Ramsay MacDonald, the first Labour Prime Minister, with his family. Photograph: Corbis
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Half-echoes of the past

Blue Labour is conservative, but about a society that no longer exists – or never existed. Ed Miliband should be wary of this faction and instead forge an alliance that will win back aspirational voters in the south.

The Labour Party, founded in 1900, has been in existence for 112 years. But there have been Labour governments for just 32 of those years; for another eight years, Labour participated in wartime national unity governments. During the remaining 72 years, it was in opposition. Why has so much of Labour’s existence been spent in opposition? There are three reasons.

The first is factionalism. After the election defeats of 1951 and 1979, Labour was rent by fratricidal disputes between left and right – between the Bevanites and the leadership after 1951 and between the Bennites and the leadership after 1979. The party seemed more anxious to have a dialogue with itself than a dialogue with the British people, who decided, both in the 1950s and in the 1980s, to confirm Labour’s status as a party of opposition.

After the defeat of 1970, too, Labour threatened to descend into factionalism, but Harold Wilson skilfully contained it. Even so, the party returned to power in March 1974 through the vagaries of the electoral system, as opposed to any merits of its own. Between 1970 and the general election of February 1974, Labour lost 6 per cent of the vote – one-seventh of its support – the largest fall in votes of any opposition party in Britain until, in 1983, Michael Foot succeeded in doing even worse.

Labour’s defeat in 2010 was worse than those of 1951, 1970 or 1979. Indeed, in terms of percentage of the vote, Labour did worse in 2010 than at any time since it became a mass party except for 1983. Yet there have been no renewed outbreaks of factionalism, no divisions between left and right. The party has shown a remarkable degree of unity. There have been no latter-day equivalents of the Bevanites or the Bennites. That, no doubt, owes much to Ed Miliband’s empathetic and consensual style. It is an unnoticed achievement.

The second reason for Labour’s long years in opposition is that it has, since 1918, seen itself as the sole party of the left, and has been intolerant of competition from other claim ants. In the 1920s, it was more eager to eliminate the Liberals than to seek a progressive alliance with them, an alliance that might well have undermined Conservative dominance. Some Labour leaders actually preferred the Conservatives to the Liberals. Ramsay MacDonald, Labour’s first prime minister, declared in 1924 that he “could get on with the Tories. They differed at times openly then forgot all about it and shook hands. They were gentlemen but the Liberals were cads.”

In the 1930s, the Labour leadership stood firmly against a Popular Front, an alliance with Liberals and anti-appeasement Conservatives which might have brought about a change of government policy. Indeed, Labour succeeded in its aim of driving out the Liberals as a third party, but the price was a long period of Conservative hegemony, and the 20th century became the Conservative century even though there may well have been a progressive majority among the voters for much of the period.

Liberal friends

In the 1980s the third force revived – first the Liberal-SDP Alliance, then the Liberal Democrats. Labour’s instincts remained the same: to regard the third force as a competitor rather than a potential ally. Tony Blair was a great exception. The Ashdown diaries show that he would have preferred a coalition with the Liberal Democrats to a single-party Labour majority. Had the majority in 1997 been smaller, Blair would almost certainly have sought coalition.

Gordon Brown also sought an alliance with the Liberal Democrats in 2007 after becoming prime minister, and suggested coalition to Menzies Campbell, the then Liberal Democrat leader. In 2010, after the election, he again offered coalition to the Liberal Democrats, saying that the moment had come to create the progressive alliance. But it was too late. Labour was too weak. In 1997, it had been too strong. It was never the right moment.

Here, too, Miliband can claim to have escaped the entrenched positions of the past. There are no precise details of what has transpired between him and the Business Secretary, Vince Cable, but it is clear that a dialogue has begun and that Miliband does not regard all Liberal Democrats as the enemy. There is, after all, a powerful social-democrat tradition among the Liberal Democrats, one wing of which, including Cable, was in the SDP, a breakaway from Labour in 1981. Cable, indeed, began his political career as a Labour activist, and would probably have continued in the Labour Party had it not swung so far to the left after the election defeat of 1979.

Clearly, many Liberal Democrats were prepared to swallow their doubts about Conservative methods of curing the deficit and proposals for student fees in order to secure cherished measures of constitutional reform – reform of the voting system and a directly elected House of Lords. Now that it has become clear that these reforms are unattainable, they may well revert to their natural home on the left.

Miliband needs perhaps to make a sharper distinction between the Liberal Democrat leadership, or the Clegg-Laws faction of the leadership, whose ideological sympathies lie with the right, and the vast majority of Liberal Democrat members and voters, whose heart remains on the left. Franklin Roosevelt, after all, never attacked the Republicans, only the Republican leadership.

Yet Miliband’s flexibility towards the Liberal Democrats is a second achievement of Labour in opposition. He needs to become the leader of all progressive forces in Britain, not just the Labour Party.

There is a third reason why Labour has spent so much of its life in opposition. It is that its inclination in defeat is to retreat to its comfort zone, its core basis of support, such as that represented by the Blue Labour tendency, set up in 2009 by the academic Maurice Glasman, who was subsequently made a peer. The instincts of the Blue Labour faction are the same as those that led Labour to elect Foot as leader in 1980, and that lay behind its failure to pressure Attlee to retire after the 1951 defeat.

During the 1950s, Labour’s vote fell steadily from the 48.8 per cent peak of 1951 – achieved, paradoxically, in an election in which the party was defeated by the Conservatives. Not until after the third election defeat in 1959, however, did Hugh Gaitskell feel able to attempt to modernise the party by proposing the deletion of Clause Four from Labour’s 1918 constitution, which committed it to the nationalisation of the means of production, distribution and exchange. Even then, the party refused to support him, and it was left to Gaitskell’s successor, Harold Wilson, to modernise Labour by more surreptitious means, Wilson’s 1964-70 government being revisionist in practice if not in theory.

After the 1983 defeat, Neil Kinnock took over where Gaitskell had left off, but he was constrained by activists and his progress in modernising the party was painfully slow. It was not until 1992, after the fourth successive defeat, that Blair was able to take Labour by the scruff of the neck. Succeeding to the party leadership in 1994, he got rid of Clause Four and founded New Labour. There was just one Labour tradition that he hated, Blair told the 2006 party conference in his farewell speech – losing elections. Some in the party have never forgiven him for breaking that tradition.

Today also, there are siren voices saying that Labour should return to its comfort zone. For the essence of the Blue Labour faction is that the party should become more conservative, more respectful towards the supposed values of working-class communities and of working-class attitudes (some would say prejudices) on immigration and crime. The politics of nostalgia would be disastrous for the left, however, ideologically and electorally.

Blue Labour emphasises co-operatives, mutuals, friendly societies and more localised provision of public services. Never mind that it was because this very approach was insufficient that past Labour governments strengthened central government. It is fashionable to decry the state, but it is to the state, not the Salvation Army or the Co-op, that we turn when we find ourselves sick or out of work.

The truth is, as the recent TUC conference has shown, that there are no hermetically sealed working-class values. The values of the organised working class reflect wider social ethics. The calls at the conference for a general strike were an attempt to use the market power of organised labour to alter the policy of the democratically elected government. Miliband was right to distance Labour from it. But was the call for a strike any worse than the threat made by bankers and their like that any attack on their bonuses would lead to them taking their business abroad? If the rich and powerful can use their market power to threaten the government, why should organised labour not follow their lead?

Labour was founded more than a century ago to represent the organised working class, and perhaps its electoral rise up to 1951 and its decline thereafter can be correlated with the rise and fall of that class. Even so, the party’s central aim was to secure certain values, to transcend a society based on economic self-interest. Lab - our, Keir Hardie insisted, attacked a system not a class. If the values of community and fellowship had already been present in working-class communities, as some of the advocates of Blue Labour seem to imply, there would have been no need for a Labour Party. It was precisely because these values were not present that the party was founded.

The better life

There is a great danger in romantic mythologizing of working-class communities, a tendency sometimes practised by those who have never lived in them. Margaret Thatcher, who in the 1980s seemed to understand working-class aspirations better than Labour, declared that she had rarely met anyone from such communities who did not wish to escape from them.

Most working-class people want their children to have a better life than they had – a better education, better housing and a more fulfilling job – not to replicate their position in the “community”. Those aspirations received little expression at the TUC conference. They need to be expressed by the Labour Party. Indeed, it is only when Labour has been able to express such aspirations, as in 1945, 1966 or 1997, that it has been successful electorally.

Blue Labour, by contrast, is conservative, but conservative about a society that no longer exists, or perhaps never existed. It resembles Tory paternalism of the Baldwin-Macmillan variety; or perhaps the feudal socialism that Marx ridiculed in his Communist Manifesto as “half lamentation, half lampoon; half an echo of the past, half menace of the future”.

Speak for the middle

In any case, the old-style working class is not Labour’s problem. Even in 2010, the Conservatives were unable to win a single seat in any of the large cities of the Midlands or the north – Birmingham, Bradford, Edinburgh, Glasgow, Leeds, Leicester, Liverpool, Manchester, Newcastle, Nottingham and Sheffield, while the Liberal Democrats won just six. In fact, one reason why the remnants of the working class have so little political leverage is that they are largely concentrated in safe Labour seats. The best way to strengthen the electoral influence of the working class would be to reform the electoral system so as to eliminate the safe seat.

But Labour’s electoral problem lies elsewhere. It lies, as in the 1980s, in its failure to retain the allegiance of aspirational voters in the south of England. South of the Severn-Wash line outside London, the party holds just ten out of 197 seats. It has no MPs at all in Cornwall, Somerset, Wiltshire, Dorset, Sussex, Kent, Essex, Norfolk, Cambridgeshire, Northamptonshire, Rutland, Warwickshire, Buckinghamshire, Hertfordshire, Gloucestershire, Worcestershire or Here fordshire. The BBC’s electoral analyst David Cowling was right, therefore, to describe the outcome in 2010 as “the dismem - bering of New Labour’s 1997 electoral triumph”. Labour must seek to reassemble that triumphant coalition, not retreat to the safety of its heartland.

Labour’s problem is not the working class but the southern working class, the most aspirational segment of the working class. Indeed, psephological studies have shown that a northern middle-class voter is more likely to vote Labour than a southern working-class voter. Blue Labour would do little to win back these lost voters.

Ed Miliband has kept Labour away from its comfort zone and his call to defend the “squeezed middle” resonates with many voters. However, he has not yet allied the party firmly enough with the aspirations of voters in the south of England; and he has still to spell out his programme for responsible capitalism, taming the markets, rebalancing the economy and achieving greater fairness at a time when public spending will be constrained. Perhaps his greatest difficulty is that most voters find it difficult to identify with him, to “place” him; and, in so far as they do place him, it is as a north London intellectual, remote from their concerns. His background is not his fault any more than David Cameron’s is, but he needs to transcend it.

Wilson faced a similar problem. Before becoming Labour leader, he had been associated in the public mind with the bureaucratic restrictions necessary after the war and a dry, impersonal, economic approach to politics. To overcome his image problem, he enlisted advisers such as the journalist Joe Haines and Albert Murray, the MP for Gravesend, who could supply what he lacked. Wilson rapidly reinvented himself as a man of the people.

Miliband needs to do the same. He could begin by avoiding terms such as “predator capitalism” and “predistribution”, which may resonate with readers of the New Statesman, but lend themselves to ridicule elsewhere. He needs to become the natural spokesman of Middle England, the “squeezed middle” whose aspirations he has sought to champion.

Democracy, it is often said, is government by explanation, and the crucial electoral battleground is that of public opinion. Governments can transform opinion by acting. Oppositions can transform opinion only by speeches, by teaching. For many years, the left in Britain has lacked a teacher. The task for Ed Miliband is to show that he can be as formidable a teacher for the left as Thatcher was for the right.

Vernon Bogdanor is a research professor at the Institute for Contemporary British History, King’s College London. His books include “The Coalition and the Constitution” (Hart, £20), published last year.

This article first appeared in the 01 October 2012 issue of the New Statesman, Labour conference special

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