Tom Clark
In Chris Morris’s 1990s news satire, The Day Today, viewers are told at one point that all normal programmes have been suspended to make way for a film to be played at moments of crisis—what follows are images of fluttering Union flags, British bobbies and villages with names like Wabznasm, set against the stirring backdrop of Holst’s Jupiter, as a voice booms “it’s all alright, it’s all OK.”