Category: Television

The Dangers Of Television Structure In Narrative Construction (Top Chef Finale, Part 2)

When I was younger, my family would all gather around the television to watch “Murder, She Wrote”. It was one of our traditions. And even as a youth, certain facts became very clear very quickly, such as:

1. Never visit Cabot Cove, Maine – a LOT of people get murdered there.
2. Are we sure it wasn’t Jessica Fletcher the whole time? A lot of people get murdered in her vicinity.
3. The real murderer is never the person they think it is/arrest at the end of act two, because at that point we’re only halfway through the episode and we have thirty more minutes to go.

Although I didn’t know it at the time, I was learning all about television and programming structure, and how it can hinder, or, at a minimum, formalize narrative construction. This is nothing new – we know that television is a type of narrative that lives within certain rules (most shows have commercial breaks and thus are built to generate excitement to hold you through said breaks, or how when Ted McGinley or Paula Marshall show up your show is probably not long for this world). But clever shows manage to turn things on their head, and subvert our expectations within the structure, rather than giving in to the inevitable and allowing the audience to be ahead of the program.

This brings me to last night’s season finale of “Top Chef”, which I was excited to see. Previews had promised an exciting, Iron Chef-style competition, which seemed like a bit of a gimmick, but at least it would provide us with something new in the finale, rather than the tried and true (but still generally entertaining) “cook whatever you want and win us over” – which, realistically, should ALWAYS be the final – no gimmicks. No secret ingredients. Just let them cook and let the best one win.

Then they announced the rules and everything went to shit.

The fundamental problem with the format last night was the fact that the chefs would be judged DISH BY DISH – which, in theory, means that we’ve got an exciting tally to keep track of. It’s like a sporting event. It will add to the excitement and the hype and the pressure. In theory. Five dishes. First to three wins. Exciting, right?

Except that meant that by the time we got to the fourth dish, and there was clearly only time for one more act, everyone watching the show knew that Kristen had just won the competition. The pressure, the buildup, and the release, which the competitors all got to experience (and which, in the best cases, is the same emotional tension that is transferred to the viewer) landed flat with everyone watching at home, because we knew there were only five minutes left and there was no way they were going to have time to give Brooke the win and get to the fifth dish.

(There is another problem with the format that we were spared this season, in that any close competition will come down to dessert, and as any fan of “Top Chef” knows, dessert can be a bit of a debacle on the show because these are professional chefs, and many of them don’t have the experience to create a top-flight dessert. It’s a very different skillset.)

Because the viewers at home can’t actually experience the most important part of “Top Chef” (tasting the food), a preservation of suspense is the most crucial element to actually enjoying the show. The finale last night, while an interesting change, was doomed to fail at that the moment they decided to announce who won on a dish-by-dish rate rather than judging them on the entire meal at the end.

That being said, I doubt it’s a mistake they’ll make again. If nothing else, “Top Chef” has proven to be fairly resilient and creative in tweaking the formula, as well as swinging back toward the middle when they’ve veered too far off course (looking at you, Season 9, and your stupid “shoot a gun at the ingredient you want” challenge in THE FINAL FOUR). And at least we had a final with two cheftestants who deserved to be there (*cough* Hosea in season 5 *cough*), and were assured that one of the good guys (or girls, in this case) would win.

UPDATE: I didn’t see this when I first published the post, but apparently head judge Tom Colicchio also didn’t like the format and tweeted as much, saying that he doubts they’ll do it again. One can only hope.

“Live” Television In The Age Of Social Media (or How I Managed To Watch the Top Chef Finale Unspoiled)

Tonight is the “Top Chef” Season 10 (Seattle) finale, and I can’t wait to find out if it was Kristen (who was WAY too nice/willing to take the high road/well-mannered Asian girl when she was eliminated during “Restaurant Wars”, and whose inevitable victory in “Last Chance Kitchen” reminds me that hey, this is “reality” television, not reality television) or Brooke (who is so freaking nice that it’s almost impossible to NOT want her to win, even the fact that she met her husband by hiring him to work for her and clearly is much, much more Alpha than she ever comes across, even though she’s probably still really freaking nice).

It’s also got me thinking. Specifically, about the fact that I am:

1. Stuck at work for at least another hour (meaning, at best, I will start watching the episode late).
2. The Eastern and Central time zones already know who won.
3. #2 means that I have to get home without finding out who won.

Obviously, this isn’t actually that difficult a feat – not many of my friends watch “Top Chef”, and this means that I didn’t have to post up any spoiler warnings to anyone about texting me about who wins (unlike, for example, live sporting events, when I am often texting/gchatting with my good friend Jon, and who almost always seems to be about five seconds ahead of me on the broadcast. I am constantly scolding him for spoiling a good play for me right before it happens. Thus far it has not deterred him.). But it does mean avoiding social media, which has become a moderately significant part of my life – because I do have enough Facebook or Twitter friends that one of them could accidentally spoil the result for me.

The immediacy of these media, combined with our general acceptance of time-shifting as the new normal for television viewing (seriously, what do you watch live anymore other than maybe the news or sports?), however, means that the battle between the screens is no longer just a battle for your attention; it’s a battle for the very way you will consume media in the future.

Are the immediacy and electronic community of social media worth the risk of a spoiler? To a lot of people, the answer seems to be yes. Or, at least, it forces them to watch something live – which really is what old media wants in the first place. The more likely you are to be spoiled by social media, the more likely you are to watch live, so it can’t be spoiled (and so you can also participate in the spoiling inadvertently for your friends who did not choose to watch the show live).

Maybe someday that will be my answer. But for the moment, I’m more willing to cut myself off from social media for a few hours (or, in the extreme case of “The Dark Knight Rises”, I embargoed myself from all social media for three days until I had the opportunity to get to the theater and see the movie) and enjoy a pure, unspoiled viewing experience.

In other words, don’t fucking ruin the Top Chef finale for me. I’m serious.

The Three Episode Cut Line, Part Four – In Which This Post Title Is Not A Regrettable Pun

So we’re now three weeks into The Following.  If you don’t watch the show, here’s the gist: Kevin Bacon is trying to stop a cult-like group of serial killers (inspired by James Purefoy’s main serial killer, who he captured) from killing.

Since this show was held for midseason, the previews have been around for a while – and they all made the show look pretty cool. Kevin Bacon chasing baddies, James Purefoy looking menacing, and lots of danger!

In practice, though, it’s a little muddy.

The show derives a lot of its “depth” from the fact that Purefoy’s character was a literary professor, and has been inspired by Edgar Allen Poe in particular. Which is great, because that means that we get to make lots of literary references! Killers refer to their tasks not as murders but as “chapters”! Purefoy does a soliloquy on how he’s orchestrating this whole thing to force Kevin Bacon’s tragic hero back into the limelight!

Perhaps I’m hoping for too much, but the show does not deal much in subtlety.

A bigger problem, though, is that the fundamental structure of the show (where we spend a significant amount of time with a few of the cult members as they work through their relationship problems) puts us in the situation where we’re supposed to care about these cult members. At least a little. Right now I don’t care that the third killer is feeling left out because he might be in love with the guy he was supposed to be dating when they were undercover for three years. I do care about seeing him caught and/or killed by Kevin Bacon (a little).

The arena of horror and serial killers means that the show should live in the world of tension and relief, and really force us to want to watch. Instead, they explain everything so plainly that I’m pretty sure I can wash the dishes and more or less keep up – and get the same emotional resonance out of it.

That being said, with 30 Rock and Last Resort out of the rotation now, looks like I’ve got a little extra time on my hands. For now it’ll remain probationary, although I’m very close to dropping this show.