Lean, green killing machines

The race is on between China and the US to equip their forces with eco technologies – and China is w

As the Taliban gunman hides from an approaching Apache attack helicopter, he may not care that the American aircraft is painted with chrome-free primer to reduce its environmental impact. Nor may he be impressed that the next generation of pilotless surveillance drones will be part-powered by solar energy.

The US military is rushing to embrace sustainability. Its primary motive is not ethical. It is trying to keep pace with China in a strategic race to harness clean energy. Any future conflict between superpowers will almost certainly feature eco-weapons and green tactics. The oil-burning Americans are starting to realise how badly they are lagging behind.

This emerging race presents eco-minded campaigners and technologists with a dilemma - should they welcome the huge budgets being committed? Should they, perhaps, even take the military dollar, or should they campaign against the uses to which it is being put?

China is already leaping ahead. The Beijing government is doubling its spending on green tech every year. Its budget is vast - at around $288m a day, according to a US Senate hearing in February. American commentators are beginning to warn how China sees this as a route to global primacy. Robert F Kennedy Jr, the environmental lawyer (and nephew of John F Kennedy), warns on his blog: "The Chinese are treating the energy technology competition as if it were an arms race . . . China will soon make us as dependent on Chinese green technology for the next century as we have been on Saudi oil." He concludes: "The arms race of the 21st century is already in progress."

Major General Zeng Fanxiang, deputy head of the Arms-Building Study Centre of the Chinese People's Liberation Army (PLA), declared in December: "Regarding weapons, we need to develop solar power, hydrogen, nuclear and other new energy resources." In a report posted on the Chinese ministry of national defence's website, he also predicted that climate change could alter the way battles are fought and called on the military to become more fuel-efficient.

Sun and sea

In response, the Pentagon is investing in solar technology and funding a major ocean-energy project. US military leaders hope that this surge will achieve energy security at home and abroad. It may also help the civilian sector to catch up with Chinese technology, which is devastating a domestic manufacturing sector that was gearing up to create thousands of jobs for the ailing US economy. In Britain, the promise of new green industries may be stifled at birth by Chinese dynamism.

Across the US, military bases are installing black-and-blue solar panels and other solar technology. Last year, Hill air force base switched on the largest solar panel array in the state of Utah. Green tech is also being harnessed to develop solar-powered battlefield radios, as well as tents with solar panels woven into their fabric to power military equipment.

Solar power and wind energy are, however, dependent on the weather and thus intermittent. No modern military wants to wait for a good breeze. So the US forces are being more ambitious. At a naval base on the Indian Ocean atoll of Diego Garcia, scientists are developing a system called Otec (ocean thermal energy conversion) - a way to produce power using warm and cold seawater.

Warm water is sucked from the surface and cold water from far beneath. The two streams are used to heat and cool a closed system containing a refrigerant-like ammonia that boils at room temperature. The cold water condenses it into a thick liquid, which is piped to the turbine; warm water then vaporises it into an expanding gas that turns the turbine's blades. Once this process is complete, cold water condenses the ammonia again.During the 1970s energy crisis, the Carter administration funded research into Otec, but Reagan abolished it. Trials have now started again.

President Obama understands its military potential. He has also promised to end US "foreign oil dependency", claiming that it can be used as a weapon that allows "unstable, undemocratic governments" overseas to wield "undue influence over America's national security". His case has been bolstered by Somali pirates. In late 2008, the hijack of the Sirius Star, a VLCC (very large crude carrier) holding two million barrels of oil, exposed America's vulnerability. If a 60-warship multinational force can't beat a group of brigands, imagine how easily China or a nuclear-armed Iran could block the west's supplies.

The technological challenges of Otec are huge. The projected cost of a plant that generates 100-200 megawatts - enough to power 50,000 homes - is $1.5bn. But the potential benefits are dizzying. The oceans could be harnessed as an immense solar-energy store. If the US navy can make it work, Otec could change the future of clean energy.

In April, the US navy declared that it will obtain half of its energy from alternative sources by 2020. It has been conducting flight trials of the Green Hornet, an F-18 fighter aircraft powered by a blend of camelina-derived biofuel and conventional jet fuel. It is the first aircraft to break the sound barrier on biofuel. The navy secretary, Ray Mabus, also announced that the "Great Green Fleet" - a carrier strike group that will use no fossil fuels - would launch by 2016.

The US army is auditing the greenhouse-gas emissions of each of its units. "We recognised that we were big emitters as well as big fuel users," said Jerry Hansen, the US army's senior energy executive in December. Once again, this isn't about protecting the environment so much as defending vulnerable supply lines.

“The more the military thinks about green technology, the more it sees how it goes hand in hand with improving operational effectiveness," Elizabeth Quintana, head of military information studies at Britain's Royal United Services Institute, told me. "Afghanistan is the principal driver for Nato nations. Resupply convoys can be eight miles long and they in effect say: 'Please hit me with a roadside bomb.' Up to 60 per cent of the convoys carry fuel and water. If you reduce that need for supply, you save lives. Forward-operating bases are increasingly using solar panels and wind turbines for sensors and radars. It saves troops from being predictable targets when they regularly refuel generators."

In February, the institute hosted an inter­national conference on military eco-efficiency. Quintana believes that the world's armed forces may prove the most efficient at speeding up green tech development: "The military can turn things around much faster than other government departments. Their get-things-done attitude may put them among the most forward-thinking organisations in this area."

Conflicting interests

Ecological activists are wary of welcoming the military into their climate camp. "There is an uncomfortable pragmatism with which we have to take these things," says Doug Parr, policy director of Greenpeace. "The military's technological advances can't be condemned out of hand. And it would be wrong to suppose that we could stop all military conflict. But if our government is serious about achieving fuel security, there are other things we could do that would be more strategically effective.

“If we want to reduce our dependence on imported energy," Parr continues, "then lagging our roofs should be more of a national security issue than having a more sustainable army. If we all had electric cars, we would not need warships patrolling our oil supply routes."

Alex Randall, of the Centre for Alternative Technology, is also sceptical. "The military is developing these technologies so that they can fight wars in a post-climate-change future. Such conflicts are likely to be caused by a lack of natural resources . . . We would rather that funds were concentrated on technologies and policies that prevent climate change, and which thus prevent conflicts from happening."

The world's armed forces are busily developing forms of green tech that will, no doubt, be devastating in their effects. The emergence of "low-ecological-impact" weapons is a case in point. British and American scientists are deve­loping reduced-toxin explosives and lead-free bullets that don't poison battlegrounds.

The eco-war scenario goes further. A PLA treatise called Unrestricted Warfare from 1999 proposed the use of ecological tactics such as creating man-made earthquakes or other natural disasters. The prospect is revived in General Zeng's report, which says: "Effective meteorological weapons could be a key to surprise in tomorrow's information warfare."

Nuclear weapons halted the game for war hawks, as they meant that any conflict between superpowers would wreck the planet. Green tech has revived the possibility of a mass war in which the environment isn't destroyed.

Our worst nightmare may be the promise of a clean fight.

John Naish is an environmental campaigner and the author of "Enough: Breaking Free from the World of More" (Hodder, £7.99)

This article first appeared in the 17 May 2010 issue of the New Statesman, On a tightrope

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