A Guide to All Creative Directors

A Guide to All Creative Directors

A Guide to All Creative Directors

A Guide to All Creative Directors

A Guide to All Creative Directors

A Guide to All Creative Directors

A Guide to All Creative Directors

A Guide to All Creative Directors

A Guide to All Creative Directors

A Guide to All Creative Directors

A Guide to All Creative Directors

A Guide to All Creative Directors

A Guide to All Creative Directors

A Guide to All Creative Directors

A Guide to All Creative Directors

A Guide to All Creative Directors

A Guide to All Creative Directors

A Guide to All Creative Directors

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Should reality shows be politicised?

When the small screen reflects big questions

Should reality shows be politicised? When the small screen reflects big questions

Last weekend, 3.95 million viewers tuned in to the much-anticipated finale of the French tv-show Star Academy, until the host Nikos Aliagas revealed that Marine, a young woman from the north of France, was the big winner of this 12th edition. However, for Ebony, the second finalist of the talent show, her colleague's victory did not simply mean her defeat. Throughout her journey, the young Black woman was the target of a wave of virulent hatred that peaked as the decisive final prime approached. While a part of the audience, as well as committed personalities, did not hesitate to denounce these racist and misogynistic discriminations, some cried scandal in another way, considering that politics and entertainment should not be mixed. But in such a context, does it still make sense to separate the two categories?

Often associated with "guilty pleasures," reality TV shows promise a moment of pure entertainment, devoid of any deep reflections, to allow for a mental break after a long workday. Love is Blind, Come Dine with Me, Dancing with the Stars... these shows offer moments disconnected from our daily lives bombarded with depressing news and social injustices. In the same spirit, Star Academy provided a warm rendez-vous, where we followed young people with stars in their eyes, working tirelessly to fulfill their dream of becoming singers. However, behind its nostalgic, innocent, and fun facade, the latest season of the talent show was heavily tainted by racist and sexist controversies surrounding Ebony. The young woman of Caribbean origin endured unspeakable cyberbullying on social media, ranging from comments criticizing her appearance to comparisons with monkeys. This wave of hate was so severe that SOS Racisme, La Maison des Potes, and Endemol, the show's production company, were forced to file a complaint. Amidst this chaos, Aya Nakamura publicly showed her support, alongside activist influencer Sally, who posted a video explaining misogynoir, the discrimination Ebony and other Black women in the media face.

In a nutshell, misogynoir (a mix of misogyny and "noir", meaning black in French) is a sociological concept describing the specific discrimination that Black women face in our society, combining both racism and sexism. This discrimination manifests through stereotypes such as the "angry Black woman." Whenever Black women exhibit confidence and assertiveness—especially public figures—they are systematically labeled as aggressive, arrogant, or overly ambitious. This is the case for Aya Nakamura, Rokhaya Diallo, and Serena Williams. Their physical appearances are also scrutinized, often compared to apes or men, which is of unquestionable violence. If reality TV contestants endure such abuse, is it ethical to ignore it in the name of entertainment? Perhaps this is precisely an opportunity to open debates on crucial societal issues through light and accessible channels. Because yes, political questions are an integral part of our society, our very existence, and entertainment shows are no exception.