At there’s a few US shows that I quite like: Ghost Hunters International, UFO Hunters, and Hell’s Kitchen. In Ghost Hunters International a team of everypeople go around the world investigating supposedly haunted places with lots of dubious equipment – like a camera with its IR filter taken out – which they keep referring to as ‘full spectrum’ (it’s not), and, of course, the requisites of any latter day ghost hunt – handicams, closed circuit rigs, digital voice recorders, that sort of thing.
In UFO Hunters three presenters (Bill Burnes – Alien UFO Believer – wears dark glasses indoors, Pat Uskert – UFO believer, Ted Acworth – scientist/sceptic/MythBusters effect beneficiary) investigate UFO sightings, past and present. Speaking to witnesses, official documents, looking at out of focus videos shot by idiots, and checking for evidence. In Hell’s Kitchen a load of people line up to be sodomised (metaphorically) by Gordon Ramsay in the hopes of winning a job in a restaurant. And they cook a bit too.
What’s interesting about all three isn’t the content or the subject. The content and subject of the programmes are delivery mechanisms for the production. With Ghost Hunters International, and UFO Hunters, the investigations results are usually ambiguous, a bitch if you want exciting an engaging. So, almost inevitably, they have exquisitely crafted soundtracks, and suspenseful narration. Hell’s Kitchen no doubt has its share of in real life drama, but what’s clever is the way that the narrative is formed.
If they didn’t story board it I’d be amazed. Not because drama didn’t happen, in that sense it’s real, but because they’ve got to convey things concisely as part of an overall narrative.
All three shows have gone one-step further than old school reality television because the soundtrack is crafted to each situation, which influences the general mood of the content to the point that the content is no longer king. It’s like selecting paragraphs from a book, and controlling their new context with an additional narrative driven by the music. The jarring sound effects on Ghost Hunters International are great, as are the riffs on Hell’s Kitchen.
There’s plenty of other reality shows that are driven by the production, particularly American reality shows, but, Ghost Hunters International and UFO Hunters pretend they’re not – everything is made to look authentic in an existential sense – and Hell’s Kitchen is the opposite – it’s very hard to see it as anything other than production driven entertainment, it is so in your face, right down to substantial and dramatic recaps at the start of the show.
All three shows are bollocks. But that’s not the point.

