Go on television with even a little baby fat, he tells her, and you look like nothing. A mask. A full moon. A big zero with no features for people to remember.
“Losing all that blubber is the only really heroic thing I've ever done,” she says. “If I gain it back, then it'll be like I never lived.”
You see, the slick guy says, television takes a three-dimensional thing—you—and turns it into a two-dimensional thing. That's why you look fat on camera. Flat and fat.
Holding the photo between two fingernails, looking at her old self, our blonde says, “I don't want to be just another skinny girl.”
About her hair being too “hot,” the slick guy tells her, “That's why you never see natural redheads in porn movies. You can't light them right, next to real people.”
That's what this guy wants to be: the camera behind the camera behind the camera giving the last and final truth.
We all want to be the one standing farthest back. The one who gets to say what's good or bad. Right or wrong.
Our too-blonde girl, going to blow out the cameras, the slick guy tells her about how these local-produced shows are broken into six segments with commercials in between. The A Block, B Block, C Block, and so on. These shows like Rise and Shine Fargo or Sun-Up Sedona, they're a dying breed. Expensive to produce, compared to just buying some national talk-show product to fill the slot.
A promotion tour like this, it's the new vaudeville. Going from town to town, hotel to hotel, playing one-night stands on local television and radio. Selling your new and improved hair curler or stain remover or exercise wheel.
You get seven minutes to put your product across. That's if you're not slotted in the F Block—the last block, where in half the ADIs you get bumped off the program because an earlier block went too long. Some guest was so funny and charming they held him through the commercial. They “double-blocked” him. Or the network interrupted with a sinking ship.
That's why the A Block is so choice. The show starts, the anchors do their “chat” segment, and you're on.
No, pretty soon, all this hard-won know-how the slick guy's put together, it will be no good to anybody.
Maybe that's why he's teaching her for free. Really, he says, he should write a goddamn book. That's the American Dream: to make your life into something you can sell.
Still looking at her fat-self photograph, the blonde says, “It's pretty creepy, but this fatty-fat picture is worth more to me than anything,” she says. “It used to make me sad, looking at it. But now it's the only thing that cheers me up.”
She holds out her hand, saying, “I eat so much fish oil you can smell it.” She wiggles the photo at the slick guy, saying, “Smell my hand.”
Her hand smells like a hand, like skin, soap, her clear fingernail polish.
Smelling her hand, he takes the picture. Flattened out on paper, made into just height and width, she's a cow wearing a cropped top over low-rise jeans. Her old hair is a normal, average brown color.
If you look at what the slick guy's wearing, a pale-pink shirt with a robin's-egg-blue tie, a dark-blue sports coat, it's perfect. The pink warms up his flesh tones. The blue picks out his eyes. Before you even open your mouth, he says, you have to be presentable. Presentable, well-groomed broadcast content. You wear a wrinkled shirt, a stained tie, and you'll be the guest they cut if they run short of time.
Any television station just wants you to be clean, well-groomed, charming content. Camera-friendly content. A nice face, because a stain remover or an exercise wheel can't talk. Just happy, high-energy content.
On the monitor, the skin hanging off the old guy's neck, it's folded and pleated together where it has to tuck into his starched blue button-down collar. Even so, as he swallows, just sitting there, some extra skin spills out over the top of his collar, the way the before-photo girl's belly fat spills over the waist of her jeans.
This photo doesn't even look like the same girl. Mainly because in the picture she's smiling.
Looking at the green-room monitor, the slick guy points out how the hot camera never pans over the audience, never gives us a wide shot. That means the place is nothing but old ladies with bad teeth. The audience-recruitment person, he must've worked a deal. They drag these goobers in here at 7 a.m. and fill an audience, and the station will plug their Senior Craft Fair. That's how they stock these local shows with people to clap. Around Halloween, it will be all young people coming in, so the station will plug their haunted-house fund-raiser. Around Christmas, those bleachers are nothing but old folks who want their charity bazaars to get some attention. Fake applause traded for free advertising.
On the broadcast monitor, the national talent kicks the show back to the local anchor, who tosses to a pre-pro package tease about tomorrow's makeover show, then the bump: a beauty shot of the rain falling outside, a little fanfare, and we're into commercial.
The ship's sunk, with hundreds dead. Film at eleven.
The slick guy's investment pitch, he's rewriting it inside his head to include Acts of God. Disasters you can't predict. And how vitally important a good, sound investment plan can be to the people depending on you. Him, being his product. Hiding his agenda.
Him, the camera behind the camera.
Long as it took that ocean liner to sink, it looks as if our bleach blonde's hair will get her bounced off.
Before they come back from commercial, bumping with a traffic report, a voice-over and the live shot from some highway camera, before then the producer will escort the stain remover back to the green room. The floor producer, she'll hand the radio mike to the Investment Video. She'll tell the Fitness Wheel, “Thank you for coming
