The dark horse who stands to benefit from France’s riots
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Next time you pull up alongside a shiny new BMW 3 Series, don’t look at the driver with envy. Regard them as pitiful owners of a magnificent failing financial delusion. Around 95 per cent of new UK cars now find owners through fleet or contract purchase schemes. It’s a monetary sedative disguising how we rent a depreciating block of steel for £450 a month, blind to being taken for a colossal global ride. The current mainstream narrative is comforting: cars are expensive because of inflation and supply chain problems – with a few carrots for right-leaning thinkers about eco-levies, union interference and nasty Russians. It’s a neat lie. The reality – according to figures for bodies like Germany’s Center of Automotive Management – is more spectacular.
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Paris The wonderful thing about electric bikes, if you are fighting with French riot police, is the way they burn. You skid your Lime or Vélib’ into the middle of the Boulevard de Magenta, which leads from the Gare du Nord down to the Place de la République, and set it alight along with a pile of ordinary bikes, and soon you have a conflagration of rubber and battery chemicals. During the weekend’s street protests, the fires provided cover for rioters breaking into mobile phone, vape and jewellery stores and the money-transfer shops which serve the many immigrants who work in eastern Paris. By Monday morning, a vicious guard dog stood outside an Intermarché supermarket, snarling at customers coming in one by one.
Paris The wonderful thing about electric bikes, if you are fighting with French riot police, is the way they burn. You skid your Lime or Vélib’ into the middle of the Boulevard de Magenta, which leads from the Gare du Nord down to the Place de la République, and set it alight along with a pile of ordinary bikes, and soon you have a conflagration of rubber and battery chemicals. During the weekend’s street protests, the fires provided cover for rioters breaking into mobile phone, vape and jewellery stores and the money-transfer shops which serve the many immigrants who work in eastern Paris. By Monday morning, a vicious guard dog stood outside an Intermarché supermarket, snarling at customers coming in one by one.
The good, the bad and the ugly in books, exhibitions, cinema, TV, dance, music, podcasts and theatre.
Where are we? That’s the question raised by Ian Rickson’s version of The Cherry Orchard adapted by Conor McPherson. The setting appears to be a capitalist Russian society that never existed. The young characters wear casual 1950s gear – T-shirts, wristwatches and sunglasses – but the older men can recall a time before the emancipation of the serfs in 1861. Slightly confusing. Has the revolution happened or not? It might be simpler to set the play in 1903 when it was written. The high-status characters use posh Home Counties accents while the servants and hangers-on seem to hail from Scotland, Ireland and Germany. That chaotic set-up works better than it might. The show never fully coheres and it almost feels like three separate plays.