The Game of Recapping the Bachelor

Katie Walsh “The Woman All of America Loves to Hate”: The Game of Recapping The Bachelor

During the May 12th, 2012 finale of Season 16 of antics and even more pleasure in watching the bad The Bachelor, winemaker Ben Flajnik proposed to girls receive punishment. The producers can dis- bikini model Courtney Robertson on the top of a cern these readings from the instant feedback they Swiss mountain, presenting her with a Neil Lane receive via social networking sites such as Twitter bauble as strings swelled and helicopters captured and via comments on both fan-written recaps and aerial shots of the happy couple in love. As soon recaps published on the websites of major media as the credits rolled, ABC swiftly transitioned outlets such as Entertainment Weekly and New York into the After the Final Rose special, hosted by The Magazine, published and archived immediately Bachelor’s Chris Harrison, who introduced winner online. Courtney as “the woman all of America loves to The intensely formulaic nature of reality hate.” ABC then spent the hour as a referendum shows like The Bachelor requires that spectators on Courtney’s “mean” behavior over the course of find the creativity in the format—how the text in- the season. This was a redux of the referendum that teracts with the format itself, finding pleasure in occurred during The Women Tell Allspecial just two the abnormal/anomalous moments. Content cre- weeks prior, wherein a jury of jilted Bachelorettes ation has also become a way in which fans receive confronted her before a live studio audience and a show and interact with it; labor has become a millions of TV viewers. required aspect of reception and a point of entry The Bachelor franchise—which includes into interaction with the format. As the cynical, The Bachelorette (25 men vie for the heart of one subversive reading of these programs become the woman) and Bachelor Pad (rejected male and fe- mainstream reception of The Bachelor, it becomes male contestants from previous seasons compete necessary to interrogate how The Bachelor adapts for a cash prize)—creates its text out of our cul- its text to appeal to these kinds of viewers. And in ture’s contradictory understanding of gender roles, accommodating this negotiated reading, expressed making and remaking them within the context of and archived through recapping, does the show de- a competition format reality show. While on its mand more blood, sex and tears from the contes- surface, The Bachelor presents a narrative of a fairy tants on The Bachelor? Interpreting recapping this tale romance, it attracts many viewers who come way suggests that perhaps the real product of fan just for the spilled blood in the form of tears, and labor is more producer exploitation of these fail- this conundrum of multiple receptions is embod- ures in gender performance. ied in the words of Chris Harrison: “the woman all of America loves to hate.” This is acknowledge- Governance and Gender Performance ment of the multiple readings of The Bachelor’s au- The competitive nature of reality television fosters dience, which finds pleasure in watching bad girl a strict environment of personal responsibility and

Picturing the Popular 39 Courtney White, editor, Spectator 34:1 (Spring 2014): 39-43 “THE WOMAN ALL OF AMERICA LOVES TO HATE” reliance on self-control punishable by elimination. their behavior is what drives the narrative of the As Anna McCarthy states, “the [reality TV] genre show as The Bachelor teaches self-governance is preoccupied with the government of the self, and through scrutiny of “those selves that are made how, in that capacity, it demarcates a zone for the and unmade in the scenes of crisis management 1 production of everyday discourses of citizenship.” that dominate the reality program’s social text.”5 The self-governing and “responsibilization” of The Some fan practices particularly revolve around this Bachelor franchise comes in the form of a strict exposure of trauma, as seen in the blog “Forever governance of the performance of gender roles. In Alone: Rejected Faces of Bachelorettes,” the con- order to succeed in the competition, women must tent of which consists solely of screen captures of perform femininity in the right way, embody- the women’s crying faces. A Bachelor fan can scroll ing both qualities of “good” femininity—demure, through hundreds of images of these women—fro- modest, kind, polite, helpless—and “bad” feminin- zen and captured forever in emotional agony. It is ity—sexual, assertive, competitive. These women part deconstructionist modern pop art, part obses- are vilified and cast out by the other women in the sive fan archiving, and part Schadenfreude. house for their failure to properly perform, i.e. to be nice, “good,” to conform to the group and sub- Format/Formula as Creative Generator/Play jugate self. To not be friends with the other female Aesthetic contestants is the worst offense a bachelorette can commit in the world of the show. McCarthy describes the kind of regulation on these competitive One way in which activated fans receive The Bach- shows as “disciplinary reliance not on the inculca- elor is through pleasure in its format. The thesis put tion of virtue but rather on shame and scolding.”2 forth by Tasha Oren in “Reiterational Texts and Courtney had to do her penance in order to claim Global Imagination” suggests that the “procedural her reward (a diamond engagement ring) after the format is hyper-televisual,” and that “with every iteration, the format gains in complexity, cultural cycle of the competition ended, enduring the pub- 6 lic trial of her behavior on the After the Final Rose richness, and industrial value.” For producers of cheap reality television, utilizing format is a way special. 7 The Bachelor highlights women’s humiliation to develop “innovation within conventions.” The and emotional pain, exemplifying McCarthy’s as- pleasure of format television for fans is described sessment of how reality TV succeeds in “govern- by Oren as “the appreciation for variation within ing populations through rehabilitative examples constraint… the pleasures of familiarity and repe- 8 of individual minds and bodies in pain.”3 A large tition for an engaged audience.” Fans of The Bach- portion of the running time of The Bachelor takes elor might find pleasure in watching how women place during the rose ceremony, which is intermi- follow (or don’t follow) the prescribed formula of nably drawn out, especially before the final rose, behavior on the show, anticipating a catfight, melt- showcasing every lip bite and shaky smile. After down, or sexual transgression based on knowledge the rejected bachelorettes are asked to say their of previous seasons and “character” archetype. Oren goodbyes, they cannot escape the camera’s gaze, describes reality TV formats as “a creative concept. often turning away and covering their crying faces. It is precisely from the rules (and limitations) of 9 But they can’t evade the glare of the light and the format law that various permutations emerge.” camera’s steadfast, unwavering lens in the backseat In order for the format to gain these qualities, it of the limo, which does not cut away from their requires interactive labor performed by fans. This weeping and wailing as they blame themselves for kind of reception goes hand in hand with how their failures. “game culture and the rise of a play aesthetic have These backseat tantrums would be an example not only emerged as an organizing experience in of what McCarthy calls “failure of self-govern- media culture but are central to an industry-wide ment, specifically, the ineffable, self-annihilating reconfiguration towards interactivity and intertex- experience of trauma.”4 The exposure of private tual associations across media products.”10 Fans suffering and failure to responsibly self-govern approach televisual texts as a game to be played,

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Conference presenters during the “Critical Literacies” panel going beyond simple active viewing, inserting producer of the recapped text is even more compli- themselves into the text via their interactions on- cated, especially in the self-perception the recapper line and with other fans. has of their own labor with these texts. As Mark More than anything else, The Bachelor is a Andrejevic states in “Watching Television With- game of gender performance that the women on out Pity: The Productivity of Online Fans,” the the show must win, despite or because of what kind of activity and labor performed by fans and Oren refers to as character algorithms. Recaps, recappers “doubles as a form of value-enhancing comments, and tweets are a point of entry for fans labor for television producers in two ways: by al- to insert themselves into the game. The intense lowing fans to take on part of the work of making knowledge required of both detail and anomaly a show interesting for themselves and by providing within format makes tangible the perceived cul- instant (if not necessarily statistically representa- tural superiority of the recapper/participant over tive) feedback to producers.”12 There is a constant the kinds of formulaic texts most common in re- “development of strategies for promoting, harness- ality TV, yet they are still subject to it. As Oren ing, and exploiting the productivity of this activ- describes, a necessary component to participation ity”13 on the part of producers, and it is telling that in format reality TV is “the audience’s absolute mainstream media websites that are offshoots of complicity in, and understanding of, the highly conglomerate owned publications have adopted artificial order that other television tools (such as the kind of obsessive fan-style recapping devel- editing or casting) bestow and impose on the al- oped by sites like TelevisionWithoutPity.com and ready determined raw materials in this procedural, 11 TVGasm.com, co-opting the productivity of this modular text.” By participating in this way, fans activity into more page views (and thus more ad- offer a tacit approval of the questionable represen- vertiser dollars) for their sites. tations that make up the text of the show. The Pleasure and Product of Fan Labor Because of this fan interaction/labor, producers are able to tailor the text of their shows to appeal to these particular readings, a clear example of The relationship between the recapper and the the process that Andrejevic describes as “creative

PICTURING THE POPULAR 41 “THE WOMAN ALL OF AMERICA LOVES TO HATE” activity and exploitation coexist and interpenetrate screen, with a series of live tweets from both fans one another.”14 This process creates neoliberal and snarky ironic spectators displayed prominently viewer-workers who take on labor practices of re- on the screen. While we may have been looking ception that privatize the active viewing experience at how various readings of this show influence the in a public demonstration of cultural capital within text in terms of the scenarios, production, and ed- their deconstruction of the text. And in reaction to iting, it’s clear that the show needn’t be too subtle this labor, the text stretches to meet the demands about it and is only happy to openly incorporate of the recappers, who demonstrate their pleasure in this “free” content into their text by inserting it, something like the masochistic limo ride tantrums, unedited, onto the screen. essentially demanding more exploitation from the Recapping is now par for the course on main- text. stream media websites and has dragged this partic- Andrejevic finds that the act of recapping ular kind of fan interaction from its niche markets is not as revolutionary as some participants and and normalized it as a standard issue part of media scholars view it. Deconstructing the sexist images reception. But to what end do we find the result of that make up The Bachelor does not constitute a this reception practice? Legendary recapper Rich kind of labor that changes anything in the system Juzwiak, known for his animated GIF heavy recaps itself. Andrejevic states that “the simple equation of America’s Next Top Model, Rock of Love, and Ru- of participation with empowerment serves to re- Paul’s Drag Race, recently wrote a post on Gawker inforce the marketing strategies of corporate cul- decrying the recapping effort, titled, “Tune In, ture… a form of active participation in the consti- Recap, Drop Out: Why I’ll Never Recap a Show tution of those relations rather than a challenge to Again.” Juzwiak laments the futility of this kind them”15 This deconstruction and playful interaction of intense labor practiced on a fleeting, ephemeral with these texts does not break them down, but, in text. He also says, “I’ll never get over my love of fact, aids in their genesis. In attempting to discern minutiae and I’ll never stop attempting to capture the product of fan labor, Andrejevic concludes that and describe the bigger picture. Recapping found “the result, however, is not a transformed media me reveling in the former and unable to focus on but participatory submission.”16 While the pro- the latter.”17 ducers of the The Bachelor force its female partici- But aside from how we read the show, it may pants into a submissive position, subject to harsh be more important to widen the scope of analysis judgment and humiliation for failing to perform away from the minutia and to focus on the econom- gender properly, the practice of recapping renders ic and power structures of the fan interaction itself. the recapper submissive to the producers of media The latest development of onscreen tweets shows texts, because they are subject to the text of exploi- how fan labor constructs an important part of the tation itself. text for producers, which is an enhancement for Since the airing of this particular season of The fans, and thereby a more lucrative product to sell to Bachelor, ABC has trotted out several more itera- advertisers, who then sell to the activated attention tions of the wildly popular series, in the form of spans of the live-tweeters. Live-tweeting insures The Bachelorette, Bachelor Pad, and more The Bach- activation and investment in the show, and is also a elor. In the lead-up to the summer 2013 season of fan practice that has evolved to stop the time-shift The Bachelorette, producers and marketers were still of television watching today. Live-tweeting is only focused on gender-performance based humilia- relevant while the show is on, and not days later, so tion as a genesis of entertainment for fans, but this it insures that fans are watching live television and time, they were focused on the other gender. Block subject to commercials and advertising. The pro- letters advertised “MAN TEARS” over a quick ducers of the show activate the attention/labor of montage of teary-eyed men, gleefully advertising the fans, who freely contribute portions of the text their failure of masculinity as primetime entertain- via their uncompensated labor, which is then used ment content. And the show seemed to answer the within the text to further activate their attention questions of how fan labor affects text by insert- again, in an increasingly common multiple-screen ing fan labor directly into the text itself, onto the spectatorship. The show’s fans are contributing free

42 SPRING 2014 WALSH content that is used to further activate their atten- to exploit fan labor to the fans themselves, via the tion, which is ultimately the most lucrative com- process of exploitation and gender humiliation modity for a cable network to sell to advertisers. So onscreen. And while the cycles of labor, exploita- what are fans getting out of this uncompensated tion, exposure and humiliation continue on reality labor—a more interesting text? An opportunity TV, it seems that only the networks and produc- to see themselves inserted into the screen via their ers are profiting, leaving the participants and fans tweets? While this is unclear, it is quite obvious that to try and derive/discern the intangible value for networks and show producers are more than happy themselves.

Katie Walsh is currently a doctoral student at the USC Annenberg School for Communication and Journalism, focusing on television audiences and new media. She received her Masters in Critical Stud- ies from the USC School of Cinematic Arts in 2013, and contributes film criticism, TV recaps and interviews to The Playlist on indieWIRE.

Notes

1 Anna McCarthy, “Reality Television: A Neoliberal Theater of Suffering,” Social Text 93, Vol. 25, No. 4 (2007): 17. 2 McCarthy, “Reality Television: A Neoliberal Theater of Suffering,” 18. 3 McCarthy, “Reality Television: A Neoliberal Theater of Suffering,” 19. 4 McCarthy, “Reality Television: A Neoliberal Theater of Suffering,” 21. 5 Ibid. 6 Tasha Oren, “Reiterational Texts and Global Imagination: Television Strikes Back,” in Global Television Formats, ed. Tasha Oren and Sharon Shahaf (Routledge, 2011), 368. 7 Oren, “Reiterational Texts,” 369. 8 Ibid. 9 Ibid. 10 Ibid. 11 Oren, “Reiterational Texts,” 371. 12 Mark Andrejevic, “Watching Television Without Pity: The Productivity of Online Fans,”Television & New Media (2008): 24. 13 Andrejevic, “Watching Television Without Pity,” 25. 14 Ibid. 15 Andrejevic, “Watching Television Without Pity,” 43. 16 Andrejevic, “Watching Television Without Pity,” 43. 17 Rich Juzwiak, “Tune In, Recap, Drop Out, Why I’ll Never Recap A Show Again,” March 22, 2012. Accessed March 22nd, 2012.

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