So What Happens Now?

 Gavin Williamson is a sorry excu...  No, wait.  I'll start again.

Gavin Williamson is sorry.  He's been wandering around the various news studios leaving great big apologies right in the middle of the floor where everyone can see them.  He's very sorry for the A-Level debacle.  It's tempting to feel sympathetic for a moment - after all, the coronovirus shutdown is unprecedented, and so there'll've been difficulties.  But the moment of sympathy is very short, because although the hope of running the summer exams as normal might have been on the table back at the beginning of March, it should quickly have become apparent that that was not going to happen.
And even if in April the government had been clinging to that hope, they ought to have realised that there was a good chance that there'd have to be something else up their sleeves as a fallback.
And then after the debacle in Scotland last week...  Oh, you get the idea.
Nobody really minds things being up in the air at the moment.  Nobody really minds plans being undermined by reality.  What we do mind is governments that don't seem to have thought more than two days ahead.  A plan that can't come to fruition is better than no plan at all.
But, anyway.  A-Level students have something approximating a result, and hopefully most of them will get into university, which is all peachy... unless you're a university.
Just off the top of my head, let me try to explain some of the problems we're going to have.

In it for the Money

Something I'd never realised about my job was that I've been missing out on the chance to turn into a cash-machine.

In the grand scheme of things, academic pay isn't bad... once you get established.  The problem is that getting established isn't easy: I was 30 before I'd ever earned enough to pay income tax, and it's got harder since then to get a foot on the career ladder.  Taking into account the level of student debt that new entrants'll've accrued, which are far higher than people of my cohort would have had, and the way that they're expected to have a portfolio of publications even before getting a job, I'm glad I'm not looking for a first job now.  Still, the point stands that, once you've got a foot on the ladder, the average academic salary is comfortably more than the average salary.  All the same: a bit more income on the side would never be a bad thing, would it?

Considerablay richer than yeow.

Daniel Sokol, writing on the JME blog, thinks that it should be possible to monetise medical ethics, and offers advice on how to do so.  Well, he might be offering advice.  He might simply be looking to tell the world that he's doing nicely, and tacking an advert for his book on at the end.  It's hard to know.  Anyway: he's got some suggestions.

I'm not going to rehearse what they are point by point, because that'd be tedious.  The gist is that there're thousands of pounds to be made if you happen to make the right moves.  But one wonders quite what planet he's on with the figures he quotes, and about the character that'd be required to make the moves that he recommends.

Dunkirk, British, and the Germans

OK. So I went to see Dunkirk, because the reviews have been almost universally excellent, and because (a) it was endorsed by Nigel Farage, and (b) everyone pointed out that Farage had missed the point.  Farage missing the point is hardly news; but I wanted to see how he'd missed it.

 

(In what follows, there may be spoilers.  But since what actually happened at Dunkirk is a matter of record, and since there're no twists, I'm not too fussed about that.  I'll say a little about a couple of characters, but nothing that'll mar the film.)

Now, I can see why Brexiteers are getting all excited about the film.  Dunkirk is part of the British national story, and anything that tells a story about plucky British fortitude in the face of a threat from Ze Hun is going automatically to have them wanking themselves square then round again.  In other words, it matters little what the content of the film actually was: it'd've been coopted into the Brexit narrative somehow.  No contortion would have been too wild, because if you've got a fixed idea about that threat and a need for the British to retreat back to the safety of Blighty in the face of a threat from the Continent... well, you get the picture.

And I know I have an idée fixe about Brexit from the other side, too.  But this is my blog, so you'll have to lump it.

Anyway: back to the point I was going to make, which is that those Brexiteers have missed the point entirely.  Dunkirk's an avowedly anti-nationalist film.  And that's apparent from the first minute - from before any character appears on the screen.

The first thing we see is a one-sentence preamble telling us about how the British and French armies have been forced into retreat by "the enemy".  Note that Christopher Nolan doesn't talk about the Allied forces being forced into retreat by "the Germans" or "the German Army" or anything like that.  "The enemy" is in a way more menacing - but it's hard to see how it's anything other than a deliberate move so as not to name the Germans.  One might go a bit further, and infer that Nolan is indicating that Nazism was not German, or at least that there's a clear distinction to be made between what might have been done in the name of Germany and what was done in the name of the Third Reich.  There might be mileage in that - lots of contemporary Germanophiles thought so - but it's not a rabbit I want to chase here.  It's enough to point out that, in the most obvious way, Nolan has deliberately avoided making this a story about Germans and Englishmen.

Thus primed, I would encourage anyone who's not seen the film to count how many times the word "German" or its cognates is used.  I did: I think it's four.  In all cases (which appear over about 3 minutes in total), it's used as an accusation of untrustworthiness.  So far, so standard war-movie.  But it's always from the same character.   And that character is a terrified, paranoid, dangerous idiot, who is looking for someone to blame, and someone to shoot.

That is: the only person who makes a direct reference to Germans is someone with whom you wouldn't want to be in a confined space.  Other British characters are, by turns, doughty, brave, or - in a couple of cases - cowards.  In other words, they're exactly like most people.  They are not made saintly by dint of being British.

Now, there are atrocities committed by the enemy.  A ship that's clearly marked with a red cross is bombed.  I don't know if that happened in reality.  But even there, the bomb is from a machine.  We don't see the face of the pilot.  By and large, the enemy is unseen.  There is a brief moment when we see actual members of the Wehrmacht; but in that moment, when it would be very easy for them to kill a defenceless man, they don't.  They are not made evil by dint of being German.

In other words, the enemy can't be identified with a particular nation.  We know the origin of the enemy, but Nolan doesn't labour the point.  Nation doesn't really matter to the film he's made, which is about people in a situation behaving as people do.  He could have made appreciably the same film about any conflict, real or fictional.  Hell, he didn't even really need a conflict.  Except that, by making a film set in the second world war and not talking about nations or national character, he gives quite a clear message about nations and national character.

Quite clear, but not clear enough for some.  Farage doesn't really do nuance, and he can't really see beyond the nation.  It's little wonder he misunderstood what he saw.

MIFfed

I've got a bit of a dilemma.  It's a nice dilemma to have, and I know which way I'm leaning, but someone may tell me I'm being a fool.  They're wrong, but it's not quite as clear-cut as I thought it would be.

First things first: I love Manchester, and one of the things I love about Manchester is the Manchester International Festival.  It's two weeks of new and interesting art and culture, and even when a show doesn't work, as with Damon Albarn's Wonder.land a couple of years ago, it's still something that makes me proud to be a part of the city.

When tickets for MIF17 went on sale, I immediately went and spent an unholy amount on them.  I've crammed all the things I'm going to go to see into the second week of the Festival, because during the first week, I'll be in France.  This is at the invitation of one of my closest friends and her family; she lives in Australia now, so I only get to see her (and them) every couple of years.  So the final few days of June and the first few days of July are going to be packed, but great.  I'm really, really looking forward to them.

Except...