Signal To Noise At The BBC

Perhaps this explains why American television is constantly ramming British affectations down our ...er um ... throats. [ie: Piers ... and Simon ... and Stuart ... unbelievable]

And so you open Pandora’s box to find the seedy ingredients of British populism. It’s not just names, or performers and acts, it’s an ethos. Why is British light entertainment so often based on the sexualisation of people too young to cope? And why is it that we have a press so keen to feed off it? Is it to cover the fact, via some kind of willed outrage, that the culture itself is largely paedophile in its commercial and entertainment excitements? Milly Dowler’s phone was hacked by journalists cynically feeding the ravenous appetites of three million people who love that stuff, and that’s just the ones who actually bought the News of the World. When Leveson’s findings are duly buried, will we realise that it was the nation’s populist appetites that were on trial all along?

We’re not allowed to say it. Because we love our tots. Or, should I say: WE LOVE OUR TOTS? We know we do because the Mirror tells us we do, but would you please get out of the way because you’re blocking my view of another 14-year-old crying her eyes out on The X-Factor as a bunch of adults shatter her dreams. Savile went to work in light entertainment and thrived there: of course he did, because those places were custom-built for men who wanted to dandle dreaming kids on their knees. If you grew up during ‘the golden era of British television’, the 1970s, when light entertainment was tapping deep into the national unconscious, particularly the more perverted parts, you got used to grown-up men like Rod Hull clowning around on stage with a girl like Lena Zavaroni. You got used to Hughie Green holding the little girl’s hand and asking her if she wanted an ice-cream. Far from wanting an ice-cream, the little girl was starving herself to death while helpfully glazing over for the camera and throwing out her hands and singing ‘Mama, He’s Making Eyes at Me’. She was 13.

Light Entertainment by Andrew O’Hagan @ The London Review of Books

h/t Emily Bell @ Columbia Journalism Review