The Courier & Advertiser (Fife Edition)
Forget Swinney’s ‘reshuffle’ – if you want a convincing remake, try Netflix’s Ripley
If John Swinney is worried about being seen as a continuity candidate, he is certainly not showing it. The announcement of his “new” Scottish Government Cabinet this week stretched the definition of “reshuffle” to its very limit. Not only was there no new deck, but he barely moved the cards either.
All of those who served under Yousaf were reappointed to almost the exact role they held under the old regime. The addition of Kate Forbes, who takes up the economy brief alongside her role as deputy first minister, will provide some new ideas and fresh drive.
But Swinney otherwise seems satisfied with the same faces doing the same things. This is Humza Yousaf’s government in all but first minister.
Nationalists are, of course, hopeful that Swinney himself will offer a clean slate. They view him as a competent technocrat who, while light on charisma, will nevertheless represent a break with the incompetence and maladministration that came to define the latter months of Nicola Sturgeon’s administration and the entirety of Yousaf ’s.
Yet, this is wishful thinking – a confusion of time served with achievements made. In truth, while he has significant ministerial experience, Swinney’s record in office – in both finance and education – is mixed at best.
Far from a CV littered with triumph and achievement, he is best remembered for having to ditch flagship SNP legislation, such as the 2019 Education Bill and the Orwellian Named Person Scheme. Meanwhile, his previous record as SNP leader does not inspire confidence. In this respect, while he may certainly be an upgrade on Yousaf, he is not a formidable administrator either.
Similarly, Swinney’s policy priorities suggest he does not intend to deliver some great cleave with the past. Eradicating child poverty, driving economic growth, meeting climate obligations, and investing in public services are all admirable aims.
But they are also aims that are shared by all Swinney’s predecessors and, indeed, all the opposition parties too. No politician wants to drive children into destitution, make the country poorer, pollute the planet or wreck public services – although they often manage to do all four.
The test for Swinney will therefore not on what he wants to do, but how goes about it.
Does, for instance, a renewed focus on economic growth mean an end to Scotland’s punitive income tax regime, which Swinney himself is at least in part responsible for? be he If not, then Swinney’s regime represents little break with the past in this respect either.
There are, in fairness, some positive early signs here. Swinney has sensibly scrapped the position of minister for independence, created by Yousaf.
This Potemkin portfolio cost the taxpayer millions and contributed nothing to the genuine work of government, but it is still a brave move by Swinney to ditch it completely. Such positions are totemic to the Nationalist fringe, and Swinney will doubtless face criticism both from within the SNP and from the Alba Party for his decision.
But those who think this represents a refocus away from the fantasies of independence and on to sensible government should also think again. As Swinney is wont to constantly remind us, the SNP – and independence – have been the causes of his life, and he is not going to deprioritise them now he is first minister.
Rather, just like those before him, Swinney has shown he will be content to talk a good game on issues such as economic growth and public service reform, but his real focus – his very reason for being in politics in the first place – will continue to be elsewhere. In that respect, the more things change in Scottish politics, the more they stay the same.
**** Technology has disrupted many traditional industries, not least film and television.
The ability to stream high-quality programming at home through services such as Netflix boomed during the Covid-19 pandemic, and has barely let up since.
Research by Barclays this week suggested most people would now prioritise paying for their monthly streaming services ahead of meals out in a restaurant, such is their importance in their lives.
There is good reason for this. Multiple platforms now offer a panoply of new film and TV, much of it brilliant. Recent personal favourites have included Andrew Scott’s reimagined Ripley and the remake of James Clavell’s historical novel, Shogun.
Yet I was reminded this week that – while streaming at home is all well and good – it is no substitute for a trip to the cinema.
At a loose end one afternoon, I took myself off to see Alex Garland’s incredible new film, Civil War.
With no phones or doorbells for distraction, and mesmerised by the big screen and surround sound, I was utterly engrossed for an hour and 54 minutes.
At £8.99 a ticket, it may almost be the same price as Netflix for a month, but my goodness, it was worth it.
Swinney seems happy with the same faces doing the same things