“That Girl is Like a Virus”
February 25th, 2010
Well, that’s more pleasant, at least.
Yes, tonight’s episode of Survivor: Heroes vs. Villains featured another brutal physical challenge, and there were certainly some ugly moments on both sides of the competition. However, while last week’s episode was dominated by James’ bullying on Stephenie, this week returned the season to where it was in the beginning: even if the game itself isn’t that interested, our pre-existing relationships with the people playing it make challenges more interesting, make humorous facial expressions more recognizable, and turn a potential mediocre game into something that feels more special than it actually is.
Strategically, the game is as predictable as it was for the past few weeks, but there was enough spontaneity on the fringe to keep things fun, which is frankly what All-Star seasons need to do in the earlygoing.
“It’s Getting the Best of Me”
February 18th, 2010
I don’t know if Mark Burnett and his fellow producers are really excited about the direction that Survivor’s twentieth season is heading in, or if they’re actively concerned about it. What’s interesting about the Heroes vs. Villains premise is that, in Survivor, the tribes are only rarely within the same space, so the rivalry the title implies doesn’t really materialize in most of a single episode. Sure, over time the rivalry between the two sides will grow, but in the short term the show shifts away from that narrative to the systematic deconstruction of both tribes.
On that front, I think the show should be glad that early on the titles of hero and villain are slowly shifting away from their typical classifications, as it means that more of each episode will be particularly engaging. However, the clash of various ego has gone so far this time that I don’t know if they’ll ever be able to fully reclaim that broader feud, the internal divisions growing too larger for one side to group together and pretend that they are any sort of team under any sort of pre-determined classification.
And I don’t know if Mark Burnett wanted that part of this game to go off the rails quite so quickly.
“Slay Everyone, Trust No One”
February 11th, 2010
Every season of Survivor is effectively the same as the one before: the players might change, but more often than not they bring nothing new to the game that hasn’t been seen in some form before. For every “twist” the producers have tried to throw into the game, it all ends up being the same in the end, which isn’t really a problem since the game is at its most compelling when it finds itself in familiar territory. Because we know what’s happened before, and because we have no idea whether the players involved know what’s happened before, we get to watch them walk in the shoes of the players who came before, either triumphing where they failed or tripping up where others succeeded.
What’s interesting about “Heroes vs. Villains,” the twentieth season of the show, is that it simultaneously reduces the game to a simple battle between good and evil while creating a game structure that is without question the most complex the show has ever seen, layered with subtexts (previous alliances, previous rivalries, personal experiences, etc.) that stretch back far into our memory of the show’s early seasons in a more overt way than ever before. By bringing the tribal competition to the surface, along with the binary that often emerges between those the audience loves to hate and those the audience wants to see go to the end, the show is creating the ultimate mind game: they are forcing characters with more emotional and gameplay baggage than ever before into a game which threatens to rigidly define them, ignoring the various subtexts in such a way that they can’t help but surface the first time anyone dares mention the word alliance or whispers about how successful some players have been in the past.
The result is Survivor at its most confident, pushing all the right buttons and getting some all-time great moments, some substantial comedy mixed with some engaging drama, and enough introspection to quite literally sink any other reality show that wasn’t build for just that sort of psychological inquisition.
Survivor Samoa Finale: There’s Something About Russell
December 20th, 2009
When Survivor started its nineteenth season, there was a man named Russell. Pot-bellied and stubborn, Russell emerged as if pre-fabricated to play the role of villain in Mark Burnett’s game. He came in with no desire to make friends, and started emptying out canteens and burning socks. It was the most aggressive villain edit the show had ever seen, which meant one of two things to me: either Russell was going to be leaving very quickly (hence the show maximizing his villainy time) or else there was more to Russell’s game than this villainy would seem to indicate.
Russell proved inherently divisive in those early weeks: some people hated him, and felt as if he was ruining the season with his heartless ways. But something changed in the game that made Russell seem less villainous. His tribe, Foa Foa, started getting clobbered in challenges, which meant that Russell’s victims were becoming victims of the game itself. And so Russell didn’t have to be a villain anymore, just watching as his tribe lost every challenge and revelling in his ability to manipulate his tribe into voting how he wanted them to vote. And suddenly instead of someone who was operating against the game (burning socks, disrupting daily life), Russell was simply a puppetmaster enjoying as the rest of his tribe stopped thinking for themselves.
And then the game became Russell’s, to the point where behaviour that before felt obnoxious (like finding the immunity idol without a clue) suddenly became genius, and where his manipulations went from an unnecessary force in the game to a brilliant strategic advantage that took the four remaining Foa Foa members from a severe disadvantage to standing as four members of the final five heading into the show’s finale. And somewhere along the way, the game went from being Russell’s to ruin to being Russell’s to win, and in many ways this finale has come down less to who wins and more to whether or not that person is Russell.
That’s the joy of Survivor, really: if you had told me that at the beginning of the season, I never would have believed you.
Inanity, Intrigue and Inigo Montoya
November 20th, 2009
In the promos for the season finale of Season Six of Project Runway, Lifetime uses dramatic music and a deep-voiced announcer to try to build suspense for the big reveal. However, in their language, they have something wrong: they create anticipation for the reveal of who is “the next big name in fashion,” and my immediate response is “who cares?”
See, what works about Project Runway is that it transfers the aesthetics of the fashion industry into terms that are unrelated to the fashion industry. I know nothing about fashion, but I know a lot about what Nina Garcia likes to see in fashion, or what the series values in terms of creativity. It’s created an audience that, even if they have no knowledge of the fashion industry, have gained knowledge of what Project Runway considers fashion. As such, rather than caring about what these young designers do in the context of the fashion industry, we care about how they situate themselves within the show’s cast of characters from seasons past. For a viewer like me, Bryant Park is the setting of the finale of Project Runway, not a global fashion event, which is why Lifetime language is demonstrative of the season’s failures: I don’t care if they’re a big name in fashion, I want them to be a big name for Project Runway.
And I can confirm that Irina, Althea and Carol Hannah will not be names to remember, a fact which has more to do with the way the show treated them than it does with their individual personalities and talent. And while we’ll never know if this season would have been more interesting if it were in New York, and if the production company hadn’t changed, what we do know is that Season Six failed to provide both the next big name in fashion and a single memorable name for this franchise.
[A few more thoughts on Project Runway, and then some thoughts on both Top Chef and Survivor, with spoilers after the jump…]
Curse or Blessing? Predictability in Reality TV
November 6th, 2009
It’s been a while since I’ve stopped in with a Reality Roundup, which is symptomatic of the fact that my opinions about these three shows haven’t really changed. Survivor has been dominated by a single team to the point of proving downright uninteresting, Top Chef is still being dominated by the same four chefs, and Project Runway is something I didn’t even bother watching for a few weeks, choosing to read recaps instead. This hasn’t been a great season for any of the three shows on the level of really surprising me: in fact, they’ve all to different degrees become predictable (whether in which team will win, which chefs will dominate, and whether the show will be boring, respectively).
All three shows, however, feel ready to confront that sense of predictability in this week’s episodes, as Survivor rushes into a merge and Top Chef present a “volatile” Reunion special in an effort to shake things up a bit. And while Top Chef’s reunion show is predictably dramatic, Survivor’s merge episode is perhaps one of its best ever, unpredictable to the point of having no idea who is going home in the end.
And yet this leaves Project Runway, which has been predictably boring but almost entirely unpredictable in terms of the lack of consistent judging. As such, while the uncertainty of Survivor’s finale is downright exciting, the uncertainty surrounding who will be going to Bryant Park is actually problematic, and the end result dissatisfying if not necessarily wrong.
The Game vs. The Players
A Cultural Learnings Reality Roundup
In our weekly glimpse into the world of Survivor: Samoa, Top Chef, and Project Runway, it’s important to distinguish between the game and the players of that game. Every episode of all three shows is essentially about the way the producers construct the game (the challenges, the conditions, the time limits, even the casting itself), and the players are forced to interpret and operate within that game as they see fit. So when you find yourself frustrated with a fairly boring season of Project Runway, or impatient with a season of Top Chef, or find Survivor’s villains too much to handle, you need to ask yourself if this it the result of the game or the people who are playing it.
In all three episodes of these three shows this week, we saw situations where the game took control of the players, and where their sewing, their cooking and their scheming felt so clearly defined by the game that I was simultaneously interested and bored. It’s the ultimate test of any group of reality contestants, though, to be forced into a situation the producers have designed: do they strike out on a unique course, indicating that they’re a real rebel, or whether they fall right in with the expectations put in front of them.
It’s a process which makes me doubt Runway, trust Top Chef, and change my mind about a few Survivor players.