Abstract
In recent years, the televisual experience has been overwhelmed by reality-based programming—making it the most popular form of entertainment (Schroeder, 2006 ). Given its mass appeal with the US and abroad (Hill, 2005 ), it has moved from the margins of television culture to its core in dominating fashion. According to Murray and Ouellette ( 2004 ), reality television represents an attractive form of programming given its low production costs, ease for foreign distribution, and independence from unionized actors and writers. Such factors have worked to transform this form of niche programming from “another fad that overstayed its welcome” (Smith & Wood, 2003 , p. 3) to a staple in contemporary television culture. 1 The success of this type of less cost, high profit programming triggered an explosion of similar shows—so much so that viewers currently can watch shows that span a continuum as diverse as life itself. As such, reality TV has emerged as a catch-all phrase to describe a wide range of entertainment programs about real people (Hill, 2005 ). To many, reality TV remains an extreme form of “trash television” (Geiser-Getz, 1995 ); as such, this stigmatized genre of television has been historically ignored byPreview Only. This article cannot be rented because we do not currently have permission from the publisher.
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