Nick and Margaret with some of the "stars" of their BBC show. Photograph: BBC
Show Hide image

Laurie Penny on welfare: The BBC is colluding in the government’s attack on benefit claimants

The cruellest thing about the benefits cap is not that it could make thousands of people homeless or force more families to depend on food banks (three of these open every week). It’s that it’s not really about people on benefits at all.

The camera may not lie but sometimes it tells truths you weren’t expecting. As the government’s flagship benefits cap is rolled out across the nation, amid protests from homelessness charities, women’s rights groups and food banks already overwhelmed by demand, the BBC is devoting hours of its prime-time schedule to pitting the underpaid against the unemployed. The spectacle of one single mother telling another in the tin-can aisle at the supermarket that she’s greedy because she wants her kids to have a hot meal says a great deal about modern Britain. It tells us whose suffering matters and whose children will never have their dinner dissected for our scorn on national television.

The BBC1 programme Nick and Margaret: We All Pay Your Benefits (11 and 18 July, 9pm), echoing the rhetoric of the Department for Work and Pensions, pits “taxpayers” against “shirkers” and asks how we can “make work pay”. Of these gristly little semantic nuggets of state propaganda, “making work pay” is the most noxious – a mantra that’s incanted by every jobsworth Tory in every debate, in line with the logic that if one repeats a lie for long enough it will function as truth.

Taking away benefits will not “make work pay”. The reason why work doesn’t pay is not that benefits are too high. It is that wages are too low. The latest figures from the Office for National Statistics show that, with the rising cost of living, there have been 40 consecutive months of contraction in real wages in the UK. In many occupations, the basic pay is too low to cover rent, food and bills, especially in London and the south-east, where housing costs are out of control. This is why a large proportion of housing benefit is paid on behalf of those who are in work, straight into the pockets of private landlords.

Then there’s “the taxpayer”, a phrase that is deliberately misused to imply that only those in waged work pay taxes. Everybody who buys a warm Cornish pasty puts pennies into the Treasury. Drawing an arbitrary distinction between “taxpayers” and “people on benefits” implies that those who rely on state support are taking money directly out of the pockets of workers, when they are being supported by a system to which we all contribute, which is there to help all of us should we find ourselves ill or unemployed.

The anxiety to separate the interests of “taxpayers” from those of the unemployed falsely suggests that unemployment benefits are now the main drain on the state. Despite savage welfare cuts, state spending on unemployment remains high because unemployment remains high, for the simple reason that one cannot “incentivise” people into jobs that aren’t there. A far higher proportion of state spending goes on subsidising tax cuts for multinational corporations and arms dealers, maintaining our nuclear weapons programme and having a military presence abroad. “Taxpayers”, though, are not being invited into the homes of devastated Afghan families, taken on tours of the Trident base or shown around the mansions of offshore millionaires and asked to make judgements about how their taxes are being spent. The idea is preposterous. Poor people are supposed to make moral judgements about other poor people only. We can afford to offer Vodafone billions in tax breaks but God forbid some kids in Ipswich get a second-hand PlayStation.

That’s the judgement call that representatives of the working class are invited to make in We All Pay Your Benefits, deciding whether or not the unemployed are being indulged, as Nick and Margaret, a pair of well-spoken, pension-age presenters, ride around in a taxi prattling on like something out of a David Lynch film. For most of the show, the camera leers at the jobseekers but the truly fascinating characters are those who have been invited on to the show to judge.

Their anger that their hard slog has not raised them above the level of a family on Jobseekers’ Allowance is distressing to watch. Clearly they all work hard – for not enough money and with few prospects of improving their circumstances as rents rise and essential services are dismantled. It is hardly the fault of a disabled single father-ofthree that a care worker who runs her own business is still struggling to cover the bills. But that is the only conclusion that this programme and this government are permitting us to voice.

On any other channel, a programme such as this could be written off as a crass cash-in on public mistrust of the welfare system, treating the unemployed as a telegenic cross between criminals and animals in a zoo. That it was given the green light by the BBC, a publicly funded and supposedly impartial broadcaster, indicates something more. It suggests a culture shift: the wilful misdirection of public anger towards those who least deserve it.

The cruellest thing about the benefits cap is not that it could make thousands of people homeless or force more families to depend on food banks (three of these open every week). It’s that it’s not really about people on benefits at all. They aren’t the voters this government is interested in attracting. It’s about placating public rage and persuading people who would vote for a tin of beans if it had a Tory ribbon on it that this government is tough and in charge.

Like any pack of bullies, the Conservative Party likes to prove its strength by picking on the weakest people within reach. In this case, the targets include single mums and the mentally ill. That tens of thousands of children will spend their school years going to bed hungry because of this policy is incidental. The benefits cap is first and foremost a public relations exercise. With a former PR man for Prime Minister, what else would it be? Behind the relentless campaign of spin, though, is the truth – and the truth is that those on benefits have nothing, absolutely nothing, to be ashamed of.

Laurie Penny is the contributing editor of the New Statesman

Laurie Penny is a contributing editor to the New Statesman. She is the author of five books, most recently Unspeakable Things.

This article first appeared in the 22 July 2013 issue of the New Statesman, How to make a saint

Getty
Show Hide image

Love a good box set? Then you should watch the Snooker World Championships

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. 

People are lazy and people are impatient. This has always been so – just ask Moses or his rock – but as illustrated by kindly old Yahweh, in those days they could not simply answer those impulses and stroll on.

Nowadays, that is no longer so. Twitter, YouTube and listicles reflect a desire for complex and involved issues, expansive and nuanced sports – what we might term quality – to be condensed into easily digestible morsels for effort-free enjoyment.

There is, though, one notable exception to this trend: the box set. Pursuing a novelistic, literary sensibility, it credits its audience with the power of sentience and tells riveting stories slowly, unfolding things in whichever manner that it is best for them to unfold.

In the first episode of the first series of The Sopranos, we hear Tony demean his wife Carmela's irritation with him via the phrase “always with the drama”; in the seventh episode of the first series we see his mother do likewise to his father; and in the 21st and final episode of the sixth and final series, his son uses it on Carmela. It is precisely this richness and this care that makes The Sopranos not only the finest TV show ever made, but the finest artefact that contemporary society has to offer. It forces us to think, try and feel.

We have two principal methods of consuming art of this ilk - weekly episode, or week-long binge. The former allows for anticipation and contemplation, worthy pursuits both, but of an entirely different order to the immersion and obsession offered by the latter. Who, when watching the Wire, didn’t find themselves agreeing that trudat, it's time to reup the dishwasher salt, but we’ve run out, ain’t no thing. Losing yourself in another world is rare, likewise excitement at where your mind is going next.

In a sporting context, this can only be achieved via World Championship snooker. Because snooker is a simple, repetitive game, it is absorbing very quickly, its run of play faithfully reflected by the score.

But the Worlds are special. The first round is played over ten frames – as many as the final in the next most prestigious competition – and rather than the usual week, it lasts for 17 magical days, from morning until night. This bestows upon us the opportunity to, figuratively at least, put away our lives and concentrate. Of course, work and family still exist, but only in the context of the snooker and without anything like the same intensity. There is no joy on earth like watching the BBC’s shot of the championship compilation to discover that not only did you see most of them live, but that you have successfully predicted the shortlist.

It is true that people competing at anything provides compelling drama, emotion, pathos and bathos - the Olympics proves this every four years. But there is something uniquely nourishing about longform snooker, which is why it has sustained for decades without significant alteration.

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. Most frequently, snooker is grouped with darts as a non-athletic sport, instead testing fine motor skills and the ability to calculate angles, velocity and forthcoming shots. However, its tempo and depth is more similar to Test cricket – except snooker trusts so much in its magnificence that it refuses to compromise the values which underpin it.

Alfred Hitchcock once explained that if two people are talking and a bomb explodes without warning, it constitutes surprise; but if two people are talking and all the while a ticking bomb is visible under the table, it constitutes suspense. “In these conditions,” he said, “The same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: ‘You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!’”

Such is snooker. In more or less every break, there will at some point be at least one difficult shot, loss of position or bad contact – and there will always be pressure. Add to that the broken flow of things – time spent waiting for the balls to stop, time spent prowling around the table, time spent sizing up the table, time spent cleaning the white, time spent waiting for a turn – and the ability for things to go wrong is constantly in contemplation.

All the more so in Sheffield’s Crucible Theatre. This venue, in its 40th year of hosting the competition, is elemental to its success. Place is crucial to storytelling, and even the word “Crucible” – whether “a ceramic or metal container in which metals or other substances may be melted or subjected to very high temperatures,” “a situation of severe trial”, or Arthur Miller’s searing play – conjures images of destruction, injustice and nakedness. And the actual Crucible is perhaps the most atmospheric arena in sport - intimate, quiet, and home to a legendarily knowledgeable audience, able to calculate when a player has secured a frame simply by listening to commentary through an earpiece and applauding as soon as the information is communicated to them.

To temper the stress, snooker is also something incredibly comforting. This is partly rooted in its scheduling. Working day and late-night sport is illicit and conspiratorial, while its presence in revision season has entire cohorts committing to “just one more quick frame”, and “just one more quick spliff”. But most powerfully of all, world championship snooker triggers memory and nostalgia, a rare example of something that hasn’t changed, as captivating now as it was in childhood.

This wistfulness is complemented by sensory pleasure of the lushest order. The colours of both baize and balls are the brightest, most engaging iterations imaginable, while the click of cue on ball, the clunk of ball on ball and the clack of ball on pocket is deep and musical; omnipresent and predictable, they combine for a soundtrack that one might play to a baby in the womb, instead of whale music or Megadeth.

Repeating rhythms are also set by the commentators, former players of many years standing. As is natural with extended coverage of repetitive-action games, there are numerous phrases that recur:

“We all love these tactical frames, but the players are so good nowadays that one mistake and your opponent’s in, so here he is, looking to win the frame at one visit ... and it’s there, right in the heart of the pocket for frame and match! But where’s the cue ball going! it really is amazing what can happen in the game of snooker, especially when we’re down to this one-table situation.”

But as omniscient narrators, the same men also provide actual insight, alerting us to options and eventualities of which we would otherwise be ignorant. Snooker is a simple game but geometry and physics are complicated, so an expert eye is required to explain them intelligibly; it is done with a winning combination of levity and sincerity.

The only essential way in which snooker is different is the standard of play. The first round of this year’s draw featured eight past winners, only two of whom have made it to the last four, and there were three second-round games that were plausible finals.

And just as literary fiction is as much about character as plot, so too is snooker. Nothing makes you feel you know someone like studying them over years at moments of elation and desolation, pressure and release, punctuated by TV confessions of guilty pleasures, such as foot massages, and bucket list contents, such as naked bungee jumping.

It is probably true that there are not as many “characters” in the game as once there were, but there are just as many characters, all of whom are part of that tradition. And because players play throughout their adult life, able to establish their personalities, in unforgiving close-up, over a number of years, they need not be bombastic to tell compelling stories, growing and undergoing change in the same way as Dorothea Brooke or Paulie Gualtieri.

Of no one is this more evident that Ding Junhui, runner-up last year and current semi-finalist this; though he is only 30, we have been watching him almost half his life. In 2007, he reached the final of the Masters tournament, in which he faced Ronnie O’Sullivan, the most naturally talented player ever to pick up a cue – TMNTPETPUAC for short. The crowd were, to be charitable, being boisterous, and to be honest, being pricks, and at the same time, O’Sullivan was playing monumentally well. So at the mid-session interval, Ding left the arena in tears and O’Sullivan took his arm in consolation; then when Ding beat O’Sullivan in this year’s quarter-final, he rested his head on O’Sullivan’s shoulder and exchanged words of encouragement for words of respect. It was beautiful, it was particular, and it was snooker.

Currently, Ding trails Mark Selby, the “Jester from Leicester” – a lucky escape, considering other rhyming nouns - in their best of 33 encounter. Given a champion poised to move from defending to dominant, the likelihood is that Ding will remain the best player never to win the game’s biggest prize for another year.

Meanwhile, the other semi-final pits Barry Hawkins, a finalist in 2013, against John Higgins, an undisputed great and three-time champion. Higgins looks likely to progress, and though whoever wins through will be an outsider, both are eminently capable of taking the title. Which is to say that, this weekend, Planet Earth has no entertainment more thrilling, challenging and enriching than events at the Crucible Theatre, Sheffield.

0800 7318496