Reality TV: Is this what we have come to?

Reality TV is all over our screens at present and there is absolutely no escaping it. For one, it is a hugely broad genre that goes back to the middle of the 20^th Century as it encompasses any programme involving un-scripted or unstaged characters or scenes and as such includes all prank shows (e.g. Candid Camera and Trigger Happy TV). Nowadays the more sensational series are the non or soft scripted “dramatic reality” shows such as TOWIE, Made in Chelsea, Jersey Shore and so on. All of these shows draw polarised opinions and so I will See/Saw my way through what they mean to us as viewers and the creative content of media entertainment.

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The thin veil of “reality” over these shows is often lambasted by those that look down on reality TV. They are either accused of not being “real”- hence ‘staged reality- and/or that watching other people live their own lives is a futile waste of time and a depressing slight on our existence. The typical scenario would be one ridiculous character interacting with an equally or more ridiculous character within a hugely stereotypical setting with a few dramatic storylines thrown in to light the fuse. And whilst everyone conveniently collides into each other in as many awkward and increasingly more typical places as possible, the audience is drawn into this world. 

But it is the ridiculous element which is so appealing. The more outrageous they are, the more we warm to them. Joey Essex with his astounding lack of knowledge, Francis Boulle with his so-socially-awkward-it-hurts demeanour are hugely endearing and what drive the programmes on. What sets these shows apart from regular programming is that they take reality- real lives, real people, real places- and push them to the extreme. And what makes this exciting is that reality is unpredictable, the classic ‘you couldn’t write this stuff’. Scripted television is getting old and tired. Look through most scripted shows and characters are static, rigid and bound by very blatant characteristics. (90% of comedies probably have the endearing, slow witted ‘Joey’ character). And this was very fine in days gone by, but as history dictates, audiences require engagement and realism in their entertainment. Throughout the ages people have striven towards involvement and engagement in various media; this is the genesis of the modern novel as we know it. What formed the basis of novel writing was the acceptance and inclusion of everyday people, events and activities. And this audience involvement is what gave rise to Reality TV. It made the people part of the product and as a result, inspired creativity and innovation. 

So this is the evolution that television has embraced. Gone are the dry, stagnant characters which have been replaced by dynamic and eccentric variations of real people that reflect portions of our society. It is the people that are focus of attention as they contend with the trials and tribulations of their reality and how they act and react provide the entertainment. The creativity lies in the subtle manipulation and staging to allow these personalities to flourish.

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A recent advert for “The Only Way Is Essex” contained not a lot more than the words “erm” “shu’up” and “what’s an asset?” Now it is easy to call this lazy advertising, but in actual fact it is more of an acknowledgement of the entire content of the programme. By taking extreme sections of society, producers are playing upon the aspirational element of entertainment. In our modern society we engage with every product and brand we consume. Everyone has an opinion and now not only feels the need to share it, but also feels empowered by it. The level of engagement by grounding shows in reality enhances our experience of it, but the result of this is idolisation and what amounts to extreme delusion. 

The wave of death threats targeting Made in Chelsea star Louise Thompson emphasise the extent to which our society feels very strongly about our entertainment stars and the need to express these views.  This empowerment most likely stems from the ability of the public to affect shows such as Big Brother and the X Factor. Being able to control the outcome of a verdict has given the viewing public a heightened sense of engagement and inclusion within these settings. What is the point of this long winded explanation? Viewers are now idolising people whose talent includes spending a lot of money on their appearance and skill set consists of ‘being from Essex/Chelsea/Newcastle’. What is so mind numbing and unsettling is that there is absolutely no evolution, no change and no progression. Year in year out we are treated to the same X Factor formula, and the same endless cycle of Geordie Shore nights out. The only method to spice up the action is to add new characters, or repeat the program in a different location. When it comes to the allegedly “higher class” reality shows of the Apprentice and Come Dine With Me, the more nutty the participants, the more exciting the program. 

What this results in is the trigger for this post, Channel 4’s Summer Days Daze…whatever. This show is the culmination of glorifying eccentricity as a primary quality. For anyone who hasn’t seen it (you lucky people), it follows a bunch of now stereotypically ‘alternative’ teens who work at festivals over the summer. What is wrong is that it is reveals the fact that the lifestyles and attitudes these shows represent is now filtering down the generations. Summer Days (whatever) endorses the kind of qualities that will do society no good.

If you take anything away from this post, make it that Summer Dayze is an AWFUL AWFUL show (just felt that needed to be said)