Time Out with Nick Cohen

Nick Cohen meets Simon Baron-Cohen, Cambridge professor of developmental psychopathology.

When an old friend heard I would be seeing Simon Baron-Cohen, she asked if I could describe her family to him and then ask a question. I did my best. My friend is a wife and mother of two, I told him when we met at his Cambridge college. She is a highly numerate and purposeful woman who has had a successful career in the City. Her husband is also good at maths and a successful City analyst. He is a quiet, handsome and loyal man. People who have known him for years consider themselves lucky to count him as a friend. But he's not at his best when making small talk with strangers.

Their son is on the autistic spectrum. He's a clever boy, but his life is cursed because he can't handle the confusion of everyday life: the echoes of the swimming pool and the screams of the playground are torments; the relationships others manage instinctively are like trips into a wilderness without a map. Their daughter is almost a teenager and is the spit of her mother. She, too, prefers numbers to losing herself in fiction, and, although it is hard to predict the woman from the girl, I can see her repeating her parents' success.

"She wants to know what to tell her daughter about men," I relayed. "Should she advise her to look for someone who is the opposite of her - the life and soul of the party, who can read a stranger's emotions in a glance and share their joys and woes? Should she warn her about strong, silent types, in case she ends up with an autistic boy of her own?"

"Ah, assortative mating," said the Cambridge professor of developmental psychopathology, "the research on that is just beginning and it's very early days. This idea that certain types of women should think about who they marry if they want to minimise the risk hasn't been tested. But . . ." And he went off into a long discussion of how genes may influence the autistic personality.

As I listened, I thought about the intellectual revolution being brought by the full acceptance that the brain is a product of evolution. Ten years ago, maybe even five years ago, our conversation would have been impossible. Baron-Cohen would have been wary of speaking his mind for fear that demonstrators would churn up the grass of the quad at Trinity College and that his right-thinking colleagues in the social sciences departments would denounce him as some kind of fascist.

The consensus after the Second World War was that the mind was a blank slate. It evolved at some point, obviously, but now environment determined consciousness and nurture trumped nature. The ideological reason for believing that human beings were solely the product of their cultures was a generally well-meant reaction against social Darwinism and "scientific" racism. But it had the consequence of turning apparently liberal men and women into deniers of the legacies of evolution who were just as fanatical in their way as the most boneheaded southern Baptist. In 1975, when Edward O Wilson wrote about the biological bases for human behaviour in his ground-breaking Sociobiology: the new synthesis, the American Anthropological Association debated a motion that condemned him for "attempting to justify genetically the sexist, racist and elitist status quo in human society", an anathema Time magazine likened to the Catholic Church's assault on Galileo.

"Female" compassion

If anything, Baron-Cohen is a greater heretic because he appears to be saying that men and women have different kinds of intelligence. Men are more likely than women to "systemise" the outside world, his argument runs. They are quicker to see patterns, create organisations and make predictions. Women are better at empathising with others, feeling their emotions and producing a sympathetic response. Autism, in his view, is an extreme "male brain", which allows autistics to pick apart systems while showing little or no understanding of the people around them. He hastily adds that when he talks about "male" and "female" brains, he is talking about averages. Women, like my friend, can have "male" brains and be brilliant financial analysts. Men can have "female" brains and be compassionate social workers. Gender isn't destiny.

But then, who reads the caveats when the urge to join a righteous frenzy breaks? In 2005, all hell broke loose when Larry Summers, the president of Harvard University, suggested that along with sexist hiring practices and career breaks for childbirth, the relatively small number of exceptional women mathematicians and physicists may also have a biological explanation. He resigned shortly afterwards.

Baron-Cohen's account of how the "male" brain may have evolved is even more of an offence to conventional pieties. In The Essential Difference, he speculates that the men who fathered the most children in early human societies may have collected and kept harems of wives because they were exceptionally aggressive. A violent man is almost by definition good at systemising when he plans his attacks, but hopeless at empathising with his victims' suffering. In support of his hypothesis, he quoted a study by James Neel and Napoleon Chagnon of the Yanomamö Indians of Venezuela. Whereas, in industrial societies, murderers lose their social status, Baron-Cohen wrote, "among the Yanomamö, men who kill other men end up with higher social status".

He didn't seem to know it, but the punishment Chagnon and Neel received for questioning the Rousseauian myth of the noble savage was a scandalous campaign of vilification. Their accusers falsely claimed that they had deliberately unleashed a lethal measles epidemic on the Yanomamö and been the dupes of loggers who wanted to steal Indian land. As Ophelia Benson and Jeremy Stangroom say of the affair in their fine polemic Why Truth Matters, their enemies didn't care whether what Chagnon and Neel reported was right or wrong. "From the perspective of postmodernism, social science, as a science, is just another mechanism for objectifying and oppressing people, and it is, therefore, to be resisted."

Baron-Cohen didn't want trouble, but couldn't escape uncomfortable evidence. He began working with autistic children as a young man. He saw the sadness of their parents, who gave much but got little back, but was also fascinated by the problem of why so many of the children were boys. "Amazingly, although lots of research had gone into autism, no one was looking at that stark fact, even though nature was giving us a big clue about causality."

He studied test results from the general population and found that, in tests where women did well, autistic children did badly, and in tests where men did well, autistic children did well, too. Further experiments emphasised the "masculinity" of autism. He found that newborn boys, untouched by culture, were more likely than girls to look at a mobile than a human face, and a connection between the testosterone levels that three-month-old foetuses experienced in pregnancy and their ability to learn language when they were toddlers.

Autism may be a strength

Like Darwin with The Origin of Species, Baron-Cohen was careful and delayed the publication of his full findings. His first step was to test the water with a tentative lecture at Rutgers University in New Jersey. "I expected to be attacked either by feminists or by Americans in general, because in the States there's much more of a climate of 'you can become everything that you want'. The idea that biology might be more deterministic than we previously thought, well, I was worried it might be unfashionable there."

But he experienced none of the almost Maoist levels of denunciation that greeted his predecessors. Baron-Cohen explains the protests that never came by saying: "There is now a more open-minded climate and you can talk about sex differences in the mind without fear of the accusation of either sexism or essentialism." To that, I would add that the extreme male brain is not something many feminists would wish for their daughters, even if it does on occasion produce brilliant thinkers.

In contrast to his less interesting cousin, Sacha, Simon Baron-Cohen is a wonderfully humane man. The most compelling instance is his attitude to the "anti-cure" wing of the fractious "autism community". I expected a hard-headed scientist who has dismissed so many of the comforting assumptions of the late 20th century to have little time for politically correct radicals who insist that they are "autistics" rather than "people with autism" because their autism isn't an add-on, but the defining feature of their personality. Not a bit of it.

Baron-Cohen refuses to call autism a disorder, and is dubious about researchers in America who are trying to produce drugs to improve the social skills of autistics. "What will the costs be?" he asks. "What will we lose? Autism involves disability, but it also involves areas of strength - fantastic attention to detail and a good memory. There are aspects of autism to be proud of that can lead to gifts and talents."

Inclusion not the answer

He was less angry about the nonsensical MMR mania than I imagined he would be, because it at least forced the government to think about autism as it tried to combat the mass hysteria. His ambition now is to use that interest to make ministers realise their superficially benign doctrine of "inclusiveness" is bringing unnecessary suffering. Their "inclusive" national curriculum is hopeless for children on the autistic spectrum because autistics find "the lack of precision in discussing a novel frightening compared to the precision involved in getting an answer to a mathematical problem. That's not necessarily a disability; it just means they should be channelled off in one direction." Meanwhile, the closure of special schools and the dumping of autistic children in the "inclusive" mainstream can sound sweet and may help some, but it has left many others exposed to horrible bullying.

My guess is that the Ruth Kelly affair will help his cause. The true hypocrisy of her behaviour lay not so much in a Labour minister going private, as in a former education secretary whose government had closed state special schools sending her dyslexic son to an excellent private special school, which protects children while it turns them round. Baron-Cohen believes there are many more who need protecting. "We see a lot of people in adulthood who dropped out of education because, by secondary school, if you are not good at socialising then you are not tolerated. If only they could skip teenage and go straight to adulthood, they could find jobs in technology or science."

My friend's eight-year-old son knows he has autism. "My brain is scribbled," he says. "But that's good because it makes me clever. When I grow up I will find a cure, but I will keep my brain scribbled because I want to stay clever."

The last time I phoned his mother, she had the prospectus for the school chosen by Ruth Kelly on her knees, so maybe the boy will find a cure that he can himself refuse to take. In any event, his parents have the money to make sure he will have the chance of staying clever, a chance that should be available to all of his contemporaries.

Nick Cohen is an author, columnist and signatory of the Euston Manifesto. As well as writing for the New Statesman he contributes to the Observer and other publications including the New Humanist. His books include Pretty Straight Guys – a history of Britain under Tony Blair.

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