Culpable, but not alone. Photo:Getty
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Where did it go wrong for Ed Miliband?

Ed cannot escape responsibility for his defeat but neither can the Labour Party as a whole.

So Ed Miliband has joined the roster of Labour leaders never to have become Prime Minister, and already plenty of people have been more than happy to tell anyone who’ll listen that they always knew he was a loser. 

Many of those people have defaulted straight to the idea that Labour picked ‘the wrong Miliband’ in the first place.  This is counterfactual nonsense.  Out of a field seemingly dominated by fortysomething Oxbridge graduates who looked to most voters like they’d never done a proper day’s work outside politics in their lives, the party (surprise, surprise) elected the Miliband who’d taken the trouble to work out how best to win over those doing the picking – the Miliband who’d bothered to build good working relationships with the unions and to chat to his parliamentary colleagues regardless of their rank.  The latter, along with the fact that ‘Team Ed’ ruthlessly framed the contest as one between their ‘change-candidate’ and an opponent all-too-easily cast as a Blairite throwback, proved vital when that contest came down to a handful of MPs’ second preferences.

Ed’s critics also risk forgetting three more, equally sobering truths.  First, he took over after Labour had gone down to a defeat every bit as bad (at least outside Scotland) as the one it suffered last week: the chances of turning that around in one term were always tiny.  Second, the difficulties faced by Labour in appealing to a more fragmented electorate, much of which is as concerned by immigration as it is about the economy and public services, and important parts of which do not feel sufficiently inspired to actually vote (assuming they are registered at all), are shared by social democrats across Europe.  Third, Ed was facing political opponents who are past masters (and much better than their Labour counterparts) at using office to alter the terms of political debate and who, at least when it came to personalised attacks, were prepared to stoop lower than they have ever stooped before in order to win.

And yet, as Ed was honest enough to admit in his resignation speech on the morning after the night before, he cannot escape a large measure of responsibility for the failure of his five-year mission.

Leaving aside his failure to see Scotland coming, Ed’s biggest mistake, after winning the leadership by appealing not just to those who wanted to move on from New Labour  but to those who regarded it as some sort of neo-liberal/colonialist aberration, was failing to head immediately and noisily for the centre-ground. Inasmuch as it happened – and on immigration, on welfare, and (by the end) on tax and spend, it did happen – it came about too late, and too stealthily, to make much difference.

True, one could argue that there was some method in this madness – a superficial logic in delaying in order to lock in left-wing voters disgusted with Nick Clegg’s deal with David Cameron before turning to make a play for those who’d voted Tory.  It was also possible to believe (just) that the initial left-populist pitch might appeal to a bunch of people – mainly working people (and how many times did we hear that term during the election campaign?) – who’d become detached from Labour since 1997 and, like many younger ‘voters’, dropped out of politics altogether.  Not straying too far or too early outside the social democratic comfort-zone helped preserved party unity – no small thing in an organisation that traditionally descended into electorally suicidal civil war after a big defeat.

But the opportunity cost turned out to be massive.  Segmenting the electoral market may have seemed sensible, but it risked blotting out the basic truth that any party hoping to win elections has to win over a more nebulous, but ultimately far bigger bunch of voters –the archetypal residents of middle England who simply want to get on in life, who like a bit of leadership, and who value public services but worry about others ripping them off.

Virtually nothing Ed did during his leadership was counter-intuitive and therefore capable of cutting through to these voters in a way that might have led them to re-evaluate either him or his party.  In particular, waiting far too long before publicly committing his party to fiscal consolidation – and failing once he’d done so to adopt measures that might have made a few eyes water and therefore commanded attention and respect (cancelling HS2 and going back on his absurd early commitment to reduce tuition fees are only the most obvious examples) – meant Ed was simply unable ever to persuade people that he really meant it.  Refusing to admit either that Labour had overspent in government or else defend its record against all-comers only made things worse.

Yet just as Ed cannot escape responsibility for his defeat, neither can the Labour Party as a whole.  Ed put himself up for election but it didn’t have to choose him.  And, having chosen him, it didn’t have to stick with him when it became patently obvious that the public (rightly or wrongly) didn’t think he was up to the job – something that could all-too-easily happen this time, too, if it once again goes for a leader with a gilded glide path from Oxbridge to Labour’s frontbench via a think tank and/or a job as a special adviser.

Since it now looks likely that whoever emerges may well come from such a background, then Labour had better make damn sure that it’s the candidatet best able both to connect with the public and to tell the party what it needs (as opposed to what it wants) to hear.  And if it gets it wrong first time, it should have the courage this time to dump them if they turn out to be a dud.  If not, the party will have nobody to blame but itself if loses every bit as badly in five years’ time as it did last week.

Tim Bale teaches Politics at Queen Mary University of London and is the author of Five Year Mission: the Labour Party under Ed Miliband.

Tim Bale is professor of politics at Queen Mary University of London.  The second edition of his book, The Conservative Party from Thatcher to Cameron, was published in September 2016 by Polity Press.

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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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