TV has learned nothing from Liam Payne’s death ...Middle East

Should talent competitions still be on TV? Netflix appears convinced. So much so that its new series Building the Band comes to screens next week, despite the death of one of its judges, former One Direction member and X Factor alum Liam Payne, which really ought to have served as a warning sign about the dangers of fast fame and manufactured boybands.

With a format that looks like The Voice crossed with Love Is Blind, 50 contestants audition for a spot in six bands, who rehearse together but only meet face-to-face for the first time on stage.

It’s hosted by the Backstreet Boys’ AJ McLean and features judges and mentors including Nicole Scherzinger (of The Pussycat Dolls) and Kelly Rowland (of Destiny’s Child) – and Payne, in his final TV appearance, filmed weeks before his fatal fall from a hotel balcony in Buenos Aires in October at the age of 31.

Obviously, the flashy trailer displays no awareness of the grim irony that were it not for programmes just like this that promise desperate, hopeful singers a future of success and stardom, Payne might still be alive. In fact, it displays no awareness of the conversations about how we protect young talents and their mental health in the wake of his death at all.

Payne’s posthumous inclusion is not a question of poor taste – his family have reviewed and approved the footage that will be shown. It just serves as an unavoidable reminder of the long-term dangers of shows like this, that thrust young people, often impressionable or inexperienced or vulnerable to more powerful figures who have money, rather than their best interests, at heart, into an industry they may not be ready or prepared for.

An industry that will inevitably give their self-esteem and self-worth a battering, that will expose them to fame, rejection, criticism, intrusion, fans without boundaries, trolls, excess, temptation and exploitation, that has no obligation to support or monitor their wellbeing after the cameras stop rolling.

TV talent shows feel like something from a different era, when linear TV and the Top 40 charts ruled all, before streaming made them irrelevant and before we were forced to confront some very ugly truths – The X Factor, for example, left screens in 2018. Nowadays young singers would be better posting songs on YouTube or TikTok, cultivating a personal brand and building a fanbase, rather than hoping for some golden ticket to change their fortune overnight.

Those who still audition for a show like Building the Band, then, are chasing celebrity itself (there is a $250,000 prize up for grabs – but that’s nothing compared to the money they can make with sponsorship and brand deals if they’re popular enough).

Which is a depressing thought – but gets the programme-makers off the hook. For them, talent discovery, creating opportunities, and laying the foundations of a music career with longevity is not the real concern. Entertainment is. “What will happen when the bands finally meet, and looks, choreography and style come into play?” reads the synopsis. “With incredible performances, compelling drama, and one big goal – to find the next great music band – the stage is set for an unforgettable experience.” That “compelling drama” is usually code for manipulation, and already leaves a sour taste.

Once, those moments of compelling drama felt very special. The day One Direction first sang together at Simon Cowell’s Marbella villa; when “Rhythmix” – who would become Little Mix – performed in front of Tulisa in Mykonos a year later. These bands and scenes were precision-engineered, sure – but we really were witnessing the birth of new friendships and of pop sensations. Knowing the troubles to come makes them bittersweet to watch back – and makes the idea of trying to repeat the formula all over again plain irresponsible.

square THE X FACTOR

How Simon Cowell's house of cards collapsed

Last week, one of the most powerful performances I saw at Glastonbury came from Little Mix’s Jade Thirlwall. It was a triumphant and unexpectedly emotional set from a woman who grew up in the spotlight, was mistreated by the showbiz industry and struggled to understand her identity when the band that had defined it broke up.

As she closed, with her first solo single “Angel of My Dreams” that distilled that conflicting experience into a bold pop banger, I couldn’t help but think about Liam Payne and all the other victims of the TV fame factory whose trauma will never find an outlet in song.

Read More Details
Finally We wish PressBee provided you with enough information of ( TV has learned nothing from Liam Payne’s death )

Also on site :

• China and Russia Keep Their Distance From Iran During Crisis
• Sharon Osbourne says she disinvited greedy band from Ozzy’s Black Sabbath farewell concert: ‘It’s not the time to make a profit’
• Syria Sets Entry Fees for Private Vehicles Crossing via Turkey