The Ephemeric

The year was 2017. He was a twenty-something like any other, dreaming of his heroes and in love with a girl. But on a thunderous night along a ragged coast, a mysterious red car came to him, its power lighting his eyes blood-red.  It was at that moment that he knew what he had to do, an all-encompassing review of the world today, the blog post to end all blog posts. It is time once again for The Ephemeric's famous annual tradition. It's The Debbie Awards.

2016, as you may recall, was notable for being the year in which the universe began slowly imploding in on itself. 2017 by comparison has put things in perspective. As the world around us descends into ever greater levels of comic absurdity, life goes on, and even thrives. As always, The Debbies serve as a record of all that is good and noteworthy. Artistic endeavours, technological accomplishment, the pulse of business and politics. This event is about celebrating the best that human creativity and ingenuity has had to offer.

So without further ado, let the curtain fall upon 2017 as we begin our definitive review of the past 12 months:



2017 Debbie Awards

Cinema & TV

1. The Debbie for TV Show of the Year 
Winner: Master of None (Netflix)
Runners Up: Stranger Things 2 (Netflix)










2017 has been an excellent year for TV. The quality we've seen once again from the likes of HBO, Netflix and Amazon truly marks a golden age for the medium, and perhaps for the first time represents even a greater relevance than cinema. Ultimately there was one show which stood out across all categories. The second season of Master of None really was something special; smart, endearing, and endlessly bold in its artistic vision. You can read what I had to say at the time via the above link, but suffice it to say this is a true star-making turn from Aziz Ansari and his collaborators, and must-see TV for everyone.

Last year's winner doesn't walk away empty handed either. Stranger Things returned this past Halloween with its second season, branded as a sequel in the mould of one of its many cinematic influences, and it was just as entertaining as the first. If Stranger Things took everyone a little bit by surprise last year, there is no such danger this time. Yet with high expectations and the confidence to match, Netflix's prestige 1980s homage hit every note just as sweetly as before, with sharp writing, addictive thrills, and flawless production. More than that, Stranger Things 2 takes great strides in opening up the mythos of Hakwins, Indiana, paving the way for what looks set to be an enduring series.


2. The Debbie for New TV Show of the Year 
Winner: The Orville (Fox)
Runners Up: Glow (Netflix)










I'm as shocked as anyone about this one. Ordinarily I find myself broadly agreeing with the critical consensus, and Fox's The Orville, a passion project of comedian Seth Macfarlane, has been critically panned almost universally. Yet despite the critical response, The Orville has been widely acclaimed by viewers (particularly Star Trek fans who feel jilted by the new series) and is among the highest rated TV shows of the fall. I'm sorry, but in this case I am with the latter camp. The critics are just plain wrong. Forbes' Erik Kain put it best. The Orville was billed as akin to a TV version of cult classic Galaxy Quest, essentially a spoof of the old Star Trek series. Subsequently critics have obsessed about forcing the show into neat boxes as either too silly for a drama, or too serious for a comedy. But this is nonsense. The Orville does not aspire to be a "comedy Star Trek" at all, it is in actual fact a near pitch perfect homage. People forget just how light the older Star Trek shows often were, and The Orville nails the tone of its forbears. But more importantly the stories are just as rich and relevant as ever. The Orville, as with Star Trek, is an example of moral science fiction. Each episode imparts its own social commentary, and most are very memorable. Some are so astute and incisive, and presented with modern flourish, that they even come away feeling like something more akin to an episode of Black Mirror. If you were a fan of The Next Generation or Voyager, this is a no-brainer. Even if you weren't, this is just high quality, sincere sci-fi. A strong debut.

For this year's runner up we are giving another award to Netflix, with the surprise hit Glow. For the unacquainted, this is a fictionalised telling of the true story of what was an attempt at creating a women's version of WWE wrestling. Now I have zero interest in wrestling, and the concept of the show did not appeal to me at all. You may feel similar, but push past that, because this is a brilliant series and you do yourself a disservice by dismissing it because of its subject matter. Glow shines due to its great writing, a killer cast (most notably breakout performances from Marc Maron and Alison Brie). But as is becoming the standard with other Netflix series, it's the flawless and stylish production that impresses most.


3. The Debbie for Film of the Year 
Winner: Three Billboards Outside Ebbing, Missouri
Runner Up: Dunkirk










A closely fought contest between our top two films of 2017, eventually won by the new Martin McDonagh release Three Billboards Outside Ebbing, Missouri. Those familiar with McDonaghs earlier work - In Bruges, Seven Psychopaths, his Oscar winning short film Six Shooter, or any of his theatre work - will know what this writer/director is all about. His is a dark but brilliant wit, featuring heavily stylised characters, and occasional fits of vivid violence. Three Billboards still manages to impress and surprise, offering a more sober and focused effort at drama than we've come to expect, dialling down the absurdist humour and violent slapstick in favour of a more sincere and humanising message. Three Billboards won't be for everyone, but it's McDonagh's most mature work to date and features awards calibre performances from it's stars Frances McDormand and Sam Rockwell.

Following in second place is Christopher Nolan's new film Dunkirk. A dramatic depiction of the British withdrawal from Dunkirk, Belgium in the early stages of World War II, told through a series of unrelated vignettes which offer a touchingly personal perspective of history. Few directors can make an action scene as powerful as Nolan, and he is on fine form here along with his cinematographer Hoyte van Hoytema, aided by the finest score of the year courtesy of Hans Zimmer. But what truly makes Dunkirk an affecting film is its lack of dramatic sentimentality; there is no forced adventure backstory, or fabricated hero of the piece, instead it presents a very raw and fact-based look at the war, one which holds no punches as to its brutality or its cruelty.


4. The Debbie for Variety Show Host of the Year 
Winner: John Oliver, Last Week Tonight
Runner Up: Stephen Colbert, The Late Show










John Oliver remains the king of all talk show hosts for his poignant, yet still hilarious commentary. If anything, he has attained even greater relevance in the era of Trump, refusing to pull punches when it comes to calling out corruption in Washington, and taking the media to task for its timid response. Oliver would be the first to remind you not to take any one man's word as rote, but increasingly this show is etching its place as an essential voice among confusing times.

Equally benefitting from the chaotic national climate is Oliver's fellow Daily Show alumnus Stephen Colbert, now of The Late Show. If initially Colbert struggled to step into the shoes of the great David Letterman and find his audience, the increasingly charged political obsession in America has seen him renewed as a man without shackles. Political commentary is, after all, how Colbert made his name on the Daily Show and later his own Colbert Report. The past year has shown us that he still has the touch.


5. The Debbie for Hollywood Rising Star of the Year 
Winner: Timothee Chalamet
Runner Up: Jordan Peele










The big star turn of 2017 has been that of twenty-one year old Timothee Chalamet. Chalamet has previously appeared in the major television institutions of Law & Order and Homeland, and worked with top directors such as Christopher Nolan. But 2017 has sent his career to a new level, starring in two of the year's most critically acclaimed films, Lady Bird and Call Me By Your Name, the latter of which is considered to be one of the frontrunners on this year's awards circuit. And it just gets better from here, 2018 will see him star alongside Steve Carrell in Amazon's newest prestige drama Beautiful Boy, as well as the new Woody Allen movie A Rainy Day in New York. One to watch in the coming years.

For our runner up, let's mix it up a little by going for a director. 12 months ago Jordan Peele was best known as one half of the fairly pedestrian comedy duo Key & Peele, now he's the hottest name in Hollywood following his critically acclaimed directorial debut, Get Out. A critical darling, and with awards nominations aplenty, it's not even outside the realm of possibility to expect an Oscar nod in some form. Mostly though, everyone just wants to know where he's going next. Will he be a one hit wonder, or is this the start of a very promising filmmaking career?


6. The Debbie for YouTube Channel of the Year 
Winner: Primitive Technology
Runner Up: Isaac Arthur










YouTube has come a long way in recent years, moving on from lame Vlogs and people narrating themselves playing videogames. The website now offers much in the way of genuinely worthwhile content. And so, in a first for the Debbies, we will be recognising the best that YouTube has to offer. This year, the top prize goes to Primitive Technology, a channel following a single man's efforts to build increasingly complex technology and structures starting with nothing more than what he finds in the forest. A fire, tools, a house? He builds it all from mud and tree branches, and it's damned impressive. This is a great example of how YouTube content doesn't have to be obnoxiously narcissistic. No one knows who this chap is, he never speaks, just lets the content speak for itself, and there's something extremely relaxing about watching a guy silently connect with nature.

A close runner up, and in other circumstances a worthy winner, is the channel of Isaac Arthur. I don't know who Isaac is or what he does for a living, but on his YouTube channel he puts out extremely in-depth science videos of a shockingly high quality. For the most part, these videos consider the science behind potential future technologies or hypothetical concepts in the public discourse. Previous topics of conversation have included life extension technologies, societal reforms, space colonisation, general astronomy and physics. What makes these videos great is that he doesn't analyse the ideas from a fantastical science fiction point of view as you would normally see in media, but from the cold hard reality of science fact. The result is something that is both educational and a surprisingly considered look at what the future might hold.

Music, Art & Theatre

7. The Debbie for Theatrical Production of the Year 
Winner: Ink (Almeida)
Runner Up: Albion (Almeida)










It has been a wonderful year for the Almeida Theatre in London. Arguably the three biggest shows of the year have been on their stage, and this year they can lay claim to both our winner and runner up place in the prestigious theatre Debbie. The top prize goes to James Graham's new play Ink. You can read what I had to say about it at the time from the link, but in short: James Graham is one of the most consistently thrilling political playwrights in the game, Bertie Carvel's Rupert Murdoch performance is a masterpiece in capturing the essence of a person, and Ink is just a brilliant good time, as well as an extremely timely bit of theatre.

The runner up prize is claimed by another Almeida production, Albion. Mike Bartlett's Brexit parable is an equally timely story, with another masterclass performance to go with it, from Vitoria Hamilton. Perhaps not as much of a crowd-pleaser as Ink, but Albion pulls no punches with its commentary, and is must see theatre.


8. The Debbie for Album of the Year 
Winner: I See You - The xx
Runner Up: Pure Comedy - Father John Misty










Surprisingly for a year which included new albums from two of my favourite bands, The Killers and Arcade Fire, neither has placed on this list. Instead The Ephemeric  has found itself won over by the consistency and quality of The xx's third studio album, I See You. A fine album as a whole, with a few particularly excellent songs. Lead singles On Hold and I Dare You were song of the year contenders, while A Violent Noise is a mesmerising and unique track. I See You as a whole is an album that successfully manages to evolve the sound of the band in bold, creative ways without losing what made them great.

A close runner up is Father John Misty's clever new album Pure Comedy. Tillman's caustic philosophising has never sounded so good. Lyrics are on-point and touch on themes of politics, social media, ageing and human nature. The result is the most mature work yet produced by the band, and simultaneously the most beautiful. Definitely check out lead single Pure Comedy, but for me the real highlight is 10 minute odyssey So I'm Growing Old on Magic Mountain, a strong contender for song of the year.


9. The Debbie for Debut Album of the Year 
Winner: Process - Sampha
Runner Up: Electric Lines - Joe Goddard










Sampha's debut album has been a long time coming, originally making an impression as far back as 2013. The artist's blend of smooth r&b with electronic and folk influences has proved an award winning combination, and debut album Process has been critically acclaimed by just about everyone. Those unacquainted will want to check out tracks like Without and No One Knows Me.

Also worthy of note is Electric Lines, the debut solo album of Joe Goddard, best known for his work with the band Hot Chip. But you don't have to be a fan of the British electronica group to appreciate the variety on offer here. There's title track Electric Lines with its brand of contemporary folk, one can move on to the more electronica-influenced Nothing Moves, and then kick back with a delicious slice of disco retro in Home. It's an album well worth giving a chance.


10. The Debbie for Song of the Year 
Winner: Long Time - Blondie
Runners Up: Some Kind of Love - The Killers, Down By the Water - Amy Macdonald










2017 was certainly not a year lacking in great music. The pick of the bunch this year is the crown jewel of Blondie's excellent comeback album, Long Time. This track is just gold, a piece of euphoric pop that compares favourably even with the best of Blondie's classic hits. The evergreen Debbie Harry imbues her vocals with such energy that you'll scarcely believe she's really 72 years old.

Our runner up is the pick of the new album from The Killers. The Brian Eno produced Some Kind of Love gives us a side of The Killers that we seldom see, tender and ethereal. A far cry from the roof-raising anthems that one identifies with their bigger hits. Great song, expertly composed.

Lastly a shout out to specifically the acoustic version of Amy Macdonald's Down By the Water. Amy Macdonald remains an underrated song-writer, and in particular when she sticks to her folk-acoustic roots. Fortunately with her most recent album, she had the foresight to record every song twice, once in full studio, and once acoustic. This is the album's pinnacle, but you would do yourself a favour to check out the other acoustic tracks as well.


11. The Debbie for Live Performance of the Year 
Winner: Tears for Fears










London is fortunate to play host to some of the best performers of our time, and music fans have no shortage of concerts to attend in a given year. For a year which has seen impressive tours from the likes of The Killers and The Kooks, The Ephemeric opts to give recognition to the unexpected return of one of the best bands of the 1980s, Tears for Fears. The duo have lost none of their edge or singing ability in the years since, and it was a joy to hear hits such as Everybody Wants to Rule the World, Pale Shelter and Mad World in full live glory. Well worth catching for old hands and newbies alike, some songs just don't get old.


12. The Debbie for Art Exhibition of the Year 
Winner: Paul Klee at The Beyeler Foundation










Far be it from me to suggest that London does not have the world's finest art galleries (particularly the Royal Academy of Arts!), but really very little compares with a day out at Basel's most sublime meeting point, the Beyeler Foundation. I was hugely impressed by last year's exhibition of Der Blaue Reiter, and in 2017 they have done it again with a superb collection of Paul Klee. The paintings are remarkable enough in their own right, and some of his more notable works are on show throughout the gallery. Really though it's the state of the art facilities, with natural lighting and the relaxing bucolic setting, that allow you to enjoy the work as it was meant to be, and make the experience something extra special

Business & Technology

13. The Debbie for Scientific/Technological Breakthrough of the Year 
Winner: Artificial Meat










It's been talked about for years, but hype in the field of artificial meat is reaching a fever pitch now. The first products are being released in American grocery stores and restaurants, and that has brought near daily coverage in media. There are many reasons why this is a good idea. It's healthier to eat, it's better for the environment, can be grown in large quantities, and of course it does not require killing an animal. Do not underestimate this, a sufficiently convincing artificial meat product could be a world changing development.

The two companies currently on market, Impossible Foods and Beyond Meat, specialise in meat-like products that are in fact made from reconstituted plant protein in such a way that there is supposedly little difference from regular meat. Theoretically there is no reason why this shouldn't be possible given sophisticated enough technology, after all meat and plant proteins are ultimately made from the same building blocks. These two players are betting that we have finally reached the point where current technology can make such a feat possible. But potentially more exciting is the method being used by Memphis Meats, among other companies. This is clean meat, that is to say, actual meat cells being grown in a lab. The theory here is that meat is meat, whether it is grown in a lab or on an animal, assuming it can be grown in equivalent conditions. Hypothetically then, there should be no taste or texture difference at all from regular meat.

I'm keen to try both, though I remain skeptical that plant protein can ever really taste like the real thing. I expect the Memphis Meats approach will be the preferred option, assuming they can bring down the cost of production sufficiently.


14. The Debbie for Videogame Console of the Year
Winner: Nintendo Switch










It's been a bumper year for gaming, and in particular for Nintendo, whose Switch console has been a hit since launching this past spring. The technology itself is quite remarkable. The Switch features detachable controllers and a built in screen, meaning that it can be used either as a TV-connected home console or as a completely mobile handheld device. More impressive is how the console transitions so seamlessly between the two; simply pick up or place the Switch in its dock and it will instantly switch between TV and in-built display, without requiring a reboot of the console, or a restart of the game.

For such a small console (about the size of an ordinary handheld) the Switch packs a surprising amount of heft. It is impressive indeed to be playing a massive AAA game in full HD on your TV, and then seamlessly transition to playing the same game on a handheld, with very little noticeable difference in performance. Add to this Nintendo's best effort yet at online infrastructure, including a better-late-than-never embracing of DLC and multiplayer services, as well as Nintendo's formidable Virtual console, and there's an awful lot to like about this little device.



15. The Debbie for Videogame of the Year 
Winner: The Legend of Zelda: Breath of the Wild (Switch)
Runners Up: Mario Odyssey (Switch), What Remains of Edith Finch (PC)










So the Switch is a fascinating piece of technology, sure. But what has really helped the system fly off the shelves is software, with possibly a more impressive first year line up of games than any console in memory. Two Switch titles can already make genuine claim to being among the best games ever made, and naturally their quality will be recognised here at the Debbies. The first up is The Legend of Zelda: Breath of the Wild. You can read my more detailed thoughts at the above link, but the conclusion is simple. Breath of the Wild is a triumph, even by the lofty standards set by the Zelda series. This marks Nintendo's first attempt at a genuine open-world game, and they have pulled it off in a way that few developers ever have, with a world that is so well-realised, so tantalising to explore, and so interactive through it's brilliant and intuitive range of gameplay systems that just wandering about aimlessly is a memorable experience.

Then along came Mario Odyssey, very nearly stealing Breath of the Wild's thunder. Odyssey returns to the more open-ended level design from Mario 64 and Sunshine, but otherwise it's essentially the classic Mario platforming formula. So what's so special? It comes down to brilliant gameplay design. The levels and puzzles are so clever and well honed that you'll marvel at how Nintendo still have so many fresh ideas after so many years. As with the new Zelda, Nintendo have clearly put a lot of thought into the game's complementary gameplay systems that interact in unexpected ways to make Odyssey a true joy and surprising until the end. I defy anyone to play this without a smile on their face.

Breaking away from Nintendo for our second runner up is What Remains of Edith Finch. This is the debut release of Anapurna's new interactive division, and it's clear that they haven't lost any of their storytelling flair in the switch from cinema to gaming. Edith Finch tells the story of a young lady who returns to her abandoned familial home to revisit the stories of several generations of ancestors and relatives, all of whom have met with unfortunate ends. But far from some morbid eulogy, Edith Finch is a rich and touching tale, brimming with personality. Each story features its own unique gameplay and visual presentation in ways that will constantly surprise and impress, while exploring this unique house, with its haphazard construction and hidden secrets presents a marvel in world-building.



16. The Debbie for Company of the Year
Winner: Amazon










From an online book merchant to one of the world's burgeoning tech superpowers, Amazon is a company that is quickly becoming all pervasive in ways many people don't even realise. In addition to being the world's largest internet retailer, Amazon has branched out into consumer electronics with the Kindle, grocery shopping with Amazon Fresh, and is now also the world's largest provider of cloud infrastructure services. On top of this, Amazon is making a real play for the future of your living room with its Echo products, and currently looks set to be one of the major players in the internet of things alongside Apple and Google. That's impressive enough even before you remember that they now produce award winning television series, and Oscar winning films, with a streaming service that many people are starting to say compares favourably even with Netflix.

From retail, to our kitchens and living rooms, the entertainment industry, and those all important web services; Amazon has a genuine claim to being the most influential company in the world. 2017 was a bumper year that saw their stock fly in value, making Jeff Bezos the wealthiest man in the world. Also, they're making drones.


17. The Debbie for Startup of the Year
Winner: Bloom & Wild










This is a delightful little company as anyone who has used their services will attest. Bloom & Wild deliver flowers, but cognisant of today's hectic lifestyle and the fact that most of us spend our days in the office, they deliver their products in a manner that does not require anyone to be home to receive. Flowers arrive as buds, carefully and individually wrapped in mesh paper (and depending on the set, maybe even with glassware included). This is all packaged into a letterbox sized cardboard box and popped through your door on a specified date. No fuss, beautiful flowers to your door. Their latest injection of capital will allow them to spread this great business model in to Europe. With annual subscription and gifting options available, one can see this becoming a regular mainstay in our living rooms.

Sports

18. The Debbie for Footballer of the Year 
Winner: Cristiano Ronaldo - Real Madrid










2017 has been a fantastic year for Real Madrid and Cristiano Ronaldo, a Ballon D'or capping off a year in which Madrid won a stunning quadruple of silverware, including a record 12th Champions League title. There's no separating this success from Ronaldo, who on present form and despite his advancing years, is the most complete football player in the world. A genius comparable with Messi, but with a physique and burst of pace that reflects superior athleticism. The time is surely drawing near when the world game will no longer be dominated by these two, but for now Ronaldo wins another Debbie and rightly so.


19. The Debbie for Under-21 Footballer of the Year 
Winner: Kylian Mbappe - PSG










An astonishing year for the teenage Kylian Mbappé, who despite his tender years has become the second most expensive player of all time following a bumper £150 million move from Monaco to their Ligue 1 rivals PSG, and the most expensive teenager. It is difficult to pretend that his accomplishments to date have merited such status, but that's not to say that he isn't a very promising young footballer. A player with the finesse and poise of Thierry Henry, but the power of the Brazilian Ronaldo during his younger years, Mbappé should be a world star for years to come. Hopefully receiving so much hype at such a young age will not adversely impact his career trajectory.


20. The Debbie for Football Manager of the Year 
Winner: Antonio Conte - Chelsea










While there are many outstanding candidates for the top football manager in 2017, there are few where you can definitively state that the manger himself has elevated the level of a team. Zidane? Great manager, but would that stacked Madrid team really be doing any worse without him? Ditto Ernesto Valverde. In the case of Antonio Conte though, one has to marvel at how he has taken a 10th place club to Premier League champions in a single season. This despite minimal transfer activity compared to his more spendthrift rivals, and a squad with more holes than Swiss cheese. More than that though, it's just great to see someone in football with this passion; jumping, screaming, crowd-diving after a goal, and most importantly a gentleman towards his opposite number in all circumstances. Football needs more people like Conte.


21. The Debbie for Football Club of the Year 
Winner: Chapecoense










"Now wait," I hear you say, "that tragic Chapecoense event was last year." Correct, I'm not here to recognise them for tragedy, but for the remarkable response that has played out in the year since that awful day. Remember that at the time of the crash, Chapecoense were relative newcomers to the top flight of Brazilian football, and their future at the highest level far from assured. Yet since this tragedy, they have gone on to record their highest ever finish in Brazilian football, won the Campeonato Catarinese regional league, and made credible efforts in both the Copa Sudamericana and Copa Libertadores (their first ever appearance in the competition). It's been a fine year by any team's standards, let alone for a team that tragically lost most of its playing squad just a year ago. An inspiring effort and a heartwarming story.


Current Events

22. The Debbie for Politician of the Year 
Winner: Emmanuel Macron










In a year with little in the way of positive role models among the political class, our top prize for politicking goes to Emmanuel Macron. Amid a so-called wave of right wing extremism in western democracies, Macron struck a major victory for moderates and centrists by showing that it is possible to gain popular support without pandering or selling yourself out to our darker instincts.

More incredible is the manner of Macron's victory. To successfully run as an independent candidate in modern day politics is unheard of at the national level, much less to gain as historically large a majority as Macron did. To put that into context, this isn't like Labour or the Tories becoming Prime Minister, this isn't even like the Liberal Democrats or UKIP becoming Prime Minister, this is more like Lord Buckethead becoming Prime Minister and picking up a record number of seats in the process. It's astonishing when you think about it and teaches a secondary, but no less important lesson that maybe we don't have to accept a "lesser of two evils" party system, maybe 21st Century democracy can accommodate a truly independent movement that isn't beholden to the politics of identity, but instead to whomever happens to be the best man for the job. Maybe we don't need the Tories or Labour, but can vote for someone in whom we actually believe.

Macron has proceeded to implement his vision, returning France to a state of efficient economic liberalism, and earns majority support among his people. I dare say it's an example for other democracies to follow.


23. The Debbie for Scandal of the Year 
Winner: Donald Trump










I'm thinking about removing this category, because it's far too obvious who's going to win for as long as Donald Trump is President (so another year at least then). Let's just get to it then: basically ever since he was inaugurated Trump has been under investigation for one thing or another. The Russia investigation appears to be reaching fever pitch, with four indictments and two guilty pleas even at this early stage from among his senior campaign/administration staff, and suggestion that he or members of his immediate family could be in the firing line sooner rather than later. The US intelligence services consider information provided by MI6 agents indicating that Russia's Government has some means of coercion over Trump to be credible. This Russia scandal is the most significant political scandal since Watergate, and probably even more so. A hostile foreign power swinging an election and installing a puppet leader in the United States is the stuff of movies and bad thrillers, and now it appears to be fact.

But guess what, that's not all! What about the dozens of accusations of sexual assault corroborated by contemporaneous evidence? What about his flagrant violation of emoluments clause regarding conflicts of interest with his businesses, currently working their way through the courts? What about his astonishing response to the murder of an American citizen by radical white supremacist terrorists by claiming that "both sides" were to blame? The truth is that each of these, as well as scandals in Puerto Rico, his war against law enforcement agencies, violations of the free press, as well as apparent fraud committed by his administration, and probably many others, would ordinarily be enough to remove a politician from office. Many of these are crimes. We've never seen anything like this before in western democracy. He's not even been President for a year, buckle up.


24. The Debbie for Cause of the Year 
Winner: Independence of the press










In this era of corrupt politicians, fake news, and massive propaganda campaigns, it's more important than ever before that we ensure an independent and uncensored press. The only way to combat propaganda is to ensure that the general public is well informed and has access to verified, peer reviewed facts. The corrupt powers know this, which is why they exert so much energy on trying to censor information, discredit reputable and independent sources, and when that doesn't work, drown it out with an overload of fake information. The sad truth is that the credibility of the press is at a low, and much of that is their fault. But we need real journalism now more than ever. We need robust fact checkers, and widespread access to that data. Reality is not a matter of opinion and facts do matter. We are witnessing a concerted effort to turn western democracy into a Russia-style propaganda state. We all need to start paying attention now if we want to prevent this slide into Orwellian dystopia.


25. The Debbie for Person of the Year 
Winner: Jeff Bezos










The Ephemeric's person of the year award goes to the man recently crowned the world's richest, Jeff Bezos of Amazon. The wealth itself is not the mark of accomplishment, but rather what it signifies, the surge in fortunes of Amazon. Bezos himself is the man who had the vision to take the company from its humble book-slinging beginnings into the global super-power that it is now, during which time he personally has transformed from librarian to Iron Man's more badass uncle. His time at Amazon has brought significant innovation not only to online retail, but to consumer electronics, cloud technology, AI and home automation. Also drones.

But his influence extends beyond one company. Incubator Bezos Expeditions has its fingers in many of the world's most innovative companies, from Google to Airbnb, Makerbot and Uber. He owns the Washington Post, the journalistic driving force behind Watergate, the Pentagon papers, and the current Russia-Lago scandal. He's even followed Elon Musk into the private space industry with Blue Origins, a company that actually managed to beat SpaceX to become the first company to launch and safely land a reusable rocket. In the developing world of the tech super powers, Bezos and Amazon are very much at the forefront, which makes him our pick for most influential of 2017.


Social & Lifestyle

26. The Debbie for Restaurant of the Year 
Winner: Marianne










When it comes to dining out in London these days, we are truly spoilt for choice. Our pick of the bunch for 2017 is newcomer Marianne, project of head chef Marianne Lumb. I gather that Ms Lumb was on some kind of reality TV series as a contestant, though I would never watch such a thing. If being headed by a TV chef gives you any misgivings, not to fret, Marianne is wonderful.

The food itself is great; a multi-course tasting menu, but one that doesn't prove overbearing as it does in many top-range restaurants. Dishes are technically accomplished and invigorated with fresh flavour combinations. While many tasting menus just go through the motions, this is a setlist that has been crafted with the joy of a chef who loves food. But the key element of this evening is the experience. The atelier is very small, seating only fourteen people across four tables in a single seating, while Chef Marianne comes out to greet guests towards the end of the evening. For those seeking an intimate evening of delightful dining, this is the place for you, but move quickly before she relocates to a larger location.


27. The Debbie for Nightclub/Bar of the Year 
Winner: Bourne & Hollingsworth










London has no shortage of fine drinking establishments, but one this year stands head and shoulders above the rest. Bourne & Hollingsworth is one of those delightful venues that suits all occasions. By morning it's a bright and leafy brunch locale, by night a classy lounge with a fireplace, sofas, and some of the best cocktails in the city, and by later night the downstairs club area opens up, complete with dance floor and novelty sharing drinks. So whatever mood you might be in, this is your one stop shop for a great night out.


28. The Debbie for Mixologist of the Year 
Winner: Alessandro Palazzi










My annual shout out to The Duke's Bar owner Alessandro. Famous across London for making Ian Fleming's drinks, and in particular his flair for unique martinis turn heads. Whether he's making his signature Fleming 89 or whipping up some original creation on the spot, there's no finer cocktail around. This year's special creations include the white truffle martini, and now for the first time, actual snacks with which to line your stomach.


29. The Debbie for Destination of the Year
Winner: Everywhere, Canada










Canada is not necessarily the first place people think of for a magical vacation, but their lives are the poorer for it. In Toronto, Canada boasts a world class city with culture, shopping and good food. But the real attraction is the country itself, the second largest in the world by area, and so heavily urbanised that the vast majority remains stunningly unspoilt. Many other countries have natural beauty, but few if any have quite so much of it, from dramatic mountainous regions to staggering open flatland, dense, untouched forests the size of Western Europe, and hundreds of thousands (seriously) of beautiful lakes.

And then there's the people; friendly, reasoned, and well educated. One of the best compliments I can pay to Canada is that it is like America, but without the Americans. This year we decided to take the train right from the west coast of Vancouver to Toronto in the east, and were treated to a tour of the entire country-scape in between, and it is an experience that won't soon be forgotten.


30. The Debbie for Wine of the Year 
Winner: Bibbiano Gran Selezione Vigna del Capannino 2011









The up and coming Chianti vineyard of Bibbiano takes the prize this year, specifically with its wonderful gran selezione of 2011, the Vigna del Capannino. Visitors to this modest estate will be greeted by the signs of expansion everywhere; a new restaurant is in the works, and even accommodation to stay. If the lunch we had on our tour was any indication, that restaurant will be well worthwhile. But of course, the main attraction is the wine, and the Capannino is one to savour. Smooth with strong berry tones and warming palate, a good example of the Sangiovese grape, and a terrific accompaniment to any meat dish.


31. The Debbie for Champagne of the Year 
Winner: Franck Bonville Cuvée Le Belle Voyes










And finally we have our top prize for champagne, and it's a comeback for Franck Bonville, the mid-sized factory fast becoming the champagne of choice for connoisseurs. It's hard to go wrong with a basic blanc de blancs, or even their stately Millésime, but our pick of the bunch has to be the special collection Belles Voyes grand cru blanc de blancs. Like drinking liquid stardust, to be savoured on special occasions.



Well there you have it. 2017 will go down as an interesting year for sure, but here's to the next one being even better!

Directed by Rupert Goold
Written by Mike Bartlett
Starring Victoria Hamilton, Helen Schlesinger, Charlotte Hope, Christopher Fairbank
Theatre Almeida



Once in a while comes an artistic work that perfectly encapsulates the times in which we live. Mike Bartlett, a playwright best known for the excellent King Charles III, is a writer of astute observation, and a penchant for having his thumb on the societal pulse. King Charles asked questions as to the relevance of an archaic Monarchy in an age of YouTube and celebrity culture, Albion is perhaps even more poignant in its addressing of the challenges currently facing the United Kingdom.

Albion tells the story of Audrey Walters, who takes ownership of a historic and once beautiful garden, now overgrown and a shade of its former self, with the intention of restoring it to the former glory that she remembers from her younger days. In doing so, she implements tighter restrictions on when her neighbours can and can't enter the garden, and makes decisions that detrimentally impact the futures of the local youth. Her blind zeal ultimately ends up alienating her neighbours, her liberal intellectual friends, and her children, leaving Audrey alone, economically ruined, and with a garden of which people no longer want any part. The garden is named Albion (an archaic name for Great Britain).

I don't think it will surprise you too much to hear that this is a metaphor for Brexit, and one which is not exactly awash with ambiguity at that. At times the use of metaphor can be a little bit on the nose, be it the replacing of the doddering old British caretakers with a far more industrious Polish worker, or the scene where Audrey is lambasted for idealising a past which no longer exists, while whitewashing the negative aspects of that same past (an allusion to British Imperial guilt).

This allegory forms the backdrop to a more traditional narrative. A rural setting, familial drama, wider socioeconomic tensions between the established values of the past, and an oncoming future that threatens upheaval. It's all very much in the mould of an Anton Chekhov play, in particular the Cherry Orchard, and that comparison is presumably no accident. There is after all no reason to set a Brexit allegory in so deliberate a Chekhovian setting, and one has to wonder if the influence of a Russian author on this setting is intended as a commentary on the Russian influence over its subject matter.

Indeed one could write a whole essay on the subtext at play here, but I don't wish to spoil everything. Suffice it to say, each character fills a clear role in this metaphor, from Audrey's detached "intellectual elite" friend Katherine, to the directionless youth "Zara", or the ineffectual but steadfast husband Paul, who perhaps not so coincidentally happens to look and speak a lot like Prince Charles, and fulfil a support role not incomparable to that of the monarchy in modern day Britain.

Fortunately, if the overly deliberate attempt at political commentary can be a bit off-putting, it's more than compensated for by the quality of its execution. Aside from the occasional clumsy analogy, the writing here is sharp and to the point, occasionally hilarious. The production is bold and stylish, with striking setpieces punctuating the key moments of drama. Rupert Goold is on a roll this year at the Almeida, and Albion continues to establish his name as one of the great artistic directors in the game today.

The performances are particularly worthy of note. Victoria Hamilton's portrayal of Audrey is remarkable; the scene feels electrified every time she is on stage, and she will surely be a frontrunner in this year's theatre accolades.

But ultimately this is a play of its themes, and in my view one that succeeds. While Albion will no doubt draw most of the discussion to its commentary on Brexit, the core of its message really lies with the British people, and the divisions in today's society. I mentioned earlier the roles of the individual characters, and indeed each of these roles essentially pertains to a particular demographic, and explores the way in which the politics of today has affected those people. This is where the production really feels invaluable as a commentary on our times.

It's been a very strong year for new plays, but Bartlett's latest is as good as any I've seen all year. Essential viewing.

It has been two decades since Phillip Pullman wrote the first entry in the His Dark Materials trilogy, The Northern Lights (known as The Golden Compass in the US). The novel's standing during this time has risen to the point where it is considered by many to be among the most important pieces of children's/young adult fiction ever written. Now Pullman returns to the series with his new Book of Dust trilogy. Let's mark this occasion by taking a look at why Pullman's work still resonates to such an extent.



Few artistic works manage to attain high levels of both critical and commercial success, but in the case of His Dark Materials, the praise coming from professional observers has been equally matched by the adulation of its readers. Indeed the series has garnered enduring acclaim, and literary awards including the Carnegie Medal, the Whitbread book of the year (the first time the award has gone to a children's novel), and the Astrid Lindgren award, a prize considered to be second only to the Nobel prize in literature. The series has spawned an award winning National Theatre production, an upcoming BBC adaptation, and a film that we'll just pretend doesn't exist. For many of us who grew up during the 1990s, and especially in the United Kingdom, The Northern Lights represents a dear part of our childhood, and is the essential novel that drew a generation into reading.

It's easy to see why the series so successfully engaged its readers, with its imaginative, yet tangible setting and full-bodied characters. This world is imbued with a formidably rich mythology, mesmerising and varied locations, and rewarding story arcs that draw the reader in and make them genuinely care about what happens. From the moment we first join young protagonist Lyra and Pantalaimon sneaking through the halls of Oxford we are hooked through the stories to come, be they delightful or heartbreaking.

But the appeal of this work goes beyond its narrative thrill. Plenty of other novels of the genre feature exciting adventures and likeable characters, Harry Potter comes to mind. What makes His Dark Materials stand out is the way its surreal worlds convey a deeper reflection of our own reality. The series' Magisterium offers a clear and scathing critique of the Catholic Church, and its war against the ambiguous property referred to as Dust can be seen as many things; a war on knowledge and enlightenment, a war on decadence and independence, or simply a resistance to change and growth. These novels are not merely some secular smear on religiosity, but a powerful rebuke of any dogma that values power and ignorance over truth. These themes of corruption and authoritarianism are more relevant than ever today.

Even beyond the politics and philosophy, there's something altogether more fundamental at the core of the series. These elements provide the intellectual backdrop to what is ultimately the classic coming of age story. Through the pre-adolescent eyes of Lyra the series explores the nature of friendship, the confusion of love, and comes to terms with the inevitability of loss. Unlike, for example, Harry Potter, this is not some fantasy power-trip of a powerful wizard fighting another powerful wizard to defeat evil and then they all live happily ever after. Lyra is a child entering a world dominated by forces far more powerful than her that she can't possibly understand. Just like the rest of us, Lyra cares less for the obscure machinations of the world around her than for the deeper personal drives which motivate us; rescuing a friend, reuniting with a lost parent.

So for all its fantastical tropes, His Dark Materials is a series that seeks to awaken its young audience to the real and overwhelming aspects of the world we live in. It's a series that by its premise encourages its developing minds to engage in critical thinking and to place value on knowledge and truth. But for all of its complexity, this is above all a series that helps those at a critical juncture to explore the very personal dilemmas of growing up that they themselves are faced with. Less of a magical diversion, and more a lifting of the veil. At the time, it was radical reading for impressionable young minds, and a revelatory experience. So it remains. As an artistic work, this is still an essential read for the new generation about to enter the wider world, and its status among the most influential literature of our time is well deserved.

Genre Alternative rock
Label Island
Producers Jacknife Lee, The Killers, Erol Alkan, Stuart Price



It's been five years and one solo album since The Killers’ most recent and most divisive album, Battle Born. Battle Born was certainly not a bad album by any means, but its mixed reception at the time rightly drew unfavourable comparisons to the band’s previous work, as fans expressed disappointment at the relatively derivative nature of the music. The album still spawned hits and platinum singles, but that couldn't shake the feeling that The Killers had found themselves in something of a rut creatively. So began the longest hiatus in the band's history.

But rather than take a holiday, frontman and lead songwriter Brandon Flowers decided to use that time to refresh his process. With a new production team and a wider range of musical influences, Flowers has since entered a period of great creative output.

A year after Battle Born, The Killers released the promising single Shot at the Night, mixed by guest producer (and musical star in his own right) M83. Two years after that Brandon released his second solo album, The Desired Effect, in another first time collaboration with prominent producer Ariel Rechtshaid. Praised for its creative variety and slick production, the Desired Effect received critical acclaim. Rob Sheffield of Rolling Stone described it the best pop album in recent memory.

Creatively reinvigorated and enjoying a second wind of success, Brandon Flowers now returns to the band that made him a star with The Killers’ fifth studio album, Wonderful Wonderful. The result is something quite different to anything The Killers has done before.

Wonderful Wonderful sees the band trade their signature high tempo rock and roll for a sound that is much slower and heavier in tone. They follow suit thematically, abandoning the tales of Hollywood, Vegas glamour, and cheesy Americana for topics that are far more meditative than we have come to expect. Instead we get what is ostensibly an exploration of Flowers' own psyche, his self-doubt, questions of masculinity, his legacy in music. Such raw introspection is a new angle for The Killers, and while the music may not necessarily sparkle in the same way their best tracks do, this lends a greater sense of poignancy and reality that you might not expect from this band.

This is something that I can see turning a lot of long time fans off the album. Such a sedate tone from a band known for their energetic stadium lifters can be quite jarring for those who came hoping for the next set of radio-friendly hits. But give the album a chance, and you will be well rewarded with a piece of work that is complex and beautiful in its own right, if not at all what we were expecting.

The album can be roughly divided into a series of thematic pairings of tracks.

Opening and title track Wonderful Wonderful serves as the thematic introduction, the "id" of the album presented as a swirling tempest of the insecurities and concerns that weigh heavily. This contrasts heavily with lead single The Man, the super ego of hyper-masculine braggadocio. The track itself is an enjoyable enough homage to the funk-era of 1980s David Bowie and to a lesser extent Roxy Music, borrowing heavily from the bass-line of Bowie's Fashion, and directly referencing Fame. Still, it's surprisingly forgettable for a lead single from The Killers.

Next, the duo of Rut and Life to Come delve into personal tragedy, drawing inspiration from Flowers' own struggles and in particular the ongoing health problems facing his wife Tana. The former is a slow builder of a track teeming with defiant insecurity, while the latter swells into a full-on U2-esque declaration. Knowing the context of this one-two hit makes it difficult not to tear up a little when listening, but more than that this connection to a very real and human feeling of devotion and loss.

Flowers returns to themes that have historically been fertile ground for his songwriting, career and legacy in Tyson vs Douglas and Out of My Mind, religion and faith in Some Kind of Love and The Calling. Tyson vs Douglas and Some Kind of Love in particular are arguably the two best tracks on the album. The former is a creative flip on the classic "underdog beats the champion" story, putting you in the perspective of the defeated champion. A breathless ride through the champ's state of mind ensues, a veritable storm of fear and shame. The latter, co-written with the legendary Brian Eno, is a dreamy star of a tune that evokes shades of Coldplay, as well as Eno's own earlier work.

The odd one out is second single Run for Cover, itself one of the most crowd-pleasing tracks on the album. Originally written for The Killers' third album Day & Age, Run for Cover doesn't fit neatly with the themes or structure of Wonderful Wonderful. One suspects that it has been brought in to make up for the lack of upbeat songs on the album. The album then finishes on a fittingly introspective note with the knowingly titled Have All the Songs Been Written.

Wonderful Wonderful is an album that, as a whole, stacks up favourably with The Killers' previous efforts. Artistically, some might even say it's a step up, and I can see critics responding very strongly. Still, I came away feeling underwhelmed. This is an album that lacks a standout track.

Run for Cover is a fine single, but does it really stack up individually with Mr. Brightside, Human, or even Runaways? You'd have to say the answer is no. Tyson vs Douglas is a better song, but one that might only just make the top 15 songs written by Brandon Flowers. Some Kind of Love is probably the strongest track on the album, and it's a slow burner of a track that I can see flying under the radar of most people. There isn't really a bad song on this album, but equally there is little that seems likely to live long in the memory in terms of individual songs.

This is an album that reminds us what a strong songwriter Brandon Flowers can be, and demonstrates an extra dimension of the band's talents that we have not seen before. The days of Hot Fuss' pretty-boys with makeup seems long ago, Wonderful Wonderful cements The Killers' status as one of the prestige rock groups of modern music. While these may not be the best songs they've written, they represent another fine addition to a growing body of work.


Must Listen :
Some Kind of Love
Tyson vs Douglas
Run for Cover

Genre Art-rock
Label Columbia
Producers Arcade Fire, Thomas Bangalter (ie half of Daft Punk), Geoff Barrow, Markus Dravs, Eric Hegle, Steve Mackey



Music is an art-form. Not just by virtue of how pretty it sounds, but the message, the lyrics, the context, it all contributes to the work. Yet for the vast majority of people who listen to the song, the main (if not the only) thing that will be noticed is simply "does this feel good in my ear-holes?". And so there is always this balance in music between producing something that sounds pleasing, and something that delivers whatever larger meaning the artist has in mind.

Where this balance lies is often simply a matter of taste. Some people couldn't care less about the meaning or subtext, and just want to listen to whatever serotonin-releasing crowd-pleaser is currently riding high in the charts. Others see a song as more akin to a painting, appreciating its composition or message as much as what it actually sounds like. The truly great artists are the ones who successfully manage to marry both aspects.

Arcade Fire have always been a band who take the artistic side of their work seriously. More so than most of their contemporaries, the band's work invariably has a complex and thought-out conceptual basis behind it. It was this that first grabbed the attention of many of Arcade Fire's early promoters, perhaps most famously David Bowie (himself considered a trailblazer in the idea of mainstream music as a form of intellectual exploration) whose patronage played a significant role in the band's early history.

With their last album, Reflektor, Arcade Fire lent the conceptual side of their work an even greater prominence. For the release of that album a fake band, The Reflektors, was created, along with a fake website, fake album, and a series of secret shows under their new moniker. This was accompanied by a short film which tied into the album's larger themes of isolation in the digital age. A lot of work had been done around the concept of Reflektor, but crucially the music was given the same level of care, and the album was ultimately met with great critical acclaim.

For Everything Now, Arcade Fire have re-used many of the same gags. A fake website, this time a "global e-commerce platform", was joined by a variety of fake infomercial videos and products, all boosted by a significant effort on social media. Fake news, Russian spambots, trying very much to be a reflection of our anxious times, but in a hazy, unfocused way. Frankly as a critique of consumerism and the instant gratification of social media, the whole thing comes off as a bit obvious, and sophomoric. It doesn't help that Everything Now re-treads much of the same ground as Reflektor, without adding much in the way of new ideas. That which is new has already been articulated many times before, and done better, by others.

The album's worst offender is the track Infinite Content, which essentially boils down to the lyric "infinite content, infinite content, we're infinitely content" being said over and over. An idea they were apparently so pleased with that they decided to put two versions of this track on the album. It's painfully obvious what they were going for, and that pretty much typifies an album which gives the impression of thinking itself to be far deeper and more intellectual than it actually is.

So the concept falls a bit flat, but can the undoubted musical talents of the band save the day? It's a bit of a mixed bag. Just as the conceptual basis of the album feels tired and re-used, so do many of the tracks on this album. Far too much of the music here feels like a less clever rehash of Reflektor. Frontman Win Butler seems stuck in "monotone snarl" mode, sounding almost like Reflektor B-sides. Fortunately in those few moments where Arcade Fire break free and try something new, the music really shines.

The title track Everything Now is a bit of a treasure, a rich composition of strings and choir. The base melody sounds almost like it could be a TV jingle, tying in with the core concept, but the underlying progression and clever tonal shifts elevate the track into something that is quite dazzling as a statement piece for the album.

Arguably the standout track is Electric Blue, a groggy slice of ethereal disco-funk led by the under-utilised vocal talents of Régine Chassagne into something reminiscent of The Suburbs' excellent Sprawl II.

But my personal favourite of the album is the spectacular Put Your Money on Me, a track that begins with a deliciously subversive funky riff before building into a soaring denouement of classic rock. It's an electrifying piece of pop-rock and the moment which thankfully feels most liberated from the album's conceptual constraints.

Author's note: coincidentally, these three standout tracks are the three tracks produced by Daft Punk's Thomas Bangalter. Maybe Arcade Fire should just have him lead production on their next album.

These highlights are not enough to make Arcade Fire's new LP a great album, but they do make it a "good enough" album. Everything Now suffers from a conceptual smugness that is all too obvious and ultimately derivative of the band's earlier work. Fortunately the few standout tracks make Everything Now worthy of your attention.


Must Listen :
Put Your Money on Me
Electric Blue
Everything Now

Welcome back football fans.  I hope everyone had a great summer, but it is time to get back to business. A new season of Premier League football is approaching, and once again it looks like a corker, promising fake drama, real tears, and hopefully some good football. As per usual the Ephemeric is here to run the rule over every team in the Premier League and render a few inevitably accurate predictions. Read on for the ultimate preview of what awaits us these next nine months.




Premier League 2017/18 Predictions in a nutshell:
Champions: Manchester United
Champions League qualifiers: Manchester United, Manchester City, Tottenham, Liverpool
Relegated: Swansea, Crystal Palace, Brighton
Golden Boot winner: Harry Kane (Tottenham Hotspur)
Golden Glove winner: David de Gea (Manchester United)
Player to watch: Dele Alli (Tottenham Hotspur)
New signing to watch: Romelu Lukaku (Manchester United)
Young player to watch: Tammy Abraham (Swansea)
First manager to get the sack: Craig Shakespeare (Leicester City)
Shock of the season: Arsene Wenger leaves Arsenal



ARSENAL

Nickname: The Gunners
Ground: Emirates Stadium
Capacity: 60,000
Position last season: 5th
Manager: Arsene Wenger

Fifteen years without a league title, and now for the first time in Wenger's Arsenal tenure, no Champions League football. It's going from bad to worse for Arsenal, and it's no surprise that the calls to replace manager Arsene Wenger have increased and reached a fever pitch. Many expected him to go after last year's failures, but he has stuck around for another year. Make no mistake though, there can be no excuse for a repeat performance this season.

Typically the problem with Arsenal has been money, not that they don't have it, but that they refuse to spend it. Whether by some misplaced morality, or the simple greed of the club's board, the club has become typified by a lack of ambition. Now with massive recent outlays on transfer spending, including the £50 million deals for Ozil and Sanchez, £40 million on Granit Xhaka, and this year a cool £50 million for Lacazette, the club seems finally to have accepted this new reality. The money has been flowing, now the question is whether they waited too long and are simply too far off the pace to seriously challenge the big clubs. Based on last year's showing, it would appear that this may be the case.

The headline signing of the summer has been French striker Alexandre Lacazette. It's a excellent start, but won't be enough in itself to paper over the deficiencies elsewhere in the squad. More concerning for Gunners is the ongoing saga over Alexis Sanchez, by far their best player of the last few years. At a time when they need to be retaining their key personnel and building a squad, losing Sanchez would come as a bitter blow to their chances.