North American television is repetitive, as is also Spanish television. Their programs repeat patterns in a conservative way, but they never neglect audiovisual protocols that manage to generate that cozy point of the viewing experience as demonstrated by the last show to land on broadcast: ‘The Drew Barrymore Show’.
The ET girl, 40 years after ET, has released a daily magazine that understands that in the role of accompanying the viewer it is vital to create a home environment. Despite being a show invented in 2020, this program has not fallen into the trap of opting for a scenography with only one giant screen – which it also has – and has built a kind of dream attic with el heat from wood in floors and arched windows. There is also a library full of readings, to give more that touch of a lived place. Even if it’s just a set.
In this way, ‘The Drew Barrymore Show’ tries to specify his personality more from the traditional side than from the technological trends that make all television sets seem the same.
The bad, it does not have an audience due to the health crisis we are witnessing. But the format has replaced the stands with a great wall of connections with expressive viewers connected by web cam. And they look good, they are recognized. They are not just a troupe hidden in a loft or darkened by lighting, they are clothed with a certain prominence (and ambient noise) to the presenter. So that you don’t give off the feeling of being alone.
And Drew enters the study through a door that flies open. She does not appear already sitting at her table so as not to waste time and get to the point of the gimmicky contents of the show, no. The show takes its seconds to grow through the scenic liturgy of the excitement of breaking in front of the audience. And even shout, sharing the nerves with the public. Your audience.
They are very traditional, perhaps that is why Americans never despise the scenic rituals in their programs because they understand that what is told is as relevant as where and how it is narrated. Hence, in its first installments, ‘The Drew Barrymore Show’ shows that it has carefully studied the audience it is aimed at and the place in the programming it wants to conquer. She seeks an audience younger than Ellen DeGeneres and, at the same time, fights so that the novelty does not detract from the show’s proximity. She is not blinded by gadgets and investigates the classic props that give their own packaging.
Hence, it is surrounded by a warm scenography with orange tones that refer to the daytime candor and it is well placed in wood that makes you want to step barefoot. Wood from the floor to the bookstore, passing through the large window, as if the program were made on top of the iconic Empire State Building. There Drew makes a particular informative with a map of the world behind that, by the way, is also marquetry. We have seen the world map a thousand times and it could be rotating through augmented reality. But then paradoxically it would be colder. And wood is the antithesis of coldness. That’s why Americans continue to use it as a classic trick to make TV cozy. And you sit right at home with Drew Barrymore.