Waitress knows she is unlikely to win, but she’s not here to win. She’s here to make an impression—on the producers, on the viewers, on anyone. Yes, she’s a full-time server at a tapas restaurant, but she starred in a candy commercial when she was six and considers herself an actress first, a model second, and a waitress third. Walking among the trees, she has a thought she will not speak: This is bound to be her big break.
Back at the river, Tracker decides the rock is a relatively minor hazard, and that the known obstacle is better than the unknown. He springs. The editor will slow the footage, as though this were a nature documentary and Tracker the great cat he secretly thinks he inhabited in a previous life. Viewers will see the length and power of his stride. They will see—a few would have noticed already, but a close-up will demand the attention of the rest—his odd but recognizable footwear, their yellow logo a tiny mid-foot scream of color on the otherwise dark expanse of him. They will see his individually sheathed toes gripping stone. They will note his balance and speed, the control Tracker has over his movement, and some of them will think, I should get a pair of those. But Tracker’s footwear is only an accent on his control, which is beautifully expressed as he leaps from stone to stone, passing above churning water. His body seems longer in motion than it did while still, and in this too he is catlike.
The ball of his right foot lands upon the unsteady stone, which rocks forward. This is an important moment. If Tracker falls, he will become one character. If he flows onward untroubled, he will become another. The casting process has finished, but only officially.
Tracker splays his arms for balance—revealing a red bandana worn braceletlike around his right wrist—and experiences a rare moment of less than total grace; he wobbles. Then he follows the motion of the rock, and he’s gone, onto the next foothold, which is steady. Seconds later, he’s across, breathing with moderate exertion, dry from his clean-shaven scalp to his individualized toes, dry everywhere save for a slight dampness in his armpits, which viewers cannot see. He adjusts the straps of his sleek, nearly empty black backpack and then continues into the forest, toward the Challenge.
The wobble will be edited out. Tracker has been cast as impervious, unstoppable.
Meanwhile, Waitress stumbles over a protruding root and drops her compass. She bends from the waist to retrieve it, and gravity grants her cleavage—just as Waitress intended.
Two ends of a spectrum converge.
Between these extremes, Rancher wears a cowboy hat that looks nearly as weathered as his craggy, stubbled face, and he saunters with ease through the woods. He wears his black-and-yellow bandana in true cowboy fashion, around his neck, ready to be yanked over his mouth and nose should a dust storm arise. He is a thousand miles from his speckled Appaloosa, but riding spurs jut from his leather-bound heels. The spurs are an offering to the camera, given to Rancher by the on-site producer. Upon accepting them, Rancher flicked one to rotation. A dull edge, but an edge nonetheless. Useful, perhaps, he thought. He was also given a striped poncho to wear, but this he refused. “What’s next?” he asked. “You want me to carry around a stack of corn tortillas and a chili pepper?”
Rancher’s ancestors were once categorized as mestizo and largely dismissed by the powers-that-be. His grandfather crossed the border in the night and found work shoveling manure and milking cows at a family-owned ranch. Years later, he married the boss’s daughter, who inherited the business. Their light-skinned son married a dark-skinned seamstress from Mexico City. Rancher’s skin is the lightly toasted hue that resulted from that union. He is fifty-seven, and his shaggy chin-length hair is as sharply black and white as his beliefs about good and evil.
There are no obstacles between Rancher and the Challenge. Competency—or lack thereof—is not his defining feature. It is his proud, cowboy stride that is on display. His character is established in seconds.
Asian Chick is less easy to peg. She is dressed in khaki work pants and a blue plaid shirt. Her hair is long and straight, bound in a simple tar-black ponytail accented by a neon-yellow bandana, which is tied like a headband with the knot tucked away at the nape of her neck. Asian Chick wears only the makeup that was forced on her: slicks of eyeliner that further elongate her long eyes, and a smear of sparkling pink lipstick.
She scans her surroundings as she breaks the tree line and emerges into an open field. She sees a man waiting at the center of the field.
Beyond the man, across the field, Air Force steps into the sunlight.
For their military selection, the producers wanted a classic, and the man they chose is just that: close-cropped blond hair that glitters in the sun, sharp blue eyes, a strong chin perpetually thrust forth. Air Force is wearing jeans and a long-sleeved tee, but he walks as though in formal dress. Boardlike posture makes him appear taller than his five feet eight inches. His navy-blue bandana—a shade darker than official Air Force blue—is knotted around his belt at his left hip.
Air Force will be touted as a pilot, but his portrayal will include a careful omission. No mention will be made of what he pilots. Fighter jets, most viewers will assume—which is what they’re meant to assume. Air Force is not a fighter pilot. When he flies, he moves cargo: tanks and ammunition; batteries and metal coils; magazines and candy bars to stock the shelves of the shopping malls the United States is kind enough to erect for her deployed men and women. He’s a lean, year-round Santa Claus, bearing care packages from dear Aunt Sally. In an organization where fighter pilots are deities and bomber pilots fly the sun itself, his is a largely thankless job.
Air Force and Asian Chick meet at the center of the field, nod a greeting, and stand before the man waiting for them there. The host. He will not be featured until he speaks, and he will not speak until all twelve contestants have gathered.
Tracker slips from the trees behind the host. Rancher appears to the east, and with him a tall thirtysomething red-haired white man with a lime-green bandana. Soon contestants are appearing from all sides. A white woman in her late twenties with light hair and glasses, a sky-blue bandana around her wrist. A middle-aged black man, a white man barely out of his teens, an Asian man who could pass as a minor but is really twenty-six. A mid-thirties white man, and a Hispanic woman whose age is irrelevant because she’s young enough and her breasts are huge and real. Each has a uniquely colored bandana visible on his or her person. Last to appear is Waitress, who is surprised to find so many people already in the field. She bites her bottom lip, and Air Force feels a throb of attraction.
“Welcome,” says the host, a thirty-eight-year-old B-list celebrity who hopes to revive his career—or at least pay off his gambling debt. He’s nondescriptly handsome, with brown hair and eyes. His nose has been described in several prominent blogs as “Roman,” and he pretends to know what this means. The host is dressed in outdoor clothing, and any shot of him speaking will include his upper chest, where a sponsor is proudly declared. “Welcome,” he says again, in a deeper, excessively masculine voice, and he decides that when they record the real greeting, this is the voice he will use. “Welcome to The Woods.”
A soft buzzing sound catches the attention of the contestants; Air Force is the first to turn around. “Holy shit,” he says, an uncommon slip and the first profanity to be censored. The others turn. Behind the group, a five-foot-wide drone with a camera lens at its center hovers at eye level. Cue an additional smattering of awed profanities and a muttered “Cool” from the light-haired woman.
The drone zips silently up into the sky. After only a few seconds it’s far enough, quiet enough, to be nearly invisible.