“Scotland: the only country in the world where the artists conspire with the government against the people.”
Stephen Daisley
Who took the satire out of the Saltire?
The following article will delve into the Scottish Comedy scene and its relationship with politics. Looking back to comedy in Scotland before the Nationalists came to power: when comedies such as Rab C Nesbitt, Billy Connelly and Absolutely were not afraid of satirising Scottish politics. We’ll examine stories of Janey Godley, The Stand Comedy Club, Frankie Boyle and others, exploring how their close ties with the SNP and vocal support for independence have led to preferential treatment and even access to public funds, while their content – on and off stage – has been crude and derogatory. We’ll touch on the abuse of comedians such as Susan Calman, Eddie Izzard, and Jo Caulfield, who have, at some point, put their heads above the parapet. We’ll look at Alex Salmond’s plural attempts to launch a career as a comedian. We’ll ask what it means when a society, or a significant section, can’t laugh at itself when criticism of power is actively punished and when politicians and their loudest supporters put themselves beyond parody.
The Bad Joke.
There appears to be an unhealthy relationship between Nationalists and a particular style of abusive comedians. It’s a pattern that is concerning beyond the lousy taste and toilet humour: Instead of irreverent satire holding up a mirror to power, we have a clique of Comedians who, in return for their political support, reap the benefits of increased opportunities and public funding, and exposure, while criticism of the nationalist hegemony is actively discouraged.
“The desire to be a politician should bar you for life from ever becoming one.”
Billy Connolly
Genuine satire was once a vibrant and essential part of the Scottish comedy scene but has been noticeably absent in recent years. This is no laughing matter. The nationalist takeover of arts funding and the ownership of significant comedy venues by nationalists have created a climate that disincentivises criticism of the Scottish National Party (SNP) and the independence movement.
Under the leadership of Nicola Sturgeon, the Scottish National Party (SNP) was often held above reproach, with few daring to satirise or criticise the party’s actions. This was partly due to the lionising of Sturgeon’s cultivated and undeserved image as a strong and competent leader, making it difficult for satirists to find a foothold.
However, with the transition to Humza Yousaf’s leadership, the situation has become even more complex. Yousaf’s tenure has been marked by controversies and missteps that, while providing ample material for satire, have also led some to argue that the SNP has become “beyond parody”.
The issue is not just about the politicians themselves. As Brian Monteith points out in his Scotsman article, the lack of satire is symptomatic of a more significant, serious problem: the absence of a culture of criticism and dissent.
This is further exacerbated by the fact that some of the most visible of the country’s comedians and satirists are seen as loyalists to the SNP regime. As we shall see: Janey Godley, for instance, is often criticised for her lack of cutting-edge humour and close ties to the Scottish Government.
Scots have become unable to laugh at all aspects of ourselves.
It wasn’t always the case – Scottish comedians used to poke fun at nationalism, along with many other aspects of Scottish culture.
Absolutely Under One Banner
My life is passed in making bad jokes and seeing them turn into true prophecies.
Gilbert K Chesterton
Gilbert didn’t write for the Cult Channel 4 Scottish TV show “Absolutely”, but to the above quote, the writers have suffered the same fate. Absolutely was an irreverent and surreal comedy show in the 1990s with mainly Scottish writers, cast and settings. It had the parody Scottish Nationalist character McGlashan, played by Scot Jack Docherty. In the below sketch, Scottish nationalist ‘playwright’ MacGlashan tells his agent McMinn about all things Scotland invented (and were later stolen by the English).
In the 1990s, that was an exaggerated but recognised caricature. What’s striking about McGlashan’s diatribe from this side of a decade of SNP rule is, sad to say, frankly, we’ve heard so many real-life variations of this conversation from 2013 onwards that nationalists have almost put themselves beyond parody. This, which was comedy now, probably genuinely wouldn’t raise an eyebrow if he was a speaker onstage at an Independence march because it’s much the same tone as ‘the Scottish resistance’ here:
Was it absolutely just keen observational comedy that these types have always walked among us? Is life imitating art, or have our bad jokes turned into prophesies?
“Independence would have killed him because he’d have nothing to rage against. The whole point to McGlashan is that he has to have that screaming fit about not getting what he wants”
Jack Docherty
I will tell you this, boy!
Gregor Fisher has played many Scottish characters, but perhaps the only one more quintessentially Scottish than his Para Handy is his wry Diogenies of Govan: Rab C Nesbit.
In “Rat”, a 1990 Episode of Rab C Nesbitt, Govan is gripped by By-Election fever, with digs at all the parties. Lib Dem voters are ‘undecided, the local labour candidate is an old school friend of Rab’s who has been gentrified, and the SNP candidate’s television speech on self-determination and the spirit of Bannockburn could be re-used today. Rab sees all the politicians as ‘pish’ and gives the only Conservative vote in Govan in return for a free doormat. The result sees SNP win from Labour by three votes: the three votes of Rabs unemployed, alcoholic, friends on benefits, voting SNP for no more than purely tribal nationalistic reasons.
Rab C Nesbitt is still a much-loved character. The series launched the career of Elaine C Smith, now a prominent nationalist herself – but If the BBC screened a pilot of Rab C Nesbit now, there would be protests outside Pacific Quay faster than you could chant “sack Nick Robinson”. The SNP would no doubt formally complain that it was a racist stereotypical attack by the biased BBC Yoon Mainstream media on Scotland designed to talk Scotland down and undermine Scottish confidence. Never mind that its writer is Glasgow Scot Ian Pattison.
Gregor himself certainly saw the character as political commentary : he commissioned this portrait from Beryl Cook of Rab entering 10 Downing Street.
Have I got A Spitting Image For You?
There is no satire in Scottish Broadcasting. In the late 1980s and early 1990s, the British political landscape was not just a battleground for politicians but also a playground for satirists. This period was a golden age of British political satire, with shows like ‘Spitting Image’ and ‘Yes Minister’ leading the charge. With their sharp wit and biting humour, these shows held a mirror up to the political system, reflecting its quirks, foibles, and sometimes, its darker truths.
‘Spitting Image’, with its grotesque puppet caricatures of politicians, was a bold and unflinching critique of the political class. It was a show that dared to mock the powerful, from Margaret Thatcher to Ronald Reagan, with no holds barred. It was a show that, in the words of Labour MP Roy Hattersley:
“It made us politicians look ridiculous, and quite right too.”
Roy Hattersley
On the other end of the spectrum was ‘Yes Minister’, a more subtle but equally incisive satire. It was a show that delved into the inner workings of Government, exposing the often absurd power dynamics between politicians and civil servants. It was so spot-on that it was said to be the favourite show of then Prime Minister Margaret Thatcher.
“Its closely observed portrayal of what goes on in the corridors of power has given me hours of pure joy.” –
Margaret Thatcher
These shows were not personal or partisan attacks on one party or person. They were a commentary on the system as a whole, highlighting its absurdities, inefficiencies, and often Kafkaesque bureaucracy. They were a form of checks and balances, holding politicians accountable in an entertaining and enlightening way.
The reaction to these satires was largely positive, with audiences appreciating the chance to laugh at the often absurd world of politics. It was a healthy outlet for political frustrations, a way for the public to engage with politics without the usual dryness and decorum.
In many ways, these satires shaped our perception of politics. They reminded us that politicians are human, prone to folly and farce. They showed us that the political system, for all its grandeur and gravitas, can sometimes be a circus. And perhaps most importantly, they taught us to question, critique, and never take politics too seriously. For all these reasons, we were better off for how they shaped our perception of politics.
Yet in modern Scotland, even topical shows like “Have I Got News for You?” that provide brutal and indiscriminate treatment to politicians are noticeably absent. This lack of satirical commentary on Scottish politicians contrasts sharply with the situation in Westminster, where politicians are regularly subjected to satirical critique.
“No politician could claim to have “made it” in Westminster without being parodied on the show.( Spitting Image) Jeffrey Archer even went to the trouble of sending the producers a videotape of his voice to ensure an appearance.”
https://thecritic.co.uk/what-spitting-image-did-to-british-politics/
Not Game.
Compare that to now, when nationalism has now so divided the country that in order not to alienate half the population, shows such as Still Game are deliberately not including any political references and reassure people there will be no political jokes.
Much is made of how ‘politically engaged’ Scotland has been since nationalism tore families apart. Yet we have what is supposed to be a keen observational comedy of Scottish life that must deliberately tiptoe around politics to survive.
Toe the party line.
Instead, we see a comedy scene that rewards those who toe the party line and fawns over mocking the unionist majority. This is not just a blow to the diversity and quality of Scottish comedy but also a threat to the principles of free speech and political discourse.
These stories raise serious questions about the role of comedy in political discourse and the responsibility of comedians to their audiences. They also highlight the need for transparency, fairness, and diversity in allocating public funds and opportunities.
Godleyness before Cleanliness
Janey Godley is a Scottish stand-up comedian and author known for her crude, uncultured and confrontational style.
The relationship between Nicola Sturgeon and Janey Godley has been a topic of interest in the Scottish political scene. Sturgeon, Scotland’s First Minister, has referred to Godley as her “alter ego”, and the comedian has been a vocal supporter of Scottish independence. I’ve shown how Nicola used Janey in the propaganda technique of ‘folksy man of the people posturing.’.
However, their relationship has come under scrutiny following the revelation of Godley’s past offensive tweets, which led to her being dropped from a Scottish government health campaign.
Godley’s tweets, sent between 2011 and 2017, contained derogatory language about black celebrities such as Kelly Rowland and Snoop Dogg. She also mocked people using the Chornobyl incident, mocked the disabled, and on a podcast with her daughter (who herself has been derogatory about the eating disorder Bulimia),
Godley was racially abusive to the traveller’s community members. Despite Godley’s apologies and claims that although she displayed a pattern of racist abuse over several years, she is not a racist, the incident has raised questions about the Scottish Government’s due diligence process. The Government had paid Godley £12,000 to front its #stopthespike campaign, which encouraged face coverings and lateral flow testing during the Covid-19 pandemic.
Critics have suggested that Godley’s political views, and links to disgraced former first minister Nicola Sturgeon, influenced the Government’s decision to hire her.
“It’s starting to look like nationalist and SNP supporters get special treatment from this Government. This contract should never have been awarded in the first place, and the first minister should be a lot more contrite now that these shameful tweets have emerged.”
Scottish Conservative MSP Russell Findlay
The incident has also raised concerns about the potential misuse of public funds. The Government’s decision to hire Godley, despite her public racism, suggests a serious lack of thorough vetting.
Nicola Sturgeon signed off on the five-figure contract despite acknowledging that Godley’s extreme political views could harm the public health aspect of the message.
Godley’s racism was not hidden: it was publically available, and her unimaginative but vitriolic attacks on Unionists online were a cornerstone of – if not her personality, her persona.
This has led to accusations that the Government may have turned a blind eye to Godley’s past due to her support for Scottish independence.
Rap on the knuckles
One incident involving Ruth Davidson, the former leader of the Scottish Conservative Party, occurred during the launch of the Scottish Independence Convention, an event hosted by actress Elaine C Smith and featuring speakers such as disgraced former First Minister Alex Salmond, SNP MP Tommy Sheppard, Scottish Greens MSP Ross Greer, broadcaster Lesley Riddoch, and Carolyn Leckie from Women for Independence.
During the event, an all-female comedy rap group, Witserface, performed a mock rap battle in which they referred to Davidson, who is openly gay, as “Dykey D”. This derogatory term and the offensive nature of the performance sparked outrage and led to calls for an apology.
Joanna Cherry, an SNP MP who is also gay, initially described the routine as “hilariously irreverent satire” on Twitter. However, she later expressed regret over the offence caused. She acknowledged the importance of language in shaping social attitudes towards LGBTI people.
The incident highlights the potential for comedy to cross the line into offensive and harmful territory. It also raises questions about the responsibility of political figures and public events to promote respect and equality.
Elaine C Smith ( Who had played Rab C. Nesbitt’s wife, Mary Doll) was the event’s host: another comedian supporting Scottish independence. Tommy Sheppard, one of the speakers at the event, is an SNP MP and the owner of The Stand Comedy Club, which we will come to later. These connections further illustrate the intertwining of comedy and politics within the Scottish independence movement.
Suzie McCabe
Susie McCabe, a prominent Scottish comedian and supporter of the Scottish National Party (SNP), has been embroiled in controversy over offensive and derogatory tweets she made between 2010 and 2014. The tweets included homophobic language, derogatory comments about disabled people, and offensive remarks about Margaret Thatcher and Rangers football fans. Despite the controversy, McCabe has been pictured with SNP leader Nicola Sturgeon at the Edinburgh Fringe, further fueling the controversy.
In the tweets, McCabe used offensive language to describe gay people, including referring to former X Factor judge Louis Walsh with a homophobic slur. She also used derogatory language about disabled people, using terms such as “retard” and “spastic” to describe situations and others. In addition, she expressed a wish for Margaret Thatcher’s death. She used the term “hun,” a sectarian term offensive to Rangers fans.
McCabe’s tweets came to light after she accused Tory MSP Murdo Fraser of being in the Orange Order and “celebrating the 17th century.” Social media users criticised McCabe after the tweets were discovered, with some questioning her nationalist and bigoted views.
Despite the controversy, Nicola Sturgeon, the leader of the SNP, was pictured with McCabe at the Edinburgh Fringe. SNP MP posted The pictures on Twitter for Glasgow North East Anne McLaughlin.
Hardeep Singh Kohli
Nationalist comedian Hardeep Kohli has been accused of multiple incidents of sexual assault. In 2020, Singh Kohli was accused of sexual harassment by numerous women, including some in the comedy industry. Lulu Popplewell alleged that an offer of help was accompanied by an invitation to spend the night in his bed and has accused Kohli of attempting to abuse his power.
Regarding political views, Kohli wrote and spoke in support of the campaign for a “Yes” vote in the 2014 referendum on Scottish independence, appearing at the rallies for Scottish independence on September 22, 2012, and September 21, 2013, in Edinburgh. Kohli joined the Scottish National Party in November 2014, following the “Yes” campaign’s defeat at the independence referendum.
The SNP did ‘disown’ him in 2020 – some 11 years after the first allegations came to light.
Vlad the Inhaler
Vladimir McTavish, apparantly a Scottish comedian, is not someone I was familiar with until I began researching for this article. It appears to me, from what I can see, he is more visible for his politically charged writing than his comedy.
It’s perhaps not surprising that he is a sycophantic supporter of the SNP – he sits on the board of the comedy club ‘the Stand’ owned by SNP MP Tommy Sheppard.
In one of his articles, he delves into the resignation of Nicola Sturgeon, the First Minister of Scotland, and the potential candidates who could succeed her.
He mentions that Humza Yousaf, a potential successor, has a fondness for stand-up comedy and a good sense of humour, which he views as a positive attribute. Simultaneously, he makes unsubtle jabs at Kate Forbes for her religious views.
Yet while he contemplates various reasons for Sturgeon’s resignation, he conspicuously sidesteps the most apparent one: the looming fraud investigation that was closing in, and her impending arrest.
He does, however, touch upon the investigation in this newspaper article.
His writing style, indeed the very existence of the article, is somewhat unusual in it’s time approach and content for a ‘comedian’.
The core argument appears to be that the police should not investigate Nicola Sturgeon, Her Husband and the Scottish National Party, because the cost of the intricate, multi-year investigation has surpassed the sum of the alleged fraud and embezzlement.
Frankie Goes to Holyrood
Frankie Boyle, a controversial figure in the comedy world, is known for his unapologetic support for Scottish independence and his close ties with the Scottish National Party (SNP). His crude style, often pushing the boundaries of what is acceptable, mirrors that of Janey Godley, another comedian embroiled in controversy due to her offensive tweets.
Boyle’s support for Scottish independence is well-documented. In an article for The Independent, he expressed his disdain for political parties opposing Scottish independence, stating, “Naturally, I wouldn’t be able to work with any party that wanted to break up the United Kingdom.” Adding, “I would try to keep Britain united by not talking to the elected representatives of one of the countries. I would make this clear with my campaign slogan: ‘In the Interests of Unity, F**k Off'” (Smith, 2015).
Boyle’s support for the SNP and its leader, Nicola Sturgeon, is also evident. He has been vocal about his admiration for Sturgeon, even suggesting that the media’s inability to handle a strong female leader is why she’s not taken more seriously. He wrote in The Guardian, “It feels almost as if the establishment is still assessing her. Which of the traditional tactics to employ: scorn or vilification? Do you call her the most dangerous woman in Britain or stage a smear where she’s a gossipy woman? Decisions, decisions” (Smith, 2015).
Boyle’s support for Sturgeon was further highlighted during the Aye Write festival, where he was featured alongside Sturgeon and pro-SNP comic Janey Godley. The festival, which included a variety of anti-British authors, was seen as a platform for pro-independence voices.
However, Boyle’s crude style of comedy has often landed him in hot water. His jokes often involve violence and mocking the disabled, drawing parallels with Godley’s offensive tweets. Despite this, his influence within the Scottish comedy scene and his unwavering support for Scottish independence have solidified his place as a prominent figure within the SNP’s circle.
Politicians
Taking the Stand
The Stand Comedy Club, co-founded by SNP MP Tommy Sheppard, has been at the centre of a controversy involving Joanna Cherry, another SNP MP. Cherry was due to participate in an Edinburgh Fringe show hosted by the club. Still, her appearance was cancelled due to her views on gender self-identification. Some staff members at The Stand expressed their unwillingness to work at the event, leading to its cancellation.
Cherry, who represents Edinburgh South West, threatened to take the club to court unless it reversed its decision. The Stand eventually admitted that the cancellation had been “unfair and constituted unlawful discrimination” against Cherry. This incident underscores the ongoing culture war within the SNP over gender ideology.
The Stand’s actions have raised questions about its political bias and influence. Notably, Tommy Sheppard, an SNP MP, owns the club. This connection between politics and comedy is not unique to The Stand. Still, it does highlight the potential for conflicts of interest.
Scottish comedian Leo Kearse claims he has been blacklisted from the Stand due to criticising the SNP.
In another twist, The Stand received the largest possible Covid funding from the Scottish Government’s £15 million Culture Organisations and Venue Recovery Fund. The club, which has sites in Glasgow and Edinburgh, received £250,000. Only three out of 203 applicants for funds received the maximum payout. This has led to criticism and suspicion, especially as many other hospitality firms struggled and went under during the pandemic.
Eyebrows have been raised over how much money Tommy Sheppard’s businesses got… Especially as other venues missed out completely.
Licencing lawyer Janet Hood
The Stand’s actions and receipt of substantial government funding raise questions about the intertwining of comedy, politics, and business within the Scottish independence movement. It also highlights the potential for preferential treatment and bias in allocating public funds.
Mr. Sleepy Cuddles – Creepiest of the Clowns
Disgraced ex-SNP First Minister Alex Salmond, who once was taken seriously, has made some forays into light entertainment, perhaps aiming for a second career now his political reputation is in tatters.
In 2008 Alex Salmond made an impression on the character “I.M. Jolly. It was for a good cause – BBC Scotland’s Children in Need, but he was perhaps even then at the start of his premiership showing he was of an older generation. The character he was parodying had not been on telly for over a decade, and it’s unlikely any of the weans got the joke.
His second attempt to break into Showbiz was when he launched a chat show at the Edinburgh fringe – the introduction of the format that would go on to be the controversial Alex Salmond show on the Kremlin-funded Russian propaganda channel RT.
In his Edinburgh Fringe show, Alex Salmond, the former First Minister of Scotland, opened with a joke that was not only in poor taste but also disrespectful towards female politicians. As reported by the Huffington Post, Salmond made a crude joke about his inability to make “wonderful women” such as Theresa May, Nicola Sturgeon, Ruth Davidson, and Melania Trump “come… to the show” This attempt at humour was not only inappropriate but also reduced these accomplished women to sexualised punchlines, setting a poor example for young men.
Despite the backlash, Salmond defended his joke as a “harmless innuendo” and refused to apologise. This response was disappointing, as it shows a need for more understanding of the impact of such comments. It is not just about the joke itself but the underlying attitudes and assumptions it reveals. Given how far the SNP were held above reproach by their most rabid fans, It is concerning that a former First Minister would make such a comment, let alone defend it – yet that’s also what the other disgraced ex-first minister Nicola Sturgeon chose to do, coming to his defence and saying he wasn’t sexist at all – if he was she would know about it.
The joke and her defence of him are particularly chilling given what later came to light about his sexually inappropriate behaviour.
The Last Laugh
Comedians who have criticised the SNP, or nationalism, or even poked fun at some Scottish tropes have found themselves shouted down or even receiving death threats.
The nationalist fervour in Scotland has not only been a political phenomenon but has also spilt over into the realm of comedy, with comedians who dare to poke fun at nationalism or not fully support independence facing a barrage of abuse and even death threats.
Susan Calman, a well-known cat-loving and stylishly dressed comedian, faced a torrent of online abuse after she made light-hearted exchanges on independence during her regular Friday appearance on the Radio 4 panel show. The reaction from the wilder shores of the worldwide web revealed a toxic quality to bullying and intimidation on social media.
Eddie Izzard, another comedian, and Jim Murphy, the Scottish Labour leader, were also targeted by a group of separatists during a Labour campaign event in Glasgow. The separatists tried to force their way into the crowd of party activists, leading to scuffles and nationalists screaming at Izzard and Murphy that they were “traitors to the working man.”
Jo Caulfield, another comedian, has also faced backlash for her views on Scottish independence. Her Twitter posts reveal a level of hostility and disagreement from pro-independence supporters.
The online comedian known as ‘Shauney Boy’ is an advocate for independence, yet he maintains a critical stance towards the SNP, Green Party, Conservatives, Lib Dems, and Labour.
Probably the closest thing Scotland has right now to ‘Spitting Image’, his unique, wig-driven solo parodies offer a refreshing approach to challenging authority. But it does mean he draws flack.
He harbours ambitious plans, including a mockumentary critiquing the Sturgeon years and even a musical.
Despite his popularity on social media as a self-proclaimed “equal-opportunist pisstaker”, he has struggled to gain mainstream recognition. He has produced several videos criticising the lack of arts funding and his inability to secure support from Creative Scotland. Could his critique of those in power be influencing the restriction of his funding and exposure?
Regardless of his personal views, he provides a welcome deviation from the norm. It would indeed be a loss for Scotland if he felt compelled to abandon comedy.
These instances reveal a disturbing trend where comedians are targeted for their political views, stifling freedom of expression and creating a hostile environment for those who dare to question the nationalist narrative.
No Laughing Matter
This isn’t just about balanced comedy. The state of our entertainment can tell us something about the health of the discourse in our society. There are multifaceted implications of a society losing its ability to laugh at itself and discouraging criticism of those in power. This scenario touches on several critical aspects of social life, including freedom of speech, power dynamics, social cohesion, and cultural evolution.
Freedom of Speech and Expression
Humour, including self-deprecating humour, is a form of expression. When a society loses its ability to laugh at itself, it may indicate a restriction on freedom of speech and expression. This can stifle creativity and innovation, as individuals may feel constrained in expressing their thoughts and ideas. The discouragement of criticism of those in power further exacerbates this issue, as it can lead to a culture of fear and self-censorship.
Power Dynamics
In a healthy society, those in power should be open to criticism, as it allows for checks and balances and promotes accountability. When criticism is discouraged, it can lead to an imbalance of power, with those in authority becoming unaccountable for their actions. This can result in corruption, nepotism, and other forms of malfeasance.
Social Cohesion
Laughter and humour play a crucial role in social bonding and cohesion. They allow individuals to connect on a shared experience or understanding, fostering a sense of community and belonging. When a society loses its ability to laugh at itself, it may increase social tension and division, as individuals and groups may take themselves too seriously, leading to heightened sensitivity and potential conflict.
Cultural Evolution
Culture is not static; it evolves in response to societal norms, values, and behaviour changes. Humour often reflects these cultural shifts, serving as a mirror to society. When a community loses its ability to laugh at itself, it may indicate a resistance to cultural evolution and change. This can hinder societal progress and lead to stagnation.
We need satire and comedy for self-reflection
Put together, these trends indicate a stagnation of Scottish culture. A decade of nationalism has left us dour and backwards looking. The one-sided politicisation of comedy in Scotland is more of a farce than a laughing matter. The stories of Janey Godley, The Stand Comedy Club, and Frankie Boyle paint a picture of a comedy scene deeply entwined with the Scottish National Party and the independence movement. These nationalist comedians and institutions, despite their controversial and often offensive humour, seem to enjoy preferential treatment, access to public funds, and close personal links to politicians. Those who are not sycophants receive abuse, fewer opportunities and even threats of violence and intimidation. This raises serious questions about the fairness and transparency of the system and the state of our society.
The ‘humour’ they peddle often involves abuse, derogatory comments, and the mocking of marginalised groups. This is not only unfunny but also harmful, perpetuating stereotypes and offensive language under the guise of satire.
In this light, the joke is indeed on us, the public. We are left to question the role of comedy in political discourse and the responsibility of comedians to their audiences. It’s a sobering reminder that when comedy becomes a tool for political gain, it’s often the public who are left laughing last.
Tracey Ullman’s impressions of Nicola Sturgeon as a bond villain were a breath of Fresh air, deflating the ridiculous self-rightous taking of the moral high ground, but c’mon, Scotland- Does it really take someone born in Slough to help us laugh at ourselves?
References
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Cramb, A. (2015, May 4). Eddie Izzard and Jim Murphy were abused by Scottish nationalists at a Labour campaign event. The Telegraph.https://www.telegraph.co.uk/news/politics/nicola-sturgeon/11581535/Eddie-Izzard-and-Jim-Murphy-abused-by-Scottish-nationalists-at-Labour-general-election-event.html
Caulfield, J. [@Jo_Caulfield]. (2021, March 30). I have never been a member of any political party. I have voted for different parties in different elections. I think for myself. I am not a team player. [Tweet]. Twitter.https://twitter.com/Jo_Caulfield/status/1377021843606007816
Caulfield, J. [@Jo_Caulfield]. (2021, August 2). I think it’s a shame that some people can’t accept that others may have a different opinion of them. I have never told anyone else how to vote or what to think. [Tweet]. Twitter.https://twitter.com/Jo_Caulfield/status/1422197634643767296
Calman, S. (2013, May 7). Calman abuse prompts call to end SNP intolerance. The Herald.https://www.heraldscotland.com/news/13102866.calman-abuse-prompts-call-end-snp-intolerance/
No author. (n.d.). Nicola Sturgeon hired Janey Godley for Covid campaign despite knowing politics could hurt. The Herald. Retrieved fromhttps://www.heraldscotland.com/politics/19912079.nicola-sturgeon-hired-janey-godley-covid-campaign-despite-knowing-politics-hurt/
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