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Guilty by Association: an Analysis of Shaunie O'neal's Online/On-Air

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Guilty by Association: an Analysis of Shaunie O'neal's Online/On-Air Journal of Research on Women andJournal Gender of Research 40 on Women and Gender Guilty by association: Volume 5, 40-61 © The Author(s) 2014 An analysis of Shaunie O’Neal’s Reprints and Permission: email [email protected] Texas Digital Library: online/on-air image restoration tactics http://www.tdl.org Mia Moody-Ramirez, Isla Hamilton-Short, and Kathryn Mitchell “He that lieth down with dogs shall rise up with fleas.” —Benjamin Franklin’s Poor Richard’s Almanack Abstract The growing use of social media as a source of networking has spurred a growing interest in using the medium as a tool for image repair. Broadening the application of Benoit’s image repair theory, this case study looks at the image repair tactics of Shaunie O’Neal who became a celebrity during her marriage to former NBA basketball player Shaquille O’Neal, their subse- quent divorce, and the creation of her VH1 show, Basketball Wives (BBW). Throughout the four seasons of BBW, O’Neal’s cast members perpetuated negative stereotypes of Black women such as “the angry Black woman,” “the Jezebel” and “the tragic mulatto.” While O’Neal did not exhibit these characteristics on the show, she became guilty by association. To repair her tarnished image, the reality TV actress used her Facebook and Twitter feeds and episodes of Season 4 of BBW to implement various image repair tactics. Study findings indicate episodes of a reality TV show and social media may provide a viable platform for a celebrity to repair his or her tarnished image; however, tactics must be authentic and consistent. Demonstrating the dual nature of social media uses, O’Neal utilized her social media to explain and minimize her actions, while viewers used the same outlets to discuss her perceived lack of control and the show’s negative stereotyping of women of color. By the end of Season 4, it was apparent that while O’Neal successfully used on-air and online platforms to disseminate positive mes- sages, viewers did not always find her image repair tactics convincing. Keywords Shaunie O’Neal, VH1, Viacom Basketball Wives, case study, critical theory, image restoration, apologia, blog, Twitter, personal crisis management, image repair, social media, framing of political races, gender H1’s Basketball Wives (BBW) re- reotypes of women of color proliferated by volves around the lives of several the show’s multiracial cast. Catfights, back- V women with current and former stabbing, obscenities, and gossip abound in ties to NBA players or teams. The show each episode as fans view an “inside” glimpse has garnered attention for the antics of its of the cast members’ lives. Shaunie O’Neal, stars and its reinforcement of negative ste- who divorced Shaquille O’Neal in 2009, has Journal of Research on Women and Gender 41 come under heavy fire from disappointed and episodes of the fourth season of BBW. viewers for her participation and apparent Likewise, scholars have studied many approval of the aforementioned behavior by aspects of reality television including genre, cast members. During Season 4 of the show stereotypes, and uses and gratifications (e.g., in 2012, viewers used the VH1 BBW blog, Tyree, 2011; Couldry, 2004; Krakowiak, O’Neal’s Facebook page and Twitter feed Kleck, & Tsay, 2006; Nabi, Biely, Morgan, to criticize episodes of the show, BBW cast & Stitt, 2009). However, studies in this area members in general, and O’Neal in particular. have often looked at traditional media out- Illustrating the widespread animosity to- lets; therefore, generalizations are impossi- ward the show, more than 29,000 viewers ble to make in new media settings. O’Neal’s signed a petition in 2012 to “Boycott Bas- use of online media provided a good op- ketball Wives & Evelyn Lozada.” The petition portunity for exploration of IRT within the stated, “Evelyn Lozada is a bully. The vio- realm of social media and reality TV. The lence on ‘Basketball Wives’ is horrible and changing dynamics of the celebrity-audience disgraceful. Physical assaults, threats, verbal communication process warrants additional abuse, and harassment. VH1 is rewarding this research, as building on existing media stud- behavior by giving Evelyn a spinoff. Don’t ies is the most efficient way to account for reward negative behavior” (“Boycott ‘Basket- emerging trends. ball Wives’ & ‘Evelyn Lozada,’” 2012). Tak- This study is important for several oth- ing ownership for her role in disseminating er reasons. Most notably, reality television negative portrayals of women of color as the and social media have changed how fans show’s producer and a friend of the raucous view and interact with celebrities (Tram- cast, O’Neal began to project a more positive mell, 2005; Moody & Dates, 2013; Cornwell image on Season 4 of BBW. & Lundgren, 2001). Traditionally, audienc- This study is noteworthy as previous im- es observed celebrities’ personal lives via age repair theory (IRT) studies have mostly two settings: made-for-television red carpet concentrated on corporations, political fig- events and publicity events such as inter- ures, athletes, high-profile actors and other views (Trammell, 2005). Today’s social net- types of celebrities (e.g., Harlow, Brantley works encourage collaborative communica- & Harlow, 2011; Len-Rios & Benoit, 2004; tion and enable celebrities to interact with Walsh & McAllister-Spooner, 2011; Kaylor, viewers and vice versa. Using social media, 2010; Oles, 2010; Moody, 2011). Scholars celebrities may practice damage control, have also examined self-presentation from spotlight their accomplishments and high- many perspectives, including personal web- light their positive traits to their key publics. sites, social media, and online dating (e.g., Self-presentation allows public figures Dominick, 1999; Schau & Gilly, 2003; Elli- to disseminate information with little or no son, Heino & Gibbs, 2006; Moody, 2011). intervention from editors, publishers, and However, few IRT studies and self-presen- other third parties. Social media platforms tation analyses have examined celebrity use have changed the speed of mass media mes- of both social media and reality television sages offering individuals an increased abil- as a platform for image repair. To address ity to control their self-presentation (Corn- this void in the literature, this study utilizes a well & Lundgren, 2001). Now, scholars may critical approach to analyze image repair tac- measure the audience’s response in real time tics that emerged in O’Neal’s social media through comments posted on blogs, Face- Journal of Research on Women and Gender 42 book, and Twitter feeds. Likewise, reality solidly constructed image must contain ele- television gives scholars the opportunity to ments that will enhance an organization or view a closer representation of a celebrity’s individual’s ability to project a perception of true personality than might be exhibited in power, character, trust, leadership, and name movies and traditional TV shows. recognition (Benoit, 1995). Because of this Secondly, this study offers a new per- relationship, image repair has become an spective to IRT by adding a critical lens to important part of conflict management contextualize the stereotypical behaviors (Wilcox & Cameron, 2006). To explore the of the BBW cast. Identifying stereotypes in literature on social media, image repair and texts is important because the documenta- uses and gratifications, we looked to three tion of such content illuminates the mani- streams of knowledge in the literature: (1) festation and continuation of such beliefs in medium theory, (2) image repair strategies, modern society (Mathis, 2007). Building on and (3) stereotypes and archetypes. a review of the literature, we analyzed the stereotypes and archetypes BBW cast mem- Medium Theory bers exhibited on the show, which served to Social media outlets allow celebrities to tarnish O’Neal’s image as the creator and practice damage control while spotlighting executive producer of the show. Specifically, their accomplishments and positive traits. we address a case in which a person is guilty This change in the communication process by association because of the stereotypical warrants updated research as well as the behaviors of her friends, which scholars testing of traditional theories in a new me- have not explored in IRT literature. dia environment. Such studies are particu- Thirdly, media provide historical content larly noteworthy because the changing gate- that scholars may use to analyze trends in keeper-audience dynamic cultivated in social the portrayals of gender and race. Conse- media platforms has raised questions about quently, it is essential to continually analyze the medium’s value in image repair planning and address perceptions of race and gender and execution (Pfister & Soliz, 2011; Roy, to offer insight and solutions to students, 2012; Moody, 2011). Building on previous educators, and media/content producers research is the most efficient way to account who have the power to change representa- for emerging trends. O’Neal’s use of online tions in the future. Study findings may also media during the fourth season of BBW of- prove useful for not only celebrities, but also fered a good opportunity to explore medium average citizens who desire guidance with and image repair theories in a new context. image repair and crisis management strate- gies. With the popularity of user-generated content, it is common for individuals to post Image Repair Strategies embarrassing content that might necessitate Image repair theory conceives that “hu- the use of online image repair tactics. man beings engage in recurrent patterns of communicative behavior designed to Literature Review reduce, redress, or avoid damage to their reputation from perceived wrong doing” Generally, scholars define image as (Burns & Bruner, 2000, p. 27-39). The liter- the perceptions of a communicative enti- ature indicates that individuals take different ty shared by an audience (Benoit, 1995). A approaches to presenting a positive image, Journal of Research on Women and Gender 43 including denial, evading responsibility, reducing Moody (2011) concluded that reality TV offensiveness, corrective action, and mortification.
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