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The entertainment value in food and its value to the public relations industry

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The entertainment value in food and its value to the public relations industry

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Content THE ENTERTAINMENT VALUE IN FOOD AND ITS VALUE TO THE PUBLIC
RELATIONS INDUSTRY

by

Jillian Smillie

A Thesis Presented to the
FACULTY OF THE USC GRADUATE SCHOOL
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
MASTER OF ARTS
(STRATEGIC PUBLIC RELATIONS)

May 2010

Copyright 2010 Jillian Smillie
ii
Acknowledgments

Researching and writing this thesis has been the quintessential “labor of love,”—a
challenging, yet rewarding experience filled with highs, lows and late night chocolate
indulgences to cope with the stress. Nevertheless, as I reflect back over the past several
months on my journey from start to finish, to say that I am proud with what I have
accomplished would be a complete understatement. I took great pleasure in writing about a
topic that I love and I owe my deepest gratitude to the many people who have contributed
to the success of my final product.
To Jennifer Floto, my committee chair and mentor, I thank you for constantly
pushing me to step outside my personal boundaries, pursue my passions and have
confidence in my endeavors. Your unwavering faith and assurance in my abilities has driven
me to excel both personally and professionally over the past couple of years. Every office
hour meeting with you was such a treat and I enjoyed all of our tangent filled chats about
school, my career aspirations, life, and of course, food. Your dedication and encouragement
were motivational for me as I wrote this thesis and I am grateful to have had you serve as my
thesis committee chair and graduate school mentor.
To my committee members, Laura Jackson and Jonathan Kotler, this thesis would
not have been possible without your assistance and expertise. Thank you Laura for your
constant optimism, encouraging personality and keen eye for editing. Thank you John for
stepping in at the final hour and providing me with your invaluable support. I thank you
both for the countless hours that you invested into my thesis and I am truly grateful to have
had both of you as committee members and professors during my time at Annenberg.
iii
Lastly and most importantly, I would like to thank my parents for everything that
they have done on my behalf, for without them, I would not be where I am or who I am at
this moment in my life. I am forever indebted to them for providing me with constant love,
unyielding support and the vital resources that I have needed to succeed. I could not have
asked for better role models and I am grateful for the trust and belief that they have placed
in me throughout my entire life. As I am about to graduate with my master’s degree and
embark on the next chapter in my life, I will be forever grateful to my parents for
encouraging, inspiring and enabling me to pursue my dreams.

iv
Table of Contents

Acknowledgments ii

Abstract vi

Preface vii

Introduction 1

Chapter 1: The Evolving Consumer 4
The New “Me-Conomy” 6

Chapter 2: The Modern Definition of Cooking 9

Chapter 3: Focus Group Analysis
General Consumer Attitudes Toward Food 12
Views on Food Entertainment 13
Opinions About Celebrity Chefs 14
Summary Remarks 16

Chapter 4: The Rise of Food Entertainment: A Tribute to Julia Child 18
The Dawn of an Icon 18
Moving Forward from Julia 21

Chapter 5: Case Study: The Food Network 24
Humble Beginnings 24
Food Network Today 27
Positioning Strategy 27
Expansion and Growth 29
Ratings and Statistics 32

Chapter 6: Outcomes of Food Entertainment 35
Educated and Demanding Consumers 35
Food Brand Impact 36
Entertaining Consumers 38
A Universal Entertainment 38
A Vehicle of Escape 40
Emotional Connection 42
Launch of the Celebrity Chef 44
Celebrity Chef Defined 44
Rise of Celebrity Chef 45
Power of Celebrity Chef 48

Chapter 7: Interesting Paradox 53
v
Chapter 8: Recommendations 55

Conclusion 67

Bibliography 69

Appendices:
Appendix A: Interview Transcript 75
Appendix B: Focus Group Discussion Guide 80

vi
Abstract

Over the past several decades, food entertainment has had a significant influence upon
shaping and redefining American culinary culture. Whether it is through its programs or
associated figures (i.e., celebrity chef or host), food entertainment has made its way into
mainstream media and become the “go-to” source of entertainment and food-related
information for many consumers.
As food entertainment continues to flourish not only in the United States, but also
throughout the world, public relations professionals must pay attention.
This study will peel away the layers of food entertainment to discover its true impact
on culinary culture. It will first explore the evolving consumer and the modern definition of
cooking. It will then go into the rise of food entertainment through a tribute to Julia Child
and in depth look at the Food Network, both pioneers in the food entertainment industry.
Finally, this paper will provide a thorough analysis of food entertainment outcomes
followed by a list of recommendations for public relations professionals for using food
entertainment as a resource in a strategic communication campaign.

vii
Preface

It’s difficult to pinpoint the exact moment in my life that I became obsessed with
food, but, if I had a choose, I would say that it all began on my first birthday—the day my
taste buds came alive—the day I ate my first bite of devilishly rich “ooey-gooey” chocolate
cake. It is absolutely true what they say—a picture really is worth a thousand words and the
photos from this momentous occasion in my life are further proof of the point.
I am seated in my high-chair, face smeared with chocolate. In front of me sits my very
own chocolate cake, big enough to feed a family of eight, but small enough to not cause
intimidation. While my left hand shoves cake in my mouth, my right, clawed and
determined, reaches for more. The expression on my face is priceless. I am in an absolute
state of sensory nirvana; peering my gaze away from the camera thinking that someone,
somewhere, must be playing a trick on me; that why, after a year of mushy baby food, I am
given this delectable mountain of crumbly goodness enveloped with a sweet and velvety
coating. While I had no idea what lay ahead of me at this point in my life, I can only
speculate that with each mouthful of chocolate cake, I inherently knew I was priming myself
for a lifetime of food fascination and obsession.
Food is very much part of my personal identity. I spend much of my free time
thinking about it, reading about it and watching shows about it on television. Whereas
others may dread going to the grocery store, I look forward to that weekly adventure. I
actively seek out farmer’s markets and anticipate the times when I am able to cook an entire
meal for myself. I possess a passion for food that far surpasses that of my peers, and that
enthusiasm continues to flourish as each year passes.
While it was my first bite of chocolate cake at age 1 that ignited my taste buds and
viii
culinary palate, it was food entertainment, specifically the Food Network, which really got
me thinking about food in a more refined manner. I began watching the Food Network as
an undergraduate student in 2005. At that time, the Food Network was just beginning to
gain in popularity and, to my knowledge, was the only major source of food entertainment
on television. Since then, there has been a proliferation of food programs on the Food
Network and other television networks. No longer just confined to the Food Network,
food entertainment has made its way into mainstream culture, which, in effect, has changed
the way that consumers think about food and interact with food. For this reason, food
entertainment is a sector within the television entertainment industry to which public
relations professionals in general must pay attention. For PR professionals who specifically
practice in the food, beverage and culinary industries, food entertainment can be utilized in a
multitude of ways to enhance a communication plan and strategy. Even PR professionals
who work in non food-related industries can benefit from food entertainment by utilizing it
as a case study of how to influence consumers and impact consumer behavior.
This paper is my attempt to provide a glimpse into the impact of food
entertainment—effects that have so thoroughly impacted and influenced culinary culture
that national brands must pay attention. Through my analysis, I have comprised a list of
recommendations for public relations professionals for how to leverage the outcomes and
success of food entertainment. It is my hope that these recommendations will serve as a
valuable tool when drafting a strategic communication plan for a client’s brand and/or
product.

Bon Appétit!
1
Introduction

Food! Who doesn’t like food? The taste, the smell, the sight, the texture—so many
of the senses are stimulated by a single bite. According to the Merriam-Webster dictionary,
food is “material consisting essentially of protein, carbohydrate and fat used in the body of
an organism to sustain growth and vital processes and to furnish energy.”
1
Food provides
the body with the energy it needs to go about each day; it supports the immune system to
ensure a healthy mind and body; and it regulates mood, muscle and nerve responses. It is a
basic necessity to sustain life.
Nevertheless, to many people, food entails a much more symbolic experience that is
ignited by the perfect harmony of the five senses—touch, sight, smell, sound, taste. The
smell of a warm chocolate chip cookie could trigger a childhood memory of baking with
your mother on a cold and wintery day. The taste, smell and texture of spaghetti Bolognese
may mimic a grandmother’s dish concocted every Sunday for a family meal. Food can also
serve as a form of social interaction—bringing people together, cultivating relationships and
igniting memories through a universally appealing substance.
However defined, food is intricately woven into the everyday lives of consumers.
With its strong presence in consumer culture and lifestyle, is it any wonder why food
entertainment in America and around the world has grown to be so prominent over the past
several years?
Food entertainment’s prominence and influence has become so prevalent that
advertisers have even taken notice and have spent millions of advertising dollars to promote
products and brands during food programs. In November, 2009 alone, Scripps Networks,

1
Merriam-Webster’s Online Dictionary. “Food.” http://www.merriam-webster.com/dictionary/food (accessed October
14, 2009).

2
owner of the Food Network and other leading lifestyle media brands, reported third quarter
2009 advertising revenue of $237 million, up 0.5 percent from the previous quarter.
2
Food
brands are not the only types of companies to advertise during food programming. The
Food Network hosts advertisers from many top companies such as retail, finance and travel,
including many first-time advertisers to cable television.
3

The goal of this study is to explore the entertainment value in food, specifically in
relation to how food entertainment has played a significant role in shaping and redefining
culinary culture. Whether it is through its programs or associated figures, televised food
entertainment has impacted consumer behavior and attitudes to the point where public
relations professionals must pay attention. Through careful analysis of consumer research
and food entertainment data, articles and academic periodicals, this study provides public
relations professionals with a list of recommendations for using food entertainment as a
strategic tool to promote a client’s brand and/or product.
For purposes of this study, “food entertainment,” also referred to as “food
programming,” is defined as any television program specifically dedicated to food or that
includes a food-dedicated segment during its programming. This includes any program on
the Food Network as well as shows such as Bravo’s Top Chef and Everyday Food on PBS. This
also includes specific food segments on such programs as The Today Show, Good Morning
America, and Oprah.
Although this study primarily focuses on the rise of food entertainment and its
outcomes in the United States, it is important to note its current significance and presence as

2
“Scripps Networks Interactive Inc.; Scripps Networks Interactive Reports Third Quarter Financial Results,” Information
Technology Business, November 24, 2009, http://www.proquest.com.libproxy.usc.edu/ (accessed March 7, 2010).
3
“Food Network,” Scripps Networks,
http://www.thecab.tv/php/networkprofiles/08profileData/08_pdfs/FOODNETWORK.pdf (accessed November 2,
2009).
3
a global trend. For example, citing its tremendous popularity and success in the United
States, Scripps Networks Interactive Inc. has announced it will be launching the Food
Network (a highly successful lifestyle network specifically focusing on food) in Europe,
Africa and the Middle East. Additionally, Japan’s media landscape is already heavily
sprinkled with food entertainment television. The most apparent example of this is Iron Chef,
which originated in Japan and was later brought to the United States due to its success and
unique approach to food preparation. Furthermore, the concept of the celebrity chef is not
just an American phenomenon, but is a trend that can be seen throughout the developed
world. For example, Chef Gordon Ramsay, Nigella Lawson and Jaime Oliver are popular
celebrity chefs in the United Kingdom, each hosting their own television show(s) and the
owner of one or more restaurants.
4
Chapter 1

The Evolving Consumer

In the highly technological world in which we live, consumers possess the
overwhelming ability to retrieve endless amounts of information from anywhere in the world
within seconds. In this age of consumer empowerment, customization is often no longer a
point of differentiation between brands, but rather, a point of parity, and standard
expectation, in the minds of consumers. Arguably, the desire for customization can be seen
in virtually every industry. According to Phil Lempert, food trend tracker and editor of
Supermarketguru.com, what is most fundamentally different about today’s consumer is that
he/she is more informed and thus empowered than other preceding generations. Because of
technological advancements, consumers now have the tools and accessibility to make an
impact faster than ever before.
4
Whether it is through Facebook, Twitter, YouTube or
personal blogs, consumers can easily upload their thoughts and feelings on any topic and
broadcast it to the online world in a matter of seconds. The only thing required is an
internet connection.
In 2008, Ketchum, one of the world’s largest and most geographically diverse public
relations agencies,
5
released “Food 2020: The Consumer as CEO,” a global survey that
studied consumers’ primary food concerns and expectations surrounding food. According
to the study, several similarities and differences existed in what consumers wanted in food.
For example, taste, quality and price were consistently top-of-mind considerations when
choosing foods—except in China, where health benefits were considered the most
important.

4
Eatherton, Linda and Lempert, Phil. 2008, “Food 2020: The Future of Food, Nutrition & Wellness,” Podcast audio
program, http://www.ketchum.com/food2020_podcast (accessed October 10, 2009).
5
“Quick Facts About Ketchum,” Ketchum Public Relations, http://www.ketchum.com/facts (accessed March 6, 2010).
5
One of the most important and critical findings of this study was that across the
globe, consumers wanted and expected more control over the types of food that is produced
and brought to market by food companies.
6
According to Linda Eatherton of Ketchum
Public Relations, “consumers want more control in areas where food companies are least
likely to seek consumer’s input.”
7
Historically, food companies have designed products based
on enhancing or changing various attributes of the product. Rather than gathering
consumer input and feedback and producing a product that the consumer wants, the focus
seems to have been on designing the right products based on the various attributes of the
food.
8
This practice is still in use today. For example, until 2007 Heinz Ketchup scientists
fiddled with everything but consumer preference when releasing new products. Multi-
colored ketchups have been offered in shades such as “Blastin’ Green,” “Stellar Blue,” and
“Funky Purple”
9
and in 2003, the company even released “Heinz EZ Squirt,” a kid-friendly
bottle designed to fit the smaller hands of a child. It was not until 2007 that the company
finally acknowledged consumer input and released a consumer-friendly inverted bottle that
ketchup aficionados had hounded Heinz about for several years prior. When it was finally
released, consumers were so thrilled with this new bottle that the product flew off grocery
store shelves.
Another problem facing food companies is that the priorities of the CEO and the
priorities of the consumer are not aligned.
10
In 2008, Linda Eatherton, Ketchum Public
Relations, stated that 45 percent of CEOs of major food brands focused on corporate social
responsibility (CSR) initiatives, while the number one item on the mind of a consumer is

6
Eatherton and Lempert. Podcast audio program. “Food 2020: The Future of Food, Nutrition & Wellness.”
7
Ibid.
8
Ibid.
9
“Heinz Unveils New Blue Ketchup,” USA Today, April 7, 2003,
http://www.usatoday.com/money/industries/food/2003-04-07-blue-ketchup_x.htm (accessed March 3, 2010).
10
Eatherton and Lempert. Podcast audio program. “Food 2020: The Future of Food, Nutrition & Wellness.”
6
rising food prices. Though food companies are just beginning to realize this, “the food
chain must begin being leveled. The CEO of a food company must be the CEO of a
household.”
11

Eatherton goes on to note,

In fact, consumers even feel that they deserve a seat at the table in the designing
process—that they deserve the opportunity and the right to have a voice with major
food companies to identify the types and kinds of food products that they are
looking for and the way in which they are created. The reasons why they are having
bold expectations are not surprising when you realize how many people today are
feeling directly connected to corporations, especially via the internet. It has
empowered the consumer in ways that we have not seen before.
12

Ketchum’s “Food 2020” study found that if consumers could be food company
CEOs, they would emphasize taste, quality and price—the three attributes study respondents
identified as most important in a choosing a product. And while attributes were highly
ranked, the study found that “all over the world, consumers place an equal importance on
nutritional value, safety of ingredients, convenience of prep time, health benefits, types of
ingredients and source of ingredients.”
13
According to Eatherton, “the value equation is
quite different than what it was many years ago. If consumers were truly the CEOs of food
companies, they would be looking at all those attributes as requirements when addressing
food, and that is quite a hurdle for food companies.”
14

The new “me-conomy”

As consumer empowerment and desire for customization is continuing to grow,
retailers have devised a new term to describe it—the “me-conomy.”
15
In the me-conomy,

11
Ibid.
12
Ibid.
13
Ibid.
14
Ibid.
15
Kimberly Palmer, “The Store of YOU: Why buy off the rack when you can customize? Shoppers design clothes, candy,
even credit cards,” U.S. News & World Report, November 3, 2008, http://www.usnews.com/money/personal-
finance/articles/2008/10/27/the-store-of-you.html?PageNr=1 (accessed October 16, 2009).
7
“consumers are ‘information omnivores’ who like ‘uberscure’ and customized products.”
16

As journalist Kimberly Palmer notes, “Owning one-of-a-kind sneakers, clothes, jewelry, wine
and even credit cards that reflect one’s taste, personality, and lifestyle is the new sign of
success and luxury.”
17
Palmer goes on to say that “even products that have long been mass-
produced—stamps and M&Ms, for example—can now be customized.”
18
Arguably, the
food industry is the ultimate customizable industry, allowing consumers to express
themselves through the food they consume, the brands they admire and the restaurants
where they eat. It seems today’s consumer faces infinite possibilities to customize food and
all things food-related.
In the me-conomy, consumers are less willing to compromise. If a specific product
does not meet desired specifications, an alternative can be bought at a different location or
ordered online. Researchers at Yankelovich, a leading consumer research company, even
found that an essential consideration for consumers when choosing a brand was how well it
represented his/her unique tastes and individuality.
19
Added Ron Shevlin, a senior analyst at
Aite Group, a financial services research firm: “As we become a more affluent society and
more highly educated, we become a society that really wants to take greater control over our
lives.... It's important to people to not just be another number."
20

While manufacturers may hesitate to embark on business ventures that emphasize
customization, Kimberly Palmer, U.S.News & World Report, notes, “providing this level of
service often pays off by creating loyal customers who are willing to spend more than they

16
Palmer, “The Store of YOU: Why buy off the rack when you can customize? Shoppers design clothes, candy, even
credit cards.”
17
Ibid.
18
Ibid.
19
Ibid.
20
Ibid.
8
would for a standardized product.”
21
It is important for manufacturers to take notice of
increased demand for customization because, according to Darrell Rigby, head of Bain’s
global retail practice, “consumers are increasingly proud of their differences and want others
to recognize them.”
22
Failing to provide customized products could potentially limit the
success of the company or brand.
In all, consumers today, compared to twenty, ten or even five years ago are much
more informed, empowered and demanding. They are less willing to compromise and insist
upon having a “seat at the table” in the product development process, driven by their desires
for customization and one-of-a-kind products that help distinguish them from their peers.

21
Ibid.
22
Ibid.
9
Chapter 2

The Modern Definition of Cooking

“Some people like to paint pictures, or do gardening, or build a boat in the basement. Other people get a
tremendous pleasure out of the kitchen, because cooking is just as creative and imaginative an activity as
drawing, or wood carving, or music.”
~Julia Child
23

What does it actually mean to cook? At first glance, the concept of cooking may
seem quite straightforward. However, upon further investigation, the notion of cooking
today, compared to several years ago, bears a different definition based on the consumer in
question. While some deem cooking as chopping and assembling vegetables into a salad,
others view it as compiling raw ingredients into a well-crafted recipe that further requires the
use of an oven or stove. Lastly, there are those define cooking as reheating a previous
night’s meal or microwaving a frozen dinner.
Regardless of the definition an individual may hold, the activity of cooking has
dramatically changed since the days of Julia Child in the 1960’s when, more often than not,
preparing a home-cooked family meal meant cooking from scratch with fresh ingredients.
Many consumers of today would define that process as laborious and time-intensive.
With that change has come the evolution of consumer attitudes, beliefs, trends and
behaviors. According to Harry Balzer, a food marketing researcher who has been studying
American eating habits since 1978, “. . .the phrase ‘to cook’ [today] means to prepare a main
dish that requires some degree of ‘assembly of elements.’ So microwaving a pizza doesn’t
count as cooking, through washing a head of lettuce and pouring bottled dressing over it
does.”
24

23
“Cooking Quotes,” Foodreference.com, http://www.foodreference.com/html/qcooking.html (accessed January 3, 2010).
24
Michael Pollan, “Out of the Kitchen, Onto the Couch,” New York Times, August 2, 2009,
http://www.nytimes.com/2009/08/02/magazine/02cooking-t.html (accessed October 25, 2009).
10
Today, only about 58 percent of the meals that Americans prepare qualify as cooking
under Balzer’s definition.
25
Michael Pollan, a food and agriculture author and researcher,
notes that even several food programs on television, a major source for recipes and meal
ideas, “rely on ingredients that themselves contain an extensive list of ingredients: canned
soups, jarred mayonnaise, frozen vegetables, powdered sauces, vanilla wafers, limeade
concentrate, marshmallow fluff, etc.”
26
Several food entertainment programs, Pollan
continues, “encourage home cooks to take all manner of shortcuts, each of which involves
buying another product, and all of which taken together have succeeded in redefining what it
commonly means by the verb ‘to cook’”
27

Consumers today also are heavily reliant on convenience or “quick” foods,
“prepackaged [items] that can be prepared quickly and easily.”
28
A 2003 survey, “What
America Eats 2003,” Parade magazine’s ninth biennial survey of the nation’s food habits,
found that about 90 percent of Americans purchased convenience foods and nearly 25
percent have used more timesaving convenience foods since 2001.
29
The study also found
that more than half of those surveyed indicated that “reduced time” and “less effort” to
prepare were the primary reasons for purchasing convenience foods.
30
Researchers noted,
For many years now, Americans have been putting in longer hours at work and
enjoying less time at home. Americans today spend more time working than people
in any other industrialized nation…The amount of time spent on food preparation in
America has fallen at the same precipitous rate among women who don’t work
outside the home as it has among women who do: in both cases, a decline of about
40 percent since 1965.
31

25
Pollan, “Out of the Kitchen, Onto the Couch.”
26
Ibid.
27
Ibid.
28
The Free Dictionary. “Convenience Food,” http://www.thefreedictionary.com/convenience+food (accessed January 3,
2010).
29
Michael J. Harris and Rimma Shiptsova, “Consumer Demand for Convenience Foods: Demographics and
Expenditures.” Journal of Food Distribution Research, November 2007. http://purl.umn.edu/46585 (accessed October 15,
2009).
30
Harris and Shiptsova, “Consumer Demand for Convenience Foods: Demographics and Expenditures.”
31
Pollan, “Out of the Kitchen, Onto the Couch.”
11
As this statistic shows, the rise of women in the work force is not the only factor
contributing to the reduction in time spent on food preparation. Instead, consumers are
experiencing an overall reduction in time available to prepare meals, possibly due to
overloaded schedules and more varied responsibilities.
In short, “cooking” has shifted from a consumer’s responsibility to a manufacturer’s
responsibility. Grocery stores today are inundated with products from manufacturers that
are designed for the modern consumer—busy, on-the-go individuals with little time to spare.
“This development has been facilitated by the use of technological innovations in
preservation, packaging, freezing, artificial flavorings and ingredients, and by the use of
microwaves.”
32
Michael Pollan noted, “Processed foods have so thoroughly colonized the
American kitchen and diet that they have redefined what passes today for cooking, not to
mention food…”
33

Overall, it is evident that cooking today is a shared responsibility between the
manufacturer and the consumer. Consumers are busier and less willing to take the time to
prepare entire meals from scratch, especially when supermarkets offer an array of
convenience foods that require minimal preparation. While many factors can be attributed
to this shift in consumer attitude and behavior toward food and cooking, food entertainment
also can be seen as having played a significant role in this phenomenon and is likely to
continue to do so in the future. For this reason, food entertainment can serve as a primary
platform or resource in the creation of a strategic communication plan for a client’s brand
and/or product.

32
Harris and Shiptsova, “Consumer Demand for Convenience Foods: Demographics and Expenditures.”
33
Pollan, “Out of the Kitchen, Onto the Couch.”
12
Chapter 3

Focus Group Analysis

To further explore consumer opinions and attitudes toward food entertainment on a
first-hand basis, an hour-long focus group was conducted in October 2009. The twelve
participants, comprised of 6 males and 6 females, ranged in age from 22 to 33. All were
graduate-level college students in the Annenberg School for Communication and Journalism
at the University of Southern California.
The focus group discussion guide was written to identify how the participants
interacted with food as well as to identify their attitudes and awareness of food
entertainment. Research questions fell into three broad categories: general attitudes toward
food; expectations surrounding food; and attitudes, perceptions and awareness of food
entertainment. A copy of the entire Focus Group Discussion Guide is provided in
Appendix B of this report.
General Consumer Attitudes Toward Food

Overall, focus group participants expressed excitement and interest when food was
unveiled as the general subject matter for discussion. When asked “why do you cook?”
several participants referred to the social aspects of cooking, deeming it a “family activity,” a
“social activity that brings friends together” or “an intimate activity to do with a loved one.”
Identifying cooking as a social activity seemed to reinforce food’s symbolic value and
significance. During the focus group, the concept of food extended beyond its functional
role of providing fuel, growth and health to the human body. It serves as an integral part of
personal identity and culture, bringing together family, friends and strangers. The theme of
food as a social activity was a recurring topic of discussion throughout the focus group.
13
When asked about their general views and attitudes toward food, participants stated
views of food as “a form of nostalgia,” a reference to past emotions, thoughts or memories
triggered by touch, sight, smell, and taste. Participants also made a direction connection
between food and emotion, with one participant stating, “When I am in a bad mood, I eat
more.” During this part of the discussion, it is important to note that when asked about
general attitudes toward food, a majority of participants referred to the symbolic, rather than
functional, aspect of food. In addition, all responses were overwhelmingly positive about
food, without any negative connotations related to food or anything connected to food.
Views on Food Entertainment

After discussing general attitudes toward food and cooking, the focus group shifted
gears as participants considered their awareness and opinions of food entertainment. When
asked, “what purpose do food entertainment programs serve in the lives of consumers?”
participants stated that the programs were informative, helping consumers become more
knowledgeable about food. They were considered an entertaining and empowering source
of knowledge and information, exposing consumers to obscure ingredients, ethnic cuisines,
gourmet cooking techniques and affordable meal options. Furthermore, participants said the
information gained through watching these programs was considered applicable in the
everyday lives of consumers. Information retention is so powerful that one participant cited
feeling more confident and comfortable not only dining in an unfamiliar restaurant, but
ordering an unusual dish with ingredients that once seemed foreign. They confirmed that
this confidence was mostly gained through watching various food programs on television.
In addition, one participant stated that certain food programs had provided her with
affordable meal options to prepare gourmet-tasting dishes. Participants mentioned that
programs often offer tips and tricks for cooking on a budget and stretching ingredients to
14
accommodate the preparation of multiple dishes. Participants said the affordability aspect of
these programs was important because it provided easy access for all consumers with varying
budgets.
In addition to serving as a source of knowledge and empowerment for consumers,
focus group participants said food programming also serves as a source of entertainment.
During the discussion, participants made specific reference to food competition programs
(e.g., Food Network’s Iron Chef America), citing the dramatic and suspenseful nature of the
programs as a primary motivating factor for viewing. Food competition programs were
mentioned as merging the relatable and universal appeal of food with consumers’ desire for
dramatic action and suspense.
Lastly, when asked about what impact food entertainment has had on the public
relations industry over the past several years, participants stated that food programs have
presented more outlets for brand/product exposure and placement. In addition, they
mentioned that restaurants featured on food programs are getting more exposure today than
ever before. Lastly, participants mentioned that food entertainment presents opportunities
for third-party endorsements because it was far more credible for a food brand to secure an
endorsement from a celebrity chef who knows how to cook rather than a celebrity who has
no connection with food at all.
Opinions About Celebrity Chefs

All successful, informative and entertaining food programs seem to have two things
in common—delicious-looking food and an appealing and personable host/chef. Not only
does the food have to look appetizing in its presentation, but the chef, or host, also must be
personally engaging. Over the years, chefs on television have become known as “celebrity
chefs”—a term that refers to the mass media appeal of the individual, not only on television,
15
but also as a public figure. Beyond television show tapings, a celebrity chef may participate
in special appearances, give cooking demonstrations, volunteer for charity events, or
promote other personal projects (i.e., authoring a cookbook, launching a personal cookware
line, etc.).
During the focus group, participants made a distinction between two types of
celebrity chefs. The first was the chef who has benefited from television exposure.
According to participants, these chefs became famous because of their personalities and it
was the personality that drove the brand. Participants cited Sandra Lee from Food
Network’s Semi-Homemade Cooking with Sandra Lee as an example.
The second type of celebrity chef is one who started out as an accomplished cooking
professional and later became famous. These were identified as chefs who seemed to have
an extreme passion for food, were classically trained or had an extensive restaurant business
background. These individuals were believed to have earned credible reputations due to
their originality, flawless execution of cuisine and thirst for culinary adventure. This chef
may later choose to capitalize on her/his existing reputation by embarking on a career in
food entertainment or he/she may also choose to remain out of the spotlight by focusing on
an existing business or supporting certain charities. Examples include Thomas Keller, Mario
Batali and Wolfgang Puck.
When asked why consumers might trust celebrity chefs, focus group participants
stated that such chefs had built solid personal brands and it was the brand that boosted
credibility in the eyes of the consumer. A chef’s personality, cookbooks, restaurants, branded
products and quality of cuisine all contribute toward the creation of a celebrity chef brand.
16
Additionally, public appearances and media representation also are heavy contributors.
34

Participants also compared society’s obsession with celebrity chefs (e.g., Paula Deen) to its
obsession with entertainment celebrities (e.g., Brad Pitt); stating that consumers’ obsession
with celebrity chefs was merely a reflection of the already celebrity-obsessed culture that
prevails today. However, participants also noted that compared to entertainment celebrities,
the power of the celebrity chef is stronger because chefs seemed more accessible and
relatable as public figures. In addition, chefs discuss food, a topic of universal interest.
Consumers were able to connect with celebrity chefs by watching their program(s),
cooking from their cookbook(s)or even, using their branded products. Participants said this
was further enhanced with social media venues such as Twitter where celebrity chefs are
actively engaging with consumers. Finally, focus group participants theorized that viewers
might feel like they are “in the know” when they watch celebrity chefs, that through
watching the chef’s program, the viewer is getting an inside look at the process and learning
valuable secrets and tips.
Summary Remarks
According to this focus group, consumers possessed positive opinions toward food
and identify with food on a more symbolic rather than functional level. In addition,
consumers appreciated the informative aspect of food entertainment and feel a sense of
empowerment through the knowledge that is attained when watching food programs.
Beyond the time that it takes to watch the actual program, food entertainment is integrated
into the everyday lives of consumers in a multitude of ways, thus serving as a primary
contributor in the shaping and redefining of culinary culture in the mind of the consumer.

34
Barry Silverstein, “Celebrity Chefs: Brands That Cook in the Kitchen, Brandchannel, May 5, 2008,
http://www.brandchannel.com/features_effect.asp?pf_id=420 (accessed November 3, 2009).
17
Before understanding the effects and outcomes of food entertainment, it is imperative for
PR professionals to understand contextually how it all came about. What follows is an in-
depth overview of the Food Network and Julia Child; both instrumental contributors to not
only food entertainment, but also to the evolution of food from merely a substance of
functionality to a substance of great symbolic value.

18
Chapter 4

The Rise of Food Entertainment:
A Tribute to Julia Child

“This is my invariable advice to people: Learn how to cook -- try new recipes, learn from your mistakes, be
fearless, and above all, have fun!”

~Julia Child (My Life in France)
35

The Dawn of an Icon
No study on food entertainment would be complete without a tribute to Julia Child,
a popular television chef and author whose recipes have made their way into the kitchens
and stomachs of millions around the world. Credited as introducing French cuisine to the
American palate, Child launched her career in 1961 with her iconic best-selling cookbook,
Mastering the Art of French Cooking, a monumental “800-page book that has since, become
a standard guide for the culinary community.”
36
While Child’s cookbook established her
credibility as a chef to the culinary community, it was her “trademark forthright manner,
hearty humor”
37
and love of food on her television series that garnered a loyal and diverse
consumer following, ultimately developing her into the iconic figure that she is today.
It is important to note that Julia Child was not the first cook to have her own
television series. According to Noel Riley Fitch, author of Appetite for Life, The Biography
of Julia Child, “in the early years of commercial television, local home economics teachers
would come on in white uniforms and white shoes to illustrate the four basic food groups,
most sponsored and influenced by food companies.”
38
It was not until 1948 that the first
real food-centered teaching on television began, when Dione Lucas, the first woman to
graduate from Le Cordon Bleu culinary institute in Paris, premiered her own cooking

35
“Quotes by Julia Child,” Good Reads, http://www.goodreads.com/author/quotes/3465.Julia_Child (accessed November
15, 2009).
36
“Julia Child,” Biography.com, http://www.biography.com/articles/Julia-Child-9246767 (accessed Feb 10, 2010).
37
“Julia Child.”
38
Noel Riley Fitch, Appetite For Life, The Biography of Julia Child. (New York, NY: Anchor Books, 1999), 295.
19
television show. According to Fitch, Lucas was known by many for her “neurotic and bossy
demeanor.”
39
Some even described her as “a veritable soap opera of eccentricities,
dramatics, and migraine, exacerbated by drugs and alcohol.”
40

When Child’s show, The French Chef, first appeared on American public television in
1963 it introduced home cooks to a whole new concept—cooking is not scary and it can
actually be fun!
41
Compared to her predecessors, Child possessed an on-air presence that
captured the hearts of viewers. On the television screen, Child conveyed an unprepossessing
nature. She was broad of hip, curly of hair, a bit too loud or emphatic. She was, in effect
and manner, an average American housewife who had, by hint of sheer determination,
mastered French cuisine. Her challenge to her viewers all but stated, “If I can do it, you can
too.” It was engaging and unpretentious. And the food was delicious. While Child was not
the first cook to demonstrate her techniques on the television screen, it was her personality,
humor, unique character and on-air expressions that transformed cooking into
entertainment.
42

Due to the show’s limited production budget, The French Chef was taped live and
broadcast uncut and unedited, which meant that viewers were often left waiting for
particular cooking elements to occur (i.e., waiting for water to boil). However, according to
Michael Pollan, a food and agriculture author, “while Julia waited for the butter foam to
subside in the sauté pan, you waited, too, precisely as long, listening to Julia’s improvised
patter over the hiss of her pan, as she filled the desultory minutes with kitchen tips and
love.”
43

39
Fitch, Appetite For Life, The Biography of Julia Child,295.
40
Ibid., 295
41
Pollan, “Out of the Kitchen, Onto the Couch.”
42
Fitch, Appetite For Life, The Biography of Julia Child,296
43
Pollan, “Out of the Kitchen, Onto the Couch.”
20
“Child persuaded Americans to swoon over dishes they hadn’t ever known existed,
and she captured the nation’s collective interest in cuisine in her famous TV cooking
shows.”
44
Her dishes inspired many home cooks to attempt dishes that exhibited an aura of
difficulty—boeuf bourguignon, French onion soup gratinee, duck a l’orange, coq au vin, and mousse au
chocolat. “That learning to cook,” Michael Pollan wrote, “could lead an American woman to
success of any kind would have seemed utterly implausible in 1949; that it is so thoroughly
plausible 60 years later owes everything to Julia child’s legacy.”
45

Not only did Julia bring to light dishes that many women avoided, but she did it in
an engaging way that, for many viewers, took the fear out of cooking. There is a famous
example of this in one of Child’s episodes in which she flips a potato pancake. For many
cooks, flipping anything in a pan can cause distress. There is a definite technique and while
chefs make it look easy, it is, in fact, extremely difficult. Even Julia Child herself was unable
to “professionally” flip the pancake in that episode. In her attempt, half of the pancake
caught the rim of the pan and landed on the stovetop. However, Child was unfazed by all of
this and simply “. . .scooped the thing up and roughly patched the pancake back together,
explaining, ‘If you’re alone in the kitchen, WHOOOOO is going to see?’ This moment
marked an important time in food programming in that it took the fear out of cooking. Not
only that, but the entire situation was in itself, entertaining and funny to watch.”
46

44
Rosemary Black, “The shifting definition of food snob; from pricey ingredients to celeb chefs and back again,” New York
Daily News, August 6, 2009. http://www.nydailynews.com/lifestyle/food/2009/08/07/2009-08-
07_food_snob_definition_has_changed_over_the_years_as_.html (accessed November 16, 2009).
45
Pollan, “Out of the Kitchen, Onto the Couch.”
46
Ibid.
21
Lastly, Child’s on-air success also translated into commercial success. In describing
Child’s commercial impact, Noel Fitch Riley noted,
The commercial impact of The French Chef was considerable. Time magazine (March
20, 1964) said, “She provokes a rating more accurate than Nielsen ever measured.”
When she cooked broccoli, Time noted, the vegetable was sold out within two
hundred miles of the broadcast station. When she made an omelet, every omelet pan
was sold out of the few specialty stores stocking them.
47

Simply put, Child is a cooking legend and cultural icon who will have a lasting impact
on society. Her television show introduced French cuisine to the American palate and her
passion for food got consumers excited about food, which, in effect, changed the way that
Americans related to food.
48

Moving Forward from Julia
“We have Julia to thank for the food television phenomenon.
She really taught us how to have fun in the kitchen.”
~ Susan Stockton, senior vice president of culinary production, Food Network (2007)
49

The world of food entertainment has changed tremendously since The French Chef
first appeared on television. No longer are viewers waiting for water to boil or for an oven
heat. Programs are recorded and edited using sophisticated software. At the same time,
food presentation by an engaging and credible chef/host is absolutely essential for survival
and success.
Phil Lempert commented, “Julia was a phenomenal person with a great personality,
but with her, the food came first. Now, it’s the chefs who come first, and then the food.”
50

Today, it is not enough to have exquisitely presented food; a food program must also

47
Fitch, Appetite For Life, The Biography of Julia Child, 301
48
“Julia Child.”
49
Anne Becker, “Cover Story: Food Network’s New Recipe for Success,” Broadcasting & Cable, July 15, 2007,
http://www.broadcastingcable.com/article/109603-Cover_Story_Food_Network_s_New_Recipe_for_Success.php
(accessed October 4, 2010).
50
Black, “The shifting definition of food snob; from pricey ingredients to celeb chefs and back again.”
22
employ a chef or host who can capture the attention of the audience. Today’s chef/hosts
must, as did Child decades ago, provide viewers with “kitchen tips and love.”
51

In the days since Child, not only has food entertainment shifted its focus from the
food to the chef, but it also focuses on the lifestyle(s) that surround food. Food today is not
simply about food—it represents an entire lifestyle.
Rather than placing an emphasis strictly on food preparation and recipes, food
entertainment chefs/hosts offer tips for entertaining, secrets on where to shop for, or find
America’s favorite treats, and even insider tips on the best restaurants to eat at while on
vacation. As a result, viewers are inundated with information—some useful, some useless—
that can then be put into action or use.
Since Child’s time, social and cultural norms have changed significantly, which in
turn has influenced and altered food-programming content. Anne Becker, Broadcasting &
Cable magazine, notes that, “Since Julia’s time, preparing food has morphed from a woman’s
perceived duty to a gender-neutral national obsession, and the iconic Child has been
replaced, not by an individual, but by an entire network—the Food Network.”
52
Rather than
focusing its programming on food preparation tips and tricks that would appeal to the
traditional 1950’s housewife, food programming has evolved to appeal to consumer attitudes
and trends of today.
For example, as reality shows continue to receive high ratings and interest, several
networks, including the Food Network, have created food competition programs. “Every
network, it seems, is trying its hand at food competition programming,”
53
wrote Rene Lynch
in a January 2009 Los Angeles Times article. Examples include: Food Network’s The Next Iron

51
Pollan, “Out of the Kitchen, Onto the Couch.”
52
Becker, “Cover Story: Food Network’s New Recipe for Success.”
53
Rene Lynch, “‘Chopped’: Food Network Stirs the Pot with Entertainment Format,” Los Angeles Times, January 14, 2009,
http://articles.latimes.com/2009/jan/14/food/fo-chopped14 (accessed October 19, 2009).
23
Chef, Bravo’s Top Chef; and Travel Channel’s Man v. Food. As with other types of reality
competition shows, “that emphasis on drama—not the traditional instructional food show—
appears to be winning over audiences as well.”
54
In fact, according to Kelly Anderson,
Realscreen Magazine, “the advent of the food competition show was one of the more
important recent innovations in food programming and such programs are still able to bring
in the ratings”
55

Overall, Julia Child laid a solid foundation for the food entertainment era. With her
fearless approach to food and captivating personality, she captured the attention of viewers
and persuaded them to cook dishes that once seemed foreign. While Child laid the
groundwork, it was the Food Network that took food entertainment to a completely
different level and as a result, contributed to the transformation in how consumers think
about and interact with food.

54
Lynch, “‘Chopped’: Food Network Stirs the Pot with Entertainment Format.”
55
Kelly Anderson, “Spicing it Up: Competitions, Travelogs and Live Events Add Ingredients to the Factual Food Mix,”
Realscreen, May 1, 2009, http://www.realscreen.com/articles/magazine/20090501/audience.html?page=2 (accessed
December 2, 2009).
24
Chapter 5

Case Study: The Food Network

Humble Beginnings

On November 23, 1993, the Food Network launched in America with 6.5 million
subscribers
56
in metropolitan-area homes. With the slogan of “We’re Really Cooking,” the
network initially dedicated its programming to straightforward “how-to” cooking shows. In
its beginnings, the Food Network’s informative and entertaining lifestyle programming
included world-renowned chefs, restaurateurs, passionate “foodies,” working mothers and
celebrities. More than 95 percent of the network’s programming featured original content.
Early network talent included Robin Leach, David Rosengarten and Donna Hanover.
57

By 1997, the network, run by President and CEO Erica Gruen, was experiencing
tremendous growth. Within four years, it had expanded to 19 million subscribers, and
further growth was expected. Much of the network’s early success can be attributed to
Gruen, who began her position at the network in June, 1996, after 17 years of experience in
cable television and new media.
After joining the network, Gruen quickly recognized that people watched television
to be entertained, rather than to learn. In arriving at this realization, she broadening the
Food Network’s programming scope in 1996 to appeal not only to those who already
cooked, but to those who loved to eat. According to Gruen, “That slightest different
positioning opened us up to many different directions.”
58
Altering the network’s positioning
gained mass appeal among a diverse audience—especially men—and has played an
instrumental role in the network’s growth and success over the years. It was also at this time

56
Food Network, “Food Network Timeline,” Food Network Press Kit, 2009
57
Food Network, “Food Network Timeline.”
58
“Food Network. Scripps Cooks with Second TV Network,” Scripps Howard News,
http://ww2.scripps.com/shnews/fall97/covfeat/fall97cov.html (accessed October 6, 2009).
25
when the network began to recognize the importance of its on-air talent. In 1997, Bob
Tuschman, Senior Vice President of Programming and Production, stated that in terms of
what makes a good cooking show, “The most important thing is the person at the center of
the show. You have to have an expert who is a master at their craft, but on top of that they
also have to be a personality who can bring the subject to life and excite people about it.”
59

In addition to altering the network’s positioning, Gruen also focused on modernizing
the network and its programs. She believed that in many ways, the network was simply
reinventing one of the oldest genres on television—food. “There have been cooking shows
on national and local TV since the late ‘40s,” Gruen said, “so we (had) to find out how to
make them more contemporary.”
60

At the time, Emeril Lagasse’s first television show, Essence of Emeril, served as the
primary launching pad for Gruen’s concept. The show premiered with the Food Network in
1993 and skyrocketed to the top of network program ratings. It was even named one of the
top ten best TV shows of the year by Time in 1996.
61
Still, by 1996, consumer tastes and
trends had evolved. To reflect the changes and make the show more contemporary,
Emeril’s 30-minute cooking program was completely revamped into an hour-long show with
a live studio audience. As Scripps Howard News states, “In 1997, Gruen built on Emeril's
star-appeal with a second show—a nightly live show that featured a band, studio audience
and celebrity guests. Gruen's remake was an instant success. By 1997, Emeril Live was
nominated for two ACE awards (the cable equivalent of broadcasting's Emmy) and the

59
Kathleen Collins, Watching What We Eat, The Evolution of Television Cooking Shows (New York, NY: The Continuum
International Publishing Group Inc., 2009), 176.
60
“Food Network. Scripps Cooks with Second TV Network.”
61
“Emerilology: Timeline,” Emerils.com, http://www.emerils.com/emerilology/timeline?page=3 (accessed March 3, 2010).
26
ratings just kept escalating.”
62
With his tremendous success, Emeril Lagasse is credited as
being “Food Network’s first breakout personality that launched a new trend: the celebrity
chef.”
63

At this point, the Food Network, due to its growing success and built-in female
audience, was an attractive venue for advertisers in need of reaching a specific target market.
In a 1997 article by Scripps Howard News, Ken Lowe, current President and CEO of the
E.W. Scripps Company, stated that
One of the best attributes of the [Food Network] audience is its gender; 64 percent
female; 54 percent female 18-54 (years of age)…There’s a strong pull for advertisers
because female viewers are underserved on cable television…The reality is, Food
Network [and HGTV] deliver female viewers better than any other cable network.
64

By 1999, the Food Network had grown to about 37 million subscribers. It was also
in 1999 that Iron Chef, a Japanese timed-cooking competition program built around a specific
theme ingredient, was first featured on the Food Network (dubbed in English). In each
episode, world-class chefs battle against one of the show’s Iron Chefs and are given an hour
to prepare a series of dishes utilizing a selected secret ingredient. Once the hour is
completed, the dishes are tasted and inspected by a panel of judges who then select a
winning competitor. The show, already popular in Japan, quickly became a fan favorite in
the United States.
65
In fact, the show became so admired that an American version was
concocted in 2005. America's first Iron Chefs—also considered “celebrity chefs”—were
Bobby Flay, Mario Batali and Wolfgang Puck. Iron Chef America continues to be a top-rated
show on the Food Network today. In fact, in 2007, the Food Network premiered Next Iron
Chef, a competition-based program that identifies a contestant who will become the latest

62
“Food Network. Scripps Cooks with Second TV Network.”
63
Food Network, “Food Network: A Recipe for Success,” Food Network Press Kit, 2009
64
“Food Network. Scripps Cooks with Second TV Network.”
65
“The History of Iron Chef,” Food Network, http://www.foodnetwork.com/shows/the-history-of-iron-chef/index.html
oney.com/spending/rip-offs/10-Things-Celebrity-Chefs-Wont-Tell-You-22798/ (accessed October 2, 2009).
27
Iron Chef. That chef later enters the rotation on Iron Chef America as an Iron Chef
competing in “battle” against another highly rated chef.
By 2007, Food Network had soared to 96 million subscribers. In addition to its
myriad program offerings and premieres, the network launched its first exclusive charitable
partnership with Share Our Strength,
66
a national charitable organization working to end
childhood hunger. In 2008, ratings for the network remained stagnant, but strong with 96
million subscribers. It was also in this year that the network launched Food Network Magazine,
a joint venture with Hearst Publications.
Food Network Today

Positioning Strategy

Today, in 2010, the Food Network is available in 150 countries and boasts an
impressive 98 million subscribers.
67
In addition, it is the only television network entirely
dedicated to food programming
68
though other networks are quickly adding food-related
content to their lineups including such strong competitors as: Bravo’s Top Chef; PBS’s
America’s Test Kitchen; TLC’s Cake Boss; PBS’s Lidia’s Italy; and the syndicated Martha Stewart
Show.
69

With its position as “a unique lifestyle network and Web site that strives to be way
more than cooking,”
70
the network is constantly exploring new and different ways of
approaching food—through popular culture, competition, adventure and travel. Each of
the programs available on the Food Network is categorized into primetime or daytime—a

66
Food Network, “Food Network Timeline.”
67
Ibid.
68
University of Southern California undergraduate students, “Food Network: An Overview,” (Presented on October 21,
2009).
69
University of Southern California undergraduate students, “Food Network: An Overview.”
70
Ibid.
28
reflection of the network’s dual-audience programming strategy.
71
The network’s daytime
viewing block, referred to as “In the Kitchen,” includes “how to” shows aimed at teaching
viewers how to cook.
72
Some of these include, 30 Minute Meals With Rachael Ray, Semi-
Homemade Cooking with Sandra Lee, and Barefoot Contessa. “In the Kitchen” airs mornings and
early afternoons on weekends and up until early evening on weekdays. The network’s
“Primetime” viewing block is about entertaining.
73
“It taps into viewers’ hunger for light-
hearted fun, as food morphs into high-energy entertainment delivered by eccentric emerging
cultural icons.”
74
According to Bob Tuschman, Senior Vice President Programming and
Production, Food Network, “you still learn things, but it is through entertainment, whether
it’s in the form of competition, travel, history, docusoap (i.e. “an entertaining
programme[sic] about the lives of real people, especially people who live in the same place or
do the same job”)
75
or even comedy.”
76

Reflecting the network’s dual-audience strategy as well as consumer tastes and
trends, new content for 2009 included: Sandra’s Money Saving Meals, a daytime cooking series
that provides viewers with accessible budget-friendly meals; Best Thing I Ever Ate, described
as the “ultimate guide to the country's most amazing meals, eats, and treats as told by the
professionals who spend their lives obsessing over food;”
77
Chef vs. City, a competition-based
program that follows two Food Network chefs as they travel to different cities and compete

71
Food Network, “Food Network: A Recipe for Success,”
72
Becker, “Cover Story: Food Network’s New Recipe for Success.”
73
Anderson, “Spicing it Up: Competitions, Travelogs and Live Events Add Ingredients to the Factual Food Mix.”
74
Becker, “Cover Story: Food Network’s New Recipe for Success.”
75
Cambridge Dictionaries Online, “Definition: Docusoap,”
http://dictionary.cambridge.org/define.asp?key=23025&dict=CALD&topic=programmes-and-other-broadcasts (accessed
November 3, 2010).
76
Anderson, “Spicing it Up: Competitions, Travelogs and Live Events Add Ingredients to the Factual Food Mix.”
77
“The Best Thing I Ever Ate: About the Show,” Food Network, http://www.foodnetwork.com/the-best-thing-i-ever-
ate/index.html (accessed October 2, 2009).
29
against local chefs in various food-based challenges; and 5 Ingredient Fix, featuring quick and
appetizing meals for the time-conscious individual with little time to devote to meal
preparation.
With its two distinct programming blocks (daytime and primetime) and array of
programs offered, the network has been successful in appealing to both food aficionados and a
more general audience with diverse tastes and interests. This is why network ratings have
continued increasing amongst its target demographic. According to Michael Smith, Senior
Vice President of Marketing and Creative Services at Food Network in 2007, “. . .perception
about Food Network has changed radically. In late 2005, 69 percent of people surveyed said
the channel offered only cooking shows; 31 percent said it had many types. When the
survey was performed again in 2006, the numbers flipped.”
78

Expansion and Growth

“In an age when chefs approximate rock stars, the Food Network is the ultimate stage.”
79

Over the years, the Food Network has dominated the food television genre. In fact,
counting only traditional ad revenue and licensing fees, the network is projected to take in
$757.9 million annually by 2011, up from 2007’s profit of $488.1 million.
80
Commenting on
the network’s success, Bob Tuschman, Senior Vice President Programming and Production,
Food Network, explains, “I don’t think the people who founded this network could have
possibly foreseen it becoming part of American pop culture the way it has.”
81

78
Paige Albiniak, “More Than Cooks,” Special Supplement to Multichannel News and Broadcasting & Cable, June 10, 2007,
http://www.broadcastingcable.com/article/109177-More_Than_Cooks.php (accessed October 11, 2009).
79
Becker, “Cover Story: Food Network’s New Recipe for Success.”
80
Nicole Alper, “Recipe for Success: Food Network Phenomenon,” Celebrated Living, Fall 2007,
http://www.celebratedliving.com/tabid/3097/tabidext/3247/default.aspx (accessed November 3, 2009).
81
Alper, “Recipe for Success: Food Network Phenomenon.”
30
Part of the success of the network has been “linked to the rise of star chefs – personalities
able to talk turkey with the speed of a Sotheby’s auctioneer while keeping their cool behind a
400 degree stove”
82

In 2007 article examining the network’s success, food writer Nicole Alper noted that,
“Given the profusion of food-related shows on competitive networks (Hell’s Kitchen and
Kitchen Nightmares on Fox, Top Chef on Bravo, Anthony Bourdain: No Reservations on TLC, for
example), Food [Network] wants to ensure that it always keeps the biggest slice of the
genre’s pie.”
83
To accomplish this, the network has capitalized on its success and expanded
its empire well beyond programming to include online, print and consumer products. As
2007 Food Network General Manager Sergei Kuharsky put it, “we’re the first, top-of-mind,
dominant brand when it comes to food on television and on the Internet. That kind of
market power is what earns you the right to go into other categories.”
84

Online has proven to be a successful venue for the network. Its website,
FoodNetwork.com, consistently rises above competitors in web rankings. As of 2009, on
average, “FoodNetwork.com attracts over eight million unique visitors and 237 million page
views per month, making it the number one food Web site available to consumers. It
features over 40,000 free recipes and interactive elements such as a vast video library and a
weekly Web series.”
85
During the holiday season, the network experiences an increase in
visitors as consumers search for holiday dishes from a credible source. In November 2009

82
Ibid.
83
Ibid.
84
Ibid.
85
Ibid.
31
alone, Nielsen NetView numbers indicated that the website “emerged at the top of the Food
& Cooking Web site category,”
86

Outside of its own Web site, in 2008, Scripps Network Interactive announced a
partnership with YouTube, creating a Food Network YouTube channel.
87
In January 2010,
the channel had 557,460 views and 5,503,330 total uploaded views. When discussing its
decision to partner with YouTube, Deanna Brown, president of Scripps Network Interactive
stated, “it is our mission to be everywhere the audience is and it is clear that YouTube and
Google have a fantastic sense of where they are.”
Food Network also has an expansive presence in print, with several cookbooks
available for purchase for consumers wanting to recreate recipes at home. Food Network
even launched its own magazine in 2009.
Before it launched last year, Hearst magazines said its new Food Network magazine
would have paid circulation of 300,000 by summer 2009, a robust total given the
economic climate. Instead, that figure is already over 900,000, making Food
Network one of the 100 best-selling American magazines, and Hearst says that
within months, it will rise above 1.1 million.
88

In 2007, the Food Network also formed a partnership with Kohl’s department
stores, launching a product line that was exclusively available at nationwide Kohl’s locations.
The Food Network branded products ranged from $10 to $400 and included cookware,
bakeware, utensils, gadgets, pantryware, dinnerware and textiles/linens.
89
Today, this
partnership has extended to include a line by Bobby Flay, a noted Food Network celebrity
chef and restaurateur.

86
“FoodNetwork.com is No.1 Food & Cooking Website in November,” Scripps Networks, December 14, 2009,
http://www.scrippsnetworks.com/newsitem.aspx?id=390 (accessed December 21, 2009).
87
University of Southern California undergraduate students, “Food Network: An Overview.”
88
Richard Perez-Pena, “Hearst’s Contrarian Strategy Pays Off,” New York Times, June 1, 2009,
http://www.nytimes.com/2009/06/01/business/media/01hearst.html (accessed January 15, 2010).
89
Beth Gaston Moon, “Kohl's (KSS) launches Food Network line -- Rachael Ray not enough?” BloggingStocks weblog,
Entry posted September 13, 2007, http://www.bloggingstocks.com/2007/09/13/kohls-kss-launches-food-network-line-
rachael-ray-not-enoug/ (accessed November 4, 2009).
32
As the Food Network has expanded its reach into various markets, it has earned the
reputation as a “pop culture fixture”
90
that acts as “a trusted, go-to resource”
91
for
consumers. As a result, “the network remains firmly embedded in the fabric of American
culture with continuous references in mainstream categories including comedy, politics,
sports, movies, television shows and magazines.”
92

Ratings and Statistics

“The Food Network can now be seen in nearly 100 million American homes and on most nights commands
more viewers than any of the cable news channels.”
~Michael Pollan
93

Just as the Food Network’s programming has evolved throughout the years, so have
its ratings and demographics. In 2003, the network’s median viewing age was nearly 50.3
years old,
94
while in 2005, it lowered to 49,
95
according to Nielsen ratings. In a 2005
interview, Kathleen Finch, Senior Vice President of Programming at Food Network,
responded to the decrease in viewer age by stating, “our median age has gone down, which
we’re pleased about.”
Since 2005, Food Network’s median viewing age has continued to decrease, from 47
in 2007 to 44 in 2008.
96
That year was marked as the network’s highest rated, most-watched
primetime ever. “The record-breaking third quarter performance included the highest-rated
telecast in network history—‘The Next Food Network Star’s’ season four finale—and the

90
Alper, “Recipe for Success: Food Network Phenomenon.”
91
Food Network, “Food Network: A Recipe for Success.”
92
Food Network, “Food Network: A Recipe for Success.”
93
Pollan, “Out of the Kitchen, Onto the Couch.”
94
Anne Becker, “Food’s New Ratings Recipe,” Broadcasting & Cable, February 10, 2008,
http://www.broadcastingcable.com/article/112373-Food_s_New_Ratings_Recipe.php (accessed October 3, 2009).
95
Kevin Downey, “Food Network: Setting a bigger table,” Media Life magazine, March 15, 2005,
http://www.medialifemagazine.com/News2005/mar05/mar14/2_tues/news4tuesday.html (accessed October 3, 2010).
96
Lynch, “‘Chopped’: Food Network Stirs the Pot with Entertainment Format.”
33
youngest-skewing median-age of 43 years old. Food Network’s daytime programming block
also continued to rate well while attracting an increasingly diverse audience.”
97

The year 2009 also proved to be successful year for the network. In August 2009,
“Food Network experienced the highest impression levels ever among adults 18-49,
surpassing July 2009 record highs with 592,000 viewers, and tying July 2008 as the network’s
highest-rated month with a .5 rating,”
98
the company boasted.
The Food Network continues to break records and raise the bar with its innovative
and entertaining programming. The network kicked 2010 off with a bang with Sunday,
January 3, 2010 “posting its highest-rated, most-watched night in Food Network history.”
According to Nielsen Media Research, the premieres of Super Chef Battle: An Iron Chef
America Event and Worst Cooks in America combined to attract an average audience of
3.7 million total viewers, with Super Chef Battle garnering 7.6 million viewers and
Worst Cooks in America posting a total of four million total viewers. Worst Cooks in
America also became Food Network’s highest-rated and most-watched series
premiere in network history.
99

As the network’s ratings continuously shift to a younger demographic, “Scripps
[Networks] (owner of Food Network and other lifestyle television brands) is loving the
attention from younger views. Attracting them is crucial given the graying of the Food
Network’s core audience of upscale women ages 25-54.”
100
Although the network is satisfied
with its continuous diversity in viewing demographics, it is still remaining true to its original
core audience. According to Burton Jablin, Executive Vice President, Scripps Network, “the
Food Network isn’t trying to become MTV; that would be a big mistake. With the channel
now contributing nearly 40 percent of the cable TV units’ revenue, Scripps’ will be

97
Food Network, “Food Network: A Recipe for Success.”
98
“Food Network Dishes Highest Ratings Ever in August; Best Performance in Scripps Networks History,” Scripps
Networks, September 2009. http://www.scrippsnetworks.com/newsitem.aspx?id=344 (accessed November 5, 2009).
99
“Food Network Kicks Off 2010 with Highest-Rated Night Ever,” Scripps Networks, January 2, 2010,
http://www.scrippsnetworks.com/newsitem.aspx?id=398 (accessed January 10, 2010).
100
“I Want My Food Network,” BusinessWeek, January 8, 2007,
http://www.businessweek.com/magazine/content/07_02/b4016082.htm (accessed January 3, 2010).
34
challenged to find the right mix of programming for mom and the kids.”
101
As
demonstrated in its ratings, the network has been highly successful in finding the balance
that it is striving to achieve.
Through its programs and associated figures, the Food Network is one of many
major media channels that has brought about and solidified “food” as a topic of interest in
mainstream America. It is a dominating force in today’s market and plays a significant role
in shaping consumer attitudes and beliefs surrounding food and all things food-related. As a
result, the Food Network has laid a solid foundation for all other sources of food television
entertainment and will continue to serve as a market leader and influencer for years to come.
Due to its creativity, widespread appeal, and constant desire to evolve and expand, there are
several outcomes of food entertainment that are vital to consider when drafting a strategic
communication plan that utilizes food entertainment as a platform or resource.

101
“I Want My Food Network.”

35
Chapter 6

The Outcomes of Food Entertainment

Educated and Demanding Consumers

Food entertainment can appeal to a diverse audience—old, young, male, female,
American, Japanese, etc. As it is a well-received form of entertainment amongst a wide
range of demographics, more and more consumers are becoming increasingly educated
about food and food-related topics. Programs are educational and provide viewers with
information that is applicable in everyday life. As a result, consumers are progressively
becoming more informed and demanding when it comes to food. Nestlé USA, a worldwide
leader in convenient, nutritious and delicious foods, has reported a shift in consumer
attitudes in the last several years. According to Laurie MacDonald, Vice President of
Corporate and Brand Affairs, Nestlé USA, “Nestlé consumers are demanding. Consumers
want it all and they want it fast and convenient. They want it to taste good, be nutritious and
be portable.”
102

As demonstrated by Ketchum’s “2020” study on consumer’s primary concerns and
expectations surrounding food, consumers are more empowered than ever before. Food
entertainment is a contributing factor to this empowerment because it educates consumers
through its programs and on-air figures (chef or host). According to Mario Batali, an
expansive and enterprising celebrity chef and restaurateur, “The Food Network has had a
large amount to do with Americans understanding more and more with what they are
actually putting in their bodies”
103
Food programs and celebrity chefs inspire and empower

102
Laurie MacDonald, Vice President Corporate and Brand Affairs, Nestlé USA, telephone interview, December 10, 2009.
103
Ari Shapiro, “Americans’ Insatiable Hunger for Celebrity Chefs,” National Public Radio, March 2, 2005,
http://www.npr.org/templates/story/story.php?storyId=4522975 (accessed October 22, 2009).
36
many people to eat healthier food, whether at a restaurant or in their homes. As a nation
that is currently struggling with high obesity levels, this type of empowerment is,
presumably, beneficial.
Furthermore, not only does food entertainment provide viewers with the knowledge
to make better choices when it comes to food, it also boosts a consumer’s confidence when
ordering food at a restaurant or food retailer. According to Michael Pollan, “What we
mainly learn about on the Food Network in prime time is culinary fashion. . .[these shows]
take the fear, the social anxiety, out of ordering in restaurants. Then, at the judge’s table, we
learn how to taste and how to talk about food.”
104
In short, food knowledge provided by
food entertainment empowers consumers. With increased confidence and better
understanding of certain ingredients and products, consumers might be less afraid to step
outside of their personally-imposed boundaries and eat food from different cultures or other
regions.
Food Brand Impact

Arguably, as food education and empowerment surrounding food continues to
increase among consumers, so too will consumer expectations of food brands. Because
food entertainment programming remains an important source of information and
knowledge for consumers, it is imperative for retailers and consumer brand executives to
monitor these programs to ensure that they appeal to consumer desires and trends.

104
Pollan, “Out of the Kitchen, Onto the Couch.”
37
In 2000, James Mellgren, Senior Editor at Gourmet Retailer magazine noted:
Keeping abreast of the trends has always been important…Because of the huge
audience commanded by these celebrity cooks that flood the airwaves almost every
hour of the day and their potential impact on sales, being aware of what’s happening
on these shows can help you keep pace with the items, cuisines, and trends that
customers are seeking. If you’re not on top of it, chances are your competitors are
and you risk getting caught with you apron down.
105

It is imperative for brands to be attuned to consumer trends and demands so that
they can generate greater appeal among target consumers. Doing so will allow the brand to
resonate deeper into the mind of the consumer so that when faced with brand choices, the
consumer will choose the brand that provided a deeper connection. On a daily basis,
consumers are inundated with information from brands hoping to stand out, and when
visiting a supermarket, are faced with several thousand brands to choose from. Laurie
MacDonald of Nestlé USA, noted that,
What has changed the most since ten years ago is the volume of information there is
about food choices and the different media to get it. There is a proliferation of
products and information. Also, consumers shop at many different locations. There
is a lot of competition and noise in the market.
106

According to survey data from the Food Marketing Institute, in 2008 alone, “nearly
47,000 distinct products filled a typical retailer’s shelves, up more than 50 percent from
1996.”
107
Whether it’s generic ketchup or Heinz tomato ketchup, the product is more or less,
ketchup. The brand, in a number of cases, is the key differentiating factor for the consumer.
With the proliferation of products and brands in the supermarket as well as the
copious amount of information that inundates them, consumers have more brand choices
than ever. The brands that are losing consumers are the ones that are not involving the

105
James Mellgren, “The Impact of Celebrity Chefs,” Gourmet Retailer magazine, December 1, 2000,
http://www.gourmetretailer.com/gourmetretailer/esearch/article_display.jsp?vnu_content_id=1050306 (accessed
November 3, 2009).
106
Laurie MacDonald, Vice President Corporate and Brand Affairs, Nestlé USA, telephone interview, December 10, 2009.
107
Ilan Brat, Ellen Byron and Ann Zimmerman, “Retailers Cut Back on Variety, Once the Spice of Marketing,” The Wall
Street Journal. June 26, 2009. http://online.wsj.com/article/SB124597382334357329.html (accessed October 3, 2009).
38
consumer
108
and not building a relationship. Well-managed brands that empower the
consumer to be an advocate are the ones that are likely to remain most competitive or
experience sustained success. This is important to note because according to Phil Lempert,
“two-thirds of products in the supermarket will disappear because a lot of stores are
downsizing to smaller stores.”
109
In the battle for diminishing shelf space and consumer
mindset, brands must make a difference to remain in stores and be in demand by consumers.
Entertaining Consumers

A Universal Entertainment

Food is a basic necessity of life. To some, food is fuel and should only be consumed
to provide the body with purely essential nutrients. To others, it is an indulgence, providing
a deep sense of happiness and satisfaction. Regardless of how it is viewed or how many
times it is thought about throughout the day, food remains an essential ingredient to living a
healthy life. For this reason, everyone, regardless of age, gender, race or other demographic
factors, has some type of connection to food, whether good, bad or neutral.
Geoffrey Drummond, a television producer who has brought to TV many of the
more successful shows such as Jacques and Julia Cooking at Home and Lidia’s Italian Table stated,
“Food is something that everyone can relate to and it’s accessible.”
110
The connection that
consumers have to food as well as its accessibility in supermarkets serves as a major
foundation to lure viewers into watching food programs. Since the connection may already
be inherent in the consumer’s mind, it is then up to the producer, writer(s), designer and
chef to engage the viewer. If this is achieved, the viewer is entertained and may be

108
Eatherton and Lempert. Podcast audio program. “Food 2020: The Future of Food, Nutrition & Wellness.”
109
Ibid.
110
Mellgren, “The Impact of Celebrity Chefs.”
39
compelled to watch the program again, or even better, download a featured recipe from the
show’s Web site and cook it at home.
Furthermore, according to Brad Adgate, a media researcher at Horizon Media, food
entertainment “is ‘safe family viewing’—programming that is appropriate for all ages. Kids
also sometimes enjoy watching it. It’s one of those channels they’ll see something
interesting on and watch for a half hour. It’s general entertainment with the food niche.”
111

Because most food programs are appropriate for all ages, parents do not have to be
concerned when a youngster tunes in. In fact, some parents might even encourage their
children to watch these programs because they not only are entertaining, but they are
educating children on food, possibly enticing them to try different foods or eat more
vegetables.
Researchers have also found that men tend to be drawn to these programs as well.
According to Linda Carruci, 2005 curator of food arts at COPIA (American Center for
Wine, Food & the Arts, in Napa, California),
As a cooking teacher, I noticed an incredible surge in men coming to cooking classes
of their own volition not just as a tagalong spouse of someone wanting to take the
class…And, they talk about their favorite chefs, the ways other guys might talk about
football stars …They are rabid about it…they talk about their favorite
shows…whether they are making banana bread or osso buco, they’re always eager to
kick it up a notch.
112

It is no surprise that men are drawn to these programs. Some may enjoy the competitive
nature of shows like Iron Chef America, while others are entertained by Guy Fieri’s (Food
Network celebrity chef, host and restaurateur) fearless attitude in the kitchen. Whatever the
reason may be, the male audience is continuously expanding.

111
Downey, “Food Network: Setting a bigger table.”
112
Shapiro, “Americans’ Insatiable Hunger for Celebrity Chefs.”
40
With younger audiences, food entertainment has had a particularly noteworthy
impact on young girls, who are cooking more these days than in previous generations.
113

They are also making more purchasing decisions while shopping in the grocery store.
114
As
young girls are experimenting more in the kitchen and making purchasing decisions, they
also are turning to food programs for recipes, tips and entertainment.
College-age males have also grown exceptionally fond of food programs over the
past several years. Researchers have found that this audience is drawn to the programs for
several reasons. As date night approaches, some theorize that young males may feel inclined
to scan cooking shows to pick up tips to impress dates.
115
Young men have also shown they
are drawn to specific cooking chefs or hosts. According to a 2007 BusinessWeek article
titled “The Food Network: The New MTV?,” “One 21-year-old male at Binghamton
University in New York State stated that “he and his dozen housemates just can't get enough
of the sultry Giada De Laurentiis, the host of Giada at Home and Everyday Italian.”
116
When
asked about the attractive appeal of this particular chef, the student stated, “It’s not the
cooking appeal, so much as it’s her appeal.”
117
A celebrity chef’s personal appeal is one of the
many factors that draw members of this specific demographic to watch certain programs.
A Vehicle of Escape

One of the great joys of any form of entertainment is its ability to divert attention
away from the pressures of everyday life. For many, it is a vehicle of escape—a welcome
relaxation after a long day at work or a source of contentment when times are tough. While

113
“I Want My Food Network.”
114
Ibid.
115
Ibid.
116
Ibid.
117
Ibid.
41
some seek escape by going to the movies or playing a favorite sport, others escape by
watching food entertainment programs.
Food programs are a window into a world that many fantasize about, where high-
quality ingredients are endless and it only takes thirty minutes to cook a five-course meal for
a guest list of twenty.
118
Programs that travel to different parts of the world seeking out the
best food, offer the viewer a chance to share the journey. Even if a viewer cannot afford to
take an exotic vacation to Vietnam to sample the seven courses of snake that Andrew
Zimmerman indulged in on Travel Channel’s Bizarre Foods, he/she may experience a deeper
knowledge and understanding of the food and culture of the destination, simply from
watching the show. Besides the actual content of the show, viewer escapism is achieved by
the descriptions of the food itself. In virtually any food program on television, the chef or
host describes the food in such detail that every sense is heightened when listening and
viewing the food on the television screen. The viewer might actually feel as if he/she is right
there with the chef and tasting and smelling the food that is on the screen.
Food researchers and writers have also discussed food programs as a way of
transcending the barriers of social class in the kitchen.
119
According to Michael Pollan,
Once upon a time Julia [Child]… showed you how you, too, could cook like
someone who could not only prepare but properly pronounce a béarnaise. So-called
fancy food has always served as a form of cultural capital, and cooking programs
help you acquire it now, without so much as lifting a spatula. The glamour of food
has made it something of a class leveler in America, a fact that many of these shows
implicitly celebrate.
120

Food programs cater to all demographics, regardless of social class or economic background.
Programs are “reachable” and non-exclusive. For those who cannot afford to eat at premier

118
Dipna Anand, “To What Extend Have Professional Chefs Shaped Culinary Cultures and Evaluate Their Influence on
the Current Hospitality Industry,” Dipna Anand weblog, http://www.dipna.com/articles/Essay-celebrity-chef-impact.html
(accessed January 4, 2010).
119
Pollan, “Out of the Kitchen, Onto the Couch.”
120
Ibid.
42
dining establishments, food programs offer the tools and tips for how to cook like a
professional while staying within a budget. Programs also simply offer knowledge, which is
an incredibly empowering level of cognitive awareness to possess.
When analyzing food entertainment as a form of escape, it is important to note that
during the 2008 Presidential election and financial downturn, food entertainment served as a
form of escape for those looking for comfort when the country was chaotic, divided and
depressed. Viewership on the Food Network, the quintessential source of food
entertainment, remained strong even during these tough times. According to one article,
Nothing on television in that rancorous, long and hysterical election season,
fascinating as it was, offered anything equal to the beguilement of those Food
Network shows, daytime and prime time, weekdays and weekends. And nothing on
now offers as much insulation from nonstop tides of disaster reporting. On the
Food Network, which launched in 1993, you’ll hear no grimness, no details of the
stimulus package.
121

The Food Network remained strong because of its ability to transport viewers to a place
where the chefs were still smiling and the food still looked tasty. Its programming allowed
the viewer to escape, even if for a only a few minutes, from the daunting 24-hour news cycle
coverage of national events.
Emotional Connection

Cooking “is an activity that strikes a deep emotional chord in us, one that might even
go to the heart of our identity as human beings.”
122
Some individuals turn to cooking during
times of sadness while others turn to cooking and food as a source of celebration. There can
be endless emotion wrapped up in cooking and food. Food entertainment leverages this

121
Dorothy Rabinowitz, “The Kitchen Refuge,” Wall Street Journal, March 6, 2006,
http://online.wsj.com/article/SB123629301223445201.html (accessed October 3, 2009).
122
Pollan, “Out of the Kitchen, Onto the Couch.”
43
emotional connection by combining an individual’s inherent love and emotional connection
to food to the content of its programming.
The Food Network has been immensely successful in striking an emotional chord in
the minds and hearts of its viewers. Anne Becker, Broadcasting & Cable magazine, notes that
with its content,
…the network is trying to increase excitement and reinvigorate interest around
cooking in general. They’re using spots designed to establish an emotional
connection to the personalities as they reveal their individual motivation and
inspiration for the power and joy of cooking.
123

The Food Network accomplishes this partly through storytelling. During its
programs, chefs often launch into stories of their own personal connection to a dish, citing
specific childhood memories or adulthood experiences where the dish played a staring role.
Paula Deen, Food Network celebrity chef, restaurateur and cookbook author, is celebrated
for engaging her viewers through storytelling. Dorothy Rabinowitz, The Wall Street Journal,
notes that Deen’s show is “…like its host, all comfort: sun-filled, homey, assured, as Ms.
Deen drawls on about the deliciousness of the butter and the other artery-killing stuff that
goes into her recipes by the ton.”
124
Deen makes viewers feel comfortable. Her personality
and down-home culinary point of view enable viewers to relate to the nostalgia and comfort
she expresses, regardless of how much butter she uses.
Brand managers have also taken note of the emotional impact that food
entertainment makes with the consumer. According to Laurie MacDonald, Nestlé USA,
Nestlé’s Toll House Morsels is an emotional product for our consumers that brings
[them] back to the days when they would come home and there would be mom’s
homemade chocolate chip cookies waiting for them. It really is about creating
memories with your kids. With our communications for Toll House Morsels, we try

123
Anne Becker, “Food Channels Daytime Recipe,” Broadcasting & Cable, May 18, 2008,
http://www.broadcastingcable.com/article/94568-Food_Changes_Daytime_Recipe.php (accessed October 4, 2010).
124
Rabinowitz, “The Kitchen Refuge.”
44
to tap into the warm feelings about baking. The messages change for the product.
We base our messages on consumer insight.
125

The emotional connection that is achieved by watching food entertainment is further
heightened by the symbolic value that consumers identify with food and cooking. As
indicated in my focus group, the concept of food extends well beyond its functional role of
providing nutrition and health to the human body. Food serves as an integral part of
personal identity and culture, bringing together family, friends and strangers. As food
entertainment continues to emphasize the symbolic value of food as a social activity that can
be woven into the everyday fabric of life, the emotional connection that consumers feel with
food will most likely continue to grow.
Launch of the Celebrity Chef

“What I'm doing here is seeking to offer protection from life, solely through the means of potato, butter and
cream... there are times when only mashed potato will do.”
~Nigella Lawson
126
(Bestselling author and host of Nigella Feasts and Nigella Express.)

Celebrity Chef Defined

According to David Chang, chef and owner of Momofuku restaurants, “there are
two categories of celebrity chef. There is the TV chef and then there are the chefs that made
it because their restaurant and cuisine are superior.” A television celebrity chef, by Chang’s
definition, is an individual who becomes a celebrity simply as a result from his/her
appearance on a food entertainment program. Individuals such as Food Network’s Sandra
Lee and Giada De Laurentiis fall into this category. While both women worked in the food
industry prior to their television programs, it was their appearances on the Food Network
that earned them the “celebrity chef” title.

125
Laurie MacDonald, Vice President Corporate and Brand Affairs, Nestlé USA, telephone interview, December 10, 2009.
126
“Nigella Lawson Quotes,” Thinkexist.com, http://thinkexist.com/quotes/nigella_lawson/ (accessed December 3, 2009).
45
The second category of celebrity chef Chang identifies is the successful and highly
acclaimed chef who has a reputation for superior cuisine. This type of chef is also referred
to as a “super chef” by several experts in the culinary industry. Individuals such as Thomas
Keller and Gordon Ramsay fall into this category. What separates these chefs from the
television celebrity chef is that they are highly respected individuals in the food industry and
are known by their peers for their exquisite cuisine. Juliette Rossant, author of Super Chef: The
Making of the Great Modern Restaurant Empires, noted, “Super chefs are great chefs, manage
multiple restaurants in multiple places, have cookbooks and have achieved a measure of
fame.”
127
Focus group participants identified these chefs as classically trained with an
extreme passion for food or extensive background in the restaurant business. Chang argued,
“that is why they are famous, not because they were on TV or anything like that.”
128
While
these chefs may eventually expand their career into the television industry, it is their initial
success as an established chef and/or restaurateur that has earned them a television series.
While both types of chefs are “celebrity” chefs in their own right, Chang suggests
that above anything else, it is far better to be known for one’s cuisine. According to Chang,
“If you are a celebrity chef, you want to be famous for your cuisine like Thomas
Keller…The chef that straddles the line better than anybody is Mario Batali in terms of
being a celebrity and running a restaurant. He is an amazing operator and chef.”
129

Rise of the Celebrity Chef

According to Ari Shapiro, National Public Radio (NPR), until about fifteen years
ago, “chefs weren’t really respected other than being in the kitchen and in the dining room

127
Hilary MacGregor, “Unscripted adoration; Fans swoon for the star of the reality TV series 'The Restaurant.' 'Rocco!
Rocco!'” Los Angeles Times, April 26, 2009, http://articles.latimes.com/2004/apr/26/entertainment/et-macgregor26
(accessed January 4, 2010).
128
David Chang, “What Makes a Celebrity Chef?” Interview by BigThink, January 25, 2008,
http://bigthink.com/davidchang/re-what-makes-a-celebrity-chef (accessed January 3, 2010).
129
Chang, “What Makes a Celebrity Chef?”
46
interacting with people.”
130
Although a chef may have been a successful restaurateur,
boasting an upscale and devout dining audience, it was not until the advent of food
entertainment that the chef’s profession rocketed to the “celebrity” status that it has today.
With the success of food entertainment programs throughout the years, chefs, as well as the
entire food and dining industry, are becoming more respected than ever.
As Shapiro says, “The cult of the TV celebrity chef is bigger today than it ever was
before. It’s now possible for chefs to reach millions of people through a multimedia
empire.”
131
Consumers today are able to connect with chefs by watching his/her television
program, cooking from his/her cookbook or recipes online, visiting his/her Web site, going
to his/her restaurant, following them on Twitter or even visiting them at public appearances.
As a result, chefs that utilize these various multimedia channels to reach and connect with
consumers are gaining in popularity and garnering a diverse audience following.
Furthermore, “chefs have become so big that some of them are recognizable by one word
alone.”
132
For example, Emeril Lagasse, one of Food Network’s original “celebrity chefs,” is
still known for his catchphrases, such as “BAM!” and “Let’s Kick It Up a Notch” that he
constantly spoke throughout his television career. While Lagasse is no longer with the Food
Network, the channel continues to air reruns of his “hit” primetime show, Emeril Live, and as
a result, many people today still connect him to these phrases.
Meanwhile, as food entertainment continues to grow in popularity, more and more
chefs, home cooks and culinary school graduates aspire to break into the industry. As the
industry is inundated with people seeking recognition for their cuisine, personal individuality
is a prime differentiator. The secret to a marketable celebrity chef is one who is not only an

130
Shapiro, “Americans’ Insatiable Hunger for Celebrity Chefs.”
131
Ibid.
132
Ibid.
47
exceptional cook, but who also possesses a distinct culinary point of view (POV), an
appealing personal style and good business acumen.
Jason Kephart, Smartmoney magazine, notes that the growth of food entertainment
means that “…the financial stakes (are getting) ever higher, (so) chefs are fleeing their
kitchens in search of a bigger piece of the pie. Rachael Ray, the ‘Babe Ruth of celebrity
chefs,’ has ridden her culinary fame to a daytime talk show and her own magazine.”
133

Known by many as Food Network’s resident “thirty-minute meal” chef, Ray possesses an
incredible amount of business acumen that has propelled her into these, and other, business
ventures. Beyond Rachael Ray, celebrity chefs in general are becoming so business savvy
that they are even appealing to the age-old marketing theory, “sex sells.” As the celebrity
chef phenomenon has exploded, a growing number of chefs are making mouths water for
reasons other than their culinary point-of-view. One example cited by Jason Kephart,
SmartMoney magazine, is actress and model Padma Lakshmi, who “has gone from guest-
starring on Star Trek: Enterprise to hosting the popular reality show, Top Chef, where she
muses about plating alongside Tom Colicchio, an accomplished chef and one of People
magazine’s “Sexiest Men Alive” for 2007.”
134
As Kephart notes, “Lakshmi’s food cred
includes two cookbooks, Easy Exotic and Tangy, Tart, Hot & Sweet—both of which feature
glamour shots of the India-born starlet [along] with her own recipes.”
135

It is also important to note the role that marketing plays in the success of a celebrity
chef. According to Andrea Rademan, Vice President of the International Food Wine and
Travel Writers Association, marketing is the ultimate essential secret ingredient of becoming

133
Jason Kephart, “Ten Things Celebrity Chefs Won’t Tell You,” SmartMoney, May 2009,
http://www.smartmoney.com/spending/rip-offs/10-Things-Celebrity-Chefs-Wont-Tell-You-22798/(accessed November
3, 2009).
134
Kephart, “Ten Things Celebrity Chefs Won’t Tell You.”
135
Ibid.
48
a celebrity chef.
136
While talent is important, marketing is even more critical. Rachael Ray’s
success is the ultimate example of this notion in practice as both her talk show and magazine
include an homage to what Ray is known for best—thirty-minute meals that are big on taste,
but low on preparation time.
The celebrity chef phenomenon is not just a United States craze; it is popular all over
the world. The most apparent examples are in Japan. As noted earlier, Food Network’s Iron
Chef America is based on Iron Chef Japan, which was a wildly popular Japanese show that
began airing in October, 1993.
137
According to the Food Network, “Before Japan's Iron Chef,
chefs in the country did not have a high position in society. The show helped to elevate
recognition and respect for chefs in Japan.”
138

Several notable international chefs such as Danny Boome, Jamie Oliver and Gordon
Ramsay from England and Bill Granger from Australia to name a few, have also gained the
“celebrity chef” status throughout the years. “Ramsay is a star on both sides of the Atlantic
for programmes [sic] such as Kitchen Nightmares in which he tries to fix other people's failing
restaurants, as well as The F Word and Hell's Kitchen. His television fees - thought to be about
£2 million a year in the UK and £5 million in America - together with cookware
endorsement, cookbooks and gin sponsorship have given him a personal fortune of about
£50 million.”
139

Power of the Celebrity Chef
Consumers are extremely trusting of most celebrity chefs. For the chef who has
earned the “celebrity chef” title as a result of his/her cuisine, consumers trust that when they

136
Ibid.
137
“The History of Iron Chef.”
138
Ibid.
139
“Heat of the Kitchen Proves Too Much for Celebrity Chef,” The New Zealand Herald, December 14, 2009,
http://www.nzherald.co.nz/england/news/article.cfm?l_id=37&objectid=10615328&pnum=1 (accessed December 19,
2009).
49
go to that chef’s restaurant, the food will be delicious and worth the cost. This trust may be
garnered through things such as peer recommendations, restaurant and chef reviews by
credible food writers and previous dining experience(s) at the chef’s restaurant(s). Trust also
may be obtained through the connection that the chef makes with the consumer through
their brand story and culinary point-of-view.
Unlike the celebrity chef who has earned a reputation for their food, many
consumers may trust the television-born celebrity chef even without any first-hand
experience with the chef’s food. Even though the viewer cannot taste the food, they hear the
“ooo’s, ahhh’s, and yummm’s” proclaimed when the chef tastes the food throughout the
program. The viewer sees the expression on the chef’s face when he or she takes that first
bite of the food that has just been prepared and trusts that it is genuine. Furthermore, the
food is presented in an attractive manner—called “plating” in the industry—so that it is
visually appealing to the viewer. The best ingredients are used to prepare a dish and food
stylists are employed to arrange the food in such a way that makes it more desirable. It is
plausible to assert that as a result, the viewer trusts that the chef is providing a recipe and/or
meal that will be incredibly satisfying.
Television celebrity chefs are also extremely powerful because of the connection that
they create with the viewer. Not only is the chef preparing delicious-looking food, he or she
is engaging the individual through hand gestures, storytelling and his/her personality. The
chef is making the food come to life so that even some of the most mundane recipes appear
sophisticated. Michael Pollan writes that, over the years, “the Food Network has figured out
that we care much less about what’s cooking than who’s cooking…The Food Network has
helped to transform cooking from something you do into something you watch…the Food
50
Network leaves you hungry, a condition its advertisers must love.”
140
Once viewers watch a
celebrity chef’s program, they can further connect with the chef through various multimedia
channels (e.g., Facebook, Twitter, buying cookbooks, downloading iPhone apps., etc.). The
viewer can even download a recipe from the television program’s Web site to prepare and
enjoy at home. This level of influence is extremely powerful.
Rick Bayless, chef of Frontera Grill and Topolobampo in Chicago, creator of
Frontera gourmet foods, cookbook author and host of Mexico - One Plate at a Time,
141

asserted, one of the assets of celebrity chefdom is “the ability to not only influence how
people eat in high-end expensive restaurants, but also to make positive change at the mass
market level.”
142
As a result, “celebrity chefs look to be effective in exposing consumers to
new ideas/tastes and broadening cultural trends.”
143

Celebrity chefs are extremely powerful today because of the celebrity-obsessed
culture that dominates several major societies throughout the world. According to Ruth
Reichl, noted American food critic and writer, co-producer of PBS's Gourmet's Diary of a
Foodie, culinary editor for the Modern Library, host of PBS's Gourmet's Adventures with Ruth,
and the last editor-in-chief of Gourmet magazine, “We are such a celebrity society that the
more people can identify with these chefs, the more they want to buy their books, (and) have
some kind of contact with them. I really think one of the driving forces drawing people into
this is the cult of the celebrity chef.”
144

140
Pollan, “Out of the Kitchen, Onto the Couch.”
141
“Frontera: Restaurants,” Rick Bayless online, http://www.rickbayless.com/restaurants/topolobampo.html (accessed
January 15, 2009).
142
Shapiro, “Americans’ Insatiable Hunger for Celebrity Chefs.”
143
Anand, “To What Extend Have Professional Chefs Shaped Culinary Cultures and Evaluate Their Influence on the
Current Hospitality Industry.”
144
Shapiro, “Americans’ Insatiable Hunger for Celebrity Chefs.”
51
Compared to the traditional celebrity (model, actor, sports figure), it could be argued
that the celebrity chef is even more powerful because there are more opportunities for the
viewer to connect. According to focus group participants, the lure of the celebrity chef is
his/her accessibility. Furthermore, chefs are approachable. Consider: Before her incredible
success on the Food Network, Paula Deen acquired a love for food as a young Southern girl
in her Grandmother Paul’s kitchen. It was not until much later in her life, as a single mother
of two with little money to her name, that Deen transformed what she learned in her
grandmother’s kitchen into her own catering company, The Bag Lady. Deen’s self-made
success is an element of her brand story; viewers can relate to and connect with her triumph.
Rachael Ray, Food Network celebrity chef and daytime talk-show host, is another example
of this notion in practice. According to Bob Tuschman, Senior Vice President Programming
and Production, Food Network “What makes Rachael Ray so exciting to people, is that she
speaks their language, shops at the same places they shop, and uses the same ingredients.”
145

Fundamentally, as Mario Batali, friend of Rachael Ray and celebrity chef and restaurateur,
once stated, “America loves Rachael because Rachael is America.”
146
It is with this
accessibility that Ray, Deen, and other celebrity chefs, have become such influential figures
in the culinary industry and have earned their spot as a permanent fixture of mainstream
media.
Food entertainment has become a pervasive medium of mass appeal and influence,
shaping and redefining culinary culture. However, before presenting recommendations for
how to PR professionals might merge the outcomes of food entertainment with the

145
Collins, Watching What We Eat, The Evolution of Television Cooking Shows, 221
146
Ibid., 221
52
characteristics of the modern consumer, it is worthwhile to note one seemingly bizarre, yet
fascinating paradox that exists in the midst of the food entertainment era.

53
Chapter 7

The Interesting Paradox:
Consumers are cooking less than ever before

Although food programming and celebrity chefs are an influential and widely
popular source of entertainment, a paradox has also taken shape. It seems that as food
entertainment ratings continues to grow in popularity, consumers become even less eager to
cook themselves. According to Michael Pollan, “Today, the average American spends 27
minutes a day on food preparation,” which Pollan notes is “less than half the time it takes to
watch a single episode of Bravo’s Top Chef or Food Network’s Chopped. What this suggests is
that a great many Americans are spending considerably more time watching images of
cooking on TV than they are cooking themselves—an increasingly archaic activity they will
tell you they no longer have the time for.”
147

In fact, as Laurie MacDonald of Nestlé USA put it, Nestlé has found that its
consumers still want convenient foods and recipes for convenient dishes. As a result, Nestlé
provides its customers with foods that require simplified preparation. According to
MacDonald, “we try to stay to an average of five ingredients with half-hour prep. Even
though the interest is there, mainstream consumers still do not want to tackle complex
recipes. They want something easy and convenient. Even though they have all the
cookbooks, they still want easy and convenient foods.”
148

As Michael Pollan noted, “the rise of Julia Child...along with Alice Waters and Mario
Batali and Martha Stewart and Emeril Lagasse…has, paradoxically, coincided with the rise of
fast food, home-meal replacements and the decline and fall of everyday home cooking.”
149

147
Pollan, “Out of the Kitchen, Onto the Couch.”
148
Laurie MacDonald, Vice President Corporate and Brand Affairs, Nestlé USA, telephone interview, December 10, 2009.
149
Pollan, “Out of the Kitchen, Onto the Couch.”
54
As a nation fixated on food entertainment and celebrity chefs, Pollan says, “it has been easier
for us to give up cooking than it has been to give up talking about it—and watching it.”
150

As convenience food purchases are on the rise and the number of consumers
cooking continues to decline, questions about the real impact of food entertainment arise.
Do food entertainment programs actually educate consumers or are they merely another
form of entertainment?
Although this is a valid question, the bottom line is that consumers are watching
these programs and thinking about the food, the chef, restaurants and products.
Furthermore, these programs have placed food at the forefront of everyday life,
repositioning it to have symbolic, rather than purely functional value. “Whether one opts to
actually cook the food is beside the point. Food has become entertainment and the chefs
and restaurateurs who appear on these shows have become stars who potentially have great
influence over the would-be home cooks and gourmands who watch them.”
151
Simply by
viewing, the consumer has the potential to act.

150
Ibid.
151
Mellgren, “The Impact of Celebrity Chefs.”
55
Chapter 8

Recommendations

Food entertainment programs provide several unique and creative opportunities for
public relations professionals to engage with stakeholders, communicate key messages and
promote a client or brand. Furthermore, food entertainment serves as a resource to better
understand consumer attitudes and behaviors toward food in general. The following are
recommendations to strategically utilize food entertainment programs and associated figures
to generate positive impact and results for a consumer brand and/or product.
Form partnerships

Leverage the success and popularity of food entertainment and its associated figures
by forming partnerships. Teaming up with an already credible food entertainment source
such as the Food Network, other food program or celebrity chef, can be extremely beneficial
in gaining mass exposure for a brand. Mass exposure can be achieved by utilizing the built-
in audience, credibility and success of the food entertainment source that is formed by the
partnership.
Food brands are already starting to leverage food entertainment as a valued
communication tool. According to Laurie MacDonald, Nestlé USA,
Food entertainment is a huge influence. As a food company, we want to partner
with food as entertainment. We know people are watching Rachael Ray. To get a
product mention is a big deal. In fact, we just finished with the Food Network
filming seven segments of their show Unwrapped for our chocolates—people want to
see how it is made!. . .Even non-cooking entertainment. When Oprah talked about
Skinny Cow, that was huge for us.
152

There are also opportunities to think “outside of the box.” For example, food
entertainment sources have indicated their openness to both traditional and non-traditional

152
Laurie MacDonald, Vice President Corporate and Brand Affairs, Nestlé USA, telephone interview, December 10, 2009.
56
types of partnerships. As stated by Susie Fogelson, Food Network’s vice president of
marketing, the Food Network is seeking collaborations with non-traditional partners such as
film studios. According to Fogelson, “Food is so broad…If I think about the things that go
with food—film, music, sports—then I have to consider how I can cast the widest net to
bring food into unexpected places with great partners…Movies are big, sexy, inspirational
brands. Movies tap right into pop culture.”
153

Capitalize on the built-in audience and use it as a valid research resource
Food entertainment is an extremely useful and beneficial research resource for public
relations professionals looking to promote a client or brand. Not only can food
entertainment programs be used to remain current on consumer trends, but it can also be
used as a resource to research audience attitudes and demographics. Furthermore, when
public relations research is used to explore why consumers are watching certain programs, a
client’s product or brand can then be positioned in such a way that is consistent with that
messaging or tone of the program.
For instance, a consumer brand may want to research why Rachael Ray’s show,
“Thirty-Minute Meals” has such high ratings. In its research, a brand may question: What is
appealing about this show?; Do viewers identify more with host (Rachael Ray) or concept of
the show (i.e., cooking an entire meal in thirty minutes)?; what are key words or phrases that
are used consistently throughout the show? If viewers watch the show because it presents
fast and convenient thirty-minute recipes, a brand could launch a new product by teaming
up with a chef to create thirty-minute recipes that use the new product as the star ingredient.
For example, a brand that is releasing a new jarred pasta sauce could launch an entire web
series on YouTube where a chef shares thirty-minute recipes with the viewer that utilize the

153
Albiniak, “More Than Cooks.”
57
sauce as the main ingredient. This approach can be applied to any food entertainment
program. By effectively analyzing a strategically chosen food program, a public relations
professional can then find ways to further integrate certain appealing elements of the
program into a client’s brand or campaign.
The built-in audience of food entertainment programs can be utilized by more than
just consumer brands. According to Gail Silverman, senior publicist at Paramount Pictures,
“Food Network really hits our audience when we are looking at appealing to women.”
154

Because of food programs’ built-in audiences, any brand or company looking to appeal to
that specific audience can monitor the trends, attitudes, responses and behaviors of a
particular program.
As James Mellgren, writer at Gourmet Retailer magazine says, “Keeping abreast of the
trends has always been important, especially for the independent merchant who vies to stay
ahead of the pack. Because of the huge audience commanded by these celebrity cooks that
flood the airwaves almost every hour of the day and their potential impact on sales, being
aware of what’s happening on these shows can help you keep pace with the items, cuisines,
and trends that customers are seeking. If you’re not on top of it, chances are your
competitors are and you risk getting caught with you apron down.”
155

Enlist the help of a chef

Undoubtedly, celebrity chefs are influential figures in current culinary culture and
cuisine. As food entertainment is an increasingly successful and a widely popular source of
entertainment, celebrity chefs are consistently lending their name and credibility to help
promote various food brands, products and events.

154
Ibid.
155
Mellgren, “The Impact of Celebrity Chefs.”
58
One recent example of a brand that enlisted the help of a celebrity chef was Viva
towels. In Fall 2009, Viva teamed with Food Network celebrity chef, Sunny Anderson, for
the Get Closer to Your Food campaign. To promote the towels, Anderson filmed several
short commercials where she shared different ways that Viva towels were incorporated into
her everyday life. Commercials showcased Anderson using Viva towels as a strainer to
create Greek yogurt, and highlighted the towel’s thickness by using it to hold a steaming
piece of corn while shucking kernels from the cob. The commercials displayed Anderson’s
approachable hands-on cooking style, while also promoting the product itself.
While television celebrity chefs are influential and already have a built-in audience, it
may not be practical for companies to utilize these individuals due to limited budgets or time
constraints. If this is the case, any credible chef can be chosen to be a part of a campaign.
However, the chef who is chosen must be personally engaging and passionate about the
brand. The key is the chef must engage with their audience similarly to how a celebrity chef
does. If the chef is able to engage and connect with the audience while still promoting the
product, whether they are a bona fide celebrity is less important. Nestlé USA is one example
of a company that supports its brands by using chefs as a source of promotion for its
products. According to Laurie MacDonald, Nestlé USA, “we use them regularly and it has
been fantastic. We look for a chef who is truly passionate about our product and really does
use it. It is a mutual agreement and is done in an authentic way.”
As shown in these examples, it is important for a public relations professional to
strategically select a chef that best represents the specific client or brand. Doing so will
generate the greatest impact and results.

59
Product placement

Product placement is a prime way of gaining exposure for a client’s product or
brand. As there are various amounts of food entertainment programs that appeal to an
endless assortment of consumer demographics, public relations professionals can select a
program or chef that best suits the target audience of the brand or product. Products can be
used on a food entertainment program either by the chef itself or simply placed on the set.
Some food programs are even specifically dedicated to showcase various food
brands. For instance, Food Network’s Unwrapped dedicates each show to a specific subject
(e.g. “sweet and salty food”). The program host then showcases behind-the scenes
footage—largely b-roll—of various brands and spokespeople within the chosen category.
For the shows “Sweet and Salty” episode, for example, host Marc Summers spent the half
hour “unwrapping” a Snickers candy bar, Fran’s Chocolates, Jeni’s Ice Creams, pretzels from
Snyder’s of Hanover, and the Wolfgang Candy Company. Viewers were able to get an inside
look into each company’s manufacturing facilities to see how the products were made.
Not only can products and brands be placed on food entertainment programs,
restaurants can be featured as well. A public relations professional representing a restaurant
can work to get a client’s restaurant featured on one of such shows. For example, in Travel
Channel’s Man vs. Food, host Adam Richman travels the country and challenges himself to
his own personal eating competition at local dining “hot spots” that hold reputations for
large and daunting food servings. Although the show is focused around Richman’s ability to
polish off some of the most insane food the country has to offer (a 13- pound pizza in
Pittsburgh, for instance), the viewer also gets an inside look into the featured restaurant
where the competition takes place, thus creating awareness and, possibly, interest.
60
Sponsorship

Sponsor a food entertainment reality program

Many food reality programs have companies that sponsor various elements of the
show. This is especially evident in food competition shows. For example, Bravo’s Top Chef
is sponsored by “Kenmore Elite cookware” and the products are often used and showcased
on the show. The Food Network has various food competition reality shows sponsored by
various companies. In order for this approach to be successful, a program must be
strategically chosen to remain consistent with the audience, messaging and goals of the
client’s brand or product.
Sponsor a food event

Numerous food events are held throughout the year that are either organized by the
Food Network or that feature celebrity chefs. Such events provide an excellent potential
source of client product or brand exposure as there is already a built-in audience of attendees
at each event. Not only do regular consumers attend these events, but many elite “foodies”
and chefs do as well. Companies could sponsor these events as a means of promoting their
brand and products. Additionally, these events represent opportunities to network and form
relationships with influential individuals in the food entertainment industry for future
potential brand or product promotions. For example, the American Wine & Food Festival
is an annual event in Los Angeles that supports the Meals on Wheels programs of LA. Each
year, the event has a star-studded guest list that includes influential members from the
culinary community such as celebrity chefs Francois Payard, Wolfgang Puck and Nobu
Matsuhisa. Simply attending this event provides a chance to network, but choosing to
sponsor it can be an excellent option for the right brands as well.
61
Incorporate the “entertainment” aspect of food programming into a client’s
campaign
Food programs are as a source of entertainment for consumers, acting as a form of
escape and nostalgia for a topic of universal appeal (food). To promote a client’s brand or
product, a public relations professional can find ways to incorporate the entertainment
aspect of food programming to the client’s campaign.
This can include enlisting an individual to actively speak about your product who
enjoys speaking about food and can captivate an audience, much the same way a celebrity
chef can. An example might be an established food blogger who has a loyal following or a
local “foodie” ( i.e., a person who has a passionate and refined interest in food) who is well-
known throughout a community. This individual should not only be knowledgeable about
the brand/product, but will also engage the consumer by using a storytelling technique,
similar to the ways in which a chef or host captivates his/her viewer on a food program.
The entertainment aspect of food into a campaign can also be incorporated in the
actual campaign messaging. Key messages might include an element of nostalgia or escape to
them. When transporting the consumer to a place of deep emotional appeal or happiness
through key messages, the feeling can then be linked to the brand or product, thus
resonating more in the mind of the consumer.
Lastly, the entertainment aspect can be incorporated into the actual campaign tactics.
Online media is an incredibly vast resource for incorporating entertainment into a brand
campaign. A company or brand’s Web site can include videos, pictures, games, podcasts,
etc. to further relate to the consumer. Also, a company can create an entire social media
campaign utilizing platforms such as Facebook, Twitter, Flickr and YouTube to broadcast its
62
message to the world. Any of these social media platforms can include links to videos,
pictures and other multimedia applications. Additionally, in the age of “consumer
journalism,” social media allows the brand’s message of the brand to be spread in essentially
grassroots ways via the individual consumer, rather than by a designated company. As many
consumers place greater trust in word of mouth communications, social media is an
important tool in making the brand relevant in consumer’s minds. Lastly, social media
provides an opportunity to tailor messages to specific niche audiences, which relates back to
the “me-conomy” where consumers want everything to be customized.
Further empower consumers by engaging them in the design process and
encouraging feedback.
As Ketchum’s “2020” study of consumers’ primary food concerns and expectations
surrounding food indicated, today’s consumer feels a certain level of greater empowerment
regarding their food choices and purchases.
156
This level of empowerment results from the
information age that we live in as well as the surge of new consumer products in the
marketplace. As consumers know more and have more products to choose from, the power
has increasingly shifted from the company to the consumer. No longer is the brand always
in the driver’s seat, but the consumer is. This empowerment has created a class of consumer
that is less willing to compromise. Consumers not only feel empowered when it comes to
purchasing, but they feel empowered to voice their opinions to companies.
To appeal to this level of consumer empowerment, a public relations professional
can counsel their client on more ways to include the consumer more during the actual
product design and development process. Social media is one ideal resource to accomplish

156
Ketchum Public Relations, “Food 2020: The Future of Food, Nutrition & Wellness,”
http://www.ketchum.com/food2020 (accessed October 10, 2009).

63
this goal as it is able to reach a vast array of audiences on different platforms. A public
relations professional could recommend that a client create a brand-specific Facebook page
or Twitter account where consumers can have direct contact with the company and view
news and updates as they are released. A brand could also establish a blog where consumers
are encouraged to post comments and reply to entries. By allowing the consumer to offer
feedback and voice opinions in these ways, the brand is further empowering the consumer,
thus increasing the chances of establishing a deeper relationship.
Outside of social media and other online platforms, a company can gain consumer
feedback through more conventional primary research approaches, such as focus groups,
questionnaires, or intercept interviews at various retail outlets.
Engage in proactive and transparent messaging and business practices
As consumers are more knowledgeable and demanding than ever and get
information from more varied sources, the public relations professional must counsel their
clients to be transparent in their messaging and business practices. Messages must be
tailored, strategic and creative so as to not only attract, engage and retain consumers, but to
also be easily recalled in the consumer’s mind, distinct from the other messages bombarding
them.
Furthermore, clients must always remain two steps ahead of consumers, anticipating
consumer feedback through early-warning mechanisms like tasting panels and beta-testing
groups, so they can increase their chances of providing their consumers with what they want
before they have to demand it.
Engaging in proactive and transparent messaging and business practices will increase
a company’s credibility in the mind of the consumer. It will also help to keep crises at a
64
minimum and for the crises that do occur, transparency will most likely speed recovery of
the brand’s reputation.
Monitor Trends
As consumer lifestyles are constantly changing and evolving, so too are consumer
trends reflecting that evolution. For example, in 2008, several studies showed that
consumers were willing to pay a premium for organic food. However, in 2009, once the
recession hit and money was tight, studies showed that consumers assigned organic food to
the backseat and inexpensive dining and modernized comfort foods took over. In current
times, as the environment is a top concern in the media and minds of the consumer, local
and sustainable foods have risen to the forefront of the food trend-tracking chart. Chefs are
taking note of this trend and several menus include options that come from local farms and
fisheries. Moving forward, public relations professionals must continuously monitor key
lifestyle developments and be familiar with these trends so they can ask questions such as:
“What food is currently ‘in’?”; “What are people eating?”; and “Which chefs are hot?” While
food entertainment is a trend itself, it also has given rise to consumer purchasing and
consumption trends as well as trends in new programming content. Monitoring food
entertainment will help the public relations professional craft strategic messages and plans as
well as make informed decisions.
Engage in brand storytelling to build strong consumer relationships
Food entertainment and celebrity chefs have demonstrated the power of storytelling
as a means of engaging with consumers and connecting with them on an emotional level.
Incorporating “storytelling” into a brand’s messaging can similarly create a deeper
connection with a consumer.
65
“Storytelling is the new differentiator. Facts and figures, specifications and price all
still matter, for certain. But it takes stories to connect with customers on an emotional level.
The motivation to choose one brand over another – when the choices are endless – is
triggered by emotion.”
157

In utilizing storytelling to engage with the consumer, some considerations the public
relations professional should think about include: Does the brand have a story that could
help shape consumer ideas about the brand and/or product?; How can a brand persuade a
consumer to tell stories about their experiences using the brand?; Can a brand serve as a
portal to help a consumers share his/her story?
158

The public relations professional can then counsel their client on the best ways to
incorporate storytelling into the brand, campaign, and messaging. By incorporating
storytelling into the messaging and essence of the brand, a deeper relationship is being built
between the company and the consumer.
Never underestimate the power of a visual
Part of what makes food entertainment so engaging and appealing to viewers is the
visual aspect—the vibrancy of the colors, the design of the set, and of course, the
presentation of the food. Each element of the program is intricately chosen to be
aesthetically pleasing to the human eye. Furthermore, these design elements are translated
into various multimedia channels through the creation of online videos, a Web site, recipe

157
Andrea Learned, “Marketing Through Stories: The Selling Power of Narrative,” Marketing Profs, March 22, 2007,
http://www.marketingprofs.com/marketing/online-seminars/108 (accessed January 21, 2010).
158
Edelman, “Storytelling,” Connections, Spring 2007, 10,
http://www.edelman.com/image/insights/content/SPRINGConnections.pdf (accessed November 1, 2009).
66
images, etc. By keeping similar design elements throughout every communications medium,
the program or celebrity chef further contributes to the consumer’s experience with the
brand.
A public relations professional should counsel their clients to incorporate impactful
visuals into any communications plan that is to be effective and reflective of the current
times. Even if it simply means attaching an image to a press release disseminated over a paid
wire service, the image should be extremely powerful and evocative of the brand’s
messaging. The image also must provide appropriate context and content that the media can
work with. This is especially important for bloggers who require an extreme amount of
content to keep visitors tuned in and returning to their sites. A blogger will be more apt to
write a post about a product that provides a press release that includes images, videos and
links because the blogger can then embed those into the site and drive more traffic.

67
Conclusion
In today’s world, food is intricately woven into the everyday lives of consumers.
Food entertainment has played a significant role in food’s transformation from mere
nutritional substance to a container for meaningful symbolic and social value by placing food
at the forefront of mainstream media through programming, products and chefs. Food
entertainment’s power as a social catalyst must not be ignored; in fact, it has shaped and
redefined culinary culture, facilitating the evolution of a consumer who is increasingly
informed empowered and demanding when it comes to food or any food-related subject,
even while their direct involvement in the preparation of food has decreased.
As food entertainment continues to grow in demand and popularity, it can be
utilized as a powerful resource and platform when drafting strategic communication plans.
Doing so will place a client’s brand and/or product at the forefront of the modern
consumers mind in a way that is engaging and entertaining.
Moving forward, the findings and recommendations of this paper can serve as a
foundation for those who wish to consider utilizing food entertainment when
recommending a strategic campaign. While every attempt was made in the writing of this
paper to highlight the value of food entertainment in strategic public relations, there are so
many creative ways that it can be integrated into a brand’s campaign and generate results that
the findings of this paper may best serve as a jump-off point for other public relations
professionals to engage their own creativity.
Just as a single tweak in an ingredient can alter the entire outcome of a dish, so, too,
can adding elements of food entertainment into a brand’s communication plan. It can add
spice to a campaign—an element of surprise or a deeper layer of complexity. The key is to
68
strategically choose which food entertainment elements should be incorporated to generate
the best results. In doing so, the public relations professional can generate a new recipe for
success!
69
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75
Appendix A

Interview Transcript

Laurie MacDonald
Nestlé USA- Vice President corporate and brand affairs

For the purposes of this interview, “food entertainment” is defined as any television
program specifically dedicated to food. This includes any program on the Food Network
and shows like Bravo’s “Top Chef” and “Everyday Food” on PBS. This also includes
specific segments that are dedicated to food on programs such as “The Today Show,”
“Good Morning America,” and “Oprah.”

The Evolving Consumer

How are Nestlé consumers different today than ten years ago? Are they more
empowered? Demanding? Knowledgeable?

Nestlé consumers are demanding. Consumers want it all and they want it fast and convenient. They want it
to taste good, be nutritious and be portable.

What has changed the most since ten years ago is the volume of information there is about food choices and the
different mediums to get it. There is a proliferation of products and information. Also, consumers shop at
many different locations. There is a lot of competition and noise in the market.

If so, what do you attribute to that knowledge?

Food entertainment is a huge influence. As a food company, we want to partner with food as entertainment.
We know people are watching Rachael Ray. To get a product mention is a big deal. In fact, we just finished
with the Food Network filming seven segments of their show “Unwrapped” for our chocolates—people want
to see how it is made. The pioneer is Martha Stewart. Even non-cooking entertainment. When Oprah
talked about Skinny Cow, that was huge for us.
76
Consumers are savvier about food trends because of food entertainment. Consumers are sophisticated and
demand variety. The awareness and sophistication has impacted our brand. We create recipes with more
“exotic” ingredients because they like it. Consumers think your brand is more contemporary.

Consumer’s basic view of food

How do Nestlé consumers view food and cooking today? Do they view it as a form
of necessity? A form of indulgence? A social activity? A burden? How does this
influence how you communicate your brand’s messages?

Nestlé’s Toll House Morsels is an emotional product for our consumers that brings consumers back to the
days when they would come home and there would be mom’s homemade chocolate cookies waiting for them. It
really is about creating memories with your kids. With our communications for Toll House Morsels, we try
to tap into the warm feelings about baking. The messages change for the product. We base our messages on
consumer insight.

Food Entertainment

As a prominent consumer brand, how would you or do you utilize food
entertainment to promote your brand and products?

They [food entertainment programs] come to us and we go to them. We target food entertainment in two
ways. One is food editors. They are highly influential. They started out in print and now, a lot have started
their own food blogs. We have a separate media outreach for food editors that we have developed relationships
with throughout the years. It is two way. Yes, we want to tell them about what we are doing here, but we
love to listen to them and hear what their readers and viewers want. For example, a couple of years ago,
nutrition was important to consumers and then last year, it was all about “green.”

We also target a lot of food bloggers and treat bloggers like reporters. These days, it is hard to tell bloggers
apart from reporters. We have also created a lot of groups on social media sites. One thing that has changed
77
in the social media climate is that it is empowered and two way. With bloggers, you need to be prepared for
them to say that they do not like the product and that is OK too because it creates a dialogue. It’s fascinating
because you get to learn and listen.

We even go after regular television shows, by doing product placement. For example, Nestlé Juicy Juice
makes frequent appearances in TLC’s “John and Kate Plus Eight” as the kids like to drink it. With our
product outreach, we are diligent in adhering to FTC guidelines.

Celebrity Chef

Have you ever considered using a celebrity chef to promote your brand or promote a
specific product? If so, which chef did you or would you use?

We use them regularly and it has been fantastic. We look for a chef who is truly passionate about our
product and really does use it. It is a mutual agreement and is done in an authentic way. For example, we
use Chef Lorena Garcia who is from Miami and she is high in energy and spirit. She uses a number of our
products.

We use quite a few chefs especially in product launches. What’s even better is when a celebrity chef naturally
uses your product or comments on it. For example, Martha Stewart uses Toll House Morsels and it is great
to see the yellow morsel bag sitting there. We sent our product, Skinny Cow, to Oprah to pass out to
audience members when it was on her list of favorite things. That was absolutely great!

How do consumers respond to celebrity chefs?

We do see a little bit of bump in sales. It is a nice endorsement.

Do you craft the messages for the celebrity chef to deliver?

78
In reality, it is a collaboration. It’s the chef that brings a different level of creativity to it as well. They may
see it in ways that we won’t. They add value to your message. They bring a pragmatism to it, a practical
application.

Paradox

In my research, I discovered that although these programs and chefs are influential,
consumers are cooking less than ever before. How has this impacted your brand?

We have simplified preparation. We try to stay to an average of 5 ingredients with hour prep. Even
though the interest is there, mainstream consumers still do not cook complex dishes. They want something
easy and convenient. Even though they have all the cookbooks, they still want easy convenient foods.

Recommendations

Do you ever engage in brand storytelling as a means of engaging with consumers?
Example?

We do, but not as well as we could. We do it with products that inherently have it. For example, Powerbar,
is all about helping athletes reach their fitness goals. There is an inherent story behind the actual brand. I am
a believer in storytelling.

Storytelling is especially important around the holidays because consumers are more responsive. The emotional
connection is so powerful.

Have you ever considered sponsoring a specific food event, particularly one where
food entertainment “stars” are present, as a means of promoting your brand?

We definitely do a lot of events especially since food is one of the more powerful parts of an event. Food is a
sensory experience and I view events as a perfect way to get right next to the consumer.

79
We participate in a variety of food events. It might be something more scientific or even a food fair like
“Taste of LA.” For example, we might have our Buitoni pasta and sauces displayed. We approach it
brand by brand depending on the event and where it fits.

We like to push the food, even when a magazine will take out the mention of our brand. For example, we
might post a recipe in a magazine that incorporates pumpkin. Pumpkin a superfood and can be used in so
many ways. Even though our brand name is taken out of the magazine, we still believe that consumers will
use our brand because it is the market leader.

80
Appendix B

Focus Group Discussion Guide

Introduction

My name is Jillian Smillie and I will be your moderator this evening. My role as moderator is
to facilitate and direct the flow of the discussion to ensure that we cover certain main topics.

Objectives and Agenda

Our purpose this evening is to talk about the entertainment value surrounding food. More
specifically, I will be exploring the extent to which food entertainment has shaped culinary
culture. Before we begin, I would like to define “food entertainment” as food in popular
media, specifically television. This includes the Food Network as well as television shows
such as Top Chef and Rescue Chef.

Ground Rules

Before we begin our discussion, I would like to establish a few basic ground rules.

1. This session is being recorded so please be sure to speak in a tone that is loud
enough for the microphone to pick up
2. Only one person should speak at a time.
3. There are no right or wrong answers.
4. This is a safe environment and anything that you say will remain anonymous. Please
speak openly and candidly about today’s topic.
5. Please say what you think and not what you think others want to hear. We are
interested in your individual opinions.
6. Be respectful of other people’s ideas and contributions
7. Please turn off all cell phones as they could cause a distraction

Discussion

Introduction: Will everyone please introduce yourself by first name and tell us your
favorite type of food?

Food Entertainment Television questions
1. How many of you watch food entertainment television? This includes any type of
program on the Food Network or shows such as Top Chef and Rescue Chef?
a. If so, what do you watch?
2. Why do you watch these shows?
3. What do you like about food entertainment television? What do you dislike?
4. What purpose do you think these programs serve in the lives of consumers?
5. How do you feel when you watch these programs?
81
6. What role do these programs play in your life?
7. What’s inspiring about these programs?
8. Why do you think that there has been such a surge on food entertainment television
over the past few years?
9. What is your take on celebrity chefs?
a. Why do you think people trust these chefs?
10. What do you take away with you when you watch these programs?
11. If the “Food Network” brand could talk, what would it say?
12. If the “Food Network” brand was a man, what would it say?
13. If the “Food Network” brand was a woman, what would it say?
14. If the “Food Network” brand were to come alive as a human, what would it be like?
What would it do? Where would it live? What would it wear?

General Food Questions
1. How do you view food? What role does food play in your life? What does food
mean to you?
2. How adventurous would you say you are in your cooking?
3. What words come to mind when I say “Food Network?”
a. Why?
4. What comes to your mind when you think of the “Food Network?”
5. What comes to mind when you think of, “cooking?”
6. How often do you cook?
a. What are some of your motivating factors for cooking a meal rather than
eating out?
b. Would you say cooking is enjoyable? Or a necessity?
c. Where do you get your recipes?
d. If you do not cook often, why is that?
7. In thinking about the rise of food entertainment television over the past few years,
what kind of impact do you think that this has placed on public relations?—
specifically those specializing in food consumer brands

Expectations surrounding food
1. When you go to your local supermarket, what kind of expectations do you have?
2. What do you expect from food manufacturers today?
3. How have your expectations changed over the past several years in regards to food?

Closing

As I have mentioned, the goal of today’s discussion was to gather information surrounding
the entertainment value of food. Do you have any last thoughts? Is there anything that I
have missed that you would like to bring up before we part ways this afternoon?

Thank you for your participation. Your feedback is very valuable to me.

Abstract (if available)

Abstract Over the past several decades, food entertainment has had a significant influence upon shaping and redefining American culinary culture. Whether it is through its programs or associated figures (i.e., celebrity chef or host), food entertainment has made its way into mainstream media and become the "go-to" source of entertainment and food-related information for many consumers.

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Asset Metadata

Creator Smillie, Jillian (author)

Core Title The entertainment value in food and its value to the public relations industry

School Annenberg School for Communication

Degree Master of Arts

Degree Program Strategic Public Relations

Publication Date 04/14/2010

Defense Date 04/14/2010

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag celebrity chef,Communications,Food,food entertainment,Food Network,Julia Child,Ketchum,OAI-PMH Harvest,Public Relations,Rachael Ray

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Floto, Jennifer D. (committee chair), Jackson, Laura Min (committee member), Kotler, Jonathan (committee member)

Creator Email jilliansmillie@gmail.com,jsmillie@usc.edu

Permanent Link (DOI) https://doi.org/10.25549/usctheses-m2920

Unique identifier UC159915

Identifier etd-Smillie-3298 (filename),usctheses-m40 (legacy collection record id),usctheses-c127-309687 (legacy record id),usctheses-m2920 (legacy record id)

Legacy Identifier etd-Smillie-3298.pdf

Dmrecord 309687

Document Type Thesis

Rights Smillie, Jillian

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Repository Name Libraries, University of Southern California

Repository Location Los Angeles, California

Repository Email cisadmin@lib.usc.edu