Tag Archives: television

TV programmer: Real Housewives series is “sociology of the rich”

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The programmer behind the Real Housewives shows suggests they might have some sociological value:

Andy Cohen should know as the programmer behind “Top Chef,” the various “Real Housewives” series and his own “Watch What Happens Live.” Cohen, a former producer at CBS News, weighed in on the Bravo success story in an interview with Howard Kurtz on CNN’s “Reliable Sources” Sunday morning.

In picking programs, Cohen said he looks for “something that hasn’t been done before” and a personality different from what viewers have seen…

“In the case of ‘The Housewives,’ I call the ‘Housewives’ sociology of the rich,” Cohen told Kurtz. “I think it’s just fun to watch. It’s guilt-free gossiping that you can have. It’s like the modern-day soap opera, in my mind.”

I would be interested to have a sociologist chime in about whether shows like these reflect an increased interest in the lives of the wealthy and famous say compared to thirty, fifty, or one hundred years ago. When sociological studies like The Gold Coast and the Slum were written in the late 1920s, lower- or working-class residents may have known about the rich or run into them occasionally (and part of the intrigue of this study is that the wealthiest and poorest residents of Chicago lived within blocks of each other) but did they have the kind of vicarious interest in the rich that TV shows today try to promote?

Also: I imagine there are plenty of wealthy people who would argue that these shows only display a small segment of the wealthy lifestyle. What about shows about the millionaires next door or about people who scrimp and save to get their money? These shows seem to encourage people to live a more “wealthy lifestyle,” combining spending (conspicuous consumption, anyone?) and celebrity status.

A second note: it is hard to argue that an edited show about the wealth, a modern-day soap opera, can impart a whole lot about reality or a sociological understanding of the world. It can tell you something…but perhaps more about what Americans like in entertainment than about how people really live.

Sociologist is host of “History Detectives”

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I ran into an interesting side job for a sociologist: host of History Detectives on PBS. This involves investigating artifacts like an 1864 military discharge letter signed by President Abraham Lincoln:

The first few hours of filming took place in the Grand Army of the Republic Museum, where Versagi talked about how the artifact was found, and then re-enacted the find by pulling a scrap of paper out of a prop box. Taping continued at a park where Versagi would meet “History Detectives” host Tukufu Zuberi, professor and chair of the sociology department at the University of Pennsylvania, to show him the piece of paper. The “reveal” took place in a Springfield resident’s home, where Versagi listened as the PBS host told her the story of the artifact based on their research.

How exactly does a sociologist get this kind of job over historians? Here is how the History Detectives website describes Zuberi’s contributions:

America has a long history of social upheaval and cultural mood swings. These shifts leave clear signs of their passing. The trick is knowing how to read the signs, and interpret their meaning.
Tukufu is an authority on the subject. Under his scrutiny, even subtle signs can yield vital evidence about the events at a mystery’s core.
He also provides the team with a context for their work, relating descriptive accounts of living conditions in that particular place, at that particular time.

Being aware of the social issues, pressures, and problems of the day can sometimes help the team determine the triggers of a past event, and the motives of the people involved.

I also wonder if there isn’t a lot of room for a sociologist to talk about how mysteries develop and are understood by the public. For example, what is the social significance of an Abraham Lincoln artifact and why is Lincoln still so popular today (see an earlier post about another sociologists who tackles this)? Not everything becomes an artifact and there is a lot of work that goes into creating and supporting cultural narratives.

If you want to see a list of episodes Zuberi hosts, they are listed on his CV.

By the way, I am a supporter of having more sociologists positively portrayed on TV and in movies (see earlier posts on this topic here and here).

Sociologist: some people working more hours in order to consume more

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Sociologist Juliet Schor has over the years written about the consumer habits of Americans, notably in The Overspent American. She argues that part of the reason some Americans are working more is they need the money to consume more:

But it seems the enemy we have met is also us, as Pogo long ago predicted. Juliet Schor, author of “The Overworked American” and “The Overspent American,” finds we’ve radically increased our work hours over three decades. Part of that is due to the weakening of unions, which historically reduced excessive workweeks, Schor says.

But it’s also due to a “dramatic upscaling of the American dream” to include ever pricier McMansions, cooler cars and all manner of material want, she argues.

“Comfort is no longer enough,” Schor says in an interview by the Media Education Foundation. “People want luxury.”

Fair enough, although in Michigan’s economy just pizza and Netflix is a luxury for many. Schor’s point is people are overworking themselves while their employers expect the same. Either way, it’s a mechanistic life, always producing, always plugged in — more like a machine than a mind.

Schor discusses the idea of “reference groups,” people that we compare ourselves to. With new kinds of technology, such as television, more Americans were exposed to upper-scale standards of living beyond what they saw around their immediate vicinity. For example, when Americans watched shows with middle-class values like The Cosby Show, they saw a family with a doctor and lawyer as parents (meaning there is a high household income as well as high status) that rarely had to deal with money issues. Over the long run, Schor argues that Americans came to see that sort of lifestyle as normal, something to aspire to in order to be middle-class.

It seems like it wouldn’t be too hard to get some data to test this question: do people who work longer hours consume more (as a percentage of their income)? Could you control for occupation (some might require more work than others), location, whether there is more than one wage earner in the household, and adjust that once you get certain subsistence levels of income you can “afford” to consume more?

A second question: if Schor is correct that television gave people wider reference groups which contributed to consuming to maintain or raise their status, what effect has the Internet had?

Our world: the Beatles can get $250k for the use of an original recording on a TV show

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I’ve seen/heard several discussions of the use of the Beatles song “Tomorrow Never Knows” to close the most recent episode of Mad Men. Here is some of the story behind how the show was able to get permission to use the song – for $250,000:

 “It was always my feeling that the show lacked a certain authenticity because we never could have an actual master recording of the Beatles performing,” Matthew Weiner, the creator and show runner of “Mad Men,” said in a telephone interview on Monday. “Not just someone singing their song or a version of their song, but them, doing a song in the show. It always felt to me like a flaw. Because they are the band, probably, of the 20th century.”…

Near the end of the “Mad Men” episode, titled “Lady Lazarus” and written by Mr. Weiner, the advertising executive Don Draper (played by Jon Hamm) finds himself struggling to understand youth culture and is given a copy of the Beatles album “Revolver,” a new release in the summer of 1966.

But instead of starting his listening experience with the album’s acerbic lead-off track, “Taxman,” Draper instead skips to its final — and, shall we say, more experimental — song, “Tomorrow Never Knows,” contemplating it for a few puzzled moments before he shuts it off. (That psychedelic song, with its signature percussion loops and distorted John Lennon vocals, also plays over the closing credits of the episode.)…

To win the company’s approval in this case, Mr. Weiner said, “I had to do a couple things that I don’t like doing, which is share my story line and share my pages.” He added that he received the approval from Apple Corps last fall, about a month before filming started on the episode.

Several thoughts:

1. Does this show that the Beatles still matter? On one hand, yes: the creator said he wanted to have an authentic Beatles song on his show. On the other hand, this is a show about the 1960s – it is a period piece, a “retro cool” show, not a show about the modern day that would show the current relevance of the Beatles. The creator suggests they are the band of the 20th century, inviting questions about who might be the artist of the 21st century.

2. Contra #1 above, the Beatles can still get $250k for the use of their song. Is this about the greatness of their work or because they have been so tight in who is able to license their music? Are the copyright holders of the Beatles music (some combo of Michael Jackson’s estate and Sony?) simply waiting for McCartney and Starr to die so they can reap a windfall from licensing?

3. The article doesn’t discuss this but the selection of “Tomorrow Never Knows” is particularly interesting. This song would never make it on a Beatles “greatest hits” album (it is not on the 1 album or the Red or Blue albums of the 1970s). It is buried at the end of the Revolver album. At the same time, many books and critics acknowledge that this song is a turning point in the group’s career. It was actually the first recorded song for Revolver, an album noted by many critics as the greatest album (or one of the top 3) of all time. It was a sharp departure from earlier Beatles music: in a few short years, the group had moved from “I Want To Hold Your Hand” to Lennon singing about ideas from The Tibetan Book of the Dead with all sorts of studio effects like backward guitar around him. My guess is that the playing of song means that Don Draper’s is about to take an interesting turn (along with the rest of the 1960s).

4. A question about copyright: will the Beatles music ever become part of the public domain? It would be a shame if it does not.

5. How long until we live in a world when nobody knows about or cares about the Beatles? I’m particularly interested in the changes that will happen when the Baby Boomer generation fades away…

The exterior vs. the interior of the Brady Bunch house and architecture in TV and movies

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The managing editor of Entertainment Weekly makes an interesting point regarding a famous house in American television: the exterior shots of the Brady Bunch house don’t match the interior shots.

And I grew up obsessing over a particularly brazen TV blunder: The exterior and interior of the Brady Bunch house do not match. At all. Not one bit. In case you never noticed: The interior set depicts a soaring two-story home with the second story over the structure’s right side; the outside is a low-slung split-level with a second story over the left side. (In fact, the second-floor window was fake.) How could they let this happen? Sherwood Schwartz once explained to the Los Angeles Times that the San Fernando Valley house used for the exterior shots was chosen because “we didn’t want it to be too affluent, we didn’t want it to be too blue-collar. We wanted it to look like it would fit a place an architect would live.” In other words, the exterior struck the right emotional note for audiences, and logic be damned. I can live with that. In fact, audiences will forgive almost any lapse in logic if the story does its primary job well – and that is to move us, scare us, tickle us, and give us characters worth knowing. The Brady house made no sense, but I still wanted to live there. And while it may not be necessary to cross the Golden Gate Bridge to get to the San Francisco Airport (unless you’re coming from Sausalito), it makes for a nice aerial shot loaded with symbolism. The best purveyors of pop culture know that poetic truth trumps literal truth every time.

Six thoughts about this:

1. I’m not someone who looks for or particularly cares about inconsistencies in movies and television shows. And yet, this still seems pretty egregious: the sides of the house don’t even line up?

2. Is this house really befitting of an architect? Would any architect worth his salt really want to admit that he lived in a stereotypical split-level? While some might defend the ranch as an exemplar of post-World War II American life, are there people who defend the split-level?

3. The explanation from Sherwood Schwartz is very interesting: the home is supposed to invoke a certain American middle-classness. Another way to think about it is the home is supposed to invoke a particular emotion and then fade into the background.

4. I bet there would be a fascinating study in looking at TV and movie depictions of American homes. As Juliet Schor suggested in The Overspent American, the “middle-class house” on TV has really gotten big and more luxurious over the years.

5. The exterior of the house is interesting but what about the astro-turf lawn?

6. It can be a little bit strange to visit these television homes on the set. Two years ago, we toured the Warner Brothers studio and saw a number of sets. Here are three shots: the emergency room exterior for ER, Lorelai Gilmore’s house on Gilmore Girls, and their oft-used street scene.

After seeing these in person, I imagine there is some room for commentary about the reproducibility of more modern architecture, the impermanence of place, and how it can easily transition from one film to another TV show to a miniseries and so on…

Lost Star Terk episode was to feature Milton Berle as a “messianic sociologist”

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I’ve noted before that sociologists are rarely featured in television shows or in movies. Alas, it looks like CBS won’t allow the creation of a new online Star Trek episode based on a long-lost script featuring Milton Berle as a “messianic sociologist.”

Last fall an unused script for the cult 1960s television show turned up after being forgotten for years. Its author, the science-fiction writer Norman Spinrad, announced that it would become an episode of a popular Web series, “Star Trek New Voyages: Phase II,” which features amateur actors in the classic roles of Capt. James T. Kirk, Mr. Spock and other crew members of the starship Enterprise.

But then another player stepped in: CBS, which said it owned the script and blocked a planned Web production of it. Trekkies were appalled. “These executives should be phasered on heavy stun,” said Harmon Fields of Manhattan, who called himself “a ‘Star Trek’ fan of galactic proportions.”…

The story begins in 1967, after Mr. Spinrad wrote an acclaimed episode of the original series, “The Doomsday Machine.” “I did ‘The Doomsday Machine’ fast,” Mr. Spinrad, 71, said by phone from his home in Greenwich Village, “and then they said: ‘We’re in a hole. Can you write something in four days?’ ”

The result was “He Walked Among Us,” which the producers envisioned as a dramatic vehicle for the comedian Milton Berle. His character is a well-meaning but messianic sociologist whose conduct threatens to destroy the planet Jugal. The crew of the Enterprise must remove him without disrupting the normal development of the culture.

Spinrad’s script was set aside and he recently made it available online.

Milton Berle as a “well-meaning but messianic sociologist” sounds very intriguing. How much did Spinrad intend this as commentary about sociologists and social policy in the late 1960s? Perhaps sociologists should be glad this show was not made as it probably doesn’t put sociologists in the best light. In fact, it sounds like it could feed into some common stereotypes of sociologists: they may care about some important issues but in the end they are academics who don’t know how things work in the real world. At the same time, how many sociologists are Star Trek fans and would love to see their discipline discussed in an episode?

Desperate Housewives takes place in a really deadly suburban neighborhood

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Entertainment Weekly revealed part of the argument for the defense of the creator of Desperate Housewives against a suit from one of the actresses who was killed off in season 5:

Cherry’s attorneys also pointed out that Sheridan was never officially a series lead, and showed a seven-minute video of 48 deaths in the history of Housewives  – now in its eighth, and final, season – illustrating that shootings, stabbings, and car crashes are de rigueur on the suburban street.

Desperate Housewives is in a long line of suburban critiques where suburban residents are driven to all sorts of crazy acts because of their perfect-appearing yet ultimately stifling houses and families. In other words, this is a hyperbolic and distorted view of suburban life though it is the common image in books, movies, and television (see another example currently on Suburgatory). But this might be some kind of record for violence in even the stereotyped suburbs. Were this to happen in a real-life neighborhood similar to the kind of middle- to upper-class enclave depicted by Wisteria Lane, neighbors and local officials would have been on this issue a long time ago. Perhaps this run of 48 deaths is an odd convergence of two popular media themes: the trivialization of suburban life combined with the trivialization of violence.

Characters on GCB have taste because they don’t live in McMansions

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I was amused to run across this description of the homes for the new ABC series GCB. While the women may be gossipers, at least they have good taste and don’t live in McMansions:

The production team spent four days scouting historic and modern houses in Texas, soaking up local color in the tony Dallas enclaves of Highland Park, Preston Hollow and University Park. “We visited homes, churches, country clubs, offices, stores, etc., and immersed ourselves in everything Dallas,” says Dugally, an Emmy nominee in 2004 for Arrested Development. The pilot was shot on location, though Los Angeles doubles for Dallas in the series. “It was not an easy task as Dallas is known for its large expanses of property, many without high fences or security and lots of brick architecture,” she adds. “Los Angeles is full of palm trees that don’t do well in Dallas. We were able to find several wonderful houses and a great church in the L.A. basin that serve as the exteriors for our show.”

Although Dallas certainly earns its bigger-is-better notoriety — Aspen’s housewife character has a French Country-style kitchen with a countertop deep fryer and three double ovens — Dugally notes that the houses they saw there weren’t McMansions. “Dallas is the most cosmopolitan city in Texas. Most of the money is old money,” says the designer. “I said, ‘Let’s give our characters taste.’ We made a very conscious decision that the look be over-the-top but still elegant.”

For the home of Amanda’s colorful mother Gigi (Potts), production designer Dugally wanted the interiors “to remain very upscale but traditional.” Front and center is the ornate, winding staircase with a landing topped by a gold leafed dome. Asian accents, custom-designed wallpapers by Astek in Los Angeles and white wainscoting are just a few of the design elements used for the warm gold- and cream-toned decor.

Gun-toting Gigi gets her own rifle-display room. “It’s completely taken from memory from a house I saw in Dallas,” says Dugally. Among the animal trophies is a mounted javelina. In high school, Bibb’s Amanda character had branded ugly-duckling Carlene as one of the creatures, a relative of the pig that’s native to the Southwest. Says Dugally, “Our executive producer Robert Harling wanted a javelina wherever we could get one, and he was so thrilled we found it. It’s so ugly.”

Read on for descriptions of some of the other houses.

Perhaps the characters on the show have some reason to have more taste – perhaps they are educated and/or have money. The inspiration for the fictional Hillside Park is supposedly Highland Park, a well-known Dallas suburb that is quite monied (a median household income of about $150k). If you have enough money, you don’t need a “traditional McMansion” to impress people because you don’t want to look like the nouveau riche and would prefer to show your wealth through refined and expensive accoutrements.

But the decision to have them avoid McMansions is still intriguing, particularly if they wanted the houses to be over-the-top. Even diva or “sassy” characters on TV can’t have McMansions because this would reflect badly on them.

TMQ takes apart “police procedurals” (otherwise known as crime shows)

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After some analysis of the Super Bowl, Tuesday Morning Quarterback gets down to his real business of dissecting “police procedurals.” Here are some points I appreciated:

Television is swamped in police dramas. During a recent week, 14 of the 45 Big Three prime-time hours were crime shows. Except they no longer are called that — the genre is now “procedurals.” In theory this means the shows depict police procedure. In practice, being a procedural means a formula. Here it is…[a 15 point formula follows]

On TV, cops exist in constant jeopardy of life and limb. This, though “most police officers retire at the end of a 20- or 25-year career without ever having fired a weapon other than at the practice range.” Despite the bullets ricocheting around them, TV detectives are NEVER frightened. Most are spoiling to charge headlong into obvious danger…

But isn’t the violence realism? In the world of TV, murder and mayhem are an epidemic. Actually crime is in generation-long cycle of decline. Today, strollers are safer in Central Park after dark than in the 1950s. Last year, Central Park averaged slightly more than one robbery a month, versus two robberies a day a generation ago. Yet on procedurals, crime is getting worse. This plays to preconceived notions about the nation falling apart, especially such notions held by senior citizens, who watch a lot of television.And on procedurals, the police always catch the bad guy. Actually a significant number of homicides are never solved, while most burglaries never even lead to an arrest. Of course, procedurals are just Hollywood nonsense. But procedurals get it wrong both ways: making crime seem more common than it is, but also making crime seem never to pay.

Lots of good material here.

One might say that this doesn’t matter, people clearly know what is entertainment on television and they don’t mistake police shows for what actually happens. But I would argue that this is not the case: most people’s knowledge about police work and crime likely comes from the mass media, particularly depictions on television and in movies. Crime rates are going down yet one wouldn’t know it from its rising popularity on TV. Serial killers are uncommon except on television. Children are rarely abducted except on television. These shows and movies aim to trigger emotional reactions (as TMQ notes, the grisliness of the crimes is often shocking) and fearful responses.

A silly and yet illustrative example from my own life: where I hear news that someone was killed during the day, I have a hard time reconciling this with media images I’ve seen for years that murders tend to take place in stormy situations. While the storms in shows and movies might be more metaphorical than anything else, I have this idea in my head that this is when killing happens. I would guess there is not much data to back this up but this is an idea that has stuck with me even though it was never clearly expressed to me. Violent crime = bad weather.

If we expect citizens to be able to discuss and vote intelligently about important topics like crime and punishment (and have no doubt, we like to punish people), how can this happen if television is painting a heavily slanted story? I wouldn’t suggest that television needs to be completely realistic but at the same time, common images have a cultural power that is difficult to counteract.

Picking the white doll or black doll in Mexico

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The Mexican government has started a conversation about racism based on a video that shows an experiment where children have to pick between a black and white doll:

Is Mexico’s an inherently racist society? Does the culture overwhelmingly favor those with light skin over those with dark skin? And if so, is that a legacy of European colonialism or present-day images in television and advertising?

These are among the thorny questions emerging in online forums in Mexico since a government agency began circulating a “viral video” showing schoolchildren in a taped social experiment on race.

The kids are seated at a table before a white doll and a black doll, and are asked to pick the “good doll” or the doll that most resembled them. The children, mostly brown-skinned, almost uniformly say the white doll was better or most resembled them…

Mexico’s National Council to Prevent Discrimination, or Conapred, in mid-December began circulating the video, modeled on the 1940s Clark experiments in the United States. The children who appear in it are mostly mestizos, or half-Spanish, half-Indian, and a message said they were taped with the consent of their parents and told to respond as freely as they could.

See the full video here.

This reminds of Jane Elliott’s famous blue-eyed, brown-eyed experiment with a third-grade class (highlights here). One of the most powerful parts of this exercise is the fact that these are supposedly innocent children who are quite capable of reflecting the racist attitudes of society. Similarly, the doll video suggests that even young children know full well about race and what skin color is valued more.

I can only imagine the outcry if a US government agency released a video like this…