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The Guardian
2 days ago
- Entertainment
- The Guardian
‘I'm here to open doors': Bernardine Evaristo on success, controversy and why she plans to donate her £100k award
Back in 2013, Bernardine Evaristo gave a reading in a south London bookshop from her novel Mr Loverman. Only six people showed up, a couple of them were dozing and she realised they were homeless people who had come to find somewhere comfortable to sleep. Last month, the hit TV adaptation Mr Loverman, about a 74-year-old gay Caribbean man set in Hackney, east London, won two Baftas, including leading actor for Lennie James, making him the first Black British actor to win the TV award in its 70-year history. 'I checked Wikipedia!' Evaristo exclaims of this shocking fact when we meet in London. Evaristo's long career is one of firsts and creating them for others. In 2019, at the age of 60, she became the first Black woman to win the Booker prize – shared with Margaret Atwood – for Girl, Woman, Other, 12 interwoven stories of Black, female and one non-binary character. She is also the first Black woman to become president of the Royal Society of Literature (RSL) – only the second woman in its 200-year history, not to mention the first not to have attended Oxford, Cambridge or Eton. And this week she became the recipient of the Women's prize inaugural Outstanding Contribution award. 'I became an 'overnight success',' she writes of her Booker win in her 2021 memoir, Manifesto, 'after 40 years working professionally in the arts.' It is these now 45 years that are being recognised by this new award. Ironically, she has never won the Women's prize, although she was shortlisted for Girl, Woman, Other. 'This award more than makes up for it,' she beams. The Booker judges' decision to break the rules and split the prize between Evaristo and Atwood caused an outcry, with many accusing the panel of undermining the historic recognition of a Black female novelist. Evaristo was cheerfully unperturbed. 'It couldn't have gone better for me, to be honest,' she insists now. 'I really do mean that. In terms of how it accelerated my career and gave me so many more opportunities and such a large audience for my work.' Girl, Woman, Other was on the bestseller list for nine consecutive weeks. Barack Obama chose it as one of his favourite books of 2019. Hamish Hamilton reissued her backlist. After being told for decades that there was no market for her work, she was suddenly in demand. So much so that a 2021 Private Eye cartoon – now on her fridge – showed a guy exclaiming: 'Come quick! Bernardine Evaristo isn't on Radio 4!' Although she found it funny, there is an unmistakeable whiff of condescension. 'Why notice me?' she asks. 'When there are many people who are constantly in the media, who are not Black women. You notice the Black woman and suddenly it's too much. You want us to be quiet and invisible.' Tall and good-naturedly open, Evaristo is in no danger of keeping quiet or becoming invisible. Today she is wearing a hot-pink blouse the same shade as the trouser suit she wore to the Booker ceremony, her curls kept in check by a colourful headscarf. She is interested in power, how those outside the establishment can succeed without abandoning their own identities. 'The headline is going to be 'I want power!'' she hoots, as one not unfamiliar with controversy (the traditionally sleepy RSL has had more than its share of headlines under her tenure). 'What do we mean when we say power?' she says seriously. 'Influence, to have an impact, to effect change, to assume leadership positions? It's so important that power is shared out.' Unlike the late poet Benjamin Zephaniah, who rejected an OBE, Evaristo accepted hers in 2020, arguing that not to do so is to risk enforcing the idea of 'white honours for white British people'. How does it feel to be at the heart of the establishment, to no longer be 'throwing stones at the fortress', as she puts it in Manifesto? 'I still believe in what I believe in. I'm just much more capable and careful, hopefully strategic and able to have more of an impact than I did when I was in my 20s,' she says, reminding me that she has been professor of creative writing at Brunel University for many years now. 'You go through an angry period – as you get older you can't keep that up – but I'm still very alert to the inequality in the world, and also inequality in my industry. I am not there to endorse the status quo. I'm there to bring other people with me and to open the doors, always, to great talent.' She has not just opened doors but built them where none existed. From the moment she graduated from Rose Bruford drama school in 1982 and co-founded the Theatre of Black Women with fellow students, the playwright Patricia Hilaire and director Paulette Randall, she has set about making things happen. Those early days were not just about creating theatre, she says now, but also work. 'Because we were just so unemployable as Black women.' They put on Jackie Kay's first play Chiaroscuro in 1986. Since then, Evaristo has set up projects, mentoring schemes and prizes for under-represented poets and novelists. She has run workshops and courses, sat on judging panels (47, by her last count) and boards ('not something I necessarily want to do, trust me!'). Most recently, she launched the Black Britain: Writing Back series with her long-term publisher Simon Prosser at Hamish Hamilton, republishing 13 books by writers of colour since 1900. She plans to donate all her 'huge' prize money (£100,000) from this latest award to an as yet undisclosed project to support other writers. She hasn't done all this because she is 'saintly. Clearly not!' she laughs. Throughout our conversation, she is at pains not to sound like a 'do-gooder': we are here to talk about her outstanding contribution, I remind her. 'If I'm asked to do something, I need to accept the invitation, so that I can make a difference,' she explains. 'It is very important for me as a Black, British, working-class, now-older woman to acknowledge that really important position.' The fourth of eight siblings, Evaristo grew up in 'an activist household', she says. Her Nigerian father was a welder who became a local Labour councillor, her mother, a devout Catholic from an Irish family, was a primary school teacher and trade union rep. Evaristo's childhood in Woolwich, south-east London, in the 1960s was one of racial insults and smashed windows. Her father kept a hammer at the side of the bed for his whole life in England. The young Bernardine developed a 'self-protective force field' that persists to this day, along with a determination to fight her corner – with words. After leaving home for drama school at 18, her 20s were spent in a blaze of cigarettes and love affairs – with women – hustling for jobs and moving between the various short-term housing available in the 80s. 'I really cherish that period,' she says. She has been straight for 35 years, and today lives with her husband in the outskirts of west London; she has swapped the Marlboro Reds and Drambuie for yoga and meditation. In her 30s, before the boom in creative writing courses, she signed up for a personal development course. 'My parents were not part of the elite,' she explains. 'So they weren't going to pass on to me strategies for how to succeed.' Evaristo was manifesting long before Instagram promised us we could live our best lives. The course made her realise 'you can change big and you can expect the best. So why not go for that?' she says. She wrote a note to herself that she would win the Booker prize one day. The next three decades were spent working really hard to make it happen. 'Nobody was waiting for me to publish books. Nobody was commissioning me,' she has said in a radio interview. 'I just wrote on spec and hoped that somebody would publish me.' Sign up to Bookmarks Discover new books and learn more about your favourite authors with our expert reviews, interviews and news stories. Literary delights delivered direct to you after newsletter promotion Her first poetry collection, Island of Abraham, was published in 1994. Lara, a verse-novel based on her parents' marriage, came out three years later. Then came The Emperor's Babe, another verse-novel and her first with Penguin, which imagines life for a Black girl in Roman London. Soul Tourists, a zany road trip packed with Black ghosts from white western history; Blonde Roots, a satire that reverses the power dynamics of the slave trade; and a novella called Hello Mum, about a 14-year-old boy growing up on a council estate, followed. All her novels deal with the African diaspora in some way, mixing history, stylistic experimentalism and humour. 'I'm always going for the difficult stories and to be subversive,' she says. 'I'm always looking to find original ways into what I'm writing about.' Mr Loverman 'felt like a taboo subject'. Much has been written about the Windrush generation, but no stories that she knew of told a love story between two elderly Caribbean men. When it was first published, she was told it was 'too niche' to be adapted for television, because its protagonist, Barrington Jedidiah Walker, 'was Black, old and gay'. While her reputation was steadily building, sales were not. She wouldn't even look at her royalty statements when they arrived each year. Then, finally, her much-manifested breakthrough came. With Girl, Woman, Other she set out 'to explore as many Black women in a single novel as possible', ranging in age from 19 to 93, all with different backgrounds, faiths, sexualities and classes. Amma, a lesbian playwright, is clearly a version of Evaristo's younger self. Once again, in a style she calls 'fusion fiction', she plays fast and loose with punctuation in favour of the rhythms of speech and thought. Here are the monologues of the silenced women Evaristo wrote for the theatre all those years ago. Her Booker win coincided with a long-overdue effort to make publishing more inclusive. 'George Floyd,' she says, when I ask what she thinks was the catalyst for this change. 'There was already an awareness of it, but definitely the George Floyd murder and Black Lives Matter was a turning point.' Where once she knew every writer of colour in publishing, and could count them on one hand, she says, today she can't keep up. 'Identity politics has always existed,' she says of today's culture wars. 'We just didn't name it that.' Last year, she wrote a piece in the Guardian refuting the 'false allegations' against the RSL and the rumours that she had swept in with 'radical' new measures for appointing fellows, sidelining older, more established names. 'It's a great honour and a privilege,' she says mischievously when I press her for more. 'There's always this argument that if things diversify, standards are dropped.' Evaristo even manages to bring positive thinking to our current global predicament. 'Every decade, we are evolving. From my childhood to today, we have evolved,' she says. 'We can't do anything about America, but we can put up a fight in this country.' Of all these achievements, what makes her most proud? 'I feel I can enjoy the successes I've had of late,' she replies without hesitation, 'because I know I haven't kept it to myself.' Bernardine Evaristo is the winner of the Women's prize outstanding contribution award.
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Business Standard
5 days ago
- Entertainment
- Business Standard
Sony State of Play 2025: Fight stick to new game titles, check highlights
Sony kicked off its 2025 State of Play showcase on June 4, revealing a lineup of new game titles, release dates, and hardware announcements for the PlayStation ecosystem. Among the highlights was the unveiling of Project Defiant—Sony's first wireless fight stick. Project Defiant: Sony's wireless fight stick Sony introduced Project Defiant, its first wireless arcade-style fight stick designed for PS5 and PC. The controller supports both wired gameplay and low-latency wireless performance via Sony's PlayStation Link tech. It includes a digital stick, mechanical-switch buttons, and toolless swappable restrictor gates (square, circle, octagon). Other features include a touchpad, onboard accessory storage, and the ability to wake the PS5 by holding the PS button. The controller also supports USB-C for wired play and comes with a carry case for transport. While Sony has not announced a final name or release date, the fight stick is targeting a 2026 launch, with more details expected in the coming months. Sony State of Play 2025: Game announcements and trailers 007 First Light trailer – First trailer released; stars a young James Bond and Lennie James. Launch expected in 2026. Marvel Tokon Fighting Souls – A 4v4 fighting game by Arc System Works; coming to PS5 and PC in 2026. Silent Hill f – Set in 1960s Japan; trailer revealed with a release date of September 25, 2025. Final Fantasy Tactics: The Ivalice Chronicles – Launching September 30, 2025, for PS5 with Classic and Enhanced versions. Nioh 3 – Confirmed for PS5 in early 2026; demo available now. Metal Gear Solid Delta: Snake Eater – New gameplay trailer includes a tease of Snake vs. Monkey mode. Ghost of Yōtei – Dedicated showcase planned for July ahead of the October 2 launch. Astro Bot – Getting five new levels, collectible Special Bots, and a themed DualSense controller later this year. Lumines Arise – From Tetsuya Mizuguchi; coming to PS5 and PS VR2 in Fall 2025 with free summer demos. Pragmata – Returns with new trailer showing dual-character gameplay in a moon-based mission. Thief (VR) – A new VR-exclusive game for PS VR2 launching in 2025. Romeo Is a Dead Man – Multiverse action game by Grasshopper Manufacture; set for PS5 in 2026. Mortal Kombat: Legacy Collection – Classic titles with behind-the-scenes content; coming to PS4 and PS5 this year. Ninja Gaiden: Ragebound – Side-scrolling entry releasing on July 31, 2025. Bloodstained: The Scarlet Engagement – A 2.5D RPG in the Bloodstained universe; launching in 2026. Tides of Tomorrow – Multiplayer storytelling RPG launching February 24, 2026. Sword of the Sea – From Giant Squid; launches via PS Plus on August 19, 2025. Sea of Remnants – Genre-blending ocean RPG exploring cycles of death and rebirth. Cairn – Survival climbing game releasing November 5, 2025; demo now available. Digimon Story: Time Stranger – RPG set for release on PS5, Xbox Series X/S, and PC on October 3, 2025. Everybody's Golf: Hot Shots – New instalment launching September 5, 2025. Baby Steps – Comedic walking sim releasing September 8, 2025, on PS5 and PC. Hirogami – Origami-inspired action game launching September 3, 2025.
New York Times
7 days ago
- Entertainment
- New York Times
‘Mr. Loverman' Is a Rich, Stylish and Riveting Mini-Series
Lennie James recently won a BAFTA for his leading role in the mini-series 'Mr. Loverman,' and for good reason: His performance is as whole and mesmerizing a portrait as one sees on television. 'Loverman,' arriving Wednesday, on BritBox, is based on the novel by Bernardine Evaristo and follows Barrington Jedidiah Walker (James), an Antiguan native who has been living in London for decades. He is a self-described 'man of property, man of style,' a dapper dresser and a Shakespeare enthusiast, husband to a devout Christian woman, father to two adult daughters and grandfather to a teen boy. He is also closeted. His long-term partner, Morris (Ariyon Bakare, who also won a BAFTA for his work here and is also fantastic), has been his best friend and lover since they met in Antigua as young men; he is Uncle Morris to Barry's children, a constant presence, a secret and not a secret, a betrayal but also a devotion. But Barry balks at labels, and he says he isn't a homosexual but rather 'a Barry sexual.' Barry swears he is about to leave his wife, about to tell her the truth. But he has sworn that before. The show weaves among the characters' perspectives, and long flashbacks depict the pivotal moments that carve each person's reality. We hear their internal monologues, though none sing quite as melodically as Barry's does. 'Loverman' is polished and literary, practically silky — sublime, even. It's natural to be baffled by other people's choices: Why would you do that? Why didn't you say anything? Why would you stay? Why would you leave? A lot of contemporary shows — even plenty of good ones — fall back on pat just-so stories for their characters' backgrounds, but the picture here is deeper and fuller than that. Fear and pain, love and loyalty: They're never just one thing. There are eight half-hour episodes of 'Mr. Loverman.' I couldn't resist bingeing it, not because it's so propulsive, per se, but because it's so lovely.
Telegraph
14-05-2025
- Entertainment
- Telegraph
Great television is being made. So why aren't we watching it?
As a rule, I hate awards ceremonies. The idea of sitting and watching several hours of inane acceptance speeches, humblebrags and standing ovations is enough to make me want to infiltrate a lost tribe in the Chaco forest, and stay there till kingdom come. But I have to admit, the Bafta TV Awards on Sunday made me reassess my grouchy stance – for the first time in years I felt that prizes really matter. Because the Bafta TV Awards, by and large, got it right. These awards were not gunning for Instagram glory, or photo opportunities, but focused instead on real talent. Among the judges' eminently sensible decisions were awarding acting honours to Lennie James and Ariyon Bakare (as closeted lovers in Bernardine Evaristo's Mr Loverman – quite easily the best two performances of last year), and recognising Northern Irish cop show Blue Lights, documentary Atomic People, which followed some of the survivors of Hiroshima and Nagasaki, and Alma's Not Normal, a joyously raucous comedy from Sophie Willan. With the exception of Blue Lights, none of these shows rated very highly in terms of audience figures, none were part of what I hesitate to call the national conversation. And yet they were among the best things on television in 2024. Instead, we obsessed over The Traitors (no Baftas cue, social media outrage) and Rivals (sort of all right, but again no Baftas). Netflix's Baby Reindeer was also one of the most talked-about shows of last year and yet Jessica Gunning, a deserved Bafta winner, was the only good thing about this overpraised show. So what has gone wrong? Why are we, as viewers, so intent on ignoring the brilliant and celebrating the mediocre? A lot of it is because hype has reduced rigour, and so someone creates a buzz and everyone loses their minds – or else viewers can't be bothered actually to seek out something new for themselves. I also find that the casual viewer is becoming far more overbearing in their opinions. Both as a journalist and as a civilian, I am constantly being assailed by people telling me how much they love something. 'Have you seen [Netflix romcom] Nobody Wants This? It's sooooo goooood.' 'Oh my God, [thriller] The Jetty blew my mind. Were you not, like, dying?' Well, no. Of course I realise that taste is subjective and we risk getting into snob territory. Yet while I do broadly believe in people power – that the success of a show like Strictly Come Dancing should be praised, in part, because it is so loved, and that its popularity reflects, in a way, that it is a great show – I also think that we should take note of professional opinion, too. Yet more and more, there seems to be a gulf between critical praise and audience figures (Atomic People was only watched by 400,000 people – although of course many will have caught up on iPlayer). The end result of all of this is worryingly obvious. Fewer risks will be taken and so we will all soon be dribbling in a corner and watching Claudia Winkleman on a loop until we spontaneously combust. The rest is static. Yet it doesn't have to be this way. If those who commission TV were to start listening properly to original pitches rather than chasing a particular formula which will appeal to the lobotomised, we would all be the better for it. In the meantime, for those of you who are still sentient, I would recommend going to iPlayer and watching Alma's Not Normal, Atomic People and Mr Loverman. They are, like, sooooo gooood.
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First Post
13-05-2025
- Entertainment
- First Post
BAFTA TV Awards 2025 Winners: Marisa Abela wins Best Actress, 'Mr Loverman' creates history
'Mr Loverman' was the only programme to win two categories. read more Follow us on Google News The BAFTA TV Awards 2025 recently concluded and the list of winners contain both expected and surprising winners. Have a look: Best Drama Series Blue Lights – BBC One Best Limited Drama Mr Bates vs. the Post Office – ITV1 Best Scripted Comedy Alma's Not Normal- BBC Two Best Leading Actress Marisa Abela – Industry – BBC One Best Leading Actor Lennie James – Mr Loverman (BBC One) Best Supporting Actress Jessica Gunning – Baby Reindeer (Netflix) Best Supporting Actor Ariyon Bakare, Mr Loverman (BBC One) Best Female Performance in a Comedy Ruth Jones – Gavin & Stacey: The Finale (BBC One) Best Male Performance in a Comedy STORY CONTINUES BELOW THIS AD Danny Dyer – Mr Bigstuff (Sky Comedy) Best Soap EastEnders (BBC One) Best Entertainment Programme Would I Lie To You? (BBC One) Best Entertainment Performance Joe Lycett Late Night Lycett – (Channel 4) Best Factual Entertainment Rob And Rylan's Grand Tour (BBC Two) Best Reality The Jury: Murder Trial (Channel 4) Best Daytime Clive Myrie's Caribbean Adventure (BBC Two) Best International Programme Shōgun (Disney+) Best Live Event Coverage Glastonbury 2024 (BBC Two) Best Current Affairs State of Rage (Channel 4) Best Single Documentary Ukraine: Enemy In The Woods (BBC Two) Best Factual Series To Catch A Copper (Channel 4) Best Specialist Factual Atomic People (BBC Two) Best News Coverage BBC Breakfast: Post Office Special (BBC News/BBC One) Best Sports Coverage Paris 2024 Olympics (BBC Sport/BBC One) Best Memorable Moment Strictly Come Dancing – Chris McCausland and Dianne Buswell Waltz to You'll Never Walk Alone (BBC One) Best Short Form Programme Quiet Life (BBC Three) Best Children's: Scripted CBeebies As You Like It At Shakespeare's Globe (CBeebies) Best Children's: Non-scripted Disability And Me – FYI Investigates (Sky Kids) Mr Loverman was the only programme to win two categories.
