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The world is dangerously close to a new crisis

The world is dangerously close to a new crisis

Telegraph10 hours ago
Last week we saw yet again the power of the financial markets. Pretty much as soon as Rachel Reeves's tears were seen in the House of Commons, or Reevesgate as I shall call it, both the price of gilts and the pound fell, echoing on a much smaller scale what happened in reaction to the Truss/Kwarteng mini-Budget in 2022.
Behind the human drama and the obsessions of the political class, there lurks a much more important problem. The elephant in the room is the appallingly high level of government debt, which is running at about 100pc of GDP. Last week's mini-crisis may simply be the harbinger of much worse to come.
According to many on the Left, supported by some economists, nothing like this should happen.
Do you remember the Magic Money Tree (MMT) that briefly flourished when Jeremy Corbyn was leader of the Labour Party? Conveniently, the initials MMT also apply to the economic doctrine known as Modern Monetary Theory, which avers that governments can borrow from the markets willy nilly without consequence.
You don't hear much about that idea these days. And with good reason. It is perfectly plain that there are limits to the markets' appetite for government debt. We have reached them.
The UK's awkward position on public debt is by no means unique in the world. In the US, the so-called ' One Big Beautiful Bill' has just passed Congress.
The consequence is going to be an increase in the US budget deficit. Indeed, it is difficult to see how this is going to come down anytime soon from its current rate of about 6pc of GDP. At present, the US debt ratio is running at about 100pc, but if the deficit continues at current levels, it is reasonable to suppose that the debt ratio will reach 120pc by the mid-2030s.
The most acute worries around government debt in Europe are now focused not on Italy, where the debt ratio has stabilised, but on France. There, the debt ratio was 113pc last year and it is still rising.
What is most concerning about France is the apparent unwillingness or inability of the government to reduce the deficit. Indeed, measures taken a few years ago by President Macron to reduce government spending by increasing the retirement age are again under threat. And if Marine Le Pen's party were to win power, it would probably increase government spending considerably.
In many ways, though, the really interesting bond market is Japan's. (Interesting in the sense of the old Chinese curse.) For many years Japan was the poster child for all those people who argued that gargantuan government debt didn't matter. After all, for years its gross debt ratio was above 200pc. Yet for a long time the yield on these bonds was next to zero.
Not any more. Against a backdrop of inflation having risen to over 3pc, the yield on Japan's 10-year government bonds has increased to 1.5pc.
When the ratio of government debt to GDP reaches these levels in emerging markets then usually the prospect of default looms on the horizon. When a country borrows in its own currency, however, default can be avoided simply by printing more of the stuff.
Mind you, this usually ends in inflation, which is a form of default by the back door.
The US, Japan and the UK borrow in the currency that they issue. So default is not a worry. The same isn't true for countries within the eurozone because, although they borrow in their own currency, they have no control over its issuance. That rests with the European Central Bank.
If it happens, a US recession could help to keep inflation subdued over the next year or two and that may forestall a bond market crisis. Yet, of course, that is a double-edged sword because any weakness in the economy will worsen the deficit.
The same is true for the UK but the risk of a recession is probably lower here because we haven't suffered the tariff shock that President Trump has imposed on the US economy. As it is, over here recent signs on inflation have been fairly encouraging. If inflation does fall back convincingly, not only would that tend to encourage markets to take longer bond yields lower, but it would also encourage the Bank of England to cut short-term interest rates and that would tend to bring down short-term borrowing costs for the Government.
But we face an acute vulnerability, namely the exchange rate. Of course, even the United States must confront this problem, although it is much less serious for them. For a start, as the world's largest economy and the issuer of the world's reserve currency, the US can get away with things that the rest of us cannot.
Moreover, the US is a much less open economy than the UK and so any given percentage drop in the exchange rate has a smaller effect on inflation than it does here.
Every financial crisis in Britain somehow or other involves the pound. Given our huge public indebtedness and very substantial international net liabilities, coupled with a still enormous current account deficit, we are seriously vulnerable to a loss of confidence. If the pound were to drop considerably, you could kiss goodbye to the prospect of lower interest rates and lower bond
yields. Indeed, the opposite might happen.
This is the significance of Reevesgate. Normally, the obsessions of politicians with this or that policy tweak and the manoeuvrings of particular individuals have very little significance. But in today's financial context, if the markets sniff the idea that Britain is about to enter a period of political chaos when the Government is unable or unwilling to stabilise the public finances, then they will move in for the kill.
Whether the Chancellor is Reeves or someone else is not the important issue. The fundamental question is whether the Prime Minister has the will to assert his authority and control the public finances.
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Campaigners urge Government to keep care plans for children with Send
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Campaigners urge Government to keep care plans for children with Send

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Brian Cox: ‘Wealth? I get embarrassed'
Brian Cox: ‘Wealth? I get embarrassed'

Times

time24 minutes ago

  • Times

Brian Cox: ‘Wealth? I get embarrassed'

Brian Cox is back in the city where he — and the foul-mouthed media tycoon Logan Roy, whom he embodied so terrifyingly in Succession — started. Newly 79, Cox is rehearsing at the Dundee Rep, his first employer after, aged 15, he landed a job as 'assistant to the assistant'. He is starring in Make It Happen, a new play by James Graham, who wrote Dear England for the National Theatre and the BBC's Sherwood. It is a fantastical take on the 2008 fall of the mighty Royal Bank of Scotland under the ruinous reign of its CEO Fred 'The Shred' Goodwin. Cox plays the ghost of Scotland's most famous economist, Adam Smith, who is haunting Goodwin. He is a foul-mouthed spirit. 'It's an infection from Logan,' Cox says, crediting Graham's nod to the meta. In the play Smith, who was primarily a philosopher and did not even recognise the word 'economist', is shocked that he is remembered for his book The Wealth of Nations, published in 1776, rather than his earlier Theory of Moral Sentiments. 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'It's always difficult because it's so alien, you know, a working-class kid, virtually an orphan, to come into a situation like this. And that's why theatre is so important to me, because it's family. It really is family. And I've always found that it's family. Sometimes it's not a good family and sometimes it reflects what all families go through, but it's still family as far as I'm concerned.' On arriving that day he witnessed a fistfight between two actors, one of whom was Nicol Williamson, one of the greatest performers of his day. 'The air,' he writes in his delightful memoir, Putting the Rabbit in the Hat, 'was blue'. Seeing the young Cox's horror, the actor Gawn Grainger (Zoë Wanamaker's husband, who died only this May) assured him the pair 'were just a little overexcited after a night on the bevy'. I compare his nonchalance to last year when Cox was reported to Equity for losing his temper during rehearsals for a production of A Long Day's Journey Into Night. 'Nicol wouldn't have lasted two minutes today,' he says. 'It's this whole woke nonsense. You can't say boo to a goose. I mean, I just lost my temper and I said, 'I'm not losing my temper at you. I'm losing my temper at me. I'm the one who's having the problem, not you.'' • Brian Cox and his wife: 'We had four years that were pure hell' Cox, whom I have talked to several times over the past two decades, is a warm and generous interviewee and remarkably unlike Logan Roy. Nevertheless, I am reassured that he shares at least some of Roy's takes on wokery. He was certainly keeping them undercover when we talked three years ago alongside his younger and more progressive-minded wife, Nicole Ansari-Cox, whose play She/Her he was producing at the Edinburgh Fringe. She told me firmly that 'trans women are women', and her husband held his counsel. He says now he was being respectful to her work, on which she did 'a fantastic job', but he certainly does not see the trans issue as cut and dried. 'I mean, it's fine to say, 'Well, if you feel you're a boy, let's go down that route and see what that means without actually taking the ultimate step.' Or vice versa. Then you can find out. But at the moment they want to do it all too quickly. I think it creates a lot more problems. It certainly creates a lot more difficulties than it solves.' Ansari, a German actress whom he met in Hamburg while playing Lear and married in 2002, is his second wife — although you may have read she is his third. Wikipedia claims he was married for a year to Lilian Monroe-Carr between 1966 and 1967. 'That was my first mother-in-law!' he exclaims. His actual first wife was the actress Caroline Burt, who divorced him after 18 years in 1986. He was shocked, although in neither of his two memoirs does he paint himself as a devoted or faithful husband or an attentive father to their son and daughter. In contrast his two sons with Ansari have seen much more of their dad. When I first met him they were tiny and he admitted they were rather scared of him, 'this big white-haired figure'. When we spoke again in 2020, during lockdown, he gently complained that the teenagers slept all day, went 'crazy on their devices all night' and burnt popcorn at 3am. They are now in their twenties and over six foot, and he is experiencing parental nostalgia. 'I miss my boys when they were little. They were such a delight. I never felt it with my other family because I was probably too selfish and self-obsessed. But now I just miss them. I miss them terribly.' Cox barely had a paternal model to emulate. His father, a benevolent shopkeeper who lent money to needy customers, died of pancreatic cancer when he was eight. His mother, guilty for 'being on his case', subsequently suffered a series of breakdowns and Cox was largely brought up by his three sisters. 'The irony was that in many ways losing my parents empowered me in a way that I never realised. When you've lost your parents — and at that age — you're incredibly free. There's nobody telling you what to do or what to be or where to go. So the world is your oyster in a way that you didn't expect it to be your oyster. So you pursue that, which led me to the theatre.' • Brian Cox: 'I woke up stark naked holding half of my tooth' Early on he found a father figure in the actor Fulton MacKay (unjustly now mainly remembered for Ronnie Barker's sitcom Porridge), who warned him not to worry about being a star and concentrate on being a good actor. He tells me he is not sure he did want to be a star but it was sound advice anyway. Cox went on to play many of the great Shakespearean roles, including Lear and Titus Andronicus, and enjoyed later success in Hollywood, often portraying villains. Yet in his seventies, thanks to Succession, he did become a supernova of a star. Rare is the day someone does not ask him to tell them, in full Logan Roy, to 'f*** off'. My favourite Roy line comes in the last series when he discusses the chances of life after death: 'You can't know. But I've got my f***ing suspicions.' Cox long ago gave up on his family's Catholic faith but is not uninterested in the subject. 'My great fantasy now I'm in my late seventies is, 'How am I going to die?' I think, maybe I'll get run over, maybe I'll fall down stairs. A lot of people die by falling. So I'm constantly fantasising about my demise.' Believing he was written out a touch early, he has still not watched the seven Succession episodes that followed Logan's death in the final season. I recommend the Logan's funeral instalment in particular. 'I've seen bits of it. I did focus on Kieran [Culkin], who I was deeply fond of. That boy had been out of work such a long time before he did that.' And now he has won an Oscar for A Real Pain? 'For me it's the great success story of Succession that he's got his just rewards.' As for the wealth that late stardom has brought Cox, he is almost contemptuous of it. 'I haven't changed. I'm still the same and this attention to the detail of wealth freaks me out. I don't like talking about it. I get embarrassed. I've got so many clothes now. People just keep giving me clothes. I've got a stylist and all that bollocks. They were talking about how much I earn the other day and I just said, 'I don't want to know that, thank you very much. Please keep that information to yourself.' God almighty! Really? What a responsibility, living up to it apart from anything else.' • Read more theatre reviews, guides and interviews One thing wealth has brought is a separate London home for his wife, to add to the ones they share in Brooklyn and upstate New York. Partly to escape Trump's second term, they are based in Britain now, she in a three-bedroom flat, he nine minutes' walk away over Primrose Hill. He explains the arrangement as an extension of their separate bedrooms in their other homes (they 'visit' each other). 'But when I go to her flat I always feel I'm imposing. She said, 'Come, you've got to come over. Why don't you come?' I said, 'Well, it's a long walk …' Then I go and I'm fine. But I'm always a bit nervous when I go there.' After Logan's backstory was ret-conned to have him born in Dundee, the magnate revisits the city, but when driven to his family home he refuses to get out and look at it. Cox, in contrast, has been back to the cramped, bathless tenement flat he lived in as a child but he finds it painful to walk around Dundee now. 'Not because I don't love it, because I do love it. I find it painful to see the neglect. You see things like this theatre and think, 'Oh wow! Isn't this wonderful?' And the new V&A museum. But then they build that stupid building in front of the V&A!' (It houses Social Security Scotland.) Afterwards I make a trip to his childhood home a 20-minute walk from where we have been talking. It is a granite building with a view of the Tay and does not look uncared for. What surprises me as a southern Englander, however, is that you can buy a two-bedroom flat in the street for just £85,000. It is as Cox says: the wealth of the nation has not rearranged itself northwards for a very long time. And yet from this street, from a home in which three of his sisters shared one settee bed and he and his brother slept together in an alcove, there emerged this volcanic talent. Cox has come a long way, but Dundee deserves to have him back. Make It Happen is at the Dundee Rep Theatre, Jul 18-26, then at the Edinburgh International Festival, Aug 1-9,

Britain's top cop defends arrest of OAP priest, 83, at banned Palestine Action protest — ‘law has no age limit'
Britain's top cop defends arrest of OAP priest, 83, at banned Palestine Action protest — ‘law has no age limit'

The Sun

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  • The Sun

Britain's top cop defends arrest of OAP priest, 83, at banned Palestine Action protest — ‘law has no age limit'

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