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Oddbins to go into administration

Wine retailer says decision follows refusal by HM Revenue & Customs to back a potential rescue deal Wine retailer Oddbins has said it will go into administration after HM Revenue & Customs refused to back a potential rescue deal. The struggling off-licence hoped to restructure its debts through a company voluntary arrangement (CVA), but the tax office – a significant creditor – would not support the move. A statement from Oddbins said the firm expects to enter into administration on 4 April, sparking fears for the future of its 400 staff. The retailer, which recently shut nearly 40 stores, is the latest independent wine trader in the UK to find itself in trouble. Threshers owner, First Quench Retailing, collapsed in 2009 and the Unwins chain folded in 2005. Oddbins, which has 89 stores left in the UK, has been under pressure amid competition from supermarket chains and falling consumer confidence. It is understood the chain owes HMRC £8m– about 30% of the company’s debt. Oddbins said a significant majority of creditors clearly wanted it to continue trading, but HMRC’s vote was heavily weighted and tipped the outcome. The company needed 75% of creditors to back the deal. Managing director Simon Baile, whose father founded the company in the 1970s, said he remained optimistic for the firm, revealing that a number of potential investors had come forward to buy the business, or parts of it. HMRC is unable to discuss specific details about its debtors due to its statutory duty of taxpayer confidentiality, but a spokesman said: “We do everything we reasonably can to support viable businesses but we have to do the right thing for the country’s finances and other creditors when casting our vote.” Retail industry Food & drink industry guardian.co.uk

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Japanese officials are seriously considering taking the United Nations’ advice and expanding the mandatory evacuation zone around the crippled Fukushima nuclear complex as radiation continues to spew into the environment. People within 12 miles of the leaking plant have been ordered to leave, but the UN says radiation levels above…

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Malalai Joya’s journey west

The Afghan activist has become a celebrated critic of US policy, but her status abroad has cost her legitimacy in her homeland Malalai Joya’s article about the US kill team in Afghanistan expressed the disgust of many if not all Afghans , but her categorical rejection of the US intervention in Afghanistan is unfair. After all, without US intervention, Joya would not have been able to own a passport, let alone travel abroad. Equally, without the international community’s interference, there would not have been the 2003 Loya Jerga where she first gained international fame. Joya’s anti-US military rhetoric resonates with the leftist circles of the west who are her chief audience, and Joya’s celebrity status reached a climax recently when she appeared alongside Noam Chomsky in Boston . Back home in Afghanistan, though, she has become irrelevant. But to understand Joya’s contradictory views, we need to look at how her career began and developed. Let’s go back to the constitutional Loya Jerga of 2003 when Joya first became famous. At the time, she was an independent voice and had the audacity to make a relevant, but politically explosive comment. She said that the inclusion of war criminals threatened to undermine the assembly’s legitimacy with Afghans risking to miss out of a historical chance for justice. Morally, she was absolutely right; but the truth was that, after two decades of violence, it was inevitable that the leaders that had emerged owed their power to war. The international community had to work with what was there – and what was there was war leaders with dubious human rights records. To exclude them from the assembly was unreasonable because it would have driven them to start a new war front. Including them in the assembly meant that the Taliban remained the sole insurgents while the former mujahedin stopped fighting and began a new government. It was a morally flawed but pragmatic solution. Joya was driven by a burning desire for justice – pragmatism has never been her strength. Joya’s outspoken comment took the assembly by surprise. It was up to the assembly leader, Sebghatullah Mojaddedi, to diffuse the situation because he was older and more experienced. But Mojaddedi took offence and ordered Joya to leave the assembly. He then changed his mind and struck a gentler note, “Come back, child, you owe us an apology.” But it was too late: the old man had lost the young woman. And with that, Joya lost a chance to fully develop her potential and work on the kind of constructive and reconciliatory politics that Afghanistan needed. Since then, Joya’s career as MP has been marked by repeats of that crucial early scene of her, a young woman, confronting old jihadi men. The location shifted from the Loya Jerga tent to parliament, but Joya and her jihadi nemesis remained stuck in an endless cycle of accusation and counter-accusation. The Afghan audiences found the confrontations first interesting, then amusing and finally lost interest in them altogether. By then, Joya was ousted from parliament, but her career abroad was beginning to flourish. Her book tour of the US is part of this development. The tragedy of Joya is that she was spotted by the international media and a clandestine radical leftist Afghan organisation at a time when Afghan democracy was in its infancy. At the time, Afghan human rights groups had not yet developed fully to give Joya the kind of support she needed. Isolated and vulnerable, she became an easy prey and was picked up by a group whose politics were steeped in the anti-imperialist revolutionary world of the 1960s and 70s ideological battles. Joya has served as a respectable front for a group that otherwise has little backing in Afghanistan. Joya’s recurrent reference to “warlords in the pay of the US” are all about the group’s bitterness that Washington allied itself with the group’s Islamists rivals in the 1980s, enabling them to defeat the left. The alliance was abandoned between 1992 and 2001, but resumed fully with the 2001 intervention. Little wonder, then, that the group felt doubly betrayed by Washington. But Joya’s sudden fame in the west offered the group an unexpected chance to turn the tables and use Joya’s popularity abroad to give her legitimacy to attack the group’s jihadi nemesis in parliament. Joya’s confrontations often came out of the blue. During a session about trade, Joya raised her hand but instead of asking questions about trade, she questioned the mujahedin’s legitimacy . The speaker cautioned her that her comments were irrelevant because the session was about trade, but the damage was done and the session disrupted. Joya’s disruptions of parliament eerily resembled similar incidents of leftwing versus rightwing fights that interrupted parliament in the 1960s. The resemblance is natural because the parties involved were the same old leftist comrades versus rightwing Islamist brothers. Joya has become simply a new player in an old political dynamic. This also explained the intensity of the jihadis’ reaction to Joya. After all, criticising warlords was nothing unusual by 2007. But Joya was re-opening old wounds. Her repeated reference to the internal wars of the 1990s was the group’s message that the jihadi victory was not complete since they had failed to cement it through establishing a solid state. Needless to say, such nuances have been lost on the western media who presented Joya’s provocations as a woman’s struggle for rights and democracy. The thought that her disruption of parliament was evidence of an anti-democratic attitude on her part did not occur to them. After all, in the simplistic world of western politics, a young woman fighting bearded old men simply cannot be wrong. Afghanistan Noam Chomsky United States Gender Islam US foreign policy US military Middle East Nushin Arbabzadah guardian.co.uk

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Modern art: Are the stuckists right?

Conceptual naysayers can be unhelpful, but the hegemony of Turner prize art could truly be damaging the future of painting What if the stuckists are right? Just a thought. Stuckism, for better or worse, has entered our language. It refers both to an actual organisation and, in art chatter, to the belief that British art is dominated by conceptual values to the point that it puts figurative painters at a serious disadvantage. I’ve argued with the stuckists – indeed I’ve abused them, calling them the enemies of art . I object to their obsession with conflict and polemic rather than actually getting on with training themselves to be great painters (because great painters never stop learning). By insisting that painting v conceptualism is an ideological battle, they invite a similarly ideological tone from their opponents. They have coarsened the debate. They also miss out a third part of the equation – abstract painting, a profound tradition that evolved in the modern age. By setting “traditional painting” against conceptualist “modern” art, they ignore great modernist painters from Picasso to Cy Twombly . But what if – in spite of their follies – they are right in their basic claim? In Britain today, there are more galleries and museums than ever before dedicated to the promotion of “modern art” as it is defined by the Turner prize. In this week’s funding announcements , the Whitechapel gallery, the Serpentine gallery and other contemporary art venues got increases. David Cameron is getting Tracey Emin to do a neon for 10 Downing Street . The hegemony of Turner prize art crosses party lines, and is as evident in the Telegraph as the Guardian. Where, as the stuckists ask, does this leave skilled painters? There is a palpable tension between painters and the current – inaccurate – British idea of what modern art is. If you reject the notion that physical skill, natural talent or technical training have any value as art in themselves, then painters are screwed. Painting has an astonishing history of technique and style, and all great paintings engage with that legacy in some way. Painting well is hard work. It takes time and knowledge. Will there be any Lucian Freuds around a century from now? Not unless we find space for talented and disciplined painters in our idea of art. Not unless we encourage young artists who are talented at drawing and painting to deepen those skills, instead of immediately turning to other media. No novelist can win the Booker prize without being able to write. But if you said all artists must be able to draw, you’d be laughed at. I’m not trying to reimpose academic art education. But tolerance and creative freedom must be a two-way street. If artists are free to do what they like, this should also include the right to learn to draw and paint superbly well – and to have that ability recognised and valued. Painting Turner prize Tate Britain Art Awards and prizes Jonathan Jones guardian.co.uk

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‘Altered minds, altered states and bags of style’

Altered minds, altered states and bags of style – this sci-fi thriller is a superb follow-up for Duncan Jones With his debut movie Moon, Duncan Jones made a mighty leap; now with this superb follow-up, he has hit the ground sprinting. Source Code is a terrifically exciting and hugely enjoyable sci-fi thriller, written by Ben Ripley. For pure entertainment, there’s nothing around to touch it. Source Code is about conspiracies, altered minds and altered states, far-fetched in the most elegant and Hitchcockian way, and the sheer outrageousness of it all is muscular and streamlined. The film is about modified reality and inner space, and there are points of comparison with Christopher Nolan’s Inception. But the world of Source Code seems to me more interesting, and more able to incubate real drama, real suspense and even some real humour. At its centre is Colter Stevens, played by Jake Gyllenhaal, a US army helicopter pilot who has crashed in Afghanistan. When he comes to, he finds himself in civilian clothes aboard a crowded commuter train arriving slightly late into Chicago on a glorious summer morning. He appears to be in someone else’s body: that of a suburban teacher. Opposite him sits Christina (Michelle Monaghan) who behaves as if a brief nap has merely interrupted their highly flirtatious conversation, but she is then increasingly alarmed as Colter, wild-eyed and panicky, demands to know what is happening and what is going on. After eight minutes, a catastrophic event then hurls Colter back into a situation that is in some ways even more perplexing. He is in uniform, injured and immobilised in what appears to be part of a wrecked military aircraft. Is this real? Or is it the train that’s real? Through a video monitor, he must communicate with a woman who is evidently now his commanding officer. Goodwin, played by Vera Farmiga, treats him with the same unreadable solicitousness as Kevin

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Stockwell target contacts police

Youth hiding in south London shop when attackers opened fire, critically wounding a five-year-old girl, comes forward One of the youths thought to have been the target of the gang who shot five-year-old Thursha Kamaleswaran has contacted the police. The news came as sources revealed that up to 50 gangs operate in the area where Thursha and another bystander became innocent victims of a vicious turf war. Detectives investigating the shooting at the Stockwell Food and Wine Shop in south London on Tuesday night have called in territorial support group officers to reassure locals fearing revenge attacks. Chief Superintendent Nick Ephgrave called for people in the area to come forward if they have information about the “truly shocking event”. A shopkeeper, believed to be Roshan Selvakumar, 35, was also hit, suffering a head wound during the attack. They were caught up in the violence when two youths attempted to hide in the store as they were being chased by three other youths on bicycles. One youth stopped at the door and opened fire indiscriminately. The three attackers – who a witness said were aged between 14 and 17 – fled from the Stockwell Road shop, along Broomgrove Road and into the Stockwell Park estate. The victims, who police said were Sri Lankan, were rushed to hospital in south London. They are both in a critical but stable condition. Thursha was visiting her aunt and uncle, when the attackers struck. Crimestoppers is offering a £50,000 reward for information leading to the attackers’ capture. Police said the girl’s 12-year-old brother and three-year-old sister were also in the shop at the time of the shooting, but were unhurt. Thursha’s parents held a bedside vigil as she fought to recover from her injuries, a close family friend said. Velluppillai Navaratnam, 49, from Croydon, south London, said friends and family members were praying for her recovery. “I would like to say that it has been a very difficult time for family and friends,” he told reporters at the scene of the shooting. “The parents of Thursha are at the hospital now. We are all praying for her to get well soon.” Officers are still reviewing CCTV footage in a bid to track down the culprits, Detective Chief Inspector Tony Boughton told reporters at the scene in Stockwell. “We are beginning to get a clearer picture of what happened,” he said. “One of the youths who first ran into the shop has come forward to police and is assisting us with our inquiries. We are still trying to trace the other individual and appeal to him to come forward.” Gun crime Crime London Gangs Young people Communities guardian.co.uk

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Kiefer Sutherland is starring in a new series but you won’t find it on traditional TV. The 24 star plays a hit man trying to save his soul in The Confession , an online serial that made its debut on Hulu this week, reports the Independent . The series—made up of…

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The real and stage names of thousands of current and former porn film workers has been leaked online. The data has been posted on a WikiLeaks-style site and was apparently obtained from the Adult Industry Medical Healthcare Foundation (AIM), a California clinic that conducts lab tests for sexually transmitted diseases…

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Has Snyder been Sucker Punched?

With the critics savaging Sucker Punch, it’s possible for Warner Bros to promote Christopher Nolan, demote Zack Snyder and still use his mainly visual gifts Can one film ruin a career? Maybe it can, if that film is Sucker Punch. Speculation has been rife this week that Zack Snyder might find himself out of the Superman hotseat due to the critical drubbing and poor US box-office bow for his salacious new action fantasy. MTV News even quotes a number of critics willing to bet their last greenback that the US film-maker is about to be unceremoniously dumped in favour of another director. At first glance, this all seems a bit farfetched. Snyder was only handed the job of reviving the Man of Steel in October, and Warner Bros executives will rest comfortable in the knowledge that they have producer Christopher Nolan above him in the film-making hierarchy as the project’s “godfather”. On the other hand, anyone who has seen Sucker Punch will easily be able to understand why it might prove to be the director’s kryptonite. Horribly misconceived, puerile, distasteful and hugely wasteful of the talent involved, Snyder’s latest release is Coyote Ugly for the fanboy brigade – or Girl, Interrupted , had Winona Ryder and Angelina Jolie been forced to spend the entire film shooting things while tarted up to the nines in stockings and suspenders. Quite what Snyder was thinking is anyone’s guess, but one can only assume he was given free reign to indulge his cinematic vision following the relative box-office successes of 300 and Watchmen (and promptly fluffed his lines). Snyder’s vision, such as it is, seems to be that of a 15-year-old video-game junkie. Sucker Punch is all hotpants and uzis, scantily clad babes blowing the bejesus out of hordes of zombie Nazi troopers and bazookaing dragons and giant robots to kingdom come. It’s even compartmentalised into game-style, task-orientated segments which must be completed to allow our high-kicking heroines to escape the nuthouse-cum-whorehouse where they have been incarcerated. One can only imagine somebody somewhere thought this might appeal to adolescent males in the same way the similarly vacuous Twilight movies have drooling teenage girls flocking to cinemas. I am pleased to report that somebody somewhere got it very wrong indeed. I am less pleased to admit that, earlier this year, I thought Sucker Punch might just be one of this year’s fantasy highlights, based on Snyder’s excellent efforts on Watchmen. If he does remain in charge of Superman, we can only hope that results will improve when he is once again working from somebody else’s screenplay, which in the latter film’s case is a much-hyped David S Goyer /Nolan creation. The other big news this week on a Warner/DC tip (the studio owns the screen rights to all the comic book publisher’s major titles) is head honcho Jeff Robinov’s LA Times interview , in which he reveals two things. Firstly, Nolan will be in charge of rebooting Batman in a producer’s role once he has finished work on The Dark Knight Rises, and secondly, there are proposals in the works to revive the long-awaited (albeit with some degree of trepidation) plan for a Justice League movie, uniting the caped crusader with Superman, Wonder Woman and other characters in one feature. What this means is that Warner are basically counting on Nolan to oversee both their major superhero “franchises” for the foreseable future. What it does not mean, apparently, is that the British film-maker will also be taking charge of a Justice League film. Speaking on the red carpet at the London premiere of Sucker Punch, Snyder said there were no plans to link his iteration of Superman or either Nolan version of Batman (either the current series or the planned post- Dark Knight Rises reboot) with Justice League. “It doesn’t [connect],” Snyder said. “Like what Chris Nolan is doing and what I’m doing with Superman, what they’ll do with Justice League will be its own thing with its own Batman and own Superman. We’ll be over here with our movie and they’ll kind of get to do it twice, which is kind of cool.” Except, of course, that it isn’t. The most recent attempt to bring Justice League to the big screen failed precisely because executives feared putting parallel iterations of Batman and Superman on the screen at the same time. Why they have changed their minds now, beyond the potential for generating extra revenue, is somewhat open to question. Without tie-ins to the more grown-up solo series (the Snyder-Nolan Superman is being pitched as a more realistic take than previous versions, in line with Batman Begins and The Dark Knight ), Justice League looks likely to be a rather insipid affair, since none of its main protagonists will have more than a small portion of screen time to establish themselves. So here’s a solution: give Snyder Justice League. The film-maker has an unquestionable gift for visual flourishes which might just paper over the cracks of what would likely be a prosaic storyline, even if it didn’t quite work for Sucker Punch. Then give Superman to someone else, or better still hold off bringing the Man of Steel back to the big screen until Nolan himself has the time and inclination to take on the project as director. Mr Robinov, I’ll expect my cheque in the next post. Christopher Nolan Science fiction and fantasy Comics and graphic novels Film adaptations Ben Child guardian.co.uk

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Nicola Clarke

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The needs of vulnerable disabled people are being sidelined by overstretched services, and families such as ours are fracturing My husband and I are currently facing one of the most difficult decisions of our lives. Do we place our disabled daughter in residential care? Parenting a child with any disability is extremely tough. We have to face many hurdles, from the lack of adequate respite provision to verbal abuse on the streets. Social exclusion also adds to the pressure on family life. Life can be extraordinarily bleak. Autism, learning disability and epilepsy are Emily’s diagnoses. Her level of care needs are high and her medical needs are in a fluid state as we try to achieve the correct epilepsy medication for her. We are currently wading through the quagmire of side-effects, but for us it is her violence that takes the greatest toll. The lack of a tangible sign of her disability – such as a wheelchair – have led many people in public to wrongly conclude that she is a badly parented troublemaker. She is noisy and she draws the eye, as she often wears a pair of pink earmuffs to protect her ears from crying babies. “Look at that, ” a teenage boy once said, spotting Emily in a shopping centre and pointing her out to his mates. That phrase is branded into my memory. “That” is a person. My daughter. I made this point to the young man responsible. Admittedly when I pointed out the error of his ways I may not have done so as calmly as I’m doing now, but I feel I covered the basics. I’ve fought for her and loved her and cried for her for longer than I can remember, but I find we are now torn between what Emily wants and what we need, because her violence – so rooted in her anxiety and need to control her environment – has brought us to crisis point. Her shouting led to slapping, and that led to punching. How long before she headbutts one of us? Or worse? Her world at home is dovetailed to her needs, but she will always have to live to the agenda of others so am I, by facilitating this, actually doing her a disservice? At 14, is she simply demonstrating extreme teenage rebellion – albeit one which is now dangerous? Stranger danger, the bogeyman of the terrified modern parent, is never far from our minds because abuse of disabled people in all forms outside their homes is not just the stuff of nightmares . We are battling to get the Children with Disabilities team to listen, to give us more than platitudes. We have asked for help and were given emergency respite but the service, accessed by Emily for the last seven years, is now apparently no longer an option. There are now no emergency respite beds at respite units in Shropshire. If we need it again, they will send her to a foster family. Many parents of disabled children who battle daily with overstretched support services, the bullying of their children, and meetings that fail to deliver meaningful support, end up divorcing. Or they become so entrenched in caring responsibilities that they believe they alone can give their child what they need. One example of this is the case of Stephania Wolf , whose disabled daughter, Sam, apparently starved to death after Stephania died. Stephania had reportedly turned down offers of support, yet neighbours say that she put a “Help” sign on the roof of her house in the months before they died. Ultimately, they were both failed. Other parents who lack support have lost hope, as Fiona Pilkington did . She killed herself and her disabled 18-year-old daughter in 2007, after years of abuse from youths who waited outside her house. Services were sparse then, when there was money to be spent, let alone now. My fear is that, in a time of recession, the very real needs of vulnerable people and their families are being sidelined. How can we let that happen? In 2007, disability charity Scope ran their Time to Get Equal week. The survey they commissioned was very revealing in finding that “over a quarter of respondents would pay £1 a week extra council tax to ensure disabled people in their area could get the support they need – and nearly one in 10 people would pay an extra £5 a week or more.” I wonder if that still holds true today. Our family, like many others in a similar situation, is fracturing. This is the reality. To make this terrifying decision takes energy, clarity and time. Yet we are at crisis point. They say you should never make important decisions when you’re upset. Wise words indeed. Long-term care Disability Autism Health Social care Public sector cuts Public services policy Nicola Clark guardian.co.uk

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