The moment the banking crisis became really serious wasn't when Lehman Brothers went bust. It wasn't even when we all became au fait with subprime mortgages. It was when Oliver Stone called Michael Douglas and suggested they shoot a sequel to Wall Street, in which they could nail the terrible effects of casino capitalism. When this bombastic director wades into a debate - be that Vietnam, JFK, the World Trader Center attacks or George W Bush - you know things have just got worrying.
We jest, of course. But while Wall Street: Money Never Sleeps might not be a particularly adept reading of the credit crunch, the banking crisis of the past three years is proving particularly fertile ground for playwrights, directors and authors. But does this new work tell us anything we don't already know?
Certainly, we're consuming enough credit-crunch culture to suggest we are looking for some answers from our writers. This week, Alex Preston won the Edinburgh International Book Festival First Book Award for his novel This Bleeding City. Both a devastating look at the greed, excess and financial carnage of the City - as London's financial district is known - and an affecting love story, it's not quite the plea for sympathy for poor bankers one might expect from an ex-city trader.
"The thing is, bankers are generically awful people," he told me recently. "That image you get in literature of the cunning manipulator of finance, the great mind... very few are like that. It's full of strutting males, bright guys, for sure, but lured into that world by one thing: the money."
It's a fine read, but it will be interesting to see whether Preston's book stands the test of time. There's the suspicion that as much as credit-crunch culture holds a mirror to our world right now, it might seem terribly dated and irrelevant in years to come. That's certainly the impression one gets from the new play Crash by the Oscar-winning screenwriter William Nicholson, currently enjoying its first run at the West Yorkshire Playhouse in Leeds. While it skewers the emotional effects of the crisis on a banker and his middle-class friends, subtly implicating us all in the failures of the capitalist system, there's essentially no plot and barely any drama. It's simply a well-written play in which Nicholson plays out some of the arguments he's no doubt had with his friends. A revival in 2020 would seem unlikely.
Of course, art doesn't necessarily have to be lasting or timeless to be good. In 2009, the celebrated playwright David Hare was so spectacularly upfront about his take on the events of the past few years, The Power of Yes, he actually subtitled it "a dramatist seeks to understand the financial crisis". As a response to a commission by the National Theatre in London to "write an urgent and immediate work that sought to find out what had happened", it more than fulfilled its remit - although it was perhaps more journalism than drama. Did it change anything though? Of course not. It merely confirmed what most already knew - that the risk-taking on the markets was incompetent and deluded.
While The Power of Yes was wowing critics last year, Lucy Prebble's satirical take on American capitalism, Enron, was winning similar praise in the UK. And yet it spectacularly failed on Broadway this April - the New York Times called Enron "a flashy but laboured economics lesson" and it closed early. The suggestion was Americans didn't like Britons poking fun at them, but Prebble was always walking a tightrope between the inherently undramatic world of economic theory and the need to entertain. On Broadway she fell off.
So the reason Alex Preston's book has begun to win awards is obvious. The greed of the city might be the plausible backdrop, but it's the skilful way in which Preston handles the turbulent love story which lends This Bleeding City its dramatic tension. Perhaps that's the lesson any writer creating work from the financial crisis would do well to remember.
Formula Middle East Calendar (Formula Regional and Formula 4)
Round 1: January 17-19, Yas Marina Circuit – Abu Dhabi
Round 2: January 22-23, Yas Marina Circuit – Abu Dhabi
Round 3: February 7-9, Dubai Autodrome – Dubai
Round 4: February 14-16, Yas Marina Circuit – Abu Dhabi
Round 5: February 25-27, Jeddah Corniche Circuit – Saudi Arabia
A State of Passion
Directors: Carol Mansour and Muna Khalidi
Stars: Dr Ghassan Abu-Sittah
Rating: 4/5
Black Panther
Dir: Ryan Coogler
Starring: Chadwick Boseman, Michael B Jordan, Lupita Nyong'o
Five stars
Company profile
Date started: 2015
Founder: John Tsioris and Ioanna Angelidaki
Based: Dubai
Sector: Online grocery delivery
Staff: 200
Funding: Undisclosed, but investors include the Jabbar Internet Group and Venture Friends
Jebel Ali card
1.45pm: Maiden Dh75,000 1,400m
2.15pm: Handicap Dh90,000 1,400m
2.45pm: Maiden Dh75,000 1,000m
3.15pm: Handicap Dh105,000 1,200m
3.45pm: Maiden Dh75,000 1,600m
4.15pm: Handicap Dh105,000 1,600m
4.45pm: Handicap Dh80,000 1,800m
The National selections
1.45pm: Cosmic Glow
2.15pm: Karaginsky
2.45pm: Welcome Surprise
3.15pm: Taamol
3.45pm: Rayig
4.15pm: Chiefdom
4.45pm: California Jumbo
Analysis
Syria’s grave sectarian violence exposes battle lines long in the making
Members of Alawite minority community face threat in their heartland after one of the deadliest days in country’s recent history. Read more
LAST-16 FIXTURES
Sunday, January 20
3pm: Jordan v Vietnam at Al Maktoum Stadium, Dubai
6pm: Thailand v China at Hazza bin Zayed Stadium, Al Ain
9pm: Iran v Oman at Mohamed bin Zayed Stadium, Abu Dhabi
Monday, January 21
3pm: Japan v Saudi Arabia at Sharjah Stadium
6pm: Australia v Uzbekistan at Khalifa bin Zayed Stadium, Al Ain
9pm: UAE v Kyrgyzstan at Zayed Sports City Stadium, Abu Dhabi
Tuesday, January 22
5pm: South Korea v Bahrain at Rashid Stadium, Dubai
8pm: Qatar v Iraq at Al Nahyan Stadium, Abu Dhabi
The specs: 2018 Maxus T60
Price, base / as tested: Dh48,000
Engine: 2.4-litre four-cylinder
Power: 136hp @ 1,600rpm
Torque: 360Nm @ 1,600 rpm
Transmission: Five-speed manual
Fuel consumption, combined: 9.1L / 100km
COMPANY PROFILE
Name: Almnssa
Started: August 2020
Founder: Areej Selmi
Based: Gaza
Sectors: Internet, e-commerce
Investments: Grants/private funding
THE BIO
Age: 33
Favourite quote: “If you’re going through hell, keep going” Winston Churchill
Favourite breed of dog: All of them. I can’t possibly pick a favourite.
Favourite place in the UAE: The Stray Dogs Centre in Umm Al Quwain. It sounds predictable, but it honestly is my favourite place to spend time. Surrounded by hundreds of dogs that love you - what could possibly be better than that?
Favourite colour: All the colours that dogs come in
Company%20profile
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Company profile
Name: Dukkantek
Started: January 2021
Founders: Sanad Yaghi, Ali Al Sayegh and Shadi Joulani
Based: UAE
Number of employees: 140
Sector: B2B Vertical SaaS(software as a service)
Investment: $5.2 million
Funding stage: Seed round
Investors: Global Founders Capital, Colle Capital Partners, Wamda Capital, Plug and Play, Comma Capital, Nowais Capital, Annex Investments and AMK Investment Office
My Cat Yugoslavia by Pajtim Statovci
Pushkin Press
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2025 Fifa Club World Cup groups
Group A: Palmeiras, Porto, Al Ahly, Inter Miami.
Group B: Paris Saint-Germain, Atletico Madrid, Botafogo, Seattle.
Group C: Bayern Munich, Auckland City, Boca Juniors, Benfica.
Group D: Flamengo, ES Tunis, Chelsea, Leon.
Group E: River Plate, Urawa, Monterrey, Inter Milan.
Group F: Fluminense, Borussia Dortmund, Ulsan, Mamelodi Sundowns.
Group G: Manchester City, Wydad, Al Ain, Juventus.
Group H: Real Madrid, Al Hilal, Pachuca, Salzburg.
Dr Afridi's warning signs of digital addiction
Spending an excessive amount of time on the phone.
Neglecting personal, social, or academic responsibilities.
Losing interest in other activities or hobbies that were once enjoyed.
Having withdrawal symptoms like feeling anxious, restless, or upset when the technology is not available.
Experiencing sleep disturbances or changes in sleep patterns.
What are the guidelines?
Under 18 months: Avoid screen time altogether, except for video chatting with family.
Aged 18-24 months: If screens are introduced, it should be high-quality content watched with a caregiver to help the child understand what they are seeing.
Aged 2-5 years: Limit to one-hour per day of high-quality programming, with co-viewing whenever possible.
Aged 6-12 years: Set consistent limits on screen time to ensure it does not interfere with sleep, physical activity, or social interactions.
Teenagers: Encourage a balanced approach – screens should not replace sleep, exercise, or face-to-face socialisation.
Source: American Paediatric Association