When oil mixes with water: hydraulic drilling for fossil fuels is both opening up and changing the landscape around the world. Photograph: Enrique Marcarian/Reuters
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Fracking: the new gold rush

Can shale gas and fracking solve our energy crisis?

It’s a cold but sunny January day in Brighton, and Anna Dart looks like death. Equipped with a black shroud, white skull face and tinfoil scythe, she is leading the Sussex Extreme Energy Resistance protest outside HSBC in North Street. HSBC provides banking services to the “greedy corporate” entity (Dart’s words) Cuadrilla; in pursuit of Mammon, this energy firm is going to poison the water and our food, Dart says. To reinforce the point, her fellow protesters are dressed in toxic hazard suits and are handing out leaflets that warn of the “devastating” impact Cuadrilla’s fracking will have on England. Fracking is the process by which hydraulic fracturing of shale rock produces gas and oil.

Fracking is the new GM. As with genetic modification of crops, the issues are so complex that people are generally going with their gut. And their gut tells them that it’s a bad idea to break up the ground beneath our feet just so that we can get at more gas for generating electricity.

In case you needed more proof that Cuad - rilla is an evil empire, consider this. Less than a week after the Brighton protest, at a fracking site in Lancashire, Francis Egan tried to steal my pencil. Egan, Cuadrilla’s chief executive, wanted to draw me a graph of how the amount of gas that comes out of a well varies over time. I lent him the pencil, and a piece of paper. When we finished talking, he tucked the pencil – my best pencil, I might add – into his organiser. Not content with a plan to set Lancashire on fire with its own gas, not content to bring earthquake-related misery to Britain, the company has appointed a stationery thief as its CEO.

“I’m going to use that,” I tell him. “I’m going to tell the world you stole my pencil.”

Simon, the PR man, looks slightly worried. I can’t trust Simon either. I had coffee with three local activists earlier. Not only did they give a pantomime hiss when I said I was going to meet Egan, they said that PPS Group, the firm in charge of Cuadrilla’s PR (strap - line: “working in the tougher areas of communication”), has a history of dubious behaviour. When it comes to fracking, rumour, half-truth and paranoia are rife.

The devil wears Camper. To match the casual shoes, Egan is in blue jeans, a dark crewneck top and a black leather jacket. Inside the blue “meeting room” Portakabin at the Anna’s Road drilling site just outside Lytham, it is casual Friday. As he talks, he tugs frustratedly at his curly white hair. “All your questions have been about problems,” he says, putting down his Morrisons egg and cress sandwich and rocking back in his chair. “Not one has been about how we can make the most out of this.”

“This” is the shale gas bonanza. In September 2011, Cuadrilla announced that there is 200 trillion cubic feet of shale gas trapped in the UK’s Bowland Shale, kilometres beneath the surface of Lancashire, just waiting to be brought to the surface and burned. The Department of Energy and Climate Change (DECC) asked its rock scientists – the British Geological Survey (BGS) – to rush out an independent estimate. The BGS said there was perhaps five or six trillion cubic feet.

The BGS has since revised its “back of a fag packet” calculations (in the words of Professor Michael Stephenson, head of energy services at the BGS) and DECC is about to release a fresh estimate. Stephenson won’t tell me what it is, and Egan doesn’t know. “I suspect it’s going to be higher than 200 trillion cubic feet,” Egan says. “I’m fairly confident our number was conservative.”

As it turns out, Egan might be right. In early February the Times reported that it had seen leaked figures from the BGS: the new estimate is reportedly between 1,300 and 1,700 trillion cubic feet. That’s a lot of gas, even assuming (as the BGS does) that we’ll get only 10 per cent of it out of the ground. By way of comparison, the world’s largest oilfield, the South Pars/North Dome field beneath Iran and Qatar, contains 1,235 trillion cubic feet of gas. Currently, North Sea production is at roughly 1.3 trillion cubic feet per year, so the Bowland Shale could possibly see us through the next century.

So, what are we going to do with it? One argument is that we should leave it in the ground for the climate’s sake. We are supposed to be weaning ourselves off fossil fuels. But let’s face it, no one is building nuclear reactors, nor has there been sufficient investment in green technologies to allow them to take the strain. It’s inevitable that we are going to keep burning gas for the foreseeable future. At least gas is cleaner than coal. And given that we import 1.8 trillion cubic feet of gas a year, often from autocratic states, if we’ve got our own, why not burn it?

We have only to look across the Atlantic to see the benefits. Gas from geological deposits of shale has revolutionised the US energy market. An abundance of shale gas has turned the US from a gas-importing nation into one that could soon be exporting the stuff. That’s partly because there is so much of it that the price has dropped through the floor; it’s becoming hard to make a profit as a fracking company just in the US.

The hub for this 21st-century gold rush is Texas, where a deposit known as the Barnett Shale could yield landowners as much as 30 trillion cubic feet of gas. “The Barnett Shale is pretty much the same as what we have in the north of England,” Stephenson says. “It’s the same age, and the same kind of rock.”

So, the theory goes, it probably has a lot of gas in it. Not that it’s straightforward to get at. The gas is trapped within the structure of the rocks at depths of up to five kilometres. You can drill down to the shale to open up a pipeline, but it’s not like opening a bottle of fizzy drink; the methane doesn’t suddenly flood upwards. That’s why you have to frack.

Fracking involves pumping a drill hole full of “fracturing fluid”, a mix of water, sand and chemicals that breaks up the rock to release gas. The gas flows into the pipe bore and rises to the surface, where it is collected into onsite tanks. Inevitably, it’s not that simple. You might have some gas, but you’ve also got millions of gallons of contaminated water coming up with it. When the Environment Agency analysed the “flowback” from one of Cuadrilla’s wells, it compared the contamination with permissible contamination levels of water from the mains. Arsenic was up to 20 times over the limit. There was 90 times the acceptable level of radioactive materials, 1,438 times the permissible lead levels and 2,297 times as much bromide as is allowed.

“It’s non-hazardous,” Egan says, straightfaced. “It’s not going to be a danger to anyone’s health.” He is pulling at those curls again. To be fair, that’s the Environment Agency’s assessment, too, because they classify flowback not as mains water, but as industrial waste. And compared to some industrial waste it is non-hazardous.

“The flowback is toxic; there’s no doubting that,” says Joseph Dutton, an energy policy researcher at the University of Leicester. “But then so is raw sewage. So is wastewater from food processing plants. The fact is, the technology exists to handle and clean it.”

It’s contradictions such as “non-hazardous” toxic waste that have created such a furore around fracking. Most of us live as if the gas we burn for electricity, heating and hot water comes from the fossil-fuel fairy. We don’t want to be confronted with the unsavoury facts about how it is produced. But we live in a new era: this extraction, if allowed, is going to take place in this country.

The Anna’s Road site lies a kilometre from one of Lytham’s largest housing estates. Ignoring the complexities and contradictions of our fossil-fuel addiction is a luxury that the residents of Lancashire no longer have. Their first concern is the ground beneath their feet. On 1 April 2011, Cuadrilla’s fracking operation caused an earthquake in the Blackpool area. Cuadrilla prefers the term “seismic event”, but let’s not argue over words just now. There was a second, smaller quake on 27 May. The BGS performed a study and said the epicentres were 500 metres from Cuadrilla’s Preese Hall well at Weeton, just outside Blackpool. Cuadrilla eventually conceded that the events were probably caused by its fracking and downed tools while the government commissioned a report into the risks.

The quakes were tiny: magnitude 2.3 and 1.5. “There have been several quakes bigger than that since – and no one reported them,” says Richard Davies of Durham University’s Energy Institute. Unless you live in Leicestershire, for instance, you probably don’t know that the Loughborough area has already suffered three similar quakes this year, with crockery-rattling magnitudes 2.4, 1.5 and 2.9. These were naturally occurring seismic events, probably caused by ground shifting around the county’s warren of mines.

“If we wanted to stop fracking on the basis of seismicity, we’d have to stop a lot of other things, too,” Davies says. “Mining and drawing geothermal energy, for instance. Compared with everything else, seismicity is fairly unimportant in fracking.”

Egan is realistic. He has finished his sandwich and has moved on to a tub of ready-cut melon. He peels back the film, stabs a piece – rather malevolently – and thrusts it into his mouth. “The seismic thing is a useful stick to beat the industry with,” he says. “It’s important that it doesn’t happen again.”

This makes a pleasing, if ironic, contrast with the local activists’ viewpoint. Pam is almost praying for another earthquake. “If it happens again it’ll be all over for Cuadrilla,” she says. There’s a lot of spark to Residents Action on Fylde Fracking (RAFF). Though all the RAFF committee members are retired, there is no lack of fight. “We’re so up for this,” says Ian, sipping a latte. Pam tells me about their exploits in lobbying the county council and organising packed information evenings at local village halls. Ian interrupts the flow of fighting talk to comment on the coffee shop’s background music. “Ooh, Chet Baker,” he says. “I love this.” So does Pam; she has the album, she says. I’m having coffee with the activist wing of Saga.

They’ve been dismissed as “nimby bumpties”, the “aboriginals of Lancashire” and “crazy tree-huggers”, but they are not cowed by the name-calling. They see themselves as well-informed citizens exercising their democratic right to question the actions of their local representatives. And they get results. Through their efforts (and, they would politely insist, the effort of many others), Lancashire County Council has told the government it wants “industry-specific regulation” of fracking, with frequent on-site inspections, rigorously enforced regulations and “considerable sanctions” for any breach of the rules. “We consider that a triumph,” Ian says.

So they should: the UK Energy Research Centre says there is “fierce public opposition” to fracking. Egan denies this; most people, he says, haven’t made up their mind. That may be because, for most people, it doesn’t matter what they think. For the people of Lancashire, though, it most certainly does.

Lancashire is sitting on what Egan calls “one of the largest gas discoveries ever made anywhere”. It is at this point that he starts telling me off for focusing on the negatives of getting gas out of the ground. So I ask him what’s in it for the people of Lancashire. His reply is a simple “Jobs, I hope”, and hardly rings with confidence. Especially given the wording of some of Cuadrilla’s planning applications: “Locally, the benefits of such a hydrocarbon exploration project are small.” Should the exploration be successful, “the employment of a small number of local people, depending upon the size of production operation, may result”.

“I don’t agree with that,” he says. The CEO is six months in post and clearly thinks he knows better than the people who drew up the firm’s planning applications. Egan notes my surprise and embarks on a motivational lecture. “I think Lancashire needs to be much more proactive,” he says. In his view, it’s not Cuadrilla’s job to make this work for Lanca - shire. “This isn’t Cuadrilla’s gas. This is the country’s gas. UK plc and Lancashire plc should be looking at this and saying, ‘How do we make the most out of this resource?’ Not: ‘Is Cuadrilla going to create jobs for us?’

“This is an opportunity for Lancashire. We can facilitate it. It needs some kind of co-ordination or drive, but if you look at Aberdeen or Houston, it isn’t, ‘What is this they’re doing to us?’”

Calming down a little, Egan explains that, if they want them, the people of Lancashire can have jobs as plumbers, electricians, engineers, accountants, architects and truck drivers. “Drilling is just high-class labouring,” he says, waving at the world outside the Portakabin. “These are basically construction sites.” Indeed. And, as with construction sites, things sometimes go wrong. My tour ends with us standing on a squash-court-sized bed of concrete in front of a neat, round, waterfilled hole. “This is where we’re going to drill next,” says Bob, the site manager. I casually point to the capped-off hole next to it.

“Is that the hole where you lost some stuff?” I ask. Bob nods. There is the briefest of pained winces as he remembers the equipment that dropped off the drilling rig. They could have carried on, he reckons, but the orders from on high were to fill and close the hole.

So far, Cuadrilla has drilled four holes in Lancashire and abandoned two. The other abandoned hole is at Preese Hall, where the “seismic event” deformed the well’s concrete casing. Though it didn’t break, and Cuadrilla re-cemented the deformed section, this is the nightmare scenario – a well that breaks, leaving fracking fluid or methane to find its way into aquifers and, eventually, the food chain. In the United States, there are claims that fracking has caused methane to leak into the water supply: the internet is awash with footage of people igniting their tap water with a cigarette lighter. The Fylde coast depends on tourism and agriculture, and the local people are justifiably concerned that their land and water sources remain uncontaminated. They want the government to protect them. So far, however, the government is not on their side.

In all the furore over fracking, the UK government might just be the least rational, most entrenched activist of all. It has chained itself to the idea that fracking is a route to lower gas prices. The Prime Minister, the Chancellor and the Tory energy minister John Hayes have all talked of shale gas reducing household energy bills. Matt Ridley, the techno-optimist scientist and author, and Lord Browne, the former chairman of BP and the Cabinet Office lead non-executive (who coincidentally is also the chair of directors of Cuadrilla), have made similar claims. The only dissenting voice in the government comes from Ed Davey, the Liberal Democrat Energy Secretary, who has made more effort than most to keep the enthusiasm under control.

This notion seems to have arisen from a naive application of US shale gas economics to the UK. UK shale gas will be sold into a gas market that is connected to the European market and the one for liquefied natural gas coming out of Africa. “It’s going to be a drop in a bucket,” says Jim Watson, director of research at the UK Energy Research Centre. “You’d have to discover huge amounts to have an effect on the global price.” That’s because, in order to get the best price for it, the gas goes into the central pool rather than being piped straight into a power station.

Cuadrilla reckons that its shale gas could “eventually” meet a quarter of UK demand – because it doesn’t know when production will start, or how it will scale up, it’s impossible to be more specific – but admits that’s not going to make a big difference.

“I don’t think we ever said it would be enough to change the gas price,” Egan says. In many ways, it doesn’t matter. The message is out there: cheaper gas through fracking is already a familiar energy trope that will help win public support.

The other issue is regulation. Having commissioned the Royal Society and the Royal Academy of Engineering to compile a report on the risks of fracking, the government chose to ignore the main call from these bodies: for strong regulation before fracking proceeds.

The UK’s oil and gas regulations are not sufficient to cover fracking operations and there is little to no inspection regime in place. Residents Action on Fylde Fracking made a Freedom of Information request to the Health and Safety Executive in June last year and discovered that it had made just two visits to inspect Cuadrilla’s sites. Mark Miller, who directs the company’s operations in Lanca - shire, told the group that the HSE was inspecting for worker safety only – that hard hats and high-vis vests were worn; well integrity was not on the agenda.

“No one has ever checked the cement bonds of any of the four wells,” Pam says.

This comes as no surprise to Dutton. The Royal Society report highlighted well integ - rity as the most likely point of failure and recommended that the inspection regime for checking the wells be made the “highest priority”. But, Dutton says, DECC and HSE simply don’t have the resources to develop and implement a regulatory framework. “For me, that’s exactly what the environmental groups should be going on about,” he says.

Perhaps the most astonishing aspect of UK fracking is that so many educated people think the safety issues will take care of themselves. “We’ve got such good regulation in this country; it’s pretty unlikely we’d have a problem,” Stephenson says. The Commons select committee on climate change, which the Tory MP Tim Yeo chairs, shares his confidence. “We believe it is possible to construct a regulatory framework which will make fracking environmentally safe,” Yeo told me. “We’re quite good at that in this country.”

This national pride in Great British Regulation would be a lot easier to swallow if it wasn’t being raised at a time when we’ve discovered that up to 1,200 people may have been killed at the Stafford Hospital, and that thousands of supermarket beef dishes are composed largely of horse meat.

The age of austerity has cut the funding of supervisory bodies to the bone – bad news for those concerned about fracking regulation. The HSE’s inspectors for gas and oil installations are set up for the offshore industry and are based in Scotland, and have no funding or expertise to carry out onshore inspections. “They told me they don’t have the petrol money for making random visits to Lancashire,” says Mike Hill, a chartered engineer and Lytham resident who has spent years working in the oil and gas industry. “If you know no one is checking – and with fracking we do know no one is checking – the temptation to cut costs is too big to resist.”

Hill has delivered talks at academic conferences on shale gas, and he also advises Pam, Ian and Anna. He refuses to join RAFF – he’s not anti-fracking, he says, just pro-regulation. Of course the industry cuts corners where it can, he tells me. It’s not evil, exactly; it’s just that the safest way of doing things sometimes costs more money than companies with profit-hungry shareholders are willing to spend – especially when there’s no risk of being found out.

Francis Egan assures me that Cuadrilla has nothing to hide and no interest in cutting corners. “The HSE can come any time they like,” he says. “All that stuff you read about? We’re not doing any of it.” Cuadrilla will get one of its fracking sites up and running and people will finally see the truth, he reckons. “They’ll say, ‘Oh, that’s what it looks like,’ and over time it will just become accepted.” He is convinced that fracking is seen as a danger because it’s new; that’s why coal is more accepted, even though it’s dirtier. It’s better the devil you know.

Michael Brooks is the author of “The Secret Anarchy of Science” (Profile Books, £8.99)

Update: 26 March. An earlier version of this piece stated that Mike Hill was retained as a technical advisor by Lancashire County Council. In fact, he acted as a "technical advisor" (unpaid) to the Fylde Council Task and Finish Group, who were looking into Cuadrilla's activities. He is no longer in that role.

Michael Brooks holds a PhD in quantum physics. He writes a weekly science column for the New Statesman, and his most recent book is At the Edge of Uncertainty: 11 Discoveries Taking Science by Surprise.

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.”

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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