Taking on Pig Business

Tracy Worcester's fight against the excesses of industrial pig farming reaches Brussels.

Tracy Worcester has spent years campaigning against intensive pig farming -- see her powerful and disturbing film Pig Business on YouTube here -- and she has now taken her fight to Brussels.

Today, she and an alliance of MEPs are presenting evidence that European taxpayers are subsidising industrial farming -- and squeezing out more responsible, smaller-scale farms -- despite the worries over its effects on our health.

It all makes for grisly reading (put down your bacon buttie/sausage sandwich/lentil and pancetta soup before reading on). First, there's excessive antibiotic use. Flies and cockroaches around pig farms have been found to be resistant to the antibiotics routinely used there and the fear is that transmission to humans is also a possibility.

Then there was the scandal in Germany in January over cancer-causing chemicals (called dioxins) that were found in pig and chicken feed. This caused the closure of 1,000 pig and poultry farms and the destruction of 100,000 eggs, in an effort to stop the dioxins entering the food chain. Somewhat unhelpfully, one of the manufacturers involved was found to have hidden the full list of outlets it supplied, which one minister described as "a scandal within the scandal".

Finally, and perhaps most worryingly to animal welfare campaigners, research by the European Union suggests that 67 per cent of European pigs are housed in substandard, fully slatted systems, without straw in which to root, and up to 90 per cent have their tails docked illegally. Castration without anaesthetic and clipping of teeth also take place.

This (and more) has convinced a group of MEPs to use this summer's scheduled reforms to the Common Agricultural Policy to push for the greater regulation of pig farming and an end to subsidies for intensive farms. They have six "big asks", which include better labelling on pork products, higher welfare standards and a ban on prophylactic antibiotic use. There's also the small but important suggestion that all local and national bodies use only "high-welfare pork".

Pigs might not be the easiest animals to love but they're highly intelligent and therefore highly stressed by being kept in cramped, antisocial conditions. As it stands, farms that have high welfare standards are at a competitive disadvantage because the pork they produce costs more.

And, as Hugh Fearnley-Whittingstall says here, that includes all British farms, because our welfare standards are higher than those of other countries. EU subsidies go to less well-regulated farms in places such as Poland and Romania, so we're paying to undermine our own progressive stance on welfare.

The EU has the power to change that. As Tracy Worcester puts it:

Now, lawmakers can decide for themselves if this industry should be allowed to continue to flood the EU with 'cheap', polluting, dangerous, socially and economically destructive and low welfare meat, while EU small farmers, who respect higher environmental, animal welfare and health standards, are struggling to survive.

If you're short of time, there's a ten-minute version of "Pig Business" available here.

Helen Lewis is deputy editor of the New Statesman. She has presented BBC Radio 4’s Week in Westminster and is a regular panellist on BBC1’s Sunday Politics.

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Would the BBC's Nazi drama SS-GB have felt half so resonant a year ago?

This alternate history is freighted with meaning now we're facing the wurst-case scenario. 

Would SS-GB have felt half so resonant a year ago? Though the clever-after-the-fact Nostradamus types out there might disagree, I can’t believe that it would. When it comes to the Second World War, after all, the present has helpfully stepped in where memory is just beginning to leave off. The EU, in the process of fragmenting, is now more than ever powerless to act in the matter of rogue states, even among its own membership. In case you hadn’t noticed, Hungary, for instance, is already operating as a kind of proto-fascist state, led by Viktor Orbán, a man whom Jean-Claude Juncker, the president of the European Commission, jokingly likes to call “the dictator” – and where it goes, doubtless others will soon follow.

The series (Sundays, 9pm), adapted from Len Deighton’s novel, is set in 1941 in a Britain under Nazi occupation; Winston Churchill has been executed and the resistance is struggling to hold on to its last strongholds in the countryside. Sam Riley plays Douglas Archer, a detective at Scotland Yard, now under the control of the SS, and a character who appears in almost every scene. Riley has, for an actor, a somewhat unexpressive face, beautiful but unreadable. Here, however, his downturned mouth and impassive cheekbones are perfect: Archer, after all, operates (by which I mean, barely operates) in a world in which no one wants to give their true feelings away, whether to their landlady, their lover, or their boss, newly arrived from Himmler’s office and as Protestant as all hell (he hasn’t used the word “degenerate” yet, but he will, he will).

Archer is, of course, an ambiguous figure, neither (at present) a member of the resistance nor (we gather) a fully committed collaborator. He is – or so he tells himself – merely doing his job, biding his time until those braver or more foolhardy do something to restore the old order. Widowed, he has a small boy to bring up. Yet how long he can inhabit this dubious middle ground remains to be seen. Oskar Huth (Lars Eidinger), the new boss, is keen to finish off the resistance; the resistance, in turn, is determined to persuade Archer to join its cause.

It’s hard to find fault with the series; for the next month, I am going to look forward to Sunday nights mightily. I would, I suppose, have hoped for a slightly more charismatic actress than Kate Bosworth to play Barbara Barga, the American journalist who may or may not be involved with the British resistance. But everything else seems pretty perfect to me. London looks suitably dirty and its inhabitants’ meals suitably exiguous. Happiness is an extra egg for tea, smoking is practically a profession, and
the likes of Archer wear thick, white vests.

Swastikas adorn everything from the Palace of Westminster to Trafalgar Square, Buckingham Palace is half ruined, a memorial to what the Germans regard as Churchill’s folly, and the CGI is good enough for the sight of all these things to induce your heart to ache briefly. Nazi brutality is depicted here as almost quotidian – and doubtless it once was to some. Huth’s determination to have four new telephone lines installed in his office within the hour is at one end of this horrible ordinariness. At the other is the box in which Archer’s mutinous secretary Sylvia (Maeve Dermody) furiously stubs out her fag, full to the brim with yellow stars.

When I first heard about The Kettering Incident (Tuesdays, 12.20am; repeated Wednesdays, 10pm) I thought someone must have found out about that thing that happened one time I was driving north on the M1 with a more-than-usually terrible hangover. Turns out it’s a new Australian drama, which comes to us on Sky Atlantic. Anna (Elizabeth Debicki), a doctor working in London, pitches up back in Tasmania many years after her teenage friend Gillian disappeared into its Kettering forest, having seen a load of mysterious bright lights. Was Gillian abducted by aliens or was she, as some local people believe, murdered by Anna? To be honest, she could be working as a roadie for Kylie, for all I care. This ponderous, derivative show is what happens when a writer sacrifices character on the altar of plot. The more the plot thickens, the more jaw-achingly tedious it becomes.

Rachel Cooke trained as a reporter on The Sunday Times. She is now a writer at The Observer. In the 2006 British Press Awards, she was named Interviewer of the Year.

This article first appeared in the 24 February 2017 issue of the New Statesman, The world after Brexit