If you're desperate to torture Nadine Dorries on TV, what does that say about you?

Why we should feel sorry for the Conservative MP.

Feeling sorry for Nadine Dorries is not going to be popular view, but I suspect the next week is going to showcase some not very attractive facets of the mob mentality that sometimes arises around these reality TV shows. Almost 10 years ago, Channel 4 had to get in extra security when Adele left Big Brother. Why? Because people thought that she had been a bit two-faced and there was such over-the-top hatred towards her, fuelled by the tabloid press.Then the same papers fuelled hatred towards Jade Goody by depicting her as a pig, starting off the rollercoaster that saw them make her, break her and finally raise her to virtual sainthood before her premature death from cancer in 2009.

I do watch I'm a Celebrity. It can be quite compelling. It actually changed my opinion of Liberal Democrat Brian Paddick. His series was a classic, though, with George Takei, Martina Navratilova and Esther Rantzen providing much amusement and quality banter. Brian was not in my good books because he'd criticised his 2008 London mayoral campaign team, led by my friend Andrew Reeves, in the press. He later learned his lesson, recognised that he had been a bit of a diva and went on to fight a very good campaign in the same role this year. However, in 2008, I have to admit, not to my credit, that a huge motivation for tuning in was to see him get covered in beasties and eat unmentionables.

Now, there comes a point, though, if a person is showing real distress, that enjoying their discomfort goes from being not very nice to inappropriate or even unacceptable. In the first week, viewers can choose who does the bush tucker trials, where a celebrity goes through an extremely unpleasant experience, usually involving bugs and beasties, to earn meals for everyone else. The viewers inevitably choose the people who are most scared. Last year it was Sinitta, or occasionally Antony Cotton. It's been Jordan and Gillian McKeith in the past. If someone has had to have oxygen because they are so scared, then it would never occur to me to pick up the phone  to put them through it again. There comes a time when, however much they're being paid, however self-inflicted it all is, putting them through actual suffering is not nice.

I think we can guess who'll be voted to do all the trials this week. Nadine Dorries, the controversial Tory MP who's abandoned her constituents so she can lecture us all about abortion from around the camp fire, has, in my view, no redeeming features. The one bad consequence of the Liberal Democrats voting against the boundary changes is that her constituency will remain in existence. She has therefore had a pretty major reward for her bad behaviour in voting against Lords reform.

In my view, Nadine should not have agreed to take part in this programme. For an MP to be out of the country and uncontactable for three weeks purely to take part in a TV show is not on. There are obviously times when MPs have to take  extended spells out of Westminster. They're human beings and subject to the same crises in terms of illness or caring for sick relatives that we all go through and we'd take time off for. People have sympathy with that. They are less likely to understand an indulgent ego trip, done without consulting anyone, which will benefit nobody but Nadine. I'm sure she sees a future for herself as a Christine Hamilton type, rehabilitated by reality TV almost to national treasure status. Well, that worked so well for Lembit when he did it after losing his seat in 2010. And as Chief Whip Alistair Carmichael pointed out in his inimitable style this week:
 

If Nadine struggles in the jungle, I won't be wasting too much of my energy feeling sorry for her, but I don't think it is to anyone's credit if they take pleasure in actual suffering of another human being, no matter how self indulgent, self inflicted or insignificant in the scheme of things it is.

I am maybe being a bit soft here - but then I can't imagine that, had I lived in an earlier time, that I'd have had much truck with throwing things at people who'd been put in the stocks. These reality shows can sometimes be the modern day equivalent.

Caron Lindsay is a Lib Dem activist and blogger. This post originally appeared on her blog here. You can find her on Twitter as @caronmlindsay

Nadine Dorries in a publicity shot for "I'm a Celebrity, Get Me Out of Here". Photograph: ITV
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Love a good box set? Then you should watch the Snooker World Championships

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. 

People are lazy and people are impatient. This has always been so – just ask Moses or his rock – but as illustrated by kindly old Yahweh, in those days they could not simply answer those impulses and stroll on.

Nowadays, that is no longer so. Twitter, YouTube and listicles reflect a desire for complex and involved issues, expansive and nuanced sports – what we might term quality – to be condensed into easily digestible morsels for effort-free enjoyment.

There is, though, one notable exception to this trend: the box set. Pursuing a novelistic, literary sensibility, it credits its audience with the power of sentience and tells riveting stories slowly, unfolding things in whichever manner that it is best for them to unfold.

In the first episode of the first series of The Sopranos, we hear Tony demean his wife Carmela's irritation with him via the phrase “always with the drama”; in the seventh episode of the first series we see his mother do likewise to his father; and in the 21st and final episode of the sixth and final series, his son uses it on Carmela. It is precisely this richness and this care that makes The Sopranos not only the finest TV show ever made, but the finest artefact that contemporary society has to offer. It forces us to think, try and feel.

We have two principal methods of consuming art of this ilk - weekly episode, or week-long binge. The former allows for anticipation and contemplation, worthy pursuits both, but of an entirely different order to the immersion and obsession offered by the latter. Who, when watching the Wire, didn’t find themselves agreeing that trudat, it's time to reup the dishwasher salt, but we’ve run out, ain’t no thing. Losing yourself in another world is rare, likewise excitement at where your mind is going next.

In a sporting context, this can only be achieved via World Championship snooker. Because snooker is a simple, repetitive game, it is absorbing very quickly, its run of play faithfully reflected by the score.

But the Worlds are special. The first round is played over ten frames – as many as the final in the next most prestigious competition – and rather than the usual week, it lasts for 17 magical days, from morning until night. This bestows upon us the opportunity to, figuratively at least, put away our lives and concentrate. Of course, work and family still exist, but only in the context of the snooker and without anything like the same intensity. There is no joy on earth like watching the BBC’s shot of the championship compilation to discover that not only did you see most of them live, but that you have successfully predicted the shortlist.

It is true that people competing at anything provides compelling drama, emotion, pathos and bathos - the Olympics proves this every four years. But there is something uniquely nourishing about longform snooker, which is why it has sustained for decades without significant alteration.

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. Most frequently, snooker is grouped with darts as a non-athletic sport, instead testing fine motor skills and the ability to calculate angles, velocity and forthcoming shots. However, its tempo and depth is more similar to Test cricket – except snooker trusts so much in its magnificence that it refuses to compromise the values which underpin it.

Alfred Hitchcock once explained that if two people are talking and a bomb explodes without warning, it constitutes surprise; but if two people are talking and all the while a ticking bomb is visible under the table, it constitutes suspense. “In these conditions,” he said, “The same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: ‘You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!’”

Such is snooker. In more or less every break, there will at some point be at least one difficult shot, loss of position or bad contact – and there will always be pressure. Add to that the broken flow of things – time spent waiting for the balls to stop, time spent prowling around the table, time spent sizing up the table, time spent cleaning the white, time spent waiting for a turn – and the ability for things to go wrong is constantly in contemplation.

All the more so in Sheffield’s Crucible Theatre. This venue, in its 40th year of hosting the competition, is elemental to its success. Place is crucial to storytelling, and even the word “Crucible” – whether “a ceramic or metal container in which metals or other substances may be melted or subjected to very high temperatures,” “a situation of severe trial”, or Arthur Miller’s searing play – conjures images of destruction, injustice and nakedness. And the actual Crucible is perhaps the most atmospheric arena in sport - intimate, quiet, and home to a legendarily knowledgeable audience, able to calculate when a player has secured a frame simply by listening to commentary through an earpiece and applauding as soon as the information is communicated to them.

To temper the stress, snooker is also something incredibly comforting. This is partly rooted in its scheduling. Working day and late-night sport is illicit and conspiratorial, while its presence in revision season has entire cohorts committing to “just one more quick frame”, and “just one more quick spliff”. But most powerfully of all, world championship snooker triggers memory and nostalgia, a rare example of something that hasn’t changed, as captivating now as it was in childhood.

This wistfulness is complemented by sensory pleasure of the lushest order. The colours of both baize and balls are the brightest, most engaging iterations imaginable, while the click of cue on ball, the clunk of ball on ball and the clack of ball on pocket is deep and musical; omnipresent and predictable, they combine for a soundtrack that one might play to a baby in the womb, instead of whale music or Megadeth.

Repeating rhythms are also set by the commentators, former players of many years standing. As is natural with extended coverage of repetitive-action games, there are numerous phrases that recur:

“We all love these tactical frames, but the players are so good nowadays that one mistake and your opponent’s in, so here he is, looking to win the frame at one visit ... and it’s there, right in the heart of the pocket for frame and match! But where’s the cue ball going! it really is amazing what can happen in the game of snooker, especially when we’re down to this one-table situation.”

But as omniscient narrators, the same men also provide actual insight, alerting us to options and eventualities of which we would otherwise be ignorant. Snooker is a simple game but geometry and physics are complicated, so an expert eye is required to explain them intelligibly; it is done with a winning combination of levity and sincerity.

The only essential way in which snooker is different is the standard of play. The first round of this year’s draw featured eight past winners, only two of whom have made it to the last four, and there were three second-round games that were plausible finals.

And just as literary fiction is as much about character as plot, so too is snooker. Nothing makes you feel you know someone like studying them over years at moments of elation and desolation, pressure and release, punctuated by TV confessions of guilty pleasures, such as foot massages, and bucket list contents, such as naked bungee jumping.

It is probably true that there are not as many “characters” in the game as once there were, but there are just as many characters, all of whom are part of that tradition. And because players play throughout their adult life, able to establish their personalities, in unforgiving close-up, over a number of years, they need not be bombastic to tell compelling stories, growing and undergoing change in the same way as Dorothea Brooke or Paulie Gualtieri.

Of no one is this more evident that Ding Junhui, runner-up last year and current semi-finalist this; though he is only 30, we have been watching him almost half his life. In 2007, he reached the final of the Masters tournament, in which he faced Ronnie O’Sullivan, the most naturally talented player ever to pick up a cue – TMNTPETPUAC for short. The crowd were, to be charitable, being boisterous, and to be honest, being pricks, and at the same time, O’Sullivan was playing monumentally well. So at the mid-session interval, Ding left the arena in tears and O’Sullivan took his arm in consolation; then when Ding beat O’Sullivan in this year’s quarter-final, he rested his head on O’Sullivan’s shoulder and exchanged words of encouragement for words of respect. It was beautiful, it was particular, and it was snooker.

Currently, Ding trails Mark Selby, the “Jester from Leicester” – a lucky escape, considering other rhyming nouns - in their best of 33 encounter. Given a champion poised to move from defending to dominant, the likelihood is that Ding will remain the best player never to win the game’s biggest prize for another year.

Meanwhile, the other semi-final pits Barry Hawkins, a finalist in 2013, against John Higgins, an undisputed great and three-time champion. Higgins looks likely to progress, and though whoever wins through will be an outsider, both are eminently capable of taking the title. Which is to say that, this weekend, Planet Earth has no entertainment more thrilling, challenging and enriching than events at the Crucible Theatre, Sheffield.

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