Spectator Life

British writer Graham Hancock has riled the archaeology community with his Netflix documentary, Ancient Apocalypse. The series follows Hancock to ancient sites around the world in pursuit of proof that an advanced human civilisation existed thousands of years before the first cities of Mesopotamia. Hancock, a former Economist correspondent, argues that most archaeologists are too stubborn to admit even the possibility of such a civilisation. Several archaeologists have rebuked Ancient Apocalypse since its release in November. They claim that it propagates false theories, avoids inconvenient facts and regurgitates old beliefs about ancient myths. One Guardian columnist called it ‘the most dangerous show on Netflix’.

One of the neologisms of 2022 was the phrase ‘nepo baby’. Short for ‘nepotism baby’, it was coined by younger people, the so-called Gen Z, to describe the syndrome of the increased attention and opportunity afforded to the children of celebrities – in practice giving them a leg-up into a career in modelling, acting or singing.  A curious aspect of the trend is that these newly cynical youths are only belatedly realising that many of the young stars in their firmament have famous parents: Lily Collins of Emily in Paris, for example, is the daughter of the rather-better-known-to-their-parents Phil.   But it’s only the term itself that is new.

The Offer (Paramount Plus) https://www.youtube.com/watch?v=iowLzO9-aew Even when you know the ending, this ten-part drama about the making of The Godfather, seen from the perspective of novice producer Albert S. Ruddy (Miles Teller), is outrageously gripping, gorgeously evocative of louche, cocktail-drenched late 1960s Hollywood, wittily scripted and superbly acted. Matthew Goode is especially watchable as superproducer Robert Evans. And this mostly true story has so many eye-popping moments – often involving the real mafia who at first resisted, then supported the movie – it feels more like the raciest and most implausible fiction. Reacher (Amazon) https://www.youtube.com/watch?

It would be fair to say 2022 was not a vintage year in cinema, reflected in UK box office receipts which remain around a third below the pre-pandemic year of 2019. That’s not to say there weren’t some enjoyable releases (such as The Banshees of Inisherin, Triangle of Sadness and The Northman) – but the biggest hits of the year consisted of superhero franchises and movie sequels (Top Gun: Maverick, Avatar: The Way of Water, Jurassic World Dominion, Fantastic Beasts: The Secrets of Dumbledore, etc).

Literature presents many different ways of observing the new year. Much like real life, the options range from big parties to quiet stay-at-home gatherings… and existential crises. In Louisa May Alcott’s Little Women, Meg and Jo March attend a New Year’s Eve party at the home of their family friend Mrs Gardiner. ‘Down they went, feeling a trifle timid, for they seldom went to parties, and informal as this little gathering was, it was an event to them.’ This is the moment that Jo converses with Laurie for the first time and sparks fly as they watch the New Year’s Eve party from their shared point of refuge in a small curtained recess.

Banshees of Inisherin: a magnificent cinematic metaphor https://www.youtube.com/watch?v=uRu3zLOJN2c The In Bruges writer-director Martin McDonagh has made another film starring Colin Farrell and Brendon Gleeson which, this time, is set in 1923 on the tiny Irish island of Inisherin. Colm (Gleeson) and Padraic (Farrell) are lifelong pals and drinking buddies until Colm abruptly decides that’s it, friendship over, and he’s deadly serious. If Padraic so much as approaches him he’ll cut off one of his own fingers.

From the road Gainsborough’s House looks like it could be a thoroughly plausible restaurant in a town like Godalming or Chertsey, the sort of place where a prawn cocktail costs £15 and comes with most of a lemon in a white gauze satchel on a separate plate. The stout two-storey structure is Georgian, red brick and has a front door flanked by a pair of handsome Regency windows. Glance up the neighbouring side street, however, and you immediately see that something extraordinary has happened: there’s an enormous, ultra-modern, industrial-looking extension to the rear in brick and flint. Is it a carbuncle? I’ll leave you to decide, but yes, I’m confident it’s the sort of thing that would make King Charles choke on his fountain pen.

The Lord of Misrule is surely the jolliest spirit of Christmas past. He is certainly the best named. He used to gambol through cities and courts, churchyards and dining rooms, telling jokes, performing tricks and spreading good cheer. Society shook itself upside down at his coming, so knaves played at being kings, children became miniature tyrants and noblemen misplaced their manners (an exercise in which some, admittedly, needed little assistance). His origins can be traced back to ancient Rome, where each December masters and slaves swapped places for the festival of Saturnalia and engaged in various acts of tomfoolery while gorging on food and wine. These traditions survived the advent of Christianity and found their own expression in the Church.

On Christmas Day 1942, the German battlecruiser Scharnhorst, along with five destroyers, left its Norwegian base and headed for a series of Arctic convoys, the British fleets transporting material and support to the Soviets. The townclass cruiser HMS Belfast, used to escort the convoys through some of the most dangerous seas in the world, played a vital role in the Royal Navy’s clever game of bait-and-blast that resulted in the destruction of the Scharnhorst, a monster that had already sunk a British carrier and two destroyers. Belfast, the most powerful cruiser in the Navy at her relaunch in 1942 (she hit a mine in 1939 and needed three years of repairs), now sits in the Thames by City Hall, a visitor attraction operated by Imperial War Museums.

Today, shortly before 3 p.m., there will be a collective heave as backsides – weighed down from turkey and roast potatoes – are prised from dining chairs and plonked on to sofas to tune into the King’s speech. So I very much hope. For the royal Christmas broadcast is important, and this year’s of course marks a new era. This afternoon our televisions will bring us not only the first Christmas message from the new King, but indeed the first from any King. For while the tradition of the Christmas message began in 1932 under King George V, the first Christmas broadcast to be televised was not until 1957, and that of course was by Queen Elizabeth II.

Somewhere in the midst of the hurly-burly antics and preoccupations of life, I think maybe, I’m probably a Christian. Not the type who sings in church with his eyes shut, but an extremely moderate, unthinking Anglican for whom the prospect of the existence of nothing is too painful for words. That makes me the sort of Anglican who starts to pray once the 747 has been in freefall for six seconds or more over the Atlantic, or the type that looks heavenward when Harry Kane is about to take the most important penalty in the recent history of English football. As a result, the Great Being plays precious little part in my day-to-day life; I fear I’m essentially Godless.

Why is Jeremy Clarkson in trouble so often? Is it because he often appears arrogant, entitled or untouchable? Or is it for a much simpler reason: he’s called Jeremy? This week, in a column for the Sun, he suggested a rather unsavoury Game of Thrones-style punishment for the Duchess of Sussex. The article prompted 20,000 complaints to Ipso – more than the press regulator received in the whole of last year – and led to 64 MPs signing a letter of complaint to the paper’s editor. Clarkson has made a grudging non-apology and persuaded the paper to remove the article from its website, but unsurprisingly this is unlikely to satisfy the lynch mob already digging out those pitchforks ready to march on his well-publicised farm.

Claire Keegan’s Booker-shortlisted Small Things Like These this year revived the tradition of Christmas short fiction. It’s a deftly done parable about cruelty and kindness in the run-up to Christmas, with actual snow – and tears.   Although Keegan’s novella eventually lost out to Shehan Karunatilaka for the Booker, it perhaps served a greater purpose than prizes: it was a reminder of the value of stories that connect us with our humanity, particularly around this time of year.  It was also a reminder that cultural consumption at Christmas needn’t merely be about overloading on films.

The email landed in my inbox one afternoon, as I frantically sandwiched work in between feeding the dog and doing the school run, its subject saying: ‘A quick reminder for you, Antonia Hoyle.’ Oh God, what now? Had I forgotten to pay a bill? Missed a deadline? It was worse. I hadn’t left a review for a company I’d purchased skincare supplements from – and six days after their initial request, they sounded disappointed, adding reproachfully: ‘We would like to remind you that writing a review of your experience will help us improve our customer satisfaction.

When you’re sitting on the sofa in the week ahead, stupefied into submission by food and alcohol and relatives and God knows what else, you’ll be tempted to watch something that will divert you from the gluttony. And, yes, the likes of Elf, It’s A Wonderful Life and Love Actually are all available, as they were last year. But maybe you’ll want to watch something that is not just entertaining but that makes the viewer think. Something that also has a provocative religious theme that is, if not quite the three wise men and the star of Bethlehem, as relevant this time of year as it ever is. Step forward the third series of His Dark Materials, all eight episodes of which became available on BBC iPlayer last night.

For an industry so dependent on glitz and glamour, the West End has never quite mastered the celebrity debut. While big names might be a surefire way of shifting tickets, they have an unfortunate knack for ending up in mediocre plays – even when they’re as famous as Madonna. The problem is partly structural. A-listers aren’t exactly cheap, and their schedules are notoriously tight. Faced with those constraints, theatreland has developed an unfortunate habit of putting box office names – John Malkovich, Damian Lewis, even Lindsay Lohan – into derivative three-handers by David Mamet. They might be easy to make, but they rarely deliver. But are the days of celebrity mediocrity finally over?

Glamorous love-to-hate-them characters, beautiful scenery, money, sex and murderous intent: it’s not hard to see why The White Lotus has been such a success on both sides of the Atlantic. Each series of the darkly comic satire (available on Sky Atlantic and Now TV) charts a week in the lives of the wealthy guests and employees at a sumptuous five-star resort – first in Hawaii, then in Sicily. This week’s season two finale drew record viewing figures in the US, and a third series has already been commissioned. But while The White Lotus may be full of unexpected twists, its choice of setting is less surprising.

The festive season brings with it many enjoyably trivial decisions to fret over. Sprouts with or without chestnuts and bacon? To tastefully colour-scheme the Christmas tree or throw every garish bauble at it? Presents before or after lunch? This year, however, I have another decision to make and it’s one that I’m finding surprisingly tough: to write Christmas cards or just let that tradition… go? Usually by this point in December I’m scribbling away, determined to get my 70-odd cards written and sent while they can still reach their destinations with a second-class stamp. (Let’s not mention the foreign cards; they always arrive late.) While it does sometimes feel like a chore, I try to make it fun by pouring a glass of port or putting on a Christmassy film.

The best stocking-filler present I received last year was the bumper Christmas edition of The Spectator. But it wasn’t the only erudite reading matter crammed into a moth-eaten ski sock. Nestled under a mouldy tangerine and some chocolate money destined to be stolen by my children were: How it Works: The Dad (Ladybird for Grown-Ups); You Do Have the Authority Here!: #What Would Jackie Weaver Do?; and The Best of Matt, 2021. They now jostle for space in a downstairs loo sprinkled with other half-read stocking fillers chronicling the past two decades: Schott’s Original Miscellany; The Curious Incident of the WMD in Iraq; Does Anything Eat Wasps?; Crap Towns; Fifty Sheds of Grey; Five on Brexit Island; and half a dozen more Ladybird spoofs, a series that has sold 5.

From the moment Elon Musk suggested buying Twitter, users began threatening to leave – and the Tesla kingpin's erratic behaviour since he took over hasn't exactly helped his case, with thousands of workers laid off and hundreds more resigning. The MIT Technology Review estimates that more than a million Twitter users have jumped ship since Musk took the reins. Today the social network is launching a revamped version of Twitter Blue, its paid-for verification system, after a previous attempt last month was marred by a flood of imposters and fake accounts. So for those who decide not to stick around to see how this one turns out, what alternatives are out there – and are any of them any good?

If you had to choose an obvious place to look for clues about what will happen in the coming year, it probably wouldn’t be the lush, green, watery tropic wilderness of Mount Borradaile, West Arnhemland, in the Northern Territory, Australia, hard by the sizzling blue reaches of the Arafura Sea. For a start, this lost, ancient chunk of Oz is almost empty – there are far more saltwater crocs than cars, and far more rare and exquisite wading birds than people. How can this lovely place speak of modernity? Of the future? And yet if I am right, the clues hidden in this Edenic wilderness suggest that we are about to see our lives entirely overturned – in a way that once happened in Arnhemland. The rocks may even illuminate our ultimate fate.