* UnREAL is shockingly good until the end of the sixth episode, at which point it devolves, and it’s shockingly good despite the network on which it airs. How’d I find it? I can’t remember. One could read Arts & Entertainments in conjunction with the show.
* In highbrow literary culture “creative nonfiction” and “memoir” are terms that map to “I can make shit up if it works for the story, while being loosely true.” By now readers don’t expect “creative nonfiction” and “memoir” to actually be true, so making some shit up is okay because of the wink-wink situation between reader and writer. “Reality” TV does the same thing, with producers and people on the show acting like joint authors. The stories are about truthiness, not fact. Joseph Heath describes the pervasiveness of truthiness and why that’s bad in Enlightenment 2.0: Restoring sanity to our politics, our economy, and our lives. In reality TV truthiness at least doesn’t have real consequences. In politics it does. Maybe that’s why I prefer art to politics.
* The term “selection bias” is important when thinking about reality TV: What kind of person aspires to get on reality TV? Probably not a person representative of all people in all places and probably one who makes for good TV rather than good-for-other-things.
* Like The Americans, the show has a small group of passionate fans, but I’ve seen very little about it in the larger media.
* Until the end of the sixth episode UnREAL was willing to go to the distance in terms of watching bad or amoral people do bad or amoral things. The seventh episode was unwatchably bad. Shows and books can recover from such missteps. EDIT: The eighth episode was a return to form.
* There is a greater family resemblance between UnREAL and the HBO show Entourage than may be obvious at first glance, or from the status markers around each show.