What’s the wine doing there?
Here’s the rough maximum to ask the question: How does an episode about wine end in a Netflix series about food?
Part of the answer to this question lies in the fact that the Netflix series Rotten, which was recently nominated for an Emmy Award in the outstanding commercial and economic documentary category, isn’t just about food, and the wine episode is rarely just wine. .
More broadly, the Rotten series is about the forces shaping our food chain. The specific wine episode has less to do with wine as a drink than with advertising and cultural forces shaping some of the industry’s most prominent problems, such as global demand, emerging markets, labor, climate substitution, and demographic adjustments that are transforming the outlook for manufacturers into one of the world’s best-known wine regions.
In the moment component of this set of articles on “Reign of Terroir”, I resume verbal exchange with Ted Schillinger, showrunner and co-executive maker of Rotten at Zero Point Zero Production, Inc. We explore what an attractive video is; Focus on the universal themes of storytelling and your team assessment of winning this Emmy.
He’s looking for a core that he believes will lead to a meaningful revelation of an industry that other people don’t know and will be interested in, and he’s looking for a genuine human conflict. You’re looking for the seed of a story you think will germinate in both directions. You locate many other people who aren’t. The hook for us when we arrived here through this factor of the organization vaguely known as CRAV [Regional Committee for Wine Action, or Regional Committee for Wine Action].
It wasn’t just burning or spilling chardonnay on the road. This is a perfect video that actually catches someone’s attention for 3 minutes. But it’s not going to be enough for an hour-long documentary. In Rotten, for human stories to make sense, the viewer wants to perceive the industry. That’s what’s so hard about wine. If you don’t [perceive the industry], the struggles are inconsistent. It was intimidating and challenging for us. At the same time, you have this extra-ageing culture of economic protest [in France] that has underpinned all the hardest things to perceive about the wine sector.
When we explored the problems around the main focus, craV, we arrived in Languedoc-Rousillon, Montpellier, French wine production and the history of an industry. We are now contemplating a radical replacement for what was absolutely dominant in France, which is no longer the case. Changing trends thousands of lives and lifestyles. It was the legs and the basis of anything we could communicate on.
When other people think about wine, the consumer/viewer, you know that the bottle you drink probably costs less than 11 or 16 dollars, and you think the rest of the wine is that product so complicated that you have nothing. do with it. But you turn the stage and you look at those French winemakers and they’re working-class farmers. You can attach to how they fight for a way of life and a life to live as planned. The world revolves around you and they simply look to stay awake. It’s universal.
We’re looking for it to be conversational, something fun, because life is fun and crazy. We need to recognize that, recognize the absurdity of some of the dilemmas that other people face.
We’re facing some pretty tough competition. It’s an amazing honor and I’m excited about the groups of managers and manufacturers who created the series. They painted so hard in a rare form of history. I’m so pleased that your paintings are recognized. The documentary [as a genre] took off recently, whereas before there was basically PBS and 60 Minutes. Today, there’s a lot of content and a lot to see. It’s such a crazy and exciting moment.
I am an entrepreneur in the picture of the wine generation and a journalist with a specific interest in the business and wine policy. My writing and they have appeared
I am an entrepreneur in the picture of the wine generation and a journalist with a specific interest in the business and wine policy. My writings and photographs have been published on paper, online and on media radio such as BBC America, Decanter, The Atlantic, DailyBeast, Worth magazine, Food52.com, the Boston Globe and the Washington Post. I have worked for some of the world’s leading chefs, adding Thomas Keller, Alice Waters and Jean-Pierre Vigato. I am also the founder of Harvard Alumni in Wine and Food. Me, the global in search of generous spirit and natural joy. – true hospitality.