Capitalism, Michael Sandel and Michael Moore

Doha diary, part 1

I didn't arrive in Doha yesterday in time for the inauguration of the Doha Tribeca Film Festival at I M Pei's wonderful Museum of Islamic Art, which looks out over the Doha Sea at one end of the Corniche. So I missed seeing Martin Scorsese, Jeff Koons and Robert de Niro, among others, treading the red carpet ahead of a screening of Mira Nair's film Amelia, which stars Hilary Swank as the pioneering aviator Amelia Earhart.

I missed the festival after-party at the Four Seasons, too, having to make do instead with cocktails in the lounge of my hotel. (The hotel is the most easterly outpost of a chain of boutique hotels, and is blandly luxurious, in the style of such establishments the world over. Its lounge appears to be the destination of choice for the gilded youth of Doha, who smoke and drank heroically -- the drinking and the smoking surprised me -- and danced to a set by an expensively imported French DJ.)

I awoke this morning to discover that I'm staying in the middle of a vast building site. Towers of varying heights, some of them vertiginously tall, are sprouting wherever one looks. Doha, it seems, is a kind of dusty tabula rasa on which a 21st-century city is being built in staggeringly short order. Regular visitors tell me the city is unrecognisable from as little as five years ago.

Qatar, and Doha in particular, is currently in a frenzy of self-assertion -- it's the sort of place where strangers tell you, proudly and unbidden, that GDP grew by 11 per cent last year. As well as hosting the film festival, Doha is currently the venue for a high-profile women's tennis event, and in a couple of weeks' time will welcome the national football teams of England and Brazil for a friendly match. Indeed, so confident is this tiny emirate that it's bidding to host the 2022 World Cup -- as giant billboards throughout the city remind you.

And shortly before the festival opened, it was announced that the emir's daughter, who, like many of her counterparts in other Gulf states, is an enthusiastic and generous patron of the arts, was talking to the Palace of Versailles about co-funding an exhibition in Doha of the work of the Japanese artist Takashi Murakami. (The past, meanwhile -- that is, the prehistoric era before the discovery of petroleum in Qatar in 1939 -- exists here only in facsimile. This evening, I was taken to the Souk Waqif, an architecturally faithful reconstruction of the original souk that the government tore down some years ago.)

The highlight of the festival this afternoon was a screening of Michael Moore's documentary Capitalism: a Love Story. I've often thought that Moore's work combines demagoguery and sentimentalism in a distinctively indigestible way, but this film is different. Sure, he does his ordinary-schlub-speaking-truth-to-power schtick, but his evisceration of the behaviour of the custodians of US capitalism, on Wall Street and on Capitol Hill, is extraordinarily powerful -- on account of its almost guileless quality of moral censure and disapproval. Think of it as an extended howl of what the American philosopher Michael Sandel calls "bailout outrage".

That's it for now. I'm off in a moment to an outdoor, midnight screening at the Museum of Islamic Art of Steven Soderbergh's new film The Informant. More on that tomorrow.

UPDATE: Frustratingly, I got to the museum just now, only to be told that the Soderbergh screening had been cancelled "on the order of the authorities". Mysterious. I'll try to find out why.

Jonathan Derbyshire is Managing Editor of Prospect. He was formerly Culture Editor of the New Statesman.

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Why is Britain falling out of love with Valentine’s Day?

Celebration of the “Hallmark holiday” is at an all-time low in the UK.

A recent YouGov poll found that only four in ten Britons will be celebrating Valentine’s Day this year. And – perhaps more tellingly, if, like me, you believe that Hollywood has a shrewd grip on the nuances of Britain’s collective attitude – this year’s Valentine’s Day romcom isn’t the usual boy-meets-girl love story, but a film about being single.

So are we falling out of love with Valentine’s Day? And why? It may be partially down to the financially independent self-proclaimed Bridget Jones generation. We’re living longer and doing it on our own; we’re all a bit more relaxed about the search for our significant other (and probably less inclined to say “significant other”).

Unmarried adults are now a majority for the first time, according to analysis of the 2011 census. In fact, the number of people living alone globally has increased by around 80 per cent in the 15 years leading up to 2011.

We’re marrying and having children later than we used to, divorcing with wild abandon and using apps to bring more efficiency to our dating lives. I’m 26, and I still feel panicky when someone chooses to take on any more responsibility than a Twitter account. But it was completely normal for my parents’ generation to be having babies at this age.

Our increasingly casual ways might just have rubbed off on our dating lives – in spite of apps supposedly making dating more accessible. An impressive 72 per cent of people would rather stay in and watch Netflix than go out, according to a recent study. OK, so that’s according to Netflix – but there’s no denying that we have been staying in and forgoing dating a lot more since that old recession.

One survey found that 59 per cent of men think Valentine’s Day is pointless. And of those remaining, one fifth think the most important aim of the day is to “get laid”. But men – and filmmakers – aren't the only ones to dislike the “Hallmark holiday”.

The burgeoning anti-Valentine’s movement – rebranding the day according to our beliefs – has the potential to kick more retailers to the curb than supermarkets’ enthusiasm for horsemeat (but more of that in my “Valentine’s gift guide for her” piece).

Bounce nightclub has run an anti-Valentine's party in London for the last three years, where the “bounce games gurus” dressed in their “love police” uniforms punish any “romance rebels” who don't abide by the strict anti-Valentine’s Day rules.

These rules include: no flowers, hearts, public displays of affection, emotional outbursts, pet names, sharing dessert, winking or whispering. And I’m assuming drugs are prohibited – no one wants to be tripping when they’re already in a room full of pretend police arresting people for unlawful eyelid movements.

But Bounce says its event has always sold out, and a spokesperson attributes its popularity to people increasingly preferring to socialise in groups, rather than in couples:

“Looking at sales this year, interest is far from dwindling. In general, there's been an increase in interest for group events as opposed to the traditional Valentine's event designed for couples.”

Another growing Valentine’s alternative is “Galentine’s Day”, which originated in 2010 from the show Parks and Recreation and is growing in popularity. The idea behind it is to celebrate the platonic love of female friendships in whatever way you and your gal pal wish.

This seems to be more positive rebrand of the single women’s Valentine’s boycott seen in the Friends episode of burning boyfriend memorabilia.

Last February, student Amelia Horgan helped to organise a very different anti-Valentine's Day party with her student union, as a fundraiser for her university’s local rape crisis centre. “The thinking behind it was that Valentine’s Day can be a really alienating experience for those of us who don’t, and don’t want to, match the standards of heteronormative romance,” she tells me. 

The party, she says, was “an alternative event that's much more fun than forgetting to book a reservation for dinner and sitting across from someone you've grown to silently resent, or sitting at home feeling worthless because you haven’t got a date”.

Perhaps a day celebrating traditional love is becoming more and more incongruous alongside an increasing openness towards discussing gender and sexuality.

We’re talking more about how sexuality transcends definition – a discussion that peaked in popular culture with model Cara Delevingne’s comments last year on the fluidity of sexuality. And then there’s Jayden Smith, who is becoming frontman for the increasingly blurred gender lines in fashion.

Valentine’s Day as we know it might be wilting, but I can’t help feeling more love for our willingness to replace it with something more fitting.