Life's journey: pilgrims arrive at Mena in Saudi Arabia, carrying stones to throw at pillars symbolising Satan. Photograph: Getty Images.
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Birth of a religion

An interview with Tom Holland, author of In the Shadow of the Sword.

How much do we know about the birth of Islam? Much less than we think, argues the popular historian Tom Holland in his new book, In the Shadow of the Sword.

In Holland’s opinion, the Quran was written long after the death of Muhammad, Mecca is not necessarily the birthplace of the Prophet and modern Muslims’ reverence for their holy writings stops them from confronting the texts’ dubious historical origins.

Bryan Appleyard has described the conclusion of In the Shadow of the Sword as “seismic”; he wrote in the Sunday Times that “Holland’s book leaves almost no aspect of the traditional story of Islam intact”. Another reviewer likened its treatment of the Quran to Dan Brown’s Christianity-as-conspiracy in The Da Vinci Code, “though with a little more class”.

The religion that emerged as Islam by the 8th century was, Holland would argue, just one manifestation of the furthest-reaching moral and ethical metamorphosis in history. Other expressions of the phenomenon were what we now call Judaism and Christianity – faiths that he suggests had taken on something like the form they wear today by the time of Muhammad, but similarly were once swirls of beliefs and doctrines.

Holland’s tale of how Islam came to define itself and its past is only one part of a much broader panorama: one that is ultimately about how Jews, Christians and Muslims all came by their understanding of religion. Does he present a bold new account that undermines Islam’s grip on its own past, or, as I argue, spin out a rich but speculative tale of the possible birth of three religions as novel tools to grapple with an era of geopolitical conflict and rivalry?

Nabeelah Jaffer

Nabeelah Jaffer Your chapters on the ambi­guity of early Christianity and Judaism have slipped under the radar amid the general buzz that you “rubbish” Islam and the expectant wait for some sort of backlash. How doyou feel about the assumption that Muslims are more likely to respond to challenging ideas with violent anger than followers of other religions? And do you think there will be a few far-right attempts to appropriate your ideas?

Tom Holland I think it is one measure of theeffect of the [Salman] Rushdie affair in this country that it is now widely taken for granted that writing anything about Islam will make angry men with beards – and probably hooks as well! – come to kill you. Whenever I have told people what the book was about, the word “fatwa” has invariably surfaced.

That being so, it was probably inevitable that the most eye-catching chapters in the book would be the ones about Islam. But why should any Muslim be offended by what I have to say? Mine is a non-believer’s attempt to explain a puzzle that Muslims, if they have faith, would deny was a puzzle at all. As an adult, I struggle to square my absolute conviction that Abraham and Moses never existed with the occasional flaring of a residual Christian faith. I hope that the resulting tension has been good for the book. Yes, it is sceptical; but no, it is never contemptuous of the longing of people to know God.

NJ I agree. I think both upset Muslims and pleased “Islamophobes” perceive in revisionism a threat to the religious narrative where none exists. The questions that you set out to answer only appear when you take a divine presence out of the equation.

You wrestle, for example, with the “bewilderingly eclectic array of sources” in the Quran, Abrahamic and otherwise. A Muslim would take this as proof of divine input and a revelation which encompasses Judaism and Christianity as part of a prophetic tradition. As a non-Muslim, you rule out this answer and search for an alternative scenario. Presenting a potential secular alternative to the “God” story doesn’t negate the narrative upheld by believers. So, turning to your secular alternative, how does it differ from traditional accounts?

TH All three religions, it seems to me, emerged out of the same melting pot – and yet all three have constructed backstories that aim to occlude the fact. In the first three centuries after Christ, Jews and Christians may have had a consciousness of themselves as peoples with distinct identities, but they remained unclear where precisely the border between them lay.

There were Jews who believed that Jesus had been the Messiah and there were Christians who followed the Jewish law – and it took an unacknowledged alliance between bishops and rabbis, in the centuries after the emperor Constantine, to ensure that what had previously been an open frontier became a no-man’s land. Similarly, a lot of Muslim historiography seems to me to have been composed with the aim of spiking the possibility that either the Quran or the sunna [laws] might conceivably have owed anything to infidel precedent.

NJ Of course, one of the first things you learn as a historian is to interrogate early chronicles for motive using context, whether geopolitical, religious or otherwise. But it is equally dangerous to lean towards the hypersceptic idea that texts cannot be relied upon except to tell us about their writers, meaning the document-free gaps in the past must always consist of near-impregnable darkness.

You don’t go quite that far in your book, but you do apply something of this very sceptical view to early Islamic sources which first appeared in the 200 years after the Prophet’s death as written accounts of oral testimony. You suggest, for example, that hadiths [sayings of Muhammad] targeting the rich were concocted to unsettle the rotten imperial elite. Your argument that “the dry rot of fabrication . . . was endemic throughout the sunna” is much more radical than the traditionalist, more common academic approach, which recognises the importance of testing for fabrication, but values the hadith as a body of secondary sources. I’d disagree that uncovering fabricated elements in these early sources undermines everything that they portray as authentic.

TH I think there’s a particular problem with the sources for early Islam. Some of the sayings attributed to Muhammad must surely be authentic – but even if we could identify them, their value as a source for his life would still not be greatly enhanced as a result.

Context, for the historian, is all – and no Muslim scholar or lawyer who cited the Prophet ever had the slightest interest in establishing what the original context of his sayings might actually have been. To quote him was to take for granted that the advice he had to give was timeless and universal. That Muslims in the heyday of the Caliphate were living under circumstances unimaginable to Muhammad never crossed their minds.

The real problem for the historian is that we lack what, for instance, [the 1st-century Roman-Jewish historian] Josephus gives us for the background to the life of Christ – a control. The consequence is that we can only hope to arrive at a sense of what might have happened in the early years of the Arab conquests by looking at the much later Muslim source material in the light of the late-antique world.

NJ In which case, no explanation of the origins of Islam is ever going to strike the mould for an authentic secular narrative. You rightly point out in your introduction the provisional nature of your own retelling of early Islam: “on a whole range of issues . . . there can only ever be speculation”. While you use Christian and Jewish traces in the Quran to suggest their influence on Muhammad, direct evidence remains elusive.

There’s a wonderful analogy in the book about it being similar to noticing that the eastern and western coasts of the Atlantic Ocean match like a jigsaw puzzle. There seems to be a link, but without clues as to how the two came together, it’s impossible to know for certain how to explain the gap. Historians are just replacing one take on an uncertain past with another.

TH The hypothesis I give in the book as to how and why Islam might have emerged is only that – a hypothesis. Patricia Crone, one of the most brilliant and innovative historians of early Islam, once memorably described the Muslim historical tradition as “a monument to the destruction rather than the preservation of the past”. That being so, it is hardly surprising that there should be such a breathtaking range of opinion, ranging from devout Muslims, who accept the tradition in its entirety, to radical sceptics who doubt that Muhammad so much as existed.

My own take is that the evolution of Islam can only really be made sense of in the light of the civilisations and religions of late antiquity. Partly, that is because it genuinely seems to me the best way to try to understand what might have happened in the 7th century; but I am sure it also reflects a subliminal desire on my part, in love with antiquity as I am, to feel that Islam, like Christianity, was bred of the ancient world.

NJ This debate has, until now, been limited to specialists, for the good reason that it requires a vast amount of study and a good knowledge of Arabic, at least, in order to draw authoritative conclusions from the available sources. Revisionists are few, and those such as Patricia Crone and Michael Cook who argue that Islam was born after the burgeoning of the Caliphate and the Arab conquests do so with the authority of their close understanding of the period, albeit little concrete evidence.

While you obviously draw on the work of such historians and are enthusiastic about the period, is it fair to present a narrative not grounded in direct engagement with the available sources?

TH In writing this book, I am standing on the shoulders of giants – or, to mix metaphors, rushing in where angels fear to tread. My justification is that if a generalist is not prepared to attempt it, then no one will. Perhaps, somewhere, there is a scholar with Latin, Hebrew, Syriac, Arabic and Coptic, doctorates in Talmudic studies, patristics, Christian theology and Quranic studies and an ability to write accessibly for the general public – but if so, he or she is yet to write the book on the subject that I strongly felt merited being written.

Even the greatest historian of the decline and fall of the Roman empire, Edward Gibbon, had to profess his “ignorance of the Oriental tongues, and . . . gratitude to the learned interpreters”. Where I had the advantage, perhaps, was in having a brilliant research assistant, a native Arabic speaker with a specialisation in Syriac, and the incredible generosity of a wide range of scholars.

NJ Locating religious construction in the centuries that followed the death of Muhammad involves saying some particularly challenging things about the Quran and the Prophet himself. For example, you accept that the Quran seems to date from around Muhammad’s time, and certainly recent carbon-dating research suggests an early-7th-century date for indicative Quranic fragments.

When the German Quranic scholar Gerd Puin was allowed to examine the ancient manuscripts recently discovered in Sana’a, Yemen, he found possible evidence of minor changes to verse order and spelling, but uncovered no hint of deliberate fabrication. In the light of all this, proposing that figures such as the 7th-century caliph Abd al-Malik, whom you suggest put the Quran through an “editing process”, and the historian Ibn Hisham constructed a retrospective religion centred on a man named Muhammad, whom they situated in Mecca, seems a little extreme. There are direct mentions of Muhammad in the Quran itself, among dozens of other allusions to his life.

TH The problem for any non-Muslim trying to explain the origins of Islam is what to make of the Quran. It seems to me clearly to derive, in the form we have it, from the lifetime of Muhammad – which makes it, a few other brief and enigmatic documents aside, our only primary source for his career.

The problem is, I cannot possibly accept what Muslims take for granted: that it originates from God. And yet Mecca, so the biographies of the Prophet teach us, was an inveterately pagan city devoid of any large-scale Jewish or Christian presence, situated in the midst of a vast, untenanted desert. How else, then, are we to account for the sudden appearance there of a fully fledged monotheism, complete with references to Abraham, Moses and Jesus, if not as a miracle? You can only answer that question by asking yourself whether Muslims, at some point in the evolution of Islam, might not have situated the origins of the Quran deep in a desert for the same reason that Christians cast the mother of Christ as a virgin. In both cases, what is presumed to be an intrusion of the divine into the dimension of the mortal is being certified as an authentic, bona fide act of God.

NJ I don’t argue that religious practices shouldn’t be understood as firmly within their political and cultural contexts as possible. But religions are necessarily a human phenomenon in their practice, however divine we believe their inspiration and aspiration to be. “Monotheistic revolution” is a misnomer: the evolution of faith didn’t end with the melting pot of Byzantine.

TH I think in the early history of what emerges as rabbinical Judaism, of Christianity and of Islam, you see a near-identical process: the gradual fashioning, out of a great swirl of often inchoate rituals, convictions and scriptures, of a distinct religion that is coherent, in terms of both doctrine and institutions. Watchtowers and barriers go up, the aim being to keep the faithful inside set limits and to keep non-believers out. Histories are then written which make it seem as though the religion has always existed in the form that it now possesses, right from the very beginning – that Moses was a rabbi, that Jesus would have signed up to the Nicaean Creed, that Muhammad was truly the fountainhead of the sunna.

The concrete, initially so soft and malleable, by now has set. This does not mean, of course, that the various religions do not continue to evolve – but they do so within parameters that by now are irrevocably rigid, and exclude contributions from peoples of other faiths. It is in that sense, I would argue, that Jews, Christians and Muslims all today worship different gods.

“In the Shadow of the Sword: the Battle for Global Empire and the End of the Ancient World” by Tom Holland is out now (Little Brown, £25)
Nabeelah Jaffer is a journalist who specialises in Islamic culture and feminism

This article first appeared in the 09 April 2012 issue of the New Statesman, Spring Double Issue

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