Micro-Celebrities and Reality TV: YouTubers as a New Source of Reality Content

As our society evolves, so does our media, creating new mediums and content. As reality TV, a relatively new genre of TV content compared to others, became prevalent, it brought new ideas, codes, conventions, as well as the ‘ordinary person’ to our screens and therefore, new expectations from audiences (Biressi & Nunn, 2005, p2). As the Internet became more accessible and a place for entertainment media to be consumed, similar changes also occurred. It saw the rise of the ‘micro-celebrity’ on social media sites such as Facebook, YouTube and Instagram and the creation of Web 2.0 allowed for a productive Internet where people could upload their content as well as actively interact with other content through clicking, sharing and linking (Senft, 2013, p350) which could not be controlled through “gatekeeping” from producers and editors (Ang, Khamis & Welling, 2016, p8). The ordinary person now had a platform to speak, create, share and gain a following. This is where my argument comes into play. Could the Internet and websites such as YouTube, where users create their own content and commonly be themselves, be considered a new home of reality content, co-existing with reality TV shows? Similarities between reality TV and micro-celebrities suggest so. In this essay, I will briefly discuss the beginnings of reality TV and the micro-celebrity, and analyse texts to argue that the online sphere has led to a new type of content similar to reality TV, reality stars and their traits.

Reality TV, although relatively new to our screens compared to other genres, reached unprecedented attention from audiences and became a top-rated genre, which factual programming didn’t have before its arrival (Biressi & Nunn, 2005, p2). It was also able to hold on to its new audiences too (ibid.). Perhaps a fascination with the ‘ordinary’, the real and other peoples everyday lives is a reason. Reality TV has expanded and has made shows about people from almost any situation, may they be in their businesses, areas or lifestyles. It has its own sub-genres featuring reality competitions and game shows. Today, it is still a prominent genre on TV.

A ‘micro-celebrity’, a term coined by Senft (2008, p346) is a figure who is famous within one group, community and or platform, rather than a wider population such as traditional celebrities. For example, Marwick states that a person on social media platforms such as Instagram has the potential to gain as many followers as there are users on said platform, achieving small fame (2015, p137). These “subculture stars”, as Senft describes them, have been around for a while during the existence of the Internet (2013, p349-50).

Despite their different beginnings, the development of reality TV and the online micro-celebrity on increasingly institutionalised and industrialised platforms quickly start to have common elements.

Firstly, one of the biggest similarities between reality TV and micro-celebrities is the presence of the ordinary person. The ordinary person is a staple of reality TV. It has always been a watermark of the genre and is arguably one of the biggest reasons the genre is so popular (Biressi & Nunn, 2005, p2). Perhaps this is due to what some argue to be the beginning of the genre; The Family (BBC1, 1974). Produced by Paul Watson, it is considered to be a British version of Craig Gilbert’s An American Family (PBS, 1973), and is considered to be a precursor in reality TV and an “originator of Big Brother-style reality TV” (Holmes, 2008, p193-4). Watson’s documentary focussed on the everyday lives of members of the Wilkinses family. We as an audience discovered their class, occupations, routines, opinions on matters of importance and much more. Their lives are shown to us in a twelve-part serial. As Mrs Wilkins stated in the first episode of the serial; it allowed the family to “portray ordinary people” (BBC One, online, 2012). When looking at all of the reality TV shows available today which similarly explore members of a household or family, it is clear to see that many elements of The Family have lived on through shows like Big Brother (Channel 4 2000-2010, Channel 5 2011-2018) and Wife Swap (ABC 2004-2010, 2013, Paramount Network 2019-Present), with individual twists to the programs. Meanwhile, the ordinary person has become a watermark of the micro-celebrity too, with social media platforms inhabited by micro-celebrities such as YouTube, even encouraging ordinary people to “broadcast themselves”, seen in their retired tagline. The commercial institutionalisation of online platforms such as YouTube have enabled ordinary people to turn their operations on the platform into a sustainable, commercially viable career. On YouTube, Multi-Channel Networks have helped further these processes as they provide creators with promotional and technical assistance as well as advertising opportunities for a small cut of their earnings (Hou, 2019, p538, p541), institutionalising the platform more and assisting more ordinary people to make it to micro-celebrity status. Users can earn money from advertisements played on their content by monetisation through the YouTube partner program and it is not uncommon for companies to sponsor creator’s videos to promote their brand (Hou, 2019, p40-1). Additionally, many popular creators sell their own merchandise. Now it is even easier for the ordinary person to become a star by using the platforms ordinary people have access to, creating a ubiquity of micro-celebrities (Senft, 2013, p350). This can be observed with micro-celebrities such as Felix Kjellberg, known online as PewDiePie, who was once associated with Maker Studios, a Multi-Channel Network (Leskin, online, 2019). He is often sponsored by companies and also sells his own merchandise. As of writing, he has over 102 Million subscribers on YouTube and was once an ordinary student at university before starting a YouTube career (ibid.). So many ordinary people who led ordinary lives have found a way to fame through these two mediums, and there are even more similarities between reality TV and micro-celebrities which will now be explored.

Secondly, another similarity between reality TV and micro-celebrities is the expectation of authenticity. Reality stars are often gauged by their audiences on their truthfulness and authenticity “on a scale of emotional realism and personal revelation” (Biressi & Nunn, 2005, p5). Additionally, it is often the stars who remain “true to themselves” and are frank with the audience who are the most desirable and or successful (ibid.). Micro-celebrities are also often expected to be authentic. However, unlike traditional celebrities who have a ‘back region’ and ‘front region’ of their lives and authenticity is seen in their private lives as a way to connect with fans, micro-celebrities have a ‘here and now’ approach (Hou, 2019, p548). Authenticity is often part of their brand and personality, and micro-celebrities tend to be seen as authentic, nothing more nothing less (ibid.). Perhaps the authenticity micro-celebrities are expected to have stemmed from their closer connectedness to their audience compared to traditional celebrities who tend to keep their audience at a distance (Hou, 2019, p549). Their authenticity helps build close connectedness and trust with their audience. To be unauthentic is to break said connectedness. There are examples of both reality star and micro-celebrity authenticity that has been challenged and has resulted in opposite results for the people involved which will support these theories. On Celebrity Big Brother 22, housemate Ryan Thomas playfully hit another housemate, Roxanne Pallet (Big Brother UK, online, 2018). It was clear to the cameras that Thomas did not maliciously harm or seriously hit Pallet, however, Pallet purposefully exaggerated the situation to the audience, Big Brother and other housemates to vilify Thomas. Thomas was seen destressed throughout the controversy and confrontations by other housemates and was also seen breaking down in the diary room. The next day during the eviction, chanting could be heard by the live audience outside the house shouting “get Roxy out” and other housemates comforted Ryan as he was reassured the public was on his side due to his authenticity during the situation. Pallet voluntarily left the house while Thomas ended up winning the competition. Similar situations have occurred in the micro-celebrity space too. For example, micro-celebrity, Tana Mongeau took issue with another micro-celebrity, Ian Carter, known online as ‘iDubbbz’, for his use of the word ‘Nigger’. Mongeau said that Carter should “kill himself” and she would be happy if he broke all of his bones. Carter responded by attending one of Mongeau’s concerts, taking a picture with her while stating “say, nigger”. Mongeau reacted in shock and proceeded to take the controversy online again. Later, Carter released a video which is part of his ‘Content Cop’ series, where he discusses bad content on the platform. In the video, Carter explains his actions, but also revealed that Mongeau had used the word herself but in a venomous way, unlike, as Carter explains, the way he used it humorously (iDubbbzTV, online, 2017). This created a major backlash for Mongeau due to her inauthenticity and hypocrisy. Despite Carter’s controversial use of the word, he gained the upper hand in the conflict as he remained authentic to his edgy content, personality and audience.

Thirdly, another similarity between reality TV and micro-celebrities saw online today is the content produced by them. Online, we now see internet personalities simply being themselves, but also documenting the “everyday rituals of cooking, eating conversing, competing [and] sleeping” (Biressi & Nunn, 2005, p102), activities you often see on reality TV shows. On reality TV, shows such as Simply Nigella (BBC Two, 2015) focus on cooking. On the program, celebrity cook, Nigella Lawson presents her own show where she demonstrates the making of her own recipes to the audience. She presents the methods of cooking, ingredients and the finished product of various recipes in an episode. She breaks the fourth wall, talking to the audience themselves as if a one-sided conversation is occurring about her experiences, opinions and more (BBC Two, online, 2015). I reference this reality cooking show specifically because Lawson’s personality is equally responsible for the atmosphere of the show as the food the program aims to display. Meanwhile, on platforms like YouTube, micro-celebrities such as Julien Solomita post their own video series on cooking which he calls “Aries Kitchen”, a reference to his chaotic, erratic, but friendly personality which originated through vlogs on his own channel and his appearances on Jenna Mourney’s (his partner) channel, Jenna Marbles. On Aries Kitchen, Solomita tends to record from his own home, cooking food which he likes, would like to try or experiment with. He is not a professional chef and cooking is a hobby for him, but the entertainment factor mostly comes from Solomita’s personality and behaviour (Solomita, online, 2019). Similar to Simply Nigella, he talks to his audience about himself, his experiences and walks his viewers through the cooking process. Although the styles of the show and production values of the two differ, the content is similar and very much related to reality content. These two examples which I have analysed are only related to the category of cooking. The crossover between reality TV and micro-celebrity content includes countless genres and categories.

Fourthly, another way reality TV stars and micro-celebrities are similar is they both use techniques of self-branding. Micro-celebrities have used the technique of self-branding to create a distinctive public image and further themselves. This has allowed micro-celebrities to make a public image of themselves, cultivate a unique selling point that separates them from their competition and has given them the ability to find and maintain large audience bases for cultural and or commercial gain (Ang, Khamis & Welling, 2016, p1-2). Self-branding also assists micro-celebrities to establish relationships with other brands and companies, not just audiences. In recent years, companies have capitalised on the brands of trustworthy online personalities by using their content to promote their messages (Hou, 2019, p537), often for payment. An example of a micro-celebrity who has built a brand would be Felix Kjellberg. His personality is edgy, outgoing, but authentic, open and humble, which is how he brands himself. It is often his personality, content and connectedness to his audience that helps him create a unique selling point and help him maintain his large audience. An example of companies using micro-celebrities and social media influencers to promote their brand or service is Skillshare, who often sponsors videos from infotainment channels on YouTube, such as Half as Interesting who announces their sponsor at the beginning of their video and goes into detail about the company at the end of the video (Half as Interesting, online, 2020). Similarly, reality TV stars have also been using these self-techniques since before the contemporary era of micro-celebrities and the institutionalisation of YouTube (Hou, 2019, p5360). It has been found that “openness and self-disclosure are the preferred qualities for candidates in reality TV” and “the strategies to establish intimacy, ordinariness, and equality are not native to the Internet” (ibid.) as I have discussed previously. Using an example I have used previously, during the situation on Celebrity Big Brother 22 when Roxanne Pallet exaggerated Ryan Thomas’s behaviour, Thomas showed himself to be open and self-disclosed to audiences and other housemates (Big Brother UK, online, 2018). These moments were part of the reason why audiences supported him throughout the ordeal. Meanwhile, companies and brands, just as they do with micro-celebrities, sponsor and have paid traditional celebrities to endorse their products through TV adverts and social media posts. An example of this is Kim Kardashian, who has endorsed many different products such as Flat Tummy Shakes, a fitness protein shake product and LuMee phone cases (Johns, online, 2018).

Finally, another similarity between reality TV and the micro-celebrity is they both exist in an ‘attention economy’. In the reality TV genre, for the ordinary person to appear on TV is to gain attention and cultural capital (Biressi & Nunn, 2005, p100). Other ordinary people who appear on the show also gain this. Therefore, distinction from others on reality TV shows to successfully gain media attention relies on a person’s own performance (ibid.). Sometimes, only a little media attention is required to kickstart a new media career for the ordinary person. An example of this is Jade Goody, a housemate in Big Brother 3. She had an on-screen and off-screen persona and had the task of performing herself on the reality show but in a different light. Originally, Goody was unpopular with the press when she first entered the house. This was because she was “bubbly, loud, brash, ‘vulgar’ and bitchy” and was “the subject of cruel verbal attacks on her weight.. appearance and perceived lack of education” (Holmes, 2004, p125). Several other comments she made helped solidify this persona, making people believe that she was unintelligent, however, family and friends rejected this persona and speculation started around if her behaviour was her true self or just a persona (Holmes, 2004, p126). This performance of Goody’s appeared to work as she gained much media attention from her appearance in Big Brother. Later, she became a huge reality star, having her own shows such as Jade’s Salon (2005, Sky Living) and Just Jade (2006, Sky Living). The attention economy micro-celebrities operate in is slightly different from the one for reality TV. On the internet, audiences are active, rather than passive. They “link, click and forward” themselves (Senft, 2013, p350) which allows micro-celebrities to get attention directly from their audiences, rather than attention through other media sources or gatekeeping from producers and editors (ibid.). Through sharing, clicking, watching and linking, attention is created and platform algorithms can monitor this and recommend a user’s content to others, creating a momentum of attention. In both of these models of the attention economy, more attention equals stardom as reality stars gain fans and micro-celebrities gain followers.

In conclusion, after drawing on research from texts and analysing multiple reality TV shows and content produced by micro-celebrities, I believe the question of if the internet and websites such as YouTube, which are inhabited by countless micro-celebrities, is a new source of reality content has been confidently answered; yes. It is clear that there are many similarities between reality TV and the micro-celebrity though the constant reappearance of the ordinary person, the expectation of authenticity, the content produced, the self-branding techniques used and their existence in an ‘attention economy’. With more minor similarities which I have not touched upon and the reality TV and micro-celebrity spheres becoming increasingly mixed in contemporary times, I suspect that there will be more similarities between the two to come.

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