The Amazing Reality of "Reality" TV

First, a familiar story from America's past.

Around the previous turn of the century, the nation was plagued by sweatshops raking in outlandish earnings while their employees struggled under inhumane conditions. In one infamous example, a factory reported profits of $200 million, one proprietor taking in $50 million himself, yet its employees were discovered to be working loathsome 18-hour days, seven days a week. Lunch breaks weren't allowed, or rest breaks. No basic healthcare, and, obviously, no protective pensions were provided. The conditions of work mills were such a national embarrassment, the outcry so loud that the creation of government protections and unions were understood, even demanded by most of the compassionate nation. Today, we cringe at the memory, yet are proud for the basic protection America has long-since provided its workforce.

Okay, I have to admit that I wasn't totally honest there.

The infamous example I just described? It's very real -- just not from 100 years ago. It's from today. And it's not a mill factory, but FremantleMedia, the company that makes "American Idol." As well as "The Price is Right," "America's Got Talent," "Million Dollar Password," and much more. It's all real.

A moment of background to put this in perspective: Fremantle is one of the world's largest media conglomerates. Last year, the company generated revenue of $1.8 billion. Its program, "American Idol," alone makes a profit of $200 million. Just one of its stars, Simon Cowell, signed a five-year contract for $50 million yearly. Yes - each year. One person. And the writing staff and production assistants are regularly required to work 15-20 hour days, seven days a week. No healthcare. No pensions. And often no time for lunch breaks. And rest breaks.

By the way, remember back during the Writers Strike? When the multinational corporations insisted "reality" shows be taken off the table? Remember that?

Just so you know -- this is what it was about.

It wasn't about rich millionaire writers in their Cadillacs wanting more money. It was about people wanting 40-hour workweeks -- not 140 hours. It was about people wanting basic health care. It was about people wanting lunch.

And the multinational corporations of the AMPTP said, no, take it off the table. And the writers did, in order to get the town back to work. That's what the issue was about.

"There were several days in a row in which I had 45 minutes of sleep a night. We were on a mandatory six-day workweek, and when I asked to go on a five-day schedule, they refused. And I did all this as a writer without benefits, without health insurance, pension contribution., or even respect...[T]hat's the season "Starting Over" won an Emmy for best show in its class.

Writer,
"Starting Over"

The issue didn't go away. And now the Writers Guild is addressing it, starting their "Truth Tour," having recently sent a rally to the San Francisco area where "American Idol" held a round of auditions.

It's an issue that other people are finally beginning to grasp. San Francisco Supervisor Bevan Duffy recognized the egregious conditions and has introduced a non-binding resolution, calling for Fremantle to (okay, get this!) - comply with state wage and hour laws. And provide its writers, production assistants, employees with standard benefits.

Wow, what an outlandish, radical concept!

By the way, to those unaware of the term used earlier, "production assistants" is a glorified name for "lackeys." They run errands. Chauffeur others around. Do people's laundry. You know, the glamorous Hollywood stuff. Justin Buckles is a former production assistant for "American Idol." He recalls, "I wasn't allowed to take a break, even for lunch." One day, after working 18 hours again, he figured out how much he earned. "It came to $4.50 an hour."

In case you forgot, minimum wage in California is currently...$8.00 an hour.

"American Idol" alone made a profit of $200 million. Simon Cowell alone was paid $50 million. The company took in $1.8 billion. Justin Buckles wanted lunch. And minimum wage.
(Just think: Fremantle could pay the $250,000 in overtime wages it's currently being sued for, give health care, pay Simon Cowell his $50 million - and still make a profit of $199.5 million.)

"I wrote on a Reality TV show that required me to be on set from 8am to 8pm seven days a week for two months, but often kept me past midnight...The first day off I had scheduled in two months was aborted at 3:30pm the day before."

Reality TV Writer

That's what the issue of "reality TV" is about. It didn't get discussed much during the strike. Most writers don't even know the dirty little secret. But this was and is the point.

It's a point for others, too, as the Teamsters have joined the effort. "Fremantle's non-union drivers often work 18 hours days," says spokesman Steve Dayan, noting that when exhausted, studies show that drivers handle their vehicles as if drunk. And speaking of drunk, comments Tony Cousimano, president of Teamsters Local 399, "Non-union drivers aren't drug-and-alcohol tested."

Oh, tosh, why is that important? "Beer and wine was in the office all the time," Mr. Buckles, the former production assistant, explains. "I know, because it was my job to get people to buy it. People would drink in the office -- and then go drive others around." Worse, it's not just drinking and driving -- but doing so while working 18 hours days without lunch breaks.

Like to be on the road behind one of these drivers? At night?

This too is what the issue of "reality" TV is about.

To be fair, not every staff employee of "reality" TV is working up to 20 hours a day, every day. But a study by Goodwin Simon Victoria Research shows that on average, "reality" TV writers on network television work more than 60 hours a week. Two-thirds say they've been asked by their supervisor to turn in a timecard that only says "worked."

By the way -- when companies don't pay for required overtime, that's money that doesn't get reported for taxes. The government suffers, and the public suffers. Overtime liability for "reality" TV employers could reach...are you ready...$100 million.

If Fremantle wasn't making popular TV programs, but in some other business ignoring minimum wage laws, avoiding 40-hour workweek laws, coercing employees and underpaying taxes, we'd likely see arrests.

"In an isolated location with almost no amenities -- I worked a 19 hour day and then had to return to the production headquarters, where I had to stay up and write the storyline for the next day's field teams. I received no health insurance, no pension contributions, no residuals."

Reality TV Writer
'Outback Jack'

This is what the issue of "reality" TV is about.

What "reality" TV isn't about, though, is reality.

"Reality" TV is not pointing a camera and letting the real world fly by.

It's a fake name for game shows. A fake name for comedy-variety shows. A fake name for documentaries. All of which are required to be covered by the Writers Guild with core, humane, minimum protections.

"American Idol" and "America's Got Talent" are comedy-variety shows. No different from the Guild-covered "Star Search."

"The Amazing Race" and "Survivor" are game shows with contestants and a prize. No different from the Guild-covered "Let's Make a Deal" or classic "Beat the Clock."

"Supernanny" is a documentary. No different from the Guild-covered "The Dog Whisperer" - except the latter has humane, legal protections. You tell me the difference.

All these shows have scripts. All these shows have narration or hosts. All these show have plot twists and created surprises. All the shows have real, actual writers - even if the companies refer to them instead fraudulently as "segment producers" or "field producers." Or "editors."

They are writers. All these supposed "reality" shows are actually written.

So, why in the world are they called..."reality"??

As Abraham Lincoln said, "Just because a cat gives birth to kittens in an oven, it doesn't make them biscuits."

The AMPTP corporations want to call game shows, comedy-variety programs and documentaries "reality" TV because they can get around offering basic health care, giving lunch, paying $100 million in overtime wages. Because they can get around the law - paying taxes, paying the minimum wage, paying for 40-hour workweek.

Society didn't accept such conditions 100 years ago. There's no reason to accept it today. We know better.

That is what the issue of "reality" TV and fair, humane representation is about.

We often worked 18-hour days and were never paid overtime. Low pay with no health care or residuals is becoming the standard in the Reality and game show industry. It's got to stop."

Writer

Fremantle's, "Temptation"

We've read so often recently about the attack on the middle class in America. If you don't think this all is part of it, look closer. Making $1.8 billion and providing the basic humane standards, not giving freaking lunch... that is a frontline battle in the attack on the middle class.

The wind is shifting. From its start, the game show "Are You Smarter Than a 5th Grader?" was called "reality." But only a couple weeks ago, its highly-successful producer Mark Burnett reached an amicable agreement with the Writers Guild, and its staff is now covered. The costs to his company were minimal -- the benefits huge. It now treats everyone with the respect they all deserve.

All the while Fremantle and its "American Idol" continue to flaunt humane decency.

This is what the issue of "reality" TV is about.

Comments

[dm35]

I have some firsthand experience with Fremantle. I was on a show for 40 days, of which I worked 38 of them. 16+ hour days almost every day for over a month took quite a toll, but there was a distinct understanding that time off was not an option. I have been in the reality industry for 2+ years with no health benefits or retirement plan. It's not a good situation, but the alternative - not working - is even worse. Many crew members are lucky enough to be eligible for union membership, but those of us in administrative and creative positions (yes, these shows employ several writers, despite what they choose to call them) are left in the cold.

[SimonSays2008]

http://americanidolexposed.weebly.com

Thank You,

[TLPERL]

Thank you so much for bringing much-needed attention to this issue, Mr. Elisberg! As you pointed out so eloquently, Fremantle fails to provide overtime, meal breaks or industry-standard benefits -- or any benefits at all -- to its writers and production staff while Simon Cowell is earning oil-company-like profits. And in case there was any doubt, there are writers on American Idol. Ryan Seacrest doesn't make up those intros.

American Idol Gives Back, all right! Just not to its own workers!

Please join the WGA, the Teamsters, ex-Fremantle employees and their supporters in New York on August 19th for the final public rally of the Truth Tour -- at 28 N. 28th St. at high noon in Manhattan in front of Fremantle's offices. Hopefully they'll finally hear us loud and clear -- this company's behavior is not acceptable in this day and age in America.

For more info, and to send a letter to Fremantle's president, please see www.truthaboutfremantle.com. Thank again, Mr. Elisberg!

[StoryMe]

I'd like to add that I've been fortunate enough to work for a few companies and shows of late that DO play fair --- so apparently, properly staffing and scheduling is a working alternative to driving your employees into the ground.

[bethinaz]

Just who does Freemantle think they are - Walmart? I don't watch any of those shows. Now I know I never will. I intend to forward this to all my union friends and hope they will refuse to watch these shows any longer.

[beejcctx]

Mr. Elisberg, There is another side to this you've missed - the people IN reality shows. I specifically point out the 8 children who are constantly filmed for TLC's "Jon and Kate Plus Eight" - a weekly show about a family with 2 sets of multiples. Where are my problems with this show?
1. The camera crew is in the home 3-4 days a week
2. The home itself is a working set for the production crew since they installed Industry standard lighting for their crew
3. The family goes and does events or activities that are generated by the production crew (of course I'm not sure if they pay their writers either!)
4. There is apparently no time limit to how long the children are filmed every day - which means there is no on-site supervision of the children as would occur in Hollywood to keep a child only on camera so many hours
5. Even Survivor provides a therapist, these kids are constantly in a parent/production crew created fishbowl and it would be stressful to most of us to have a camera in our face - especially since the kids didn't CHOOSE to be on the show, unlike show biz kids, THEIR parents have decided this is the life for them and they need stress relief among other things

[beejcctx]

More from above:
6. There are also many inconsistencies to the parents' stories - who now are both only employed to work on the show - they are not working outside the home at all - of course we've seen "reality" shows where contestants lie about stuff too, but look around you will see a lot about Jon and Kate
7. No guarantee (since again they are not in California) to have assets protected for the children, who in essence the PERFORMERS on this show
Watch it yourself, look around the internet, you will see many news sites that will show you a "not as wholesome" image of this family than they or their PR firm want you to know. But most importantly, look at it as a professional as to whether this is a healthy environment for children to grow up in.
BTW, they're signed up for almost 50 shows for next season! How much will the kids have to be on camera for that?
PS: The National Enquirer ran an article on them two weeks ago - their info on Edwards' affair was spot on and so is this! :)
THANKS! Beej in TX

[TRYKER]

beej....I've watched this show and am increasingly disturbed by the stress they put these kids through. The 7 yr old twins are slave labor wherever they're dragged, forced to do child care way too much and one of them is crying out for some intervention, she's nearly ready to break down.
This show sounds like it must be on the "reality show" list, because its apparent too many rules are not followed.
The little children are precious and very endearing and I hope some production company wakes up real fast and gets this family into a suitable home in the country with separate production facilities away from the house.
I'd hate to see the show fail for breaking too many rules, something can and should be done to get it running FAIRLY...especially for those children.