So, Dr
Cowell, your creature has taken on a life of its own.
The
beautiful experiment has turned into a monster and deserted you. Despite its
good intentions, it continues to gather more victims in its wake, unsure who or
what it is anymore.
It is a
shadow of its once tiny but perfect self. Small wonder you are weeping and Tweeting.
There is
more than a tiny similarity between the tale of Dr Frankenstein and his out of
control monster, and Simon Cowell and The X Factor. Both perfected a formula;
both loved their creation; and neither could predict the devastation that
creation would cause, once it took on a life of its own and set itself free in
the world.
On Saturday
night, Cowell was in the US, where he is a judge on their version of the show
and, when one-time favourite, 16 year old Ella, in the UK show was evicted, he
Tweeted: “Unbelievable”.
Really?
Earlier in the week, I had been on the phone to UK judge Louis Walsh and told
him that Ella and James would be the next to go. Ella’s songs had not only been
pitched for her in the wrong key (as Nicole pointed out twice), she looked a
mess and was, bless her, boring. Go to the Welsh Eisteddfod in August, and Ella
voices are ten a penny – and kids with more personality.
James is
undoubtedly a huge talent, but he too looks a mess. The urge to promote “urban”
on the part of the judges (in particular, Tulisa) will simply not wash with the
ITV audience. They want one thing: entertainment; and if that happens to go hand
in hand with talent, great; if not, c’est la vie de showbiz. It is something
that the current crop of judges does not understand. It is something that
Cowell once did, but does not seem to anymore.
Look at the
so-called novelty acts that have gone on to make money, if not very lucrative
careers as a result of their laughable appearances on The X Factor – Jedward,
being the prime example. They can’t sing, they can’t dance, they are irritating
beyond belief, yet they are recognised and audiences flock to them the world
over. In the current X Factor, Rylan Clark is a veritable Tom Jones alongside
them; Christopher Maloney (who, unlike Rylan, really can sing) is a veritable
Pavarotti.
Every week,
Christopher gets booed by the studio audience, yet he has yet to be in the
bottom two. No, he is no Leona Lewis but he delivers what the studio audience at
home want: good tunes, nicely sung, by a seemingly nice, down to earth bloke.
Whatever the truth behind newspaper reports of backstage tantrums, the voting
audience neither knows nor cares.
So he’s
someone who, according to the judges, would be more suited to a cruise ship or
a karaoke bar? Well, sorry, but that’s what the audience wants: accessibility.
For all Louis’s protestations – “We’re looking for a recording artist” – the
show is not, first and foremost, about finding the best singer; if it had ever
been about that, it could have gone into every school in the country and picked
out an Ella, or visited every “urban” hangout in Camden and found a James.
The X
Factor is, and always has been, about giving people something to stay in for
and to argue about with their family and friends on a Saturday/Sunday night.
The X
Factor was never better than when Simon, Sharon and Louis were on the panel.
Here were three people who were in the business, had been for donkeys’ years,
knew it backwards, and were not afraid to speak their minds. Then came the
glamour girls and, with that, the fashion competitions in the press, the
backstage sniping, and the belief that they were bigger than the show.
Now, the
show is lucky if it can find anyone who even knows the difference between a
note that is too sharp or too flat; instead, they resort to the irritating
American Idol-ism “It was a bit pitchy”, which means nothing to your nan
sitting at home with a sherry on a Saturday night (Simon, who is not a trained
musician, still knows in his gut when a note is just plain “wrong”).
Even worse
is the “You nailed it”. Not one of these judges even comes close to Cowell’s
remarkable astuteness and ability to say, in one sentence, exactly what is right
or wrong. Louis, whom I love, still interacted better with Simon and Sharon
than he has with anyone else. In essence, Simon has the ability, as a judge, to
nail it.
Is it too
late to save The X Factor? To bring the monster back from the seeds of its own
destruction? I fear it is. The studio audience used to be a reflection of the
audience vote; now, they are little more than puppets in the hands of the
judges, who must bear some responsibility for the appalling attacks and even
death threats on Christopher Maloney.
It would
not have happened with Cowell on the panel. This is a man who knows showbiz –
and, for all the money it’s made him and pleasure he gets out of it, knows it
for what it is: just showbiz. At least, that’s how I remember him.
But has Dr
Cowell, with his American profile and riches, deserted the UK X Factor and left
us staring helplessly into the eyes of his monster?
It was,
perhaps, inevitable. As Dr Frankenstein said, when his monster came to life: "The
beauty of the dream vanished, and breathless horror and disgust filled my
heart." Or, as Simon Cowell might say: "Unbelievable".
Now, there
are other monsters, other continents. But beware, Dr Cowell: they, too, will
have lives and minds of their own.
And they
may all come back to bite you.