Introduction
Makeover television shows have become a staple of contemporary media, often presenting transformation narratives that promise improved lives through physical and lifestyle changes. The 2005 BBC documentary Brand New You, directed by Sophie Gardiner, examines this phenomenon by following individuals undergoing extreme makeovers, including cosmetic surgery and style overhauls. This essay discusses how such programs reproduce conventional norms of attractiveness and success, particularly by promoting the ideology of the American Dream – the belief that anyone can achieve prosperity and happiness through hard work and self-improvement. It will explore specific examples from the documentary, incorporate scholarly critiques, such as those from Tania Lewis, and challenge these narratives with personal observations. Arguably, these shows reinforce neoliberal ideals of individualism, though critics highlight their exclusionary nature. The analysis aims to argue that while makeover TV ostensibly empowers participants, it often perpetuates narrow definitions of success tied to consumer culture.
Reproduction of Norms in Makeover TV
Makeover shows like those featured in Brand New You typically reproduce conventional norms by equating physical attractiveness with personal and professional success. For instance, the documentary profiles a woman who undergoes multiple surgeries to achieve a ‘perfect’ body, linking her transformation to enhanced confidence and career prospects. This narrative implies that beauty standards – often slim, youthful, and Eurocentric – are prerequisites for achievement, thereby normalising societal pressures to conform (Weber, 2009). Furthermore, these programs promote the American Dream by framing makeovers as accessible paths to upward mobility. Participants are shown ‘reinventing’ themselves, suggesting that success is attainable through determination and expert guidance, much like the Dream’s ethos of self-made prosperity.
However, this promotion is ideological, as it overlooks structural barriers such as class or race. Lewis (2008) argues that lifestyle media, including makeover TV, fosters a ‘self-help’ culture where individuals are responsible for their own betterment, aligning with neoliberal values. In Brand New You, experts dictate changes, from wardrobe to surgery, reinforcing that success requires external validation and consumption, rather than systemic change.
Scholarly Challenges and Criticisms
Scholars and critics have challenged these narratives by exposing their underlying ideologies. For example, Sender (2012) critiques how makeover shows like Extreme Makeover (alluded to in Brand New You) commodify bodies, turning personal transformation into entertainment that upholds capitalist ideals. Critics argue this distorts the American Dream, presenting it as a consumer product rather than genuine opportunity. Lewis (2008) specifically notes that such programs promote ‘lifestyle expertise’ that individualises social problems, ignoring broader inequalities. Indeed, in the documentary, a participant’s post-makeover ‘success’ is measured by superficial gains, such as better job interviews, which critics like Weber (2009) see as reinforcing gender norms where women’s value is tied to appearance.
My own criticism aligns with these views: these shows arguably exploit vulnerability for ratings, as seen when Brand New You documents the emotional toll of surgeries, yet frames outcomes positively. This raises ethical concerns about consent and long-term impacts.
Personal Connections and Original Argument
Connecting to my experiences as a film studies student, I’ve encountered similar pressures in media like Instagram influencers promoting ‘glow-ups’ as routes to success. Typically, these echo the American Dream’s promise but challenge my understanding of self-improvement, which I see as holistic rather than aesthetic. For instance, watching Brand New You resonated with my observation of friends feeling inadequate due to beauty ads, pressuring them towards unnecessary changes. This leads to my original argument: makeover TV not only reproduces norms but actively undermines authentic success by prioritising spectacle over substance. While the American Dream inspires aspiration, its portrayal in these shows is exclusionary, favoring those who can afford transformations and marginalising diverse bodies. Therefore, challenging these narratives requires media literacy to recognise their ideological underpinnings.
Conclusion
In summary, Brand New You illustrates how makeover TV reproduces norms of attractiveness and success by embedding the American Dream in transformation stories, as seen in its examples of surgical makeovers. Scholars like Lewis and Sender critiques this as neoliberal individualism, a view I share through personal reflections on media pressures. The implications are significant: such programs may hinder genuine self-improvement by equating it with consumerism. Ultimately, a more critical engagement with these shows could foster inclusive definitions of success, moving beyond conventional ideals.
References
- Lewis, T. (2008) Smart living: Lifestyle media and popular expertise. Peter Lang.
- Sender, K. (2012) The makeover: Reality television and reflexive audiences. New York University Press.
- Weber, B. R. (2009) Makeover TV: Selfhood, citizenship, and celebrity. Duke University Press.
