Morning Call: pick of the papers

The ten must-read comment pieces from today's papers.

1 Second-class Europe? What’s the point of it? (Times)

‘Associate’ membership solves nothing. Our trading partners will still want to meddle, europhobes will still want out, writes Matthew Parris.

2 Richard Nixon’s dark side has obscured his greatness (Telegraph)

A hundred years after his birth, it is time to reassess the legacy of the disgraced US president Richard Nixon, argues Jonathan Aitken

3 It’s the shameless doublespeak that makes politicians look like liars (Independent)

With the public already disdainful of politicians, how can so many continue with the tactics of public obfuscation and diversion, asks Damian McBride

4 It wasn't Labour who spent too much, it was the banks. How did we forget this? (Guardian)

It's only five years since the financial crisis broke, and already the truth of why it happened has been rewritten, says Deborah Orr.

5 The Europe speech Cameron should give (Financial Times)

The prime minister is to make a long-awaited address. Here is a suggested draft, from Janan Ganesh.

6 Wake up and smell the coffee (Times)

Look around a Starbucks now and it resembles a drop-in centre from 1989, writes Caitlin Moran.

7 It's time to revive the memory of Hugh Gaitskell, the best Labour PM Britain never had (Independent)

There were paradoxes in the life of Gaitskell, yet the man himself was much less complex than his place in Labour's folk memory, writes Donald MacIntyre

8 Israel's shift to the right will alienate those it needs most (Guardian)

Ahead of the Israeli elections, ultra-ultra-nationalists are surging in the polls. But diaspora Jews might recoil from their views, writes Jonathan Freedland.

9 India’s daughters come fighting out of purdah (Times)

Signs of women’s oppression are everywhere when you travel around. But this tragedy can mark a turning point, argues Rosie Millard.

10 A year for the Tories to restore their reputation (Telegraph)

The Conservative Party must do all it can to fix the economy, however radical the measures and whatever the impact on its short-term popularity, argues a Telegraph leader.

Alex Hern is a technology reporter for the Guardian. He was formerly staff writer at the New Statesman. You should follow Alex on Twitter.

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Bertie Carvel's diary: What would the French think about infidelity to Doctor Foster?

The joy of debuting a new series, Rupert Murdoch's squeamishness and a sting in the tail.

According to the adage, the first thing an actor does when he gets a job is to go on holiday. And so, having finished our sold-out run of James Graham’s Ink at the Almeida and with the show (in which I play a young Rupert Murdoch) about to transfer into the West End, I’m packing my bags.

But before I can skip town, I’ve one more professional engagement: the press launch of series two of the BBC drama Doctor Foster, which we finished filming at Christmas. I’ve now seen the final cut of all five episodes, and I’m excited to share it with an audience. There’s no substitute for seeing other people’s reactions at first hand, especially with a show that got people talking so much first time around, and it’s electric to sit in a cinema full of expectant journalists and commentators and feel the room respond. Nothing beats this: to put so much into making a thing and then experience an audience’s unmediated, reflexive reaction. When it goes well, you feel that you’ve shared something, that you’ve all recognised something together about how things are. It’s a unifying feeling. A sort of bond.

Cheating spouses

Handling the interviews has been tricky, when there’s so little one can say without giving the plot away. (The first series began with Suranne Jones’s character Gemma, a GP, suspecting her husband Simon of having an affair.) What’s more, lots of the questions invite moral judgements that I’ve tried my best to avoid; I always think it’s really important not to judge the characters I play from outside, but simply to work out how they feel about themselves, to zero in on their point of view. There’s a sort of moral bloodlust around this show: it’s extraordinary. People seem to want to hear that I’ve been pilloried in the street, or expect me to put distance between myself and my character, to hang him out to dry as a pariah.

While I’m not in the business of defending Simon Foster any more than I’m in the business of attacking him, I am intrigued by this queer mixture of sensationalism and prurience that seems to surface again and again.

Shock horror

Oddly enough, it’s something that comes up in Ink: many people have been surprised to find that, in a story about the re-launch of the Sun newspaper in 1969 as a buccaneering tabloid, it’s the proprietor who considers dropping anchor when the spirit of free enterprise threatens to set his moral compass spinning.

I’ve never given it much thought before, but I suppose that sensationalism relies on a fairly rigid worldview for its oxygen – the SHOCKERS! that scream at us in tabloid headlines are deviations from a conventional idea of the norm. But what’s behind the appetite for this sort of story? Do we tell tales of transgression to reinforce our collective boundaries or to challenge them?

For me there’s a close kinship between good journalism and good drama. I’m reminded of the words of John Galsworthy, who wrote Strife, the play I directed last summer, and who felt that the writer should aim “to set before the public no cut-and-dried codes, but the phenomena of life and character, selected and combined, but not distorted, by the dramatist’s outlook, set down without fear, favour, or prejudice, leaving the public to draw such poor moral as nature may afford”.

So when it comes to promoting the thing we’ve made, I’m faced with a real conundrum: on the one hand I want it to reach a wide audience, and I’m flattered that there’s an appetite to hear about my contribution to the process of making it; but on the other hand I think the really interesting thing about the work is contained in the work itself. I’m always struck, in art galleries, by how much more time people spend reading the notes next to the paintings than looking at the paintings themselves. I’m sure that’s the wrong way around.

Insouciant remake

En route to the airport the next morning I read that Doctor Foster is to be adapted into a new French version. It’s a cliché verging on racism, but I can’t help wondering whether the French will have a different attitude to a story about marital infidelity, and whether the tone of the press coverage will differ. I wonder, too, whether, in the home of Roland Barthes, there is as much space given to artists to talk about what they’ve made – in his 1967 essay, “The Death of the Author”, Barthes wrote that “a text’s unity lies not in its origin but in its destination”.

No stone unturned

Touring the villages of Gigondas, Sablet and Séguret later that evening, I’m struck by the provision of espaces culturels in seemingly every commune, however small. The French certainly give space to the work itself. But I also notice a sign warning of a chat lunatique, so decide to beat a hasty retreat. Arriving at the house where I’m staying, I’ve been told that the key will be under a flowerpot. Lifting each tub in turn, and finally a large flat stone by the door, I find a small scorpion, but no key. I’m writing this at a table less than a yard away so let’s hope there won’t be a sting in this tale.

Ink opens at the Duke of York Theatre, London, on 9 September. More details: almeida.co.uk

This article first appeared in the 17 August 2017 issue of the New Statesman, Trump goes nuclear