Abstract
Reality television embodies trendy, yet conventional entertainment facets as jaunt depictions of real-world events uncover varied views of motherhood and gender roles in society (Murray & Ouellette, 2004). The recurrent consumption of such fetishized motherhood imagery impacts consumers’ outlook on life experiences and expectations (Richins, 1995).This abstract explores the consumption of new motherhood on reality television through the researchers vastly different lived experience on the subject. Therefore duoethnography is utilized as a way to examine third-wave feminism and the rejection of the ideal of a shared, collective, experience of women. We dive into the glamorous and uncomfortable world of reality television by choosing to utilize duoethnography and ask, “can a methodology shift the way we, as researchers, see ourselves?” (Schultz & Paisley, 2016, p.142). This methodology will assist us in exploring Yummy Mummies, the Australian reality TV show about wealth, fashion, and motherhood, and how it influences two feminists. Through duoethnography, a few bottles of champagne, along with video and audio recordings, we encounter luxurious motherhood from a safe distance and aim to reflect on layered meanings within our life journey (Shelton & McDermott, 2012).
Highlights
Reality television (TV) embodies trendy, yet conventional entertainment facets as jaunt depictions of real-world events uncover varied views of gender roles in society (Murray & Ouellette, 2004)
Reality TV is often regarded by consumers as escapism from daily angsts, Wilhelm (2013) contends viewers are subconsciously driven to the veracity of material demands
The Yummy Mummy phenomenon sparked the interest of two childless female feminist wanting to explore the consumption of new motherhood
Summary
Reality television (TV) embodies trendy, yet conventional entertainment facets as jaunt depictions of real-world events uncover varied views of gender roles in society (Murray & Ouellette, 2004). Reality TV is often regarded by consumers as escapism from daily angsts, Wilhelm (2013) contends viewers are subconsciously driven to the veracity of material demands. In negotiating their identities as wives, mothers, and professionals, women engage in this cycle of consumption that leads to defining themselves within each domain (Hochschild, 2003). The women who are targets of materialistic ambitions among new mothers have been referred to as Yummy Mummy (O’Donohoe, 2006). This has been identified as a demography of attractive, stylish mothers presented in the media (e.g., reality TV show) (O’Donohoe, 2006). The Yummy Mummy phenomenon sparked the interest of two childless female feminist wanting to explore the consumption of new motherhood
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