As I sat down to watch the first of this year’s X Factor live shows, I expected nothing different from the previous eight years of the show. However, I was met by an unsettled notion as soon as the rigmarole of lights, music and hopeful acts began. I felt as if, in settling down to Saturday night television, I completely understood Stephanie Collins’ concept when she came up with the idea of The Hunger Games. Watching the newly made-over contestants completely paralleled for me the way the tributes are treated in the days leading up to the Games: the waxing, the styling, the limited-time-only pampering because for both contestants and tributes it will not last long. In The Hunger Games, the tributes are treated to food and beauty treatments they’ve never heard of in their final days of life, whereas The X Factor contestants are completely led to believe that they are ‘living the dream’ for a few short weeks. Especially with this year’s addition of the contestants living in London’s swanky Corinthia hotel, as opposed to the usual X Factor house; it’s like their own taste of luxury – before imminent doom. I personally see little difference between contestant and tribute at this point.
Now, obviously, The X Factor contestants do not have to fight to the death, (unless there’s something major they’re not telling us) but it still all seems extremely bizarre to me. I actually feel as though The Hunger Games are slightly more humane; at least the tributes go into the arena knowing they probably won’t survive. On the other hand, The X Factor finalists (all 13 of them this year) are pumped with false hope, from their judges as well as their friends and family, right from the beginning. Take the ‘Wild Card’ twist this year: I saw that as simply cruel. Adam Burridge, Amy Mottram, Christopher Maloney and Times Red all had to learn a song and film the behind the scenes footage just in case they were voted in by the public, with only Christopher’s footage and performance being used. I just believe that to be brutal and simply for the viewers’ ‘entertainment’. Letting those people think, for a good few months, that they may actually be in with a chance of making it to the live shows (not even to the final, just to be in the final thirteen) then shooting three of them down. A show like The X Factor should not have so much power over people’s emotions. I know it can be argued that they audition willingly and knowingly, but that really does seem to be where their free-will and decision making ends. After that, they are seen begging for their places at boot-camp, begging to sing a second song and begging not to be sent home. Again, it seems brutal.
My aim is not to completely slate The X Factor, I will still be watching it this year; I just may not be able to watch it as comfortably and light-heartedly as I previously have after drawing comparisons to The Hunger Games. After all, both contestants and tributes are moulded and shaped to how the judges, producers, game makers and sponsors want them – even if you have not yet read The Hunger Games I hope you can at least detect this. Even Gary Barlow has said to both James Arthur and Lucy Spraggan this year not to lose what they originally brought to this competition, (i.e, song writing, acoustic guitars and personal style) but we as viewers can already see that slipping away.
Both The X Factor and The Hunger Games produce a winner; however, winning either isn’t a particularly beneficial thing. Has anyone heard from Matt Cardle recently? Steven Brookstein? Leon Jackson? No, didn’t think so. The X Factor does not create winning pop stars; it creates Christmas number ones and a few lucky runners up, such as JLS and Olly Murs, who are actually relatively successful. Furthermore, The X Factor is so drawn out, with months of auditions, boot-camp and live shows. At least The Hunger Games are over and done with within a matter of weeks: less suffering for all involved. I am not trying to dissuade anyone from watching or competing in talent shows, I am simply trying to reiterate Stephanie Collins’ concept of her post-apocalyptic world where people have to rely on other people’s pain and misery for entertainment. Personally, I find this concept a little too familiar in the modern day.