Hating Hillary

Gloating, unshackled sexism of the ugliest kind has been shamelessly peddled by the US media, which

History, I suspect, will look back on the past six months as an example of America going through one of its collectively deranged episodes - rather like Prohibition from 1920-33, or McCarthyism some 30 years later. This time it is gloating, unshackled sexism of the ugliest kind. It has been shamelessly peddled by the US media, which - sooner rather than later, I fear - will have to account for their sins. The chief victim has been Senator Hillary Clinton, but the ramifications could be hugely harmful for America and the world.

I am no particular fan of Clinton. Nor, I think, would friends and colleagues accuse me of being racist. But it is quite inconceivable that any leading male presidential candidate would be treated with such hatred and scorn as Clinton has been. What other senator and serious White House contender would be likened by National Public Radio's political editor, Ken Rudin, to the demoniac, knife-wielding stalker played by Glenn Close in Fatal Attraction? Or described as "a fucking whore" by Randi Rhodes, one of the foremost personalities of the supposedly liberal Air America? Could anybody have envisaged that a website set up specifically to oppose any other candidate would be called Citizens United Not Timid? (We do not need an acronym for that.)

I will come to the reasons why I fear such unabashed misogyny in the US media could lead, ironically, to dreadful racial unrest. "All men are created equal," Thomas Jefferson famously proclaimed in 1776. That equality, though, was not extended to women, who did not even get the vote until 1920, two years after (some) British women. The US still has less gender equality in politics than Britain, too. Just 16 of America's 100 US senators are women and the ratio in the House (71 out of 435) is much the same. It is nonetheless pointless to argue whether sexism or racism is the greater evil: America has a peculiarly wicked record of racist subjugation, which has resulted in its racism being driven deep underground. It festers there, ready to explode again in some unpredictable way.

To compensate meantime, I suspect, sexism has been allowed to take its place as a form of discrimination that is now openly acceptable. "How do we beat the bitch?" a woman asked Senator John McCain, this year's Republican presidential nominee, at a Republican rally last November. To his shame, McCain did not rebuke the questioner but joined in the laughter. Had his supporter asked "How do we beat the nigger?" and McCain reacted in the same way, however, his presidential hopes would deservedly have gone up in smoke. "Iron my shirt," is considered amusing heckling of Clinton. "Shine my shoes," rightly, would be hideously unacceptable if yelled at Obama.

Evidence to the contrary notwithstanding, American men like to delude themselves that they are the most macho in the world. It is simply unthinkable, therefore, for most of them to face the prospect of having a woman as their leader. The massed ranks of male pundits gleefully pronounced that Clinton had lost the battle with Obama immediately after the North Carolina and Indiana primaries, despite past precedents that strong second-place candidates (like Ronald Reagan in his first, ultimately unsuccessful campaign in 1976; like Ted Kennedy, Gary Hart, Jesse Jackson and Jerry Brown) continue their campaigns until the end of the primary season and, in most cases, all the way to the party convention.

None of these male candidates had a premature political obituary written in the way that Hillary Clinton's has been, or was subjected to such righteous outrage over refusing to quiesce and withdraw obediently from what, in this case, has always been a knife-edge race. Nor was any of them anything like as close to his rivals as Clinton now is to Obama.

The media, of course, are just reflecting America's would-be macho culture. I cannot think of any television network or major newspaper that is not guilty of blatant sexism - the British media, naturally, reflexively follow their American counterparts - but probably the worst offender is the NBC/MSNBC network, which has what one prominent Clinton activist describes as "its nightly horror shows". Tim Russert, the network's chief political sage, was dancing on Clinton's political grave before the votes in North Carolina and Indiana had even been fully counted - let alone those of the six contests to come, the undeclared super-delegates, or the disputed states of Florida and Michigan.

The unashamed sexism of this giant network alone is stupendous. Its superstar commentator Chris Matthews referred to Clinton as a "she-devil". His colleague Tucker Carlson casually observed that Clinton "feels castrating, overbearing and scary . . . When she comes on television, I involuntarily cross my legs." This and similar abuse, I need hardly point out, says far more about the men involved than their target.

Knives out

But never before have the US media taken it upon themselves to proclaim the victor before the primary contests are over or the choice of all the super-delegates is known, and the result was that the media's tidal wave of sexism became self-fulfilling: Americans like to back winners, and polls immediately showed dramatic surges of support for Obama. A few brave souls had foreseen the merciless media campaign: "The press will savage her no matter what," predicted the Washington Post's national political correspondent, Dana Milbank, last December. "They really have their knives out for her, there's no question about it."

Polling organisations such as Gallup told us months ago that Americans will more readily accept a black male president than a female one, and a more recent CNN/Essence magazine/ Opinion Research poll found last month that 76 per cent think America is ready for a black man as president, but only 63 per cent believe the same of a woman.

"The image of charismatic leadership at the top has been and continues to be a man," says Ruth Mandel of Rutgers University. "We don't have an image, we don't have a historical memory of a woman who has achieved that feat."

Studies here have repeatedly shown that women are seen as ambitious and capable, or likeable - but rarely both. "Gender stereotypes trump race stereotypes in every social science test," says Alice Eagley, a psychology professor at Northwestern University. A distinguished academic undertaking a major study of coverage of the 2008 election, Professor Marion Just of Wellesley College - one of the "seven sisters" colleges founded because women were barred from the Ivy Leagues and which, coincidentally, Hillary Clinton herself attended - tells me that what is most striking to her is that the most repeated description of Senator Clinton is "cool and calculating".

This, she says, would never be said of a male candidate - because any politician making a serious bid for the White House has, by definition, to be cool and calculating. Hillary Clinton, a successful senator for New York who was re-elected for a second term by a wide margin in 2006 - and who has been a political activist since she campaigned against the Vietnam War and served as a lawyer on the congressional staff seeking to impeach President Nixon - has been treated throughout the 2008 campaign as a mere appendage of her husband, never as a heavyweight politician whose career trajectory (as an accomplished lawyer and professional advocate for equality among children, for example) is markedly more impressive than those of the typical middle-aged male senator.

Rarely is she depicted as an intellectually formidable politician in her own right (is that what terrifies oafs like Matthews and Carlson?). Rather, she is the junior member of "Billary", the derisive nickname coined by the media for herself and her husband. Obama's opponent is thus not one of the two US senators for New York, but some amorphous creature called "the Clintons", an aphorism that stands for amorality and sleaze. Open season has been declared on Bill Clinton, who is now reviled by the media every bit as much as Nixon ever was.

Here we come to the crunch. Hillary Clinton (along with her husband) is being universally depicted as a loathsome racist and negative campaigner, not so much because of anything she has said or done, but because the overwhelmingly pro-Obama media - consciously or unconsciously - are following the agenda of Senator Barack Obama and his chief strategist, David Axelrod, to tear to pieces the first serious female US presidential candidate in history.

"What's particularly saddening," says Paul Krugman, professor of economics and international affairs at Princeton and a rare dissenting voice from the left as a columnist in the New York Times, "is the way many Obama supporters seem happy with the . . . way pundits and some news organisations treat any action or statement by the Clintons, no matter how innocuous, as proof of evil intent." Despite widespread reporting to the contrary, Krugman believes that most of the "venom" in the campaign "is coming from supporters of Obama".

But Obama himself prepared the ground by making the first gratuitous personal attack of the campaign during the televised Congressional Black Caucus Institute debate in South Carolina on 21 January, although virtually every follower of the media coverage now assumes that it was Clinton who started the negative attacks. Following routine political sniping from her about supposedly admiring comments Obama had made about Ronald Reagan, Obama suddenly turned on Clinton and stared intimidatingly at her. "While I was working in the streets," he scolded her, ". . . you were a corporate lawyer sitting on the board of Wal-Mart." Then, cleverly linking her inextricably in the public consciousness with her husband, he added: "I can't tell who I'm running against sometimes."

One of his female staff then distributed a confidential memo to carefully selected journalists which alleged that a vaguely clumsy comment Hillary Clinton had made about Martin Luther King ("Dr King's dream began to be realised when President Lyndon Johnson passed the Civil Rights Act of 1964") and a reference her husband had made in passing to Nelson Mandela ("I've been blessed in my life to know some of the greatest figures of the last hundred years . . . but if I had to pick one person whom I know would never blink, who would never turn back, who would make great decisions . . . I would pick Hillary") were deliberate racial taunts.

Another female staffer, Candice Tolliver - whose job it is to promote Obama to African Americans - then weighed in publicly, claiming that "a cross-section of voters are alarmed at the tenor of some of these statements" and saying: "Folks are beginning to wonder: Is this an isolated situation, or is there something bigger behind all of this?" That was game, set and match: the Clintons were racists, an impression sealed when Bill Clinton later compared Obama's victory in South Carolina to those of Jesse Jackson in 1984 and 1988 (even though Jackson himself, an Obama supporter, subsequently declared Clinton's remarks to be entirely inoffensive).

The pincer movement, in fact, could have come straight from a textbook on how to wreck a woman's presi dential election campaign: smear her whole persona first, and then link her with her angry, red-faced husband. The public Obama, characteristically, pronounced himself "unhappy" with the vilification carried out so methodically by his staff, but it worked like magic: Hillary Clinton's approval ratings among African Americans plummeted from above 80 per cent to barely 7 per cent in a matter of days, and have hovered there since.

I suspect that, as a result, she will never be able entirely to shake off the "racist" tag. "African-American super-delegates [who are supporting Clinton] are being targeted, harassed and threatened," says one of them, Representative Emanuel Cleaver. "This is the politics of the 1950s." Obama and Axelrod have achieved their objectives: to belittle Hillary Clinton and to manoeuvre the ever-pliant media into depicting every political criticism she makes against Obama as racist in intent.

The danger is that, in their headlong rush to stop the first major female candidate (aka "Hildebeast" and "Hitlery") from becoming president, the punditocracy may have landed the Democrats with perhaps the least qualified presidential nominee ever. But that creeping realisation has probably come too late, and many of the Democratic super-delegates now fear there would be widespread outrage and increased racial tension if they thwart the first biracial presidential hopeful in US history.

But will Obama live up to the hype? That, I fear, may not happen: he is a deeply flawed candidate. Rampant sexism may have triumphed only to make way for racism to rear its gruesome head in America yet again. By election day on 4 November, I suspect, the US media and their would-be-macho commentators may have a lot of soul-searching to do.

In this comment piece on sexist language in the US media in relation to Hillary Clinton Andrew Stephen suggested that Carl Bernstein had publicly declared his disgust for Hillary Clinton's thick ankles. We are informed that Carl Bernstein intended, in his biography of Hillary Clinton, to refer to comments made by others about her when she was at high school. We are happy to accept that Carl Bernstein was not motivated by sexism, and we are sorry for any embarrassment caused.

Andrew Stephen was appointed US Editor of the New Statesman in 2001, having been its Washington correspondent and weekly columnist since 1998. He is a regular contributor to BBC news programs and to The Sunday Times Magazine. He has also written for a variety of US newspapers including The New York Times Op-Ed pages. He came to the US in 1989 to be Washington Bureau Chief of The Observer and in 1992 was made Foreign Correspondent of the Year by the American Overseas Press Club for his coverage.

This article first appeared in the 26 May 2008 issue of the New Statesman, Moral crisis?

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