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Extreme injustice — a legal mandate for bigotry

Why the religious persecution of minorities in Pakistan is getting worse.

Standing on a dusty street under the Karachi sun, already blazing at 9am, it strikes me that I am being rejected. I am at a Christian-run school, amongst a crowd of parents vying for appointments to secure admission for their children. The reception, if that is the word for it, is a hatch in the brick wall, behind which sits a harried looking man with a stack of papers and a phone. After wrestling my way to the front, I explain that I am here to talk to the headmaster about religious discrimination.

The man phones the headmaster's personal assistant. I explain my connection to the acquaintance that told him to expect me, and tell her that I'm researching Christians in Pakistan. After nearly 10 minutes, standing on the pavement with the phone cord pulled awkwardly out into the street, I realise that the line has gone dead and she's hung up the phone. The man behind the desk is distinctly unimpressed, given the crowd amassing behind me. Convinced the line has been accidentally cut off, I ask him to call again. The PA's tone is markedly different. "You're not the only person I'm dealing with," she snaps. "The father doesn't have time for all this."

When I speak to my acquaintance later that day, he shrugs. "Don't be offended," he says. "He is prominent so he is easily identifiable. Are you surprised he is scared to talk?"

Pakistan was conceived as a secular state with Islam as its main religion. "We have many non-Muslims -- Hindus, Christians, and Parsis -- but they are all Pakistanis," said the country's founder, Muhammad Ali Jinnah in a celebrated speech. However, in the late 1970s and 1980s, the military dictator General Zia-ul-Huq engaged in a repressive programme of 'Islamisation'. Among his actions was the introduction of a set of blasphemy laws, under which a person can face indefinite imprisonment or even the death penalty for criticising the Prophet Muhammad or the Qur'an.

The current debate is not about the existence of the law itself (many countries have blasphemy laws, as did the UK until 2008), but about the exceptionally harsh penalties and the very light burden of proof. Hardly any evidence is required - the accuser can even refuse to repeat the blasphemy in court for fear of committing the crime himself - and so the law is frequently used as a means of settling personal scores or stirring up sectarian tension.

The issue came to international attention last November, when Aasia Bibi, a Christian mother of five, was sentenced to death for "insulting the Prophet". The remarks were allegedly made after co-workers refused to share water that she had carried, on the basis that Christians are unclean. Throughout her trial, she did not have access to a lawyer.

Aasia's case was taken up by three politicians in the ruling Pakistan People's Party, who called for reform: Salman Taseer, the governor of Punjab (Pakistan's most populous state), Shahbaz Bhatti, the Minorities Minister, and Sherry Rehman, a prominent backbencher.

The consequences speak for themselves. On 4 January, Taseer was shot dead by his own bodyguard outside a coffee shop in Islamabad. On 2 March, Bhatti too was shot by assassins from the Pakistani Taliban. Rehman is living in semi-hiding in fear for her life. And on 2 February, soon after Taseer was killed, the prime minister, Yousuf Raza Gilani, told his government that he would not touch the law and that all reform would be shelved: "We are all unanimous that nobody wants to change the law."

It is easy to see why people might be afraid to speak out in favour of change. Taseer's daughter Shehrbano is a recent graduate working as a journalist for Newsweek in Lahore. "Very few people condemned my father's murder," she tells me when we speak on the phone. "Everyone was so petrified that they'd be next. That's how terrorists operate. The night that my father died, I thought, OK, this is going to be a huge watershed moment in the history of Pakistan. But the complete opposite happened. We went ten steps back."

This anger at the government's handling of the assassinations is shared by many. "I feel very strongly about it, of course I do. But I won't say anything because I don't want to get shot," a diplomat tells me. "Even my servants could betray me. It was his bodyguard - a servant - who shot him."

There is a real sense of fear among the ruling classes. One evening, a PPP former minister tells me that he hates the idea of having an armed guard and drives himself everywhere - but keeps this fact to himself, and makes sure to take different routes and not to travel at the same time every day.

Caste out

About 96 per cent of Pakistan's population is Muslim. However, the 4 per cent minority of Christians, Hindus and Islamic sects such as the Ahmadis (regarded as non-Muslims) translates to nearly ten million people, the equivalent of the population of Tunisia.

Well before the Taliban became a political force in the country, minorities faced serious social discrimination. I speak to Sujawal Massey, a Christian man who works as a sweeper - one of the lowest-status jobs there is. Aware of his position in this acutely class-bound society, he does not sit down, but hovers awkwardly as we talk in the living room of the lavish house where he works, looking at the floor except when spoken to.

He tells me it is difficult to find work. "They don't let us move ahead. We get no chances. If they know you're a Christian they say: there's no room here for you."

I ask what impact this has on a day-to-day level. "If we end up somewhere where there are Muslims, we're in trouble if they discover we're Christian," he says. "We don't tell them we're Christian in the market, because they won't give us anything. They won't even let us drink from a glass."

His employer tells me that while she insists that he is fed with the other servants (most of whom live in quarters in the house) many of her friends do not do the same for Christian members of staff. She keeps separate utensils for him to eat with, because her Muslim servants are unwilling to share theirs with him.

The reluctance to share water was also central to the Aasia Bibi case. "It is a carry-over from the Hindu caste system - the idea of untouchability," explains Dr Theodore Gabriel, a University of Gloucestershire academic and author of a study of Pakistan, Christian Citizens in an Islamic State. "Most of the Christians in Pakistan come from a low caste. The 'untouchable' or Dalit class were targets of missionary activity during colonisation, so they have come from a low economic and social background."

This social persecution remains in place even for those who have worked their way out of typical 'untouchable' jobs. I visit a beauty salon in an affluent suburb of Karachi, owned by a Christian Pakistani woman, Jane Peters. The shop is busy, with several Muslim women waiting to be seen.

However, all is not well behind the scenes. "There are terrible problems," she tells me. "I pay my bills, I pay my taxes, but the neighbours have had the water supply cut off." This means that she cannot get running water to the shop, and instead has to buy it in tankers each morning and manually heat the water required for hair-washes and manicures. The process of giving treatments is delayed by staff having to carry kettles and basins of hot water up and down stairs.

The shop is staffed entirely by Christian girls - "otherwise there are quarrels," explains Peters - and so it provides a rare employment opportunity for those who would otherwise end up in menial positions. One of the girls tells me that she quit school prematurely so that she could take the job, and is trying to complete her education part-time. "It is very hard for us to find employment," she says.

No change

It goes beyond sharing water. Gabriel describes school textbooks which claim that Christians worship three Gods, and define citizens of Pakistan as Muslims. "That means Christians are not regarded as citizens - if a textbook says that, then that is what children are learning. It's not going to foster tolerance, is it?"

Speaking to Christians, I am struck by their acceptance. "People are afraid," explains Peters' daughter, Sabiha, an articulate young woman who speaks fluent English. "If we make a fuss, it's very easy for someone to accuse us of blasphemy. It affects the poorer communities more, but it is a worry for everyone."

This type of discrimination is deeply entrenched, given that it pre-existed the formation of Pakistan by more than a thousand years. But is it worsening given the increasing influence of extremist ideas? Many view the decision to shelve reform of the blasphemy law as a victory for the militants. The women in the beauty salon - educated and politically aware - share this view. Yet when I asked Massey whether he was afraid and if he felt his situation could be improved, it was clear that the world of law and reform was alien to him.

"We are very few in a big nation, so we try to stay out of trouble," he says. "Maybe someone can help but we don't know who there is or is not. Politicians don't give us any importance." During the interview, my interpreter wells up. Later, she tells me that she was distressed by his total acceptance of the status quo.

This social discrimination is intensifying, says Ali Dayan Hasan, country director for Human Rights Watch in Pakistan. "Empowered extremists are making more frequent use of the legal tools at their disposal to persecute minorities. They are also killing them with impunity in a way they haven't done before."

He explains that rising extremism means that minorities are increasingly targets. "The militancy is contributing to it, but the fact of the matter is that the structure of these legal frameworks essentially makes the Pakistani state a partisan, sectarian actor, rather than a neutral arbiter between citizens. That tilts the balance in favour of the persecutor rather than the persecuted."

It appears that there is no real appetite for change. Most of the Muslim Pakistanis I speak to agree that there are problems with community relations, but prioritise other concerns.

"We have no human rights," says Iqbal Haider, a human rights lawyer who served in both Benazir Bhutto's governments, slamming his glass down on the table. "If I don't have the right to survive, all other rights are meaningless. And if the majority is not safe, then how can you expect the minorities to be? Nobody is safe."

He draws attention to the thousands of lives lost to terrorist attacks in the country since the beginning of the 'war on terror'. The death toll is rising each year and currently stands at record levels. "The Muslim places of worship are not safe. This is the greatest tragedy of Pakistan," he shouts. "Forget about the Christian church, forget about the Hindu temples. Muslim mosques are unsafe." Several days later, a big attack on a Sufi shrine in the Dera Ghazi Khan district kills 40 people.

While many Pakistanis brush over the impact that the government's retreat over the blasphemy law will have on religious minorities, most acknowledge that this refusal to stand behind the reformers handed the extremists a symbolic and practical victory.

"Salman Taseer was not just an ordinary citizen, "says Haider. "He was a representative of the federation. Shahbaz Bhatti was not just a Christian leader. He was a minister of Pakistan. It was an attack on the government. It is a matter of shame that the government is succumbing to this violence, and does not take these attacks as an attack on their existence."

The government's retreat leaves little hope for reform of these repressive laws, or for the introduction of legal steps to penalise discrimination. Moreover, the legislation is just one part of the complex Pakistani state system. "You have a judiciary that is in sympathy with many extremist views, that feels that it is its duty to uphold discriminatory laws," Dayan Hasan explains. "You also have a military that has a historical alliance with extremist groups and tends to view them with a higher level of tolerance. So when we criticise the government and its inaction, which absolutely needs to be done, we have to contextualise it within the framework of the forces arrayed on the tide of intolerance and extremism."

Yet Shehrbano Taseer sees some cause for optimism. "These laws won't go away tomorrow, but something huge has happened from my father's murder - these laws are being talked about. Nobody knew the cases, the stories, the numbers, the origins of the laws. All of this has come forward. It's important that the debate and criticism should not die with him. My father always said it's not about religion, it's not about politics: it's about humanity. He was genuinely concerned about the humanitarian crisis in Pakistan."

Some names have been changed to protect identities

Samira Shackle is a staff writer for the NS

Samira Shackle is a freelance journalist, who tweets @samirashackle. She was formerly a staff writer for the New Statesman.

This article first appeared in the 08 August 2011 issue of the New Statesman, Slum rule

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