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The fog of war

In 2001, British troops marched into Afghanistan on a mission to combat al-Qaeda and topple the Tali

Out into the attack with the Royal Marines last year, we drove in dust-choked Viking armoured vehicles through the sand desert and to the crest of a ridge that overlooked the lush, irrigated valley along the Helmand River known to the soldiers as the Green Zone, their battlefield. Then, in the landscape below, people began to run. Men on motorbikes went from house to house to announce the battle. In all directions spread a panorama of terror, as women, children, boys, anyone not fighting, ran for safety. The Americans call this the "blue stream" - the indicator, almost every time, of an impending engagement.

Two days later, I was in another Viking, clutching some bit of metal in an attempt to anchor myself as it charged back to base across a poppy field. There were little grey puffs of exploding Airburst rocket-propelled grenades near us, and the crump of home-side mortars landing on the trenches from where the Taliban were firing. I looked out of the small porthole in the back, and there, in the middle of this "contact", was an old shepherd nonchalantly herding his sheep across a field, unflinching.

Two visions of the Afghan population - one of terror, one of apparent unconcern. But in both, a battlefield where the population can rarely just watch unaffected.

Seven years into Britain's fourth Afghan war (the previous battles being those of 1839-42, 1878-80 and 1919) and three years into its campaign on the Helmand River, those in command emphasise that the objective of military action is no longer focused on those Taliban firing rockets and laying bombs, but rather on people like the farmers I saw so fleetingly. General Stanley McChrystal, the US and Nato commander in Kabul, has designed this summer's offensive in Helmand, launched ahead of the 20 August presidential election, not as a counter-terrorist mission, but rather on classic counter-insurgency principles. Success would be measured, he said, by the numbers of people shielded from violence and the influence of the enemy.

The aim of this new offensive, in which British soldiers have played a major part, is that the Taliban will be cleared and the troops will stay to hold and build something for the people. Operation Panther's Claw, as the British part is known, has been costly. And at least 43 British servicemen have died since the beginning of May. But what of the cost to the Afghan people, so often forgotten? And do we have any conception of what the Afghan people, supposedly now so central to the west's thinking, make of the commanders' new slogans?

After a year spent researching a book on the Helmand conflict, twice visiting the war zone and Kabul, and interviewing more than 200 soldiers and officials who have served there, I am struck that no one has much of an idea. The lack of any real connection with, hard data on, or understanding of, the Afghan population is arguably the Achilles heel of the whole campaign. Is the population sitting on a fence, as some generals will tell you, waiting to see that Nato is in control before jumping over to support the Afghan government? Or does the rebellion, as I suspect, have deeper roots?
One thing is clear. While the cost to British forces has been great, no one has suffered more from this war than the civilians in whose fields it has been fought. They are not spectators. When Britain's combat troops arrived in April 2006, they came on a mission promising to provide security for
development projects. Instead, they entered an all-out battle with the Taliban. As the British defended themselves, using heavy weapons, the Afghan people were driven away in their thousands and turned into internal refugees. Parts of some of the principal towns of Helmand - Sangin, Musa Qala, Garmsir - were reduced to rubble. Others, such as Nawzad and Kajaki, became ghost towns.

Again and again, Whitehall warriors have repeated the big lie, talking of tipping points and endless progress. The military campaign might ebb and flow. Towns and districts have been captured and recaptured. But through it all - and despite the best efforts of so many who have tried to help and have improved the lot of people here and there - the local people have been the greatest victims of the fighting.

When you are embedded in all the excitement of this war, deep in the machinations of how to win this compound or that village, or control the province, it is easy to lose perspective on what the British are supposed to be doing there. Oddly, the purpose of this conflict often seemed irrelevant to soldiers I met. A veteran corporal just back from a tour of Afghanistan in which two good friends had been killed (following two hard tours of Iraq) had some strong views on the politics of war - much stronger and more left-wing, I have to say, than most.

The conflicts in Iraq and Afghanistan were interlinked, he said, and "a massive war over power and money and oil". Although called terrorists, Britain's enemies were "fighting for the same things that we're trying to fight for". He added: "We're being terrorists, really. We're going over [to] their countries, blowing them up, and taking their oil . . . We only do things that are going to benefit our own economy and that's the only reason we're over there, I believe."

Even so, he said, the Afghan war was more justified. About politics, "there's no point massively getting all worked up . . . At the end of the day, in the army, you're just a pawn to the politicians." As with many other soldiers I interviewed, these discussions were largely a matter of passing the time, almost an intellectual pursuit, not something that really affected morale. Many of the men said they were in the army for "the craic", a term that covered all the adrenalin and honour and proving yourself that war involved. It was important that they weren't doing something bad; beyond that, for most, it did not seem that the details mattered.

Ultimately, however, the cause does matter. Whether lives have been risked wisely depends both on the nobility of that cause and on the quality of the leadership that deploys the troops. It has been hard, though, for soldiers - for anyone - to follow the detailed explanations of just why we are in Helmand. It was to combat al-Qaeda that British forces first entered Afghanistan in 2001. That was a limited commitment. Five lives were lost in the first five years. Then, in 2006, when the troop numbers rose dramatically, the British headed south to Helmand with a mission described by the then defence secretary, John Reid, as being "to support reconstruction", but which has shifted constantly. Others have spoken since of the need to support the Afghan government. Or to lift the war-torn country out of poverty. Or to fight the growth of the world opium trade that is centred in Helmand. Or, as is the official line now, to secure the country from a revival of al-Qaeda. "If we can't even get straight why we're there, how
can we get straight our strategy to win?" one UK battalion commander said to me recently.

Beyond the official aims, the Helmand war also has a secret life as a battle for the reputation of British arms, a battle in which the stakes have been raised high by what most in the US and UK military perceive as Britain's failure in Basra, Iraq. I've found that nothing touches the raw nerves of top generals like mentioning the view that - despite an occupation lasting almost as long as the Second World War - it took decisive US action last year to rescue Basra from the murderous militias to which the British had ceded power.

So far, Helmand has fared little better. Where Britain once had a reputation for successful counter-insurgencies (whether in Malaya, Oman or Northern Ireland), the sense that Americans generally lag behind has almost completely evaporated. Now it is British leadership that is most in question. As John Nagl, the counter-insurgency guru and adviser to the US commander General David Petraeus, told me: "Until you admit that you have a problem, that you are not doing everything as well as you could, it's really hard to get better. I have not seen that same spirit of public self-criticism in the British army . . . The British army, for which I have so much respect, which has such a history of success in counter-insurgency, has not done everything right in Helmand Province, did not do everything right in Basra. It needs to think hard about those lessons."

After three years of British involvement, the once-quiet province of Helmand has been transformed into the most volatile region in the country. The UK has been blamed for stirring a rebellion. And, just as in Basra, it has needed the arrival of the Americans for there to be a serious shot at winning. A confidential debriefing given by a US marine commander this spring, and revealed to me in notes made by a senior British commander, voiced a litany of concerns on the part of the Americans about the way the British have been operating. UK forces were said to patrol in formations that were too large, to spend too much time "recovering" from patrols, and to patrol too often without the Afghan police or army.

They also, the debriefing suggested, have too many bases, spend insufficient time living among the people, are not in Afghanistan long enough to learn about the people or the place, and are generally deficient in trained intelligence-gatherers. They are "cautious about the enemy and overestimate their strength", are too secretive about sharing information, have insufficient cash to dole out, and are disrupted by their system of R&R (rest and recreation). Finally - insult of insults - the British were told: "Your standards of personal hygiene and field discipline aren't good enough and you have too many non-battle injuries."

The reputation of the British is on the line in Helmand, and they clearly have a mountain to climb.

There is a strange mood as the coffins come back from Afghanistan. Media interest is high. The crowds at memorial events show that support for soldiers is also high. And yet there is a kind of collective hypocrisy that combines a concern for the welfare of the armed forces with a lack of interest in the war. Few are sold on the aims of the war, however often they are repeated. How many of us have bothered to learn even the names of the principal places where this war is being fought - in Helmand, the towns of Lashkar Gah, Garmsir, Sangin, Musa Qala?

What really gets soldiers' goat, however, is the endless speeches saying "Thank you, thank you, thank you" for their sacrifice. There is that hoary old George Orwell misquotation: "People sleep peaceably in their beds at night only because rough men stand ready to do violence on their behalf." Soldiers in the field generally wish a handful fewer people were sleeping peaceably and a few more - and particularly those who work for the peacetime-focused bureaucracies of Whitehall - were spending a bit more time wide awake, supporting them meaningfully.

On top of the toll of deaths and injuries, there is the psychological damage. As you read this, several hundred soldiers are back in Britain on mid-tour leave (their R&R). Knowing that their friends are right now facing the bullets, most wish they weren't here. They will be staring at people in the street who don't give a damn. They will be talking to so-called friends in the pub who will listen to about a minute of the truth before their eyes glaze over and they change the subject. The soldiers will hate every minute of their so-called rest and recreation. Those I know will spend their "holiday" with a can of beer in one hand and the remote in the other, flicking between the sport and the agonising headlines that flash along the bottom of Sky News.

Talking to soldiers back from Helmand for my book took me into a dark, dark place. Among the confident lines journalists like to spin is that to spill your guts to a tape recorder will somehow do you some good: "It's really like therapy. You'll feel better for getting it out of your system." For the first time in nearly 20 years of reporting, I just had to stop interviews.

I got to realise I was not a shrink. I could get someone to take me to the worst moment in their lives - to describe the horrors in their head that they themselves had yet to face - but how to get them back out again? I wasn't sure. How do you cope with chatting to your best friend and, a second later, seeing the stump of his leg leaning against a wall?

It wasn't grown men crying that bothered me. It was those with minds that began to wander, without them realising it, mid-sentence, jumping like a needle on vinyl as they conflated one horror into the next: a stirred-up soup of things that seemingly can't get any worse but then still do.

And it wasn't just combat soldiers. They at least got attention and perhaps counselling. Few would think of checking up on the storeman who broke down, blaming himself for not sending the bit of kit that might have saved a life. Or the young captains in the operations room who told me how they had to play God: to interpret the rules on which young kid who turned up at the base could get a ride to a hospital in a helicopter, and which might just be left with his family, probably to die. Or the padres who were not only the sponges for every bit of dark emotion from all around, but who helped, literally, to pick up bits of flesh and tried to put them together to create a semblance of a body to send back home.

Speaking at Chatham House in May this year, General Sir Richard Dannatt - the outgoing chief of general staff and one of the few to have the courage to speak his mind while in post - used Leon Trotsky's warning that "you may not be interested in this war, but this war is interested in you" to underline what he called the globalisation of our national security interests. In effect, interventions such as Helmand are at the core of those interests: international activism is "hardwired into our political and national DNA", he said.

The weakness with such arguments, over which so many in power now labour, is not the assumption that global issues affect British security, but the implication that the way we have intervened in places such as Basra and Helmand has matched the British military official slogan of being a "force for good".

Whether you like these wars or not, Dannatt was right to emphasise the consequences of them to us all. If not the cost of billions of pounds diverted, or the cost in blood, or the cost for years to come of so many young men going through such trauma, then consider the strategic cost to national interests if such a grand adventure turns out again to be a grand failure.

Stephen Grey is the author of "Operation Snakebite: the Explosive True Story of an Afghan Desert Siege" (Viking, £16.99).

This article first appeared in the 17 August 2009 issue of the New Statesman, Afghanistan: The Lost War

Martin O’Neil for New Statesman
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Why the British addiction to period drama is driving away our best black and Asian actors

There is a diversity crisis in British TV and film as, increasingly, stars are decamping to America to make their career there.

Back in April, a six-part drama called Undercover premiered on BBC1. Perhaps you were one of the five million people who watched it: the story was audacious and continent-hopping, enfolding a narrative about a man on death row in the United States with an all-too-believable tale of a Metropolitan Police officer who marries a woman he is meant to be keeping under surveillance.

The reason the programme attracted so much attention, however, was not what it was about, but whom. Starring Sophie Okonedo and Adrian Lester, Undercover was widely reported as the first mainstream British television drama with black actors in the lead roles. This wasn’t true: as James Cooray Smith wrote on the New Statesman website, that milestone was passed in June 1956 by Mrs Patterson, a BBC adaptation of a Broadway play starring Eartha Kitt.

Yet Undercover was still a breakthrough. Smith, casting his mind back over more than six decades of British television, could not think of more than a handful of other examples. Writing in the Observer, Chitra Ramaswamy expressed her feelings with quiet devastation: “In 2016, it is an outrage that it’s a big deal to see a successful, affluent, complicated black family sit at a ­dinner table eating pasta.” Think about that. In 2016 in Britain, a country where more than nine million people describe themselves as non-white, it is news that a black, middle-class family should not only feature in a prime-time BBC drama but be at its heart. Undercover exposed how white most British television is.

Actors of colour have appeared on British film and TV screens for decades, and they have been visible on British stages for centuries – yet they have been shunted into the margins with depressing regularity. In January the actor Idris Elba urged British MPs to take the matter seriously. “Although there’s a lot of reality TV,” he argued, “TV hasn’t caught up with reality.”

In February, there was renewed uproar over the lack of racial diversity in Hollywood at the 88th Academy Awards, and the infuriated hashtag #OscarsSoWhite blossomed again on social media. A month later, Lenny Henry argued that black and minority ethnic (BAME) talent was being “ghettoised”. The term could hardly be more charged. Speaking at the London premiere of Mira Nair’s film Queen of Katwe, the actor David Oyelowo said: “What we need now is for a change to come. I think the talk is done.”

There has been some change. In March, the Royal Shakespeare Company opened a production of Hamlet starring Paapa Essiedu, an actor of Ghanaian heritage raised in London. It was the first time that a black performer had taken the role for the company. A new set of BBC diversity targets both on- and off-screen was unveiled in April. Noma Dumezweni is playing Hermione in Harry Potter and the Cursed Child in the West End, and in October the BFI launched Black Star, a nationwide season celebrating black talent in film and TV. But what does the picture really look like, in late 2016? And what, if anything, needs to change?

The first challenge is that many in the film and TV industry find it difficult to talk about the subject. Researching this article, I lost count of the number of people who demurred to go on the record, or of actors who seemed eager to speak but were then dissuaded. Fatigue might be partly to blame – it’s exhausting to be asked repeatedly about diversity because you didn’t go to Harrow and your skin isn’t white – but I got the sense that there’s more going on.

One man who passionately believes this is the screenwriter Trix Worrell, the creator of the pioneering Channel 4 sitcom Desmond’s, which brought an African-Caribbean barbershop in south-east ­London to Middle England’s living rooms in the late 1980s and early 1990s.

“TV is very difficult to break into. There’s a protectionism there,” he says with a shrug, when we meet for coffee on the seafront in Hastings, where he now lives. “People are nervous about rocking the boat.”

Though cheerful about most of the things we discuss, Worrell admits to feeling a roiling anger when it comes to this particular matter. Does he think that diversity has improved since he was pitching Desmond’s, three decades ago? “No. I say that with absolute certainty and surety.”

It is hard to underestimate the influence that Desmond’s had. The series ran for 71 episodes and at its peak it had five million viewers, remarkable for a sitcom. Starring the veteran actor Norman Beaton alongside a largely British-Guyanese cast, it made that community visible in a way that has not been rivalled in Britain in the 22 years since it came off air. It did so with the deftest of touches, addressing problems of interracial relationships and tensions within the black community through warm comedy.

“Up to that point, black people were ­never seen on TV,” Worrell recalls. “The only time we appeared in any media was in the red tops – muggings, vice. The idea was to show a black family who were just like any other.” Yet it seems that, apart from the spin-off comedy series Porkpie, occasioned by Beaton’s sudden death in 1994, Channel 4 has regarded the idea of portraying a normal black family in a sitcom as too great a gamble in the years since, despite an increase in the number of non-white roles in its other drama output.

Worrell smiles, but it is clear that the ­matter isn’t a joke. “The thing that’s said among black people is that there’ll only be one black sitcom every ten years.”

***

When I phone Paapa Essiedu while he’s on a lunch break from Hamlet, I am prepared to get a more positive perspective. Just 26, Essiedu has had a spectacular and seemingly unimpeded rise. A graduate of the prestigious Guildhall School of Music and Drama in London, he joined the RSC in 2012 and then hopped to the National Theatre in Sam Mendes’s King Lear, before returning to Stratford. The Telegraph greeted his debut as Hamlet with the notice that every actor dreams of: “A new star is born”.

But Essiedu seems ready to implode with frustration. “It’s ridiculous,” he says. “This stuff has been here for decades and decades: we’re lying to ourselves if we think there’s been a lack of awareness until now. Lots of people are talking and talking, but we need action.” Has he experienced racism directly? “Put it this way: quite often, I’ve been in a room where everyone else is white.”

A major issue, he says, is the apparently unshakeable addiction of British TV and film to corsets-and-cleavage period drama, which has left many BAME actors locked out of the audition room. The BBC is in the middle of a run of literary spin-offs, from War and Peace to The Moonstone. Over on ITV, we have had Victoria and the invincible Downton Abbey.

It still feels as though much of British drama is stuck in an airbrushed version of the country’s past. Though partly set in contemporary Egypt, BBC1’s adaptation of The Night Manager by John le Carré had only a handful of non-white actors in significant roles. Allowing for exceptions such as the BBC’s version of Andrea Levy’s Windrush-era novel Small Island, broadcast in 2009, you could be forgiven for thinking, had you never visited Britain, that people of only one skin colour live in this country. That the largely white drama series are successful on the export market only helps to extend the cycle.

“Producers say, ‘Oh, we commission stuff that people want to watch,’” Essiedu tells me. “But it’s such a narrow version of history – middle-to-upper-class Caucasian men, generally. Period drama can be from anywhere in the world: Africa, Asia. Where are those stories?”

Drama is just a sliver of broadcasting output, but other genres aren’t much better. Journalists from ethnic-minority backgrounds have made steady progress in television newsrooms – but not fast enough, Channel 4’s Krishnan Guru-Murthy has ­argued; there is a glaring absence, however, when it comes to lifestyle and entertainment TV. The recent success of the intrepid youth TV star Reggie Yates notwithstanding, it is difficult to ignore or account for the dearth of BAME presenters in documentaries and “serious” factual programming; and no major current British chat show has a permanent anchor who isn’t white.

Adil Ray’s BBC1 comedy Citizen Khan, which focuses on the escapades of the overbearing Muslim patriarch Mr Khan and his family in the Sparkhill area of Birmingham, is a rare exception. It has just returned for a fifth season. A worthy successor to Desmond’s in its tongue-in-cheek approach to potentially inflammatory issues (the 2014 Christmas special featured the birth of Mr Khan’s grandson, Mohammad, on Christmas Day) the programme also resembles its forebear in a more depressing way: it appears to be one of a kind.

When I ask Ray why he thinks this is, he selects his words carefully. “It’s not prejudice exactly,” he says, “but in the TV business, there are a lot of formulas. If you’re doing curry, get an Asian person. If it’s hip-hop, someone who’s black. If you’re doing a walk in the countryside, or drinking tea in the Cotswolds . . .” He leaves the sentence hanging.

What appears on screen is only the visible part of the problem. Actors get cast in roles only if writers write them; projects get made only if commissioners commission them. TV and film are notoriously incestuous and competitive industries. Careers are unstable. Knowing someone who knows someone is often – too often – the only way of getting work.

According to figures produced this year by Creative Skillset, many media companies fail dismally when it comes to representation. Just 24 per cent of those in senior roles in cable or satellite firms are female; 4 per cent of employees in positions in senior terrestrial broadcast are BAME; and, if the numbers are to be believed, there are no BAME people at all working on the senior production side of independent film companies. The figures aren’t entirely robust – they rely on organisations filling in forms and returning them – but if they’re anywhere near the truth they make for grim reading.

The BBC’s statistics are more encouraging (according to the latest figures, BAME people make up 13.4 per cent of staff overall and hold 9.2 per cent of leadership roles) but don’t include freelancers, an area in which it is reasonable to suppose that, without quotas to fill, representation will be worse. In September, the media regulator Ofcom put broadcasters on notice that they could face “harder-edged” regulation if they did not improve diversity.

Chi Onwurah, the MP for Newcastle upon Tyne Central, who has been vocal about these matters in parliament, says that the BBC has a special duty to up its game. “It’s not doing enough,” she tells me. “If it was, there wouldn’t be a problem. It was very interesting watching the [European Union] referendum; all the efforts broadcasters have gone to to make sure there was balance. If they went to half that effort for BAME, gender and disability, it would be a different world.”

The BBC is keen to show that it is paying attention. Last year, it appointed Tunde Ogungbesan as its new head of “diversity, inclusion and succession”, and in April his team announced eye-catching targets: gender parity across every part of the corporation; 8 per cent of staff disabled; 8 per cent of staff lesbian, gay or trans; 15 per cent of staff from BAME backgrounds. Those numbers will be replicated on screen, lead roles included, and are roughly equivalent to averages for the overall population of Britain.

Yet the idea that established BBC presenters will go quietly seems optimistic. Take the ruckus that the comedian Jon Holmes recently raised when his contract with The Now Show (Radio 4) wasn’t renewed. Holmes asked in the Mail on Sunday: “Should I, as a white man . . . be fired from my job because I am a white man?”

Ogungbesan – a former head of diversity for Shell – has a businesslike attitude to the challenges he faces, which are, he concedes, considerable. “We’ve got four years to do this, and we know there’s a hell of a lot of work to do.” That is why his team has given itself a deadline. “Hopefully, when we hit those targets in 2020, we’ll be the most diverse broadcaster in the UK.”

How does he respond to Onwurah’s suggestion that the BBC is skilled at announcing targets but less good at making change happen? “We’re publishing our results,” he says. “You’ll be able to hold us to it.”

And what if the targets aren’t met? Ogun­gbesan laughs, for perhaps a touch too long. He will not consider the possibility. “I’m like a boxer. I refuse to look at it.”

***

If British TV and film don’t get their act together soon, there may be no one left to cast. Increasingly, black and Asian stars are decamping to America to make their career there. Among those who have joined the brain drain are Archie Panjabi and Cush Jumbo (The Good Wife), David Oyelowo (Selma) and Chiwetel Ejiofor (12 Years a Slave). Idris Elba, who brooded brilliantly in BBC1’s crime procedural Luther, would likely never have been cast in a big British series if he hadn’t already made a name in the United States with The Wire. Before she appeared in Undercover, Sophie Okonedo said in an interview that the scripts she was offered from the US far outnumbered those from the UK.

Visiting Los Angeles recently, I tracked down Parminder Nagra, who made her name in Bend It Like Beckham before being spotted by a producer for the long-running medical drama ER. In 2003 she was offered the role of the Anglo-American doctor Neela Rasgotra, which she played until the series ended in 2009. A big part in the NBC crime drama The Blacklist followed, along with other film and TV work.

She never intended to move, she says, laughing ruefully, when we meet at a café in a well-to-do suburb of LA populated by movie folk. She has worked occasionally elsewhere but, 13 years on, she is still on the west coast. “The jobs I’ve got, like most actors, haven’t come about in a conventional way. It’s generally because someone is open-minded enough to look at you.”

Although she is careful to make it clear that the US is far from a utopia in terms of how it portrays race, sexuality or gender on screen – she tells a gruesome tale of a white writer who sent her his attempt at an “Asian” character – Nagra senses that things are more open in the US. “It’s a bigger pond here, because of the sheer size of the country,” she says. “There are writers of colour in the UK, but what happens is that you’ve only got one or two people at the top who are making decisions about the taste of the country . . . Those people are white.”

The landscape is certainly more open in the US. Leaving aside the allegations about Bill Cosby, NBC’s Cosby Show (1984-92) was a force for good, with its focus on a middle-class African-American family and with the numerous ethnically diverse shows it made possible: A Different World, The Fresh Prince of Bel-Air, In Living Color, Scandal (the last was commissioned by the influential black writer-producer Shonda Rhimes). Back in the early 1980s, the gentle NBC sitcom Gimme a Break! – starring Nell Carter – explored issues of racism, too.

US cable and online subscription ­services are even more courageous. Netflix’s Orange Is the New Black has an ethnically kaleidoscopic cast and plotlines that vault across almost every conceivable question of gender, sexuality, body image and politics. Where it has apparently taken the BBC until 2016 to realise that families can be both black and upper middle class, ABC in the US was years ahead: in 2014 it commissioned Black-ish, which offers a subtle portrait of an advertising executive who frets that he is losing touch with both his Obama-era kids and his inner-city origins.

Nagra nods. “There still are a lot of issues here, but if you’re an actor of colour, there is more work. All those British period dramas are really well done, but there’s a yearning there: ‘Can I please just see somebody like me on TV?’”

The reason all this matters is that TV, theatre and film have a duty to show us not merely who we are, but who we can become. In Undercover, Okonedo becomes Britain’s first black, female director of public prosecutions: this may seem unlikely, given the state of the UK’s judiciary, yet seeing it on TV helps to shift perceptions. No one would argue that Okonedo’s co-star Dennis Haysbert got Barack Obama into the White House by playing a black president of the United States in 24, but perhaps it made such a world marginally more imaginable.

The time is overdue for British TV to abandon its fetish for bodices and show us what our nation actually looks like, in all its variety – and to be more imaginative about the kind of history it presents. Colour-blind casting is mainstream in theatre. Actors of various heritages appear in Pinter or Chekhov and no one raises an eyebrow.

Anthropologists argue that race and gender are forms of performance, sets of shared codes, rather than something intrinsic to who we are. Is it so difficult to imagine a Jane Austen production with performers of black or Asian heritage? Is that any harder to believe than the thousand impossibilities we witness every day in TV drama?

I ask Essiedu if he is optimistic. Yes, he says forcefully. “I have to be. Optimism is the only way we initiate change.”

When I put the same question to Nagra, she pauses to think. “I remember being asked about this when I started ER, and I was a bit tired of the issue even then. Yet here we still are.” Her expression is wry. “So ask me in ten years’ time.”

This article first appeared in the 24 November 2016 issue of the New Statesman, Blair: out of exile