This a Red or Black world. And I'm stuck in it.

If you're going to have a random show, make it a random show.

Chance is such a funny thing. Only the other day, I was politely written to by a potential employer and told that, while I had qualified to be shortlisted for a job, they'd picked the interviewees at random, and sadly I hadn't made the cut. My bingo ball hadn't come up. Such is life. This is the world of Red or Black?, the gameshow that everyone's talking about this week.

We're not really talking about it in a spectacularly good way, though. We're talking about it, saying "My god, I never knew television could be so bad." I had thought that, with Epic Win, the BBC had succeeded in doing the impossible - making an updated version of You Bet! that was even worse than the days of Brucie's sofa-chewingly execrable "don't fret, get set" rap, but no, this was worse.

This is everything about gameshows that vaguely involves skill, or knowledge, and boils it down to a binary choice: red or black, 0 or 1, on or off. "The show where luck, and luck alone, can win £1m," chirps Dec, as if it's something to be proud of. People cheer the lucky (or unlucky) wheel, which has its own, somewhat sinister, rococo leitmotif.

Luck, lucky, luck. That's all it is. It's not just me, surely, who finds something a little unsatisfying about that, something that verges on an insulting whiff of pointlessness.

When you're watching some gimp blunder through a gameshow's multiple choice with guesswork, at least you know there's something slightly better than total and utter blind chance deciding whether they're going to progress or not. They're making educated guesses. With Red or Black, you could just submit your guesses before the show. Red black red black black red. Save time.

It's easy, I suppose, to call a turkey a turkey. If it looks like a turkey, it's probably a turkey. And for the avoidance of doubt, I'd say this turkey is a turkey. Gobble gobble. But I'm more interested in the odd debate that sprung up this week about the morality - or otherwise - of letting a convicted criminal win a million pounds. The first winner was revealed to have been previously convicted of an assault, allegedly against a female victim, which led to a bit of red-top mock outrage about whether he should be allowed to have his cheque. That led to more background checks being done on contestants, and others being sifted out.

I suppose we want to believe, wrongly, in some kind of natural justice. We don't like stories like the one about 'lotto rapist' Iorworth Hoare and we want to think that only the deserving will be winners, or should be allowed to be winners. But an awful lot of undeserving people luck out all the time, every day, in every field. It might be unpalatable, but there it is. Luck doesn't morally censure.

Personally, I think if you're going to have a random show, make it a random show. Don't hone it down to a few contestants who are spotless enough not to have embarrassing things in their pasts; open it up, wider, to people who've really done wrong. Robbers, muggers, paedophiles, all sorts. Imagine one of them with a big beaming grin as their lucky numbers come up.

That's luck. It doesn't care who you are; it just rewards the lucky.

 

Patrolling the murkier waters of the mainstream media
Vevo
Show Hide image

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.