Grenfell Tower inquiry blames authorities, firms for 2017 fire
A photograph taken on September 3, 2024 shows the the makeshift memorial created on the wall surrounding Grenfell tower, in west London. (Photo: Getty Images)
By EasternEyeSep 04, 2024
A PUBLIC inquiry into the 2017 Grenfell Tower fire in London has placed blame on government failings, the construction industry, and, most significantly, the companies responsible for installing flammable cladding on the building.
The fire, which occurred on 14 June 2017 in a 23-storey social housing block in West London, claimed the lives of 72 people. It was the deadliest residential building fire in Britain since World War Two.
The final report from the inquiry, released on Wednesday, assigned the majority of the responsibility for the disaster to the companies involved in the tower's maintenance and refurbishment, as well as local and national authorities and firms that marketed combustible cladding materials as safe.
The report also criticised the government, the local authority of Kensington and Chelsea, regulatory groups, and the fire brigade for their inadequate responses and long-standing inaction on fire safety in high-rise buildings.
"The fire at Grenfell Tower was the culmination of decades of failure by central government and other bodies in positions of responsibility in the construction industry," the inquiry report stated. The report is nearly 1,700 pages long.
Since the fire, survivors and the families of those who died have been calling for justice and for those responsible to be prosecuted. British police have identified 58 people and 19 firms and organisations under investigation, but prosecutions, including for corporate manslaughter and fraud, are still years away due to the complexity of the case and the need to review the inquiry's findings.
"I can’t pretend to imagine the impact of such a long police investigation on the bereaved and survivors, but we have one chance to get our investigation right," said Deputy Assistant Commissioner Stuart Cundy.
Keir Starmer's spokesperson emphasised that the government is committed to ensuring that those responsible are held accountable.
An earlier report in 2019, focusing on the night of the fire, found that an electrical fault in a refrigerator in a fourth-floor apartment sparked the blaze. The fire then spread rapidly due to the cladding installed during a 2016 refurbishment, which was made of flammable aluminium composite material.
The inquiry, led by retired judge Martin Moore-Bick, identified numerous failures, noting that lessons from past high-rise fires had not been heeded and that fire safety testing systems were inadequate.
The report placed significant blame on those involved in the refurbishment of the tower with the flammable cladding, specifically naming architect Studio E, principal contractor Rydon, and cladding sub-contractor Harley. Fire safety inspectors Exova were also criticised for leaving the building "in a dangerous condition" after the refurbishment.
Kensington and Chelsea Council and the Tenant Management Organisation (TMO) were heavily criticised for their disregard for fire safety regulations in the years leading up to the fire. The TMO was particularly noted for its strained relationship with residents, which contributed to a "toxic atmosphere," and for being overly focused on cost-cutting.
While local community and voluntary groups were praised for their support, the council was criticised for its slow and inadequate response to the disaster.
The inquiry also condemned the firms involved in producing and selling the cladding and insulation materials—Celotex, Kingspan, and Arconic Architectural Products. The report concluded that these companies engaged in "systematic dishonesty" by manipulating testing processes, misrepresenting data, and misleading the market.
The use of exterior cladding has raised concerns across Europe, with similar fires occurring in apartment blocks in Valencia, Spain, in February, and in Italy in 2021.
In the UK, government figures from July revealed that 3,280 buildings 11 metres or taller still have unsafe cladding, with remediation work yet to begin on more than two-thirds of them.
So, Kajol and Twinkle Khanna’s show, Two Much, is already near its fourth episode. And people keep asking: why do we love watching stars sit on sofas so much? It’s not the gossip. Not really. We’re not paying for the gossip. We’re paying for the glimpse. For the little wobble in a voice, a tiny apology, a family story you recognise. It’s why Simi’s white sofa mattered once, why Karan’s sofa rattled the tabloids, and why Kapil’s stage made everyone feel at home. The chat show isn’t dead. It just keeps changing clothes.
Why Indian audiences can’t stop watching chat shows from Simi Garewal to Karan Johar Instagram/karanjohar/primevideoin/ Youtube Screengrab
Remember the woman in white?
Simi Garewal brought quiet and intimacy. Her Rendezvous with Simi Garewal was all white sets and soft lights, and it felt almost like a church for confessions. She never went full interrogation mode with her guests. Instead, she’d just slowly unravel them, almost like magic. Amitabh Bachchan and Rekha, they all sat on that legendary white sofa, dropping their guard and letting something real slip out, something you’d never stumble across anywhere else. The whole thing was gentle, personal, and almost revolutionary.
Simi Garewal and her iconic white sofa changed the face of Indian talk showsYoutube Screengrab/SimiGarewalOfficial
Then along came Karan Johar
Let’s be honest, Karan Johar changed the game completely. Koffee with Karan was the polar opposite. Where Simi was a whisper, Karan was a roar. His rapid-fire round was a headline machine. Suddenly, it stopped being about struggles or emotions but opinions, little rivalries, and that full-on, shiny Bollywood chaos. He almost spun the film industry into a full-blown high school drama, and honestly? We loved it up.
Kapil Sharma rewired the format again and took the chat show, threw it in a blender with a comedy sketch, and created a monster hit. His genius was in creating a world or what we call his crazy “Shantivan Society” and making the celebrities enter his universe. Suddenly, Shah Rukh Khan was being teased by a fictional, grumpy neighbour and Ranbir Kapoor was taunted by a fictional disappointed ex-girlfriend. Stars were suddenly part of the spectacle, all halos tossed aside. It was chaotic, yes, but delightfully so. The sort of chaos that still passed the family-TV test. For once, these impossibly glamorous faces felt like old friends lounging in your living room.
Kajol and Twinkle’s Amazon show Two Much feels like friends talking to people in their circle, and that matters. What’s wild is, these folks aren’t the stiff, traditional hosts, they’re insiders. The fun ones. The ones who know every secret because, let’s be honest, they were there when the drama started. On a platform like Amazon, they don’t have to play for TRPs or stick to a strict clock. They can just… talk.
People want to peep behind the curtain. Even with Instagram and Reels, there’s value in a longer, live-feeling exchange. It’s maybe the nuance, like an awkward pause, a memory that makes a star human, or a silly joke that lands. OTT gives space for that. Celebs turned hosts, like Twinkle and Kajol in Two Much or peers like Rana Daggubati in Telugu with The Rana Daggubati Show, can ask differently; they make room for stories that feel earned, not engineered.
How have streaming and regional shows changed the game?
Streaming freed chat shows from TRP pressure and ad breaks. You get episodes that breathe. Even regional versions likeThe Rana Daggubati Show, or long-running local weekend programmes, prove this isn’t a Mumbai-only appetite. Viewers want local language and local memories, the same star-curiosity in Kannada, Telugu, or Tamil. That widens the talent pool and the tone.
From White Sofas to OTT Screens How Indian Talk Shows Keep Capturing HeartsiStock
Are shock moments over?
Not really. But people are getting sick of obvious bait. Recent launches lean into warmth and inside jokes rather than feeding headlines. White set, gold couch, or a stage full of noise, it doesn’t matter. You just want to sit there, listen, get pulled into their stories, like a campfire you can’t leave. We watch, just curious, hoping maybe these stars are a little like us. Or maybe we’re hoping we can borrow a bit of their sparkle.
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