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"The Bachelor" on ABC (2 Viewers)

Which is more likely to happen first with the TV show The Bachelor?

  • Show gets canceled

    Votes: 69 63.9%
  • producers cast a black man as The Bachelor

    Votes: 39 36.1%

  • Total voters
    108
So Corinne's BF thought she was just promoting her brand when she decided to go on the show. When it came out about the sex stuff, he was apparently pisssed, but then backed her up when she told him she was too drunk to know what was going on.

Now an entire investigation into the matter, including review of the video evidence, says she was fine. Does he kick her to the curb or continue to support her? Does ABC allow them to see the video for themselves? They could make a whole show just out of this.

 
YAY!!!!!!!!!!!!!!!!!!!!!!!!!!

And they even invited DeMario to go back on.  I hope he extorts a ton of cash from them first for letting that clown Corinne make him lose his job.

And no, Corinne should not be invited back.  Permanent blacklisting for her and Shelby the Sensitive Producer.  

 
I'd be real surprised if Corrine is allowed back since they say she made false accusations. She already broke the rule of being truly single so this is a no brainer out that she can't whine about.

 
YAY!!!!!!!!!!!!!!!!!!!!!!!!!!

And they even invited DeMario to go back on.  I hope he extorts a ton of cash from them first for letting that clown Corinne make him lose his job.

And no, Corinne should not be invited back.  Permanent blacklisting for her and Shelby the Sensitive Producer.  
they did?  this is gonna be must watch tv! 

 
they did?  this is gonna be must watch tv! 
They did (say reports).  Not sure he should do that without a nice cash settlement first but who knows - they might have already done that behind the scenes. 

Definitely agree that the film clearly showed absolutely nothing to substantiate Corinne's "victim" claim.  

 
YAY!!!!!!!!!!!!!!!!!!!!!!!!!!

And they even invited DeMario to go back on.  I hope he extorts a ton of cash from them first for letting that clown Corinne make him lose his job.

And no, Corinne should not be invited back.  Permanent blacklisting for her and Shelby the Sensitive Producer.  
Corinne would obviously now be persona non grata. The producer who made the complaint, though, is a different matter. They can't take any action against her until she does something that undeniably deserves termination. Firing her for reporting something she thought was wrong would not only be horrible PR, but might also open the show to a lawsuit for wrongful termination.

 
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Corinne would obviously now persona non grata. The producer who made the complaint, though, is a different matter. They can't take any action against her until she does something that undeniably deserves termination. Firing her for reporting something she thought was wrong would not only be horrible PR, but might also open the show to a lawsuit for wrongful termination.
Yes, I - er- know how employment law works.  :lol:  

I wasn't suggesting firing her, although it does appear that she acted from less than honorable motivations so I have a feeling they'd be on pretty sure footing.  They should offer her a nice severance package complete with confidentiality and mutual releases, explain that it's best if all sides part ways, and then blacklist her completely and utterly. 

 
Waabooom guy is like the insipid college kid who tries so hard to get a bid from a frat but can't and so he just spends 4 years doing bad Jim Carey impersonations and running into things because they just might get a sympathy laugh.  Doing that to his head repeatedly is bound to cause damage if it hasn't already....he's the epitome of adult shaken-baby syndrome.  

There's at least 3 gay guys on this season, right?  The skinny lawyer from Texas is straight as a Q.
I think that guy is the only person in the world who isn't aware that he's gay.  My goodness.

 
DeMario Jackson opened up about his scandalous encounter with “Bachelor in Paradise” co-star Corinne Olympios — saying she was the one who made the first move.

“That night was probably one of the wildest nights of my entire life,” the 30-year-old tells E! News in his first interview since the scandal.

Following a day of drinking by the bar, Jackson and Olympios, 24, took things to another level in the pool. Production of the show’s fourth season was shut down days later, with the cast being sent home from Mexico as Warner Bros. launched an internal investigation as to what transpired on set.

But, as Jackson recalls, it was Olympios who took the lead.

“Our first real conversation was at the bar,” Jackson said. “We were hanging out. We kind of were just complimenting each other on being villains. I was like, ‘Look, I’ve accepted this role.’ We were kind of just laughing, like, ‘Oh, we’re about to dominate Paradise!’ Like homie stuff, like really, really like friends. And then, you know, we started having a little bit more fun … and had a few drinks.”

Prior to “Paradise,” Olympios became the breakout star of “The Bachelor” earlier this year, making it to the final four of Nick Viall’s storied season. Jackson had been sent home early on by current “Bachelorette” Rachel Lindsay, thanks in part to an unexpected appearance by an ex-girlfriend.

After taking shots, Jackson claims he and Olympios started making out at the bar, before she suggested heading to the pool.

“I was like, ‘Hell yeah!'” he said. “You know, I’m down for it. I’m not gonna … I don’t think any single man — some married ones — wouldn’t turn down Corinne. She’s a beautiful woman!”

Before dipping into the water with Olympios, Jackson ensured they were being watched.

“It’s crazy because when you’re a man — mostly African-American man — no matter where you’re at, you always look for things that can help you out. And at that moment, I made sure the cameras followed us,” he said. “It just seemed too perfect in a sense for me, and at the point, that’s when my spidey senses got up.”

Though the two did remove their bathing suits, Jackson claims Olympios was the “aggressor” of the tryst, suggesting oral sex.

“I get out of the pool, and I have my legs in the pool, and I’m just hanging out … This is when she gets up out of the pool and puts her lady parts right on my face,” Jackson explains. “I don’t know if I can say it.

“She straddled me, like put her … literally smack dab right there.”

Despite the intense events of the evening, Jackson claims he and Olympios were fine the following day.

“She wasn’t mad. We were hanging out. Actually, I offered her a shot, and she said that the production had cut her off from drinking for the day,” he said.

Three days later, however, Jackson was approached by one of the show’s producers.

“He goes, ‘Here’s what I’m gonna need you to do: I’m going to need you to bow out. Tell [host Chris Harrison] and the crew that you love them, you’re thankful. However, you — you know you’re not there for the right reasons,” Jackson recounts. “I’m like, what the f–k? Straight up. He goes, ‘I can’t tell you what I know, but it’s going to be bad if you don’t leave tonight.'”

In the weeks that followed, Warner Bros. cleared Jackson of any misconduct following his poolside romp with Olympios, amid her claims that she was too drunk to consent.

“Out of respect for the privacy interests of those involved, we do not intend to release the videotape of the incident,” the studio said in a statement. “We can say, however, that the tape does not support any charge of misconduct by a cast member.”

Though Olympios’ legal team has pledged to conduct an investigation of their own, Jackson is moving forward with his life as he and his family overcome the trauma of the scandal.

“My dad, he kept me extremely strong and kept me grounded and humble, but having your mom cry every day for something that you know you didn’t do,” Jackson said.

With filming resuming in “Paradise,” the show will go on this summer, but without Jackson on board.
Sounds like this guy wasn't SO drunk that he forgot to ensure the cameras were following.  Covered his butt with that move.  Still hope he sues.

 
Rachel is like everything that is wrong with women. Seemingly intelligent woman -- a lawyer -- who has been brought up dreaming of getting that engagement ring to the point that it's so important for her to get that moment on national tv that who it's with becomes secondary. Less than 24 hours after she breaks up with the man she wanted to marry with kisses and an I love you, she's getting engaged to another guy. Hilarious.

 
Shrugs said:
Rachel is like everything that is wrong with women. Seemingly intelligent woman -- a lawyer -- who has been brought up dreaming of getting that engagement ring to the point that it's so important for her to get that moment on national tv that who it's with becomes secondary. Less than 24 hours after she breaks up with the man she wanted to marry with kisses and an I love you, she's getting engaged to another guy. Hilarious.
She is desperate and showed she is bat #### crazy last night.  Someone dodged a bullet

 
She is desperate and showed she is bat #### crazy last night.  Someone dodged a bullet
Yes, as Peter was being reasonable saying it's important to me to only be engaged once in my lifetime, so while I want to be with you I need to see how we are out in the real world before making that commitment, and she was responding that her moment of getting engaged on national TV was more important, I turned to my girlfriend and said in  my best Walter White voice, "RUN!" It's too bad more people weren't watching this season (I only watched the first ep, hometowns and the finale), because the ending was classic women crazy.

 
Pretty sure not getting engaged would probably cost her some sort of bonus.

If you're gonna go through the sham of "falling in love" on TV, you might as well go all the way.

The bachelorette just isn't interesting. You need the group dynamic of a gaggle of desperate insecure women to make the show interesting. 

 
Pretty sure not getting engaged would probably cost her some sort of bonus.

If you're gonna go through the sham of "falling in love" on TV, you might as well go all the way.

The bachelorette just isn't interesting. You need the group dynamic of a gaggle of desperate insecure women to make the show interesting. 
Yeah even with the highest caliber of woman the show is marginally watchable. The guys' behavior on the bachelorette is cringeworthy. It's only entertaining when they have cartoonish guys like the one years ago who was only there to pimp his music career. Wife and I tried several times to watch this season including last night and had to turn it off.

 
Yes, as Peter was being reasonable saying it's important to me to only be engaged once in my lifetime, so while I want to be with you I need to see how we are out in the real world before making that commitment, and she was responding that her moment of getting engaged on national TV was more important, I turned to my girlfriend and said in  my best Walter White voice, "RUN!" It's too bad more people weren't watching this season (I only watched the first ep, hometowns and the finale), because the ending was classic women crazy.
It seems fairly obvious that there's a steep incentive to get engaged, or the bachelor(ette) gets harangued endlessly by the producers if it looks like they might "settle" for the sensible path of just agreeing to keep seeing each other after the show ends. My only deciding factor would be which girl turns my crank more, not which one is more willing to marry me after 8 dates. The success rate of the show sucks anyway, I'll take my chances.

 
It seems fairly obvious that there's a steep incentive to get engaged, or the bachelor(ette) gets harangued endlessly by the producers if it looks like they might "settle" for the sensible path of just agreeing to keep seeing each other after the show ends. My only deciding factor would be which girl turns my crank more, not which one is more willing to marry me after 8 dates. The success rate of the show sucks anyway, I'll take my chances.
Obviously, there is no real commitment with getting engaged on the Bachelor. Might as well get the free ring for if it works out and make some money from the publicity. If it's not working in the real world, then you break up. This seems to be the tactic most guys take, but Peter for some reason had his moral qualms with frivolous engagement. Perhaps noble, but then why did you come on this show? I'm sure he's ruined any chances of being the Bachelor, and that he shouldn't want to be with how he presented himself this season, but it would be funny if he does become the Bachelor and is hypocritical to everything he said to Rachel.

 
Obviously, there is no real commitment with getting engaged on the Bachelor. Might as well get the free ring for if it works out and make some money from the publicity. If it's not working in the real world, then you break up. This seems to be the tactic most guys take, but Peter for some reason had his moral qualms with frivolous engagement. Perhaps noble, but then why did you come on this show? I'm sure he's ruined any chances of being the Bachelor, and that he shouldn't want to be with how he presented himself this season, but it would be funny if he does become the Bachelor and is hypocritical to everything he said to Rachel.
The bolded is the operative concept here. If you're on the show, you're a moron or a fame whore. Stay in your lane.

 
The bolded is the operative concept here. If you're on the show, you're a moron or a fame whore. Stay in your lane.
My brother and I talk about this quite a bit. How do you possibly go back to your group of friends after being a contestant on this show (assuming you don't "win") and not just get ridiculed until the day you die?  I guess going on the show could lead to some additional/better trim once you get home, but if you're picked to be on the show, you're probably doing more than ok on that front already.

If I had dozens of hours of footage of one of my best friends wearing pastel sweaters, talking about "the journey of love" (with a girl he just met 2 weeks ago) and slurping up 10 other guys' sloppy seconds, he would NEVER live it down. NEVER. God forbid he cried when he got voted off. Pretty sure I'd make fun of him to the point where we could no longer be friends. The temptation would just be too great to avoid it.

 
My brother and I talk about this quite a bit. How do you possibly go back to your group of friends after being a contestant on this show (assuming you don't "win") and not just get ridiculed until the day you die?  I guess going on the show could lead to some additional/better trim once you get home, but if you're picked to be on the show, you're probably doing more than ok on that front already.

If I had dozens of hours of footage of one of my best friends wearing pastel sweaters, talking about "the journey of love" (with a girl he just met 2 weeks ago) and slurping up 10 other guys' sloppy seconds, he would NEVER live it down. NEVER. God forbid he cried when he got voted off. Pretty sure I'd make fun of him to the point where we could no longer be friends. The temptation would just be too great to avoid it.
Yeah, but you might not be friends with a dude capable of that behavior in the first place. Probably in the crews these guys roll with, they've reached the pinnacle of millennial metrosexual doosh-bro culture. And yeah, the quantity & quality of tail post-bachelorette is probably nothing to sneeze at. Not to mention the possible invite to Bachelor in Paradise.

 
did they say who would be the new bachelor?
No. I guess Peter is still the top candidate if he would sacrifice his morals to do it, as he's far more popular than any other options and he has a built-in storyline with the will he propose to whomever he picks angle.

 
I haven't watched the last few episodes and probably won't.  But I found this article about it in the New Yorker (yes, The New Yorker) interesting.

On Monday night, millions of Americans, expectant and weary, settled in for the finale of “The Bachelorette,” to find out to whom Rachel Lindsay, the breezy Texan protagonist, would offer her final rose. This season of the show, like this year as a whole, has been a revealing one. A grim kind of reality television is now broadcasting daily from the White House; we are all more conscious that our systems of pleasure darkly mirror our systems of dominance. A good reality-TV show—and “The Bachelorette” qualifies—recognizes its ridiculous ability to expose and magnify the culture’s natural machinations. It follows, then, that in 2017 “The Bachelorette,” on its surface an escapist soap, might also brandish a sneaky pessimism: above all, it is a game show, and whoever works its weepy calculus most skillfully wins, plain and simple.

The finale was a torrid three-hour affair. In live segments before a studio audience, Lindsay, who had spent two months traversing the flatlands of America, the peaks of Geneva, and the vineyards of Rioja in search of a husband, would be watching along with the viewers, giving insight into the final week. Chris Harrison, our nonpartisan host, strolled onstage, looking funereal. The lighting was medicinal pink. He announced to the audience that this final episode would be like none other in the franchise, which has trudged on for sixteen years. Out of thirty-one men, three remained, and while they waited backstage three cameras were aimed at their faces. Their body language said it all. Eric Bigger, a personal trainer from Baltimore who once admitted to Lindsay that he wondered if he was capable of love, had his hands clasped. Since the finale had been taped, back in May, he had sprouted a fetching beard—an indication that he, like us, had been aged by this ordeal. Peter Kraus, the clear fan favorite, looked shrunken, his beautiful caterpillar eyebrows raised in the manner of a concerned Disney prince. Bryan Abasolo, the eerily smooth chiropractor from Miami, smirked.

The live portion of the show cut to prerecorded tape, and the camera crawled over the sun-bleached expanse of Spanish wine country, making even Monasterio de Valvanera, a monastery with Benedictine origins dating back to the tenth century, look tacky. Rachel tearily enumerated her options: “When I’m with Bryan, I feel like I’m in a fairy tale.” Eric made “our souls feel intertwined.” (Soon after, Rachel eliminated Eric, with little fanfare.) Peter, whom she had fallen for first, and the hardest, had saddled her with the biggest dilemma, one that disturbed the grotesquely sanguine science of the show: he did not want to rush into getting married; he was unsure that, at the final rose ceremony, he would feel ready to propose. A couple of episodes earlier, when Peter met members of Rachel’s family, they had been reassured by his hesitance, which seemed like a sign of seriousness. Rachel was not. Part of what had endeared her to fans was her practicality: Rachel wanted to get married. Now, in the final week, Peter reiterated his reservations. Rachel cried. “There has to be a way to fix this,” she said. “I feel like he’s fighting it.”

“The Bachelorette” is not a show that rewards Peter’s strain of seriousness, however valiant it might seem. It seems abundantly clear that, if he and Rachel had met outside of this champagne-filled petri dish, they would have continued their relationship and let it run its natural course, whether toward marriage or not. But the “Bachelor” franchise is predicated upon the idea that the foundation of a marriage can be built in two months. For eight weeks, viewers—many of them women and gay men, who have historical reasons to distrust the institution of marriage—take residence in this delicious lie. This is the show’s deep cynicism: the red roses and heartfelt professions are merely window dressing; the chase is to the ring—as material a goal as any other reality-show prize. The viewers are romantics; the contestants are strategists. (The majority of “Bachelor” and “Bachelorette” couples, unsurprisingly, break up within a few months of taping.)

Rachel and Peter’s stupefying, protracted breakup, which dominated the finale, called attention to the perversity of this formula. It was the only story line of the night that showed emotion. After their overnight date in the fantasy suite, the camera captured bells tolling, and we suspected that they were meant as omens. For their final date, Rachel and Peter consulted a monk at the monastery. He told them that relationships are difficult. Standing against dramatic mosaics of Marian motherhood, Peter and Rachel rehashed their differences. Their fight drifted into the night. Rachel cried so much that her fake eyelashes wilted. (At the live debriefing, Peter told Rachel that, after she left the suite, he could not bear to pick the fibres up from the floor.) Finally, Peter offered to propose, and Rachel rejected him. “I want you to do it because you want to do it.” Peter grew upset: “O.K., well, then go find someone who is going to give you a mediocre life!” They have reached an impasse. It is too hard to say goodbye—so Peter rends his sweater, and Rachel blots the last of her makeup from her eyes. Their end felt sordidly real. In the live studio segments, there was a mesmerizing stiltedness between them, which again seemed to violate the antiseptic core of the “Bachelor” franchise—it was confusing to feel that, amid such artifice, a real tragedy may have occurred.

Essentially, Bryan won by default. There’s not much to say about him. His cheekbones are prominent, his inner life nowhere to be found. (It turns out that he was once a contestant on a UPN dating show called “The Player.”) “The sass, the charm, the attorney in her: that actually turns me on,” he said, when Harrison asked what attracts him to Rachel. From the beginning, Bryan had tunnelled toward the prize, letting Rachel know, over and over again, that he shared her desire to get married.

After Peter leaves, we see Bryan consulting a jeweller. He picks out a pear-shaped diamond ring—a modern, ubiquitous cut. The proposal is devoid of tremors, of stumbles, of any other indicators of true connection. In the climactic moment, on a Spanish cliff, Bryan strides up to Rachel, who is caught in a fierce wind. He opens the box and Rachel shrieks. “It’s so pretty! Give it to me! It’s so pretty!” Game over.

Later, still steeped in a mood of lost love, I saw a tweet appear in my timeline showing a screen shot of Peter’s high-school yearbook. “Go to art school, become famous in one way or another, be on The Bachelor, live happily,” it read. The network will choose its next Bachelor soon.
 
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I haven't watched the last few episodes and probably won't.  But I found this article in the New Yorker (yes, The New Yorker) about it interesting.

On Monday night, millions of Americans, expectant and weary, settled in for the finale of “The Bachelorette,” to find out to whom Rachel Lindsay, the breezy Texan protagonist, would offer her final rose. This season of the show, like this year as a whole, has been a revealing one. A grim kind of reality television is now broadcasting daily from the White House; we are all more conscious that our systems of pleasure darkly mirror our systems of dominance. A good reality-TV show—and “The Bachelorette” qualifies—recognizes its ridiculous ability to expose and magnify the culture’s natural machinations. It follows, then, that in 2017 “The Bachelorette,” on its surface an escapist soap, might also brandish a sneaky pessimism: above all, it is a game show, and whoever works its weepy calculus most skillfully wins, plain and simple.

The finale was a torrid three-hour affair. In live segments before a studio audience, Lindsay, who had spent two months traversing the flatlands of America, the peaks of Geneva, and the vineyards of Rioja in search of a husband, would be watching along with the viewers, giving insight into the final week. Chris Harrison, our nonpartisan host, strolled onstage, looking funereal. The lighting was medicinal pink. He announced to the audience that this final episode would be like none other in the franchise, which has trudged on for sixteen years. Out of thirty-one men, three remained, and while they waited backstage three cameras were aimed at their faces. Their body language said it all. Eric Bigger, a personal trainer from Baltimore who once admitted to Lindsay that he wondered if he was capable of love, had his hands clasped. Since the finale had been taped, back in May, he had sprouted a fetching beard—an indication that he, like us, had been aged by this ordeal. Peter Kraus, the clear fan favorite, looked shrunken, his beautiful caterpillar eyebrows raised in the manner of a concerned Disney prince. Bryan Abasolo, the eerily smooth chiropractor from Miami, smirked.

The live portion of the show cut to prerecorded tape, and the camera crawled over the sun-bleached expanse of Spanish wine country, making even Monasterio de Valvanera, a monastery with Benedictine origins dating back to the tenth century, look tacky. Rachel tearily enumerated her options: “When I’m with Bryan, I feel like I’m in a fairy tale.” Eric made “our souls feel intertwined.” (Soon after, Rachel eliminated Eric, with little fanfare.) Peter, whom she had fallen for first, and the hardest, had saddled her with the biggest dilemma, one that disturbed the grotesquely sanguine science of the show: he did not want to rush into getting married; he was unsure that, at the final rose ceremony, he would feel ready to propose. A couple of episodes earlier, when Peter met members of Rachel’s family, they had been reassured by his hesitance, which seemed like a sign of seriousness. Rachel was not. Part of what had endeared her to fans was her practicality: Rachel wanted to get married. Now, in the final week, Peter reiterated his reservations. Rachel cried. “There has to be a way to fix this,” she said. “I feel like he’s fighting it.”

“The Bachelorette” is not a show that rewards Peter’s strain of seriousness, however valiant it might seem. It seems abundantly clear that, if he and Rachel had met outside of this champagne-filled petri dish, they would have continued their relationship and let it run its natural course, whether toward marriage or not. But the “Bachelor” franchise is predicated upon the idea that the foundation of a marriage can be built in two months. For eight weeks, viewers—many of them women and gay men, who have historical reasons to distrust the institution of marriage—take residence in this delicious lie. This is the show’s deep cynicism: the red roses and heartfelt professions are merely window dressing; the chase is to the ring—as material a goal as any other reality-show prize. The viewers are romantics; the contestants are strategists. (The majority of “Bachelor” and “Bachelorette” couples, unsurprisingly, break up within a few months of taping.)

Rachel and Peter’s stupefying, protracted breakup, which dominated the finale, called attention to the perversity of this formula. It was the only story line of the night that showed emotion. After their overnight date in the fantasy suite, the camera captured bells tolling, and we suspected that they were meant as omens. For their final date, Rachel and Peter consulted a monk at the monastery. He told them that relationships are difficult. Standing against dramatic mosaics of Marian motherhood, Peter and Rachel rehashed their differences. Their fight drifted into the night. Rachel cried so much that her fake eyelashes wilted. (At the live debriefing, Peter told Rachel that, after she left the suite, he could not bear to pick the fibres up from the floor.) Finally, Peter offered to propose, and Rachel rejected him. “I want you to do it because you want to do it.” Peter grew upset: “O.K., well, then go find someone who is going to give you a mediocre life!” They have reached an impasse. It is too hard to say goodbye—so Peter rends his sweater, and Rachel blots the last of her makeup from her eyes. Their end felt sordidly real. In the live studio segments, there was a mesmerizing stiltedness between them, which again seemed to violate the antiseptic core of the “Bachelor” franchise—it was confusing to feel that, amid such artifice, a real tragedy may have occurred.

Essentially, Bryan won by default. There’s not much to say about him. His cheekbones are prominent, his inner life nowhere to be found. (It turns out that he was once a contestant on a UPN dating show called “The Player.”) “The sass, the charm, the attorney in her: that actually turns me on,” he said, when Harrison asked what attracts him to Rachel. From the beginning, Bryan had tunnelled toward the prize, letting Rachel know, over and over again, that he shared her desire to get married.

After Peter leaves, we see Bryan consulting a jeweller. He picks out a pear-shaped diamond ring—a modern, ubiquitous cut. The proposal is devoid of tremors, of stumbles, of any other indicators of true connection. In the climactic moment, on a Spanish cliff, Bryan strides up to Rachel, who is caught in a fierce wind. He opens the box and Rachel shrieks. “It’s so pretty! Give it to me! It’s so pretty!” Game over.

Later, still steeped in a mood of lost love, I saw a tweet appear in my timeline showing a screen shot of Peter’s high-school yearbook. “Go to art school, become famous in one way or another, be on The Bachelor, live happily,” it read. The network will choose its next Bachelor soon.
Great read. This is why I don't tune in until toward the end. It's as real life as a soap opera with all the over the top antics they display throughout the show.

 
On Monday night, millions of Americans, expectant and weary, settled in for the finale of “The Bachelorette,” to find out to whom Rachel Lindsay, the breezy Texan protagonist, would offer her final rose. This season of the show, like this year as a whole, has been a revealing one. A grim kind of reality television is now broadcasting daily from the White House; we are all more conscious that our systems of pleasure darkly mirror our systems of dominance. A good reality-TV show—and “The Bachelorette” qualifies—recognizes its ridiculous ability to expose and magnify the culture’s natural machinations. It follows, then, that in 2017 “The Bachelorette,” on its surface an escapist soap, might also brandish a sneaky pessimism: above all, it is a game show, and whoever works its weepy calculus most skillfully wins, plain and simple.

The finale was a torrid three-hour affair. In live segments before a studio audience, Lindsay, who had spent two months traversing the flatlands of America, the peaks of Geneva, and the vineyards of Rioja in search of a husband, would be watching along with the viewers, giving insight into the final week. Chris Harrison, our nonpartisan host, strolled onstage, looking funereal. The lighting was medicinal pink. He announced to the audience that this final episode would be like none other in the franchise, which has trudged on for sixteen years. Out of thirty-one men, three remained, and while they waited backstage three cameras were aimed at their faces. Their body language said it all. Eric Bigger, a personal trainer from Baltimore who once admitted to Lindsay that he wondered if he was capable of love, had his hands clasped. Since the finale had been taped, back in May, he had sprouted a fetching beard—an indication that he, like us, had been aged by this ordeal. Peter Kraus, the clear fan favorite, looked shrunken, his beautiful caterpillar eyebrows raised in the manner of a concerned Disney prince. Bryan Abasolo, the eerily smooth chiropractor from Miami, smirked.

The live portion of the show cut to prerecorded tape, and the camera crawled over the sun-bleached expanse of Spanish wine country, making even Monasterio de Valvanera, a monastery with Benedictine origins dating back to the tenth century, look tacky. Rachel tearily enumerated her options: “When I’m with Bryan, I feel like I’m in a fairy tale.” Eric made “our souls feel intertwined.” (Soon after, Rachel eliminated Eric, with little fanfare.) Peter, whom she had fallen for first, and the hardest, had saddled her with the biggest dilemma, one that disturbed the grotesquely sanguine science of the show: he did not want to rush into getting married; he was unsure that, at the final rose ceremony, he would feel ready to propose. A couple of episodes earlier, when Peter met members of Rachel’s family, they had been reassured by his hesitance, which seemed like a sign of seriousness. Rachel was not. Part of what had endeared her to fans was her practicality: Rachel wanted to get married. Now, in the final week, Peter reiterated his reservations. Rachel cried. “There has to be a way to fix this,” she said. “I feel like he’s fighting it.”

“The Bachelorette” is not a show that rewards Peter’s strain of seriousness, however valiant it might seem. It seems abundantly clear that, if he and Rachel had met outside of this champagne-filled petri dish, they would have continued their relationship and let it run its natural course, whether toward marriage or not. But the “Bachelor” franchise is predicated upon the idea that the foundation of a marriage can be built in two months. For eight weeks, viewers—many of them women and gay men, who have historical reasons to distrust the institution of marriage—take residence in this delicious lie. This is the show’s deep cynicism: the red roses and heartfelt professions are merely window dressing; the chase is to the ring—as material a goal as any other reality-show prize. The viewers are romantics; the contestants are strategists. (The majority of “Bachelor” and “Bachelorette” couples, unsurprisingly, break up within a few months of taping.)

Rachel and Peter’s stupefying, protracted breakup, which dominated the finale, called attention to the perversity of this formula. It was the only story line of the night that showed emotion. After their overnight date in the fantasy suite, the camera captured bells tolling, and we suspected that they were meant as omens. For their final date, Rachel and Peter consulted a monk at the monastery. He told them that relationships are difficult. Standing against dramatic mosaics of Marian motherhood, Peter and Rachel rehashed their differences. Their fight drifted into the night. Rachel cried so much that her fake eyelashes wilted. (At the live debriefing, Peter told Rachel that, after she left the suite, he could not bear to pick the fibres up from the floor.) Finally, Peter offered to propose, and Rachel rejected him. “I want you to do it because you want to do it.” Peter grew upset: “O.K., well, then go find someone who is going to give you a mediocre life!” They have reached an impasse. It is too hard to say goodbye—so Peter rends his sweater, and Rachel blots the last of her makeup from her eyes. Their end felt sordidly real. In the live studio segments, there was a mesmerizing stiltedness between them, which again seemed to violate the antiseptic core of the “Bachelor” franchise—it was confusing to feel that, amid such artifice, a real tragedy may have occurred.

Essentially, Bryan won by default. There’s not much to say about him. His cheekbones are prominent, his inner life nowhere to be found. (It turns out that he was once a contestant on a UPN dating show called “The Player.”) “The sass, the charm, the attorney in her: that actually turns me on,” he said, when Harrison asked what attracts him to Rachel. From the beginning, Bryan had tunnelled toward the prize, letting Rachel know, over and over again, that he shared her desire to get married.

After Peter leaves, we see Bryan consulting a jeweller. He picks out a pear-shaped diamond ring—a modern, ubiquitous cut. The proposal is devoid of tremors, of stumbles, of any other indicators of true connection. In the climactic moment, on a Spanish cliff, Bryan strides up to Rachel, who is caught in a fierce wind. He opens the box and Rachel shrieks. “It’s so pretty! Give it to me! It’s so pretty!” Game over.

Later, still steeped in a mood of lost love, I saw a tweet appear in my timeline showing a screen shot of Peter’s high-school yearbook. “Go to art school, become famous in one way or another, be on The Bachelor, live happily,” it read. The network will choose its next Bachelor soon.

For eight weeks, viewers—many of them women and gay men
  :lmao: :lmao: :lmao:  

 
I haven't watched the last few episodes and probably won't.  But I found this article about it in the New Yorker (yes, The New Yorker) interesting.

On Monday night, millions of Americans, expectant and weary, settled in for the finale of “The Bachelorette,” to find out to whom Rachel Lindsay, the breezy Texan protagonist, would offer her final rose. This season of the show, like this year as a whole, has been a revealing one. A grim kind of reality television is now broadcasting daily from the White House; we are all more conscious that our systems of pleasure darkly mirror our systems of dominance. A good reality-TV show—and “The Bachelorette” qualifies—recognizes its ridiculous ability to expose and magnify the culture’s natural machinations. It follows, then, that in 2017 “The Bachelorette,” on its surface an escapist soap, might also brandish a sneaky pessimism: above all, it is a game show, and whoever works its weepy calculus most skillfully wins, plain and simple.

The finale was a torrid three-hour affair. In live segments before a studio audience, Lindsay, who had spent two months traversing the flatlands of America, the peaks of Geneva, and the vineyards of Rioja in search of a husband, would be watching along with the viewers, giving insight into the final week. Chris Harrison, our nonpartisan host, strolled onstage, looking funereal. The lighting was medicinal pink. He announced to the audience that this final episode would be like none other in the franchise, which has trudged on for sixteen years. Out of thirty-one men, three remained, and while they waited backstage three cameras were aimed at their faces. Their body language said it all. Eric Bigger, a personal trainer from Baltimore who once admitted to Lindsay that he wondered if he was capable of love, had his hands clasped. Since the finale had been taped, back in May, he had sprouted a fetching beard—an indication that he, like us, had been aged by this ordeal. Peter Kraus, the clear fan favorite, looked shrunken, his beautiful caterpillar eyebrows raised in the manner of a concerned Disney prince. Bryan Abasolo, the eerily smooth chiropractor from Miami, smirked.

The live portion of the show cut to prerecorded tape, and the camera crawled over the sun-bleached expanse of Spanish wine country, making even Monasterio de Valvanera, a monastery with Benedictine origins dating back to the tenth century, look tacky. Rachel tearily enumerated her options: “When I’m with Bryan, I feel like I’m in a fairy tale.” Eric made “our souls feel intertwined.” (Soon after, Rachel eliminated Eric, with little fanfare.) Peter, whom she had fallen for first, and the hardest, had saddled her with the biggest dilemma, one that disturbed the grotesquely sanguine science of the show: he did not want to rush into getting married; he was unsure that, at the final rose ceremony, he would feel ready to propose. A couple of episodes earlier, when Peter met members of Rachel’s family, they had been reassured by his hesitance, which seemed like a sign of seriousness. Rachel was not. Part of what had endeared her to fans was her practicality: Rachel wanted to get married. Now, in the final week, Peter reiterated his reservations. Rachel cried. “There has to be a way to fix this,” she said. “I feel like he’s fighting it.”

“The Bachelorette” is not a show that rewards Peter’s strain of seriousness, however valiant it might seem. It seems abundantly clear that, if he and Rachel had met outside of this champagne-filled petri dish, they would have continued their relationship and let it run its natural course, whether toward marriage or not. But the “Bachelor” franchise is predicated upon the idea that the foundation of a marriage can be built in two months. For eight weeks, viewers—many of them women and gay men, who have historical reasons to distrust the institution of marriage—take residence in this delicious lie. This is the show’s deep cynicism: the red roses and heartfelt professions are merely window dressing; the chase is to the ring—as material a goal as any other reality-show prize. The viewers are romantics; the contestants are strategists. (The majority of “Bachelor” and “Bachelorette” couples, unsurprisingly, break up within a few months of taping.)

Rachel and Peter’s stupefying, protracted breakup, which dominated the finale, called attention to the perversity of this formula. It was the only story line of the night that showed emotion. After their overnight date in the fantasy suite, the camera captured bells tolling, and we suspected that they were meant as omens. For their final date, Rachel and Peter consulted a monk at the monastery. He told them that relationships are difficult. Standing against dramatic mosaics of Marian motherhood, Peter and Rachel rehashed their differences. Their fight drifted into the night. Rachel cried so much that her fake eyelashes wilted. (At the live debriefing, Peter told Rachel that, after she left the suite, he could not bear to pick the fibres up from the floor.) Finally, Peter offered to propose, and Rachel rejected him. “I want you to do it because you want to do it.” Peter grew upset: “O.K., well, then go find someone who is going to give you a mediocre life!” They have reached an impasse. It is too hard to say goodbye—so Peter rends his sweater, and Rachel blots the last of her makeup from her eyes. Their end felt sordidly real. In the live studio segments, there was a mesmerizing stiltedness between them, which again seemed to violate the antiseptic core of the “Bachelor” franchise—it was confusing to feel that, amid such artifice, a real tragedy may have occurred.

Essentially, Bryan won by default. There’s not much to say about him. His cheekbones are prominent, his inner life nowhere to be found. (It turns out that he was once a contestant on a UPN dating show called “The Player.”) “The sass, the charm, the attorney in her: that actually turns me on,” he said, when Harrison asked what attracts him to Rachel. From the beginning, Bryan had tunnelled toward the prize, letting Rachel know, over and over again, that he shared her desire to get married.

After Peter leaves, we see Bryan consulting a jeweller. He picks out a pear-shaped diamond ring—a modern, ubiquitous cut. The proposal is devoid of tremors, of stumbles, of any other indicators of true connection. In the climactic moment, on a Spanish cliff, Bryan strides up to Rachel, who is caught in a fierce wind. He opens the box and Rachel shrieks. “It’s so pretty! Give it to me! It’s so pretty!” Game over.

Later, still steeped in a mood of lost love, I saw a tweet appear in my timeline showing a screen shot of Peter’s high-school yearbook. “Go to art school, become famous in one way or another, be on The Bachelor, live happily,” it read. The network will choose its next Bachelor soon.
My wife stuck with this season. Turns out the Rachel we thought had it together after seeing her in the Bachelor last season isn't reality?

 
You just have to stick it out until she gets back, which was crazily on her mind while departing.  
Maybe the whole DeMario/Corrine thing was all a plot cooked up by Lacy, to shut down production until she gets back. She appears to be the one who benefits the most from the whole situation. Shark pool move.

 

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