Family Feud
“Family Feud” is the cleverest Television game show. The game is absorbing and still holds its enthrallment. Miller asserts that the generic craziness of the game masks an important form of public ritual. The irresistible attraction of the game is an appeal of TV, which tells people what they believe. The show is a cheerful variant of other types of contemporary tabulation that include the opinion poll and the marketing survey. It depicts family pride where each group in the game strives to eliminate its discrete identity instead of manifesting it. The game highlights weak reconstruction of human beings. When the players want to win the game, they react with ready minds of complete emptiness and they allow the mythic mass to speak through them. The players have delusional images that make “Family Feud” a swift absorption ritual that experiences consummation when subjects illustrate their own rapturous averageness.
The actual reward in Feud Family is neither money nor the Dawson’s cardboard token. The reward is the climactic moment realized when other players create an oceanic merger false impression. The game does not highlight the conflict between two different families but highlights the dispute that puts apart a single family. The main objective of the show is to celebrate the all-inclusive viewers’ tribe. The Americans take the rich or those in power with high regard. For instance, the subjects regarded Dawson with deep respect and affection notwithstanding his ingenious integration of intimidating characters. Dawson looked like an old Roman debauchee but his high ranked position in the society gained him much respect. The other players looked neat while Dawson looked unwholesome. Despite the contrast that exists between Dawson and his subjects, he counteracts his intimidating appearance with powerful displays of praising concerns. The families get attracted to him from the beginning to the end.
The emphasis of the game is kinship given that each family sticks collectively with startling faithfulness. When a family member gives a wrong answer, the other members show support through clapping and boisterous cheers. Such clannishness is outdated on television and its inclination is to destroy families instead of uniting them. Miller states that such behaviors encourage individuals to part way and live a life of continue buying. Family Feud rewards each group for intense togetherness as opposed to the right answers provided. The familial togetherness does not win the reward but the family triumphant self-erasure. Dawson’s questions are a test of identicalness founded on tallies of previously surveyed people ahead of the show. The right answer is the least initiative.
The Family Feud highlights progressive toleration given that it involves interracial families and handicapped players. Dawson kisses every woman regardless of color, religion or age. Although this behavior instigates scores of hate mail, it tries to demonstrate the American setting. However, the ostensible diversity on the game leads to nothing because the families involved in the program are impracticable to differentiate. The families display similar attitudes where each team clap alike and cheer each other’s successes and errors equally. The custodians of the show are unaware if its exclusiveness but they represent the same indistinguishable social division. Dawson’s flashy vest represents the highest power while the players’ similarity has less to do with class identity. The inherent pressures from the show reward only those players who have the ability and potential to behave like grateful works or over motivated children. The show formulates a given image and undercuts the same image to support the TV dominance. The actual images that the players see do not categorize a person but the images on their heads do. For instance, the TV lends Dawson his personality. While his suit shows a different type of power, the TV makes him appear unassailably greater to his own belief. Dawson’s subjects are belittled by the tender admiration he enjoys from them. Through his deceit of admiration for his subjects, Dawson exacts the subjects’ ultimate compliance in whatever activity he wants them to accomplish. Through his tactical approach to his subjects, Dawson dominates his subjects through patronizing them and persistent danger of his perceptive ridicule. Dawson’s concerns lies on the televisual sangfroid evident in other comedians.
In conclusion, notwithstanding Dawson’s able clucking, the viewers realize the parodist of the abler that prowl within. The viewers realize that the families try to appease the humorous manager through letting him kiss their women and impressing their virtuousness to him with pitiable tokens. The subject tries to win the acceptance of the TV and that of Dawson. However, the attempt fails given that the joyful norm that the subjects symbolize is nonexistence. The community picture on the game is a simple device that makes TV appears like a happy home. On the contrary, TV keeps people dispossessed. Perhaps the families on the show may have reached the dazzling place in their imaginations. They might have personified the idea offered through the TV but all they do is similar to what the viewers do, trying to maintain the low reality arranged for us by the sponsors and the TV. Despite the fact that Dawson’s questions appears to refer to the weak status quo of human beings, they strengthen it. The pictures in player’s heads entice them besides replacing the symbol of familial bonds with endless, self-advancing and pointless change, and they cannot replace reality.