Why life is good

A dangerous gap exists between our personal experience, which is mainly happy, and our view of a soc

Progressive ideology relies on the capacity of human beings to live fulfilled lives in a just and co-operative society. That people whose beliefs imply optimism seem to spend most of their time wallowing in pessimism is one reason that leftists sometimes lack personal credibility (another reason being that egalitarians so clearly enjoy being very well-off). But miserable idealists need to make a New Year resolution to look on the bright side. Pessimism is becoming an impediment to progressive politics. It is 50 years since J K Galbraith coined the phrase "private affluence and public squalor"; today, the dichotomy is between private hubris and public pessimism.

It is pessimism of a particular and pernicious kind. People are not generally negative about their own lives. In fact, we systematically exaggerate the control we have as individuals. As Malcolm Gladwell, among others, has shown, we tend to give our conscious minds credit for many reactions that are in fact instinctive. Other studies - of what we say has made us happy and what has actually increased our levels of contentment - show that we have a huge capacity to rationalise our life choices. When we are forced to make a choice between limited options, we are as likely to end up claiming the choice as our own as we would if it were unconstrained. And the more we like a future possibility in our lives, the more inclined we are to believe it will happen. The human mind is hard-wired to be personally Panglossian.

In contrast, we are unduly negative about the wider world. As a government adviser, I would bemoan what we in Whitehall called the perception gap. Time and again, opinion polls expose a dramatic disparity between what people say about their personal experiences and about the state of things in general. Take attitudes towards public services. In a recent poll, 81 per cent of respondents said that they were happy with their last visit to hospital. Yet when the same people were asked whether they thought the National Health Service was providing a good service nationally, only 47 per cent felt able to declare it was so, and most think the NHS is going to get worse.

This perception gap is not restricted to public services, as a recent BBC poll on families confirms. Some 93 per cent of respondents des cribed themselves as optimistic about their own family life, up 4 per cent from the previous time the survey was conducted, 40 years ago. Yet more people - 70 per cent, across race, class and gender - believe families are becoming less successful overall. While we apparently thrive in our own families of many shapes and forms, as social commentators we prefer to look back, misty-eyed, to the gendered certainties of our grandparents' generation.

What is true for families is true for neighbourhoods: we think ours is improving while community life is declining elsewhere. We tend to like the people we know from different ethnic backgrounds but are less sure about such people in general. We think our own prospects look OK but society is going to the dogs.

The media seem to be the most obvious cause of this phenomenon. Bad news makes more compelling headlines than good. Tabloids and locals feed off crime stories, middlebrow papers are dismayed at the chaos of the modern world and the alleged venality and ignorance of those in power, and left-leaning broadsheets enjoy telling us that global instability is endemic and envir onmental apocalypse inevitable. Mean while, the content of television programmes - from dramas to news bulletins - contributes to what the communication theorist George Gerbner called "mean world syndrome": people who regularly watch TV systematically overstate the level of criminality in society.

Yet it is too easy to blame the media; the job of commissioning editors is to give us what we want. We make our own contribution to social pessimism. In the burgeoning industry of reputation management, it is generally argued that people are much more likely to tell others about bad experiences of services than good ones (5:1 is the usual ratio). Academic research suggests that people tend to exaggerate in the direction of the general mood. Viewing our own lives positively but wider society negatively, we will tend to pass on and exaggerate evidence that supports these prejudices.

Evolutionary determinists may seek an explanation of our predilection for bad news in neurological hard-wiring; perhaps, for the survival of hunter-gatherers, warning is more important than celebrating. But it is in two of the mega-trends of modernity that more likely reasons for our social pessimism are to be found.

First, there has been the inexorable rise in individualism since the Enlightenment. As Richard Sennett brilliantly argued in The Fall of Public Man, aspects of modernity such as the power of consumer capitalism and the ubiquity of the idioms of psychotherapy have accelerated the process by which we see our authentic selves as revealed in the private and personal spheres, rather than the public and social.

Unstoppable force

Hand in hand with the rise of individualism, we have seen the decline of industrial and pre-industrial collectivist institutions, including the organised church, trade unions, political parties and municipal elites. Robert Putnam's work on social capital suggests this decline in collectivism reaches down into our social lives, with people choosing to spend less time with acquaintances and more with intimates. Putnam's more recent work controversially argues that trust levels are lower and loose social networking less common in more diverse communities.

This points to the second of modernity's mega- trends. Increasingly, we feel that we are the victims of processes set in train by human activity but no longer under anyone's control. Globalisation is the gravity of modern society: an unstoppable force that will knock us over if we try to defy it. The origins of the current credit squeeze in the US sub-prime mortgage market show a financial system that is beyond not only its managers' control, but even their capacity to chart.

Illegal immigration, terrorism and pandemics are seen as the inevitable flip side of cheap travel and consumer goods. Philosophers and policy-makers argue about how best to regulate emerging science and technology in genetics, nano technology and artificial intelligence. But can anything long delay the advance of knowledge - especially if it has commercial applications?

It is not only that we as ordinary citizens feel beset by forces beyond our control. We are ever less likely to believe in the power or authority of our elected representatives (although we much prefer our own MP to MPs in general). At a time when they have more to prove to us than ever before, our leaders are diminished by the politics of a populist consumerism. In this time of uncertainty, is it surprising that the more politically successful national leaders - think Chávez or Putin - are those who offer strong leadership in defiance of democratic constraints?

This is the anatomy of social impotence. By definition, progressives argue for the possibilities of progress; but is anyone inclined to believe us? A hundred years ago, Joseph Rowntree established his charitable works after analysing the social evils of his age. When, last year, the Joseph Rowntree Foundation asked today's public for its definition of the "new social evils", the list had changed very little. Greed, poverty, crime, family and community breakdown all featured on both lists. But at a seminar to discuss the findings, advisers from the foundation and elsewhere agreed on one big shift between the late-Victorian era and today: while Rowntree had seen his evils as the unfinished business of society's onward march, today we see social patho logies as the inevitable consequences of an idea of progress that itself feels imposed upon us.

Brainier than before

And yet. There is a different story to be told about our world. It is a story of unprecedented affluence in the developed world and fast-falling poverty levels in the developing world; of more people in more places enjoying more freedom than ever before. It is a story of healthier lives and longer life expectancy (obesity may be a problem, but it is one that individuals have more chance of solving than rickets or polio). Think of how we thrive in the diversity of modern cities. Think, in our own country, of rivers and beaches cleaner than at any time since the Industrial Revolution. When you read the next report bemoaning falling standards in our schools, remember the overwhelming evidence that average IQs have risen sharply over recent decades. If you think we have less power over our lives, think of the internet, of enhanced rights at work and in law, or remember how it was to be a woman or black or gay 30 years ago.

As for the powerlessness of leaders, the Bali deal last month may leave much to be resolved, but isn't this at last a sign that nations can unite in the best interests of the planet? And should we really lose faith that human determination and ingenuity ultimately will win through? Despite the power of international finance, this is a world where it is possible to be economically successful in societies as deliberately different as those of Sweden or the United States.

We rightly worry about rogue states and terrorists with dirty bombs; but let us also remember that since Nagasaki we have managed to carry on for 60 years without anyone unleashing the power of nuclear warfare. Not only have there been three generations of peace in Europe, but when in the past has a project as grand as EU enlargement been accomplished, let alone accomplished in a decade?

Progressives want the world to be a better place. We bemoan its current inequities and oppression - yet if we fail to celebrate the progress that human beings have made, and if we sound as though the future is a fearful place, we belie our own philosophy. Instead, we need to address a deficit in social optimism that threatens the credibility of our core narrative.

There are many aspects to this; we should, for example, be making the case for a more balanced and ethical media. But my starting point is the need to forge a new collectivism. It is in working with others on a shared project of social advance that we can be reconnected to the sense of collective agency so missing from modern political discourse. It is the attitude of the spectator that induces pessimism, the experience of the participant that brings hope. The problem is not that change brings fear and disorientation (there's nothing new in this), it is that we lack the spaces and places where people can renew hope and develop solutions.

The old collectivism is dead or dying. Its characteristics - hierarchical, bureaucratic, paternalistic - are no longer suited to the challenges or the mood of the times. The institutions of the new collectivism must be devolved, pluralistic, egalitarian and, most of all, self-actualising.

For all the talk of the decline of social capital, people are doing more stuff together. Twenty-five years ago, with falling audiences, commentators assumed that the cinema and live football were dead: we would all rather stay in the safety and comfort of our new, hi-tech living rooms. But then the multiplex, the blockbuster, the all-seater stad ium and foreign players showed the problem to be no deeper than the failure to keep up with modern tastes and expectations.

Self-actualisation is the peak of Maslow's hierarchy of needs. There is evidence that more of us are trying to climb that hierarchy. It is in the crowds at book festivals and art galleries, in ever more demanding consumerism with an emphasis on the personal, sensual and adventurous. We want to enjoy ourselves, to be appreciated and to feel we are growing from the experience. Compare that to the last Labour Party, trade union or council meeting you went to.

Roll up your sleeves

The failure to provide routes to collective fulfilment means we assume that our journey is best pursued alone. In the 1970s and 1980s, new left movements at home and abroad placed emphasis on forms of political organisation and debate that were innovative, exciting and (dare I say it without mockery) consciousness-raising.

Today, there are signs of a yearning for new ways of working together. There is the growing interest in social and co-operative enterprise and the emergence of new forms of online collaboration. Gordon Brown's citizens' juries are a tentative step in the right direction, albeit without much fun or risk-taking, but generally, progressives seem more interested in bemoaning the state of the world than in rolling up their sleeves and getting to work on building the institutions of a new collectivism.

Despite the huge impersonal forces of the modern world, people are prepared not only to believe in a better future, but to work together to build it. Tackling climate change offers a fascinating opportunity to interweave stories of action at the individual, community, national and international levels. This potential will be fulfilled only when we provide spaces for collective decision-making and action that speak to the same vision of collaboration, creativity and human fulfilment that progressives claim to be our destiny.

Matthew Taylor is chief executive, Royal Society for the Encouragement of Arts, and former chief adviser on political strategy to Tony Blair

Matthew Taylor became Chief Executive of the RSA in November 2006. Prior to this appointment, he was Chief Adviser on Political Strategy to the Prime Minister.

This article first appeared in the 07 January 2008 issue of the New Statesman, Pakistan plot

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