#Reality TV Shows

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The Boulet Brothers' Dragula S6 Ep1 frames

[911tvshowpolls]

911 TV Show Polls: Reality TV Part 2

Okay, so our previous poll asked who was most likely to go on a reality TV show.

This time, based on previous results, we ask, who is the least likely to be on any reality TV show, whether its a dating show, a skill based show or a game show.

Who's running from that camera even if there's a million dollar prize on the line?

Buck and Chim were eliminated from this poll as they had the most votes for who would go on a a reality tv show.

[in-the-stacks]

Presenting The Perfect Home by Daniel Kenitz. Reviewed by Read Local for In the Stacks.

https://www.inthestacks.tv/2025/3/read-local-the-perfect-home

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Hanging out

[cupofteajones]

Dueling Detectives Present:  Best Mysteries of 2024

[the-art-of-thumbnails]

The challenge spies lies and allies trailer

Video uploaded by the challenge news

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[wttnblog]

The 10 Best Reality TV Shows of 2024

Welcome back to another “Best of 2024“! Today, we’re going to be talking about the best reality shows of the year, and what a year it’s been. From some of the best dating shows to some of the worst reality shows I’ve ever seen, I’m here to break down the highs and lows of another epic year. As usual, the methodology: all shows must have received at least 3.5 stars by one member of the staff, and…

[mairkie]

Week 4: Reality TV in the Age of Social Media and the case of RuPaul's Drag Race

Reality TV has undergone a significant transformation in the age of social media, creating a complex web of interactions between stars, fans, and producers. One striking example of this phenomenon is RuPaul's Drag Race, which has not only expanded its visibility but also fostered dynamic digital communities that engage with the show's content on multiple platforms.

Reality TV has long been a staple of modern entertainment, and as noted in academic discussions, it has the power to elicit shared opinions and foster public discussions, especially on social issues like gender, sexuality, and discrimination. This interactive nature is amplified by social media, where platforms such as Twitter, Instagram, and YouTube enable fans to express their opinions, engage with reality stars, and become part of digital communities, or "digital publics" (Chung & Cho 2014). These spaces offer avenues for discussions that extend beyond the screen, as fans dissect show episodes, share memes, and debate contestants' behaviors. The dialogue often extends to broader social issues, making reality TV a vehicle for political and cultural discourse.

In the case of RuPaul's Drag Race, this convergence of reality TV and social media is particularly noteworthy. Since its debut, the show has garnered a massive following not just for its entertainment value but also for its role in shifting the visibility of drag culture. Drag, once a subcultural practice, has been propelled into the mainstream by the show, creating a space where diverse identities are celebrated and debated (Zaslow 2022). Social media plays a pivotal role in this shift, as fans rally around hashtags, form digital fandoms, and engage in discussions that challenge or affirm societal norms regarding gender and sexuality.

The show thrives on its ability to generate drama, not only through its televised content but also through the digital texts created by its stars and fans. This duality of on-screen and online performance has become a hallmark of reality TV in the social media age. Contestants on RuPaul's Drag Race often extend their personal brands beyond the show, interacting with fans through platforms, especially through Instagram, where they share their thoughts, promote their performances, and participate in ongoing conversations about the show. These interactions contribute to the creation of "digital publics"—spaces where fans engage in meaningful discussions, often touching on issues like representation, body politics, and LGBTQ+ rights.

The competitive nature of reality TV is also intensified by social media. Contestants are encouraged to reveal intimate details of their lives, making their online presence just as important as their on-screen performance. This creates a feedback loop where the audience's engagement on social media directly influences the contestants' popularity and, by extension, their career prospects post-show (Reimer 2023). In this way, RuPaul's Drag Race not only entertains but also functions as a platform for personal branding, with social media amplifying the contestants' reach and influence.

Moreover, RuPaul's Drag Race serves as an example of how reality TV can act as a "trigger of everyday political talk" in the net-based public sphere (Graham & Hajru 2011). Fans of the show often engage in discussions about broader societal issues such as race, gender, and sexuality. These conversations are not confined to the show itself but spill over into social media, where digital publics critically engage with the cultural implications of the show's content.

In conclusion, RuPaul's Drag Race exemplifies how reality TV in the age of social media has evolved into a multifaceted phenomenon, where entertainment, digital community-building, and socio-political discourse intersect. Social media has expanded the reach of reality TV, allowing fans to participate in digital publics that discuss not only the show but also broader cultural and political issues. This engagement has turned RuPaul's Drag Race into more than just a television show—it's a cultural touchstone that reflects and shapes contemporary conversations about identity and representation.

Reference

Chung, S & Cho, H 2014, ‘Parasocial relationship via reality TV and social media’, Proceedings of the 2014 ACM international conference on Interactive experiences for TV and online video - TVX ’14, pp. 47–54, viewed https://dl.acm.org/doi/abs/10.1145/2602299.2602306.

Graham, T & Hajru, A 2011, ‘Reality TV as a trigger of everyday political talk in the net-based public sphere’, European Journal of Communication, vol. 26, no. 1, pp. 18–32.

‘How has RuPaul’s Drag Race succeeded in social media world domination – Favoured.’ n.d., favoured., viewed https://favoured.co.uk/how-has-rupauls-drag-race-succeeded-in-social-media-world-domination/.

Reimer, T 2023, ‘Environmental factors to maximize social media engagement: A comprehensive framework’, Journal of Retailing and Consumer Services, vol. 75, pp. 103458–103458, viewed https://www.sciencedirect.com/science/article/pii/S0969698923002059.

Zaslow, S 2022, ‘Mainstream novelty: Examining the shifting visibility of drag performance’, Sexualities, vol. 27, no. 1-2, p. 136346072210914, viewed https://journals.sagepub.com/doi/10.1177/13634607221091447?icid=int.sj-abstract.citing-articles.1.

[amandaanddonnie]

SISTER WIVES Exclusive !! PRODUCER QUITS & Production Company SHUTS DOWN...

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WTF

[cameoutstruggling93]

When you get this, you can answer with 5 things you like about yourself, publicly. then, send this ask to 10 of your followers :) (no pressure)

🤔🤔

1. I can officially say I have ADHD, combined presentation! (I never felt so validated in my life)

2. I'm usually a baking completion reality show girlie but the bf and my sister are having me branch out to love is blind and the Bachelorette franchise. I'm doomed.

3. I will eat ice cream and have iced coffee ALL year round, I know no bounds!

4. I work in disability and accessibility services for students in higher education. If anyone has questions I'm happy to help answer them !

5. I'm not a morning person. I need a good 30 min to an hour before interacting with people after I wake up.

[foggybagelwolfzine]

Reality TV, hence, is it a form of reflective discourse and collective feedback? An analysis on ‘Love Island’ and the program’s content throughout the show.

Week 4 Submission for MDA20009 Class - Hanoi Campus

Reality TV shows have become a significant part of modern entertainment, captivating audiences with their unscripted drama and relatable content (Hill 2005). These shows offer a glimpse into the lives of ordinary people, often blurring the lines between reality and entertainment (Murray & Ouellette 2009). Hence, this post examines a reality TV show called ‘Love Island’ as an example to discover its rise to prominence, the factors contributing to its widespread appeal, and the content surrounding its production and consumption among the consumers of this type of media.

A brief introduction to Love Island

Love Island is a popular reality TV show that features a group of single contestants, who live together in a specially constructed villa isolated from the outside world. The primary goal for these contestants is to find love while navigating various challenges and coupling ceremonies while staying on the avenue in the show. Originating in the UK, Love Island has spawned numerous international versions, making it a global phenomenon not only in English-speaking countries but in European countries like Czech Republic and Germany also.

Examining ‘Love Island’: How the content of the show is made?

Reality TV shows like ‘Love Island’ serve as a mirror to human behavior and interaction, offering a platform for shared social experiences and collective reflection (L’Hoiry 2019). By emphasizing the liveness of the audience, reality TV creates a shared social experience where viewers can interact in real-time, often directly with participants, as noted by Helen Wood (2022). Hence, this genre of reality TV show is designed to elicit talk and shared opinions, making it a significant part of contemporary media culture.

‘Love Island’ exemplifies the use of digital media, allowing audiences to engage with the show through various platforms, mainly on Twitter, currently known as X. Thus, the show operates as a crafted form of reflective discourse, where the audience’s collective reflection shapes the show’s narrative, as noted by Deller and Ruth (2019) discussing Reality TV in the Age of Social Media. As the program’s main content revolves around romantic relationships, personal conflicts, and social dynamics, which are amplified by the audience’s real-time reactions and interactions, this creates a feedback loop where the show’s content and the audience’s discourse continuously influence each other, making ‘Love Island’ a prime example of how reality TV can be both a reflection of and a catalyst for perception of reality (i.e. girls’ 666 dating strategy, namely ‘6-figure income, 6 inches, 6 feet tall’)

Moreover, the development of memes and the integration of social media scripts into the show’s content highlight the relationship between reality TV and digital culture. This dynamic not only entertains but also promotes a form of hegemony by reinforcing certain societal norms and behaviors (Shifman 2013). However, it can also serve as a platform for counter-hegemony, challenging and subverting these norms (Wagener 2020).

In conclusion

Love Island is the embodiment of how reality TV and digital culture feed into one another reflecting each other, thus simultaneously mirroring and catalysing wider conversations. By involving the audience in real-time through its interaction and impression with social media, the show not only entertains but also reflects and even confronts norms of society emphasizing a substantial role of reality TV in shaping public opinion and stimulation to common reflection in audiences during modern age of television and the media in general.

Reference List

Hill, A. (2005). Reality TV: Audiences and Popular Factual Television. Routledge, Abingdon/New York Murray, S. and Ouellette, L. (2009). Reality TV: Remaking Television Culture. 2nd ed. New York: New York University Press

L'Hoiry, X.  (2019) 'Love Island, social media, and sousveillance : new pathways of challenging realism in reality TV'. Frontiers in Sociology, 4. 59:  https://doi.org/10.3389/fsoc.2019.00059.

Shifman, L. (2013). Memes in a Digital World: Reconciling with a Conceptual Troublemaker. Journal of Computer-Mediated Communication, 18(3), 362-377

Stewart, Mark (2020) ‘Live Tweeting, Reality TV and the Nation’  Download ‘Live Tweeting, Reality TV and the Nation’23(3) International journal of cultural studies 352.

Wagener, A. (2020). The Postdigital Emergence of Memes and GIFs: Meaning, Discourse, and Hypernarrative Creativity. Postdigital Science and Education, 3, 831-850.

[miatartistry]

Y’ALL CALLED US DELUSIONAL. I CALL US PROPHETS.

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Do you have what it takes to break the game

Video made by Peridiam

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[michaeldavis3489]

America's Astonishing Reality TV Shows: Prepare to Be Amazed

Far too many of those shows never found the audience they were looking for. There are a number of reasons for that. Perhaps, the network didn't promote it properly. Maybe the characters were just too unlikable to want to root for. Could it be that the show's concept was just too awful (we remember you, Hulk Hogan's Celebrity Championship Wrestling)? So take a stroll with us down memory lane as we revisit the remains of TV's most utterly ridiculous reality TV shows. We promise you, that these all existed, whether you remember them or not

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