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Did Helen Mirren Just Call Sam Mendes Sexist?

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It was gracefully done, of course, but Helen Mirren definitely left nobody in the room unsure of her thoughts about director Sam Mendes' speech - with a definite accusation of sexism hanging in the room.

Dame Helen took to the stage at London's Grosvenor Hotel to accept her Legend Award at the end of the night, directly after Mendes had received his award for Empire Inspiration Award for his direction of James Bond film 'Skyfall'.

Mendes had taken the opportunity to give the audience a list of the directors who had most inspired him to enter the world of filmmaking, and listed such luminaries as Ingmar Bergman, Francis Ford Coppola and the Coen Brothers.

They were all worthy inclusions, if a bit predictable - just one problem, as far as Dame Helen was concerned - there wasn't a single female name among them.

As she collected her Legend Award from an immaculately attired Tom Hiddleston, Dame Helen told the crowd:

"I don't want to unduly pick on Sam Mendes, but when he spoke about his inspirations earlier this evening, I'm afraid not a single one of the people he mentioned was a woman.

"Hopefully in five or ten years, when Sam's successor is collecting their Inspiration Award, the list will be slightly more balanced in terms of its sexual make-up... In the meantime, this one is for the girls."

The 67-year-old actress was being hailed for her screen career spanning five decades, including notable performances in 'The Cook, The Thief, His Wife And Her Lover', 'Gosford Park', 'The Queen' and this year's 'Hitchcock'.

It had been, until then, a cracking night for Mendes, collecting other gongs for Best Director and Best Film for 'Skyfall'.

Other awards went to 'The Woman In Black' for Best Horror. Screenwriter Jane Goldman was one of the recipients on stage, swapping her trademark pink tresses for a striking new platinum blonde shade.

And the film's star, Daniel Radcliffe was named this year's Empire Hero.

Best Actor and Actress went to Martin Freeman for 'The Hobbit: An Unexpected Journey', and to Jennifer Lawrence for 'The Hunger Games'. She can add this gong to her Oscar and Golden Globe Awards for her role in 'Silver Linings Playbook'.

The Hobbit also won Best Sci-Fi/Fantasy, with the gong picked up by a popular Sir Ian McKellen.

Danny Boyle, who recently returned to the director's chair post-Olympics with his film 'Trance' out this week, was given Empire Outstanding Contribution Award.

The British director, who like Mendes has ruled himself out of directing the next James Bond film, has enjoyed a varied career of acclaimed films, including his debut 'Shallow Grave', the Oscar-winning 'Slumdog Millionaire' and cult hit 'Trainspotting'.

The night's biggest laugh went to Johnny Vegas, an unlikely recipient you might think of a film award. But he took to the stage to accept the award for Best Comedy for 'Ted', on behalf of Seth McFarlane, and used the opportunity to invent a whole load of controversial stuff that McFarlane might, or might not, have actually said. Much of it was blue-tongued, and might not make it in entirety to the televised broadcast of the Awards. But the audience was very appreciative.

*The Jameson Empire Film Awards Special will be transmitted on Saturday 30 March on Sky Movies at 8.30pm.* Reported by Huffington Post 1 day ago.

Derek Watkins obituary

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Trumpeter who played on every James Bond film soundtrack from Dr No to Skyfall

The trumpeter Derek Watkins, who has died aged 68 of cancer, was recognised by his fellow professionals as the finest lead player of his generation. To see him take his place in a big-band trumpet section or orchestral ensemble was to be reassured that all would be well. Dizzy Gillespie, no mean judge of trumpeters, called him "Mr Lead".

Watkins played on every James Bond film soundtrack from Dr No (1962) to Skyfall (2012), his blazing lead trumpet work evident on Monty Norman's iconic James Bond theme. The 19-year-old Watkins's spine-chilling trumpet growls set the scene on John Barry's Goldfinger (1964) theme, sung by Shirley Bassey, and Watkins was also prominent on Bill Conti's For Your Eyes Only (1981) score. As Barry said, Watkins "never failed to deliver the goods".

The film composer John Altman recalled that Watkins nearly missed out on GoldenEye (1995), composed by Eric Serra, until the producers asked Altman to "re-score the central tank chase through Saint Petersburg in more traditional James Bond style for a large trumpet section". Watkins duly played lead. He also performed on Altman's score for Shall We Dance? (1995). Altman remembers: "The producers had him playing an octave higher and he just went ahead and did it as if it was the easiest thing in the world." Watkins was the lead trumpet on the Mission: Impossible (1996) and Chicago (2002) soundtracks, as he was on many similar film score assignments in his career.

Lead playing for a trumpeter requires a command of dynamics, a certainty of tone and execution, an exemplary high-note facility and a willingness to take responsibility for what the New Grove Dictionary of Jazz defined as "matters of phrasing and articulation for the section as a whole". Watkins possessed all of these qualities in abundance.

He came from a musical background; his grandfather led a brass band and his father played in brass bands and ran a palais band. Born in Reading, Watkins played the cornet as a child and worked in his father's band at Reading's Majestic Ballroom as a teenager. Once in London as a professional, he joined Jack Dorsey's band at the Astoria Ballroom in 1963, staying for two years before moving on to Billy Ternent's resident orchestra at the London Palladium.

Thereafter he trod the freelance path, taking his place among the seasoned professionals who shoehorned themselves into a bewildering array of movie soundtrack sessions, commercial jingle recordings and one-off concert engagements and recording dates. Watkins gained a reputation for reliability, prodigious talent and unruffled, good humour whatever the situation.

He performed on record with every British jazz bandleader of consequence – including Harry South, Stan Tracey, Tubby Hayes, John Dankworth, Laurie Johnson, Don Lusher, Mike Gibbs and Colin Towns – and recently recorded with the BBC Big Band. He also developed a lengthy association with the German composer Peter Herbolzheimer and toured and recorded in Europe with the marvellous multinational Clarke-Boland Big Band, performing alongside the gifted trumpeter Benny Bailey, with the tenor saxophonists Ronnie Scott and Tony Coe among his colleagues.

Watkins toured Europe with Benny Goodman in 1970-71, performed with the trumpeter Maynard Ferguson and spent time in the US touring with Tom Jones and recording with top American soloists. He was also an accomplished jazz soloist, his creativity exemplified in two albums that he made for the Zephyr label, in a duo setting with the cornettist Warren Vaché.

Often heard with the Royal Philharmonic and London Symphony Orchestras on special recordings, Watkins worked with Frank Sinatra, Barbra Streisand and James Last among many others, also recording with the Beatles, Elton John and Eric Clapton. He taught at the Royal Academy of Music and designed a range of trumpets and flugelhorns much admired by professional players.

I have a pleasing memory of seeing Watkins leading a brass chorale at the funeral, in 2008, of an earlier session hero, the trumpeter Tommy McQuater, a tribute from one master musician to another. Faced with the onset of his illness two years ago, Watkins and his family began a fundraising campaign for the charity Sarcoma UK.

Watkins is survived by his wife, Wendy, their children, Sean, Ellie and Sarah, and three grandchildren.

• Derek Roy Watkins, trumpeter, born 2 March 1945; died 22 March 2013 Reported by guardian.co.uk 21 hours ago.

Sam Mendes Will Return To James Bond At Some Point, Says Producer

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Sam Mendes Will Return To James Bond At Some Point, Says Producer Producer Barbara Broccoli is still hoping that Skyfall director Sam Mendes will return to the James Bond franchise at some point down the road. The director famously took himself out of the running for the next installment of the franchise last year. Although he’s clearly interested in stepping away from the series for the time [...]

Sam Mendes Will Return To James Bond At Some Point, Says Producer is a post from: The Inquisitr Reported by The Inquisitr 18 hours ago.

Castro organist aims to raise $1 million

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Castro organist aims to raise $1 million
The Mighty Wurlitzer rises from its pit to the stage of the Castro Theatre, and David Hegarty is working the levers and keys and switches and pedals to pump out the show tunes, just as he has done almost every night for 30 years. Fifteen minutes later, the organ sinks back down to signal the start of the movie, which on this night is the James Bond film "Casino Royale." The final notes, "Doom, doom, doom, doom," signal that Bond is in peril, and so, as it turns out, is the Wurlitzer Hope-Jones Unit Orchestra. Into the Bond role comes Hegarty, a professional musician who last week received federal approval for a nonprofit organization called CODA (Castro Organ Devotees Association). '[...] to none' "We have this dream of making it the largest organ in the western United States, with a sonic experience that is second to none," says Hegarty, whose voice quivers as he makes a statement so lofty. Allen Harrah, a prominent organ builder in West Virginia, is drawing up plans to enhance the existing Wurlitzer pipes with a digital system and speakers surrounding the auditorium. Into the dungeonTo reach the organ, he has to climb down slippery concrete steps into a dungeon and feel his way through the dark to a tunnel that runs under the stage. Reported by SFGate 17 hours ago.

Danny Boyle in line to direct next James Bond movie

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EXCLUSIVE: Danny is tipped to make the next 007 blockbuster — after Skyfall director Sam Mendes shot down the offer Reported by The Sun 10 hours ago.

James Bond producers: 'We'll get Sam Mendes back again one day'

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Barbara Broccoli, Michael G Wilson want to work with Skyfall director again. Reported by Digital Spy 7 hours ago.

We'll tempt Sam back, say Bond producers

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Never say never again. Bond producers Barbara Broccoli and Michael G Wilson have voiced optimism that they will be able to tempt director Sam Mendes back for a future 007 instalment. Earlier this month, it was revealed that Mendes had declined to return as director for the next James Bond film citing theatre commitments and the desire to work on fresh projects. Reported by Sky Movies 5 hours ago.

James Bond and the new Range Rover Sport in New York

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The new Range Rover Sport will be unveiled on the eve of the New York motor show tonight. Reports suggest that 007 will be taking the covers off

New York isn’t exactly short on razzmatazz, but as the sun rises on the city that never sleeps today there is slightly more anticipation in the air than normal. And it’s all because of the new Range Rover Sport… and James Bond.

Car launches don’t normally capture pages of column inches in the mainstream press, but Land Rover appears to have pulled off something of a coup by signing up Daniel Craig to unveil the new Range Rover Sport in its biggest single market, on the eve of the New York motor show.

The car company won’t confirm anything, but after some filming in the city a few months ago, the mega-bucks project ramped up a gear over the past few days as blocks of roads were closed for rehearsals ahead of tonight’s unveiling.

As the local press tells it, the film will show a Range Rover Sport being crated up and then being driven around selected locations in Manhattan and Brooklyn. Locals know there’s a flooded tunnel and a helicopter involved, too, as they’ve watched it being filmed – and because the stuntman involved blabbed.

Then there’s a live finale, in which reports suggest that Craig will parachute in to the unveiling and then drive the new car on stage. All in, it has the makings of a presentation worthy of 007, as well as reminding hardcore car enthusiasts like us that a) Land Rover is a thriving British success story and b) the very best (profitable) cars deserve more than a smattering of applause as a cover is pulled off by a grey suited CEO.

If you get the Bond thing, you can watch this apparent blockbuster live by going to the official Range Rover Sport unveil page.

After that – or if you don’t really do Hollywood – then rest assured that autocar.co.uk will bring you the full Range Rover Sport technical story, plus exclusive images from the reveal. Reported by Autocar 3 hours ago.

Hoey primed for Moroccan defense

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Northern Ireland's Michael Hoey is ready to return to the 'James Bond setting' of the Golf du Palais Royal this week. Reported by ESPNSTAR.com 1 hour ago.

Roger Moore apologies betray tabloids' cynical view of celebrities

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*Three questions:* Why does it take so long for national newspapers to admit they are wrong? Why does the Daily Mail take longer than most to say sorry? And why didn't the existence of the Leveson inquiry curb their cavalier behaviour?

Answers below, but first consider the facts. On 16 September last year - while Leveson was sitting - the Sunday People published an article about the actor Roger Moore headlined "I've had more women than James Bond".

It quoted Moore as using those exact words and more besides, which was very odd because he did not give an interview to the paper.

The People's story was picked up by the great Fleet Street jackdaw, the Daily Mail, and repeated almost word for word.

It goes without saying that Moore did not speak to the Mail either and the paper obviously didn't check on the story's veracity.

Moore did not use the services of the Press Complaints Commission to complain to the newspapers, preferring to pursue them through lawyers.

The upside: he could obtain damages. The downside: it is a slower process than the PCC.

So it wasn't until 20 January, four months after the offending article was published, that the People carried a grovelling apology in which it admitted having "claimed" that Moore had spoken "to our journalist about his private life." It continued:



"We now accept that Sir Roger did not give an interview to our reporter and did not make the comments that were reported in the headline.

We apologise for any distress and embarrassment our article has caused to Sir Roger Moore and we have agreed to pay him damages and legal costs".



But the Mail, repeater of a false story, held out until yesterday before belatedly apologising for its error:



"An article on September 17 ('I've had more lovers than 007') included comments attributed to Sir Roger Moore by a Sunday newspaper about his private life.

That newspaper has now accepted its report did not accurately reflect a conversation with Sir Roger Moore and he did not make the comments it reported. We apologise for any distress and embarrassment caused."



Note the weasel words: "did not accurately reflect a conversation." What conversation? The People had admitted that Moore didn't give an interview to its reporter. Note also no mention of damages and payment for costs.

If you want a measure of the "distress and embarrassment caused" just Google the People's headline. The story has been repeated around the world, as the New Statesman found. Some have since been taken down, but I see it's still up on many websites, including that of in The Times of India.

*Now for the answers to the three questions*

*1.* Why does it take so long for national newspapers to admit they are wrong? There are several reasons, some practical, some cynical.

If lawyers get involved - which heralds the likelihood of paying out money - it is inevitable that the paper will seek to minimise the cost. Legal negotiations over the appropriate payment and wording of an apology takes time, even when the complainant has the paper bang to rights.

The cynical interpretation is that by creating as lengthy a gap as possible between the false story (with its large headline) and the apology (smaller and lacking in equivalent prominence) it will cause less fuss - or no fuss at all - among the readership.

*2.* Why does the Daily Mail take longer than most to say sorry? The straightforward answer is that it's part of the paper's culture.

The Mail is the most reluctant to apologise, correct and clarify. It is given to testing the validity of any complaint, spending time and resources in order to see whether it can find any possible grounds to reject a complaint.

It intensely dislikes putting its hands up. And, as you will have noted above, it takes pains with the wording of apologies in order to suggest it is not as culpable as the complainant might suggest (and as the readers might think).

*3.* Why didn't the existence of the Leveson inquiry curb their cavalier behaviour? Because these papers don't take celebrity journalism - and celebrities - seriously.

Throughout the Leveson process, tabloid editors have made it clear that celebrities are merely cannon fodder in a circulation war. They are privileged through fame and riches and therefore do not deserve to be treated with respect.

They are, in tabloid terms, hypocrites because they seek publicity only on their own terms. They should be prepared to put up with intrusions into their private lives and the retailing of inaccurate stories about them as a penalty for their fame and fortune.

Hat tips: Tabloid Watch (1) and (2)/New Statesman Reported by guardian.co.uk 2 hours ago.

Producers Hopeful Sam Mendes Will Direct Another James Bond Film

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Filmmaker Sam Mendes has decided not to direct the upcoming 24th James Bond film due to work committments; however, producers are hopeful that he will return to helm the franchise. Reported by Starpulse.com 1 hour ago.

VIDEO: Keeping the thrill in James Bond

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James Bond movie producer Michael G Wilson talks about how the keep James Bond films 'current and exciting'. Reported by BBC News 1 hour ago.

Danny Boyle tipped to direct next 007 flick

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London, Mar 26 : Danny Boyle could direct the next James Bond movie after the 'Skyfall' director, Sam Mendes, refused to helm another 007 project. Reported by newKerala.com 5 minutes ago.

James Bond steers Range Rover Sport toward mainstream

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Aluminum 2014 Range Rover Sport driven into spotlight by James Bond movie star in NY Reported by USATODAY.com 1 day ago.

Why James Bond and the Range Rover Sport were the perfect fit

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Celebrity endorsed car launches can be fraught with danger, but Land Rover judged it just right

For a man who said not a word, in public at least, Daniel Crag, aka James Bond, aka 007, made quite an impact on the launch of the new Range Rover Sport on the eve of the New York motor show tonight.

By merely driving the car down a few closed streets in Manhattan (thank you NYPD), parking it a few feet off the intended stopping point and then posing for a few, unsmiling pictures he managed to whip the audience in to something of a frenzy – and secure Land Rover’s new showroom star column inches around the world.

It could have gone so wrong. The logistics of a live broadcast in a city centre are, presumably, a nightmare. So too could it be easy to get a wrong reaction from the audience – although from the whooping and hollering I reckon the New York crowd is probably easier to please than most.

Yet it’s very easy to be cynical about these things, especially when you get to watch the attending celebrities, many of whom international audiences had never heard of, pout and pose down the red carpet.

But Land Rover played it well, both with the choice of Craig, a no nonsense action man in the spirit of the Range Rover Sport itself, and by putting an emphasis on its own web broadcast, which reminded even the highest flying guest that the evening was about more than just them.

Overall, it was a short, sweet presentation of a new car that I reckon has the looks and presence to wow. The unveiling had drama. glitz and a decent rub of risk – all the sorts of qualities that Land Rover should be proud to be associated with.

And now the hoopla has calmed down, you can read the full technical story of the new car, an exclusive q+a with designer Gerry McGovern and enjoy our first impressions of the car from the passenger seat.

  Reported by Autocar 22 hours ago.

VIDEO: 'Bond' launches new Range Rover

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James Bond actor Daniel Craig has launched the new Range Rover Sport at a ceremony in New York. Reported by BBC News 15 hours ago.

Centreville Photojournalist Travels With Navy SEALs Through War Zones, Training

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Centreville Photojournalist Travels With Navy SEALs Through War Zones, Training Patch Centreville, VA --

When Greg Mathieson Sr. isn't at home in his quiet Centreville neighborhood, it's usually because he's been busy photographing the U.S. Navy SEALs in Iraq, Afghanistan, snowy Alaska mountains, or even underwater. 

Mathieson, who's traveled to Iraq numerous times over the past 17 years, has put together a book on the SEALs that shows the elite group of warriors during training and missions. The book, "United States Naval Special Warfare/U.S. Navy SEALs," comes with an opening from former president George W. Bush, a forward from former Secretary of the Navy John Lehman, and chapters written by high-ranking retired Navy SEALs. 

The comprehensive history and extraordinary amount of access granted to one of the military's most secretive groups make the book a unique effort. 

"It's never been done, it'll never be done again," said Mathieson, who published the 10-pound, 403 page-long hardcover book himself. 

Mathieson said that while he's run into the SEALs on assignments for about two decades, he gained much of the necessary access over the last five years. But it's quickly gotten quite a bit of traction in social media—a Facebook page for the book already has over 38,000 "likes."

While it might seem intimidating to keep up with the SEALs—Mathieson took some pictures while diving underwater—it helped that he had spent over a decade in the Army himself. 

The book has over 900 original photographs by Mathieson and photographer Dave Gatley. In addition to the action shots, it also shows the SEALs as they train in more normal settings like the gym, and documents the group's history. Copies of previously classified documents having to do with the creation of the Sea, Air, Land Teams and historic photos are included in the book.

There's also space devoted to SEAL gadgets and illustrations of equipment that may be produced in the future, like a flying Humvee. 

"They make James Bond look like nothing," Mathieson said of the SEALs. 

More information about the book is available at http://sealsbook.com. Reported by Patch 12 hours ago.

The Spin | The IPL is back. Do we still need to be afraid? | Barney Ronay

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It is perhaps time to put aside any lingering reverse-colonial anxieties, maybe even to simply enjoy the IPL a little

It's coming. Rattling at the windows. Waggling the door handle. Erecting its cement advertisement hoardings on the front lawn. And some time in the wee hours unfurling its great spongiform tongue in through the letter box and whispering up the stairs its alluring monologue of DLF maximums, tracer bullets, Karbonn Kamaal Catches and the like while you shiver and sweat and dream about a brilliant future of men in gleaming C-3PO helmets striding across a floodlit oval ringed by hordes of capering BRIC-economy consumers who don't know or care what a back foot defensive is but who love wearing big sunglasses and waving and cheering – not, you know, really at anything, just generally – and whose destiny it is to sack unknowingly and at great geographical distance the deserted shrines of Headingley, Canterbury and the lost city of Rose Bowl.

Or perhaps, on reflection, not. This has often been the tone of the more fearful responses to the aggressive sporting colonialism of the Indian Premier League, not just in England but anywhere its vibration is felt. As is often the case with such things the reality of five years of IPL cricket has been more prosaic: neither as dramatic nor as cretinisingly barbaric as some had feared. More fun and more richly nuanced – although not much more – than many assumed. With Pepsi IPL6 due to kick off on 3 April this is perhaps a good moment not just to preview cricket's most noisily lucrative competition, but to run a systems check, to inveigle a damage report out of poor sweating Mr Scott down in the engine room six years on from lift-off. The IPL is back. Do we still need to be afraid?

No doubt with good reason, the preamble to IPL6 has been more thrillingly widescreen than ever before. The IPL website's own clock, ticking off the seconds until the first new ball offering is flayed over backward point by some adrenaline-seized opening slugger, has the air of a thrillingly doomsdayish countdown. And this is the most consistent of sporting behemoths: unshakeably upbeat, relentlessly excited, and brilliantly convinced of its own absolute centrality not just to Twenty20 cricket in the month of April, or world sport, but to pretty much everything that has ever happened.

This time around the competition will kick off with an Olympic-scale opening ceremony, the kind of Statement Ceremony that says: this is indeed a world championship, a world championship that happens every year – and which is, as it turns out, always won by India. Pre-publicity pictures have offered tantalising glimpses of a dancing waxwork Elvis Presley being strangled by Hawaiian bongo players (this turns out to be the legendary Shah Rukh Khan weaving his inimitable magic) plus "flying drummers", a performance by the American rapper Pitbull (no, the Spin neither) and ongoing negotiations with Jennifer Lopez, a kind of R&B Adam Gilchrist in her own right, still out there toting the silhouette of indelible global superstardom about the place, a little stiff in the joints, a little more Vegas tribute-act with every passing year.

"The Opening Ceremony of the Pepsi IPL 2013 will be as outstanding as the cricket that we will witness over the subsequent seven weeks," IPL chairman Rajeev Shukla has insisted, with the air of a man who, this time, means it double. While not perhaps make-or-break, it is still a vital year for India's gloriously successful domestic T20 league. Dogged perhaps by World Cup fatigue in India, last year's IPL was a commercial disappointment, major news for a competition in which, to quote Pitbull's own acronymic debut album M.I.A.M.I., Money Is A Major Issue.

Broadcast revenues dropped by an estimated 30% last year as advertisers cooled on the high cost of IPL-based cement-promotion and mobile phone hawking. Beyond this, the IPL's own "Brand Value" has eroded steadily from the giddy days of imminent world domination when 20-over slog razzmatazz was all set to take over from football, the Olympics, Hollywood and organised religion as the greatest show on earth.

Plus, and perhaps more crucial to its reach beyond India's own frontiers, the basics of the competition are still a bit of a mess. With 76 games scheduled over seven weeks there is frankly too much cricket, a relentless interchangeable gorging on high-speed inter-state thrash that also serves to emphasise the lack of tonal variation in the format itself. Twenty20 cricket at its best is a bit like eating an expertly constructed hamburger, whereas the IPL at times feels like an unrelenting facial hamburger-assault, jaws clamped, cheeks bulging, spraying chunks of bun and gristle as you open your mouth to splutter, couldn't we just … you know … just have a few quiet overs of … even as further rubberised gobfulls of glistening product are being crammed between your slobbering lips.

Plus there is the enduring muddle of teams and personnel. The IPL has had four different winners in five seasons: on the face of it evidence of competitiveness, but also a reflection of the generally confusing identity of these revolving rosters. MS Dhoni's Chennai Superkings seem the most coherent brand, tribute to the Indian skipper's gold standard competitive charisma. But beyond that … erm, Hyderabad Sunrisers anyone? It takes time to make these kinds of team identities stick, but more importantly a sense of existing outside a few weeks in April and May, of having a concentrated geographical centre and beyond this of actually producing rather than simply importing players.

Perhaps this might help to explain the slightly bizarre recruitment pattern at the 2013 auction, which saw "the Big Show", aka Glenn Maxwell, one of the more bafflingly over-promoted figures in world cricket, sold to Mumbai Indians for a sensational $1m. Those are some expensive bits and pieces. Pune Warriors also paid $700,000 for young Aussie fast bowler Kane Richardson: a real talent by all accounts, but quite what direction he points himself in from here will be fascinating to observe. And, of course, beyond the influx of youth the creaking superstars remain – Ricky! Rahul! Gilly! – patched up and wheeled out like late Roger Moore James Bond, corseted into their sponsored safari suits, still creakily chasing girls and wrestling bad guys beneath that extra caking of slap.

And then there's the other stuff. The IPL brand has not escaped the tarnishing effects of wider events. After protests at the treatment of Tamils in their home country, it was announced this week that no Sri Lankan players will appear in Chennai, capital of Tamil Nadu province: genuine real-world concerns but deeply off message as far as the IPL's relentless positivity is concerned. Last year's unproven allegations of spot-fixing have hardly helped things along. The dissolution of the Deccan Chargers was another mini-disaster. And recently there have even been preliminary investigations into the details of franchise finances, with Kings XI Punjab co-owner Preity Zinta reported to be among those questioned.

On top of which player behaviour has been poor at times, perhaps understandably so for those in England with experience of the similarly disorientating pressures and rewards of football's Premier League. Luke Pomerbasch of Royal Challengers Bangalore was accused of assault at a post-match party last season (Pomerbasch denied the accusation and charges were withdrawn). Wayne Parnell of South Africa is still thrashing out the consequences of being present at a party where a police raid found cocaine and MDMA being consumed.

It is hard to know what to make of all this, beyond perhaps the unhelpful but still sympathetic observation that a slightly embattled IPL looks to the jaded Anglo-observer actually more interesting, and even more likeable, than the familiar triumphalist version. This is, after all, cricket's most potent modern innovation, a competition staged in the one cricketing nation with the will and the means to promote the sport on this grand scale. Wanting to preserve the best parts of old-school cricket doesn't have to coincide with wishing the IPL would fail. In an ideal world all forms could thrive in mutual, energetically rivalrous semi-harmony.

Plus, of course, let us not forget that the county championship, the domestic competition most obviously threatened by the IPL's success, was in its own time a kind of mutton-chop four-day IPL, created solely in order to cash in on the new Victorian leisured classes. No doubt at the time there was dismay at the commercialisation of village sport, at the picnicking classes taking over the noble pastoral pursuit, perhaps even at the end of cricket as we know it.

And the truth is the IPL is no more than a contributory symptom of cricket's inevitable transformation in the satellite TV era. If its effects have been short of the instant apocalypse some predicted, its altered gravity is still tangible. England may have only two players present this year compared to 23 Australians, and might even consider themselves outside this subcontinental drama, but the IPL and its global sister leagues remain a fiscal time bomb when it comes to England's central contracts. The ECB's stance has been unyielding: Test cricket must remain the priority. But a hardcore of contracted players are if not exactly disgruntled, then at least far from gruntled: certainly they are underpaid compared to the Australians, who also get to play in the IPL. Plus, for all the focus on Tests England have just been outplayed in New Zealand by a nation with six IPL-bound cricketers, four of them Test regulars. A resolution is required.

All things considered, as the IPL comes crunching up the gravel driveway, playing its stereo too loud outside your bedroom window and clanging the door chimes, it is perhaps time to put aside any lingering reverse-colonial anxieties, maybe even to simply enjoy it a little. For one thing the idea of a listing, operatically tarnished IPL suddenly looks a whole lot more interesting than an IPL set on simple commercial annihilation. For another the IPL isn't going anywhere: the only major free-to-air cricket available on British television, it is a competition that is clearly much better embraced by the pre-existing scheme of things. Unbolt the door, turn on the porch light, spend a few minutes studying those bulging team rosters: this might even be fun.

*PUJARA: GREAT IN WAITING*

Having dwelt on the more unpredictable aspects of Indian cricket, the Spin feels duty bound to linger a little on the more obviously pedigree bits. In reality the most immediate threat to the fortunes of India's Test team isn't a bit of a cross-bat thrash every April, but instead the departure of a generation of lingeringly lauded greats. Replacing the central components of one of the great batting lineups of modern cricket would vex any nation's resources. And with this in mind: all hail Cheteshwar Pujara, a batsman who really does look, the Spin feels it is pretty much safe to say now even from its own innate position of jeering scepticism, the real deal.

Here he is: the world's next great elegant right-handed Test match batsman. Pujara's 82 not out to lead India home in the fourth Test against Australia on a tricksy pitch was another genuinely fine innings from a player who seems unfazed in all situations, to date anyway. Currently, Pujara has 1,180 imperiously correct Test match runs at 65.55, with the only caveat that 11 of his 13 Tests have been played in India. Two matches in South Africa brought just 31 runs.

Success abroad will no doubt come: Pujara has a wonderful technique, obvious cricketing intelligence and a hunger to play. He stands alone as the Spin's preferred candidate to lead the next generation of world's best batsmen. Similarly R Ashwin has continued to make a fine stab at filling the world class spin bowler-shaped hole left by the retirement and decline of the Kumble-Harbhajan axis.

Learning as he goes in long form cricket the loping, nerdish, cool calm and collected Ashwin now has 92 Test wickets at just over 28 with nine five-fors. But like Pujara, outside India he remains not so much untried as very slightly tried and found wanting. Three chastening Tests in Australia brought nine wickets at over 60. And yet there is real talent here: if it has been expressed only in Indian conditions perhaps there is also cause to celebrate this sense of variation. Not so long ago there were complaints that pitches the world over – not to mention the experience of touring itself – were becoming undesirably samey. Not so, apparently. More good news for Test cricket. Which is, so we keep hearing, supposed to be exclusively in the bad news business.

*CRICKET WINS 0-0*

On which note, a final thought. Just concluded: a 15-day rain-sodden 0-0 draw that ended in a moment of fist-pumping drama arrived at over six hours of umbrella-gnawing tension. If you were to come up with Test cricket now and attempt to launch it as a major global sport, you'd be laughed out of the room. A glorious anachronism, it really shouldn't exist at all. And yet – weirdly slow, oddly non-interactive, bizarrely long attention-span – it still does. Another 0-0 victory for the summer game!

*STILL WANT MORE?*

England's bowlers must get back in the swing after their Auckland escape, writes Mike Selvey, while Andy Wilson profiles Matt Prior in the wake of his series-saving, final-day knock.

And you can watch all the best reaction to England's series draw in New Zealand and much more on our dedicated video channel.

*CONTACT THE SPIN …*

… by dropping a line to barney.ronay@guardian.co.uk.

*IN!*

To subscribe to the Spin, just visit this page and follow the instructions

.

Barney Ronay


guardian.co.uk © 2013 Guardian News and Media Limited or its affiliated companies. All rights reserved. | Use of this content is subject to our Terms & Conditions | More Feeds Reported by guardian.co.uk 11 hours ago.

Why Doctor Who needs more female writers

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The new season of Doctor Who, starting Saturday, doesn't use a single female writer. The count is similarly poor for other British science-fiction and fantasy shows – so what's the problem?

On Saturday, Doctor Who returns, kicking off the second part of the seventh series with a James-Bond inspired episode that sees the Doctor and Clara whizzing round London on a motorbike. Which is exciting if you like interesting drama with witty banter and thoughtful concepts. But less exciting if you like interesting dramas that include women on their writing teams.

Because season seven of Doctor Who will feature no female scribes at all. Not in the bombastic dinosaurs and cowboys episodes that aired last year, and not in any of the new episodes we're about to receive. In fact, Doctor Who hasn't aired an episode written by a woman since 2008, 60 episodes ago. There hasn't been a single female-penned episode in the Moffat era, and in all the time since the show was rebooted in 2005 only one, Helen Raynor, has ever written for the show.

Isn't that is a pretty terrible record for a flagship TV programme? It even prompted website Cultbox to put together a list of women they would like to see writing the show, any of whom would be great.

When questioned on the subject last year, Caroline Skinner, the show's recently departed executive producer, said that it was her intention to see more women writing for Doctor Who. But none has emerged. So I asked producer Marcus Wilson about his plans to improve the balance of male and female writers on the show. "Due to schedules and other projects, both male and female writers whom we have wanted to join the team simply haven't been able to," he said. "For us it's about who can write good Doctor Who stories, regardless of gender."

There must surely be women capable of writing a good Doctor Who episode. But this problem of male-dominated script credits isn't just the good Doctor's. The writers' rooms of fantasy and science-fiction shows in the UK seem to be notable for their domination by men. Of 65 episodes of the recently axed Merlin, for example, only four were written by a woman. And the show bowed out with a series in which no women writers credited at all.

Other shows can't even reach the giddy heights of one woman writer on the team. And in cases when a show comes from one just one writer, it tends to be a man who is behind the script, from The Fades to Outcasts to Misfits, which began with Howard Overman at the helm and then brought on board other male writers. (Overman will also write new BBC1 show Atlantis.) On CBBC, The Sarah Jane Adventures, a show rightly lauded for it's sixtysomething female lead, employed no female writers whatsoever. And the new Wizards vs Aliens? None there either.

It's woeful. Author Jenny Colgan who, as JT Colgan, wrote a Doctor Who tie-in novel, says there are plenty of women writing fantasy and science fiction. "There should probably be more women in the room," she says. "I think producers and commissioners should sometimes be a bit bolder about trusting girls with their toys. I mean, come on: Margaret Atwood, Ursula le Guin, Madeleine L'Engel, Audrey Niffenegger, JK Rowling, Suzanne Collins, Stephanie Meyer ... it's hardly as if women don't have a proven track record."

Given this raft of talent in literature, why aren't women writing in these genres for television? "A lot of it is down to mere tradition," says Paul Cornell, who has written for Doctor Who and Primeval. "TV writing itself, and then geekdom, have both, historically, been seen as male pursuits. But in both cases, that stereotype is over. OK, it persists as a joke about geekdom, but the reality of it is vanishing."

Things are getting better, he suggests, with a growing number of female TV executives. "I think those executives are genuinely searching for new female talent, [so] perhaps we're just living during a couple of decades of that talent slowly arriving," he says.

The situation is perhaps more promising in the US: while fantasy epic Game of Thrones, which also returns over the Easter weekend, is hardly bursting with female writers, it does have Vanessa Taylor on the team. Female writers have been working on shows such as True Blood and Once Upon a Time.

"The good news [in the US] is, there have been a number of great women writers coming into genre television in the past decade, and this has coincided with a noticeable improvement in not just the female characters but the writing in general," says Charlie Jane Anders, co-editor of SF blog io9. "But there's still plenty of room for improvement – especially in the UK, where genre television seems to be entirely the work of a small group of male writers."

Dramatist and author Stella Duffy – who has noted the absence of women writers, and indeed directors, from Doctor Who on her blog – thinks that there needs to be a conscious effort to recruit writers from outside the usual small pool of male writers. "Try harder. Stop assuming that men can do the job well enough. If women are saying they feel left out (and they do), if women are saying they feel marginalised (and they do), if women are saying they do not see their voices on screen ... Listen to them and do something about it," Duffy says.

"We can knock and knock, but if they won't let us in, we'll never get to see how big the Tardis really might be inside. Right now, the Tardis only holds men, so maybe it's not that big, after all." Reported by guardian.co.uk 9 hours ago.

Honda Steals The 2013 New York Auto Show With A Vacuum Cleaner

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Cadillac introduced a fresh CTS mid-sized luxury car. Land Rover imported James Bond. But Honda stole the 2013 New York International Auto Show this week with a vacuum cleaner. Reported by Forbes.com 9 hours ago.
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