On January 6, 1973, famous anthropologist Margaret Mead published an essay in TV Guide in which she explained her views on the PBS series " An American Family.” This series was revolutionary at that time because it is followed by the Louds, a California family who were neither actors nor public figures, just an average middle class family, which was unheard of at the time. The Louds were filmed over seven months and the product consisted of twelve one-hour episodes that showed everything from the monotony of their daily lives to the corrosion of Bill and Pat Loud's marriage. Meade called this series "a new kind of art form" and marveled at the series' ability to show the dramatic and entertaining value of the average human condition. Forty years later, as Meade predicted, reality-based television and films have become better understood, respected, and prevalent in our modern culture. The extreme success stories of documentaries such as Justin Bieber's 2011 "Never Say Never" and countless reality shows indicate that the presence of a celebrity, especially musicians, on reality TV channels can change the perception of audience, promote new content and help it stay relevant in the public eye. . These documentaries and "reality" television shows present audiences with carefully edited material that conveys only a fraction of that individual's personality and character, but has profound effects on public perception and acceptance. British boy band One Direction is a great example of how the use of the framing model in reality shows and documentaries effectively promotes projects, shapes audience opinions, allows the artist to appear more open and more accessible and leads to extreme financial success. is a group of five boys stretching from the middle of paper......carefully portrayed personality was compressed into nuggets of reality that the producers wanted to convey. This truth, however, has no effect on the consciousness of the public who, for the most part, accept the representation of edidt as a full reality and base their perception of the competitors on this basis. According to Charles Fairchild (2007), "'Idol' relationships are not limited to the familiar musician-fan binaries, but grow and evolve into a series of intimate and active relationships that extend well beyond performance life." (p. 355). In his research he looked at Australian Idol, a singing finale similar to X-Factor, and how, using interactive selection, it creates an emotional investment in the contestants that lasts beyond the conclusion of the series. This can be applied to explain their continued success after the show ended despite coming third..