Reality Is Unrealistic - TV Tropes
Using reality TV allows students to consider that “television talk is always a part of the broader conversational culture” (Aslama and Pantti, “Flagging Finnishness” 62). While it is certainly alarming to consider the implications of paternalistic shows such as standing in for empowered feminist obstetric knowledge, these shows did not single-handedly create the culture they reflect. Rather, expert-driven and reductionist approaches to information (about childbirth and beyond) are the norm. By amplifying some of the tropes of dominant discourses into sensationalized formats, reality TV may provide a point of entry for students to consider the failings of representation more broadly. As a result, they may develop a critical lens that extends beyond their analysis of these leisure-time shows toward sites that are more concretely presented as truth: an analysis of reality TV may engender a degree of skepticism about reality. Likewise, an analysis of who is missing from many of these shows may allow for a conversation to develop about which bodies are rendered invisible in the public sphere, or only visible in particularly virulent and narrow ways. For example, an analysis of may allow students to embark upon a more ambitious conversation about size acceptance and the scope of both the ignoring of fat bodies and the ways they can only be seen in the context of transformation (Cooper 35; Murray 155).
Plot summary, trailer, cast and crew information, and user comments.
Even a facile engagement with reality TV elicits discussion about issues of representation. If reality TV is meant to showcase reality, I would like my students to consider whose reality is being put forth and through which epistemology such a reality is constructed. Reality TV obviously perpetuates stereotypes and still skews toward the same normative tropes that exist in other sites of popular culture but, alarmingly, it does so under the guise of presenting the truth. Williams suggests that “the line between news and entertainment, documentary and reality TV is constantly blurred and shifting” (550). For many viewers, the clearly mediated “truths” of reality TV may provide as much information about communities and systems as more traditional news media and other expert discourses. For example, Morris and McInerney suggest that seventy-two percent of survey respondents who were pregnant for the first time saw popular pregnancy and delivery shows such as and as important sources of information (134). As the authors go on to show in detail, these shows present a great deal of misinformation and may perpetuate myths about pregnancy and childbirth.
For example, one assumes that critical viewers might see the lives portrayed on MTV’s or as inaccurate and heavy-handed representations of the lives of young mothers and the particularities of their experiences (for example, see Guglielmo). While we are critical of the ways that young motherhood is packaged on these shows, we may nonetheless see through the moralizing discourses to view the real structural challenges experienced by younger mothers. Furthermore, the capacity to unpack the grey area between fact and fiction in a classroom context takes postmodernist and poststructuralist concepts of truth out of the realm of inaccessible theory and instead asks students to consider which truth they would accept as authentic, which story they would deem an adequate representation. In this context, the course might usefully be bolstered by contrasting viewings of documentary films (including those with a reality bent, such as the series) and considering the limitations of subjectivity.