In 2000, I was enthralled by the revolutionary debut season of *Survivor*. Since then, I’ve relished everything from the talent showcased on *So You Think You Can Dance* to the intrigue of *The Real Housewives of New York City*. Yet now, observing contestants scheme against one another for $250,000 in a Scottish castle is the type of reality TV mayhem that genuinely fascinates me.
Recently, the U.S. rendition of *The Traitors* has grabbed my attention. This competition series centers around deceit and mistrust, illustrating how reality TV has transformed to laud villains for their dishonesty.
Every episode radiates a queer vibe, not solely due to its contestants or its host, Alan Cumming. The intrigue and code-switching set against a glamorous backdrop resonate with many queer viewers, myself included.
As a queer individual growing up, I often felt the need to stay one step ahead of others’ suspicions, a talent that would serve me well as a Traitor. My background of pretending to be straight while drawing inspiration from cunning TV characters has equipped me to foresee every eventuality and outsmart the Faithfuls.
*The Traitors* gives me the chance to revel in the villainous role, picturing myself in a black cloak, maneuvering through the game as an unexpected challenger.
This fantasy is even more enticing when the participants are not already well-known individuals. NBC’s announcement of including civilians in the U.S. version adds an element of unpredictability and excitement, particularly for those of us eager to see ourselves at the roundtable.
For those unfamiliar, the concept of the Peacock show is straightforward: gather two dozen contestants in a Scottish castle, assign them the roles of either Faithful or Traitor, and observe the ensuing drama. It’s akin to an expansive rendition of the game Mafia, where players strive to uncover saboteurs while participating in challenges and voting to eliminate suspected Traitors.
The murder-mystery theme will draw in fans of the genre, particularly those like me who cherish the movie *Clue* and were raised on Agatha Christie’s tales. I became intrigued by *The Traitors* in early 2023 when the inaugural season juxtaposed civilians with reality TV stars. It was captivating to witness the interplay between ordinary individuals and reality TV personalities, including alumni from *Survivor* and *Real Housewives*.
As pointed out by Mashable’s Shannon Connellan, Cumming as the show’s fashionable yet enigmatic host is reason enough to binge-watch the available seasons. He serves as an ideal facilitator, delivering clever one-liners in eye-catching ensembles.
However, that’s not the sole reason this competition has captivated me.
After watching three U.S. seasons and two UK seasons, I’ve come to the conclusion that the show tends to favor Traitors. With no genuine clues in the early stages, players merely need to express doubts to sway others and incite herd mentality.
Observing contestants stealthily navigating in hooded cloaks is amusing, but what draws me in is rooting for the manipulators and envisioning myself as a Traitor.
There’s excitement in assuming the role of a villain; many contestants eagerly adopt their personas. The allure of practicing deception without regard for who gets betrayed is intoxicating.
My aspiration to play the villain on *The Traitors* originates from my fondness for prime-time soap reruns and admiration for the sly and scheming vixens. Characters such as *Knots Landing*’s Abby Cunningham and *Melrose Place*’s Kimberly Shaw carried out their devious schemes with a campiness that I found irresistible.
As a gay man, I resonate with camp, recognized for its theatrical aspects. Concealing my authentic self for years compelled me to adopt a role, and honing a sense for camp helped me keep others off my trail.
*The Traitors* speaks to me because it challenges the reality TV premise that authenticity reigns supreme. The American version favors flair and gloss over raw honesty, relying on familiar personalities for entertainment.
Seventeen years ago, I believed in the extravagant lifestyles depicted on *Real Housewives*. Yet as these shows gained traction, the women became commodities, showcasing wealth through ostentatious exhibitions. The authenticity felt performative, prompting viewers to aspire to that lifestyle.
We exist in an age where reality TV blurs the boundaries between performance and reality, constructing “real people” who excel at working the camera.
With NBC intending to bring civilians back, the game might feel more authentic. I appreciate watching regular individuals strive to win, not merely perform. There’s a charming authenticity associated with them. Seasoned reality TV players have established images, and viewers anticipate their clashes.
During her exit interviews, *Big Brother*’s Britney Haynes, the last Traitor standing in Season 3, remarked on how players, particularly reality TV veterans, prioritize what makes for good television. Will future civilian players possess the same savvy? What will casting directors seek? If viewers gravitate towards performative reality, might that shape future selections?
For Season 4, while familiar faces remain, introducing actor-comedians like Ron Funches and Michael Rapaport could inject unpredictability into the mix.