The Paradox of Entertaining and Ethical Reality TV: How U.K. Bosses Are Trying to Make Shows Safer

As a seasoned reality TV industry veteran with over two decades of experience under my belt, I’ve seen it all. The highs and lows, the tears and triumphs, and unfortunately, the darker side of entertainment. I’ve witnessed firsthand the impact that shows like Love Island and Big Brother can have on contestants – some who thrive in the limelight, others who struggle to cope with the sudden fame and scrutiny.

Reality shows like “Love Island,” “The Traitors,” and “Love is Blind” have gained massive popularity, spreading beyond national borders. Reality TV continues to capture large audiences due to its potential for drama. However, producers in the U.K. are dealing with increasing concerns for the well-being of their cast members and staff. A complex issue has arisen:

Last Tuesday, the BBC announced several supportive measures for “Strictly Come Dancing,” their popular dance competition series with an average viewership of 6.6 million people per episode in 2023. This decision came after two former professionals left the show due to allegations of serious misconduct.

As a long-time fan of reality TV shows like “Strictly” and its American counterpart, “Dancing with the Stars,” I can understand the intense competitive spirit that drives both the performers and production teams involved. Having followed these shows for years, I’ve seen firsthand how the desire to excel and outdo one another fuels the entertainment value of the programs. But having also witnessed some unsavory behavior behind the scenes, I wholeheartedly agree with Tim Davie’s recent apology in the release of BBC’s annual report.

Instead of returning this year, Giovanni Pernice and Graziano Di Prima are absent from the series. The channel decided to hire two new producers specifically for contestant welfare and a chaperone during rehearsals as a response to last year’s contestant Zara McDermott finding her past experience on the show “deeply upsetting,” and Amanda Abbington, like Sherlock himself, leaving in October, accusing Pernice of behaving “abusively, cruelly,” and “unkindly.”

Di Prima expressed remorse for his actions, stating, “I deeply regret my behavior.” The 30-year-old Italian athlete acknowledged, “Perhaps my strong desire to succeed may have influenced my training methods.” In contrast, Pernice denies the allegations against him and reassured fans, “I will return.”

Producers aren’t the sole ones implementing changes on “Love Island” set. In response to the tragic suicides of three individuals linked to the show, ITV has reinforced its care measures for participants. The memories of Sophie Gradon, Mike Thalassitis, and host Caroline Flack underscore the significance of ensuring contestants’ well-being before, during, and after filming. Producers have responded accordingly with enhanced pre-production psychological and medical evaluations, a mental health expert available to the islanders throughout the series, specialized training for handling social media, and financial advice post-villa life, among other improvements. Similarly, “Big Brother” introduced a new welfare plan before its 2023 comeback, providing each housemate with individualized care including therapy prior, during, and after their time in the house.

The first issue for TV bosses is impacting the culture of big-budget reality shows off-screen, and its handling of talent. When a major report from the U.K.’s The Times, The Sunday Times and Channel 4’s Dispatches was released last year, it included the testimonies of multiple women who accused Russell Brand of sexual assault and rape while he worked on Big Brother’s Big Mouth and Kings of Comedy between 2004 and 2007, as well as Russell Brand’s Got Issues (which aired on Channel 4’s youth-skewed channel E4) and The Russell Brand Show. The actor and former presenter has denied the allegations.

The investigation uncovered industry-wide acceptance of harassment and mistreatment, as revealed in a probe commissioned by Banijay UK into Brand’s past dealings with Endemol between 2004 and 2008. It was found that informal grievances were raised about the celebrity on set, such as requests for audience members’ phone numbers from runners, and an accusation that crew members had to wait outside his dressing room while he engaged in inappropriate behavior.

A more recent investigation carried out by Britain’s Bectu Union revealed that notable harassment allegations, like those leveled against Brand, have barely moved the needle in addressing the pervasive issue of harassment within the creative sectors in the UK. The survey conducted by Bectu uncovered that approximately 60% of its respondents had encountered uncomfortable and unwelcome advances from coworkers, including unwanted touching, hugging, or kissing. As one anonymous live events and TV freelancer shared with Bectu, “The problem is systemic with microaggressions. At my previous workplace, I couldn’t even stretch, lean over the sound desk, or pick something up from the floor without being leered at by my supervisor.”

The report revealed some flaws in reporting systems used in creative industries and highlighted the struggles employees face when speaking up. Some shared experiences of considering quitting due to these issues, while others were hesitant to report for fear of career repercussions. Over half of those surveyed chose not to report because they believed nothing would change as a result.

A group of well-known British actors including Keira Knightley, Cara Delevingne, Carey Mulligan, Rebecca Ferguson, Naomie Harris, and Emerald Fennell have written an open letter calling for action against bullying and sexual harassment in the UK’s entertainment industry. They encourage creative organizations to support the establishment of the Creative Industry Independent Standards Authority (CIISA), which will investigate such complaints across music, film, TV, and theater sectors. Baroness Helena Kennedy, a Scottish lawyer and member of the House of Lords, was named as CIISA’s chair on Thursday.

Philippa Childs, head of Bectu, expresses her hopefulness about recent initiatives against harassment to The Hollywood Reporter: “Things are gradually getting better. More and more structures are being put in place so that those who encounter such behavior in the industry have resources to turn to. We strongly back the Creative Industry Independent Standards Authority in these efforts.”

As a passionate fan, I’ve noticed an increasing number of complaints about problematic behaviors on sets lately. According to Childs, this culture is evolving, and with more people bravely sharing their experiences, we can have a more comprehensive discussion on bullying and harassment. This dialogue prompts cast and crew members to voice out their concerns, leading to more frequent temperature checks as indicated by the Bectu survey. It’s heartening to see on-screen talent feeling empowered to speak up, knowing they will be heard and actions will be taken if necessary. I fervently hope that this newfound courage extends to crew members who experience abuse or mistreatment.

In the U.K., reality TV producers face a perplexing dilemma. As late as 2022, Women’s Aid, a domestic abuse charity, felt compelled to voice concerns regarding potentially harmful behaviors between contestants on “Love Island” to ITV executives. This action was prompted by an overwhelming number of social media posts from viewers, bringing the issue to their attention.

It’s undeniable that tears and drama add excitement to these shows, drawing in audiences who crave conflict. At the breakfast table on “The Traitors,” for instance, viewers eagerly anticipate heated arguments and betrayals. However, how do we ensure that real people are safeguarded when the very essence of reality TV lies in heightening emotions? When should producers intervene, and what lines shouldn’t be crossed? Can reality TV continue to captivate while adhering to ethical standards?

“Yes, I think it’s feasible, according to Childs. However, care and thoughtfulness are essential in all work environments. Establishing clear guidelines for behavior from the beginning can be helpful. Additionally, having defined procedures for addressing concerns about behaviors or appearances on camera is crucial. With these measures in place, it’s possible to create engaging shows that adhere to ethical standards and avoid exploitation.”

The union leader admits that the topic becomes “slightly more delicate” when discussing reality shows focusing on interpersonal relationships or dating programs like “Big Brother” and “Love Island.” Personally, she expresses no fondness for these types of shows. She finds it challenging when a show primarily revolves around relationships instead of people demonstrating abilities or mastering a craft.

The children in this study portray the participants as being particularly vulnerable, revealing their true identities and perspectives in the world. This can be challenging for both the contestants and the production team. We’ve received criticism that it’s unsettling when individuals are pushed to their limits or are visibly distressed without intervention. Producing such shows is more complex and demanding. However, similar concerns apply.

Much of the problem with these shows is its huge viewership — overnight, regular hospitality workers, nurses, personal trainers, barbers, or make-up artists, for example, become known to millions across the country. This abrupt change is something that showrunners are responsible for, Childs adds. “[Welfare support] should be a continuous thing people should have access to. Counseling, advice afterwards, because sadly, we saw a couple of tragic incidents involving people on reality shows,” she says, referring to the suicides of Gradon, Thalassitis, and Flack, “and I think handling the instant fame that comes from that is also part of the responsibility of the show.”

She remarks, “Doctors, counselors, and welfare providers are involved in the process – they’re doing their best. But is it truly informed consent when people go in thinking it will be wonderful with no clear understanding of what lies ahead? Their five minutes of fame may not bring the financial rewards they anticipate.”

As a dedicated gamer and avid follower of reality TV shows, I’ve noticed a significant change in the viewership numbers for the U.K.’s “Love Island.” Back in its prime in 2019, the series kicked off with an impressive 3.3 million viewers. But fast-forwarding to 2023, only 1.3 million tuned in for the start of its 10th season. It’s intriguing to ponder what could have caused such a decline in interest. Could audiences have grown tired of the program’s format? Or perhaps they’re missing the reckless, unfiltered entertainment that earlier seasons provided – with their raw displays of emotion, frequent fights requiring security intervention, and overall intensity? It’s a mystery that continues to unfold.

Love Island and Strictly Come Dancing aren’t the only shows dealing with this issue. Last year, Married at First Sight U.K., where singles are matched with partners by relationship experts, had to remove contestant Brad Skelly from the show following concerns raised by psychological advice about his marriage to Shona Manderson. A Channel 4 representative stated, “The well-being of all participants on Married at First Sight U.K. is our highest priority. We provide support services for our contributors around the clock during production.”

Though there’s been noticeable advancement and heightened consciousness, is it advancing swiftly enough in our line of work? As Childs puts it, “Progress can be painfully sluggish in this field at times, but I assure you, things are getting better.”

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2024-07-26 12:25