Core Post 3 - Charlotte

 McCarthy’s analysis of the neoliberal structures embedded within reality television, as well as the connection of such systems with trauma, is very compelling. McCarthy argues that the form of reality TV is structured around individuality, centering narratives around an individual or small group. Series like Random 1, What Not to Wear, and The Swan center around transforming the life of one individual, while game-based competition shows promise a contestant a prize. Even more verite style shows (shows like The Real Housewives and Dance Moms, where there is no game or makeover and the cast remains relatively consistent over seasons) offer individuals the promise of fame. McCarthy also notes that, while these individuals are presented with the pretense of ability to transform into ‘model citizens,’ little is actually gained or changed from the televisual intervention. The draw toward reality series, then, is watching the pain and suffering of others.

As I read McCarthy’s piece, I found myself drawing connections to The Anna Nicole Show, which aired on E! for two seasons from 2002 to 2004. The series follows Anna Nicole Smith, a figure who would likely fit into Rafael’s categorization of a minor celebrity (or, at least, somebody who has experienced intense fame without the respect that comes with stardom), in the years following her career peak modeling for Guess and Playboy. In many regards, Smith’s life and career follows the logic of neoliberalism: despite being born into poverty and abuse, she used her resources to climb to the top of the socioeconomic ladder. However, due to her marriage to a billionaire oil tycoon in his late 80s, this wealth and success is viewed as largely illegitimate. The entrepreneurial citizen is offended by Smith’s ‘cheating’ to climb to the top; her breast implants and bleached blonde hair point to the superficiality of her beauty, and unconventional marriage and work as a stripper place her in a culturally low (even “white trash”) status. Her ascension to wealth is viewed culturally as undeserved, thus rendering any respect that would normally accompany such status illegitimate. At the time of shooting, Smith was significantly heavier and was largely unable to conceal her struggles with addiction. Stripped of her conventionally attractive looks, she is represented as a joke. The opening credits of each episode feature an animated version of Smith’s life, framing her as a gold digger and emphasizing the poverty she grew up in. The series frames her from unflattering angles as she goes about her daily life, frequently including shots of her eating or sleeping. She is frequently visibly intoxicated (her struggles with addiction were relatively public at the time) and incoherent, a representation incongruous with the silly credit sequence and the glittery pink transition wipes. While initially successful, the show was cancelled after two seasons due to a continuous decline in viewership. This is likely in part because while it may be entertaining to watch suffering that is relatively contained (and frequently hopeful), The Anna Nicole Show lacks the veneer of hopefulness McCarthy detects in other reality series. While Random 1 presents an unrealistic though complete narrative of overcoming trauma and becoming a model citizen, The Anna Nicole Show is transparently bleak and empty.