Texts and Context’s essay on reality television (2006) Ben Moore Reality TV has no redeeming features: it exploits vulnerable social groups for the sole purpose of satisfying advertisers. Discuss. Reality TV is consuming living rooms the world over. Every day millions of people tune in to see who the latest evictee out of the Big Brother house is, or who will become the next Australian Idol. Just last week, five of the top ten shows in Australia, including the number one spot for the much coveted 16‐39 demographic were reality show (OzTAM Ratings, 2006). Despite these impressive figures, many industry professionals claim that reality TV is nothing but “trash TV” (Laura Grindstaff, 2002, p18) and has little redeeming features. It seems that the networks are just abusing the knowledge that most reality shows are inexpensive to produce compared to scripted television but still constantly rate well. Things that can be classified as ‘real’ television, such as live broadcasts of news, sporting events and political debates have been around for decades. But increasing costs of these types of live productions which have little potential value in reruns meant that networks have had to move to game shows, “shockumentaries” such as When Animals Attack and more traditional reality TV shows such as Funniest Home Videos and Survivor (Friedman, 2002, p5). When Survivor became an instant hit in May of 2000 it started a huge craze for reality TV. Shows featuring real people like Candid Camera, The Real World and even talk shows such as Donohue had been around for decades before this, but it was the first to almost instantly propel all of its 16 contestants to instant celebrity status. In fact it became such a phenomenon that even the participants who were eliminated first became millionaires through publicity and interviews. It wasn’t soon after
that, other networks stood up and decided to produce similar reality shows to ride on this wave of popularity (Volk, 2004, p19). Now six years later the number of reality shows is greater than ever and doesn’t appear to be slowing down any time soon. There are physical competitions type shows such as the previously mentioned Survivor, The Amazing Race and Fear Factor, performance series’ like Australian Idol and Dancing with the Stars, home/lifestyle makeover shows such as The Block and Supernanny, shows where we watch human behaviour, dating shows and much more. The idea that there are no redeeming features in reality TV is one commonly raised issue among critics. When looking at this list of shows there may be some you watch religiously, a few you occasionally tune into and others you simply hate and wouldn’t go near even if your life depended on it. No matter what your opinion, it certainly seems that some shows are at least attempting to reinvent themselves each season. The Amazing Race for instance recently held a family edition where there were four members to each team instead of the usual two, including kids as young as ten years old. It is things like this that make the show feel fresh and offer something new to an audience who may be becoming very familiar of the usual formula. On the other hand you have shows like the UK based Internet reality show, Watching Paint Dry who’s very creators claim could “could bring about the end of reality TV” (UKTV Style, 2006). The mental image of someone actually watching a live stream of this show and voting for their favorite paint, is in my opinion quite a compelling argument that reality TV has in fact gone too far and has very little redeeming features to offer. Another common criticism with reality TV is the fact that, despite its title, it is not real. How many of us would live out our daily lives trapped in a house with fourteen complete strangers or
spend a month on a remote island with no provisions except for what we find. So why are they called reality shows? At a glance it may appear to be the people. The theme of many reality shows seems to be; ordinary people in unusual circumstances. There may be some degree of reality here but the selection process that determines which of the people who audition become a contestant are designed for maximum drama and entertainment. In the end this usually results in groups who wouldn’t typically be working together because of conflicting personalities or even potential romance. During the editing process, frequently certain elements of someone’s personality are highlighted to give the audience a misleading impression (Friedman, 2002, p8). Colin and Christie from the fifth series of The Amazing Race claim to have been misrepresented by the editors and were subsequently portrayed as the “villain’s” of the series. During one scene they were telling a camera crew to “get out of the way” but it was made to look like they were yelling at the local villagers. Repeated apologies after a fight were left out as well as Christie arguing with Colin to make it look like a one sided argument (Dehnart, 2004, p1). It is these kind of events that make you wonder what’s ‘real’ about reality TV. Further more, Jennifer Crisafulli from the second series of The Apprentice lost her real life job after comments that she made on TV were “perceived to be anti‐Semitic”. While she is still to blame for the remark, she states that because the editors highlighted this footage in the show, they exploited her to increase drama and consequently cost her a lot more than the game (Rogers, 2004, p1). The Simple Life and Laguna Beach are even more to blame for exploiting their audiences to get ratings. It wasn’t long after these ‘reality’ shows premiered that people discovered they weren’t as real as they had been lead to believe (Murray, 2004, p30). Laguna Beach was tagged as a real life version of the popular teen drama The O.C. The ordinary people in unusual circumstances motto does not apply to these shows because the main cast are actors playing themselves but
not only that, the show is completely scripted. It is not a secret that reality shows will have a loose script to hold an episode together but everything from conversations to fighting with each other happens on cue, just like a regular TV show. This is used by the networks as a ploy to attract ratings. If this is the way things are progressing we could easily be seeing a new ‘medical reality series’ very soon, that just turns out to be an E.R clone. The advertising during our favourite show is what keeps it on the air. The higher ratings a show may attract, the more a station can charge for it’s advertising during that program. Some commercial channels are aimed at a certain demographic; channel Ten in Australia for example tailors most of its shows to ages 18‐30. If an advertiser has a product they wish to sell to this age group, they may choose to advertise during a show on channel Ten over something on channel Nine, even if the Nine show rates higher because it is aimed at an older audience. The 18‐30 demographic has in the past proven hard to attract but reality TV is one medium that is constantly proving successful (OzTAM, 2006). This is one reason why we have been seeing a flood of reality shows in the past few years. Companies who advertise during these programs are almost guaranteed to reach their target audience and increase sales of their product. This means that the stations airing these programs can charge higher and higher amounts for the cost of advertising during these programs and they make more money. This sadly is what the networks care about the most, as long as it is rating well, they will make more money and the show will stay in production, no matter what the content is. This becomes all too obvious when you start seeing ads that proclaim "Do you like TV that's 30 minutes LONG? ...And HARD to figure out?” this was an ad that aired on MTV for their new show Undressed (MTV, 2006). It certainly seems that they’re going for a controversial approach to the situation but as long as the ratings are there, both advertisers and the networks are happy. This is especially the case if
a show becomes profitable overseas and another station purchases the rights to air the show or the rights to create their own version of the show. We have seen Australian versions of Big Brother, Pop Idol (which is the original UK title of Australian Idol), The Biggest Loser and countless others. The hope that a new show will take off and be marketable worldwide is one reason people keep attempting to come up with original concepts. Unfortunately it seems that ideas are already running out for new shows so TV stations are resorting to creating slightly tweaked copies of already successful shows. The X‐Factor following the success of Australian Idol is one example as well as Dancing with the Stars popularity, leading to Skating with Celebrities. Now it seems the next step in the evolution of reality TV is combining these shows. It Takes Two is a new show on channel Seven which appears to be a hybrid combination of Dancing with the Stars and Australian Idol. It doesn’t even try to disguise this as past contestants from both shows are featured as regulars. Where will it end? Does this mean we are going to see the Amazing Mole Race on Ice next season? Fortunately these unoriginal copies aren’t usually as successful as their counterparts. The Comedy Central series Straight Plan for the Gay Man only ever produced three episodes before cancellation. It seems that while some shows stand out from the crowd by offering fresh ideas, there are countless others that are either just copies of previously successful shows or in some cases, just plain boring and uninspired. Either way, the popularity of reality TV worldwide is currently showing no sign of decreasing so until then it is extremely like we will continue to see these kinds of shows dominating the airwaves. In fact there are at least fifteen new reality series’ in the pipeline for the next season of American TV and that’s not even including the many returning ones (Dehnart, 2006, p3). No doubt we will see a similar situation in Australia,
particularly if any of these new shows become hits overseas. In the end, what it all comes down to is money. As long as a show rates well, advertising will cover the cost of production and both the networks and advertisers will be successful in what they set out to achieve. If auditioning to be the next Big Brother housemate, to be exploited on national TV doesn’t do it for you and you don’t like the current crop of shows that are on, there is a simple solution, don’t watch them. If there is a large enough decrease in viewership, the networks will take notice and try something else. Another television craze will be around the corner and perhaps it will be more to your tastes.
Bibliography Dehnart, Andy 2004, Reality Blurred – Colin and Christie Interview http://www.realityblurred.com/realitytv/archives/the_amazing_race_5/2004_Sep_27_christie_i nterview Friedman, James 2002, ‘introduction to Reality Squared’, Reality squared: televisual discourse on the real, New Jersey, Rutgers University Press Grindstaff, Laura 2002, ‘airing dirty laundry’ in The money shot: trash, class, and the making of TV talk shows, Chicago, University of Chicago Press Murray, Susan and Ouellette, Laurie 2004, Reality TV: Remaking Television Culture, New York University Press Nielson Media Research, 2006 http://www.nielsenmedia.com/ OzTAM ‐ (Television Audience Measurement Ratings) Report, 2006 http://www.oztam.com.au Rogers, Steve 2004, Reality Blurred – Apprentice 2 Contestant Loses Job http://www.realitytvworld.com/news/apprentice‐2‐contestant‐jennifer‐crisafulli‐loses‐real‐ world‐job‐due‐show‐remarks‐2951.php UKTV Style – Watching Paint Dry, 2006 http://www.ananova.com/news/story/sm_970522.html?menu=news.technology.websites
Volk, David 2004, The Tribe Has Spoken : Life Lessons from Reality TV, Andrews McMeel Publishing