Week Eleven: Reality TV

In what ways has the genre of  reality television been lost through the hybridisation and diversification of programmes?

In order to analyse the ways the genre of Reality TV (RTV) has been lost due to hybridisation and diversification, we must first look at it how it began and how it was originally defined. 

RTV’s inception was largely influenced by the documentary genre of film. The term documentary was coined and defined by John Grier in 1926, as “the creative treatment of actuality”. As a genre attempting to portray itself as authentically ‘real’, RTV creators have borrowed various techniques from documentary in order to strengthen the ‘real-ness’ of their shows. This includes elements such as hand-held cameras, interviews or confessions and voice-over narration. Although being heavily influenced stylistically by documentary, the RTV genre has been defined as genre that “gets its name not for being true to everyday conditions, but for the fact that it uses real people, albeit in exceptional situations, and focuses on their personalities and individual dramas” (Kavka, 2012, p. 233). From this definition we can understand RTV as a genre that incorporates real people as the fundamental element. However, as more and more types of RTV have been created over the years through hybridisation and  diversification, the genre has become somewhat lost in amongst the staggering variety of RTV programmes that currently exist.

RTV shows are perpetually being created and recreated all the time. Hill (2005) sums this up by stating, “The development of reality programming is an example of how television cannibalises itself in order to survive, drawing upon existing genres to create successful hybrid programmes, which in turn generate a new television genre” (p. 23-24). This can be exemplified in an RTV show like Survivor (2005), which is a mixture of tabloid journalism, game show/talk show, soap operas, sports tv, documentary as well as leisure and instructional programming. From the perspective of Hill (2005) we can identify RTV as a permanently changing genre underpinned by its hybridisation of other genres. By combining so many elements from other genres, it makes it difficult to accurately define RTV as a genre on its own. As a result it is more easily described as a fluid variant of many other genres, rather than an outright genre.

The diversification of RTV has also impacted the ability to understand it as its own genre. Kavka (2012) expresses the idea that there are so many types of RTV, that a “generic haziness” has been created. The issue here is that while all these shows fall under the category of RTV, the shows themselves can vary wildly in terms of the subject matter, how they are produced, who the audience is and so on. Evidently, subgenres are created that more accurately define an RTV show, but the constant widening of the RTV umbrella has diluted its definition as a genre. Types of RTV include doco-soaps, game shows, hidden camera, talk shows, emergency services, cooking, medical, makeover and the list is always growing. Examples that demonstrate the broadness of RTV, even just in New Zealand include, Gone Fishin’, First Dates NZ, Police 10-7, Celebrity Treasure Island, My Kitchen Rules and Grand Designs NZ. Lorenzo-Dus and Blitvich (2013) sum up the rampantly growing nature of RTV genre by stating “It started out as a genre, but it has certainly evolved into a discourse” (p. 11).

The hybridisation and diversification of RTV programming has played a definitive role in the genre’s rapid expansion. At the same time they have also made it difficult to settle on the definition of RTV as a genre, as new subgenres are constantly being created. Subsequently RTV as an overarching genre has lost meaning as subgenres and newer variations provide more accurate representations of RTV programming.     


Hill, A. (2005). Reality TV: Audiences and Popular Factual Television. London: Routledge.

Kavka, M. (2012). Reality TV. Edinburgh, Scotland: Edinburgh University

Press.Lorenzo-Dus, N & Blitvich, P. (2013). Real Talk – Reality television and Discourse Analysis in Action. Basingstoke, UK:  Palgrave Macmillan.

Week Eleven and Twelve: Reality TV


  1. In what ways has the genre of  reality television been lost through the hybridization and diversification of programmes?


To Defining Reality Television (RTV) as unscripted programmes that involve ordinary people, rather than actor is something contestable in today’s society. Today, Reality Television seem to have a blend of competition, makeovers of people, their homes and their gardens, dramatic scenes, and/or factual narratives all in one show. Ultimately, this genre tends to over fantasized the the notion of ” reality” in diverse forms of entertainment. There are two major ways that this genre has been lost through the hybridization and diversification of programmes. Firstly, by keeping the hungriest of viewers satisfied by presenting what is on demand being . Secondly, through production techniques of reality TV shows

The reason why reality TV has been lost could be because the audience dictates a reasonable amount of what RTV creators can successfully produce. Regardless of how good or bad a reality TV show is, ultimately, it is the audience which decides if the show is entertaining enough to keep airing on TV. Reality TV shows constantly reinvent themselves and are a mixture of different genres; one of the reasons they do this is to stay captivated to their viewers and audiences (Blitvich & Garcès, 2013). Hence, RTV shows tend to put ordinary people in unrealistic, dramatic, challenging situations – such as Survivor where the contestants are taken to an isolated island and are expected to survive without modern comforts as well as compete in sports activities. Interestingly, the RTV Survivor, itself is a combination of tabloid, competition, sports TV, tabloid, and challenges around the themes of confessional and dramatic drama. As a result, all these elements and genres are put into one reality show and thus there are various factors in the show which attract audiences and keeps them magnetized.

Secondly, the reason why Reality TV has been lost tends to be the method of production and camera techniques. RTV has roots in other more established genres such as soap opera-type media and documentary techniques. Hence from multiple genres the adaptation of today’s reality TV seem to be constructed. For that purposes, Hill (2005) states, “the development of reality TV is a great example of how television, to survive, draws upon existing genres to create a hybrid programme which eventually becomes distinct enough to be considered a genre of its own” (pg 23-24). For example, in relation to documentary-type media, modern-day reality TV uses a mixture of techniques from the USA media platforms, the French and the British television platforms. For instance, in the USA, Direct Cinema were more observational, with no analysis of what was occurring as well as more intimate. While the French Cinema Verite was more concerned with creating a relationship with the subject matter, so viewers would often see an interviewer or a camera person appearing in the shot and interacting with the subject. Similarly, in the British Cinema platform, there was an extensive focus onto mundane citizens day to day living. As a result, the influences of international early cinema and TV documentary techniques and elements are simultaneously adopted throughout the RTV spectrum. For example, the reality TV show, Cathy Come Home (which is considered as a docu-drama) correlates with early cinema and TV documentary elements and techniques. In fact, Cathy Come Home has paid actors in but it is still mimicked as a reality show due to the attention it seeks by focusing on mundane aspect of human life which is family and homelessness. Close-ups of the characters allowing the audience to feel a connection to the subjects. Finally, Lamb (2016) mentions that, “reality television has overtaken the docudrama as the most popular form of television programming combining documentary and drama” (pg 6).

To conclude, the mixture of other genres as well as the audience, play a role as to how the reality TV genre has been lost. Without a doubt, reality TV has been greatly influenced by those techniques highlighted in this blog, thus, Reality TV has become lost through this diversification and hybridization of other mixed genres.


Blitvich, Garcès., P. (2013). Real Talk: Reality Television and Discourse Analysis in Action. Macmillan Limited. Retrieved from, http://ebookcentral.proquest.com/lib/aut/detail.action?docID=1588781.

Brenton, S., & Cohen, R. (2003). Shooting People: Adventures in Reality TV. New York: Verso.

Hill, A. (2005). Reality TV: Audiences and Popular Factual Television. London: Routledge.

Lamb, B. (2016). Cathy Come Off Benefits: A comparative ideological analysis of Cathy Come Home and Benefits Street. Journalism and Discourse Studies, (2), 2-21.

Reality Bites: The Future of Reality TV

Where do you think the future of reality television shows is heading?  Will new forms of technology for example make an impact?

Reality TV, documentary and all filmed versions of reality have always been subject to a reality_tv_collagedistortion of the truth, due to the perspective of the cameraman / director / producer. From Nanook of the North in 1922 to Real Housewives of Auckland, there has always been a difficult relationship with the need to make a coherent story and the fact that reality is, well, real. Often boring, complicated and built on circumstance, it is hard to present a real situation in an entertaining way. Reality TV as a concept is benign enough, but because of the complexities of filming real life, the bulk of it seems to lend itself to cheapness, exploitation and lazy filmmaking. However, there are positive developments in the field, and I believe there is hope yet for Reality TV.

downloadThe first actual documentary was the infamous Nanook of the North (1922) in which filmmaker Robert Flaherty changed so many details of the Inuit experience he filmed that he essentially created a new, whitewashed depiction of the race – one which permeated western beliefs for decades to come. John Grierson describes documentary as “The creative treatment of actuality,” (Bauer, 2019) and in this definition, we encounter the problem. It is impossible to free ourselves from the doors of perception (Huxley, 1963), so all attempts to film reality will always be coloured by the opinions/ beliefs of the filmmakers. There have been attempts, to be sure. High School (1968), directed by Frederick Wiseman, attempted to remain impartial, a few others tried too, but at the end of the day, even the simple action of cutting to another shot creates a Kuleshov effect (Hellerman, 2019), subliminally telling the audience what to think about a situation. By the nineties, filmmakers were so well aware of the way that Reality TV opened itself up to exploitation, they even made a movie about it – Reality Bites (1994), (Possibly the most nineties movie ever made). In it, despite all his good intentions, Ben Stiller can’t help but turn his girlfriend’s TV show into a shameless cash grab full of drama and bad music cues. Today, that sounds a lot like many of the 750 reality TV shows that America aired on cable TV last year (Bauer, 2019).

Flicking through channels one night, I counted 8 out of ten channels running reality abc-bachelor-season-23-meet-cast-1546889807-5291shows. The other 2 were re-runs and the News. It can often be depressing, especially when so many people are aware of the false reality presented by these shows (Bauer, 2019). Big Brother, Dance Moms, The Kardashians, Married at First Sight, The Bachelor… just a teensy little bite of the mass of controversial “reality” TV that is on these days. Dance Moms has been accused of child exploitation (Marthe, 2016), Kim Kardashian is a walking, talking controversy and The Bachelor has contestants speaking out about traumatic events on set (Brookes, 2019). Not to mention the awful Benefits Street (Lamb, 2016), which had measurable negative effects on people’s perception of poor people in Britain.

maxresdefaultBut not all Reality TV is bad. There are some that genuinely influence people in a positive way, and spread a positive message. RuPaul’s Drag Race (2009 – present) is self-aware, entertaining, and has had an overwhelmingly positive effect on acceptance of homosexuality, transgenderism and queerness in society today, bringing drag and the people involved in it into the mainstream. Fun, inoffensive shows like Nailed It (2018 – present), a show about regular people attempting to make professional cakes, are positive, safe and entertaining, and even shows like Extreme Home Makeover (2003 – 2012), while still rather exploitative, at least present their subjects in a sympathetic framing – reminiscent of Cathy Come Home (Lamb, 2016). I also want to point out that millions of people nowadays consume media online – through “Vloggers.” People who maxresdefault (1)are in control of their own filmmaking, editing and story structure, and therefore far more able to control their own level of exploitation. If you watch YouTube for example, the biggest online phenomena right now are PewdiePie, who is really just a guy who plays Minecraft and talks about memes, and Shane Dawson, who makes documentaries where he tries to humanise controversial YouTubers, and who people love because of how relatable he is, because of his multiple mental health and self-confidence issues (Ramasubbu, 2018).

To be honest, though there are plenty of trashy reality shows out there, I can see a much more diverse and interesting future on the horizon. With social media and the internet, people have more access to their audiences, and the mix of vlogging culture and reality TV could really make for some interesting content in future. Of course there will always be trash TV – as long as people make media, some of it is going to be bad. But it’s clear that people want to see other people just living their lives honestly, and we’ll continue to find new ways to do that.



Flaherty, R. (1922) Information retrieved October 30, 2019 from https://www.criterion.com/films/574-nanook-of-the-north


Bauer, J. (October, 2019) Documentaries vs. Reality TV: How They Shape Truth – Wisecrack Edition. Retrieved October 30, 2019 from https://www.youtube.com/watch?v=oNMV39sKyU4&t=929s


Huxley, Aldous, 1963. The Doors of Perception : and Heaven and Hell. New York :Harper & Row, 1963.


Hellerman, J. (January, 2019) The Kuleshov Effect: Everything You Need To Know. Retrieved October 30, 2019 from https://nofilmschool.com/Kuleshov-effect-definition


Marthe, E. (August 2016) The ‘Dance Moms’ Stars and Their Battle with Alleged Stalkers and Pedophiles. Retrieved October 30, 2019 from https://www.vice.com/en_us/article/wjee3m/the-dance-moms-stars-and-their-battle-with-alleged-stalkers-and-pedophiles


Brookes, E, October 2019. Ex Bachelor contestant Naz Khanjani says dating shows are a ‘disaster’ Retrieved October 30, 2019 from https://www.stuff.co.nz/entertainment/tv-radio/116771111/ex-bachelor-contestant-naz-khanjani-says-dating-shows-are-a-disaster

Lamb, B. February 2016. Cathy Come Off Benefits: A comparative ideological analysis of Cathy Come Home and Benefits Street, Journalism and Discourse Studies Journal. ISSN 2056-3191


Ramasubbu, S. July 2018. 20 YouTube Channels Your Kids Probably Already Follow. Retrieved October 30, 2019 from https://www.cyberwise.org/single-post/2018/06/29/20-YouTube-Channels-Your-Kids-Probably-Already-Follow

Week 11-12 responses

Week 11

In what ways has the genre of reality television been lost through the hybridization and diversification of programmes?

As reality TV itself reflects lots of real-life situations with different genres such as romance, horror, and family drama, et cetera within one episode as well as describes the social issues that people undergo in particular time and place, it is considered as discourse rather than genre (Lorenzo-Dus & Blitvich, 2013). Since I was not sure why ‘documentary’ could be the genre whereas ‘reality TV’ is vague to be considered as the genre, now I am going to figure out what is the difference between documentary and reality TV. Campbell (2018) argued that while reality TV implies the TV show which contains the features of artificial, stimulating, and entertaining, documentary deals with more genuine and serious subject which does not contain any contrived contents. Therefore, although documentary and reality TV shares similar features such as both of them are filmed based on the real life situation, reality TV has been scripted and more depend on the audiences and viewer ratings.

Reality TV, furthermore, is considered as the hybridization of documentary and entertaining features to attract audiences (Mast, 2009). Sometimes, it causes the misunderstanding of certain people who appeared on the show due to the sensational editing. For example, if one person said some words to encourage other person to escape from the conflict and even though other person agreed about it, it is often edited as if that person wanted to argue and made more troubles (Ouellette, 2016). It is dramatized. Thus, by this factor, reality TV is no longer remained as ‘reality’.

‘Cathy come home’ (1966), directed by Ken Loach and produced by Tony Garnett was also a play which presented hired actresses and actors, not ordinary people in the real world. However, this docu-drama succeeded to attract the audiences’ attentions into the real-world problems in the society although it was a fictional story based on the real life. It helped audiences to form a compassion and homogeneity, as well as developed their ability to aware of the problems in the society and to act upon the way to solve the problems. For “the thousands of Cathys”, people in Britain donated £50,000 in the first month through the housing charity campaign (Lamb, 2016, p.15; Lacey, 2011, p.116). As can be seen, reality TV not just simply loses its identity as the genre, but by combining other features such as drama into documentary, it enables audiences to focus their attention on the broadcast rather than broadcasting the boring documentary itself. Since every audience are living there lives in the real life situation, they feel sick and tired of seeing the world they are familiar with and they used to think in their perspectives rather than considering other people’s perspectives. Therefore, rather than showing the world as it is, the dramatized world could stimulate people through showing them much more entertaining and emotional contents.

‘Infinite Challenge’ is the Korean reality TV show programme hosted by the seven famous comedians in South Korea (Yoon, Kim, Son, & Kim, 2017). I was grown up by watching this reality TV show which gave me tears through the genre of touching Drama, laughter through the genre of Comedy, as well as fear through the genre of Horror. Although there were scripts and deliberate editing to promote the ratings, the comedians’ endeavour to give different messages to audience was highly rated among people (Yoon et al., 2017). Although reality TV is ambiguous as the genre as well as some of the low-quality reality TV shows are threatening people’s mental health, many of them still entertain people in wholesome, and different ways.


Campbell, C. (2018, July 25). What is the difference between “reality series” and “documentary series”?. Retrieved from https://nonfics.com/what-is-the-difference-between-reality-series-and-documentary-series-6e830ed4c500/

Lamb, B. (2016). Cathy come off benefits: A comparative ideological analysis of Cathy Come Home and Benefits Street. Journalism and Discourse Studies, (2), pp.1-21.

Lorenzo-Dus, N., & Blitvich, P. G. (2013). Discourse approaches to the study of reality television. Real Talk: Reality Television and Discourse Analysis in Action, pp.8-41. doi:10.1057/9781137313461.0009

Mast, J. (2009). Documentary at a Crossroads: Reality TV and the Hybridization of Small-Screen Documentary. Sociology Compass3(6), pp.884-898. doi:10.1111/j.1751-9020.2009.00242.x

Ouellette, L. (2016). A Companion to Reality Television. Hoboken, NJ: John Wiley & Sons.

Yoon, T., Kim, S., Son, B., & Kim, S. (2017). When old meets new: An analysis of Korean traditional narrative in the contemporary reality TV show Infinite Challenge. Acta Koreana20(2), pp.423-448. doi:10.18399/acta.2017.20.2.004

Week 12

Where do you think the future of reality television shows is heading? Will new forms of technology for example make an impact? 

Since there are a number of reality TV shows world-widely, the audiences’ sensible watching habit is needed, not an unbridled one for the desirable future of the reality TV. Kerns (2013) argue that by watching “16 and Pregnant”, people are helping those teen mothers to become rich and famous although teenage pregnancy is a taboo in the general society for their health safety reason, economic power to take responsibility for their family, and in many other ways. Besides, this quote explains how unreasonable for them to earn all those money and fame in the short period of time: “Many of us were raised to be honorable and work hard to be the best in whatever we do, but if you want to be on a reality competition, something millions try out for each year, that actually puts you at a disadvantage.” (Kerns, 2013). Every teenage student is learned how to use contraceptive tool to avoid pregnancy, however, those teenagers did not follow it by their foolish decision at that moment, and it is their responsibility to deal with their situations, not make money for free just by being as if they are pitiable. However, this reality TV programme encouraged audiences to donate money for them, and this phenomenon may cause the side effect such as the increasing number of teenage pregnancy because it always can be supported by people who have sympathy on them (Kerns, 2013). Similarly, in South Korean society, there are so many individual reality TV channels which earns money from the audiences who requires them to show provocative contents such as bragging woman guest’s boobs and hips. Money and the fame, is not just for the people who contributed hard for their lives any longer in the current society. Therefore, whether the reality TV’s future will be bright or dark is solely depending on the audiences’ requirement of medium consumption.

Moreover, according to Reiss and Wiltz (2004), although current research shows that there are no gender preferences for the reality TV, depending on the audience’s gender and basic desires, the viewing habits will be decided in the future. For instance, if there is a woman who get pregnant, she would watch the reality TV programme which treats the contents of women’s pregnancy rather than men whereas if there is a man who is a gay, he would watch the gay’s dating show programme rather than women. Therefore, there will be more fractionized reality TV contents depending on the gender in the future as well.

In terms of technological development, the new forms of technology such as VR (virtual reality) is expected as the next step for mass medium to go (Dredge, 2017). If VR becomes common when watching TV, reality TV’s artificial reality world would become more realistic to audiences. For example, when it comes to the cooking show programme, audiences could feel like a famous chef is cooking in front of their eyes. Moreover, technological development itself could be the content of reality TV such as how the development of VR impacts our lives. Thus, it is obvious that reality TV will be affected by the new technology.


Dredge, S. (2017, April 9). Virtual reality: Is this really how we will all watch TV in years to come? The Guardian. Retrieved from https://www.theguardian.com/technology/2017/apr/09/virtual-reality-is-it-the-future-of-television

Kerns, T. (2013, August 27). Is Reality TV promoting unhealthy attitudes? [Opinion]. Retrieved from https://929nin.com/is-reality-tv-promoting-unhealthy-attitudes-opinion/

Reiss, S., & Wiltz, J. (2004). Why People Watch Reality TV. Media Psychology6(4), 363-378. doi:10.1207/s1532785xmep0604_3

Week 11+12

In what ways has the genre of  reality television been lost through the hybridization and diversification of programmes? Where do you think the future of reality television shows is heading?  Will new forms of technology for example make an impact? 

Reality TV implies the use of ‘real’ people in ‘real’ situations. But how much of reality TV do we really class as such? Over the past 60 years, reality television has progressed from direct cinema, docudramas to the hybridised version of reality TV that we more commonly see today. It has become much more difficult to categorise the entire variety of reality television shows into just one umbrella genre. CBS’s Big Brother, which premiered in July 2000, quickly became a global phenomenon because of its entertainment value and use of full participation from the view. James (n.d.), goes on to add that “they [Big Brother Producers]  introduced scenarios that the talent could play off of and actually scripted several encounters so they would be sure to catch the moment on tape,” (p. 1). Also in the same genre, we have talent competitions like Britain’s Got Talent, American Idol, The Voice, cooking reality television shows like MKR, The Great British Bake Off, Masterchef, shows that focus on creating relationships like Love Island, The Bachelor and The Bachelorette, and even shows that deal with social issues like The Jeremy Kyle Show, Judge Judy and Benefits Street. There are only some of the entertainment options offered in a variety of different sub-categories of Reality TV. Therefore, “Reality TV” is no longer a sufficient label to describe ALL of these different pieces of entertainment under one roof, the true meaning of it has also become lost during this diversifying process, as shows fight for the top spot, they seek to entertain their audience in new and more fanatical ways. Hiring paid actors, scripting scenes and specifically weaving a show’s narrative a certain way in post production are all ways that television shows are achieving this, but it is at the cost of the reality of reality TV. With our growing ability to create and use technology in ways never before seen, and the introduction of new ways to view and digest content, reality tv has become only an umbrella term for an extremely large and extremely different variety of television. However these hybridisations are only the beginning, Arnold (2019) notes that “The transformation of the entertainment industry by technology is really only in its infancy. Any enterprise that is involved in providing entertainment services to consumers has many challenges to meet, if it is to get its share of the marketplace,” (para 14).


Arnold, A. (2019, May 21). 3 Interesting Ways Technology Is Shaping The Entertainment Industry. Forbes. Retrieved from https://www.forbes.com

James, M. (n.d.). Reality TV and the New Future of Digital Production. Columbus Chamber of Commerce, 1-2.

Weeks 11 – 12 – Reality TV

In what ways has the genre of reality television been lost through the hybridization and diversification of programmes?

Reality TV used to be a look into the real-life happenings of people, such as their everyday lives and mundane jobs, to glimpse what others were doing with their lives that you weren’t doing with yours. Since social media wasn’t around in the 20th century, people were restricted with their knowledge of news and the private lives of others. Documentaries showing peoples’ lives and what life was like in other areas of the world was more than just entertaining – it was educational and informative. Especially during the war, news reels and interviews with people regarding their part in the war was seen as ‘real life’. Reality TV was a way in which you could look into a different kind of life than yours without leaving the safety of your own home.

As entertainment and technology evolved, reality TV too evolved – or in my opinion devolved – into the various kinds of tv we see nowadays. Cooking shows, talk-shows, survival shows, as so forth all span from the same roots which were the reality tv of the 20th century. People got bored of watching the same stuff over and over again so a whole variety of ‘reality TV shows came about to keep up the viewing numbers and entertainment factor of the shows. The further away from the origins the crazier and less ‘reality’ the TV shows become.

To keep up with the consumer’s want for entertainment and scandals, shows diverge from the traditional means of informative and educational TV to that of eliciting reactions from the audience. Shows like the Bachelor/Bachorette, Survivor, Masterchef, Love Island and so on have become more and more scripted and falsely portrayed throughout the years to keep up with the level of engagements from the audience. The more scandalous or obscene, the more viewers and therefore the more money the company will get. It isn’t about the reality of everyday life anymore, instead the narratives have been designed for the sole purpose of bringing in income and attention.

The diversification and hybridisation of Reality TV shows as disfigured the intentions of Reality TV. Reality TV is no longer about glimpsing people’s real lives and the mundane jobs they have. Rather, it has blown up into a false sense of identity, a false image of ourselves to show people the best side of ourselves or the more glamorous side of ourselves to appeal to the masses and to get views and money. It’s like social media, which can be argued to be this generation’s self-directed form of Reality TV. We show the most appealing, most scandalous, most attractive side of ourselves and our lifestyle to garner attention and praise. We hide the real side of our lives because it is simply not attractive or entertaining enough for people.

Week 11-12

Where do you think the future of reality television shows is heading?  Will new forms of technology for example make an impact? 

1. future of reality television shows is heading

The law of historical development tells us that the outbreak of reality show is not an accident, but a product of social development to a certain stage (Hill,2005).

The first reason is the development of information technology, which enables media companies to produce long videos recording the actions of famous public figures (stars) in the whole process, which can be quickly received and retained (repeated watching, if the reality show can only be seen once, and cannot be watched repeatedly, it is difficult to share and spread, after all, it is blank and powerless to describe someone’s looks and expressions by word-of-mouth. )In front of consumers.

The second reason is that with the improvement of material living standards, consumers are no longer satisfied with only enjoying the performances of stars, but also want to see the more real side of these public figures. So, based on these two main points, the reality show came into being, and it’s not surprising that it even presents a blowout.

What will be the impact on the future social development of reality TV programs that are now rampant?

From now on, in the hot reality show, it can be said that it is the world of reality show people, so in this period, it will reshuffle the influence of stars. The value of reality stars loved by the audience will rise rapidly, and vice versa. However, due to the limited aesthetic cognition of the audience, only a few stars will finally stand out and become superstars. At the same time, the eye-catching reality show has a strong rejection of other forms of programs other than reality show, and the impact on society is to further stimulate the public’s desire for performance, and want to stand on the stage, in front of the camera.

The rise of live broadcast websites stems from this. For the future, the fall of reality TV programs is inevitable. Most aesthetic needs are endless, it will fatigue, and then find new aesthetic objects. Even the superstars assumed above cannot be avoided. Moreover, with the rise of various live broadcast websites, the reality TV market will inevitably be eaten by more fragmented, timely and personalized live broadcast. After all, the quality of live broadcast is rising, and reality show has reached its peak, there is no room for rising.

2.Technology and the impact

The impact of technology on reality shows is obvious. The reason is that with the rapid development of society, people are not only satisfied with the most basic material desires, but also pursue more spiritual needs. Technology just meets this day and promotes the rapid development of a series of reality shows such as live broadcast (Lamb,2016). But the development of reality show is a little too fast because of the expansion of technology, which is not a good thing. Now the social demand for spiritual stimulation is also increasing (for example, a British reality show is about turning an ordinary person into a ‘murderer’ within 72 hours), which is actually a psychological defense challenge for actors.

Reference list:

Hill, A. (2005). Reality TV: Audiences and Popular Factual Television. London: Routledge.

Lamb, B. (2016). Cathy Come Off Benefits: A comparative ideological analysis of Cathy Come Home and Benefits Street. Journalism and Discourse Studies, (2), 2-21.