James Delingpole

James Delingpole

James Delingpole reviews television for The Spectator.

The only way to survive Christmas TV is to avoid anything seasonal and watch Giri/Haji

From our UK edition

The key to surviving the next couple of weeks of TV is to avoid like the plague anything that smacks of seasonal viewing. So, no Christmas specials (such as the semi-celebrity, elderly grown-ups version of University Challenge where the questions are even more laboriously PC than on the student edition), no Harry Potter, no adverts featuring tinsel, dragons and patronisingly diverse families making merry. Basically, you want to steer clear of terrestrial TV altogether — but with one exception. You may use BBC iPlayer to download the only decent drama series that slipped through the net: Giri/Haji. Joe Barton’s blackly comic Anglo-Japanese thriller was by some margin the most original and inspired thing on the BBC all year. But it was a bit unlucky with the reviews.

My 2019: mice, Marrakesh and a fond farewell to my dear friend Christopher Booker

From our UK edition

Another year over and it wasn’t all bad, you know. Here are some of my personal highlights. Best birthday parties: my dear old friend Liz Hogg’s 90th and my dear older friend’s Jim Lovelock’s 100th. The latter, in the Orangerie at Blenheim Palace, was possibly the most unboring semi-formal social occasion I’ve ever attended. My table included the philosopher John Gray, a dapper Japanese gentleman who had been blown out of his bed by the Hiroshima bomb, and an economist from northern Uganda who’d narrowly escaped the Lord’s Resistance Army massacres. For her PhD, she had delighted in triggering her thesis supervisors by arguing that western aid programmes don’t work.

What have the Anglo-Saxons ever done for us?

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It has been a while since I’ve considered the vexed question of Byrhtnoth’s ‘ofermod’. More than 30 years, in fact. I remember, as if it were yesterday, my Anglo-Saxon tutorials with dear, lovely, gentle Richard Hamer. And now he is the author of the standard translation being used by my children on their own university English Literature courses. (I suppose the Latin equivalent would be having been taught by the author of Kennedy’s ‘Eating’ Primer.

If you like Joe Biden, you’ll love The Irishman

According to Nielsen Media’s ratings service, 17 million people watched ‘at least a few minutes’ of Martin Scorsese's The Irishman on Netflix over its first weekend. Impressive. Rather less impressive, I'm guessing, is the proportion who actually made it to the end of this excruciating ordeal of an embarrassment of a movie. If it was even close to 50 percent, I'd be surprised. Some critics are saying its Scorsese's best since Goodfellas. Don't believe the hype. Though it reunites arguably the all time greatest trio of mob movie actors — Joe Pesci, Robert de Niro and Al Pacino — it's not the performances you notice, but their age. De Niro is 76, Pacino 79 and Pesci 76.

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The only bearable TV series these days are the ones with subtitles, like Der Pass

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True to the Andrew Roberts rule that the only bearable series on TV these days are ones with subtitles, I’ve started watching Der Pass (Sky Atlantic). Not unlike The Bridge and The Tunnel, it starts with a dead body exactly straddling a border, thus requiring the intervention of detectives from two national jurisdictions. This time, it’s a shambolic male Austrian and a perky blonde German. It’s fascinating to see what quirks foreign authors choose to give their detective characters.

What I learned on my speed awareness course

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Speed is in my blood. My father, grandfather and great-grandfather all used to race cars in their youth. We even have a hill-climb specialist car part-named after us, the Dellow. Just after I’d passed my test, my dad let me share the driving in his V12 Jag en route to our holiday home in Devon. I vividly remember him rebuking me whenever I let the speedometer dial creep below 100mph. So I suppose it was inevitable that naughty habits would catch up with me in the end and that I’d find myself doing one of those compulsory speed awareness courses. If there’s one thing every boy racer who has yet to experience one knows, SACs are a massive waste of time. They’re run by embittered ex-coppers with PTSD who torture you with bad jokes and treat you like children.

Payton’s place

This article is in The Spectator’s December 2019 US edition. Subscribe here. Four episodes in, I finally decided I really didn’t like The Politician (Netflix). Initially, I thought I might because there was lots of advertising assuring me how good and culturally important it was going to be. Also, it’s made by the same creative team responsible for Glee, that slick but likable and quite moreish series about an American high school glee club where an impeccably diverse class of gay and disabled people keeps bursting into implausibly accomplished cover versions of classic pop songs. But no. The Politician leaves you with the same unpleasant, dirty, life-just-wasted feeling I imagine you’d get from watching Japanese hentai porn.

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War of the Worlds is as bad as Doctor Who

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Edwardian England deserved everything it got from those killer Martian invaders. Or so I learned from the BBC’s latest adaptation of The War of the Worlds (Sundays). Everything about that era, apparently, was hateful, backward and ripe for destruction: regressive attitudes to women and homosexuality; exultant white supremacy (cue, a speech from a government minister on the superiority of the Anglo-Saxon race); a general prevailing bone-headedness and stuck-upness; stiff, stuffy, relentlessly brown clothing with superfluous belts; and as for those ridiculous bristling moustaches… Still, I don’t think H.G. Wells would have been totally appalled by this travesty of his 1898 potboiler.

The joy of a day spent bagging almost no birds

From our UK edition

The highlight of my country calendar is when I’m lucky enough to be invited to what even the host describes as ‘the world’s best worst shoot’. It’s the worst shoot because the bag is often truly atrocious. This year, for example, in the course of six or possibly seven drives — the details are hazy — we managed a total of nine birds between us. That works out at an average of one and one eighth of a bird per gun over an entire day. But still, disappointingly, we were well short of the all-time record low of three. I’d love to be able to blame this shaming tally on poor gamekeeping: ‘Of course, I’d have bagged loads more if a single bloody pheasant had flown anywhere near my peg the entire day.

God awful: BBC1’s His Dark Materials reviewed

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‘Here’s your new Sunday night obsession...’ the BBC announcer purred, overintoned and mini-orgasmed, like she was doing an audition for a Cadbury’s Flake commercial, ‘... a dazzling drama with a stellar cast.’ My hackles rose. Did no one ever mention to her the rule about ‘show not tell’? And my hackles were right. His Dark Materials has indeed become my Sunday night obsession: how can the BBC’s most-expensive-ever drama series possibly look, sound and feel so clunkingly, God-awfully, disappointingly flat? Yes, I know Philip Pullman’s trilogy is an extended, bitter rant against Christianity disguised as children’s entertainment.

I’m taking inspiration from an ancient Athenian

From our UK edition

How sorry I felt for the poor man who died this week stuck up a 290ft chimney in Carlisle despite desperate attempts — helicopter; cherry-picker — by the emergency services to rescue him. We’re so used to the idea that no matter how precarious or remote our plight — be it stranded kids deep inside a flooded cave in Thailand or tourists who’ve had their feet bitten off while snorkelling in Australia’s Whitsundays — those amazing emergency services will get us to safety in the end. It comes as quite a shock to be reminded that survival isn’t always inevitable. But is this a sign, I wonder, that we’ve all become a bit too pampered and complacent for our own good?

Top Boy wins the turf war

This article is in The Spectator’s November 2019 US edition. Subscribe here. I couldn’t stand The Wire. Everyone mumbled unintelligibly, the pace — inexcusably in a series about drugs and violence — was often glacially slow, and I found some of its characterization too transparent, like, ‘Ooh, I know. We’ll make the wise old black guy have the unlikely hobby that he repairs dolls’ houses, so that viewers will appreciate the nuance and hinterland.’ Top Boy (new on Netflix), on the other hand, is pacy, plausible and deliciously ruthless. It’s like The Wire, relocated to London with a much cooler soundtrack and with all the boring bits removed.

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If we do get a good Anglo-American trade deal, we should thank Trump’s mother

From our UK edition

In an uncharacteristic fit of almost-robustness, Culture Secretary Nicky Morgan has said she is ‘open-minded’ about scrapping the BBC licence fee and replacing it with a Netflix-style subscription service. Good idea. What would we actually miss if we didn’t subscribe? Not an awful lot in my view. Some people cite David Attenborough’s nature documentaries but I certainly wouldn’t now that they have become so obtrusively propagandistic. The problem with the BBC isn’t — and never has been — lack of talented filmmakers, wildlife camera crews, presenters, actors, writers or production teams. It’s that, from news to drama, the BBC’s woke politics now subsume and corrupt its entire output.

Is this the only Catherine the Great review to mention the age gap?

Catherine the Great is the vanity project of star and executive producer Helen Mirren. One way you can tell it's a vanity project is that Mirren is 74 years old while the character she plays — at least at the start of the mini-series — is 33 years old. Now I don't wish to be ungallant. It's certainly true that Mirren has always scrubbed up well. She is a very handsome woman and she knows she is a handsome woman, as reflected by all those films and TV series earlier in her career — not, though, The Queen, as far as I recall — when she appears with her kit off.

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How I plan to win a Bafta

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I’ve nearly finished my latest screenplay, Drift. It’s a reimagining of a British imperial atrocity which took place in Natal in 1879 and was subsequently made into a disgracefully jingoistic 1964 movie, and despite its problematic subject matter — the bad guys won — I reckon it will be a shoo-in for an award at the new-look, diversity--compliant Bafta. Idris Elba will play the Michael Caine role, obviously; I’m thinking Lenny Henry as Lieutenant Chard, and the cast of Top Boy as the various VC-winning NCOs and men of the 24th of Foot. The Zulus will all be played by actual Zulus because anything else would be cultural appropriation, but one Impi will be in a wheelchair and another will be entirely transgender to emphasise their stunning bravery.

Pure, undiluted genius: Succession reviewed

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I have never ever watched a TV series I have enjoyed more than Succession (Now TV). There’s stuff I’d put in the same league, maybe — Fauda, Babylon Berlin, Band of Brothers, Utopia, Gomorrah, Breaking Bad, The Sopranos, and so on — but absolutely nothing beats it. It is, quite simply, a work of pure, undiluted genius. Which wasn’t what I expected when my friend Toby recommended it to me a few weeks ago. ‘It’s about this media dynasty, a bit like the Murdochs. And the kids spend their whole time scheming and competing as to which one is eventually going to take over the company from the bullying patriarch Logan Roy,’ he said. This all sounded a bit grown-up, earnest and worthy to me.

At last, the TV-hogging space invaders have returned to university

From our UK edition

‘Hands up which other university parents are bloody glad to have got rid of their lumpen, food-gobbling, space-invading kids…’ When I tweeted this the other day having just dumped my offspring at Durham I got accused of being a bad father. But I don’t think I am. A bad father wouldn’t have been labouring in the dark at 12.30 a.m. getting the car packed for the long trek north. A bad father wouldn’t have forked out so liberally and uncomplainingly for all those things they spring on you when you arrive — 30-odd quid for the week’s JCR induction entertainments; 25 quid (50 if you’d been naive enough to buy new) for a gown they’ll probably only wear about twice… Obviously, I miss the little sods a bit.

Gloriously un-PC: Ronan Bennett’s Top Boy reviewed

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Sir Lenny Henry, the former comedian, is wont to complain to anyone who’ll listen that there isn’t enough ‘diversity’ on TV. Really, he should watch Top Boy (Netflix). Apart from the odd token walk-on whitey — skanky crack addicts, nasty immigration officers — it’s wall-to-wall BAME casting opportunities. The protagonist, Dushane (Ashley Walters), is black. So are all his friends, family and associates (his mandem, as they are colloquially known). So, mostly, is the urban music soundtrack, the work of various grime artists curated by the show’s co-producer, Canadian rapper Drake. What Sir Lenny might find not ooookaaaaay, I suppose, is that pretty much all the characters are ruthless, murderous, drug-dealing gangland thugs.

Letting China join the WTO was the worst decision the West ever made

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It’s not often that you come across a book that completely transforms your understanding of the world. Just recently I’ve read two. One, Tom Holland’s Dominion concerns the debt we all owe — not just vicars and popes but atheists and social justice warriors — to Christianity’s revolutionary (and frankly still shocking) message that the last shall be first and the first shall be last. The other, China, Trade and Power by Stewart Paterson, is about a seismic event in 2001, three months to the day after 9/11, which shook the world to a degree few remotely comprehend.

With these documentaries, the BBC has lost any claim to impartiality

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Because the rise of the Nazis is a topic so rarely mentioned these days, least of all in schools, the BBC has produced a helpful three-part explainer of that title (BBC2, Mondays) showing why the story of Hitler is even more relevant today than it was in the 1930s. Back in the day, the BBC might have been content to strive for an objective take on the subject, perhaps with a voiceover by Samuel West and lots of period footage. But the danger of that approach, the BBC has since realised, is that it runs the risk of viewers making up their own minds what to think. Some of them might not be aware, for example, of the obvious parallels between Hitler, Nigel Farage, Donald Trump, Brexit and, to a lesser extent, Michael Gove.