Each glowing orb seems to be sucked up, pneumatically, from the stage to the top of the wall it is dropped, with a slight whooshing noise, from there. The pair is divided one member-the one who remains onstage, with the affable Hardwick-chooses the slots from which each ball is released, from slot 1 on the left to 7 on the right. The show works, roughly, like this: A couple, pre-vetted, is allotted a selection of large, plasticine balls. The Wall is a structure of chance NBC has structured the game that revolves around it, however, to ensure that only “good people” will be allowed to get lucky. It offers “life-changing money,” Hardwick commonly refers to it, to those who deserve to have their lives changed. The show assures its viewers that its contestants, very often war veterans and community leaders and otherwise “good people,” as Hardwick commonly refers to them, will be deserving of such riches. Mostly, though, the show has generally abandoned the vaguely educational impulses of game shows both past and present to emphasize another kind of ethic: the morality of wealth. Featuring couples (married partners, siblings, friends) as players rather than individuals, it celebrates the warmth of human relationships. Hosted by Chris Hardwick-and executive-produced by, among others, LeBron James- The Wall is, like its forebears, both a product and a flashy reflection of its times. The show’s slanted, peg-studded wall has been reimagined, this time by NBC, as a standalone game, within a standalone show: The Wall, which currently airs as part of the network’s Tuesday-night primetime lineup. The Price Is Right lives on-not just on CBS, where the show has been hosted, since 2007, by Drew Carey, but also, as of late 2016, in the form of its most popular game: Plinko. The Price Is Right, a show that cheekily glorified the soft skills of shopping, first aired in the U.S., in its current form, in 1972. Many of them reframed their challenges around the skills required of savvy consumption. They came to air in the daytime, and they targeted themselves at the audiences who watched TV during those hours: women, for the most part. During the years of post-war prosperity and their attendant increase in consumerism, game shows began to take “home economics” extremely literally. Today, we tend to associate with “game shows” the form they took after the quiz show scandals of the later ’50s eroded Americans’ trust not just in the shows themselves, but in television as a medium-the form they took after they were reinvented as generally flashy, occasionally brash, and insistently low-stakes celebrations of street smarts. Joan Didion Was Our Bard of Disenchantment Megan Garber
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