#week 5

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WEEK 5 DRAWING COMP

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@summer-of-bad-batch

WIP Wednesday: 31 feathers crocheted after week #5 of raven shawl 🐦‍⬛

I’m curious. What comes first in your mind when you hear of the term “Reality TV”? Is it the jaw-dropping ways of how the Kardashian sisters spend their money, the full wardrobe of branded shoes and handbags they own? Or, the half-comedic, half-sympathetic scenes of contestants who stand pen-straight on stage with their fingers crossed, tongue-tied, hoping not to get too humiliated by the judges? Even if you’re not a fan of reality TV shows, I’m sure you have watched a clip of them somewhere before. We’re living in a mobilized, digital age where mostly every form of media is being carried around, with social media ingrained in our daily lives. Same goes for the current development of reality TV. We carry reality TV everywhere today and we can watch them anytime we want through our phones. Marked by a sudden invasion of AI into the media industry, we even see an unbreakable potential of reality TV stand firming in its position, or perhaps to grow even bigger.

And here’s why. 

Back when the first reality TV show was screened, producer of Candid Camera Allen Funt began by placing “hidden cameras”, as he wanted to capture the utmost genuine human behaviours during unguarded moments(AV Communication Review, 2022). With his actions being condemned as an invasion of privacy, the programme hired William Saroyan, who established the primordial concept of today’s reality TV: placing real people into social situations designed by the show’s writers and producers (Murray, 2009). 

"Smile, you’re on camera."-- Allen Funt

This leads us to our first finding: one may argue about the extent of authenticity of reality TV, but it is undeniable that it won’t ever be completely fake. The portrayal of real human emotions secures the future of reality TV and promises growing potential of its value among a bunch of soulless, robotic figures inside the AI-generated videos. 

I remember coming across this clip from the show “90-day fiance” for the first time on my phone. It was a fine Sunday afternoon. The character, Ed no-neck, real name Edward Allen Brown appeared on my phone….

My first reaction was: “Dang….. hahaha…. Is this person real…why is the show so dumb…?” 

Yes, I might think it was dumb at first, but it did intrigue me to want to know more about the show and then... it was episode after episode. I was hooked. The mind-blowing, chaotic stories between international couples who have to deal with visa problems and emotional conflicts have become a great time killer for me for a good while. I remember what added to the fun were those hilarious YouTube comments underneath where people just say the most unhinged stuff they could. These other people who equally enjoy the show made differing comments with regards to individuals of the TV show. And you'll see different sides forming, creating different clicks who support different viewpoints towards the couples and their unusual romance.

This formulates another point: the power of the digital community converged with the nature of reality TV. According to Henry Jenkins’ theory of participatory culture (Jenkins, 2006), audiences no longer passively consume media. Instead, they actively participate in discussions, content creation, and online fandom spaces that continuously expand the lifespan of reality TV shows. What fuels the influence of reality TV isn't just the quality or nature of the TV content, but also the audience - the people who love these shows. Their engagement facilitates communication which eventually leads to the development of a strong base or community that eventually draws more people in. It's like a spar

The last question we have to ask is what is so entertaining about reality TV? These shows Love Island, The Survivor, Masterchef, etc. are able to sustain production that lasts for seasons and years, supported by a huge base of audiences and fans, both public and “hidden”. Such TV consumption encourages parasocial interactions, where viewers develop one-sided emotional attachments toward contestants.

 Maybe the answer is as simple as because we want to learn about others, and we like them. This is why reality TV will prevail, in the coming days of artificial intelligence and increasing digitalization.

So... do you have a favourite TV show? Let us know in the comments down below. :))

Week 5 Reflection: Digital Community and Fandom: Reality TV Case Study

References:

AV Communication Review. (2022). Jstor.org. https://www.jstor.org/journal/avcommrev

Jenkins, H. (2006). Confronting the Challenges of Participatory Culture. The MIT Press. https://doi.org/10.7551/mitpress/8435.001.0001

Murray, J. (2009). Darwin and his publisher John Murray. Science Progress, 92(3-4), 289–295. https://doi.org/10.1177/003685040909200302

I have been watching Culinary Class Wars and to be honest, I did not expect to get that invested into it 😅. At first, I thought it was just another cooking competition with those intense challenges along with the dramatic judging and some talented contestants who are trying to prove themselves. Pretty standard huh? But nooooo😭, after a few episodes, it started to feel like something more. It is not simply just about the food but it is about the people involved, their background, their struggles and how they can deal with the pressure.

The show features around 100 chefs with "underdog" chefs against top-tier chefs in a competitive culinary battle. This difference by itself does make it more intense but it's also more personal to watch. More Than Just Food 🍽️ The interesting fact about Culinary Class Wars is the combination of cooking and storytelling. The contestants are not only judged based on technical skills, but also on the basis of creativity and even how they present themselves under pressure.

Somehow there is always that one contestant you naturally end up rooting for - usually the underdog 🥹 Then there's maybe one who somehow frustrates you for no clear reason 😭. Before you even realise it, you begin to form some opinions, picking sides and get emotionally attached to their journey. The funny thing is… this is not random.

Reality TV tends to be organised in a manner that gives emphasis on personal stories to create a stronger emotional attachment with the audience (Murray & Ouellette 2023). As a matter of fact, one of the show's greatest strengths is the juxtaposition of various culinary identities ranging from street food to Michelin-star quality as it makes the competition feel like more than just cooking (Baek Byung-yeul, 2024). And that is what keeps people watching. From Watching to Participating 📱💬 What I find even more interesting is that the experience is not terminated when the episode finishes. After watching it, I can awkwardly find myself scrolling through TikTok to see what other people are thinking and clearly, I am not the only one doing this 😭😭😭😭 .

People would analyse the judge decisions while supporting their favourite contestant and even make some edits, meme or reaction videos 🎬. There are some viewers who also make predictions or even comment on the fairness of the competition. So.... at this point, the audience is no longer simply watching the show but they are actively participating in discussions and popularity around it. This is what Jenkins and Jie (2024) refers to as participatory culture where the audience actively engages with the media rather than passively consuming it. In Culinary Class Wars, the show continues through online discussion where the viewers extending the story beyond the screen 🌐.

Sometimes, the online reactions can be more intense than the actual show 🔥. Social media platforms quickly increase the emotional reactions that can turn entertainment into fandom wars, online conflict or even targeted criticism towards contestants. Why Do We Care So Much? 🤔 One of the things that I continue to observe is that people have become so emotionally attached to contestants so fast. Although we are aware that reality TV is staged, it does not come across as fake. Reality television is meant to push the boundaries between what is considered real and what is created, forming a sense of closeness between the audience and participants 📺 (Eichelberger, 2024). Due to this, viewers also react in an emotional way, either by supporting, criticising and even defending the contestants as if they know them personally.

But at the same time, it is important to recognise that what we observe is well-developed. The editing, storytelling and production options have an impact on the way every contestant is portrayed. A "villain" or "favourite" is not necessarily natural - there are cases when it is created on purpose to entertain. And yet.....we still fall for it every single time.

A Digital Community in Action 🌍 What makes this even more meaningful is that a virtual community forms around the show. To be clear, people online may not know each other personally but they are connected through the same interest. There are people supporting the same contestants, arguing over judging decisions and reacting dramatically to every single moment of the show  🎉. It may be disorganised and sometimes even chaotic, but honestly, that is exactly what makes the community alive and interesting.

At the same time, participatory culture is not always positive. Online discussion could create community and engagement but also lead to toxic actions towards contestants. Since people can easily get emotionally attached to the show, it is possible that the criticism online may be personal instead of constructive. This is related to the concept of networked publics, in which online platforms enable people to interact and create communities based on common interests (Boyd, 2010). These shared viewing experiences can be popular, as Culinary Class Wars did, even reaching the top of the Netflix charts worldwide and attracting millions of views (Baek Byung-yeul, 2024).