Who is Miles Mendenhall? Confronting Work of Art‘s Enigmatic Antihero
August 4th, 2010
To take a page out of Mad Men’s book, “Who is Miles Mendenhall?”
In basic terms, Miles Mendenhall is one of the artists on Bravo’s Work of Art, simultaneously the summer’s most problematic and most fascinating reality series. The series is a total contradiction, emphasizing the value of art by subjecting artists to challenges which seem designed to dilute their work and maximize reality television drama, and yet the resulting pressure placed on artists gives us a front row seat to their creative process which would otherwise be impenetrable (I wrote more about this earlier this summer).
Miles sits at the heart of this contradiction, in that he seems to be the most talented artist amongst those remaining but is also the one contestant who is unquestionably “playing the game.” Never before has there been a reality television contestant whose behaviour revealed so clearly the slippery notion of “reality” within these series, and without him I strongly believe that Work of Art wouldn’t be half the series it is. Regardless of your opinion of the way he is playing the game, the fact remains that he has managed to be one of the first reality contestants in history who panders to the cameras while simultaneously subverting the artifice of the reality show he’s taking part of.
Love him or hate him, you’ve got to admit that’s a work of art.
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.