The New Reality

"American Idol" has become such a successful phenomenon, financially if not culturally, that its producers have (ostentatiously) decided to promote a charity initiative to help the poor little kids in Nigeria, or something. Ryan Seacrest announced the new concept, which said little about what percentage of the show's profits would be channeled to worthy causes, and a lot about the high-concept, star-studded event that should bring the show an even bigger audience and wads of advertisement dollars (and the opportunity for the audience to contribute). Apparently, Bono has approved. We are the World, yada yada yada.

Lost in all the hoopla is the fact that the show itself is gradually becoming a pale copy of itself, and after 200 episodes, the robotic performances and reactions of the contestants as well as the byplay of the judging triumverate have become tediously predictable. This is a phenomenon that seems to be happening to many of the early stalwarts of the Reality genre, of which "American Idol" is the most prominent, if least original (Ted Mack anbd Major Bowes are still rolling in their respective graves).

I've been subjecting myself to "AI" this season, aided by the blessed editing device of the DVR, but that hasn't spared me from observing many of the sorry performances of a less-than-stellar cast. Only a few girls have merited the stardom that they may garner. The best is clearly Melinda Doolittle, a true professional in the best sense, whose performance I actually anticipate, rather than dread. She may lose to the sympathetic Lakisha or the pretty and enticing Jordin Sparks (great name), but none of the guys will challenge. It is a pretty weak field overall, and I wouldn't be watching at all if I didn't have a relative blogging for her newspaper about the show, with whom I can trade commentary. I think the "AI" phenomenon, now in Season 6, is peaking. It used to be that many of the finalists would receive enough exposure to earn cushy contracts. But as the population of finalist continues to grow, the distinction diminishes. Who can name the 58th astronaut, or all the winners of "The Amazing Race?"

That program, to which I came late, is also beginning to pall, despite its travelogue appeal and educational value. It has done a "family" edition (which sucked) and is now engaged in its "All-Star edition," which seems one more lame excuse to put poor Rob andf Amber back on the Reality map. Yeah, we all love to hate that pair, but after a while even the antipathy palls. You know, they are really very good at what they do, even if it is not a very transferrable job skill. My interest in the program, though, has waned, since I have become overly familiar with the characters, and there is little novelty left.

"Survivor," the granddaddy of all the unscripted adventure shows, is also struggling with familiarity, andcreator Mark Burnett has been fiddling with rules to try to keep some freshness. The appeal of this show, as ever, is the character mix, and how well the editors create the conflicts and manipulate our sympathies. This season's players represent the exact same ethnic grouping as last season's but without any self-aware mention of the fact, and that is fine. The wrinkle that has not worked is giving one team a cushy camp and the other a rattrap with no food. Unsurprisingly, the well-fed crew is winning every challenge, further decimating the losing tribe. I believe Burnett realized this by the fifth week, and will be mixing up the tribes as of the next session. There is smugness among the leading tribe (which only has a one-person advantage), and I have a feeling that they will rue their overconfidence. But if it weren't for the abrasive personalities this program would also be a snore. Too much time is spent on the Rube Goldbergesque challenges, none of which has ever been memorable. It's only the whining and the finger-pointing, and the occasional medical emergency, that keep the show intriguing.

Mark Burnett is very fortunate to have a new sensation, a rather silly game show called "Are You as Smart as a Fifth Grader?", to which FOX has given the best time slot imaginable (after "American Idol"). Now Burnett can concentrate on other projects and finally put to rest "The Apprentice," which has not beneiftted from its desperate move to Los Angeles. This version also incorporated the new wrinkle of the winning team getting the luxury digs while the losers sulk in poverty (or in this case, the patio of a Holmby Hills mansion). One of the features I always appreciated about "The Apprentice" is that it values intelligence and resourcefulness above all (along with skullduggery and betrayal). The other side of that coin is that the contestants are not especially sympathetic. All of them will return to their fabulous jobs and their independence, and only the "winner" will be stuck working for the egomaniacal Trump. The program continues as mostly a shill for whatever company is sponsoring the weekly challenge. The loss of Carolyn and George is unfortunate, and the gimmick of including the winning Porject Manager in the Boardroom has not panned out interestingly. It also seems foolish to keep a winning manager on the next week's teams. This will by necessity exclude a lot of contestants from displaying their managerial skills, which seems a very important consideration in the final judging.

The survival chances of this program seem pretty iffy, and depend less on the Nielsen rating than on the relatonships among NBC, Burnett and Trump. To be truthful, even Trump seems a little bored by the whole experience. He seems to be flying off every other week to fuck his pretty Melania, which makes sense, but is not televisable, at least not on netowrk TV. HBO take note--that could be interesting to watch--or better, maybe a foursome with Rob and Amber.