No, satire isn't destroying politics

Don't blame Ian Hislop for the lack of respect we show politicians.

Martin Kettle has an interesting piece on Comment Is Free today, arguing that "the current satirical onslaught against politics as a whole . . . amounts sometimes to monomania and increasingly to cliche". He argues that the relentless mockery of shows such as Have I Got News For You conditions the public to view all politicians as greedy, venal liars:

There is never any sign that [Ian] Hislop allows of exceptions; or that he has a political hero; or even, with the occasional honourable mention for Vince Cable, that there are politicians whom he respects. The impression he always gives is that today's politicians are uniformly unworthy of their inheritance, not to be compared with some previous golden age of statesmanlike effectiveness.

Kettle makes the valid point that one effect of this remorseless sledging is that the public drastically overestimate the number of MPs engaged in active skulduggery. And that's fair enough -- who doesn't feel a twinge of remorse when an audience member on Question Time berates some perfectly blameless backbencher about how "you're all at it" instead of letting them talk?

But I can't help feeling that it's not the tone of satire which has changed but its reach and frequency. There's a tempting idea that we live in the coarsest age ever, where people swear all the time, make rude jokes, show no respect and generally won't get off my lawn. But it's historically inaccurate, as a quick skim of Catullus or Juvenal (look up the translation of the phrase at the heart of this news story, if you dare) or Pope and Shelley will tell you.

Here's Alexander Pope on the death of Queen Caroline from an intestinal ulcer in 1737:

Here lies, wrapt up in forty thousand towels,
The only proof that c*** had bowels.

Try to imagine Carol Ann Duffy writing the same on the death of a member of our beloved monarchy and then argue that this is the "age of disrespect".

If anything has killed off the idea of "political heroes", it's surely the intrusiveness of our round-the-clock, ever-watching, public-interest-is-what-interests-the-public style of media. To appear heroic, you need to be distant, otherworldly, remote -- something that is very hard to achieve when the modern politician's every move is photographed, even while they're in chinos-and-cappucino holiday mode or picking their nose in the House of Commons.

Instead of a "straight" media providing material for satirists, low-level satire -- not very funny, not very pointed -- abounds. Martin Kettle comes close to acknowledging this when he says it "suits many in the media very well indeed to depict politicians as objects of contempt", but then seems to argue that satire is therefore the problem: "Plato wanted no place in his republic for artists -- and that probably included satirists, too."

But that's not quite right, is it? The problem isn't satire, with comedians putting a twist on the news; the problem is with the news itself. If journalists can't take politicians seriously, why should the public?

The final word goes to Rory Bremner, who was part of a fascinating FT roundtable on the subject last year:

One problem is that everyone is a satirist these days: a kind of weary, "come-off-it" cynicism pervades most news media, constantly blurring the line between news reporting and matey, "aren't-they-all-silly" editorialising, with the BBC's Nick Robinson one of the chief culprits. This, and politicians' behaviour, leaves satire (of our MPs, at least) almost redundant. Certainly if there is no respect, no deference, any more, much of the tension, the element of shock or outrage is dissipated. "You've got so much material these days!" people constantly say to me. Which may be true but also means that the reality is now beyond parody and, of itself, ridiculous.

Helen Lewis is deputy editor of the New Statesman. She has presented BBC Radio 4’s Week in Westminster and is a regular panellist on BBC1’s Sunday Politics.

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Katy Perry’s new song is not so much Chained to the Rhythm as Chained to a Black Mirror episode

The video for “Chained to the Rhythm” is overwhelmingly pastel and batshit crazy. Watch out, this satire is sharp!

If you’ve tuned into the radio in the last month, you might have heard Katy Perry’s new song, “Chained to the Rhythm”, a blandly hypnotic single that’s quietly, creepingly irresistible.

If you’re a really attuned listener, you might have noticed that the lyrics of this song explore that very same atmosphere. “Are we crazy?” Perry sings, “Living our lives through a lens?”

Trapped in our white picket fence
Like ornaments
So comfortable, we’re living in a bubble, bubble
So comfortable, we cannot see the trouble, trouble
Aren’t you lonely?
Up there in utopia
Where nothing will ever be enough
Happily numb

The chorus muses that we all “think we’re free” but are, in fact, “stumbling around like a wasted zombie, yeah.” It’s a swipe (hehe) at social media, Instagram culture, online dating, whatever. As we all know, modern technology is Bad, people who take photos aren’t enjoying the moment, and glimpses other people’s Perfect Lives leave us lonely and empty. Kids these days just don’t feel anything any more!!!

The video for this new song was released today, and it’s set in a (get this) METAPHORICAL AMUSEMENT PARK. Not since Banky’s Dismaland have we seen such cutting satire of modern life. Walk with me, through Katy Perry’s OBLIVIA.

Yes, the park is literally called Oblivia. Get it? It sounds fun but it’s about oblivion, the state of being unaware or unconscious, i.e. the state we’re all living in, all the time, because phones. (I also personally hope it’s a nod to Staffordshire’s own Oblivion, but cannot confirm if Katy Perry has ever been on the Alton Towers classic steel roller coaster.)

The symbol of the park is a spaced-out gerbil thing, because, aren’t we all caged little hairy beings in our own hamster wheels?! Can’t someone get us off this never-ending rat race?!

We follow Katy as she explores the park – her wide eyes take in every ride, while her peers are unable to look past the giant iPads pressed against their noses.


You, a mindless drone: *takes selfies with an iPad*
Katy Perry, a smart, engaged person: *looks around with actual human eyes, stops to smell the roses*

She walks past rides, and stops to smell the roses – and the pastel-perfect world is injected with a dose of bright red reality when she pricks her finger on a thorn. Cause that’s what life really is, kids! Risk! At least she FEELS SOMETHING.


More like the not-so-great American Dream, am I right?!

So Katy (wait, “Rose”, apparently) takes her seat on her first ride – the LOVE ME ride. Heteronormative couples take their seats against either a blue heart or a pink one, before being whizzed through a tunnel of Facebook reaction icons.

Is this a comment on social media sexism, or a hint that Rose is just too damn human for your validation station? Who knows! All we can say for sure is that Katy Perry has definitely seen the Black Mirror episode “Nosedive”:

Now, we see a whole bunch of other rides.


Wait time: um, forever, because the human condition is now one of permanent stasis and unsatisfied desires, duh.

No Place Like Home is decorated with travel stamps and catapults two of the only black people in the video out of the park. A searing comment on anti-immigrant rhetoric/racism? Uh, maybe?

Meanwhile, Bombs Away shoots you around like you’re in a nuclear missile.


War: also bad.

Then everyone goes and takes a long drink of fire water (?!?!) at Inferno H2O (?!?!) which is also a gas station. Is this about polluted water or petrol companies or… drugs? Or are we just so commercialised even fire and water are paid-for privileges? I literally don’t know.

Anyway, Now it’s time for the NUCLEAR FAMILY SHOW, in 3D, no less. Rose is last to put her glasses on because, guess what? She’s not a robot. The show includes your typical 1950s family ironing and shit, while hamsters on wheels run on the TV. Then we see people in the rest of theme park running on similar wheels. Watch out! That satire is sharp.

Skip Marley appears on the TV with his message of “break down the walls to connect, inspire”, but no one seems to notice accept Rose, and soon becomes trapped in their dance of distraction.


Rose despairs amidst the choreography of compliance.

Wow, if that didn’t make you think, are you even human? Truly?

In many ways – this is the Platonic ideal of Katy Perry videos: overwhelmingly pastel, batshit crazy, the campest of camp, yet somehow walking the fine line between self-ridicule and terrifying sincerity. It might be totally stupid, but it’s somehow still irresistible.

But then I would say that. I’m a mindless drone, stumbling around like a wasted zombie, injecting pop culture like a prescription sedative.

I’m chained…………. to the rhythm.

Anna Leszkiewicz is a pop culture writer at the New Statesman.