LOVE ISLAND'S A Tale of Cultural Tension - Ipsos
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LOVE ISLAND’S
SUCCESS A Tale of
Cultural Tension
UNPREDICTABLE
Written by Lamberto Ferrara and Lucy Irving interest and engagement, especially if of individual identities
we consider other similar reality formats
S ummer 2018 has been an exciting
period for TV audiences. During this
untypically hot British summer, more
don’t have the same level of resonance
and popularity.
•
•
Values: Puritanism vs. Hedonism
Romance Narratives: Courtship vs.
than 3 million of us are foregoing the So, what makes Love Island so different? Tinderification
sunshine in favour of the fourth season We would argue that the success of Love
of Love Island, making it ITV2’s highest Island lies in its ability to tap into some of An unpredictable format for
overnight rated show ever. the key cultural narratives in society that unpredictable times
are currently being contested. Love Island
What is surprising about Love Island is not works on tensions related to our identity, What Love Island offers is an additional
only its viewership, and powerful earned desire and gender representation in a component which, even if visible, is
media, but its ability to reverse a common period dominated by discussions about never clearly explained: challenges, new
trend amongst reality TV shows that often feminism, gender recognition, toxic competitors and surprises are constantly
start with a positive first season, followed masculinity and definitions of physical organised following what is happening
by a drop in viewers and interest. Love beauty. All these topics are used to create in the villa to shake the status quo and
Island instead seems to become more conflicting narratives in the show, which to test participants’ “feelings”. Love
and more popular every year. then inspire discussions, resonance and, Island’s malleability enables relationships
therefore, relevance within the wider to form “spontaneously” and to work
In the last few months, the show has cultural landscape. around them to create and increase the
been avidly followed and discussed by drama. In this way, once the audience
many different audiences, from teenagers There are four key cultural tensions has suspended their disbelief about
to academics. This success has been at play in Love Island that are worth participants’ spontaneity, the life in the
attributed primarily to its voyeuristic further examination: villa becomes a mirror of everyday
style, i.e. glimpses of sexual content life, where nothing is sure and new
amongst scantily clad, good-looking, • Format: Rigid vs. Fluid challenges constantly arise.
young people. This, however, does not
fully explain its popular cultural power. • Characters: Hyper-masculine/ At the same time, unlike many reality
There must be a different hook rousing feminine standards vs. Complexity shows, Love Island doesn’t seek to
INTER-MEDIA
dominate and control the conversation Characterisations of gender identity
around it, but aims to spark the
Love Island
conversation. It creates and leaves It is easy to spot representations of
ambiguities for audiences to debate over, stereotypical and ‘toxic’ gender identities
creates
rather than adding judgements of value in Love Island’s participants. Visually
to participants’ choices. This explains participants appear hyper-masculine/
and leaves
where some of its popularity lies. The feminine and editing around key
lack of certainty it creates means viewers conversational moments (such as this
ambiguities for
feel the need to affirm their opinions with season’s ’What’s Brexit?’ discussion)
others, rather than their opinions being embodies the cultural trope of the
audiences to
affirmed by the narrative of the show. ‘beautiful, yet superficial’ character.
debate.
Love Island feeds into these by setting However, and here probably sits
itself up to be the ultimate inter-media the difference between Love Island
experience. The content is merely a and other dating reality formats, the
springboard for the multitude of other protagonists go beyond sexist tropes. In
ways of keeping the viewers engaged, particular, men gather together to discuss
from posting teaser summary clips, their feelings and, even if embarrassed,
feeding into memes designed for share their insecurities with the others.
different platforms (with Instagram being Attention has been drawn to behaviours
a highlight), having a unique tone of voice, which are deemed to be the product of
through to the highly relevant and targeted toxic masculinity (such as ‘gaslighting’);
brand and merchandise partnerships. feeding into a newsworthy conversation
about interactions between the sexes.
All these elements enable the show to
avoid stagnation and to scope and pace Participants ‘packaging’ may be fake, but
‘the drama’ well, keeping the audience their feelings and dramas are authentic.
thrilled and curious. Love Island displays the prototype of
stereotypical beauty but, day after day,CONFLICT
makes it more human and complex. The authorised to cheat and let the partner
shock, caused by the discovery that the down, but where “loyalty”, “trust”,
characters are deeper than how they
are depicted, adds a layer of complexity
Love Island “faithfulness” is constantly discussed.
Where sexual encounters are allowed
to their hyper-sexualised bodies,
enhancing the drama and our empathy.
zooms in on the and promiscuity is promoted, but where
participants also confess to feeling
The audience can recognise themselves
in some of the participants’ behaviours,
tensions which stupid for having kissed someone they
barely know.
insecurities, and decisions, establishing a
sympathetic bond with them.
are shaping our Love Island zooms in on the tensions
Conflicting romantic narratives
values around which are shaping our values around
romance. It talks about the complexity
What does love mean in 2018? We live
romance. of contemporary relationships using old
narrative models which are culturally
in a period of apparent sexual freedom rooted in our society – think of the
nestled in traditional Puritan values, romantic trios of Sense and Sensibility or
with younger audiences celebrating Shakespeare’s Anthony and Cleopatra
the traditional Royal Wedding while for example.
having multiple accounts on dating
apps. There is a constant riddle between Hidden behind the reality format,
real behaviours and the ones people emerges the narrative structure typical
consider socially sharable. of romantic stories. A young man – or
woman – finds a partner and needs to
This tension plays out on Love Island. prove to her, the others and himself to be
A space where participants have been trustworthy and that he chose the right
selected to flirt and create dramas, person. To do so, he needs to overcome
but also where “official girlfriends” some challenges – external such as other
are celebrated, where everybody has men flirting with his beloved, or internal
been instructed to be strategic and is such as the toxic masculine imperative#GRAFTING
to fly from one lover to the next. If the For all of us working in the media and
couple proves themselves to be strong comms industry; tapping into the right
enough to win over all the challenges, cultural tensions with our content is the
they deserves to be acknowledged by holy grail. It takes a deep understanding
the audience and to have the possibility
to win the final prize and, naturally, to be
of the cultural and competitive
landscape which changes depending
FOR MORE
in love. on context, topic and target audience. INFORMATION
Behind a façade of modern dating
As a Love Islander would say; it requires
#grafting; but with the right insight and
CONTACT:
practices, we can spot traditional romantic determination, it’s possible to capture the
tropes and highly conventional values hearts of your audience.
which guarantee continuity with previous
generations and can work as a bridge to
understand new romantic dispositions.
Spotting cultural tensions for zeitgeist KATHERINE JAMESON ARMSTRONG
content Head of Media Qualitative
Katherine.J.Armstrong@ipsos.com
Love Island has captured our imagination +44 (0)77 6853 7929
because of its ability to communicate
the complexity of our society through
confronting some of the contradictions
we experience in our everyday lives. In
a landscape saturated by alternatives,
designing content able to communicate
the right cultural tensions and to LAMBERTO FERRARA
articulate them in compelling narratives Research Executive
and formats is a recipe for success. Lamberto.Ferrara@ipsos.com
+44 (0)20 3059 5134ABOUT IPSOS Ipsos, one of the world’s largest and most innovative research agencies, works for a wide range of global businesses and many government departments and public bodies. We specialise in solving a range of challenges for our clients, whether related to business, consumers, brands or society. Our areas of expertise range from brand, communication, media, innovation and healthcare research through to customer experience, corporate reputation and social and political research. At Ipsos we are passionately curious about people, markets, brands and society. We deliver information and analysis that make our complex world easier and faster to navigate and inspire our clients to make smarter decisions.
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