Bryan Appleyard is a Sunday Times journalist and award-winning feature writer. He was awarded a CBE for services to journalism in 2019.
‘Christianity,’ writes Bijan Omrani in his opening sentence, ‘is dying in England.’ Does it matter? His next sentence makes it clear that, for him at least, it does. ‘In this generation, the religion that has defined the spiritual life, identity and culture of the country since its origins as a unified state in the 10th
In Paris in 1740 the hangman publicly burned his most famous book. In England some of the best and brightest – Alexander Pope, Henry Fielding, Bishop George Berkeley, Jonathan Swift and John Wesley – queued up to destroy his reputation. The book was The Fable of the Bees (1714) and the author was Bernard Mandeville,
‘Ah, beware of snobbery,’ said Cary Grant, who was surprisingly often the smartest guy in the room. ‘It is the unwelcome recognition of one’s own past failings.’ In Britain, the only place where true toffs abide and, let’s face it, the place where modern snobbery was most successfully codified, it is still a more powerful force than
The memory of Tsutomu Yamaguchi will be with me for some time. Though wounded, he survived the Hiroshima atom bomb and returned to his home town, Nagasaki. Three days later, he survived another nuclear attack. He died in 2010, aged 93. This fat, complex, good-natured and intriguing book is full of such memorable material. Hanno
A cloudless sky, an American flag and, to the left, something that looks like a music stand. A huddle of men in black suits, one in sunglasses staring straight at the camera, the others, arms stretched, are clustering round a fatter, older man whose face is streaked with blood, his fist raised as if fist-bumping God.
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On the podcast: In his cover piece for the mag this week, political scientist, Yascha Mounk has written about why identity politics has polarised our understanding of race. And why the left has come to divide groups into oversimplified categories of ‘the oppressors’ and ‘the oppressed’. Also this week: Can we trust photographs to paint
This war is being fought with pictures more than words. The poignant shots, often selfies, of families, children, even babies, who were to become victims of Hamas butchery, the wailing mothers and children on stretchers in Gaza, the missile strikes and collapsed concrete buildings. We know politicians on all sides lie, but photography is a
Teenage Mutant Ninja Turtles (TMNT) began as a joke in 1984, a parody of the superhero culture of the time. It was originally a comic book but the stories have since expanded into toys, TV series and films, both animations and acted. The films have grossed more than a billion dollars and are likely to
Blockbuster action movies are designed to stun the audience into submissive acceptance. Complexity, humanity, emotion and beauty are reduced to a few flickering lights in the swirling darkness of death and destruction. This is not a criticism. Great art has sometimes been like that and Mission: Impossible – Dead Reckoning Part One is certainly art,
At the tail end of last year, Chinese scientists claimed they had achieved something world-changing. In a widely circulated paper, the researchers said they had developed an algorithm run on a quantum computer that is able to break the best encryption that exists today. Modern encryption runs on mathematical problems which take the most powerful
The scientist James Lovelock died this week at the age of 103. He was best known for his Gaia theory, which found that Earth is a self-regulating system formed by the interaction between living organisms and their surroundings. Here, Bryan Appleyard, who co-wrote ‘Novacene: The Coming Age of Hyperintelligence’ with Lovelock, pays tribute to his
Mikey (Simon Rex) first appears striding down a road in utterly wrecked jeans and shirt. He is carrying nothing and seems to be going nowhere until he walks up the pathway to the house of the wife he abandoned and her venomously disapproving, chain-smoking mother. Sean Baker’s Red Rocket is a movie set in Texas
Are we all living in a computer simulation? Is the world we imagine to be real simply virtual reality instead, an elaborate computer program? That sounds ridiculous, but nonetheless it’s what many clever people actually think — or at least, think possible. One of them, the philosopher David Chalmers, has just written a book on
Clint Eastwood is 91; Cry Macho may well be his last film. Or maybe not. He has, after all, been directing himself as majestically craggy old guys for decades. Craggiest and most majestic of all, he was, in 1992, Will Munny in Unforgiven and, in 2008, Walt Kowalski in Gran Torino. In both those films,
Hud is a film that has haunted me for decades. I was never sure why. It seemed to be something about the bleakness of the setting and the story but also the extravagance of the hero and his car. I recently watched it as research for a book, and then, immediately, I watched it again.
For the hundredth, possibly the thousandth, time, Lucy van Pelt offers to hold the football for Charlie Brown so he can kick it. She cajoles him with the innocence of her eyes. He falls for it; he falls for it every time. Lucy, as she always does, whips the ball away. Charlie loops into the
‘Radical’ is like ‘creative’, a word that has been enfeebled to the point of meaninglessness. Everybody seems to want to be both, but nobody has any clear idea of what might be involved. In the case of this exhibition, radical could refer either to aesthetic or political themes; neither seems quite right. Never mind, ’modernist’
Why do humans want to build robots? It seems, on the face of it, to be a suicidal endeavour, destroying jobs and, ultimately, rendering our species redundant as more intelligent and effective beings take over. Lacking, as we now do, an agreed metaphysical justification for human specialness — for example, the soul — it must
Armed with their tiny Leicas and Nikons, most of the great postwar ‘street’ photographers liked to be unobtrusive; they wanted to capture life unobserved. Garry Winogrand and Henri Cartier-Bresson haunted the city in search of the ‘decisive moment’. Somebody I know was photographed by Robert Doisneau, a very ghostly snapper. Doisneau entered the room and
As a documentary-maker, Werner Herzog is a master of tone. His widely parodied voiceovers — breathy, raspy, ominous — are cunningly ambivalent. The interviews he conducts are seldom less than strange, often shocking, and the pacing and tenor of his films are subtly modulated. Never more so than here. Lo and Behold is divided into
