John Simpson, a veteran crime reporter and former home affairs editor at The Observer, has made an unexpected career shift, leaving journalism to pursue training as a theatre clown. This transition follows years of balancing his investigative reporting with a growing interest in alternative comedy and physical theatre.
Simpson’s career spanned more than a decade covering crime, during which he undertook undercover assignments including infiltrating terrorist cells and breaking murder cases. He was regarded as a respected figure in the field of investigative journalism, known for immersing himself in high-risk environments to uncover complex stories. However, in recent years, Simpson found himself increasingly drawn to clowning—a discipline distinct from conventional circus performance, emphasizing subtle, physical comedy and human vulnerability.
The decision to leave journalism came after an incident Simpson dubs “#liongate.” While preparing for a counter-terrorism briefing, Simpson accidentally broadcast unusual clown-inspired laughter over the meeting’s audio channel, which was attended by senior police officers and journalists. The unexpected moment of levity underscored his growing alienation from conventional reporting roles and acted as a catalyst for his career change.
Simpson explains his departure as the culmination of a long personal and professional evolution. Over time, the cyclical nature of news—often focusing on crises, moral panic, and outrage—became increasingly exhausting and disconnected from his understanding of the world. He described the news cycle as a “fearful, inaccurate portrait of a cruel and unforgiving world,” leaving him disillusioned despite the veracity of the events he reported.
His own life also underwent significant changes. After struggling with heavy drinking and personal difficulties, including the emotional toll of covering multiple terror attacks and disasters in the UK during 2017, Simpson achieved sobriety prior to joining The Observer. He spent time working in social media news, witnessing firsthand the impact of rapid, fragmented digital content on public perception and personal identity.
Reflecting on these experiences, Simpson finds that embracing the imperfect and authentic aspects of humanity through clowning offers a meaningful contrast to both the grim realities of crime reporting and the artificial optimism often propagated in the social media age. His approach to clowning draws inspiration from figures like Buster Keaton and Mr. Bean, focusing on physical humor that reveals shared human fragility rather than slapstick.
Simpson’s unusual career pivot highlights the challenges journalists face in an evolving media landscape marked by shrinking newsrooms, sensational headlines, and the emotional burdens of covering tragedy and conflict. By stepping away from crime reporting to explore performance art, Simpson seeks a new form of expression rooted in empathy and humor, signaling a personal reinvention amid broader changes in the profession.