Reality Tv Seems To Dominate Broadcasting

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Reality Tv Seems To Dominate Broadcasting
The Real World: is reality TV finally in decline?
The Real Housewives of Orange County: original reality stars. Photograph: Bravo/NBCU Photo Bank via Getty Images
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More than 20 years on, and with viewing figures starting to falter, is reality TV losing its grip on primetime television?
The Real World, the pioneer of the American reality TV phenomenon as we know it, will be 23 years old in 2015. Yet the fact that the show, inspired by the innocuous and wholesome docu-series An American Family, that aired on PBS in 1973, has been such a stalwart of the reality landscape speaks to the problems currently facing the genre. Ratings have taken an undeniable dip and that’s been reflected in programming scheduling where reality shows have been pared back. Reality TV is showing its age and losing its luster – fast.
Two of the primary factors diluting viewers’ interest in the guilty-pleasure genre are redundancy and lack of innovation. It’s not just The Real World that’s been on the air longer than the lifespans of many millenials. American Idol, Fox’s primetime anchor for a long time, has now been on the air for 13 years. Though NBC’s own singing competition, The Voice, has only been on-air for three and a half years, the show has already packed in seven seasons. That much reality has started to take its toll. This season’s finale of The Voice saw a 10% dip in ratings, while the finale of American Idol came in 22nd in the ratings. Part of the problem might be that American Idol and The Voice have maintained a format where episodes of the show are aired on multiple nights so they dominate their respective networks primetime programming and serve as the enviable lead-in for new, scripted, series. With this kind of programming schedule, plus multiple seasons airing each calendar year, it’s easy to understand how audiences could – finally – becoming fatigued. This past season of Idol premiered to only 6.76 million viewers; at its peak in 2003, the show’s final performances garnered 38 million viewers.
Redundancy would seem to be another major factor for waning interest in reality TV. When Bravo’s The Real Housewives of Orange County, itself seemingly a mix between Desperate Housewives and the just-concluded scripted teen hit The OC, first debuted in 2006, it was shocking in its, well, realness. Viewers gasped with glee at the star’s McMansions and marriages, proud of clearly understanding more about these unknowable lives than the players themselves. The series’ success led to installments in other cities. There are now or have been Real Housewives franchises in New York City, New Jersey, Atlanta, Beverly Hills, Miami, and Washington DC, as well as spawning a current tally of nine spin-off series and international franchises in Greece, Israel, Canada, France, Australia, the UK, and South Africa.
But cracks have started to appear in the seemingly bulletproof housewives formula. The Real Housewives of New York City, the second installment of the franchise following Orange County, attracted only 1.3 million viewers, just more than half of the previous season and a fraction of earlier seasons. Perhaps these numbers reflect how with each new iteration of the same old show, the biggest problem seems to be not that audiences grow overly familiar with the format, but rather thee reality stars themselves are too aware of the constructs of their own on-screen personas – and their desire to parlay their television appearances into other business ventures. Let us not forget that for every Bethenny Frankel-helmed Skinnygirl cocktail line, there is also a Gretchen Rossi-founded knock-off purse-cum-cosmetics brand. The storylines seem increasingly aggressive and painfully scripted, consisting of: the “girls’ trips,” the drunken brawls, the hair-pulling, the marital strife.
And it seems silly to watch a badly acted reality show that is pretending to not be acted at all when there is so much remarkable scripted programming on air. This year brought us HBO’s True Detective, the resurrection of Showtime’s Homeland, a phenomenal second season of The Americans on FX, Fargo, BBC America’s Orphan Black, and the decadent feminist camp-fest that was the latest installment of FX’s American Horror Story.
Even network TV has stepped up its scripted game: The Good Wife (CBS) is perhaps the most intelligent show on television, unafraid to blow up the case-of-the-week format it started with to reinvent itself into a nuanced feminist drama. Shonda Rhimes dominates Thursday nights, serving as the showrunner and creator of Grey’s Anatomy and Scandal, and executive producer of this year’s new breakout hit, How To Get Away With Murder, whose pilot episode garnered six million viewers in DVR playbacks alone. Even long-running procedurals like Law & Order: SVU are being reinvigorated with ripped-from-the-headlines plots that turn a sharply critical eye towards current gender norms and stereotypes.
Ready-to-binge series on Netflix and Amazon such as Orange is the New Black and Transparent offer viewers not only a chance to marathon an entire season in one sitting, but a chance to connect with characters long-absent or misrepresented on both network and cable television, from women and minorities to gay and transgender individuals. Writers are writing excellent scripts; serious actors are lustfully tackling the chance to dig in deep with one character over a prolonged period of time. With so much good acting and writing currently available – and so much of it at the mere click of a mouse – reality TV, with its rehashed plots and archetypes, seems increasingly unnecessary.
The 19th season of ABC’s The Bachelor (which fails to even account for the additional 10 seasons of The Bachelorette the franchise has yielded) begins next week, with Iowa farmer Chris Soules in the eponymous role of just another ‘real’ man seeking love and marriage on television. While the long-running reality show has continued to bring in the ratings for the network, one wonders how many more years of roses viewers have in them to endure and accept.


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Reality TV seems to dominate broadcasting these days. But what is it, how did it emerge and why on earth is it so popular? The first question is easily answered. Reality TV A ______ presents unscripted, dramatic or humorous situations or events. It can involve celebrities В ______ of the public. Reality TV has been gradually growing in importance for over 60 years. “Candid Camera” — the show that filmed ordinary people reacting to set ups and pranks — started in 1948. Some people, however, believe it was the Japanese with their awful shows in the 1980s and 90s that brought reality TV to centre stage. Others believe С ______ that is called “Big Brother” was the show that spawned the reality TV age. But why are the shows so popular? Different theories come to life. Some believe that it is D ______ we like to watch horrible behaviour: the same instinct that once inspired the ancient Romans to go and watch gladiators destroy each other at the Coliseum. Others suggest a kind of voyeurism is involved there — an unhealthy curiosity to spy on other people’s lives.
Whatever the real reason — the trend seems to have already peaked. A lot of such shows E ______ or are expected to go in the near future. And the replacement seems to be talents shows — watching competitions in dance, singing and general entertainment. Does it mean that people are changing? It is too early to say. Most agree that these F ______ .
1. due to basic human instinct that
3. are simply the cycles of fashion
4. but more usually the stars are members
A−6: Reality TV is a type... that presents ... (по структуре и по переводу)
B−4: It can involve celebrities but more usually... are members of the... (по смыслу и структуре)
С−5: Others believe that... (по смыслу)
D−1: Некоторые верят, что это благодаря основному человеческому инстинкту...
E−7: Множество подобных шоу, кажется, исчезли или...
F−3: ...that these are simply... (единственное подходящее из оставшихся по переводу и структуре)
most agree that these is still early to judge
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December 2007 Sociology Compass 2(1):84 - 106
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Reality television has become a standard genre of programming in the twenty-first century. The popularity of these unscripted programs merits investigation. Reality shows can be seen as significant cultural objects whose production and consumption reflect and reveal norms and ideologies of contemporary culture. Although what is currently conceived as the reality television genre is perceived as novel, this type of programming has a long history, with its foundations dating back to the early days of television. Despite the popularity of reality television and its solid roots in Western media, sociology has been underused in its analysis. In this essay, I review the research on reality television. Its definition, history, and issues of classification in the genre are addressed. Then, I summarize the major themes in the research: production; analysis of content, presentations of race, gender, and sexuality; and audience response and interaction. I conclude with a discussion of what sociology might add to the existing research.
... Television research has typically fallen into one of three categories: research into production, content and representation, or audience reception (Beth Montemurro 2007) . Studies of health-related television, including birth television, overwhelmingly focus on representation (Bessett et al. 2018). ...
... The remaining six were concerned in some way with audience reception, varying from text-in-action methods (Beverley Skeggs and Helen Wood 2012) to experiments measuring knowledge before and after viewing. There were no studies of media production in relation to birth, reflecting a wider trend in research around reality television (Montemurro 2007 ) and around media and public health (Lesley Henderson and Shona Hilton 2018). ...
Factual and reality television shows that depict childbirth are both commercially successful and controversial. Social debate focuses on the potential implications for women’s experiences of birth and their health. This scoping review critically analyses published literature to assess the state of knowledge about the influence of factual and reality television on the expectations and experiences of childbearing women, and to make recommendations for future research. Recognising the complexity of researching the relationship between the media and lived health experiences, we critically engage with the theoretical and methodological underpinnings of the published literature and its substantive findings. We argue that the field is limited by a disconnect between media studies and health studies. Feminist approaches have both criticised the medicalised view of childbirth seen to dominate mainstream media, and the valorisation of “natural childbirth” as a standard which also disciplines women. Very little research has engaged with pregnant women’s views and experiences. Future research should engage more rigorously with diverse women who are pregnant or have recently become mothers. Recommendations for future research also include transdisciplinary collaboration for methodological innovation, research about television production processes and research that takes social media and the changing nature of television into account.
... The ubiquity of makeover provides its own justification to view it seriously: as a cultural object it can tell us a great deal about social organizations and ideologies (Montemurro, 2008) . More specifically, the "seriousness" of the makeover lies in recognizing it as a technology of neoliberal governance: it is argued to be one of the "highly dispersed and practical technologies for reflecting on, managing and improving the multiple dimensions of our personal lives" (Ouellette and Hay, 2008: 2). ...
... Reality television is mostly regarded as a modern-day freak show, which encourages base voyeurism in its audiences (Montemurro, 2008) . It is for this reason that it is often denigrated as "trash" television. ...
This article serves as a critical introduction to the genre of the “makeover show” as a way of encouraging the growth of a still nascent body of work. The article draws from a wider discourse analysis to argue that the makeover’s story of transformation not only enables but also depends on benevolent, sympathetic representations of fat individuals. Yet, an analysis of the makeover indicates the range and complexity of the cultural labors that continue to render fat a social and moral problem. This article concludes that fat has a current specificity within late capitalism, enabling the fat body to materialize as a key pedagogical site instructing all bodies in somatic, specifically active, citizenship in context of the “obesity epidemic.”
... In such shows contestants are seen standing in mud, coping with flies or other insects, or eating worms. Some students appeared to be applying this modus operandi in the contemporary classroom (Montemurro, 2008) . One student advised friends who were being solicited for a saliva sample, "Don't do it. ...
I originally published a Teaching Sociology first-year student exercise in 2003 called "Bathroom Politics: Introducing Students to Sociological Thinking from the Bottom Up". This new article is a second follow-up article, showing how to revise and extend a valued class exercise. The other follow-up came from analysing end-of-semester class diaries to see what notes students had made about that first week exercise! in 2016, "Reflective journal insights from a first-year undergraduate class exercise". Waikato Journal of Education, 21(1), 55-64. doi:10.15663/wje.v21i1.264
... To enhance opportunities to valorize consumer immaterial inputs, reality TV offers a wide range of formats and content with a viewership that cuts across demographic and socio-cultural categories (Hall 2006). Like the talk show format, current reality TV features non-professional actors in marginally scripted or unscripted interactions and notionally grants the direction of the shows to these performers and the general public from which they are drawn ( Montemurro 2008 ; Ouellette and Murray 2004). Viewers are encouraged to " to get inside the mechanics of the industry and offer their bodies and labor up to the image-making machinery for free … it is no longer the contagion of spectacle that alters reality, but rather the contagion of virtuality that erases the spectacle " (Hearn 2006, 134–35). ...
“Arrested emotions” references the capitalist firm’s conscious mobilization of prosumers’ emotions and their associated expressions as amenable input for production within corporate confines. We draw on reality TV – The Bachelor and Extreme Makeover (Home Edition) – to suggest the centrality of emotional recruitment in the contemporary economy. Reality TV is driven almost entirely by the work of audiences and those in their ranks who are recruited (or volunteer) to become performers. Our observations lead us to conclude that the corporate arrest of emotions leads to a level of consumer emotional vapidity that is inextricably fused with firm profitability. The firm therefore allows the consumer ample leverage in offering these emotions that are mobilized, packaged and sold back to the consumer.
... He also investigates the idea that impoliteness constitutes entertainment. Collectively, these discourse analytic studies lay the groundwork for my own while also suggesting that reality TV is a site in need of more micro-level research (see also Montemurro, 2008) . The growing number of reality television programs focused on parenting offer an exciting context in which to explore parental identities and face saving, including accounting strategies. ...
Parental responsibility and blame are central issues in discussions of children's health. When parents are confronted about their children's unhealthy lifestyles—as they are by a nutrition expert at the beginning of each episode of an intervention-based reality television show about improving child wellbeing, Honey We’re Killing the Kids—they must negotiate responsibility for their children's poor eating and exercise habits while simultaneously protecting their identities as competent parents. Drawing on theorizing on impression management and social accountability, I examine how 25 parents appearing on the show are depicted as responding to the expert's presentation of computer-generated projections, or visual hypothetical narratives, that show their children physically developing into overweight, unhealthy adults. In their responses to these future-oriented narratives, the parents use excuses and apologies to take responsibility in ways that attempt to save parental face and thereby repair their damaged identities. Specific linguistic and paralinguistic devices used include response cries, future-oriented non-conclusive verbs, statements of one's emotions, and emotional displays like crying. This study contributes to identifying forms and functions of parental accounting strategies on reality TV, and especially the role of emotion, while also advancing our understanding of how identity work is accomplished through narrative responses.
... Ethnographers have also described documentary production (Dornfeld, 1998;Elliott, 1972;Silverstone, 1985). 4 However, few have researched reality television production (see Montemurro, 2008) . Existing reality television studies are primarily interview based and often focus on ordinary people as participants rather than on the professionals who work with them (Andrejevic, 2004;Aslama, 2009;Roscoe, 2004;Shufeldt and Gale, 2007;Syvertsen, 2001). ...
Cultural industry workers, at times, compromise the values and tastes that are important parts of their artistic identities to accommodate commercial demands. I argue that workers resolve frustrations that arise from such compromises through identity work—individuals’ active construction of their identities in social contexts. Using ethnographic data from fieldwork at a reality television production company, I describe two identity work strategies, distancing and evaluative tweaking, that workers use to maintain their artistic integrity despite producing work that does not meet their standards of quality. The manner through which these strategies emerged during micro social interaction differed between managers and non-managers. Managers used distancing and evaluative tweaking simultaneously to do identity work and regulate their employees’ identities when justifying decisions that threatened shared values and tastes.
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