Radio left on the shelf (again)
There was radio silence from the UK in that particular category at Cannes this year. The South African Grand Prix winning entry from Network BBDO Johannesburg, where a narrator talks about his girlfriend and slowly reveals disturbing details about the nature of their relationship, is laden with dark humour.
The judges noted a twisted sense of humour was a common theme among the winners. Which is why it’s odd that the UK, the cradle of black comedy, didn’t even make it to the shortlist, in stark contrast to the UK-studded shortlist that appeared for the Cyber Lions. We’re not alone though – most of Europe’s agencies have tuned out.
Every year after Cannes the same debate about why radio is being left on the shelf takes place. Most argue it boils down to one thing- the medium is simply not career enhancing for creatives in the way TV or digital can be, so why bother? Another factor may be that the craft of script writing isn’t an easy sell in an age obsessed with tech. The pen might be mightier than the sword, but it’s struggling against the social network.