theSIGNAL CULTURE
12 November 2026
"What is laughed at in public is often what is least examined in private."
Culture
Photo: Yvette de Wit / Unsplash
Crowds gather beneath a fading desert sky as a festival main stage glows with light

Dua Lipa Takes the Coachella Desert Stage

Last year, a pop star in a sash reading "Miss Should Be Headliner" drifted through the California dusk, and a desert listened. Now Dua Lipa will headline Coachella in 2027, the first British woman to do so since Charli XCX's 2025 appearance, with SZA, her Glastonbury companion, beside her. Whether sashes can move mountains, or merely ticket sales, remains debatable; tickets go on sale Friday.
  • Do festival headline slots still shape pop careers, or merely reflect them?
Culture
Photo: Sunira Moses / Unsplash
Neon-lit palm-lined streets evoke the Miami-inspired setting of Vice City in the long-awaited Grand Theft Auto VI.

A Decade in Miami's Shadow, Rendered in Pixels

In 2015, a handful of Rockstar North developers flew from rainy Edinburgh to Miami and wandered, notebooks in hand, through neighbourhoods where a group of self-described "dorks" could hardly hope to blend in. A decade later, their immersion has become Vice City, a fictional Florida crammed with fridge interiors, café flyers and street art. Rockstar insists that place comes first, before plot or characters.…
  • Can a fictional city feel truer than a real one when built from obsessive detail?
"
Like all 15-year-olds, it's drunk, it's unpredictable and it's probably going home with David Walliams.
Jonathan Ross, presenting the British Comedy Awards in 2004
Culture

The Jokes Were Public. The Silence Was Too.

A three-year ITV and Guardian investigation into David Walliams has reached the public, and its sharpest evidence may be the laughter of the era.

In 2004, on a stage lit for the fifteenth birthday of the British Comedy Awards, Jonathan Ross described the ceremony as being, like all fifteen-year-olds, "drunk, unpredictable" and "probably going home with David Walliams". The audience laughed, the cameras kept rolling, and the line passed into the archive as an unremarkable piece of light entertainment. Two decades later it reappears in an hour-long documentary, and what once sounded like a throwaway gag now plays as something closer to a public confession of an open secret. The film, produced after a three-year investigation by ITV and the Guardian, was released first on YouTube and then on ITVX, reportedly after Walliams and his lawyers tried to the last to keep its findings from being aired.

Its format will be familiar to anyone who has followed similar cases: women sit before a camera and describe, in measured and sometimes disguised voices, how a famous man approached them. Some were fifteen when they met him, one was seventeen, others eighteen or nineteen, and he was generally about twice their age. They describe attention, gifts, invitations and show tickets, followed by situations they say they did not expect, did not want or felt unable to refuse. What gives the documentary its peculiar force is the juxtaposition of testimony and old television.

Alan Carr, a few years after Ross, compared Walliams's approach to women to that of "an illegal taxi driver", luring them into false security before pouncing. The reviewer watching feels, in the Guardian's phrase, a kind of mental vertigo: the culture was not blind, it was amused. That raises the harder question the film leaves hanging.

Photo: davide ragusa / Unsplash
A television studio audience waits beneath bright stage lights, the setting where such jokes once passed as routine entertainment.
Discuss
  • The documentary pairs survivor testimony with old television clips. How does archive footage change the way viewers judge both the past and the present?
  • Why might audiences, broadcasters and colleagues have laughed at such jokes in 2004, and what does that laughter reveal about the culture?
  • The article says little has changed in practical terms since. Do you agree, and what would meaningful change actually look like?
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theSIGNAL IN THE LAB
iVOCABULARY
throwaway gagopen secret
juxtapositionpeculiar forcemental vertigo
luringRockstar insists
iiGRAMMAR FOCUS
Reported speech — statements, questions, commands with tense shift
When we report what someone said, the verb usually shifts back one tense (present → past, will → would, present perfect → past perfect), and pronouns and time expressions change too. Reported questions use statement word order with no auxiliary 'do' (using 'if' or 'whether' for yes/no questions), and reported commands use 'told/asked + object + (not) to + infinitive'.
had · would · was · to · if · were · not
  1. In 2004, Jonathan Ross joked that the ceremony like all fifteen-year-olds, drunk and unpredictable.
  2. The documentary's makers said that the investigation taken three years to complete.
  3. Several women explained that they only fifteen when they first met the comedian.
  4. Alan Carr told his audience that Walliams approach women like an illegal taxi driver, luring them into false security.
  5. One reviewer asked the culture had really been blind to the problem, or merely amused by it.
  6. The women said they not expected the situations that followed the gifts and show tickets.
iiiDEPENDENT PREPOSITIONS
Complete each phrase with the correct preposition. All from today’s articles.
  1. the documentary was produced after a three-year investigation ___ ITV and the Guardian
  2. Alan Carr compared Walliams's approach to women ___ that of an illegal taxi driver
  3. the line passed ___ the archive as an unremarkable piece of light entertainment
  4. a joke that now plays as something closer ___ a public confession
  5. the developers wandered ___ neighbourhoods where they could hardly hope to blend in
ivCRITICAL THINKING
The Dua Lipa and Vice City stories both celebrate people who built something by paying close attention to a particular place or moment, while the Walliams story shows what people overlooked or chose not to see. What separates attention that creates value from attention that merely observes? Consider how audiences are trained to notice some things and ignore others.
vCREATIVE · HEADLINES
Write a headline for the top story in each of the following styles. One line each, no explanation:
  • TABLOID NEWSPAPER
  • LUXURY MAGAZINE
  • ACTIVIST BLOG
viWRITING
Imagine you are a producer who worked on a 2004 comedy awards broadcast and have just watched this documentary. Write a short private diary entry (120-150 words) describing what you remember about that night and how you feel now.
viiDEGREES OF EXTREMITY
Complete each ladder from mild to strong.
  • amusing→→
  • surprised→→
  • hint at→→
  • unwise→→
  • ignore→→
  • uncomfortable→→
viiiSPEAKING
  1. Which old jokes or sketches from your country's TV would not be broadcast today?
  2. Should a broadcaster ever apologise for programmes made decades ago? Why or why not?
  3. How can someone challenge a powerful person's behaviour when everyone around them seems to approve?
  4. Is an age gap of twenty years between two adults ever a problem in itself?