The motorhome sank. The op a performance by theatre group Vis à Vis inspired studio decor of the legendary summer series Zomergasten had had its day. Was probably also because of the new presenter. Theo Maassen is very tall and lanky, and likes to flap his legs, so he would never have lasted without a wet suit to sit on the cramped camper roof for six summer Sunday evenings.
Instead, the VPRO chose an existing venue: the main hall of the Muziekgebouw (aan 't IJ) in Amsterdam. That hall can be transformed into a flat-floor space and its striking walls, covered with acoustically useful slats, offer opportunities for spherical lighting.
Twitter united
Although I am still rarely active on Twitter, especially since Elon Musk has turned it into a playground for conflict seekers, I am happy to make an exception for Zomergasten. That's because, in Twitter's early years, it was the first programme to do justice to the social network's function as a so-called second screen.
This time Twitter was remarkably unanimous: Theo Maassen made a wonderful debut in the high-profile talk show, precisely also by choosing a subject and guest that could be considered a nightmare for ratings hunters: cosmology, or the doctrine of the very largest, and how it is intertwined with the very smallest. Thomas Hertog is a gifted storyteller, Maassen an inquisitive guy who gives his guest all the space and won't put in an earpiece with an editor-in-chief to let chance rule.
Thus followed a fascinating evening about the beginning of everything, and about the immeasurable loneliness of us in the universe. About Hannah Ahrendt. And that once upon a time there was no time. Or, that that 'once upon a time' therefore never existed, because there was no time. Just as the 'once upon a time' does not exist that marks the moment when time ceases to exist.
Moiré effect
Finally: several hundreds of thousands of people sat through this early queen's ride in the mountain classification of Zomergasten to the end, as fascinated by the subject matter as by the chemistry between the two men that made it a thrilling viewing game.
However, that viewing was, according to almost everyone, a bit difficult because of the décor, and there is a lot to be said for that. After all, what makes the main hall of the Muziekgebouw so wonderfully unworldly during concerts is counterproductive on television. It is just short of the well-known 'moiré effect', but it comes close to it: stripes that begin to oscillate as if by themselves, distracting attention, and even hurting the eyes. Also the reason why no one should appear on TV wearing a striped blouse.
Hopelessly disturbing
Previous backgrounds on Summer Guests always had something distracting, but usually it took the form of fluid slides: TV images blown up and distorted into abstract warmth. Now it was often green and grey: beautiful colouring, especially when you are there live in the room, but hopelessly disturbing when you see it on TV.
The only consolation may be that it made for a wonderful visual rhyme with the climax of Interstellar, Christopher Nolan's film that was a nice subject in this interview. Next week, the cinematographer of that film will be a guest in Zomergasten, so possibly the choice of location, and its lighting, was deliberate.
Big loser
Still, I wonder how well the VPRO's designers really considered the difference between a live exposure and the effect on a three-hour television evening.
For now, the Music Building is the big loser, also because hardly anyone of the 500,000 viewers seemed to recognise it. The marketing department has a job to do.
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