Survivor (TV Program)

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    ‘Love Is Blind’ Resets, ‘Survivor’ Stalls: A Reality TV Check-in

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    Subscribe to Popcast!Apple Podcasts | Spotify | Amazon MusicLong-running reality-television franchises — with their familiar rhythms, tensions and resolutions — can provide a wonderful way to pass the time while, say, waiting for votes to be counted.The seventh season of “Love Is Blind” recently concluded with a pair of storybook weddings and a handful of collapsed connections. Following a stretch of public scrutiny that included lawsuits about labor conditions, it felt like an effort to underscore the show’s potential as a generator of true love.“Survivor,” now on its 47th season, has become a show about people who have previously been obsessed with “Survivor,” creating an echo chamber regarding the strategies deployed, and narrowing the casting to a certain kind of obsessive fan-turned-player.On this week’s Popcast, a palate-cleanse conversation about some of the year’s biggest reality-television shows, how legacy franchises develop a kind of self-awareness that can lead to change, and whether shows can ever benefit from full reboots that erase their history.Guests:Joe Coscarelli, The New York Times’s pop music reporterCaryn Ganz, The New York Times’s pop music editorConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica.Unlock full access to New York Times podcasts and explore everything from politics to pop culture. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. More

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      Book Review: ‘Cue the Sun!’ by Emily Nussbaum

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      CUE THE SUN! The Invention of Reality TV, by Emily NussbaumThere are times when Emily Nussbaum’s passionate, exquisitely told origin story, “Cue the Sun! The Invention of Reality TV,” feels like something of a Trojan horse.Her expansive analysis begins with a simple proposition: an argument for why a genre that includes series like “The Dating Game” and “Alien Autopsy” deserves a book-length history in the first place.For Nussbaum, industry terms like “unscripted series” don’t quite encompass all the pop culture ground these shows negotiate. Instead, she settles on the phrase “dirty documentary” to cover a wide swath, describing a history that kicks off with the pioneering prank show “Candid Camera” in the 1940s, progresses to irreverent TV series like “The Gong Show” and “America’s Funniest Home Videos,” and eventually explodes into modern TV megahits like “Survivor,” “Big Brother” and “The Bachelor.”With muscular prose and an exacting eye for detail, Nussbaum, a staff writer for The New Yorker, outlines how such shows united high and low art into a potent concoction, ranging from “celebreality” soap opera to grand social experiments that explore romance, competition and ethics. Their secret sauce: placing people in contrived situations to spark entertaining, telegenic, revelatory behavior — often through conflict or embarrassment.“It’s cinéma vérité filmmaking that has been cut with commercial contaminants, like a street drug, in order to slash the price and intensify the effect,” Nussbaum writes. The result is “a powerful glimpse of human vulnerability, breaking taboos about what you were allowed to say or see.”The book culminates in one of America’s most persistent rule breakers, Donald Trump, documenting how the creator and executive producer Mark Burnett built NBC’s “The Apprentice” into a success that burnished the reputation of the playboy tycoon, resulting in “the most sinister outcome.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Popcast (Deluxe): Is Reality TV in a New Golden Age?

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      Subscribe to Popcast!Apple Podcasts | Spotify | Amazon Music | YouTubeThis week’s episode of Popcast (Deluxe), the weekly culture roundup show on YouTube hosted by Jon Caramanica and Joe Coscarelli, includes segments on:Season six of “Love Is Blind,” and the ways that the show’s episode rollout was interwoven with the TikTok and social media postgame that became its best promotionSeason two of the U.S. edition of “The Traitors,” which pits reality TV alums against each other in a game of deceptionSeason 46 of “Survivor” and its current casting conundrum of superfans and emotionally charged playersSnack of the weekConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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      On ‘Survivor,’ the Clothing Choices Are More Deliberate Than You May Think

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      Contestants’ wardrobes are more deliberate than you may think.Year after year, with each new crop of “Survivor” castaways, it’s easy to see that they’re meant to represent a familiar cross-section of archetypes.Even in their off-the-rack tank tops and cargo shorts, characters like the cranky old military vet, the arrogant corporate executive and the pharmaceutical rep next door are recognizable on sight.That’s no accident: While the conventions of reality TV encourage viewers to believe that these contestants arrive with whatever hastily selected items they can grab, their clothing is carefully vetted and assembled with producers and wardrobe staff to maximally portray players’ personalities and emphasize the show’s “Robinson Crusoe” mise-en-scène.Since it debuted in 2000, “Survivor,” which will soon finish airing its 45th season on CBS, has had an ever-shifting cast and has regularly introduced new twists for contestants as they compete to be the last person standing and win a cash prize. Over time, players’ wardrobes — dirt-crusted and minimal though they may be — have helped further plots and create through-lines in the series, which continues to draw among the highest ratings on network television.Jeff Probst, the host of “Survivor” and its executive producer and showrunner, said clothing was at the foundation of the show’s premise.“The idea is, what if you were shipwrecked with a group of strangers?” Mr. Probst said. “A lawyer’s clothing should look very different from a nurse, who looks different from a pizza maker.”Caitlin Moore, a “Survivor” casting producer, works alongside the show’s longtime wardrobe supervisor, Maria Sundeen, to help contestants select clothes for the show. It involves “a lot of going through the closets, trying to find the pieces that will work,” Ms. Moore said.“We are very much in a collaborative process, working together to come up with what really feels like a reflection of their own personality yet also meets the needs of production,” she added.For “Survivor: South Pacific,” producers asked John Cochran, who was then a student at Harvard Law School, to show up in a sweater vest to play up his Ivy League bona fides.Monty Brinton/CBS‘You Should Wear a Red Sweater Vest’John Cochran was completing his studies at Harvard Law School when he was cast in the 23rd season of “Survivor.” He and his mother were at a mall looking for practical attire that could get him through 39 days without shelter on the Samoan island of Upolu, he said, when he got a call from Ms. Moore.“We were, like, looking at REI camping stuff,” said Mr. Cochran, now 36 and a television writer in Los Angeles. “And Caitlin says, ‘We don’t know what you’re going to think of this, but we’re thinking you should wear a red sweater vest.’”Ms. Moore explained that red would be a color scheme for that season, he said. She was hoping to play up his Ivy League bona fides — and his nerdiness — with the vest, he added.Mr. Cochran initially balked at the request. “I’d never worn a sweater vest before,” he said. “I already exude nerdiness. I’m trying to downplay my ruddy complexion and rosacea and red hair.”Mr. Cochran, right, eventually ditched the pink collared shirt from “South Pacific” and just wore his red sweater vest as a tank top. “That was my ultimate act of rebellion,” he said.Monty Brinton/CBSBut in the first episode of “Survivor: South Pacific,” which was broadcast in 2011, Mr. Cochran could be seen furiously paddling a boat across that ocean in a crimson sweater vest, a pink collared shirt and khakis, the tropical sun beating down on his reddening face.This rather ridiculous image made the impression that Ms. Moore and her team had suspected it would, and when Mr. Cochran agreed to join the cast of “Survivor: Caramoan” the year after, it was a no-brainer that he would show up wearing the same attire.“It was a fun journey to go on,” Ms. Moore said, “and to see him start to lean into it.”Mr. Cochran said he acquiesced to the producers’ vision for his wardrobe partly because, as a fan of the show, he recalled how other contestants’ attire had helped them connect with viewers.He pointed to Rob Mariano, who was rarely without a Boston Red Sox hat in his many “Survivor” appearances, and to Rupert Boneham, another contestant in multiple seasons, who was known for wearing a tie-dyed tank top. (When Mr. Boneham ran a third-party campaign for governor of Indiana in 2012, he evoked his “Survivor” wardrobe by occasionally wearing tie-dye accessories. He finished third in that election, which was won by former Vice President Mike Pence.)“Whether it’s a tie-dye shirt or a Boston Red Sox cap,” Mr. Cochran said, “these discrete, identifiable items become so linked to the person.” His red vest, he added, became “my ‘Survivor’ costume.”Sandra Diaz-Twine spent hundreds of dollars on clothes for “Survivor: Pearl Islands,” but a plot twist that season meant that most of the items couldn’t be used.Robert Voets/CBSLillian Morris, a Boy Scout leader, dressed in a full scouting uniform for the “Pearl Islands” season.Monty Brinton/CBSA Sartorial Plot TwistMr. Probst said that the biggest change to the show’s approach to wardrobe came with its seventh season, “Survivor: Pearl Islands,” which was broadcast in 2003.Before then, each contestant had been permitted a knapsack of clothing items, including some survival gear. But for “Pearl Islands,” the players, who included Mr. Boneham, were surprised to enter the competition with significantly fewer items than they had worked with producers to select.Once cast members arrived at the shooting location, Mr. Probst said, they were asked to dress in certain outfits they had brought to wear for press photos that would be used to promote the show. Mr. Boneham wore his tie dye. Lillian Morris, a Boy Scout leader, dressed in a full scouting uniform. Shawn Cohen, an advertising sales executive, was in an Armani suit.But instead of going to a photo shoot, cast members were plunged immediately into the game, wearing only the clothes on their backs.“Some of the most iconic looks of ‘Survivor’ came from that season,” Mr. Probst said.Sandra Diaz-Twine, the winner of “Pearl Islands,” said she was shocked when she realized that most of the clothes the production crew had approved for her to bring couldn’t be used.“I had charged like $500, $600, on my credit card,” said Ms. Diaz-Twine, 49, who lives in Fayetteville, Ark., and has appeared in several subsequent seasons of the show. “I wanted to make sure that I had a different clean outfit like every day. And then they say you’re jumping off the boat with just the clothes on your back. I was like, Oh my god, I charged all this stuff to my credit card.”Since then, “Survivor” has gone back and forth on what clothing — and how much of it — contestants may bring. “We always listen to players,” Mr. Probst said. “It’s a give and take.”Rob Mariano on “Redemption Island,” the show’s 22nd season.Monty Brinton/CBSBuffs, Underwear and SwimsuitsOne garment worn by all contestants who have appeared on the show is the buff: a scarflike band of stretchy cotton emblazoned with the “Survivor” logo. It is rendered in different colors each season and has become one of the series’s sartorial signatures.“There are clearly guys who have ordered a buff before they go on the show and have put it on in the mirror looking at all the different ways they could wear it,” Mr. Probst said.Parvati Shallow, 41, a recurring contestant who first appeared in “Survivor: Cook Islands,” the show’s 13th season, broadcast in 2006, said the buff is critical for players who have only so many clothes. “You can wear it as a shirt, a skirt, a headpiece, a scarf,” she said.After her fourth and latest “Survivor” appearance, in the “Winners at War” season broadcast in 2020, Ms. Shallow, an executive coach and yoga teacher in Los Angeles, made headlines for criticizing the show’s dress code on a podcast hosted by another “Survivor” alum. She said she was pressured to compete in her underwear rather than the bathing suit she had requested. (In the seasons before “Winners at War,” producers began to discourage wearing swimsuits.)“It was a point of contention with me,” she said in a recent interview with The New York Times. “I went back and forth with wardrobe. They said no, nobody was getting a bathing suit.”She ultimately went with patterned undergarments that gave the impression of a swimsuit, but said it was not a happy compromise. “I had just had a baby,” she said. “I was like, My body looks nothing like it used to look like.”Mr. Probst said in an email that Ms. Shallow’s characterization was not accurate. He added that the choice to move away from bathing suits on the show was a creative one. “‘Survivor’ wardrobe has always centered around the conceit that the players were shipwrecked and left only with the clothes on their back,” he said.For Ms. Diaz-Twine, returning to “Survivor” after winning the “Pearl Islands” season offered the chance to upgrade those clothes. In preparation for the show’s 20th season, “Survivor: Heroes vs. Villains,” she said, “for the first time ever, I bought a Victoria’s Secret bra.”“I won a million dollars,” added Ms. Diaz-Twine, who will appear with Ms. Shallow in the second season of “The Traitors,” another reality TV competition, which will be released in January on Peacock. “I can’t show up in panties from Walmart.” More

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      How ‘Survivor’ and “Amazing Race’ Adapt to Climate Change

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      The CBS hit, along with fellow staple “The Amazing Race,” is learning to deal with climate change, globalization and other seismic shifts.Since its premiere in 2000, the hit CBS reality game show “Survivor” has taken place across the globe, with each season set in an exotic island locale: Pulau Tiga in Malaysia, Ko Tarutao in Thailand, Efate in Vanuatu and many, many more.But around a decade ago, the longtime host and executive producer Jeff Probst had an alarming realization. A growing population was making it harder to find remote islands without anybody on them. Extreme weather, including rising heat and more intense storms, was making it more dangerous to film. And burgeoning political unrest was making it more difficult to work with certain governments or in countries that no longer felt safe.“When we started in 2000, there were lots of places in the world we could go,” Probst said last week in a phone interview. “But over the years, starting in about 2012, 2013, it became clear that we were running out of places to shoot.”Both “Survivor” and its sister series, the globe-trotting adventure competition “The Amazing Race,” have been stalwart hits on CBS for nearly two decades. Both continue to draw sizable audiences: Last week’s Season 45 premiere of “Survivor” and Season 35 premiere of “The Amazing Race,” which screened back-to-back on Wednesday evening, were the most-streamed shows on Paramount+ that night, according to the network, with “Survivor” also topping NBC’s “America’s Got Talent” to win the night in broadcast ratings. But while the popularity of these shows has endured, producing them has continued to be a unique challenge — particularly as the world around them keeps changing.“Our show is really a time capsule of 20-plus years of seeing the world grow,” said Elise Doganieri, one of the creators and executive producers of “The Amazing Race” alongside her husband, Bertram van Munster. “The Amazing Race” challenges teams of American contestants to chart sprawling international courses that take them from one far-flung locale to another, and many of the cities that appeared in the series when it debuted in 2001 have been transformed over the intervening years. “We go back to places that we’ve been to before, but the world has evolved and grown so much, and the landscape has really changed.”Remote landscapes where the crew could shoot with little interference have since been built up, while locals in even the most out-of-the-way regions are more connected to the rest of the world. When “The Amazing Race” paid a visit to Dubai in the early 2000s, Doganieri remembered, the city was by and large still a sprawling desert landscape where “everything was old, with wooden boats and dhows.” Today, of course, “it’s the complete opposite: a futuristic ultramodern city.”“The Amazing Race” started its 35th season at the Hollywood sign. Nicolas Axelrod/CBSIn some ways, Doganieri said, making a show like “The Amazing Race” has gotten easier over time: advancing camera and cellphone technology has streamlined aspects of the production, and location scouting, which used to be done using still photography, can now be done using video.Other changes are more challenging. As with “Survivor,” climate change has begun to affect the way that “The Amazing Race” is made, with extreme heat and tropical storms sometimes interfering with the production. “Weather has made a big change in how we travel,” Doganieri said. “There’s more storms, especially over Asia, and we have flight delays and cancellations that push into the schedule.” Soaring temperatures in the summer have made filming the competition elements more demanding for both the contestants and crew. “We scouted in Asia for the first several episodes. It was hot when we scouted in April. When we filmed, it was 90, 95 degrees.”Although Doganiei said production is prepared for when it’s “unbearably hot” with “electrolyte drinks, snacks, water, anything to keep hydration up,” she admits that “it’s tough” in the midst of more and more grueling summers. “Most of our show is shot outside, so it really does affect you,” she said. “You have to really be aware of it.”“Survivor” solved its location problem by settling on one setting: the show has been set on the Mamanuca Islands in Fiji since its 33rd season. Earlier seasons were distinguished primarily by their location, with subtitles like “Survivor: Panama” and “Survivor: China” luring an audience in with the appeal of an intriguing new place. Shooting in Fiji again and again has removed that novelty, but Probst insists that it was a negligible feature to begin with. “It doesn’t really matter where you do it as long as it’s a real jungle,” he said.“You don’t see Fiji,” said Drea Wheeler, a former contestant. “You’re just on an island. You’re miserable. It’s hot. It rains. It still sucks.”In recent years, “Survivor” has tried to mix things up by devising overarching conceits.Jeffrey R. Staab/CBS“The real challenge,” said Rob Cesternino, a two-time “Survivor” contestant who competed in Panama and Brazil, “is keeping the show interesting with new ideas every season without changing locations.” In recent years, “Survivor” has tried to mix things up by devising overarching conceits, such as “David vs. Goliath,” in which “underdogs” compete against “overachievers,” and “Winners at War,” which featured the return of 10 previous “Survivor” victors. Although not all of these concepts have been considered successful, Probst said that he would “much rather the show burn out due to a bad idea than fade away due to boredom.”Probst also said that filming in Fiji has freed the producers up to spend more time working on such ideas, simply because the static setting has “made everything more streamlined.” The show’s 300-person international crew, which also commands a vast infrastructure including 40 boats and a helicopter, now knows what to expect from the setting season over season, removing some of the environmental unpredictability that could make producing “Survivor” such a risky endeavor. The number of possible options for the production would only continue to dwindle as time went on and the climate continued to change. Nor could they easily reuse old locales after departing them.“A lot of the places we visited in the past became popular because of ‘Survivor,’ and after we left they might have erected a resort on that island,” Probst said. “It was harder to find remote islands simply because there are more people on the planet. Storms were more intense, and there was no denying it — we had been out in these waters before and it was never like that. And it became less desirable to visit places where things were happening politically that made us feel unsafe, or that we didn’t want to be part of.” Given those considerations, sticking to Fiji just made sense.“I think in many ways this was the answer to a problem that was always fast approaching,” he said.“The Amazing Race” in Lijiang, China, in 2011. Shifting geopolitical concerns have restricted the scope of where the crew can now go.Robert Voets/CBSThat problem has continued to vex the producers of “The Amazing Race,” which still involves dozens of international settings per season. Shifting geopolitical concerns, a delicate matter for American productions abroad, have restricted the scope of where the crew can go, making it harder to find new and interesting places to shoot. “The world has gotten a little smaller,” said van Munster. “We’re not going to Russia right now. We’re not going to China. There are a lot of places in West Africa where I would love to go but where we can’t go. Senegal. Logistically, maybe we can figure it out. But is it safe? We don’t want to get ourselves in trouble in another country. The world is a tricky place.”Nor is this the only way in which the world seems to be getting smaller. Phil Keoghan, the host of “The Amazing Race” since its inception, said in a recent video interview that people are more aware of the world around them than every before — that globalization, in short, has changed the function of the show. “It used to be that we were almost opening up another universe for the audience, these unknown worlds that existed out there, these exotic places,” he said. “Some of that innocence has been lost. Now we’re watching Korean TV and Indian movies. We’re seeing the influence of the rest of world across social media. People who live in these places are sharing their homes with us in an intimate way.”Part of the reason that “Survivor” and “The Amazing Race” have endured throughout these many changes is precisely because they are so good at capturing them. As fly on the wall, cinéma vérité exercises, they are not only contending with the realities of an ever-shifting world, but they are also documenting them. What’s evolving, in the environment and in the landscape, is evolving before the eyes of the audience. “The genre we operate in, we go with the flow, and whatever happens in front of the camera we go with it,” van Munster said.“The world is changing so rapidly that what was fun 20 years ago is different fun 20 years later. But whatever it looks like, it’s always fascinating.” More

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      What’s on TV This Week: ‘True Lies’ and ‘Black Girl Missing’

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      An action series premieres on CBS, and a new film on Lifetime highlights how missing Black women are treated by the police and the media.Between network, cable and streaming, the modern television landscape is a vast one. Here are some of the shows, specials and movies coming to TV this week, Feb. 27-March 5. Details and times are subject to change.MondayAlhajji Sharif, a former prisoner, in “Attica.”SHOWTIMEATTICA (2021) 5:45 p.m. on SHO2. This Oscar-nominated documentary from the director Stanley Nelson explores the enduring violence and racism of the prison system, and the ongoing need for reform, through the lens of the Attica prison revolt of 1971. Using archival footage and interviews with survivors of the uprising, reporters and government officials, the documentary takes the viewer through the events as they unfolded, building to “a powerful final half-hour that makes the case that the brutality used in ending the riot was excessive, criminal and racist — a show of force closer to revenge,” as Ben Kenigsberg wrote in his review.TuesdayClockwise from left, Tom Hanks, Kevin Bacon and Bill Paxton in “Apollo 13.”Ron Batzdorff/Universal StudiosAPOLLO 13 (1995) 7:55 p.m. on Syfy. Adapted from the 1994 book “Lost Moon: The Perilous Voyage of Apollo 13” by Jim Lovell, the astronaut who commanded the Apollo 13 lunar mission in 1970, and Jeffrey Kluger, this Academy Award-winning film follows Lovell (Tom Hanks), Jack Swigert (Kevin Bacon) and Fred Haise (Bill Paxton) and what happened during their failed Moon landing mission. In a 1995 article about the film for The Times, John Noble Wilford, the science journalist who covered “the ill-starred flight” in 1970, attests to the film’s authenticity. The story “evokes a time when people took risks to reach grand goals,” Wilford wrote, adding that “perhaps the retelling of the Apollo 13 story will remind Americans of who we were and who we want to think we are.”WednesdaySURVIVOR 8 p.m. on CBS. This Emmy Award-winning competitive reality television series returns for its 44th season. Hosted by Jeff Probst, the season premiere introduces the 18 contestants who will compete in a series of games and challenges until only one person remains to claim the show’s $1 million prize.TRUE LIES 10 p.m. on CBS. Inspired by the James Cameron action film of the same name, this new series follows the suburban Tasker family as Helen (Ginger Gonzaga), a language professor, finds out that her husband, Harry (Steve Howey), is a spy for Omega Sector, a U.S. intelligence agency. The show follows the couple as Helen is recruited by Omega and the pair begin working together, all while keeping their double lives a secret from their children.ThursdayBREAKFAST AT TIFFANY’S (1961) 8 p.m. on TCM. This Grammy and Academy Award-winning romantic comedy, adapted from Truman Capote’s 1958 novella of the same name, follows Holly Golightly (Audrey Hepburn), a country girl turned socialite, as she falls in love with Paul Varjak (George Peppard), a struggling writer in the same apartment building. “It is a completely unbelievable but wholly captivating flight into fancy composed of unequal dollops of comedy, romance, poignancy, funny colloquialisms and Manhattan’s swankiest East Side areas captured in the loveliest of colors,” A.H. Weiler wrote in a 1961 review for The Times.FridayThe poet Ruth Stone’s work explored the nature of creativity, grief and family dynamics.Ruth Stone TrustRUTH STONE’S VAST LIBRARY OF THE FEMALE MIND (2021) 9 p.m. on PBS WORLD. The poet Ruth Stone’s work explored the nature of creativity, grief and family dynamics; she died in 2011 at 96, and wrote for much of her life in obscurity. Through interviews with Stone at different points in her life, interviews with her family and colleagues, readings of her poetry and an animation by her granddaughter, this documentary, premiering on PBS for Women’s History Month, is an intimate look at Stone’s legacy and art.SaturdayBLACK GIRL MISSING (2023) 8 p.m. on Lifetime. A part of Lifetime’s Emmy Award-winning public affairs campaign, “Stop Violence Against Women,” the movie “Black Girl Missing” highlights how missing Black women are handled by the police and the media. The film follows Cheryl (Garcelle Beauvais) as she tries to find her daughter, who has been labeled a runaway while the police and the media are too busy following another missing person: a white girl. The movie is accompanied by “Beyond the Headlines: Black Girl Missing,” which tells the true stories of missing women of color through interviews with their families.SundayFrom left, Tameka “Tiny” Harris, Kandi Burruss, LaTocha Scott and Tamika Scott, members of Xscape, in “SWV & XSCAPE: The Queens of R&B.”Phylicia J.L. Munn/BravoSWV & XSCAPE: THE QUEENS OF R&B 9:30 p.m. on Bravo. Two of the best-selling ’90s R&B girl groups are brought together for a one-night-only concert event in this six-part limited series. Viewers will follow the Grammy Award-nominated, multiplatinum trio SWV and the quartet Xscape as they explore the dynamics of sisterhood in music groups on and off the stage. Each episode will capture the highs and lows of these seven women’s journeys as they work together — and against one another — to put on a massive concert. More