the hacks try to get an angle on freak weather conditions in the silly season." Green adds about a late scene, "Today the sequence reads like an elegy for the old Fleet Street culture of "The Print" which gave life-time employment to thousands of Cockneys, until Murdoch introduced computerised newsrooms, smashed the print unions and moved operations to Docklands, eventually dragging the rest of Fleet Street with him." Nuclear weapons testing – "Then the premise of the film – that nuclear tests alter the earth's orbit, disrupt the climate and send the planet spiralling towards the sun – makes a deeper impact ... Global destruction through nuclear war is becoming an existential reality... Nuclear holocaust anxieties in the movies were not new, of course. But these fears were usually externalised as monster mutation narratives..." Escapism – "Everyone's keeping busy except boozy Stenning, who clearly resents being tasked to write a lightweight piece about sun-spots, when he used to be the paper's hotshot columnist with serious ambitions as a writer. He'd rather be in Harry's Bar, a cosy all-day drinking club modelled on Fleet Street's El Vino's." Social class – "Stenning's discontent is not explicitly political, in any specific ideological sense ... But there's the same restlessness about the restrictions of class. Stenning voices a distrust of traditional upper-crust Anglo-Saxon attitudes that parallels the increasingly awkward questions the narrative raises about the inertia of the British Establishment, as well as the mood of a Britain on the edge of social change. "You ought to see the way they're bringing him up, Bill. It'll be the right prep school next. And then the right boarding school. And by the time they finish with him, he'll be a right bowler-hatted, who's-for-tennis, toffee-nosed gent, but he won't be MY son...." Gender politics – "This encounter with Jeanie signals the beginning of Stenning's slow transformation. It also exemplifies the transformation of gender politics in UK bureaucracy since 1961. Today a bright woman like Jeannie would probably be running the whole department rather than servicing a duplicating machine, which is where Stenning discovers her. "I'm not women!" she informs Stenning, when he makes one of his bar-room generalisations." End of the world – "Stenning manages to photograph the flaring black disc of the sun – a superb piece of metonymy for the looming threat of extinction ... As I. Q Hunter points out in British Science