with a twist of fantasy. The archetypal Metro-land subjects (such as the railway station and the quiet suburb) became the settings for fiendish plots and treachery in this series and others, such as The Saint, The Baron and Randall and Hopkirk (Deceased), all of which made regular use of locations within easy reach of film studios at Borehamwood and Pinewood. Escaping Metro-land Some abhorred Metro-land for its predictability and sameness. A. N. Wilson observed that, although semi-detached dwellings of the kind built in the inner Metro-land suburbs in the 1930s "aped larger houses, the stockbroker Tudorbethan of Edwardian Surrey and Middlesex", they were in fact "pokey". He reflected that Post-war attitudes By the end of the Second World War architects in general were turning their backs on suburbia; the very word tended to be used pejoratively, even contemptuously. In 1951 Michael Young, one of the architects of the Labour Party's electoral victory in 1945, observed that "one suburb is much like another in an atomised society. Rarely does community flourish", while the American Lewis Mumford, wrote in the New Yorker in 1953 that "monotony and suburbanism" were the result of the "unimaginative" design of Britain's post-war New Towns. When the editor of the Architectural Review, J. M. Richards, wrote in The Castles on the Ground (1946) that "for all the alleged deficiencies of suburban taste ... it holds for ninety out of a hundred Englishmen an appeal which cannot be explained away as some strange instance of mass aberration", he was, in his own words, "scorned by my contemporaries as either an irrelevant eccentricity or a betrayal of the forward looking views of the Modern Movement". John Betjeman admired John Piper's illustrations for Castles on the Ground, describing the "fake half-timber, the leaded lights and bow windows of the Englishman's castle" as "the beauty of the despised, patronised suburb". However, as the historian David Kynaston observed sixty years later, "the time was far from ripe for Metroland nostalgia". Julian Barnes: Metroland Valerie Grove, who conceded that Metro-land was "a kinder word than 'suburbia'" and referred to the less spoilt areas beyond Rickmansworth as "Outer Metro-land", maintained that "suburbia had no visible history. Anyone with any spirit ... had to get out of Metro-land to make their mark". Thus, the central character of Metroland (1980), a novel by Julian Barnes (born 1946) that was filmed in 1997, ended up in Paris