PDF Summary:Cue the Sun!, by Emily Nussbaum

Reality TV has become a ubiquitous force in modern entertainment, but its origins and impact remain misunderstood. In Cue the Sun!, Emily Nussbaum traces reality TV's evolution from its humble beginnings as radio call-in shows and prank broadcasts to its rise as a global phenomenon.

Nussbaum examines how pioneering programs like "Queen for a Day" transformed personal suffering into spectacle, while landmark series like "An American Family" laid the foundation for today's reality dramas. She also explores concerns over the genre's production tactics and how creators shape narratives from raw footage—while questioning reality TV's role in blurring lines between the ordinary and the celebrity.

(continued)...

"The program known as 'An American Family' is recognized as the pioneer of reality television dramas."

The film utilizes a style reminiscent of a documentary to genuinely portray the complex interactions within the family.

In 1973, the public broadcasting service introduced a pioneering show known as "An American Family." Nussbaum argues that although "Candid Camera" pioneered the prank-centric television format and "Queen for a Day" established the foundation for game shows, it was "An American Family" that truly transformed the landscape of reality television. This show, by capturing the daily life of an ordinary family in a series spanning twelve hours, set the standard for what would become known as the "real-life soap opera."

The documentary "An American Family" set itself apart from previous attempts to document real-life families, unlike the 1970 Canadian movie "A Married Couple" and similar prime-time documentaries broadcast on CBS. The 1971 episode "But What If the Dream Comes True" demonstrated the program's skillful use of the cinéma vérité technique. The team, made up of the Raymonds and their producer Craig Gilbert, typically refrained from performing interviews in view of the camera and also avoided asking suggestive questions and providing voice-over narration, opting instead for a method that prioritized meticulous observation without intrusion. The idea for the show originated from the creative conviction that by simply documenting the daily life of the Louds—a pair and their five children living in a roomy suburb in California—significant, unscripted drama would emerge from their routine exchanges.

The publication ignited debates over the ethical considerations in creating documentaries and the importance of respecting individual privacy.

The documentary "An American Family" ignited a firestorm of debate and intense conversations about how transparent it should be, the effects of filming on the relationships within the family, and the ethical boundaries involved in documentary production. As Nussbaum points out, the heated public arguments, characterized by passionate accusations of dishonesty and control among different groups, often revealed more about the personal household strains of those involved and the orchestrators operating in the background than the broadcasted show itself, with reporters unintentionally revealing their private worries and familial conflicts in their examination of the television documentary's subject matter.

Despite skepticism from press circles, the show "An American Family" attracted a large audience, with an average of ten million people tuning in each week, particularly fascinated by the unfiltered portrayal of the Loud family's marital breakdown. The show's atmosphere was recognized as genuine even by the most discerning critics. The program, evoking memories of the once-popular Candid Camera, fostered an intimacy that made viewers feel as though they were intruding on the personal emotional experiences of a family.

The genre known as "clip show," recognized for its economical approach by utilizing existing footage, became particularly prominent in the 1980s.

Shows like "America's Funniest Home Videos" blazed a trail by featuring material produced by its audience, which presaged the forthcoming age of online cultural phenomena.

Nussbaum argues that although "An American Family" was significantly highlighted, the wider genre of reality-based television failed to garner substantial attention in the 1980s, an era characterized by a dearth of creativity indicative of a wider cultural trend towards a more subdued and conventionally conservative outlook, a departure from the candid expressiveness and genuine authenticity that defined the 1970s. Television content aimed at families resulted in an increase of intricate sitcoms, along with a rise in ubiquitous soap operas and standard legal dramas. In a media environment increasingly controlled by strict network rules that determined acceptable content and, crucially, what was assumed to be within the grasp and acceptance of viewers, groundbreaking series like the feminist comedy Maude and shows that broke new ground in racial representation like Good Times, as well as the politically charged All in the Family, were becoming scarce.

In 1989, the Writer's Guild of America's five-month strike halted television production, prompting network executives to urgently explore alternative content options, which resulted in the rise of programs like America's Funniest Home Videos and Cops. The creation of both programs stemmed from the need for a cost-effective approach to fill the broadcast schedule. The programs represented a shift away from prior reality television styles, which focused on elements like romance or intimate revelations, and instead highlighted the interactions among family members, moving away from the formats of programs like The Dating Game and The Newlywed Game. Television shows like "America's Funniest Home Videos" and "Cops" served as compilations of short, engaging clips taken out of their original context, which when combined, offered a mix of entertainment that was at once serious, suspenseful, and humorous.

The book often depicts instances of high tension and sometimes violence that were captured on film.

The excitement generated by "America's Funniest Home Videos" can be attributed to the advent of home video technology, which allowed ordinary individuals to record and disseminate their own videos to a broad viewership, echoing the influence "Candid Camera" had during the 1950s. Audiences transitioned from passively enjoying selected segments of Allen Funt's humorous sketches to actively participating in the creative process by submitting their own amusing experiences to the television network. The audience was often treated to a myriad of personal stories and mishaps shared by Bob Saget, who is best known for his iconic role as a father figure in TV sitcoms. "America's Funniest Home Videos" anticipated the patterns of digital culture, while "Cops" suggested the rise of a constantly surveilled society marked by the commonality of cameras mounted in police vehicles and held by individuals.

Other Perspectives

• While Chuck Barris was influential, it could be argued that he was not the sole transformer of daytime TV, as there were other significant contributors and cultural factors at play.
• The emphasis on romantic interactions in Barris's shows might be seen as perpetuating certain stereotypes or societal expectations about relationships.
• The modern elements of "The Dating Game" could be critiqued for being more about style than substance, focusing on aesthetics over deeper engagement with participants.
• The longevity of "The Newlywed Game" might be attributed to factors beyond changing attitudes towards marriage, such as its entertainment value or lack of competition in its niche.
• "An American Family" was groundbreaking, but its influence on the reality TV genre could be overstated given the diversity of programs that followed.
• The cinéma vérité technique used in "An American Family" might be criticized for still influencing the behavior of its subjects, despite intentions of non-intrusion.
• The ethical debates sparked by "An American Family" could be seen as unresolved issues that persist in modern reality TV production.
• The popularity of "An American Family" might be critiqued for voyeuristic tendencies in society rather than a genuine interest in the authenticity of the family's experiences.
• The rise of clip shows in the 1980s could be criticized for contributing to a decline in the quality of television content.
• The response to the Writer's Guild strike with shows like "America's Funniest Home Videos" and "Cops" might be seen as prioritizing cost over quality in television production.
• The participatory nature of "America's Funniest Home Videos" could be critiqued for encouraging a culture of exhibitionism.
• "Cops" could be criticized for presenting a skewed representation of law enforcement and the communities they police, potentially reinforcing stereotypes.

Discussions on the societal and moral implications of unscripted television.

Programs that have faced criticism for exploiting their participants often emphasize personal struggles and weave in elements of mischief and trickery.

The power disparity between those in charge of production and the participants might lead to exploitation and mental suffering.

Reality television often faces harsh condemnation, with assertions that its nature varies from being morally dubious to extremely manipulative. Nussbaum argues that although every period had its unique disputes, the emergence of new media frequently amplified these occurrences - from the "misery shows" of the 1940s and '50s, to the hidden recording techniques used in shows such as Candid Camera and those that followed, to modern phenomena like Survivor, where contestants face challenges to entertain the audience, or the emotionally intense aspects of shows that evoke feelings of sorrow and frustration in romantic contexts.

In her argument, Nussbaum emphasizes the imbalance of power between the creators and the participants, pointing out the division between those who have the authority over production—deciding on the ensemble and molding the story depicted on television—and the individuals appearing on the show, who seek fame, fortune, or the unique opportunity associated with being on a TV program, an offer seldom made by other forms of entertainment. Reality shows frequently rely on the contestants' willingness to divulge their deepest emotions, their sincere quest for genuine acknowledgment, and their transparency, with personal stories of hardship being a fundamental element of the program's structure, while also leaning on the contestants' openness to audience judgment.

The moral considerations of modifying and showcasing actual events for entertainment purposes.

The more sophisticated reality TV's formats became, the less their audiences were required to think about this bargain. After the year 2000 saw the rise of Survivor, reality show participants started entering into production contracts with a clearer understanding of the potential risks and advantages, leading to a shift towards content that was more candid, though less innocent. The moral dilemmas persisted, despite the fact that the individuals who agreed to appear on camera knew about the intrinsic aspects of reality TV, because the selectors of participants consistently concentrated on choosing people who showed vulnerability, particularly those in unique, difficult, or precarious situations, which have historically added excitement to the genre.

Nussbaum argues that the evolution of the television sector from a narrowly dominated arena, chiefly by white men, to a vast global operation has resulted in reliance on a workforce that is precarious and not unionized, including those who create and act in these TV shows.

The rise of reality television has sparked debates about societal norms and the genuine and moral issues at stake.

The representation of women, minorities, and LGBTQ+ individuals.

The impact on viewers' understanding of societal issues.

Other Perspectives

• Reality TV can offer participants a platform to share their stories and reach a wider audience, potentially leading to positive opportunities.
• Some participants may feel empowered by their participation in reality TV and use the experience for personal growth or career advancement.
• Reality TV can raise awareness about various societal issues and encourage public discourse.
• The genre provides entertainment and can be a form of escapism for viewers, which is a legitimate function of television.
• Participants in reality TV shows often provide consent and have agency in their decision to participate, acknowledging the potential risks and benefits.
• Reality TV has diversified television by providing opportunities for people who might not have been represented in traditional media.
• The editing of reality TV can be seen as a storytelling technique that brings coherence and narrative to unscripted events, which is a common practice in all forms of entertainment.
• The representation of women, minorities, and LGBTQ+ individuals in reality TV can sometimes be positive, offering visibility and challenging stereotypes.
• Viewers may discern between the constructed nature of reality TV and real life, understanding that what they see is not an unfiltered representation of reality.
• The industry's reliance on a non-unionized workforce is not unique to reality TV and reflects broader economic and labor trends in various sectors.
• The criticism of reality TV for exploiting participants may overlook the autonomy and informed consent of the individuals involved.
• The impact on viewers' understanding of societal issues can be multifaceted, with some reality TV programs prompting viewers to engage in critical thinking and social activism.

The Influence of Reality TV on the Television Sector and Widespread Cultural Trends.

The disruption of traditional television economics, with inexpensive production costs and a reliance on non-union labor.

The rise of individuals from reality television to positions of prominence has blurred the lines between celebrity and the ordinary.

The influence of reality television on the conventional genres of comedy and drama in terms of style and narrative techniques.

The genre of reality television has proliferated globally, taking on numerous international versions and cultural renditions.

Television's influence in shaping and spreading popular culture.

The profound influence of international reality shows such as Survivor and Big Brother on the television scene in the United States.

Other Perspectives

• Reality TV may have low production costs, but the savings are not always passed on to consumers or invested in quality programming.
• The distinction between celebrity and the ordinary may be less about reality TV and more about the changing nature of fame in the digital age.
• While reality TV has influenced other genres, it is also true that it often relies on tried and tested formulas, which can stifle creativity and originality.
• The spread of reality TV globally does not necessarily equate to a positive cultural exchange; it can sometimes lead to the overshadowing of local content and traditions.
• Television's role in shaping popular culture is significant, but it is increasingly being challenged by other forms of media, such as streaming services and social media platforms.
• The influence of shows like Survivor and Big Brother in the U.S. may be profound, but it also raises concerns about the promotion of voyeurism and a focus on sensationalism over substantive content.

The Influence of Unseen Partners in Crafting Reality Television

The narrative technique first observed in shows like Survivor subsequently influenced the style of reality television.

Crafting synthetic environments and challenges to build tension and sculpt the narratives.

The increasingly blurred line between the production of documentaries and game shows.

The way viewers interpret the individuals and events presented is significantly shaped by the editing process.

The creation of "Frankenbites" and other manipulative techniques, pushing the boundaries of ethics.

Reality TV show editors wield their artistic influence to shape compelling narratives, similarly to the way writers do.

Emily Nussbaum explores the role of reality TV editors as the hidden craftsmen who, since the pioneering work of Candid Camera's Sonny Fox, have crafted compelling stories for audiences by blending real events, occasionally blurring the line between genuine journalism and storytelling. In the beginning, the method employed clever strategies like soundtracks and sharp timing, akin to the innovative methods first introduced in the debut season of The Real World by Alan Cohn. As time passed, the role of the editors broadened, encompassing the use of intricate storytelling methods like "Dutch Angles" and confessions to heighten suspense, intimacy, and emotion, in addition to tasks that involved ethical dilemmas.

Nussbaum explores the rise of "Frankenbites," a method that constructs sentences from unrelated snippets taken from copious unedited footage, a trend that became widely adopted in the early 2000s, primarily because of the impact of reality TV shows like The Bachelor and Joe Millionaire. Television network chiefs found themselves captivated by this style of show, largely due to the economical nature of its production and the reliability of its predictable format, which, once producers could guarantee specific outcomes like a villainous character or heightened emotional tension, became a staple.

Participants in reality television are frequently guided by the show's creators to produce content that captivates the audience.

The employment of psychological methods for selecting and influencing participants, uncovering their susceptibilities, and prompting intense emotional responses.

Emily Nussbaum delves into how reality TV producers, starting with Allen Funt's notorious "dentist chair" prank, have been crucial in sustaining the genre's appeal through their role as hidden puppeteers. The team responsible for "Survivor" pioneered a method of production in the mid-1990s that focused on the context of the show. The process reached its peak with the selection of an isolated location where a varied assembly of individuals was gathered to engage in a sequence of challenging tasks, all leading up to what is known as the final assembly. Survivor skillfully merged elements of competition, psychological examination, and cinematic techniques to foster a perfect setting for social and physical confrontations, even though shows like The Real World and Big Brother had earlier experimented with mixing contrived settings, provocations, and challenges.

After its success in the year 2000, audiences developed a craving for increasingly bizarre and risky challenges. The creators behind "The Apprentice" deemed additional dramatic effects superfluous once Donald Trump took on the hosting role, given that the contestants were already adept at creating drama within the New York City setting. The core aspect of the role had transformed into recognizing and supporting those willing to behave in an eccentric manner and agree to have their actions documented, no matter the potential consequences. Over the past two decades, the rise of a genre where real-life drama is the main attraction has led to programs such as "Keeping Up with the Kardashians," which have garnered viewer interest through the portrayal of women who meticulously manage their media visibility, intentionally shaping their public persona in alignment with their individual branding, regardless of being seen as heroes or villains.

The ethical repercussions of shaping real lives for entertainment purposes by producers.

Other Perspectives

• The narrative technique in reality television may not be solely influenced by shows like Survivor; earlier forms of media, including radio and early television, also used narrative techniques that could have influenced reality TV.
• Synthetic environments and challenges might not always be crafted solely to build tension; they can also be designed to test real skills or to educate viewers.
• The line between documentaries and game shows may not be as blurred as suggested; there are still clear distinctions in purpose, execution, and audience expectation between the two genres.
• Viewers' interpretations are shaped by editing, but they also bring their own perspectives and critical thinking skills to what they watch, which can mitigate the influence of editing.
• The use of "Frankenbites" and other manipulative techniques is not universally accepted or practiced in reality TV editing, and there are shows that strive for authenticity in their storytelling.
• Reality TV editors do shape narratives, but comparing their role to that of writers may not fully acknowledge the spontaneous and unscripted elements that are unique to reality TV.
• While reality TV participants are often guided by creators, there is also an element of agency and personal decision-making that participants bring to the show.
• Psychological methods for selecting participants are used, but these methods are also employed in other fields, such as job recruitment, and are not unique to reality TV.
• The role of reality TV producers as hidden puppeteers can be overstated; participants' own choices and personalities play a significant role in the unfolding drama.
• The production of Survivor and its focus on confrontation is just one model of reality TV; other shows may focus on cooperation, skill development, or personal growth.
• The craving for bizarre and risky challenges is not universal among audiences; there is also a demand for more down-to-earth, relatable content.
• The creators of The Apprentice may have found dramatic effects unnecessary, but this does not mean that all reality TV can or should avoid additional production elements to enhance the viewing experience.
• The rise of reality TV like Keeping Up with the Kardashians represents one trend in the genre, but there are many reality shows that do not follow this model and instead focus on different themes or formats.
• The ethical repercussions of shaping real lives for entertainment are a concern, but there are also reality TV shows that handle participant experiences responsibly and with respect for their dignity and autonomy.