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Keeping it Real? Social Messaging in Reality TelevisionTheoretical Framework and MethodologyAndy BentonQueens University of CharlotteTheoretical FrameworkThe popularity of “Reality TV” has exploded to the point where 50-percent of nightly prime-time television audiences tune in to realty shows (Webster.edu, 2013). Whether it’s the love of drama, celebrity or a feeling of voyeurism, this genre of television is more popular than ever. Through the end of 2018/beginning of 2019 television season, more than 50 reality shows will make it to television (Denhart, 2018). Plots involving feuding celebrity housewives, human castaways on remote islands and a plethora of all the daily movements of the Kardashian family keep us coming back to our sets, iPads and streaming devices every week. However, more is often discreetly embedded in the subtext of these programs with social messages being delivered through the medium. This study will use critical analysis theory while examining reality television. It will explore the use of a specific entertainment platform to deliver social messaging and commentary. Specifically, I will scrutinize Bravo network’s Million Dollar Listing Los Angeles with its ties to more liberal, progressive agendas. Balancing the scales with a look at the other side and a conservative messaging angle will be a probe of A&E’s former monster hit, Duck Dynasty, which concluded in 2017.Getting to the bottom of the influence and power organizations have over individuals is one of the main tenets of critical organizational theory (Eisenberg, Goodall, Jr. & Trethewey, 2014). At the core is the exploration of “justice, democracy, equity, and freedom,” (p. 154). This theory digs deep into subtexts, looking for hidden meanings. It is this digging that will uncover assumptions designed keep people from an understanding to how our world actually works (Crossman, 2019).The roots of critical theory began evolving along with society in the 19th century. As the industrial revolution allowed advancement in the speed of production, it opened the door for more profits for owners. In turn, this begat an often-unfortunate byproduct of financial success; greed and worker exploitation. Developing the roots of critical theory at this time was the father of communism, Karl Marx. He viewed the division between owners and workers as “inherently unfair,” (Eisenberg et al., 2014, p. 155). In America, critical theory began to blossom in the 1980s. Economic globalization created a decided division between income levels of the “haves” and “have nots.” This trend continues today as the American middle class born of the mid-20th century continues to shrink, (p. 157). Though this trend has been leveling off the past few years, the share of adults in America’s middle class during the 40-year stretch between 1971 and 2011 fell by ten percent (Kochhar, 2018). The element of critical theory for this study will focus on attempts to use television programming as a medium to influence passive audiences who may be tuning in for other reasons. Kellner (1981) believes television networks control the “dominant forms, values, and ideologies” that viewers are presented with (p. 31). Dominant groups can use their power to send messages to subordinate groups (Eisenberg et al., 2014). In this case, are those in power, the television show producers, using their bully pulpit of a popular weekly show to influence unsuspecting passive viewers? The outcome of these messages can be determined by Stewart Hall’s (1980) look at audience reception wherein a producer encodes messages and values inside media text, but it is then up to the audience to determine their meaning and influence. There are three possible outcomes. The first being the audience receives the message affirmatively. The second possibility is the audience rejects the message. The third option is the audience comes to a compromise between the concepts.Eisenberg et al. (2014) advise the role of a critical theorist is to look deep. This exploration is not for only what happens but also how it is shaped. From there, judgements are made about the power of relationships involved. At the heart of this is the realizations this is a subjective undertaking, open to opinion and interpretation, (p. 181). With no concrete right or wrong, beauty is somewhat in the eye of the critical thinking beholder.So, with the guidance of the critical theory, I will examine scenes from Bravo’s Million Dollar Listing Los Angeles and A&E’s Duck Dynasty. During this breakdown, a big question will be addressed; are show producers using the power of their show platform to advance certain cultural ideologies?MethodologyFrom the glitz and glamour of La-La Land to the swamps of Louisiana come the examples for this study. From progressive, liberal leaning ideas being shared to a more family-values, conservative-style approach, underlying messages are being delivered to different core audiences. I will analyze two specific scenes from each of these popular reality-based television series.At the heart of each weekly show is/was the central theme of viewers enjoying life through the eyes of the eccentric, real life, characters in these unscripted shows. MDLLA gives their audience glimpses into the mansions of the West Coast elite through the eyes of real estate brokers. The eclectic agents are followed through the whole process of selling multi-million dollars (as the show title implies), mansions and beach front estates. Cameras capture the high and lows, with million-dollar commissions often on the line. Duck Dynasty followed the journey of the Robertsons, a southern family in the deep south city of Monroe, Louisiana. All the functions (and dysfunctions) of their family lives were on display each week. Don’t let the down-home wardrobes and country slang fool you, these folks are also millionaires. The entrepreneurs of the Duck Commander company amassed their fortune producing duck hunting calls and decoys. One show cast brings us high fashion and luxury lifestyles, the other delivers good-old boys from the south.Beyond the surface of entertaining audiences with a voyeuristic style look into the main characters’ lives, the goals of each show include developing and maintaining audiences, often at the expense of true reality (Miller, 2016). Each show airs/aired on a network that caters to different demographics. The approach of Bravo, home of MDLLA, is more progressive, catering to women (Bravo to Finish, 2017) and LGBTQ audiences with hit shows including the Housewives of Beverly Hills and Queer Eye for the Straight Guy (Bravo tops survey, 2008). A&E, the Duck Dynasty network, has showcased programming for more conservative audiences with offerings including Dog the Bounty Hunter and Growing Up Gotti (Bruell, 2017).Jim Fraenkel is a veteran reality television show producer. He worked on several seasons of MDLLA’s successful spinoff show, Million Dollar Listings New York. In a recent interview, Fraenkel shared how television networks often adhere to channel identities which have been created over the years with loyal viewers. Executives are definitely cognizant of each channel’s brand appeal to their respective audience. At the heart of MDLLA and Duck Dynasty plots are the professional lives of the characters. Most of these scenarios comprise what Fraenkel calls the “A storylines.” However, as shows and individual episodes develop, other topics are discovered. As these new angles evolve, they in-turn become B and C stories. This is where the lines can start to get blurred between entertainment and social messaging. “Networks are people,” Fraenkel said. “When they (company leaders) can make a difference, they want to do it!” (Fraenkel, J., personal communication, January 24, 2019).With MDLLA, I will analyze two scenes that are not part of the show’s “A” theme story lines of selling real estate. The segment premises will be dissected as a whole along with detailed look at technical and editorial factors such as the editing style, ambient music selection, choice of character sound/quotes, overall tone and social themes in these two scenes. One specifically involves realty agent and newer cast member, Tracy Tutor. The focus of her story arch for this episode is an estate sale for actress Rose McGowan. The spotlight has shown on Ms. McGowan recently from her public statements that allege being raped by Hollywood mogul Harvey Weinstein. This hit the news cycles as the #MeToo movement began to explode in 2017 (Wattles & Stelter, 2017). This undertaking deviates from Tutor’s normal job duties of selling homes. The theme of this storyline will be examined and contrasted to usual segments audiences see while tuning in each week.The other scenes will look at the same dynamics in following the life of successful real estate agent Josh Flagg, who came out as gay on the show a few years back. There will be a breakdown of how his lifestyle is portrayed in the series beyond his successful career of selling Bel Air mansions. Flagg’s theme for the episode does focus more along the “A storyline” of his success as a top Beverly Hills real estate agent. Using the parameters mentioned above, the context of bringing in social themes to viewers in a subtler way will be examined in Flagg’s scene.For Duck Dynasty, two scenes will also be scrutinized. One will examine how religious beliefs are introduced to the show as the family gathers for an evening meal. Specifically, the show chose to highlight the family saying a group prayer before dinner. This will be looked at closer as to the possible how and why the segment was presented to viewers. The other scene will parallel the analysis of MDLLA by analyzing the overall feeling and subtle infusion of messaging for a typical show segment. I will look at a scenario where one of the Robertson children is heading off on a college tour with his mom, dad, and wife. In use will be the same parameters of how the show is edited, the choice of sound and overall visuals that are implemented. This will help take a deeper look at the show for any messages intended for viewers that may have been conveyed under the radar with an audience simply looking forward to enjoying the weekly antics of this “down home” clan.The fact television has tackled cultural issues for years is no secret (Television’s Impact, 2007). While it is up to each person watching a program to determine how and if a cultural message will impact them, it’s time to take a close look into producers possibly wanting to do more with their audiences than provide a little mindless entertainment.ReferencesBravo To Finish Year As Top Rated Cable Network Among Females (2017, December 27). Retrieved from tops survey of gay-friendly companies (2008, May 13). Reuters. Retrieved from, A. (2017, August 14). A&E Launches Ad Campaign to Stand Out in Cluttered TV Space. The Wall Street Journal. Retrieved from , A. (2019, January 24). Understanding Critical Theory. Thought Co. Retrieved from , A. (2018, December 1). Winter 2019 reality tv schedule and guide. reality blurred. Retrieved from , E., Goodall Jr., H.L., & Trethewey, A. (2014). Organizational Communication:Balancing Creativity and Constraint (7th ed.) Boston, MA: Bedford/St. Martins. Fraenkel, J. (2019, January 24). Phone Interview.Hall, S. (1980). Encoding/Decoding. In Media and Cultural Studies: KeyWorks. Durham, M. G.& Kellner, D. (Eds.). Maiden, MA: Blackwell Publishing. Pp. 163-166. Retrieved from(1980).+encoding/decoding&ots=CE-HlC4w9R&sig=MC-pMUJHLM6o7swG3bcE2R1Zd5M#v=onepage&q=hall%20s.%20(1980).%20encoding%2Fdecoding&f=falseKellner, D. (1981). Network Television and American Society: Introduction to a Critical Theory of television. Theory and Society, 10 (1), 31-62. Retrieved from stable/656978?seq=1#page_scan_tab_contentsKochhar, R. (2018, September 6). The American middle class is stable in size, but losing ground Financially to upper income families. Pew . Retrieved from /fact-tank/2018/09/06/the-american-middle-class-is-stable-in-size-but-losing-ground -financially-to-upper-income-families/Miller, A. (2007). Cultural Values, Narratives, and Myth in Reality Television. Dissertations.1268. Miller, K. (2016, November 2). The Scary Things A Reality Show Producer Will Only Tell You Anonymously. . Retrieved from , T. (2007). Television’s Impact On American Society And Culture. . Retrieved from , J. & Stelter, B. (2017, October 13). Rose McGowan accuses Harvey Weinstein of rape. CNN Business. Retrieved from ................
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