“Germany’s Next Top Model”: It’s over with diversity

cultural „Germany‘s Next Topmodel“

It’s over with diversity

Stand: 14.02.2023 | Reading time: 2 minutes

The jury: Peter Dundas, Heidi Klum and Winnie Harlow

Source: ProSieben/Richard Hübner

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Heidi Klum recently relied entirely on the “diversity” business model. Even over 60 models were allowed to take part in their talent show. That seems to be the end of it. The 18th season is dedicated to the old obsession with youth. Why the allegations from ex-candidates Heidi can not harm.

Zreal perception is relative. Some of the “Germany’s Next Topmodel” candidates are as old this year as the show itself: 18. For a ProSieben casting show, that’s downright ancient, for “girls” who expose themselves on TV, show themselves naked and into the future sign long contracts, rather young.

But age doesn’t seem to matter anymore in the new season, which starts on Thursday evening. Where presenter Heidi Klum put the focus on diversity last year, which meant that women aged 68 and 66 were allowed to stagger or slide to the winner’s stand for the first time, the homogeneity of the early days is now back. The youngest of the 29 participants listed on the website is 18, the oldest 26 years old.

Why hasn’t the concept of age diversity caught on? The fact that the hoped-for success did not materialize seems just as improbable as the strategy of creating surprises by not surprising them. A trailer alone reveals that the 50+ models on the show may be paying tribute in a different way.

Young and full of personality: The GNTM candidates 2023

Source: picture alliance/dpa/ProSieben

Otherwise, the list of participants hardly offers anything to talk about. Unlike 2022, when Viola met so few common beauty criteria in the eyes of many viewers that the rumor went around that the satirist Jan Böhmermann had smuggled her into the show. Personality no longer consists of being a mother (Martina) or a pink hairstyle (Viola), but, as can be read in the short biographies published by ProSieben, in extreme shyness (Anya) or a prominent friend (Ana).

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At the same time, accusations from ex-candidates accusing the broadcaster of misrepresentation, unsafe filming and manipulation are increasing. In view of this fundamental criticism, should it be surprising that the show has not yet been canceled? Or can it be assumed that the situation here is similar to that of Meghan Markle’s criticism of the British royal family, which ultimately fell back on the apostate herself?

It is the battle between two zeitgeisty principles: victimhood vs. the promise of advancement, to achieve something by strengthening your character and body. The aesthetic-voyeuristic interest in the logic of casting seems unbroken. “Ophelia’s Got Talent”, the play that has been sold out at Berlin’s Volksbühne for months, also tells of a talent show. “I’m your biggest fan!” says a juror, who is suspiciously reminiscent of Klum in her vacillation between enthusiasm and the will to destroy, to a candidate who pierces her skin with a hook and hangs a canister on it. Three hours later, the blood has flooded the whole stage.