All the sexiest scenes from Nadine Dorries's novel about Boris Johnson

NADINE Dorries has put her pen to work writing a novel about the downfall of her friend, hero and erotic obsession Boris Johnson. These are the good bits: 

P49: 

‘In his hour of greatest need he had been abandoned. His girlfriend had turned away from him for no other reason than her late-stage pregnancy. The rest had been scared off by Covid.

‘He lay there in intensive care, hooked up to bleeping machines, profile still noble enough for a Roman coin. His lips moved. I leaned closer.

‘“Wank me,” he said, with barely strength to form the words. “Wank me off.” And I knew that I must do what my prime minister and Britain required of me.’

P143: 

‘“They’re all against me,” he spat, correctly recognising that every MP, civil servant and journalist – who all went to the same public schools – knew what a threat this iconoclastic outsider was to their rule. “So I want you up against that wall.”

‘“What about Carrie?” I asked. “She only cares about wallpaper,” he said, contemptuously. “She knows nothing of a man’s needs. She is a mere broodmare. You are my true love, or I wouldn’t have such a massive stiffy.”

‘“What about Cummings?” I asked, preparing myself for his bombastic entry. “It’s okay,” he said, entering me in a single bold movement that rattled historic china in a nearby cabinet. “You’re well past the menopause so it’s fine.”’

P300: 

‘“You will never restrain me,” roared Boris, magnificently nude, fully priapic, wrapped only in chains held by pygmies. “I am an electoral giant! I delivered a majority as stonking as this erection!”

‘But for every chain he broke, the small-minded grey men of politics, threw over another. “That’s why we’re so afraid of you,” squeaked Sunak. “Because you upset the applecart. Because you have a direct connection to the heart of the British people. Because you could rule for a hundred years.”

‘“Graaagh!” shouted the once and future king, flinging his disloyal ministers around the Commons in defiance. But it was too late. Their poisoners’ daggers had entered his heart. And I was powerless to help, as I was masturbating furiously.’

P348

‘He drew my hand to his lips. “I shall be back,” he said, tender even as I rode his bucking bulk like a rodeo cowboy. “And ere I leave I shall make you a lady. Lady Nadine of the Mersey Slums, the highest in all the land!” he promised as I climaxed.

‘That his vow could not be kept was not his fault. So, on his exiled behalf, I vowed the revenge of a writer gifted with the poetry of Shakespeare and the libido of Jilly Cooper. After publication, the whole political establishment would be on its knees in an alleyway sucking dick.

‘And not in a good way.’

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The films of Martin Scorsese: are they nothing more than a load of boring old Mafia shite?

CINEASTE Martin Scorsese has enthralled critics, and very occasionally audiences, for 50 years. But is his oeuvre the same old crap about the Mafia again and again? 

Mean Streets, 1973

Making his debut with a film starring Robert DeNiro about Italian-American crooks in New York, Scorsese started as he meant to bang on and on. And, given The Godfather was a huge hit the year before, it was as thrillingly original as the 90s Brit gangster films that followed Lock Stock. But, credit to him, he stepped away from Mafia films after that.

Bad, 1986

Stepping away from Mafia films didn’t really work out. Taxi Driver and Raging Bull are decent, while hardly straying away from the Italian-American New York criminal scene, but musicals, comedies, and satires all fail. By 1986 he’s directing an 18-minute Michael Jackson video in which Jackson is less believeable as a badass than he was as a zombie.

Goodfellas, 1990

Returning to the Mafia like an ex-con who’s failed at pulling straight time, Scorsese makes his only film everyone likes by doing all his little tricks that aren’t that tired yet. Stars DeNiro, obviously, set in New York because where else is there, a 90s update on The Godfather that happened to come out the same year as the shit Godfather sequel so obviously wins.

The Age Of Innocence, 1993

Representing all the other movies Scorsese’s made that aren’t about the Mafia that nobody gives a flat fuck about, this is an adaptation of an Edith Wharton novel about 1870s New York high society so stupefyingly dull it killed millions.

Casino, 1995

Which is why he went running straight back to the Mafia to make a movie so generic you’re unsure if you’ve seen it or not even while the credits roll. Robert DeNiro, Joe Pesci, all the bloody rest though this one is set in Las Vegas. What a major departure for this chameleon of a filmmaker.

The Departed, 2006

By now the pattern is established: Mafia movie, kudos, greenlights for other, more ambitious and varied projects, nobody watches them, Mafia movie. Starring the shameful overacting of Jack Nicholson and the functionally identical Matt Damon and Leonardo DiCaprio, everyone who raved about this is ashamed they did.

The Irishman, 2019

No other director could put DeNiro, Pesci and Pacino together in a Mafia movie. No other director is that short of ideas. Makes Sharknado 5 seem innovative. Everyone’s too old for their parts, especially the director, and nobody has ever finished the three-hour film. Not one person. Not even Scorsese.

Killers of the Flower Moon, 2023

A film not about gangsters for a streaming service nobody’s subscribed to. This, and one more, and then he’ll reward us with yet another fucking Mafia movie.