How Fleet Street is still misleading the public over climate change

The right-wing press is attempting to fool the public into believing that its opposition to green policies is based on robust evidence, rather than dogmatic ideology.

One of the most important findings of the Leveson inquiry was that some newspapers publish intentionally inaccurate and misleading articles when promoting a political agenda. Nowhere is this betrayal of the public interest more glaringly obvious than in the coverage of climate change policy.

In his final report, Leveson stated: "I have come to the conclusion that there does exist a cultural strand or tendency within a section of the press to practice journalism which on occasion is deliberately, recklessly or negligently inaccurate".

He also pointed out that "there can be no objection to agenda journalism (which necessarily involves the fusion of fact and comment), but that cannot trump a requirement to report stories accurately". Leveson added: "Particularly in the context of reporting on issues of political interest, the press have a responsibility to ensure that the public are accurately informed so that they can engage in the democratic process".

It is unclear whether the new regulatory regime for the press that is eventually introduced as a response to the inquiry will put an end to these deliberate distortions and misrepresentations. Meanwhile, some newspapers continue to exploit the weakness of the existing self-imposed rules.

The Telegraph, Mail and Express titles have been campaigning vigorously for the past few years against public policies to reduce greenhouse gas emissions, as part of a broader agenda to promote a heady mixture of free market fundamentalism and anti-environmentalism, which is also championed by UKIP and the right-wing of the Conservatives.

Like their political allies, these newspapers have attempted to fool the public into believing that their opposition to renewable energy, carbon pricing and other measures is based on robust evidence and reasoning, rather than dogmatic ideology.

A clear example of this strategy was provided this weekend by a double-page spread in the Mail on Sunday, under the headline "Ecotastrophe!", which warned that the UK’s climate change policies would "drag us to a new Dark Age".

The article was written by David Rose, who regularly produces articles that both reject the scientific evidence for climate change and exaggerate massively the costs of reducing greenhouse gas emissions.

His latest polemic reprised a previous article from August 2012 in which he drew attention to the fact that a key MP and two members of the independent Committee on Climate Change had openly-disclosed links to green companies and organisations.

Rose’s new article included extensive quotes from Professor Gordon Hughes, but failed to reveal his affiliation to the Global Warming Policy Foundation, a lobby group set up by Lord Lawson to campaign against climate change policies.

Professor Hughes was commissioned by the foundation to write a pamphlet attacking the case for wind energy, which was later shown by researchers at Imperial College to contain fundamental flaws.

Rose frequently relies on the foundation for stories and gives great prominence to the views of its spokespersons. Despite his apparent concern over conflicts of interest, Rose has never mentioned, let alone investigated, the £1m from secret donors that the foundation has received to finance its lobbying activities.

But the most serious distortions by Rose were contained in a sidebar to his main article, headed "Exploding the myths about climate change".

For example, Rose claimed that it is a myth that "the world is continually getting warmer", and suggested that there has been "a pause" in global warming since January 1997. However, he failed to tell readers that the trend in annual global average temperature over the past 16 years has been upwards, albeit at a slower rate of increase than previously, and that it is not statistically significant because this period is too short to detect the warming signal with certainty among the noise created by natural short-term climate variability.

He also described the fact that "global warming is already causing extreme weather" as a "myth", and stated that "if anything, weather has become less, not more extreme in the past 50 years". But a review published last year by the Intergovernmental Panel on Climate Change (IPCC) of the latest research found an abundance of scientific evidence for increases in heat waves, droughts and heavy rainfall events in many parts of the world since the middle of the 20th century.

Most incredibly, Rose dismissed the possibility of the Arctic eventually becoming free of sea ice during the summer, instead asserting that "the growth of Arctic winter ice this year is the fastest on record". But he ignored the fact that the area covered by sea ice in the summer has declined by almost 50 per cent since 1980, much faster than scientists predicted.

Articles such as this not only hide the true motivations behind a newspaper’s agenda, but also damage democratic debate by providing inaccurate and misleading information to the public.

A crucial test for any new press regulations will be the extent to which they deter these kinds of gross distortions and misrepresentations, while still allowing newspapers to legitimately pursue their own agenda on issues such as climate change.

A general view of Drax Power Station at night in Drax, north Yorkshire. Photograph: Getty Images.

Bob Ward is policy and communications director of the Grantham Research Institute on Climate Change and the Environment at London School of Economics and Political Science.

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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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