Although reality television is one the most stigmatised and controversial genres on our screens, it is also one of the most successful. Reality TV encompasses elements of the information, entertainment, drama and documentary genres, and typically presents itself as an entirely truthful, albeit dramatized, representation of events. However, many factors contribute to the constructed nature of the genre, which raises issues of authenticity and ethics. For the purpose of this blog, I will be analysing these matters of in relation to possibly the most-talked-about program on Australian television, The Bachelor.

Reality TV can be broken down into a number of sub-genres, yet four foundational elements remain the same: ordinary people are placed in a contrived situation to face some kind of challenge surrounded by cameras (Kavka 2012). Despite its popularity amongst viewers, critics have attacked the reality genre since its advent for being “voyeuristic, cheap and sensational television” (Hill 2004). However, audiences are not deterred by these appraisals and are instead attracted by the light-hearted, addictive nature of the programs. Viewers find gratification in the ability to relate and emphasize with those similar to themselves, and are able to satisfy the inherently curious nature of the mind by making social comparisons (Krauss Whitbourne 2013).

Originally airing in the US, The Bachelor franchise is a competitive dating show in which one budding bachelor embarks upon a quest for love. A pool of women compete for the bachelor’s heart in the hopes that they will receive a rose and proceed to the next round. Its success has led to many national adaptations of the program, as well as several spin-offs including The Bachelorette, Bachelor Pad and Bachelor in Paradise.

Image source: popsugar.com.au

According to Kavka, at the time of its inception, The Bachelor actually lifted the stigma associated with the reality dating show format by focusing on the ideology of marriage and prospect of finding true love. Its predecessors on the other hand, such as the disastrous Who Want to Marry a Millionaire?, were rightfully considered as a “voyeuristic publicity stunt” (2012). The Bachelor therefore served as a refreshing change of pace as the motivations of the contestants seems authentic and relatable to the middle-class viewer. Participants continuously make comment that they are “there for the right reasons” to reassure viewers and even themselves that they are genuinely there in an effort to find a life partner.

However, The Bachelor, like all forms of reality TV, is still criticized based on the fact that it “deceives audiences into accepting heavily manipulated, edited, and contrived material as factual” (Lumby 2012). While appearing authentic on the surface, The Bachelor utilises a number of strategic, stylistic techniques to further enhance the dramatic nature of the program. For example, the one-on-one interviews with the producer can influence the individual to think or feel in a certain way, and their words can be later taken out of context for dramatic effect. Similarly, the power of editing must not be overlooked as they can use it to deliberately discard material, add melodramatic music and juxtapose particular shots tactically in order to convey a desired mood or message (Barnwell 2008).

The level of influence of the producers remains unbeknownst to viewers and critics alike, making it difficult to identify to what extent the truth has been manipulated. However, the high rate of failed relationships does comply with the perceived fictitious nature of the program, and leads audiences to question whether or not the final declaration of love is staged. The controversy that followed season two of the Australian program, as Blake Garvey proposed to Sam Frost to only dump her six weeks later, is a prime example of how the show, or at least aspects of it, are likely fabricated. Blake’s confessional words of being madly in love with Sam directly contradicted his later comments of why they broke up so soon after. This sent the Australian public and media into a frenzy as they doubted the sincerity of Blake’s words and actions throughout the entire series. While some viewers may have felt cheated by the reveal, the incident did not hurt the ratings of the following series, as well as Australia’s first Bachelorette, featuring Sam herself. If anything, the controversy made audiences more inclined to tune in to see what all the fuss was about (Lallo 2015).

It is difficult to pinpoint to what degree reality programs are fabricated yet it’s impossible to deny the constructed nature of the genre. While The Bachelor seemingly has positive intentions by offering contestants a serious opportunity to find love, the format and set-up of the show inevitably raises questions.

References

Barnwell, J 2008, ‘Post Production,’ The Fundamentals of Film Making, AVA Publishing, p.169-185

Hill, A. 2004, ‘Understanding Reality TV,’ Reality TV: Factual Entertainment and Television Audiences, Routledge Taylor and Francis, p.2-13

Kavka, M 2012, ‘Reality TV,’ TV Genres, Edinburgh: Edinburgh University Press, eBook Collection, EBSCOhost, viewed 27 October 2015, <http://web.a.ebscohost.com.ezproxy.lib.rmit.edu.au/ehost/detail?sid=01f2959c-0e88-4536-bc4d-2e1a214255ca@sessionmgr4004&vid=0#AN=488681&db=nlebk&gt;

Krauss Whitbourne, S. 2013, Who Watches Reality Shows, and Why? weblog post, May 21, Psychology Today, viewed 23 October 2015, < https://www.psychologytoday.com/blog/fulfillment-any-age/201305/who-watches-reality-shows-and-why&gt;

Lallo, M. 2015, The Bachelor 2015: Why are we all so smitten with The Bachelor?, Sydney Morning Herald, September 17, viewed 24 October 2015, <http://www.smh.com.au/entertainment/tv-and-radio/the-bachelor-2015-why-are-we-all-so-smitten-with-the-bachelor-20150917-gjomgp.html&gt;

Lumby, C. 2012, ‘Reality TV,’ Encyclopaedia of Applied Ethics (Second Edition), Academic Press, p.734–740