two people see it in quite the same way and most people don’t really believe in it all. My own personal experience of Facebook is that it has become an increasingly faceless experience in recent years anyway. It has certainly never felt anything like reading a book. A book of faces sounds more like an album anyway.
Whatever else it might be, it certainly isn’t very ‘meta.’ Facebook (today aside) does not talk about itself endlessly. This would work better as a new name for the BBC. No, Facebook works best as a means to keep up with old friends or rivals without having to suffer the indignity of talking to them. The name ‘Eyeball’ would work better.
As for Twitter? The name ‘Twitter’ suggests a pleasant, idle conversation, perhaps one overheard in the distance through an open window which you might feel drawn towards joining in. The reality is somewhat different. These days Twitter is more akin to overhearing two cats fighting nearby. It is the living realisation of the Monty Python sketch where a man turns up and politely books himself in to have an argument. Arguments can be found on Twitter 24 hours a day. Just type in one of the magic words, ‘Boris,’ ‘Trump,’ ‘Brexit,’ ‘vaxxers’ or ‘BBC.’ ‘Bluster’ would be a more suitable name than ‘Twitter.’ Or perhaps ’Fume,’ ‘BeltUp or ‘Firestorm.’
Amazon is a dramatically inappropriate name as the Amazon rainforest is the one part of the world most gravely threatened by its continued existence. Perhaps a better name for it would draw immediate attention to its leading role in precipitating environmental catastrophe. What’s the simplest way to make water levels rise? Putting stones in it. Perhaps that would be the idea name for it? Water Stones?
Facebook is, of course, of a similar vintage to MySpace. This was actually a perfectly good name suggesting the user had captured their own little bit of the internet in which they were at liberty to express themselves freely. MySpace is, of course, now long defunct. But we live in an age where ‘extinction’ like ‘meta’ has in itself become a fashionable buzz word. Had MySpace only had the foresight to change its name to something like ‘Extinction’ or ‘Oblivion,’ I suspect it would still be with us today.
How soon is too soon to write about the history of a particular time or place?
Following on from his earlier three excellent volumes which took us from the start of the 1970s to the dawn of the new millennium, Alwyn Turner’s new book picks up the English story at the time of New Labour’s second massive General Election victory in 2001 before dropping us off again at the time of David Cameron’s surprise narrow win in 2015. The stage is set for the divisive Brexit battles of the last five years and for the divisive leadership of the Labour Party by Jeremy Corbyn after 2015, but the narrative clearly stops before getting to either. Turner’s book is packed full of reminders of this eventful and turbulent period. Who now remembers Pastygate? Cleggmania? Russell Brand’s dialogue with Ed Miliband or Robert Kilroy Silk’s thwarted battle to take over UKIP? Viewed from the perspective of the current Coronavirus pandemic which, writing in July 2021, has thus far totally dominated the third decade of the 21st century, Turner’s social history of this busy and already seemingly historically quite distant fourteen year period already seems very welcome.
It is not all about politics, of course. As before, Turner takes a good look too at changes in society as viewed through the prism of TV, literature and other developments. No doubt he will one day have much to say about the recent Euro 2020 Finals and subsequent race row. Here, for example, we get a thorough comparison between the different styles of comedians, Jimmy Carr and Roy Chubby Brown. Both are edgy and deliberately tackle sensitive subjects for their humour. Carr, is however, middle-class and Cambridge-educated while Brown never conceals his working-class origins. Carr is frequently on TV, while Brown, although popular, is never allowed on. But, as Turner points out, it is not simply a matter of class. Carr is deliberately careful, firstly never to go too far or to appear as if he is endorsing any (or most) of the dark things he talks about. Brown is much less cautious. He frequently pushes his jokes into genuinely uneasy territory and occasionally seems to be making crowd-pleasing anti-immigration points which totally lack any comedic punchline. Whereas Carr clearly has a carefully constructed stage persona, it is unclear where the stage Chubby Brown begins and the real Chubby Brown ends.
Class comes up a fair bit in the book. Turner identifies a definite resurgence in the popularity of posher folk in public life during this period. Some are obvious: TV chefs such as Nigella Lawson, Hugh Fearnley Whittingstall, Chris Martin of Coldplay, the rise of Boris Johnson and David Cameron, the last becoming the first Tory leader to come from a public school background in forty years in 2005. Others are less obvious: musician Lily Allen was privately educated as were Gemma Collins and some of her other The Only Way is Essex companions. Even Labour’s Andy Burnham went to Cambridge.
The underrated Russell T. Davies 2003 TV drama, Second Coming in which Christopher Eccleston’s video shop assistant surprisingly claims to be the Son of God and indeed turns out to really be him. The phone hacking scandal. The London 2012 Olympics Opening Ceremony. The rise and fall of George Galloway. The 2011 London riots. The Jimmy Saville affair and other scandals. The TV show, Life on Mars. All these topics are revisited by Turner in intelligent and readable fashion.
Other interesting nuggets of information also come in the footnotes. “By 2009 over 9 per cent of Peterborough had come to the city from overseas.” Alexander Armstrong was the first man to play David Cameron in a TV drama in 2007’s The Trial of Tony Blair (aired during Blair’s final months in office). We also get reminders of some of the better jokes of the period in this manner. Frank Skinner’s “George Osborne has two types of friends: the haves and the have yachts.” Or the late Linda Smith’s take on the 2005 Tory election slogan: “Are you sinking like we’re sinking?”
We are also kept informed of the main biscuit preferences of our political leaders, an issue Gordon Brown, a brilliant man, but always uneasy with popular culture, characteristically messed up answering.
There is less about music, although Turner does at one point suggest that the Spice Girls “might have been the last group that really mattered, that meant something beyond record sales and outside their own constituency.”
Turner does well to retain a position of political neutrality here and is especially good at retracing the early machinations on the Labour Left and the Eurosceptic Right which seemed irrelevant at the start of this era but which by the end of it came to seem very important indeed. It is, indeed, a very depressing period for anyone on the liberal left. In 2001, the Lib Dems under their dynamic young leader, Charles Kennedy seemed poised to become the nation’s second party. By 2015, Kennedy was dead and the party wasn’t even registering in third place in terms of either seats or share of the vote. In 2001, Tony Blair won a second huge landslide majority, seemed to have the world at his feet and was one of the most highly regarded political leaders of recent times. Furthermore, no one serious in political life was even remotely contemplating withdrawing from the European Union.
What changed? Read this endlessly fascinating book to find out.
Book review: All In It Together, England in the Early 21st Century, by Alwyn Turner. Published by: Profile Books. Available: now.
Geoff Norcott is that rarest of breeds: a popular and funny right-wing comedian.
Whereas, even only a few years ago, most people would have struggled to name even one living British comedian with conservative views (particularly when the list is shortened further to exclude those who are not openly racist), Norcott has risen to fame largely on the basis of his appearances as the ‘token right-winger’ on the BBC’s excellent topic comedy show, The Mash Report. Ironically, the show was cancelled earlier this year, largely as a result of concerns by nervous BBC execs that, Norcott’s contribution aside, it was too left-wing.
Some would doubtless challenge me for even agreeing to review this book and thus provide the oxygen of publicity to someone who is not only a self-confessed Tory voter but a Brexiteer.
To these people I would point out first that Norcott clearly represents the more acceptable face of the Right. He is clearly not racist at all and in 2019 was appointed as a member of a BBC Diversity Panel with the aim of ensuring the corporation represents a broad cross section of the public’s views. He is also, it must be mentioned, deeply sceptical about the leadership skills of Boris Johnson. This is a definite point in his favour, even if his scepticism was not quite sufficient to prevent him from helping vote Johnson back into power in the December 2019 General Election.
Secondly, I would argue strongly that we shut out voices such as Norcott’s at our peril. Nobody’s life is perfectly typical of anything, but Norcott seems to be a textbook example of the sort of voter Labour could once, perhaps complacently rely on to support them as recently as the 1990s and 2000s but who they have since lost with fatal consequences. With much of Norcott’s assessment of Labour taking the form of critical advice rather than flagrant attacks, he is certainly worth listening to.
By coincidence, me and Geoff Norcott are almost exactly the same age. He was born six days earlier than me in December 1976. Like me, his first ever experience of voting in a General Election as a twenty-year-old was for New Labour in May 1997. He describes his feeling on leaving the voting booth:
“It was probably the first and last time I ever felt total conviction about the party I voted for,” I feel the same. It was a combination of the perhaps misplaced certainties of youth. But it was also, I think, something about the political mood of 1997.
Like me, he returned, perhaps slightly less enthusiastically to voting Labour in 2001. Thereafter, our paths diverge. I came very close to voting Lib Dem in 2005, largely because of my opposition to the war in Iraq (I eventually held my nose and voted for my local Labour candidate who was anti-war, but lost her seat anyway). Norcott doesn’t mention his views on the war, but did vote Lib Dem, partly because like me, he admired their then leader, the late Charles Kennedy, but also as part of a slow journey he was undergoing towards the Tories. In the last four General Elections held since 2010, he voted Conservative. He also voted Leave in 2016.
In truth, Geoff Norcott, although from a traditionally Labour family had been showing conservative instincts from a young age. He had an entirely different upbringing to me. Mine was comfortable and middle-class, his was marred by both poverty and parental divorce. He is sceptical about the welfare system based on his own family experiences and is less enthusiastic than most people are these days about the NHS. He felt endlessly patronised while at Goldsmith College, London in the mid-1990s and has come away with a lifelong scepticism about left-wing middle-class liberals, many of whom frequently serve as targets for his humour today, (for example, on the marches for a second ‘People’s Vote’ on Brexit: “The idea that loads of liberals having a day out in London with chopped kale power salads and terrible chants in some way spoke for the country was laughable”). He has had some tough battles on Twitter. Critics of his appearances on Question Time have variously attacked him for either being rich and self-interested or too common to be on TV. He now seems to be convinced Twitter is a hotbed of left-wing sentiment. I’m not sure it is.
The book takes us through his difficult early years, a brief stint in media sales, his work as a teacher, his time entertaining the troops overseas, a series of personal tragedies a few years ago through to his final success as a successful and reasonably well-known comedian and now author, settled with his family in Cambridgeshire.
Needless to say, I don’t agree with him on many things. He believes the Blair and Brown governments spent too much: I don’t think they did particularly, and even if they had done, this certainly does not explain why the credit crunch happened. His main criticism of people like the Milibands and Keir Starmer seems to be largely based on the fact that they are middle-class and cannot claim any link to working-class people. In my view, this is true but is surely dwarfed by the facts that their opponents men such as David Cameron and Boris Johnson were born into lives of such immense privilege to the extent that these leaders have no knowledge or interest in reducing poverty at all.
I suspect, at root, like many right-wing people, Norcott thinks there is something hypocritical about anyone with money having a social conscience about anything, while his tolerance for rich leaders who openly don’t give a toss about society is much greater. This has never been my view. My horror at the Tory record on homelessness, unemployment and underfunding of the health service has always been sufficient to drive me away me from ever voting for them, particularly when combined with the frequent right-wing tendency (not shared by Norcott himself) to either be racist or to blame many of the weakest and poorest in the world for many of society’s ills.
Geoff Norcott is, of course, now successful enough to be considered middle-class himself and undoubtedly has many left-wing comics amongst his friendship circle. None of which should detract from this sometimes funny, enjoyable and often useful book which is packed with useful phrases such as ,”when you demonise a voter, you lose them forever” which many of us would do well to remember.
Book review: Where Did I Go Right?: How The Left Lost Me, by Geoff Norcott. Published by: Octopus. Available: now.
Over seventy years after the death of George Orwell, Richard Bradford’s new biography, convincingly argues the case for the continued importance of the author of Animal Farm and 1984 in the 21st century.
In addition to the biographical details of Orwell’s eventful life – his unhappy schooldays, his years in the Burmese police force, his genuine heroism fighting fascism during the Spanish Civil War- the book connects Orwell’s writing to the present by linking it to recent trends such as the endless distortions of the truth by the now disgraced former US President Donald Trump and by the current UK Prime Minister, Boris Johnson. The book also discusses the bitter antisemitism row which undermined Jeremy Corbyn’s spell as leader of the Labour Party in an intelligent book which demonstrates how Orwell today remains as relevant as ever.
Book review: Orwell: A Man of our Time, by Richard Bradford. Published by: Bloomsbury Caravel, May 13th 2021.
A former local journalist who later moved into public relations, Terry Pratchett grew from being a cult comic fantasy author in the 1980s to becoming the bestselling author in the UK of all in the 1990s. Biographer Marc Burrows does an excellent job detailing the prolific Discworld and Good Omens author’s busy life and extensive back catalogue – no mean feat as the Discworld series alone comprises 41 novels – successfully emulating Pratchett’s own literary style as he does so, with numerous witty footnotes throughout. Burrows also details the progress of the Alzheimer’s disease which sadly blighted Pratchett’s final years leading to his death in 2015, aged 66.
I spotted only one mistake: Pratchett never reported on the assassination of Egyptian President Nasser as this event never happened. Perhaps the author meant Sadat? At any rate, this should not detract from Burrows’ achievement. Apparently, Pratchett’s official biography has not been written yet. Whoever writes it will have their work cut out surpassing this.
Book review: The Magic of Terry Pratchett, by Marc Burrows. Published by Pen and Sword. White Owl (2020)
Some years ago, the comedian Richard Herring noticed something funny happening on Twitter.
Many unusual things happen on Twitter, of course, but Herring noticed this particular trend always occurred on March 8th, the date officially designated as International Women’s Day.
“When is international men’s day?” one tweet would typically begin. “Or am I once again being positively discriminated against?”
Other such tweets would be more argumentative in tone. “Imagine the uproar if there was an international man’s day…” Or “Is there an international man’s day? #askingforafriemd” or even “When’s international men’s day then? Of course there isn’t one. So much for equality!!”
Lots of these tweets appear every year. The vast majority are posted by men. All have been prompted by news of International Woman’s Day. Perhaps they make a reasonable point?
Well, in fact, no. They do not.
Because firstly, as Richard Herring points out, all of them have been tweeted simply in an attempt to spoil International Women’s Day. This is a silly and childish response, the equivalent of a child having a tantrum at another child’s birthday party, which they have been invited to, simply because it is not their own.
Second, almost everyone tweeting may be safely presumed to have some sexist intent (e.g. to rile women or feminists).
And thirdly…there is an International Men’s Day already! There has been for years, a fact any one of the multitude of idiots sending out the army of tweets on the matter, could have found out simply by Googling it within seconds. It is on November 19th.
Richard Herring is one of Britain’s most likeable and intelligent comedians and often likes to set himself these little challenges. Years ago, he set himself the task of replying to every single tweet asking the inane question always with a witty response informing them that the big day is on November 19th.
Two years ago, he started doing this for charity. If I may quote Wikipedia:
“On 8 March 2018, in aid of International Women’s Day, Herring raised over £150,000 for domestic abuse charity Refuge by responding to anyone on Twitter who asked when International Men’s Day was (it is 19 November).He did the same on 8 March 2019, raising almost £130,000. He repeated the exercise for the final time on 8 March 2020 and streamed himself responding to tweets live on Twitch. He raised a further £70,000.”
Three cheers for him!
In fact, four cheers as this short book detailing his experiences is a treat. Extending into such topics as why many men confidently believe they could score a point against Serena Williams on a tennis court (they couldn’t), why female leaders have a better record on dealing with COVID-19 than male ones do and whether a man can ever be considered a feminist, this is thought-provoking, intelligent and lots of fun.
The Problem with Men: When is it International Men’s Day? (and why it matters), by Richard Herring. Published by Sphere, November 5th 2020.
January (Prog 451): The year begins with the third and what turns out to be the final book of The Ballad of Halo Jones (Moore/Gibson). It is probably the most acclaimed story ever to appear in the comic.
February (Prog 457): Chief Judge McGruder is replaced by Chief Judge Silver in Judge Dredd. Other stories include Ace Trucking Co., Slaine and Strontium Dog at this time. Slaine currently takes the form of an RPG adventure, a format soon to be attempted again in the short-lived Diceman spin-off comic (see below).
March (Prog 463): 2000AD rises from 24p to 26p.
April (Prog 465): Wulf Sternhammer dies in Strontium Dog (Grant/Ezquerra).
(Prog 466): Halo Jones ends. Seven more books were planned. In fact, the story never returns.
May (Prog 468): Anderson PSI (Grant/Ewins) returns in the 9th birthday issue along with new strips, Bad City Blue (Grant/Robin Smith) and the offbeat time travel strip, Sooner or Later (Peter Milligan/Brendan McCarthy).
July (Prog 477): Judge Dredd: The Art of Kenny Who? (Wagner/Grant/Kennedy).
August (Prog 483). Metalzoic (Mills/O’Neill) originally a DC strip begins. Nemesis (Mills/Bryan Talbot) is also appearing at this point.
November (Prog 498): Ten ten, never again! Ace Trucking Co. comes to an end.
December: A special glossy cover for Prog 500! Major new future war strip, Bad Company begins (Milligan/McCarthy) as does Slaine The King (Mills/Glenn Fabry). However, Alan Moore is offended by 2000AD’s decision to use characters he created without his permission for this issue. He never writes for the comic again.
Elsewhere:
British indie rock band, Mega City Four (whose name was inspired by Judge Dredd) are formed around this time.
January: Controversial science fiction author, L. Ron Hubbard dies.
February: Diceman, a new bi-monthly magazine aiming to capitalise on the RPG craze begins. Edited by a monster called Mervyn (it is in fact edited by Simon Geller), it is a spin-off of 2000AD, with most of the stories written by Pat Mills. Aside from a new character Diceman and a one-off satire, You Are Ronald Reagan: Twilight’s Last Gleaming, all the stories are RPG versions of 2000AD stories: Judge Dredd, Nemesis the Warlock, Sláine, Rogue Trooper, Torquemada and ABC Warriors. Sadly, it does not find an audience and fails after five issues.
August: James Cameron’s Aliens is released.
September: DC begins serialising Watchmen (Alan Moore/Dave Gibbons). Frank Miller’s Batman: The Dark Knight Rises also appears this year.
Kids’ sci-fi film, Flight of the Navigator is released in the UK. Short Circuit is released in December as is Transformers: The Movie.
Chris Hallam is a freelance writer. Originally from Peterborough, he now lives in Exeter with his wife. He writes for a number of magazines and websites including Yours Retro, Best of British and Comic Scene – in which he wrote about Judge Death, The Ballad of Halo Jones, Dan Dare, The Eagle, Metalzoic and Alan Moore’s Watchmen. In the past, he wrote for Metro.co.uk, Radio Times, DVD Monthly, Zarjaz, The Companion and Geeky Monkey. He co-wrote the book, Secret Exeter (with Tim Isaac) and wrote A-Z of Exeter – People, Places, History. He also provided all the written content for the 2014 annuals for The Smurfs, Furbys and Star Wars Clone Wars as well as for sections of the 2014 South Park annual and all the 2015 Transformers annual.
March (Prog 307): The final Harry Twenty on the High Rock.
(Prog 308): Skizz lands in the comic (Alan Moore/Jim Baikie).
(Prog 309): Judge Dredd confronts The Starborn Thing (Wagner and Grant/Ezquerra).
April (Prog 311): Sixth birthday issue. The cover price rises to 20p. The Slaying of Slade begins in Robo-Hunter (Wagner and Grant/Gibson).
May (Prog 317): D.R. and Quinch Have Fun On Earth in a Time Twisters story. It is their first ever appearance (Alan Moore/Davis).
August (Prog 330): Slaine appears for the first time (Mills/Angie Kincaid and later Massimo Belardinelli). Skizz ends. Conclusion of The Slaying of Slade.
September (Prog 334): For the first time in 2000AD history, all four stories reach the conclusion of their particular stories simultaneously (Dredd, Slaine, Rogue Trooper, Robo-Hunter). This happens again at the end of the year.
(Prog 335): Nemesis the Warlock Book Three (Mills/O’Neill). Strontium Dog also returns (Grant/Ezquerra) in The Moses Incident. Dredd begins The Graveyard Shift (Wagner and Grant/Ron Smith).
Elsewhere:
January: Children’s series, Captain Zep: Space Detective arrives on BBC1.
February: Knight Rider debuts on UK TV.
June: Star Wars Episode VI: Return of the Jedi is the biggest film of the year. It is the last official Star Wars film for 16 years. Episode VII will not come out for another 32 years.
The James Bond film, Octopussy opens.
July: Superman III flies onto British screens. It does significantly worse than Superman II did, but does much better than Superman IV will do.
August: Matthew Broderick stars in War Games.
October: Gerry Anderson and Christopher Burr’s Terrahawks arrives.
Chris Hallam is a freelance writer. Originally from Peterborough, he now lives in Exeter with his wife. He writes for a number of magazines and websites including Yours Retro, Best of British and Comic Scene – in which he wrote about Judge Death, The Ballad of Halo Jones, Dan Dare, The Eagle, Metalzoic and Alan Moore’s Watchmen. In the past, he wrote for Metro.co.uk, Radio Times, DVD Monthly, The Companion, Zarjaz and Geeky Monkey. He co-wrote the book, Secret Exeter (with Tim Isaac) and wrote A-Z of Exeter – People, Places, History. He also provided all the written content for the 2014 annuals for The Smurfs, Furbys and Star Wars Clone Wars as well as for sections of the 2014 South Park annual and all the 2015 Transformers annual.
January (Prog 245): The year begins in style with the launch of a new Judge Dredd mega-epic, The Apocalypse War. Half of Mega City One and several other of the 22nd century world’s mega cities are wiped out. This is also the first Dredd story illustrated by Dredd co-creator Carlos Ezquerra to be published in the weekly comic. (Written: Wagner/Grant).
(Prog 246): Nemesis the Warlock Book Two (Mills/Redondo) begins.
April (Prog 259): Sam Slade moves to Brit Cit.
(Prog 260): Fifth birthday issue. The comic is dominated by Dredd, Nemesis, Robo-Hunter, Rogue Trooper, The Mean Arena (which ends in September) and Ace Trucking Co. This is a golden age for 2000AD and after three major new stories in 1981, there are no significant new arrivals.
June (Prog 270): The Apocalypse War ends. The real life Falklands War also ends at about this time. There are to be no more Dredd mega-epics for five years and only one more in the entire decade (Oz in 1987-88).
July (Prog 271): The cover price rises from 16p to 18p.
September (Prog 280): Otto Sump returns to Dredd.
October (Prog 287): Harry Twenty on the High Rock begins (Finley-Day/Alan Davis).
Elsewhere:
The Warlock of Firetop Mountain by Ian Livingstone is published. It is the first in the Fighting Fantasy series of role-playing adventure game books.
January: Peter Davison makes his debut as the Fifth Doctor in Doctor Who. The series which is nineteen years old, undergoes a general controversial revamp.
Japanese sci-fi puppet series, Star Fleet arrives in the UK.
March: High quality monthly Warrior is launched featuring Laser Eraser and Pressbutton and the Alan Moore-scripted V For Vendetta and Marvelman (later Miracleman).
April: A new version of The Eagle is launched featuring another new Dan Dare, Doomlord, The Collector and Sgt. Streetwise.
July: Star Trek: The Wrath of Khan is released and unlike most non-E.T science fiction films released this year, is a box office success. Originally to be called Vengeance of Khan it had its name changed to avoid confusion with the forthcoming third (or sixth) Star Wars film, Revenge of the Jedi. This itself has its name changed and is released as Return of the Jedi in 1983. Khan is now widely regarded as the best of the original Star Trek films.
August: John Carpenter’s The Thing comes out in the UK. Regarded as a classic now, it is critically panned on release. Sword and sorcery epic, Conan The Barbarian is also released.
Life, The Universe and Everything (the third Douglas Adams’ Hitchhiker’s Guide book) is published.
September: Blade Runner is released in the UK. Author Philip K. Dick, who wrote the original novella, Do Androids Dream of Electric Sheep, died in March, aged 53.
October: Tron is released, famously flopping at the box office.
December: Steven Spielberg’s E.T: The Extra Terrestrial is released in the UK. As of June 2021, it is the fourth biggest box office hit of all time when inflation is taken into account (just) behind The Sound of Music, the 1977 Star Wars and Gone With The Wind.
The first ever Doctor Who spin-off, K9 and Company arrives in the form of a pilot/Christmas special.
Chris Hallam is a freelance writer. Originally from Peterborough, he now lives in Exeter with his wife. He writes for a number of magazines and websites including Yours Retro, Best of British and Comic Scene – in which he wrote about Judge Death, The Ballad of Halo Jones, Dan Dare, The Eagle, Metalzoic and Alan Moore’s Watchmen. In the past, he wrote for Metro.co.uk, Radio Times, DVD Monthly, The Companion and Geeky Monkey. He co-wrote the book, Secret Exeter (with Tim Isaac) and wrote A-Z of Exeter – People, Places, History. He also provided all the written content for the 2014 annuals for The Smurfs, Furbys and Star Wars Clone Wars as well as for sections of the 2014 South Park annual and all the 2015 Transformers annual.
February (Prog 200): The 200th issue sees the launch of the epic Johnny Alpha origins story, Portrait of a Mutant in Strontium Dog (Grant/Ezquerra).
April (Prog 206): Dredd story Un-American Graffiti (Wagner/Ron Smith, Brett Ewins). First appearance of Marlon Shakespeare aka. Chopper.
June (Prog 216): Writer Peter Milligan debuts in the comic.
(Prog 217): Alan Moore and John Higgins’ famous Tharg’s Futureshock: The Last Rumble of the Platinum Horde! A rare instance of a Futureshock getting a cover (Cover art: Mike McMahon).
July (Prog 222): A major arrival: Nemesis the Warlock Book One begins (Mills/O’Neill). Two mini-stories appeared in 1980.
August (Prog 224): The Dark Judges arrive in Judge Death Lives! (Wagner and Grant/Bolland).
2000AD rises to 16p. It is now twice as much as it was when it started in 1977. This is not an unusual rate of increase for the time, however. Besides, by 1981, the comic is undoubtedly enjoying a golden age.
A new Judge Dredd comic strip begins in the Daily Star newspaper this month, initially produced by John Wagner, Alan Grant and Ron Smith. It continues until 1998.
September (Prog 228): Rogue Trooper goes into battle for the first time (Finley-Day/Dave Gibbons). It becomes Gerry Finley-Day’s biggest hit and one of 2000AD’s most popular stories.
October (Prog 232): Ace Trucking Co. begins trading! It is one of the zaniest stories ever to appear in the comic. (Wagner and Grant/Belardinelli).
Other stories this year include: The Mean Arena, Meltdown Man (which ends in August after an unusually long fifty-issue run) and Return to Armageddon.
(Prog 236): Blockmania erupts in Judge Dredd! (Wagner and Grant/Boland, McMahon). This story leads directly into the Apocalypse War mega-epic which launches at the start of 1982.
Elsewhere:
January: The Hitchhiker’s Guide to the Galaxy TV series begins.
March: Tom Baker’s last outing as Doctor Who.
July: Terry Gilliam’s sci-fi fantasy classic, Time Bandits is released in UK cinemas. So is Clash of the Titans.
September: John Carpenter’s Escape From New York is released. TV version of John Wyndham’s 1951 novel, The Day of the Triffids begins showing.
December: Blake’s Seven ends.
Chris Hallam is a freelance writer. Originally from Peterborough, he now lives in Exeter with his wife. He writes for a number of magazines and websites including Yours Retro, Best of British and Comic Scene – in which he wrote about Judge Death, The Ballad of Halo Jones, Dan Dare, The Eagle, Metalzoic and Alan Moore’s Watchmen. In the past, he wrote for Metro.co.uk, Radio Times, The Companion, DVD Monthly and Geeky Monkey. He co-wrote the book, Secret Exeter (with Tim Isaac) and wrote A-Z of Exeter – People, Places, History. He also provided all the written content for the 2014 annuals for The Smurfs, Furbys and Star Wars Clone Wars as well as for sections of the 2014 South Park annual and all the 2015 Transformers annual.
Chris Hallam's World View 