MyRealImaginaryFriends: iCarlyandthePowerofHyperreality

Americana:TheJournalofAmericanPopularCulture(1900present),Spring2011,Volume10, Issue1 http://www.americanpopularculture.com/journal/articles/spring_2011/latouche.htm Jason LaTouche TarletonStateUniversity

Televisionisanintimatemediaform.Viewersgathertogether weeklyintheirhomessurroundedbyfriendsandfamiliestowatch theunfoldingstorylinesoftheirfavoriteshows.Astheywatchweek afterweek,theyfeelincreasinglyclosetothecharacters.This closenesscanleadviewersintoafalsesenseofintimacy.Viewers maycometobelievethattheyknowthesecharacters.Inthissense, viewerstelevision"friends"canbegintofeelalmostreal. Fromitsearliestbeginnings,televisionproducershaveattemptedto fosterthesefeelingofintimacybytradingonelementsof hyperreality.Directorshaveusedcameraproductiontechniquesto convinceviewersoftheverisimilitudeoftheircreations.Television plotlineshavebeensowedwithelementsofrealpoliticalandsocial issuestomakethemseemrelevantandthusmorereal.Similarly, someshowshaveblendedelementsoftheiractorslivedpersonal historieswithfictionalstoryelementstoblurtheboundarybetween therealandthefake. However,withtheriseofonlineinteractivitytheabilityof televisionshowstocreate"fictionalreality"hasdramatically altered.Forbyharnessingtheabilityoftheinternettofoster intimateformsofconnectionsbetweenviewersandthetelevision showstheyconsume,producerscanmagnifytheirabilitytocreate hyperrealworlds.Overthepastthreeyears,thetelevisionshow iCarlyhasbeenattheforefrontofharnessingthesenewformsof interaction. FirstairingontheNickelodeonchildrensnetworkin2007andstill inproductionin2010,iCarlyhasgrowninpopularitytobecomethe

mostpopularliveactionchildrensshowontelevision(Keveney8D; Levin).Infact,itspopularityissuchthatiCarlyhasoftenbeenthe mostwatchednonsportsrelatedliveactionshow,childrensor adults,onallofcabletelevision(Keveney8D;Levin).Allofwhich makesitonlymorerelevantthatiCarlyisactivelyleadingtheway increatingahyperrealfusionbetweentelevisionandonlinemedia. AsBaudrillairddefinedit,hyperrealityisthegenerationbymodels ofarealwithoutoriginorrealityandthesubstitutingofthesigns oftherealforthereal(178).Bythis,hewasindicatingthatinan increasinglypostmodernworldsimulationsofrealityarecomingto supersedetherealthingsthattheywereorareechoesof.Livingina timeofrapidchangeandoverwhelmingamountsofinformation, peopleturntosimulationsbecausetheyaresuperiortotheoriginal intheirpresentationofaversionofrealitythatisabetter,more appealingworldthanactualreality(Bogard45;Croissant337; Wallace38). Thesehyperrealitiesaremoreappealingpreciselybecausetheyare notattemptingtobecometruereflectionsofreality.Inotherwords, hyperrealitesarenotattemptingtobeplaceholdersforreality,nor aretheyattemptingtocopyreality(Baudrillaird167168;Bogard4; Heyd16).Rather,thesehyperrealitiesbecometheendpointof interactionthemselves.AsUmbertoEconoted,thelogicof hyperrealityisthatitdoesnotcreateadesirefortheoriginalmodel butinsteadsupplantstheoriginalmodel,ultimatelytoremovethe needfortheoriginal(19). Indeed,consumersofhyperrealitycometoseehyperreal experiencesasenjoyableandevenauthenticintheirownright (Croissant335336).Forinitsconstructionofexperience, hyperrealityadoptsaveneerofauthenticity,echoingelementsofthe realtomagnifyitsowninternallegitimacy(Carson232;Wallace 4849).Theeffortofconstructionofthehyperrealitybecomesa markerofitsauthenticity.Inotherwords,audiencesembracethe hyperrealbyseekingmarkersoflegimitacy,signsthatthehyperreal hasbeenconstructeduponanauthenticframework.Yetthese markersneednotbeobjectiveedificesbutrathergaintheir authenticityiftheyplaytotheiraudiencessubjective interpretationsofreality(Bukatman66;Carson231;Wallace35). Hence,individualexperienceratherthanexternalauthenticity becomesthedefiningcharacteristicofhyperreality(Carson231). Thehyperrealexperiencebecomesauthenticbymakingitsaudience complicitinitssimulation,byevokingechoesof"authentic"reality totriggerindividualinvestmentinthe"authentic"hyperreal experience(Carson23;Croissant335337;Wallace35,4849). Inanincreasinglycomplexworlddrivenbyvisualstimulationand informationoverload,thehyperrealbecomesacomfortablewayto

situateoneself.Whentheworldprovidestoomuchdiversityand divergenceofinteractionrituals,individualslosetheabilityto becomehighlyemotionallyinvestedand,asaresult,routinizetheir interactions(AllanandTurner379).Insuchanenvironment,people donotseekexperiencesthatrequirethemtoengageanddecipher expectationsandexperiencesastheyareconstantlyoverwhelmed withtheneedtodothisintheiroverloadedworld.Instead,people turnto"authentic"hyperrealexperiencesthatarebetterthantheir everydayrealitiesbecausetheyprovidecomfortfromtheeveryday worldspressures.Hyperrealexperiencesdothispreciselybybeing lessreal.Theyrequirelesscognitiveworkandpromisetodeliver more"experience"thantherealworldhastooffer.Hyperreal interactionthenbecomesaheightenedformofinteractioninwhich individualscanliveoutversionsof"reality"superiortothe everydayworld. Theriseofdigitaltechnologyhasfacilitatedthistransition.Indeed, ithasbeennotedthatthe"webishyperreality"becauseontheweb "thedistinctionsbetweenrepresentationsandtheirphysical referentsbecomesincreasinglyblurred"(Berthon,Pitt,andWatson 270271).Digitalinteractionremovesusfrom"rea"relationseven withourselves.Inthehyperrealityofthedigitalworld,identity becomesincreasinglyfragmentedaspeopletakeonnumerous competingidentitiesandincreasinglydefinethemselvesintermsof mediaratherthansocialrelations(AllanandTurner370;Berthon, Pitt,andWatson269). iCarly,takentogetherasatelevisionshowandasawebpresence, playsdirectlywiththisblurringoftheauthenticandthestimulation ofdesireforthehyperreal.Ofcourse,iCarlyisnotthefirst televisionshowtotradeonelementsofhyperreality.However, iCarlyistakinghyperrealitytoamainstreamaudienceinnewer waysthanitspredecessors. Asearlyasthe1950s,ILoveLucyplayedwithblendingelementsof therealandfakeinwaysthatservedtocreateahyperrealspacefor viewers.Airingfrom1951to1957,ILoveLucywasasituation comedyaboutthemarriageofLucyandRicky.Thesetwo characterswereplayedbyreallifemarriedcoupleLucilleBalland DesiArnaz.Thisraisedthequestionofwhetherornotthetelevision showreflectedthereallifemarriageoftheactorsontheshow.In theshowsmostfamousblurringofreality,LucilleBallandDesi Arnazarrangedtoairanepisodeoftheshowinwhichthecharacter ofLucywouldbehavingababyatthesametimeasthereallife plannedcaesareandeliveryofLucilleBallsbaby(Radio).The showthenmadetheunconventionalchoicetoproceedtohaveLucy andRickysbabyagenaturallyoverthecourseoftheseries, keepingpacewiththeactualagingofLucilleandDesisreallife son.ManyviewerscametobelievethattheLittleRickycharacter

ontheshowwasLucilleandDesisreallifesonwhen,infact,the partwasplayedbyanactor. Anevenmorestarkexampleofhyperrealityinearlytelevision occurredonthetelevisionseriesTheAdventuresofOzzieand Harriet.Originatingasaradioshowbeforeairingasatelevision seriesfrom1952to1966,TheAdventuresofOzzieandHarriet followedtheexploitsoftheNelsonFamily,Ozzie,Harriett,and theirtwosonsDavidandRicky.Whileostensiblyafictional comedyseries,the"actors"ontheshowwereplayedbyareallife family.Theshowwasfilmedonasetdesignedtolooklikethe Nelsonsactualhousewithexteriorsshotsoftheirreallifehouse. Similarly,thelivedinterestsandactivitiesoftheNelsonfamilywere introducedintothesitcomplotlinesoftheshow.Asthetwosons grewupandmarriedinreallife,theirreallifewiveswerethen introducedascharactersontheshow(Nelson).Inthisway,The AdventuresofOzzieandHarrietconsciouslycreatedahyperreal spaceinwhichtheboundarybetweentherealandthefakebecomes untenable. Wecanseesuchexamplesofhyperrealityinotherlatertelevision genresaswell.Oneparticularrealminwhichtheseboundarieshave oftenbeenblurredisthesoapopera,collapsingactorsintothe fictionalcharactertheyplay,erasingthedistinctionbetweenthese tworoles(Butler7778).Totakeoneexample,in1986theactor DonMacLaughlin,whoplayedtheroleofChrisHughesonthe soapoperaAsTheWorldTurns,died.Theshowhandledhisdeath byhavinghischaracterdieontheshow.Theepisodewithhis charactersdeathconcludeswithaphotoandvideomontageofthe actorandhisworkonthesoapopera.Attheconclusionofthis montage,thecameralingersonaframedpictureonthesetofthe showasthegraphicDonMacLaughlin19061986appearson screen(Butler75).Insodoing,theshowelidestheboundary betweenDonMacLaughlintheactorandChrisHughesthe characterDonMacLaughlinplayed. Anevenmorepronouncedexampleofsuchboundaryblurringon soapoperasoccurredwhenJeanneCooper,anactressonTheYoung andtheRestless,hadcosmeticsurgery.Thesurgerywasfilmedand thensubsequentlyintroducedasaplotlineontheshow,complete withtheinclusionoffootagefromtheactualsurgery(Butler78). Hyperrealitysblurringoftherealandthefakebecameevenmore centraltotelevisionnarrativeswiththeriseofrealitytelevision. TracingitsmostrecentwaveofpopularitytothestartofTheReal WorldonMTVin1992,realitytelevisioncentrallydealswiththe issueoftherealvs.thehyperrealwithitsconstructionof authenticallyhyperreal"reality."Indeed,theriseofreality televisioncouldserveasonemarkeroftheincreasingcomfortwith

andappealofhyperrealityamongthepublic.Asjustonemeasureof thisgrowingfamiliarity,from2000until2010thenumberofreality televisionshowsbeingbroadcasteachseasonintheUnitedStates hasincreasedfromfourto320(Rodriquez56). Theseshowsplaywithhyperrealitybymakingclaimstobereal whilesimultaneouslyconstructinghyperrealenvironments, interactions,andexperiences.Viewersaccepttheauthencityof thesehyperreal"fictions"becausetheshowsgivesthemechoesof realityinwhichtocreatetheirauthencitythroughediting,music cues,personalinterviews,etc.Ironically,alloftheseexplicit, intensivemanipulationsworktosignaltotheviewerthatwhatthey areseeingisunmanipulatedand,hence,real.Thehyperrealityof theseshowsbecomestheappeal;theyareconsumedandenjoyed preciselybecausetheyseemrealenoughtoberealbutbetterthan realityenoughtobedesired(Carson232;Eco16).Thehyperreality isderivedfromthetensionintheshowsnarrativeoverwhatis "real." Indeed,thelinebetweenfictionandrealityinnarrativethemeshas beenblurredinotherwaysaswell.Oneofthebestexamplesofthis camein2003withtheHBOseriesKStreet,ashowaboutpolitical lobbyistsinWashington,D.C.Inordertolendrealitytotheshow, realpoliticiansandlobbyistsappearedoneachepisode,andthe plotlinesoftheshowwerederivedfromrealworldpoliticalissues. Indeed,inordertomaximizeitsrelevance,inanunusualmovefora narrativetelevisionseries,eachepisodeofKStreetwasdesignedto beproducedinthesameweekitwasaired.Soonatypicalepisode oftheseries,realworldpoliticalfigureswouldinteractwith fictionalcharactersinfictionalplotlinesbasedonrealworld politicalissueoccurringatthatexactpointittime.Itsproducer, StevenSoderbergh,notedthattheintentwastoleaveviewers askingwhetheritsadocumentaryorfiction(AbramsonAR1). Hereagain,aswiththeearlierexamples,thehyperrealitycomesin blurringtheboundarybetween"real"peopleandthe"fictional" rolestheyoccupy,obscuringthedividinglinebetweenthesespheres totheviewer. iCarlyusesallthesesametechniquesofhyperrealitytocreateits own"real"fictionaluniverse.HoweverwhatmakesiCarlyuniqueis thattheshowisblendingtraditionaltelevisiontechniquesof hyperrealitywithnewformsofhyperreality.Inothertelevision shows,viewersreceivethehyperrealityoftheshow,andthey consumeitasaproduct.However,oniCarlyanewhyperreality aestheticisbeingcreated.Byfusingtheconsumptionethosof televisionwiththeinteractivityoftheinternet,iCarlyisfashioning arevolutionaryformofhyperrealtelevisioninwhichviewersdonot justconsumehyperreality,butrathertheyactivelyworktofashion it.Indoingso,iCarlyiscreatingafarmorepenetratingand

persuasiverealmofhyperreality. iCarlyisafamilysituationcomedyabouttheexploitsofateenager namedCarlyandhertwobestfriends,SamandFreddy.While employingmanycommonfamilysituationcomedyplotlines,the centralthemeofthetelevisionseriesisthatCarly,Sam,andFreddy createandproduceaweeklywebshowtheycalliCarly.Thiscentral themeofthetelevisionshow,theteensproductionofawebshow, becomesthefoundationofiCarlyshyperreality. OnthetelevisionshowiCarly,thethreeteensproductionoftheir webshowisdepictedineveryepisodeoftheseries.Aftertheinitial airingofeachepisodeofthetelevisionshow,thescenesshowing theteenswebshowarethenrepurposedandembeddedonanactual iCarlywebsite.Hence,the"fictional"webshowofthetelevision showbecomesanactualwebshowontheactualiCarlywebsite,a websitethatisthe"fictional"websiteofthecharactersontheshow. Inthisway,toaskifthewebshowisrealorfakedevolvesintoa fragmentedinquiryitisbothrealandfake.Infact,thewebshowis anauthenticsimulacraoftherealahyperrealspaceinwhich viewersenjoytheauthenticfakeofiCarlyanddonotdesiresome morereal,moreauthenticoriginal. Tothisend,boththetelevisionshowandthewebsiteworktogether toblendaseamlessideathatiCarlyisarealwebshowmadebythe actualteensdepictedonthetelevisionshow.Henceaftereach episodeoftheiCarlytelevisionshowairs,theiCarlywebsite prominentlydisplaysonitshomepagethenewestinstallmentofthe iCarlywebshow. Thisonlinewebshowmakesuseofthefootageofthewebshow producedforthetelevisionshowbutwithtwoimportantrevisions. First,theonlinewebshowoccasionallyincludesfootagefromthe televisionshowthatwasneverairedduetolengthrestrictions.This additionalfootageaddsauthenticitytotheonlinewebshowbecause itseemstoindicatethatthewebshowisproducingmaterial independentofthetelevisionshowsdepictionofthewebshow. Second,andmoreimportantly,iCarlymanipulatesthewayituses footagebetweenthetelevisionshowandthewebshowtobolsterits seemingauthenticityasarealwebshowproducedbythecharacters onthetelevisionseries. Onthetelevisionshow,thewebshowisdepictedasbeingproduced bythreeteens.CarlyandSamserveasthehostsofthewebshow andarethemainonscreentalentofthewebshow.Thewebshowis producedbytheirfriendFreddywhoisdepictedasfilmingthe showwithavarietyofcamerasandtechnicalaids,suchasgreen screenproductionwork,computergraphicsprograms,etc.Freddyis primarilyshownfilmingCarlyandSamusingahandheldcamera.

Onthetelevisionshow,duringthewebshowsegmentsoftheshow, thecameraangleoftheshowswitchesbackandforthbetweena standardmulticamerasituationcomedyomniscientviewpointtoa pointofviewperspectivefromFreddyscamera. Whenthisfootageisrepurposedforthewebshow,allofthe omniscientperspectivecameraanglesareremoved.Sotheonline webshowconsistsentirelyofpointofviewfootage.Inotherwords, thetelevisionshowusespointofviewperspectivetoaddtothe viewerssensethattheyareseeinganactualwebshowbeing producedandtheonlinewebshowremovesthestandardtelevision cameraformatsothatonly"real"webshowcameraworkremains, therebyheighteningtheonlinewebshowsauthenticity. iCarlybuildsthisauthenticityinotherwaysaswell.Forexample, wheneverpointofviewcameraworkisused,theshowincorporates awiderangeofsymbolicpromptstoheightenthe"reality"that viewersaretrulywatchinganactualwebshowproduction.Such cameraworkisalwaysshakyandunsteady,justlike"real"hand heldcameraworkwouldbe.Likewise,thescreenisalwaysfilled withtraditionalcamcordervisualaidssuchaswhiteframingguides, aredRECsymbolinthetopleftofthescreen,andabattery indicator. Importantly,allofthesegraphicalpromptsareremovedforthe onlinewebshow.Sothetelevisionshowconvincesviewersofthe realityofthewebshowsproductionbysymbolicallyshowing"real" signsofitsproduction.However,theonlineshowbuildsthissame realitybyhidingthesesignssincea"real"webshowwouldnotshow suchsignsofproduction.Theonlinewebshowinsteadtradesonits symbolic"reality"byfilteringthecameraangleusedandretaining theshakypointofviewcamerawork"real"webshowsuse. Inthisway,thetelevisionshowandthewebshowworktogetherto complementeachother.Thetelevisionshowpointstowardsthe realityoftheconstructionofawebshowproductandtheonline webshowproductpointstowardsitsrealauthenticityasresulting fromtheworkdepictedonthetelevisionshow.Hence,thetelevision showandtheonlinewebshowusedifferingelementsofthe"real"to workinharmonytocreateablendedhyperrealspacethatconnects thesedisparateconstructionsintoaseamlessunity. Thetelevisionseriesconstantlyreinforcesthislinkageby embeddinginnumerableimagesofcharacterswatchingtheiCarly webshowontheiCarlywebsite.Indeed,everytimethetelevision seriesshowstheteensproducingtheirwebshow,itintercutsshotsof thewebshowsproductionwithshotsofcharactersonthetelevision serieswatchingthewebshowliveontheiCarlywebsite.Infact,in almosteveryepisodeofiCarly,viewersseeFreddyexaminingthe

webshowslivefeedonthelaptopcomputerfromwhichhe monitorstheproductionofthewebshow.Importantly,allofthese televisionseriesshotsofpeoplewatchingtheiCarlywebshowon theiCarlywebsiteshowawebsitethatispatternedexactlyafterthe realonlineiCarlywebsite.Theonlinewebsiteandthewebsite shownonthetelevisionshowareexactmatchesdowntothe placementofthewebshowsvideoonthehomepage.Again,this levelofcrosspenetrationbetweenthetelevisionseriesandthe onlinewebsiteworkstobuildamorepenetratinghyperrealityfor viewers. iCarlytradesonviewersideasofrealitytocreateitshyperrealityin otherwaysaswell.Itusessymbolicunderstandingsandmeanings thatmaynotbeobjectivelyrealbutareunderstoodasrealinorder tomagnifyitsauthenticity.Infact,theusingofoutmodedsymbolic understandingslendsitsconstructionsgreaterhyperreal authenticity.Forexample,inseveralepisodesoftheseries(iKiss, iSpaceOut,iWannaStayWithSpencer),weseethecamera droppedorknockedover.Theseactionsarealwaysdepictedfrom thepointofviewperspectiveofthecamerabeingdroppedand neverfromtheomniscientperspective.Yetthesefallingcameras neverbreak,theirfootageneverstops.Sotheviewergetsthe "reality"ofthecamerafalling,whichheightensthefeelingthatreal productionisoccurringwithouttherealityoftheconsequences suchactionswouldhave.Thisimageisbetterthanthereality,in fact,becausewegettoseethecontinuationofthescenefromthe perspectiveofthecameraonthefloor,therebyextendingour enjoymentofthedramathatledtothecamerascollapse,something thatwouldhavebeenlosthadthecameraactuallybroken.The hyperrealityofthefallingcameraletsusseetheaftermathwe wouldotherwisebedeprivedof.Inthisway,thehyperrealisbetter thanthereal. Thisuseofrealfakestobolsterauthenticitycomesthroughinother waysaswell.Onthetelevisionseries,theiCarlywebshowis depictedasfrequentlyexperiencingtechnicalproblems.These problemsareagaininevitablydepictedfromthepointofview perspective.Duringthesemoments,viewersseethewebshow footagebreakupintorandomstaticwhenthecameraworkis interrupted(iWantMyWebsiteBack,iStakeout,iSpaceOut). Thesestaticinterruptionsharkenbacktopredigitaltelevision signalsandthewaysinwhichtelevisionsetswouldbreakupinto staticwhentheylosttheirsignal.However,inapuredigital environment,lossofsignaldoesnottypicallyinvolvestaticbut insteadaswitchtoaplainblackorbluescreen.Hence,iCarly attemptstocreatea"real"digitalsignalinterruptionbyinsertinga predigitalsignalofinterruption.However,giventheubiquityof meaningofpredigitaltelevisionstatic,itsuseasasignifieris actuallyaclearerandmore"real"signofsignalinterruptionthan

therealdigitalsignalofablackorbluescreenwouldbe. Inasimilarway,theshowalsomanipulatesthedepictionoffilm speed,grain,andqualitytomatchthe"reality"itistryingtodepict. Forexample,ontheveryfirstepisodeoftheseries,iPilotwhen theteensareshownmakingtheirveryfirstwebshow,thefootageof thewebshowisdepictedasgrainywithpersistentdroppedframes andstuttering,typicalproblemsoffirsttimeusersnavigating bandwithissuesinstreaminglivemedia.Similaryinalaterepisode, "iGotDetention,"inwhichtheteensusealowbudgethidden cameratofilmfootagefortheshow,thisfootageisdepictedas beinggrainyandshakyincontrasttothesteadier,higherquality footageofthewebshowstypicalcamerawork. Eventhetelevisionseriesoverallaestheticpointstheviewers towardstheideathatitisdepictingrealteensmakingareal webshow.Whentheshowmovesfromscenetosceneinsteadofjust cuttingorusingtraditionaltelevisualtransitions,iCarlyusesitsown specializedtransitions.Theshowhastwographicaltransition elementsitusesforallofitscuts.Forcutsbetweenscenesthatare separatedbylargegapsoftimeorplacetheshowmakesuseofa transitionthatmakestheentireviewingscreenlookinglikea computervideoeditingsoftwareprogram.Thescreenisfilledwith editingcontrolswithamaineditingwindowandaseriesofsmall thumbnailscenestothesideofthemaineditingwindow.Whena transitionoccurs,thecurrentscenewillshrinkdowntooccupythe maineditingwindow.Acursorthenappearstoclickononeofthe thumbnailsceneswhichthentakestheplaceoftheoldsceneinthe maineditingwindowandexpandstofillthetelevisionscreen.The viewerisleftwiththeimpressionthattheiCarlyshowisbeing digitallyeditedrightbeforetheireyes.Thistechniqueisnot accidentalastheshowdepictstheteenseditingtheirwebshowin exactlythesameway.Hence,thetransitionsservetoechotheidea thattheteensareconstructingnotjustthewebshowbutthe televisionshowaswell,lendingthetelevisionshowitself authenticity. Smallertransitionsarehandledinasimilarmanner.Forthese transitionsinwhichasceneisshiftedslightlyforwardintimeor place,agraphicappearsonscreenofasetofvideocontrols completewithaprogressbarshowingwherethevideoisin playback.Againacursorappears,onlythistimeitgrabsthe indicatorontheprogressbarandmovesitforward,muchasa viewerofanonlinevideowouldskipforwardinavideotheywere viewing.Onceagain,theviewersexperienceisframedfromthe perspectivethatthetelevisionshowisbeingconstructedinthesame mannerasthewebshow. Inadditiontotheseeditingprompts,theseriesalsousesverbal

promptstopointtowardsitsownauthenticity.Carly,Sam,and Freddyreinforcetherealityoftheirwebshowbyconstantly referringtotheirwebsiteanditscontentsandimploringviewersto gototheirwebsiteandparticipateinvariousonlineactivities. ViewerswhodogototheiCarlywebsitearethengreetedwiththe actualpoll,video,orotheritemthatwasreferencedontheshow. Hence,thetelevisionshowandthewebshowworktogether seamlesslytopresentawhole,authenticexperience. Allofthisproductionwork,however,isjustlayingthegroundwork foriCarlysmostpenetratinghyperrealexperience.Onthe televisionseries,thewebshowisconsistentlydepictedashaving extensivefaninput.Carly,Sam,andFreddyanswerviewer questions,runviewerpolls,chatwithviewersonlivevideo conferences,andbothrequestandairviewervideos.Thetelevision series,inadditiontoshowingoccasionalfansthroughvideo conferencesandinpersonappearances,alsoregularlyshows viewersubmittedvideos.CarlyandSamalwaysintroducethese videosassentinbyaviewertotheirwebsite,beingsuretoname theviewerandtheirhometown.Theseviewervideosalwaysbegin withtheviewerwhosubmittedthevideosayinghowmuchtheylike andadmireCarly,Sam,andFreddyandtheirwebshowandwebsite. Theshowbecomesfullyhyperrealintheseinteractionsinthatthese viewervideosfreelyblendthefakeandthereal.Infact,many(but notall)ofthese"viewer"submittedvideosareindeedvideos submittedtotheiCarlywebsitebyactualfansnotaffiliatedwiththe productionofthetelevisionshow,ofteninresponsetoarequestfor viewervideosbyCarly,Sam,andFreddyonthewebshowsegments ofthetelevisionseries.iCarlyplayswiththerealityoftheseclips bynevermakingitclearwhichofthesevideosareexternalvideos sentinbyfans,whicharevideosacquiredbytheshowsproducers onlineandrepurposedtotheirownend,andwhicharevideosthat theshowsproducersthemselvesproduced. Thesevideosarearegularfeatureofthetelevisionseries,theonline webshow,andthewebsiteitselfandservetoblurtheboundaries betweenwhatisrealandwhatisfakeintheiCarlyuniverse.Indeed, thetelevisionseriesevendevotedanentireepisode,iCarly AwardstogivingawardstothebestviewervideostheiCarly webshowhadeverreceived.Onthisepisode,Carly,Sam,and Freddyproduceaspecialepisodeoftheirwebshowwherethey introduceandgiveawardstotheviewerswhosubmittedthebest videostoiCarly.Most(butnotall)oftheseviewersreceiving awardswereactualviewerswhohadindependentlysubmittedself generatedvideostotheiCarlywebsite. Thisleadsintoaveryhyperrealexperience.Forinreceivingtheir awards,theserealviewersmustenterintoiCarlyshyperreality.

TheymustanddotreattheiCarlycharactersasrealandthe webshowasarealspaceandnotatelevisionshow.Indeed,asthe episodeprogressesthedifficultyofdefiningwhatisrealbecomes increasinglyproblematic. Forwhilemostoftheviewersandtheirsubmittedvideoswerereal, inthattheywerenotaffiliatedwiththeiCarlyproduction,notall were.Forexample,onevideofeaturedontheshowwasapre existingvideoalreadypopularontheinternetthattheproducersof iCarlydecidedtorepurposefortheepisode,addingvoiceoversto thevideo.Ontheepisode,CarlyandSamairedthevideoandthen broughtoutthe"viewer"whocreatedtheclipactuallyanactor (Schneider).However,thisactorwastreatedasbeingjustasrealas anotherviewerreceivinganaward,agirlwhosubmittedavideoof herselfsingingclearlywithaclosedmouth.Justliketheactorfrom thepreviousvideo,whenintroducedbyCarlyandSam,thisgirl, whowasnotanactorbutanactualfanwhohadsubmittedaself generatedvideoofherself,cameouttoreceiveheraward,thanked Carly,Sam,andFreddyandpraisedtheirwebshow.Therealgirl andfakeactorbothreactedtothesituationsimilarly.However,the realgirlwasnotparticipatingintheshowinthesamemannerasthe actor.Shehad,infact,treatedthewebsiteasrealandwasnow experiencingtherealconsequencesofthoseactions.Herawardwas indeedarealawardasshewasontheshowbeingpresentedforall toseeasawinner,apersonofexception.Therealandthefakein thissituationisalmosthopelesslyconflated.Indeed,eventhegirls "real"videoofherclosedmouthsingingpresentedaproblem.This videowassounusualthatitseemedtobemorefakethanthe manipulatedandconstructedvideopresentedbytheactor.In responsetothisissue,theproduceroftheshowinhisblogaboutthe episodefelttheneedtostressrepeatedlythatthegirlsvideowas NOTfakeItsnotatrickwedid.Its100%real(Schneider). ThisdefensefallsflatinthatinthehyperrealspaceiCarlyis constructingtherealisirrelevant.Thegirlmadearealvideothat shesenttotherealwebsiteanditwasreallyairedonawebshow thatwasshownonboththetelevisionshowandthewebsite.In ordertodothis,thegirlwentalongwiththefictionthatCarly,Sam, andFreddywerenotactors,thatthewebsiteandshowwereactual realentitiesandnotfakesignifiers.Mostimportantly,the consequencesoftheseactionshadactualresults.Bychoosingto participateinhyperreality,nomatterhow"fake,"thegirl,and viewerslikeher,produceauthentic,satisfying,realexperiences. Thewebsitebolstersthisparticipationbygivingviewersnumerous opportunitiestoparticipateinthehyperrealityofiCarly.The webshowsegmentsinthetelevisionseriesfrequentlyexhortviewers toparticipateinthevariousactivitiesontheiCarlywebsite.The realwebsitethenprovidestheseexactactivities.However,the

websitefiltersviewerparticipationsothatitbolstersthe hyperrealityoftheiCarlyuniverse. Hence,theviewervideosiCarlyairsonlymakereferencetoCarly, Sam,andFreddyandtheirwebshow,nevertotheactorsorthe televisionseries.Likewise,thecommentboardsonthewebsiteare moderatedtoensurethatcommentsreinforcethe"reality"that Carly,Sam,andFreddyarerealpeople,producingarealwebshow, thatishostedontherealwebsitethecommentatorsareon. Thewebsitebolstersthishyperrealityinotherwaysaswell.Carly, Sam,andFreddyhavenewsfeeds,blogs,photoalbums,and numerousotherformsofcontentonthewebsite.Allofthiscontent isdoneincharacter.Evenbehindthescenesphotosfromthe televisionshowarescreenedtofilteroutsuchnon"real"itemsas thetelevisionproductionslights,cameras,andmicrophones.The photosarethenlabeledasbehindthescenesphotosofCarly,Sam, andFreddyswebshowproductionanddescribedincharacterrather thanasbehindthescenesphotosoftheactorsworkingonthe productionofthetelevisionseries. Inanevenmorecuriousexample,thewebsitecontainsstreaming musicfilesofthemusictheiCarlyteenslike.Includedinthesefiles aresongsofftheiCarlysoundtrackalbumrecorderdbyMiranda Cosgrove,theactresswhoplaysCarly.Thesesongsarenot identifiedasbeingbytheactressplayingCarlyorindeedasdirectly relatedtoiCarlybecausedoingsowouldunderminethe hyperrealitybeingconstructed.Eventheimperativesofcommerce, theabilitytoselliCarlyalbums,issubvertedtothehyperrealitythat theiCarlyteensarerealandthatthewebshowandwebsiteare authenticproductionsbytheteens. Thewebsitecontainsotherinvestmentsinmaintaininghyperreality aswell,suchasdozensofcontinuouslyupdatedvideosproduced exclusivelyforthewebsite.Thesevideostaketheformofskits, pranks,andbehindthescenesfootageandusethesamesetsand actorsasthetelevisionshow.Importantly,thesevideosarealways doneincharacterandneverrevealanyinformationthatcouldbreak thehyperrealitythatCarly,Sam,andFreddyarerealteensandthat iCarlyistheirreal,selfcreatedwebsite.Tothisend,thesevideos arenotshownonthetelevisionseriesbutareairedexclusivelyon thewebsite.Thistechniquelendsthewebsiteagreaterauthenticity astheproductionofthese"extra"materialsbeyondthetelevision seriespointstothefactthatthewebsiteisrunbyrealteensmaking arealwebshowandwebsite. Thevideosshowthecharactersinteractinginallmannerofsettings butmostimportantlysomeofthevideosshowthecharacters interactingin"real,"nonsoundstage,locationssuchasthedrive

thrulinesoffastfoodrestaurants.Asthetelevisionseriesis producedcompletelyonsoundstages,thesenaturalisticvideosagain lendgreaterauthenticitytothehyperrealityoftheiCarlyworld, makingtherealityofitsexistencemorebelievableandimmersive. Bycreatingthisimmersive,believableworld,iCarlyismodelinga newwayofinteractionforitsaudience.Giventhatitsaudienceis primarilychildrenandteens,thisfactraisesimportantquestions abouthownewformsofhyperrealityinmediaareshapingsocial experiencesandconsciousness.ForiCarlydoesnotjustofferupa hyperrealworldtoviewers,itinvitesitsviewerstojoininon creatingitshyperrealitythroughdirectparticipationinits construction. Thismethodofproductioninveststheviewermuchmoreheavily intothehyperrealexperience.Indeed,itallowstheviewersto immersethemselvesintoprogressivelydeeperlevelsofhyperreality. Viewerswatchtheshowandreceiveitsattemptsatverisimilitude. Intriguedbytheseappeals,viewerscanchoosetonavigatetothe iCarlywebsitewhichwillbothextendthehyperrealspacebeing createdbytheshowandaugmentitthroughtheuseofsymbolically infusedcontent.Thosedesiringevengreaterdegreesofimmersion canthenchoosetoparticipatedirectlyinfashioningthehyperreal spaceofiCarlythroughprogressivelevelsofinteractivityfrom postingcommentsonthewebsitetotheactualcreationofvideo materialthatwillpotentiallybedisplayedonthewebsiteorthe televisionshowitself.Eachstepinthisprocesscarriestheinherent seductionofhyperreality.Themorethehyperrealspaceis consumed,thegreateritspenetrationandthemoredesirousitthen becomes. Hence,iCarlyismodellinganewwayofbuildingnotjustviewer investmentinasetofcharacters,buttheideathatviewers themselvesareacharacterwithaparttoplay.Asviewerswatch iCarlyunfoldits"reality,"theybecomeashadowcharacter,their presencealwayssittingjustoffstagereadyforenactment. Importantly,thisideaseeminglyinvertselementsofthetypical relationshipofthetelevisualform.Forinsteadofwaitingtoreceive mediafromproducers,viewerscannowactuallycreatethemedia themselves.However,intruehyperrealfashion,thisviewercontrol isactuallyanillusion.Forviewersdonothavefreerangetoshape theiCarlyuniverse;indeed,allviewerinteractionwiththehyperreal spaceofiCarlyisactuallyhighlymonitored,filtered,andcontrolled byitsproducers. Forviewers,however,thisdistinctionismeaningless.Thoseviewers whoareimmersingthemselvesinthehyperrealspacesofiCarly actuallydesirethismoderating.Theywantthefilteredrealityof iCarlyinwhichallviewerparticipationiscensoredtoensurethatit

fulfillsthegoalofbolsteringthehyperrealspace.Indeed,the viewerswhodesirethisgoaldonotevenneedsuchmonitoringas theywillconsciouslyframetheirinteractionstoaccordwiththe elementsofthehyperrealspace. Inthisway,iCarlydoesnotjustchangethewayinwhichviewers receiveitsmedia,itchangesthewayinwhichviewersconsumeits mediaaswell.TomaximizetheirrewardsfromtheiCarlyhyperreal universerequiresthatviewersmaximizetheiralignmentwiththe hyperrealspacenotjustasconsumersofmediabutasproducersof mediainthisspaceaswell. Howsuchpersuasivespacesandimmersiveenvironmentsaffect viewerswillbecomeanincreasinglyimportantquestionasmore televisionshowsfollowiCarlysmodelandseekwaysto incorporateviewersintotheirhyperrealspaces.Itisperhapsno accidentthatiCarlyistargetedatchildrenandteens.Asa generationthathasgrownupinaworldinwhichonlineinteractions havecometopredominateanddigitalhyperrealrealmshave proliferated,childrenandteenswouldseemuniquelysuitedtobe earlyadoptersofthisnewhyperrealformsofinteraction. WorksCited Abramson,Jill.HyperrealityTV:PoliticalFactMeetsHBO Fiction.USAToday24August2003:AR1,8. Allan,KennethandJonathanH.Turner.AFormalizationof PostmodernTheory.SociologicalPerspectives43.3(2000):363 385. Baudrillaird,Jean.SimulacraandSimulations.Ed.MarkPoster. SelectedWritings.Stanford:StanfordUP,1988.166184. Berthon,Pierre,LeylandPittandRichardT.Watson. PostmodernismandtheWeb:MetaThemesandDiscourse. TechnologicalForecastingandSocialChange65(2000):265279. Bogard,William.ClosingDowntheSocial:Baudrillairds ChallengetoContemporarySociology.SociologicalTheory8.1 (1990):115. Bukatman,Scott.TheresAlwaysTomorrowland:Disneyandthe HypercinematicExperience.October57(1991):5578. Butler,JeremyG.ImNotaDoctor,butIPlayOneonTV: Characters,Actors,andActinginTelevisionSoapOpera.Cinema

Journal30.4(1991):7591. Carson,Charles.WholeNewWorlds:MusicandtheDisney ThemeParkExperience.EthnomusicologyForum13.2(2004): 228235. Croissant,JenniferL.TheNewSexualTechnobody:Viagrainthe HyperrealWorld.Sexualities9.3(2006):333344. Eco,Umberto.TravelsinHyperreality.NewYork:HarcourtBrace. 1986:19. Heyd,Thomas.TheRealandtheHyperreal:Danceand Simulacra.JournalofAetheticEducation34.2(2000):1526. iCarlyAwards.iCarly:iFightShelbyMarx.Nickelodeon,2008. DVD. iGotDetention.iCarly:Season1,Volume2.Nickelodeon,2009. DVD. iKiss.iCarly:Season2,Volume1.Nickelodeon,2010.DVD. iPilot.iCarly:Season1,Volume1.Nickelodeon,2008.DVD. iSpaceOut.iCarly.Nickelodeon.5March2010.Television. iStakeout.iCarly:Season1,Volume2.Nickelodeon,2009.DVD. iWannaStayWithSpencer.iCarly:Season1,Volume1. Nickelodeon,2008.DVD. iWantMyWebsiteBack.iCarly:Season2,Volume1. Nickelodeon,2010.DVD. Keveny,Bill.NickBuildsaDynamicTeenDuo.USAToday4 June2010:8D. Levin,Gary.Nielsens:FootballHikesFoxsRatings;iCarlyina SeriesHigh.USAToday27January2010. http://www.usatoday.com/life/television/news/20100127 nielchatter27_ST_N.htm Nelson,OzzieandHarriet.TheMuseumofBroadcast Communications.http://www.museum.tv/eotvsection.php? entrycode=nelsonozzie Radio:BirthofaMemo.Time26January1953.

http://www.time.com/time/magazine/article/0,9171,817789,00.html Rodriquez,NaveliE.ExactlyHowMucharetheTimesA Changing?Newsweek26July2010:56. Schneider,Dan.FunFactsAboutiCarlyAwards.DanWarp3 October2009.http://danwarp.blogspot.com/2009/10/funfacts abouticarlyawards.html Wallace,Dickie.HyperrealizingBoratwiththeMapofthe EuropeanOther.SlavicReview67.1(2008):3549.