Being on Diggers: Advice and Reflections from Montpelier

By: Matthew Reeves and Terry Brock

On Monday, July 20th, the Montpelier Archaeology Department appeared on the National Geographic Channel’s Diggers television program. This program has been an issue of contention for archaeologists and metal detectorists alike, but efforts by SHA and other archaeological organizations to work with National Geographic and the National Geographic Channel have led to a show that melds archaeology and metal detecting together. As participants in these conversations, and as advocates for the collaboration of archaeology and metal detecting Montpelier decided to put ourselves forward as one of a handful of archaeological sites willing to have a show filmed at our site. In this blog, wanted to provide some tips and strategies we used to ensure the filming was successful (you can watch the entire episode below).

First and foremost, we found that the production team, from the exective producer down to the film crew, wanted to cooperate with the goals we had for filming. In terms of the actors, Ringy and KG are both very intelligent folks who are skilled metal detectorists with an earnest interest in material culture, sites, and bringing the joy of discovery to the public, all elements we have in common. And finally, the newly hired archaeologist, Dr. Marc Henshaw, is a fantastic guy with great experience who serves as an excellent liaison between the film team and the project. With this said, we found the following guidelines as essential for a successful production.

Establish and Maintain Ground Rules


Ringy (blue sweatshirt) and KG (Green sweatshirt) attending one of the four lectures during the Expedition Program. Participating in all elements of the Expeditions was one of our caveats for participating in the show (Photo Courtesy of The Montpelier Foundation).

Establish with the field film crew the ground rules. We had three areas we wanted to reinforce:

  1. that Ringy and KG would be shown as working within a larger team of archaeologists and metal detector participants–teamwork would be a tangible outome. We filmed this show during one of our Metal Detector Expedition Programs, and had the expectation that they would participate in the lectures, tours, and other elements of that program, including building relationships with our staff and participants. They did just that.
  2. that our crew would do their best to present the grid in a visible manner-in this case, we not only staked the grid with wooden stakes, but also pulled flagging tape between the stakes to have it prominently displayed.
  3. that Ringy and KG would only work in areas that we designated–no side trips anywhere outside the gridded area–we emphasized the only place we do metal detector survey is where we have a grid established–anywhere else is a strict break in protocol.

With these parameters clearly established, the film crew and the actors knew exactly what to expect—and this guided what the field producer looked for in terms of entertainment and improv from the guys–and in the end built methdology and teamwork into the shows storyline.

Prepare the Site

For preparation for the shoot, pick a site where you know you can get results in a short amount of time–that way you control the content of the project and the show. This is the reason we chose the stable–we knew we would recover artifacts related to tack material (horse shoes, nails, buckles, etc) and had a high chance of finding enough material culture to establish patterns. While the survey was real and the info we gained was new, we chose an area we had very high confidence in, and had poked around before.

Emphasize Context by Finishing


During the Expedition, staff used our total station to map all the samples taken during the Expedition, allowing us to have results by the end of the program. The total station was also set up directly behind KG during the entire show, ensuring its presence in most of the footage (Photo Courtesy of The Montpelier Foundation).

Make sure that you can process the finds to the point to show the importance of provenience: in the field, we made sure we were able to complete an entire 60’ x 60’ survey block and had time to shoot the points in with the transit, data enter the field catalogue of items, and plot these on maps by the end of the week. This was of critical importance since the assessment needs to happen while the film crew is still on site, in our case, this happened the Saturday morning following the final day (Friday) in the field. Having a plot map with the patterns already established meant the assessment was more than just a glorified artifact display, but presented the data behind all the work carried out to record location.


Preliminary results showed a void in the area surveyed, providing us with solid interpretations about the location of the stable by the end of the program, and allowing us to emphasize the importance of context and distributional data (Photo Courtesy of The Montpelier Foundation).

Communicate and Be Flexible

The Digger’s production crew clearly wanted to capture the elements we discussed—they just needed to get the results while they were in the field. Also, what is shot in the field has to well thought out enough to make sense to the editors in the office—these are two different teams, and the only communication that occurs between the field and office is the executive producer—so capturing quality shots, quotes, and messages in the field that flow together into a larger story is absolutely essential. In the end, know that getting results from about 3–4 days in the field that are suitable for a prime-time reality TV show entails a lot of work and preparation. Once the film crew arrives you have to be on top of your game with very little margin for error. For the production shoot we held at Montpelier, the staging of the work and results would have been impossible without having a trained and dedicated archaeological staff to assist through the process.

Over Emphasize Your Message


Staff and Expedition Members were briefed on talking points. Here, one participant is taped talking about his work on the site (Photo Courtesy of The Montpelier Foundation).

The final item to realize is that while the production team is allowing review of content during production, there it is almost impossible to shoot new material once the film crew is done with the shoot. As such, make sure your message is caught on film—both in anecdotal clips in the field and definitely in the assessment. Review this message with your staff, and make sure it is said over and over again, whenever anyone is on camera. We talked with our staff and Expedition members about what we wanted to message, so that they were prepared when the camera was in their face. In the case of the final assessment, it occurred to me during in the middle of shooting how to play Ringy and KG off one another to make the point regarding negative data. What this required was complete immersion in the final product—both in terms of us (as archaeologists) and the production team.

Prepare Yourself and Your Staff


Learning how to collaborate with metal detectorists is vital preparation for the TV show. Here, Frank Juarez, left, is partnered with Seth Van Dam, an archaeologist from Ft. Drum Army Base, who attended the program to learn about our survey techniques (Photo Courtesy of The Montpelier Foundation).

This is critical. We could not have done all the work we did without having a sizeable staff that is well trained in metal detector survey, in addition to a full expedition program that included 9 additional metal detectorists and 6 visiting archaeologists. We have been working with metal detectorists for years through our public programs, and even employ two metal detector technicians on our staff. We had no concerns about using metal detecting as a survey tool, the efficacy of our methods, our ability to work with KG and Ringy once they arrived on site, or with how to excavate, record, bag, flag, tag, and catalogue objects: our methodology is tried and tested, and our staff executes it regularly. The only thing that was new to us were the TV cameras. We made sure to prepare our staff and expedition members for appropriate messaging, language, and other elements so that they were all ready to be on camera.

If you haven’t built relationships or worked with metal detectorists before, then the television program could be a lot of learning for you and your staff all at once. We’d strongly encourage you to attend one of our upcoming Metal Detector Expeditions to learn our methodology and also how to work with members of the metal detecting community, particularly if you are interested in doing the Diggers Program. We have designed these programs to provide a space for archaeologists and metal detector hobbiests to collaborate, and, more importantly, to learn how to collaborate. Having confidence in the methods and understanding the community you are working with will ensure that you can focus on getting your message through.

Working with the Diggers program was an incredibly rewarding experience, as have all our Expedition Programs. In truth, it has made our Expedition Programs better. For example, having results at the end of the week is not ever something we have done before: we believe the entire Expedition learned more about context by seeing the results of the survey at the end of the week then by us explaining what we would be using the data for in the future. From a larger perspective, it is our hope that participating in the Diggers show has allowed the public to also learn about what archaeology is, and what the collaboration between metal detectorists and archaeologists can look like when done through empathy, collaboration, and hard work.

Nazis, Ethics and Tolerance

Last week a student rushed into my office exclaiming “My God Dr. Ewen, have you seen this video on the National Geographic Website!?!” A little while later I received an email from Terry Brock alerting me to activity on Twitter and Facebook relating to the video my student wanted me to see. It was the now infamous clip from the proposed reality show Nazi War Diggers.The two and a half minute video depicted three guys in camo gear rooting around in a hole and coming up with a human femur (which they at first thought was a humerus). This was followed up by the trio speculating about the horrible manner of the soldier’s death. The video was a distasteful display that demanded an immediate response. This is what happened next:

I thought, oh no, not again! I was transported back two years to when the National Geographic Channel debuted their metal detecting reality show, Diggers The reaction to that show was just as vociferous, if not as swift. The National Geographic Channel listened to us then, perhaps they would now.

I emailed David Lyle, CEO of the National Geographic Channels and said that the preview of their new show, Nazi War Diggers, had offended many archaeologists, myself included. I also emailed Jeff Altschul, president of the SAA, who had been getting an earful from his constituency.  He decided to make it a two prong attack and take their objections to the National Geographic Society. David Lyle responded to my email relatively quickly and said that the clip had been taken out of context and provided me with the full description of the show. He also said it would only be aired in Europe  My response was that the SHA was an international organization and that it was being joined by other international organizations (SAA, AAA, AIA, EAA, and the EASA). Our list of concerned was growing larger and growing impatient. They got the message.

Jeff Altschul drafted a joint letter that all the major organizations signed, but by then the National Geographic Channel had already issued this statement:

“National Geographic Channels International, in consultation with colleagues at the National Geographic Society, announced today that it will pull the series Nazi War Diggers from its schedule indefinitely while questions raised in recent days regarding allegations about the program can be properly reviewed. While we support the goal of the series, which is to tell the stories of long lost and forgotten soldiers, those left behind and still unaccounted for, and illuminate history working in concert with local governments and authorities, we also take seriously the questions that have been asked. National Geographic Channels is committed to engaging viewers in the exploration of the world and all of us associated with National Geographic are committed to doing our work with the highest standards.  We know the same holds true for our producing partners, including our partners on this series.”

So, mission accomplished.  Or was it?

Is this only a temporary reprieve till the next outrageous show comes along?  Will this be a rolling battle against edutainment with no end in sight?  Perhaps not, but we are going to have to be willing to work with the networks.

When the offending video was posted the howls of righteous outrage began almost immediately. Archaeologists began gathering pitchforks and torches to storm the National Geographic castle. The internet and social media such as Twitter and Facebook created the flashmob and the Nazi War Diggers webpage had nearly 200 negative comments before it was taken down.

Interestingly, all that was known about the show was the few paragraphs and the clip on the website. Admittedly, the producers could not have picked a more inflammatory video to post and with their initial missteps with Diggers, the archaeological community was not inclined to cut them any slack. Still, Jeff and I have seen that the NGC had worked to make the show Diggers better and we were willing to hear them out and work with them on Nazi War Diggers.  However, the program has been shelved and it doesn’t look like it will be aired without substantial reworking, if ever.

So what does this tell us? I think it tells us that the NGC is willing to work with the archaeological community if we are willing to work with them. I know many of you will scoff and insist that there is no working with this unethical machine. Yet our negotiations have produced results. Say that about Spike’s Savage Family Diggers or the Travel Channel’s Dig Fellas or Dig Wars. There is no redeeming archaeological value to any of those shows, but I hear no hue and cry to boycott those networks. Probably because we know that they don’t care.

Let’s keep working with the National Geographic Channel to help them make shows that, if not something we want to watch, is at least something that doesn’t offend our sensibilities. If this is a trend in programming, we need to take a proactive stance and work to make these shows less about finding past things and more finding things out about the past.

National Geographic’s Diggers: is it better?

UPDATE: This post by Charlie Ewen has received a great deal of response, both here on the blog and in backchannels. Because the SHA Blog is a space for dialogue and discussion, we have modified this posting to include a dissenting opinion from Archaeologist Dan Sivilich, as well as a commentary by SHA President Paul Mullins summarizing and contextualizing the debate. There contributions can be found after the initial post. Please continue the discussion in the comments!

Is it Better?

Charlie Ewen
SHA President-Elect

On Tuesday, January 15, 2013, nearly a million viewers tuned into National Geographic’s reality show, Diggers.  I figure in that half hour, more people were exposed to that archaeological message than everyone who has ever read everything that I have, or will, ever write.  Granted, I don’t crank out many bestsellers, but I have managed to publish enough not to perish.  The point I am making is that, even on a second tier cable network, you can reach a lot people.

As I have mentioned in previous blogs, there is a price to be paid when reaching out to the masses. Moving into the realm of the media, especially network or cable television comes with an entertainment price tag. Here, the real question is, how willing are archaeologists to work (read: compromise) with the entertainment industry?  Do we take the high road and lose relevance with most of the public or do we sell out and lose our professional souls?  Is there a middle ground?

Meeting with the Nat Geo

In a previous blog I discussed meeting with the National Geographic Channel to discuss how they could make their show more acceptable to archaeologists. The producers discussed the challenges National Geographic Society (NGS) faces in the highly competitive world of commercial television. They reminded the archaeologists present of the on-going role of NGS as an enabler of world-class research and a source of great story telling, highlighting the challenge NGS now faces in its effort at becoming more expansive in communication without losing sight of core mission and ethical principles that have always guided the Society. In this context, the producer outlined the Channel’s interest in seeking advice from the archaeological community about the ethical guidelines that any future programming could both operate within and promote, while advancing the goal of reaching broad audiences using contemporary television storytelling.

So, how do you make a show that is both popular AND ethical?

Archaeologists’ concerns

I think it appropriate here to make explicit our archaeological ethics.  The SHA has a codified seven ethical principals (a synopsis is presented below):

  1. Adhere to professional standards of ethics and practices
  2. Support the preservation of archaeological sites and collections
  3. Disseminate research results in an accessible, honest and timely manner.
  4. Collect data accurately and appropriately curated for future generations.
  5. Respect the dignity and human rights of others.
  6. Items from archaeological contexts shall not be traded, sold, bought or bartered as commercial goods, and it is unethical to take actions for the purpose of establishing the commercial value of objects from archaeological sites or property that may lead to their destruction, dispersal, or exploitation.
  7. Encourage education about archaeology, strive to engage citizens in the research process and publicly disseminate the major findings of their research.

Guided by these ethics, many suggestions were made to make the show more palatable to the archaeologists.  To me, the main points were that a concern be shown for location and context (principle 1 & 4), and that the artifacts not be monetarily valued or sold (principle 6).  It was suggested that the show’s hosts work with professional archaeologists, helping them out while abiding by their rules.

The compromise

The National Geographic Channel has actually re-imagined their show to address our main concerns.  They partnered with some ongoing digs and had their hosts, “KG and Ringy”, assist in the recovery of artifacts.  I have seen a couple of the new shows in the National Geographic series and they ARE better.  Yes, the boys are still over the top in their enthusiasm to find “nectar”.  But they are actually under the direction of qualified archaeologists who point them in the right direction.  And, yes, NGC did hire a staff archaeologist, Kate Culpepper, who follows after the boys and records what they found and, more importantly, where it was found (a process that led to the very recent discovery relating to the Hatfields and McCoys).  I also saw no mention that the artifacts were to be sold. (Actually, I was told that the Diggers had never sold any artifacts.  They simply had them appraised on camera because people always want to see what their finds are worth).  So, that addressed my major concerns: research design, context and no trafficking in artifacts.

That being said, there is plenty to quibble about.  The boys are still annoyingly silly.  You’d think if they’ve been doing this for as long as they claim they wouldn’t fall into a grande mal seizure every time they found a colonial-era button.  And, according to some of the archaeologists whose sites were used, the shows ARE somewhat scripted (not to the extent of their rival, Spike’s American Diggers – but that’s more pro wrestling than pro archaeology).  However, I am encouraged that the producers are making a good faith effort to improve the show.

I would also add that the shows are genuinely more entertaining.  The professional archaeologists seem to work well with metal detectors and the boys seemed to be even more enthused (if that is possible) about making contributions to our knowledge of the past.  There is an accompanying website for the show which I found to be informative and entertaining.  The bits about responsible metal detecting and doing archaeology are educational without being preachy.

But not everyone is as happy with the new shows.  I have heard from several archaeologists who are unhappy with the fact that the artifacts are still given a monetary value at the end of each show.  They also decry the absence of a visible archaeologist in the shows.  You actually have to visit the show’s website to see the extent to which National Geographic has tried to comply with archaeological ethics.  These are valid points.  Assigning a value to an artifact does increase it marketability.  However, virtually every reality show of this type (e.g. Pawn Stars, American Pickers, Storage Wars, etc.) ends with a valuation of the items collected.  What I do like about the valuation of the artifacts on Diggers is that it serves as a realistic counterpoint to the wildly inflated values assigned to artifacts by Ric Savage on American Diggers.  Getting $10 for a Civil War Minnie ball is a poor justification to invest in a $600 metal detector.  And to be clear, these artifacts are NOT being sold.  And the archaeologists HAVE been peripheral characters on the show (though not on the actual projects).  Still, it is the perception that needs to be dealt with here.


Our job is to explain to the general public (because we can’t do it alone) why our ethical positions are important.  Archaeology is more than just finding stuff.  It’s determining the story the stuff has to tell.  The daring search for treasure is a compelling hook we can use to engage the public, but it is just the beginning of our work.  Now I think archaeology is entertaining all by itself, but even I must admit that some days it is like watching paint dry.   Obsessing with a tape measure and a Munsell book may be good archaeology, but it is poor television.  So, do we put up with a bit of slapstick before the real archaeologists deliver the educational punchline at the end of each show?  Or do we write off a large chunk of the population as beneath our intellectual reach?   It depends upon whom you want to reach.

Nobody learns if they aren’t listening, but how low must we go to reach the average television viewer? Was the History Channel’s Digging for the Truth breaking new ground or making it up? Even the archaeologically thoughtful Time Team out of Great Britain makes American archaeologists cringe when their stalwart crew arrives at an archaeologist’s site to solve all their vexing problems in three days’ time.  The American version has had trouble securing an audience – even on Public Television!

Surely there is some middle ground that gets our point across without boring the public to tears?  We will see if Diggers can strike that balance.  It has become apparent that these ‘reality’ shows are not going away.  They are cheap to make and audiences like them.   And whereas almost a million viewers watched the last episode of Diggers, more than a million watched the last episode of Spike’s travesty, American Diggers. Boom baby, indeed!

A Response

Dan Sivilich
Battlefield Restoration and Archaeological Volunteer Organization

I read the SHA blog about the NatGeo TV “Diggers” show and I could not disagree more with the idea that the show has improved.  I was one of the 14 people that were invited to National Geographic TV for our input on how to clean up the show. It was carefully orchestrated by a professional moderator. I tried to bring up my concerns about the cast but, my questions were directed away.  Yes, they did hire an archaeologist, who is never seen or mentioned on the show. She works in the background. The viewing audience has no clue about serious archaeology. They simply get the message: dig holes and remove objects. The show still puts a monetary value on the objects. So what has been improved?

“Diggers” recently did a show in NJ at a Revolutionary War historic site and dug musket balls.  There was no mention of archaeology, mapping, artifact context, spatial relationships or a site report.  I must have missed seeing a GIS map of the site? I found out that the archaeologist mapped the finds using a handheld GPS. The area where artifacts were found appeared to be primarily wooded. In 2006 I published a paper on how inaccurate handheld GPS units are under the best conditions. Here are a few of the repercussions of their NJ show:

  1. The NJ State Park Police had to be put on alert at Monmouth and Princeton Battlefields, for the novices who got a shiny new detector and saw that digging musket balls is fun and OK to do.  Where to go – a battlefield!  In the past, there have been a number of uneducated first-timers at both parks that had to be educated by the Park Police of the potential consequences of metal detecting on a protected historic site.
  2. Contrary to what we were led to believe by NatGeo, they valued Rev War musket balls at $10.  Now the hardcore looters will turn to Monmouth and Princeton.  A few years ago 3 were arrested on Christmas day thinking the Park was not patrolled on a holiday! They were wrong.
  3. We who metal detect take great offense at what they are doing to our public image.  We have been working very hard to improve our public image and this show makes a mockery of it.
  4. What would Sir Edmund Hillary say about the character of National Geographic?

We should not condone the actions of “Diggers” simply because a few people think it is entertaining. It is an embarrassment to anyone who seriously wields a metal detector: archaeologist or hobbyist alike. I have yet to find one person who uses a metal detector that actually likes the show or has a different opinion. I have spoken with several metal detector manufacturers and even they will not support this show in its current format.

Archaeology and the Media

Paul Mullins
SHA President

For many archaeologists, television portrayals of archaeology are inevitably shallow, focused on inconsequential details, or verging on unethical practice. From National Geographic’s “Diggers” to the press conference discussing the University of Leicester Archaeological Services’ excavation of Richard III, many of our colleagues have apprehensively monitored how the discipline is being represented, and many scholars are not especially pleased with archaeology’s popular cultural and mass media presence.

This week no archaeological story has received more press than the confirmation that a skeleton excavated in Leicester in September 2012 is almost certainly the mortal remains of Richard III, the last Plantangenet King of England. The presentation of that data on February 4th and the revamped “Diggers” force us to think about how such scholarship shapes the public perception of archaeology and if the media presentations of archaeology risk becoming the tail that wags the dog. Can we capture the complicated methodological practice of archaeology in a television show? Can the complex details of nearly any archaeological study be distilled into a palatable, entertaining, and intellectually rigorous popular representation?

The Richard III project has been told in thoughtful detail by a University of Leicester page detailing the excavations, and in many ways it is unfair to use this particular project as an example of how archaeology is presented in the media. The Leicester project was faced with distinctive if not utterly unique challenges: since they potentially held the bones of a British monarch, there was exceptionally intense interest in the results of their analysis, and it had little to do with the analysis of the medieval friary where Richard apparently rested for half a millennium. The Leicester team in many ways controlled the public representation of their scholarship by holding a press conference, and while the astounding global press must be well-received in the halls of University of Leicester administration, good scholars presented the evidence in a preliminary form and did their best to manage the way their work is represented. Yet in the end much of the press will fixate on the bones of a monarch and likely miss the many thoughtful details the ULAS scholars have outlined.

Since SHA representatives met with the National Geographic Society in May to register our complaints over the research ethics of their metal detecting show “Diggers,” the show has revamped its presentation of the two avocational detectorists out digging historic artifacts. The most critical change perhaps was the addition of a staff archaeologist to monitor that all excavation was conducted with the parameters of ethical and legal practice, and she catalogs all the artifacts the two detectorists locate. The show continues to display the estimated value of artifacts at the end of each program, though they do not actually sell any artifacts. SHA President-Elect Charlie Ewen’s assessment of the show this season is that it has improved in many ways as archaeology, even if we may individually not find the show itself especially compelling.

Dan Sivilich is among the SHA members who remains disappointed with “Diggers’” representation of historical archaeology in general and avocational metal detecting in particular. In his blog posting here, Sivilich (who attended the National Geographic meeting in May as an SHA representative) concedes that the show may have employed an archaeologist to supervise the two detectorists, but she has almost no screen presence and the show does not make any significant effort to represent archaeological research methods or insights. He remains firmly opposed to any valuations of artifacts at all, a move that he argues encourages looting. While the show may technically be in keeping with SHA Ethics that do not accept the commercial exploitation of artifacts, his argument is that simply conceding exchange value risks encouraging people to simply see artifacts as commodities.

But perhaps his most strongly held sentiments revolve around how the show represents metal detectorists. The stars of the show–“King George” Wyant and Tim “The Ringmaster” Saylor—are, in Charlie Ewen’s charitable words, “annoyingly silly.” Dan is less charitable, fueled certainly by his own long-term work with a vast range of avocational metal detectorists who have partnered with archaeologists. For some of our members metal detecting has long been caricatured in popular media and by professional archaeologists, and detectorists want to stress their professional practices in keeping with archaeological research ethics. But these two guys prone to bizarre phrases of excitement risk undoing much of the professionalism honed by avocational detectorists.

Regardless of how we each feel individually about “Diggers,” it presents some ethical complications as we present complicated science and interpretive narratives in the inevitably reductionist sound-bite medium of the media. This was what chagrined many observers of the Richard III media coverage, with Mary Beard complaining in The Times Literary Supplement that “What put me off was a nexus of things to do with funding, university PR, the priority of the media over peer review, and hype … plus the sense that–intriguing as this was, a nice face to face moment with a dead king–there wasn’t all that much history there, in the sense that I understand it.”

Beard wondered over “the question of whether media interest starts to set research agendas. This runs through many areas, but especially archaeology. … I’m quite prepared to believe that this skeleton is Richard III (he’s where we would have expected him after all) — but he is part of a climate which pushes people to celebrity history and archaeology, and may even detract from more important work that doesn’t have that glitz.” Indeed, we may find that much of what archaeology does simply is not readily adaptable to mass media discourse. Yet in a moment that archaeology is under fire we may feel compelled to use the media to keep us on the radar of the state and our University administrators, even if we are apprehensive of how our work will be represented in the hands of journalists without any significant archaeological background. Is any press—even if it is simplistic or stereotypical–good press?

I am disinclined to simply walk away from the media and popular culture because it is not really an option: what we do is simply too visible and holds significant interest to quite a few people. But we need to be firm and fair partners when we choose to work with the media, and we need to register our complaints when we think our work is not being represented fairly. So let us know what you think of “Diggers,” Richard III, and your own experiences with the popular representation of archaeological research, and lets work toward asking what works well and how more of us can borrow from those success stories.

What are your thoughts? Please continue the discussion and debate in the comments below!