Thomas Rogers, a writer living in Berlin, takes to the pages of the New Republic to describe the oddity of 'Wetten, Dass...?' and the crappiness of German TV in general:
...[T]he mediocrity of [German] TV—and “Wetten Dass..?” in particular—is currently a particular source of national insecurity. Whereas other European countries, like Denmark and France, have impressed international audiences with high-quality shows like “Borgen” and “The Returned,” TV in Germany remains dominated by talk shows, schlocky crime procedurals, mediocre miniseries, and, well, “Wetten Dass..?”—or as a New York Times headline from last year described it, “Stupid German Tricks.”
...Not only does the 33-year-old “Wetten Dass..?” seem to confirm a lot of the world’s less generous stereotypes of Germans—e.g. humorless, weird, with terrible taste in formalwear—its concept is also awkwardly difficult to explain....
For Hollywood stars used to appearing on “Kimmel” or “Conan,” [Markus] Lanz’s interview techniques—which often involve commenting on female stars’ appearance—can seem jarringly unpleasant and often sexist. When a baffled-looking Cameron Diaz appeared on the show this spring, Lanz asked her to stand up from the couch so two young boys could get a kiss from “one of the most beautiful women in the world.” She instead gave them high fives and awkwardly and silently sat back down.
On a cultural level, the show has also become a symbol of Germany’s continuing struggles to create good television. As television has emerged internationally as the new medium for sophisticated storytelling, public criticisms of the show, and German TV in general, have sharpened. In 2012,Spiegel published an interview with a top German media critic under the headline “Why are German TV shows so lousy?” Unlike the U.S., television in Germany is highly subsidized by the public.
Even if you ignore stunty shows like “Wetten Dass..?,” German narrative offerings have lacked the nuance and verve of high-end British, American, or Scandinavian productions. “Tatort,” the country’s most popular program, is an uneven cop show that often feels several decades out of date, and most other fictional TV shows perpetually reshuffle a few familiar elements (blonde doctor, romantic woes, rural hospital, Bavaria). As Lothar Mikos, the media critic, told Spiegel, the problem isn’t monetary, it’s the opposite: German broadcasters’ enormous bureaucracy and generous funding have largely insulated them from the need to innovate. And since younger people tend to watch American or British shows online anyways, there’s little to dissuade networks from creating more low-quality schlock for aging viewers.
Rogers has subscribed to the donut-hole theory: Germany does highbrow really well and lowbrow OK (but who cares), but the vast middlebrow area is a wasteland.