Archive for the British Shows on American TV Category

No Olds Barred

Posted in American TV (General), American TV Shows, Americans watching British TV, British Shows on American TV, TV History, TV News, Uncategorized with tags , , , , , , , on February 6, 2016 by Tom Steward

In a week when voters decided they didn’t have a problem with a man in his late seventies running the country, I suppose we shouldn’t be surprised that there’s still a place in television for the old. While host of The Late Show Stephen Colbert managed a ten-minute skit based around The Twilight Zone – a show that first aired in 1959 – nineties science-fiction procedural The X-Files continued its revival on Fox. An anthology series about the murder trial of O.J. Simpson began and the miniseries Shades of Blue showcasing the anachronistic acting talents of Jennifer Lopez and Ray Liotta plodded along (and that is exactly the right word!). British television seems no less geriatric these days. Friends’ Matt Le Blanc was this week announced as the new co-host of motoring journal Top Gear, alongside – I might add – star of nineties light entertainment Chris Evans, who in turn has recently relaunched the pub-based variety talk show TFI Friday which had ceased broadcasting in 2000. How is it possible that so many programs and people from television’s past are now to be found dominating the airwaves? Well, there’s really not that much effort required to revive something that has never been away.

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In Rod we trust.

Syndication and the proliferation of TV channels and services mean that TV of decades past is never far from our screens. It’s a short road from endlessly recycling a show to providing some extra material to pad it out. That might explain the programs but what about the people? Well, in each case, we’re talking about personalities who have managed to stick around long enough to become institutions, or have just come off their own revival. While the idea of J-Lo as an actor is now strange enough to make her performance in Shades of Blue seem jarring, her judging for American Idol and appearances on just about every music awards show on the air makes it a much smoother transition for regular viewers. Matt Le Blanc had endeared himself to the transatlantic public once again with Episodes and Top Gear is merely the crowning of that – although I suspect the BBC will be happy with anyone who falls short of creating an international incident! As to Chris Evans, Channel 4 had yet to replace TFI Friday with anything as exciting in that slot – and believe me it wasn’t very exciting – so broadcasters’ lack of ambition is also a factor.

 

What’s harder to explain is why we’re suddenly so interested in material from the past. No-one who talks about Ryan Murphy’s American Crime Story fails to mention that it has been twenty years since the events surrounding the arrest and trial of O.J. Simpson took place. TV may be a medium that prides itself on currency, but looking back over the decades has become another badge of honour. That’s what made Colbert’s Twilight Zone parody so bizarre. Weeknight talk shows are compelled to restrict their discussion to what’s been happening in that day’s news, and yet this trip down memory was motivated by nothing but fandom and ridicule-ripeness. I don’t know what to think about an X-Files revival (has anyone ever?!) but it’s an interesting case of throwing good money after bad in the wake of Fox’s breakout original programming like Empire. The youngest major network – if we’re still thinking in those terms – Fox has a particular problem letting go of the past. The Simpsons and Family Guy are now decades old, the network is home to a number of movie reboots, and this year primetime Fox vehicles provided a platform for the comebacks of Rob Lowe and John Stamos.

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Surely it’s a Z-File by now!

The number of revivals, period television, and veteran stars on primetime television is staggering. For example, ABC airs two sitcoms set in the eighties and nineties respectively, a drama set in the forties, an anthology series set in the eighties, a revival of a seventies TV franchise, a movie about Bernie Madoff, while featuring among its big names Don Johnson, Ed O’Neill, Tim Allen and Geena Davis. With the increasing competition and likelihood of cancellation, it may seem that TV ruthlessly cuts away that which is ageing, but in fact it seems more accurate to say that a job on TV is a job for life. One thing is certain; there is absolutely no property out there in TV land that is exempt from returning to our screens. I did mean the landscape of television not the recurring nightmare-oriented nostalgia network back there but actually both work just as well!

UK with Me: Part 2

Posted in Americans watching British TV, British Shows on American TV, Local TV, TV channels, TV History, Uncategorized, Watching TV with tags , , , , , , , on January 18, 2016 by Tom Steward

Where I continue my rundown of the TV I watched during my time in the UK, as a result of visiting at a time of year conducive to indoor sports that require no physical prowess or ability. Since we didn’t have a darts board, the television would have to do. Much of the British television I had written off as dated and defunct had returned and, though many were old wine in old bottles, there were several programs being broadcast made by familiar names that added something new and interesting to a pre-existing legacy. There were also genuinely innovative moments:

 

Car Share – BBC One

 

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Hands up who likes Peter Kay again

 

After emerging in the late nineties as a successor to the observationally rich character comedy pioneered in the North of England by writer-performers such as Alan Bennett, Victoria Wood and Steve Coogan with That Peter Kay Thing, Peter Kay stagnated creatively in the naughties and the teens, content with cosying up to light entertainment until it swallowed his authenticity. The two-hander sitcom Car Share which follows two colleagues carpooling on their commute to and from work was exactly the stripped-down concept that Kay needed to reboot his realism. Punctuated by conversational silences drowned out in the perfectly pastiched audio garbage of satellite radio commercials, the wiretapped feel of the dialogue and understated sincerity of the couple’s interaction reminds us why Kay was once such a treasured comic voice in British culture. Even the more indulgent sequences, such as the fantasy music videos, have an almost Dennis Potter-like quality in the context of the storyline.

 

Toast of London – Channel 4

 

Toast of London

His career is toast

 

Arthur Mathews once co-wrote and created Father Ted, the sitcom of its day and one which – like much British comedy of the time – refuses to date and instead grows in stature the more we find out about the world (or in this case the Catholic Church). Nothing that Mathews has done since has been able to surpass Father Ted, although surreal juxtaposition sketch show Big Train came tantalisingly close. But seeing Toast of London, which Mathews devised with Matt Berry, a comedian, actor and writer who is a darling of cult comedy and possesses a sleazy retro quality that consumes everything he does, you feel as if he might come close. As with Father Ted, the sitcom is set in another sphere of absurd mediocrity; that of the jobbing actor. As heavily stylised as its ecumenical predecessor – which often resembled a live-action version of The Simpsons – it nonetheless discovers inherent truths about the profession that a documentary treatment couldn’t, though you suspect many of the situations encountered are anecdotally motivated.

 

All Aboard! The Sleigh Ride – BBC Four

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No really…this is it

 

If the successes of Gogglebox and Car Share have demonstrated anything, it’s that extremely basic formats still hold tremendous appeal for British TV audiences. But All Aboard! The Sleigh Ride has taken this to avant-garde extremes. A camera is rigged to a traditional reindeer sleigh and taken on a two-hour journey across the Artic wilderness of Norway. There’s no music or editing or semblance of a narrative, simply the spectacular footage the camera collects as it moves. Of course, TV audiences adore gazing lingeringly at landscapes given the ratings-winning genre of nature programming, but the development here is about time, and how much of it we’ll give without the reward of storytelling and entertainment. Perhaps the structureless viral video has immunised us to the boredom of simple watching, or maybe this is gentle and familiar enough a subject to bring experimental video art into our homes by the back door.

 

Downton Abbey – ITV

 

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Downton finale criticized for anachronisms

 

I’ll remain as anachronistic as Downton itself by pretending that anyone in America who wants to see the finale hasn’t already used their internet connection to steal it, and not offer any spoilers. Not that there’s a lot to spoil, the finale ramming home how little storylines or character development have to do with the appeal of this piece of virtual tourism versus the other quality television drama of our time. Creator and writer of all episodes Julian Fellowes certainly knows what his audience wants, and is not shy about giving it to them in as tidiest boxes as he can pack. I preferred the series in high melodrama mode and so it was somewhat of a disappointment to me that the electric hair-dryer that everyone kept pointing out was merely historical window-dressing and not foreshadowing some Emmerdale-like fiery disaster to wipe out the cast. Indeed, any hint of tragedy seems to have been smoked red herring.

UK with Me: Part 1

Posted in Americans watching British TV, British Shows on American TV, Local TV, TV channels, TV History, Watching TV with tags , , , , , , , on January 15, 2016 by Tom Steward

I spent Christmas in England, which meant that for the majority of my trip I was under or adjacent to water. This – coupled with apples not falling far from family trees – left me watching a lot of television. After going cold turkey with British television in my first couple of years living in America – literally in the case of the daily cooking shows I opted out of when I left – returning this time I felt as if I had been missing out, not just because of what British TV makes but also what it shows. Here’s my travel watch list:

 

The Bridge –BBC Four

 

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Sex is Sex

 

It might seem perverse that the first program I watched upon returning to the UK was Scandinavian but that’s testament to the BBC’s policy of screening the best in European television crime drama, which is currently the best in the world. The third season of the police detective show about crimes that cross the Danish and Swedish border remained as flawlessly acted, written and photographed as the first two, even following the departure of star Kim Bodnia in the run-up to filming. As in previous seasons, a repertory of outstanding Scandinavian character actors were there to play supporting roles but were given more screen time and development, particularly Nicolas Bro formerly of The Killing who guarantees at least one laugh-out-loud moment per episode. Sofia Helin’s new co-star Thure Lindhardt (or Saga’s new partner Henrik) is still the perfect counterpoint to TV’s twitchiest detective, but his sardonic cynicism is also much-needed relief from Martin’s increasingly grating emotional naivety. Creator Hans Rosenfeldt has talked about the rule of three in Scandinavian TV drama in relation to The Killing and Borgen but with both Saga and Henrik having story arcs in progress, he can afford to break with tradition.

 

Tim Peake – BBC News

 

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Ground Control to Major Tim

 

I woke on the first full day of my trip to catch TV news coverage of the launch of the rocket that took British astronaut Tim Peake to the International Space Station, the first Briton to do so. Never mind how visually unstimulating and uneventful the launch was as television or how difficult it was to extract a milestone from the seventh British person to enter space, but it says something about how little there is to be proud about in Britain in years that don’t have major international sporting events that Peake’s journey into space was such big news in the national media. A live transmission from the space station with the inevitable satellite delay was some of the most tedious television you’re ever likely to witness.

 

Peep Show – Channel 4

 

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No more kicking off

 

I didn’t even know the final season of Channel 4’s longest-running and possibly finest sitcom was on the air, and was even less aware that the episode I started watching mid-way through was the finale. It says something about my ignorance but even more about how good the writing on the series is. No need for self-aggrandising, Peep Show left us with as unassumingly brilliant an episode as it had ever produced, with a nod to the perpetuation of a gloomy cycle of immature repetition that dooms Mark and Jeremy to a life of wanking and watercolours. Nine seasons – especially in British terms – of a sitcom is impossible without a foolproof concept and filtering the action through Mark and Jeremy’s first-person perspective – some early camera tomfoolery aside – was innovation that lasted. Even so, the key to sustaining the show was gradually escalating the abhorrence of the character’s life choices from jilting spouses to attempting murder, and happily the finale continues to raise the stakes.

 

Gogglebox – Channel 4

 

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Talking Heads

 

A reality show about people watching TV was always the sleeping lion of television pitches, but it needed exactly the right execution to succeed, and that’s exactly what Gogglebox did in 2013 when it blended fly-on-the-wall and sitcom formats to a perfect consistency. Since I last saw the show, however, it has bloomed into Channel 4’s flagship Friday night program and even spawned (quite literally) a spin-off in the shape of Gogglesprogs, which marries Gogglebox to another immaculate format; children obliviously saying funny things on TV. One particular sprog who looked like an Alan Bennett doll appeared to have already figured out how David Cameron rose to power through pre-existing privilege and public apathy and was the mouthpiece of abolitionists young and old throughout Britain when remarking on Queen Elizabeth’s record-breaking reign as British monarch: ‘Doing what? She just walks and waves.’ From the mouths of babes…

 

 

 

 

Baking The Waves

Posted in American TV (General), American TV Shows, Americans watching British TV, Behind-The-Scenes, British Shows on American TV, Touring TV, TV History with tags , , , , , , , on December 14, 2015 by Tom Steward

It’s not an unreasonable assumption that Americans prefer to know about Britain’s heritage than the way it is today. So it will come as no surprise to anyone on either side of the Atlantic that a Great British Bake-Off spin-off (which can be contracted to The Great British Bake-Off) called The Great Holiday Baking Show is airing on ABC primetime over the Christmas season. The Great British Bake-Off is a cooking competition celebrating British culinary traditions against a landscape idealizing Britain as the green and pleasant land of yore replete with signifiers of our imperial past, like the bunting-lined parties we used to host for wartime victories and royal events. Though if you’re labouring under the misapprehension that cultural fascination has triumphed over commercial interest, it’s worth remembering that in the UK this year the finale of The Great British Bake-Off was the most-watched program of the year, that past seasons of the show currently occupy peak Sunday airtime on PBS, and that a US version of the format called The American Baking Competition debuted in 2013 but was cancelled within a year following poor ratings. It’s both too lucrative and too particular to attempt anything other than a spin-off.

Bake Britain

Bake Britain

Americanizing the brand has proved difficult. PBS had to re-name the US airings The Great British Baking Show not because of cultural misunderstandings – as surely ‘Bake-Off’ is a term friendlier to the American spirit of competition than ours of miserable make-do – but America’s corporate hegemony. Girth-romanticising pastry company Pilsbury hold the trademark to the name ‘Bake-Off’ since it is the name of their patented annual cooking contest. The American Baking Competition continued the tradition of American reboots of British reality shows exporting celebrity judges, but it backed the wrong horse. Perhaps they were expecting some latent movie star glamour to suddenly burst forth from baker Paul Hollywood when he was brought into geographical proximity with his namesake – or more likely they wanted another British villain – but there was less gel than the sour scouse keeps in his hair when they brought him into the show. Though far sweeter and lacking the negativity that reality TV bottom-feeds off, The Great Holiday Baking Show has made a far better choice in calling upon veteran food writer and TV presenter Mary Berry to handle the judging, especially since any successful translation of the format requires as much exploitation of British icons as possible.

As is usually the case in television, the biggest factor affecting the success of The Great Holiday Baking Show is time. The Great British Bake-Off is shown over ten weeks and, while it is clear from the preponderance of sunlight and the frequently-used excuse of it being a ‘hot day’ that it is filmed in Summer, the baking is not linked to any particular season of the year. As the title states, The Great Holiday Baking Show is very clearly themed around the American Thanksgiving and Christmas holidays to reflect the period of the calendar year in which most baking is done and/or consumed in the US. The producers have evidently latched on to the seasonality of baking as justification for a short-run December-long series which also conveniently prevents them from having to commit to a full season in programming terms. Conversely, the configuration of cake-eating with sunny countryside settings in the British original has almost made it seem like an exclusively Summer activity in the UK, not a happy by-product of taking refuge from the cold of Autumn and Winter as it is in the US. Finding what is culturally equivalent about an imported show is often the key.

Baking in the Free World!

Baking in the Free World!

The subject matter and presentation of The Great British Bake-Off is twee and backwards but it gestures to the diversity of post-colonial Britain. Though by no means proportional, there is a range of ethnic, racial, sexual and regional representation in the contestant base. To wit, the 2015 winner was Nadiya Jamir Hussein, a British-Bengali women identifying as a Muslim. I’m glad to see that The Great Holiday Baking Show has followed in these footsteps, though in both cases it’s difficult to tell whether this is selection strategy or merely that it’s an inclusive enough application process for minorities to make it through. What makes the difference is the ability to use the original format and continue to have Mary Berry on board, although why they would make her a judge for an American spin-off only to patronise her like a cigar store Indian in a parallel universe is beyond me.

 

The Tommys 2015

Posted in American TV (General), American TV Shows, Behind-The-Scenes, British Shows on American TV, Reality TV, Reviews, TV Acting, TV Criticism, TV Culture with tags , , , , on September 27, 2015 by Tom Steward

It’s that time of year again when those we trust with the responsibility of deciding what makes good television publicly demonstrate they have no idea what makes good television. Yes, The Emmys. As with every year, the Academy of Television Arts and Sciences make two glaring errors. Firstly, they overlook the best TV of our time in favour of academy pets like Modern Family (Just a side note: Unlike most television critics, I rather like Modern Family. I just don’t happen to think it’s the only sitcom of the last six years worthy of celebration). Secondly, they create convoluted, counter-intuitive categories of awards that prevent the finest shows from being recognised because they don’t tick a bunch of weirdly shaped boxes. To rectify this, I’m starting my own annual television awards ceremony (yes, it’s going to be one of those articles!) called The Tommys with the sole purpose of demonstrating that you can still recognise the best TV around even when you have bullshit categories.

Best Shaving of Iconic Facial Hair in an FX Series, Zombie-Based Comic Book Adaptation, or Timely Political Commentary

Winner: Sam Elliott for Justified

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Nominated: W. Earl Brown for American Crime/Andrew Lincoln for The Walking Dead/Kathy Bates for American Horror Story: Freakshow (disqualified for chin curtain)

Least Mentally Prepared Husband in a Housewives Franchise, Vanity Project or Marriage Experiment

Winner: Vincent ‘Garage Face’ Van Patten for The Real Housewives of Beverly Hills

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Nominated: Hank ‘The tranny’s hand walked into my penis’ Baskett for Kendra on Top/David ‘Golem’ Beador for The Real Housewives of Orange County/Mohammed ‘It’s against my religion to express genuine affection for my wife’ Jbali for 90-Day Fiance

Most Impatient Response to a Format Change in an Anthology Series, Prequel Spin-Off, or Homeland

Winner: True Detective (aka Noir is Supposed to be Urban, Idiots!)

Nominated: Fear The Walking Dead (aka Before They Were Zombies)/Homeland (aka Awayplace)/Better Call Saul (aka How The Lawyer got his Spotty Morality)

Most Overrated Drama, Sitcom or Tonally Confused Variation upon The Two Previous Sub-Categories featuring Martin Freeman, Kevin Spacey or Andy Samberg

Note: In this category, the award will be collected by an actor better at playing the role than the actor who actually did*

*Even if Kevin Spacey is in the audience doing his ‘I’m the first ever person to talk to a camera in a TV show’ schtick

Winner: Sherlock (award collected by Lucy Liu)

Nominated: House of Cards (award to be collected by the ghost of Ian Richardson)/Fargo (award to be collected by William H. Macy)/Brooklyn Nine Nine (award to be collected by whoever is near)

Biggest Load of Horseshit Onscreen Explanation of Something That is Clearly an Offscreen Issue in a Trumped-Up Soap Opera, Underrated Popular Literature Adaptation or Reality Show on a Bottom-Feeding Network

Winner: Scandal for the end-of-season held-at-gunpoint cliffhanger and season premiere cold open funeral of Harrison Wright during the domestic abuse court case of Columbus Short.

Nominated: Elementary for the complete absence of LGBT housekeeper Ms. Hudson in the third season while actress Candis Cayne became a visible activist for transgender rights/Marriage Boot Camp: Reality Stars for Hank Baskett’s ‘magic penis’ theory of how he could be caught red-handed in a transsexual three-way and yet not have participated

Worse Kept Secret in a Deathcount-Oriented Drama, Television Awards Show or Publicity-Loving Satire of Advertising

Winner: The Tommys 2015 for revealing multiple spoilers in TV shows not yet caught up on by most viewers by simply listing the nominees

Nominated: The Walking Dead for posting news of Beth’s death on social media the day that the episode aired/The Emmys 2015 for spoiling the series finale deaths of Nucky Thompson in Boardwalk Empire, Zeek Braverman in Parenthood, Jax Teller in Sons of Anarchy, Bill Compton in True Blood and Raylan Givens’ hat in Justified/Mad Men for having a series ending that was tiresomely ambiguous

Most Unconvincing Justification of a Blatant Freakshow in a Bafflingly Popular Horror Anthology Series, Footage-Shy Reality Show or Modern-Day Version of Public Hanging Entertainment

Winner: Botched for claiming to be a fly-on-the-wall documentary about plastic surgeons

Nominated: American Horror Story: Freakshow because if it’s about an actual freakshow, we can’t get upset at the title/America’s Got Talent for exploiting the lack of a substantive mental health care system in the US

Reality Contestant who Looks Most Like a Popeye Character

Winner: Josh Altman (Wimpy) for Million Dollar Listing: Los Angeles

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Nominated: The Situation (Popeye) for Marriage Boot Camp: Reality Stars/Josh Altman (Alice The Goon) for Million Dollar Listing: Los Angeles

Doctor No

Posted in Americans watching British TV, British Shows on American TV, TV Criticism, TV History with tags , , , , , on September 20, 2015 by Tom Steward

Last night, new episodes of Doctor Who began airing in Britain and America. This is not a review of the season opener because I didn’t watch it. I didn’t watch it, because for the first time since the series re-launched in 2005, I won’t be watching Doctor Who. I don’t – like some fans – have an aversion to Peter Capaldi as The Doctor. In fact, I’ve said here before I think he’s probably the best actor to have played the role. This also isn’t the first time I’ve had serious issues with the direction that the showrunners have taken the series in, or some of the casting. And I’m not so naïve as to think that the ‘classic’ series – which I greatly prefer – wasn’t at times just as unwatchable as the new series is today. So why am I boycotting it now? Well, it’s for the same reasons that I don’t eat at McDonalds or (knowingly) use Nestle products. There are just too many reasons not to.

'What do you mean you're not watching?'

‘What do you mean you’re not watching?’

The main reason, of course, is Steven Moffat. Still showrunner and head writer after six years – with his creative control increasing annually – Moffat’s scripts and season arcs are incoherent, ramshackle rubbish and his dialogue is formed of soundbyte-friendly non-sentences. You can count the good ideas he’s had during his time on Doctor Who on one hand, and yet they do the job of keeping him afloat while he peddles plagiarism of everything from Source Code to That Mitchell and Webb Sound inbetween lightbulb moments. That’s before we get on to his politics. Moffat is incapable of writing strong women without sexualising them, sabotaging the progress made by breakthrough characters like transgender Timelady Missy with nymphomaniacal nonsense. His treatment of the material is invariably tasteless and perverted, encompassing romanticized suicides, desecration of dead Who actors like Nicholas Courtney, and treating time travel as some sort of incestuous gangbang! It was bad enough when this was in the name of change, now it’s billed as a return to the classic formula.

Much as I would like to, I can’t blame Moffat for all that’s wrong politically with Doctor Who. The series has had two women writers since 2005, a record easily beaten during the classic era which is often held up for being unfair to women and stretching back to the tenure of showrunner Russell T Davies, who supposedly opened the show up for a female audience. That said, Moffat did do a Lorne Michaels when it came to the issue of hiring women as writers, claiming that the entire gender did not have the appetite (nor presumably the talent) to take on the job much as the Saturday Night Live did when confronted with the absence of women of colour on the late-night comedy institution. Missy is not enough of a concessionary flip-flop, and certainly not when she’s this badly written. The Bechdel Test and various academic studies have singled out the sexism of Moffat’s era, though Davies set the idea of women talking adoringly about The Doctor in motion.

If I’m being honest, it’s actually the way that Moffat has tried to rectify the female companion’s Adam’s Rib relationship to The Doctor that has made Doctor Who so difficult for me to enjoy. Jenna-Louise Coleman’s Clara has a domestic and work sphere independent from The Doctor and his TARDIS, albeit one that still centres around her romantic interest in another man. The upshot of this is that one of the most shoddily conceived – and irritatingly portrayed – lead characters in the series’ history is at the heart of the concept in virtually every episode. There’s nothing innovative about The Doctor being The Companion’s sidekick, for that’s the status William Hartnell had when Doctor Who began, and it is a good bit of Bechdel-proofing, but for Clara to get that privilege – and, crucially, not Amy, the previous companion – is a kick in the teeth. For the past couple of seasons, Moffat has been working back from Clara’s original introduction as a mere plot device, and still can’t make her sufficiently human.

A Missied opportunity!

A Missied opportunity!

It’s no surprise that the creator of Sherlock and writer of The Adventures of Tintin re-boot can’t organize a piss-up in a brewery when it comes to Doctor Who. Steven Moffat has inherited perfect pop fiction formula time after time, and always drops the ball. So when he finally goes – and providing Jenna makes good on her recent promise – I’ll come back to the best concept on TV. Because we Whovians live to be disappointed.

Equal Opportunity Knocks

Posted in American TV (General), American TV Shows, Behind-The-Scenes, British Shows on American TV, Reality TV, TV advertising with tags , , , , , , , , , on March 25, 2015 by Tom Steward

If there’s one thing Dancing with the Stars is in dire need of – apart from a decent house band, a competent co-host and, y’know, stars – it’s an equal opportunities seminar. I don’t know how many sensitivity courses you’ve been on, but they’ll all tell you (and if they don’t you should) that equality isn’t about treating everyone the same. One of the best teachers I ever had, the film writer and sociologist Richard Dyer, once explained equality to me using male and female public toilets. Men rush in and out, while women take longer. So while giving men and women a bathroom each with the same number of facilities might superficially seem to be giving them identical resources, the sexes are not being treated equally.

I'll give it 5.

I’ll give it 5.

This struck me two seasons ago when Judge Len Goodman told contestant Amy Purdy, who has prosthetic limbs below both knees, that he was going to score her like everyone else in the competition, and that she’d prefer it that way. For the entire competition, Purdy was judged against able-bodied dancers (and Billy Dee Williams) rather than on a scale of achievement that befitted her unique body type. It wouldn’t have been easy for the judges, especially as Purdy herself kept changing the rules of what was possible with her body week by week, but they never had any intention of taking her different abilities into account. To not even attempt this, and to assume Purdy wanted this kind of judging, is to ignore equality.

The Judges have continued to score disabled contestants in this fashion, even when they are physically prevented from competing at the same level as the other dancers. This season features Noah Galloway, who has both his left leg and arm missing. While the Judges are happy to gush and cry for the cameras over Galloway’s overcoming of the odds (and he’s a veteran too, so nothing but conspicuous sentimentality will do), they give him decidedly average scores, reminding us that that they are painting two more limbs on his body in their minds. The Judges’ rhetoric seems to have some idea of how equality works. Carrie Ann Inaba talked of how Galloway ‘challenged’ her judging. But there’s no evidence of this in the competition itself.

But Dancing with the Stars is already a show that seems designed to give Shami Chakrabarti nightmares. It asks people of different ages, genders, bodies and professional dance experience to compete against each other, with no consideration given to how there should be different judging criteria for each group. Doubtless there is some ideological undercurrent of the cream rising to the top regardless of adversity here and whoever said entertainment was a level playing field? However, if the show wishes to bask in the glory of giving a national TV platform to minorities and a diverse range of people (as it has referred to itself doing on several occasions) it cannot simply work around the fact that democracy is just as much about positive discrimination.

I’ve talked about the show’s objectification of female bodies before – and it’s getting no better – but in recent weeks we’ve actually seen feminist perspectives on Dancing with the Stars being written off live on air as ‘cyber-bullying’. Contestant Charlotte McKinney received harsh criticism and, let’s face it, personal abuse from social media after the star of sexist Carl’s Jr. commercials appeared in the season premiere. Her experience was the basis of the pre-dance ‘package’ (although why we have to all use the industry term here, I don’t know) in Week 2 and following her dance, the negative Twitter comments read-out on air were all dismissed as body jealousy by the judges Julianna Hough and Bruno Tonioli and then as body fascism by co-host Erin Andrews.

Benny Hill guest-judges on DWTS!

Benny Hill guest-judges on DWTS!

Now, I’m not saying that the sinister forces of the internet comments feed weren’t at work here and I don’t approve of targeting someone who is as much a victim of the sexist culture as the women it leaves out (as opposed to, say, the people who sit down and write the Carl’s Jr ads). That said, it’s clear to me that many of those comments, however personally directed they were, were aimed at McKinney’s participation in advertising that demeans and degrades women, and to disregard all the criticism directed at her as troll-grudge is to silence a protest against television’s ongoing celebration of women as sexual objects. Dancing with the Stars cannot continue to swim in these choppy waters without changing its body politics.

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