Barely five minutes into the first episode of “The Rehearsal,” tnyfrontrow wanted to throw his laptop across the room or “just to throw Nathan Fielder out of it.”
,” from 1968, features the crew filming themselves and criticizing the director—who includes that footage in the movie. Fielder’s crew members remain nonentities, mere onscreen emblems of planning and labor, even as, throughout, I wished that his cast and crew had symbio-ed him—had spoken their minds on camera about their work with him. It isn’t a matter of time but of care.
The second episode introduces a forty-four-year-old woman named Angela, who would like to have a child but has no man in her life, and is wondering whether she should become a single mother. To help her figure it out, Fielder plants her in a large house in a small Oregon town, fills the house with surveillance cameras, and hires child actors—from babies to teen-agers—to portray Angela’s potential child.
As a filmmaker, Fielder displays interest not in any physical process unfolding over time but in his own intellectual process—in the authentic ingenuity of the working out of his conceit, which the onscreen events merely exemplify, like data points rather than experiences. He revels in his own thoughts as he tailors the conditions of his subjects’ lives to fit his storytelling, largely through his own voice-over. Fielder’s main real-life stake is the one onscreen: making the show a success.
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