Ethical Perspectives on Reality Television: Parenting Docu-Soaps, Makeover Shows, and Parodies of Reality Dating Programs Benjamin John Healey BA (Honours), University of Queensland A thesis submitted for the degree of Master of Philosophy at The University of Queensland in 2017 School of Communication and Arts Healey 2 Abstract This thesis argues that certain characteristics of reality television subgenres are likely to consistently produce ethical problems in programs belonging to those subgenres. Through the ethical analysis of cases studies from three subgenres of reality television, I also demonstrate the relative value of various normative ethical frameworks in analysing ethical problems in reality programming. I also argue that popular, non-academic criticisms of reality television act as implicit ethical judgements that align with formal criticisms from normative ethics. My first chapter addresses the ethical problems of informed consent, agency and representation in Extreme Guide to Parenting (Bravo 2014) and Toddlers & Tiaras (TLC 2008–13), two docu-soap programs that feature children. I find that a Kantian deontological perspective largely disapproves of children’s involvement in reality television, and these objections are echoed by similar arguments from documentary ethics. A perspective from the utilitarian arguments of Jeremy Bentham and John Stuart Mill, conversely, may in some cases approve or disapprove of children’s participation in docu- soaps, depending on whether the production of these programs is seen to generally contribute to wider happiness. A utilitarian evaluation of the ethical goods and harms of docu-soaps production and reception has parallels with debates in documentary ethics over the function of documentary as a general public good. In my second chapter, I reformulate popular journalistic criticisms of makeover programs Snog Marry Avoid? (BBC Three 2008–13) and The Biggest Loser Australia (Network Ten 2006–) along explicitly ethical lines via Kantian deontology and Julia Driver’s hybrid of virtue and consequentialist ethics. I draw on theoretical perspectives regarding self-transformation and therapy culture in order to evaluate the moral and practical status of makeover programs’ humiliation of subjects and their stated therapeutic projects. I argue that the individual subjects of these programs are deployed to reinforce dominant discourses regarding class, gender, national identity and neoliberal self-governance in the United Kingdom and Australia. My third chapter studies three reflexive parodies of reality television, UnREAL (Lifetime 2015–), Sex House (Onion Digital Studios 2012), and Nathan for You (Comedy Central 2013–), to consider how and why these programs comment on perceived ethical problems in reality television and the format’s status in wider culture. I refer to theories of parody, satire, and mockumentary programming, and argue that my case studies use Healey 3 shocking depictions of reality television production in order to encourage audience scrutiny of their referent reality programs. Similarly to mockumentary programs, these case studies challenge reality programming’s ability to present factuality, and emphasise differences of power between reality producer, subject, and audience to critique the form. In this thesis, I argue that particular ethical issues in reality television reflect ideas and strategies embedded in reality television programming at a subgeneric level. I demonstrate the validity of Kantian deontology, utilitarian consequentialism and a hybrid consequentialist-virtue ethics framework as a means of identifying and assessing the validity of various ethical criticisms of reality television. These ethical criticisms, I argue, also circulate in popular culture, albeit at an implicit level. This study demonstrates the connection between the ethical study of reality television and the cultural and historical influences that characterise contemporary reality television. Healey 4 Declaration by author This thesis is composed of my original work, and contains no material previously published or written by another person except where due reference has been made in the text. I have clearly stated the contribution by others to jointly-authored works that I have included in my thesis. I have clearly stated the contribution of others to my thesis as a whole, including statistical assistance, survey design, data analysis, significant technical procedures, professional editorial advice, and any other original research work used or reported in my thesis. The content of my thesis is the result of work I have carried out since the commencement of my research higher degree candidature and does not include a substantial part of work that has been submitted to qualify for the award of any other degree or diploma in any university or other tertiary institution. I have clearly stated which parts of my thesis, if any, have been submitted to qualify for another award. I acknowledge that an electronic copy of my thesis must be lodged with the University Library and, subject to the policy and procedures of The University of Queensland, the thesis be made available for research and study in accordance with the Copyright Act 1968 unless a period of embargo has been approved by the Dean of the Graduate School. I acknowledge that copyright of all material contained in my thesis resides with the copyright holder(s) of that material. Where appropriate I have obtained copyright permission from the copyright holder to reproduce material in this thesis. Healey 5 Publications during candidature No publications included. Publications included in this thesis No publications included. Contributions by others to the thesis No contributions by others. Statement of parts of the thesis submitted to qualify for the award of another degree None. Healey 6 Acknowledgements This thesis would not be possible without the enduring support and hard work of my supervisory team, Dr. Ted Nannicelli and Associate Professor Jane Stadler. They have been instrumental in transforming a loose set of ideas into a thesis that I am proud of. Their dedication, patience, and accessibility is an inspiration. Thank you. I would also like to express my deepest gratitude to the numerous University of Queensland staff and students whose input and guidance has shaped this work. I owe special thanks to the School of Communication and Arts postgraduate administrators, Angela Tuhoy and Jennifer Yared, for their constant support. Thanks to my family: my father John, my mother Julie, and my grandmother Lorraine. For as long as I can remember, you have encouraged me to learn and have supported my decisions. You have been with me every step of the way, and I can only hope that the achievement of this thesis makes you proud. Final thanks goes to Jasmine. None of this would be possible without you. You have been invaluable not only as someone to listen to and discuss my ideas with, but also as someone to take me out of my own head. These years with you have been the best years of my life, and I look forward to many more together. Healey 7 Keywords reality television, ethics, reality programming, deontology, utilitarianism, ethical criticism, documentary ethics, makeover, mockumentary Australian and New Zealand Standard Research Classifications (ANZSRC) ANZSRC code: 190204, Film and Television, 80% ANZSRC code: 220199, Applied Ethics not elsewhere classified, 20% Fields of Research (FoR) Classification FoR code: 1902, Film, Television, and Digital Media, 80% FoR code: 2201, Applied Ethics, 20% Healey 8 Table of Contents Introduction Approaching Reality ....................................................................................... 9 Chapter One: “It’s Harder to be a Kid:” Children in Extreme Guide to Parenting and Toddlers & Tiaras .............................. 18 Chapter Two: “Just Unhappy with Myself:” Humiliation and Therapy in Snog Marry Avoid? and The Biggest Loser Australia .. 42 Chapter Three: “Give Them Something that They Want:” Ethical Criticism and Realness in Reality Television Parodies ................................ 72 Conclusion Cruel TV? ...................................................................................................... 99 Works Cited .................................................................................................................... 105 Teleography ................................................................................................................... 111 Filmography ................................................................................................................... 112 Healey 9 Introduction: Approaching Reality Reality television is the television of television. —Kelefa Sanneh In June of 2017, production on ABC’s Bachelor in Paradise (2014–) (a spinoff of the wildly- successful Bachelor series of reality television programs) was abruptly suspended and contestants were sent home. In a brief statement, Bachelor in Paradise’s production company, Warner Bros., attributed the sudden halt in production to “allegations of misconduct on the set.” Over the following days, more details emerged from contestants, leaks, and rumours via social media: contestant Corinne Olympios alleged that she had been too intoxicated to consent to a sexual interaction with fellow contestant DeMario Jackson. Implied in these allegations was that the Bachelor in Paradise producers were negligent at best, and complicit at worst, in allowing what amounted to sexual assault