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‘Stylish’ guide on functioning mothers is in the jogging for her top prize




‘Stylish’ book on working mothers  is in the running for her top prize

ebook on the life of doing work mothers above generations by a woman historian who strike out about the Met’s managing of the Sarah Everard vigil has been shortlisted for her subject’s most substantial-profile award.

Helen McCarthy’s “Double Life: A History of Working Motherhood” ranges from females in present day working day Canary Wharf to Victorian Manchester to clearly show how attitudes to mothers in the office have arisen and is one of six titles in the working for this year’s £40,000 Wolfson History Prize.

Other contenders in what the judges explain as a record reflecting the “diversity and quality of historical past crafting in the UK” incorporate “Survivors” by Dr Rebecca Clifford, which tells the story of baby survivors of the Holocaust, including a few continue to dwelling in London, and “Black Spartacus” by the Oxford educational Sudhir Hazareesingh.

It tells how the former slave Toussaint Louverture led a prosperous slave revolt in Haiti against the French in 1791 to type the world’s initially unbiased black state.

Judith Herrin, from King’s Higher education, London, is also on the shortlist for her book “Ravenna”, which is described by the judges as a “magisterial” and “illuminating history of Europe from the 5th to 8th generations as seen as a result of the lens of an Italian metropolis.”

Historian Helen McCarthy, the creator of Double Life: A Record of Operating Motherhood

The collection of Dr McCarthy’s heritage of doing work motherhood is probably to catch the attention of individual interest, nevertheless, both equally because of the topicality of her topic and for the reason that of her lively presence on social media where she tweets underneath the hasthtag @HistorianHelen

“The scenes of women getting manhandled by police in Clapham tonight are completely sickening,” Dr McCarthy wrote, introducing in independent tweets that “London is brimming with soreness and anger” and that the Satisfied risked “losing general public legitimacy altogether” as a end result of its actions.

The inspectorate also rebuked politicians for their “unwarranted” criticism of law enforcement, indicating that the “chorus of those condemning police” was centered on a “very restricted knowing of what experienced happened”.


It’s official: Andrew Scott is the greatest actor of our generation




It’s official: Andrew Scott is the greatest actor of our generation

Andrew Scott: do I want to be him, snog him, or just watch everything he ever appears in? I think it’s all three. Either way, from now on I’m going to ask everyone I meet if they agree that he is the greatest actor of our generation. If they don’t, sorry, we cannot be friends.

Not everyone loved the BBC’s lavish adaptation of Nancy Mitford’s The Pursuit of Love (I did), but everyone who watched it agreed on one thing: Scott, who played louche bright young thing Lord Merlin, lit up every second of his screen time. As we watched him dancing to T-Rex in silk pyjama suit with a harem of beautiful people following him around, we wanted to have a pyjama party in his honour.

He became a legend of this nation as Fleabag’s Hot Priest, the gin and tonic-drinking clergyman who ensured that the second series of Phoebe Waller-Bridge’s hit show was even better than the first. It was an emotional rollercoaster: we sobbed and got hot under the dog collar. Paloma Faith spoke for us all when she infamously told Scott on the Graham Norton sofa that she’d needed “alone time” after watching the show.


But we bow down to him as the very best actor we have right now because of a long career of stellar performances, elevated by his own personal life philosophy. “Acting without humour is bad manners – it’s not the way human beings work,” he said last year in an interview for Elizabeth Day’s How To Fail podcast. That’s the key to his brilliance: he brings both humanity and levity to all of his characters.

The first time I ever saw him was on stage in Birdland at the Royal Court, back in 2014 as a rock star going off the rails in a metallic jacket. He’d already played Moriarty in Sherlock by then and won a Bafta for being the best thing in the show, but I had no idea who he was (I don’t watch things about men who are really good at doing maths in their heads). I still remember sitting at the back of the circle and thinking: that man is a star. His performance was vintage Scott: manic charisma, sexy but in a way that felt a bit dangerous, all with a vulnerable tenderness at its heart.

Fleabag finds religion in season 2 – but is it enough to save her? / BBC

He’s an actor who can do the biggies. In 2017 he played Hamlet, making the prince into a sensitive man whose life has become unmoored by grief. I saw the nearly four hour running time of Robert Icke’s production and went to the theatre with a visceral sense of martyrdom, but Scott made it feel like it wasn’t long enough. It was the first time I’d watched Hamlet and not fallen asleep; usually I wake up and everyone on the stage is dead. But Scott made it so that I could understand every word he was saying… suddenly I understood why everyone else liked it so much.

And as Garry Essendine in Noel Coward’s Present Laughter in 2019, he picked up a host of gongs including Best Actor at our Evening Standard Theatre Awards. Not only did his hilarious performance light up our summer, but the production had an important political meaning too, allowing the queer subtext in Coward’s work to be openly expressed. As Scott himself said in his acceptance speech, “I think sometimes [Coward is] accused of being a dusty old playwright but he smuggles through comedy really modern ideas about sexuality and gender. He sort of says it’s okay to live a life that’s less ordinary.”

We feel like we could have a deep and meaningful with him at 2am in a toilet

/ Theodora Films Limited & Moonage Pictures Limited/Robert Viglasky

But whatever he’s in, he always becomes the bit you never forget. Psychotic taxi driver in Black Mirror? Tick. Upper class World War One officer getting through the trauma with gallows humour in 1917? Tick. Welsh bookshop owner disowned by his family for being gay, who made us cry every tear in our body in Pride? Tick. Priest who would make you hotfoot to confession (even though you are an atheist) in Fleabag? As we know, tick, tick, tick.

His next project is playing Tom Ripley in a new mega-series about Patricia Highsmith’s enigmatic con artist, alongside Johnny Flynn and Dakota Fanning, and we already know Scott will make us forget every other Ripley depiction we’ve ever seen – apols Matt Damon.

It’s not just his first class acting chops, though. Scott has an electric quality to him that makes us feel intimately connected to him. Who else could have us hanging off his every ‘to be or not to be’ and also make us feel like we could have a deep and meaningful with him at 2am in a toilet?

Give Scott an Oscar. Give him a knighthood. Give him our phone numbers. Give him everything. We pledge allegiance to the way of the Scott.

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