Romantic love, delity and happy endings: Perception of the reality TV
show
La isla de las tentaciones
by Spanish young people
Amor romántico, delidad y happy endings: Percepción del reality TV show La
isla de las tentaciones por la juventud española
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nº 37, pp. 263-290
| 263
July-December of 2023
ISSN: 1696-019X / e-ISSN: 2386-3978
How to cite this article:
Blanco-Ruiz, M. and Martínez-Pastor, E. (2023). Romantic love, delity and happy endings: Perception of the reality TV show La isla de las
tentaciones by Spanish young people.
Doxa Comunicación
, 37, pp. 263-290.
https://doi.org/10.31921/doxacom.n37a1747
Marian Blanco-Ruiz.
Ph.D. in Media Research at the Carlos III University of Madrid (UC3M). Bachelor’s Degree in
Journalism (UC3M) and in Audio-visual Communication (UC3M). Lecturer in the Department of Advertising and
Audio-visual Communication at the Rey Juan Carlos University (URJC). Her lines of research focus on the analysis
of gender representations in the media, new technologies in young people and gender violence. She coordinates the
Annual International Congress of Young Researchers with a Gender Perspective since its creation in 2016. Co-director of
the journal
Comunicación y Género
(UCM)
.
Rey Juan Carlos University, Spain
[email protected]
ORCID: 0000-0002-7920-5978
Esther Martínez-Pastor
. Ph.D. in Advertising and Public Relations at the Complutense University of Madrid (UCM),
and Bachelor’s Degree in Advertising and Public Relations (UCM) and in Law (UNED, the Spanish National Distance
Education University). Associate Professor at the Faculty of Communication Sciences of Universidad Rey Juan Carlos de
Madrid. Coordinator of the research group on Communication and Children (COMKIDS-URJC). Her lines of research
focus on the regulation of advertising, advertising relating to children and transparency.
Rey Juan Carlos University, Spain
[email protected]
ORCID: 0000-0002-2861-750X
Abstract
:
e aim of this study is to nd out young people’s perception of the
romantic love narratives portrayed in the reality show
La isla de las
tentaciones (Temptation Island)
. It attempts to discover the degree
to which they identify with or reject the characters and relationship
models that emerge over the course of the TV programme, and to nd
out whether the myths of romantic love are maintained. To this end,
Resumen:
Este trabajo trata de conocer la percepción de los y las jóvenes en torno
a las narrativas del amor romántico que se representan en La isla de
las tentaciones; el grado de identicación o rechazo con personajes
y modelos de relaciones que surgen en el desarrollo del programa, e
indagar si se mantienen los mitos del amor romántico. Para ello, se ha
llevado un estudio exploratorio mediante una metodología mixta, una
Received: 04/08/2022 - Accepted: 16/02/2023 - Early access: 10/03/2023 - Published: 01/07/2023
Recibido: 04/08/2022 - Aceptado: 16/02/2023 - En edición: 10/03/2023 - Published: 01/07/2023
is content is published under Creative Commons Attribution Non-Commercial License. International License
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1. Introduction
Over the last decade there has been a gradual decrease in consumption of linear television, while video on demand (VOD)
platforms and online catch-up TV players for the major television channels have been gaining popularity (Cha, 2013; Guerrero
Pérez, 2018; Kantar Media, 2020). However, the reality show
La isla de las tentaciones (“Temptation Island”
as its English-
language version is known) has emerged as a success story in the midst of this broadcasting crisis and the restructuring of the
audiovisual industry (Scolari, 2008). Leading the ratings for the 13-24 year age group and with an audience share of over 50%
(Mucientes, 2020),
La isla de las tentaciones
has also become the Spanish non-sports programme with the largest audience in
the 14-year history of the free-TV channel on which it is broadcast
abierto
(Mucientes, 2020; Rivas, 2020; Torrego et al., 2021).
Its success transcends television and the format’s social audience leads the conversation on social media such as Twitter and
Instagram, giving rise to new narratives based on the content generated by the users. e programme’s hashtags are on the
list of Twitter’s trending topics even hours before the broadcast, and the social conversation extends beyond the broadcasting
time limits of the programme. is degree of popularity means that the course of the programme is followed by people who do
not even watch it as it is broadcast on linear television. e opportunity to interact in real time through comments on social
media (Alvarez-Monzoncillo, 2011), and the content generated by users, oers a glimpse of the eect this show has on its
viewers’ TV-related behaviour. It enables the impact of an audio-visual product to be measured through hashtags (Halpern et
al., 2016) and interactions with the proles of the contestants (Parejo & Bernal-Luque, 2022).
1.1. e success of reality TV shows
e reality show (or reality TV show) format is a television genre created in the 1990s whose popularity has grown exponentially
and internationally since the 2000s (Peek, 2019). ese programmes are characterised by showing people (usually “ordinary”
people rather than actors or actresses) in dierent situations, situations that are simulations of reality, in which viewers witness
an exploratory study was carried out using a mixed methodology, a
semi-structured guided interview combining specic closed-ended
questions with Likert-scale answers. e sample consisted of 123
young people between 18 and 26 years of age: 92 women (74.8%)
and 31 men (25.2%). As regards sexual orientation, 75.6% stated they
were heterosexual, 17.1% bisexual and 4.1% homosexual, while 4
people (3.3%) preferred not to state their sexuality. e eldwork was
carried out from October to November 2020. e results show that
the aspirational concept of the myth of the omnipotence of love still
prevails, toxic relationships that cannot reach this ideal of love are
totally rejected, and the idea of delity as one of the most important
values in love is reinforced.
Keywords:
Reality TV show; gender dierences; young people; romantic love;
myth of delity.
entrevista semiestructurada guiada combinando preguntas especícas
con respuestas cerradas de escala de Likert. La muestra han sido 123
jóvenes entre 18 y 26 años: 92 mujeres (74,8%) y 31 hombres (25,2%).
Su orientación sexual era: 75,6% se declaran heterosexuales, el 17,1%
bisexuales, el 4,1% homosexuales y 4 personas (3,3%) prerieron no
declaran su sexualidad. El trabajo de campo fue de octubre a noviembre
de 2020. En los resultados se observa que sigue prevaleciendo el concepto
aspiracional del mito de la omnipotencia del amor, rechazándose
totalmente las relaciones tóxicas que no pueden alcanzar este ideal
amoroso y se refuerza la idea de la delidad como unos de los valores
más importantes en el amor.
Palabras clave:
Reality TV show; diferencias de género; jóvenes; amor romántico; mito
de la delidad.
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their relationships, private moments and feelings (Andrejevic, 2003; Wood & Skeggs, 2011). In this type of programme, the
audience becomes a sort of voyeur, able to continue watching the programme out of curiosity or a kind of fascination about
how the protagonists are going to act (Nabi, 2007).
e success of reality shows is a transnational phenomenon, a format that succeeds in dierent countries and contexts by
adapting to local particularities. eir popularity has become the subject of attention of Communication Science studies.
Among these studies, most of the research on the reception and audiences of this format has drawn on the theory of media
uses and gratications (Rubin, 1983) to point out that the main motivation for its consumption lies in entertainment (Conteh,
2021; Ferguson et al., 2013, 2013; Papacharissi & Mendelson, 2007; Peek, 2019; Vandenbosch & Eggermont, 2011). Even those
who admit that they do not particularly like these types of reality programmes because they are scripted are later shown to be
very keen to know the outcome of the programmes (Church et al., 2020).
However, in many cases diversity is not depicted as representing a social reality, but rather is shown in an anecdotal and
highly stereotyped way. e reality portrayed in these programmes is strongly biased in terms of representation of ethnicity,
gender, social class and gender identity (Dubrofsky & Hardy, 2008; Monroe, 2015; Sánchez-González & González de Garay-
Domínguez, 2020; Vandenbosch & Eggermont, 2011; Wood & Skeggs, 2011; Zurbriggen & Morgan, 2006).
In this sense, Wood and Skeggs (2011) have pointed out that reality television is an audio-visual format that serves as a vehicle
to promote the neoliberal agenda, being a channel through which the social models to be aspired to are disseminated, while
at the same time showing which ones should be despised.
e format of
La isla de las tentaciones
(adapted from the Dutch programme
Blind Vertrouwen
) falls within the sub-genre of
romantically themed reality television. e central idea of the programme’s format is to “take four couples committed to each
other but at the crossroads in their relationships and send them on the most amazing vacation in paradise, separated from
their partner. Although they are apart, they won’t be alone and will spend their days, and nights, in the company of attractive
singles, all of them looking for love” (Banijay Group, 2020). e programme proposes to enable them to allay their concerns
and answer the question “Am I really with e One or is there someone better out there for me?” (Banijay Group, 2020), all this
in front of the cameras 24 hours a day with fun activities arranged by the production team with the aim of putting the couples’
relationships to the test. e programme’s theme highlights the prevalence in the context of the media of the “romantic ideal”
model of love
amorosos
(Aran-Ramspott et al., 2015; Blanco Ruiz, 2018; Illouz, 2014), above others. e concept of the couple
in the
La isla de las tentaciones
format is based on heterosexuality and the myths of romantic love. e narrative, revolving
around the central myth of delity, consists of putting the relationships of several heterosexual couples to the test by having
each couple receive attention from other, enticing participants –known as “tempters” and “temptresses”– over the course of
two weeks (Carpentier, 2006, p. 135).
1.2. Romantic love and the role of the media
Since the 1970s, the concept of love has been approached from dierent disciplines, not only as a feeling that forms part of
the intimate sphere but also as a concept inherent in a society and the system of norms by which it is organised (Bauman,
2005; Bosch et al., 2011; Esteban-Galarza, 2011; Giddens, 1998; Illouz, 2019; Sternberg, 1986; Yela, 2000). Within this current,
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Sternberg’s (1986) triangular theory of love stands out for its application to multiple contexts, according to which, depending
on the combination of three elements (intimacy, passion and commitment), dierent types of love experiences can occur, such
as romantic love, companionate love, empty love, consummated love, fatuous love or sociable love. e media, as transmitters
of culture and in its role as generators of public opinion, is not unconnected to the sentimental organisation of society, as they
contribute to legitimising certain love models over others.
Romantic love represents a specic social and cultural construct, with its corresponding myths such as that of the “better half”
and the omnipotence of love, which acts as a shaper of interpersonal, social and individual practices. e idea of romantic
love disseminated in the mass media is of particular relevance during the stage of adolescence and young adulthood, where
the rst emotional and sexual relationships are initiated and the role of peer groups as a source of information gains in
importance (Fernández-Cavia, 2002; Stassen & ompson, 1997). During this stage, the myths of romantic love are accepted
with ease (Blanco, 2015; Ruiz Repullo, 2016). e myth of the “power of love” is underpinned by the social consensus about
its truthfulness, and it is precisely this attribution of almost magical qualities to the loving feeling which also perpetuates the
gender roles associated with love and sexuality in today’s society (Jónasdóttir, 1993, 2011; Langford, 1999). For example, the
various media products continue to show men incapable of making decisions about love, who nd it dicult to talk about
their feelings (and, frequently, these seem bound to sex), compared to women who must adapt to men and be patient because
“love can do anything” (Álvarez & Cardoso, 2010; Gill, 2007). As asserted by hooks (2000, p. 17-18), “popular culture is the one
domain in which our longing for love is talked about. Movies, music, magazines, and books are the place where we turn to
hear our yearnings for love expressed”. Such longing, today, after the emergence of the digital era and the information society,
has positioned love as a feeling that is presented as “a true connection” in the face of a mediatised society where artice and
posturing predominate (Illouz, 2019). is emotional identication with the stories and personas of the love culture is what
Illouz (2009, 2012) calls ctional emotions, cognitive moulds which serve as imaginary “scripts” to shape our emotions. In
this respect, the importance of the happy ending dwindles, as the attraction for the audience is that love ultimately triumphs
despite the hurdles faced along the way (Illouz, 2009).
Furthermore, romance has become a mass movement displaying attributes of modernity, introducing marriage –or the couple–
based on love as a means of self-fullment (Beck & Beck-Gernsheim, 2001). e rise of dating apps (Gibbs et al., 2011; Sumter
et al., 2017) and romantically themed reality television (Carpentier, 2006; Sánchez-González & González de Garay-Domínguez,
2020; Zurbriggen & Morgan, 2006) are merely a reection of this paradigm and of how the mass media enables the assimilation
as being “natural” of a series of codes and subcodes contributing to the legitimising of certain emotional models over others
(Illouz, 2019). eir success with audiences and their inuence on social behaviours has caught the attention of researchers
as a subject for analysis (Carpentier, 2006; Fisher et al., 2009; Hidalgo-Marí, 2018; Rose & Wood, 2005; Sánchez-González &
González de Garay-Domínguez, 2020; Torrego et al., 2021; Vandenbosch & Eggermont, 2011; Zurbriggen & Morgan, 2006).
Earlier research into the relationship between romantically themed reality television and the attitudes and behaviours of the
young people who consume them demonstrated that young people who are used to viewing these primetime shows tend
to positively endorse beliefs that suggest they view dating from a recreational perspective, men as being obsessed with sex
and women as being sexual (Ferris et al., 2007; Ward, 2002; Ward & Rivadeneyra, 1999). Subsequently, Ferguson, Salmond
and Modi (2013) found that reality TV viewing was associated with increased attention to appearance and a willingness to
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compromise other values for fame. On the other hand, focus has also been placed on the inuence of reality TV viewing on
girls’ perceptions of their own bodies, increasing body dissatisfaction, desire for thinness and demand for cosmetic surgery.
2. Methodology
In this exploratory study on the perception and identication of young Spanish people with the love relationships depicted in
the reality TV show
La isla de las tentaciones
, a mixed methodological approach has been adopted. e intention of combining
dierent approaches to the same research has the purpose of reaching more in-depth conclusions. is work would be framed
within the explanatory model of mixed methodologies, as quantitative questions are qualitatively complemented with more
in-depth questions in order to clarify or complement the ndings (Hamui-Sutton, 2013).
2.1. Objectives
e general objective of this article is to explore the perception and identication that young Spanish people have of the
emotional and sexual relationships in reality shows such as
La isla de las tentaciones
(in the English-language version, entitled
Temptation Island)
. Specically, the aim is to explore their opinion about the love relationships depicted, as well as exploring
the degree to which they identify with or reject the love story of these audio-visual formats.
–
Specic objective 1: nd out the attitude towards the couples competing in the programme and their romantic relationship.
–
Specic objective 2: explore the degree to which they identify with or reject the contestants in the reality TV show.
–
Specic objective 3: identify whether myths about romantic love and gender stereotypes about relationships are maintained.
e starting point was the following research questions that will guide this study:
–
What is their assessment of the competing couples and their romantic relationships?
–
Which models do they most identify with?
–
What are the myths of romantic love and gender stereotypes present in the discourses about the competing couples in La isla
de las tentaciones?
2.2. Techniques used
A semi-structured guided interview was designed to explore the young people’s perception of the
La isla de las tentaciones
programme and their adherence to the love models proposed in the format. e interview script combined specic questions
with closed Likert scale answers (in the form of a questionnaire) that allowed us to obtain quantitative information about their
following of the programme, their assessment of the relationship of the competing couples and their idea of romantic love.
ese questions were complemented with other, broader, open questions in which they could deepen their answers about the
couples
1
and how they identied with them.
1
e eldwork for this study took place at the end of the second season of
La isla de las tentaciones,
broadcast between 23 September and 1 November 2020.
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Likert scales were selected as they allow for the same frame of reference for all study participants, avoiding ambiguity and
subjectivity in the coding and interpretation of responses. In addition, the open-ended questions of the script allow us to gain an
in-depth understanding of the participants’ opinions of the couples in the programme, the models of love they represent, etc.,
and from there to investigate the relevance of these media stories in the perception of romantic love. By combining qualitative
and quantitative techniques, it is possible to access the variety of responses present in the study population, gathering all the
alternative responses present in the group.
e eld work for this study was carried out between November 2020 and December 2020. Due to the mobility restrictions
imposed by the COVID-19 health crisis, the interviews were conducted via telematic methods. e average length was 30
minutes.
2.3. Participants
A total of 123 young people participated in this research. e prole of the sample of participants consists of 92 women
(74.8%) and 31 men (25.2%) aged between 18 and 26 years old, with an average age of 21 years (SD=4). 75.6% stated they were
heterosexual, 17.1% bisexual (the vast majority being women), 4.1% homosexual and 4 participants (3.3%) preferred not to
declare their sexual orientation. No data were collected on ethnicity, social class or size of city of residence. e presence of
a higher number of women corresponds to the audience prole for
La isla de las tentaciones
, which is 63% women compared
to 37% men (Rivas, 2020). e number of participants in this study is similar to that presented in other exploratory analyses or
case studies on young people and reality TV shows (Conteh, 2021; Papacharissi & Mendelson, 2007; Toor, 2013; Yanardağoğlu
& Karam, 2013). is study used non-probability purposive sampling and a snowball technique strategy based on relevance
to the research question rather than representativeness (Creswell & Poth, 2017; Moser & Korstjens, 2018). e purposive
sampling strategy involved purposively selecting participants according to the following inclusion criteria: a) being between
18-26 years old; b) following the reality TV show
La isla de las tentaciones
; and c) having experienced an intimate sexual and/
or romantic relationship (at least one). A snowball sampling procedure was also applied (Pérez-Luco Arenas et al., 2017), in
which participants put the research team in contact with other participants who met the inclusion criteria.
Recruitment began at three university establishments in the Community of Madrid (Spain). Participants were informed in
advance about the objectives of the study, their rights and condentiality. e use of samples of university students is justied
when this demographic group is theoretically of interest for the topic of study (Basil, 1996) and they represent a signicant part
of the target demographic age group for reality television programmes (Allen &Mendick, 2013; Andrejevic, 2003; Gardyn, 2001;
Papacharissi& Mendelson, 2007; Parejo & Bernal-Luque, 2022; Vangeel et al., 2020; Von Feilitzen, 2004).
2.4. Data analysis
e interviews were transcribed in full, and these transcripts, together with eld notes and reective comments, were
thematically analysed inductively, looking for emerging themes that appeared in the interviews (Berger, 2016). No
predetermined category guide was used for the qualitative analysis. e thematic analysis consisted of identifying text
fragments with relevant information to achieve the research objectives. is allowed us to identify verbatim quotations and
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to see the networks of relationships in the narratives of the young people who had followed
La isla de las tentaciones
. is
analysis was carried out using
ATLAS.ti
v8. Joint team meetings were held to combine the results of the analysis and discuss
data collection and analysis procedures. At these team meetings, the nal themes were presented, combined, integrated and
identied. In the event of divergence of opinions, the identication of the theme was based on consensus among the research
team members.
e quantitative data obtained from the questions that were asked using Likert scales during the interviews were coded
and processed with IBM SPSS Stadistics v21. For the data analysis, a descriptive analysis was carried out using frequency
distributions and graphical representations. As this was an exploratory study with a non-representative sample, no statistical
tests were applied to check for signicant associations between variables.
e quantitative data are complemented by qualitative data obtained from the analysis of the participants’ narratives. In this
article we will analyse items related to programme follow-up, attitudes towards and identication with the competing couples
and the gender issues underlying these attitudes.
3. Results
Out of the interviewees, 79.67% stated that they had watched
La isla de las tentaciones,
with it being watched regularly by
83.70% of the women and 67.74% of the men interviewed. e women interviewed stated that they watched
La isla de las
tentaciones
more frequently than the men (see table 1). 59.79% stated that they viewed the format often or always, compared
to 36.94% of the men.
Table 1. Frequency of viewing the show La isla de las tentaciones
Gender
WomenMenTotal
% of the
column
% of the
row
Number
% of the
column
% of the
row
Number
% of the N
of the table
How often have
you followed the
programme?
Never17.39%55.17%1641.94%44.83%1323.58%
Seldom14.13%86.67%136.45%13.33%212.20%
Sometimes8.70%80.00%86.45%20.00%28.13%
Often22.83%87.50%219.68%12.50%319.51%
Always36.96%75.56%3435.48%24.44%1136.59%
Total100.00%74.80%92100.00%25.20%31100.00%
Source: own compilation
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ere were no gender dierences with regard to who did not watch
La isla de las tentaciones;
only 15 women and 10 men stated
that they did not view this format on television, although they did know about it through social media.
La isla de las tentaciones
is a paradigmatic example of social television and its propagation through social media, as this interviewee pointed out: “I
haven’t seen the programme live [...] I have seen memes and phrases on Twitter” (I6, woman, 21 years old).
3.1. Perceptions of romantic relationships and attitudes towards contestant couples
In general terms, the participants in the study did not have a favourable attitude towards the relationships of the couples
depicted in
La isla de las tentaciones
, who are mostly negatively perceived (see graph 1).
Graph 1. Attitude of young people towards the relationships of the couples competing in
La isla de las tentaciones
(grouped)
Graph
1.
Attitude of young people towards the relationships of the couples competing in
La isla de las tentaciones
(grouped)
Source:
o
n compilation
Among the opinions about couples on the programme, the adjective which most
accompanies the description given by the young subjects towards the love relationships
in
La isla de las tentaciones
is “toxic” (144 times). Other words
were
also used (see
illustration 1), although less frequently, such as jealousy (57 times), dependence (37
times), love (35 times) and respect (29 times).
Graph
1.
Attitude of young people towards the relationships of the couples competing in
La isla de las tentaciones
(grouped)
Source:
o
wn compilation
In all the interviews, when explicitly asking whether there has been love on
La isla de las
tentaciones
, most interviewees indicated that these relationships are not based on love
78.86
20.33
0.813
0
10
20
30
40
50
60
70
80
90
100
Very unfavourable
UnfavourableFavourable
Attitude towards the couples (items 7
-
12) (grouped)
Percentage
Source: own compilation
Among the opinions about couples on the programme, the adjective which most accompanies the description given by the
young subjects towards the love relationships in
La isla de las tentaciones
is “toxic” (144 times). Other words were also used
(see illustration 1), although less frequently, such as jealousy (57 times), dependence (37 times), love (35 times) and respect
(29 times).
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Illustration 2. Word cloud of youth discourse towards the relationships of the couples competing in
La isla de las tentaciones
(grouped)
Graph
1.
Attitude of young people towards the relationships of the couples competing in
La isla de las tentaciones
(grouped)
Source:
o
n compilation
Among the opinions about couples on the programme, the adjective which most
accompanies the description given by the young subjects towards the love relationships
in
La isla de las tentaciones
is “toxic” (144 times). Other words
were
also used (see
illustration 1), although less frequently, such as jealousy (57 times), dependence (37
times), love (35 times) and respect (29 times).
Graph
1.
Attitude of young people towards the relationships of the couples competing in
La isla de las tentaciones
(grouped)
Source:
o
wn compilation
In all the interviews, when explicitly asking whether there has been love on
La isla de las
tentaciones
, most interviewees indicated that these relationships are not based on love
78.86
20.33
0.813
0
10
20
30
40
50
60
70
80
90
100
Very unfavourable
UnfavourableFavourable
Attitude towards the couples (items 7
-
12) (grouped)
Percentage
Source: own compilation
In all the interviews, when explicitly asking whether there has been love on
La isla de las tentaciones
, most interviewees
indicated that these relationships are not based on love and instead used other words such as sexual attraction, aection,
eeting relationships, and so on:
“e couples were already damaged outside [the show], their love had run out long ago. And the new relationships that arose didn’t
involve love either, they were surrounded by an aura of jealousy, lust, toxicity, etc.” (I98, woman, aged 19).
“I wouldn’t say actual love… as love is giving oneself fully to each other” (I103, man, aged 18).
is description about love changes radically when asked about the elements on which, in their opinion, love relationships in
real life should be based (see illustration 2) e word most repeated was “trust” (72 times). Other words were also used (see
illustration 2), although less frequently, such as respect (52 times), love (31 times), communication (30 times) and sincerity
(23 times).
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Illustration 2. Word cloud of the discourse from young people about the basic elements of a loving relationship
and instead use
d
other words such as sexual attraction, affection, fleeting relationships
,
and so on:
“The couples were already damaged outside [the show], their love had run out
long ago. And the new relationships that arose didn't involve love either, they were
surround
ed by an aura of jealousy, lust, toxicity, etc.” (I98, woman, aged 19).
“I wouldn't say actual love… as love is giving oneself fully to each other” (I103,
man, aged 18).
This
description about love changes radically when asked about the elements on which,
in their opinion, love relationships in real life should be based
(
see illustration 2) The
word most repeated
was
“trust” (72 times). Other words
were
also used (see illustration
2), although less frequently, such as respect (52 times), love (31 times), communication
(30 times) and sincerity (23 times).
Illustration
2
. Word cloud of the discourse from young people about the basic elements
of a loving relationship
Source:
o
wn compilation
The descriptions of dating relationships are also linked to myths of romantic love, upon
which the reality show
format is based, such as
fidelity
, the
myth of the couple
and the
myth of marriage or romantic cohabitating relationships
, and where the myths of
equivalence
and the
other half
are also underlying the format. However, it can be
observed that more positive characteristics and behaviours are attributed such as trust,
respect, loyalty and teamwork:
“
I think communication is the most important thing. Next to that, trust, and
loyalty. I think that there should be a relationship of friendship that underpins that
of
the
couple, and that it is very positive that each of them continues to lead a life
apart from that of their partner: with their circle of friends, for example
”
(I84,
woman, aged 19).
“Love, trust, humour and understanding. Your partner should be your best friend
and there should be total trust and love. It has to be the first person you think of
Source: own compilation
e descriptions of dating relationships are also linked to myths of romantic love, upon which the reality show format is based,
such as
delity
, the
myth of the couple
and the
myth of marriage or romantic cohabitating relationships
, and where the myths
of
equivalence
and the
other half
are also underlying the format. However, it can be observed that more positive characteristics
and behaviours are attributed such as trust, respect, loyalty and teamwork:
“I think communication is the most important thing. Next to that, trust, and loyalty. I think that there should be a relationship of
friendship that underpins that of the couple, and that it is very positive that each of them continues to lead a life apart from that of
their partner: with their circle of friends, for example” (I84, woman, aged 19).
“Love, trust, humour and understanding. Your partner should be your best friend and there should be total trust and love. It has to be
the rst person you think of whenever there is something positive and want to share with them” (I7, man, aged 26).
However, despite this positive description given by these young people, most of the people interviewed considered that the
relationships appearing in
La isla de las tentaciones
do exist in real life:
“Yes, they’re a reection of real life... there is manipulation, blackmail, lies, episodes of jealousy, of dependence, of giving chances
when you know that there are things that do not get forgiven... but only for the fact of feeling that you are nothing without the other
person” (I16, woman, aged 21).
“Yes, they do exist. Maybe they are more visible in the programme, but we all know someone who is or has been in a relationship like
this” (I23, woman, aged 21).
“I think they perfectly represent today’s relationships, although some aspects are exaggerated, jealousy and obsession are common
in real life thanks to the control that can be exerted through social media” (I70, man, aged 21).
However, dierent love experiences appear in the programme under the umbrella of romantic love. is analysis is
contextualised in the competing couples of the second season (Molina, 2020); to these, the research team assigned a love style
based on Sternberg’s (1986) triangular theory of love to describe the love experience that each couple could represent.
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Couple One was the most reviled, with 76.42% of young people “totally disagreeing” with this couple model, followed by
Couple ree (59.35%) and Couple Two (52.03%). Only Couple Four and Couple Five achieved higher levels of favourable
opinion (“agree” or “strongly agree”) as an ideal couple relationship (see table 2).
Table 2. Assessment of the relationships of the couples competing in La isla de las tentaciones
Gender
WomenMenTotal
% of the
column
% of the
row
Number
% of the
column
% of the
row
Number
% of the
table
Couple One (Tom
and Melyssa) is
your ideal of a
love relationship
No opinion
8.70%66.67%812.90%33.33%49.76%
Totally disagree
81.52%79.79%7561.29%20.21%1976.42%
Disagree4.35%80.00%43.23%20.00%14.07%
Neither agree nor
disagree
4.35%36.36%422.58%63.64%78.94%
Agree1.09%100.00%10.00%0.00%00.81%
Totally agree
0.00%0.00%00.00%0.00%00.00%
Couple Two
(Pablo and
Mayka) is your
ideal of a love
relationship
No opinion
10.87%66.67%1016.13%33.33%512.20%
Totally disagree
54.35%78.13%5045.16%21.88%1452.03%
Disagree21.74%83.33%2012.90%16.67%419.51%
Neither agree nor
disagree
11.96%57.89%1125.81%42.11%815.45%
Agree1.09%100.00%10.00%0.00%00.81%
Totally agree
0.00%0.00%00.00%0.00%00.00%
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Couple ree
(Marta and
Lester) is your
ideal of a love
relationship
No opinion
9.78%60.00%919.35%40.00%612.20%
Totally disagree
66.30%83.56%6138.71%16.44%1259.35%
Disagree9.78%
64.29%
916.13%
35.71%
511.38%
Neither agree nor
disagree
11.96%57.89%1125.81%42.11%815.45%
Agree2.17%100.00%20.00%0.00%01.63%
Totally agree
0.00%0.00%00.00%0.00%00.00%
Couple
Four(Ángel and
Inma) is your
ideal of a love
relationship
No opinion
10.87%58.82%1022.58%41.18%713.82%
Totally disagree
38.04%79.55%3529.03%20.45%935.77%
Disagree26.09%96.00%243.23%4.00%120.33%
Neither agree nor
disagree
19.57%64.29%1832.26%35.71%1022.76%
Agree5.43%55.56%512.90%44.44%47.32%
Totally agree
0.00%0.00%00.00%0.00%00.00%
Couple Five (Aless
and Patry) is your
ideal of a love
relationship
No opinion
9.78%64.29%916.13%35.71%511.38%
Totally disagree
26.09%80.00%2419.35%20.00%624.39%
Disagree21.74%95.24%203.23%4.76%117.07%
Neither agree nor
disagree
33.70%70.45%3141.94%29.55%1335.77%
Agree6.52%50.00%619.35%50.00%69.76%
Totally agree
2.17%100.00%20.00%0.00%01.63%
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Couple Six
(Cristian and
Melodie) is your
ideal of a love
relationship
No opinion
17.39%66.67%1625.81%33.33%819.51%
Totally disagree
41.30%92.68%389.68%7.32%333.33%
Disagree23.91%
75.86%
2222.58%
24.14%
723.58%
Neither agree nor
disagree
15.22%53.85%1438.71%46.15%1221.14%
Agree1.09%50.00%13.23%50.00%11.63%
Totally agree
1.09%100.00%10.00%0.00%00.81%
Total100.00%74.80%92100.00%25.20%31100.00%
Source: own compilation
e relationship of Couple One was one of those receiving the most media coverage and also one of the most rejected “ideal
couple” options. ey had been together for eight months, after meeting on another television show (
Mujeres y hombres y
viceversa)
, and their involvement in
La isla de las tentaciones
centred on his cheating. According to the types of love posited
by Sternberg (1986): the man (Tom) would match the model of “infatuated love”, as his role in the relationship is based purely
on passion and the woman (Melyssa) would match “fatuous love” in which their commitment is grounded in their passion but
there is no intimacy as she has not been able to trust the other person. Of those interviewed, 81.52% of the women and 61.29%
of the men stated that they “totally disagree” with this type of relationship (see table 2), describing it as toxic and based on
mistrust and jealousy:
“I think it’s a super toxic relationship. On both sides. As for Tom, there are honestly no words to describe him. You cannot “love” your
partner like that: humiliate her in front of the whole of Spain. at you see your partner having a bad time because of your actions,
who on top of that goes to tell you about it, and yet you keep hurting her doesn’t seem normal to me. As for Melyssa, she seems to
me to be a woman who is very dependent on her partners. She is very insecure in her relationships and acts out of jealousy” (I118,
woman, aged 19).
e relationship of Couple Two also failed to gain the support of the audience as being an ideal couple, as 52.03% (54.35% of
the women and 45.16% of the men) “totally disagree” with this love relationship as a model. Once again, the women disagreed
most with this relationship. e couple had been in a relationship for three years before going on the show. During the
programme, she acted very jealously and had a ing with one of the “tempters”; the man’s behaviour in Couple Two was of
contempt towards his partner. eir relationship would match, for the woman, the model of “romantic love”, understood by
Sternberg (1986) as a relationship in which there is no commitment but there is passion and intimacy, and, for the man, the
model of “empty love”, as the physical attraction and trust has gone and only his commitment remained. e discourses in the
interviews focus on her indelity, highlighting his delity (
myth of delity
):
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“At the beginning Pablo acted like someone who was cocky and super-hetero-basic but Mayka became ‘the Tom’ of the girls, trying
to justify her behaviour with what Pablo was doing… when Pablo was faithful to her, although it’s not just down to that because there
was a lack of respect on his part too” (I16, woman, aged 21).
e relationship of Couple ree is one of those generating the unanimous rejection of it being that of an ideal couple: 66.30% of
the women and 38.71% of the men “totally disagree” with this type of relationship (see table 2). ey had been in a relationship
for 11 years before they joined the show. During the programme they both gave in to temptation and had sexual encounters
with other people. eir time on the show was based on jealousy, reproaches and spite. eir relationship tallies with what
Sternberg (1986) calls “empty love” – the physical attraction and trust has disappeared, and there is only a commitment by the
two parties, which was also broken on
La isla de las tentaciones
. In their discourse, the interviewees described it as a broken
and toxic relationship, which contrasts with the
myth of eternal passion:
“A totally toxic relationship, they’ve spent 11 years dragging disloyalties and disrespect along with them, which doesn’t let them move
on. ey blame each other all the time for things from the past and don’t stop the loop of a relationship lled with reproaches. I think
it’s a clear example of them having loved each other a lot but not in a healthy way” (I97, woman, aged 19).
Couple Four had been in a relationship for a year when they began competing on the programme. After a few days, they decided to
leave
La isla de las tentaciones
because they missed each other, and wanted to start a family and be together. In Sternberg’s (1986)
models it would be close to the “consummate love” model because of the assumption of intimacy, commitment and passion when
leaving the programme, although it can probably also be related to “empty love” or “fatuous love”. e relationship of Couple Four
demonstrates divided opinions. Although the general attitude was to assess it as a model which is far from their ideal relationship,
it was the women interviewees who showed the highest level of disagreement (38.04% “totally disagree” and 26.09% “disagree”),
whereas the men were in intermediate positions (“neither agree nor disagree”, 32.26%, and “totally disagree”, 20.45%). is division
of opinions can also be observed in the discourses of the interviewees. ere were those who saw them as the sincerest couple,
although they identied dynamics of dependency:
“A nice relationship at rst sight but really dependent, it wasn’t healthy” (I10, woman, aged 21).
“is relationship seems to me to be the healthiest on the island, but it is also bordering on toxic. Inma doesn’t get to enjoy her
experience because she depends too much on Ángel, and in the end in a relationship you can’t depend on your partner and let
yourself be guided by jealousy. A relationship has to be based on being able to have a good time, even if your partner is not there”
(I94, woman, aged 18).
eir abandonment of the show positions them in the story of the triumph of the ideal of romantic love (Yela, 2000; Herrera,
2011); however, dependency is observed by many young people as a characteristic of a toxic relationship. Once again, jealousy
and control emerged as a characteristic to dene the couples in the format:
“People think that this couple was one of the best, but in my opinion, they were both really toxic. ey needed each other constantly
and couldn’t live without each other” (I109, woman, aged 18).
Couple Five had been together for a year when they joined the programme to replace another couple. She displayed a lot of
insecurity and jealousy resulting from her partner cheating in the past. It could be said that during the programme, the couple
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would t the model of “fatuous love”(Sternberg, 1986) due to that lack of trust, but, nally, by being the couple which ended up
together, they came to represent the programme’s success story, exemplifying a model of “consummate love” as it presupposes
there is intimacy, commitment and passion. e relationship of Couple Five is the one receiving the best scores, showing
higher levels of agreeing with them as an “ideal couple” among men (“neither agree or disagree”, 41.94%, and “agree”, 19.35%)
than among women (“neither agree or disagree”, 33.70%, “totally disagree”, 26.09%, “disagree”, 21.74%). However, the discourse
about this couple was closely linked to the myths of romantic love such as
the myth of jealousy born out of love
,
the myth of
omnipotence
,
the myth of delity
and
the myth of marriage or romantic cohabitating relationships
:
“Seemingly, it is the most stable couple and the only one still together nowadays. She is excessively jealous because she is scared that
Aless will make the same mistake she made in the past. ere is a lot of mistrust…” (I93, woman, aged 19).
is is the relationship considered to be the most real, normal, and least toxic, although for the audience it seemed “dispensable”:
Couple Six had a nine-year relationship when they competed on
La isla de las tentaciones
. A short time after the show began,
he began to have sexual encounters with a “temptress”, whereas she maintained a respectful attitude up until the end. ey
once again represent the model of “empty love” (Sternberg, 1986); passion and trust disappear and only she keeps up the
commitment. e relationship of Couple Six also showcased gender dierences, as it is the women who showed a greater level
of disagreement (41.30% “totally disagree” and 23.91% “disagree) compared to men (38.71% “neither agree nor disagree” and
24.14% “disagree”). During the interviews, the women showed quite a lot of empathy with her and acknowledged she was one
of the more mature women in that season:
“He is the typical man who thinks you don’t have to take care of a relationship… and has no idea about love. She hasn’t known how
to leave it before, but luckily she’s realised” (I21, man, aged 20).
3.2. Identifying with the competitors on La isla de las tentaciones
e identication with characters in audio-visual media is one of the central concepts for understanding and explaining the
processes and eects of television programmes and ctional works on the audience (Cohen, 2001). Most interviewees did
not identify with any
La isla de las tentaciones
contestants. ere is a generalised rejection of the models of masculinity and
femininity suggested by the contestants making up the couples in the format: 45.53% of the interviewees stated they do not
identify positively with any of the contestants (see table 3). Specifying the contestants who they most liked or most identied
with, it can be observed that the women identied to a greater extent with the women of Couple One and Couple Six, while the
men identied most with the man in Couple Two. It can also be observed that there was a tendency to identify with contestants
of the same sex and gender.
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Table 3. Contestant who is most liked or with whom interviewees identied the most
Gender
WomenMenTotal
% of the
column
% of the
row
Number
% of the
column
% of the
row
Number
% of the
table
Which contestant
did you like the most
or identify with the
most?
Ángel
(Couple Four -
man)
0.00%0.00%03.23%100.00%10.81%
Cristian
(Couple Six - man)
0.00%0.00%03.23%100.00%10.81%
Inma
(Couple Four -
woman)
1.09%50.00%13.23%50.00%11.63%
Marta (Couple
ree - woman)
2.17%66.67%23.23%33.33%12.44%
Melyssa (Couple
One - woman)
17.39%84.21%169.68%15.79%315.45%
Melodie (Couple
Six - woman)
33.70%96.88%313.23%3.13%126.02%
Pablo (Couple Two
- man)
4.35%44.44%416.13%55.56%57.32%
None41.30%67.86%3858.06%32.14%1845.53%
Total100.00%74.80%92100.00%25.20%31100.00%
Source: own compilation
Regarding the most disliked participants, in most cases, the women agged the man in Couple One as one of the competitors
in the format who they liked the least or with whom they identied the least. ey also singled out, although to a lesser extent,
the women in Couples Two and ree and the man in Couple ree. In the case of the men who were interviewed, the majority
stated that they did not identify with any of the participants and those who did give a name singled out the women in Couples
Two and ree and the man in Couple One (see table 4).
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Table 4. Contestant who is least liked or with whom interviewees identied the least
Gender
WomenMenTotal
% of the
column
% of the
row
Number
% of the
column
% of the
row
Number
% of the
table
Which contestant did
you like the least or
identify with the least?
Aless
(Couple Five - man)
2.17%100.00%20.00%0.00%01.63%
Cristian
(Couple Six - man)
1.09%100.00%10.00%0.00%00.81%
Lester
(Couple ree - man)
3.26%100.00%30.00%0.00%02.44%
Marta
(Couple ree- woman)
6.52%60.00%612.90%40.00%48.13%
Mayka
(Couple Two - woman)
8.70%57.14%819.35%42.86%611.38%
Patry
(Couple Five - woman)
2.17%100.00%20.00%0.00%01.63%
Tom
(Couple One - man)
52.17%92.31%4812.90%7.69%442.28%
None23.91%56.41%2254.84%43.59%1731.71%
Total100.00%74.80%92100.00%25.20%31100.00%
Source: own compilation
However, the participants in the study did not consider the relationship models in
La isla de las tentaciones
to be the most
appropriate, in their view:
“All the couples seem to be cut from the same cloth and– whether out of jealousy, a lack of values such as honesty or respect, or
other reasons– none of them constitute a proper representation of what emotional relationships ought to be like. I believe there is no
reason that justies cheating on your partner” (I25, woman, aged 21).
ey considered them to be part of the media circus; they were not situations they considered real, although during their
discourse they talked about them as if they were:
“I have to say that as it is a television show, I’m not sure up to what point what they do is real. If we decide to believe that it is, they
don’t at all seem to me to be examples to follow of a couple; if you really love your partner, you sort out the problems at home and
without causing so much hurt. I think they are false relationships… and in which it’s built up so much that it explodes” (I19, woman,
aged 21).
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e young people interviewed mostly identied with the contestants who were victims of betrayal. Occasionally the discourses
of the interviewees also came to identify cases of violence between the competing couples. e paradigmatic case is the
relationship of Couple One (with the most rejected male contestant) involving the woman in the same couple (the second
most-liked contestant):
“I think Melyssa was being gaslit by Tom– let me explain: when the show began, Tom wanted to give us a perspective of Melyssa as a
jealous person, manipulative, hysterical, etc. And, even, he made her believe that was their real problem. When the truth was that, if
at any time Melyssa did behave like that, her experience had given her real grounds for mistrusting her partner’s faithfulness” (I25,
woman, aged 21).
Even behaviours involving psychological abuse such as gaslighting are observed, as in the case of Couple One above, in which
somebody denies a reality, acting as if something never happened or the information were false in order to make the victim
doubt his or her perception:
“It’s a very toxic relationship where jealousy is at the core. He is very manipulative, and has very little involvement in their union,
constantly blaming her for the problems that arise between them. She really believes that it’s her fault for being very jealous and not
letting him develop as a person, she’s very insecure and being around Tom doesn’t help her at all” (I98, woman, aged 18).
However, it is interesting to note how the word “toxic” was continually used in the interviews to refer to this type of behaviour
that is analogous to violence against women, but without naming it specically. In contrast, the word “healthy” was used to
identify behaviours that they considered more positive:
“Yes, they do exist in real life and they are very toxic couples, full of jealousy and envy, which in my opinion is not love, it can be
dependence or obsession, but not healthy love” (I17, woman, aged 21).
3.3. Presence of romantic love and gender roles
When referring to the concept of romantic love, the participants considered themselves as romantic (42.28%) or moderately
romantic (34.15%), with a tendency for women to consider themselves more romantic than the men did (see table 5).
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Table 5. Degree of perception of oneself as a romantic person
Gender
WomenMenTotal
% of the
column
% of the
row
Number
% of the
column
% of the
row
Number
% of the
table
Perception of
yourself as a
romantic person
Not at all romantic
0.00%0.00%03.23%100.00%10.81%
Not very romantic
10.87%76.92%109.68%23.08%310.57%
Moderately romantic
30.43%66.67%2845.16%33.33%1434.15%
Romantic46.74%82.69%4329.03%17.31%942.28%
Very romantic
11.96%73.33%1112.90%26.67%412.20%
Total100.00%74.80%92100.00%25.20%31100.00%
Source: own compilation
However, some people in their discourses positioned themselves explicitly in opposition to the model of romantic love:
“e fact that most relationships currently and especially among young people remain shallow, all of it being mythologised due to
that idea of love the industry is selling us, which is based on it giving wonderful moments... and without a doubt this is a misguided
perspective of this concept” (I105, woman, aged 18).
ey also criticised some of the gender roles and expectations about how a love relationship should end (such as the one that
underlies the myth of marriage or cohabitation) that are reected in the programme:
“Starting from the basis that I don’t believe in hetero-normative monogamous love [...] It makes me very angry that this concept
of love makes people feel how Inma [Couple Four] felt throughout the programme. I feel that both of them were under enormous
pressure... I see the reection of many women who go through the same thing, feeling that lack of love and loss of sense of everything”
(I119, woman, aged 19).
It is around the myth of delity and sexuality where the narratives of the contestants show to a greater extent stereotyped
and mythologised conceptions. e
myth of delity
as the cultural ideal of romantic love, and whose belief that being in love
implies being faithful, was also accepted by young people in their discourse. is myth is taken on board by the dynamics of
the programme and by all participants:
“A dating relationship needs time to build, several months, and communication and trust are essential. ere [on
La isla de las
tentaciones
] there can be no trust when couples go to strengthen their relationship and end up being unfaithful: what future does
a relationship that arises from indelity have? Also, a relationship needs to emerge in a realistic environment, not on an island lost
in a Caribbean paradise, so that all the elements outside the relationship take part and people see how it develops”. (I95, woman,
aged 19).
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“e most important elements are commitment, trust and delity. Although for me, to talk about love, I have to feel proud of the other
person, of their constancy, work, courage with others, etc.” (I51, woman, aged 21).
e
myth of the couple
(the belief that the –heterosexual– couple is something that is natural and universal and, hence, the
programme arranges the “tempters” and “temptresses”) and the
myth of marriage or romantic cohabitating relationships
(since, if they pass the test of
La isla de las tentaciones
, their union will be more stable) can also be observed both in the
programme and in the narratives of the participants.
e
myth of jealousy born out of love
is present in the behaviour of the couples competing in
La isla de las tentaciones.
Jealousy
and controlling behaviour as a gesture of true love are identied as “toxic” (see Illustration 1). is myth is usually used to
justify possessive, selsh, unfair, repressive and, occasionally, violent behaviours. It can be observed that in the interviews
jealous and controlling behaviour was identied to a greater extent as a sign of love in the female contestants:
“It seems to me that all [the women] behave in a very jealous and insecure way in general” (I118, woman, aged 19).
Among a part of the interviewees, gender stereotypes and roles towards both women and men can still be observed. ere
were few testimonies such as that of participant I69 who pointed out that there are no gender dierences:
“I don’t think it’s a thing that there has to be a bias between men and women. Everyone has dierent behaviours no matter what
gender they are” (I69, man, aged 21).
In the case of women, the role of seductress or femme fatale, who is manipulative, jealous and so on, persists, particularly
penalising those who do not comply with the mandate of delity:
“e faithful ones ok, the other [women] are embarrassing” (I3, woman, aged 22).
“[e women] do whatever they want, but then they blame the guys, really manipulative” (I107, man, aged 18).
“It stereotypes the temptress as that ‘predator’ searching for a man to share her life” (I80, man, aged 22).
In the case of the men, the discourse indicates that they t the roles of the
Latin
lover
, the
winner
, while at the same time upholding the
myth of unstoppable sexual instinct. In this case, although indelity was penalised, it was not rated at the same level but mentioned
in terms of “sexual impulse”:
“Like alpha males who can act in any way because they’re not going to be judged in the same way as the women” (I124, woman, aged
21).
“I get the feeling that they’re all unfaithful. And they behave in such a way they can’t repress their sexual impulses” (I27, woman,
aged 23).
e new relationships which are formed within the show are categorised as merely being sexual encounters fostered by the
situation. e discourses included the appearance of the
myth of free will
, as they indicated that these feelings are absolutely
private and free, unhindered by any wishes that could decisively inuence them:
“e relationships they create are driven by lust, pleasure and a kind of fascination. In these conditions, it’s impossible that a
relationship based on feelings and love itself can develop” (I98, woman, aged 19).
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4. Discussion
Young people in Spain show a generalised rejection of the models of couples participating in
La isla de las tentaciones
. Overall,
more than 98% show an unfavourable attitude towards the roles of the competing couples. Although the negative views are
generalised, there are gendered tendencies, with women interviewed tending to be more likely to take a negative stance.
In the narratives of the participants, the narrative of romantic love is present, a narrative shared by the competing couples
according to the study by Parejo and Bernal-Luque (2022). However, the contestants who achieve the happy ending –the
triumph of love in the face of adversity– who receive the highest ratings from the audience. e media representation of the
myth of the omnipotence of love
is, according Illouz (2009), the biggest attraction in the consumption of romantic culture,
and accordingly also of successful
reality TV shows
like
La isla de las tentaciones
. e emergence of the
happy ending
is a
revolution in the imaginary, situating the idea of happiness as the main core of these forms of imagination (Morin, 1966), and
this is reected in the discourse about the couples who still maintained their relationship after appearing on the show –such
as Couple Five– or about the participants identied with the most– such as the women in Couple One and Couple Two –who
managed to get out of a relationship that the audience considered “toxic”.
As regards identifying with the contestants, the majority of young people do not identify with any of the participants in
La
isla de las tentaciones.
However, among those who do identify with somebody, two trends can be observed: rstly, they tend
to identify with people of the same sex as themselves, a preference in identifying with the participants that is corroborated by
that occurring in other audio-visual formats (Cohen, 2001; Igartua & Múñiz, 2008); and secondly, another part of the audience
identies to a greater extent with the participants who remained faithful despite the circumstances, linking this behaviour with
autobiographical memory and with the social learning that occurs through the media.
In the narratives of the participants in the study, we can observe a distancing of what they consider to be a loving relationship
from what the models of couples presented in
La isla de las tentaciones
represent. Trust, respect, communication, sincerity and
empathy, among others, are elements that appear repeatedly in the discourse on love relationships in real life, as opposed to the
jealousy, indelity or toxic behaviours that are identied. In their narratives, young people tend to identify with companionate
love or consummate love (Sternberg, 1986). In contrast to the ndings by Zurbriggen and Morgan (2006), the results of this
study do not suggest that increased viewing of this type of programmes is associated with more traditional and unfavourable
attitudes towards dates and love relationships; on the contrary, it can be observed that said attitudes are identied as “toxic”.
While it is true that they identify attitudes that are analogous to psychological violence and controlling attitudes as toxic, it is
women who identify these situations to a greater extent. However, it is relevant to note that all these attitudes appear under
the term “toxic”, a term that seems to be frequently used among young people but that does not correctly identify each of the
types of violence described. Sometimes, in the narratives of the participants, behaviours that correspond to the rst stages of
violence are described with a certain degree of normalisation, especially those related to behaviours of control, jealousy and
deception, as if this were the norm for this type of romantic partner model.
Regarding the presence of the concept of romantic love and its associated myths, in the interviews the participants indicate
a prevalence of the
myth of delity
as a key element in the scoring of the competing couples and their love relationships, as
well as in describing what a loving relationship should be. It can be observed that those couples or contestants who remain
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faithful are those who receive more positive assessments, whereas the most criticised characters and the contestants who are
identied with the least are those who are unfaithful. ese ndings are similar to those of Torrego, Gutiérrez-Martín and
Hoechsmann (2021) who also observed that criticism on social media was harsher towards unfaithful competitors, in the same
way that those couples who remained faithful received the most positive online feedback.
In the discourse of the interviewees, it can be observed that the
myth of jealousy born out of love
is clearly identied as harmful
behaviour for the emotional and sexual relationship; this tendency towards certain degree of demystication of
jealousy born
out of love
had already been observed in recent studies (Blanco-Ruiz, 2020) despite being one of those most resistant to change
(Bosch et al., 2011; Díaz-Aguado et al., 2014). Despite manifesting a certain degree of demystication and rejection towards
romantic love, in the majority of cases it can be observed how other beliefs of romantic love such as the
myth of the couple, the
myth of exclusivity, the myth of free will
and
the myth of delity
are highly internalised in the discourse articulated by the young
people in the interviews. is prevalence of romantic love myths is also observed in other studies on youth and
La isla de las
tentaciones
(Parejo & Bernal-Luque, 2022).
Likewise, a perpetuation of gender roles and stereotypes linked to sexuality is also observed. In the interviews’ discourse about
the men and women who take part in
La isla de las tentaciones
, for both the competitors and the tempters and temptresses, the
notion that men are more unfaithful is reinforced, attributing more highly sexual conduct to them as opposed to the women
who are represented as being jealous. ese gender dierences concerning to delity and sexuality are the consequence of a
sociocultural tradition in which the image of the seductive, unfaithful male has been gloried, while female unfaithfulness has
been strongly stigmatised, from Cleopatra to the
femme fatale
, positioning the woman with a certain degree of sexual liberation
as undesirable, negative, perdious (Hernández-García & Pérez-Gallo, 2007). ese imaginaries coincide with earlier studies
on the concept of romantic interpersonal relationships in adolescents which underscored the prevalence of female delity as
a value compared to the male stereotype on indelity, as well as the gender stereotypes which ascribed more sexual behaviour
to men as opposed to women (Blanco Ruiz, 2018; Bravo & Moreno, 2007).
Although it was not the subject of this research, the interviews reveal the impact of social television (Alvarez-Monzoncillo,
2011; Halpern et al., 2016) and how the couples of
La isla de las tentaciones
are viewed through the parallel consumption of the
programme on the social networks Instagram and Twitter. We also observe the paradox of reality TV audiences rejecting these
types of formats as quality audiovisual content while at the same time consuming them (Rose & Wood, 2005).
5. Conclusions
e general objective of this research has focused on investigating the perception and identication of Spanish young people
with the romantic relationships in reality TV shows such as
La isla de las tentaciones
(
Temptation Island
). e success of this
programme among a younger audience generates a perception and an impact on the individual romantic conception of youth.
Despite the fact that the programme is based on the myths of romantic love and its consumption yearns for the triumph of love
in the face of adversity, as happens with the happy endings, the participants’ narratives show a distancing of their model of a
love relationship from the television models presented in
La isla de las tentaciones
. eir assessment of the romantic couple
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models presented in the programme is generally unfavourable, and they show a concern for identifying the attitudes that they
single out as toxic in their immediate environment.
It is observed that, despite this generalised rejection, the young people participating in the study tend to identify more with the
contestants of the same sex and gender, as well as with the contestants who are victims of their partner’s betrayal. e myth of
the omnipotence of love as an aspirational model is also still prevalent among the young participants, which is why they totally
reject toxic relationships that cannot achieve this model of love.
Despite a certain degree of demystication of the
myth of jealousy for love
, young people identifying certain behaviours
as “toxic” and sometimes explicitly rejecting gender roles or romantic love, in the interviews, there is also a discourse that
reinforces the
myth of delity
and the gender stereotypes associated with it.
e growing interest of young people in reality TV shows depicting young couples and their everyday problems may stem from
the fact that they address issues that are more dicult to discuss in a private setting and on social media they can speak more
freely and anonymously, while nding out what their peer group thinks about these behaviours. rough their consumption of
the programme and social media interaction, they can freely discover the perceptions of their peer group and reect on their
own ideas about relationships. Apart from being entertainment programmes, reality TV shows give rise to reection on what
is meant by a relationship, love, sex and heartbreak, often referred to as “toxic”.
Future research should look more deeply into which attitudes Spanish young people include when they call a love relationship
“toxic”, as well as carry out a diachronic comparative study on the perception of romantic love and the identication with the
programme’s love models throughout all the broadcasted editions.
6. Acknowledgements
is article has been translated into English by Hilary Robinson, to whom we are grateful.
7. Specic contributions of each author
Name and surname
Conception and design of the workMarian Blanco-Ruiz and Esther Martínez Pastor
Methodology
Marian Blanco-Ruiz and Esther Martínez Pastor
Data collection and analysisMarian Blanco-Ruiz and Esther Martínez Pastor
Discussion and conclusionsMarian Blanco-Ruiz and Esther Martínez Pastor
Drafting, formatting, revision and approval of versionsMarian Blanco-Ruiz and Esther Martínez Pastor
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Marian Blanco-Ruiz and Esther Martínez-Pastor
ISSN: 1696-019X / e-ISSN: 2386-3978
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290
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nº 37, pp. 263-290
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July-December of 2023
Romantic love, delity and happy endings: Perception of the reality TV show
La isla de las tentaciones
...
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
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