He's searching for something to watch on the channels.
An image of alternate self is displaying—
It's out there—if only he finds the right station.
His mirror in bathroom is smeared, the reflection
Is tarnished with toothpaste and spittle. The windows
Are worse than the monitor: both serve as portals
Of entry for forces with semblances bearing
The will of another. He looks for a program
On mountains and caves—where our ancestors huddle
Together. The flames from their pit are projecting
A sign on the wall and they call it a human.
The rain is the echo they name after heartbeats.
The breeze and its howling, they name for their voices.
The elements smother the heat of combustion—
The end of the game for their endless deflection.
“Bravo isn’t simply guessing that the more exposed and personal aspects of Ms. Frankel’s life will appeal to its audience. The network, which finds and tests stars in much the same way that consumer products companies develop and market shampoos and mascaras, has done its homework. And it is confident that this is exactly what viewers want out of a show starring Ms. Frankel, one of its “Bravolebrities.” Viewers’ opinions, carefully observed and culled on the Web and pinpointed through more traditional market research, tend to dictate which Bravo stars graduate from ensemble reality shows to their own programs. The thinking is that they’ve already been vetted by the Bravo audience and the research team, and that they’ve already built brand awareness — so Bravo is, in marketing terms, just extending its product line. ”
– Stephanie Clifford, The New York Times, June 4, 2010
http://www.nytimes.com/2010/06/06/business/06bravo.html?hpw
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