logo
Summer loving: how America fell head over heels for Love Island

Summer loving: how America fell head over heels for Love Island

The Guardian4 days ago
On the surface, there wasn't anything particularly different about this season of Love Island USA.
It's another hot idiot parade. The villa is the same, overly lit and filled with dumb neon signs, looking like it was exclusively decorated by Target (the contestants are still obliged to call it beautiful as they enter, leaving audiences wondering if they are told by producers to do so). There is the same introduction of personalities that at first seem complex and different, only for everyone to fall into a high school trance once they start vying to be chosen. There is the same suspension of any kind of reality for the most part, in which the contestants rarely discuss the real-world implications of their lives, such as their jobs and living situations.
But this summer saw Love Island USA truly take off, breaking ratings records and storming social media (new viewers reportedly made up 39% of the season 7 audience). Peacock, the NBC-owned streamer, boasted that the show was the most talked about TV event of the season with 623m video views on TikTok. Yet in the UK, the original has been struggling, with ratings lows. Perhaps it's down to fatigue, with the show having been around almost twice as long overseas. At the same time the US equivalent has been boosted by an overall rise in interest for live event TV (the past year has also seen awards shows receive an uplift in viewers) and the past weeks have seen Love Island watch parties crop up in bars across the country. But why now?
It has all of the same horny plot twists we expect, but this season somehow grew a heart. The antics are still as naughty, but the sexy singles of the villa are honest about what they want (at least until they start coupling up). And what they want is genuine intimacy fueled by emotional vulnerability and availability. People seem to be actually looking for real love, long-term commitment, seeking people with real partner potential, and even discussing having children in a deep way. Add on the complexity of one of the contestants Huda having a daughter, and the fearful way she navigates the topic, and you have people being real for once on a very unreal show.
Part of the allure of this season is that gen Z has finally taken the torch of what millennials started (and I say that as a very exhausted millennial). These contestants are fluent in gen Z-speak. They say 'dead ass', 'type shit', 'be so for real', 'hits different', and 'tea' as if no one didn't ever know what those words meant. They are covered in tattoos and piercings, and no one bats an eye. These people grew up with social media, and it shows – and somehow, instead of being entirely off-putting, it's more relatable than the millennials who came before them, who were constantly angling for the camera's attention while overthinking how they were coming off in the public eye. There's an effortlessness of this new young generation who came of age so filmed by their own phone cameras that they don't seem as concerned with the production crew's POV, or even the fact that they're being watched. The ennui and cultural frustration of millennials is eclipsed by gen Z women who don't feel the need to go so high glam with their style, and men who are excited to talk about their feelings. It's a refreshing energy.
It all translates into a collective self-awareness that while they could become famous just by being there, and especially by staying on as long as possible, showing any interest in that is off-putting and will get them kicked off and also disowned by the public. This is probably informed by watching online backlash against other reality dating show contestants in the last few years who were exposed for being there just for fame, but also feels like a generational shift. This generation is also far more mental-health aware, and watched as the early seasons of the UK show were tragically plagued by suicide and mental health crises, and it has helped to create islanders who avoid the pitfalls that they can trip into in approaching the game for fame or by being emotionally ugly (getting cliquey, being blatantly disloyal, trying to pull focus, being overtly manipulative). They have become smarter about how they come off on camera by not playing into it at all. Authenticity is king in this generation. No one is pretending to be smarter or hotter than they are. And they don't necessarily seem to be comparing themselves to one another, more just not wanting to feel rejected. It helps that the format of Love Island is almostreal-time, with just a 24-48 hour delay from filming to air. It reduces the noxious vibes of over-produced reality TV that everyone at this point knows is anything but real.
This season has also seen some controversy with contestants being kicked off. Yulissa Escobar was axed unceremoniously in the first week after an old podcast episode resurfaced in which she had used the N-word. She apologized for the comment on her social media accounts, but also critiqued the online backlash against her as 'cancel culture'. Cierra Ortega left last week with narrator Ian Sterling saying she 'left the villa due to a personal situation', after two social media posts circulated in which she'd used a slur against people of Asian dissent. As opposed to Escobar, Ortega has apologized profusely, with her family even putting out a statement before she returned home about the harm they were afraid the mass, vocal backlash against their daughter could cause to her mental health.
As the season comes to a close this weekend, producers were also reportedly upset with OG islander Huda, who is in the finale to potentially win the prize, for posting a TikTok lip-syncing to a Elijah The Boy's Over You, for a portion that includes the N-word. She will apparently not be kicked off ahead of the finale, but was pulled aside by producers and admonished and asked not to cause any more controversy for the brand or herself. The lack of self-awareness certainly has a downside for these gen Z'ers who have lived their youths sometimes regrettably too online. But at the same time, it's part of what stokes viewers. With the rise of shows like The Traitors, also reaching a record audience in the US, it seems people are wanting a return to a messier brand of reality TV.
Where does the present-day Love Island obsession come from? Is it just wanting to get away from the crushing reality of the geopolitical climate? There's no longer a layer of disdain for young TV dummies grinding on each other just to get internet famous. Love Island isn't just a guilty pleasure or a hate watch anymore. Now we are rooting for them. We want them to win. We wish we could be them, or be there for them. When they say they're there for 'girls girls and soul connections', we believe them. A day after talking about how the show was a salve for our chaotic times with a friend, I saw a meme of the 2023 Barbenheimer summer box office moment, with an image of Margot Robbie's Barbie looking out over Barbieland next to an image of Cillian Murphy's Oppenheimer looking out over am atomic wasteland with the text overlay 'Watching Love Island while simultaneously watching WWIII start.' It's how we all feel, like a meme of the world wrapped into a person who just wants to live.
The biggest appeal of Love Island has always been the quickness with which these people will couple up and catch feelings for each other after mere hours together, and then turn around and transmute that into the same thing with someone new whom they just met. There's something wildly delulu about it, but also kind of how we all want to be loved – for it to be instant. For someone to pick us. For someone not to want to take it too slow. For someone to make us feel easily chosen for the long haul. The bonding exists entirely in this neon, sexed up faux paradise where the pressures of the real world don't exist (what we all wish we could return to). It's a sleepaway camp for adults with the promise of global attention, and the joint potential for a soul mate and a cash prize. Take that original recipe and add in this new gen Z natural charisma and lack of anxiety around being vulnerable, garnish with universal trauma around the state of the world, and you have the perfect storm to lose months of your life watching a single season of this show. Happily ever after for us all.
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Second banana no more! Donkey Kong escapes from the shadow of Mario once and for all in Nintendo's stunning new Bananza. And he's not monkeying around, says PETER HOSKIN
Second banana no more! Donkey Kong escapes from the shadow of Mario once and for all in Nintendo's stunning new Bananza. And he's not monkeying around, says PETER HOSKIN

Daily Mail​

time20 minutes ago

  • Daily Mail​

Second banana no more! Donkey Kong escapes from the shadow of Mario once and for all in Nintendo's stunning new Bananza. And he's not monkeying around, says PETER HOSKIN

Donkey Kong Bananza (Nintendo Switch 2, £58.99) Verdict: Kong is king Rating: Donkey Kong has always played — ahem — second banana to Mario at Nintendo. In the very beginning, of course, this overgrown ape merely chucked barrels at our heroic Italian plumber. Then, when he started getting his own games, they were often platformers in the vein of the Mario series. Just not quite as good. Until now. Donkey Kong Bananza is the second major Nintendo release for the Switch 2, after Mario Kart World — and the second all-timer masterpiece. It's a crazy and colourful 3D platformer in, I guess you could say, the vein of the great Super Mario Odyssey (2017)...except, this time, Donkey Kong has his own groundbreaking new powers. He's his own monkey now. And 'groundbreaking' really is the word. This Kong doesn't just look big and strong; he IS big and strong. He can punch chunks out of the scenery, bash tunnels between different areas, and hurl rocks at distant enemies. It makes every level an exercise in creative destruction. Nintendo's designers are encouraging you to smash up their beautiful inventions. And 'beautiful' is the word, too. Bananza has you — that is, Donkey Kong, with his sing-song-y, shoulder-bound companion Pauline — plunging down through layers of a planet to reach its core. There's an icy layer, a dusty one, tropical, more. All look stunning on the powered-up Switch 2. At times, there's so much going on — with the gameplay, with the visuals — that it's almost overwhelming. Even the two-player mode — where one player takes control of Donkey Kong, the other Pauline — feels like an entirely different game. More! More! More! But rather than see that as a problem, I came to see it as Nintendo's collective imagination in overdrive. They've served up an unbelievably sweet and delicious banana split here. If it gets too much? Pause. Settle yourself. Then dive back in for more. Long live the Kong.

Controversial NBA wag Draya Michele, 40, hits out at critics of romance with boy toy Jalen Green, 23
Controversial NBA wag Draya Michele, 40, hits out at critics of romance with boy toy Jalen Green, 23

Daily Mail​

time20 minutes ago

  • Daily Mail​

Controversial NBA wag Draya Michele, 40, hits out at critics of romance with boy toy Jalen Green, 23

Draya Michele has emotionally revealed how criticism of her relationship with NBA star Jalen Green has impacted her. The couple have a 17-year age-gap and Michele, 40, has a son who is only a year younger than the 23-year-old Green. They are believed to have started dating in the summer of 2023 and even have a kid together. But the stir their romance caused still leads to Michele getting targeted by social media trolls. 'I mean, you try to get to that point (where you don't give a f***), but I mean you're still human and you still have feelings,' she told the New York Post. 'Sometimes, you know you can read things that are hurtful and you want to just let it roll off, but it doesn't always work like that. 'It also depends on what type of day you're already having when you read the message… I take it because it comes with it, with the limelight, like I said. But I'm human and I have feelings.' Life is changing for Green and Michele after he was traded to the Phoenix Suns by the Houston Rockets as part of the deal that moved Kevin Durant to Texas. 'This was my first time experiencing a trade,' Michele said. 'I just think, you know, as his girlfriend, my main responsibility is to support him wherever we were going.' She said they haven't found a home in Phoenix yet, but added: 'Phoenix is an amazing city. We were not disappointed with Phoenix at all. 'But I just need to be supportive of him and of the change and then just try to make things as smooth of a transition [as possible] for him, and not stressing him out with the worries of moving and all that. 'He's not gonna have to lift the finger. I'll handle all of that so that he can just relax and play basketball. Once he gets there, he won't have anything else to worry about. And that's just really what I try to focus on: keeping things convenient and easy for him.' Ahead of the playoffs with the Rockets last season, Green sent a message to the critics taunting him about his personal life. 'Leave my girl out I'm deactivating my shi for the playoffs,' he wrote, referencing his social media backout for the postseason. The Rockets went out of the playoffs in round one at the hands of Golden State Warriors.

Ari Aster made a movie about polarized America. 'Eddington' has been polarizing
Ari Aster made a movie about polarized America. 'Eddington' has been polarizing

The Independent

time22 minutes ago

  • The Independent

Ari Aster made a movie about polarized America. 'Eddington' has been polarizing

A Post-it note sat near Ari Aster while he wrote 'Eddington': 'Remember the phones.' 'Eddington' may be set during the pandemic, but the onset of COVID-19 isn't its inciting incident. Outside the fictional New Mexico town, a data center is being built. Inside Eddington, its residents — their brains increasingly addled by the internet, social media, smartphones and whatever is ominously emanating from that data center — are growing increasingly detached from one another, and from each other's sense of reality. 'We're living in such a weird time and we forget how weird it is,' Aster says. 'Things have been weird ever since we were able to carry the internet on our person. Ever since we began living in the internet, things have gotten weirder and weirder.' 'It's important to keep reminding ourselves: This is weird.' Moviegoers have grown accustomed to expecting a lack of normalcy in Aster's movies. His first three films — 'Hereditary,''Midsommar,''Beau Is Afraid' — have vividly charted strange new pathways of dread and deep-rooted anxiety. Those fixations make Aster, a master of nightmare and farce, uniquely suited to capturing the current American moment. 'Eddington,' which A24 releases in theaters Friday, may be the most prominent American movie yet to explicitly wrestle with social and political division in the U.S. In a showdown between Joaquin Phoenix's bumbling right-wing sheriff and Pedro Pascal's elitist liberal mayor, arguments over mask mandates, Black Lives Matter protests and elections spiral into a demented Western fever dream. At a time when our movie screens are filled with escapism and nostalgia, 'Eddington' dares to diagnose something frightfully contemporary. Aster, in a recent interview at an East Village coffee shop he frequents, said he couldn't imagine avoiding it. 'To not be talking about it is insane,' he said. 'I'm desperate for work that's wrestling with this moment because I don't know where we are. I've never been here before,' says Aster. 'I have projects that I've been planning for a long time. They make less sense to me right now. I don't know why I would make those right now.' Predictably polarizing 'Eddington,' appropriately enough, has been divisive. Since its premiere at the Cannes Film Festival in May, Aster's film has had one of the most polarizing receptions of the year among critics. Even in Cannes, Aster seemed to grasp its mixed response. 'I don't know what you think,' he told the crowd. Some critics have suggested Aster's film is too satirical of the left. 'Despite a pose of satirical neutrality, he mainly seems to want to score points off mask-wearers, young progressives, anti-racists and other targets beloved of reactionaries,' wrote The New Yorker's Justin Chang. For The New York Times, Manohla Dargis wrote: 'Aster knows how to grab your attention, but if he thinks he's saying something about America, the joke is on him.' Aster was expecting a divisive reaction. But he disputes some of the discourse around 'Eddington.' 'I heard one person say it was harder on the left than the right, and I think that's pretty disingenuous,' he says. 'In the film, one side is kind of annoying and frustrating and hypocritical, and the other side is killing people and destroying lives.' For Aster, satirizing the left doesn't mean he doesn't share their beliefs. 'If there's no self-reflection,' he says, 'how are we ever going to get out of this?' Capturing 'what was in the air' Aster began writing 'Eddington' in June 2020. He set it in New Mexico, where his family moved when he was 10. Aster wanted to try to capture the disconnect that didn't start with the pandemic but then reached a surreal crescendo. He styled 'Eddington' as a Western with smartphones in place of guns — though there are definitely guns, too. 'The dread I was living with suddenly intensified. And to be honest, I've been living with that level of dread ever since,' Aster says. 'I just wanted to see if I could capture what was in the air.' Scripts that dive headlong into politics are far from regular in today's corporate Hollywood. Most studios would be unlikely to distribute a film like 'Eddington,' though A24, the indie powerhouse, has stood behind Aster even after 2023's $35 million-budgeted 'Beau Is Afraid' struggled at the box office. A24 has shown a willingness to engage with political discord, backing last year's speculative war drama, 'Civil War.' And Aster's screenplay resonated with Phoenix, who had starred in 'Beau Is Afraid,' and with Pascal. In Cannes, Pascal noted that 'it's very scary to participate in a movie that speaks to issues like this.' For Phoenix, 'Eddington' offered clarity and empathy for the pandemic experience. 'We were all terrified and we didn't fully understand it. And instead of reaching out to each other in those moments, we kind of became antagonistic toward each other and self-righteous and certain of our position,' Phoenix earlier told The AP. 'And in some ways it's so obvious: Well, that's not going to be helpful.' 'A time of total obscenity' Since Aster made 'Eddington' — it was shot in 2024 — the second administration of President Donald Trump has ushered in a new political reality that Aster acknowledges would have reshaped his film. 'I would have made the movie more obscene,' he says. 'And I would have made it angrier. I think the film is angry. But I think we're living in a time of total obscenity, beyond anything I've seen.' 'Eddington' is designed to be argued over. Even those who find its first half well-observed may recoil at the violent absurdism of its second half. The movie, Aster says, pivots midway and, itself, becomes paranoid and gripped by differing world views. You can almost feel Aster struggling to bring any coherence to his, and our, modern-day Western. But whatever you make of 'Eddington,' you might grant it's vitally important that we have more films like it — movies that don't tiptoe around today in period-film metaphor or avoid it like the plague. Aster, at least, doesn't sound finished with what he started. 'I'm feeling very heartbroken about where we are, and totally lost, so I'm looking for ways to go into those feelings but also to challenge them. What can be done?' Aster says. 'Because this is a movie about people who are unreachable to each other and completely siloed off, or fortressed off, a question that kept coming to me was: What would an olive branch look like? How do we find a way to reengage with each other?'

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store