Why Idol jumped the shark

There is a phrase which has no literal meaning, but which is used to describe a show (play, TV, anything) which has become no longer relevant. That phrase is "Jumped the Shark" as in "Hitler's National Socialist idea jumped the shark."  OK,  OK. Maybe a bad example. It is frequently applied to TV series which have failed to hold viewer interest and are in danger of cancellation. A man whom I admire, British dancer and TV executive , Nigel Lithgoe, is co executive producer of two shows, "So You Think You Can Dance" on which he is also a judge, and "American Idol." They couldn't be much more different. The vibe on SYTYCD is universally positive, and the judges actually are people who have the expertise necessary to judge dancers and give valid opinions. This is not, and has not always been the case in American Idol, and I won't go farther into that here. The recent Emmy Awards favored a competing singing show, "The Voice." Mr Lithgoe spoke: This is my response.  

I noted that executive producer Nigel Lithgoe, who also produces “So You Think You Can Dance”, was somewhat taken aback that "The Voice" won an Emmy in the category in which "American Idol" was nominated. His comments seemed to focus on Idol's being the first, therefore the best of its type. Mr. Lithgoe should bear in mind that his own show (SYTYCD) has almost always had, as the winner, a legitimate talent - dancers who are truly the best at what they do. Yes, the public chooses the final winners, but by that time there are six or even eight dancers remaining they are  all truly talented artists! Also in SYTYCD, as in “The Voice”  the contestants have had hours of training and coaching (in the case of SYTYCD, probably 40 or more hours with choreographers who give feedback to the judges) by professionals. In the case of Idol, the real personal contact with pros is minimal, and seemed to have little effect, other than to serve as exposure for the professional.   Idol, on the other hand, in my opinion, and this is, of course, an opinion piece, jumped the shark around season 5.

 I don't remember for sure which number it was, but I clearly remember the circumstances. Some early Idol winners went on to great things, but some very talented others did not win, but proved the fallaciousness of open voting. While several early winners are great advertisements for the show, such as Kelly Clarkson and Carrie Underwood, a look at who didn’t win shows a different story. Clay Aiken, Chris Daughtry, Adam Lambert, Crystal Bowersox are all also rans. The turning point for me was Kathryn McPhee losing to Taylor Hicks, who resembled no one quite as much as your embarrassing uncle with the lampshade on his head singing even when not asked.   Earlier that season, Chris Daughtry (multiple Grammy nominations, American Music Awards) also lost, while Hicks plowed on. Three seasons later, current international superstar Adam Lambert lost to Kris Allen, who is now working at a Holiday Inn lounge somewhere, Similarly, season two runner up Clay Aiken went to Broadway, while winner, Rueben Studdard apparently went back to IHOP. Not to worry, though, Reuben is set as a contestant on season 15 of “The Biggest Loser”(really!)  The genuinely talented Crystal Bowersox lost to (bet you can’t even remember his name) – Lee DeWyze. She has two albums released, the first of which sold twice as many as all three of DeWeze’s  and is headed to Broadway, while ‘ol Lee is ….who knows?  

Even in years with successful winners, the losers have in some cases had much more successful careers. The year Fantasia Barrino won, Diana DeGarmo was second. She (Diana) has worked (and starred) on and off Broadway continuously every year since.  Seventh place that year went to Jennifer Hudson, of whom you may have heard, her career outdistancing almost every Idol winner except Carrie Underwood.

So, Nigel, when the losers began to win and the winners began to lose, the show began to be irrelevant. I would think that, considering the brilliance with which you handle SYTYCD, you’d recognize that, to steal a line from another wretched reality fiasco, that while America’s got Talent, its viewing public doesn’t always have taste.