Inner demons we shouldn't covet
The month of August brought with it, during the comedic melee that is the Edinburgh Festival, the sad news that elsewhere on Planet Comedy, Thick of It star Chris Langham was on suicide watch after being convicted of child pornography charges. While comedy as an entity swept excitably north of the border to the Scottish capital, it seems to have abandoned the forlorn figure of Langham, who will remain in custody until his sentencing.
History is littered with examples of people in the public eye, especially comedians, who have a skeleton or two in the cupboard (or one in the swimming pool, in the case of Michael Barrymore, though to call him a comedian would probably bring legal action from the Guild). Michael Jackson, for instance, though never willingly a comedian, has entertained millions through his sheer lunacy and baby-dangling antics. And he's the man who brought us Thriller. Rumours abound about his juvenile bedfellows; this unfortunate consequence of his childishness may, nevertheless, have been the secret to his success- like Samson's hair, or Pete Doherty's tourniquet. While I have heard it whispered, muttered surreptitiously, that the man who brought us Thriller should be allowed as many kids as he likes, I stop short of advocating this course of action.
What does intrigue me is this tragic link between the distasteful (Doherty), or unforgivable (Jackson)- with performing in general. A comedian may use whatever material they can draw upon, all in order to make us, the fickle audience, laugh. Comedy itself is such a fickle mistress; look at TV comedy of the last couple of decades. Some lasts, some does not- the cult favourite Red Dwarf now, apart from the irregular lines of gold that keeps it popular, looks dated and the dialogue stilted; even old favourites like Blackadder have their weaker moments which just haven't stood up to the ravages of time. And few critics would argue that the current absurdist mess that makes up acts like the Mighty Boosh will have as short a shelf life as any of its predecessors; Little Britain would be a perfect example of the one-hit-wonder who should never have returned for a second, let alone a third, series.
Langham is a troubled man. Though he was cleared of sex offences against a young girl, the drawn, sunken-faced figure he cut while in the dock admitting to using child pornography (and spinning a scarcely-believable excuse that it was "research") was undoubtedly one of a shamed man; a hunched, embarrassed, flawed human being. Yet this is also the man who for the last few years has been the driving force behind The Thick of It, one of the most incisive and sharp comedies of the last decade. Reminiscent of Yes, Minister (one comedy so clever it will never suffer from the ravages of time) it showed us all the right way to look at politics. So prescient were some of the scenes that, well, it could have been real. And it was still hilarious, more to the point.
Langham shows us clearly that entertainers are not, and alot of the time can not, be role models. Amy Winehouse will continue to self-destruct because she is a self-destructive being; it is that very quality which, when shining through her unique voice, makes her so marketable and desirable. Chris Langham finds it easy to be funny in front of a camera; yet as an actor and a writer, we must now assume that his profession was an escape, a direction in which to point his troubled, restless mind- and one that brought him great success and many plaudits. As such, then, we must face the unhappy possibility that it is this turbulence of mind, the tortured nature of his spirit that forced him into the creative path he pursued so successfully. He admitted during the trial that he had been the victim of abuse in the past- he as a man, never mind as a performer, will never be the same after this admission, made in the full glare of the media spotlight.
Uncomfortably for many of us, we will never be as precocious or as talented as those we watch routinely on TV. Yet if that means we are free of the inner demons Chris Langham has suffered from all his life, we may all have reason to be thankful. We of course cannot go easy on him just because he is funny, nor can we realistically keep Neverland supplied with children in honour of Michael Jackson's glorious past. Perhaps we need to learn to be less envious; we never know what drives the creative minds we once admired.
History is littered with examples of people in the public eye, especially comedians, who have a skeleton or two in the cupboard (or one in the swimming pool, in the case of Michael Barrymore, though to call him a comedian would probably bring legal action from the Guild). Michael Jackson, for instance, though never willingly a comedian, has entertained millions through his sheer lunacy and baby-dangling antics. And he's the man who brought us Thriller. Rumours abound about his juvenile bedfellows; this unfortunate consequence of his childishness may, nevertheless, have been the secret to his success- like Samson's hair, or Pete Doherty's tourniquet. While I have heard it whispered, muttered surreptitiously, that the man who brought us Thriller should be allowed as many kids as he likes, I stop short of advocating this course of action.
What does intrigue me is this tragic link between the distasteful (Doherty), or unforgivable (Jackson)- with performing in general. A comedian may use whatever material they can draw upon, all in order to make us, the fickle audience, laugh. Comedy itself is such a fickle mistress; look at TV comedy of the last couple of decades. Some lasts, some does not- the cult favourite Red Dwarf now, apart from the irregular lines of gold that keeps it popular, looks dated and the dialogue stilted; even old favourites like Blackadder have their weaker moments which just haven't stood up to the ravages of time. And few critics would argue that the current absurdist mess that makes up acts like the Mighty Boosh will have as short a shelf life as any of its predecessors; Little Britain would be a perfect example of the one-hit-wonder who should never have returned for a second, let alone a third, series.
Langham is a troubled man. Though he was cleared of sex offences against a young girl, the drawn, sunken-faced figure he cut while in the dock admitting to using child pornography (and spinning a scarcely-believable excuse that it was "research") was undoubtedly one of a shamed man; a hunched, embarrassed, flawed human being. Yet this is also the man who for the last few years has been the driving force behind The Thick of It, one of the most incisive and sharp comedies of the last decade. Reminiscent of Yes, Minister (one comedy so clever it will never suffer from the ravages of time) it showed us all the right way to look at politics. So prescient were some of the scenes that, well, it could have been real. And it was still hilarious, more to the point.
Langham shows us clearly that entertainers are not, and alot of the time can not, be role models. Amy Winehouse will continue to self-destruct because she is a self-destructive being; it is that very quality which, when shining through her unique voice, makes her so marketable and desirable. Chris Langham finds it easy to be funny in front of a camera; yet as an actor and a writer, we must now assume that his profession was an escape, a direction in which to point his troubled, restless mind- and one that brought him great success and many plaudits. As such, then, we must face the unhappy possibility that it is this turbulence of mind, the tortured nature of his spirit that forced him into the creative path he pursued so successfully. He admitted during the trial that he had been the victim of abuse in the past- he as a man, never mind as a performer, will never be the same after this admission, made in the full glare of the media spotlight.
Uncomfortably for many of us, we will never be as precocious or as talented as those we watch routinely on TV. Yet if that means we are free of the inner demons Chris Langham has suffered from all his life, we may all have reason to be thankful. We of course cannot go easy on him just because he is funny, nor can we realistically keep Neverland supplied with children in honour of Michael Jackson's glorious past. Perhaps we need to learn to be less envious; we never know what drives the creative minds we once admired.
Labels: Pop Culture / TV