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The Reality of Reality T.V.
Other | Friday 18th May 2012 | Osh
Reality T.V. is made up of ‘unscripted’, humorous, dramatic or entertaining events featuring real people in real situations. The genre exploded onto screens at the start of the new millennium projecting money into producers’ pockets, instant fame for contestants and top-notch guilty pleasures for viewers.
Give Them What They Want:
Big Brother, Britain’s Got Talent, I’m A Celebrity…, The X Factor, The Voice, Strictly Come Dancing and Dancing on Ice; every UK-er’s heard of them. And with an average of about 10 million viewers per show, most of us are watching them too. Reality and talent based shows are the most popular form of T.V. and have become a staple of pop culture.
The phenomenon of this style of viewing has sparked questions as to whether the content of the shows are actually interesting or simply addictive. As the shows tend to be easy to get into, and to follow, they are easy viewing. In the same way as soaps, many shun others for watching programmes that fail to challenge the mind. But straightforward shows tend to spark relaxation in viewers, making them a ridiculously popular form of escapism.
Fundamentally, with the likes of The X Factor and The Voice at each other’s throats for audience stats, the public has the power to choose what becomes fashionable. Therefore, if reality T.V. was actually detested by the majority, no producer, studio or host would be involved. And with spin-offs and merch galore, some shows even become brands.
Winners (and runners-up, who often tend to fair better) of the X Factor allow the public to share a slice of their life, and experience their fame development too. Viewers are also in utter control of how successful reality casts are in between series or storylines; if a contestant is successful in the charts, it is down to audiences appreciating their music or ‘talent.’
Social Stalking:
It all began with Big Brother. In the summer of 2000, the show took to our screens and amused, delighted and fascinated millions. In the early years of the decade, programmes such as Laguna Beach and The Hills formed a new sub-genre; location-based reality. Think, The Only Way is Essex and Made in Chelsea.
Although many question whether the programmes are actually authentic (‘some scenes may have been created for entertainment purposes’ ring any bells?), these shows are becoming as classic as ketchup. Although audiences got through phases concerning what becomes most popular, this type of T.V. is exceedingly trendy.
Humans are creeps. Anyone can deny it, but if you do so, you’re either a fool or a liar. We enjoy watching other people, even more so when they can’t see us. Reality T.V. is a form of socially-acceptable stalking allowing viewers to experience the emotional outbursts of contestants on Big Brother, singers on The X Factor or the break-ups of the Made in Chelsea cast.
The fact is, it is easier to watch someone else’s heartbreak, suffering or achievement than experience our own. By watching someone’s relationship fall apart on T.V., audiences feel a direct part of the action, but are not physically involved. Plus, we are creatures of emotion; many grow attached to shows’ elements or contestants very quickly and relish in sharing someone’s rise to fame or fall from grace.
Reality T.V. also generates fantastic talking points. Think of all those awkward situations you’ve saved yourself from by throwing in a mention of last night’s I’m A Celebrity… result or Wednesday’s Big Brother eviction. The genre is so widespread that it has become a component of many social circles.
We live in a world obsessed by celebrity. Celebrity culture is a massive part of modern life, and the only thing more interesting than watching people’s lives unfold is getting an insight into a well-known person’s life. Who would care if I turned up to an event with lipstick on my dress and a chipped nail? No one. But when it happens to Britney Spears does it, its hot news.
Reality T.V. has become a huge part of television networks, and of our lives. It is driven by a great financial market, human obsession and cheap production. But beyond anything, it’s addictive, easy watching that’s endlessly lapped up by audiences the world over.
Marianne Calnan
