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
Character
Comment
Film & TV
5 min read

Traitors reflects an age of deceit and disappointment

Behind the game play, we're yearning for authenticity and connection.

Alex Stewart is a lawyer, trustee and photographer.  

A montage shows a Scottish castle, the host of the V show the Traitors and a dark scary scene.
BBC.

‘What a tangled web we weave when first we practise to deceive.’ 

Some people, it seems, are not cut out to be liars. I felt for Freddie, one of the last contestants to survive on The Traitors, who found out the hard way. A fumbled recounting of a fabricated conversation with fellow Traitor Minah was enough to seal his fate, and soon he too was banished from the castle. The sad irony was that until his last-minute recruitment as a Traitor, Freddy had in fact been a Faithful for most of the show, insistently proclaiming his innocence and now cruelly denied his chance of vindication. But that’s all part of the game: shifting identities and alliances mean nothing is at it seems, and trusting is fraught with risk.  

Part of the success of The Traitors is that it has very successfully tapped into a pervasive national mood: the feeling that we are constantly being deceived, misled, spun or manipulated. This is hardly surprising. Trust in politicians and institutions is at an all-time low, eroded by scandals, misinformation and truth dodging. From the Post Office and the contaminated blood scandals to the manipulation of unpalatable facts to the non-apologies of the guilty, the British public has become increasingly sceptical of those in power.  

The 2024 British Social Attitudes survey, conducted by the National Centre for Social Research, revealed that public trust in the UK's system of government has reached a record low, while a similar survey by the OECD reported that only 27 per cent of people in the UK reported high or moderately high trust in government, well below the OECD average of 39 per cent.   

But it’s not just politicians and institutions that we distrust. The new world of deep fakes, misinformation, and AI-generated content seems also to have had a corrosive effect on our ability to trust one another.  A recent CREST Insights report indicates that only 41 per cent  of respondents now trust their neighbours, while the Edelman Trust Barometer tells us that this distrust has, for some, moved from resignation to outright hostility, with one in two young adults approving of hostile activism as driver of change - including attacking people online and intentionally spreading disinformation.  

With this backdrop, it is hardly surprising that the contestants of The Traitors are susceptible to high levels of paranoia, and see Machiavellian deceit and betrayal as their only way to survive and have any chance of winning.   

But the human cost of betrayal is high and psychologically taxing. The constant need to fabricate stories, remember lies, and manage the stress of potential exposure requires huge cognitive and emotional effort. The effects are tangible as the contestants suffer variously from anxiety, paranoia, and emotional exhaustion.   

Meanwhile the building paranoia is stoked by regular invocations of the dark supernatural as cloaked figures and effigies shift the atmosphere from wink murder to The Wicker Man, and Claudia presides over proceedings with the authority of a pagan high priestess. Even the game operates within a quasi-religious framework of sin, confession, and punishment. Players who lie and deceive will eventually face judgment, from their fellow contestants and the millions watching at home

What appeared to be crocodile tears turned out to be genuine tears of despair as the demands of the game took its toll on her conscience and integrity. “I hate it. I hate how I was.” 

Although everyone knows it’s just a game, the prolonged deception has real world repercussions that continue beyond the show's end.  Many of the contestants struggled to reintegrate into their daily lives, facing challenges in rebuilding trust with loved ones and grappling with their actions during the game. The vicar, Lisa, told of the discomfort of having to explain away her absence on the show as a ‘retreat’, while the winners, Jake and Leanne, both said how difficult it had been to adjust post-show, pointing to a lingering paranoia and the strain of having to keep their victory a secret. 

And yet, while betrayal and deceit define the show, it is often the genuine friendships and moments of trust that resonate most. Few will forget the ‘mother to mother’ pact made by Frankie and Leanne in the kitchen and the emotional final banquet when the suspicion and distrust were briefly lifted. Behind all the game playing, the yearning for authenticity and connection as an antidote to isolation could not be suppressed. 

There are also inspiring moments of hope, vulnerability and redemption. Alexander, the charming diplomat, tells his heartfelt story about his late brother, who had developmental disabilities, which prompted his fans to donate over £30,000 to Mencap. Jake, who suffers from cerebral palsy, overcomes great odds to become one of the winners, and Leanne and Charlotte open up about their struggles to conceive. Each contestant had a back story that humanised them. Even the aloof high priestess herself shed tears, albeit in unaired footage, over her contestants’ traumas.  

But it was Charlotte’s struggles that I found most inspiring. As the final Traitor, she seemed at first to relish her role with a very convincing series of lies, even turning on her fellow Traitor Minah. But it became apparent towards the end that, inside, she was in turmoil. What appeared to be crocodile tears turned out to be genuine tears of despair as the demands of the game took its toll on her conscience and integrity. “I hate it. I hate how I was,” she said later. “I felt so cruel. How I had to be to stay in the game – it was an immense pressure.”   

Catharsis, when it came, was through forgiveness, especially from Frankie, the contestant who perhaps more than any other had reason to be hurt by Charlotte’s betrayal; they had after all been best friends within the confines of the castle. Charlotte later admitted to badly needing her forgiveness, which gracious Frankie was only too happy to give.  

In an age of deceit and disappointment, Charlotte’s honesty, vulnerability and willingness face up to her actions and be reconciled with her victims, rather than justify them or offer a hollow non-apology, and Frankie’s willingness to forgive - offer us the hope that there can be a way out of the doom loop of deceit and broken trust.   

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