Boris Johnson apologises for Hillsborough editorial

Mayor of London says he is "very, very, sorry" for the 2004 Spectator editorial.

Boris Johnson memorably journeyed to Liverpool in 2004 to apologise for a Spectator leader, published during his editorship (it was penned by Simon Heffer), which accused the city of wallowing in its "victim status" and claimed that it had never acknowledged the part played in the Hillsborough disaster by "drunken fans at the back of the crowd who mindlessly tried to fight their way into the ground".

Following the publication of yesterday's Hillsborough report, which eloquently rebutted such smears, the Mayor of London has decided to repeat his apology. He said:

I'm very, very glad that this report does lay to rest the false allegation that was made at the time about the behaviour of those fans. I was very, very sorry in 2004 that the Spectator did carry an editorial that partially repeated those allegations, I apologised then and I apologise now. I do hope the families of the 96 victims will take some comfort from this report and that they can reach some sort of closure.

And here, for reference, are the offending passages from the editorial.

The extreme reaction to Mr Bigley's murder is fed by the fact that he was a Liverpudlian. Liverpool is a handsome city with a tribal sense of community. A combination of economic misfortune - its docks were, fundamentally, on the wrong side of England when Britain entered what is now the European Union - and an excessive predilection for welfarism have created a peculiar, and deeply unattractive, psyche among many Liverpudlians. They see themselves whenever possible as victims, and resent their victim status; yet at the same time they wallow in it. Part of this flawed psychological state is that they cannot accept that they might have made any contribution to their misfortunes, but seek rather to blame someone else for it, thereby deepening their sense of shared tribal grievance against the rest of society.

The deaths of more than 50 Liverpool football supporters at Hillsborough in 1989 was undeniably a greater tragedy than the single death, however horrible, of Mr Bigley; but that is no excuse for Liverpool's failure to acknowledge, even to this day, the part played in the disaster by drunken fans at the back of the crowd who mindlessly tried to fight their way into the ground that Saturday afternoon. The police became a convenient scapegoat, and the Sun newspaper a whipping-boy for daring, albeit in a tasteless fashion, to hint at the wider causes of the incident.

Mayor of London Boris Johnson first apologised for the editorial during a visit to Liverpool in 2004. Photograph: Getty Images.

George Eaton is political editor of the New Statesman.

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Did Titantic do more for climate change than Leonardo DiCaprio’s new documentary?

Sex, icebergs and individual plight: the actor’s earlier outing teaches us more about vast disasters than his new docufilm about global warming’s impact, Before the Flood.

“Now you know there was a man named Jack Dawson and that he saved me . . . in every way that a person can be saved.” Or did he? For Titanic actor Leonardo DiCaprio, there is one way in which Jack never did rescue Rose: from the threat of climate catastrophe. 

Over the last 15 years, DiCaprio has made the issue a personal mission. Yet even in his role as UN climate ambassador, he stills feels far from heroic:

“If the UN really knew how I feel, how pessimistic I am about our future . . . I mean to be honest, they may have picked the wrong guy.”

So begins his new documentary, Before the Flood. A quest for answers on climate change, the film sees Leo racing around the world, marvelling at the sound of endangered whales, despairing at the destruction caused by tar-sands – “it looks like Mordor” – and interviewing a series of concerned experts, from professors to Barack Obama to the Pope.

There are plenty of naysayers to stand in his way and put him down. “Who better to educate world leaders on made-up climate change and a crisis that doesn't exist, than an actor with zero years of scientific training?” mocks one commentator from Fox News.

But if DiCaprio can gather enough evidence to believe in himself – AND believe that there are viable solutions out there – then so can we. Or so the story arc promises. His journey thus stands as a guide for our own; a self-education that will lead to salvation for all. 

It's all a little messianic. The film is even named after a biblical painting. And will those who don't already know who DiCaprio is even care? 

The sad fact is that, while DiCaprio’s lasting popularity still owes so much Titanic, the 1997 box-office smash that made his name, his new documentary fails to recapture the dramatic wisdom that put him there. It doesn’t even quip about the icebergs.

This is an oversight. Titanic didn’t win 11 academy awards for nothing. As well as a must-see rite of passage (pun intended) and soundtrack for infinite school discos, it taught me something invaluable about storytelling. Though I was not initially a DiCaprio fan, over the years I’ve come to accept that my lasting love of the film is inseparable from my emotional investment in Leo, or at least in his character, Jack. What Titanic showed so brilliantly was that the fastest way to empathise with suffering on a vast scale – be it a sinking ship or a sinking planet – is to learn to care for the fate of one or two individuals involved.

Every part of Jack and Rose's story is thus intimately linked with the story of the ship. Even that famed sex scene gains its erotic force not from the characters alone, but from their race through the blazing engine room (situated as it is between the foreplay of the naked portrait and the famous post-coital ending in the back of the cab).

And such carefully crafted storytelling isn't only essential to great entertainment but to great activism too. It can literally inspire action – as evidenced by fans’ desperate attempts to prove that both Jack and Rose could have climbed to safety aboard the floating piece of wood.

So would Before the Flood have been better if it had been a little bit more like Titanic and less like An Inconvenient Truth? Yes. And does that mean we should make climate films about epic polar bear love stories instead? Not exactly. 

There are many powerful documentaries out there that make you emotionally invested in the lives of those experiencing the consequences of our indirect (fossil fuel-burning) actions. Take Virunga, a heart-wrenching insight into the struggle of those protecting eastern Congo’s national park.

Sadly, Before the Flood is not one of them. Its examples of climate change – from Beijing air pollution to coral reef destruction – are over-familiar and under-explored. Instead of interviewing a Chinese official with a graph on his iPad, I would have preferred visiting a solar-panel factory worker and meeting their family, who are perhaps suffering from the effects of the smog in a way I can't yet imagine.

If you want a whistlestop tour of all things climate change then this necessary and urgent film is the movie for you. But those hoping it will give new depth to climate activism will be disappointed.

DiCaprio's distant relationship with the effects of climate change leave him stranded at the level of a narrator. He makes for a great elderly Rose, but we need a Jack.

Before The Flood is in limited theatres from 21 October and will be shown on National Geographic on Sunday 30 October.

India Bourke is an environment writer and editorial assistant at the New Statesman.