🚨 COMEDY WAR EXPLODES! Jim Davidson just UNLEASHED a savage, no-mercy takedown on Sir Lenny Henry – calling his fame “UNDESERVED” and built on blackface sketches, virtue-signaling, and that smug “self-satisfied grin” hiding zero real talent! 😡

The veteran comic mocked Henry’s Midlands background, his marriage to Dawn French (“that big girl”), and accused him of biting the hand that fed him while preaching about racism. This brutal rant has the woke crowd in meltdown mode – is Davidson finally saying what everyone’s thinking about PC hypocrisy in British comedy? Or has he gone too far? The internet is on FIRE… you NEED to see the full shocking clip before it’s scrubbed! 🔥🇬🇧

British comedy veteran Jim Davidson has once again thrust himself into the spotlight with a blistering verbal assault on fellow entertainer Sir Lenny Henry, reigniting longstanding tensions over race, talent, and the boundaries of humor in the UK. In a recent rant captured on video and widely circulated online in late 2025, Davidson accused Henry of building an “undeserved” career on controversial blackface performances, self-promotion, and what he described as a smug demeanor masking a lack of genuine comedic ability. The outburst, delivered in Davidson’s signature raw style, has polarized audiences, with supporters praising it as bold truth-telling and critics condemning it as outdated bigotry.

Davidson, 72, known for his prime-time shows in the 1980s and 1990s as well as his brushes with controversy—including past accusations of racism that led to career setbacks—did not mince words. In the clip, which surfaced around October 2025 and quickly amassed views on platforms like YouTube, he targeted Henry’s early career on The Black and White Minstrel Show, a long-running BBC program featuring performers in blackface that ran from the 1950s to the 1970s. Henry appeared on the show in the 1970s before it was axed amid growing criticism of racial insensitivity. Davidson suggested Henry’s fame stemmed from such performances, implying hypocrisy in Henry’s later advocacy on racial issues.

“The bloke from the Midlands… in The Comic Strip, The Young Ones… didn’t he marry that big girl Dawn French?” Davidson said, mocking Henry’s West Midlands origins and his former marriage to actress and comedian Dawn French, which ended in divorce in 2010 after 25 years. He continued: “Learn to be funny. Learn to be funny without that self-satisfied grin after every line you deliver.” The personal jabs extended to Henry’s perceived lack of talent, with Davidson arguing that his success owed more to racial tokenism than comedic merit.

This is not the first time Davidson has clashed with Henry. Tensions date back years, including a 2021 video where Davidson criticized Henry for comments on race and integration, telling him to “sod off” and questioning why he received a knighthood. More recently, in interviews, Davidson has labeled Henry “not funny” and dismissed initiatives like Comic Relief—closely associated with Henry—as a “waste of time.” Henry’s calls for slavery reparations, estimated by some at £18-19 trillion for Britain, drew sharp rebukes from commentators, including historian David Starkey on GB News, who described it as an attempt to “pillage the country that’s given him everything.”

Henry, 67, knighted in 2016 for services to drama and charity, rose to fame through sketch comedy, including his own show and appearances on Tiswas and The Lenny Henry Show. He has been open about the challenges of being a Black comedian in Britain, including therapy after reflecting on his Minstrel Show days. In interviews, Henry has acknowledged the era’s problematic nature but emphasized his growth and contributions to diversity in entertainment. He has advocated for better representation, including criticizing the lack of diversity in media and calling attention to issues like “white savior” tropes in charity appeals.

The latest rant taps into broader cultural debates in Britain. Davidson positions himself as a defender of “old-school” comedy against what he calls “woke” overreach. In a 2025 Telegraph interview, he described “woke” as a double-edged sword—meant to promote politeness but twisted into censorship. He credits cancel culture with revitalizing his career by giving him an anti-establishment platform via his streaming channel and live shows. Supporters on social media echoed this, with comments like “Bang on Jim” and “Sick of this woke shit” under videos of the rant.

Critics, however, see Davidson’s comments as regressive. On platforms like X (formerly Twitter), users highlighted the irony of a comedian with his own history of controversy attacking another over race. One post referenced Davidson’s past, noting he has faced bans from venues and media for alleged racist material. Henry’s defenders pointed out his charitable work, including co-founding Comic Relief, which has raised billions, and his role in pushing for diversity in British TV.

The feud reflects deeper rifts in British comedy. The industry has grappled with its past, including blackface in shows like The Black and White Minstrel Show and figures like Bernard Manning. Modern comedians like Stewart Lee have critiqued “politically incorrect” humor as outdated, while others argue free speech is under threat. Davidson’s rant comes amid declining trust in mainstream media and rising support for anti-PC voices, fueled by figures like Nigel Farage and platforms like GB News.

Public reaction has been divided. YouTube videos of the outburst garnered hundreds of thousands of views, with comment sections split between applause and condemnation. On X, posts ranged from accusations of Henry being a “white-hating pig” to defenses of his contributions. Some users mocked the personal attacks on French and Henry’s appearance, while others questioned why such rhetoric persists in 2026.

Henry has not directly responded to the latest comments, focusing instead on projects like acting and charity. In past statements, he has emphasized moving forward from past mistakes and using his platform for positive change. Davidson, meanwhile, continues his tour and online broadcasts, framing himself as an unfiltered voice in a censored era.

The incident underscores ongoing questions about accountability in comedy: Can past performances be forgiven with time and reflection? Should personal attacks be off-limits in public discourse? And how much does race influence perceptions of talent and success? As Britain navigates identity, history, and humor in a polarized age, clashes like this show no signs of fading.

Whether Davidson’s words mark a bold stand or a misstep, they have undeniably reignited conversation. In an industry once dominated by establishment figures, insurgent voices like his continue to challenge norms—even as they provoke backlash. The divide may widen, but the debate ensures comedy remains a battleground for Britain’s cultural soul.