"In the last 15 or 20 years, I've watched the British press simply go to hell. There seems to be no limit, no depths to which the tabloids won't sink. I don't know who these people are but they're little pigs"

In this quote, John Le Carré, the distinguished British author known for his espionage novels, expresses a vital view of the British press, especially the tabloid sector. The phrase embodies Le Carré's disillusionment and aggravation with the media's perceived decline in ethics and standards over the preceding one to 20 years.

Le Carré's usage of the expression "simply go to hell" recommends a significant and unrestrained wear and tear of the press's integrity and quality. "In the last 15 or 20 years" signals that he is referring to a fairly current phenomenon, highlighting a transformative period in journalism where he feels the quality and ethical requirements have notably intensified. This timeline could be connected to the increase of sensationalism and the increased competitiveness in media, driven by the digital age and the need for immediate and appealing material.

The declaration "no limitation, no depths to which the tabloids won't sink" implies that tabloids want to participate in unscrupulous practices to record readers' attention, often overlooking truth and moral obligation. Here, Le Carré points to a relentless pursuit of marvelous stories, potentially at the expense of precision, fairness, and regard for individuals' privacy.

Additionally, the dehumanizing metaphor of comparing the tabloids' authors to "little pigs" conveys his ridicule and dissatisfaction. Pigs are typically stereotypically related to traits like greed and lowly habits, recommending that Le Carré perceives tabloid journalists as opportunistic and ethically lacking. This derogatory characterization underscores the ethical gorge he sees in between their practices and what he thinks journalism needs to embody.

In amount, Le Carré's words are not simply a review but a lament for what he views as the loss of principled journalism. His observation paints an image of a media landscape controlled by sensationalism and ethical compromises, contrasting starkly with the worths of truthfulness and stability that he loves.