#callmebyfire

“Anh trai vuot ngan chong gai” (Call me by Fire) is a reality TV show that captivates audiences by merging art with personal narratives of 35 reputable artists in the age of over 30, creating a unique spectacle that blurs the lines between reality and performance.  But is the show’s spectacular significant contrast to the authenticity?

Engagement and Authenticity Paradox

While producers encourage contestants to share their real-life experiences, the need for drama and engagement often leads to scripted or edited narratives that can distort the audience's perception of reality (Weil & Dunbar 2016), creating a complex relationship between producers, performers, and audiences, where engagement is carefully crafted and can be easily disrupted (Hill, 2017).

In Call me by Fire show, this is also the biggest concern of most contestants, as these people are mostly music artists with a fear of their reputation being negatively affected (Vietcetera 2024). However, the show also implemented this concern successfully by respecting every wish and story of each artist and creating a cozy, safe environment in the most subtle way to make the artists feel comfortable, natural, and emotional (Thach Anh 2024). As a result, the show successfully impressed the audience with its authenticity, with genuine emotions and connections of the artists in every scene.

Social Media Dynamics

Reality TV shows have evolved to create intimate connections between contestants and audiences through social media platforms, blurring the lines between reality and performance. Viewers often fail to distinguish between actors and their characters, developing strong emotional attachments (Torrego et al. 2021). This "mediated public intimacy" transforms viewers from bystanders to confidants, fostering a sense of collective complicity (Kaplan & Kupper 2017). 

In Call me by Fire show, besides scenes related to the interpersonal connection between artists recorded, the “brothers” also actively interacted with viewers on platforms like Facebook, Instagram, Tik Tok…, creating an immediate and personal connection that enhances viewer investment but also reinforces the notion that reality TV is performative (Thach Anh 2024). This dynamic interaction between artists, audiences, and producers across multiple platforms has reshaped the reality TV landscape, highlighting the need for media education to enhance critical viewing skills while maintaining entertainment value (Torrego et al. 2021).

Viewer Consumption Habits

As we dissect this phenomenon, it’s crucial to discuss the implications of our consumption habits. Are we craving authentic connections, or are we just drawn to the spectacle? 

In Call Me by Fire show, social media also plays an important role in not only shaping the artist's icon but also reflecting the “true self” of each individual through their content behind the scenes like interviews, life in the show, and connection between artists... The cultivation of identity through social media influence perhaps signals that audiences seek not only validation of their experiences but also a curated version of reality that satisfies their emotional needs (Davis 2019). As a result, social media platforms have become integral to identity construction in the digital age, allowing individuals to curate and present idealized versions of themselves (Nikolova 2022).

So, what do we truly seek in a reality TV show?  

Ultimately, shows like Call me by Fire challenge us to navigate the tension between spectacle and authenticity and remind us that while curated realities can entertain and engage, it’s the genuine emotions and shared experiences that create lasting connections. As viewers, we're invited to reflect on what we truly seek in our journey through reality TV: the allure of drama or the comfort of authenticity.

References

Weiland, SJ & Dunbar, K 2016, ‘What’s real about reality television?’, Journal of Mass Communication and Journalism, vol. 06, OMICS Publishing Group, no. 03.

Hill, A 2017, ‘Reality TV Engagement: Producer and Audience Relations for Reality Talent Shows’, Media Industries, vol. 4, Michigan Publishing, no. 1. 

‌Vietcetera 2024, CEO Vân Hạnh và khát vọng định hình tiêu chuẩn ‘premium’ cho show truyền hình Việt, Yeah1group.com.

<https://yeah1group.com/ceo-van-hanh-va-khat-vong-dinh-hinh-tieu-chuan-premium-cho-show-truyen-hinh-viet>.

Thạch Anh 2024, Nhà sản xuất ‘Anh trai vượt ngàn chông gai’: Các ‘anh tài’ vui chơi nhưng có chiến lược, Thanh Niên Vietnam. <https://thanhnien.vn/nha-san-xuat-anh-trai-vuot-ngan-chong-gai-cac-anh-tai-vui-choi-nhung-co-chien-luoc-185240613143220251.htm>.

Torrego, A, Gutiérrez-Martín, A & Hoechsmann, M 2021, ‘The Fine Line between Person and Persona in the Spanish Reality Television Show La isla de las tentaciones: Audience Engagement on Instagram’, Sustainability, vol. 13, Multidisciplinary Digital Publishing Institute, no. 4, pp. 1753–1753.

Kaplan, D & Kupper, Y 2017, ‘Toward an Interaction-Centered Approach to Media Events: Mediated Public Intimacy on the Reality TV ShowBig Brother’, Journal of Communication, vol. 67, Oxford University Press, no. 5, pp. 758–780.

Davis, JL 2019, ‘Authenticity, Digital Media, and Person Identity Verification’, Oxford University Press eBooks, Oxford University Press, pp. 93–112.