Review of LGBTQ Visibility, Media and Sexuality in Ireland

deconstruction of sexuality, race, and gender and the rise of reality television. She maintains that reality television evolved to feed a consumer culture in which societal taboos are set aside in favor of selling sex and violence. Dedicating an entire chapter to reality television meeting reality, Bordo traces reality television’s evolution from documentary-style programming to the current bombastic, violent, and sex-fueled programming, characteristics also representative of Trumpism. Within this context, Trump became the U.S.’s first reality television President. In response, Bordo quips, “It’s left to the fictional side of television to adequately represent our reality— which ironically doesn’t feel like reality anymore at all” (p. 132). This statement is significant given the notable disconnect from reality that was at one time prevalent on U.S. television. For example, with its idyllic settings, lack of diversity, and reinforcement of the patriarchy, 1950s and 1960s television sitcoms contradicted a social context that included the Civil Rights and Women’s Movements and Vietnam War. For those who grew up during the golden age of television (1948–1959) and/or study television, TV (Object Lessons) will be an enjoyable and valuable read. Readers in the first category might revel in revisiting the programming of their youth, while researchers and academics might find the brief history of television in the U.S. useful. As a self-described popular culture fiend who dedicated her life to the field, Bordo adeptly weaves together the stories of how television evolved, changed the country’s social and cultural norms, and gave rise to Trump. Through TV (Object Lessons), Bordo’s long relationship with television offers insight into the current political climate in the U.S. However, as one person’s experience with television, this book does not serve as (nor is it intended to be) a robust or scholarly account of the media.