In advance of Sunday’s premiere of The Amazing Race 24, which will bring back previous teams for another all-star season, the CBS show’s host Phil Keoghan did a Reddit Ask Me Anything on Friday.
While it’d be nearly impossible for him to answer all the questions he was asked, he didn’t answer most technical questions about the race (like about how customs is handled), and didn’t one that mentioned changes in the race and weakness of recent seasons, but did answer how ticklish he is (“I am ticklish - under my arms”).
And there were several answers throughout the full conversation that provided some insight into the show and Phil himself. Here are excerpts I’ve selected:
Whether he roots for certain teams:
“Yes, I’m always wanting some teams to do better than others. Sometimes just because I know that if they won, winning would have a really dramatic impact on their lives. It breaks my heart sometimes to have to eliminate a team and then there are other times I’m not that unhappy about it at all.”
What he does at pit stops between teams:
“People often ask me what I’m doing when I’m at the pit stop. Apart from briefing the greeter about how the show works and shooting the intro’s I need to do at the pit stop, 99% of my time is spent holding my phone and furiously writing down story notes about what’s happening with the teams. The information is coming from all those in production who learn anything new about what’s going on. If we didn’t have the ability to text on the show and sometimes make phone calls, it would be almost impossible for us to make the show. There are time where we are in such remote locations that I don’t get information beforehand and in those cases, I have to debrief the teams on the mat to get to the bottom of what’s happened. In addition, some production people have to physically bring me the information to me at the mat so I can administer the penalty. Of course, this is not my first choice, I would much rather know ahead of time.”
“As per my earlier answer, I am married to my cell phone for information about what’s going on. I don’t leave the pit stop. This is not the kind of show where there’s time to just hang out at a hotel. We spend our time working on logistics when we know that teams are going to be super late because we know we’re going to miss flights, which will have a domino affect on the rest of our incredibly tight 12 shows in 21 days schedule. There’s always the chance that a team may come to the mat accidentally before they’ve completed the course so, once again, I stay at the mat no matter what. One time, I was at the mat in Poland season 11 for 19 hours straight.”
How greeters are chosen:
The picking of the greeters is done in many different ways. Sometimes, it’s from local facilitators that make a suggestion, sometimes from our scout when we initially go to a new location. The great thing is that they’re interesting people everywhere so it’s not hard to choose.”
Why he doesn’t think behind-the-scenes episodes/specials would work:
“I don’t know how pretty a behind the scenes show about the race would be…or how entertaining for that matter. Trust me, I think the more entertaining part of what we do is what we share with you every week. There’s a lot of process sitting around and logistical nightmares to deal with that I just don’t think will make for good TV.”
Writing his own scripts:
“We start researching the show months in advance and then I start working on my scripts about a month out. The key is to give the audience some takeaway about what we’re going and the things we’ll be doing. So I work hard on interesting factoids since I know people love learning about the world which watching the amazing race. I love that the show not only entertains but also informs.”
The influence of tourism officials:
“We are constantly approached by tourism offices but we work independently - that’s not to say that we don’t pick up on some of their ideas as far as challenges go.”
Why CBS killed the web series Elimination Station:
“You know, that’s a very good question. I’m not sure what happened there, actually. I agree, it would be kind of fun to bring back!”
Who he’d run the race with:
“Well I have no desire at all to run the amazing race - let me just make that clear. However, if I was to run the race, my first choice would be my father. He’s one of the smartest people I know and we are extremely compatible traveling together. I first started traveling with him when I was 3 and in recent times we’ve gone on lots of great adventures together and our combination and personality just works for travel!”
“I have worn it on every season. It is an indigenous necklace from New Zealand which was given to me as a way of providing safety over water. It’s origins come from the Maori people of New Zealand. It’s actually a decorative fish hook. For the most part, they are carved out of bone or green stone.”
One of his favorite books:
“I think probably Longitude is one of my favorite books. It’s about an inventor who came up with the first clock who can keep accurate time at sea and consequently help explorers work the longitude around the world. I love stories about underdogs and this amazing man Harrison, was a carpenter who solved one of the greatest puzzles of his time. He was shunned by so-called scientists but ultimately he’s the only one that figured it out.”
How long the show will last:
“Well your guess is as good as mine on that! And I promise to keep on hosting as long as they want me!”
Dancing with the Stars dumped co-host Brooke Burke-Charvet Friday, continuing to clean house prior to its 18th season and blindsiding her in the process. Burke, who joined the series in its 10th season after winning the seventh season, and whose role seemed diminished last season with elimination of the space for her post-dance interviews, tweeted:
In a statement to E! News, she said she “understand the need for change considering the position of the show at this juncture,” and says she will now be “pursuing opportunities I previously wasn’t able to entertain because of contractual obligations to the show.”
In a generic statement released to the media, executive producer Conrad Green called her “a wonderful part of the Dancing with the Stars family.” That’s usually how people describe members of their family before exiling them.
The Outstanding Reality Program Emmy has split in two, becoming Outstanding Structured Reality Program and Outstanding Unstructured Reality Program. The Academy Of Television Arts and Sciences is basically acknowledging the genre’s diversification while giving the awards really awkward names.
The Academy cites Pawn Stars and Duck Dynasty, two insanely scripted series, as examples of shows that will fit into the “unstructured” category, while it cites MythBusters and Antiques Roadshow as those that are “structured.”
These examples, at least, aren’t the best examples, not that that’s a surprise Pawn Stars may focus more on personalities, but it’s very much like Antiques Roadshow. And if I had to think of “structured” shows, MythBusters might make the list, but shows from Shark Tank to The Pitch would come to mind first, since MythBusters can be more freewheeling with its format.
Since competition series already have their own category, it seems like the Academy is going for a split between narrative shows and formatted series that networks love—Shark Tank and The Bachelor are both formatted but not exactly competition series.
The announcement about the change cites “a general industry uptrend in two different types of narrative reality programming” and says that this new “split accommodates that trend.”
Don’t forget the viewer trend of curling up on the couch and announcing that they’d like to watch an unstructured reality show. It’s kind of a terrible word, since it implies there’s no structure to shows that actually do require a lot of production and craft, even if they’re shot as pure documentaries. (All shows are produced; some are less real.)
Of course, there was absolutely a problem with the generic “outstanding” category; last year’s nominees were Antiques Roadshow, Deadliest Catch, Diners, Drive-Ins And Dives, MythBusters, Shark Tank, and Undercover Boss—a really diverse group of shows that make comparison difficult.
I’d prefer calling the categories something like “documentary” and “formatted”/”structured”/something more user friendly, even though those are imperfect, and even if we have to cram Duck Dynasty into the former category with less-fake series. I’d also love to see A&E submit its crown jewel into the Outstanding Comedy Series category, to be both honest and see what would happen.
CeeLo Green’s final season on The Voice was last fall’s season, as he won’t return; he’s not just taking this season off like he did last spring. Buzzfeed has already scraped together 29 GIFs of his time on the show.
He revealed that on Ellen’s show, which airs today, surprising Ellen when he said “I’m gonna miss The Voice … I’m not coming back at all. I don’t want to wear out my welcome there.” CeeLo said, “I’m going to continue my relationship with NBC” and cited possible “talk show opportunities.”
He posted a note on his web site that gave a more detailed explanation, saying “There are numerous reasons that led to this decision, which has been amicably reached with NBC”; he also called the show “an immensely enjoyable experience for me.”
In a statement, NBC reality executive Paul Telegdy said “Cee Lo has been an instrumental part of the success of The Voice and we deeply appreciate all his contributions,” adding that they will be “working with him on other upcoming projects that will tap into both his musical and entertainment expertise.”
Survivor executive producer, host, and showrunner Jeff Probst is again defending Redemption Island, even though it won’t be part of this spring’s Survivor Cagayan. Instead, it’ll likely only return for future blood vs. water seasons, he says, but I think that could backfire on the show.
First, writing in EW, Dalton Ross analyzes RI’s strengths and weaknesses, and I’m with him on basically every point, including the way it weakens the consequence of “the tribe has spoken” and that two-person duels are much more dramatic. His analysis is thorough and smart: read it.
Asked about why the show returned to a three-person challenge after having better two-person duels, Probst said it had to do with scheduling: “A lot of decisions we make on Survivor make sense when you have all the information regarding how many episodes we’re doing, how many players we’re starting with, how many we want to end with.” Understandable, though the priorities here seem to be with things that would concern a network executive, not what the best possible creative choices are.
Anyway, as to Redemption Island itself, Probst defends it by comparing it to being attracted to women with certain hair colors (sigh):
“I think Blood vs. Water was the best use of Redemption Island, and if we do Blood vs. Water again we would most likely do Redemption Island again and probably wouldn’t use it otherwise. But I really can’t say for certain, because my opinion has not changed. I still like elements of Redemption Island. And I still understand why people hate Redemption Island. It’s not that I don’t like the purity of Survivor without Redemption Island. I love it! I love the finality of somebody being voted off. I love it! But both can exist. I can also love Redemption Island. I’m baffled by people who want to strangle me because I like Redemption Island. That’s like saying I like brunette women, but I also find blond women attractive. Both can exist! So I like both! But I will concede that Blood vs, Water was the perfect time to use Redemption, because that format that happened at Redemption Island allowed so much spark to happen. That was perfect.”
I agree that it’s possible for both to be good, as last season proved. However, that RI worked well in precisely one season—and yes, it did really add a lot to Survivor Blood vs. Water—does not make it a good twist, and I am not convinced that bringing it back for future returnee/relative seasons will automatically result in the same compelling drama.
That happened in part because the dynamic of loved ones plus opposite tribes plus RI was brand-new, and forced even three-time returnees to play differently, using elements of the game in different ways than they ever had before. A carbon copy of last fall’s game would probably be less likely to be as dramatic, because returnees, especially, would know what to expect.
The open secret about Survivor now is that a lot of the game play takes place off the island: alliances are formed, promises are made, people try to influence cast members, rumors spread. Throwing so many twists in last season really threw off the returnees, who expected one thing but got another. The only chance Redemption Island—or maybe even Survivor—has of working so well again is to constantly upend expectations, and that means not doing the same thing again.
Maybe that even means never bringing it back again. Let Redemption Island go out like Jay Leno: on top, despite its mediocrity.
recently on Twitter
J. Alexander, also known as Miss J, will return to judge America’s Next Top Model for its 21st season. He was fired two years ago along with Nigel Barker and Jay Manuel.
“His name says it all. I’ve missed ‘Miss J.’ and am elated he’s back. I know Top Model fans will rejoice!” executive producer, host, and person who doesn’t like to answer questions Tyra Banks said in a CW press release.
Executive producer Ken Mok, who previously called the three fired men “amazing assets to the show” who “will always be a part of the Top Model family,” now seems to not be clear on the difference between a previously fired/now re-hired cast member and a lost puppy.
That’s because, in the press release, he says, “‘Miss J.’ has been a part of the Top Model family since cycle 1 and we are thrilled he’s come home.”
A new singing competition is coming to broadcast TV, and it will be produced by former American Idol executive producer Nigel Lythgoe, who was fired at the end of last season. He continues to produce and judge So You Think You Can Dance on Fox.
The new series, In the Spotlight, has been sold internationally by a Turkish distributor, Global Agency, but has yet to air anywhere. It’ll be produced by Lythgoe along with CBS’ former reality TV executive, Jen Bresnan; and the producers of Dance Moms, Collins Avenue Entertainment’s Jeff Collins and Michael Hammond. THR reports that “Though details about the project are limited, THR hears that it will feature musical performances and aims to offer a fresh take on competition.”
Finally—a fresh take! Sigh. I just cannot gather any enthusiasm for yet another broadcast TV singing competition. ABC has one coming called Rising Star, which is in real-time and zzzzz. Are we this far down the barrel that all that’s left is another singing competitions, especially for a network that hasn’t had a new reality show hit in years and years?
That said, I did openly mock NBC’s announcement about The Voice and its swivel chairs, and Mark Burnett and company proved me wrong: the show was indeed a fresh take, unlike The X Factor, which failed because it was too similar to Idol. So perhaps there is something CBS could do here that would be worth watching, but first they’ll have to find their way through a really thick fog of viewer fatigue.
The star of National Geographic’s reality series Snake Salvation, Jamie Coots, was killed Saturday night after being bitten by a snake and refusing medical treatment.
Cody Winn, another preacher, told WBIR that fellow Snake Salvation star Andrew Hamblin “said he looked at him and said ‘sweet Jesus’ and it was over. He didn’t die right then, but he just went out and never woke back up.”
Coots’ 21-year-old son, Cody, who plans to continue the practice of snake-handling at the church, said his dad was previously bitten eight times, and expected this would be just like the previous times: “We’re going to go home, he’s going to lay on the couch, he’s going to hurt, he’s going to pray for a while and he’s going to get better. That’s what happened every other time, except this time was just so quick and it was crazy, it was really crazy.”
Here’s part of NatGeo’s description of Snake Salvation, which aired last fall and followed Coots and Hamblin:
“In the hills of Appalachia, Pentecostal pastors Jamie Coots and Andrew Hamblin struggle to keep an over-100-year-old tradition alive: the practice of handling deadly snakes in church. Jamie and Andrew believe in a bible passage that suggests a poisonous snakebite will not harm them as long as they are anointed by God’s power. If they don’t practice the ritual of snake handling, they believe they are destined for hell.”
In this graphic video from the series, Coots describes his faith and shows the finger that fell off after it was bitten by a snake. You’ve been warned:
One of American Idol’s top 15 women, Emkay Nobilette, is openly gay, a first for the series. Of course, the show has introduced the world to now-out finalists such as Adam Lambert and Congressional candidate Clay Aiken, but none have been out during the competition, and certainly not at this stage.
During last night’s episode, Jennifer Lopez said, “You’re not the typical American Idol,” and Emkay said, “No, I’m not.” Harry Connick Jr. said, “We wonder: Is that a good thing? Is that a bad thing?”
They may have been referring to her appearance, but were mostly dancing around something Emkay, who has been identified as MK on screen, just directly addressed herself. She told the judges, “I’m very obviously gay, and there are always going to be people in America and everywhere else are definitely gonna hate, but I think that in the last two years there have been a lot of things that have really changed that and have really made that a positive thing.”
Harry Connick Jr. said, “Thank goodness.” After the required dramatic pause, Jennifer Lopez said, “The world is changing, I think. We think that you could be an American Idol,” and told her she’d made the top 30.
It’s incredible that it took this long, following years of Idol’s producers pretending that contestants’ sexual orientation didn’t matter, all while they paraded straight contestants’ sexual orientation all over the stage and screen, never mind acting as if everyone was straight and would therefore be attractive to viewers of the opposite sex.
What’s most astounding is that the show still couldn’t just deal with it. The Voice’s gay contestants are just there: their sexual orientation may come up in a bio or in conversation, just as it does with straight contestants, but neither the coaches nor the producers make any big deal out of it, whether to congratulate themselves
Perhaps it’s not surprising how much hand-wringing there is, even in this new season, even with new producers, even on Fox, a network that airs Glee. At once, the segment—which you can watch below—seemed both self-congratulatory (Look how progressive we are!) and ancient. American Idol may be changing, but like the lumbering dinosaur it is, it’s being dragged slowly into the new world instead of just stepping confidently into it.
The latest real-time, Big Brother-ish series to be attempted by a TV network is Syfy’s Opposite Worlds, which is based on Chile’s Mundos Opuestos. Coincidentally, the last time the Olympics were airing was the last time another TV network attempted the same thing: ABC’s Glass House.
I talked to Opposite Worlds executive producer JD Roth last week about how those shows influenced his series. He was candid about everything from the show’s physical location (New Orleans) to the philosophical ideas behind the show’s structure (and why that takes precedent over what we might expect from a similar series). He and I talked Thursday afternoon, the same time the team challenge that aired last night was being filmed; it resulted in one team’s victory after three consecutive losses.
A request: Please don’t copy and paste this into your message board, or I will ask the show’s producers to make you clean the past’s cave toilet holes.
The influence of Big Brother and Glass House. When we talked about other shows that have aired in real time and used viewer votes to affect the game, Roth indirectly referred to Big Brother’s have/have not votes. “Honestly, I’ve never seen a show where this element of social media actually felt like it worked. It always felt like an afterthought to me, it always felt something that didn’t matter,” he said. “I was very conscious of trying to figure out a format in which America really could affect something other than should they eat peanut butter all week. I thought that was an important part of the game. What better way to get story in real time for contestants on a show than for them to realize America thinks they are the most hated. Does that change your behavior?” He added, “That, I haven’t seen before. I’ve never seen something where you have a true effect on how someone acts in the game.”
I pointed out that Glass House did just that: The contestants learned how popular they were, with the two least-popular people being removed from the game and then voted out by viewers.
He said, “I never made the connection on that show, and I think because they were trying to do so many things at the same time that maybe I just didn’t pick up on that. I think what we’re trying to do is, do a lot less but do it right.” As a result, Opposite Worlds intentionally limits viewer participation. “There’s so many options that you just get lost and you decide to not get involved. I think when you directly give someone one piece of business … it gives the viewer something singular to focus on. … Give the viewer too many things, it becomes like work.”
Why there are no live feeds. That explains why there are no feeds or online components. Roth said that “those are all add-ons” that should come only after viewers have gotten used to the format, such as in subsequent seasons, and said that “we will add little elements on top of what we already have” in the future. Roth added, “I think Glass House got lost in that a bit, too. You can watch all of the stuff after the show and that will decide something in the next show even though no one saw it except the people that went online to see it. … It makes the show difficult to watch. You want to make the experience for someone to watch as easy as possible and still make them feel included.”
How the Twitter popularity index works. “We gather that information all week, but clearly the volume” comes during the broadcasts, Roth told me. Syfy and producers worked with Georgetown University’s Kalev H. Leetaru (whose actual title is “Yahoo! Fellow in Residence of International Values, Communications Technology & the Global Internet at the Institute for the Study of Diplomacy in the Edmund A. Walsh School of Foreign Service”) to develop a system to measure popularity. Leetaru has discussed the methodology in detail, but as Twitter noted, it is “is based on measurements of the volume of Tweets about a given contestant, as well as an assessment of the Tweets’ sentiment.”
How setting the show in New Orleans backfired. Syfy wanted the show to film in a warm location, which is why the sets were constructed near New Orleans. But the unexpected cold fronts left the contestants shivering and bundled in heavy jackets instead of in bathing suits. Roth told me, “I was hoping we’d make the show in LA, and that’s how I pitched it to the network. They said, ‘No, we want people to be warm and want them to dress and be in a jacuzzi and have it be nice weather.’ So we ended up picking New Orleans. Who would have known that it was 80 degrees in LA while it was 35 in New Orleans? We couldn’t predict that, but it did play into the reality, and again, the truth is stranger than fiction. In the past, it was freezing cold, and without a fire, it would not have gone well that night.” He called the past’s sleeping arrangement “great drama”—and that continued this week, as they created floor beds in the future side just to replicate what they’d had while living on the past side.
Why there are live shows (and why results shows are partly to blame for their weakness). The first three live shows, with the exception of the challenges, were pretty boring—a lot of interviews that lacked insight. Roth said their structure, which changed last week when the live show moved to 8 p.m., was in part due to results show fatigue: “When a host throws to a package, [viewers are] trained to think it’s either a results show or a retread of information they’ve already seen. Yet it’s not: it’s brand-new material. It’s tough for the viewer to understand that, because it’s dressed up and it looks exactly like something they’ve seen in the past. And those shows are typically not as highly related.”
“The idea of going live was: Can you do a live challenge, in the elements, whether it rains or its cold, and let it play out in real time and let the viewer appreciate that. Nowadays, when the only thing that really rates is live sporting events, all the networks are trying to figure out, ‘How do you get a viewer to show up?’ The word ‘live’ helps the viewer realize, ‘Oh man, I better check this out and not DVR it and watch it seven days later,’” Roth said. “I don’t know how many other reality shows have done a live challenge to the scale of the challenges that we’re doing. It’s a very difficult thing to pull off.” (Indeed: Big Brother has been proving that for years and years.)
The challenges and injuries. The first challenge, which resulted in a contestant breaking a leg and leaving the game, was a “complete freak accident,” Roth said. “That challenge had been tested over and over and over, and of course there was a rule that you can’t just launch yourself at someone so that both of you go over. That rule was ignored and the consequences were horrible.” As to other injuries, such as the cut one cast member got on his eye after being hit by a tomato thrown by a beast of a man, he said, “The injury factor is very normal. … You can’t protect from everything, obviously.”
The past and future vs. have and have nots. The division between the two teams quickly became less about living in the past or future than being haves and have-nots, which is more well-tread ground in reality TV. I asked Roth if producers considered having advantages and disadvantages to each side, and added that the imbalance seemed to give one side a distinct advantage. Roth focused on that part of the question: “The past wasn’t easy. It just wasn’t,” he said. “I don’t want to make it easy for the people in the past. But yet, they’re bonding in the way the people in the future aren’t. Their friendships will last way longer, because they don’t have the distractions.”
He said that, “You need these moments of disconnection to really have sincere moments of connection. And that’s an important part of the show. Yeah, it’s a reality show. Yeah, it’s entertainment, yeah it’s a game. But for me, and the shows I like to make, it’s always about something more. Can you put that question out there that answers something in life?”
What the show says about humanity. That “something more” is, for Roth, about “that constant battle between the haves and have nots in life in general is interesting. It’s sort of how we all live as a population,” he said. “Everyone always wants a look on the inside,” so the show provides “a great opportunity to explore a real social experiment of trying to figure it out.”
“When I watched, for the first time, these people enter these two worlds, instantly on the future side it was a party, it was a social event. … And on the other side, they never even introduced themselves,” he said. “That part of us, that DNA that we all carry around with us, that put us in survival mode, actually kicked in, on its own, organically.”
Later, Roth told me, “I kind of feel like, the further we get into the future, the class structure is going to become part of society, and the more the classes are going to separate themselves and protect themselves from each other. You’re going to end up with a lot more of the haves and the have-nots. Who’s going to be happier? In my experience, anyway, less has always been more.”
The difference between the South American version and the Syfy show. The major difference in emphasis is a result of Roth’s interest in those ideas and the social dynamics over the game itself: “Obviously, there’s a lot more episodes of it, I think there’s a more game play there. I was a little more interested in the science experiment of it all than I was the straight game play,” he said.
The imbalance between the teams. Because one team won the first three challenges, there was a pretty major imbalance. “My feeling in storytelling has always been the same: run toward the story you have instead of the story you want,” Roth said. “It’s very hard to fight those instincts as a producer, and there’s a lot of people in this town that produce differently than I do. They would instantly do a team switch and they would force those moments to happen … in my view of that, that’s the wrong thing to do.”
Roth is clearly passionate about keeping the game organic and real: “In a real experiment, you don’t change things just because it suits you. You allow the experiment to happen, good or bad, because in the end, truth is stranger than fiction. And what will happen will be a lot more interesting. That struggle, that desperation to win—is that going to bring them to a win? And if it does, how sweet is that going to be? And how much will it give an opportunity for a viewer to actually leap off their couch, which very rarely you feel the need to do, and get excited about something? Those real emotions that you look for on shows, and those real moments that you look for, a lot of producers feel like you can manufacture those. I’m not one of those. I really believe that the way to get those moments is to stick with the show that you said you were going to produce, and don’t let the fear of it not going the way you want it to go, change that.”
“As a producer, and also as a human being, I don’t want to be presumptuous enough to think that I know better than what is going to actually happen for real. I think you’re going to be surprised, and the feelings you have now, I feel like, as a viewer, they’re good feelings. The fact that the people from the future are starting to come apart at the seams, arguing with each other, just shows me again, it confirms they’ve never connected. They can’t have real communication with each other … Yet the people in the past can have real conversations with each other and speak honestly and openly. From my standpoint, I love the story that we have, and I’m not afraid of what’s going to happen,” he said.
Because there’s a team that is essentially underdogs, he said he was anxiously awaiting word about the result of the challenge. “I’m excited, I’m on the edge of my seat. Very typically, since I’ve been doing this for a hundred years, I’m not. I’m jaded.” So, he added, “that shows me that I’m vested, and if I’m invested, I guarantee you the viewer’s invested.”
What happens all week, and whether or not the cast gets to leave. While Glass House contestants spent the weekends at a hotel, in part to get sunlight and fresh air, the Opposite Worlds cast is “living there seven days a week, 24 hours a day,” Roth said. “We shoot Thursday, Friday, Saturday, and Sunday. Monday and Tuesday, we shoot very little.” But all that time, “They’re just existing,” he said. Those in the past are “don’t take showers, they don’t get access to a nice bathroom. We try not to break that bubble of reality as much as we can. We try to keep them in that world because that’s what the experiment’s about.”
Producing a show in real-time. Roth noted that instead of a typical six weeks, they’re editing Tuesdays episodes in just 48 hours. “It’s a monumental task, these shows. The lack of success on some shows or the huge success for others. Whether it’s our show or Glass House or Big Brother, any of them, it is a herculean task to get that show to air every week so the viewer has something to watch. It would be hard for a viewer to appreciate how much work goes in to just getting that show at the top of the hour to hit play so they can watch it.”