Watching America’s Got Talent or its international namesakes is often just an exercise in second-hand embarrassment. Uncomfortable, cringy, or just plain bad acts are continually shot down by the judges, some of whom are nicer about the rejection than others. One judge who isn’t nice, and has become known for his brutal assessments of competitors the world over, particularly from his stint on the early seasons of American Idol, is Simon Cowell.
Audiences, and his fellow judges, love to hate Cowell for his confidence-draining, soul-crushing, painfully biting commentary on acts ranging from dance to magic. And woe betide you if you sing in front of him.
Unlike those AGT audiences and judges, however, I nearly always side with Cowell, and I often understand his seemingly grouchy manner and penchant for (almost) never giving standing ovations. In a world that is so quick to pat everyone on the head and make them “feel good” about whatever trifle they may have “accomplished,” Cowell is a beacon of hope for the truly talented.
Take Harrison Pettman. The 2024 Britain’s Got Talent contestant shocked his family by showing up on stage when they thought he was in the bathroom, and brought down the house with his rendition of “With You” from Ghost The Musical. While his performance made his family cry and surprised some of the judges, Cowell found the performance lacking, pointing out that, while Pettman has a good voice, his acting and stage presence need improvement. Cowell gave the 22-year-old a “yes” vote, but shrugged off booing from the audience for not raving over the man’s pipes.
Cowell was in the right here.
Like many of us, the audiences at these events are easily wowed by flashy costumes, bright lights, and emotional moments, often starting to clap and cheer before a song’s first three notes have sounded. And, alas, many of these people seem to have little understanding of what makes someone a truly exceptional musician. (PSA to all AGT hopefuls, skip the classical pieces. No one on these shows cares that you just played a moving version of Chopin’s “Nocturne in C Sharp Minor.” And your too-fast rendition of “Flight of the Bumblebee” is giving classical music a bad look.)
That’s where Cowell’s scowling, unimpressed glare comes into play. The AGT creator has been around talent shows for quite some time. He’s seen and heard a lot, and he’s probably developed an eye and ear for what sells. He also has compassion on people who’ve overcome great adversity and are wonderfully talented, but they don’t need to be perfect the first time for him to push that golden buzzer.
This is not an endorsement of the show, or of everything Cowell says and does on them. But in an age which seems to lack discernment, it’s refreshing to see even a taste of it on popular television.