Alexander Larman

Alexander Larman is an author and the US books editor of The Spectator.

The war between the Windsors hits a new low

From our UK edition

It was inevitable, with a book as highly anticipated as Prince Harry’s memoir Spare, that there would be a leak of its contents ahead of its release next week. Given the Duke of Sussex’s antipathy towards his family, it is fitting that the newspaper that landed this exclusive is the republican-leaning Guardian. Nonetheless, it is something of a marmalade-dropper to see the headline ‘Prince Harry details physical attack by brother William in new book.’ We might have thought we have heard all the details of the acrimonious relationship between the two royal siblings before: clearly, there is still more to come. The accusation is an unedifying one.

The books to watch out for in 2023

After a fair-to-middling 2022, it’s not unreasonable to hope that 2023 will see several stars burn brightly in the literary firmament. Whether what promises to be the most talked-about book of the year, Prince Harry’s Spare (Random House, January), is included in this number remains to be seen. On the plus side, the prince has the estimable J.R. Moehringer as his ghostwriter; on the negative side is the fact that his every public appearance over the past few years has been so combative that we might expect little more than a 416-page exercise in score-settling. More reliable pleasures await. Pamela Anderson’s memoir Love, Pamela (HarperCollins, January) should be a revelatory and fascinating dive beyond the usual bimbo clichés.

What is Prince Harry’s latest sulk trying to achieve?

From our UK edition

A new year, a new grudge. Or, at least, a new expression of an old one, which is pretty much all that we’ve heard from the Duke and Duchess of Sussex over the past few years. Yet after the interminable six hours of score-settling that Netflix punished us with last month in the form of Harry and Meghan, the forthcoming publication of Prince Harry’s hugely anticipated (in some circles, anyway) memoir Spare is being promoted with two major interviews, one in Britain and one in the United States. Based on the previews that have been released, they promise to be every bit as attention-grabbing – or attention-seeking – as everything else that Harry has been involved with recently.

The King has inherited his mother’s sense of duty

From our UK edition

For the first King’s speech since 1951, the King might have been forgiven for striking a downbeat note in his inaugural address to the nation. After all, this year has seen the death of his mother, his continuing estrangement from his publicity-hungry younger son, and, for good measure, the fulfilment of his long-held desire to expel the not-so-grand old Duke of York from public life. Yet the speech – which was recorded on 13 December from the Quire of St George’s Chapel in Windsor, conveniently between the two instalments of the Netflix series in which Harry and Meghan did their best to humiliate the Royal Family – was far from the miserable or score-settling homily that many might have expected.

The King’s speech

The publishing mega-merger that wasn’t

If you sit down and talk to an author for any length of time, you will hear gripes. (Writers will never be confused with the sunniest of people on this planet.) About the visibility of their books; about the size of their advances; about their sales, relative to their other titles and to their peers; about publicity campaigns; about cover designs. There will be a lot of gripes, and if you are cornered by an author in a bar, or at a party, you might be advised to make your excuses and flee. But if you have some sympathy for this much-maligned breed, it may occur to you that the basis of their complaints ultimately comes down to a simple lack of appreciation by their publishers: those all-powerful entities that have the power to make or break careers at the touch of a button.

publishing

Elon Musk will have the last laugh

From our UK edition

It ended, as many things do these days, with a poll. Apparently on a whim, Elon Musk, while attending the World Cup final in Qatar on 18 December, tweeted: ‘Should I step down as head of Twitter? I will abide by the results of this poll.’ Seventeen-and-a-half million people voted, and nearly sixty per cent demonstrated their belief that, yes, the days of the Musk regime on Twitter should come to an ignominious end. Given that Musk’s schtick on the social media platform has been to offer democracy to its users – all the while making sure that he remains in charge – it appears to be a binding obligation, and the business pages (and stock market) have reacted to the poll’s result as if it is hard news.

Do Harry and Meghan really think they’ve done nothing wrong?

From our UK edition

Not for the first time, it was Jeremy Clarkson’s fault. The weekend news, which began with a forensic dissection of the fallout from the six unrelenting hours of the Netflix series Harry and Meghan, was soon dominated by Clarkson’s extraordinary column in the Sun, in which he wrote of the Duchess of Sussex: ‘I hate her. Not like I hate Nicola Sturgeon or Rose West. I hate her on a cellular level.’ He went on to suggest that: ‘At night, I’m unable to sleep as I lie there, grinding my teeth and dreaming of the day when she is made to parade naked through the streets of every town in Britain while the crowds chant, “Shame!” and throw lumps of excrement at her.

barbie

Why has Barbie been made?

In 1997, the Swedish pop act Aqua released a novelty single which combined being hugely popular with being even more irritating. Entitled “Barbie Girl,” it was a helium-voiced ode to the wonders of the famous Mattel creation, dusted with just enough ironic detachment to allow the musical connoisseur to believe that they were savoring a joke, while giving the unreconstructed pop lovers everything they could hope for. The lyrics are especially lamentable: the chorus declares “I'm a Barbie girl, in the Barbie world/ Life in plastic, it's fantastic/ You can brush my hair, undress me everywhere/ Imagination, life is your creation.” It was successful for a while, sold a huge number of copies and can, very occasionally, still be heard on the radio.

His Dark Materials is the perfect Christmas viewing

From our UK edition

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.

Harry and Meghan’s Netflix show is worse than the Royals could ever imagine

From our UK edition

At the end of the sixth episode of the interminable, grotesquely self-indulgent wallow in self-pity and score-settling that constitutes Netflix's Harry and Meghan, a single thought dominates: we’ve been had. After all the months of hype and expectation, building up to a frenzy over the past few weeks – with every trailer for the show being scrutinised as if it was going to reveal some dark secret – the final judgement on this deeply unimpressive, prurient series has to be that it is nothing more than a cynical exercise in presenting a deeply partisan account of two obviously troubled and unhappy people’s lives: their truth, if you will.

Angelo Badalamenti, the maestro of mystery

Every film composer hopes that they will have at least one piece of music that they will always be synonymous with. (Some greedy bastards, such as John Williams and Hans Zimmer, have loads.) Whether it’s Henry Mancini’s Pink Panther theme, John Barry’s James Bond epics or, more recently, Howard Shore’s Lord of the Rings majesty, it’s a wonderful thing to have elevated a film or television series single-handedly with one’s scoring. And so it has proved with Angelo Badalamenti, who has died at the age of eighty-five.

angelo badalamenti

Harry and Meghan have stepped up their war on the Windsors

From our UK edition

The first part of the Harry and Meghan show on Netflix was something of a let down. Over three tedious hours, there was a lot of sentiment and half-veiled digs at the Royal Family, as well as some philosophising about racism and Brexit, but millions of viewers got to the end of the third hour and sighed as one: ‘Is that it?’  Expectations were not high that the second instalment, coming to Netflix this Thursday, was going to live up to the advance hype. But it appears a nasty surprise is in store, at least for the Royal Family. Much of the explosive material that has been teased to viewers for months is now, finally, going to be let out into the open. It looks every bit as dramatic as watchers of this particular saga might have wished for. https://www.youtube.com/watch?

Is Taylor Swift doomed as a filmmaker?

Any moment now, I expect Taylor Swift to announce a presidential bid, probably for 2028. By then, she’ll have done everything else that someone in the entertainment industry could reasonably be expected to have done. Endless hit records and awards? Check. High-profile spats with leading industry figures who have invariably come off worse? Absolutely. And, next up, her cinematic debut, a yet-untitled project that she will both write and direct? Not long to wait now. The announcement a few days ago that Swift will direct a feature for Searchlight Pictures based on her own screenplay caused much excitement, with appropriate genuflection accompanying the press release.

Taylor Swift attends the "All Too Well" premiere at AMC Lincoln Square on November 12, 2021 in New York. (Photo by ANGELA WEISS/AFP via Getty Images)

Harry and Meghan’s Netflix show is a tedious, narcissistic wallow

From our UK edition

The opening scenes of the eagerly anticipated – or keenly dreaded – Netflix series Harry & Meghan set out the couple’s stall. ‘This is a first-hand account of Harry & Meghan’s story, and told with never before seen personal archive… all interviews were completed by August 2022.’ This hint – that nothing was affected by the Queen’s death – is then compounded by the next statement. ‘Members of the Royal Family declined to comment on the content within this series.’ The promise is clear; this is going to be explosive. Well, it isn’t. Not so far, anyway. Instead, over a near-interminable first three hours, the viewer endures a mixture of the same biographical material that we’ve all seen a thousand times before.

Kirstie Alley, the woman left out in the cold

Towards the end of her life, the Cheers and Look Who’s Talking star Kirstie Alley, who has died of cancer at seventy-one, did something that made her a pariah among her Hollywood associates: she tweeted support for Donald Trump. On October 17, 2020, Alley wrote, "I’m voting for @realDonaldTrump because he’s NOT a politician. I voted for him 4 years ago for this reason and shall vote for him again for this reason. He gets things done quickly and he will turn the economy around quickly. There you have it folks there you have it." The public response was swift and merciless. Writer and director Judd Apatow remarked, "Shelley Long was way funnier than you"; the actress Patricia Arquette announced, "Well my vote for Biden canceled yours out. I have done my civic duty of the day.

Indiana Jones and the absurdity of Hollywood de-ageing

From our UK edition

This week, in homes across the land, there is one guarantee: somewhere, someone will be watching one of the Indiana Jones films, and it’ll likely be the first or the third in the series. Raiders of the Lost Ark and Indiana Jones and the Last Crusade are little less than perfect seasonal comfort food: witty, exciting, stuffed full of indelible characters and unforgettable set-piece action scenes. These films stand as those rare pictures that, however many times you watch them, continue to be fabulously entertaining. The others in the franchise – Temple of Doom and Kingdom of the Crystal Skull – are less effective, and the latter has become a byword for mediocrity.

A tale of two royal couples taking on America

From our UK edition

When the incendiary story about Lady Susan Hussey’s ill-judged remarks broke this week, a detail that many were quick to spot was that Lady Hussey had been the person responsible for giving the Duchess of Sussex ‘protocol lessons’ when she first became part of the Royal Family. Defenders of Meghan Markle (who do exist, if not in any great quantity in Britain) seized upon this information. They have been trumpeting, ‘Of course, this is what that poor woman had to put up with! If people are as ignorant and rude as Lady Hussey, no wonder she accused the Royal Family and its members of racism! She called them out!

Bob Dylan’s curious book signing controversy

The times, they are a-changing. For the past six decades, Bob Dylan has been one of the most enigmatic artists in American music, whose every public utterance has been pored over by his admirers and detractors alike. But one thing that Dylan has never been is a man who threw it all away: reputationally speaking, at any rate. Yet things at last have changed. In a simple twist of fate that Dylan surely never could have predicted, he has become embroiled in — of all things — a controversy over signed books. Dylan's most recent publication, The Philosophy of Modern Song, was released in a deluxe limited edition, retailing at $599 apiece.

The unbelievable narcissism of Harry and Meghan’s Netflix documentary

From our UK edition

‘Why did you want to make this documentary?’ That is the question – over portentous piano chords – that begins the trailer for the next instalment in the apparently endless Sussex saga, Harry and Meghan. The answers that the viewer might supply: publicity-seeking on a grand scale; unbelievable narcissism– are not uttered. Instead, over stylised black and white photographs of the duo kissing, being crazily in love and every inch the perfect couple, Harry replies, with becoming grimness, ‘No one sees what’s happening behind closed doors.’ Cue pictures of Meghan apparently in tears looking at her phone; the Royal Family aloof and cold; and a million photographers, their cameras thrust priapically aloft. Oh, the drama.

The generation gap over J.K. Rowling

I’ve often thought that a candid fly-on-the-wall documentary about the production of the Harry Potter films would be considerably more entertaining than any of the lackluster pictures themselves (Alfonso Cuaron’s excellent Prisoner of Azkaban duly excepted). Alan Rickman’s recent diaries suggest that the sets were unhappy, frantic places where actors were seldom allowed to create memorable characters and where the focus on the juvenile performers meant that one of the finest British ensemble casts ever assembled often functioned as little more than expensive set-dressing. Yet more than a decade after the final film, the actors continue to command headlines, some of which is thanks to Harry Potter creator J.K. Rowling’s views on the trans issue.