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. 

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Culture
Digital
Film & TV
Work
7 min read

What my film about the prodigal son really means

Our relentless focus on productivity devalues the things that make us human

Emily is designer and animator at the Theos think tank.

An animated man runs through a jungle.
In Sync with the Sun.
Theos.

Watch now

In his 2021 book 4,000 weeks: Time Management for Mortals, Oliver Burkeman observes that an obsession with productivity doesn’t give us more control over our lives, ‘instead, life accelerates, and everyone grows more impatient. It’s somehow vastly more aggravating to wait two minutes for the microwave than two hours for the oven - or ten seconds for a slow-loading web page versus three days to receive the same information by post.’ 

With technologies like artificial intelligence rapidly accelerating our lives, this constant demand to squeeze more into our time is not only limited to the mundane tasks that we have to do and wish we didn’t. It seeps into what we want to do and indeed must do in order to flourish: creating art, spending time in community, and caring for others. The problem is that these things cannot be measured in productivity metrics because they inherently do not function in that way. How do you measure how ‘productive’ a conversation is? Or a work of art? Artists such as Vincent Van Gogh or Emily Dickinson didn’t see their influence in their own lifetime. 

The more we measure our lives in productivity metrics, the more we devalue the things that make us human, ultimately making our lives and the world around us increasingly artificial. This is the basis of my recent film, In Sync with the Sun, which is a short animation about the rhythms of activity and rest that are written into our world, and what happens when an obsession with productivity takes over.  

I wrote the initial script for the film after a period of burnout. I was fully in the “make the most of every second” mindset, which left me feeling exhausted and confused about where my value resides. In response, I began researching the sleep-cycles of various animals and I was liberated by surprising details such as the fact that lions, which we see as mighty and majestic animals, sleep for around 21 hours a day. Even creatures like jellyfish, which don’t even have brains as far as we know, still have cycles of rest. Every living thing thrives in these rhythms of activity and rest, even down to plants and minuscule organisms. Our whole world is built on this pattern, in sync with the sun. Yet for us humans, our rhythms have been broken by technology, leaving us confused about our limitations and what we should do with our short lives.  

The film begins in nature, deep in the jungle where some leopards are sleeping. But the tranquility is abruptly interrupted by the voice-over declaring, “the war against sleep began when artificial broke into the night.” Brilliant white light breaks up the deep blues and purples on screen, until the screen is filled with blinding white. I wanted it to feel like that moment you peer at your phone in the middle of the night - the pain of your pupils trying to adjust. If you think about it, for 99.9 per cent of human history, our eyes would have never had to do that - until now.  

Artificial light wasn’t powerful enough to change that. Instead, it’s given us an unquenchable guilt about how we use our time. 

With his invention of the light bulb, Thomas Edison was determined to banish the night, and the limitations it enforced on us. Edison was known for being fiercely obsessed with productivity and, as a result, was an anti-sleep warrior who believed,

“There is really no reason why men should go to bed at all.”

As someone living a century on, I find it baffling to imagine that humans should eradicate sleep entirely. Perhaps because just 100 years later we are seeing the results that sleep-loss and over-working can have on our physical health and wellbeing. Maybe we cannot supersede nature after all, since we are an embedded part of it. It seems that “Sabbath" rest is written into our world and into our humanity. Artificial light wasn’t powerful enough to change that. Instead, it’s given us an unquenchable guilt about how we use our time. Now we decide when the day ends, so whoever can rest the least wins. 

The battle is still raging; incandescent bulbs only set aflame that root desire to be increasingly productive. The hamster wheel is spinning uncontrollably, and we must keep up. So, what do we do? The attempt to remove the limitations outside of us has revealed that they are in fact inside of us too. Therefore, the only way to keep up is to remove the human from the hamster wheel altogether. The failure of artificial light leads to the birth of artificial minds.  

 As a creative, this is what frustrates me most about artificial intelligence; that it is mostly being driven by this quest to bring everything under the reign of productivity. It goes without saying that this is greatly needed in some areas of society. Just like artificial light, it can and will do a lot of good in the world. However, when the obsession with productivity is prioritised over human flourishing, that’s when we know there is a big problem with how we view our lives.  

Thinking back to the examples of Van Gogh and Emily Dickinson; what is lost when we don’t allow space for artists, carers, mothers, or any skilled role that requires an element of patience? For me personally, I can’t force creative inspiration, instead it comes at me, often at times when I’m not looking for it. Similarly, sometimes that inspiration leads directly to an instant idea, but most often it’s a vague idea I jot down to which later life experiences and opportunities then build onto, forming it into something bigger and more in-depth. This could be compared to a role or situation that requires relationship building. Sometimes there are moments of instant bonding and “productive” progress in relationships, but it’s often more complex where external experiences or changes, which are outside of our control, may unexpectedly deepen understanding between people after long periods of frustration. 

In my animation, I used the metaphor of a butterfly to illustrate this sentiment. After the character realises he is not made for a life of relentless productivity, he steps out of the black and white skyscraper into the lush wilderness. A butterfly lands on his productivity badge and the voice over says, “You’re not a machine.” I imagine the Creator saying this to the loved creation. Creatures like butterflies seem completely unproductive to our human standards. They take weeks to form in the chrysalis and exist in the world for less time than that. Yet they are a source of wonder and beauty for anyone who has the privilege of seeing one up close. A reminder that nature is not in a rush. Where AI is concerned, however, speed and profit are the focus of desire. But looking at the world around us - that we are a part of - it’s clear that not everything can or should be valued by these limiting metrics alone. 

The overarching narrative of In Sync with the Sun is loosely inspired by the biblical story of the prodigal son. The main character has travelled far away from his home in pursuit of success, and he eventually realises that this master does not love him. At the end he comes home again, finding connection in community and in the good rhythm of productivity and rest that he came from. I wanted the film to address the issues that an unhealthy obsession with productivity can cause, and instead evoke a desire to accept and live more in sync with the boundaries and rhythms that are embedded in the natural world we are a part of.  

The film ends with the line, “The only thing that can stay awake is not awake at all.” In the midst of the changing world of AI, humans might be tempted to measure our productivity levels in comparison to these machines. However, technologies always raise the productivity bar higher and higher, and one day we need to accept that we simply aren’t going to be able to reach it. We don’t sit apart from nature like technology does, so let’s stop resenting that, and instead celebrate it. To quote Oliver Burkeman again,  

“the more you confront the facts of finitude instead - and work with them, rather than against them - the more productive, meaningful and joyful life becomes.” 

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