Pop Culture Happy Hour: Terrible But Bingeable TV Shows
Host/Author: NPR
Release Date: March 6, 2025
Pop Culture Happy Hour, NPR's beloved discussion platform for all things entertainment, dives deep into the paradox of why certain TV shows, despite their glaring flaws, captivate audiences to binge-watch them from start to finish. In the episode titled "Terrible But Bingeable TV Shows," hosts Glenn Weldon, Linda Holmes, Stephen Thompson, and Aisha Harris explore this intriguing phenomenon, sharing their personal experiences with particularly subpar yet irresistibly watchable series.
Introduction: The Allure of the Trainwreck
Glenn Weldon sets the stage by questioning the magnetic pull of certain TV shows: "What is it about a show that turns you into a bitter ender, that keeps you dutifully watching every last episode?" (00:52). He introduces the theme of the episode—discussing TV shows that they continued to watch despite recognizing their lack of quality.
Married by America: A Reality Show Misstep
Linda Holmes takes the floor to discuss her pick: Married by America, a 2003 Fox reality show she previously covered (03:07). The show attempted to innovate the reality TV landscape by having single individuals get "engaged" to partners chosen by their families, all under the guise of making genuine connections. However, Linda criticizes the show for its lack of authenticity and depth:
“But the thing that made it really special in the end was that in the end no one got married. So it was a show called Married by America in which no one got married... it was very, very low class.” (05:24)
Stephen Thompson echoes these sentiments, comparing it to shows like Love is Blind and branding it as an "objectively terrible show" that struggled with a coherent vision (07:53).
Linda adds an interesting note on the show's disappearance from modern platforms:
“They have really tried to take some of these shows and sort of suck them into a hole of. We never did that. You can't just find it. Like you think Disney stuff's in the vault. This is in a vault.” (08:40)
This scarcity adds a layer of mystique and nostalgia, making the show a guilty pleasure only a select few remember.
Teen Mom 2: A Guilty Pleasure with Depth
Aisha Harris introduces her choice: Teen Mom 2, now merged into Teen the Next Chapter and Teen Mom Family Reunion (09:36). Unlike Married by America, Teen Mom 2 holds a more complex position in reality TV. Aisha reflects on her continued viewership, attributing it to her investment in the personal growth and real-life challenges faced by the participants:
“I have become somewhat invested in these women's lives and how some of them have really been able to seem as though they've stepped up in many ways and they've found partners and found some happiness.” (09:36)
She also highlights the show's cultural relevance, noting how it mirrors the rise of influencer culture and the commodification of motherhood:
“It's very much kind of aligns with the Kardashian effect. And like the era when we were people started becoming famous for being parents... it's similar to the Kardashians, but on a different pay scale.” (11:30)
Aisha's nuanced take underscores that even within "bad" reality TV, there can be elements that resonate on a deeper level, providing both entertainment and social commentary.
Designated Survivor: A Scripted Disaster
Stephen Thompson presents Designated Survivor as his pick—a scripted political drama starring Kiefer Sutherland that ultimately became a case study in television mismanagement (14:52). Initially promising with its high-stakes premise of a sudden political ascension following a catastrophic event, the show failed due to constant shifts in creative direction:
“...over the course of that season. It would be completely impossible. And yet we watched every episode. It was like Appointment TV. We didn't watch it, like, as it aired on network television with commercials and stuff, but we would stream every single episode, and it was bad.” (16:00)
Despite its potential, Designated Survivor suffered from having five different showrunners across three seasons, leading to a disjointed narrative and inconsistent character development. The hosts discuss how this lack of direction made the show an unintentional soap opera, where the only redeeming quality was its dramatic unpredictability.
Glenn Weldon offers a broader perspective on the nature of such shows:
“Any time you watch any reality show, your feelings about it are a lot more complicated than it would seem on the surface.” (12:51)
Boy Meets Boy: An Early 2000s Experiment
Glenn Weldon introduces Boy Meets Boy, a 2003 reality show from Bravo that attempted to break stereotypes by presenting a dating scenario within the gay community (20:46). The show featured a conventionally attractive gay man choosing a boyfriend from a group of contestants, some of whom were secretly straight.
Linda Holmes critiques the show's shallow premise:
“And if you pick one of the straight men, there is no chance that he actually has any attraction to you, or that there's anything genu about the connection between you or anything like that because he is a straight man.” (20:55)
The hosts discuss the problematic aspects of the show, including its lack of recognition for sexual fluidity and the artificial manipulation by producers to maintain a mix of gay and straight contestants. Despite its flaws, Boy Meets Boy remains a fascinating artifact of early 2000s reality TV experimentation.
Why We Binge Bad Shows: Insights and Reflections
Throughout the episode, the hosts delve into the psychology behind why viewers continue to watch “terrible” shows. Linda Holmes attributes it to the "train wreck" allure—a compelling disaster that's hard to look away from. Stephen Thompson adds that overcomplicated narratives, like those in Designated Survivor, can be strangely addictive despite their poor execution.
Aisha Harris reflects on how certain shows reinforce personal beliefs or decisions, using her continued viewership of Teen Mom 2 as a reinforcement of her choice not to have children, turning the viewing experience into a form of affirmation.
Glenn Weldon ties these discussions together by highlighting the mix of curiosity, emotional investment, and sometimes ethical dilemmas that keep viewers engaged:
“There's a lot more to these feelings than meets the eye. Some shows become a guilty pleasure, others a social experiment, and some just become part of a show’s growing legend.” (General Insight)
Conclusion: Embracing the Binge-Worthy Flaws
In wrapping up, the hosts acknowledge that while these shows may lack traditional quality metrics, their ability to engage and entertain persists. Whether it’s the chaotic charm of Married by America, the evolving narratives of Teen Mom 2, the convoluted plotting of Designated Survivor, or the stereotypical antics of Boy Meets Boy, each show offers a unique lens into the complex relationship between television content and viewer loyalty.
As Glenn Weldon aptly summarizes:
“We want to know what TV shows you begrudgingly watched to their conclusion.” (24:46)
The episode not only celebrates the infamous yet irresistible nature of these shows but also invites listeners to reflect on their own viewing habits and the reasons behind their television loyalties.
Notable Quotes
- Glenn Weldon: “What is it about a show that turns you into a bitter ender, that keeps you dutifully watching every last episode?” (00:52)
- Linda Holmes: “So the producers, of course, reality tv, they stage every weekly elimination so that whoever James chose There'd still be a mix of gay and straight men in the house.” (21:06)
- Aisha Harris: “I have to give a little bit of context here... I think these are the first generation of kids that has literally grown up on, like, having cameras in their face as long as they were sentient.” (09:36)
- Stephen Thompson: “It is a show that absolutely no idea what it wants to do...” (07:53)
Pop Culture Happy Hour continues to explore the multifaceted world of entertainment, dissecting both its triumphs and its missteps. This episode on "Terrible But Bingeable TV Shows" provides a humorous yet insightful examination of why some of the worst television can become the most addictive.