Briggs’s loving tribute to his London working-class parents stretches from their first meeting, as a milkman and a lady’s maid, in 1928 to their deaths in 1971. Both moving and funny, Ethel and Ernest is the personal story of a couple in a rapidly changing world that they often struggled to come to grips with. The Great Depression and the second world war were major events impacting on their lives, but so were the arrival in the home of radio, television and the washing machine.

Gandolfini was the focal point of “The Sopranos,” the incendiary, sybaritic neurotic who must play the Godfather at home and at the Bada Bing but knows that everything-his family, his racket, his way of life-is collapsing all around him.

As the seasons passed, Gandolfini gained weight at an alarming pace. His death, at the age of fifty-one, in Italy, does not come entirely as a shock. But that makes it no less a loss. Gandolfini was not a fantastically varied actor. He played within a certain range. Like Jackie Gleason, he’ll be remembered for a particular role, and a particular kind of role, but there is no underestimating his devotion to the part of a lifetime that was given to him. In the dozens of hours he had on the screen, he made Tony Soprano-lovable, repulsive, cunning, ignorant, brutal-more ruthlessly alive than any character we’ve ever encountered in television.

Platt, who reportedly sunk into a distracted haze after coming to the razor’s edge of experiencing genuine joy, fully intended to go through the motions of talking with friends and appearing to have a good time, all while he mentally shopped for a birthday present for his mother, wracked his brain to remember if he had turned in the itemized reimbursement form from his New York trip to HR on time, and made a silent note to call his bank about a mysterious recurring $19 monthly fee that he had recently discovered on his credit card statement.

“Everything’s fine,” said the tense, mentally absent man whose girlfriend asked him what was wrong after his near-giddy buzz vanished and he remembered that he hadn’t called his aunt yet to check up on her after her surgery. “I’m having fun.”

The auditorium grew hushed as a senior Watford borough councillor took to his feet. The police liaison team looked nervous. They had made their presentation and laid out their plans for this “unique event”: the anti-terrorism zones, the identity checks, the restriction on vehicles stopping in the vicinity of this “important international conference”. But now it was the turn of the people of Watford to speak.

What would they make of this international three-day policy summit, with its heavyweight delegate list bulging with billionaire financiers, party leaders and media moguls, protected by the biggest security operation Watford has ever seen?

“What this whole thing boils down to,” boomed the councillor, “is this: are you, or are you not, setting a precedent for vehicles parking on the verge of the Old Hempstead Road?”

In that respect, my encyclopædic blaze symbolised the benefits of creative destruction. Britannica stood for a time when access to information was limited, and largely determined by money. The magnificence of the collection was deeply connected to the fact that they were exclusive, expensively produced objects. We might well miss the smell of the leather binding, the crisp sound of flicking through their thin pages, the gravitas that the sheer 4lb weight of each volume suggested. But if what was on those pages mattered most, we must believe that these losses are more than outweighed by the freedom for anyone with an internet connection to access the same content and more at little or no cost. A world of valuable books behind the closed doors of a privileged minority cannot be preferable to one of invaluable information available through the open door of a web browser.

Batman from 1938 who’s out there with guns in his hand and he’s fighting vampires and crooks, I thought, well, imagine that’s Batman at 20, you know. And then he meets this kid when he’s 21, and the kid’s this little working class circus kid who’s totally cocky. And this introverted young Norman Bates Batman is suddenly, “Wait a minute. This is the kid that died in me. This is everything that I wanted to be.” And the two become friends, and it’s not creepy. It’s like, “He’s my best friend and my brother and everything I wish I could be.” And the kid’s looking at him like, “He’s everything I wish I could be.”

Vice: So you’re literally trying to take us back the Dark Ages?

Acting Witan of Mercia: It’s crystal clear that the Norman invasion in 1066 smashed the old system. This wouldn’t matter a jot if the world was OK as it is, but it isn’t. The causes of the problems of today go back to 1066. Before the 1066 holocaust, England had more to do with northern Europe and Scandinavia than the continent. If you look at those countries now, it’s a closer model to where we might have been had the Norman conquest never happened.

The circumstances of Greg Fleniken’s death, as reported, were unremarkable. On the table before him was a 55-year-old Caucasian male who appeared to be in decent shape. After methodical inspection, the only marks Brown found on the body were a one-inch abrasion on his left cheek, where his face had hit the rug, and, curiously, a half-inch laceration of his scrotum. This was interesting. The sack itself was swollen and discolored, and around the wound was a small amount of edema fluid. The bruising had spread up through the groin area and across the right hip. Something had hit him hard.

The story his body told grew more intriguing. When Brown opened the front of the torso he discovered a surprising amount of blood and extensive internal damage. A certain amount of partly digested food had been torn from his intestines. The doctor found small lacerations there, and on the stomach and liver, as well as two broken ribs and a hole in the right atrium of his heart.

The condition of his insides reflected severe trauma: Fleniken had been beaten to death, or crushed. Brown concluded that the wound to his genitals likely had been caused by a hard kick. He had also taken a blow to the chest so severe it had caused lethal damage. He would have bled out in less than 30 seconds.

On the official form, next to “Manner of Death,” Brown wrote, “Homicide.”

…There’s a half-expected (but still surprising) guest appearance from what I would be willing to bet is a young Christopher Hitchens. In a diverting rant about the increasing presence of voice effects in games, Amis recalls his first exposure to such gimmickry at a bar in Paris on New Year’s Day, 1980:

I was with a friend, a hard-drinking journalist, who had drunk roughly three times as much Calvados as I had drunk the night before. And I had drunk a lot of Calvados the night before. I called for coffee, croissants, juice; with a frown the barman also obeyed my friend’s croaked request for a glass of Calvados.

Then we heard, from nowhere, a deep, guttural, Dalek-like voice which seemed to say: “Heed! Gorgar! Heed! Gorgar … speaks!

“… Now what the hell was that?” asked my friend.

“I think it was one of the machines,” I said, rising in wonder.

“I’ve had it,” said my friend with finality. “I can’t cope with this,” he explained as he stumbled from the bar.