2008 Woodie Awards
'American Idol' Rises Above Pop Culture Clutter, Criticism
Nick Schimmer/Muleskinner
Issue date: 1/25/07 Section: Opinion
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Cultural phenomenon is commonplace on American television. In the 1980s, it was sitcoms, and in the 1990s, it was drama. In the new millennium, America has grown an insatiable appetite for reality television. These are simply trends, created by the networks which ultimately become oversaturated and decline in popularity.
Occasionally, a show moves beyond the genre it is attached to and into television lore. "The Cosby Show" is a perfect example of this occurrence, not only because of the show's cultural importance, but because it is genuinely funny.
I raise this point because last week, "American Idol" kicked off its sixth, and perhaps most-anticipated, season to date in front of nearly 60 million viewers.
I am not comparing the significance of "The Cosby Show" to the relevance of "American Idol," just simply drawing on ratings comparisons. At the height of "The Cosby Show," nothing could match its momentum, similar to the current "American Idol" phenomenon.
"Idol" has drawn sharp criticism comparing its popularity with America's growing apathy toward political issues. Studies show more people vote during "Idol" than during election season.
Is this an example of America's obsession with pop culture, or is it America's growing disdain for the do-nothing nature of the current political landscape? I'll choose the latter.
To put it simply, "Idol" has more to offer. The show has emotion, comedy and most importantly, talent. Unlike its adversaries, such as "Survivor," the show stays fresh, bringing in a new crop of viewers and expanding its fan base with every passing year.
I believe season five was the show's turning point. Historically, this is the point in which most shows tend to become stale. "Idol," on the other hand, grew by offering America a top-five, which included a rock singer, Chris Daughtry, and a blues singer, Taylor Hicks. Hicks, the gray-haired 29-year-old became an overnight sensation, riding his unrivaled popularity to a cakewalk win.
Occasionally, a show moves beyond the genre it is attached to and into television lore. "The Cosby Show" is a perfect example of this occurrence, not only because of the show's cultural importance, but because it is genuinely funny.
I raise this point because last week, "American Idol" kicked off its sixth, and perhaps most-anticipated, season to date in front of nearly 60 million viewers.
I am not comparing the significance of "The Cosby Show" to the relevance of "American Idol," just simply drawing on ratings comparisons. At the height of "The Cosby Show," nothing could match its momentum, similar to the current "American Idol" phenomenon.
"Idol" has drawn sharp criticism comparing its popularity with America's growing apathy toward political issues. Studies show more people vote during "Idol" than during election season.
Is this an example of America's obsession with pop culture, or is it America's growing disdain for the do-nothing nature of the current political landscape? I'll choose the latter.
To put it simply, "Idol" has more to offer. The show has emotion, comedy and most importantly, talent. Unlike its adversaries, such as "Survivor," the show stays fresh, bringing in a new crop of viewers and expanding its fan base with every passing year.
I believe season five was the show's turning point. Historically, this is the point in which most shows tend to become stale. "Idol," on the other hand, grew by offering America a top-five, which included a rock singer, Chris Daughtry, and a blues singer, Taylor Hicks. Hicks, the gray-haired 29-year-old became an overnight sensation, riding his unrivaled popularity to a cakewalk win.
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