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The new Levellers

Can the student protesters of the 2010s surpass those of the 1960s, or will they be quelled by the r

At the start of John le Carré's novel Our Kind of Traitor, published in September this year, the 30-year-old hero, educated at a state school and now lecturing in Oxford, suffers a crisis: "Would Orwell have believed it possible that the same overfed voices which had haunted him in the 1930s, the same crippling incompetence, addiction to foreign wars and assumptions of entitlement, were happily in place in 2009? Receiving no response from the blank student faces staring up at him, he had supplied it for himself: no. Orwell would emphatically not have believed it. Or if he had, he would have taken to the streets. He would have smashed some serious glass."

It can't be often that an autumn novel so catches a national mood that its fictional projection becomes reality even before it has achieved its Christmas sales. Student faces are blank no longer and the image of a young man, hooded, aiming a balletic kick into the serious glass front of the lobby of the Tory party's headquarters in Millbank on 10 November, was on all the front pages the next day.

Whatever the media might prefer, most voters did not see the students and their supporters as either troublemakers or privileged beneficiaries demanding special treatment from the taxpayer.

The students seem to be learning fast, too. On the day of the third big demonstration, on 30 November, a "19-year-old student" told the BBC: "Smashing up windows was necessary in the beginning to get the demonstrations on the front pages, but now any violence would be counterproductive."

Across Britain there has been a swell of student activism, occupations and demands, with a focus on higher education but reaching out for public support against cuts. Only once before has there been anything like this level of student action - at the end of the Sixties, starting in 1968. Will this decade succeed where the Sixties failed?

The Sixties changed our society and our culture. But here in Britain, unlike the rest of western Europe, the student rebellion of the left was politically marginalised; it arrived late, and was narrow by comparison with its counterparts on the Continent. The true political impact of the Sixties in Britain took another course. In October 1968, a then unknown Margaret Thatcher gave a speech at a fringe meeting of the Conservative party conference. She caught the anti-statism of the new zeitgeist, and it was the political right that eventually captured the legacy of Sixties anti-authoritarianism.

Neoliberalism and the free market were the main beneficiaries of the movement against state power and paternalism. Ironically, it is Thatcher's successors against whom the students are now mobilising.

David Cameron told this year's Conservative conference that the general election meant that "statism lost . . . society won . . . it's a revolution . . . We are the radicals now, breaking apart the old system with a massive transfer for power, from the state to citizens, politicians to people, government to society." He was taking the words of the student activists of the Sixties and stuffing them into the mouths of today's.

Understandably, the students are refusing to swallow. It is not just the huge hike in fees they are being asked to absorb, but the simultaneous withdrawal of four-fifths of all direct grants to universities. As the government will back the loans that are supposed to replace this, there will be no immediate difference to the deficit. The coalition is using the fiscal emergency as an excuse to abolish support for all humanities research and scholarship. Apparently, students will be expected to pay for this (at a time when, as the blogger and businessman Chris Goodall has calculated, they get at most £4,500 worth of teaching a year). No other advanced country has abandoned public support for the heart of its intellectual civilisation in this way. The very idea of a university is being guillotined.

While student resistance to this fate combines self-interest with a fight for the country's future as a whole, it is also being driven by a new generational divide. Once more, though this time thanks to "digitalisation", protest is underpinned by an epochal shift.

The Sixties announced the start of the great cycle of capitalist expansion. It was the opposite of now: jobs were plentiful, rent was cheap. We had our own music; there were miniskirts and Mini cars. It was "Americanisation", but we, too, influenced the States as London swung. Accompanying this heady sense of emancipation was the belief that our parents were from a different planet. They had grown up without TV, sex before marriage, drugs and rock'n'roll; and often without university education, as we were part of the first expansion of mass higher education. It was a generation gulf, not a gap. Ridiculous rules, hypocrisy and authoritarian teaching methods became a target for students, as did secrecy. (Students demanded that universities "open the files", and a number of occupations broke into the administration offices to do just that.)

While the student movement was strongly international, in each country it had its own national characteristics. The revolution in France was against the culture of "Oui, Papa", the formality of which was much stiffer than here. In Germany, which had much the deepest and best Sixties, the "anti-authoritarian movement" involved a generation that had to deal with the fact that their parents had been Nazis.

Then there was Vietnam. The Sixties were a time of violence as well as joy, and Americans expressed both. Hundreds of thousands of their troops were occupying another country, thousands of Vietnamese were dying each month, and torture by the Americans was routine: this was the deadly backdrop to the arrival of drugs, which then fed its stream of victims into the maelstrom.

This atmosphere of violence fed into the students' responses - extremist terrorist groups such as the Red Army Faction in Germany, the Red Brigades in Italy and, in Britain, the Angry Brigade, mistook fantasy for strategy. Pauline Melville's Dionysian novel Eating Air, which draws directly on events of the period, the pitch-perfect archaeology of Hari Kunzru's My Revolutions and le Carré's Absolute Friends all catch the earnest and well-meaning initial impulse of the '68 movement - hippie, ultra-tolerant and impatient. And all three recall how the sectarians, the authorities and their agents were waiting in the wings.

Class conscious

Today it feels to me, as it did 40 years ago, that the protests connect to something larger. Perhaps they are now heralding the end of a long consumer boom, as opposed to its beginning.

I am not saying today's students are a repetition or mere followers. On the contrary, all that today's students need to learn from the Sixties is how not to become marginalised and defeated.

The differences between now and then may make this possible. We are a much more equal and open society. But the new generation faces debt and insecurity, and economic injustice in Britain has increased astronomically. After the crash of 2008 exposed bankers as robbers who skim off unearned capital, we discovered that we have to pay for their disaster. Belief in the fun­damental legitimacy of the system has been shaken, in a way that did not happen under Harold Wilson.

This means that, in contrast to the late Sixties, when student protest was ridiculed and pilloried, today it can make a credible claim to voice the anger and concerns of a wider public. And it is significant that the demonstrations have been joined by children protesting about the abolition of the Education Maintenance Assistance (EMA), which pays those from hard-up families to stay in school or further education.

Another important difference between then and now is that the student militancy of 1968 in Britain was largely confined to universities and art schools. There was a dramatic confrontation at Hornsey College of Art in north London in May 1968. But very few of what were then called "polytechnics" were involved. University students were mostly middle-class people on three-year courses on campuses away from home.

olytechnic students were mostly local and working-class. In 2010, the social composition of what were polytechnics and are now universities remains local and working-class, but many student occupations are taking place in them. Today "students" connotes a much broader, less privileged sector.

The web reinforces this cross-class generational relationship. Young people today communicate with and relate to each other in ways which mean that their lives, decisions and networks are much more spontaneous and flexible. Many who would otherwise not be involved will follow and, in a certain way, experience the new levels of activism. They may be stirred from passivity. Their capacity to learn what is really happening is much less mediated by the mainstream media, whose regular readership and viewing has collapsed among the under-25s.

The web reshapes, but is not a substitute for, power and organisation. Life remains, happily, a face-to-face affair. Nonetheless, the kind of society the new generation looks forward to will be unlike any that has gone before. It is easy to exaggerate this and then puncture the inflated projection. It's a generation gap, not a gulf as humanly painful as that experienced by their Sixties predecessors. Yet, in the short term, the new technology is sure to increase mobilisation sharply; and in the long term, the resources the internet provides may help this generation to succeed in its challenge to hierarchy with direct democracy, deliberation and openness - and to create a political culture that is not disabled by the routines of "representation" now largely expropriated by corporate influence.

The roles of race and gender are also different this time round. Back then, there weren't significant numbers of black and ethnic-minority students to make their participation an issue. But as I watched videos of the current protests, it struck me that there seem to be many more black pupils among the school protesters than among the university students.

The student occupations of the late Sixties preceded the feminist movement. The basic attitude to women was set by the Rolling Stones. Women were "chicks": attachments with closed mouths and short skirts. This was not seen as being imposed, however; individual women could insist on being treated as equals, and then they were. It was a culture of experimentation for everyone, of both sexes (and as with drugs, experiments can go badly wrong).

But the energy also fed into the feminist movement, which is the greatest political legacy of the Sixties. Today, after the heyday of that movement has passed, women's participation in the student movement, as in the economy and politics, is no longer in itself regarded as an "issue". However, the boys have yet to learn to desire equality as a mutual benefit. It is unspoken, but there is a casual "Of course you can be equal if you want to be" attitude, which somehow leaves open the possibility of benefiting from inequality, "if that's what they want". It is disappointing to me that this is still the culture among young men in the movement. Perhaps this time one of its effects will be to make feminism mainstream.

Tough choices all round

Besides feminism, the other great political legacy of the Sixties was the idea that protesting is a right. This belief clearly animates the student protests today. But the movement is still trying to establish what kinds of protest are acceptable: quiet, peaceful, non-violent demonstrations, or civil disobedience, or property damage? Violence against people seems to be wholly rejected, as shown by the spontaneous revulsion of the demonstrators against the protester who threw a fire extinguisher from the roof at Millbank tower - a welcome change.

The Sixties, too, started with the slogan "Love and peace". It wasn't serious and there seems a better understanding now of the need for no willed violence against people. Doubtless, provocateurs will try to undo this. But today's students are unlikely to go on to spawn bands of terrorists, not least because they have been preceded by a decade of fundamentalist terrorism. And everyone can see how that kind of "propaganda of the deed" simply feeds reaction and empowers the security state.

One of the reasons that the student movement in Britain in the Sixties, unlike those in France and Germany, was marginalised was the influence of the Labour Party, which was in office and played its role as pillar of the establishment. It was a smart move on Ed Miliband's part, therefore, to say that he had thought of going to talk to the students protesting outside parliament. He was never going to come out in support of the demonstrators, as his father, Ralph, did in 1968, but he must see that the country needs a politics built outside conventional party, parliamentary and careerist routines. Should he and his party colleagues fail to grasp this, one clear lesson from the Sixties is that, somehow or other, the Tories will.

In 1968, the occupations and protests in British universities were an attempt to catch up with Paris, Berlin and campuses across America; 2010 feels very different. Perhaps the principal contrast between this decade and the Sixties is the sense that, this time around, the students are ahead of the game.

In the general election campaign in May, the party that pitched most energetically for student votes against the two old party machines was the Liberal Democrats. The National Union of Students got the Lib Dem candidates to pledge in writing that they would, individually and jointly, oppose any extension of university tuition fees. The meaning of the gesture was clear: in any deals that might be forthcoming in the event of a hung parliament - which was the whole point of voting Lib Dem - they might compromise on other policies, but not on this.

In an editorial comment written after the Millbank riot, the Mail on Sunday declared:

Nowhere on earth can a young man or woman lead such a privileged life as that available in the colleges of our ancient universities. Surrounded by the glories of English architecture, tended by obsequious servants, feasted in shadowed, candlelit halls, taught face-to-face by the greatest minds of their generation, Oxbridge undergraduates are introduced at an early age to a way of life that most cannot begin to dream of.

Nobody in Britain has any justification for rioting. This is a free country with the rule of law and democratic government - rare possessions in a world of corrupt and authoritarian slums.

This neatly illustrates the difficulty for those who oppose the students. It is an absurdly idealised caricature of Oxbridge, where many may search for great minds but few are found. The 50,000 students who marched last month experience quite different educational conditions. The giveaway in the Mail's argument is the leap from its mouth-watering description of the good life enjoyed by a few to the claim that "nobody in Britain has any justification for rioting". What? Not even against the existence of such privilege?

Who's radical now?

Apparently not, because we have the rule of law and democratic government, unlike benighted lands elsewhere. But the failure of our democracy is symbolised by the Lib Dems' betrayal of their special pledge, while there seems to be no law for the bankers. Could it be that it is the Mail on Sunday which is still living in 1968?

Banners saying "F**k fees" play its game, however. They repel people, in a way that demands for higher education to be open to all who strive for it do not. So it is entirely possible that today's student protesters will be marginalised, like their predecessors in the Sixties.

Nevertheless, there are good reasons to suppose that this might not happen. First, the ghastly consequences of terrorism and indiscriminate violence against other human beings are widely understood. Second, thanks to the internet, the capacity of students to organise themselves, to network and to stay informed is by several magnitudes greater than it was four decades ago, creating the possibility of a politics that is open-minded, not fundamentalist. Third, the young are less repressed and healthier people. And fourth, what is on offer from the political system today seems exhausted, its institutions corrupted, its constitution a shambles and reinvention essential.

On the economy, should the coalition's approach succeed, who thinks it will deliver the "fairness" that the government insists is its lodestone? And if it fails? The Prime Minister boasts that he is leading a revolution and that he and his government are the radicals now. It is a claim he may come to regret.

Anthony Barnett was the first co-ordinator of Charter 88 and founder editor of openDemocracy. His most recent book, with Peter Carty, is "The Athenian Option: Radical Reform for the House of Lords" (Imprint Academic, £25). Thanks to Our Kingdom, UCL Occupation and Oxford Left Review

This article first appeared in the 13 December 2010 issue of the New Statesman, The radical Jesus

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