Explainer
Culture
Film & TV
9 min read

The fortunate death of tabloid talk shows

TV tabloid talk shows made a spectator sport out of domestic conflict. Lauren Windle dissects the grim format’s demise and draws lessons for today’s media users.

Lauren Windle is an author, journalist, presenter and public speaker.

A view across a talk show TV set showing a security guard standing between two guest while the host talks to them. An audience looks on.

Do you, like me, ever look around and ask yourself:  

“What, of the things I see as normal now, will I realise were very wrong in 50 years?”  

There were times in history when a huge proportion of the UK population saw no issue with forced labour and slavery. Sexism and even sexual assault were par for the course in corporate environments. Forcing young pregnant girls to give their babies up for adoption was considered “for their own good”. The list goes on.  

Talk shows, I believe, are now transitioning into the category of: “I can’t believe we thought that was OK.” The term “talk show” is used for two different formats; first the Parkinson style celebrity interview programmes, often billed late in the evening on the weekends and attracting big name guests. Then there’s the other kind – the one I’m talking about. The Jerry Springer, Jeremy Kyle audience shows where, often vulnerable, guests are invited to resolve some sort of conflict in front of a baying audience with a taste for blood.  

When the “King of the Talk Show” Jerry Springer passed away last month at the age of 79, I couldn’t help but hope the TV format he made so famous would die with him. Brutal, I know. But it really is for the best.  

The first episode of Jerry Springer aired in the States in 1991. He may have been the most famous, but he wasn’t the first. The Sally Jessy Raphael Show launched in 1983, it tackled tough tabloid issues like teen pregnancy and extreme religious views. Sally’s firm but fair, maternal style of leadership attracted a loyal fan base.  

Outrageous content led to the sort of high viewing figures TV execs are happy to sacrifice people’s mental health for. So, the show went on.

Then in 1987, the launch of Geraldo, saw the daytime talk show make further waves. Fronted by journalist Geraldo Rivera, it was the show that inspired people to coin the term “trash TV”. Producers put virtually no effort into screening their guests, even hosting one show with Klu Klux Klan members on the same stage as Black and Jewish activists. This descended into an almighty brawl that included guests, audience members, crew and the host who left with a broken nose after someone hurled a chair at his face. You’d think that would be enough to call it off. You tried. It was chaos. Time to take your ball and go home, right? Of course not, the outrageous content led to the sort of high viewing figures TV execs are happy to sacrifice people’s mental health for. So, the show went on.  

1991 was a big year for the tabloid talk show concept, with the introduction of a number of big names; The Maury Povich Show, The Jenny Jones Show, The Montel Williams Show and most famously Jerry Springer. They were later joined by Hairspray’s Ricci Lake whose iconic addition to the daytime TV scene was aimed at a younger crowd of “stay-at-home-moms”. 

The Jerry Springer Show started off as a political talk show, but poor ratings encouraged producers to continuously adapt the model. In the mid-90s they landed on the salacious topics that it became famous for. Themes like incest and adultery were commonplace. Jerry featured a man who claimed to have married his horse, a woman who was pleased that she had cut off her own legs and a mother-daughter dominatrix duo. The bestiality episode has now been banned, but I reckon I could use my journalistic prowess to track down the others if I felt so inclined. Fortunately, I don’t. 

The format gave guests an opportunity to publicly talk about their feelings, something that until that point, had only been open to the middle classes. 

Meanwhile, us over the pond had finally caught on. If there were ratings to be boosted in America, there were ratings to be boosted in Blighty. Vanessa Feltz was one of the first to introduce the genre to the UK in 1994 with her self-titled show. The format gave guests an opportunity to publicly talk about their feelings, something that until that point, had only been open to the middle classes. People were excited by the show. Vanessa and her crew went on the road to invite real people to tell real stories. She was warm and allowed people to feel safe in opening up. While it wasn’t perfect, the programme was genuine in its desire to support those who spoke out about issues like domestic violence, eating disorders and sexual abuse. When Vanessa moved to the BBC in 1999, her ITV morning slot was filled by Trisha Goddard. Incidentally the BBC’s The Vanessa Show was cancelled later that same year after The Mirror newspaer revealed some of the guests had been paid actors. 

It didn’t matter by then, because there was a new UK chat show queen and it was Trisha. Again, Trisha insisted that she was the to support – not to condemn. As the show grew in popularity, the producers began chasing ratings and the topics got increasingly incendiary. I had a friend who went on with his girlfriend. He was a former SAS officer and was having relationship issues with his glamour model partner. After one particularly vicious argument between the pair, he tied all her clothes in military grade knots. She wasn’t able to free her garments so was left without a wardrobe. Despite Trisha’s intervention the couple didn’t stay together.  

It's a story we hear all the time in the media. If the audience keeps clicking/watching/streaming it, the producers will keep making it. 

People lapped up the opportunity to peak from behind the curtain into the messy lives of others. One former producer who worked on both shows spoke to Eastern Daily Press about Trisha:

“It certainly didn't start out as a show designed for people to watch and laugh at others: it wasn't cruel. Over time, it did change as people's expectations changed. At the end of the day, the broadcaster is always chasing ratings.” 

It's a story we hear all the time in the media. If the audience keeps clicking/watching/streaming it, the producers will keep making it. And it goes on and on. A tawdry game of one-upmanship where both the audience and producers feel vindicated as they blame the other for the problem. The serpent is eating its own tail and growing all the fatter in the process. 

And then came Jeremy Kyle. What Jerry Springer did in the States to escalate the talk show, Jeremey Kyle did for the UK. Jerry Springer capitalised on the most sexual and depraved stories he could find and then put people in a ring to fight it out (their clothes hopefully coming off in the process). While Jeremy Kyle’s tactic was to belittle. He chastised and shouted. He told people to “get a job” and shamed them for accessing state support. He was judgemental, pious and cruel. The aim became to mock and humiliate, not to encourage and support. And all this came at a time where we as a society were poised and ready to take the mick out of the working classes or “chavs”. We lapped it up.  

We weren’t “loving our neighbour”, rather loving their misfortune. Way back in the heyday of the Roman Empire, a cultural activist called Paul, wrote to some Christians living in the heart of the empire, Rome itself. He wrote: 

“Live in harmony with one another…do not repay evil for evil…if it is possible, so far as it depends on you, live at peace with everyone.”  

But instead, we made a spectator sport out of domestic conflict. The audience kept growing as we lapped up the misfortune of others, often those from disadvantaged backgrounds. We disregarded the biblical proverb that advised:  

“Do not gloat when your enemy falls; when they stumble, do not let your heart rejoice” (Proverbs 24:17) 

in favour of full audience jeering and whooping in the face of another's failure. When I first started working at The Sun in 2016, it was my desk who watched and reported on Jeremy Kyle. We pulled the post interesting segment from the morning show and wrote it up into a tabloid real life story. They are all much the same; a paternity test here, a cheating scandal there. But one in particular sticks in my mind when a guest had come on because they were desperate to work out who had defecated on a plate and put it in the fridge. Brilliant.

The show was cancelled after 14 years on the air and more than 3,000 shows because of the suicide of a participant who failed a lie detector test. Steve Dymond, 63, had been told to come off his anti-depressant medication in order to take the polygraph. He failed the test and was berated for “cheating on his partner”. He couldn’t handle the shame and the prospect of losing his relationship, so he ended his life. 

Perhaps these shows started out as platforms for healthy conflict resolution, but that’s not what we, the general public, wanted to watch. 

Since coming off air, countless horror stories have surfaced from behind the scenes on the famous show. Former production staff admitted that guests were so hard to come by that they weren’t performing the proper checks before signing them up. They also explained that they would keep guests separate and lie, telling them the other had said awful things about them, before sending them on stage for the confrontation. And perhaps most horrifically to my mind, as a recovering drug addict myself, they told guests hoping to be given rehab treatment that they were competing with other families for one bed in an expensive facility. Desperate addicts were told Jeremy had to think they were the worst case in order to qualify for care at the life-saving facility. When in fact, there was no restriction on places. 

Perhaps these shows started out as platforms for healthy conflict resolution, but that’s not what we, the general public, wanted to watch. We wanted the drama. In short, we wanted the poo in the fridge. Thankfully the genre has petered out, both here and in the States and people are now looking back at previous episodes saying: “Did we really think that was OK?” 

Prior to his death on April 27, 2023, Jerry Springer did issue an apology for his show and its wider effects. Jeremy Kyle has not, although he did explain in an interview in 2021 that his mental health had plummeted after the show was cancelled and that he felt he was scapegoated in the process. 

The grim format has, for now, been relegated to the archives but if there is one lesson I can encourage us all to take from our unfortunate dalliance with tabloid talk shows, it’s to stop fuelling the beast. We may not be showing our support to Jeremy Kyle anymore but there are other topics that we are insatiably consuming despite being sceptical about their suitability in a loving society.  

Bored of articles about Harry and Meghan? Stop clicking on them.  

Appalled by the unrealistic body image or hook-up culture of reality TV? Stop watching it.  

If it doesn’t feel right, good, kind or true – distance yourself from it.  

The fact is, you can always find something salacious and titillating if you’re looking for it. There’s always a poo in the fridge. But instead let’s do what Paul also suggests,  

“Finally, brothers, whatever is true, whatever is noble, whatever is right, whatever is pure, whatever is lovely, whatever is admirable--if anything is excellent or praiseworthy--think about such things.”

We would have put Jeremy Kyle out of business a long time ago if we’d been sticking to the sage advice of scripture. 

Article
Culture
Music
5 min read

Jack White’s breaking the biggest rule in rock 'n' roll

What if the greatest cultural moments were the ones barely anyone saw?
A close-up of the black label of a blue vinyl record

If one of the most famous rockstars on the planet is playing the best shows of his life, and no one is there to witness it – is he really playing them?  

I ask because Jack White, one of the most celebrated and iconic musicians of the 21st century, is playing the best shows of his career. The thing is, barely anyone knows that they’re happening. Not because they don’t care, but because he’s made it that way.  

This is White’s ‘No Name’ tour: a critically celebrated string of shows that almost nobody is going to.  

And therein lies the magic.  

In the summer of this year, he released his ‘No Name’ album with no press, no marketing, and no apparent plans for a tour. Instead, Jack released this body of work into the world and simply told his fans to tell their friends about it – ah, word of mouth, the marketing strategy of old.  

It must have worked, because the nameless album was incredibly well received by critics and fans alike. Apparently, the ever-enigmatic Jack White has still got it. And now finally – finally - some live shows are being announced.  

Kind of. 

Each show is being announced only days in advance, the marketing is non-existent, the venues are tiny, and the tickets are… affordable.  

What is this? Some kind of cruel trick? 

It’s all so odd, so seemingly illogical, that Jack has had to confirm that this is it. This is no trick, no gimmick. This is, in fact, the tour. Reassuring his fans via social media, he wrote 

‘Lotta folk asking about when we are going to announce ‘tour dates’, well, we don’t know what to tell you but the tour already started at the Legion a couple of weeks ago… People keep saying that these are ‘Pop up shows’ we’ve been playing, well, you can call them whatever you want, but we are on tour right now.’ 

He added,  

‘These are the ‘shows.’ We won’t really be announcing dates in advance so much, we will mostly be playing at small clubs, back yard fetes, and a few festivals here and there to help pay for expenses.’ 

And that’s exactly what he’s been doing. One such show recently took place in Islington Assembly Hall in London – and it’s been hailed as some kind of ‘off-the-cuff wizadry’. That’s quite the review, isn’t it? What’s more impressive: it’s pretty much the only kind of review he’s been getting. I’ve dug deep, and I’m yet to find someone who was in that hall who didn’t leave it completely bewildered by how dazzling of an experience it was. Jack is disobeying all the rules, and it seems to be working in his favour. While on stage in Islington, he told the crowd,  

‘This is the kind of rock’n’roll you’re not gonna get at Wembley stadium for £400’ 

This is an obvious swipe at Oasis’ reunion tour, which will take place next year in stadiums across the country. The tickets to these shows caused somewhat of a storm, as fans were simply priced out of what will no-doubt be a momentous string of events. And this isn’t the reality for Oasis fans alone, ticket prices across the board rose 23 per cent in 2023, which sits on top of the 19 per cent rise in prices since the pandemic. And we in the UK and Europe still have it far cheaper than those in the US. While I was at Taylor Swift’s (not at all cheap) Era’s tour earlier this year, I met a girl who had flown from New York to Cardiff, she explained that doing so was cheaper than trying to watch the same show in New York.  

It’s utter madness. 

Live music shows are becoming bright and shiny sensory extravaganzas, and the amount it costs to witness them is reflecting that. And listen, I’m not bashing these mega-sized shows. I go to my fair share of them. I look forward to one day telling my grandchildren about that time I nearly got Oasis tickets.  

But I can’t help but feel that the real magic is happening elsewhere. It’s happening in the tiny venues, witnessed by tiny audiences, who have paid (comparatively) tiny prices. And I think Jack White’s intimate ‘No Name’ tour might be proving me right.  

In 1975, Bob Dylan similarly defied all the ‘rock-star’ rules and embarked upon the now-mythic ‘Rolling Thunder Revue’ tour. For eight months, Dylan drove a tour bus (yes, he actually drove his own tour bus) full of his friends into small towns with small venues. The marketing for each show consisted of paper flyers that were handed out mere days before the event, as if a travelling carnival was about to rock up. It was unusual, to say the least. These shows were notoriously messy, and long, and changeable, and odd.  

In short, they were great. Truly great.  

The modesty and mystique of it all meant that these shows have passed into legend – the live recordings of these performances are regarded as some of Dylan’s very best work. And so, surely, both Dylan’s and White’s defiant tours teach us something - they teach us that there’s a good kind of small. Indeed, there is a great kind of small. They suggest that ‘big’ doesn’t necessarily (and certainly doesn’t exclusively) equate to ‘success’.  

What if rumours, reviews, and recordings of a show played to 2,000 people could have more impact than a show played to 100,000? What if the intimacy and connection formed in town halls and tiny clubs rippled into the decades to come? It’s an upside-down way to think of things, but what if the greatest cultural moments were the ones barely anyone saw? What if (and stay with me here, especially you swifties. I’m one of you) these mega-tours are actually quenching creative mastery? What if the smartest thing an artist could do was defy all the rules? What if humility is the source of all greatness?  

We seem to have got to a place where we’re surprised that Islington Assembly Hall could be the backdrop to Jack White doing something truly special. And so, I wonder - it’s proper counter-cultural stuff, but do we need to learn to not despise the small things?  

Are Jack and Bob the odd ones, for kidding themselves into thinking that small can still be successful? Or are we the odd ones, for ever assuming otherwise?