Sure the cheesy line "Don't call us. We'll call you." Faye Dunaway will be forced to utter each time one of the aspiring "starlets" is dismissed is far from Trump's "You're fired." But it's FAYE DUNAWAY delivering the line. That, in itself, makes it worth watching. So far, the exit line is the only flaw I have found with the new WB reality series "The Starlet". When I first got wind of this new project, which was the brainchild of a brilliant creative team and promised serious, goal-related challenges and a team of judges with credible qualifications, I was intrigued. The production team alone consisted of Mike Fleiss, who made a huge impact in the reality market and though lately his street cred is slipping (witness "The Bachelorette 3" and "The Will") he still carries clout; Jaime Kennedy, best known for his comic genius in the hidden camera "gotcha!" series "The Jaime Kennedy Experiment" and numerous movie credits; Josh Edding and Scott Einziger, both veteran producers of numerous successful reality series and Ellen Rappaport, whose best-selling book "Wannabes" chronicles the real-life struggle of Jaime Kennedy to break into "The Industry" and could be a "How-to" guide for aspiring actors if it wasn't so funny that you tend to forget it's all true.
Joining the legendary Dunaway on the dais is Viveca A. Fox, who not only has had an impressive career as a major motion picture star but also happens to be savvy and articulate - two qualities which have been sorely lacking in the celebrity judges selected to decide the outcome (with the gentle direction of producers of course!) of other reality series and notable Casting Director, Joseph Middelton , who promises to be refreshingly frank and provide a realistic idea of what Hollywood is looking for today. Natasha Gregson Wagner, offspring of Hollywood royalty and carrying an impressive resume of her own, was selected to host the project.
This sounded like a powerful combination of talent and industry acumen, and the pre-release promises added to the appeal:
"Set in the glitter of Tinsel Town, The Starlet, has one purpose - to discover the next young actress with the potential to become a major star. Watch as 10 beautiful aspiring actresses live in the same house and compete against each other for the chance to become 2005's next big thing. In order to be named the quintessential Hollywood "It" girl, one of the contestants must prove she's got more talent, more star quality and more attitude than all the rest by surviving an intense Hollywood boot camp, complete with harrowing acting classes, agonizing live performances and brutally honest critiques by a panel of renowned show business insiders. The prize is truly a once-in-a-lifetime opportunity: a career-launching role on The WB's hit drama One Tree Hill, a one-year management contract with 3 Arts Entertainment and an overall talent deal with The WB."
The question is "Can it deliver on the promise?" The answer, judging from the first part of the premiere, is a resounding "Yes!"
I have been roped into watching far too many derivative reality television shows that resort to all kinds of smoke and mirrors to cover for the fact that their concept was not well-developed or the entire project was miscast, ill-conceived or simply a misguided attempt to cash in on the most lucrative television genre to emerge in the past decade, to be taken in again. I watched the premiere of "The Starlet" with a healthy dose of skepticism, my remote poised for a hasty retreat. I ended up being completely won over by the "cast" and "crew" and the entire premise.
This show means business. Skip the drama; get right down to the action. Chances are there's plenty of drama in the wings, but for the time being, viewers were treated to things that are rare in reality TV these days: Challenges suited to the goal at hand and judges who offer sincere encouragement and criticism, unhindered by the desire to be shocking, be liked or be quoted. These judges don't need to draw attention away from the competition in order to fuel their own egos - they are secure of their roles in "The Big Picture". Critics are noting that The WB is employing this series as a vehicle to promote other shows on the network. So what? They are awarding the prize and personally I'd rather see shameless self-promotion used within the context of the show in a reasonable appearance than be bombarded with commercials or distracted by banners advertising the same thing. Many other successful reality series use product placement or employ the services of their sponsors throughout every episode. At least here the connection between the product and the challenges makes sense.
The second part of the premiere will air tonight in a special, one-time-only Tuesday night timeslot and both parts will repeat on Thursday evening. If you haven't caught the first episode I urge you to set your recorders for that event. The introduction to the twelve aspiring girls, the outline of the rigorous preparations and challenges that await them and the indisputable appropriateness of the eliminations, set the stage for what is to come.
Part Two is likely to create quite a stir because the "Screen Test" that determines the fate of the girls in each episode involves playing one of the most controversial and difficult roles an actor has to face - a homosexual love scene. Not a big deal on The WB these days but still a hairy issue for most actors, whether from a moral or career standpoint. This is certain to spark a buzz at the water cooler tomorrow morning.
Tune in here on Friday for my recaps of both episodes. If they manage to stick to the script "The Starlet" just might turn out to be a winning production.
Eleanor is obeying the old adage "If you don't like it - do something about it!" and currently putting the finishing touches on her own sit-com fueled by hundreds of hours of reality television. In between she returns to comment on the genre that provides a fertile field of foibles to poke fun at.
You can contact Eleanor at ifyouaskme@msn.com
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