Bridgerton

When I studied English literature at Oxford about two decades ago, the issue of tutor-student relations was a vexed one. On the one hand – so the reasoning went – students were adults, over the age of consent and entitled to make their own decision as to whether they wanted to indulge in sexual congress with the men and women responsible for inculcating a knowledge and, hopefully, love of their subject into them. On the other, there were clear – although sometimes blurred – conflicts of interest relating to these invariably older figures also on occasion being responsible for marking their favored students’ examinations.

Full marks to whoever tweeted, after watching the trailer for the dire new version of Jane Austen’s Persuasion, that, "I’m sorry but Dakota Johnson has the face of someone who knows what an iPhone is." In that pithy phrase, the failings of Carrie Cracknell’s film are laid bare immediately. Johnson, despite the utter dreadfulness of the Fifty Shades films that launched her to fame, is a talented and likable actress, but she is also contemporary in a way that many of her peers are. You can dress her in all the crinolines and bonnets and Regency finery in the world, but she still looks like a California resident from 2022 cosplaying, rather than an inhabitant of early nineteenth-century Britain. But Johnson is not the only problem with Persuasion.

I am on record as being somewhere between weary and terrified of the threatened arrival of Downton Abbey 2 in our movie theaters imminently. But this is also tinged with sadness. When Julian Fellowes emerged with his screenplay for Robert Altman’s Gosford Park in 2001, it fizzed with wit and imagination. Now, he has seemingly become the go-to chronicler of English upper-class life, churning out increasingly nonsensical variants on the same story with greatly diminishing returns. So how does he fare when he turns his attention to American upper-class life? The new HBO series The Gilded Age attempts to answer this question. It primarily concerns two New York figures in the 1880s, who are schematically represented as "snobbish Old Money" and "arriviste New Money.

When it comes to who can play what in movies and on TV, producers have been quick to apply a double standard. It is deemed progressive and interesting for black and brown actors to play white characters but inappropriate and offensive the other way round. Colorblind casting only applies to people of color, which somewhat defies the point. After more than 30 years playing African American cartoon character Dr Julius Hibbert, actor Harry Shearer has become the latest victim of a campaign to un-whiten the entertainment industry.