Supersize vs. Superskinny: (Re)framing the freak show in contemporary popular culture
Bibliographic record
Abstract
Abstract While the freak show once dominated western stages and was, as scholar Robert Bogdan notes, one of the most popular forms of entertainment for nearly a century, the increasing concern surrounding the political, ethical and moral implications of gazing openly upon abnormal bodies cemented the eventual decline of its popularity in the early- to mid-twentieth century. However, as scholars have noted, the eventual decline of the freak show did not necessarily signal the end to the public’s fascination with looking at anomalous or extraordinary bodies. Instead, this fascination was reconfigured within contemporary culture to sites such as reality television, tabloid publications and medical documentaries. Within this article, I focus on the popular Channel 4 reality documentary series: Supersize vs. Superskinny (2008– 2014). The programme, which spans seven series, follows two pairs of participants with disparate body sizes and ‘extreme’ diets as they swap their usual meals with one another for one full week in an attempt to challenge their current relationship to food and diet. Like the freak show – a complex performance practice that extends beyond the sideshow or carnival stages to include modes of looking at bodies that included medical theatres and lectures, ethnographic displays, and museums – Supersize vs. Superskinny is a hybrid of spectacle, entertainment and medical clinic, and thus, has emerged as a prime case study of these aforementioned contemporary socially sanctioned sites of gazing upon Othered bodies. In this article, I intend to conduct a close reading of two episodes from within the series as a means of not only exploring the aesthetic and narrative similarities between the programme and the historic freak show, but to explore how the programme, in its framing and presentation of exceptional bodies, implicitly reinforces the moral, political and cultural superiority of the so-called ‘normate’.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.005 | 0.006 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.002 | 0.001 |
| Science and technology studies | 0.015 | 0.041 |
| Scholarly communication | 0.012 | 0.007 |
| Open science | 0.001 | 0.007 |
| Research integrity | 0.003 | 0.005 |
| Insufficient payload (model declined to judge) | 0.007 | 0.001 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".