Core Post (5)

Chad Raphael’s essay on the economic incentives to reality television programming, which he coins “Reali-TV” present the political economic justification for studying reality television seriously. Instead of the condemnation as a supposed “low-art”, Raphael takes us through the ways that reality TV stems from a history of FCC regulations, increased competition amongst broadcast and cable producers, rising production costs, changing federal tax laws amounting to smaller returns per show, and a preemptive response to a rise in striking Hollywood union-ized workers. As Raphael dipped into the format trading global television arena, I was reminded of Silvio Waisbord’s essay, “McTV: Understanding the Global Popularity of Television Formats”, where Waisbord includes and elaborates on the McDonalds-esque globalizing reality TV format: “Formats are a form of McTelevision. Shorthand for the McDonald’s fast-food chain, the prefix Mc stands for a business model characterized by efficiency, calculability, predictability, and control that caters products to specific local requirements, usually informed by cultural factors” (Waisbord 378). Waisbord goes on to claim that formats present the McDonalds standard of efficiency and predictability in recycling formats that are known to be successfully, but adding minor adjustments based on local tastes. Selling formats allows, let’s say Hollywood, to enter into foreign markets by selling formats and coproducing with local markets, expanding their global television dominance, while eliminating the fixed costs of dramatic productions. Waisboard also claims the success of format television is due to the fact that “[f]ormats are culturally specific but nationally neutral” (Waisbord 368). Format shows are easily customizable to whatever domestic market is using them.

Case study: Fox’s The Masked Singer. I hate this show, with a passion. Most likely because one of my favorite shows is the Korean King of the Mask Singer. Here is a striking example of the global spread of format TV. Fox supposedly greenlit The Masked Singer after Ryan Reynold’s appeared on the Korean original. The original is a much more sincere, modest singing completion where celebrities in less extravagant masks/costumes sing anonymously through several rounds. Each arc lasts two episodes and by the end, 8 celebrity singers are revealed in their attempt to de-throne the current king. It’s a sincere attempt, for many who go on the show, to display the genuine talent these artists have. The American show, on the other hand, is a postmodern wet-dream. It’s all about the spectacle as the contestants wear grand costumes to mask the fact that they are mostly unknown celebrities. The 4 panelists are there for guessing, but also for tonally awkward comedic plays. The sincerity of singing has been overrun by the performativity of the masks and extravagance of the costume. The entire season unfolds who the contestants are, instead of an entire episode. What’s remained is the mask. I wonder if this demonstrates a kind of customization to the domestic market? Perhaps it’s because FOX has a harder time bringing in A-list celebrities as the Korean version does most weeks. Or maybe American's prefer the prolonged suspense, and need the extra-ness of this version to sustain it. Regardless, this remains an example of how formats are recycled globally, but instilled with national sensibilities for local audiences.