The politics of childcare are heating up. Here's why.

All parties are desperate for measures that will make life easier for hard-pressed families. Affordable childcare is an obvious candidate.

Often an issue only gets the attention it deserves due to a shift in the wider political context.  And so it may be with our creaking childcare system. Despite unprecedented increases in public support – and major improvements - it’s still the case that during the Labour years childcare never received anything like the concerted attention going to schools and hospitals.  Even now when surveys come out showing the cost of childcare racing ahead of inflation (never mind wages), they tend to be buried deep inside newspapers while increases in rail fares or petrol prices are splashed across the front pages. In political and media terms childcare has long been seen as a second-tier issue.

This may, however, be changing. Part of the reason is straight politics. None of the parties like what they are hearing in focus groups about the absence of ideas that would make a concrete difference to living standards. Labour still has a long way to go to recover the ground it lost with working families – particularly among modest earning women: recall that at the last election the Conservatives had a massive 16 point lead over Labour among C2 female voters, reversing Labour's towering 18 point advantage among the same group in 1997. Meanwhile Conservative strategists are fearful that their current strategy of appealing to so-called strivers (even while reducing their tax credits) by making a big play of bearing down on other less deserving groups, may at some point run out of road. Prior to the next election it may be met with the obvious retort from the working population: ok, but what have you actually done to improve my plight? That’s a question they don’t want to be asked. For their part, the Lib Dems remain frustrated that their efforts to lead the debate on expanding early years provision has gone almost entirely unnoticed – in part because it hasn’t been connected to an account of making it easier for families to combine work and home.

Of course, there is no single remedy to the multiple causes of the squeeze on living standards – and improved childcare is a very long way off being a panacea. It will be by no means universally popular. The great majority of voters don’t have young children. Some people vehemently resent more support for those with kids. Others will say that families should have someone at home.  

But the costs of inaction – both economic as well as political – are mounting. It’s fairly well known that childcare costs in the UK are very high and account for a large chunk of family incomes. (It’s less widely understood that for many families there has actually been a fall in the share of their incomes spent on childcare  – though that trend has been impeded by the recent cut in tax credit support for childcare costs, as the chart below shows).

Childcare costs as a % of after-tax income

Source: OECD, and Resolution Foundation childcare cost model, 2012. Childcare costs for family with two children aged two and three in full-time care, as a % of net family income, in 2008 and 2012. Black horizontal lines on the pink bars show what 2012 levels would have been had childcare support through tax credits remained at 80% rather than being cut to 70% in April 2011.

These costs weigh very heavily in the decision a couple takes as to whether to be dual or single earning. Indeed, in the context of falling real wages the only way many families will be able to protect, never mind enhance, their living standards is to work more hours. Obviously that’s no easy task given record levels of under-employment.  But let’s just assume that extra hours are available, and consider whether or not families would be better off from the second earner taking them given the costs of childcare.

Worth working? The impact of childcare costs

The chart sets this out for a stylised, typical middle income family with two young children. It assumes the first earner, the man, works full-time and the second earner, the woman, is deciding how many hours of work to undertake (apologies for the gender stereotypes, but it still reflects the norm).

It is a chart that politicians should pause over. There is some incentive for the woman to work for about 13 hours at which point the family is £4,500 better off a year than if she stayed at home. Beyond this further hours of work actually make the family worse off as the cost of childcare, and the withdrawal of tax-credit support, outweigh the post- tax gains from higher earnings. (This chart would look even bleaker if it was a for a low income working family with each earner on the minimum wage: they would only be a measly £300 better off a year if the second earner works 25 hours per week, and after this more hours of work makes them worse off).

What should we take from this?

The first point concerns how this problem is interpreted by different parts of the political spectrum. It says something about today’s politics that some on the Tory right (in contrast to a few modernising Conservatives) react to it by saying that the trouble is too much state involvement, and the answer is to liberate families by ending direct childcare support replacing it with tax allowances for those with children.  It’s hard to know where to start on this: for many low and middle income families the cost of childcare is so much greater than any plausible increase in tax allowances that this would  without  doubt consign the second earner, overwhelmingly the woman, to staying at home (leading to an immediate hit to living standards and a permanent loss in earnings potential); lots of those who are low paid and work part-time don’t pay any income tax so would gain zilch from these tax allowances; and in any case many low income working households would see the majority of the gains from tax allowances immediately withdrawn under Universal Credit. The list goes on.

A more reasonable interpretation is that, despite the progress made since the early 2000s, our childcare system still falls far short of the type of support that would enable many working families to hold down two jobs. If Britain is to make strides in catching up with leading advanced economies in terms of female employment (never mind shifting gender roles) that urgently needs to be remedied. And if we care about childcare quality then one way or another it will mean spending more. We’re not going to deregulate our way to Scandinavia.

Second, and perhaps equally challenging for both left and right, is that relying heavily on a means-tested approach to supporting childcare has severe limitations. It necessarily results in punishing marginal tax rates for those on modest and middle incomes, as tax-credits get withdrawn.  So whilst for the foreseeable future there will be of course be a role for means-testing, any new support should be broadly shared rather than highly targeted.    

Third, none of this is revelatory. It’s known to leading people across the political parties. To varying degrees, they are already concerned about this issue. All are anxious that their showy empathy on family living standards is increasingly grating with a weary electorate. All are uneasy about their lack of cut-through policies particularly for working families. All nervously wonder whether another party may make the first move on this terrain, and if so how they would fund it in the context of austerity.  

True, it would be foolhardy to predict an upward bidding war on childcare given the sweeping scale of the cuts to come. But only a fool would think the best course of action is to stick with the current half-formed system of childcare when the case for building on it – not least in terms of employment - has never been stronger. Expect childcare to feature in 2015 like never before.

Gavin Kelly is a former adviser to Downing Street and the Treasury. He tweets @GavinJKelly1.

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Love a good box set? Then you should watch the Snooker World Championships

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. 

People are lazy and people are impatient. This has always been so – just ask Moses or his rock – but as illustrated by kindly old Yahweh, in those days they could not simply answer those impulses and stroll on.

Nowadays, that is no longer so. Twitter, YouTube and listicles reflect a desire for complex and involved issues, expansive and nuanced sports – what we might term quality – to be condensed into easily digestible morsels for effort-free enjoyment.

There is, though, one notable exception to this trend: the box set. Pursuing a novelistic, literary sensibility, it credits its audience with the power of sentience and tells riveting stories slowly, unfolding things in whichever manner that it is best for them to unfold.

In the first episode of the first series of The Sopranos, we hear Tony demean his wife Carmela's irritation with him via the phrase “always with the drama”; in the seventh episode of the first series we see his mother do likewise to his father; and in the 21st and final episode of the sixth and final series, his son uses it on Carmela. It is precisely this richness and this care that makes The Sopranos not only the finest TV show ever made, but the finest artefact that contemporary society has to offer. It forces us to think, try and feel.

We have two principal methods of consuming art of this ilk - weekly episode, or week-long binge. The former allows for anticipation and contemplation, worthy pursuits both, but of an entirely different order to the immersion and obsession offered by the latter. Who, when watching the Wire, didn’t find themselves agreeing that trudat, it's time to reup the dishwasher salt, but we’ve run out, ain’t no thing. Losing yourself in another world is rare, likewise excitement at where your mind is going next.

In a sporting context, this can only be achieved via World Championship snooker. Because snooker is a simple, repetitive game, it is absorbing very quickly, its run of play faithfully reflected by the score.

But the Worlds are special. The first round is played over ten frames – as many as the final in the next most prestigious competition – and rather than the usual week, it lasts for 17 magical days, from morning until night. This bestows upon us the opportunity to, figuratively at least, put away our lives and concentrate. Of course, work and family still exist, but only in the context of the snooker and without anything like the same intensity. There is no joy on earth like watching the BBC’s shot of the championship compilation to discover that not only did you see most of them live, but that you have successfully predicted the shortlist.

It is true that people competing at anything provides compelling drama, emotion, pathos and bathos - the Olympics proves this every four years. But there is something uniquely nourishing about longform snooker, which is why it has sustained for decades without significant alteration.

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. Most frequently, snooker is grouped with darts as a non-athletic sport, instead testing fine motor skills and the ability to calculate angles, velocity and forthcoming shots. However, its tempo and depth is more similar to Test cricket – except snooker trusts so much in its magnificence that it refuses to compromise the values which underpin it.

Alfred Hitchcock once explained that if two people are talking and a bomb explodes without warning, it constitutes surprise; but if two people are talking and all the while a ticking bomb is visible under the table, it constitutes suspense. “In these conditions,” he said, “The same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: ‘You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!’”

Such is snooker. In more or less every break, there will at some point be at least one difficult shot, loss of position or bad contact – and there will always be pressure. Add to that the broken flow of things – time spent waiting for the balls to stop, time spent prowling around the table, time spent sizing up the table, time spent cleaning the white, time spent waiting for a turn – and the ability for things to go wrong is constantly in contemplation.

All the more so in Sheffield’s Crucible Theatre. This venue, in its 40th year of hosting the competition, is elemental to its success. Place is crucial to storytelling, and even the word “Crucible” – whether “a ceramic or metal container in which metals or other substances may be melted or subjected to very high temperatures,” “a situation of severe trial”, or Arthur Miller’s searing play – conjures images of destruction, injustice and nakedness. And the actual Crucible is perhaps the most atmospheric arena in sport - intimate, quiet, and home to a legendarily knowledgeable audience, able to calculate when a player has secured a frame simply by listening to commentary through an earpiece and applauding as soon as the information is communicated to them.

To temper the stress, snooker is also something incredibly comforting. This is partly rooted in its scheduling. Working day and late-night sport is illicit and conspiratorial, while its presence in revision season has entire cohorts committing to “just one more quick frame”, and “just one more quick spliff”. But most powerfully of all, world championship snooker triggers memory and nostalgia, a rare example of something that hasn’t changed, as captivating now as it was in childhood.

This wistfulness is complemented by sensory pleasure of the lushest order. The colours of both baize and balls are the brightest, most engaging iterations imaginable, while the click of cue on ball, the clunk of ball on ball and the clack of ball on pocket is deep and musical; omnipresent and predictable, they combine for a soundtrack that one might play to a baby in the womb, instead of whale music or Megadeth.

Repeating rhythms are also set by the commentators, former players of many years standing. As is natural with extended coverage of repetitive-action games, there are numerous phrases that recur:

“We all love these tactical frames, but the players are so good nowadays that one mistake and your opponent’s in, so here he is, looking to win the frame at one visit ... and it’s there, right in the heart of the pocket for frame and match! But where’s the cue ball going! it really is amazing what can happen in the game of snooker, especially when we’re down to this one-table situation.”

But as omniscient narrators, the same men also provide actual insight, alerting us to options and eventualities of which we would otherwise be ignorant. Snooker is a simple game but geometry and physics are complicated, so an expert eye is required to explain them intelligibly; it is done with a winning combination of levity and sincerity.

The only essential way in which snooker is different is the standard of play. The first round of this year’s draw featured eight past winners, only two of whom have made it to the last four, and there were three second-round games that were plausible finals.

And just as literary fiction is as much about character as plot, so too is snooker. Nothing makes you feel you know someone like studying them over years at moments of elation and desolation, pressure and release, punctuated by TV confessions of guilty pleasures, such as foot massages, and bucket list contents, such as naked bungee jumping.

It is probably true that there are not as many “characters” in the game as once there were, but there are just as many characters, all of whom are part of that tradition. And because players play throughout their adult life, able to establish their personalities, in unforgiving close-up, over a number of years, they need not be bombastic to tell compelling stories, growing and undergoing change in the same way as Dorothea Brooke or Paulie Gualtieri.

Of no one is this more evident that Ding Junhui, runner-up last year and current semi-finalist this; though he is only 30, we have been watching him almost half his life. In 2007, he reached the final of the Masters tournament, in which he faced Ronnie O’Sullivan, the most naturally talented player ever to pick up a cue – TMNTPETPUAC for short. The crowd were, to be charitable, being boisterous, and to be honest, being pricks, and at the same time, O’Sullivan was playing monumentally well. So at the mid-session interval, Ding left the arena in tears and O’Sullivan took his arm in consolation; then when Ding beat O’Sullivan in this year’s quarter-final, he rested his head on O’Sullivan’s shoulder and exchanged words of encouragement for words of respect. It was beautiful, it was particular, and it was snooker.

Currently, Ding trails Mark Selby, the “Jester from Leicester” – a lucky escape, considering other rhyming nouns - in their best of 33 encounter. Given a champion poised to move from defending to dominant, the likelihood is that Ding will remain the best player never to win the game’s biggest prize for another year.

Meanwhile, the other semi-final pits Barry Hawkins, a finalist in 2013, against John Higgins, an undisputed great and three-time champion. Higgins looks likely to progress, and though whoever wins through will be an outsider, both are eminently capable of taking the title. Which is to say that, this weekend, Planet Earth has no entertainment more thrilling, challenging and enriching than events at the Crucible Theatre, Sheffield.

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