Beatrice Webb, co-founder of the New Statesman.
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Promoted

New Statesman and the Webb Memorial Trust Essay Competition

Essay competition run by the New Statesman and the Webb Memorial Trust. First prize: £1,000.

The Competition

All interested young people are invited to submit an essay of no more than 2,500 words answering the following question:

The question this year is;

How can business reduce poverty?

The deadline is 22 October 2014.

The winning essay will be published prominently in the New Statesman magazine and on our award-winning website at Christmas.

A first prize of £1,000 will be awarded to the winner. The runner-up will receive £500.

Entrants must be between 18 and 25 years of age.

The results will be announced at an awards reception in London in December (all those whose entries are shortlisted will be invited).

 

Please submit your entry to Roxanne Mashari at info@appgpoverty.org.uk

Submitted entries will be judged by a panel including:

Richard Rawes (Chair, Webb Memorial Trust)

Jason Cowley (Editor, New Statesman)

Paul Hackett (Director, Smith Institute)

Lord Kinnock (Labour peer)

Kate Green MP (Chair, APPG Poverty)

More to be announced

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The Webb Memorial Trust shares a rich history of collaboration with this magazine. Beatrice Webb co-founded the New Statesman in 1913 with her husband, Sidney Webb, the socialist campaigner who became a Labour MP in 1922. In recent years our associated ventures have included supplements tackling issues of poverty and inequality in the UK today, with contributions from leading think-tank directors, heads of charities and policymakers.

In February 2012 the New Statesman, supported by the trust, produced a 15-page policy report that questioned not whether the government should be tackling poverty, but how. Kate Green MP, Chris White MP, Andrew Harrop and Paul Hackett were among the advisers and legislators who made the case for a fairer society.

In March 2013 we produced a second supplement, which focused on the myths about poverty that are grabbing headlines. How accurate are the perceptions of “benefit scroungers” and what effects do these attitudes have on those living below the poverty line? Christian Guy, Kate Henderson, Alison Garnham, Deborah Hargreaves and others discussed low pay, in-work poverty and the social housing stigma, highlighting proactive projects that have made a difference.

This year we collaborated on a third supplement debating whether civil society rather than the state should be the driving force behind the alleviation of poverty. Kenny Imafidon, Ruth Lister, Max Wind-Cowie, Paul Bunyan and John Diamond all contributed ideas on wider society could do to have a real impact, independent of government.

Never has the work of the trust been more important. Tough economic conditions, rising use of zero hours contracts and cuts to the welfare state have put more people than ever at risk of living in poverty. The New Statesman is proud to be partnered with this great institution.

The two supplements can be downloaded from the New Statesman website at: newstatesman.com/page/supplements.

 

 

 

 

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The worst Oscar-winning films of all time

How hated movies have grabbed their space in the spotlight. 

Whilst the biggest surprise at last night’s Oscars was undoubtedly the part where they weren’t sure who’d actually won Best Picture, Suicide Squad also raised a few eyebrows. The critically-panned superantihero non-classic managed to take home an Academy Award, albeit in the category of Best Makeup and Hairstyling. Which raises the question: is Suicide Squad the worst film to have ever won an Oscar?

Obviously, the quality of a film is an ultimately subjective measure. Suicide Squad is someone’s favourite movie; every film is someone’s favourite movie, except for Sex Lives of the Potato Men. But if we want to get an "objective" view, one was is to look at a measure of the critical consensus, like Tomatometer on the website Rotten Tomatoes, which counts the percentage of good and bad reviews a film has received from critics.

Here, Suicide Squad ranks at a lowly 26 per cent (with such glowing lines as the Wall Street Journal’s “an all-out attack on the whole idea of entertainment”), which is one of the lowest scores an Academy Award-winning movie has ever received. But not the lowest.

Michael Bay’s historically dubious epic Pearl Harbor, which managed a win for Best Sound Editing, has a rating of just 25 per cent. As well as its Oscar, Pearl Harbor won Worst Picture at "anti-Oscars" The Razzies, the first film to do so that also had one of the real awards.

This kind of "technical" award is a good route to unlikely Oscar glory. Middling John Lithgow-meets-Bigfoot comedy Harry and the Hendersons isn’t remembered as an award-winner, but it took home the gold for Harry's makeup job. It can sometimes be overlooked that most films are a massive team effort, and there's something heartwarming about the fact people can get still be rewarded for being very good at their job, even if that job is working on a mediocre-to-terrible movie.

Still, if no-one working on the actual film does their job right, you can always get someone decent to write a song. The not very good (score: 33 per cent) eighties "steel welder wants to learn ballet" movie Flashdance took an award home for the Giorgio Moroder-composed title theme. He would also later bring home a much better film’s sole award, when he penned Top Gun’s Take My Breath Away.

Picking the right song is how what may be the lowest-rated Oscar winner of all time did it: The Richard Burton/Elizabeth Taylor melodrama The Sandpiper has a Rotten Tomatoes rating of just 10 per cent, but win it did, for the song The Shadow of Your Smile (which isn’t even actually very good; Burt Bacharach’s What's New Pussycat? was robbed.)

Even an Oscar winner that is praised by contemporaries can be undone by the cruelty of time. One of the lowest-scoring winners is 1936’s Anthony Adverse, at just 13 per cent - not only did it win for Best Cinematography, Best Supporting Actress, Best Soundtrack and Best Editing, it was nominated for Best Picture. But however praised the historical epic might have been at the time, because Rotten Tomatoes aggregates reviews from online media, it does not appear to have dated well.

Perhaps awards can only ever reflect the critical mood of the time - Singin’ In The Rain has a 100 per cent Tomatometer score, but took home no Oscars. Best Picture that year went to The Greatest Show On Earth, now judged a 44 per cent mediocrity. Perhaps by the 2080s film critics will be stunned that the newly re-appreciated acting masterclass Pirates of the Caribbean: Dead Man's Chest only won for its visual effects, be baffled that the lauded classic Suicide Squad wasn’t a Best Picture contender, and be absolutely 100 per cent certain that Jared Leto was the finest actor of his generation. Maybe the apocalypse wouldn’t be so bad after all.