“The operatic potential of The Jerry Springer Show seems blindingly obvious, at least in hindsight. Like characters in an opera, Springer’s guests come on stage and immediately reveal their innermost secrets, then pitch into emotional exchanges with their wives, boyfriends or boyfriends’ girlfriends. Love, hate, sex, power: All the big operatic themes are there, minus the singing. There’s even a built-in chorus: the studio audience, with its volatile sympathies and free-floating hostility.”