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Drastic and immediate cuts in carbon emissions, as advocated by most of the green lobby, are an expe

There is a disturbing tendency among many in the climate debate today to deride as "deniers" anyone who does not advocate making huge and immediate carbon cuts. The framing began nearly a decade ago with discussions about the science of climate change. People who questioned the link between carbon emissions and warming were branded "deniers".

The semantic similarity to Holocaust denial was made overt when several prominent environmental campaigners suggested a need for Nuremberg-style trials for their opponents. Such rhetoric was deeply unfortunate. However, one could at least argue that the resulting fiery debate achieved one positive thing: it played a role in rousing most climate scientists to join together to underscore the message that global warming is largely man-made.

We have long since moved on from any mainstream disagreements about the science of global warming. Now, the crucial conversation is about the economics of our response. Today, the labels "denier" and "sceptic" are hurled at anyone who does not fervently argue for drastic, immediate carbon cuts. There is no possible justification, given that so many climate economists - the specialists in this field - recommend very different policies from those being advocated by the zealous carbon cut lobbyists.

In my book, first published in Danish in 1998, and then in English as The Skeptical Environmentalist in 2001, I wrote that man-made global warming exists. I could not have been clearer; the introduction to the section on climate change states: "This chapter accepts the reality of man-made global warming." My position has not changed. Thus, when I am labelled a "long-time climate sceptic" or "climate change denier" by
bloggers and activists, it is not based on any suggestion I have ever declared that the science of global warming is wrong. Rather, it is the campaigners' heated response to my pointing out that drastic carbon cuts don't make sense and that smarter policy responses should be considered.

It is understandable that emotions run high in such a defining discussion. I can appreciate, even in those who disagree with me, a moral intent to do good for humanity. But I cannot see how responding to empirical economics with slander will ever be helpful. Much worse than that, I believe that ignoring - or, indeed, denying - basic economic reality is a shoddy way of helping the planet.

In July, the G8 agreed to make carbon emission cuts to limit global warming to no more than 2°C above pre-industrial levels. This would be the most costly public policy humanity has ever enacted.

The Copenhagen Consensus Centre recently asked top climate economists to explore the benefits and costs of different responses to global warming, to prompt a discussion about the solutions that would have the biggest impact on climate for the lowest cost. We convened a second stellar group of top economists, including three Nobel laureates, to examine independently all of the research and rank the proposals in order of desirability.

One research author, the prominent climate economist Professor Richard Tol, who has been a contributing, lead, principal and convening author for the IPCC, strikingly showed that grand promises of drastic, immediate carbon cuts are a hugely expensive way of doing very little good. Reducing emissions by 80 per cent by mid-century (to achieve the 2°C goal) would avert much of the expected damage of global warming; based on conventional estimates, it would avoid climate damages of about £1.9trn a year by 2100. However, the cost of this would be a reduction in growth - particularly damaging to the world's poor - to the tune of around £25trn a year. Moreover, the costs would come much sooner than the benefits. Every pound spent on this grand plan would achieve twopence worth of good.

Put starkly: drastic carbon cuts would hurt much more than climate change. Cutting carbon is extremely expensive, especially in the short term, because the alternatives to fossil fuels are few and costly. Without feasible alternatives, we just hurt growth, which would be especially damaging for countries such as Brazil, China and India, dependent on fossil fuels to lift millions out of poverty.

It is important to emphasise that Tol's figures are based on projections from all the major economic energy models of the Stanford Energy Modelling Forum. Around half of the models found it impossible to achieve the target of keeping temperature rises lower than 2°C with carbon cuts. The £25trn price tag is optimistic because it comes only from the models that project the target is even possible.

The cost assumes that politicians everywhere in the world would, throughout the entire century, make the most effective, efficient choices possible to reduce carbon emissions. Dump that far-fetched assumption and the cost could be ten or even 100 times higher.

The Copenhagen Consensus on Climate's expert panel considered Tol's research - along with other proposals for responses to global warming - and concluded that drastic carbon cuts would be the poorest approach. The economic lessons are underpinned by real-world experience. In Rio de Janeiro in 1992, politicians from wealthy countries promised to cut emissions by 2000, but did no such thing. In Kyoto in 1997, leaders promised even stricter reductions by 2010, yet emissions have kept increasing unabated. It is little wonder that politicians are backing away from promising that they will be able to broker a new deal on carbon cuts in Copenhagen this December.

Despite the shambles of the Copenhagen negotiations, many carbon cut campaigners refuse to discuss alternative approaches. By dismissing critics as "deniers" and "sceptics", they commit the planet to the poorest policy choice - and one with very little chance of succeeding in controlling temperature rises. We could and should do better. The expert panel of Nobel laureate economists, working for the Copenhagen Consensus on Climate, revealed smarter solutions.

The panel recommended immediate research into climate engineering technology and a substantial increase in research and development of green energy alternatives. The two approaches complement each other. Climate engineering has the advantage of speed. There is a significant delay between carbon cuts and any temperature drop - even halving global emissions by mid-century would barely be measurable by the end of the century. And making green energy cheap and prevalent will also take a long time. After all, electrification of the global economy is still incomplete after more than a century of effort.

Climate engineering has a lot of potential as a way for us to buy more time - but it does not appear to be a long-term answer. We could gain time to ensure that we can shift sustainably and efficiently away from reliance on fossil fuels, which requires the investment in researching alternatives to these fuels.

Many of us fear climate engineering. But the groundbreaking research paper by Eric Bickel and Lee Lane at the University of Texas - one of the first studies of the costs and benefits of these technologies - offers compelling evidence that a tiny investment in climate engineering might be able to reduce as much of global warming's effects as trillions of pounds spent on carbon emission reductions.

The most attractive technology Bickel and Lane examine appears to be marine cloud whitening, where boats spray seawater drop-lets into clouds at sea to make them whiter and thus reflect more sunlight back into space, so reducing warming. This augments the natural process whereby sea salt from the ocean is whipped up and provides cloud condensation nuclei. Marine cloud whitening would not lead to permanent atmospheric changes, and could be used only when needed.

The researchers conclude, remarkably, that we might be able to cancel out this century's entire global warming with 1,900 unmanned ships spraying seawater mist into the air, at a total cost of about £6bn. When the benefits from averted warming are calculated, this is the equivalent of doing more than £2,000 worth of good with every pound spent.

President Barack Obama's science adviser, John Holdren, has said that climate engineering has "got to be looked at", and many prominent scientists agree. Concerns about the ramifications of this technology are a reason to research now to identify all of the limitations and risks. If it turns out that this is not a feasible or sensible approach, we need to have that information as soon as possible.

Marine cloud whitening would obviously not solve every aspect of global warming. But it would achieve more, much faster, than any plausible carbon cuts could ever do, and at a fraction of the price. If we are concerned with solving global warming, then we have a moral obligation to research what we could achieve with this technology.

But there is no point in using climate engineering to buy more time if we do not use it effectively. Since politicians started negotiating carbon agreements, we have wasted nearly 20 years without making any significant progress in reducing global warming. Focusing primarily on how much carbon to try to cut through taxes, rather than on how to achieve this technologically, puts the cart before the horse.

Global energy demand will double by 2050, according to research by the respected climate change economists Chris Green and Isabel Galiana from McGill University in Montreal. Use of fossil fuels remains vital for our development, prosperity and survival. Alternative sources of energy are unfortunately far from ready for widespread use. Green and Galiana show that, to reduce carbon emissions by three-quarters by 2100 while maintaining reasonable growth (a less ambitious goal than the G8's), non-fossil-fuel-based sources of energy will have to be an astonishing two and a half times greater in 2100 than the total level of global energy consumption in 2000.

If we continue on our current path, technological development will not be anywhere near significant enough to make non-carbon-based energy sources competitive with fossil fuels on price and effectiveness. Green and Galiana examine the state of non-carbon-based energy today - nuclear, wind, solar, geothermal, etc - and find that, taken together, alternative energy sources would get us less than halfway towards a path of stable carbon emissions by 2050, and only a tiny fraction of the way towards stabilisation by 2100. The technology will not be ready in terms of scalability or stability. In many cases, there is still a need for the most basic research and development. We are not even close to getting this revolution started.

Current technology is so inefficient that we would have to blanket most countries with wind turbines to power everybody's needs, and even then we would have the problem of storage when the wind doesn't blow.

Many environmental campaigners lauded China's ambition to create "green cities", powered by huge wind farms. But China plans to build dozens of new coal-fired power plants for these cities, too: otherwise, there will be blackouts every time there is not enough wind. The vast majority of Chinese cities will still rely on electricity from coal.

If governments try to cut carbon through taxes and trading schemes without effective replacements, we will make virtually no difference to climate change in the future, while in the shorter term there will be significant damage to economic growth.

Public funds on research and development also need to increase dramatically. We cannot rely on private enterprise alone. As with medical research, early innovations will not reap significant financial rewards, so there is no strong incentive for private investment today. While many of us assume that green research and development must have increased dramatically over the past decade, the actual numbers from the International Energy Agency show that not only has this spending not risen, but it has actually declined significantly since the early 1980s.

Policymakers should abandon fraught carbon reduction negotiations and instead make agreements to invest in research and development to get this technology to the level it needs to be. Provided that this spending doesn't go into subsidising existing, inefficient technology, but is instead put towards promoting innovation, this would have a far greater chance of tackling climate change - and a far greater chance of political success.

The biggest carbon emitters of the 21st century, including India and China, are understandably unwilling to sign up to tough, costly emission targets. They would be much more likely to embrace a cheaper, smarter and more beneficial path of innovation. Ultimately, we will not succeed politically or economically in tackling climate change by making fossil fuels so expensive that nobody will use them. However, if we forge onwards with dramatically increased research and development, towards the middle of the century we could make green energy so cheap that everyone will use it.

Discussions about solving the planet's problems will always be emotional. But they should also be reasoned. The most reasonable response to global warming is to change our course and focus on an approach that would actually work.

Bjørn Lomborg is the director of the think tank the Copenhagen Consensus Centre at Copenhagen Business School and the author of "Cool It: the Skeptical Environmentalist's Guide to Global Warming"

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This article first appeared in the 23 November 2009 issue of the New Statesman, Green Heroes and Villains

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