Bachelor Nation

November 27, 2017
Los Angeles Times entertainment journalist Kaufman’s eye-opening exposé of the reality TV show The Bachelor offers criticism as well as praise as it explores the reasons why the show has been watched by millions since its 2002 premier. A Bachelor aficionado, Kaufman unpacks the keys to the show’s success, even while being barred from ABC press calls and numerous interviews because her coverage of the show in the Times was deemed too negative. Kaufman unveils plenty of unpalatable practices, such as an overabundance of alcohol on the set (though drinking is not mandated), editing/manipulating footage to create a story line that wasn’t present during the filming, and sequestering contestants in a mansion “bubble” in which communication with the outside world is banned. Many viewers watch The Bachelor, Kaufman posits, because they are mesmerized by the romantic, chivalrous stories of “brave” singles baring their hearts and souls in search of a perfect mate. Kaufman intersperses her narrative with commentary from various celebrity fans, such as Amy Schumer, who says: “It’s kind of awful to watch the show. And it’s the thing I most look forward to every week. It’s fucked up.” Kaufman shares little-known details about the show (hair and makeup styling are offered on the first night only; contestants must apply their own fake eyelashes) that will no doubt fascinate Bachelor fans.

December 15, 2017
Dishing on The Bachelor, the wildly successful reality show franchise.A true devotee of the show--"thirty-two years old, single, and Tindering up a storm"--Los Angeles Times writer Kaufman divulges her lifelong obsession with happily-ever-after romance and recalls when she wrote a weekly recap column, created an e-mail discussion group, and even hosted viewing parties at her home, where some of the bachelors themselves made special guest appearances. Though all of the show's participants sign strict nondisclosure agreements, her book features a collective of past bachelors--and bachelorettes--willing to comment. Kaufman combs through the extensive and gritty entertainment career of Bachelor creator and producer Mike Fleiss (who declined participation) and profiles former co-executive producer Lisa Levenson and producer Michael Carroll, who were known for manipulating contestants using "emotional leveraging" tactics to capitalize on their psychological highs and lows. Kaufman provides a quick but astute history lesson on matchmaking shows like The Dating Game and Love Connection. She writes smoothly and readably on the Bachelor's regimented casting process, the "ironclad twenty-seven-page" participation contract, and all of the juicy dish and dirt on the series (behind-the-scenes antics, "date pitches," racial tokenism, Fantasy Suite dates). A random array of celebrities contribute personal opinions, including comic actress Amy Schumer (previously pursued to become the Bachelorette), who criticizes the lack of female body types; reality buffet leftovers Heidi and Spencer Pratt, who used to live-tweet during the show "until it became an unsafe environment"; Donnie Wahlberg ("look, I cry at weddings"); and Diablo Cody ("I think the reason a lot of us enjoy watching it is because it makes us feel superior"). Now costing $2 million per episode to produce, Kaufman acknowledges that the series remains both a primetime gold mine and, artificially induced or not, an extreme cultural fascination for die-hard romantics of both sexes.Fans will devour this addictive, indulgent, and crafty appraisal of one of reality TV's biggest successes.

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February 1, 2018

With this debut, Kaufman weaves information about television history and the origins of reality TV with specific details about how the long-running dating game show The Bachelor emerged. She pays close attention to how this success can and should provide viewers with ways of interrogating the intersections between feminism and popular culture. By interspersing sections titled "Why I'm a Fan" between all of the chapters, the author creates a dialog between real viewers and her theoretical analysis. A key strength of this book is Kaufman's circumspection: she is both a fan and critic of the show, who belongs to "a group of women [trying] to understand the inscrutable, wicked, brilliant thing that is love." As such, she never discounts the program's hold on its viewers or sets herself apart as smarter than consumers. VERDICT Essential for fans of pop culture, this book could play an important role in courses on feminism and gender studies. It's also a fascinating and fun read for anyone who wants to think about how and why viewers continue to tune into shows like The Bachelor.--Emily Bowles, Univ. of Wisconsin, Madison

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