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All thirty women will buzz him out long before the horrifying disco moves have ceased.
He’ll then be banished from the studio, stopping only to turn and wave pathetically at the women who have spurned him, as the mournful words of Celine Dion haunt the air around him.
This introductory dance marks the first point at which the assembled ladies can thump the buzzer on their podium to turn off their light and remove themselves from the ensuing sexual negotiations.
The buzzer makes a horrible, heart-breaking sound, which evokes a dying robot, a comically wilting erection in a Carry On film, or Piers Morgan climaxing.
One of three things will happen, depending upon the number of lights still in play at any given time: he will be rejected by all of the women; he will be chosen by one of the women, or, at the very end of the game, he will get the chance to choose between two or more women.The only thing that could be more damaging to his self-esteem at this point would be if the women decided to forgo the buzzer in favour of chanting 'YOU SEXUALLY DISGUST ME! ' at him until he fell to the floor, weeping himself into a tight ball.We can only think ourselves lucky that Rodney Alcala never got the chance to appear on the American version of Take Me Out. So much has changed since the 1980s, both on TV and in society itself, that what returns to our screens may not be a straight-forward, fully-intact teleport of the format, but rather a mutant mish-mash: a half-fly Jeff Goldblum of a show just begging to be put out of its misery.The truth of this inevitable transformation can be seen in the steps already taken up the light-entertainment evolutionary ladder, most notably in the DNA of ITV's long-running post-Blind Date offering, Take Me Out. When I think back to the Saturday nights I spent as a boy on the cusp of my teenage years, I can almost smell the heady scent of my mother's perfume as she readies herself for a night out with my step-dad and a gaggle of other couples.