More “Not Boring” Than Usual:
Surprises Elevate the 2010 Primetime Emmys
As a whole, the Emmy Awards live and die on surprise: sure, there’s always favourites, but the idea that “anything can happen” is what keeps us watching a show which so often punishes us for becoming emotionally involved. For every pleasant surprise there has been soul-crushing complacency, and so we watch hoping that something will cut through the pain in order to give us some sense of hope for the legitimacy of these awards.
And while we eventually leave each evening lamenting numerous mistakes, comfortable in our superior knowledge of what is truly great in television in a given year, I don’t want that to obfuscate the moments of transcendence. Sometimes, moments come together that defy our cynical expectations, moments that find the spontaneity in the scripted or make the spontaneous feel as if it was planned all along. And while I remain the jaded critic that I was before the show began, any chance of carrying that attitude through the entirety of the show was diminished at the sight of Jon Hamm booty-dancing towards Betty White, and all but gone by the time Top Chef finally ended The Amazing Race’s reign of terror over Reality Competition program.
It was a night filled with surprises, whether in terms of who was winning the awards (with a huge number of first-time winners) or in terms of emotional moments which resulted from those winners – sure, there were hiccups along the way, and there were still a number of winners which indicated that the Emmys are still stuck in their ways, but there was enough excitement for me to designate these Emmys as “not boring.”
In fact, I’d go so far as to say they were more “not boring” than usual.
Walking in Designers’ Shoes: Project Runway Season 8
July 31st, 2010
It’s fitting that Project Runway’s eighth season began with the contestants “auditioning” for a position on the series proper, as I considered this premiere to be the series’ audition for my time.
After an incredibly rough sixth season in L.A., and a completely unmemorable return to New York in its seventh year, Project Runway is on its way out of my television schedule, and this season was designed to test my attachment to the series: stretching each episode out to 90 minutes makes it an even larger commitment (at least for those of us who ignore Models of the Runway, as we all should), and the series’ fundamental lack of cultural cache – I hadn’t even realized it was premiering – means that giving up on it is unlikely to really impact me in the future.
However, since things are slower now than they will be in three weeks, I figured I would tune into the premiere to see how the show is using its 90 minutes, and to see how they’re trying to shake things up to engage new viewers. And while there’s not enough here to convince me that there aren’t better uses of my Thursday nights once fall programming and life kicks in, there is enough here worth discussing in terms of how the show is looking to shift their point of interest from the competition to the contestants – it may not be enough to keep me watching, but it’s enough to show that they’re starting to understand some of the series’ problems.
“Girls vs. Suits”
January 11th, 2010
I picked up the fourth season of How I Met Your Mother on DVD over the holidays, and I watched a few episodes over the course of the break. I came to realize that there are a number of highlights in the season, but that many of them hinge on a story element that has since that point been entirely wasted. Episodes kept pointing towards Barney coming to terms with his playboy identity in order to confront his feelings with Robin, and those episodes are painful for me: they’re a sign of the storyline that the show cut loose before I felt it should have been cut loose, and before it had been given time to develop into something that could have become a meaningful part of this universe.
If we view “Girls vs. Suits,” scripted by co-creators Carter Bays and Craig Thomas as the show’s 100th episode, as a celebration of what they consider the show’s two most enduring elements, we find that the mythology surrounding the Mother and the audacity surrounding Barney Stinson are the show’s constants. But considering my frustration over Barney’s regression from his relationship with Robin, and considering how the story surrounding the Mother has been dragged out to the point where it has ceased being about Ted and become more about the show itself, this isn’t what my ideal 100th episode of the show would look like.
And yet, I found “Girls vs. Suits” managed to crack my cynical exterior with one of its storylines, although the other (although eventful and charming at points) simultaneously confirmed that it may have to be in desperate need of some reinvention to ensure it can “make it work” in the future.
Trust in Reality TV: A Four-Letter Word?
A Cultural Learnings Reality Roundup
[Since I find blogging about shows like Top Chef, Project Runway and Survivor: Samoa individually somewhat inconvenient, but often nonetheless have things to say about them, I figure we’d lump the three mid-week reality shows together in what we shall now refer to as Cultural Learnings’ Reality Roundup. Enjoy!]
Trust is perhaps the central tenet of reality television.
I don’t mean so much within the game itself, although clearly in a game like Survivor (whose 19th season, Survivor: Samoa, started this week) there is an element of trust between individual players. Rather, I speak of the trust relationship between the show and the viewer. Viewers hope that they can trust the judges on Top Chef and Project Runway to make the right decisions, and they hope they can trust the losing Survivor tribe to vote out the person who is making the new season nigh on unwatchable.
It is a highly tenuous sense of trust, of course: half of the dramatic value of reality television is having that trust violated, and the growing frustration as villains or talentless individuals remain while others go home instead. And, of course, that trust is forever complicated by the existence of editors, learning that the trust you want to experience is being manipulated at every turn.
So, what I find fascinating about this week’s trio of reality shows is that in each instance we are reminded of this trust relationship, and that the “worst Survivor villain of all time” is in fact perhaps the most trustworthy reality character (from a viewer/series perspective) the show has ever seen.
“Welcome to Los Angeles!”
August 20th, 2009
After being caught in legal hell for about six months, Project Runway is finally back. Amidst swirling speculation about how the show would change, and whether it would be able to retain its success jumping to a new (and older-skewing) network, the show debuted to the series’ highest premiere ratings ever, and has proved quite a lucrative pickup for Lifetime in their efforts to expand their unscripted programming.
But, realistically, I don’t care about any of that: yes, there is some fascinating analysis of demographics and legal wrangling to be done, but at the end of the day I’m a fan of this show more than an outside observer, and as a result I was curious to see how the show would change from a production standpoint. We knew that the show was jumping to Los Angeles, but with a new production team behind the scenes there was every change that the show could feel fundamentally different.
However, within seconds, it became clear that reality television is almost scarily interchangeable, as this is almost entirely the same show despite coming from a different production company. Sure, five seasons would give them plenty of research, but to be able to so easily recreate the same kind of atmosphere even with the same types of sets is almost uncanny. Reality shows rely so much on familiarity, so I understand the need to reproduce everything, and I think the show succeeds at weathering all elements of the transition and remaining the same show it’s always been.
Which means this review can be more about the designers and the game itself rather than the behind the scenes drama, something I’ve been looking forward to for about, you know, ten months.
July 16th, 2008
You may have noticed that I have never quite blogged about Project Runway in the life of Cultural Learnings, which is for two main reasons. First and foremost, I’m late on the uptake, having only discovered the series in its fourth season. And, second, the strange lack of a Canadian simulcasting means that I’m always delayed in getting my hands on the more recent episodes.
But I won’t let that be a barrier to the only reality competition series to ever win a prestigious Peabody Award. There is something about Project Runway that just clicks in this genre, primarily because these people are actually capable of creating interesting fashion design for both those who know what’s good (Not me) and those who have no idea beyond their own personal taste (That’s me, FYI). It’s got just the right balance of interpersonal conflict that’s expected from reality television and, more importantly, people being outright challenged to complete the tasks at hand.
And for the show’s fifth season, there’s no surprises: it’s the same Heidi, the same Tim, the same diverse/crazy group of contenders, and the same types of challenges and editing. All of that might change for the show’s eventual shift to Lifetime in the Fall, but for now? Familiarity is a darn good thing.