I Watched The Mash Report So You Don’t Have To

The Mash Report - Nish Kumar - BBC - Satire - Comedy - Bias - Leftism

The world of comedy is almost uniformly left-wing and progressive, especially on British television. But will new satirical show The Mash Report be brave enough to confound expectations and take potshots at everyone, not just conservatives?

When a friend first introduced me to British satirical news website The Daily Mash back in 2010, I lost two full days of productive work time, ravenously reading back through their archives and laughing until it hurt. At its best, the Mash is a very funny publication, and a worthy and uniquely British answer to the great American satirical newspaper The Onion.

After the Tories (kind of) won the 2010 general election it was inevitable that the Mash’s unforgiving gaze would fall more heavily on conservatism than it did in the dying days of Gordon Brown’s tragicomic administration, and that we on the Right would be subject to a lot more ribbing than before. That is as it should be – good satire should devote much of its energy to mocking and belittling those in power, and taking them down a peg or two. And Lord knows that the Cameron/Osborne/Clegg trio – and now Theresa May’s clown show of an administration – have given the Mash more than enough prime material.

Sure, if one surveys the overall output of the Mash in recent years one gets the clear sense that their “normal” – the political reference point from which any departure triggers satirical mockery – sits somewhere on the centre-left. But I never really had an issue with their output until the EU referendum, where the Mash firmly planted its flag with the Remain camp on the side of the powerful establishment, subjecting Brexiteers to every lazy insult in the book while making it clear that only Remainers could be deemed “normal” and allowed to be in on the joke.

As I wrote a couple of months ago, in exasperation:

The worn-out old stereotype of Brexiteers as scarlet-faced, tweed-bedecked retired colonels hankering after a bygone age is self-evidently false. It fails the common sense test – over 17 million voters opted for Brexit, and there just aren’t enough retired colonels out there to deliver that kind of result.

But rather than actually take the time to understand Brexiteers and work out what makes them tick so as to better lampoon them (humour, after all, is always better when it is closely observational), publications like The Daily Mash sit back smugly and fall back on the familiar narrative of grumpy old men hankering for empire.

And that, of course, is their right. Nobody has to read The Daily Mash, and despite Britain’s increasingly tenuous commitment to free speech they can mock and lampoon whoever they like, as should be the case.

But how much better would their comedy be – how much wryer and punchier their humour – if the Mash writers actually took the time to really get to know a few more Brexiteers (so as to at least make fun of them for the right reasons), or even (heaven forfend) turn that caustic wit back on their own side once in a while?

A reasonable request, I think, but one which the Mash did not heed. Since I wrote those words in early March, the Mash has doubled down on its Brexit mockery, letting numerous establishment cretins off the hook for their mistakes, evasions and foibles as its wittiest writers spend their time skewering the good-hearted but sometimes inarticulate people who dare to express their support for Brexit.

And now the BBC is launching a new satirical television programme fronted by comedian Nish Kumar, entitled The Mash Report. The idea was partly to transpose the successful Mash format from internet to television, but it is also a very conscious effort to introduce the late-night, US-style satirical show made so popular in America by The Daily Show, The Colbert Report and John Oliver’s Last Week Tonight.

The British Comedy Guide trumpeted before the launch:

Nish Kumar will host the 10-part series, described as “an up to the minute, satirical news show”. Overseen by Princess Productions, it is being produced in conjunction with satirical website The Daily Mash, dubbed “Britain’s most popular original comedy website”.

Kumar has experience at hosting topical comedy, having previously helmed Radio 4 Extra sketch show Newsjack. He now presents Spotlight Tonight With Nish Kumar, a Radio 4 topical comedy which will end its current series next week.

Continuing:

BBC Two boss Patrick Holland says: “I am delighted that we are announcing this new topical comedy entertainment series from Princess. It is whip-smart, hugely timely and driven by some great new talent. I’d like to thank all the teams who contributed to the different pilots. The standard was exceptionally high, but we were drawn to The Mash Report’s blend of great satire allied with the surreal. It feels really innovative.”

It doesn’t take a genius to understand what the BBC’s Patrick Holland means when he says that The Mash Report is “hugely timely”. This is basically code for “Oh my god, what a dystopian age we live in now that Brexit is upon us, the Evil Tories are still in government and Donald Trump is president of the United States! Now more than ever we need a condescending new establishment-approved comedy show to fight back against the populist menace on behalf of the elites and put those Leave-voting troglodytes in their place”.

I hoped against hope that it would not be so. I did not want to be proven right – which is partly why I refrained from writing about the show until a couple of episodes had aired. But I can now officially say, having watched The Mash Report so you don’t have to, that it lives down to the very lowest of expectations.

The first anti-Brexit joke occurred three minutes and forty seconds into the show, after the opening pleasantries by host Nish Kumar (who channels John Oliver rather than Jon Stewart in overall tone). Now, one can’t be too angry about this one, aimed as it was at Boris Johnson, a man who is deserving of endless mockery. But still, this first jab confirmed some early suspicions and set the tone for what was to come.

The first identity politics joke – “I’m the first Asian comedian hosting a prime time comedy show, and now we’re coming for all your jobs! This is PC gone mad” (cue inexplicable delirious screaming from the audience) – occurred four minutes and fifty seconds into the show.

There then came a joke about the opening ceremony of the London 2012 Olympic Games in the context of Brexit, pleading for director Danny Boyle to come and take over the Brexit negotiations. As footage of the ceremony played, Kumar intoned “This is the last time any of you will be happy!”. Yes of course, because watching North Korean-style propagandists prance around in nurses’ uniforms deifying a failed socialised healthcare system is deliriously fantastic, while seeking to reclaim democracy and self-determination, and make political leaders properly accountable to the UK electorate again, is just awful beyond measure.

There was then a short interlude while The Mash Report made fun of David Davis’ name, while Boris Johnson was implausibly described as having the “political outlook of a Victorian man”. Seriously? Have the Mash Report writers ever seen Boris Johnson? Clearly not – but they are in no short supply of lazy, sixth form-style anti-conservative put-downs.

In the same week – particularly given that much of the show is given over to quickfire, Have I Got News For You-style picture caption jokes – the Mash Report could have spent thirty seconds making fun of this hilarious cover of The Green Parent magazine:

The Green Parent cover

God help that baby, particularly because the socially conscious father seems to be preparing to attempt to breastfeed (#SomeMenLactate). But no. The Mash Report – and the BBC in general – know exactly who their core audience are, and which demographics must be coddled and protected from offence at all times (yes, trendy green types very much make the list). The Mash Report already knows exactly who to flatter and who to insult mercilessly without fear of blowback for the naked bias on display.

Later in the show we are introduced to the show’s “religious affairs correspondent”. Already you know exactly where this is going – and indeed, precious minutes were spent laughing at the most unhinged of US evangelical Trump supporters and interviewing a rather loopy-looking Church of England minister who claimed that Jesus would have voted to Make America Great Again.

But perhaps I am being unfair. Even though this first outing was spent skewering Donald Trump and the American religious right, I’m fully confident that in future episodes we can expect all faiths (and none) to come in for equally barbed and scornful criticism. Right? Naturally if Hillary Clinton were currently president, the Mash Report would be mocking the Left’s overenthusiastic zeal for abortion and eagerness to make incursions on religious freedom.

One might have thought that a brand new satirical current affairs show could have something to say about the way that politicians and misguided apologists dither and prevaricate while Islamist extremists mercilessly butcher and wound innocent people going about their daily lives. But no – tumbleweeds. Let’s just bash a few crazy evangelical Christians and call it a job well done. That’s surely the only job of a religious affairs correspondent on a national late night comedy show.

And yet despite these many failings there were a few genuinely funny moments in the Mash Report. The recurring feature parodying the way that 24-hour news networks are desperate to broadcast viewers’ observations sent in via social media was accurate and very well done. The show generally worked best when riffing on non-political stories, like the Love Island reality TV phenomenon. It was also good to see some of the familiar recurring Mash vox-pop names crop up – hi, Tom Booker.

But the format often felt awkward and strained, an uncomfortable hybrid between the whip-smart Daily Show-style interactions between host and correspondent in one moment and much more clipped, Have I Got News For You-style dry witticisms and fake headlines the next. Though the blend was new, ultimately there was nothing original in either style or content – particularly not the near-constant left-wing preachiness.

The closest that The Mash Report came from escaping the gravity of bien-pensant leftist groupthink was a segment entitled “Bursting the Bubble”, featuring rare conservative comedian Geoff Norcott. For a moment my heart filled with hope – titling the segment “bursting the bubble” suggested an acknowledgement that all that had come before was rather one-sided, and that maybe now things would change. But no. The mere fact that the bubble is left-wing while the exterior is right-wing says it all about the show’s deep-rooted bias. The country may be divided nearly 50/50 but the BBC and the Mash Report see fit to ghettoise conservatives into a four-minute slot at the end of the episode, much like Maybelle Stubbs’ monthly Negro Day on the Corny Collins Show in Hairspray.

And even Geoff Norcott proved to be something of a turncoat, choosing to play the role of performing seal for the ogling leftist audience rather than attempting to hit back and mock any progressive, left-wing shibboleths. For example, when discussing Our Blessed NHS, Norcott cited the fact that “people live” (rather than dying before old age) as a problem which vexes Evil Conservatives like him.

“The elderly, Nish – they should be dead by now. Just sitting it out, hanging on in there…” Norcott moaned to the show’s host, while the bovine leftist audience clapped gleefully as every single one of their anti-conservative prejudices were confirmed before their very eyes. How exactly is this “bursting the bubble”? If anything Norcott’s role in the Mash Report was more like Samuel L Jackson’s in Django Unchained, the obedient slave performing for Leonardo DiCaprio and hamming up the servile stereotypes as much as possible. The Guardian approves of his comedy act because he is willing to debase himself and play the Evil Tory stereotype. But any real conservative who watched Norcott’s first cringe-inducing segment on the Mash Report must despise the man. I certainly do.

What didn’t we see in the show? Well, there was nothing substantive about the Labour Party, Jeremy Corbyn, the Liberal Democrats, the SNP or the Green Party for a start. Nothing about how so many of Jeremy Corbyn’s inner court have fallen over themselves to praise Venezuela in recent years, even as socialist policies pushed that country toward its current precipice. And you can be sure that all of these people will be largely protected from satirical scrutiny as the series progresses. If they are ever criticised it will be in the context of their ineptitude in thwarting the conservative agenda (whatever that may be) rather than because of the nature of their own beliefs.

But the show did go out with a bang, with a field report about a traumatised middle class family who – gasp! – had to ride the Megabus coach to London rather than travelling in the style to which they were accustomed. Again, nothing wrong with the individual joke – and to be fair, the Mash makes fun of Waitrose shoppers as much as they do people who buy their lunch at Gregg’s. But place it in the context of the overall show and the Mash Report’s emerging worldview is quite clear.

And so is the message about who this new comedy show is designed to amuse. Basically, if you are conservative, working class, a Brexiteer, a Christian, a social conservative, a traditionalist or (heaven forfend) a Ukipper then don’t bother tuning in unless you want to be the butt of every joke for twenty-six minutes, the only respite being the other four minutes where a two-dimensional cartoon parody of you cavorts in the guest seat, pastiching your sincerely-held views for the amusement of host Nish Kumar and his bovine left-wing audience.

In short The Mash Report is exactly as bad as I feared, and as you probably expected. What a letdown. What a squandering of comedic potential. What a great pity.

 

The Mash Report - Nish Kumar - BBC - Satire - Comedy

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Social Justice Watch: Bill Nye’s Junk Science And Rachel Bloom’s ‘Sex Junk’

https://www.youtube.com/watch?v=Wllc5gSc-N8

The Cult of Social Justice and Identity Politics is metastatising throughout popular culture – this is not a problem safely confined to university campuses

When I watch videos like this and think to myself “This is it; this is the end of Western civilisation, the acceleration of the fall of Rome”, am I on the money, or am I overreacting just as cantankerous old men once ardently believed that rock ‘n roll was corrupting the kids?

I honestly don’t know any more. Some people seem to be clapping along and cheerfully encouraging this quadrillion gender + ‘satisfy any passing whim that pops into your head’ worldview and its metastatisation throughout the culture, as though it is the most positive and welcome development in the world. A smaller number of people (such as myself) are sounding notes of caution to varying degrees, though perhaps not loudly enough. But the bulk do not seem to believe there is an issue at all.

And now we must suffer the perverse spectacle of Bill Nye the “Science Guy” bestowing the imprimatur of science and rationality on avant-garde gender theory by bopping along while actress and singer Rachel Bloom frantically cavorts, declaring:

‘Cause my sex junk is so oh, oh, oh
Much more than either-or, or, or
Power bottom or a top off
Versatile love may have some butt stuff
It’s evolution, ain’t nothing new
There’s nothing taboo about a sex stew

And:

Sexuality’s a spectrum, everyone is on it
Even you might like it if you sit up on it
Drag queen, drag king, just do what feels right
You’re a tall pansexual flirty wood sprite

Sure, why not? After all, it’s science.

Rod Dreher seems pretty clear in his verdict:

Keep in mind that Bill Nye is considered a pop culture icon by the rationalist crowd intent on demonstrating what poltroons religious people are. And yet, this trash makes “Veggie Tales” play like the Oresteia.

[..] Crazy people. Batsh*t crazy.

I think I’m with Rod.

 

Teachers for Social Justice

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Irony Overload At The Grammys

https://www.youtube.com/watch?v=hGIfIzqEkyc

This article was written on February 13th 2017, back when it was still vaguely relevant

 

Capping off another celebrity awards ceremony in which cossetted stars withdrew to their bubble to rend their designer garments at the state of the world – with the likes of Katy Perry, Busta Rhymes and James Corden running to their safe spaces this year – Recording Academy President Neil Portnow had this to say in his speech at the 2017 Grammy Awards:

We are constantly reminded about the things that divide us. Race, region and religion. Gender, sexual orientation, political party. But what we need so desperately are more reminders of all that binds us together — our shared history, our common values and our dedication to build for ourselves a more perfect union.

I’m sorry, but who has been constantly reminding us of the things that divide us? Who has been incessantly emphasising differences rather than commonalities at every turn? Who has been the loudest megaphone and amplifier for vicious, self-serving and corrosive identity politics throughout the culture over the past decades? Ah yes – it was that branch of the American Left which includes so much of the entertainment industry.

Often in ignorance more than malice, I’ll concede, but the nerve of a man like Portnow to stand before the kind of people who recorded Hillary Clinton’s “Fight Song” and complain that Americans are being deliberately divided by race, region, religion, gender, sexual orientation and political beliefs is almost beyond belief.

One does not have to be a MAGA-shouting Trump supporter to be drearily, expectantly depressed at the glib self-satisfaction, unawareness and utter banality that took place at the Grammy Awards – as well as at last night’s BAFTAs. This blog certainly abhors Donald Trump and all other ignorant, amoral, authoritarian would-be strongmen like him.

But the answer to a democratic outcome one opposes is not to bemoan democracy itself and ignore one’s own part in bringing about defeat. Hugging identity politics ever-tighter and going back before the American electorate with a leadership team comprising Nancy Pelosi, Harry Reid, Hillary Clinton 3.0 and the same vacuous, corporatist policy book will not put a Democrat back in the White House in 2020.

Introspection is not to be expected from the big egos of Hollywood, I think we have all learned that by now. But a large dose of it must appear from somewhere, and soon, or the opposition to Donald Trump will fall as flat as James Corden at his entrance to the 2017 Grammy Awards ceremony.

 

hillary-clinton-fight-song

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Fighting Censorious, Safe Space Authoritarianism With Comedy

If the Cult of Social Justice and Identity Politics is the disease, comedy and the human instinct to ridicule the absurd are penicillin

Stand-up comedian Steve Hughes has an excellent rejoinder to the current illiberal mantra, held by all devotees of the Cult of Social Justice and Identity Politics, that “sticks and stones may break my bones, but words can kill me stone dead“.

In this excellent excerpt from an old routine, Steve Hughes skewers this baseless assertion and rejects the constant attempts to equate hearing disagreeable words with incurring physical harm.

As Hughes rightly says, when one is offended, absolutely nothing happens. The sky does not fall, pestilence and famine do not rain down on the Earth, one is not physically injured. On being offended, one can either respond and make a stand, or choose to let it go – both are valid options and people are free to choose between them, depending on the individual circumstances.

What is not valid are the attempts to circumscribe free speech – particularly the current fad of calling for “free speech, not hate speech” without realising the inherent contradiction – because the fear of giving or receiving offence is now so great that it overrides our commitment to the principles of a free, democratic society.

But though we must be vigilant in pushing back against these attacks on free speech, with university leaders and professors in particular needing to finally step up and take a stand for academic freedom, it is also worth recalling something which blog pointed out last year:

We must never forget that our best weapon in the fight against these petty, censorious students, these Orwellian tyrants in gestation, is the simple act of ridicule.

The more we take seriously and earnestly debate with these student babies, coming up with detailed arguments as to why it is in everyone’s interests that they tolerate the presence of someone with different ideas on their campus – or why they are wrong to terrify their professors with accusations of supposed microaggressions to the extent that they become unable to properly teach – the more their hysteria can begin to seem like a valid world view.

But of course it is not. Just as nobody takes seriously that diminished rump of eccentrics who maintain that the world is flat, so we should be careful not to take the bait every time some wobbly-lipped student demands the purging of a challenging book from the academic syllabus or the revocation of an honorary doctorate from a partisan figure.

That doesn’t mean that we sit back and do nothing, allowing these baby-faced tyrants to have their way. But it does mean all of us choosing more carefully how and when we pick our battles, and being willing to sit out a few rounds to let Trey Parker, Matt Stone and the good people at The Onion pick up the slack once in awhile.

Sometimes, earnestly engaging with those who seek to curtail freedom of speech and behaviour in the name of protecting the perpetually vulnerable from taking offence can be counterproductive, because deploying the well-trodden earnest arguments in favour of free speech only provides the Identity Politics cultists with another opportunity to state their toxic credo all over again.

Far better, in these circumstances, to keep one’s powder dry and let the comedians do the leg work instead.

 

Safe Space Notice - 2

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Bring It, Benedict

Benedict Cumberbatch - EU Referendum - Brexit

In their barely literate open letter praising the European Union, Benedict Cumberbatch and his cohort of EU apologist luvvies not only fail to understand what the EU is or how it works, they also shamefully pass off their own financial self interest as high-minded concern for the future of Britain

If assorted celebrities are going to sign their names to a public letter calling for the British people to vote a certain way in a referendum of existential importance, it would be decent of them to be honest about why they really want people to make that choice.

This is hardly rocket science, but apparently it was too much for the cognitively tepid minds who signed their names to a letter calling for Britons to reject Brexit for the supposed good of the arts.

The signatories are exactly the kind of people you would expect to see flaunting their right-on, progressive virtue to their fans and peers. Tracey Emin. Anish Kapoor. Vivienne Westwood. Jo Brand. Patrick Stewart. Keira Knightley. Jude Law. John Hurt. The ubiquitous Benedict Cumberbatch.

So to what exactly did they put their gilded names? Here is the full text of the letter:

The EU referendum marks the biggest democratic decision of our time, and the outcome will have lasting and far-reaching consequences for the future of this country for generations to come.

The referendum forces us to look in the mirror and ask ourselves: what kind of nation do we want to be? Are we outward-looking and open to working with others to achieve more? Or do we close ourselves off from our friends and neighbours at a time of increasing global uncertainty?

Because choosing to step out of a steadily integrating political union with an overarching supra-national government obviously means “closing ourselves off”. There are only two models of engaging with the world – the path to euro federalism or North Korea. Absolutely no other options in there at all. Sure.

From the smallest gallery to the biggest blockbuster, many of us have worked on projects that would never have happened without vital EU funding or by collaborating across borders. Britain is not just stronger in Europe, it is more imaginative and more creative, and our global creative success would be severely weakened by walking away.

And where exactly do you think that “vital EU funding” actually comes from, Benedict? Did you fall for that old chestnut about the secret magic money volcano deep beneath the European Parliament building in Strasbourg, regularly belching out €500 notes and showering them down upon grateful starving artists?

Of course there is no “EU money”. There is only British taxpayer money, the majority of which contributes toward general EU spending with only a small proportion being disbursed to various organisations in Britain, to be spent strictly as agreed by whichever organ of Brussels loftily granted it in the first place.

So is your argument actually that if Britain no longer contributed to EU cultural initiatives, the government would be inclined to use the money for other purposes? And if that is your legitimate fear, why don’t you take it up with your fellow citizens, whom you apparently believe do not value the arts highly enough? Why are you content for higher levels of taxpayer funding of the arts to take place in Britain than you think the British people themselves would allow? Doesn’t that make you the textbook definition of an enemy of democracy?

And what is all this bilge about “collaborating across borders”? Nearly all of the high profile signatories to the letter have worked on various international projects – many of them involving the United States of America, with whom of course we share no political union. Does the lack of a parliament overseeing both Britain and America mean that artists in each country can no longer collaborate on projects? Hardly.

The letter continues:

And what would ‘Out’ really mean? Leaving Europe would be a leap into the unknown for millions of people across the UK who work in the creative industries, and for the millions more at home and abroad who benefit from the growth and vibrancy of Britain’s cultural sector.

Remember when art was bold and visionary? No, neither do I. I was born in 1982, so I do not recall a time when the artistic establishment was not firmly in the orbit of government, keeping the politicos sweet in order to keep a hand in the Treasury.

But despite never having known a time when (unlike the United States of America) our greatest artistic institutions were privately funded and supported by great philanthropists, I still get the nagging feeling that any artist worth their salt – unless of the Soviet variety – should instinctively chafe at the idea of stale political union and remote continental governance, rather than rejoice in it and argue for its continuance.

Leaps into the unknown seem to me to be the whole purpose of art – to boldly go in new directions, try new things and above all seek the maximum freedom possible (the EU hardly being synonymous with freedom). And yet here assembled are the great and the good of Britain’s acting crop, telling us that the best we can now hope for is continued membership of an anachronistic 1950s model of governance dreamed up by old men scarred from the 20th century’s wars. The utter lack of vision and ambition from people supposedly paid to be bold visionaries is as shocking as it is profoundly depressing.

More:

From the Bard to Bowie, British creativity inspires and influences the rest of the world. We believe that being part of the EU bolsters Britain’s leading role on the world stage.

Let’s not become an outsider shouting from the wings.

“We believe”. Well, good for you. I believe in unicorns. But just stating a belief does not make it so. Where is the proof that being a member state of the European Union increases the demand for art, films, television programmes, sculptures, compositions, songs, albums, plays, skits, musicals or operas conceived, designed or produced in the UK? They provide no evidence because there is no evidence. If and when Britain exits the European Union and moves to an interim EFTA/EEA relationship to maintain single market access, the only thing we lose is the supra-national government. Is Cumberbatch seriously suggesting that the political institutions of the EU are his muse of fire?

It hardly needs pointing out that the two British icons cited by the signatories themselves – William Shakespeare and David Bowie – both took the world by storm before Britain joined the European Economic Community, in Shakespeare’s case by quite a few years. The beauty of art is that good or bad, high or low, it has ways of crossing political and cultural boundaries. That’s how a future North Korean defector came to watch a smuggled copy of Titanic in silent wonder, shocked and captivated by the idea of dying for a love other than love of the Dear Leader. That’s how the opening bars of Beethoven’s Fifth Symphony became a symbol of British resistance when all around us was pulverised to rubble during the Blitz. So don’t stand there and fatuously tell me that political union is required in order for art to thrive and spread, Mr. Cumberbatch. You should know that this much is a filthy lie.

Ultimately, one simply cannot take this letter seriously. And neither can one take the signatories seriously. It is certainly much harder to respect someone in public life when they knowingly use their public position to help propagate a series of lies, half-truths and obfuscations in service to an anti-democratic, embryonic government of Europe; an unrequested, unwanted and unloved supra-national government which buys the unconditional praise of scientists, university leaders, politicians and artists with your taxes and mine.

If Benedict Cumberbatch and his right-on friends want to virtue-signal their trendy, progressive opinions then good for them. Have at it. But when they seek to use their fame to influence others in the referendum debate, they should expect to be attacked for casually parachuting into the middle of the fray for the sole purpose of spreading lies, half-truths and a childishly naive view of the European Union which makes one wonder when they last watched the news (if ever).

This risible letter is nothing but a childish hymn of praise to the EU written by people convinced of their own righteousness despite being among the least educated on the topic, and who think they can trick the public by constantly conflating Europe with the power-hungry political entity which wishes to control it. In other words, the letter’s signatories are pawns, and not very bright ones at that, to allow themselves to be used in such a way. I give the whole sorry performance one star out of five, and I’m probably being too generous.

Don’t like what I’m saying? Then bring it, Benedict. I’m available to debate morning, noon or night, any time between now and the referendum. You’re an actor. I have been a lifelong supporter of the arts, and in my 20s was the London Symphony Orchestra’s youngest ever patron. You pick the time and the place, and we’ll talk a bit about the role of the arts in British and European life, and just how intertwined – or not – they are with the political construct known as the European Union.

But do your homework first – and I don’t mean learning canned lines from Britain Stronger in Europe. I mean actually trying to learn something about the subject before you start grandly soliloquising and attempting to sway other people.

Maybe the kind of unrehearsed extemporising revealed in this letter works when you try it on hordes of screaming fans at the rope line after one of your performances. But when you try and pull the same stunt in front of the British electorate you and your chums in the art world look stupid. Very stupid.

And until you either issue a retraction or double down with a proper grown-up argument, I will continue to say so.

 

European Union - United Kingdom - Britain - Flags

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