The Role of Docu-series Within Reality Television

By Doria Montfort on 07/03/2009

Despite the overwhelming popularity of the genre, it is a general consensus that "reality" television is amongst the least satiating of programming available. It could be considered to be the nicotine of television, relying on marketing to lure audiences until they become trapped by the show's addictive qualities. Everyone claims to be immune until they are caught sneaking an episode of "Daisy of Love" in shame and secrecy. It has consumed much of primetime in a somewhat parasitic fashion, growing exponentially over the years and sucking attention away from other types of programming. Furthermore variations in subject and style have resulted in the formation of different species of the reality show. It seems that they are now based in everything from self-improvement, to home improvement, to irrelevant physical competitions, and manipulative social experimentation. More often than not, these shows are graphically oriented, over-edited spectacles that focus on little more than humiliation and creating false drama that resembles nothing in actual reality. Regardless of mild differences, the general idea is make participants into ants under a magnifying glass, while producers stand above them like cruel children lacking sympathy and parental supervision.

However, with that said, "Reality" television does not have to be prepared or consumed in such a gross and greasy fashion. The "docu-series" found on less corporately controlled stations are of a more valid nature, using subjects in natural environments and situations. Perhaps these series should be relabeled and become the new standard for mass consumption as they fit more appropriately into the category. Brett Morgan's 2007 series "Nimrod Nation" is an excellent example of higher quality television that has a more complex structure and subject matter beyond that of the amoebic blob of young attractive people being forced to eat live cockroaches, or, worse yet live in an MTV-funded penthouse. The series takes place in rural Watersmeet, Michigan, focusing on the town's local basketball team "The Nimrods," and their importance within the town. 

Instead of quick graphics and cheesy sound effects, the editing replicates the structure of a Greek tragedy, creating the team as a heroic entity doomed to fail. Older generations of former players act as a chorus narrating their thoughts on each game, while the rest of the town lends their support and pride with blind enthusiasm. On a sub textual level, the show is hardly about basketball. The alienation of Brian Aimsback, a Native American player who excels without receiving due credit is one conflict that allows more pressing social issues to surface. Amongst patriarchal control and small town ignorance, the show to focuses subtly on the racial tension that still exists between Native Americans and Caucasians on the Upper Peninsula. In addition to this more meaty content, the series also relies on aesthetically pleasing camera work instead of the mainstream fast-food style of editing. In general, it becomes a more intricate, personal, and thought-provoking creature than single-celled shows that focus on superficial people in superficial environments.

Comparing shows like Nimrod Nation to shows like "Jon and Kate plus 8", or anything featuring Flavor Flav, the differences in basic composition are quite distinct. Docu-series prevail unquestionably in their substance, execution, and honesty as more accurate representations of the reality genre. If a show requires casting, a set, some form of a script, and at least one celebrity, it then becomes a fictional drama controlled by producers. Furthermore, poor, unplanned camera work does not suddenly turn the show into anything more than real than the façade it is.