Genre: Satire, Humor & Parody
About Fear the ClamLocation: Boston, MA Home Region: Age:43 Website: http://quahog.org Favorite novels: Cryptonomicon, Freddy and Fredericka, Red Sky at Morning Favorite writers: Lawrence Block, Lee Child, Thomas Perry, Donald Westlake Favorite music: Nano requires the unfocused adrenaline of mindless neo-post-punk pop such as Bowling for Soup, In Stereo, Lucky Boys Confusion, or Smash Mouth Non-noveling interests: Squash, skiing, sailing, computers |
Joined: octobre 20, 2007 This Year: Official Participant NaNoWriMo History: NaNoWriMo posts: 78 NaNoWriMo buddies: 17
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Synopsis: Attention Whore
Following the success of “I’m a Celebrity, Goddamnit, Pay Attention to Me” this year’s hottest reality TV show is “Attention Whore.” Contestants compete for airtime, cash and prizes, and a chance for the grand prize—their own reality television channel for a year.
The show is a runaway sensation among the 13-34 demographic, and a tour de force of synergistic marketing. Its focus-grouped episodes and catchphrases have permeated everything in popular culture, including competing programs, the economic meltdown, and even the upcoming presidential election.
It’s a point of pride at Shameless Productions when the show becomes a hated symbol of American decadence for Middle East terrorist groups, but when contestants start dying, troubleshooter Velma Martins must work with FBI agent Nigel Owens to find out who’s doing the killing—or how to make it pay.
Excerpt: Attention Whore
Shameless Productions was owned by a global conglomerate which was, in turn, owned by a tacky Australian who had gone from rich to very rich by buying up the world’s respectable newspapers, adding horoscopes to the front page above the fold, pictures of topless women on page three, and editorials bemoaning the state of journalism. He had become aware of the reality television genre while accidentally watching American television and uttered the now historic line “A fucking monkey could do this. Get me some of this reality television shit, and make a splash with it. Or you’re fired.”
The resultant company first came to fame in the United Kingdom with its breakout program “Chav Chat,” in which a vintage Rolls Royce, chauffeured by a driver from the diplomatic protective services, meandered through housing estates while the passenger, a Royal Shakespearian actor best known for playing a duplicitous prime minister, made rude and condescending inquiries through the window. “That’s an impressive gold chain. Did your mum have to swallow a lot of pork sword to buy it for you?” In the top-rated episode, the actor barely had time to politely ask “That’s a lovely baseball cap. Did you have to stab many people to acquire it?” before the Rolls had to drive across the scrubland lawn and through a cyclone fence to escape a horde of pimpled youth throwing empty cider bottles.
The program became the standard-bearer of class warfare entertainment television, sparking debate, boycotts, and editorials. Social scientists at redbrick universities claimed it was the harbinger of the end of polite society, talk show pendants proclaimed the show repugnant in its execution, yet a refreshing and liberating example of plain speak. The actual disenfranchised youth featured on the program didn’t do a thing except loiter and stab each other for off-brand cigarettes. When the BBC attempted to film one of their gatherings for an opinion piece, they were threatened and their camera gear stolen and sold for lager and crisps. Social services were called to console the thieves.
The American version was rather different.
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