Inside Britain’s Got Talent’s most furious rows – from judges’ fall-outs to fuming viewers

The electrifying atmosphere of Britain’s Got Talent often translates into unexpected moments of tension, both on and off the stage. From fiery exchanges among the judges to controversies that ignite audience fury, here’s a closer look at some of the most unforgettable rows that have unfolded on the beloved talent show.

In 2018, David Walliams found himself at the centre of a surprising showdown during auditions when an overly confident audience member disrupted proceedings with a bold proposal to Simon Cowell.

The usually light-hearted David was visibly riled by the interruption, sternly demanding the offenders to vacate the premises. However, what initially appeared to be a moment of genuine anger soon gave way to laughter as David revealed it was all in jest, much to the chagrin of Simon and the amusement of the audience.

Another incident from the same year cast a spotlight on tensions between Ant McPartlin and Amanda Holden during auditions held at The Lowry theatre in Salford. Photographs captured a seemingly heated exchange between the two, prompting widespread speculation about the nature of their disagreement.

Despite denials from Ant’s representatives, the images fueled rumours about underlying tensions among the judging panel and raised questions about the dynamics behind the scenes.

Meanwhile, the show faced significant backlash in 2018 when a preview of the new Magic Mike musical featured more than twenty near-naked men performing highly-sexual routines at London’s Hammersmith Apollo.

While intended as entertainment, the segment sparked outrage among viewers and celebrities alike, who criticised the apparent double standard and questioned the appropriateness of the content for a family-oriented program.

TV presenter Piers Morgan led the criticism, saying: “So let me get this straight: F1 Grid Girls banned… Darts Walk-On Girls banned… Boxing Ring Girls banned….

“But 50 male strippers on BGTfinal2018 – happy days, ladies!”

In 2015, the series faced scrutiny when it was revealed that a winning act had used a stunt double during their performance.

Jules O’Dwyer and her pup Matisse captured the hearts of audiences worldwide, however, things took an unexpected turn when it was revealed that a canine imposter named Chase had stepped in for Matisse during the tightrope stunt in the semi-finals.

This revelation sparked outrage among viewers, prompting a flood of nearly 1,000 complaints to Ofcom and ITV. In response to the controversy, Simon Cowell initiated an investigation to address the concerns raised by the public.

No formal action was taken against the act even though Ofcom ruled that viewers had been misled.

In a dramatic turn of events in 2011, authorities were summoned when an anonymous blogger stirred up controversy surrounding 12-year-old singing sensation Ronan Parke. Shocking allegations surfaced, suggesting that Ronan had been groomed for stardom for two years prior to his Britain’s Got Talent debut by none other than Simon Cowell himself.

Additionally, rumours swirled regarding a pre-existing management deal, vehemently refuted by both Simon and Ronan. The situation escalated to the extent that police intervention became necessary, resulting in the cautioning of the anonymous blogger.

Despite the tumultuous circumstances, Ronan managed to advance to the competition’s final round, ultimately conceding victory to fellow contestant Jai McDowall.

Even the judges themselves are not immune to disputes, as demonstrated by a clash between showbiz legend Bruce Forsyth and Simon Cowell over the treatment of young contestants.

Bruce suggested there should be a separate series for younger contestants as it was too much of an “ordeal” for them, prompting Simon Cowell to brand Bruce “Mr Grumpy”.

Bruce later wrote in the Daily Mail: “But I really do think he should stop putting young children under the immense and possibly damaging pressure of performing on national television, not just in front of a live audience, but also before four very sharp judges.

“You can see that many of the adult performers find the experience traumatic, so what sort of emotional damage could it be doing to children who, for the most part, are only there because of the ambition of their parents and teachers?”

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