Work isn't working

Families and firms are at war. It will only be won when parents - fathers as well as mothers - can c

The Sex War is over. Girls outperform boys at school and are streaming through higher edu cation. Young women are now taking home the same size wage packets as young men. But the celebrations have to wait. A new, tougher battle has to be fought. It is not a duel between men and women, but between families and firms. This family war will be won only when parents - fathers as well as mothers - can care for their children without dumbing down their careers.

Women now compete with men on a virtually equal footing in both business and politics - but only until the precise moment they become mothers. It is not a question of old-fashioned notions about their capabilities. "Women don't lose out because of outdated views about them as women," says Mary Gregory, an economics lecturer at Oxford University and expert on gender and work. "They lose out because they make different choices about work when they have children." It is not possession of a womb that now holds women back, but its use.

This is fertile political ground, and the Conservatives are beginning to move on to it. David Cameron has proposed that maternity leave should be made transferable, allowing mums and dads to tag-team the childcare, or even take time off together. It is a modest proposal, not least because fathers will only be paid £112 a week (the current statutory maternity pay rate). Labour's John Hutton retorted that few families would be able to afford to make use of such a right. This is true: but why deny those people the possibility?

It is lack of choice that is now the issue. Legislation aimed at tackling direct discrimination, most importantly the Equal Pay Act, has helped to bring about a sea change in employer attitudes and pay scales. Barbara Castle, author and advocate of the Equal Pay Act, must sit beside Keir Hardie, Clement Attlee and Nye Bevan in the Labour pantheon. The latest research from the TUC shows that the gap between the full-time earnings of men and women in their twenties is only 3 per cent. Even this small gap is explained entirely by the very large salaries of a handful of men at the top of the income distribution, which pull up the male average, and the unwillingness of women to pitch for more money. As Gregory suggests, "Women don't ask."

But the good news comes to an end at 30, the age at which the typical married woman has her first child. Children strike women's careers like a meteorite, while glancing almost imperceptibly off fathers' working lives. The pay gap for thirtysomethings is 11 per cent; women in their forties earn 23 per cent less. The picture gets even worse when part-timers are brought into the picture. Female part-timers in their thirties and forties earn only two-thirds as much an hour as male full-timers of the same age. It is motherhood, rather than misogyny, that explains the pay gap. As Gillian Paull from the Institute for Fiscal Studies writes in the latest issue of the Economic Journal: "The 'family gap' in employment and wages - that is, the differences in work behaviour between women without children and mothers - may be more important than the gender gap alone." Meanwhile, men's working hours go up slightly when they become fathers: and dads do better in terms of wages than childless men.

Direct discrimination is no longer the prin cipal enemy. Three structural problems explain the pay gap. First, women and men work in different occupations, with women clustered in less well-paid sectors such as teaching, retail and health care. This occupational segregation has hardly diminished over the past few decades. Second, the significant increase in general wage inequality has had the unfortunate side effect of making the gap between men and women bigger. Third, the penalty paid by women for working part-time after having children has become much more severe, as a high proportion slide down the occupational ladder in what the erstwhile Equal Opportunities Commission termed a "hidden brain drain".

Campaigners for gender equality hope that the Single Equality Act, scheduled for inclusion in this year's Queen's Speech, will force companies to conduct equal-pay audits. It is in fact a forlorn hope, but they should not be too disappointed. As Barbara Petrongolo, a labour specialist at the LSE, says: "Equal treatment policies like equality audits will not have much bite. The problem is not that employers are paying women less for doing the same jobs as men - it is that women are doing different jobs after having children."

Occupational downgrading

A slew of recent studies has dissected the complex data on motherhood and part-time employment. The conclusions highlight the real problems facing British families, and the failure of the labour market to deliver real choice. Most mothers work part-time for some years in order to balance raising their children with staying in the labour market: only a third of mothers with pre-school-age children are in full-time work. A substantial minority - around a quarter - of these end up in a lower-status job: managers become clerical workers. Some professions, such as nursing and teaching, offer most women the chance to go part-time without loss of status or hourly pay. And those women who stay with their current employer are less likely to suffer "occupational downgrading". As Gregory and her co-author Sara Connolly lament: "This loss of career status with part-time work is a stark failure among otherwise encouraging trends for women's advancement."

It is important to be clear what the problem is. Is it bad news that women want to spend time with their children? Surely not, given the evidence for the importance of parental engagement in the early years of a child's life. Are these women "forced" into part-time work, and now just grinning and bearing it? No - the overwhelming majority say they positively chose part-time work, and their job satisfaction is higher than that of mothers working full-time. Most men and women, according to the British Social Attitudes Survey, think that a conventional division of labour is the right one, with mothers taking on the bulk of responsibility for childcare.

We may wish to change these attitudes, but equally we must respect them. The TUC, for example, struggles to take women's choices at face value, declaring: "Women take on a disproportionate share of caring responsibilities due to unequal pay and limited opportunities within the workplace." This presupposes a level of responsiveness to economic incentives that would make Milton Friedman proud. Like it or not, women are doing most of the caring because they see it as part of their role in life. Groundbreaking work by the American economists Rachel Kranton and George Akerlof suggests that being a mother is part of women's identity, and that this explains their otherwise irrational labour-market decisions.

Perhaps the problem is an economic one - the loss of productivity as a result of the underuse of women's skills? This is the argument adopted by many who are urging more government action, but it is a fragile one. The latest TUC report, Closing the Gender Pay Gap, estimates that £11bn a year is being lost. The Women and Work Commission puts the figure at between £15bn and £23bn. A strange, unholy alliance has in fact developed between old-fashioned feminists, who insist women ought to work full-time to gain economic parity with men, and Treasury economists, who worry about the apparently "irrational" squandering of "human capital" by educated women. The principal difference between these allies is that the feminists want to spend billions of pounds of public money on childcare to allow more women to work full-time - the "Swedish option", at which the mandarins generally baulk.

There are, however, grave dangers in relying on economic arguments. For a start, such estimates are notoriously difficult to generate and are open to subjective manipulation (another recent study even found that £5bn is lost each year as a result of bosses' failure to say "thank you" to their staff, which suggests there are easier ways to boost productivity). And even if there really is an economic cost, there may well be a counterbalancing social gain in better-quality family life and happier children.

"Cost" of legislation

Overall, welfare might be greater even if our GDP - the size of which is a source of constant anxiety to male politicians - is somewhat smaller. Employers and their representative bodies are also just as adept at producing studies showing the apparent "cost" of any legislation to help working families - whether it is to introduce a minimum wage, equal pay, better maternity leave or better rights for temporary staff. Equality then becomes a battle of numbers, each side wielding its own semi-fictional cost-benefit analysis. Once we start putting a price tag on equality, we have lost sight of its value.

The problem is not a dent in economic output. The problem is not that mothers reject a life as what the sociologist Heather Hopfl has called that of a "quasi-man". The problem is lack of choice, for women and men alike. Millions of women do not have the option of reducing their hours as well as maintaining their status. And very few men have the option of sharing the childcare responsibilities with their partner. Liberal societies should aim to offer individuals the maximum range of options from which to construct their version of a good life.

"The heart of the choice issue is limited opportunities for women to work part-time in high-quality jobs," says Petrongolo. Gregory agrees: "The crunch question is this - can part-time women continue at the same level?" The one area of dissatisfaction expressed by women working part-time is with their wages. That is not surprising.

Employers are reluctant to retain or hire senior part-timers. While 60 per cent of employers say they would allow a woman returning from maternity leave to switch to part-time status, of these only two-thirds would allow her to remain at the same level of seniority. So, less than half would permit a reduction in hours without loss of status. This may not just be the result of Jurassic attitudes, as Gregory admits: "We can't assume that employers are simply stupid." Assuming it costs as much to hire and train part-timers as full-timers, they will offer a lower return on investment. There may also be co-ordination costs, especially associated with part-time or job-sharing managers. But it is hard to know the true height of these barriers.

Since 2003, employees have had a "right to request" flexible working while firms have had a corresponding duty to take such requests seriously. Some one-off surveys suggest that since the law came into force, one in seven women have made a request, and that most have been accepted. But the Labour Force Survey - the main data source on workplace trends - shows no increase in levels of part-time work over the same period. This puzzles economists. The most likely explanation is that a similar number of requests was being made and granted even before the legislation, and that the law has made little difference. It also looks as if women are asking for part-time work in the sectors where they are most likely to be granted, such as nursing, rather than in the senior and professional jobs where the real problem lies.

Part-timer fathers

It is clear that British families do not want to outsource the raising of their children to others, and prefer to combine paid work and care. At the moment, this means mums, but in the future it could mean dads, too. The model we should be emulating is Holland, where workers have the right to convert a full-time job to a part-time one unless the employer can produce convincing evidence for damage to the firm. "We need to shift the burden of proof from the employee to the employer," insists Gregory. We need to go Dutch, and remove the words "to request" from the right to request flexible working.

It is possible that without the risk of occupational downsliding, more men may also choose to work part-time; but it is also necessary to give men the same freedom as women to take time off for childcare as women. Cameron's idea of transferability is a step in the right direction: it is high time the government stopped deciding for us which parent should raise our children.

Markets are usually good at offering choice, but at present the labour market is failing the family. Companies are not generally acting on the basis of a rigorous business case against senior part-timers. They are exhibiting what psychologists call "path dependency": doing what they do because that's what they've always done. A decisive legislative strike on the Dutch model could jolt them on to a fairer path. Rather than aiming at creating economy-friendly families, it is time to shape a family-friendly economy.

This is the kind of package Labour MPs used to advocate. Indeed, the Commission on Social Justice - under the influence of its deputy chair Patricia Hewitt - proposed just such a move back in 1994. But, in a battle between families and firms, Labour now leans towards the latter. Gordon Brown loves to praise "hard-working families". What families need now is for him to work harder for them.

Working parenthood: by numbers

1/3 of mothers, and one-fifth of fathers, use some form of flexible working pattern

£7,000 average cost of taking a full 12 months off work after the birth of a child

83% proportion of women who want to return to work after having children

1 in 3 proportion of female corporate managers who lose status after having children

94% of all new fathers take some time off after the birth to care for their children

90% of mothers take at least six months' leave

39 number of weeks women are entitled to statutory maternity pay at 90% or less of weekly earnings

2 number of weeks men are entitled to paternity leave (pay negotiable)

Research: Simon Rudd

This article first appeared in the 24 March 2008 issue of the New Statesman, The truth about Tibet

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