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China’s Paid Trolls: Meet the 50-Cent Party

The Chinese government hires people to distort or deflect conversations on the web. Ai Weiwei persuades an “online commentator” to tell all.

In February 2011, Ai Weiwei tweeted that he would like to conduct an interview with an “online commentator”. Commentators are hired by the Chinese government or the Communist Party of China to post comments favourable towards party policies and to shape public opinion on internet message boards and forums. The commentators are known as the 50-Cent Party, as they are said to be paid 50 cents for every post that steers a discussion away from anti-party content or that advances the Communist Party line.

Below is the transcript of Ai’s interview with an online commentator. As requested, an iPad was given as compensation for the interview. To protect the interviewee, relevant personal information has been concealed in this script.

Question: What’s your name, age, city of residence and online username?

Answer: I cannot make my name public. I’m 26. I have too many usernames. If I want to use one, I just register it. I won’t mention them here.

What do you call the work you do now?

It doesn’t matter what you call it: online commentator, public opinion guide, or even “the 50-Cent Party” that everyone’s heard of.

What is your level of education and work experience? How did you begin the work of guiding public opinion?

I graduated from university and studied media. I once worked for a TV channel, then in online media. I’ve always been in the news media industry, for four or five years now.Over a year ago, a friend asked me if I wanted to be an online commentator, to earn some extra money. I said I’d give it a try. Later, I discovered it was very easy.

When and from where will you receive directives for work?

Almost every morning at 9am I receive an email from my superiors – the internet publicity office of the local government – telling me about the news we’re to comment on for the day. Sometimes it specifies the website to comment on, but most of the time it’s not limited to certain websites: you just find relevant news and comment on it.

Can you describe your work in detail?

The process has three steps – receive task, search for topic, post comments to guide public opinion. Receiving a task mainly involves ensuring you open your email box every day. Usually after an event has happened, or even before the news has come out, we’ll receive an email telling us what the event is, then instructions on which direction to guide the netizens’ thoughts, to blur their focus, or to fan their enthusiasm for certain ideas. After we’ve found the relevant articles or news on a website, according to the overall direction given by our superiors we start to write articles, post or reply to comments. This requires a lot of skill. You can’t write in a very official manner, you must conceal your identity, write articles in many dif­ferent styles, sometimes even have a dialogue with yourself, argue, debate. In sum, you want to create illusions to attract the attention and comments of netizens.

In a forum, there are three roles for you to play: the leader, the follower, the onlooker or unsuspecting member of the public. The leader is the relatively authoritative speaker, who usually appears after a controversy and speaks with powerful evidence. The public usually finds such users very convincing. There are two opposing groups of followers. The role they play is to continuously debate, argue, or even swear on the forum. This will attract attention from observers. At the end of the argument, the leader appears, brings out some powerful evidence, makes public opinion align with him and the objective is achieved. The third type is the onlookers, the netizens. They are our true target “clients”. We influence the third group mainly through role-playing between the other two kinds of identity. You could say we’re like directors, influencing the audience through our own writing, directing and acting. Sometimes I feel like I have a split personality.

Regarding the three roles that you play, is that a common tactic? Or are there other ways?

There are too many ways. It’s kind of psychological. Netizens nowadays are more thoughtful than before. We have many ways. You can make a bad thing sound even worse, make an elaborate account, and make people think it’s nonsense when they see it. In fact, it’s like two negatives make a positive. When it’s reached a certain degree of mediocrity, they’ll think it might not be all that bad.

What is the guiding principle of your work?

The principle is to understand the guiding thought of superiors, the direction of public opinion desired, then to start your own work.

Can you reveal the content of a “task” email?

For example, “Don’t spread rumours, don’t believe in rumours”, or “Influence public understanding of X event”, “Promote the correct direction of public opinion on XXXX”, “Explain and clarify XX event; avoid the appearance of untrue or illegal remarks”, “For the detrimental social effect created by the recent XX event, focus on guiding the thoughts of netizens in the correct direction of XXXX”.

What are the categories of information that you usually receive?

They are mainly local events. They cover over 60 to 70 per cent of local instructions – for example, people who are filing complaints or petitioning.

For countrywide events, such as the Jasmine Revolution [the pro-democracy protests that took place across the country in 2011], do you get involved?

For popular online events like the Jasmine Revolution, we have never received a related task. I also thought it was quite strange. Perhaps we aren’t senior enough.

Can you tell us the content of the commentary you usually write?

The netizens are used to seeing unskilled comments that simply say the government is great or so and so is a traitor. They know what is behind it at a glance. The principle I observe is: don’t directly praise the government or criticise negative news. Moreover, the tone of speech, identity and stance of speech must look as if it’s an unsuspecting member of public; only then can it resonate with netizens. To sum up, you want to guide netizens obliquely and let them change their focus without realising it.

Can you go off the topic?

Of course you can go off the topic. When transferring the attention of netizens and

blurring the public focus, going off the topic is very effective. For example, during the census, everyone will be talking about its truthfulness or necessity; then I’ll post jokes that appeared in the census. Or, in other instances, I would publish adverts to take up space on political news reports.

Can you tell us a specific, typical process of “guiding public opinion”?

For example, each time the oil price is about to go up, we’ll receive a notification to “stabilise the emotions of netizens and divert public attention”. The next day, when news of the rise comes out, netizens will definitely be condemning the state, CNPC and Sinopec. At this point, I register an ID and post a comment: “Rise, rise however you want, I don’t care. Best if it rises to 50 yuan per litre: it serves you right if you’re too poor to drive. Only those with money should be allowed to drive on the roads . . .”

This sounds like I’m inviting attacks but the aim is to anger netizens and divert the anger and attention on oil prices to me. I would then change my identity several times and start to condemn myself. This will attract more attention. After many people have seen it, they start to attack me directly. Slowly, the content of the whole page has also changed from oil price to what I’ve said. It is very effective.

What’s your area of work? Which websites do you comment on? Which netizens do you target?

There’s no limit on which websites I visit. I mainly deal with local websites, or work on Tencent. There are too many commentators on Sohu, Sina, etc. As far as I know, these websites have dedicated internal departments for commenting.

Can you tell which online comments are by online commentators?

Because I do this, I can tell at a glance that about 10 to 20 per cent out of the tens of thousands of comments posted on a forum are made by online commentators.

Will you debate with other people online? What sorts of conflicts do you have? How do you control and disperse emotion?

Most of the time we’re debating with ourselves. I usually never debate with netizens and I’ll never say I’ve been angered by a netizen or an event. You could say that usually when I’m working, I stay rational.

When the government says, “Don’t believe in rumours, don’t spread rumours,” it achieves the opposite effect. For example, when Sars and the melamine in milk case broke out, people tended to choose not to trust the government when faced with the choices of “Don’t trust rumours” and “Don’t trust the government”.

I think this country and government have got into a rather embarrassing situation. No matter what happens – for example, if a person commits a crime, or there’s a traffic accident – as long as it’s a bad event and it’s publicised online, there will be people who condemn the government. I think this is very strange.

This is inevitable, because the government encompasses all. When all honour is attributed to you, all mistakes are also attributed to you. Apart from targeted events, are individuals targeted? Would there be this kind of directive?

There should be. I think for the Dalai Lama, there must be guidance throughout the country. All people in China hate the Dalai Lama and Falun Gong somewhat. According to my understanding, the government has truly gone a bit over the top. Before I got involved in this circle, I didn’t know anything. So I believe that wherever public opinion has been controlled relatively well, there will always have been commentators involved.

How do your superiors inspect and assess your work?

The superiors will arrange dedicated auditors who do random checks according to the links we provide. Auditors usually don’t assess, because they always make work requirements very clear. We just have to do as they say and there won’t be any mistakes.

How is your compensation decided?

It’s calculated on a monthly basis, according to quantity and quality. It’s basically calculated at 50 yuan per 100 comments. When there’s an unexpected event, the compensation might be higher. If you work together to guide public opinion on a hot topic and several dozen people are posting, the compensation for those days counts for more. Basically, the compensation is very low. I work part-time. On average, the monthly pay is about 500-600 yuan. There are people who work full-time on this. It’s possible they could earn thousands of yuan a month.

Do you like your work?

I wouldn’t say I like it or hate it. It’s just a bit more to do each day. A bit more pocket money each month, that’s all.

What’s the biggest difficulty in the work?

Perhaps it’s that you have to guess the psychology of netizens. You have to learn a lot of writing skills. You have to know how to imitate another person’s writing style. You need to understand how to gain the trust of the public and influence their thoughts.

Why can’t you reveal your identity? Why do you think it’s sensitive?

Do you want me to lose my job? Whatever form or name we use to post on any forums or blogs is absolutely confidential. We can’t reveal our identity, and I definitely wouldn’t reveal that I’m a professional online commentator.

If we do, what would be the purpose of our existence? Exposure would affect not just me, it would create an even greater negative effect on our “superiors”.

What do you mean by “superiors”?

Our superior leaders – above that should be the propaganda department.

Is your identity known to your family? Your friends?

No. I haven’t revealed it to my family or friends. If people knew I was doing this, it might have a negative effect on my reputation.

You say: “If I reveal inside information, without exaggeration this could lead to fatality.” Do you think that the consequence would be so serious?

With my identity, I’m involved in the media and also the internet. If I really reveal my identity or let something slip, it could have an incalculable effect on me.

If you say you want to quit, will there be resistance? Are there any strings attached?

Not at all. This industry is already very transparent. For me, it’s just a part-time job. It’s like any other job. It’s not as dark as you think.

How many hours do you go online each day and on which sites? Do you rest at the weekend?

I go online for six to eight hours nearly every day. I’m mainly active on our local BBS and some large mainstream internet media and microblogs. I don’t work over weekends, but I’ll sign in to my email account and see if there’s any important instruction.

In daily life, will you still be thinking about your online work?

Now and then. For example, when I see a piece of news, I’ll think about which direction the superiors will request it to be guided in and how I would go about it. It’s a bit of an occupational hazard.

Do you watch CCTV News and read the People’s Daily?

I usually follow all the news, particularly the local news. But I generally don’t watch CCTV News, because it’s too much about harmony.

Do you go on Twitter? Who do you follow?

Yes. I follow a few interesting people, including Ai Weiwei. But I don’t speak on Twitter, just read and learn.

How big a role do you think this industry plays in guiding public opinion in China?

Truthfully speaking, I think the role is quite big. The majority of netizens in China are actually very stupid. Sometimes, if you don’t guide them, they really will believe in rumours.

Because their information is limited to begin with. So, with limited information, it’s very difficult for them to express a political view.

I think they can be incited very easily. I can control them very easily. Depending on how I want them to be, I use a little bit of thought and that’s enough. It’s very easy. So I think the effect should be quite significant.

Do you think the government has the right to guide public opinion?

Personally, I think absolutely not. But in China, the government absolutely must interfere and guide public opinion. The majority of Chinese netizens are incited too easily, don’t think for themselves and are deceived and incited too easily by false news.

Do you have to believe in the viewpoints you express? Are you concerned about politics and the future?

I don’t have to believe in them. Sometimes you know well that what you say is false or untrue. But you still have to say it, because it’s your job. I’m not too concerned about Chinese politics. There’s nothing to be concerned about in Chinese politics.

 

This article first appeared in the 22 October 2012 issue of the New Statesman, Ai Weiwei guest-edit

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