The Getaway Car

The State of Saturday Nights

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It certainly has come as a surprise to me, particularly when I think about some of the stuff I’ve dared to have an opinion on over the years and written about here and on social media, that the one thing I’ve riled people with more than anything else has been my views on the ill-fated Dermot O’Leary *vehicle, The Getaway Car!

Yes, you did read that right. I’ve had more stick about The Getaway Car than anything else I’ve ever written about. I know, let that sink in for a moment!

Admittedly, this has largely been from ex-contestants of the show, who didn’t take too kindly to my previous blog The Trouble with Gameshows  in which as well as pointing out how bad the programme was I also suggested that it followed the ever increasing trend of accepting the “serial contestant”. You know the sort, the over-the-top fame chasers who appear on every show possible because they see it as a stepping stone to fame. I’ve seen people talk about their appearances on gameshows and the like as part of their career plans. These people destroy programmes because they’re generally hard to like and invest in as a viewer. They have a motive aside from simply taking part or winning a prize and that can be an unwelcome distraction. Anyway, I digress as I go into detail about that in the other blog.

Of course, not every contestant is like this and even if they were the downfall of a programme is not their fault. What has come across in every comment I’ve had from people who took part in The Getaway Car is they clearly had a great time. They were made to feel welcome, looked after and integral to the programme. Quite right too. Anybody from the public taking part in a TV show should be made to feel this way. It’s the least they should expect and I understand their defence of a programme they’ve been made to feel such a part of. It’s actually quite heartwarming.

For all of that though the show was, without question, still a big fat turkey!

It’s a sad reflection of the malaise of Saturday night television in particular and to some extent the industry as a whole. Let’s think about this in detail for a minute. Common sense should have prevented The Getaway Car from being made in the first place. You have to go back to the success of Total Wipeout to understand the logic or lack of it here. There you have a show that did very nicely for 4 and a bit series before being laid to rest. There’s only so many times you can laugh at somebody falling off those big red balls! Anyway, it does well and it has its day. Fine. The mentality in TV these days and in reality for some time now is not OK let’s find something new and better but where’s our next Total Wipeout? That formula worked so how can we tweak it into something not quite Total Wipeout but essentially Total Wipeout without it actually being Total Wipeout because we’ve decided that people don’t want that anymore!

So, you get Total Wipeout with cars (The Getaway Car) and Indoor Total Wipeout (Can’t Touch This) and they’re just poor imitations of the original with bells and whistles that don’t make any sense and they flop abysmally. It happens over and over again. The pre-series trailers for these shows were such that anybody with any nous could spot the oncoming turkeys straight away.

In The Getaway Car’s case you also have to question the BBC’s thinking here from its scheduling point of view. It gave the impression of either not being confident in its own programme, an expensive one at that, or not thinking through it’s airing strategy. It arrived with not a great deal of fanfare set for a 12 week run prior to the start of the Six Nations’ Rugby. However the BBC’s coverage of the rugby saw the programme moved around the schedules either in different time slots or completely bumped to make way for it.

Then it did so poorly they rested it to make way for the even worse Can’t Touch This before bringing back The Getaway Car, pretending it’s Series 2. The programme’s own Twitter account was just dormant for months with no explanation of what was happening, when it would be back or doing anything to try and keep the struggling show afloat. It was as if the BBC knew the game was up from the start. Dermot O’Leary heading back to ITV’s The X Factor probably didn’t help either although I’m guessing he didn’t take much persuading if this is the kind of stuff the BBC were offering up to him.

Saturday night television hasn’t been this poor since the incredible low of Don’t Scare the Hare.  (Yeah. I’ve said it. Take a deep breath reader. Don’t Scare the Hare! Oh God I’ve said it again!)

ITV can’t rest easily either. They bravely dispensed with their merry-go-round presenter-kit of Ant and Dec, Phillip Schofield and Stephen Mulhern to come up with The Cube but not actually in a cube and with more people in it than The Cube (Bang on the Money).  The risk was seen as blooding popular breakfast radio duo Melvin Odoom and Rickie Haywood-Williams but essentially the show was just another in a long line of recent Saturday night turkeys posting one of the lowest ratings ever for ITV in its slot. Hopefully, Melvin and Rickie will not shoulder the blame for this. The show was always weak which is probably why Holly Willoughby or Eamonn Holmes didn’t even get a look-in for hosting duties!

Apparently, Channel 4 are making a new Saturday night show with Alan Carr and Noel Edmonds. Let’s hope Noel’s cosmic ordering and cancer-busting positivity pulse pad are working well as the last thing Saturdays need is another prime-time flop.

*Sorry. I just can’t help myself!

The Trouble with Gameshows

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Gameshows are never going to be everyone’s cup of tea. Often maligned as cheap, low-brow or tacky and let’s face it some of them have been, (Sue Pollard’s Take the Plunge I’m looking at you!) a good gameshow can provide those essential talking points for the next day.

– Notice I avoided the phrase “watercooler moment” there. Personally, the only “watercooler moments” I’ve ever had have been wrestling with the cheap plastic cups from the dispenser, a distinct lack of cool emanating from the water from the watercooler and back trouble from stooping to get the water or from lugging a watercooler refill around. There is nothing remotely cool or momentous about the watercooler.

Anyhow, I digress. – A good gameshow should fulfil some very simple principles in order to get people talking and tuning in again for the next episode. Essential to the format are the contestants. Sounds obvious doesn’t it? However, a gameshow should choose its contestants wisely and the format should bring out the best in them. Essentially, for a gameshow to work, an audience must invest in the contestant. They have to be likeable and the audience needs to be on their side so that at the finale they can share their delight at winning or pain at losing.

All too often though, gameshows are being let down by their choice of contestants and how they are encouraging them to come across to the viewer. There seems to have been an increase in the “serial contestant” desperate to put themselves over as funny, or talented and hoping to be given a shot not at a big star prize, but to become a star themselves. They are those people at the very bottom of the wannabe food chain, moving from gameshow to gameshow and no doubt constantly sending their wacky audition videos to Big Brother.

Producers of some gameshows seem to actively encourage these people to apply to their programmes. Dermot O’Leary’s bulging snooze-fest, The Getaway Car is a prime example. Their audition process for contestants specifically referred to wanting “lively, up-for-it” couples. This is TV executive code for loud, annoying fame-chasers. Sure, you don’t want contestants to be boring but you don’t want them forcing the issue either for their own ends. In an hour long show, already 50 minutes too long in the first place, these people don’t instil any empathy with the viewer and so you don’t care about them winning and the whole show is lost.

Stephen Mulhern’s Catchphrase with Stephen Mulhern as well as Stephen Mulhern’s daytime vehicle Stephen Mulhern’s Pick Me also starring Stephen Mulhern are other examples of shows deliberately featuring the “up for it” contestant. Catchphrase, in particular, is a show with a long history and a favourite in the eyes of the British public following its original run from 1986. Its current incarnation however, is virtually unwatchable and it’s through no fault of Mr Mulhern (who I rate, incidentally!) but the obsession with contestants who are more concerned about themselves than the prize, or the show or anything else going on in their lives. They come across as annoying and self-centred, desperate to be noticed morons, which is exactly what they are and destroy a perfectly good format because you can’t invest in them and so you’re left with nobody to root for at the end.

So what’s the point?